Paula West

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Paula West

Feinstein’s at the Nikko, San Francisco, CA, February 18, 2016

Reviewed by Steve Murray for Cabaret Scenes

Paula-West-New-Cabaret-Scenes-Magazine_212There are a few fantastic constants that run through Paula West’s new show – a devotion to great lyricists, honoring a great woman of color that preceded her, and a successful blend of vintage classics and contemporary interpretations. All these components, along with West’s strong contralto and Adam Shulman’s remarkable arrangements, make her four-week residency at Feinstein’s the event of the season.

Those great wordsmiths? How about one of her favorites, Bob Dylan. A slow, measured cover of his powerful “Just Like a Woman,” an exploration of feminine wiles, and “Make You Feel My Love” are evidence that West is one of his finest interpreters. His defiant lyrics and rhythmic meter fit well with her style as does a lovely cover of Jimmy Webb’s “By the Time I Get to Phoenix,” another of her favorite songwriters.

Ethel Waters, a groundbreaking artist in her day, is represented by Papa Charlie Jackson’s “Shake That Thing” and Irving Berlin’s swinging “Waiting at the End of the Road.

”  It’s easy to see why West chose two numbers sung by Pearl Bailey in the failed musical St. Louis Woman, featuring music and lyrics by Harold Arlen and Johnny Mercer. “Legalize My Name,” a bluesy swing and “A Woman’s Prerogative” are written from a strong woman’s perspective.

Shulman’s arrangements are superb, guest guitarist Jacques Leisure is a great find, and the percussion work by Jerome Jennings is nothing short of spectacular. Closing with a heartfelt tribute to David Bowie, West and the band rock out to “Space Oddity” replete with sweeping synthesizer, sonic guitar solos and pounding drums swirling around Bowie’s symphonic melody.

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It was a stunning end to a classic evening of Paula West’s compelling style and keen sensibilities.

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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.