Features

NY Cabaret Rooms: What Are the Subtle and Not-So-Subtle Differences Among Them?

Isn’t it obvious that an evening at Don’t Tell Mama is qualitatively different from, say, 54 Below or...

“Barbra Streisand: the Music, the Albums, the Singles”—a Conversation with Author Matt Howe

It was Yentl that turned Matt Howe into a Barbra Streisand aficionado.  He’d been in high school when...

Cabaret Setlist: “Let’s Not Talk About Love” – Music and Lyrics by Cole Porter

Repertoire for the Once and Future American Songbook Article #24 in this ongoing series. In 23 installments of...
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Club Reviews

Lena Moy-Borgen’s “It’s a Man’s World— Gender Studies…but with Show Tunes”

The implicit and explicit sexism and misogyny in the worlds of Broadway and pop music is certainly a...

Danielle Ferland’s “Sing for Your Ghosts”

Sometimes a performer strikes gold by mining a very specific moment in time, or a specific show, and...

Club Review: Paula West

I have been an avid fan of singer Paula West for decades. Her rich, smooth sound and knowing...
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Album Reviews

CD Review: Mary Foster Conklin’s “These Precious Days”

When one goes to a Mary Foster Conklin show, there are certain givens—intriguing repertoire, musical mastery, exquisite phrasing,...

CD Review: Ann Kittredge’s “reIMAGINE”

Even if its arrangements and vocal interpretations weren’t bursting with an inventiveness that leaves one awestruck, vocalist Ann...

CD Review: Sean Patrick Murtagh’s “The Mario 101! A Celebration of the Mario Lanza Songbook”

While tenor Sean Patrick Murtagh’s debut album, The Mario 101! A Celebration of the Mario Lanza Songbook, is...
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