Betty Buckley: Story Songs

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Betty Buckley  

Story Songs 

Feinstein’s at the Nikko, San Francisco, CA, October 21, 2016 

Reviewed by Steve Murray for Cabaret Scenes

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Betty Buckley

Betty Buckley has the accolades and storied career in film, stage, television and recording that few can match—a Tony Award-winning, Emmy-nominated actress, Olivier nominee and a 2012 inductee into the Theater Hall of Fame. Nearing 70, Buckley is still going strong, recently appearing in an L.

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A. engagement of Grey Gardens and a cameo role in M. Night Shyamalan’s new movie Split, in addition to her critically acclaimed concert appearances.  

In Story Songs, Buckley does what she does best—supporting contemporary musical theater songwriters, deliver exquisite interpretations of smartly chosen songs, all the while transporting her audience to a transcendent, ethereal space. Three numbers by Tony winner Jason Robert Brown (Parade, The Bridges of Madison County, The Last Five Years) were set standouts: her sublime take on “All Things in Time,” the stifled prophetess of “Cassandra,” and the inquisitive suitor from “Another Life.” Brown’s rhythmically challenging style fits well with Buckley’s dynamic storytelling. She and Christian Jacob shine on Emmylou Harris’ “Open Prayer in D” and a surprising cover of alt-rock Radiohead’s “High and Dry” (Colin Charles/Johnny Greenwood/Edward Jhn O’Brie/Jonathan Richard Guy/Philip James Selway/Thomas Edward Yorke). 

Pianist/arranger/composer Jacob provides the perfect atmosphere for Buckley’s voice to soar and is given the opportunity to solo of the theme he composed for Clint Eastwood’s new film Sully. A longtime member of the Tierney Sutton Band, Jacob is one of the finest accompanists around and the two create the complementary magic that comprises this show.

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Songwriter Joe Iconis (Smash) wrote the comic “Old Flame” specifically for Buckley—a fantasy about the murder of an old flame gone wrong. It’s a delightful balance to Buckley’s emotionally concentrated mini-dramatic vignettes. A lovely and poignant “September Song” (Kurt Weill/Maxwell Anderson) segued into Peter Gabriel’s pleas for hope and encouragement through dire times in “Don’t Give Up.

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I love everything about a Buckley performance: the way she builds steadily in power and assurance as the set progresses; the way she pulls back on her hand-held mic when she raises her tone; the intelligent range of her musical choices; and, most of all, the depths of emotions she can effortlessly create. An old New Age friend once told me, “When the guru is in town, don’t miss it.

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” I use that sage advice regarding Betty Buckley.

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.