What was that March whirlwind of warmth and energy on Manhattan’s East Side? None other than Marilyn Maye, moving from her frequent venue downtown to her debut engagement uptown at Feinstein’s at Loews Regency.

Despite her 50-plus years as a club performer and her 76 appearances on Johnny Carson’s The Tonight Show, Marilyn’s audiences for her first few evenings at Feinstein’s were sparse. Peeking from behind a side curtain just before going onstage, she told me, wistfully, “It’s like starting all over again.” Happily, as her engagement continued, her audiences built swiftly and strongly, growing to become enthusiastic packed houses.

And with good reason: Marilyn Maye is a master at interpreting songs, bringing their stories to life as if they were happening then and there. Add her voice, with its husky, rolling tones, without gimmicks or pyrotechnics, and you have honest talent, honestly and warmly given. From Feinstein’s tiny stage, she took charge of the room, singing directly to patrons, bantering with them, sharing herself with them straightforwardly and with humor. Her songs ranged from softer, poignant numbers such Moross/Latouche’s “Lazy Afternoon,” Blossom Dearie’s “Bye Bye, Country Boy” and Murray Grand’s “Guess Who I Saw Today” to “pow” pieces such as Sondheim’s “Being Alive,” the Previns’ “You’re Gonna Hear From Me” and Steve Allen’s “This Could Be the Start of Something Big,” as well as a swift-moving medley of seven Cole Porter songs. Her personal warmth offered new meaning to her final song, Paul Williams’ “That’s What Friends Are For.” Strong accompaniment was provided by musical director Tedd Firth (who also contributed a dynamic piano solo in Lionel Richie’s “Hello”), plus Tom Hubbard on bass and Jim Eklof on drums.

Peter Haas
Cabaret Scenes
March 5, 2010
www.cabaretscenes.org