B.J. Ward: Beyond Compare

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B.J. Ward

Beyond Compare

The Crazy Coqs, London, U.K., April 13, 2015

Reviewed by Helen Theophanous for Cabaret Scenes

BJ-Ward-Beyond-Compare-Cabaret-Scenes-Magazine_212Marshall Barer may not be a name known to many in London, but B.J. Ward’s cabaret show did a great deal to bring the work of this extraordinary lyricist to a new audience. To choose material from nearly 3,000 songs was not daunting to Ward and her choices gave a real flavor of his work.

With Simon Wallace on piano, Warren Zielinski on violin and Simon Woolf on bass, Ward opened with “Be Here Now” (music by David Ross)  which set the tone, with echoes of Elaine Stritch against Zielinski’s violin obligato. The amusing and risqué lyrics of “Billions of Beautiful Boys” (music by Joseph Thalken), exhorting tea for three, waltzed along in three/four time. It was followed by “Write About What You Know” (co-written with Hugh Martin), interspersed with a snappy delivery of anecdotes about Barer. Ward managed to fit in a multitude of facts and information in the fast-moving 70-minute show, including the parodies “Putting on the Knits” and the Noël Coward-flavored “Shall We Join the Ladies?
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” (music: Ross again) taken in its literal sense. The ballad “C’est Comme Ça” (music: Duke Ellington) showed Barer’s romantic treatment of lyrics, and Wallace’s sensitive and lyrical piano solo greatly added to the interpretation.

Ward’s command of her voice and her characterization seeped through material from Once Upon a Mattress (music by Mary Rodgers) with hints of Carol Burnett. “November” was another attractive ballad, if somewhat overpowered by the violin arrangement, as was “Something Known” (Ross).” Although introduced as Barer’s gentle bossa take on a protest song, “The Time Has Come” (Michael Leonard), with its reference to Victor Hugo, lacked the fire of a protest song written after the Stonewall riots.

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Barer’s gift for words and, in particular, on one syllable shone in “There’s a Ju on Every Jury.” Simon Wallace’s accompaniment to “It Might Be Nice” (Dean Fuller) made a lovely contrast to some of the faster patter numbers, and the Michael Feinstein collaboration, “For Love Alone,” was a highlight of the evening.

For my part, being new to Barer’s repertoire, it came as a pleasant surprise at the finale to hear a recording of him singing “On Such a Night as This” (Martin) while Ward duetted to his anglicized diction, reminiscent of Rex Harrison or Coward.
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Ward’s objective was achieved and a well-chosen set list of 18 songs presented this homage with a generous helping of Barer’s astonishing output, which is indeed “Beyond Compare” (music: Ross).  Ward clearly has deep affection for the man and his work, and her splendid performance more than did him justice.

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Helen Theophanous

Helen Theophanous is half Greek/half Irish and studied music at Goldsmiths' and the Guildhall School of Music and Drama. She has performed classical works and lead roles in musical theater. Following a career in Education Management, Helen studied jazz with Lea DeLaria and performs in major London venues, appearing regularly at Ronnie Scott's Bar with the resident trio with whom she made her album “Amici.” Her recent Bacharach show was launched at the Crazy Coqs, where Helen occasionally hosts the late night Open Mic. Clare Martin OBE said of Helen's voice “ ...stunning and classy ..with drama and presence...”