Reviews

Charles Busch

Charles Busch

February 14, 2019 | By | Add a Comment

Charles Busch long ago conquered the stages of Off and Off-Off Broadway, often resplendent in gowns recalling the heyday of Hollywood leading ladies and delivering sparkling, campy, stinging, funny, dramatic words of his own devising. On occasion, over the years, he has explored the naked intimacy of the cabaret stage, frequently forgoing his womanly attire—although […]

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Just Laugh

Just Laugh

February 14, 2019 | By | Add a Comment

For some time now, Thomas Honeck and Lisa Moss of the Duplex have been regularly providing a showcase for new and little-known composers and lyricists in a series called In The Works. One pair of songwriters who have taken advantage of this terrific opportunity, Lauren Gundrum and Brandon Lambert, has decided to move on from […]

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Mark Farrelly – Quentin Crisp: Naked Hope

Mark Farrelly – Quentin Crisp: Naked Hope

February 5, 2019 | By | Add a Comment

Within post-Stonewall gay culture, Quentin Crisp has not been universally beloved. And how could he have been, really? The British-born writer and raconteur—who died in 1999 at age 90—was a stubborn contrarian. He advised his readers and listeners to seek happiness by looking inward rather than by seeking true love or taking up causes. Claiming […]

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Jack Bartholet

Jack Bartholet

January 27, 2019 | By | Add a Comment

Too often in cabaret, a performer will play it safe when it comes to repertoire, clothes, spoken content, or performance. In his new show, Lady with a Song, singer Jack Bartholet does anything but play it safe as he claims both the stage and his right to be a lady on it for an hour. […]

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Lindsay Mendez

Lindsay Mendez

January 24, 2019 | By | Add a Comment

Spoiler alert: This review of Lindsay Mendez’s show at Feinsteins/54 Below is going to be an unabashed, totally smitten love letter. Her open, unaffected, thrilling performance transports the audience back to a time when “brassy broad” stars like Dorothy Loudon and Karen Morrow delighted audiences. While there are a couple of concessions to 2019 in […]

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Yael Rasooly

Yael Rasooly

January 17, 2019 | By | Add a Comment

In her show Glamour in the Dark, Israeli singer-actress Yael Rasooly, joined by accordionist Iliya Magalnyk, offered a glimpse into an almost other-worldly and very international cabaret experience. The evening had a theatrical feel, with Rasooly entering onto the stage slowly singing “La Vie en rose” (Louiguy, Marguerite Monnot, Édith Piaf) to discover—as if for […]

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Madelaine Warren

Madelaine Warren

January 5, 2019 | By | Add a Comment

Madelaine Warren’s voice has a lovely warm tone—one could even say burnished. And her musicality and phrasing, as one might expect from a former classical singer, are well thought out and refined. It is with these gifts that she presented Mad for Romance at Don’t Tell Mama, directed by Barry Kleinbort. In large measure it […]

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Sean Harkness, Lina Koutrakos, Marcus Simeone

Sean Harkness, Lina Koutrakos, Marcus Simeone

December 25, 2018 | By | 3 Comments

Group cabaret shows can be wonderful, but they can also be tricky. You want to provide variety both in musical content and in terms of who sings what. You want a balance of solos, duets, and ensemble numbers. And you need to make certain that the voices and personalities truly blend well. Being a talented […]

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Matt Rogers

Matt Rogers

December 14, 2018 | By | Add a Comment

The holidays are, for most, a time of celebration, and I cannot think of a better cabaret celebration than Matt Rogers’s brilliantly funny, wonderfully profane, infectiously musical show at The Duplex, Have You Heard of Christmas? The show features “all the songs off his highly anticipated (non-existent) holiday album.” Rogers wrote the smart and hilarious […]

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Telly Leung

Telly Leung

December 14, 2018 | By | Add a Comment

When it comes to popular music in general and singing in particular, it might not be the worst of times, but it is far from the best of times. It started back with Star Search, where contestants were encouraged to favor volume and melismatic riffs above phrasing and musicality—and they were rewarded for doing so. […]

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