Being kind of a loose cannon is both a charming asset and danger for Helena Grenot. She can seem flibbertigibbetty and flustered or fly high with confidence. Being salty, self-deprecatingly glib with a “take me as I am” attitude: that’s gregarious Grenot. The terrific custom-written opener, “Damn’d If I Know,” captures good-sport shrugging acceptance of life’s unpredictable and uncontrollable events. Her director, Peter Napolitano, wrote the snappy lyrics with lively music by the show’s invaluable and versatile pianist/arranger Barry Levitt. After this, things hit some rough spots with slapdash performances crying out for more nuance—or seemed oversold with more unleashed libido than legato present. Subtlety was not the “thrust” with “Boom Boom” (Marcy Heisler/Zina Goldrich) as she moved in, winkingly flirting with the other musician, fine bassist Morie Louden. Being breezily blunt about bearing the brunt of bad luck with men (or bearing the truth or bearing grudges) will only take a game dame so far. However, towards the end, everything worked with convincing, controlled, mature renditions of the heartbreaking story-ballad “Through the Eyes of Grace” (Melissa Manchester) and the lullaby from Disney’s Dumbo, “Baby Mine.”

Self-interrupting Fiddler on the Roof’s “Matchmaker, Matchmaker” with tales of long tours with that musical and an affair with an unfaithful co-star found her at ease with dishing and perspective. At her best, she can be fun and flip and free. And there’s a big heart beneath the smartypantsdom and panting.

Rob Lester
Cabaret Scenes
May 21, 2010
www.cabaretscenes.org