SONGS OF MR. STROUSE IN THE HOUSE

One of the greats of The Great White Way’s great golden age, Charles Strouse was the honoree in absentia in an especially splendid presentation on July 20, a look at the lesser-known works of the man who passed away this May, just a few weeks shy of turning 98. The program of songs and anecdotes happened, happily, at 54 Below: fitting, since the venue has embraced his legacy over the years. There was a concert there on the occasion of his 95th birthday, featuring many of his biggest successes and, in other years, nights were devoted to examining and exhuming old scores in the, um, “non-hit” category. Filled with fun facts, the frisky co-hosting narrators of this latest noteworthy night, Robert W. Schneider and Charles Kirsch, have previously included some of the composer’s numbers in their other programs. This summer evening was part of the series so well crafted, created, and curated by Mr. S., with the self-explanatory title – Broadway Bound: The Musicals That Never Made It to Broadway – also the name of his dishy, delightful podcast with the same mission of sharing behind-the-scenes tales and under-appreciated, under-the-radar songs.

Below are just some of the many selections of the generous-length set, packed with pleasurable performances, pizzazz, and personality.

Piano duties were handled handily by the two musicians on hand. For most of the marvelous music, it was 54 Below’s ubiquitous Michael Lavine, who recalled his student days being taught by Mr. Strouse’s early/frequent lyricist partner, Lee Adams – who’s still with us, turning 101 this month. The lively Lavine burst into song with a quirky thing called “Things.” He left the keyboard for this, accompanied by the late songwriter’s late-in-life befriended protégé, Deniz Cordell, who got a laugh by pointing out that he “of course” married a woman with the same name as the celebrant’s iconic shows  – the title character of Annie. His grateful memories of working with the legend, whom he imagined supportively at his side of the piano bench as he (gracefully) sang and played a selection titled “Music,” were touching. It’s not just the music for “Music” that his mentor wrote – the lyrics were also by Strouse. Likewise, both halves of the songs were created by him for the songs for an animated film adapted from the children’s books about a certain crocodile by the name of Lyle. Robbie Rozelle represented the reptile-centric score, deftly doing “Don’t Leave Me Now.”

A non-singing (alas!) but entertaining Rupert Holmes, who, as bookwriter, joined the team devising the material for Marty, had fond things to say, but also let the eager audience in on the struggles and stress of Strouse, amusingly describing his collaborator as a sometimes pessimistic guy who had the ability to “find the cloud in every silver lining.” Two exceptions to this concert’s didn’t-get-to-Broadway criteria were allowed, with a story and a song from each: Richard Maltby, Jr., bookwriter for 1991’s Nick and Nora, sighed over the dubious distinction of that show holding the record for the largest number of previews (71) for a production that then opened for very few official performances (9). And then there was veteran performer Len Cariou, leading man of the Tony Award-winning certified hit Applause, who received rapturous applause before and after his contribution. Yes, that musical obviously DID make it to Broadway, but in deference to the night’s theme, he entertained with an individual song, written for his character, that didn’t make it to opening night – and some recollections, too.

Although the humor and storytelling skill made it worth the time, Paula Leggett Chase didn’t exactly cut to the chase with her personal reminiscences. She shared a long story about a long automobile ride. Leaving Connecticut after a rehearsal there for the ill-fated sequel to the smash hit Annie, she was racing against the clock to be on time to be part of the last performance of A Chorus Line on Broadway, with the chatty composer in the passenger seat. Her splashy rendition of the high-energy “All Dolled Up” was a treat, too. (Head-scratching plans for the plot of the sequel included a plot to murder that adorable little orphan Annie.)

As Rob Schneider and Charles Kirsch regaled the audience with the 411 about Charles Strouse’s various projects, a third fellow named Charles came into the mix: novelist Charles Dickens. Curiosity about the musicalization of his novel The Old Curiosity Shop was rewarded by hearing a sample of this first Strouse/Lee Adams collaboration. “Someone Who Cares” from that 1958 work was nicely done by Matt Koplik, who will turn his attention to the year 1975 for hosting 54 Below’s night recalling what was on Broadway that year, with Messrs Schneider and Lavine returning, too. Returning to the works of Charles Strouse – whether it be the tunes of hits or might-have-beens has always been worth the return trips.