THE TRANSATLANTIC MAGAZINE
THE TRANSATLANTIC MAGAZINE
PHOTO: JOAN MARCUS
Lyric Theatre, 29 Shaftesbury Avenue, London W1D 7EA, November 7 to 19, 2023
www.nimaxtheatres.com
It’s his first time back in London since 2009 and that distinctive tenor-to-baritone voice might have darkened, but the artistry has, if anything, got even better. Actor/singer/storyteller is the best description of this totally unique Tony and Emmy winning artist.
He may have created key roles on Broadway such as George in Sunday in the Park with George but this is no cozy evening of showtunes to keep the fans happy. Instead, we get an utterly compelling journey through a gloriously eclectic selection of songs, accompanied on the piano by Adam Ben-David to whom the word musical genius could be applied - he too has a distinguished resumé on Broadway. The arrangements are a revelation, making you think afresh about the songs, and it’s rare to see an accompanist so totally attuned to his vocalist (maybe Wally Harper with Barbara Cook?). It’s as if they breathe together and Ben-David’s ability to both follow and gently lead this, sometimes wayward, grouch is a joy to behold. Mandy admits to losing his way on the ‘set list’ without his glasses and he quips “There’s no writing here”, as if he’d follow it if there was. He keeps the patter to a minimum, but his select stories are ace.
He doesn’t introduce the songs until the very end when he races through the song credits as a litany. This is clever as while the majority will be known to aficionados, a good third might flummox most. This makes you sit forward and listen even more.
There is, of course, a mix of Loesser, Rodgers & Hammerstein, Sondheim and other classics, but it’s balanced with more modern gems from Randy Newman (‘Dayton Ohio’), Jim Croce (‘Time in a Bottle’), and Lyle Lovett (‘If I Had a Boat’). One revelation is ‘My Mom’ by Marc Anthony Thompson, a heartbreaking musical sketch about watching while you lose your mother to the ravages of Alzheimer’s. ‘Easy Street’ and ‘Can You Use Any Money’ are also beautifully interpreted and, sadly, are songs for our time.
Patinkin generally avoids medleys (a pet hate for this writer) which is great, but he manages to seamlessly blend five songs on the theme of Silent Movies. There’s Jerry Herman’s brashly sentimental ‘Movies were Movies’ and the furious patter song that is ‘Paramount Blues’. His diction is astonishing.
Taking a sharp reverse turn he then goes into Queen’s ‘Bohemian Rhapsody’ where he manages to imbue that kitsch with some real feeling. Part of his trick is how he balances the actor and the singer in him. He never acts every line, which is where many musical theater folk go astray, and his musical instincts serve him so well in how he transforms a lyric. He turns Joe Raposo’s ‘It’s Not Easy Bein’ Green’ (written for Kermit the Frog) into a mini drama.
He finishes with the great Arlen and Harburg classic ‘Somewhere Over the Rainbow’, floating into Yiddish, and it’s a dreamy ending to a night of thoughtful, heartfelt, music-making.
Like the best things in life Mandy Patinkin’s musical style may be an acquired taste, but to those who only know him from Homeland or Chicago Hope or even The Princess Bride, I’d say ‘rush’ as you’ll be in for a surprise.
