Baby Jane Dexter

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Baby Jane Dexter

Pangea, NYC, November 25, 2017

Reviewed by Peter Haas for Cabaret Scenes

Baby Jane Dexter
Photo: Lou Montesano

Spread the good news! Baby Jane Dexter is back! Absent from performing for a period as she recovered from illness, she returned to the cabaret stage for a one-nighter, with her powerhouse voice and wry humor intact.
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The locale: Pangea, the intimate restaurant and cabaret on lower Second Avenue.

“Cabaret stage” may be too grand a term: Pangea’s performance space is alongside the piano, on the same level as the dining tables, just a spoon’s length from them. For both the audience and Dexter, however, it was the perfect setting. Getting about via a wheelchair, she simply rolled into the spot, checked her music stand for her material, and—with Ian Herman at the piano in superb accompaniment—sang out. “It’s like being in my living room,” she said.

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The program and the singing, were vintage Baby Jane, performed with strength, clarity and attention to each song’s particular story. Present, too, was the undercurrent of her pleasure of being back before an audience.

Her songs included many that have long been her fans’ favorites, such as “Painted Lady,” “Do Right Woman,” “Razor,” “House of the Rising Sun,” “Got to Get You Into My Life,” and “How Can I Be Sure.

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” Midway through the program, Herman took over with a rollicking piano break. Dexter resumed with “Blue Moon,” “Everyone Is Gay,” an upbeat “Zing! Went the Strings of My Heart”’ and—moving into one of her audiences’ long-time favorites—she finished with “Everybody Hurts.”

More appearances for Baby Jane Dexter to come?  Keep your fingers crossed—and “hold on.
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Peter Haas

Writer, editor, lyricist and banjo plunker, Peter Haas has been contributing features and performance reviews for Cabaret Scenes since the magazine’s infancy. As a young folk-singer, he co-starred on Channel 13’s first children’s series, Once Upon a Day; wrote scripts, lyrics and performed on Pickwick Records’ children’s albums, and co-starred on the folk album, All Day Singing. In a corporate career, Peter managed editorial functions for CBS Records and McGraw-Hill, and today writes for a stable of business magazines. An ASCAP Award-winning lyricist, his work has been performed at Carnegie Hall, Feinstein’s, Metropolitan Room and other fine saloons.