sing

Elliot Zwiebach was 62 years old when he sang in front of a live audience for the first time.

The retired reporter had always loved show tunes, but he’d never considered singing in public before.

“I sang for my own amusement, and I wasn’t very amused,” he said recently.

But one night, after attending a few open mic nights at the Gardenia Supper Club in West Hollywood as a spectator, he got up the nerve to step onto the stage and perform a tune backed by a live band.

For his first song, he picked the humorous “Honey Bun” from the Rodgers and Hammerstein musical “South Pacific.” It was frightening and he didn’t sing well. And yet, the following week he came back and did it again.

Newbie Ian Douglas, left, and longtime singer Elliot Zwiebach look over a sign-up sheet at the Gardenia’s long-running open mic night.

Sixteen years later, Zwiebach, now 78, is a core member of what the event’s longtime host Keri Kelsey calls “the family,” a group of roughly 25 regulars who sing jazz standards, show tunes and other numbers from the Great American Songbook at the longest-running open mic night in L.A.

“It’s very much like a community,” Zwiebach said on a recent evening as he prepared to sing “This Nearly Was Mine,” another song from “South Pacific.” “Everyone knows everyone.”

For 25 years, the small, L-shaped Gardenia room on Santa Monica Boulevard has served as a musical home for a diverse group of would-be jazz and cabaret singers. Each Tuesday night, elementary school teachers, acting coaches, retired psychoanalysts, arts publicists and the occasional celebrity pay an $8 cover to perform in front of an audience that knows firsthand just how terrifying it can be to stand before even a small crowd with nothing more than a microphone in your hand.

“You are so vulnerable up there with everyone staring at you,” said Kelsey, who has hosted the open mic night for 24 years and once watched Molly Ringwald nervously take the stage. “But it’s also the most joyous experience in the world.”

Director and acting coach Kenshaka Ali sings “Goodbye Pork Pie Hat” by Rahsaan Roland Kirk.

The singers are backed by a live, three-piece band led by guitarist Dori Amarilio. The rotating group of musicians — a few of them Grammy winners — arrive not knowing what they will be playing that night. Some singers bring sheet music, others chord charts. And there are those who just hum a few bars and allow the musicians to intuit the key and melody enough to follow along. Poet Judy Barrat, a regular attendee, usually hands the evening’s piano player a copy of the poem she’ll be reading and asks him to improv along with her.

“It’s totally freeform,” said Andy Langham, a jazz pianist who toured with Natalie Cole and Christopher Cross and often plays the Gardenia. “I read the stanzas and try to paint pictures with the notes.”

Keri Kelsey, singing “Mack the Knife,” has hosted the Gardenia’s open mic night for 24 years.

The Gardenia, which opened in 1981, is one of the few venues in L.A. specifically designed for the intimacy of cabaret. The small, spare room has table service seating for just over 60 patrons and a stage area beautifully lit by an abundance of canned lights. Doors open at 7 p.m. on Tuesday nights, but those in the know line up outside the building’s nondescript exterior as early as 6 p.m. to ensure a reasonable spot on the night’s roster of singers. (Even though there is a one-song-per-person limit, the night has been known to stretch past 12 a.m.) Nichole Rice, who manages the Gardenia, takes dinner and drink orders until the show starts at 8:30 p.m. Then the room falls into respectful silence.

Pianist Andy Langham and guitarist Dori Amarilio perform live music accompaniment for each open mic participant at the Gardenia.

“This is a listening room,” said singer-songwriter Steve Brock, who has been attending the open mic night for more than a decade. “I’ve been to other rooms where I’m competing with tequila or the Rams. Here, when anyone goes up in front of that microphone, everyone stops.”

On a recent Tuesday night, the show began as it always does with an instrumental song by the band (a piano, guitar and upright bass) before an opening number by Kelsey. Dressed in a black leather dress and knee-high boots, she had this time prepared “Mack the Knife.” “This may be one of the loungiest lounge songs ever,” she said. “Maybe that’s why I really like it.”

People begin to line up outside the Gardenia at 6 p.m. to get a spot for the Tuesday open mic night.

The first singer to take the stage was Trip Kennedy, a bearded masseur who performed “The Rainbow Connection” in a sweet tenor. When he finished, Kelsey shared that she was cast as an extra in “The Muppets Take Manhattan.”

“It was the most ridiculous thing,” she said, filling time as the next singer consulted quietly with the band. “I was a college student who dressed up as a college student for the audition.”

Dolores Scozzesi, who sang at the Hollywood Improv in the ’80s between comedy sets, performed a moody arrangement of “What Now My Love.” “This is a [chord] chart from 2011,” she told the audience before she began. “I want to try it because these guys are the best.”

