Wesla Whitfield and Mike Greensill: Harry Warren Songs

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Wesla Whitfield 

Harry Warren Songs

Society Cabaret, Hotel Rex, San Francisco, CA, January 23, 2015

Reviewed by Steve Murray for Cabaret Scenes

Wesla-Whitfield-Cabaret-Scenes-Magazine_212Society Cabaret met real cabaret royalty in the form of Mike Greensill and Wesla Whitfield. With a sound of pure quality, fostered by decades of musical and life partnership, the duo defines and grandly represents the very best of the Great American Songbook. A master of ballads, Whitfield chooses her material wisely, capturing and then elucidating great lyrics with her pitch-perfect enunciation and soft delivery. The melodies of Harry Warren—combined with lyrics by the likes of Johnny Mercer, Al Dubin and Mack Gordon—are brought to life through Greensill’s light and buoyant style.

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Upbeat swings like “Jeepers Creepers,” “Cheerful Little Earful” and “We’re in the Money” are Whitfield’s cheery flip side. Silly novelty songs like “The Girl Friend of the Whirling Dervish” and “Hooray for Spinach,” and rare tunes like the lovely ballad “There Is No Music for Me” and Greensill’s rendition of “Lulu’s Back in Town” show the couple’s keen musical awareness and joy for their craft. Warren hits like “The More I See You” (Gordon), “I Only Have Eyes for You” (Dubin) and “You Must Have Been a Beautiful Baby” (Mercer) flesh out the set and complete a lovely evening of timeless classics.

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Steve Murray

Always interested in the arts, Steve was encouraged to begin producing and, in 1998, staged four, one-man vehicles starring San Francisco's most gifted performers. In 1999, he began the Viva Variety series, a live stage show with a threefold mission to highlight, support, and encourage gay and gay-friendly art in all the performance forms, to entertain and document the shows, and to contribute to the community by donating proceeds to local non-profits. The shows utilized the old variety show style popularized by his childhood idol Ed Sullivan. He’s produced over 150 successful shows, including parodies of Bette Davis’s gothic melodramedy Hush, Hush Sweet Charlotte and Joan Crawford’s very awful Trog. He joined Cabaret Scenes 2007 and enjoys the writing and relationships he’s built with very talented performers.