Lucy Shropshire
Charlotte, NC | Established. Jan 01, 2012 | SELF
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Lucy Shropshire: All Sides of Love
by David Finkle
July 22, 2008
The best female singing in a room — any room — so far this annum? Okay, make that the best singing this side of Marilyn Maye. It happened in the same Metropolitan Room where Maye now reigns every couple of months. And it came from Lucy Shropshire, who spends some of her time backing none other than that most supreme Supreme, Mary Wilson. (That's Mary to you.) Furthermore, Shropshire, who only made two appearances in her show All Sides of Love, accomplished her enviable feat after opening off-puttingly with a version of "I Believe in Love" (Kenny Loggins-Alan Bergman-Marilyn Bergman) that was mostly a fast-paced parade of vowels shorn of their accompanying consonants.
Shropshire (who Americanizes the surname as "Shrop-shy-er") has a voice of many octaves and styles — and melismas she takes care not to overuse. She can sing in jazz, pop, and musical comedy styles, depending on her mood and the songs she chooses. She's always on pitch no matter what range she rises or drops to. And once she had that misbegotten kickoff ditty behind her, she always kept the lyrics she was delivering a top priority. Indeed, the zaftig singer with the elaborate coiffeur placed the Fred Ebb-John Kander "Yes" in her second slot and gave those many yeses varied readings, from whispered to trumpeted.
From then on it was consistent sailing through thoughtful, emotional, light- or heavy-hearted takes on everything to which she devoted her considerable attention. She was fervent on David Friedman's "Listen to My Heart," which heretofore has all but exclusively belonged to Nancy LaMott. By the way, Shropshire got rhapsodic during this one, as did her not-an-inch-short-of-brilliant musical director-pianist, David Shenton. His overall contribution to the set can't be underestimated. Obviously well-trained in classical music, he can switch from that idiom to jazz to pop on the turn of a chord. (Bassist Mark Wade was no slouch either when he got his music-breaks opportunities.)
Shropshire put together an imaginative medley of "Love Makes the World Go 'Round" (Bob Merrill), "Married" (Ebb-Kander), "You Can Have the TV" (Craig Carnelia), and "I Am Changing" (Tom Eyen-Henry Krieger) in order to give the shorthand depiction of a love affair gone wrong and the recovery from it. The clever lady even sang the Merrill ditty in a little girl voice to underline the first-love naiveté; she then jettisoned it as she wised up through the later inclusions. Another chart-topping number that got a creative overhaul was "What the World Needs Now" (Hal David-Burt Bacharach). She delved into her three-times-divorced self for a braiding of "A House Is Not a Home" (David-Bacharach) and "Fifty Percent" (Alan Bergman-Marilyn Bergman-Billy Goldenberg). She proved — as if proof is needed — that William Finn's "Anytime (I Am There)," written about a dying woman's legacy to her family, is one for the ages.
Shropshire closes (well, before an encore) with "I Had a Ball" (Stan Freeman-Jack Lawrence), the all-over-the-place title song for the short-lived 1964 tuner. Swinging this one as if she had a bell, she did have a vowels-with-consonants ball. So did the lucky patrons. The gal deserves many more Maye-like signings. Say yes to her.
Presented by and at the Metropolitan Room, 34 W. 22nd St., NYC. Tue., July 15, and Sun., July 20.
- Backstage
Lucy Shropshire: All Sides of Love
by David Finkle
July 22, 2008
The best female singing in a room — any room — so far this annum? Okay, make that the best singing this side of Marilyn Maye. It happened in the same Metropolitan Room where Maye now reigns every couple of months. And it came from Lucy Shropshire, who spends some of her time backing none other than that most supreme Supreme, Mary Wilson. (That's Mary to you.) Furthermore, Shropshire, who only made two appearances in her show All Sides of Love, accomplished her enviable feat after opening off-puttingly with a version of "I Believe in Love" (Kenny Loggins-Alan Bergman-Marilyn Bergman) that was mostly a fast-paced parade of vowels shorn of their accompanying consonants.
Shropshire (who Americanizes the surname as "Shrop-shy-er") has a voice of many octaves and styles — and melismas she takes care not to overuse. She can sing in jazz, pop, and musical comedy styles, depending on her mood and the songs she chooses. She's always on pitch no matter what range she rises or drops to. And once she had that misbegotten kickoff ditty behind her, she always kept the lyrics she was delivering a top priority. Indeed, the zaftig singer with the elaborate coiffeur placed the Fred Ebb-John Kander "Yes" in her second slot and gave those many yeses varied readings, from whispered to trumpeted.
