A LEGEND STILL IN MOTION

A radiant, nostalgic evening with a Broadway
icon who continues to charm and connect

Gracious, graceful, gratifying, glowing, glamorous.

Some cabaret shows are everything you wish they could be, everything you hope they might be, or everything you actually expect them to be, given the performer’s track record. The monthly appearance of dazzling, delightful Donna McKechnie’s show titled A Musical Memoir checks all those boxes and is lovingly life-affirming and nostalgic, too. The affection audiences have for this musical theatre veteran is palpable. It’s evident from the get-go, before she’s actually seen (the night starts off with her offstage voice, singing with great ebullience and optimism, setting the tone with “Everything’s Coming Up Roses,” entering to rapturous applause after the first section). Her zillion-kilowatt smile and clear voice make it clear that she’s in fine fettle and full control, with judicious dance steps and graceful poses, spinning on the line “Set it spinning!” And we’re off on a guided tour of her career and personal recollections.

There’s an early reference to her most celebrated connection to musicals—her years with the ultimate show celebrating dancers, A Chorus Line, from its beginnings, noting that last year marked its 50th anniversary. Mentally doing the math for a moment, her seeming agelessness registers. But she segues to reflections on her upbringing in Michigan, attending a church where dancing was considered a sin and life was “like living in the black-and-white section of The Wizard of Oz.” Other MGM musical films fueled her dreams and desire to perform, too, and at age 15 she ran away to New York City. The efficiency of her storytelling is achieved by the useful cabaret device of inserted bits of narration between choruses of relevant songs (“A Lot of Livin’ to Do” from Bye Bye Birdie; “Broadway Boogie Woogie” by Ed Kleban, who also wrote the lyrics to A Chorus Line) and precise piano punctuation. She blithely tells of early auditions, early jobs, and super-memorable “pinch-me” moments like her first big breaks and kind words from Fred Astaire, who offers to dance a bit with her privately.

Of course, there’s some Stephen Sondheim in the mix, such as a lovely little bit of “Lovely,” purred in passing to acknowledge her early chance to play the ingenue in A Funny Thing Happened on the Way to the Forum and the later shot at the mature character, Desiree, of A Little Night Music for more than a little drama, with an especially poignant, fresh “Send in the Clowns.” But the song choices aren’t just a show-biz vet’s big numbers from her big shows; she sometimes recalls one of her main credits by taking on something her own character didn’t sing. It’s a refreshing approach, making the memoir not an “All About Me” reprise, but also an appreciation of the scores. (Well, in the case of a production of On the Town, it was necessary, as she’d played the non-singing major dance role.) But let’s not spoil all the surprises here.

Of course, a summary of decades in entertainment (or life) can’t be without low points. Perhaps this beloved dancer sidesteps the option to step deep into the pity-party pool of sorrows—skimming the surface of that pool, dipping into the disappointments without immersing herself in them. Mentioning divorce, a detour to dismay and processing disappointment is acknowledged with an impressive immersion in the barroom ballad “One for My Baby (and One More for the Road)”—the musical equivalent of a cabaret club’s two-drink minimum. Then she bounces back. It’s all a valentine to valiant resilience—survival skills with sequins. How can you not love a gal who is honest enough to include the incident of seeing a casting call ad for “a Donna McKechnie type,” going after the part, and not getting it? Her expressed gratitude for the gift that was A Chorus Line and the long-lasting friendships among its alumni are touching.

Ian Herman at the piano is an attentive, energetic, supportive force providing the simpatico bright settings. Donna McKechnie’s beaming rays of sunshine are enhanced by two Rays in her “caba-Ray” trio: bassist Ray Kilday and drummer Ray Marchica. (A double Hoo-Ray! for these pros joining the sterling Mr. Herman and adding their own energies and engines.)

Of course, there was still much unmentioned or barely referenced. Time only allowed for so much. One is left wanting more—and, although this memorable Memoir is indeed satisfying as a standard-length cabaret show, it kind of cries out to be expanded to become a two-act theatrical concert. Then she might touch on her time in State Fair; different productions of Follies (playing different characters); the little-known sequel to Annie; various tours and revivals; her very recent time in Wicked; and might even be promised Promises, Promises’ gloriously goofy “Turkey Lurkey Time” or her movie moment as the self-centered Rose in the underappreciated The Little Prince. But one thing’s for sure: the living legend named Donna McKechnie is very much appreciated, and her show can’t be recommended highly enough.

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photos by Stephen Mosher

Donna McKechnie – A Musical Memoir
Laurie Beechman Theatre
407 West 42nd Street, New York, NY
reviewed on March 1, 2026
plays again on April 10, May 23, June 11
for tickets, visit The Beechman
follow Donna McKechnie on Instagram

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