Chicago-Paris Cabaret Connexion
2024 Concert Festival—A Taste of Paris in Chicago
October 31-November 9, 2024
By Jeanie Carroll
When I arrived in Chicago for the Chicago-Paris Cabaret Connexion’s 2024 Concert Festival, which ran from October 31 through November 9, 2024, I was greeted by friends and colleagues from both sides of “the pond.” To kick off this week of an intensive dive into the world of cabaret and prior to the meet-and-greet, chanteuse extraordinaire Angélique Dessaint and celebrated French accordionist France Wilfried Touati busked outdoors in Old Town, Chicago, the sister neighborhood to Montmartre in Paris. Multi-instrumentalist Steve Normandin, well known in his native Quebec and Paris, joined in the homage to Edith Piaf and other famous French vocalists, and treated the enthusiastic onlookers to a sound that was so typically French. It was a wonderful beginning to a week full of musical collaboration, learning, celebration, honing of technique, and fraternité.
This fabulous week was the dream child of Claudia Hommel. Born in Paris of American parents, Hommel has embraced French chanson and the world of cabaret to bring them to a growing audience on two continents. Joined by Mylène Launay and Jean-Claude Orfali in Paris and Lynne Jordan and Elizabeth Doyle in Chicago, they founded the Chicago-Paris Cabaret Connexion in 2017. This week of workshops, round tables, informal open mics, and a series of spectacular concerts, was a testament to their vision.
The week began with the first clinic, Working with Musicians. It was helmed by Jean Claude Orfali (pianist and producer from Paris), Steve Normandin (accordionist and pianist), Wilfried Touati (accordionist), Stefan Kukurugya (pianist from Detroit) and was conducted in English and French. It provided guidelines for vocalists on how to improve musical communication between themselves and their musicians. Orfali stressed the importance of providing your musicians with your sheet music in your chosen key as early as possible, given that most musicians are typically in high demand. The musicians’ goal is to keep you in the spotlight; they play with you, not for you. Lead sheets are great, but they should be verified to make sure they are accurate. The more detailed instructions you can write on the lead sheet, the better. To make the process run as smoothly as possible, a singer should make decisions about the intro, the tempo, the overall feeling in advance. He said you and your accompanist will be exchanging ideas, so don’t be afraid of the accompanist. Normandin suggested that you should “be confident in your ability and delivery. Do your homework. What do the lyrics mean to you? Feel them, and lock that feeling in so that you can efficiently communicate with your accompanist and your audience. The best show is a prepared show.” Touati spoke about improvisation; it’s better if the show has few “surprises.” He said “Music is a living being, to be enjoyed passionately, so that there may be moments of sheer joy.” Kukurugya said that some accompanists feel the music more than just read it. If you make little mistakes, let them go and move on. The audience wants you to succeed, so those little moments make the audience smile. Sometimes it’s not perfect, but it’s human and the audience can relate to that. Being flexible makes for a relaxed experience, so adapt to the moment. Use the mic well, and take your time. Enjoy both the intro and the outro. He called the lead sheet a “roadmap” and stressed that including the melody line is essential and that also including the lyrics is helpful. It’s important to communicate your chosen rhythm, tempo, and overall feel to your musicians. Whether it’s bossa, swing, salsa, or funk, it’s important to do your research. These were helpful guidelines for the novice as well as a reminder for the seasoned vocalist. Love your accompanist and be uniquely yourself.
During each lunch break, Roundtable discussions on various topics took place. Daniel Johnson—an actor, scholar, and cabaret historian—was on hand with a history of Chicago cabaret that went back to the ragtime era. You can find that history at https://blackvoicesincabaret.org/conversations/chicago-black-cabaret. It’s a comprehensive read, and so informative and interesting.
Martin Pénet joined us via livestream from Paris and gave us an overview of the history of Parisian cabaret, which began in the 1880s and in which Montmartre was prominently figured.
