Chad Jones’ Theater Dogs

Last night at Davies Symphony Hall, Bernadette Peters was in a good mood. Her voice was in great shape (and her shape was in GREAT shape).

In other words, Peters’ “Summer in the City” concert was a triumph.

Last time Peters was in town, she was performing a theatrical concert at the Orpheum Theatre to promote her new Rodgers and Hammerstein album. That 2001 run got scotched by illness (she says Rita Moreno gave her the flu at a Jerry Herman tribute), and she hasn’t been back since.

Friday night, she stood in front of the San Francisco Symphony, with her longtime musical director Marvin Laird at the conductor’s podium (and, quite often, at the piano), and delivered the kind of old-school Broadway razzle dazzle that has made her a beloved musical theater icon.

If you’ve seen Peters in a show, especially a long-running one, you know that she can get tired and bored, and she can let her weariness come through in the performance so that it seems she’s giving it about 50 percent. In her many appearances with the SF Symphony – 1991, 92, 95 and 98 – Peters has been hot and lukewarm. She trotted out a lot of the same songs, jokes and mannerisms, concert after concert.

This time around we saw a much fresher Peters. At 60 she has lost none of her Kewpie Doll looks – That hair! Those curves! – nor has her voice, one of the most bizarre instruments on Broadway, lost any of its appeal. I say her voice is bizarre because it is. The break between chest and head voice comes at a strange place, and her control is not always there. Sometimes the drama in her performance comes from wondering whether she can actually hit the note.

That said, Peters has learned to use her odd voice incredibly well. She has comedy notes and break-your-heart notes. She’s a smart interpreter, and as she has gotten older, she has learned simplicity can be equally as effective as the most involved vocal manipulation. That’s one of the reasons she’s so good at singing the songs of Stephen Sondheim, who was well represented in Friday’s song selection.

After an orchestral program conducted by Edwin Outwater that featured Broadway composers Sondheim, Bernstein, Gould and Styne (no mention need be made of the attempt to make the Stray Cats’ “Rock This Town” into orchestral rockabilly), Laird led the orchestra through an overture that plucked out highlights from Peters’ career (Gypsy, Mack and Mable, Sunday in the Park with George).

Peters entered singing a cutesy “Let Me Entertain You” from Gypsy and then got serious with “No One Is Alone” from Into the Woods, a song she sings just about better than anyone, and the simple arrangement for piano and cello was stunning.

Aside from a go-nowhere running joke about trying to sell a vacation home in Florida (five bedrooms, six baths, one pool), Peters was charming. She did do her “this is my back” joke when she turned to sip water, but mostly she connected with the adoring audience as she strutted through her vampy “There Is Nothin’ Like a Dame” and then climbed on top of the piano for a hot – truly hot – “Fever.”

She headed back to Rodgers and Hammerstein for “Mr. Snow” from Carousel and “Some Enchanted Evening” from South Pacific (she says she’s seen the current revival twice and that we should catch it if we can) and then surprised us with a delicate “Shenandoah” that was practically a cappella. A recent gig at L.A.’s Disney Concert Hall forced her to add some Disney to the act: a lovely medley of “When You Wish Upon a Star” and “A Dream Is a Wish Your Heart Makes.”

The Sondheim section of the evening started on the Davies grand organ in a riff from Sweeney Todd that turned into a beautiful “Johanna.”

Peters sings “Not a Day Goes By” all the time, but Friday night’s version seemed somehow less acted and more natural, which made the song all the more heartbreaking. Her “You Could Drive a Person Crazy” is fun (not as fun as Andrea McArdle’s), but her “With So Little to Be Sure Of” brought weight and drama and beauty (more than the set closer “Being Alive,” which didn’t have quite the oomph it should have).

For an encore, she performed her first composition, “Kramer’s Song,” a lullaby she wrote for her dog and that accompanies her recently published children’s book Broadway Barks. Peters walked into the audience to perform the song, which is truly lovely and emotional and has more than a touch of Sondheim in it.

Of course Peters could have performed more songs from her own shows. She didn’t do anything from Song and Dance or Annie Get Your Gun or anything of note from Gypsy. But it was nice getting a mostly fresh plate of show tunes from such a delightful diva.

