Hugh Laurie’s sold-out show Tuesday night at the Riviera Theatre was a hoot, certainly one of the most entertaining shows of the summer.
It all began with the musicians scurrying for their spots on the stage while the house lights were down. When the lights finally kicked on, everybody was there … everybody but Laurie.
The Riviera Theatre has one of those glorious old Wurlitzer theater organs, one that has been refurbished to a “T” and that can rise from floor level to the stage while being played. Laurie – dressed in tux, tails, and a ruffled pink shirt – took advantage of the possibilities inherent in that option and rode the organ bench up to the stage while playing Johann Sebastian Bach’s “Tocatta” in D minor (aka the “Phantom of the Opera” toccata) on the keyboard.
It was a sonically impressive and visually stunning way to open the show.
It got even better.
Laurie’s musical aspirations take inspiration from blues and jazz – the older, the better. His set list reflected an infatuation with New Orleans-based masters like “Jellyroll” Morton (“Buddy Bolden’s Blues” and “Whinin’ Boy Blues”), Professor Longhair (“Tipitina”), Louis Armstrong (“Dear Old Southland”) and James Booker (“Let Them Talk”), but it also went up the river through Mississippi with Robert Johnson’s “They’re Red Hot” and Leadbelly’s “You Don’t Know My Mind,” and on to Chicago for a rockin’ riff on “Mellow Down Easy.”
There was a gospel tune (“Joshua Fit the Battle of Jericho”), a Stephen Foster classic (“Old Folks At Home,” aka “Swanee River”), an early country masterpiece by Jimmie Rodgers (“Waiting For a Train”) and stuff from the public domain, including “St. James Infirmary” and “John Henry.”
Laurie, star of TV’s “House” was front and center most of the time, acting as a master of ceremonies, telling jokes, playing piano and singing, but he was more than willing to acknowledge the impressive skills brought to the music by his fellow musicians, the Copper Bottom Band.
Each of the players got their due – solo spots that showcased their abilities. Reed player Vincent Henry was particularly impressive in his instrumental duet with Laurie on “Dear Old Southland,” displaying a subtle power with the soprano saxophone while backup singer extraordinaire Jean McClain got to sing lead on “John Henry,” with Laurie contributing background vocals.
Make no mistake, the star of the show was Laurie, who had the audience rocking by the end of the evening. They were standing on their feet, dancing in place and waving their hands in the air as the two-hour set closed with a rousing take on “Green, Green Rocky Road.” Even some of the ushers, those folks who are supposed to be emotionally removed from the proceedings, gave in to the urge to boogie.