The title track from D.C. Anderson’s i am still release starts on a somber note. Just piano and his made-for-musical-theater voice singing of “thistles where there once was grass.” But listen for a moment and hear the acoustic guitar add delicate touches as Anderson fleshes out a story of an abandoned hotel—from the hotel’s point of view. The unusual perspective coupled with the sonic sparseness of the song proves quite refreshing.
The rest of the album offers equal parts comedy and drama. From the hilarious “Jury Duty Girlfriend” (“How long can she resist? I’m the only guy who’s single, let’s turn this trial into a tryst”) to the moving “Sad Man,” written after the death of his mother, Anderson paints pictures that you’ll want to keep hanging in your mind. " — Mare Wakefield, Performing Songwriter Magazine November 2006
Reviews Concerts and Recordings
THE PHANTOM OF THE OPERA directed by Harold Prince - Broadway/National Tour - 'Andre'
"...a comic delight"
"D.C. provides ample comic relief!"
"...excellent as a fussy and harassed manager of the Paris Opera House!"
D.C. Anderson as 'Andre' in THE PHANTOM OF THE OPERA with Kim Stengel as 'Carlotta', Bruce Winant as 'Firmin' and John Whitney as 'Piangi'.
MARTIN GUERRE directed by Conal Morrison - National Tour/Guthrie - 'Judge Coras'
"D.C. Anderson's rich baritone was a breath of fresh air...a standout!"
QUEEN OF THE MIST directed by Jack Cummings III - Transport Group - NYC - 'Mr. Rudetsky', 'Mr Mallardo'
"...the actors are, to a person, terrific!"
"...sleazy as Anna's new manager."
STORYVILLE directed by Bill Castellino - York Theater Company - NYC - 'Mayor Mickey Mulligan'
"...wonderful in the role"
THE FABULOUS LIPITONES directed by John Markus - Goodspeed and Wellfleet Harbor Actor's Theater and Florida Studio Theatre - 'Howard'
HAIRSPRAY directed by Richard Stafford - Florida Studio Theatre - 'Wilber'
"D.C. Anderson and Greg London make a fun couple - they stop the show in their Act II duet, 'Timeless to Me'"
"...right on the money - laughs and heart?"
THE ASTONISHING TIMES OF TIMOTHY CRATCHIT directed by Thomas Cote - Workshop Theater - NYC - 'Joseph Grimaldi'
"D.C. has us eating out of his hands!"
"...loveably over the top"
"...a delight to watch...he brings a mysticism and wonderment!"
"Refreshing...Anderson paints pictures you'll want to keep hanging in your mind." - Mare Wakefield, Performing Songwriter Magazine
Downloadable/Printable 8.5 X 11 poster to help publicize concerts and CD's !! Feel free to download this and print the information in the white area on the bottom of the poster and put them anywhere you think folks might see them! Thank you!!
May 11, 2004
Review of BALLAD
By: Mark Davis
D.C. Anderson gives the cabaret genre a good kick in the pants. Several of these 11 original songs sound like unearthed classics from the Great American Songbook ("I Don't Know My Way Around a Dream"). Anderson can emote with the best but does so sparingly, balancing the drama with Tom Lehrer-style humor.
February , 2004
Review of BALLAD
By: Jonathan Frank
I have said it before and I'll say it again: D.C. Anderson is one of cabaret's most eclectic of performers. Currently touring in The Phantom of Opera as Andre, he displays the prerequisite brassy Broadway voice when the need requires, but also possesses a subtle and supple voice that caresses the listener with its warmth and simplicity. While he is best known for his sly and wry way with a comic number, his latest CD, Ballad, displays a side of Anderson that has been on ever-increasing display. As the title implies, Ballad largely consists of songs that deal with love, be it found, lost, or sought after. The revelation of the album is that all the songs contain lyrics written by Anderson.
Even though this is a more serious album than his previous CDs, his sense of humor continues to percolate throughout, with a few of the cuts being full-fledged comic numbers ("Chocolate is Fine," which divulges clinical reasons why we love the stuff, and "Human Fondue," which gives a warning about using said substance in an erotic manner). Other highlights include "If You Touch Me" (music by Roy Zimmerman), a love song that is refreshing and effective in its simplicity, and the bittersweet "Leave You Now" (music by Carol Hall).
by Stu Hamstra
Although there are some clever lyrics, BALLAD reveals the quieter side of this prolific word-weaver. There's a lot of gold here -- listen closely.
NEW MONDAYS SERIES at the DUPLEX
The Future in their Hands - New Mondays proves new work can fill seats
By Christopher Byrne
Phil Geoffrey Bond and his cronies at The Storefront are at it again-livening up Monday nights at the Duplex by offering the "New Mondays" series, which showcases the talents of relatively new as well as established songwriters, all of whom are trying out new material.
While the program changes from week to week and runs through December, this has quickly become one of the most consistently engaging entertainments in New York and a rare opportunity to get up close and personal, thanks to the intimate scale of the Duplex's cabaret room, with some of the leading players-past, present and future-in the musical and cabaret scenes.
