Manilow’s Singing, Dancing Delight 16,600 Fans at SPAC

by Don A. Metivier, The Post-Star, July 11, 1978

“What a night,” singer-composer Barry Manilow noted, “I hope somebody’s taping this one.”

Certainly the majority in the crowd of 16,600 jamming Saratoga Performing Arts Center Sunday evening for his concert would agree; it was quite a night.

Manilow, who burst forth on the contemporary American music scene in 1974, spent the entire concert on stage, singing his long string of hit songs, dancing with the three singers from Lady Flash, his back-up group, playing piano and carrying on a continuing conversation with the well-mannered audience.

He opened the show, which saw him perform 16 extremely well-staged songs and medleys, noting, “This is gonna be good.” And it certainly was!

Manilow came out wearing a “Liberace” suit of blue pants and a white tunic with diamond buttons, playing a white piano in front of a New York City skyline scene.

The entire show was very well staged, fast-paced, and demonstrated how a contemporary musician can entertain a wide age range of audience in a tasteful and professional manner.

His sound was loud during the first number, as his personal musicians, five players, nearly drowned him out. As the second song began, the sound was improved, and as he sat down to play piano and softly sing “Why Don’t We Live Together,” the mixers had found the right levels and the remainder of the concert was most pleasant.

Manilow works hard on the stage, dancing with Lady Flash to lengthy choreographed pieces written to go along with his songs.

A medley of songs from the 1940’s was highlighted by his “Jump Jive Boogie,” and Dick Clark’s theme song, “Philadelphia Bandstand.”

During the latter, one of his partners from Lady Flash, wearing the traditional 1950s poodle skirt, danced with Manilow, and the huge audience, most of whom couldn’t have been around for much boogie-woogie or the afternoon Bandstand shows, loved it.

Manilow appeared on stage to begin the second half of the show wearing a Brooklyn College sweatshirt, sitting on a battered spinet piano. “I want to sing about my roots,” he said, and went about creating the atmosphere of a small bar in “Anywhere, U.S.A.”

Complete with artificial palm tree, stuffed fish, and a gaudy neon sign that proclaimed *Dew Drop Inn,” he sang his new barroom song, *A Fool to Let You Go.” “I wrote that six months ago, but it sounds 35 years old,” he said, and it did. The 40s-type tune might have been a recording made by the Modernaires, with any of the swing bands. “I love songs like that,” he said. “I was born 20 years too late.”

The most lavish production number followed, “Copa Cabana,” which created that famous nightclub on stage.

It was a fully choreographed work which stopped the show, with several of the dancers from the New York City Ballet in the audience cheering.

As Manilow closed, he earned three standing ovations and thousands of persons on the lawn held up matches, then one group lit sparklers. He signaled the band to stop playing, walked over to his piano, and said, “I don’t want to go home yet, and besides, we forgot one.” He then played and sang “I Write the Songs,” and the audience stood and cheered once again.

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