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Bottom's Up DTM 2016


Nancy 60s Show Redo


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Cherry A La Mode 2016


Ruby Rims DTM 2016

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Bottom's Up Blue Dog 2016

Marta Sanders Follow Me Text



Timpanaro Sings Sinatra DTMNYC

See Nancy preview her show by clicking here:
Nancy Timpanaro-Hogan Opens For Shawn Moninger, The Metropolitan Room, 12/30/2015

Susan Hasho from theaterpizzazz.com wrote:

“The opening act for Shawn was
Nancy Timpanaro-Hogan and you couldn’t ask for more.
She is a performer of great presence and humor with a perfectly honed talent for connection–
musically and audaciously with her audience. Her Sinatra medley was a knockout, and by the way,
previewed her upcoming Sinatra show in March at Don’t Tell Mama.”




Kelly Briggs Story Song Media 2015

TeddyCares 2014


Saucy Gal 54 Below


Lovely Mama's 2014


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LOVE AND OTHER FABLES in the FWD Theater Project Concert in Chicago:

The Chicago Sun-Times: [Love and Other Fables] “shows every sign of becoming a surprise hot property.
The three songs sampled certainly win my prize for the most astonishing,
whip-smart lyrics, with one rapid fire rhyming line after another...”

The Chicago Tribune: “... the selections from "Love and Other Fables" had the venue howling with laughter.”

Times Square Chronicles: [Love and Other Fables] “had the audience in hysterics and
me definitely wanting more. Very promising show indeed."



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TWENTY FIVE years ago on April 7th, Karen Miller. Rochelle Seldin and Erv Raible opened
the greatest CABARET/PIANO BAR in the world.
On April 7, 2013 at 5pm we celebrated that club and, in a way, an era,
with
REMEMBERING EIGHTY EIGHTS - A TWENTY FIVE YEAR REUNION
at The Judson Memorial Church in NYC.

REMEMBERING EIGHTY-EIGHT'S 25 YEARS
1. Ruby Rims - Those Were The Days (John McMahon on piano)
2. Rochelle Seldin - Bouncing Back (John McMahon on piano)
3. Luis Villabon - Use What You Got (Fred Barton on piano)
4. Phyllis Pastore - Shirley Bassey Medley, No. 2
(John McMahon on piano)
5. Michael McAssey- In Passing Years (John McMahon on piano)
6, Elena Bennett - You're Following Me (Fred Barton on piano)
7. Fred Barton - Pour Me A Man
8. Kelly Wohlford - Pretending To Care (John McMahon on piano)
9. John McMahon - Blame It On Sandy
10. Leslie Anderson - These Boots Were Made For Walking (John McMahon on piano)
11. Joel Silberman - Voters Prayer
12. Angela LaGreca, Leslie Fogelsong and Lenny Babbish on piano - Denial
13. “Stormin’” Norman Seldin - Looking For An Angel (With A Broken Wing)
14. Gentry Claussen - Stuck On You (John McMahon on piano)
15. Jay Rogers - Angels, Punks and Raging Queens (John McMahon on piano)
16. Babe Robinson - Disco Medley (Bobby Peaco on piano)
17. Helen Baldassare - Aunt Mary's Banquet (Bobby Peaco on piano)
18. Lina Koutrakos - My Favorite Year (Bobby Peaco on piano)
19. Rochelle Seldin - Never-Never Land (John McMahon on piano)
20. Ruby Rims - I’ll Be Seeing You (John McMahon on piano)
21. Full Company - All That Jazz (John McMahon on piano)



martasanders

Rob Lester of TheaterMania:

“I’ve been wanting to spread the news flash about Panache, the spiffy and spunky album by the splendid Marta Sanders,
but had to wait until it was available online. The time has finally come this month, as she returned to perform again
at the Laurie Beechman Theatre. Marta is a pip. She's an old-school musical comedy belter who can deliver socko sarcasm,
super-silliness, and genuine warmth. Her enjoyable prior album focused on Spanish-language selections and was earthy and rich,
but didn't show the many colors of her madcap and mercurial sidesor the out-and-out broad goofy glee she can bring to a story-song
about eyeing a "Hunk on the Bus," which begins with her admitting to drooling over a stud-muffin and builds to an absurd, over-the-top ending.
Another bus ride is a serious one—"The Bus from Amarillo" (The Best Little Whorehouse in Texas by Carol Hall).
It's filled with regrets of thwarted ambition trumped by insecurity and the burdens of wondering what might have been
and the self-scolding are palpable. Also in that vein—but even more searing because the wound feels more raw and fresh
—is Mame's classic "If He Walked Into My Life." It becomes a strong entry as a case of rue and self-recrimination,
and all the more gut-wrenching by Marta's making it less about wailing while riding the train of self-pity
and more about slowly, reflectively reeling from realizations and being pained by one's too-little-too-late awareness.

"On a Clear Day You Can See Forever" brings encouraging insight and then she jumps into a spot-on embrace of the sardonic point of view
and joie de vivre in "But Alive" from Applause. (Her bubbliness and wink at weariness is captured in her sharp delivery of lines like
"younger than springtime and older than Moses, but alive.") The old ode to appreciation of Nature and life's joys,
"What a Wonderful World," which can be unspeakably treacly in others' hands,
but survives here to be believably sincere and simple. And, oh, this gal can be brash and boisterous pulling out all the stops when she so chooses.
She has a ball singing the dubious praises of "Warsaw" as a romantically idyllic spot
("Warsaw/ I never foresaw/ How much I'd miss you/ Enchanted city by the lovely Wisla River").

Especially delicious is Panache's title song (bemoaning the current day's lack of flair) and the number that's become her theme song,
"Been Around the Block." The latter's older-but-wiser/wise-ass mix of self-confidence and self-deprecation
("I recognize my cue/ I know the score/ I've been there, done it, seen it all/ Wrote the whole damn book/
I've no regrets, I mean it all/ I'm smarter than I look ...")

Best of all, this material fits her like a custom-fit, well-crafted glove. Such very special material is fashioned by longtime colleagues,
the top musical theatre/cabaret team of lyricist Jay Jeffries and composer/pianist/musical director John McMahon.
It's polished and smart and delivered with gusto. Some vibrato and powerhouse wailing (here and elsewhere)
add to the impact of a gutsy gal who stakes her claim to attitude and songs.

Marta Sanders is a queen of clowning. And when a clown can unexpectedly break your heart by dropping the shenanigans
to be real and tender, it's potent. There's pizzazzy panache throughout Panache.”

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I’ve also performed my One Man Show
“WHY DO YOU HAVE TO SAY THAT?”
throughout the Northeast.

It all started as a fund-raiser for
The Gateway Playhouse of Somers Point, NJ,
where I was asked to replace Terri White who was going to perform
FINIAN’S RAINBOW on Broadway.

Kelly Briggs said, “Let’s just do a piano bar night. You’ll play, I’ll sing, we’ll do sing-alongs.”
It’d been so long since I’d done piano bar, I thought,
“I’d better map out something, so I’m not sitting there with egg on my face.”

In the process of constructing a running order,
I’d inadvertently created an act and called Kelly, saying,
“I think I have a show. Let me try it and you tell me what it is.”

Well, it was a smash hit and Mr. Brigg’s been booking me here and there ever since.

Shockingly, that first fateful night, a local critic was there and, thankfully, he liked it:


Gateway Review