"New Mondays" is significant in the small, yet passionate, world of cabaret. It represents a commitment to artists and their work, and a very forward-looking notion of what cabaret entertainment is and must be to attract a contemporary audience. As Rodgers and Hart and even Stephen Sondheim retreat further into history, their distinctive styles speak less and less to today's audiences, though they still are lionized by many cabaret performers. New voices and new work are too often crowded out in this highly politicized genre by those who seem determined to promote a traditionalist, not to say hide-bound, view of what cabaret should be. That may be fine for cruise ships, Las Vegas and the Algonquin, but if cabaret is to be a vital medium in New York, we do not need to hear yet another intimate styling of "Bewitched, Bothered, and Bewildered," or, God help us, a solipsistic baritone yowling "Climb Every Mountain" in a New York cabaret ever again. (These were both experienced in the past few months and deemed too grisly to report on in these pages.) Most importantly, "New Mondays" disputes the conventional wisdom that new work doesn't sell. The series has been playing to packed houses, and for a reviewer who has been at past shows at the Duplex when he was the only one there not directly related to the performer, this is cause for celebration indeed.
Last week's show proved as exciting and varied as the previous editions of "New Mondays." It featured four performers, each with a different style but each in his or her own way remarkable...The evening concluded with D.C. Anderson, a winning guy whose "aw shucks" performance style puts one in mind of Bert Lahr ...and who seems single-handedly capable of bringing back the classic music hall comic song with very contemporary settings. Whether spoofing the Internet, describing a ghastly experience as a quality control "enforcer" for KFC, or taking on such mediums as Jonathan Edward, Mr. Anderson has a finely honed sense of satire and a jovial demeanor that makes him a constant delight.
I would have happily sat through much more from every one of these talented performers. Each of them deserves to be heard often. They are emblematic of the best of cabaret, as has been all the performers in the "New Mondays" series.
Talkin' Broadway November 27 , 2002
By: Jonathan Frank
D.C. Anderson, currently touring with The Phantom Of The Opera, is one of theater and cabaret's most eclectic performers. Who else would release a CD containing "The Humming Song" from Puccini's Madame Butterfly, a Manhattan Transfer-esque version of the theme from The Flintstones, tunes with titles like "Is It Peace or Is It Prozac?", comic numbers like Christine Lavin's "Music to Operate By" (a must for the medical professionals in one's life), or heartrending numbers like Anderson's "After The Funeral."
Anderson's latest CD, Collected, contains 16 songs from two out of print albums, Time Was and Blue Summer Day, plus four new numbers that are among the more serious and touching numbers on the disc: Harry Chapin's "Winter Song," Cheryl Wheeler's song on the aftermath of suicide, "Beyond the Lights," Anderson's "After the Funeral" and the beautiful "Something Simple" by Mary Huckins.
Anderson possesses a subtle and supple voice that envelopes every song like a well-made glove and caresses each lyric with an understated honesty that is both touching and refreshing. [NOTE: Amazon has a few copies remaining of the out of print 2 disc Blue Summer Day, so buy now, or be satisfied with the 10 tracks from it on Collected]
With wit and talent to spare, D.C. Anderson recently brought his holiday show to the Cabaret Room at ODETTE'S. On hiatus from playing Andre in the touring company of "Phantom of the Opera," Anderson brought his stunning vocals and understated humor to the cabaret stage.
Most of his songs were ripe with sarcasm and whimsy. From his opening song, "Marshmallow World" to his encore of "Three Wishes for Christmas," he exhibited immeasurable talent. With a sly and mischievous smile, Anderson endeared himself to the audience from the very start. As he began every number, you wondered if he would sing it straight or imbue it with freewheeling comical sentiment. From "Can't Help Lovin' That Lamb" by Alan Chapman (with the help of Hammerstein and Kern) to the inspired "I Haven't Time to Be a Millionaire," D.C. Anderson displayed a talent for getting underneath the lyrics to bring them to total fruition with his easy-going yet charismatic style.
It was an evening of unorthodox songs, some written by D.C. Anderson and others that included "Hands," "The Rest of the Year," "Department Stores Mean Christmas to Me" and "I Am the Luckiest." Most of these songs can be heard on one of his five CDs that he has released to date.
With musical direction from Stephen Randoy and the talent of Ritt Henn on bass, this was a very satisfying evening out. I look forward to hearing more from D.C. Anderson in a non holiday show.
