Managing and Artistic Director Shannon Forsell was showcased in this article by David Hoppe from Nuvo in January 2011.
Jane Monheit, the Grammy-nominated jazz diva, played the Cabaret at downtown’s Columbia Club last September. During a break between sets, Shannon Forsell, the Cabaret’s Artistic Director, took the stage to make a few announcements.
The high-ceilinged room, which holds 125, was packed. Monheit’s performance, as technically sublime as it was emotionally robust, had lit up the place.
Forsell was beaming as she stood in front of the towering curtain that served as backdrop for Monheit’s first set. “Isn’t this room beautiful?’ she asked.
Forsell was actually stating a fact. The Columbia Club was built on the Circle in 1925 in the grand, handcrafted style that might make you wonder whether its founders – the state’s Republican leaders at that time – were republicans at heart or royalists.
But never mind. On this night, patrons in the Cabaret, whatever their political persuasion, were happily partaking of the magical feeling that used to be known as “class.” When Forsell said that she felt like Cary Grant could walk into the room, we all knew exactly what she meant.
Then Forsell added an exclamation point to her presentation. Her assistants drew aside that enormous curtain, revealing the vertical thrust of the Soldiers and Sailors Monument, glowing through a leaded glass window from the Circle across the street.
If anyone had doubted it before, they didn’t now: The Cabaret at the Columbia Club is one unforgettable room.
Bloom where you’re planted
How the Cabaret came to take up public residence at this once private preserve is one of the Indianapolis arts scene’s great success stories. Just two years ago, in its original incarnation as the American Cabaret Theatre, the performing arts organization had all but imploded. Without a home and deeply in debt, in the midst of the greatest American economic meltdown since 1929, the enterprise’s future seemed bleak.
That it was able to turn the situation around and successfully reinvent itself in so short a time shows what can happen when a singular, highly focused idea is given a chance to find its niche. In the case of the Cabaret, that idea found expression through Shannon Forsell.
“Bloom where you’re planted,” is one of Forsell’s favorite sayings. She grew up in Indianapolis, the daughter of a dancer (her mother) and a scientist (her dad). Her first years were spent in Broad Ripple, at the corner of 51st and Broadway. Forsell’s parents moved to Noblesville when it was time for her to go to high school.
This was in the ’80s, the era that inspired the hit show Glee. Forsell participated in swing choir, although she’s quick to say, “We were not singing like the kids on Glee, I can tell you that! Nobody sounded like that when I was in high school.”
It was there that she met teacher Lynn Lupold. Lupold introduced her to cabaret singing and, when Forsell was a senior, helped produce her first cabaret show, a performance they called “Shannon On Her Own,” a collection of show tunes and popular songs of the time.
Lupold offered Forsell the strongest encouragement a young performer can get: “She said, ‘You should think about doing this for your livelihood,’” recalls Forsell. It was the beginning of a friendship and creative collaboration that continues to this day.
At that time, Forsell was listening to the likes of Barbra Streisand, Billie Holiday and Peggy Lee. “I’ve always been in the wrong generation,” she says.
Forsell studied music at DePauw University. But she bridled at the school’s heavy emphasis on classical training. “I always felt like I didn’t fit in the scene,” she says. “I could do it and I could learn it, but I wanted the other side of it, too. If you were better suited to jazz or popular music or musical theater – which is what I wanted to do – there were so few opportunities for learning in that style.”
When Forsell graduated from DePauw, she felt the need to relearn how to sing the music she loved the most. “When you learn classical singing, you learn to sing exactly the way it’s written. But with cabaret or jazz, all that’s out the window because if you sing it exactly as it’s written it is the squarest thing ever. You have to learn intuitive singing.”
Learning to sing popular forms of music also had a different physical dimension. Forsell credits local voice teacher Jeannie Logan with teaching her the fundamentals of vocal technique. “A person who sings soprano uses the voice in different ways. It’s a different placement of how you use your instrument and where you place your power. If you don’t learn how to do it right, you can damage your voice because you’re using your throat instead of having everything open.”
Forsell discovered that some things that had appeared to be drawbacks in her classical training could work to her advantage in other musical forms. “I don’t read music that well,” she says. “I’m kind of slow at it. In some ways that was good because I had to learn by ear. You phrase things differently and do things as a story, rather than as a song.”
It was that storytelling aspect of singing that attracted Forsell to certain singers and types of material. “I’m a person that wants to listen to things that have a soul to them. I’m drawn to the stories of people living their lives. What I love about cabaret is that it doesn’t fit a particular category. It’s not just musical theater or just jazz, or folk – but it could be all those things. The commonality is that cabaret artists have something to say that you listen to. You are engaged in what is almost a conversation, as opposed to a passive engagement with a performer.”
Forsell had the good fortune to graduate from DePauw at almost the same time that Claude McNeal was starting the American Cabaret Theatre at the Athenaeum in downtown Indianapolis.