Visit Peters’ official site: bernadettepeters.com

For the last four days I’ve been in Ashland, Ore., reviewing shows at the Oregon Shakespeare Festival for the San Francisco Chronicle (more on that later), and while the Tonys were on Sunday night, I was at the opening of a new musical adaptation of Shakespeare’s The Comedy of Errors. Of course I’ll watch the whole awards show on TiVo when I get home, but I was able to catch glimpses here and there (thanks to the spotty www.tonyawards.com online coverage), and of course I couldn’t wait to find out the winners.

I must say I’m disappointed that Passing Strange only one award (for best book of a musical). I guess I’m feeling territorial because the show had its world premiere at Berkeley Repertory Theatre. Still, it’s better than nothing. Here’s what co-creator and star Stew had to say about his win:

“Music is something that comes easy to me, and I’ve received numerous accolades for my songs - but to be honored for my writing means a whole hell of a lot, especially when it comes from theatre people for whom words really mean something. Those words took shape at Berkeley Rep, a place that makes space for people like me to take risks and try out things that theatre isn’t used to seeing. We loved working there, and we miss that Berkeley scene.”

More on the Tonys later. In the meantime, here’s a complete list of winners:

Play (and playwrights): “August: Osage County” (Tracy Letts).

Musical: “In the Heights.”

Book-Musical: “Passing Strange” (Stew).

Original Score (music and/or lyrics): “In the Heights” (Music & Lyrics: Lin-Manuel Miranda).

Revival-Play: “Boeing-Boeing.”

Revival-Musical: “South Pacific.”

Actor-Play: Mark Rylance, “Boeing-Boeing.”

Actress-Play: Deanna Dunagan, “August: Osage County.”

Actor-Musical: Paulo Szot, “South Pacific.”

Actress-Musical: Patti LuPone, “Gypsy.”

Featured Actor-Play: Jim Norton, “The Seafarer.”

Featured Actress-Play: Rondi Reed, “August: Osage County.”

Featured Actor-Musical: Boyd Gaines, “Gypsy.”

Featured Actress-Musical: Laura Benanti, “Gypsy.”

Direction-Play: Anna D. Shapiro, “August: Osage County.”

Direction-Musical: Bartlett Sher, “South Pacific.”

Choreography: Andy Blankenbuehler, “In the Heights.”

Orchestrations: Alex Lacamoire and Bill Sherman, “In the Heights.”

Scenic Design-Play: Todd Rosenthal, “August: Osage County.”

Scenic Design-Musical: Michael Yeargen, “South Pacific.”

Costume Design-Play: Katrina Lindsay, “Les Liaisons Dangereuses.”

Costume Design-Musical: Catherine Zuber, “South Pacific.”

Lighting Design-Play: Kevin Adams, “The 39 Steps.”

Lighting Design-Musical: Donald Holder, “South Pacific.”

Sound Design-Play: Mic Pool, “The 39 Steps.”

Sound Design-Musical: Scott Lehrer, “South Pacific.”

Previously announced:

Regional Theater Tony Award: Chicago Shakespeare Theater.

Special Tony Award: Robert Russell Bennett.

Lifetime Achievement Award: Stephen Sondheim.

Audra McDonald is just so darn normal – not that outrageous beauty and talent are normal. But the point is, she could be a raging diva if she so chose. And maybe she is offstage (though I doubt it), but onstage, she’s funny, self-deprecating and comfortable, just as you’d expect of a girl from Fresno.

McDonald was back in the Bay Area Sunday afternoon for a concert at Zellerbach Hall on the U.C. Berkeley campus as part of the Cal Performances season. McDonald has been something of a regular visitor to Berkeley, and she never disappoints.

Sunday’s was a concert that almost didn’t happen. Flying into SFO from Eugene, Ore., McDonald encountered a baggage snafu. In the Bay Area for only a few hours – song, slam, thank you, ma’am – before she had to return to L.A. to resume filming of the ABC series “Private Practice,” McDonald found that her luggage had been checked all the way through to L.A. And the really bad news was that all the sheet music for her Berkeley concert was in those bags.

Oh, well. She and pianist Dan Lipton joked that this concert could be called “Songs that We Could Find the Sheet Music For,” or something like that.

If anyone in the packed audience was worried that four-time Tony Award-winner McDonald would offer a less-than-stellar show, they were soon calmed by several things: a) McDonald’s svelte and sexy figure poured into a full-length, low-cut, summery red gown and b) from the first number, the sexy, bass-heavy “When Lola Sings,” a specialty number written for her by Michael John LaChiusa, one of the new-guard Broadway composers she champions.