Monica Doby Davis, an elementary school teacher, sings the jazz standard “You Go to My Head” at the Gardenia.

Zwiebach performed a medley of two Broadway hits, “I’ve Grown Accustomed to Her Face” (which he altered to “his face”) and “This Nearly Was Mine,” easily hitting all the notes. After, his young friend Ian Douglas, a relative newbie who started attending the open mic night in the spring, sang the jazz standard “You Go to My Head.” Zwiebach praised the performance.

“I know that song very well and you did a great job,” he said.

Monica Doby Davis, who once sang with the ’90s R&B girl group Brownstone and now works as an elementary school teacher, also performed “You Go to My Head.” Although she had left the entertainment business decades ago, she said finding the Gardenia open mic night 13 years ago “brought music back to my life.”

Tom Nobles, left, sings alongside bassist Adam Cohen, center, and pianist Andy Langham at the Gardenia.

There were many beautiful, intimate moments that night, but perhaps the best was when Tom Nobles, an actor and retired psychoanalyst in a purple knit cap and thick plastic glasses, forgot the words to “Lost in the Masquerade” by George Benson.

He stumbled for a moment, a bit perplexed, before turning to his friends for help.

“Whoever knows the words, sing it with me,” Nobles said to the crowd.

Quietly at first and then louder and stronger, the whole room broke out into song.

We’re lost in a masquerade. Woohoo, the masquerade.

The Loose Women panellists are said to be in fear over their future on the show after ITV announced a major shake-up, which has been branded a ‘time-bomb’ by some

Loose Women stars are said to have been left shaken following ITV’s dramatic shake-up. Earlier this week, the network announced a major overhaul of their daytime schedules, which affects both Loose and Lorraine Kelly’s self-titled morning programme.

However, despite being hit with a mass loss of viewers, the magazine show This Morning remains unaffected. While all shows air throughout the year, the new schedule means that both Loose and Lorraine will only be on screens for 30 weeks of the year. Meanwhile, Good Morning Britain has been extended until 9.30, axing part of Lorraine’s show.

The shake-up will come into play in January, with many of the Loose panel now feeling as though they’re on a probation period. Sources have claimed that anchors on the show, including Christine Lampard, Coleen Nolan and Gloria Hunniford had not been informed of the shake-up before it was made public.

It’s claimed that some of the older members of the panel who have been part of the show since its launch 25 years ago, are worried that they will be fighting for appearances on the panel, while “PR friendly” younger members of the team including GK Barry, Olivia Attwood and former singer Frankie Bridge will be favoured.

READ MORE: Weight loss method backed by Dr Michael Mosley and loved by Davina McCall

ITV sources have criticised This Morning for being “favoured” despite its dwindling viewing figures. The tension behind the scenes at the network is believed to be “unbearable,” with This Morning being hit with “rage.” Sources claim that the shake-up has sparked a ” time bomb,” with executives allegedly doing everything to defuse the situation amongst talent.

“ITV Daytime could combust from the inside out at this rate,” a source said. They went to tell The Sun that older panellists on Loose Women have seen shake-ups in the past but “weathered” them. Now, this news has come out of nowhere, leaving them shaken.

The older members of the panel are believed to think that the negative criticism surrounding the programme has been directed towards them with “out of touch” comments, whereas the new and younger panellists have a hype around them due to having different viewers than their older colleagues.

Older members of the panel believe that the younger stars are “shiny teachers’ pets,” after top bosses have praised them for bringing in a younger audience. “It’s now five months or so for them to prove their worth and sing for their supper,” the source added. They went on to say: “The older panellists feel like until January they’re on probation and pragmatic bosses will be scrutinising their every tweet, every rating and audience polling — everything like that.”

There is also believed to be tension around the pay from the show, with some on a staff PAYE contract, and some panellists working on a freelance basis. But while the take-home fee is different, every panellist is believed to be on around £3,000 per episode. The Mirror previously revealed that Loose Women had become embroiled in a pay row behind the scenes.

Three big stars had told their bosses that they would walk out if the issues were not resolved. It came after the network was hit with a change by HMRC on tax legislation. ITV were made to decide whether a role was self-employed or employed for tax purposes from April 2021.

Some stars had been told to take a PAYE contract, meaning that instead of paying corporation tax at 19 per cent, they would have had to pay 40 per cent on earnings between £50,271 and £150,000, plus National Insurance. A source behind the scenes told us: “They have all been self-employed for decades. Their accountants are saying no, they are self-employed… and are not going to go on PAYE.”

Our mole added: “They’re so strict about it, and we’re talking about the big players.” ITV sources said the broadcaster had communicated the change to all those concerned across the channel and that assessments are done on a “case-by-case basis”.

The Mirror approached Loose Women for comment.

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