Anita Gillette “After All”

Anita Gillette

Former Broadway showgirl and friend of Irving Berlin Anita Gillette delights in sharing her backstage meomories in her cabaret at St James Studio. Anita Gillette

“…first hand recollections of her friend Irving Berlin. There are not many artists left who are able to share personal accounts of conversations with that legend!..

Tony award nominated actress and singer Anita Gillette opened her show at St James Theatre with her autobiographical work ‘After All’. It is a collection of backstage memories from her days as a young Broadway showgirl in the original cast of “Gypsy’ with Ethel Merman, and spanning several decades.

This is a good choice of cabaret for the new St James Theatre studio, fitting their brief in terms of it being a show about life in the theatre, and of course full of behind-the –scenes anecdotes.

Immediately declaring her current indifference to life’s traumas, she opened with a medley of Gershwin’s ‘I Can’t Be Bothered Now’ and Loesser’s ‘Happy Go Lucky’ to an exuberant reception.

The songs she chose were partly from shows she had appeared in, and some that simply illustrated certain moments in her life. Ones that stood out were Johnny Mercer’s ‘Teach Me Tonight’ speaking of her first husband Dr Gillette educating her, which not only showed her upper register well revealing her classical training, but allowed us to see ‘her’. Others were the wicked and raunchy ‘He May Be Your Man’, which she forgot some words to, but the audience were so much on her side it didn’t matter, and the hilariously funny encore number Fran Landesman’s ‘I Can’t Say Cahnt’.

As she told us her stories of Ethel Merman saving her job for her in ‘Gypsy’ when she became pregnant, and having to do two auditions to secure a part where the casting breakdown was specifically for ‘…an Anita Gillette type..’ (!), we warmed ever more to her endearing personality and self-deprecating wit.  She went on to regale us with tales of disgracing herself in drunken capers at The White House, and touchingly, first hand recollections of her friend Irving Berlin. There are not many artists left who are able to share personal accounts of conversations with that legend! This led to an affecting tribute to him in a medley of ballads ‘How Deep is the Ocean’ and ‘Remember’.

It is startling to reflect that this is Anita’s first foray into cabaret. She wisely engaged the services of experienced cabaret director Barry Kleinbort, who has structured the show skillfully, and Musical Director Paul Greenwood whose arrangements added comic touches and texture to the evening.

Anita has not performed in London since the production of ‘Pocohontas’ at the Lyric, Shaftesbury Avenue fifty years ago. The show was panned, though she herself was well received. Now she has returned with a most respectable vehicle; and while ‘life story’-type shows such as this can sometimes veer into self-congratulation or mawkishness, it is to her and Kleinbort’s credit that is never happens.

Advertisements

About Fiona Jane Weston

I am Fiona-Jane Weston and as well as being a performer myself (see website), I write reviews of and features on shows, mainly on the London cabaret and theatre scene. I have worked in theatre for many years, but decided to embark on a new direction in cabaret in 2009, when I produced 20th Century Woman: The Compact Cabaret. Not wanting to neglect my love of spoken word, particularly drama and verse, I made the conscious decision to include these elements in the programme, as well as wonderful songs, to tell the story of women's changing status and preoccupations throughout the 20th Century and up to now. I was invited to audition for the renowned Cabaret Conference at Yale, run by the late legendary Erv Raible, and that was thrilled to be one of only 26 accepted that year, where I was taught by the masters of the genre. Amanda McBroom (composer of the Bette Middler hit "The Rose" and the poignant "Errol Flynn"), Laurel Massé, original member of Manhattan Transfer, Sally Mayes, Tony Award nominees Sharon McNight and Tovah Feldshuh, and New York cabaret veteran Julie Wilson were all on the faculty. We were also treated to the musical direction of Alex Rybeck, Hubert Tex Arnold and the now late Paul Trueblood. With the benefit of their insightful teaching and great encouragement, I took my show to The Duplex in New York, where I was delighted with the response. Since then, I have produced Loving London: The Capital Cabaret, using the same format of songs, poetry and drama, in various London venues, including Leicester Square Theatre and The Crazy Coqs. 2014, the centenary of World War 1, saw the launch of Wartime Women: the Khaki Cabaret to a sellout house at St. James Theatre, London, garnering great notices, including from The Times and Musical Theatre Review. I have since been touring the show to Belgium and throughout the UK. I hope these reviews and interviews entertain and educate at the same time, and if please do leave comments in the box. It's great to engage in a conversation about the Arts. Fiona-Jane Weston
This entry was posted in Cabaret Reviews and tagged , , , , , , , , , , , , , . Bookmark the permalink.

3 Responses to Anita Gillette “After All”

  1. Thanks Russell, glad you like it.

  2. Pingback: Jeff Harnar: Does This Song Make Me Look Fat? | Capital Cabarets And Other Shows Scene

  3. Pingback: Jeff Harnar: Does This Song Make Me Look Fat? Fiona-Jane Weston Review

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s