Just as she was launching into her second number, McDonald halted the proceedings – could it be a diva moment? She said, “Sorry, it’s just one of those days,” and she leaned down and picked up a roll of duct tape a stagehand had left on the stage, which was thrown into the wings.

Messy details taken care of, McDonald and her four-piece band got down to business with a lovely medley of Rodgers and Hammerstein’s “It Might as Well Be Spring” from State Fair and Lerner and Lane’s “Hurry, It’s Lovely Up Here” from On a Clear Day You Can See Forever. With her glorious soprano mixing otherworldly purity with your average, everyday shimmering beauty, McDonald delivers what might be considered show tune heaven.

Curiously, McDonald did not pay much attention to songs from her most recent album, “Build a Bridge” (on Nonesuch Records). She sang only one song from that contemporary collection, Adam Guettel’s “Dividing Day” from his Tony Award-winning The Light in the Piazza, which was a powerhouse dramatic aria in McDonald’s hands. This isn’t a complaint, it’s just that the album is so good that McDonald might have thrown a few more selections into her recital (then again, maybe that sheet music was in L.A.).

Absent a wealth of new material, the audience had to “suffer” through some McDonald standards such as Jason Robert Brown’s “Stars and Moon,” an anti-capitalist story song that still packs a wallop, Jay Leonhart’s jazzy-funny “Beat My Dog,” the lustrous ballad “When Did I Fall in Love?” from Fiorello and Frank Loesser’s “Can’t Stop Talking About Him” from the Fred Astaire movie Let’s Dance.

Some of the 90-minute concert’s most intriguing numbers came from McDonald’s Carnegie Hall concert in which she sang songs that for one reason or another scared her. Among those songs were “Will He Like Me?” from She Loves Me,
Sondheim’s “The Glamorous Life” from the movie version of A Little Night Music and “Over the Rainbow” from The Wizard of Oz, performed beautifully with acoustic guitar (played by Brian Pardo).

Among the more dramatic moments were LaChiusa’s take on anger as part of a series of songs McDonald commissioned from her friends dealing with the seven deadly sins and the truly heartbreaking “I Won’t Mind,” a ballad of spinsterhood by Jeff Blumenkrantz, Annie Kessler and Libby Saines. McDonald’s version of “Bill” from Show Boat is usually a highlight, but McDonald diffuses the beauty of the song by putting it in a comic context. She chose to sing the song at an event honoring Bill Cosby, but the Bill in the song is just an ordinary guy and it turned out to be completely the wrong song to sing. So every lyric in the song that trumpets Bill’s lack of anything extraordinary gets an audience laugh because of the Cosby connection, and the song becomes something other than the lyrical beauty it is.

After a rousing audience sing-along to “I Could Have Danced All Night,” McDonald blended two Sondheim songs, “What Can You Lose?” from the movie Dick Tracy and “Not a Day Goes By” from Merrily We Roll Along, then capped the show with an encore of “Edelweiss” from The Sound of Music, performed without a microphone opposite Pardo’s acoustic guitar.

The only drawback to McDonald’s show was that it ended too soon. Where’s that cranked-up Judy Garland spirit of singing them all and staying all night? Oh, yeah. McDonald is the normal one with a real job and a 6-year-old daughter. We’ll just have to be grateful for what we get.

Here’s McDonald in concert (from her PBS “Build a Bridge” show) singing “Stars and Moon” with composer Jason Robert Brown at the piano:

Here’s some good news for those of us shut out of the City Arts & Lectures event at which former New York Times theater critic Frank Rich (aka “The Butcher of Broadway”) interviewed Stephen Sondheim at the Herbst Theatre.

The show, edited down to an hour, will be on KQED radio (88.5 FM) at 1 p.m. June 1 and 8 p.m. and 2 a.m. June 3.

I’ll be listening. From friends who went to the show, I learned that Sondheim is intrigued by the notion of turning the Bill Murray movie Groundhog Day into a musical — something about the repetition of the days lending themselves to musical interpretation. Sort of makes sense.

Visit the City Arts & Lectures Web site for information: www.cityarts.net.

