Mark Nadler

July 20, 2009

…His Lovely Wife Ira – Ira Gershwin with and without George ~ Metropolitan Room

June 4, 11, 18, 25, 27, July 1, 8

Writing about Mark Nadler over a decade ago, I labeled him quite possibly the world’s greatest entertainer. I did not say that hyperbolically. His ability to command an audience’s attention and laughter for hours is on a par with Bette Midler and Victor Borge’s. In the realm of singer-pianists, his only peer that I know of is the late Danny Apolinar.

But there is another side of his talent, one that is less hilarious and less outrageous, but no less impressive: sensitive, analytic and probing, it is Mark Nadler the serious artist. Though brief glimpses of this artistry shone through even in his most irreverent and madcap evenings, for the most part he kept it under wraps—that is, until recent years. It is on glorious display in his latest show, which honors the work of lyricist Ira Gershwin.

Nadler explores Gershwin’s relationship with his wife, Lenore, and his brother George (“I belong, I see, to the ranks of the brothers of the great”). Through both narration and musical illustration, he analyzes Gershwin’s approach to lyric writing. For example, he traces the evolution of “Long Ago and Far Away,” which was Gershwin’s biggest hit during his lifetime; Nadler’s rendition concludes rapturously. And there is a segment that imagines the development of the classic “Fascinating Rhythm”; clearly Nadler is as inventive as was Gershwin. This is not dry, academic analysis; it is a touching celebration of the art of songwriting—and more fundamentally, of the creative process.

And there are many numbers that succeed on a purely musical, emotional, or entertainment level. (Nadler the artist is still Nadler the savvy showman.) From Lady in the Dark, “The Princess of Pure Delight” is a charmer, and a pairing of “The Man That Got Away” and “Words Without Music” is deeply moving. Some years ago, I expressed the opinion that “Someone to Watch Over Me” should not be sung by a man with the pronouns changed from masculine to feminine (“I hope that she turns out to be”). While I still believe this to be generally true, Nadler’s rendition is so exquisitely vulnerable that he pulls it off; this is gorgeous work.

There are a few missteps, directly or indirectly associated with attempts to relate Gershwin to contemporary culture and politics. Nadler’s reference to the current legal state of gay marriage is inappropriate and irrelevant—as is his personal expression of pleasure at Obama’s victory. And his performance of “It Ain’t Necessarily So” is too broad; though the audience ate it up, I think it oversells his point.

All in all, this is an important show and a memorable evening.

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About the Author

Roy Sander has been covering cabaret and theatre for over thirty years. He’s written cabaret and theatre reviews, features, and commentary for seven print publications, most notably Back Stage, and for CitySearch on the Internet. He covered cabaret monthly on “New York Theatre Review” on PBS TV, and cabaret and theatre weekly on WLIM-FM radio. He was twice a guest instructor at the London School of Musical Theatre. A critic for BistroAwards.com, he is also the site’s Reviews Editor; in addition, he is Chairman of the Advisory Board of MAC.