Betty Buckley’s new cabaret act, For the Love of Broadway, was impressive for its professionalism and good taste. The show was filled with many of the best songs from Broadway shows, as expected, and an occasional outstanding movie lyric.

Buckley started with a bang, launching immediately into a medley of three Rodgers & Hart songs: “My Romance,” “I Could Write a Book,” and “This Can’t Be Love.” The first demonstrated her interesting, but not particularly pleasing, voice; the second demonstrated that her interpretation depends in good part on her phrasing and changes of pitch; and the third is in jazz mode where intonation and facial and vocal expression changed. She surely could “write a book” about vocal techniques for producing the desired interpretation (e.g. change of pitch or intonation), for how to belt out a song without producing mere noise by the expert positioning of the microphone, and how to bond with the audience through eye contact, facial expression, body language, etc. Her professional expertise was fascinating to watch and listen to. She demonstrated that she has much to teach, which she has been doing for at least thirty-seven years, in New York, Texas, and other places across the United States.

Acting is another of Buckley’s known achievements, and she has appeared in a number of movies (e.g. Tender Mercies, directed by Bruce Beresford), television series, and films made for television, including starring in Oz, the HBO series. Those strong acting skills are well utilized in her singing. In her presentation of the tune, “There’s a Fine, Fine Line,” the lyrics continue—“between love and a waste of time.” It’s not just the comedic potential of the lyrics, but also the comedic skill of the singer/actress that made the song funny, to the audience’s delight. Even more of a challenge and funnier was Buckley’s choosing a game male member of the audience to come on stage. A short act followed in which Buckley sang/acted “You’ve Got Possibilities” while scrutinizing him as though he himself was the object of her various and often suggestively funny love lyrics. It was a fun ride for all.

Though overall entertaining and interesting, despite the unimpressive quality of her voice, the last part of the act was the least successful. Buckley’s next-to-last number was “Home,” from the Broadway show The Wiz.  It was not particularly anything, and seemed less when followed by the blockbuster encore, “One Hand, One Heart.” In contrast, this song seemed to be chosen for its big, easy effects on the audience, including belting out the lyrics, which is an important feature of Buckley’s singing and can be enjoyable as an entertainment tool.

Making a great contribution to the act, Kenny Werner, Musical Director and arranger, accompanied Buckley on the piano, joined by Billy Drewes on reeds and percussion, and Tony Marino on the bass. The act can be seen at Feinstein’s at Loews Regency until February 27.

Gloria Taplin
Cabaret Scenes
February 3, 2010
www.cabaretscenes.org