Tony Award nominations are out today. Here’s how it shook out:

BEST PLAY:
August: Osage County by Tracy Letts
Rock ‘n’ Roll by Tom Stoppard
The Seafarer by Conor McPherson
The 39 Steps by Patrick Barlow

BEST MUSICAL:
Cry-Baby
In The Heights
Passing Strange
Xanadu

BEST BOOK OF A MUSICAL:
Cry-Baby by Mark O’Donnell and Thomas Meehan
In the Heights by Quiara Alegría Hudes
Passing Strange by Stew
Xanadu Douglas by Carter Beane

BEST ORIGINAL SCORE (MUSIC/LYRICS) WRITTEN FOR THE THEATER:
Cry-Baby Music & Lyrics: David Javerbaum & Adam Schlesinger
In the Heights Music & Lyrics: Lin-Manuel Miranda
The Little Mermaid Music: Alan Menken; Lyrics: Howard Ashman and Glenn Slater
Passing Strange Music: Stew and Heidi Rodewald; Lyrics: Stew

BEST REVIVAL OF A PLAY:
Boeing-Boeing
The Homecoming
Les Liaisons Dangereuses
Macbeth

BEST REVIVAL OF A MUSICAL:
Grease
Gypsy
Rodgers & Hammerstein’s South Pacific
Sunday in the Park with George

BEST PERFORMANCE BY A LEADING ACTOR IN A PLAY:
Ben Daniels, Les Liaisons Dangereuses
Laurence Fishburne, Thurgood
Mark Rylance (right), Boeing-Boeing
Rufus Sewell, Rock ‘n’ Roll
Patrick Stewart, Macbeth

BEST PERFORMANCE BY A LEADING ACTRESS IN A PLAY:
Eve Best, The Homecoming
Deanna Dunagan, August: Osage County
Kate Fleetwood, Macbeth
S. Epatha Merkerson, Come Back, Little Sheba
Amy Morton, August: Osage County

BEST PERFORMANCE BY A LEADING ACTOR IN A MUSICAL:
Daniel Evans, Sunday in the Park with George
Lin-Manuel Miranda, In the Heights
Stew, Passing Strange
Paulo Szot, Rodgers & Hammerstein’s South Pacific
Tom Wopat, A Catered Affair

BEST PERFORMANCE BY A LEADING ACTRESS IN A MUSICAL:
Kerry Butler, Xanadu
Patti LuPone (right), Gypsy
Kelli O’Hara, Rodgers & Hammerstein’s South Pacific
Faith Prince, A Catered Affair
Jenna Russell, Sunday in the Park with George

BEST PERFORMANCE BY A FEATURED ACTOR IN A PLAY:
Bobby Cannavale, Mauritius
Raúl Esparza, The Homecoming
Conleth Hill, The Seafarer
Jim Norton, The Seafarer
David Pittu, Is He Dead?

BEST PERFORMANCE BY A FEATURED ACTRESS IN A PLAY:
Sinead Cusack, Rock ‘n’ Roll
Mary McCormack, Boeing-Boeing
Laurie Metcalf, November
Martha Plimpton, Top Girls
Rondi Reed, August: Osage County

BEST PERFORMANCE BY A FEATURED ACTOR IN A MUSICAL:
Daniel Breaker, Passing Strange
Danny Burstein (above), Rodgers & Hammerstein’s South Pacific
Robin De Jesús, In The Heights
Christopher Fitzgerald, The New Mel Brooks Musical Young Frankenstein
Boyd Gaines, Gypsy

BEST PERFORMANCE BY A FEATURED ACTRESS IN A MUSICAL:
de’Adre Aziza, Passing Strange
Laura Benanti, Gypsy
Andrea Martin, The New Mel Brooks Musical Young Frankenstein
Olga Merediz, In The Heights
Loretta Ables Sayre, Rodgers & Hammerstein’s South Pacific

BEST DIRECTION OF A PLAY:
Maria Aitken, The 39 Steps
Conor McPherson, The Seafarer
Anna D. Shapiro, August: Osage County
Matthew Warchus, Boeing-Boeing

BEST DIRECTION OF A MUSICAL:
Sam Buntrock, Sunday in the Park with George
Thomas Kail, In the Heights
Arthur Laurents Gypsy
Bartlett Sher Rodgers & Hammerstein’s South Pacific

BEST CHOREOGRAPHY:
Rob Ashford, Cry-Baby
Andy Blankenbuehler, In the Heights
Christopher Gattelli, Rodgers & Hammerstein’s South Pacific
Dan Knechtges, Xanadu

BEST ORCHESTRATIONS:
Jason Carr, Sunday in the Park with George
Alex Lacamoire & Bill Sherman, In The Heights
Stew & Heidi Rodewald, Passing Strange
Jonathan Tunick, A Catered Affair

