Julia Murney in Concert @ Birdland October 23, 2006 Written by Frank J. Avella Photographed by Nicholas Lazzaro

Where have all the musical theatre divas gone? The torch once held high blazoned by the likes of Channing, Merman & Lansbury, then magnificently rekindled by La LuPone, Dame Bernadette & Queen Betty, seems to have flickered out. Almost. But not quite. There are a sparse few newbies that may, one day, set that torch aflame once again.

I should toss in a bit of a ‘definition of diva’ clarification here. There is no negative connotation in my usage. When I speak of ‘diva,’ I speak of the highest honor one can pay a musical theatre performer. Someone with commanding charisma and astonishing talent. Someone who has the power to transport an audience to a majestic place, in the span of a four minute song.

I nominate Julia Murney for New Millennium Diva!

Despite the fact that her Broadway credits are a bit slim (Lennon), anyone who has experienced the sheer force of this dynamic babe’s talents onstage, would agree that she’s one of the finest songstress/thespians around. And she SHOULD have been on Broadway a lot sooner!

I had the great good fortune of witnessing her stirring performance as Queenie in the MTC production of The Wild Party in 2000 (that would be the fabulous Andrew Lippa version NOT the horrific Broadway version). In 2003, I experienced her remarkable turn as Florence in the Actor’s Fund Benefit Concert of Chess. Daily prayers are offered up to the theatre gods that she soon reprise the role in a Broadway production!

These past six months she’s been touring nationally as everyone's favorite green witch, Elphaba, in Wicked.

On Monday, October 23rd, the lucky few who could get tickets, witnessed her triumphant New York City return in a sensational SRO concert at Birdland.

Many of the songs from her eclectic set were taken from her outstanding solo debut CD, "I'm Not Waiting" (Sh-K-Boom Records), including the awesomely arranged “A Thousand Beautiful Things/Beautiful Day.” Who knew that U2 and Annie Lennox would mix so sweetly funneled through Murney’s magnificent chops?

The title track allowed her to flex her dramatic muscle with an angry and defiant, yet anxious interpretation. Murney hit a personal peak with Tom Kitt’s gorgeous, “In a Perfect World.” Kitt is the composer of Broadway’s newest musical, High Fidelity, but took time out to wear hats as musical director and pianist for Murney. To quote Cast Party Impresario Jim Caruso: “He’s ta-a-lented!”

Much of the magic of Murney is in her ability to croon a tune in any genre of music: be it rock ( an inspired “Right Hand Man”); country (“Fancy” that put Reba’s version to shame); r&b (a sensual “Sunday Kind of Love”); show tunes (a killer rendition of “When I First Met Him” cut from The Wild Party) or Sondheim (a haunting “Good Thing Going/Not a Day Goes By”). With each she managed to place her own unique stamp on a few oft-heard songs and make them vital again.

The highlight of the evening came after the encore when Murney ran out of songs, but the audience demanded more. Not sure what to do, she perplexedly glanced at Kitt who began playing the John Lennon classic “Beautiful Boy,” which Murney had performed onstage in Lennon. With a terribly uncertain look on her face, she began singing and almost instantly let the subtle yet powerful ballad happen. It was a wondrous moment. Lennon’s tribute to his son. Murney’s tribute to Lennon. Our treat to be a part of a perfect musical moment.