Mark Nadler – Runnin’ Wild

048956-f6a43d1a-f6bd-11e3-8ea9-a081f3513119By Heather Jean Moyes
Mark Nadler doesn’t just entertain, he grabs your attention. He enters the stage with: eyes that hook right into you, a mock threat in the ever present violin case, a sweeping comic touch in his delivery, a body that articulates emotion, drama and comedy with nuanced as well as larger than life movement – each underpinned by an actor’s very specific choices, timing to die for, a script that a series runner would kill for and a voice that delivers in spades. And to top it off, in a very cool and casual lounge lizard Master Bartender style, he demonstrates the making of a dry martini – the way it should be made. (Although I rather Noilly Prat Extra Dry Vermouth myself.)
On show for us was a running history of the 1920’s, with all its excess and a memorable line up of songs. Beginning with Cole Porter’s “Let’s Misbehave” and “Let’s Do It”, it ranged through torch songs and educational segues completely disguised as a gossip and giggle potted history of sex, drugs and alcohol. My favourite Willie The Weeper/Minnie The Moocher I knew as a Cab Calloway song, after all I saw the Blues Brothers, but didn’t realise it was based on the original by Irving Mills. My partner’s favourite was the “Three Penny Opera” medley. Kurt Weill is so authentically Cabaret. Flapper-esque clarinet player Sophia MacRae provided the perfect signification of the era with a snazzy costume. She and trumpet player Rob Chenoweth accompanied Mark brilliantly, while he tinkled the ivories of the grand piano. Yes, he did that well too. The show was a demonstration of consummate professionalism supported by a great behind the scenes team. (Forget the chicken in this shot – replace it with a martini and you have the overarching tone in a nutshell) Cheers to all!

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