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Show Business
April 4-10, 2001
by David Hurst
Klea Blackhurst
Everything the Traffic Will Allow: The Songs and Sass of Ethel
Merman
At Danny’s Skylight Room Cabaret
Musical Direction by Michael Rice
When I first saw the postcard for Klea
Blackhurst’s new show, Everything the Traffic Will
Allow: The Songs and Sass of Ethel Merman, I cringed at
the thought of going to it. I was not familiar with her work
in Oil City Symphony or Radio Gals and I foolishly
assumed that she was just one more ill-advised performer hell-bent
on forcing the public to listen to Merman’s music whether
she should be singing it or not. I shook my head with resignation
and dropped it in the "maybe" pile on my desk. Weeks
later, I got a call from her publicist, Tony Origlio, who
turned himself inside-out convincing me to come hear her (note
to aspiring performers–this is why you hire a good publicist)
and I finally agreed. Today I feel like sending him a gift
basket. For when the year draws to a close and I make up my
list of the best shows and performers of 2001, Klea Blackhurst’s
name will undoubtedly be somewhere near the top.
It goes without saying that a tribute
to Ethel Merman could be an invitation to disaster. However,
in Blackhurst’s capable hands it turns out to be an invitation
to a party you never want to leave. Smartly written, with
interesting anecdotes about Merman’s life as well as
just the right amount of historical background on her theatrical
career, Everything the Traffic Will Allow becomes a
loving homage to one of the American theater’s greatest
stars. Wisely, Blackhurst does not overtly go out of her way
to imitate, mimic or replicate Merman to any serious degree.
Her voice already has a healthy dose of the Merm’s sound
that she uses perfectly to evoke Merman’s spirit without
resorting to caricature. If truth be told, her voice has a
warmer sound than Merman’s, with less nasality and steel
in it. There is a flexibility and lightness in her upper register
that performers like Susan Watson, Karen Morrow and even Bette
Midler possess. Blackhurst uses these tones to great effect,
especially on ballads.
Performers should always surround themselves
with the best musicians possible and, in this case, Blackhurst
is fortunate to have musical director Michael Rice and the
rest of The Pocket Change Trio–Ray Kilday (bass) and
Steve Bartosik (drums)–working with her. Rice’s
arrangements contribute heavily to the show’s success,
especially considering that Blackhurst sings many of Merman’s
signature songs. Kilday playing the melody of "Moonshine
Lullaby" underneath "I Got Lost in His Arms,"
utilizing the intro of "Some People" at the top
of "There’s No Business Like Show Business"
and arranging "Everything’s Coming Up Roses"
with a ragtime feel and unexpected pauses are just three examples
of Rice’s exemplary work. In a show filled with musical
highlights, Blackhurst’s singing on Cole Porter’s
"Ridin’ High," "Do I Love You," "I’ve
Still Got My Health" and "Hey, Good Lookin’"
is extraordinarily exciting. As a performer, she is calm,
cool and effortless in her stage manner. Each gesture and
movement appears spontaneous and Timothy Albrecht’s musical
staging is economical and clean. Even the smallest nuance,
such as the wink she gives half-way through "World, Take
Me Back" (which Jerry Herman wrote for Merman to sing
in Hello, Dolly!) registers as sincere and heartfelt.
It’s as if she’s winking just for you.
Copyright 2001 Show Business, Inc.
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