From then on it was consistent sailing through thoughtful, emotional, light- or heavy-hearted takes on everything to which she devoted her considerable attention. She was fervent on David Friedman's "Listen to My Heart," which heretofore has all but exclusively belonged to Nancy LaMott. By the way, Shropshire got rhapsodic during this one, as did her not-an-inch-short-of-brilliant musical director-pianist, David Shenton. His overall contribution to the set can't be underestimated. Obviously well-trained in classical music, he can switch from that idiom to jazz to pop on the turn of a chord. (Bassist Mark Wade was no slouch either when he got his music-breaks opportunities.)
Shropshire put together an imaginative medley of "Love Makes the World Go 'Round" (Bob Merrill), "Married" (Ebb-Kander), "You Can Have the TV" (Craig Carnelia), and "I Am Changing" (Tom Eyen-Henry Krieger) in order to give the shorthand depiction of a love affair gone wrong and the recovery from it. The clever lady even sang the Merrill ditty in a little girl voice to underline the first-love naiveté; she then jettisoned it as she wised up through the later inclusions. Another chart-topping number that got a creative overhaul was "What the World Needs Now" (Hal David-Burt Bacharach). She delved into her three-times-divorced self for a braiding of "A House Is Not a Home" (David-Bacharach) and "Fifty Percent" (Alan Bergman-Marilyn Bergman-Billy Goldenberg). She proved — as if proof is needed — that William Finn's "Anytime (I Am There)," written about a dying woman's legacy to her family, is one for the ages.
Shropshire closes (well, before an encore) with "I Had a Ball" (Stan Freeman-Jack Lawrence), the all-over-the-place title song for the short-lived 1964 tuner. Swinging this one as if she had a bell, she did have a vowels-with-consonants ball. So did the lucky patrons. The gal deserves many more Maye-like signings. Say yes to her.
Presented by and at the Metropolitan Room, 34 W. 22nd St., NYC. Tue., July 15, and Sun., July 20.
- Backstage
Lucy Shropshire
A A A Comments (0) By David Finkle Wednesday, Apr 8 2009
More About
David ShentonShe sings so devilishly sweet and hot, it’s almost a venial sin. The standards are what she concentrates on, and it’s no wonder someone this accomplished is also turned to for vocal coaching by other singers. That’s what they call a singer’s singer. David Shenton, another powerhouse, is at the ivories.
Wed., April 15, 7:30 p.m., 2009
- Village Voice
Lucy Shropshire
A A A Comments (0) By David Finkle Wednesday, Apr 8 2009
More About
David ShentonShe sings so devilishly sweet and hot, it’s almost a venial sin. The standards are what she concentrates on, and it’s no wonder someone this accomplished is also turned to for vocal coaching by other singers. That’s what they call a singer’s singer. David Shenton, another powerhouse, is at the ivories.
Wed., April 15, 7:30 p.m., 2009
- Village Voice
Review: 'Ain't Misbehavin''
by Gretchen C. Van Benthuysen
Oct 16, 2006
The revue Ain't Misbehavin' requires an ensemble cast of highly motivated and talented actors with 1,000-watt smiles to be successful. And that is what the Two River Theater Company has in its season opener.
Based on the music of Fats Waller, and with direction by Saundra McClain and choreography by Byron Easley, the two-hour evening easily slides by with delightful performances from Lucy Shropshire, Kathleen Murphy Jackson, Charles E. Wallace, James Alexander, and Rebecca E. Covington. Conductor-pianist Ronald Metcalf, apparently playing without sheet music, led the cast faultlessly through the show, which was originally conceived and directed on Broadway by Richard Maltby, Jr., where it won the 1978 Tony for best musical.
There are, one should note, real distinctions between Maltby's direction and McClain's. Rather than a more or less direct presentation of the songs, as Maltby had it, McClain anchors the show with a scrapbook. We see Covington, playing a character named Charlaine (after the original actor in the role, Charlaine Woodard), stumbling into a deserted nightclub where she discovers a scrapbook and where the ghosts of singers and musicians from the past come alive to relive a night of Waller's music. Charlaine is included in the revelry and in the end is sent back into the cold night with both the scrapbook as well as warm memories of a musician who wrote songs for Tin Pan Alley ("Two Sleepy People," "Mean To Me," "It's a Sin to Tell a Lie") as readily as for Harlem ("Your Feet's Too Big," "The Reefer Song").
The introduction of the scrapbook, however, raises the question of why it isn't used more fully to explain Waller's groundbreaking contribution to American music.
Ain't Misbehavin' runs Sept. 27-Oct. 22 at the Two River Theater Company, 21 Bridge Ave., Red Bank, N.J. Tickets: (732) 345-1400. Website: http://www.trtc.org/.
- Backstage
Review: 'Ain't Misbehavin''
by Gretchen C. Van Benthuysen
Oct 16, 2006
The revue Ain't Misbehavin' requires an ensemble cast of highly motivated and talented actors with 1,000-watt smiles to be successful. And that is what the Two River Theater Company has in its season opener.
