Interludes

VIEWPOINTS – The Old Guard shows us how it’s done: Basking in new cabaret acts from CHARLES BUSCH and KAREN MASON

• By drediman
• March 26, 2025
• No Comments

In recent days, I had the great pleasure of catching a pair of performers with long histories in New York’s storied live entertainment scene — “Old Guards” of the industry, if you will. In their respective new cabaret shows, they showed their admirers how it’s done, their ample experience and thoughtful professionalism carrying the day. As per usual, read on for my further thoughts.

CHARLES BUSCH: MY LEADING LADIES
54 Below

As a cabaret performer, Charles Busch is an absolute gem, and his recent show at 54 Below was no exception. Entitled My Leading Ladies (HIGHLY RECOMMENDED), his latest is a love letter to the women who have inspired him, including the likes of Vivien Leigh, Bette Midler, and his own Aunt Lil, who nurtured his love of the theater. Although over the decades he’s redefined our notion of camp as a theater-maker, there’s a disarming sensitivity and sincerity that underlies his work as an entertainer, which shines through especially in the intimacy of cabaret. A natural and approachable storyteller, Busch has mastered the art of holding court, drawing on a long lifetime of memories and relationships, triumphs and heartaches. And as an iconic pathbreaker as an openly queer performer and playwright, it’s quite the treat to be regaled by his wistful, often very funny tales of the past — complete with the occasional passing knowing wink and beguiling smile (one particular anecdote about “stage dooring” Vivien Leigh as an impressionable youth after one of her performances on Broadway was especially delightful). Suffice to say, his warm, witty bantering more than merely filled the gap between musical numbers. On the contrary, the songs in Busch’s shows more often operate as extensions of his storytelling, which is evident in how he imbued every lyric with specificity and meaning. Some musical highlights from My Leading Ladies included a lived-in “Pirate Jenny”, a truthful “Superstar”, a devastating “Both Sides Now”, and an authentically triumphant “I’m Still Here” — all luxuriously accompanied by a full band led by music director Jono Mainelli on the piano.

KAREN MASON: KAREN’S BACK… AT BIRDLAND!
Birdland Jazz Club

Then over at Birdland Jazz Club for one night only, I had the opportunity to catch musical theater actress and recording artist Karen Mason in her aptly-named cabaret act Karen’s Back… at Birdland! (RECOMMENDED). The overarching theme of the show was springtime its implications of hope and a better tomorrow. Although her voice isn’t quite the powerful belting instrument that it once was, Mason’s heart and intentions were firmly and fully in the right place, and it was infectious to behold. Having originating meaty roles in varied shows such as Mamma Mia! (she was the musical’s original Tanya on the Great White Way), the short-lived Wonderland, and And the World Goes ‘Round, Mason had plenty of fascinating backstage stories to tell, which came through wonderfully in her smartly constructed and written show. Through some clever arrangements (e.g., weaving in classic show tunes like “New York, New York” from On the Town and “One Boy” from Bye Bye Birdie into the narrative of the evening) and eclectic yet accessible song selections, she took the audience through a spectrum of emotions that ultimately left the us uplifted — especially balming during these tough times. In particular, I was touched by her honest renditions of pop standards like Carole King’s “You’ve Got a Friend”, Simon & Garfunkel’s “The 59th Street Bridge Song (Feelin’ Groovey)”, as well as requisite offerings from the Broadway songbook such as “Colored Lights” from Kander & Ebb’s rarely-performed The Rink and an affecting medley of “Somewhere” and “The Impossible Dream”. Throughout, Mason was ably supported by longtime music director Christopher Denny on keys.