SFist Reviews: Russian on the Side
By Tiffany Maleshefski
Several weeks ago, Robert Lloyd of the Los Angeles Times published a review of the "Rachel Zoe Project," the either-extremely-loved-or-utterly-despised reality show on Bravo, about the trials and tribulations of a celebrity stylist.
His poignant review dishes the appropriate amount of snark , but also hones in on a very important part of Zoe's appeal and the show’s success, which is the A-list fashionista's deep and genuine feelings for clothes.
Sincerity, it seems, can go an awful long way.
Now how the hell on earth does that relate to Mark Nadler’s show Russian on the Side, the one-man cabaret extravaganza that leaves the enthusiastic pianist a sweaty, breathless, cheerful mess at the end of his 90-minute performance?
Well, if there’s ever an exercise in sincerity, it’s Nadler’s show, which opened last night at the Marines Memorial Theater and runs through November 16.
The show’s premise is inspired from the song “Tschaikowsky [sic] (and other Russians), “sung by Danny Kaye in Lady in the Dark and written by the super famous Ira Gershwin. In that song, Kaye rattled off (at alarming speed) 50 Russian and Russian-American composers, some very famous, others the equivalent of a one-hit wonder.
Nadler takes the audience through each composer listed in Gershwin's song, giving the audience a chance to get to know all 50, either by tickling the ivories on the grand piano he’s got on stage, or sharing juicy bits of gossip about a particular songsmith.
For instance, Tchaikovsky and his brother were both totally gay. As if that wasn't bad enough in 19th century Russia, his wife Antonina, was a raging nymphomaniac. You can imagine the fights that went down and that household. And I can’t help but point out this is the man who wrote The Nutcracker. Think he was trying to say something else?
Interspersing this very interesting history lesson are a handful of numbers performed by Nadler, that pay homage to folks like Frank Losser, Adam Guettel (overlooked grandson of Richard Rodgers and son of Mary Rodgers), Leonard Bernstein, and Stephen Sondheim. For me personally, these music numbers got in the way of Nadler’s lesson plan on 50 Russian composers, which I for one wanted to learn more about.
On the whole, Russia on the Side is just a little corny. And to be perfectly honest, a little tightening and some work on the show’s timing could go a long way. His point about the fickle nature of fame is a strong one, but unfortunately is a little muddy.
But Nadler’s likability and his deep, deep love for the composers for whom he exerts an incredible amount of energy upon, both physically and intellectually, is so endearing, you can’t help but get caught up in his enthusiasm.
Nadler’s the guy you totally want to be your gay best friend; or the guy who could totally get you all jazzed up about something as dry as zoning ordinances because his excitement would be undoubtedly contagious.
And while his show might not be as sexy or contemporary as other productions, the connection he builds with his audience is refreshing, rare, and altogether enjoyable.
Info:
Russian On The Side
Marines’ Memorial Theatre (609 Sutter)
$49
Runs until Nov 16