top of page

Sally Mayes: Now and Then: Jazz Standard Time

Sally Mayes. Photo by Carol Rosegg.

The ideal marriage of vocal chops, acting prowess, and sizzling stage presence, watching Sally Mayes take the stage is the ultimate primer on stagecraft. In a world where too often we expect our artists to be only one thing, Mayes is many - a Tony Award-nominated actor, writer, director, and singer at home in innumerable genres. Jazz, pop, musical theatre, country and folk all sit comfortably in her wheelhouse. Indeed, the show at Green Room 42 is the second in a series of four evenings devoted to different aspects of her professional life.

Mayes knows when to lay back into a tune and when to swing hard. Her diction is the best in the business. Her musicianship is matched by her deep understanding of the emotional terrain of every song, never sacrificing one element for the other but skillfully blending them into a harmonious whole. She can imbue a single word with an entire story.

The band, led by pianist Ted Firth with Tom Hubbard on bass, is her able partner in bringing arrangements by Firth, Tex Arnold, Patrick Brady, Mike Renzi and others to vivid life. It is evident from the moment the lights come up that they are having the time of their lives.

In such talented hands, there were many standout moments, starting with her opener, “Cloudburst,” with lyrics by Jon Hendricks and music by Leroy Kirkland and Jimmy Harris, arranged by Patrick Brady. Mayes tears into the tune with expert glee, setting our expectations high for what is to come. And she delivers! “New Song,” which Mayes co-wrote with the late Tex Arnold, is a riot of adept wordplay and jazz harmonies. “Angel Eyes” (music by Matt Dennis, lyrics by Earl Brent, arranged by Jeff Klitz) is a profoundly affecting musical monologue. Mike Renzi’s arrangement of “April Snow” and “April Fooled Me” (Jerome Kern/Dorothy Fields) from her Dorothy Fields album is a moment of sheer lusciousness.

There are two remaining shows: “Now & Then—The Stories” on May 16th, which will focus on story songs, and the final outing on June 20, “Now & Then—The Great Big Huge Broadway,” which will be devoted to her favorite musical theatre tunes.

I strongly urge you to buy your tickets now, as they are sure to sell out. This is a show not to be missed.

"Sally Hayes: Now and Then: Jazz Standard Time"

Performed by Sally Hayes

Music Director Ted Firth

February 21, May 16 , June 20, 2024

The Green Room 42 (570 Tenth Avenue, NYC)


Wendy Lane Bailey has a powerful classic pop voice and a rather cavalier attitude towards the idea of genre. Wendy-Lane’s debut solo recording, Breathing, was produced by composer/arranger/pianist Michele Brourman. Her performances in venues across the country have earned critical praise for versatility and sophistication. She has appeared as a guest artist on multiple recordings, including Leslie Gore’s and Susan Egan’s. She studied at the American Academy of Dramatic Arts, HB Studios and the Eugene O’Neill Theatre Center. Off-stage Wendy Lane is a creative advocate for artists. While living in Washington, D.C., she founded a regional networking organization for musicians and for five years, was the Associate Director of the Cabaret Conference at Yale University. She received a 2007 Bistro Award for outstanding achievement and was nominated for a Washington Area Music Association Award. While serving on the board of NJ’s Pioneer productions, she produced, directed, and appeared in several theatre pieces. She is currently developing Hot Coffee, MS, a solo theatre piece with music in collaboration with Michele Brourman & Gretchen Cryer. In 2020, she accepted the position of Assistant Artistic Director of the United Solo Theatre Festival. In addition to her performing work, she teaches and consults privately and in master classes for singers of all genres.


bottom of page