Amanda McBroom
Noir—Songs of Love
The Crazy Coqs, London, U.K., April 22, 2015
Reviewed by Helen Theophanous for Cabaret Scenes
From the moment Amanda McBroom entered the beautiful Art Deco Crazy Coqs cabaret room, she held the entire audience and never let them go all evening. With Michele Brourman on piano, this well-honed duo explored the dark side of love.
Opening with “Nice Girls” swiftly followed by a three-day-old composition, “C’est Noir,” the scene was set as the song states: “The essence of Noir…
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when you love so desperately and really shouldn’t”! The arrangement of “Demon Lover” and “That Old Black Magic” revealed McBroom’s warm rich tones over fresh harmonies ending with the mysterious minor declamation “Beware!” A humorous witty waltz reflecting on plastic surgery was followed by “It’s Only a Broken Heart,” a great little swing collaboration with Brourman. “A Beautiful Mistake” was announced as the “noirest song” making its London debut. Definitely not a mistake! “Baltimore Oriole” was chosen to end the first set because McBroom met Hoagy Carmichael in a show based on his life. Brourman’s piano gave us a strong walking bass with a great triplet jazz improvisation leading to a big Nina Simone finish, with McBroom’s rich voice filling the room and leaving us wondering where the time had gone.
The perfect rapport between McBroom and Brourman was a joy and McBroom’s clear, crisp diction and sensitive treatment of narrative song was a masterclass.
Opening the second set with “The Bitch Is Out” declaiming, “Into vivisection, not polishing the floor,” brought the house down. “In His Hands,” reminded me slightly of Sondheim’s “In Buddy’s Eyes.” “Titania” amused with the tag line “Someday you’re going to love an ass!” Brourman’s vocal solo followed with a beautiful song with the hopeful sentiment “He’s out there somewhere…holding out for you” which held the audience completely. It is no wonder that Dame Cleo Laine and Michael Feinstein have recorded Brourman’s songs.
“Laura,” a favorite song of McBroom’s father, was presented gently and dreamily just as it was intended. “Erroll Flynn” was sung as a homage to McBroom’s actor father and the personal connection made it all the more meaningful. “Early Morning Hangers On” was a menacing dissonant carousel which accelerated to the effective lighting of Justin Smith and was a bravura exciting performance from McBroom, ably accompanied by Brourman. Only “The Rose” could follow this and we were not disappointed by this performance with vocal harmonies from Brourman. “As Time Goes By” with audience participation made an effective encore from two artists at the top of their game. London was privileged to have the company of Amanda McBroom and Michele Brourman and eagerly awaits their return.
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