Tony Award®–nominated Broadway star Melissa Errico returns with The Streisand Effect on March 28

The concert at The Smith Center celebrates Barbra Streisand through interpretations that appeal to Broadway, jazz, and Streisand fans.

By Debbie Hall

Las Vegas audiences can expect an evening of intimacy, intelligence, and vocal finesse as Tony Award®–nominated Broadway performer Melissa Errico brings her latest concert experience, The Streisand Effect, to Myron’s at The Smith Center for the Performing Arts on March 28.

Timed with the release of her new album, I Can Dream, Can’t I?, the concert highlights Errico’s ongoing exploration of the American Songbook, offering a deeply personal narrative that connects emotionally with the audience through her unique interpretation and storytelling.

Arriving at a moment of renewed cultural attention following Barbra Streisand’s recent appearance at the 98th Academy Awards, The Streisand Effect taps into a broader resurgence of appreciation for Streisand's legacy, making the event feel timely and significant for fans and newcomers alike. 

Errico has a remarkable career spanning Broadway shows, including Les Misérables, Eliza Doolittle in My Fair Lady, and the title role in One Touch of Venus, as well as her albums of songs by Stephen Sondheim and Michel Legrand. “My first great love was the musical theater. I fell in love with it on my 11^TH birthday when I saw On Your Toes for the first time, and I’ve never stopped loving it. From My Fair Lady to Kiss Me Kate, the need to make contradictory emotions work as take-away songs, the simplifications and the complications, it never stops moving me. But in the past decade, I've been inexorably drawn to making my own way and writing my own shows and moving in an ever-more ‘jazz adjacent’ direction. I opened for George Benson at the Montreal jazz festival a couple of summers ago, in front of 3,000 people, and at the end I could see in the eyes of his musicians that I’d pulled it off—done a Stevie Wonder song, something groovy that they recognized as their own kind of thing. It was a great moment, but then the next night I was singing Sondheim again. I love that oscillation.”

As both a singer and writer, those two disciplines inform each other in the creative process. “I’ve loved to write and have been writing all my life, keeping diaries and journals and blogs and all the rest. But it’s only been in the past decade that I’ve been free to get myself fully expressed as a writer, with a regular column in the New York Times called ‘Scenes from an Acting Life.’ I’ve written about remote auditioning, about the difficulties of classical musicals for feminist thought, and just generally about the life of a girl singer on the road. I absolutely love it, and having to organize my thoughts and feelings into words only deepens how I can sing about them on stage. I like to think I’ve helped begin a whole new genre, the ‘caber-essay’ as we call it jokingly: a concert program that has a real shape, arc, surprise, and meaning, as a great essay does, and that isn’t just ‘For my next number…’”

Errico balances honoring Streisand's legacy while maintaining her own distinct voice on stage with no “imitation” or “impersonation” in the show. For more info, visit melissaerrico.com and follow on Facebook, Instagram, and YouTube.

The Streisand Effect will be performed at Myron's at The Smith Center on March 28. For more info, visit thesmithcenter.com.