Hommel led a session called Patter Matters in which she reminded us to set up our space on the stage and to arrange the seating to make everyone at ease and comfortable when we’re entertaining in a ballroom. In a mostly bare room, this could be done with draping, lighting, and decoration. Regarding your patter, decide what an audience needs to know. Is Does the venue and/or building it is in have a special history? What are the connections you have with your songs? Above all, don’t begin your spoken intro with “The next song is….” She also quoted Barbara Cook, who said: “You are fabulous, and you are there to take care of your audience.”
Spider Saloff, a Chicago jazz vocalist, told us how to bring a jazzy flair to the standards and musical theater songs we choose for the cabaret stage. It’s important to know the chord progressions and the structure of the piece. Add a little back-phrasing that deviates from the melody and surprise the audience by coming in and laying out at various times as though you were improvising. She led by example and demonstrated techniques that included scatting freely within the song’s structure. She told us to “use the space, and don’t be afraid of silence” and reminded us that one of a musician’s most important jobs is to listen. Saloff has a light, easy sensibility, and she floated on the notes “using space as daringly as possible.” She told us that it’s important to know the original melody cold; then you can have the freedom to “experiment.” Be sure to allow yourself to settle into the groove, and even possibly to find a new one. Several students shared their pieces in this jazzy new way and changed their keys so that the music would fit in their speaking voices. We all had fun exploring scat singing, and there were smiles all around.
The next informal Roundtable was Taking One’s Show on the Road. Clotilde Rullaud (from France) has toured Europe and the U.S. as a singer and flautist. Producing one’s own show in an other country can be risky, especially for foreigners. Doing that requires permissions, visas, work permits, and costly paperwork, and one needs to do this well in advance. Many extra costs might be incurred for musicians and performers who use special instrumentation. Costs might include paying extra to transport the instruments or to rent them locally, hiring and featuring local musicians (which helps to draw a crowd), publicity, food, transportation, comp tickets for journalists, possible sales of merchandise, and for the people to man the table if you are doing that. A venue split of 30/70 of the door take is also risky. If possible, it’s better to have various agents working to help obtain venues, and to work with managers and publicists.
Meri Ziev conducted a workshop on Lyrics and Interpretation. She told us that pitch, intonation, and dynamics are all tools for delivering and communicating a song and that the context of the song matters. Punctuation, phrasing, pauses, emphasis, and rhythm can all change the potential meaning of a lyric and therefore, its interpretation. Connectors, the words in a language that connect one idea to another, can make a difference and can possibly change the meaning of a lyric. There is an anagram for this: FANBOY (For And Nor But Or Yet), and words about time (e.g., “before, after, since, until, if, when, because”) all convey important nuances in a lyric. Metaphors and figurative or literal language can create nuance and precision in delivering lyrics. Explore your lyrics for these things, and find out whether they could alter their meaning. When you talk with your musicians, it helps to use descriptive words to indicate the levels of intensity and the shades of meaning in the intro and throughout the song. These words can also help you describe the feel you’re looking for in your arrangements.
Jeff Harnar, a well-know cabaret crooner from NYC, talked about using our voices with economy and how to program our shows. Think of your show as taking the audience on a roller-coaster ride; let it rise and fall and build to a crescendo. Don’t give it all away in your first number. Program the show so that the audience can experience a gamut of emotions. This can also be done by defining your focus in delivering a song; know who you are singing to. Harnar said, “Finish your thought in one place before you move on.” He quoted his friend and collaborator, the pianist/songwriter Alex Rybeck, who said, “Whatever the main point is you want to communicate, return to center stage to deliver it.” Later that evening, there was a glorious gathering at chez Ruth Fuerst with great food, conviviality, and song. Pianos, accordions, and gorgeous voices combined for the merriment of everyone present.
Isabelle Georges, who is from Paris and speaks fluent English, conducted a workshop called Be Yourself!, Everyone Else Is Taken. She suggested that we write down the underlying meaning of the lyrics—what do they make you feel and how do you feel about them? She then asked “What choices will you make?” and said “You must own them.” Every flaw you have on stage is a gift, so use them. There is no “ugly” on stage. She suggested we research relaxation techniques. She mentioned Sophrology, a relaxation technique based on yoga (https://www.healthline.com/health/sophrology). Furthermore she urged us to expand your vocal and physical horizons. For example, while singing “Summertime,” participant Sheri L. Flanders took us on a roller-coaster ride of attitude and emotion by being sultry, drunk, a clown. She whispered while her shoulders were being massaged, and she even laid her head on another person’s lap while her hair and head were being caressed. It was fun to experience and to witness.
