Susan Derry Showcase
Crazy Aunt Helen’s, Washington, D.C., March 20, 2023
Reviewed by Michael Miyazaki
As part of the inaugural National Capital Cabaret Festival, cabaret veteran Susan Derry (pictured) presented a showcase featuring the DC-area talent that she coaches. She opened the show with a version of “Oh, What a Beautiful Morning!” in which open, legato verses contrasted with sprightly, jazz-inflected choruses, and she closed the show with a jaunty “You Fascinate Me So.” She was a gracious, peppy emcee throughout the evening.
Jillian Skara led off for the students with “Stupid with Love” from Mean Girls, which told of the discovery of what happens when someone feels intellectual and emotional joy for the first time. Olivia Levin gave a lovely reading of “Times Like This” from Lucky Stiff, ably expressing the first “reveal” in the song as well as its subsequent tenderness. Caroline Griswold Short suitably followed with “One Day” (Groundhog Day), providing a wry catalogue of diminished romantic expectations. Makayla Fetterman completed the arc with “Fine, Fine Line” (Avenue Q), using her strong, ringing belt as she explored an untenable romantic situation.
Sarah Pollock’s “Summer in Ohio” from The Last Five Years gave us a portrait of lovers who were geographically, and perhaps spiritually, separated. Parker Chace accompanied himself on “It’s Been a While,” a song about best described as an exploration of trying to cross bridges that have already been burned. Jane Petkofsky used her immaculate comic timing to wring every laugh out of the faux-Weill “He Vas My Boyfriend” from Young Frankenstein. Kate McNamara-Marsland returned to The Last Five Years with “I’m a Part of That,” which tracked a relationship through its first hints of disillusionment.
Natalya Pedrouzo’s “Even Though” (I Love You Because) described the ways in which love never seems to come in expected packages. Julia White performed “Take Me to the World” (Evening Primrose) with more sunniness and optimism than is usually heard when this song is performed. On the other hand, Care Ginsberg’s rock-torch song, “All the Men in My Life” from Evil Dead—The Musical provided a hilariously exploration of the problem—surely one we all have faced—of having all the men in one’s life killed by demons. Alice Squeglia concluded the student presentations with a version of “Young Kind of Love” by Joey Contreras, an exploration of first love that she built to a fare-thee-well.
Derry’s work as a teacher seemed commendable as shown in her students’ performances. They all presented appropriate material with confidence and commitment, singing material suited to their instruments, and all sounded great. They all had a clear sense of the story they were telling, staying connected in the song even during the instrumental interludes,
Music director/pianist Howard Breitbart provided apt accompaniment tailored to each performer, and he even performed one necessary rescue gracefully and seamlessly.
