Jazz Nite at The Producer’s Club
Producer’s Club, NYC, February 23, 2019
Reviewed by Chris Struck for Cabaret Scenes
The Jazz Nite at The Producer’s Club offered quite a number of singers the opportunity to shine. As with shows I have reviewed in the past, particularly at Feinstein’s/54 Below and The Duplex, there was a plethora of talent. There were only a few who stood out above the crowd. And since there wasn’t much talking between the jazz highlight reel, we’ll get straight into the singers, who each sang two songs accompanied by pianist Napat Mingkqanyuen.
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The best performers of the evening were Eloïse Ghislaine (pictured), Alexandra Shepard, Katherine Dollison, and Adriel Garcia.
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Ghislaine performed “Since I Fell for You,” (Buddy Johnson) with stunning depth.
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Her range on even single, simple lines, such as “Love brings such misery and pain,” evoke strong comparisons with singers who have previously recorded this standard. The beauty of the performance lay in making simple lyrics sound complex in emotion. Runner-up to top of the evening would have to be Shepard, whose flirtatiously laced “I love the way you’re breaking my heart,” (“Delicatessen”) drew oohs and ahs from the crowd, partly because she played up the evocative nature of the song. Dollison opened the show with “Cry Me a River,” setting a positive tone to the evening. Garcia enjoyed being the only guy to grace the stage; he earned his spot and then some with a memorable “At Last” (Harry Warren/Mack Gordon).
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Keep an eye out for any of these four at your favorite cabaret room.
There were a few noteworthy performances that were above average, including those by Cassandra Dougherty, Josephine Cho, and Justyna Kostek, and all for various reasons. Dougherty’s performance of “Black Coffee” (Francis Joseph Burke/Paul Francis Webster) landed especially well, due to the strong emotional connection she was able to bring to the song. Her depth and delivery made lines like “A woman’s born to weep and fret, to stay at home and tend her oven, and drown her past regrets, in coffee and cigarettes,” a tongue-in-cheek jab at equality. Cho pulled out a unique song in Osvaldo Farres’ “Quizás, Quizás, Quizás.” While on her first song in English, her accent seemed to slip on and off, but this song in Spanish had me singing “Quizás!
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” later in the night. Also talented was Kostek for her portrayal of Marlene Dietrich. Her comedic timing in “The Boys in the Back Room,” allowed us a taste of a strong-willed personality as Kostek strutted her stuff.
