Songbook (2/26/18)

Lee Summers

Songbook, as some of you may know, is a program spotlighting newer and up-and-coming theater composers and lyricists. Lee Summers fits into both categories. This performance was organized very well and included three songs each from four of his musicals, either completed or in progress. The program featured six vocalists, three pianists, bass, drums, and cello, with all performers volunteering their time.

High Hopes of a Dream Believer, I’ve Got My Reasons, and The Wrong
Mr. Right were from The Funkentime Rapture with Mr. Summers providing both music and lyrics. The first, sung by Ty Stephens, was very listenable in a lite rock/pop vein, and the second, featuring Brandi Massey, had a slight Latin beat that then transitioned into real rock. It was a high energy piece that also included backup singers. In the third, Ramona Dunlap seemed to be channeling Lady Day, with the blues—but here comes disco! It closed out by returning to the blues.

Yo’ Alice, with music and lyrics of Timothy Graphenreed and Mr. Summers, yielded Largely Lovely, a nice girl-group-harmony number sung by Virginia Woodruff, Ms. Massey, and Ms. Dunlap. Tuff to Be the Queen had
Ms. Woodruff as the Queen of R&B. Believe in You was a fine message song, heartfelt and truly sincere.

Famous Asian Girl, Spotlight, and Waters of Life were from Pangaea, with music by Janet Noh and lyrics by Mr. Summers. With Ms. Noh at the piano, the first song was up tempo and essentially jazz-like. It had a nice energy. Eric Coles portrayed Europe in the second song, with Europe trying to pull a fast one on Asia and Africa (yes, the continents) in a full-on rock rendition. Ms. Noh returned to the piano for the last piece, a nice gentle ballad.

Bayard, with music and lyrics by Mr. Summers, gave us Storm of Tears, a ballad that explored the main character’s life, Bayard Rustin, via song, and had a touch of country, especially in the cello accompaniment provided by Jacob Fjeldheim. It was a real ‘this is me’ number. Mr. Summers was the vocalist, filling in for an indisposed performer who had to bow out due to laryngitis, for all three songs from Bayard. Gay Harlem was real jazz that morphed into rock, with bass (Jarret Murray) and percussion (Baba Donn Babatunde). Ride, both the finale of Bayard and the finale of this concert, featured all of the performers in a very moving piece that had great harmonies.

Mr. Summers’s compositional style, as well as Ms. Noh’s, is solid musical theater writing. I wasn’t really blown away by any of the specific pieces but they coalesced into a very enjoyable concert, with solid writing and performances. I would love to see workshopped productions of any and all of these musicals. I plan on being back at the Library for the Performing Arts on March 26 at 6pm for the next incarnation of Songbook. And, not that I know a lot of the details, apparently these concerts are being streamed live on Twitter with Periscope (this phrase taken from the library’s website).