BEST SCENIC DESIGN OF A PLAY:
Peter McKintosh, The 39 Steps
Scott Pask, Les Liaisons Dangereuses
Todd Rosenthal, August: Osage County
Anthony Ward, Macbeth

BEST SCENIC DESIGN OF A MUSICAL:
David Farley and Timothy Bird & The Knifedge Creative Network, Sunday in the Park with George
Anna Louizos, In the Heights
Robin Wagner ,The New Mel Brooks Musical Young Frankenstein
Michael Yeargan, Rodgers & Hammerstein’s South Pacific

BEST COSTUME DESIGN OF A PLAY:
Gregory Gale, Cyrano de Bergerac
Rob Howell, Boeing-Boeing
Katrina Lindsay, Les Liaisons Dangereuses
Peter McKintosh, The 39 Steps

BEST COSTUME DESIGN OF A MUSICAL:
David Farley, Sunday in the Park with George
Martin Pakledinaz, Gypsy
Paul Tazewell, In the Heights
Catherine Zuber, Rodgers & Hammerstein’s South Pacific

SPECIAL TONY AWARD FOR LIFETIME ACHIEVEMENT IN THE THEATER:
Stephen Sondheim

REGIONAL THEATER TONY AWARD:
Chicago Shakespeare Theatre

SPECIAL TONY AWARD:
Robert Russell Bennett (1894-1981), in recognition of his historic contribution to American musical theatre in the field of orchestrations, as represented on Broadway this season by Rodgers & Hammerstein’s South Pacific.

For a complete list of nominees visit the American Theatre Wing’s Web site.

I’m not going anywhere at the moment (except Las Vegas for the opening of Jersey Boys later this week — hope to be blogging live if technology cooperates, but if not, check in on Sunday afternoon).

Where I’d most like to go, of course, is New York to visit friends and SEE BROADWAY SHOWS! It’s been about a year since my last trip, and you might say I’m jonesing for the Great White Way. And there’s so much to see at the moment.

Below you’ll find my list of most desirable shows. If you’ve seen any and care to comment, I’d love to hear from you and share your thoughts with other Theater Dogs (you can comment on the blog or e-mail me directly at chiatovich@gmail.com).

Gypsy
August: Osage County
South Pacific
Sunday in the Park with George
A Catered Affair
Passing Strange
In the Heights

It’s amazing that #1 and #3 are golden oldies that have new life on Broadway, and #1 and #4 are both Sondheim-related. I’m dying to see Passing Strange again — it was so good at Berkeley Repertory Theatre. I’d love to see how the show has evolved and how it plays for a Broadway audience. It’s actually thrilling that, in spite of the big-ticket revivals, that four out of seven shows on my list are actually new work.

Saw a fantastic documentary last night that I highly recommend: Word and Music by Jerry Herman. It was on PBS for about a second, but it’s available via PBS Home Video.

Clearly this was a labor of love for Amber Edwards, who produced, wrote, directed and edited the 90-minute movie. She adores Herman, and it’s easy to see why. He’s frank, funny and endearing. He and Edwards do corny things like visit his childhood home and grade school, but the better part of the film is spent concentrating on Herman’s extraordinary work. And it is extraordinary. Too often Herman is dismissed for not being Sondheim. But there’s something to be said for a man who writes music and lyrics that inspire joy, or at the very least, a smile. Herman is more than capable of doing that.

Of the many talking heads, Michael Feinstein is the most eloquent about Herman’s musical skill, which is underrated. Feinstein demonstrates Herman’s skill by singing a song cut from Hello, Dolly! called “Penny in My Pocket,” then he unleashes Herman’s genius for lyric and melody when he sings “I Won’t Send Roses” from Mack and Mabel.

There’s great footage — seemingly from somebody’s home movie camera — from the original Broadway productions of Dolly and Mame. Of particular interest to me was the section on Dear World, the flop the followed hot on the heels of the Dolly-Mame juggernaut. Angela Lansbury starred in Herman’s musical adaptation of Giradoux’s The Mad Woman of Chaillot. It’s my favorite of Herman’s scores, and, somewhat ironically, it contains some of his worst songs. I’ll gladly tolerate the mediocrity of the title song (which Herman admits was a mistake) to revel in the rich musical pleasures of “Each Tomorrow Morning” or “I Don’t Want to Know.” Lansbury says she must take some of the blame for the show’s failure (in spite of the Tony Award she won for it), but the divine Angela can’t really be blamed for anything but being a consummate pro.