A cabaret pioneer, McNeal arrived in Indianapolis from New York with his own highly developed approach to cabaret performance. McNeal created what amounted to original revues that assembled a variety of musical styles around different topical themes. It was a style well suited to the Athenaeum’s large performance space.
Almost immediately, the American Cabaret Theatre accomplished two things: it gave the Athenaeum — an historic building that had fallen into disrepair — a new lease on life, and provided young performers like Forsell with steady work – a rare opportunity in Indianapolis.
“We were blessed to have a place where we were working all the time,” says Forsell. We were a core group, so we had to do it and do it well and learn what it meant to do it well.”
Working in the Athenaeum’s theater was a learning experience itself. Cabaret is typically an intimate kind of experience, where a premium is placed on the close proximity between artists and audience members. The Athenaeum’s layout made this almost impossible. “That space taught me to be bigger than life,” says Forsell. “At the same time, how to connect with the audience – not looking out toward them, but at them.”
Ultimately, the ten years Forsell spent performing as part of the ACT company served as her gateway to cabaret itself.
“I can honestly say [ACT] is where I grew my love for cabaret and began to understand what it was,” she says. “It was a wonderful place to learn the craft.”
That craft has its origins in 19th-century Paris. The first cabaret, Le Chat Noir, was located in Montmartre and offered musicians and poets a chance to perform in a casual atmosphere where people felt free to eat and drink. Over time, cabaret evolved a number of forms, including comedy, burlesque and sociopolitical satire.
In the United States, speakeasies offered a jazz-inflected version of cabaret. New York City nightclubs like the Oak Room at the Algonquin Hotel, the CafÃ© Carlyle and Feinstein’s – the club at the Loews Regency founded by Michael Feinstein, now the Artistic Director at Carmel’s Center for the Performing Arts – feature singers associated with music from what’s known as The Great American Songbook.
Cabaret, says Forsell, “is a cross between a nightclub and a theatrical experience. It’s about being authentic, as opposed to being someone else. The older you get, the easier that is, in some ways. That’s another reason I like the artform: you don’t have to be an ingÃ©nue. In fact, being an ingÃ©nue is harder because you may not have as many experiences to build upon.”
According to Forsell, cabaret is a theater of self-exposure, where there is nothing between the artist and audience. “It’s not about a set. It’s not about a costume. There is nothing there to either help or distract from you, the performer. So you better be able to captivate the crowd.”
The best cabaret artists, she says, have stories to tell. “There will be a song you’ve heard a million times. The cabaret artist’s job is to make you hear it for the first time. They’ll use it in a story or connect to something you’ve never seen before.”
Forsell believes the intimacy afforded by cabaret performance is an experience that many people are hungry for. “For a while, pop music was all flash,” she says, “but we’re finding that people are coming back to a more intimate take on life that allows them to bring it down and be drawn in, instead of having things coming at them.”
Forsell was handling marketing and public relations with Keep Indianapolis Beautiful when she was approached by the American Cabaret Theatre to return to the organization as its Artistic Director at the end of 2008.
The company was in crisis.
Following Claude McNeal’s retirement in 2006, ACT had experienced what Forsell calls “a perfect storm.” Not only had the ACT suffered an identity crisis in the wake of McNeal’s departure, trying to figure out what kinds of shows it should be presenting, but the cost of rent in the Athenaeum had become prohibitive, audience numbers were running about a third of venue capacity and, to top things off, the national economy was in free fall. ACT was carrying debt amounting to $350,000.
“The first year was total crisis,” recalls Forsell. “Three hundred and fifty thousand dollars of debt. No home. No money to work with.”
But rather than fold, ACT’s board asked Forsell to offer an alternative vision of what cabaret could be in Indianapolis. “The first thing was to come up with a business model that was sustainable,” she says. That meant looking at what didn’t work in order to find what did. “What audience could we get without huge amounts of staff and marketing?”
What, in other words, should be their niche?
“The niche,” says Forsell, “was going back to true cabaret.”
She decided to distill the cabaret experience down its most essential elements: a performer in a small room with an audience at close range. Forsell thought in terms of what she really wanted to see, “really higher quality stuff,” and began constructing a season that would present a variety of cabaret genres. She wanted a cabaret whose artists would appeal to a wide-ranging audience and that couldn’t be categorized in terms of one type of performance.
Although she was unabashedly inspired by examples set by those in New York – the Algonquin, Feinstein’s and the CafÃ© Carlyle – Forsell imagined a cabaret that would not be defined by, or limited to, The Great American Songbook.
Meanwhile, she was also designing a much leaner non-profit administrative model, one that required less than half of the ACT’s Athenaeum budget, eliminated rent and drastically cut staff.
Forsell realized that if people were going to find out about it, the Cabaret was going to have to make news. Therefore, she set her sights on attracting nationally recognized artists for her stage – which initially materialized when John Irish gave her permission to use his Connoiseur Room on Ohio St. to experiment with her concept.
Then she had to raise the money. “We had to go to all our finders and say [what we were doing] didn’t work, but will you still fund us?”
