Review: Justin Vivian Bond

I’ve often referred to Judy Collins as a river of song – it just flows out of her in a gorgeous shimmering stream. Justin Vivian Bond is more like a tower of song – mysterious, imposing, beautiful, powerful and sometimes explosive. JVB’s current show “Under the Influence” is a tribute to Collins, part of Collins’ 2019 Vanguard Award and Residency at Joe’s Pub.

V considers Judy Collins to be v’s own spiritual baby sitter and music teacher. Collins significantly if indirectly educated Justin in music – all by the songs and songwriters Collins covered. So, with only a couple exceptions, Bond performs songs written by songwriters she discovered through Collins – but which Judy herself did not sing.

Bond’s taste in songs is impeccable, and v approaches them with the touch of a very careful curator. A curator, that is, who finds what is most explosive in the art they’re presenting, and then promptly detonates it. V turns David Crosby’s “Almost Cut My Hair” into something more rawly emotional, and fiercely sharpens the danger in Leonard Cohen’s “First We Take Manhattan” (in probably the best version of that song I’ve ever heard). V’s climactic rendition of Bob Dylan’s “All Along the Watchtower” truly burns down the house.

One of the best features of all of Bond’s shows is v’s acidly funny, stream of consciousness, between-song patter (which has had the downside of making certain shows marathon length, but not here). As always Bond is hilariously entertaining, wildly imaginative and vividly expressive. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Advertisements

Review: Candis Cayne

This transgender trailblazer – she was the first transgender actress playing a regular transgender character in television history – has also long been one of the most exciting performers on the drag scene. She’s probably one of the best dancers in the lip-synching world, so it’s altogether fitting that her show “Hi, Gorgeous!” has lots of fantastic lip-synching and dancing. She hits the stage like a fireball, doing not one but two high-energy Kay Thompson barnstormers (“Think Pink” and “Clap Yo’ Hands”), kicking so high that she almost kicks herself in the face.

The great pleasure for me, though, was discovering how much she’s polished her comedy. She always incorporated humor into her lip-synch, but her timing in her between-song storytelling has become something special. The show is a bit on the long side, but Candis is so engaging that you almost don’t want it to end.

While she is at heart a dancing showgirl, Candis shows some range in her song choices, from trip hop band Portishead’s “Give Me a Reason” (which was a great comfort to her when in the midst of her transition) to Heart’s “Alone” (in which she hilariously portrays a stalker). Cayne let us know she’s been out of it for a while, with sinus infections and neck injuries, but if she hadn’t mentioned it I wouldn’t have known; she always gives it her all. Highly recommended.

For tickets, click here.

For more reviews and interviews by Jonathan Warman, see his blog Drama Queen.

Review: Tovah Feldshuh

A cabaret show performed in the cellar of Studio 54 about Manhattan real estate legend Leona Helmsley, as played by Tovah Feldshuh…it doesn’t get more NEW YORK than this! All this with a voice over introduction by New York Post columnist Cindy Adams…well, as Adams ends every column “Only in New York, kids!”

Feldshuh has put together a mad, fabulous cabaret act featuring highlights from the new “Broadway-bound” musical Queen of Mean, based on the New York Times best-selling biography by Piers Ransdell. It’s all very meta, with Tovah as Leona forcefully advising the show’s composers (Ron Passaro, music; David Lee, lyrics) about what should and should not be included in the musical. Basically, Leona’s retrying her various legal cases in the court of cabaret.

The spine of the act is songs from the musical, but Tovah throws in random verses and choruses from showtunes and pop songs to help tell the story in a more compact form. Helmsley comments on all that befell her, including some profoundly hypocritical shade from her real estate rival Donald Trump.

Feldshuh is as smart, skillful and sharp as always. This act features precious little shtick, but possesses lots of the heartfelt quality Tovah brings to everything she does, allowing us to see Helmsley in quite a different light. Passaro and Lee’s songs hold up well with the standards and hits Feldshuh mixes in, which is a very good sign.

Director Jeff Harnar has helped Tovah construct a very well-oiled machine, truly sophisticated in the way it attacks its subject matter. Almost without fail, the comedy is bitingly joyous and the moments of sentiment genuine and surprisingly touching. Highly recommended.

For tickets, click here.

For more reviews and interviews by Jonathan Warman, see his blog Drama Queen.

Review: Charles Busch

Legendary playwright and actor Charles Busch’s current cabaret act – titled “Native New Yorker” – is in some ways a sequel to his previous autobiographical club act “My Kinda ’60s.” As with that act, we again find Charles in boy drag – albeit with a subtle dash of rouge, wearing a patterned iridescent suit of crimson and purple. Here, again, the lack of wigs and dresses also signifies that Charles is expressing something more personal and vulnerable.

That’s because this act is about Busch’s journey to being the camp drag star we know today. Busch is very precise about his pop culture references. He successfully catches the feeling of coming of age (as an artist) at a time when life felt like a non-stop party. As a matter of fact one of the definite high points of the show is a touching rendition of the titular disco song as an late night / early morning ballad.

