Eva Noblezada
Girl No More
The Green Room 42, NYC, March 5, 2018
Reviewed by Randolph B. Eigenbrode for Cabaret Scenes
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Right from the start, Eva Noblezada wants you to know that she is NOT “demure.” Last year’s Best Actress Tony nominee (for Kim in Miss Saigon) may have entered in a traditional all-black ensemble (sleeved leotard-top paired with pants, no less), but within moments she vocally pounced like a feral panther. Technically speaking, Noblezada ranks among Broadway’s best vocalists. There’s that healthy mix, exquisitely placed, as well as a ferociously agile pop belt. Simply put, she sounds as impeccable as a recording. But,after a song or two, what else does she offer?
For a show entitled Girl No More, Noblezada ironically falls into those clichéd youthful (rookie?) cabaret pitfalls. There’s the unfocused patter, often bordering on overshare and, while she tackled personal issues with the hope of inspiring others —“young” fame, eating disorders, depression, body dysmorphia, et.
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al.—the patter never seemed to launch her singing into a kinetic space.
In fact, the songs often felt like departures (distractions) from her storytelling. Psychologically rich pieces like “When I Look at You” (Frank Wildhorn/Nan Knighton) and “You Know I’m No Good” (Amy Winehouse), each brimming with layers and conflict, felt static and presentational. Even a piece like “Let’s Be Bad” (Marc Shaiman/Scott Wittman, written for Smash), whose sentiment seemed to serve as her leitmotif, was far too brisk and lacked any sense of play or irony.
But, still, Noblezada can enchant. There was a medley of imaginary roles and, perhaps because of the theatrical construct of the mélange (and the freedom to inhabit a character), she committed with abandon.
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Elphaba, Sally Bowles, Yentl and more came to life with a sly sense of humor. And there was “Sun and Moon” from Miss Saigon (Claude-Michel Schoenberg/Alain Boublil/Richard Maltby, Jr.), which she could have easily presented in its show context.
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Instead, she delivered it as a love song to her audience, gently captivating the room by its finish.
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And most beguiling was “Dancing” (Elisa), a tribute to her husband, far from demure.
Noblezada, vulnerable and seemingly broadcasting her longing to be loved, almost compelled us to protect her. Here she emerged most vibrant.
With talent and style like she has, young Eva Noblezada certainly has a tremendous career in front of her. And, with a good director, she could best prove why she’s a girl no more.