THE CABARET at Odette's is located on South River Road, New Hope, PA - 215-862-3000 - www.odettes.com
Richard Edgcomb & Stephen Hart
Theatermania.com Dec 17, 2002
"Top Ten Male Cabaret Acts of 2002" -- Barbara & Scott Siegel
A Capital Performer
By: Barbara & Scott Siegel
D.C. Anderson is a sweet and pungent cabaret artist. The man has a candy-coated, high tenor sound. At the same time, he possesses a deliciously tart comic sensibility. Whether he's singing his own songs or those of others, Anderson is one of cabaret's tastiest of talents. Taking a few days off from the national tour of Phantom of the Opera (in which he plays AndrŽ), Anderson recently swooped into town to play a series of shows at Don't Tell Mama. There was a hint of the holidays in his show, with songs like the charmingly sarcastic "Department Stores Mean Christmas to Me" (a song he co-wrote with Steven Landau) and the seldom-heard "Christmas Island at Christmas Time" (Stephen Sondheim/Mary Rodgers). But the show might have been best summed up in the bracing David Buskin song "The Rest of the Year," because this was a show for all seasons.
Anderson is known for his sly way with a comedy number. His juxtaposition of heavenly tenor and devilish charm often elicits a laugh and that was very much the case with the autobiographical number "I'm the Law," a hilarious description of Anderson's days as an inspector for Kentucky Fried Chicken. D.C.A. also has a gift for making the very personal songs of others seem as if he wrote them himself; when he performed "Uncle Dave's Grace" (Lou and Peter Berryman), you would have sworn he was singing about his own misanthropic relative.
There is a very powerful dynamic at work when Anderson is on stage because, as funny as he can be, he can also surprise you -- and often does -- with a serious, heartbreaking ballad. His performance of "I Am the Luckiest" (Ben Folds) has emotional dimensions not often found in a cabaret show. He reaches the audience because he is a particularly fine singer-actor who inhabits a lyric even as his beautiful voice helps bring the message home.
D.C. Anderson is a unique artist and you owe it to yourself to catch up with him the next time he's in town.
David Hurst reviews BLUE SUMMER DAY
A wonderful 2-CD set by cabaret veteran D.C. Anderson slipped under my radar when it was released many months ago and, now that I have gone out and purchased it, I am kicking myself for not having discovered it earlier. Following his Time Was and The Box Under The Bed, Blue Summer Day is a generous collection of interesting songs that beautifully showcase Anderson’s warm and inviting voice in a variety of compositional styles.
In fact, "variety" seems a puny adjective to describe the gamut of songs that Anderson gives us here. There are charming, original pieces by composers like Cheryl Wheeler and Christine Lavin, classic American songbook choices like "Second Time Around" by Cahn & Van Heusen, silly stuff and nonsense such as the Flintstones theme and Wheeler’s "Potato" song, heart-wrenching ballads and even a couple Christmas tunes. No one can accuse him of not diversifying and it certainly makes for interesting listening.
Anderson’s lyric baritone is rooted in the folk/pop/country style with a soothing quality that is especially appealing. It’s on the ballads that he really shines and I can safely say that Bruce Roberts’ "Let Me Steal Your Heart," Stina Nordenstam’s "So This Is Goodbye," and his own "Paul" with music by Rick Snyder are three of the most beautiful recordings I have ever heard. The emotion in his voice and honesty with which he sings should serve as a primer for aspiring young artists.
From The Los Angeles Times
Don Heckman reviews BLUE SUMMER DAY
D.C. Anderson has a voice that seems adaptable to every purpose. His BLUE SUMMER DAY manages to put him in every imaginable musical circumstance. He has an affection for songs filled with off-beat humor and rich irony. Anderson can sing a standard such as Second Time Around with storytelling mastery and he can deliver new material with the sort of musical understanding that is a delight to songwriters. With 32 tracks, all of them engaging in one way or another, this is a marvelous way to meet one of cabaret's compelling performers.
From BACKSTAGE MAGAZINE, February 23, 2001
by Barbara and Scott Siegel
Combine a sly sense of humor with a winsome, almost childlike charm. That's D.C. Anderson. Or combine a defiant romanticism with a deep wounded soul. That's D.C. Anderson, too.
A singer/songwriter who emerges in his latest show at Don't Tell Mama as a multi-dimensional showman. His current act is as generous in its length as it is in its sweep of contemporary comic songwriting. He gives you his own sweetly delivered acid in 'How's Your Little Act' (music by Billy Philadelphia) and his own whimsically offered social satire in 'Not for the Squeamish' (music by Albert Hague) as well as features plenty of little heard comic gems....(including) Alan Chapman's 'Can't Help Loving That Lamb' (music by Jerome Kern) and a piercingly sarcastic 'Defenders of Marriage' by Roy Zimmerman...When he performs his own song of romantic despair, 'I Leave in Doubt' there is no doubt that Anderson can break your heart as readily as he can break you up.
This show celebrates the release of his new double-disc CD, BLUE SUMMER DAY. Anderson is definitely someone you'd like to take home with you.
From InTheater Magazine, November 27, 1998
D.C. Anderson has perfected a sneaky kind of understated humor. A hit at this year's cabaret convention, he recently unfolded his comedy tent at Don't Tell Mama. From "How's Your Little Act" by Anderson and Billy Philadelphia (a tune that will delight any cabaret performer with its biting sarcasm) to the inspired and totally unstarchy "Potato" by Cheryl Wheeler, Anderson exhibited a freewheeling comic sensibility.