Tue January 25, 2005 Concert Review: Show covers musical theater's bases By Rick Rogers The Oklahoman One of New York City's major tourist attractions is the busy intersection where 42nd Street crosses Broadway. Both have become fabled thoroughfares: the former celebrated in the 1933 musical of the same name; the latter figuring prominently in such diverse musicals as "Mr. Wonderful," "George M!," "Follies," "The Producers" and "Smokey Joe's Cafe." The Oklahoma City Philharmonic's recent pops concert examined the importance of the musical theater as viewed from both sides of the great pond: New York City's Great White Way and London's West End. Larry Blank, a noted musical theater conductor, served as guide for this evening of hit tunes and lesser-known melodies. His talents as an arranger were also spotlighted in some of the evening's most attractive medleys. Titled "Sassy, Brassy Broadway," the evening opened with Blank's "Broadway Fantasy Overture," a work in which he and fellow conductor Don Pippin tried to cram as many show tunes as they could into a five-minute curtain raiser. I stopped counting after a dozen. Joining Blank was a trio of talented vocalists: the American Valerie Perri and Brits Anne Skates and Michael Dore. After Perri concluded a medley that featured songs about love, Blank joked that Perri was the sassy part of the show and then introduced Skates as the brassy component because of her blond hair. The trio easily covered all of the musical theater's bases. Perri tackled big belt numbers such as Funny Girl's "Don't Rain on My Parade" and Mack & Mabel's "Wherever He Ain't." Skates' easy delivery was ideal for Cabaret's title song and Oliver's "As Long As He Needs Me." Dore, in turn, unleashed his rich baritone on Sweeney Todd's "Pretty Women," The Phantom of the Opera's "Music of the Night" and La Cage aux Folles' "I Am What I Am." The evening was also special because of the quality of the arrangements, many created by Blank, or as he deadpanned, arrangements that were created by his mother's and wife's favorite arranger. The concert also featured the local premiere of a new overture for Jerry Herman's "Hello, Dolly!" The original show dispensed with an overture, a decision the composer evidently regretted. Commissioned by Herman, Blank's new version will become part of the show whenever it is revived. Having worked in the industry for more than two decades, Blank has explored the musical theater from every angle. And his deft touches with a musical number's give and take were never more evident than in the selections from Andrew Lloyd Webber's "Phantom." Dore and Skates lent their respective talents to "All I Ask of You," one of the evening's most beautiful duets. Dore then followed with a moving rendition of "The Music of the Night." So captivating was this performance that one could imagine the show unfolding on stage. The only thing missing was the scenery. Blank then took a detour from the Broadway musical in a Judy Garland medley (expertly fashioned by Mort Lindsey) that recalled two of her biggest hits: "The Trolley Song" and "Over the Rainbow." The conductor also proved to be quite adept with the necessary patter that makes audiences feel comfortable and receptive. Blank's remark that every musical number on the program could function as a finale turned out to be true. Given the diversity of musical styles spotlighted in this concert, the idea that Broadway could be both sassy and brassy was never in doubt. What made the evening complete was the realization that Broadway could also be poignant, seductive, tender, optimistic, thought-provoking and giddy with joy. The Great White Way indeed!