By Elizabeth Ahlfors

“Like a Complete Unknown”

With vocals that are clear and sultry, a tone as soft as fine cashmere and expressive with spontaneous jazz rhythms and accents, Janet Planet may be a complete unknown in New York City. This, however, is not due to any lack of talent. Many cabaret performers call themselves jazz singers but Janet Planet is the real deal. She hears the music and the timing and she adds her own jazz point of view with eloquent virtuosity and sensitivity.

By Roy Sander

"The Great Daisy Theory"

Susan Mosher comes to us with a one-woman autobiographical presentation that employs dialogue and song to tell about her life—from her childhood in southern California to landing a prominent role in Hairspray on Broadway. Points touched on along the way include her parents' divorce, her mother's problems (psychological and other), and through it all, her burning desire to make it to Broadway.

Although it is being presented in a cabaret setting, the show, which was directed by Matt Lenz, is more a theatre piece than a conventional cabaret show. The writing is wry and very funny, sometimes hilariously so, and every now and then comes a moment of searing emotional truth. Mosher delivers the dialogue—both comic and serious—with masterful timing and phrasing. And when telling of a fight she had with her mother, she recreates the scene as though it were an opera; that segment is pretty wonderful.

By Roy Sander

"Taking Chances"

In her recent engagement at The Duplex, actress/singer Marjorie Hayes proved herself to be an artist of considerable depth and subtlety, with a voice capable of giving color to a wide range of life's experiences. Co-created by Michele Brourman, who also supplied the musical direction, directed by Erv Raible, and with piano accompaniment by the estimable Paul Trueblood, the show presented an uncommonly eclectic program of songs to tell of Hayes's journey back to music.

Hayes's theatrical acumen was evident throughout the evening. (She has an impressive body of international theatre accomplishments to her credit.) Her connection with her material was organic, and her presentation was assured, confident, and never dramatically or emotionally overstated. Her artistry had a cumulative impact, so perhaps only at the end of the evening was one fully aware of the richness of her artistic palette and the control with which she employed it.

By Roy Sander

The Duplex - Every couple of months

In the long-running—it hit the airwaves in 1942!—BBC radio program Desert Island Discs, guests are asked to present their choice of the eight recordings they would take with them if they were stranded on a desert island. The guest explains the reasoning behind each selection, and the recording is played. If I were asked which cabaret artists I would want if that were my plight, I have no doubt that one of my eight choices would be twin brothers Robbie and Paul Rescigno, d.b.a The Rescignos. (You might say, hey, that should count as two choices, to which I would reply, get your own island!) 

For starters, one thing I should want if I were alone on a desert island is cheering up. No one better for the job than this musical comedy duo. Not only are these young men very funny, they project something more fundamentally cheery than laughter: a sense that life is a joy and our planet is a ball of cotton candy. I suppose there might be more yocks in a master comedian's stand-up routine, but I doubt there would be as much pure delight. These qualities come through equally in their musical numbers and their patter.

By Elizabeth Ahlfors

"The Billy Eckstine Project, Songs in the Key of 'B'"

Richard Malavet, a New York cabaret singer, certainly did his homework for his latest show, saluting Billy Eckstine. The music of the cool, dapper "Mr. B" is a fine choice for Malavet. He does not try to imitate Eckstine's memorable basso baritone and full vibrato, but Malavet has a smooth baritone voice of his own and a leaning toward jazz. He selects some memorable tunes from Eckstine's songbook and gives them his own spin of urbane Manhattan with a hint of the city's intrinsic pizzazz. I would like to see him let loose a little and evoke more of the familiar New York street energy that nurtured Malavet's musical talent. Although the crowded stage does not offer much space for swaying, we do get a hint of his Latino rhythm with a sensual rendition of Eckstine's biggest ballad hit, "Caravan," by Juan Tizol, Duke Ellington, and Irving Mills.

