The idea of multiple universes, and worlds within worlds, is everywhere these days, from Marvel and DC movies, from podcasts, from books, from television. Admittedly this is an odd thought to pop up into my head while sitting in the audience at Don’t Tell Mama recently for singer Deborah Stone’s wonderful new show, String Theory, but let me explain. As Ms. Stone inhabited the stage with captivating ease and total command and delighted the audience with an inspired and impressive variety of material, I couldn’t help but imagine that were this show being performed in another dimension it might well be a career-capping, greatest hits concert with material culled from her half dozen or so Grammy-winning albums. Its strengths and delights were that special.
Daryl Kojak, Deborah Stone, Sean Harkness, Tom Hubbard (Takako Harkess)
The title of the show derived from the instrumentation with music director Daryl Kojak on piano, Tom Hubbard on bass, Sean Harkness on guitar, with an additional guitar on occasion played by Stone herself. The playing and arrangements were superb throughout and the fellows contributed some timely background vocals as well, although one of my few reservations about the show is that I wish their voices had been more present in the sound mix when they did sing. Harkness’s guitar helps to define the opening number, Michael McDonald’s “Here to Love You,” with the singer’s delivery placing it firmly in the center of our 2025 nightmare as she intoned, “…some men are born to be king.” This led into Chaka Khan’s “This is My Night,” an apt introductory statement for the show, with Stone’s power equaling Khan’s in a different way.
“All Alone with Something to Say” (Steven Dale Jones, Gordon Kennedy) displayed the singer’s classic 60s folk sound, timelessly sending it into the 21st century, at times haunting and at others thrilling. Stone’s beautifully phrased “More Than You Know” (Vincent Youmans, Billy Rose, Edward Eliscu) blended with the thoughtful guitar work before the piano and bass joined in as the dark edges of the vocal provided the song with an unexpected spine. Smiles filled the room as the group jumped into “Can’t Get Next to You” (Barrett Strong, Norman Whitfield) in the first of several dips into R&B/soul history, made all the more fun when the boys in the band transformed into Stone’s very own Pips. The singer proved equally at home with a torch song as she passionately explored “When the Sun Comes Out,’ and then turned tables yet again with Amanda McBroom’s sly and lascivious “Hot in Here” presented with a cinematic, Mancini-esque flair, perfectly setting up the time, the place, and the matters of the heart. Stone milked every laugh from the infectious “In These Shoes” (Kristy MacColl, Pete Glenister), as the Pips transformed into a Latin trio.
“Good Times” (Hugo Peretti, Luigi Cretaore, George David Weiss) is one of those big, involved, sprawling ballads often connected with Shirley Bassey, or Dusty Springfield, or the Eurovision Contest, and was sung to perfection, with special kudos to Hubbard’s contribution on bass. Tracy Stark’s gorgeous (and MAC-winning) “A Better Place” was sweet and strong. “A Night in Tunisia” (Charlie Parker, Dizzy Gillespie) proved the one stumble in the repertoire as the somewhat forced and busy vocals intruded on the musicians’ fiery playing. At a few points Stone let loose with evocative, wordless runs that worked quite well but these should have been her sole contribution, minus the pesky lyrics. Lina Koutrakos’s “Oh, My, My” brought everything back on keel, with Stone’s terrific phrasing triumphant again. Director Koutrakos’s sure and steady guidance was ever present. A gently driven lullaby-like treatment of “Without a Song” (Vincent Youmans, Billy Rose) turned into a love song to music.
The irresistible rhythms of “Together Again” (Janet Jackson, Rene Elizondo, James Harris III, Terry Lewis) could have gone on for another half hour if I had had my way. The lightning fast take on “You’ll Never Get Away From Me” (Jule Styne, Stephen Sondheim, from Gypsy) was yet another tribute to Kojak’s arranging prowess and a delightful example of his and Stone’s vocal magic. The encore of “Some Other Time” (Leonard Bernstein, Betty Comden, Adolph Green) became a beautiful blessing to the audience on the passage of time, each I’m sure already thankful for the passage of the previous hour. Deborah Stone is really something, and String Theory was a perfect showcase for her talents.
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Presented at Don’t Tell Mama, 343 W. 46th St., NYC, Sept. 17 & Oct. 20, 2025.
Gerry Geddes, critic for BistroAwards.com, is an award-winning director, writer, teacher, performer, lyricist, and a contributor to the podcast Troubadours and Raconteurs. He conceived and directed the acclaimed musical revues Monday in the Dark with George (Bistro and MAC Award winner), Put on Your Saturday Suit—Words & Music by Jimmy Webb, and Gerry Geddes & Company (in its five-year residency at Pangea). He has directed singers André De Shields, Darius de Haas, Helen Baldassare, and Lisa Viggiano. He has been active in the cabaret world for over five decades and has produced numerous CDs; his lyrics have been performed and recorded here and in Europe. Gerry’s workshop, The Art of Vocal Performance, is regularly offered to singers of all levels. His memoir of life in NYC, Didn’t I Ever Tell You This?, was recently published and is available at barnesandnoble.com. He is currently at work on his first novel.
