Rhythm and bounce, tempo and pounce. Petula Clark has lost none of her fizz. Her warm, engaging new act at Feinstein’s at Loew’s Regency is the first time she’s appeared in a New York nightclub since the dear, departed and much-lamented days of the Waldorf-Astoria’s Empire Room. That was 1975, after she had already moved to Switzerland to get away from the punishing rigors of show business and escape the taxes, but she hasn’t been sitting around her home in Geneva knitting mittens. Read More
Opening-night jitters threatened temporarily to diminish the vocal capacities of Paulo Szot in his new cabaret act at the Café Carlyle. The first four numbers, all part of a well-deserved celebration of the 100th birthday year of composer Burton Lane, suffered from pitch problems. Then something clicked and the romantic Brazilian baritone, who won a Tony for his starring role in South Pacific at Lincoln Center, grew more at ease. As his voice gained strength, his vocal resources increased and so did his artistry. The rest of the show, which runs through Jan. 28, was pure delight. Read More
Among the things the cherished soprano Barbara Cook and the cabaret saloon singer and pianist Michael Feinstein possess in abundance—aside from the pleasure of singing, sharing the stage with other respected artists and spreading joy—is an undiminished passion for preserving the classics in the Great American Songbook. Their annual holiday shows at Feinstein’s at Loew’s Regency no longer have a seasonal bent. They’re just a welcome excuse for some favorite songs, served up in tinsel and holly. It’s not until the encore at the end of the evening that they examine their first and only nod to the festive season of eggnog and mistletoe, with Irving Berlin’s “White Christmas.” Still, if you can afford the outrageous prices, the show will leave you with a Yuletide glow through the end of December. Read More
Two polar opposites whose only common ground is talent, astute musical perfectionism and the ability to send their listeners away happy, Sandy Stewart and Marilyn Maye are, ironically, appearing on separate cabaret stages this week. Talk about an abundance of riches. Read More
Learning to sing the complicated songs of Stephen Sondheim fluently, remain rue to your own style, and examine fresh interpretations at the same time is a challenge few singers have managed to master. Karen Akers is the rare exception. In her ravishing new show at the Algonquin’s fabled Oak Room (through Oct. 29) she looks at the brilliant composer’s erratic tempos and captivating lyrics through a magnifying glass, finding new meanings under, behind and on the edges of lyrics less courageous performers inevitably pass over. The result is adventurous and thrilling. Read More
The New York cabaret season is humming to a close, but before waxing that bikini line and heading for the beach, take note: The big rooms are saving the best for last.
The finale for the Algonquin’s august Oak Room season features music so sublime it must not be missed. A whole night of Irving Read More
Sexually active men may live longer. But talented, indefatigable, crowd-pleasing divas sing longer. Marilyn Maye, 83, is making every minute count. One of her favorite lines is “I’m singing as fast as I can.” And her tumultuous legion of fans is always there, applauding every lyric. On the packed opening night of her new show Read More
Darling cabaret diva KT Sullivan is probably tired of being called bubbly, pixilated and effervescent, but in her splendid new show at the Algonquin (through May 28), if fizzy fits, then wear it. It didn’t hurt Blossom Dearie. Besides, fizz is better than fizzle.
In a jam-packed musical extravaganza she calls “Rhyme, Women and Read More
Two high-powered talents in a pair of ill-conceived acts top the cabaret scene this week.
When Nathan Gunn, the crown prince of grand opera, shed his clothes at the Met in An American Tragedy, one serious critic suggested a clause in all future contracts requiring that the hunky baritone sing at least one aria shirtless. Read More
What’s new on the cabaret circuit? Enough to get you out at night. A rare appearance by cult singer-songwriter and jazz pianist Dave Frishberg, the long-awaited comeback of legendary big-band vocalist Jane Harvey and the American cabaret debut of Douglas Hodge, the British performer who won a Tony award as the outrageous drag queen in Read More