Another of the movie’s heroes is George Hearn, who did drag in a big way in Herman’s La Cage aux Folles. I had no idea that Hearn, who was genius in the role of ZaZa/Albin, was embarrassed by the drag — at first. He got used to it. Hearn is clearly moved by the experience to this day and the effect the musical had on people.

The extras on the DVD are few but delectable. We get the full title song from Hello, Dolly! as performed at Lyndon Johnson’s inaugural ball in 1965 (black and white, small stage, synched to the original cast recording). Carol Channing is at her preening best. There’s also a well filmed clip of a number called “Dancin’ Shoes,” which Herman wrote for his 1955 college show at the University of Miami. It’s very Gene Kelly-ish. And finally, from The Merv Griffin Show, we get a great clip of Herman playing piano while Ethel Merman sings “Before the Parade Passes By.” We don’t get much of Ethel and Jerry’s time on Merv’s couch (where Lucille Ball, curiously, is a guest), but we get a tasty morsel.

Seeing Herman’s body of work together like this — from Parade and Milk and Honey to The Grand Tour — helps foster new appreciation for a great American composer who, when all is said and done, will find his place next to greats such as Irving Berlin and, yes, Stephen Sondheim.

For more information visit www.pbs.org.

Here’s the brilliant George Hearn singing “I Am What I Am” from La Cage aux Folles.”

Wednesday night (Feb. 20) we’ll experience one of those all-too-rare occasions when we dont’ have to go to Broadway, when Broadway comes to us.

PBS’ “Great Performances” will broadcast the John Doyle-directed Broadway revival of Stephen Sondheim’s Company on Wednesday night (Bay Area folks, it’s 9 p.m. on KQED-Channel 9). So set those DVRs (or VCRs if you still have them) and revel in the Doyle-ization of Sondheim.

As you may recall Doyle directed Sondheim’s Sweeney Todd to much acclaim, and his gimmick is that he has all his performers play their own instruments. Usually, in my experience, it works one of two ways. If you saw Sweeney first, you thought it was brilliant and though Company was a weak copy-cat effort. But if you saw Company first, as I did, you think that’s where the brilliance lies and Sweeney was sort of a confusing effort to producer a cheaper version of an expensive show.

I loved Raul Esparza as Bobby, the ambivalent protagonist who, on the occasion of his 35th birthday, spends mental energy thinking about all his “good crazy people his friends, his good crazy people his married friends.” In Doyle’s slick, sleek production, everyone who’s partnered plays an instrument, which leaves Bobby, the remote observer, the only one not playing an instrument.

The structure of Company, unlike the more narrative Sweeney, is well-suited to Doyle’s gimmick because the musicianship, combined with the revue-like scenes, provides an arc to the evening that helps pull it all together. It even warms up what is a pretty cold, cynical (not to mention funny) show.

You can watch an excerpt of the opening number here.

Here’s Esparza performing “Being Alive” from last year’s Tony Awards (where Company won a best revival statue):

Ask most singers and they’ll tell you: New Year’s Eve is not their favorite night for a gig.

Audience members are overexcited, demanding and, most often, drunk off their gourds.

“If your goal is to try and re-create the New Year’s Eve scene from When Harry Met Sally, that’s not going to happen,” says jazz cabaret singer Wesla Whitfield, something of a Bay Area legend.

This New Year’s Eve, Whitfield, along with her husband/musical director Mike Greensill, will be performing, as she has many times, at the Empire Plush Room in San Francisco’s York Hotel. But this year’s gig, dubbed somewhat ironically The Best Is Yet to Come, is a little sentimental. Whitfield and Greensill are among the final acts in the Plush Room, whose future is unknown.

“I’m sorry to see it go,” says Whitfield, who, after decades in San Francisco, has moved with her husband, cat and stuffed bears up to St. Helena. “It is such a fabulous room. We have so many memories there. I know everything changes. That’s the one thing you can depend on.”

Nearly 30 years ago, Whitfield’s first-ever solo gig was on New Year’s Eve.

It was 1979, and Whitfield was slated to headline the room during the first week of January.

The Plush Room, with its gorgeous stained-glass ceiling, had just reopened, having fallen into some disrepair as a mess hall and card room.

Pam Brooks was the New Year’s Eve headliner, but the room’s manager, Gary Menger, suggested that Whitfield give audiences a taste of her upcoming show by doing a short set between Brooks’ sets.

