Alan Cumming Overcomes Bravado and Brio of Celebrity, Shines at Landmark

“I loved him as Eli Gold in The Good Wife.”

“He was great as Nightcrawler in X2: X-Men United.”

“Creepily sexual as Master of Ceremonies in Cabaret on Broadway.”

“I look forward to his crisp introductions on Masterpiece Theater.”

“He had me at Emma. The perfect Jane Austin’s Mr. Elton.”

“His memoir Not My Father’s Son was gutsy and articulate.”

“I’m still dreaming’ 'Floop’s Dream' from Spy Kids.”

These were just a few of the comments heard while threading a path through the sellout crowd at Landmark on Main Street last week.

Setting a Scottish Club Scene

The scene was a much-anticipated performance by Alan Cumming. Cumming’s profile, highlighted by a just-concluded run in The Good Wife, had doubtless amped up expectations, and many in the audience seemed to have also enjoyed his past performances in New York City where he now takes up residence. Those performances include the aforementioned Cabaret, The Threepenny Opera, Macbeth and Design for Living.

If you missed those shows, it “didnae” hurt your “eve-nin’” one bit. The familiar star’s portfolio consisted of tunes from his 2016 release, Alan Cumming Sings Sappy Songs, and, for the most part, they were just what you’d expect from an invitation to Club Cumming at Studio 54.

Piano, Cello and Actor

Supported by arranger Lance Horne on piano and cellist Eleanor Norton, Mr. Cumming delivered a mix of classic cabaret (Kurt Weill’s “The Song of Inadequacy of Human Striving”), classic rock ballad (Billy Joel’s “Goodnight Saigon” and “And So It Goes”), pop ballad (Keane’s “Somewhere Only We Know”) and Sondheim (a mashup with “No One is Alive While I’m Around”).

As if to assess whether he had the full attention of his audience, he added “The Climb” by no less than Miley Cyrus, and “La Complainte de la Butte” by Jean Renoir, sung in what this reviewer was persuaded had to be perfect French.

Those Arms, Dah-ling

The arrangements were tasteful and un-loungelike. Often the cello parts were allowed to surface and swell unguided. Or longer, bowed notes paralleled Cumming’s lower register. Other times, Horne ‘s arrangement let the harmony spin out, then resolve itself by taking up a satisfying residence on the cello’s C string -- that firmament, that un-middling stake in the ground two full octaves below middle C.

Normally Ms. Norton’s cellist arm busy evoking those tonalities would have drawn attention, but on this occasion eyes were usually aimed at Mr. Cumming’s.

Props for a Scottish Play

Cummings took the stage wearing a coat, fashionably thin tie and high tops, but after the first song he flung the coat off, revealing a sleeveless black muscle shirt -- and keeping the tie. The audience roared its approval, but the artist’s rationale was about more than comfort and bravado.

Cumming in full song includes an ensemble of brow- and hair-sweeping, arm gestures and hand movements. More than prop and mannerism, these tools are syllable and punctuation, used to full effect in the Jean Renoir song. Coupled with a capable voice and convincing range, these are storytelling assets that only a top flight actor has at his disposal.

Cumming's stories are told more fully in his 2014 memoir, or through characters in his 2002 novel, Tommy’s Tale. Instead this night’s performance sought to cultivate a connection begun with an audience that felt it somehow already knew him.

Instead it was a night for a sparkling Mr. Cumming to deploy his very considerable talent to deepen that delightful illusion.

“I dare do all that may become a man;
Who dares do more, is none.”

-Macbeth

Next Up

This is a review of a May 14, 2016 live performance at Landmark on Main Street. The concert by Mr. Cummings was made possible by Dot and Ed Slade, and season partners the Town of North Hempstead, Peter & Jeri Dejana Family Foundation, Winthrop University Hospital, Bank of America and Harding Real Estate.

The next Landmark show is May 25 at 2pm, "Motown Acoustics," featuring free admission and light refreshments.

Photo credits: Steven Sandick

♫ A longer version of this review is available at DarkViolin.com.