DID TITUSS EXCITE US? AND HOW!
You may know Tituss Burgess best for his scene-stealing performances in 30 Rock, Schmigadoon! and Unbreakable Kimmy Schmidt, as well as his star turns on Broadway (Little Mermaid, Guys & Dolls, Moulin Rouge). With glass of Pinot Noir (“wink” to Kimmy Schmidt), I entered the Barns Theatre with exited anticipation.
The band of four comprising piano/synch, upright and electric bass, drum set and guitars started off the evening with a jazzy composition that included “Everybody Wants to Rule the World” by Tears for Fears to which Tituss Burgess entered and amped it up several notches with a Rock Gospel feel. He welcomed the audience to the “Church of Tituss” (there’s only one deity in the house and it is Music) encouraging us to repeat after him “I pledge allegiance to music—where it takes me, I will follow” Testify! And follow we did.
The ballad “Soon As I Get Home” from The Wiz was intimate with a jazzy accompaniment and a smooth bass solo. Asking for the lights to be brought up on the audience, Tituss slinked through the house sassily channeling Shirley Bassey’s “Goldfinger” and interacting with the spectators.
Adding to the eclectic mix were two works of Cole Porter, “I Still Got My Health So What Do I Care” and “Miss Otis Regrets”, energetically and joyously transporting us to a speakeasy or dance hall from days of yore.
He slowed down and switched moods with “Guess Who I Saw Today”, in which the protagonist recounts their day to their partner in a casual, almost playful manner—until the dramatic twist at the end when they reveal that they saw him with another lover. His ability to act through song was at its finest, artfully telling the story in an understated and emotional manner.
One of his favorite composers is Stephen Sondheim. Of course I’m familiar with “Anyone Can Whistle” but with this interpretation I truly felt the intimacy of this song. After an energetic instrumental jam break, Tituss returned to the stage to close Act I with the an encouraging lesson from “Believe in Yourself”—also from The Wiz.
Showcasing impressive technical skill, the outstanding quartet of experienced session players, led by pianist/arranger Dan Garmon, excelled in every genre it tackled, seamlessly shifting between various musical styles. Instead of being tucked away in a pit, they were brought front and center, performing extended instrumental jams.
The second part of the set opened with a brilliantly chaotic and all-too-brief Q&A which gave us titbits into Burgess while providing an outlet for his naturally funny talents. I was able to inquire about his upcoming takeover of the titular character in Oh, Mary! on Broadway when Cole Escola takes a break. “Keep his seat warm!” I quipped, “I will—I’ll STEAL IT!” Tituss retorted. “Mary Todd—She’s so chaotic. She’s gotten a bad rap. She’s going to be a terror but she’s gonna be great fun.”
Another exciting project he shared: he’s adapted the 1996 film The Preacher’s Wife into a stage musical. This project, featuring music and lyrics by Burgess and a book by Azie Dungey premiered at Atlanta’s Alliance Theatre in 2024 and there are hopes of further productions. (Note to self: keep an eye open for that!)
Closing out the evening Garmon performed a remarkable “Summertime” followed by Tituss’s powerful rendition of George and Ira Gershwin’s Porgy and Bess medley (“There’s a Boat That’s Leaving” / “It Ain’t Necessarily So” / “I Loves You, Porgy”).
On a night filled with thematic variety, one thing remained constant—Tituss Burgess’s breathtaking vocals. Whether he was dialing it back to draw every ounce of emotion from the more poignant numbers or unleashing his full vocal range with seemingly limitless power—almost risking searing the eyebrows of those in the front row—his talent was awe-inspiring. From start to finish, he held this audience firmly in the palm of his hand.
An Evening with Tituss Burgess
The Barns, 1635 Trap Road Vienna, VA
reviewed on February 12, 2025;
ended on February 13
for tickets, visit Wolf Trap
