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“Do Overs”
Don’t Tell Mama – November 21, 28, December 2, 6, January 4
After enjoying a long run with her last show, “Kiss Me Like You Mean It,” a couple of years ago, and receiving a 2010 MAC Hanson Award, Angela Shultz has returned with a brand new show—even if its title, “Do Overs,” might suggest a reworking of previous material. The new show (directed by the very busy Lennie Watts) deals with having the opportunity to “do over” bad choices or mistakes we’ve made. This leads to some fine moments, both comic and poignant, in song and patter. The song list is a nice mix, many of the selections theatre songs. The tempos and subject matter constantly surprise and, thus, the hour flies by with all the energy and passion of a throbbing heart.
Shultz takes a bit of a risk with her opening song, Cy Coleman and Dorothy Fields’s “There’s Gotta Be Something Better Than This.” The lyric begins, “There’s gotta be something better than this/ There’s gotta be something better to do/ And when I find me something better to do, I’m gonna get up, I’m gonna get out/ I’m gonna get up, get out and do it!” A lesser talent would run the risk of having the audience agree with her, which would be an unfortunate start to a show. Luckily, Shultz displays loads of comic energy, and quickly moves into the hopeful “Something’s Coming” (Leonard Bernstein, Stephen Sondheim). Her second song is even better, the less-often heard “You’ve Got Possibilities” (Charles Strouse, Lee Adams). Shultz gives such a motivational coaching with the song, you’d have to be asleep in your seat (no chance of that) not to believe her.
In Shultz’s first extended patter, she wonders whether her life would have been different if she had not missed that audition for Annie when she was ten. Still, ever the optimist, she concludes, “I’m only five-foot-three, so maybe in some non-Equity town in a very big theater…” Her longtime friend and musical director, Brett Kristofferson, firmly chides her that that ship has passed. From there, Shultz is able to head right into pathos with “Please Let’s Not Even Say Hello” (Maury Yeston), about a person so wounded she would rather have no connection than the possibility of another heartbreak. Shultz’s yearning eyes glowing with tears is a cabaret moment not soon forgotten.
On the comic numbers, she is best when she delivers the lyrics with a straight-man sincerity, letting the audience discover the absurdity in the situations. Such is the case with Susan Werner’s “Movie of My Life” and, even better, “Ready to Settle” (Tom Kitt, Amanda Green), in which she duets with Kristofferson.
On the subject of things she’d rather do over and over again, Shultz offers what she calls a “sex medley” of four pop songs. While the entire medley was fun, the reworking of George Michael’s “I Want Your Sex” made that song almost unrecognizable, in a fresh and exciting way, and I actually heard the lyrics to the verse as if for the first time.
There’s not a clinker in the whole set, but special mention must be made of Shultz’s treatment of John Bucchino’s “I’ve Learned to Let Things Go.” She approaches the song as a woman who has lived fully and has now come to acceptance; the result is wonderfully touching. Shultz closes with “Tomorrow” (Charles Strouse, Martin Charnin) from Annie, performing as both her adult self and as a bewigged child. She leaves no doubt that she could still play the role. The moment is both hilarious and empowering. Shultz’s dreams will not die.
If there is any quibble with the show, it might be with some of the patter. While she has some good things to say (her observations about celebrities who need do-overs, and those for whom second chances have not helped, are right on target), sometimes it seems a little too scripted and, occasionally, like a teacher addressing her class. If she were as free-wheeling and gutsy in her patter as she is with her songs, she would be even better—and that’s saying something.
If anything, Shultz seems even more self-assured than she was a couple of years ago. She has a big, warm Broadway voice with just a hint of soul, as if she were channeling this year’s hitmaker, Adele. There are also more colors to the act and she has a life force that is undeniable. Angela Shultz makes you glad to be alive.
There will be no do-overs necessary for this show, only do-agains.
Kevin Scott Hall performed in cabaret clubs for many years and recorded three CDs, including “New Light Dawning” in 1998, which received national airplay. He also worked at the legendary piano bar, Rose’s Turn, and has taught cabaret workshops and directed shows since 1995. Kevin earned his MFA in Creative Writing at City College of New York. He is an adjunct professor in the Theatre and English departments at City College and Borough of Manhattan Community College. His novel, “Off the Charts!” was published in 2010, and his memoir, “A Quarter Inch from My Heart” (Wisdom Moon), in 2014. Kevin writes a monthly column and entertainment features for Edge Media Network, writes reviews for BistroAwards.com, and freelances for other publications.