Based on the music of Fats Waller, and with direction by Saundra McClain and choreography by Byron Easley, the two-hour evening easily slides by with delightful performances from Lucy Shropshire, Kathleen Murphy Jackson, Charles E. Wallace, James Alexander, and Rebecca E. Covington. Conductor-pianist Ronald Metcalf, apparently playing without sheet music, led the cast faultlessly through the show, which was originally conceived and directed on Broadway by Richard Maltby, Jr., where it won the 1978 Tony for best musical.
There are, one should note, real distinctions between Maltby's direction and McClain's. Rather than a more or less direct presentation of the songs, as Maltby had it, McClain anchors the show with a scrapbook. We see Covington, playing a character named Charlaine (after the original actor in the role, Charlaine Woodard), stumbling into a deserted nightclub where she discovers a scrapbook and where the ghosts of singers and musicians from the past come alive to relive a night of Waller's music. Charlaine is included in the revelry and in the end is sent back into the cold night with both the scrapbook as well as warm memories of a musician who wrote songs for Tin Pan Alley ("Two Sleepy People," "Mean To Me," "It's a Sin to Tell a Lie") as readily as for Harlem ("Your Feet's Too Big," "The Reefer Song").
The introduction of the scrapbook, however, raises the question of why it isn't used more fully to explain Waller's groundbreaking contribution to American music.
Ain't Misbehavin' runs Sept. 27-Oct. 22 at the Two River Theater Company, 21 Bridge Ave., Red Bank, N.J. Tickets: (732) 345-1400. Website: http://www.trtc.org/.
- Backstage
In All Sides of Love,
Lucy Shropshire celebrated its many kinds, among them not only that between lovers and spouses, but also between pets and their owners, even singers and their accompanists. And, very important, love for oneself. The songs vary from the very familiar, “Love Makes the World Go Round,” to the less so, “I Had to Hear Your Voice,” and in her encore, Shropshire embraced the entire world with her toast, “Here’s To Life.”
Lucy Shropshire is a big woman with an even bigger, beautiful soprano voice. The words that may best describe her are powerful and intense. Possessed of verve and energy, her face, her hands, her body, are in constant motion and each phrase seems imbued with passion. But the Metropolitan Room, although larger than some other venues, is—compared to a theater or concert hall—small. Lucy’s personality and voice not only fills it but seems to expand to break through its walls. She should probably reign herself in for a cabaret room, as, interestingly, she shows she can in some of her jazz numbers, such as “What the World Needs Now,” where she restrains herself, letting rhythm and her musicians come to the fore. Other times, she begins somewhat muted but ends with perhaps too much volume. She is a belter and seems at times unable to resist letting it rip. The result is sometimes a sense of her overacting as she interprets her lyrics, her mobile face seemingly unable to remain still. During “Listen to My Heart,” I closed my eyes and let her voice alone convey emotions, thinking, as it soared with emotion, “I’d love to hear this on a CD.”
This powerhouse, however, delivers a very good show. She allowed her pianist David Shenton and her bassist Mark Wade a solo, and Shenton played a very affective violin at one point during which Shropshire took over at the keys. The show was directed by Jim Semmelman.
Lucy returns to the Metropolitan Room July 20 at 7 pm.
Barbara Leavy
Cabaret Scenes
July 15, 2008
http://www.cabaretscenes.org/
- Cabaret Scenes
In All Sides of Love,
Lucy Shropshire celebrated its many kinds, among them not only that between lovers and spouses, but also between pets and their owners, even singers and their accompanists. And, very important, love for oneself. The songs vary from the very familiar, “Love Makes the World Go Round,” to the less so, “I Had to Hear Your Voice,” and in her encore, Shropshire embraced the entire world with her toast, “Here’s To Life.”
Lucy Shropshire is a big woman with an even bigger, beautiful soprano voice. The words that may best describe her are powerful and intense. Possessed of verve and energy, her face, her hands, her body, are in constant motion and each phrase seems imbued with passion. But the Metropolitan Room, although larger than some other venues, is—compared to a theater or concert hall—small. Lucy’s personality and voice not only fills it but seems to expand to break through its walls. She should probably reign herself in for a cabaret room, as, interestingly, she shows she can in some of her jazz numbers, such as “What the World Needs Now,” where she restrains herself, letting rhythm and her musicians come to the fore. Other times, she begins somewhat muted but ends with perhaps too much volume. She is a belter and seems at times unable to resist letting it rip. The result is sometimes a sense of her overacting as she interprets her lyrics, her mobile face seemingly unable to remain still. During “Listen to My Heart,” I closed my eyes and let her voice alone convey emotions, thinking, as it soared with emotion, “I’d love to hear this on a CD.”