Remarkably, they did. And their faith in Forsell’s vision was rewarded. The new Cabaret began to flourish.
During their first year, the Cabaret dealt successfully with most of its debt. Just as important, its programs at the Connoisseur Room started to build a following attracted to Forsell’s ambitious and creative approach to programming.
When Irish made it known that he intended to sell his Ohio St. building, the Cabaret embarked on their search for yet another home. Since visiting performers had been allowed to stay at the Columbia Club, there was already the basis for a relationship. This sparked a conversation about using the Club as a venue with Columbia’s general manager, Jim Rentschler.
As it happened, the Columbia Club was looking for a way to enliven its public image and, possibly, attract new members. Rentschler and the Club’s leadership saw partnership with the Cabaret as a risk worth taking. For the Cabaret it meant access to a nonpareil downtown venue, the chance to present its programs in what Forsell calls “one of the most beautiful rooms in the city.”
A productive alliance was born: The Cabaret and the Columbia Club recently agreed to a five-year pact.
Presenting at the Columbia Club enables the Cabaret to impress audiences and national artists alike. “It’s neat to have all these national people saying to their peers, ‘You have no idea, Indianapolis is the coolest place.’ To have them compare this room to the room at Jazz at Lincoln Center and other, really big rooms, has been exciting,” says Forsell.
It also creates a ripple effect. Andrea Marcovicci, known as “The Queen of Cabaret” for her long running performances at the Algonquin Hotel’s Oak Room, contacted Forsell and will be performing at the Cabaret for two nights, Feb. 25 and 26. [See sidebar for other upcoming events.]
Cultivating the local
“We have a loyal audience, we have a fantastic space in the premier place in Indianapolis and there are still lots of folks who think it’s really special to go downtown and be on the Circle. The setting has a huge amount to do with what it’s all about,” says Forsell of the Cabaret’s accomplishments so far.
But she still wishes it had been easier for her to find teachers and mentors while training in the kinds of music she loves most. To that end, the Cabaret offers master classes with some of its visiting artists.
“We try to get as many artists as we can to either go on-site to a school or do classes [at the Cabaret],” says Forsell. “Some of them are composers who work composition classes at Broad Ripple High, or a Broadway star will work with kids on interpreting and performance skills – how to do it live.”
The Cabaret also offers sessions to lifelong learners.
“We are excited to bring [these artists] because there’s no mentoring like this in Indianapolis,” says Forsell. “We don’t live in New York City. We don’t have Broadway stars giving lessons everywhere.”
Whenever possible the Cabaret offers these classes at no charge. Forsell hopes to expand this assistance through the acquisition of sponsorships. Her long-term plan is for participants to be able to take part in nights the Cabaret sets aside for up-and-coming performers. “We want that to be an integral piece of what we do.”
This reflects yet another way Forsell wants to bloom where she’s been planted. “You can complain about your city,” she says, “that it’s not hip enough, or metropolitan, or you can add to it, try to make the changes you want it to have. You get settled in and begin to have your own roots.”
She’s glad she’s here – a feeling that blossoms that much more when an artist like Jane Monheit finishes her show at the Columbia Club, turns to Forsell and says, “This is one of the favorite places I’ve ever played.”
Jazz, cabaret and Carmichael
“This was the first album where I was on the line,” says Forsell of her newly released collection of Hoagy Carmichael songs, The Nearness of You.
Carmichael, one of The Great American Songbook’s most legendary writers, was Indiana-born and bred. What many people may not know, however, is that he played piano at the Columbia Club in 1929. Until, that is, the Club fired him. “He was too jazzy, too peppy,” says Forsell.
Fortunately, the piano Carmichael used at the Club is still there, and has been restored by the Columbia Club Foundation.
Given these historic connections, the decision to cover some of the choice gems from Carmichael’s songbook came naturally. But, for Forsell, singing these jazz-oriented tunes was a challenge. “I have always really loved jazz, but I don’t consider myself a jazz singer,” she says.
Enter local jazz powerhouse Rob Dixon. Dixon created arrangements and produced the album with Forsell. He also assembled some top players, including Zach Lapidus, Frank Smith, Greg Artry, and P.J. Yinger. They recorded at Owl Studios.
“This was one of the most fun projects I’ve ever done,” says Forsell. “It was with amazing people, whose focus was the music. Everybody was digging in and wanting it to be the best it could be. I felt like I really had to up my game.”
Forsell feels the finished product provides a blend of jazz and cabaret stylings. “It sounds like jazz, but we mixed the cabaret in by interpreting the songs in such a way that pays tribute to the lyrics. I’m really proud of it.”
The album is being released and distributed by national cabaret label LML Music. The proceeds from all sales support the Cabaret. To order a copy, go to www.thecabaret.org.
Click here for NUVO’s “Shannon Forsell: Reinventing Cabaret” online article.
"Best in class. A truly delightful experience - over the top!"Cabaret Guest