It's all about the song, the style, the music, the star, the audience and the connection.
Max Von Essen, last seen as Broadway show director Julian Marsh in Goodspeed Musicals' whimsical, nostalgia steeped revival of "42nd Street" exudes such full-scale charm, handsomeness and refreshing vocal occupation, it's easy to succumb, or, by coincidence, be seduced by his antidotes of fun, cheer, legend, novelty, remembrance and more importantly, his pleasurable embrace of all things musical.
On stage - spotlight stage center - for Legacy Theatre's 2023 immersive, inviting new "Sunday Broadway Concert Series," Von Essen, joined by longtime friend, pianist and musical director Billy Stritch, captivates, charms and enthralls with a musical story of show tunes and memories that convey and accentuate his artistry and love of Broadway song hits, movie classics, composers, ballads and orchestrations that are easy going, beautiful and jazzy.
Smooth.
Effortless.
Genuine.
Personable.
Velvet.
Dedicated.
Von Essen, from the very first note or song he sings, draws you in, entertains, keeps you there and cuts loose with a voice and sound that breaks down the fourth wall of theatre with grin, melody, pure love, snap and absolute delight.
No grandstanding.
No gimmicks.
No tricks.
Just incredible skill, executed with ease, swoon-worthy display, traditional showmanship and swinging salute.
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Raised in Long Island, New York, Max Von Essen comes to Legacy Theatre with an impressive list of theatrical credits ranging from "West Side Story," "Finian's Rainbow" and "Chicago" to "Jesus Christ Superstar," "Evita," "Anastasia" and "Xanadu."
On Broadway, he appeared in "Les Misérables" as Enjolras and worked alongside "The Phantom of the Opera's" Michael Crawford in "Dance of the Vampires." In 2015, he received a Tony Award nomination for Best Featured Actor in a Musical for his captivating portrayal of Parisian aristocrat Henri Baurel in the Broadway production of "An American in Paris," inspired by the 1951 film of the same name.
For his Legacy Theatre engagement, Von Essen's keen, clever, well-mixed selection of song repertoire is matched by 14 musical numbers, each and every one, including two duets with the incomparable Billy Stritch (absolute magic at the piano), a genuine showstopper.
"Throwing a Ball/Big Beautiful Ball."
"I Can't Give You Anything but Love."
"Someone to Watch Over Me."
"She Loves Me."
"Fly Me to the Moon."
"Can't Take My Eyes Off of You."
"Bobby Short's New York."
"Empty Chairs at Empty Tables."
"Shimmy Like They Do in Paree."
"Isn't It a Pity/When Do We Dance."
"The Trolley Song."
"42nd Street."
"An American in Paris Medley."
"I Could've Danced All Night."
Opening the "Sunday Broadway Concert Series" with "Throwing a Ball/Big Beautiful Ball," an up-tempo, mixed tune of glide and swing, Von Essen gets the "ball" rolling," so to speak, with swells, lifts and razzmatazz that is big and alive and exactly what you'd expect from a Broadway star of his stature. It's the perfect vocal - crisp, dynamic and conditioning - to segue into the jazzy, playful "I Can't Give You Anything but Love" which features a piano solo by Billy Stritch ('s wonderful) and later, a vocal duet in perfect harmony with Von Essen. The sense of warmth and nostalgia between the two erupts into a let's get the party started proclamation, offset by genuine club-style mood and inspiration.
"Someone to Watch Over Me," a 1926 song composed by George and Ira Gershwin finds Von Essen romanticizing to the beat and rhythm of an icon's classic composition with applied melancholy and sweet, in-the-moment engagement. "She Loves Me" from the 1963 musical of the same name is performed with joyous anticipation and celebration of first love by Von Essen (he'd be perfect for the lead role of the lovesick Georg Nowack).
"Bobby Short's New York," an invigorating medley of song hits showcasing the excitement of life in the Big Apple gets plenty of welcoming kick and swerve from Von Essen while "Empty Chairs at Empty Tables," a showstopping ballad from "Les Misérables" gives the actor/singer the opportunity to use his rich, expressive voice to portray the edgy drama associated with the piece, its desired impact and its chilling, tearful intimacy.
For those theatergoers who caught Von Essen's magnetic star turn in Goodspeed's "42nd Street," a replay of that showstopping number at Legacy, is laced with slightly different rhythms and beats - think late night 1940's New York supper club with the lights down low - that work most advantageously. "The Trolley Song," a homage to the late Judy Garland is both sweet and nostalgic and beautifully performed by Von Essen. "I Could Have Danced All Night" from "My Fair Lady," is an appropriate encore imbued with heaven-sent thrill and boom made sweeter by the singer's charm, zest and zing for every note sung.
Music aside, Von Essen's concert allows for casual conversation (such fun) with the audience while sitting on a stool, taking a sip of water or orange-flavored Gatorade or standing up tall, stage front center.
Drawing and reflecting on moments past and present, many of which retraced his theatrical roots and background, Von Essen's knack for dialogue - pure, natural and unrehearsed - provided welcomed verbiage about early auditions; his childhood years; his love of Broadway musicals; auditioning for Liza Minnelli, whom he eventually worked with; the Paris opening of "An American in Paris;'" acting in musicals at the University of Connecticut, Musical Theatre of Connecticut, Downtown Cabaret and the Goodspeed Opera House;" and understudying but never getting the opportunity to perform the role of Marius on Broadway in "Les Misérables."
All in all, largely entertaining stuff, neatly arranged in between the musical numbers with soothing glee, spirit, reflection and perfectly timed placement and syncopation. Storytelling with heart - and then some.
Max Von Essen wouldn't have it any other way.
Hearing him sing with accompaniment by Billy Strich at the piano is one of the many thrills of this Legacy Theatre concert.
He has fun.
They have fun.
We have fun.
It's a personal touch interpreted with savvy, intelligence and maintained musicality and climax.
In the weeks ahead: "Eden Espinosa" (April 2), "Mack is Back! The Music of Bobby Darin" (April 21 and 22), "A Princess Tea" (April 29 and 30) and "Jenn Colella" (May 7).
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