Algonquin's Oak Room Will Not Reopen

By Andrew Gans
02 Feb 2012 

The Algonquin Hotel's Oak Room, which has been the home of cabaret favorite Andrea Marcovicci for the past 25 years, will not reopen following its current renovations, according to the New York Times.

Among the performers who have recently graced the intimate club are Tony nominee Karen Akers, KT Sullivan, Emily Bergl, Sandy Stewart and Bill Charlap, Steve Ross and Barbara Carroll.


Gary J. Budge, who is the general manager of the famed Manhattan hotel, said that despite "top-notch performers," declining audiences were responsible for the decision to close the supper club/cabaret, which has been in existence for decades.

About the closing of the room, celebrated singer-actress Marcovicci told Playbill.com, "I'm heartsick to hear of the closing of the legendary Oak Room of the Algonquin Hotel, my musical home and creative inspiration for 25 years. From my first entrance in 1987, a jumble of nerves, to my last encore just this past Christmas, I have been blessed with the finest, warmest audiences a performer could ever hope for, and the most beautiful room in which to entertain. Although this is indeed sad news, I will take away the happiest memories and hope to establish a new venue soon for myself and the other Oak Room artists who cherish the American Popular Song as much as I do." The Oak Room was also the launching pad for Harry Connick Jr. and Michael Feinstein.

The Oak Room Supper Club tradition, according to the Algonquin's official website, "began when friends petitioned owner Frank Case to open the room to an after-theatre crowd wishing to continue their merry-making until the wee hours of the morning. One of those friends was a charming Viennese chanteuse named Greta Keller, darling of such dashing chaps as the Prince of Wales and King Carol of Romania. Greta, who had starred with Peter Lorre and Marlena Dietrich in Vienna (and who reportedly taught the latter how to sing), became the first Oak Room cabaret star in November of 1939, to great acclaim. Cabaret was eclipsed as more of Case's—and The Algonquin's—resources went to the war effort. Its revival came during the 1980s when brilliant singer-pianist Steve Ross began charming audiences."

The hotel, which is located on West 44th Street, is expected to reopen in May following extensive renovations.

Lucio… Less Cuban Than Ever

Friday, November 11, 2011

Presented at The Laurie Beechman Theatre

New York City

I settled myself down and asked the waiter to bring me one of those famous Cuban drinks called “Mojito”, I figured I should go with the flow and enjoy whatever it was that I was going to be in for.  I got my drink, took a sip, the lights changed, and the band started to play. From the moment the music flared, the dancers entered, and Lucio took to the stage, I knew I was in for something special.  This was not your conventional cabaret show. First of all, there were seven musicians, two chorus singers, and three dancers on the tiny stage, that, in of itself, is unusual for today’s typical cabaret show.  The dancers, dressed very sexy in bright greens and pinks, entered with the energy of a thousand. And when Lucio appeared, the room exploded with what I can only describe as group ecstasy.  He was captivating! And the show, mesmerizing! His energy was contagious and the audience hungrily ate it all up.

Lucio has a very pleasant singing voice and can belt out any show tune, but what differentiates him from many other performers is how engaging he is and how well and honestly he can deliver a story.  In fact, the most extraordinary aspect of the show is how well conceived the show is, and how there are no dead moments.  The show is extremely moving while at the same time being very funny and relevant.  Although I left the theatre with a better understanding of what it means to be Cuban, or Latino, or an immigrant, the fact is this show resonates with everyone because ultimately it is a story of survival, self-acceptance, and self-discovery.

The show is novel and completely innovative, and a welcome departure from the typical one-person cabaret where the lone singer accompanied by a pianist sings a bunch of songs strung together by some patter.   “Lucio… Less Cuban Than Ever” had it all, great music, great players, exciting dancers, beautiful costumes, and an extraordinary and charismatic leading performer. In fact, one can almost say this show is in a class all its own.

I send my congratulations to the director Lennie Watts, musical director Mark Goodman, and choreographer Megan Fernandez for a superb job; and especially to Lucio Fernandez for giving me a memorable theatrical experience.    

Terese Genecco

presented at the Iridium
New York City

Terese Genecco at Iridium the last Tuesday of every month has become a staple in NYC, and for good reason, she’s good.  She might be short in stature, but big on talent.  Accompanied by her “Little Big Band”, Genecco delivers with great delight.  She’s wonderfully charismatic, and accompanied by her band, she swings like nobody’s business. Her style is cool and hip, and yes, retro to the “Rat Pack”.  

The Iridium is a great venue for this entertainer.  However, I felt the set was a bit short, or maybe the time flew by.  Also, the performance was mostly music with not much banter (in the cabaret vein), which is what I expected.  My bad, knowing the Iridium is primarily a jazz venue. 

Kim Grogg in "One Hit Wonder Woman"

Presented on Tuesday, October 25, 2011 

at Don’t Tell Mama, NYC

This cute one hour cabaret act starring Kim Grogg was very entertaining.  The show featured three musicians and two very qualified background vocalists.  It was abtly directed by Lennie Watts with musical direction by Steven Ray Watkins. 

At the top of the show, Ms. Grogg landed upon the boards like a super hero fighting the evils of the cabaret universe.  She garnered even more speed as she unleashed an amalgamation of songs by artists who were one hit wonders.  Very entertaining, if at one level.

The audience seemed to have an enjoyable time; much more so than at other cabaret shows starring middle aged women who ought to be tending to their grandchildren instead.  Ms. Grogg was quite engaging and has very good singing voice.  It just all needed more depth and texture.  I wanted to discover more about Ms. Grogg the artist and person, and hear more about the artists whose songs she was interpreting.

For me, the evening's most memorable moment happened when lovable Don't Tell Mama booking agent Sidney Myer burst onto the stage with a brilliant rendition of "Volare".

"One Hit Wonder Woman" was fun, but needed more guts.