Alison Freeman

  • Post author:
  • Reading time:4 mins read

Alison Freeman

Tom Rolla’s Gardenia, West Hollywood, CA, July 25, 2015

By Elliot Zwiebach for Cabaret Scenes

Alison-Freeman-Cabaret-Scenes-Magazine_212Alison Freeman is an utterly exquisite singer—very much akin to a young Barbara Cook—with perfect pitch, beautiful tone, a smooth and unforced presentation and a very charming stage persona.

In an eclectic program of music that she said simply appeals to her, Freeman was consistently terrific.

buy vibramycin online http://healthdirectionsinc.com/images/jpg/vibramycin.html no prescription pharmacy

Singing a quartet of songs by Rodgers and Hart—her favorite songwriters, she said—she started with a powerful “Johnny One Note,” holding that one note for a smashing 14 measures, followed by a sensitive “I Didn’t Know What Time It Was” and a flawless “You Have Cast Your Shadow on the Sea” and ending with an adorable “Love Never Went to College.”

Tackling Rodgers and his other main writing partner, Oscar Hammerstein, Freeman performed two of the songs from the stage score of The Sound of Music that were not included in the movie—making a particularly strong argument for the error in those omissions with a lovely, tender “An Ordinary Couple” and a toe-tapping “How Can Love Survive?”

She also got to fulfill what she said was a long-held ambition by presenting all four songs written by Stephen Sondheim for the 1966 TV musical Evening Primrose. Joined by guest singer Stephen Van Dorn—who did a terrific job on the word-heavy “(If You Can Find Me) I’m Here”—Freeman was heartbreaking in “I Remember,” followed by sweet duets with Van Dorn on “When” and a stunning “Take Me to the World.

buy wellbutrin online http://healthdirectionsinc.com/images/jpg/wellbutrin.html no prescription pharmacy

Sticking with Sondheim, Freeman was excellent in a wide-eyed, well-acted “I Know Things Now” from Into the Woods and closed out the show with a mesmerizing “Children Will Listen.”

The evening also included a delightful medley of six Nacio Herb Brown/Arthur Freed songs used in Singin’ in the Rain, highlighted by a gorgeous rendition of “Would You?” and a sincere “You Were Meant for Me.
https://www.quaintonhall.org.uk/wp-content/languages/new/how-to-solve-math-problems.html

There was even a shout-out to Gilbert and Sullivan with a short, sweet, stunning performance of “Alone and Yet Alive” from The Mikado—which Freeman acknowledged was an homage, of sorts, to a group of youngsters she coached in a production of that operetta. With a large contingent of some of those pre-teens in the audience, that song—among others—was greeted with the kind of joyous squeals rarely heard in a cabaret or for Gilbert and Sullivan.

Freeman was accompanied on piano by Greg Shreiner, who provided impeccable support as musical director throughout the evening.
https://www.quaintonhall.org.uk/wp-content/languages/new/article-writing-service.html

Elliot Zwiebach

Elliot Zwiebach loves the music of The Great American Songbook and classic Broadway, with a special affinity for Rodgers and Hammerstein. He's been a professional writer for 45 years and a cabaret reviewer for five. Based in Los Angeles, Zwiebach has been exposed to some of the most talented performers in cabaret—the famous and the not-so-famous—and enjoys it all. Reviewing cabaret has even pushed him into doing some singing of his own — a very fun and liberating experience that gives him a connection with the performers he reviews.