Aptly enough, the festive and colorful program was called Stocking Stuffers, and anyone whose spirits were not improved between the opening and closing numbers could only be called Scrooge! Although it is not considered a professional chorus, the presentation and showmanship of this group could hardly be better than it is. It’s obvious that many (if not all) of the men have had extensive musical experience (or training) and they are all in possession of wonderful voices. They sing together, in tune, and the words are wondrously clear, and easily understood. The added ingredient that produces the magic in their performances is enthusiasm. Make that Enthusiasm!

Accompanied by an unidentified brass quartet and piano (David Dettloff) the program began with an unusual version of “O, Come All Ye Faithful.” After the opening brass fanfare, syncopation was used to good effect, providing a new sound for this old favorite.

Several of the selections were sung a cappella including “Go Tell It on the Mountain” and “Salvation is Created”.

The ‘Coastliners,’ a double quartet, performed “A Place Called Home” in the first half, and three madrigal/parodies in the second: Behold, My Love is Large; I Fain Would Have Him Now, Anon; and O Dish Me Not. They also participated in “Jingle Bell Rock” and “Blue Christmas”, the latter featuring David Alexander as Elvis. In high heels. Awesome!

For Channuka, “Rock of Ages” was arranged as a fugue, providing a new sound to this old familiar melody. “O, Holy Night” was easily the musical highlight of the evening, as tenor soloist Larry Crooks displayed his beautiful voice and extensive range while accompanied by the chorus in wordless humming. This was a powerful, confident rendition that could easily hold its own on any stage.

The first half of the program came to a rousing conclusion as four of the men turned into dancers for “Boogie Woogie Santa Claus”, choreographed by Lora Workman. They boogied up a storm, to be sure! The dancers returned in the second half in “Be a Santa” in hilarious Santa costumes featuring a hula hoop for a belt!

Everyone’s favorite carol “Silent Night” opened the second half in truly innovative style. Joined on-stage by three percussionists, the music was decidedly calypso, and entirely fascinating. The second verse was sung in German! Somehow, it all worked wonderfully well.

“I’m Wishing You a Drag Queen Christmas” provided not only a total contrast in musical styles, but also mood, as nine of the men dressed in impressive drag turned the concert into a mini-beauty pageant. There were sequins and feathers and lots of glitter, and even a Mrs. Santa.

Two more ethnic carols followed: “Hanerot Halalu” with an intriguing middle-European beat, and “Oh, mi Belen!” from the American Southwest. For the latter work, the chorus was joined by harp, guitar and marimba, which again contributed a totally different aspect of seasonal songs.

The sentimental ballad “I’ll Be Home for Christmas” featured tenor Don Pedley, dressed in military camoflage, as soloist. This was followed by the least successful number “What I Don’t Want for Christmas”. Wade Tolleson was done in by the sound system which unfortunately allowed the piano to be heard more easily than he was. Another short segment featured a puppet from the musical Avenue Q singing carols as if they’d been written to popular Broadway tunes. (This was by way of announcing their next concerts: “Broadway Our Way” on April 9 and 10.)

The closer was a series of “What If” Carols; what if Sondheim had written “Santa Claus is Comin’ to Town” (or maybe that should be Sweeney Todd is coming to town!); “Silent Night” as might have been done by Philip Glass; “Away in a Manger” by Lawence Welk, complete with the Manger Polka Dancers and bubble machine (and the baby with an accordian!). “I Saw Mommy Kissing Santa Claus” if done by Kander and Ebb featured Jerry Zak as Liza Minelli tormenting James Mc Peak? who did his best as narrator for the segment.

The finale—which was entirely over the top!—was a Jerry Herman-ized version of “We Three Kings” who wore sequined tail-coats on their trip to Bethlehem, and were joined on stage by all the other costumed singers and dancers, including Santa Claus. And a good time was had by all.

Several ovations produced an encore: Baritone David Contreras led his chorusmates in “Don’t Let Christmas Pass You By”, the sentiment of which should apply to all of us, year 'round.

The NCMC will have a benefit on February 12. For tickets or information about their spring concerts, or their CD Behold visit http://www.ncmchorus.org
'from Cool Cleveland contributor Kelly Ferjutz artswriter@core.com

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