Crystal Lewis brings a rockabilly-gospel sensibility to the cabaret stage. She’s a nuanced and authentic performer and is a great technician as a vocalist. If her singing sounds spontaneous and has a deliciously rough edge, it’s a well-earned proficiency that allows her spirit to cut loose and share her inspiring stage presence.
Her band in her recent show, That’s What I’d Say, at The Laurie Beechman Theatre, was led by drummer Anton Kot, with Adi Meyerson on bass and JakeNalangan on piano. All jazz-based players, they were game for the pop funk and gospel influences and the particularly attentive listeners; truly a joy to hear.
Crystal Lewis
Lewis’s original tunes comprised about half the set, drawn from her prolific discography over the last thirty years. Love and the seasons emerged as recurring themes in the lyrics that night. “Endless Summer” had a Calypso flavor and reminded us of life’s preciousness. The poignant torch ballad, “Mine for a Minute,” explored loss and gratitude. She included some full-out power vocal moments and a couple of riffs, both of which she used very sparingly in her set—which, I think, shows sophisticated taste in a time when commercial singers are pressured to out-riff and out-belt each other. “Paradox” was her up-tempo opener: a bluesy, positive, Here I am! introduction to Lewis’s varied personalities.
“Bein’ Green” (Joe Raposo) was one of my favorites of the evening. It’s lived beyond Kermit the Frog and Jim Henson and become a touchstone, a sort of alternative coloration of the blues. Lewis brought it simply and tastefully to life—it was soulful without being sentimental and was supported by a lovely bass solo from Meyerson. “I Can’t Help It” (Stevie Wonder, Susaye Greene) was gently funky and full of subtle surprises. Lewis kept her volume straight down the middle: a little mezzo-forte here, a little mezzo-piano there—very deliberate-sounding choices from an artist who knows how to explore some interesting dynamics in the music she’s singing. A couple of Blossom Dearie songs, “They Say It’s Spring” (Marty Clarke, Bob Haymes) and “We’re Together” (Steve Allen, Don Elliott), demonstrated Lewis’s phrasing and emotional connection to the lyrics.
Lewis’ patter was a little long and winding and could use a trim. Her informal approach to speaking on stage was enjoyable, and what she was sharing illuminated her song choices—so no issues there, and no need to get into more scripted patter—but it was just too unfocused to support what was an otherwise great show. A jazz cover of “Can’t Buy Me Love” (Lennon & McCartney) was a strong encore, featuring a noteworthy piano solo from Nalangan, and Kot trading 8s on drums showing his stellar musicianship.
Lewis really shines on a smaller stage. The motivational, generous, and collaborative aspects of gospel singing transfer very well to cabaret, where audiences love to get to know the performer in a personal way.
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Presented at the Laurie Beechman Theatre, 407 W. 42nd St., NYC, on April 21, 2026.
Penelope Thomas is a performer, writer, and communications consultant. Credits include lead vocals for two albums with prog rock band FauveMuseum; background vocals with Shellen Lubin, and US & UK tours of Mikel Rouse’s 'The End of Cinematics.' She’s read poet Anne Carson’s work at The Whitney Museum and played leads in HBO Women in Comedy Festival-selected film Pretty Dead and the upcoming indie film, "The Interview." She studied voice with Norma Garbo, music theory with bassist Mark Wade, LoVetri Somatic Voicework through Baldwin Wallace University, and acting with Deena Levy. She taught in the New School’s Sweat musical theatre intensive. With a degree in Cultural Studies & Anthropology and a background in contemporary dance, Penelope loves thinking and writing about performance—connecting the dots between styles and genres and supporting the connection between artists and audiences.