“Gary was a sweet man but not the sharpest pencil in the box,” Whitfield recalls. “He suggested I do this two days before New Year’s Eve, and by then, every pianist on the planet had a gig. I had to play for myself.”

Whitfield, who uses a wheelchair, jokes: “My pedal technique had fallen off by then. There were not lights, no microphone. I wheeled myself to the piano, flailed away and tried to sing. No one paid the slightest bit of attention. I was so relieved.”

Whitfield’s audiences will be pleased to know she’s still singing some of the same songs she sang that night, but back then, “they were an octave higher.”

“I’ve fallen into Kern again,” Whitfield says, referring to composer Jerome Kern. “That first night at the Plush Room I remember getting out my book of Kern music. He was my favorite in the ’70s and early ’80s. Then I put him aside. Last fall I was teaching a class at Napa Valley College, Great American Popular Song, and I learned more about Kern than I had known. My respect for him was renewed.”

Also in the new show’s song list is a tune given to Whitfield and Greensill by Neil Sedaka called “I Found My World in You.”The song also appears on the new Whitfield/Greensill CD, “Message from the Man in the Moon,” the couple’s 18th recording, which, not so coincidentally, will be available for purchase after the show.

The 60-year-old Whitfield notes that in addition to nearly 30 years gone by since her Plush debut, she has passed through a few different hair colors and, she hastens to add, 40 pounds that weren’t there in 1979.

In addition to Kern and Sedaka, Whitfield will be singing her fair share of romantic tunes — we are heading into a new year, after all.

Expect to hear “Isn’t It Romantic,” which Whitfield says is fun to do because “it’s not a plodding ballad. In my mind when I sing, I’m out there waltzing.”

New Year’s Eve at the Plush Room is a pretty civilized affair, according to Whitfield, who should know. “The audience tends not to be so overexcited, like kids off their meds,” she says. “And we’ll sing some songs we haven’t sung in a hundred years.”

Whitfield bristles a little at the notion of doing a sort of “greatest hits” evening.

“People love to hear the same old songs,” she says. “It’s hard to introduce new material. People get upset about it. They want to hear songs they know. I think that’s wrong, myself. I mean, listen, there was a time you didn’t know `New York, New York,’ and the only reason you learned it was by taking a chance and hearing something new.”

But this final Plush Room gig will be about memories, so Whitfield will sing some of the songs her fans want to hear.

“Everybody coming to the show has their own set of memories, so when we were planning the set list, we decided to wallow in it a little. I want to celebrate the times we’ve had. There’s no other way to get through life.”

Although animated and cheerful in conversation, Whitfield gets really excited at the mention of a project she was involved with earlier this year: a concert production of Stephen Sondheim’s Follies at Notre Dame de Namur University, a production that included students, community folks and pros such as Whitfield.

“Oh, my God!” Whitfield enthuses. “You go from project to project and get a certain sense of satisfaction. Then, every five or six years, you get a project that turns out to be absolutely magical. You come away feeling so renewed. I came away from Follies feeling good about life and thet world and myself — and that’s pretty darn hard.”

Sondheim music is not usually part of Whitfield’s repertoire because, she says, the songs usually need to be heard in the context of the show, surrounded by plot and character. That makes the songs difficult for Whitfield and Greensill to interpret.

But in the show — with only one rehearsal no less — Whitfield, who played aging Follies girl Sally, came alive. “I was born to play Sally!” she says. “Sally is an aging girl. She doesn’t know she’s a woman. She is one but doesn’t act like one, and that’s a good description of me.”

Whitfield got to sing without a microphone, which she hasn’t done in years. “And I hit notes I haven’t hit in public for years,” she says. “I’m proud to have pulled this one off.”

Wesla Whitfield’s The Best Is Yet to Come runs from Dec. 27 through Jan. 6 at the Empire Plush Room in the York Hotel, 940 Sutter St., San Francisco. Shows are at 8 p.m. Dec. 27-29 and Jan 4 and 5; 5 p.m. Dec. 30 and Jan. 6; 7 and 10:30 p.m. Dec. 31. Tickets are $35 to $55 and $100 for New Year’s Eve (includes a buffet and a champagne toast). Call 866-468-3399 or visit www.theempireplushroom.com for information.

To keep up with Whitfield, visit her Web site at www.weslawhitfield.com.

The movies have not been all that kind to Stephen Sondheim.

