ScoBar Entertainment presents: A Tribute to Julie Wilson

ScoBar Entertainment presents: A Tribute to Julie Wilson

ScoBar Entertainment presents: A Tribute to Julie Wilson

08/13 8:00 PM & 10:00 PM - $25.00

ScoBar Entertainment presents A Tribute to Julie Wilson

Buy tickets for the 8:00pm show or 10:00pm show

Julie Wilson! Just the mention of her name evokes the essence of cabaret. On Tuesday, August 13th at 8 & 10pm, ScoBar Entertainment presents A Tribute to Julie Wilson at Iridium NYC. Performers confirmed thus far are Eric Comstock, Baby Jane Dexter, Natalie Douglas, Antonio Edwards, Eric Engelhardt, Barbara Fasano, Terese Genecco, Jeff Harnar, Mark Hartman, Tanya Holt, Sue Matsuki , Marissa Mulder, Christine Pedi, Colm Reilly, Julie Reyburn, Ricky Ritzel, KT Sullivan, Stacy Sullivan, Grace Wall, Lennie Watts & Carol Woods, with music direction by Barry Levitt.

Buy tickets for the 8:00pm show featuring performances by:

Joyce Breach, Steven Bringberg, Eric Comstock, Chris Denny, Baby Jane Dexter, Natalie Douglas, Barbara Fasano, Terese Genecco, Jeff Harnar, Mark Hartman, Tanya Holt, Colm Reilly, Julie Reyburn, Steve Ross, KT Sullivan, Carol Woods & Bill Zeffiro.

Speakers … Jamie deRoy, Sherry Eaker, Peter Leavy, Peisha McPhee, Julie Miller & Arthur Pompesello.

Buy tickets for the 10:00pm show  featuring performances by:

Leslie Anderson, Antonio Edwards, Eric Engelhardt, Terese Genecco, Eric Michael Gillett, Nina Hennessey, Helen Klass, Sue Matsuki, Marissa Mulder, Leslie Orofino, Christine Pedi, Ricky Ritzel, Daryl Sherman, Stacy Sullivan, Jonathan Tomaselli, Grace Wall & Lennie Watts.

Speakers … Michael Estwanik,  Adam Feldman, Rob Lester & Scott Siegel. 

With The Barry Levitt Trio  Barry Levitt – piano, Dick Sarpola – bass & Ray Marchica – drums

“I’m Still Here”:  It could be her anthem.  Long before JULIE WILSON tackled that classic Sondheim survivor saga, she was described as “a pioneer who could have become a prima donna.”  Her own roots are deeply embedded in the soil of her Omaha, Nebraska home and its family values allowing sustaining strength through decades of winning and losing, dizzying heights and the deepest of depths.

A young tomboy with secret dreams of stardom and a fondness for the 1920s pop song “Mary Lou,” Julie was barely enrolled at Omaha University when she grabbed at a chance to join the company of the Broadway revue Earl Carroll’s Vanities. This led to early nightclub work: the chorus line of the Latin Quarter and, finally, the Copacabana. It was wartime, she was making $75 a week and feeling pretty good. After a Copa/ USO European tour, she was promoted to a singing spot in the legendary nightspot’s lavish production numbers, introducing “They’ve Got an Awful Lot of Coffee in Brazil” (“The Coffee Song”).

Club dates in Miami and Hollywood club dates followed, including the famous Mocambo.  But New York lured her back. There she fine-tuned her stagecraft in musical comedies like Kiss Me, Kate, replacing Lisa Kirk as Bianca. She repeated the role in the London production of that Cole Porter smash, remaining in that city for four years, appearing in shows such as South Pacific and Bells Are Ringing and enrolling in the Royal Academy of Dramatic Arts. To study there, she had to give up the chance to open on Broadway in the lead role of what would become a long-running hit: The Pajama Game. (Ironically, several years later, she replaced Janis Paige’s replacement in the very role she had rejected.)

Julie returned to Broadway in 1955, appearing in Kismet, and toured in Show Boat, Panama Hattie, Silk Stockings, and Hi Fidelity.  During the 1950s, Julie made several recordings and also made some of those wonderful black-and-white movies, like The Strange One and This Could Be the Night, where she played Rosebud, a blonde nightclub chanteuse.

But her niche — and her reputation —was in the clubs: the glamorous, romantic rooms of the period.  There she reigned in the finest rooms in the finest hotels. And there she sang the naughty, torchy, gutsy songs she loved.

Julie is aware that real life is not upon the stage. She married twice, first very briefly. Her second marriage produced her two sons, Holt and Michael, but the marriage ended and the boys went to live with Julie’s parents in Omaha so she could work and support them.

Much like a marriage, the aura of a New York nightclub can burst like a bubble, as it did in the ’60s, when rock stadiums replaced plush supper clubs and the active nightlife dissipated. In the years that followed, Julie’s performances were in the small “unpretentious” clubs that opened around New York City, a world away from the Maisonette. In 1967, she appeared in a short lived Broadway musical, Jimmy. Despite the show’s short run, Julie says, “I had great songs.” She later had roles in Stephen Sondheim’s musicals —  Company, Follies and A Little Night Music, growing to love the composer-lyricist’s work.  

Family responsibilities beckoned and Julie heeded the call of home.  But by late 1983, her brother and both parents had died, and her sons were grown. Julie was ready to once again begin carving a career. She got a phone call asking if she could be ready to do a Cole Porter show at Michael’s Pub in New York.

Julie Wilson’s legendary shows of the 1950s were remembered. Cabarets were reviving. The Russian Tea Room, Rainbow and Stars, The Algonquin’s Oak Room, venues in California and Chicago all opened up to her. Peter Allen wrote a part for her in his Broadway musical, Legs Diamond, for which she was nominated for a Tony. In 1992, a PBS TV special showcased her cabaret act.

On September 30, 1999, the Mabel Mercer Foundation spotlighted Julie’s upcoming 75th birthday with a special evening in her name. She chose all the acts, so everyone was outstanding. Finally Julie herself came out, in glorious glamour, and capped the whole show with selections from her then-new Cy Coleman show and added her favorite Sondheim songs — including practically the whole score from Follies!

Julie’s understanding of life now deeply influences her music. The vampy, flirtatious Porter classics are still a staple, but today there is a depth to everything she sings, so that her life, her views, her grasp of what the lyrics and music are all about, are all conveyed to her audience. If the tone is not so clear and pure — and she’ll be the first to admit that — she can still sustain those notes and the voice is dramatically strong. And, most of all, Julie Wilson’s down-to-earth attitude toward life, her outspoken views of inequities, her high personal standards, have brought her universal love and respect throughout the industry.

In a world where privacy is grasped and where so many are alone, she weaves an aura of intimacy with those who have come to see her. She is the hostess of a party and embodies a sense of being right where she belongs. It’s contagious. The audience leaves with the realization –unfortunately all too unfamiliar — that everyone’s actually been together for an evening, embracing real emotions, having fun.  And the hostess of it all: Julie Wilson. She brings it all together, everything Julie needs, everything her audience wants.

Copyright 2015 The Iridium.