By Andrew Gans
29 Dec 2006

GAY MARSHALL
Some of the more exciting vocals of the year were heard Off-Broadway in the current revival of Jacques Brel Is Alive and Well and Living in Paris at the Zipper Theatre, where Gay Marshall is still belting up a storm, singing the songs of the late Belgian performer with a mix of power and deeply felt emotion. Marshall, who kicks off the Gordon Greenberg-directed revue with "Le Diable (Ca Va)," has been handed some of Brel's most haunting songs, including "My Childhood," "Sons Of," "Marieke" and "Carousel." She is at her best on the two war-themed offerings, "Sons Of" and "Marieke," her throaty alto and her never-wavering sincerity penetrating the heart of the listener. Marshall also stands out on the new Brel cast recording, which was recently released on the Ghostlight Records label. Just listen to the way she builds "My Childhood," charting early reminiscences that lead to a passionate remembrance of first love: ". . .and his first tender touch, my first taste of love. I wanted to fly. And I swear that I flew. My heart glowed like the sun."

Bernadette Peters
On May 1 at Avery Fisher Hall Bernadette Peters stood centerstage in a solo spotlight and delivered a haunting, moving version of the Into the Woods anthem "No One Is Alone" that underscored life's uncertainties and despairs, but more so, the possibility of a revitalizing human connection. The expression is overused, but, truly, one could have heard a pin drop as Peters gently caressed the Sondheim lyric, "Hard to see the light now/ just don't let it go/ things will be alright now/ we can make it so." Some 90 minutes later, with the house lights up, Peters offered her second encore, Irving Berlin's "Count Your Blessings [Instead of Sheep]," and that same pin would have echoed throughout the cavernous Avery Fisher Hall as Peters sang the simple Berlin sentiment with a touching sincerity. It's a testament to her many talents and the warmth that she exudes on stage that Peters can hold an audience so firmly in her grasp for as long as she chooses. The sold-out evening, which featured Peters in splendid voice — her powerful belt augmented by her lovely soprano tones — also included heartbreaking renditions of "Time Heals Everything" and "Not a Day Goes By" as well as playful versions of "Nothing Like a Dame" and "Fever" and a joyful "Unexpected Song." Part of Lincoln Center's American Songbook series, the concert focused primarily on the works of Sondheim and Rodgers and Hammerstein, and Peters was equally at home whether singing the praises of "Mr. Snow," fretting that "The Gentlemen Is a Dope" or expressing the sentiments that "Children Will Listen" and "You Could Drive a Person Crazy." Other highlights included her riveting delivery of "Some Enchanted Evening," a beautiful take on the American classic "Shenandoah," a triumphant "Being Alive" and a definitive "Move On." She also scored with a powerful and thoroughly moving encore of "Rose's Turn" that instantaneously brought the enthusiastic crowd to its feet.

SPRING AWAKENING
Something quite unexpected happened when Spring Awakening journeyed from its much-extended Off-Broadway engagement at the Atlantic Theater Company to its current Broadway home at the Eugene O'Neill Theatre. What had been an enjoyable, thought-provoking evening Off-Broadway became a magical experience on Broadway, the best new musical of the season to date. The show has also ushered in a slew of fresh, young talent, namely Jonathan Groff and Lea Michele, who play, respectively, Melchior and Wendla, the two lovestruck teenagers lost in a world of repression. Spring Awakening is one of the great examples of theatrical collaboration: Steven Sater and Duncan Sheik's rock score, which pulses with vitality; Bill T. Jones' often-thrilling choreography; Kevin Adams' striking lighting design; Christine Jones' unique set design, which features audiences members on both sides of the stage; and Michael Mayer's deceptively simple staging all combine to produce a powerful musical that looks like it will have a deservedly long run on Broadway.

Barbra Streisand
In October I received an invitation that I will probably never be offered again: the chance to attend a Barbra Streisand dress rehearsal at the Wachovia Center in Philadelphia, PA. The afternoon performance was the first Streisand would give before launching her recent acclaimed concert tour, which was co-directed by the star and Richard Jay-Alexander. Streisand, who, at 64, remains a striking figure, began her concert with Richard Maltby and David Shire's "Starting Here, Starting Now," and I have to admit hearing the sound of her voice live — those lush, rich, golden, rounded tones that seem to magically pour out of her — was surprisingly moving. There have been many singers throughout the years who, intentionally or not, have imitated her sound, but when hearing Streisand live, one quickly realizes there is no substitute for the real thing. One of the many things that struck me during the generous, three-hour concert was the warmth that Streisand exudes on stage. And, not only is she tremendously intelligent — evidenced in both her spoken word and her lyrical interpretations — she is also extremely funny, joking throughout the show, often at her own expense. In an afternoon of one superb performance after another, my favorites included "The Way We Were" (there was a gentle hush as Streisand delivered the opening lines, and I suspect there was nary a dry eye as she finished the Marvin Hamlisch-Alan and Marilyn Bergman tune on a beautiful sustained, almost ethereal high note); the Funny Girl anthem "People" (the crowd jumped to its feet as Streisand's voice soared on the song's climax: "People who need people are the luckiest people in the world!"); a wonderful, poignant medley of Rodgers and Hammerstein's "You've Got to Be Carefully Taught" and Sondheim's "Children Will Listen"; "Unusual Way" (Streisand's voice was perfectly suited to the beautiful Nine ballad, and her acting of the song was also impeccable. In fact, it made one long to hear what she could do with some of the more current theatre scores); and a particularly impressive rendition of "Have I Stayed Too Long at the Fair?"

OTHER 2006 VOCAL HIGHLIGHTS
Betty Buckley: "Stardust" and "Get Here" (at the Blue Note)
Lisa Howard: "Holding to the Ground" (Falsettoland Miracle House benefit at New World Stages)
Capathia Jenkins: "Stop the Show" (Martin Short: Fame Becomes Me at the Jacobs Theatre)
Judy Kuhn: "Meadowlark" (Lyrics and Lyricists' Harnick: Collector's Items [Other People's Lyrics] at the 92nd Street Y)
Leslie Kritzer: "Tambourine Man" and "Rainbow High" (Leslie Kritzer Is Patti LuPone at Les Mouches at Joe's Pub)
Patti LuPone: "My Buddy" and "I Wanna Be Around" (The Lady with the Torch at the Vivian Beaumont Theater)
Andrea McArdle: "Doatsy Mae" (the Actors' Fund's The Best Little Whorehouse in Texas benefit concert at the August Wilson Theatre)
Alice Ripley: "I Miss the Mountains" and "Broadway Baby" (Emily Skinner and Alice Ripley Sing Broadway! at Town Hall)
Anne Runolfsson: "Stars and the Moon" and "Let It Sing" (the Duplex)
Emily Skinner: "No One Is Alone" and "Sleepy Man" (Emily Skinner and Alice Ripley Sing Broadway! at Town Hall)

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Well, that's all for now. Happy New Year and, of course, happy diva-watching! E-mail questions or comments to agans@playbill.com.