Every time you see Chita Rivera, you learn a lesson about performing. How to make an announcement about your legs with a piece of fabric. How to “make a huge entrance” when you have in fact been discreetly hidden in plain sight on stage for five minutes. In the case of her current cabaret act at the Café Carlyle, I learned why her, Liza Minnelli and other dancers favor sequined pantsuits; they are to dancers’ bodies what orchestrations are to a piano score: they amplify and glorify even the smallest movement. And Chita’s body needs amplification for the movements she makes in the small 2 feet by 4 feet area allowed her on the tiny Carlyle stage.
That said, those sequins are just razzle-dazzle in the service of an already great theatrical presence. She holds nothing back in this act, this diva is cutting loose as only she can. When she sang “Where Am Going” from Sweet Charity, she shed new light for me not only on that song, but on all of Sweet Charity. I understand the song now as an existential awakening for an already worldly woman, and the show as almost as profound as the Fellini film that inspired it.
Chita was always at her best playing “existential musical comedy” and thus became the muse for people with that aesthetic, first Bob Fosse, but then, more deeply, Fred Ebb and John Kander. No shock then that the majority of songs in the show come from a collaboration with either Fosse or Kander & Ebb.
She almost launches into “All That Jazz,” the most spectacular of her many signature Kander & Ebb numbers, at the top of the show. When she finally does it as her finale, it’s more than satisfying, it’s positively gratifying.
Chita never falters. About the worst I can say is that she didn’t sing the entirety of “America” from West Side Story. I am a Leonard Bernstein fanatic, this is his centennial and “America” is one of my most beloved Bernstein songs. Chita sings the hell out of her “America” fragment, leaving someone like me begging for more. But that would be greedy with all the artistic riches on display here. Highly recommended.
For tickets, click here.
To learn about Jonathan Warman’s directing work, see jonathanwarman.com.