The act isn’t all earnest sincerity, though there’s more of that than usual. There are still plenty of quoted classic movie star mannerisms. As always, he moves from one glittering camp archetype to another with effortless ease. It’s just the tone that has shifted. It’s fun, but the theme of seriously searching for your very own queer identity – which runs through all of his work – is much more explicit.

He has always combined elegantly languid, self-effacing charm with an effortlessly brassy glamour. Busch has a pleasantly throaty high tenor voice. As with the greatest cabaret singers, it’s all about how Busch acts the story and emotion of a song: He finds corners I didn’t know existed in Diana Ross’s “Touch Me in the Morning,” reinterpreting it as an older man letting go of a a younger lover.

Busch sincerely loves artifice, and he invests every moment he has on-stage with substantial style. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Dianna Agron

“High-falutin’ honky-tonk” – that’s my “elevator pitch” for Diana Agron’s current cabaret act at the Café Carlyle. She originally designed her songlist to compliment her first run at the Carlyle, which found her singing the music of “some of the finest male-fronted acts of the ’70s.” Here, she mainly covers songs originally done by other women. She keeps breaking her own rules to put together a show that feels right, which makes it harder to explain, asking the audience if they have any suggestions.

The former Glee star recently married folk rock band Mumford & Sons’ banjoist and guitarist Winston Marshall. Her own musical aesthetic lines up less with Glee, and more with the style of her husband’s band. This is a beautiful young woman with a gorgeous voice who is nowhere more comfortable than when she’s singing a cover of a 1960s folk rock chestnut or 1950s standard.

On her first run, Agron was hesitant when it come to patter, but calmed right down when it came time to sing. She’s not necessarily more eloquent between songs this time, but she’s all-around more confident and in command, which lends her off-hand comments a kind of raffish charm. No song was less than beautifully sung, and, as before, she performs best when a song brings out the actress in her – most notably in Eartha Kitt’s wicked signature tune “I Want to Be Evil” and Lou Reed’s “Perfect Day.”

There’s an enormous amount of potential here – I would give a lot to hear Agron’s huskily golden yet liquid voice act the hell out of some of June Christie’s sophisticated material. The job in cabaret, as much as in theatre and film, is storytelling, and Agron is getting better at doing that in this format. In any event, Agron gives us enough wonderfully sung renditions of dauntingly complex songs that I can heartily recommend her.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Ginger Minj

When Alyssa Edwards bragged to Ginger Minj about her Netflix show, Ginger replied “That’s wonderful! I have two!!”She has a lead in the cartoon Super Drags, and a supporting role in the film Dumplin’ which also sports a soundtrack by Dolly Parton. Her latest act Happy New Queer, opens with trailers for those two shows, as well as a new music video for Parton’s “Jolene” starring her and several other Drag Race favorites.

On the cabaret side of the Minj’s ascending career, this new act is possibly her tightest yet, and certainly her most entertaining. Ginger has genuine article musical theatre training and chops, and for this act she combines showtunes with pop tunes, climaxing in a emotional, full-throated rendition of “I Am What I Am.” She’s also very funny of course, combining comic stories from her own life with quick-witted audience interaction, and even more structured audience participation in a “Big Gay Dance-Off” that runs throughout the show.

Ginger’s got her cabaret chops polished to a high sheen. And I can’t go without giving praise to her glory of a wig, big and bright ginger and coiffed to within an inch of its life! Ginger is a real show biz pro going from strength to strength, and had the audience in the palm of her hand all evening long. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Review: Clint Holmes

This man has established himself as a cabaret artist of great sensitivity and intelligence. Clint Holmes has been a Las Vegas performer for some time, but exhibits none of the negative qualities you associate with Vegas. He only has the good Vegas stuff: He is nothing if not sincere and authentic, and possesses a magnetic stage presence and a practiced but subtle showmanship that underlines what’s important in the show without overselling it.

His latest act at the Birdland Theater entitled “Holmes for the Holidays” is his jazziest yet, wonderfully complex and spontaneous. He opens with a witty turn on “Let It Snow” in which he observes, er, it hasn’t snowed recently, then launches into a swinging version of “You’d Be So Nice to Come Home To” laced with observations that his wife is back in Las Vegas, and…you get it.

His skill as an interpreter of lyrics comes across in a moody “My Foolish Heart” which he frames as a “a cautionary tale before you head into your New Year’s Eve – I hear crazy things can happen.” And he puts a tremendous sense of fun into Tom Paxton’s folk music standard “The Marvelous Toy.”

Later in the show, Holmes meditates on the imprints left by one’s childhood. His father was an African-American jazz vocalist who worked in a steel mill and his mother was a white British opera singer who taught voice. He works their story into a song he wrote himself “1944” about their meeting in WW II Europe; he has imbued the song with both richly evocative details and deep feeling, and delivers it warmly but with very tasteful restraint.

He gets more personal still, in another original “If Not Now, When,” which has become his personal motto since beating cancer some years ago. Holmes ends the show with a soaring rendition of Leonard Cohen’s ever-mysterious “Hallelujah.” Holmes is a class act, and this show is first-rate cabaret. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.