It’s been dished that if there are at least 10 gays in a community, there will be a piano bar where show-queens and other frustrated Merman/Larry Kert wannabees strut their stuff from night to night, while consuming generous quantities of alcohol. I know that Rehoboth has Partners and it’s one of the best.

Time was, Manhattan boasted several of these havens for Hammerstein or Hart fans, places where one could while away an evening, barking along as the in-house pianist tore through the scores of popular Broadway musicals.

The number of such establishments has dwindled, due to an aging population—hell, you’ve got to be at least 50 to remember Broadway’s "Golden Age." If you are younger than that, there has got to be at least one show-queen in your gene pool.

But, for those of you who enjoy belting out showstoppers in a dark, secluded place where no one else will know your face, I recommend that, on your next visit to my beloved Big Apple,you spend at least one evening at Manhattan’s best known piano bar, Rose’s Turn.

Located at 55 Grove Street, just west of Sheridan Square, on a charming block that has retained most of its elegance in the face of crass developers who want to turn this town into one, big shopping mall, (but that’s another story) Rose’s Turn (and every last one of you should know from whence that name comes*) can offer a really fun evening of show-stoppers and congeniality.

Rose’s Turn which has hardly changed at all since my first visit in 1978, is a cozy room, discreetly and dimly lit. There are 16 seats around the bar, little tables around which 20 or so smallish people can be seated, and a compact floor that seems to allow hundreds—ok—scores of people to stand around drinking and singing. There’s a full bar but no food is served, prices are moderate by Manhattan standards. I’m a retired drinker, and my diet coke set me back $3.50—better double that for a cocktail.

A recent weeknight visit found attendance a bit light (it was raining) and other than myself (I have no shame!) no one wanted to sing—no problem, the excellent pianist entertained us royally just by playing some grand and glorious songs by Weill, Porter, Kander et. al.

My experience (and I’ve been going to Rose’s Turn for decades) is that the large crowds appear on weekends. Sometimes, would-be customers must wait outside until there’s some turnover.

On a Friday or Saturday night, one can take part in medleys from everything from Oklahoma! to Into the Woods and lots in between. Some pianists there resort to the honorable use of "fake books," (books of sheet music, cribbed and photocopied and cobbled together) while others play dozens and dozens of songs from memory. Certain individuals known to the pianist are entrusted with singing solos, even entire numbers.

One night, some months ago, the bill of fare was Hello Dolly!, and I thought I was doing pretty well from the bar, when a guy with a big, white hat and what looked like a dress worn by Carol Channing, pushed his way up to the pianist and performed the show’s title song.

To make matters worse, I knew and despised this fellow from my misspent youth, and have been known to cross streets to avoid talking to him. As soon as he was done singing, he spotted me, dashed to my side and greeted me with a bear hug, much to the amusement of my friends in the bar.

Speaking of romance, Rose’s Turn gets a mixed, gay crowd. Folks seem to bring their dates to this particular bar instead of seeking out new conquests.

On a crowded night, there’s really no room to cruise anyway. Of course you might see that stranger across that crowded room, but if you do, you might have a lot of trouble flying to his/her side.

Frankly, I’ve not yet found romance there. But of course, I come to Rose’s Turn to sing.

I have a really, truly horrible voice (I should be at the Met, the oasis for voices like mine), but I can stay on pitch within my three or four note range, and I usually know the lyrics.

So I go there, sing, don’t get asked NOT to sing, and have fun. I think you’ll have fun there, too, if you like giving back everything you learned from original cast albums, all these years.

Don’t feel if you’re young and untaught about pre-Annie show music, that you don’t belong in a piano bar.Everybody can learn something new, or something wonderful. Sing along as best you can, most people can recognize "Tonight" and "I Could Have Danced All Night." Ask the person next to you—you know, It’s an very ancient saying, but a true and honest thought, that if you become a teacher, by your pupils you’ll be taught. Bearing that in mind, I’m sure folks will be glad to impart some Broadway lore.

Pleasant and unpretentious, Rose’s Turn (or the piano bar of your choice) is a fine place to spend an evening getting in touch with your inner Mary Martin. Let’s not let the tradition disappear!

(* Okay, a cheat sheet for newbies to Broadway: Rose’s Turn is the showstopping final number in Gypsy, as previously sung by Ethel Merman, Angela Lansbury, Tyne Daly, Bette Midler, Bernadette Peters, take your pick….)