You see the word “BROADWAY” surrounded by blinking lights, and immediately your mind says ‘entertainment!’. Right on. It was the glittery and glitzy and wonderfully tuneful parts of Broadway that were on display at Saturday evening’s concert by the North Coast Men’s Chorus at CSU’s Waetjen Auditorium. Along with smaller songs, there were the full-throated numbers, and, just for good measure, each half ended with a show-stopping production number featuring a few members as dancers.

This was not the sort of show you could see just any-old-place! No, it takes special talents and hearts to put on such a hilarious yet heart-warming spectacle as these talent-laden gentlemen provide. Colored spotlights and mirror balls lit up the auditorium in their special ways even before the chorus took the stage and formally welcomed the audience with Wilkommen from Cabaret. Jeffrey Lamkin was perfect as the smarmy and sleazy master of ceremonies.

Music Director Richard Cole (with pianist Bob Day) set a brisk pace, and kept the music flowing smoothly, whether rousing as in Keep It Gay from “The Producers” with soloist James Mc Peak?, Get Me to the Church on Time from “My Fair Lady.” One Boy from “Bye Bye Birdie” featured Bob Taylor in the solo spotlight, which also included a shimmery, spectacular curtain of tiny glitter lights overhead.

Does Your Mother Know was the first of two songs from the hit “Mamma Mia” (the other was the title song, performed in the second half of the show.) The NCMC doesn’t often have guest soloists, but sometimes the songs selected require such assistance. Case in point: The Last Night of the World from “Miss Saigon” is a loving duet between the star-crossed lovers. We heard Melissa Day and Steven del Villar, whose voices blended exceedingly well with each other, in spite of the wayward sound system.

Only the inimitable Cole Porter could have written Ev’ry Time We Say Goodbye, and he would have greatly enjoyed this a cappella rendition. Gonna Build a Mountain featured Dan Bobeczko as soloist—a great lead-in for the first production number, a medley from “Wicked”. Guest Tricia Bestic (in bridal white) was the slightly ditzy good witch assisted by Eric Unhold and Larry Crooks. Not Me from “Aida” presented Sandra Emerick and Mary Prucha along with Clinton C. Condon and Steven del Villar in a quartet of excellent voices. Ralph Di Ludovico? impressed in I am Changing from “Dreamgirls”.

The NCMC is very fortunate to have choreographer Lora Workman on their team; she creates innovative and clever production numbers with a huge WOW! factor. Our Favorite Son presented a chorus line of seated gentlemen, who did snappy movements with heads, arms, legs and feet—all while remaining seated. It was wonderful, and must have caused no end of confusion before they all got it all worked out! Mike Schuenemeyer was perfect as the slightly addled presidential candidate.

From political parties to pajama parties (with an intermission in between), especially the one from Rydell High in “Grease” afforded the Coastliners a chance to shine. This is the double barbershop quartet formed within the chorus, and they attacked the partying with gusto! Hair rollers, baby doll pjs, spectacular wigs—all were fair game for this crew.

That’s How Young I Feel from “Mame” was an appropriately peppy lead-in to the marvelous parody of Carol Channing as Dolly Levi, by way of “Forbidden Broadway”. Bryan K. Fetty in red sequins and half-a-ton of diamonds was a knockout. Strapped to a (two-wheeled) dolly, he was wheeled on stage, bobbing and swaying from side-to-side. With the assistance of three un-named helpers, he was even able to execute a ‘sort-of’ dance routine to accompany the lyrics he sang with appropriate huskiness to his voice. The capacity audience was convulsed with hysterical laughter.

How Could I Ever Know? from “The Secret Garden” brought Don Ferencz to center stage as soloist. Then, in a poignant episode, the chorus sang a tribute to a former member and friend, Steven Sterleker—a medley commissioned by the NCMC and arranged for them by Ralph Raymond Hays, titled Hear My Songs. The emotion-laden What I Did for Love from “A Chorus Line” followed.

A complete change of, er, pace was Jack’s Song from ”Naked Boys Singing” which presented a panel of six gentlemen performing a rhythmic sort of display on a workbench with meat-tenderizer mallets. (Think xylophone.) They wore chef’s hats and flesh-colored barbecue aprons, which, when they stepped out from behind their work table, proved to be illustrated with picture-perfect abs and blue jockey-type shorts on the front. On the rear, well—there was no rear to these aprons, allowing the men’s own backsides to be presented to the very appreciative audience. Not once, but several times! In the course of the dance number, that is. Well! A good time was had by all, to be sure.

The final scheduled number was You Can’t Stop the Beat from “Hairspray” which brought a variety of men to the front of the stage, demonstrating various dance movements to the strong dance beat. Not only infectious, but enjoyable by audience as well as performers.

When things quieted down a bit, the chorus gave us one more number: One Day More from “Le Miz”. The North Coast Men’s Chorus provided yet another splendid evening of sheer musical enjoyment. As always, the evening was ‘signed’ by ASL interpreter Doug Braun. Costumes were by Mark Malloy and Bob Taylor, while lighting and technical direction was from Michael Rich..

Their next venture takes them to the Allen Theatre at Playhouse Square Center on Saturday, June 25, where they will appear with Michael Feinstein. Tickets are available now at http://www playhousesquare.com and visit http://www.ncmchorus.org.
from Cool Clevelnad contributor Kelly Ferjutz ArtsWriter@adelphia.net

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