Saving the last night of her current Australian tour for musical-loving Melbourne, Audra McDonald thrilled, charmed, and moved the adoring crowd with a glorious evening of song and story.
Making a welcome return to Melbourne after almost ten years, McDonald was as sumptuous in voice as ever, the depth of her emotional delivery all the more nuanced and affecting with the passing years. Some of the songs were the same selections as heard in An Evening with Audra McDonald (2015) but the storytelling resonated even more richly with abundant sincerity and freshness.
The key to McDonald’s unique gift is the unique and heartfelt interpretation she brings to even the most well known sings, allowed them to be heard and enjoyed afresh. Having started with a gripping rendition of “I Am What I Am” (La Cage aux Folles), McDonald pleased attendees by sharing that the focus of the concert would be the Great American Musical Theatre Songbook.
A second jubilant Jerry Herman number opened the second half, with McDonald presenting a personal rendition of “Before the Parade Passes By” (Hello, Dolly!)
Reticent to perform songs from her own storied stage career, McDonald still managed to slip in a couple of memories. “Mister Snow” (Carousel) took us back to McDonald’s first Tony Award-winning performance. Pushing down the microphone, McDonald stunned the house with an acoustic performance of evergreen classic “Summertime,” not sung by her character but an indelible element of Porgy and Bess. In an extraordinary duet with herself, McDonald crooned “Crazy He Calls Me” in both her own voice and that of Billie Holliday, whom she memorably portrayed in Lady Day at Emerson’s Bar and Grill.
Interspersed between every musical number were delightfully candid anecdotes of McDonald’s family and her performing life. Already so well loved by the audience, McDonald only strengthened this affection as the evening progressed. Imbuing the tales with a sparkling sense of spontaneity, McDonald constantly had the audience in her palm, taking the opportunity to spread messages of love, kindness, and acceptance.
A particularly amusing story saw McDonald outline her early success as a soloist in Show Choir competitions, winning a trophy as a precocious 14-year-old with the surprisingly saucy “Cornet Man” (Funny Girl).
The audience were left uplifted for the interval, having been invited to sing along with soprano classic “I Could Have Danced All Night.”
Act one saw the first Sondheim number, theatrical charm song “The Glamorous Life” (A Little Night Music). McDonald shared more Sondheim in the second half, segueing from the soulful “What Can You Lose?” (Dick Tracy) to the searing ballad “Not A Day Goes By” (Merrily We Roll Along). Using the tender arrangement first sung by Mandy Patinkin (and also by Barbara Streisand), McDonald gently shared the blended version of Sondheim’s “Children Will Listen” (Into The Woods) with Rodgers and Hammerstein’s “You’ve Got To Be Carefully Taught” (South Pacific).
In another terrific example of shining new light on familiar lyrics, McDonald dedicated “It’s Not Easy Being Green” to those who feel “othered.” This beautiful arrangement simply featured Gene Lewin on acoustic guitar.
The regular trio of accompanying musicians were led by McDonald’s musical director Andy Einhorn on grand piano, with Mark Vanderpoel on bass and Lewin on percussion.
McDonald concluded with a striking rendition of a much-heard classic “Cabaret,” sharing that she added the hit to her repertoire at the insistent urging of Anna Wintour on the occasion of Broadway reopening after the devastating period of lockdown.
Performing a single encore, McDonald reprised the classic mashup “Get Happy / Happy Days Are Here Again,” which had also been the sentimental finale of her previous Melbourne concert.
Melbourne’s musical theatre cognoscenti* attended the concert in their droves and were left thoroughly inspired and cheered by the generosity and depth of McDonald’s talent and warmth.
Audra McDonald played at Hamer Hall, Arts Centre Melbourne on 17 May 2024.
*A quick note to promoters: using marketing that only lists the television series credits of a major Broadway star is not the best way to connect with the desired audience