Julie Reyburn

July 26, 2009

“Sing Happy” ~ Feinstein’s at the Regency

July 21

With her new show, “Sing Happy,” Julie Reyburn persuasively establishes herself as one of the finest artists on the current cabaret scene. Not only is this her best show to date, it ranks with some of the most acclaimed work presented at our most prestigious venues. Yes, it’s that good.

Let me inject some historical perspective. Since she made her Bistro- and MAC Award-winning debut nearly a decade ago, Reyburn has done many shows. Though she was consistently impressive, her post-debut offerings were sometimes uneven. At times her choice of material was not worthy of her; other times the format of the show was problematic. But her talent always made her shows worth seeing, and as she explored different styles and forms, her artistry matured. The outstanding show she did last year was evidence of this growth, and in “Sing Happy,” which was directed by Peter Napolitano, her artistry is in full bloom.

What makes this show so wonderful is, well, everything about it—the impeccable choice of material, the masterful arrangements by her long-time musical director, Mark Janas, the exemplary accompaniment (Janas on piano, Ritt Henn on bass, Walter Usiatynski on drums), and Reyburn’s astute and insightful interpretations. Even her dress is absolutely right. I might add that she has a beautiful voice—but, as I’ve long maintained, having a good voice is only 5% of what singing is about, especially in cabaret; Reyburn’s got the full 100% covered.

With great gusto, she throws herself playfully into “I Love to Sing” by Arlen and Harburg, and her rendition of Kirsty MacColl’s “In These Shoes” is a delight. A pairing of Mancini and Mercer’s “Days of Wine and Roses” and Sondheim’s “I Remember” eschews the pain normally associated with these two memory songs in favor of sweet longing; only near the end is there a touch of sadness. Exquisite work. Also in the program are Henn and Mary Liz McNamara’s country-flavored and very good “Speak of the Devil,” and the moving “Come Home,” Janas and Napolitano’s MAC Award-winning song from their musical Pinocchio of Chelsea.

In discussing the evening’s merits, it is sometimes difficult to comment on Reyburn’s performance without referring to Janas’s arrangement, for more than with many other shows, this one has the hallmark of a truly collaborative effort. For example, a medley of three songs by Michel Legrand and Marilyn & Alan Bergman is so haunting and touching because of the emotional connection Reyburn makes with the material and the purity of her rendition—and equally because of the grace with which the songs are combined and the beauty of the instrumentation. With Irving Berlin’s “Let Yourself Go,” her performance and the arrangement don’t just build, they both build smartly, taking us on a journey to a dazzling conclusion.

[I do not mean to exclude the director from this collaboration, but unless one has witnessed the creative process first-hand, one can’t pinpoint the director’s contribution. Besides, good direction is in large measure invisible.]

One further comment about the arrangements. Many musicians are fond of inserting musical phrases from other songs in their arrangements. I normally find this device extremely silly and often annoying. However, Janas employs it with such sensitivity and intelligence, the effect is never gimmicky or show-offy. For example, the musical allusions to birds in Rodgers & Hart’s “Sing for Your Supper” are sweetly appealing, and the use of Rodgers waltzes as referents in Rodgers and Sondheim’s “Do I Hear a Waltz?” adds lushness to this, the show’s opening number.

Happily for posterity, this show was recorded live at Feinstein’s. But do try to catch “Sing Happy” when Reyburn brings it back. While I fully expect the recording to be splendid, it would be a pity to miss out on the pleasure of her company.

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About the Author

Roy Sander has been covering cabaret and theatre for over thirty years. He’s written cabaret and theatre reviews, features, and commentary for seven print publications, most notably Back Stage, and for CitySearch on the Internet. He covered cabaret monthly on “New York Theatre Review” on PBS TV, and cabaret and theatre weekly on WLIM-FM radio. He was twice a guest instructor at the London School of Musical Theatre. A critic for BistroAwards.com, he is also the site’s Reviews Editor; in addition, he is Chairman of the Advisory Board of MAC.