Going Bacharach: The Songs of an Icon

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Fresh from a successful run earlier this year, Going Bacharach: The Songs of an Icon conceived by John Lewin is back by popular demand at the Marjorie S. Deane Little Theater, replete with panache.

Returning performers on stage this evening are vocalists Hilary Kole, Meecah, John Pagano and co-creator Adrian Galante on piano/clarinet. Expert musicians include Kristin Cappuccino on keyboard, David Rourke on guitar, Marco Panascia on bass, and Cory Rawls on percussion.

The evening begins with a radiant overture; Galante is brilliant on the keys and the masterful musicians enjoy featured runs throughout. The boisterous audience, primed by the mere presence of Burt Bacharach’s name in the show’s title, responds with whistles and cheers.

Kole, Meecah, and Pagano sweep onto the stage with a perky “Always Something There to Remind Me,” followed by “Walk on By” which introduces the audience to Galante’s stellar clarinet talents. An almost sexy “Do You Know the Way to San Jose” gives way to a sweet “Close to You” where Kole’s effortless vocals stand out.

After a lesser known “Keep Me in Mind” (a Patti Page hit written pre-Hal David), Meecah brings us a grounded yet vocally showy “Anyone Who Had a Heart,” a favorite of both Galante’s and mine.

John Pagano, one of Bacharach’s touring singers for 26 years, recalls listening to his parent’s 45 record of “What’s New, Pussycat?,” playing it so much that it developed skips and scratches; he imitates that marred recording quite humorously in his rendition of the song. The chuckles continue after a verse of “Wives and Lovers” when Kole and Meecah call out the sexist lyrics and replace them with more feminist versions.

The movie song medley concludes with a jazzy “Raindrops Keep Falling on My Head” that includes an incredible piano interlude by Galante. As the evening progresses, the agility of Kole and Meecah’s voices becomes increasingly apparent.

A somber introduction leads to “Windows of the World,” which transitions into a beautifully forlorn clarinet intro by Galante. Once the trio takes over, the song is undercut when occasional vocal stylings take precedence over the meaningful lyrics.

Act I finishes with a satisfying medley of songs from Bacharach/David’s only musical they wrote, “Promises, Promises.” Of the three singers, Pagano is most prone to employing vocal ornamentation which supersede the expression of the songs he sings; fortunately, his rendition of “Whoever You Are (I Love You)” conveys sincerity over style and provides an impressive end to the act.

For Act II, Galante and the trio return in flashier outfits and bring “The Look of Love,” Galante again contributing amazing clarinet runs. Galante is an extraordinary musician and he knows it. As co-creator, he has positioned himself more as a cast member than an accompanist. His arrangements are superb, although his piano playing under “Don’t Make Me Over” and in one other instance is less accompaniment for the singers than it is a virtuoso desperate to take off on its own. Kole and Meecah are undeterred and rock out this song nonetheless.

The next series of tunes are clearly chosen to highlight the singers’ best and are placed accordingly; they each take a moment to tell endearing personal anecdotes that lead up to their songs. Kole’s “The April Fools” is a defining moment for her, showcasing her beautifully agile vocals. Pagano knocks “Promise Her Anything” out of the park, and Meecah’s “One Less Bell to Answer” is a powerhouse of singing and interpretation, easily a pinnacle of the evening. Kole continues to impress with an absolutely awesome “Make it Easy on Yourself,” and Pagano gives an impassioned “God Give Me Strength,” where again, he fortunately favors the song’s meaning over his frequent vocal acrobatics.

The trio performs a “speed-dating” hit-medley before Kole sings Bacharach’s treasured “Alfie;” celebrated by most, this song has never been a favorite of mine, but Kole’s rendition warms me to it. The evening finishes with appropriately show-closing songs “What the World Needs Now” and “That’s What Friends Are For” (just one of these would have sufficed).

Frank Cazares’ costume designs are classy and flattering. Scenic design by Christopher and Justin Swader combined with lighting design by Matt Berman is bright and eye-catching. David Zippel’s direction has the cast moving about the stage in a nice variety of ways; his oversight might have included corralling Galante, who, in his exuberance, frequently jumps around, drawing attention away from the singers when he’s not otherwise in the spotlight. For all his talent, Galante can be reminded to sit still when it’s not his turn.

This evening’s performance is my second viewing of this terrific revue and is not to be missed by Bacharach fans, and more. One hopes it might be video recorded for posterity.

Going Bacharach: The Songs of an Icon (through November 29, 2026)

Marjorie S. Deane Little Theater, 10 West 64th Street, in Manhattan

For tickets visit https://www.goingbacharach.com/

Running time: two hours and 15 minutes including one intermission