DC Cabaret Network
This Is Cabaret
3 Stars, Washington, D.C., Saturday, July 16,2022
Reviewed by Michael Miyazaki
Christy Trapp, Guy Bosworth, Howard Breitbart, Dean Reichard
Heather Frank, Lonny Smith, Maureen Kerrigan, Tracy Simpson
“What is cabaret?” is a question all cabaret performers have to deal with, both for the sake of their performance approach and for their relationship with an audience. In This Is Cabaret, from the DC Cabaret Network, seven different performers answered the question in their own way.
For Christy Trapp, who opened with “Hooray for Love” (Jimmy McHugh/Dorothy Fields), cabaret was a buoyant expression of optimism, leading into the tenderness of “The Rose” (Amanda McBroom).For Dean Reichard, it was a chance to examine a landmark moment in life, his retirement, with a pensive “A Quiet Thing” (Kander & Ebb) and to provide a heavy-swinging take on “Black & Gold” (Jesse Rogg/Sam Falson). Maureen Kerrigan always brings a theatrical panache to her work, whether it’s delivering a yearning take on “My Ship” (Kurt Weill/Ira Gershwin), telling an anecdote about moving to New York, or delivering an explosive “I’m Still Here” (Stephen Sondheim).
Heather Frank demonstrated there’s always a place for a singer/songwriter in a cabaret setting. She proved this with two particularly clever compositions: “Her Majesty Regrets,” in which the Queen throws off the shackles of the monarchy and takes a little time for herself, and “Country Single” which sets the tropes of a country complaint song on their ear.
Lonny Smith explored love, both longing and familial, the way a cabaret artist will. He gave us a tender take on Jeff Blumenkrantz’s “Hold My Hand” and a deeply felt performance of “Lost in the Waves” (Michael Kooman/Christopher Dimond). Tracy Simpson used cabaret to push the edges of the Great American Songbook; she gave us a poignant version of Dar Williams’s “The Babysitter’s Here” and an inspirational reading of “Rainbow Sleeves” (Tom Waits).
Guy Bosworth closed the show by demonstrating the course of cabaret love, lending his creamy baritone to a soaring rendition of “Someday My Prince Will Come” (Larry Morey/Frank Churchill) and a triumphant “I’m in Love Again” (Cole Porter).
Howard Breitbart deserves special commendation for his music direction and piano accompaniment; he brought a unified feel to a show that featured seven disparate performers. He also has the special talent of knowing when not to play; he understands the power of leaving vocalists in the “clear” to emphasize a dramatic moment or a punchline. The evening was directed by Judy Simmons, with Cindy Hutchins serving as associate director.