By Roy Sander

Toward the end of his show, Alan Cumming performs a song that one might be surprised to find in his repertoire: Marcy Heisler and Zina Goldrich's New York-cabaret standard "Taylor, the Latte Boy." This number is perhaps the most persuasive—and certainly the most appealing—illustration not only of Cumming's uniqueness, but also of his extraordinary interpretive talent. We all know how charming and funny the piece is, but we could be excused for thinking, "Yes, it's marvelous, but do I need to hear it yet again?" But then Cumming approaches the song gently, sweetly, and oh-so-winningly, and his rendition is funny, adorable, and ultimately touching. Damned if he didn't have me shedding happy tears. At "Taylor, the Latte Boy"! Who would have thought the old song to have had so much blood in it?

By Elizabeth Ahlfors

"Normal as Blueberry Pie – A Tribute to Doris Day"

Just wondering. Why, exactly did Nellie McKay choose to salute Doris Day? Many, not all, of the songs she's doing are identified with Doris Day, but McKay never explains why she chose them. Was she influenced by the legendary singer/actress? Was she inspired by the era, the films, the spirit, the warmth? McKay has previously said that she admires Day's talent, yet she doesn't talk about this in her show, which is called, after all, "…A Tribute to Doris Day." Just wondering.

That aside, singer, pianist and songwriter Nellie McKay is entertaining doing her unique thing, and I always look forward to seeing her. She seems like an amalgam of today and yesterday, pretty and blonde as a sunny afternoon, looking as innocent and ebullient as Doris Day in her Romance on the High Seas era. She is also as familiar as any Manhattan West Side girl taking her "adopted" pit bulls for a walk through Central Park.

By Roy Sander

Jaron Vesely has titled his new show after the Richard Rodgers song "Something Good." This is an understatement, for in every way—choice of material, programming/structure, vocal quality, interpretations, arrangements, instrumental accompaniment—the show is much better than merely good. He could have named it after the Rodgers & Hammerstein classic "Something Wonderful," but for the fact that the latter song isn't one of the evening's selections.

Vesely first came to our attention a few years ago as the baritone member of the über-delightful Fabulous Pink Flamingos. "Something Good," his second solo outing, has been directed by Russell Taylor, the antic wizard behind the FPF; it represents an enormous leap forward from his debut show last year.

By Roy Sander

"Razzle Dazzle! My Life Behind the Sequins"

After the band plays the overture, she makes her entrance from stage right. It is unmistakably her—Mitzi Gaynor—an icon whose name conjures up memories and images of Technicolor Hollywood and who triumphed on television in a series of highly successful annual specials. It is an inspired entrance and a thrilling moment. She then sings and dances "Honey Bun," and for a few minutes we're in the presence of twenty-something Nellie Forbush. A delicious start to an enormously entertaining evening.

By Roy Sander

"Miss Congeniality"

Several bars into Teresa Fischer's opening number, I knew I was in good hands. The song was the often-done Bob Dorough and Dave Frishberg's "I'm Hip," and though it's an appealing novelty number, I find the 45-years-old lyrics a bit dated and the song just not quite strong enough to sustain yet another hearing. Or so I thought. However, throughout the number, Fischer assumed such a look of unbridled cheerfulness and delight at being with-it, that her interpretation was like no other I'd seen, and she won me over completely—and she kept me won-over for the remainder of her show.

By Elizabeth Ahlfors

"River"

When you think of an interpretive singer, one name that stands out is Barb Jungr. Jungr not only studies the lyrics, but takes them apart to root out the substance that speaks to her. She then reconstructs them and makes them her own. She will surround her selection with humor and anecdotes that lead right into the next song, and then, caught up in the melody with a voice that can be strong and theatrical or gently heartbreaking, she brings a new depth and to her selection.

By Roy Sander

"Operation Adelmo"

At the top of the musical circus that is "Operation Adelmo," baritone Adelmo Guidarelli tells us that he is "aware of the fact that everyone hates opera." He then proclaims, without pause, irony, or apology, that he is going to sing opera. Which he does—in a way. It would have been more accurate for him to say that he's going to use opera as a hook on which to hang a mélange of jests, hi-jinx, and general merriment. It also would have been accurate to tell the audience that while they're not about to hear a lot of grand opera, they are about to have a grand time.