This powerhouse, however, delivers a very good show. She allowed her pianist David Shenton and her bassist Mark Wade a solo, and Shenton played a very affective violin at one point during which Shropshire took over at the keys. The show was directed by Jim Semmelman.
Lucy returns to the Metropolitan Room July 20 at 7 pm.
Barbara Leavy
Cabaret Scenes
July 15, 2008
http://www.cabaretscenes.org/
- Cabaret Scenes
Discography
"Til Then" 2016 M. Crutcher Studio Las Vegas, Nevada
"Stay With Me" 2016 M. Crutcher Studio Las Vegas, Nevada
"JazzyMe!" 2005 Sweetwater Sound Fort Wayne, Indiana
"This is Faith" 1997 Sunsong Studios Las Vegas, Nevada
Photos
Bio
Once in a great while, an entertainer comes along with such fine vocal abilities and stage presence, she literally brings the house to tears. Singer/songwriter/actor/producer Lucy Shropshire is that kind of performer. Like many fine singers, Lucy's musical roots were nurtured in church singing gospel. She also played piano and organ for her church choirs. After studying music and voice at the University of North Carolina at Chapel, Lucy performed in venues along the east coast forming numerous bands and musical organizations.
In 1981 Lucy moved to the west coast performing in major performance venues in Reno, Nevada and surrounding areas. Spreading her artistic wings, Lucy sang with a host of celebrities including jazz great Dizzy Gillespie, eventually winning the RENO AREA MUSIC AWARD in 1985 for "Best Jazz Vocalist".
It was 1986 while on the island of Bermuda that Lucy wrote, produced and recorded a stirring musical composition called "Come Together World". The song became the United Nations Song of Peace for 1986 winning first place in the UNITED NATIONS YEAR OF PEACE SONGWRITING CONTEST, beating out 40 other entries from 12 countries.
In 1988 Lucy moved back to the U.S. after an amazing stay on the island of Bermuda. This time she moved to Las Vegas where she performed in major showrooms including showrooms at "The Sands"and "The Stardust", where Lucy played the lead in "Enter The Night". She also played showrooms at The Golden Nugget and The MGM Grand. In 1996 thru 1998 Lucy performed nightly and was the vocal coach for the cast of 70 in "EFX" starring David Cassidy. Lucy was vocal coach for David Cassidy and his brother Patrick Cassidy during her stay at the MGM Grand.
In 1999 while at the Golden Nugget Lucy recorded a duet with Clint Holmes, taken from his off Broadway musical "Comfortable Shoes". Her work with Holmes was met with rave reviews as she performed nightly with the Holmes Show.
In 2001 Lucy performed with Mary Wilson of the original "Supremes" as the soubrette in the Grammy nominated Broadway musical "Sophisticated Ladies" featuring The Duke Ellington Orchestra and continues to perform with Mary Wilson in her rock Shows, jazz Shows, symphony events and touring performances. Lucy moved to New York in 2004 where she worked with acclaimed director Kenny Leon in a reading of "Don't Bother Me I Can't Cope". In 2006 Garnered a principle role in the Tony Award winning Broadway musical "Ain't Misbehavin'" as "Armelia" and performs 3 cabaret acts in the New York Metro area. Since 2007 performing in the New York cabaret circuit has proven to be a game-changer for this songtress' career earning acclaim and momentum in her quest to "touch a heart in a positive way". Her cabaret perfomances have been in New York at "Feinstein's at Leows Regency", "Don't Tell Mama", "Metropolitan Jazz Club" and "LaRavista".
Since 2009 and beyond, Lucy continues earn her "street creds" as a songwriter and a voice coach having one of her compositions published in the "Brilliant Star" children's magazine entitled "Youth Can Move the World" and in 2012 being added to the list of acclaimed vocal coaches for "the Broadway Theater Project" that is world renown for helping develop some of the worlds most notable talent.
Over the years, Lucy has been acknowledged as one of the most formidable artist of our time receiving accolades from columnist and published writers. In the words of Daryl H. Miller of the Los Angeles Times: Feb. 2, 2002, pg. F.5 "Lucy displays one of those rich, honeyed voices that comes from somewhere so deep inside that it seems to be rising from all the way down in her toes". Lucy's star continues to rise as seen in all of her abilities. With more than a three octave vocal range, Lucy's experience in production, writing and in performance, all come together to show the skill of a true perfectionist. Being compared to such great vocalists as Sarah Vaughan, Aretha Franklin, and yes Barbra Streisand, Lucy has her own unique style and presence. Offering something fresh, new and always exciting. Lucy Shropshire is a music lovers delight and an experience not to be missed.
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