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| Rose Levine, Consummate Showperson, Struts Stuff Anew in "Lullaby of Broadway" |
by Bruce-Michael Gelbert
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| Rose... |
| Photo by Joseph R. Saporito |
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On August 25, under the aegis of the Arts Project of Cherry Grove, Rose Levine, the Grove's consummate showperson, strutted her stuff on the stage of the Community House anew in a show entitled "Lullaby of Broadway." Michael Kevin Walsh was her new music director; Richard Bell, her director; and George McGarvey, the set designer. Matt Baney and Allison Brackman were on lights and sound.
After Walsh, at the piano, opened the show by singing "The Lullaby of Rose Levine," to the tune of "Lullaby of Broadway," Rose made a returning star's entrance with an awed "It's as if we never said goodbye," from "Sunset Boulevard," and welcomed us with rousing renditions of "Gee, but it's good to be here" and "I'm Happy."
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Ethel Merman lived again in Rose's zesty "Some People," from "Gypsy," and "I've Got the Sun in the Morning and the Moon at Night" and sensitive "I Got Lost in His Arms," the last two from "Annie Get Your Gun." Fanny Brice came to life as well in Rose's "Oy, how I hate that fellow Nathan," about a beau in no rush to wed; in "I'm an Indian (a Yiddische squaw)," for which she donned long braids and a feather; and, with a nod to "Funny Girl" and "Funny Lady" Barbra Streisand, in "Second Hand Rose," "I'd Rather Be Blue (thinking of you)," and "How Lucky Can You Get."
Rose saluted the Great White Way in style with "Please, don't monkey with Broadway," complete with high kicks and skillful masking of a 'wardrobe malfunction,' and with "Broadway Baby," from "Follies."
Walsh started the evening's second half with "All I Care about Is Love." La Levine returned to Merman's repertory with "The Hostess with the Mostest on the Ball," from "Call Me Madam," adapting some lines to make them Cherry Grove relevant, and "World, Take Me Back," which Jerry Herman wrote for the Merm when she took over the lead in "Hello, Dolly!" late in its initial Broadway run. Rose reported that Herman had said, "Rose Levine keeps this song alive," as she does so much of this invaluable music.
Rose played a recording of "It Had to Be You," which she made as a child in the 1940s, to introduce her current rendition of the song and followed it with "Almost Like Being in Love." From the world of operetta, she offered Victor Herbert's "Art Is Calling for Me" ("I want to be a prima donna"). For "I Love a Piano," she perched on the piano lid and then joined Walsh for a bit of piano four hands.
She gave us Gay Pride in "I Am What I Am," from "La Cage aux Folles," and put us in a mellow mood with "New York State of Mind," segueing into a spirited Kander & Ebb "New York, New York." Rose closed by revisiting the score of "Follies" to look over a long life of memories in "I'm Sill Here." Her encores were her signature tune "Rose of Washington Square"/"Rose of Cherry Grove Fame" ("I've got no future, but, oy, what a past"), sung under her name in lights and dedicated to postmistress Jeanne Skinner, who is celebrating her 90th year, and that quintessential Irving Berlin hymn to entertainment, "There's No Business Like Show Business."
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