His early Broadway hits, for which he supplied lyrics only, West Side Story and Gypsy, became classic studio musicals (with West Side Story being a movie for the ages and Gypsy being an interesting movie with some good work by Rosalind Russell and Natalie Wood).

But once Sondheim emerged as SONDHEIM, cinema got a little tricky. A Funny Thing Happened on the Way to the Forum (1966) cut about half of the songs, and let’s not even talk about the movie of A Little Night Music (1978). His incidental music for Stavisky and Reds is lovely, but Sondheim is best when he’s pairing music and words.

Sondheim did win an Academy Award for “Sooner or Later,” one of five songs he contributed to the 1990 Warren Beatty version of Dick Tracy, so he has some film pedigree (compared to his seven some Tony Awards, but Sondheim’s theatrical pedigree has never been in question).

Given the Sondheim-cinema track record, lowered expectations might be considered acceptable for the new Sweeney Todd movie from the Tim Burton-Johnny Depp team (this is their fifth collaboration after Edward Scissorhands, Ed Wood, Sleepy Hollow and Charlie and the Chocolate Factory).

Well, I’m here to tell you that heightened expectations are OK. I saw Sweeney Todd last week and was delighted and horrified – a good reaction for Sweeney.

The thing that amazed me most is how faithful Burton is to Sondheim and Hugh Wheeler’s Broadway musical (which is in turn based on a Christopher Bond play). You wouldn’t know it from the trailers, but this Sweeney is a full-blown movie musical with as much (if not more) singing than talking.

Earlier this fall, the Bay Area got a taste of the Sweeney Broadway revival, which pared down the orchestrations so that the actors could play their own instruments. That stage version had its merits (attention to Sondheim’s brilliant lyrics, for one), but oh, the lush, glorious orchestrations in the movie (courtesy of Jonathan Tunick), conducted by Paul Gemignani.

Those massive, bone-rattling movie theater sound systems are put to wondrous effect as Sondheim’s dark, chilling score pours out of them. This is one thing movies can do better than Broadway – a massive orchestra playing so loudly you feel every instrument and note.

Most discussions I’ve had about this movie Sweeney have begun with one question: How are the voices? And my answer is: fine. Not great. Not Broadway. But fine in the context of the movie. Depp’s Sweeney, the Demon Barber of Fleet Street, who wields straight razors and slices necks like a jungle explorer clearing a path, has an appealing pop-rock voice with touches of early David Bowie.

Depp’s co-star, Helena Bonham Carter, isn’t quite as successful. Her wispy vocals don’t really register. In fact, Bonham Carter is miscast. Her Mrs. Lovett, the pie shop owner who turns Sweeney’s victims into deliciously greasy meat pies, is simply too sexy. No matter how much dark makeup they slather on her eyes, no matter how gaunt and pale they make her, she’s still sexy.

An older, more desperate Mrs. Lovett makes more sense in the context of the story. She’s smart enough to know how to woo Sweeney and desperate enough to do horrible things simply because she has run out of options. Bonham Carter’s Mrs. Lovett is just too young and hot to be at the end of her rope.

Still, she looks great, and because Burton’s approach has so much to do with creating a sinister gothic look, looking good is half the battle.

The supporting cast is stellar. Hard to go wrong with Alan Rickman (as the creepily sexy Judge Turpin) and Sacha Baron Cohen (as Signor Adolfo Pirelli), both of whom appear to be having a great time being bad. Jamie Campbell Bower is an impressive Anthony (and he’s only 19), and Jayne Wisener (another youngster at 20) is an angelic Johanna (though in her early scenes she looks a little like one of the big-eyed aliens at the end of Close Encounters). Special mention must be made of seemingly older-than-his-years Ed Sanders as Toby. He’s all of about 14 years old, and he more than holds up his end of the movie (which is fairly significant). He and Bonham Carter are wonderful together on “Not While I’m Around.”

When making holiday plans to slice and dice with Sweeney, keep in mind that this musical is rated R for very good reason. The blood flows like pub ale, and Sweeney’s specially rigged barber’s chair is incredibly violent. Even though the gore is self-consciously theatrical, it still packs a wallop. This is the bloodiest movie musical since Can’t Stop the Music.

At long last, Stephen Sondheim’s genius has been captured on film in a way that doesn’t cheapen or apologize or dumb down.

Here’s a Sweeney Todd behind-the-scenes teaser to whet your whistle.