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BISTRO BITS
Movin' On
By John Hoglund
Some positive new developments have taken place on the cabaret scene since the start of spring. In fact, there are so many clubs opening, bookers moving, and interesting performers working, the word "cabaret" no longer need be spoken in ominous tones. Maybe that's wishful thinking, but from my perspective, things do look better. It isn't quite the revival of the '70s, but it's still cause to celebrate.
Earlier this spring at Helen's, I caught two other fine shows worthy of attention. The first was Christopher Caswell's wonderful, eclectic Hold On, with musical director James Followell on piano, Ted Stafford on guitar and backup vocals, and deft direction by Crystal Premo. There's so much heart in this singer and sincerity in his delivery, I was sorry to see the hour end. Having seen Caswell perform a few times over the years, I've wondered why he hasn't received the recognition he deserves. His shows are often very far apart; let's hope that changes. Caswell has an expressive lyric baritone that borders on folksy. Without getting overly sentimental, he relays the story of a mother of six who now has only five: The woman is his mother, and the missing child is his brother Tommy, who died in a car accident. This led into a trenchant "Has Anyone Ever Written Anything for You?" Two Michael Holland songs also scored. Other highlights included "You Keep Coming Back Like a Song" and a no-holds-barred gospel anthem that had the room jumping. This man expresses his heart in every note and has too much going for him to stay away for long periods. He's got the goods.
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REVIEWS: NYC LIVE
Chris Caswell
Hold On
At Don't Tell Mama
Musical Direction by James Followell
Review by David Hurst
Chris Caswell is the kind of performer I look forward to watching. He's an accomplished musician with a lovely voice, has an engaging connection with the audience and always performs interesting and challenging songs. The past year has been difficult for all New Yorkers but especially Caswell who lost his younger brother and sister-in-law in a terrible automobile accident. As anyone who has lived through that kind of unexpected and sudden tragedy knows, it has a way of changing your perspective on life forever and Caswell is no exception. But he has wisely channeled his grief and newfound optimism into Hold On and it's a thoughtfully entertaining piece of work.
Ironically, Hold On finds Caswell the most relaxed I think I've ever seen him. His voice seems to have gained depth and resonance over the last several years and the rich, warm tenor instrument that is his trademark is in superb form here. It's refreshing to hear Caswell sing arching musical lines with impeccable phrasing and breath control. There's an emotional throb ringing in the top of his range that's as exciting as it is effortless.
Musical director James Followell and guitarist Carl Allocco provide a multi-layered musical background that is energetic and captivating. Followell's arrangements are sumptuous and Allocco's playing and background vocals are every performer's dream. Songs like Rick Jensen's " Coney Island," Tom Anderson's "Two Chairs" and "Has Anyone Ever Written Anything For You" (Stevie Nicks/Keith Olsen) are perfect in Caswell's hands as are two delights from Michael Holland, "Jump For You" and "Trash."
My only suggestions are for him to drop (or at least shorten) the two readings he has in the show. He doesn't really need them and he could easily encapsulate what he wants to say by speaking extemporaneously. He has a winning personality and almost all of his patter sounded off-the-cuff and was genuinely funny. Additionally, he could make more eye contact with the audience, especially when he's singing a ballad. The exception to this last point was his encore, John Bucchino's "Better Than I," which was as profound and heartfelt a delivery of a song as I've heard in a long time. Funny how life has a way of putting things in perspective when you least expect it, isn't it? Caswell knows that now and I encourage you to let him share it with you
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TheaterScene.net, Bruce-Michael Gelbert:
It is always a pleasure to listen to Christopher Caswell wrap his silken sound around a song. Caswell's clear and polished vocalism and honest and persuasive delivery make hearing him in a show an invariably appealing prospect. On March 29, the singer, supported by pianist James Followell--both long active with the New York City Gay Men's Chorus and its pops ensemble, Uptown Express--completed a three-performance run of "Hold On," a cabaret show at Helen's, in Chelsea, looking at life and love and family through songs new and old, standard and rare.
Singing gracefully and with awe, Caswell contemplated potential paths in life in an upbeat "So Many Stars," by Sergio Mendez and Alan and Marilyn Bergman. The boardwalk and rides of " Coney Island," in Rick Jensen's song, served as background for Caswell's lyrical attempt to forget a love whose memory proves persistent.
Caswell dedicated a hushed "Has Anyone Ever Written Anything for You," ; of Stevie Nicks and Keith Olsen, to his mother, giving a boost to a modest soul, often taken for granted and, with delicacy, paid tribute to both his parents with Tom Andersen's "Two Chairs." He saluted a long-time significant other, viewed with wonder still, with a classy account of George and Ira Gershwin classic "How Long Has This Been Going On," complete with stirring instrumental interlude from Followell and sustained final high note from Caswell, and took a touching look at the idea that opposites can not only attract, but also make an enduring go of it, in Karen Taylor-Good and Joie Scott's "Not That Different."
Speaking of the little daughter that he and his partner are raising, Caswell sincerely acknowledged life's blessings in John Bucchino anthem " Grateful," a new addition to his repertory, ornamenting the vocal line in a repetition of the refrain near the end. Noting that two gay white men raising an African-American four-year-old girl in Harlem get varied reactions, he launched into Melissa Etheridge and Kevin McCormick's " Testify" as a fervent statement of pride and purpose.
Many singers have sung songs perched atop a piano lid. Caswell, on another note, slumped over the piano instead to begin a bouncily woozy " Trash," Michael Holland's song of someone who wakes up where and with someone he didn't intend to, but, with guitarist Ted Stafford, he exhorted the listener to empathize in REM song "Everybody Hurts," by Peter Buck, Mike Mills and Michael Stipe. From the last number, Caswell and Followell segued into the show's title song, urging determination and faith in oneself in "Hold On," by Lucy Simon and Marsha Norman, from The Secret Garden . Thomas Christian Korbee, Jr.'s "If We Get to Choose Our Heaven," another song new to the singer, was Caswell's optimistic, wide-ranged finale.
updated 01/01/09