Review by David Rabinovitz

James Harvey, at the astonishingly youthful age of 22, already has a body of Musical Theater
compositions that a far more seasoned composer could rightfully be proud of.
Nine of these pieces were performed on April 22(2014), at the elegant 54 Below venue, in a
masterfully tight format, directed by the brilliant Stephen Tyler Davis.
Newcomers to Mr. Harvey's work now have a sense of this young composer's cultural concerns
and wide ranging musical expertise thanks to City Salt Theatricals, a production company, operated by
Heather Shields along with Mr. Davis, that is alert to the hottest young under -the -radar talent New
York City today.
The show featuring a Broadway- ready sextet, including Mr. Harvey on piano, and directed by
Jeremy Goodman, swung like mad and negotiated complex changes of tempo and much else with
an astonishing crispness that underlined the emotional nuances of Mr. Harvey's sinewy, thoughtful lyrics.
Alysha Umphress, a veteran of too many Broadway shows to mention in the space of a short
review, along with Anthony Apicella who is quite possibly the most extraordinary impressionist of his
generation, in addition to being an exhilarating singer capable of an infinite range of subtleties, presented
songs from Mr. Harvey's The Crack in the Ceiling, his quasi-autobiographical musical. These pieces
displayed the composer's gift for rendering the quotidian in symbolic forms that make broad statements
about the human condition in masterfully engaging ways that allow wit to predominate- so that the
listener is enjoyably surprised upon discerning the darker implications of the seemingly innocent words.
Ms. Umphress in addition to the soaring provocative velvet of her by-now legendary voice
conveyed the persona of the baffled housewife with remarkable fidelity. Mr.Apicella ,bearded and wearing
a hat straight out of Waiting for Godot , was a smooth scamp who deployed his rich, protean voice with
a heartbreaking poignancy - that was immeasurably enhanced by his comic get-up ,as he
enacted scheming charades on the bewildered, but clearly dazzled Ms.Umphress. Ms. Umphress and
Mr.Apicella's sensitive vocal and comedic/dramatic interaction during their duets bespoke of the ease and
the precision of truly great performers. Clearly rising stars, these two.
In The Siegel Family ,Mr. Harvey's current project, an outrageously bewigged Abby Burke think Wigstock -was so convincing that any casting Director from a Real Housewives series who may have
been in the audience would have been a fool not to sign this transcendently glamorous vixen
immediately.
In the role of the entitled hyper-privileged Mother of all Bitches, and vamping like the winner at
the international all-star drag ball, Ms. Burke showed that her acting talents are not to be overlooked in
the rush to praise her gutsy, emotionally compelling singing.
In what may have very well been the tour-de-force of the evening Ms. Burke delivered Rich
World, perhaps Mr. Harvey's most lyrically challenging, idea-packed number, with absolute perfection.
Her crystal clear articulation of every syllable of this verbally packed number was faultless, and could have
served as an object lesson to the all too many singers whose sloppiness occludes the composer's
intentions. And Ms. Burke managed this complex piece, without letting the technique show, staying
within the framework of the pampered housewife who carries on like a diva for no discernible reason but
her immense wealth.

For my part, I simply cannot understand a business that has, as of yet, not elevated the multitalented, billboard beautiful Ms. Burke into a starring role in a Broadway musical.
Shame on them!
Andrew Barry Fritz delivered his lines in an appealingly husky-voiced tone that added experiential
weight to Recession Song, Mr. Harvey's take on the recent financial meltdown.
The angelic Grace Wall who appears to have been transported to today from a Renaissance
painting illustrating the abstract conception of Beauty as such, sings in a haunting voice shimmering with
pathos, that bridges the gap between this world and the next. Another inexplicable lapse on the part of
today's casting directors.
Anne Fraser Thomas, she of the superhuman vocal range, elected not to riff on whistle tones, and
delivered her lines with a commanding strength, and no-nonsense presence that suited her part perfectly.
John Thyen placed his intimidatingly rich operatic tenor at the service of his lines, and was rock solid
throughout.
Zech Azizi, a soulful riffer when he chooses to be, expertly conveyed the despairs of impending
financial destitution.
Bianco DiSarro is not only a great powerhouse singer, she is a comedic talent of the first rank. Her
generosity of spirit is contagious. When Ms. DiSarro performs every moment is electric with possibility.
She makes reality sparkle with her palpable lust for life.
I hope Mr. Harvey continues to develop as a composer and lyricist, and continues to work with Ms.
Shields, Mr. Davis, Mr. Goodman, and this stand-out cast of singers and musicians who made this evening
such an enjoyable experience.