Last Ferry, First Lady once again brought exceptional cabaret, theater, and music to Fire Island’s historic stage. Something old, something new, something borrowed, and yes, something blue.
The “something new” was a beautiful baby grand piano, generously donated by Evelyn Danko, and it was played publicly for the first time at the Cherry Grove Community House & Theater. The “something blue” arrived moments later, as Cherry Grove’s 2026 Homecoming Queen, Flaggerina, dazzling in blue sequins and a sparkling crown, promenaded down the center aisle in Cherry Grove’s wonderfully theatrical fashion. The audience fell silent. The lights dimmed.
Another chapter of cabaret was about to begin. For Rose Levine, every performance carries history. She has spent more than seven decades entertaining audiences on this stage, from the glow of old carbon lights to today’s LEDs, in what is now recognized as the oldest continuously operating LGBTQ+ theater in the United States. Yet the remarkable thing isn’t its longevity. It’s that every appearance still feels like opening night.
Under the direction of Joe Barros, the evening flowed effortlessly from comedy to Broadway. Chris Bell, Camden Scifres, and Matthew George burst through the curtain in black tie, harmonizing and tap dancing with effortless charm. Who doesn’t love one of Chris Bell’s pirouettes? Equal parts Broadway and beach town, the opening number perfectly captured the spirit of Cherry Grove.
The trio’s number ended with the evening’s biggest laugh as Rose wheeled onstage, wrapped in a knitted shawl and apparently asleep after a pre-show nap. The cheering audience “awakened” their Broadway baby, who promptly began dressing onstage in true vaudeville fashion, while Musical Director Mason Griffin, seated at the newly dedicated baby grand, underscored the moment with warmth and elegance.
Moments later, Rose swapped her shawl for more mascara and glamour before launching into Rodgers and Hammerstein’s We’ve Got a Lot of Living to Do. The years melted away. Rose was simply Rose. “If you don’t know who I am,” she quipped, “you can leave. I’m still singing. I’m still dancing. And I’m still here.”
No one was leaving.
Rose often tells the story of Ethel Merman greeting her with, “Here comes Rose, she does me.” It’s a wonderful anecdote, but it also reveals something larger. Rose Levine’s artistry has never rested on impersonation alone. Her performances celebrate Broadway’s great voices while reflecting the wit, warmth, and unmistakable personality that have made her a Cherry Grove icon.
She shared memories of her friendship with Jerry Herman, whom she first met at the Grove Hotel in the 1960s before either was famous. “He wasn’t rich and famous yet,” she laughed, “and neither was I. But now I’m rich because this is a wonderful life in Cherry Grove.”
Daniel Reichard delivered soaring vocals, joking that “you haven’t made it in show business until you’ve become Rose’s dress-change filler,” then proved it with Almost Like Being in Love from Brigadoon, drawing the audience into every chorus.
One of the evening’s most anticipated moments was the Cherry Grove debut of Seth Sikes. Celebrated for his Judy Garland tributes and counted among cabaret’s finest voices, Sikes moved effortlessly from tender ballad to full Broadway belt, his phrasing elegant and his love of the American songbook unmistakable.
Having shared stages from Puerto Vallarta and Westport to New York’s 54 Below, Rose and Seth performed with the ease of longtime friends. Their chemistry was immediate, their timing impeccable, and their affection evident in every exchange. Together, they transformed beloved standards into joyful conversations, proving that great cabaret rests as much on friendship and storytelling as on extraordinary voices.
Their medleys became love letters to the American musical theater, weaving from There’s No Business Like Show Business and By the Light of the Silvery Moon to I’m Sitting on Top of the World, I’ve Got You Under My Skin, and I Get a Kick Out of You. Rose still punctuated the finale with one perfectly timed kick center stage, earning thunderous applause.
The spirits of Ethel Merman and Mary Martin floated through the evening, but this was never nostalgia alone. Rose and Seth made every song unmistakably their own.
Throughout the evening, Mason Griffin anchored the production from the baby grand piano with warmth, precision, and classic Broadway style. He also delighted the audience with a spirited rendition of Liza Minnelli’s Ring Them Bells, singing from the piano in a fabulous oversized crystal-studded glasses before seamlessly returning to accompany the cast.
Rose returned with Fifty Percent before revisiting the music of Jerry Herman in a medley including Light the Candles, Before the Parade Passes By, and Bosom Buddies. Rose recalled Herman once telling her they sang one of his songs “the way I like it,” a compliment clearly treasured ever since.
Later, Dan Reichard delighted the audience again with his original and fresh Fire Island Princess, strumming a ukulele in a charming performance that hinted at both Annette Funicello and a touch of Bette Midler’s mischievous wit.
The evening closed beautifully. Chris Bell, Matthew George, and Camden Scifers returned to light up the theater with the wit, polish, and charm that Cherry Grove has long celebrated. Their harmonies on Lida Rose from The Music Man led to Rose’s final entrance, revealed reclining atop the new baby grand in a dramatic black taffeta gown. From there came Maybe This Time, I Am What I Am, People, and finally The Best of Times Is Now, sending the audience to its feet.
As the final chords faded, it was difficult to imagine a more fitting inaugural concert for the theater’s new piano. The instrument had found its voice, Seth Sikes had made an unforgettable Cherry Grove debut, and Rose Levine once again reminded everyone why she remains one of Fire Island’s most treasured performers.