During our next Roundtable luncheon, Michèle Barbier (from Paris) and Susan Boldrey (an expert translator) discussed stage fright. They told us about the importance of being prepared and rehearsed, of realizing that you are unique, and that your audience came to see you to be entertained. They are behind you and with you and want you to succeed. They reminded us to make contact with the audience so that each person feels at home and is being recognized. You should sing of dreams and of beauty and be sure the audience is able to relate to you. Don’t forget to address the “cheap seats”; make them feel part of the show. They are there for you, and you are there to give and to share. Barbier said, “When you realize your purpose, there is no longer any stage fright.” We were reminded to be happy; we weren’t risking our lives onstage the way some circus performers do.
Cabaret Scenes’ own Carla Gordon (from Chicago), a comedienne and songwriter, led a seminar called Find the Funny in Cabaret. We were given red clown noses; it was hilarious to see 30 people wearing them. She told us that comedy is about telling the truth, it’s about timing and finding your rhythm by observing the audience’s reactions. She advised us to watch funny people like Fanny Brice, to go to comedy shows, and to practice our delivery. A joke should have a beginning, a middle, and an end, and the ending should be unexpected. You should pause, deliver the punchline, and then pause again. Research many sources for your material, such as the news, newspapers, television, and even your relatable self. Laughter makes people feel good.
Clotilde Rullaud (from Paris) is the queen of resonance, so it was only appropriate that she conducted a workshop called Vocal Resonances: An Approach to Technique. She had us working on vowels and the consonants T, D, S, and Z. She told us to breathe in with happy surprise like it was the “best news in the world.” Breath support for women comes from the root chakra. She took us through French pronunciation with the French vowels ü, ē, é. The tongue plays a really important role in both French and English.
Angelina Réaux (from San Diego) led the workshop called Transitions Between Songs. The flow of a show is important, and it helps in leading the audience from one emotion to the next. She suggested that at the beginning of a song we shouldn’t look at our accompanist. By rehearsing beforehand, the two of you should be able to feel when to begin. Further, be sure to rehearse your patter; have a script and stick to it.
These were only a few of the clinics and workshops that were held during the week; there were many more opportunities for learning and sharing. Also during the week, several performances were given by the instructors, which were open to the participants and to the public. On Halloween night was the Kurt Weill Circus, which opened with Anne Fromm (from Germany via France). She sang What Are You Afraid Of?, which showcased her ethereal vocals in German, English, and French. Michèle Barbier, who had been an assistant to the great Josephine Baker, sang of skeletons and witches. It was a surreal night, one that was just right for Halloween.
On November 1, showstoppers Isabelle Georges, Jeff Harnar, and Lynne Jordan performed dynamite sets. Georges presented Oh La La!, which she had rehearsed for hours that week with her Chicago band to get every lick and rhythmic accent just right, and boy was it perfect! She included a killer version of “If You Go Away” in Yiddish! Harnar, host and sublime vocalist, took us on a flawless Cole Porter ride, and Jordan brought her sultry and rowdy Chicago blues to the forefront. Oh Là Là! There was a standing ovation that night! Come to think of it, there were several standing ovations that week; the audiences were appreciative and giving.
On November 2, we performed Piaf and Pizazz, a show entirely in French, at the Alliance Française. I was the emcee (I spoke in English). We had a blast taking the audience to France for the evening. The performers included Claudia Hommel, Angélique Dessaint, Michèle Barbier, Angélina Réaux, Clotilde Rullaud, Mylène Launay, Jean-Claude Orfali, Steve Normandin, Wilfried Touati, et moi.
On November 3 and 4 we showcased most of our Connexion. On the Funny Side of the Street, led by Angélina Réaux and Carla Gordon, took place at the DePaul School of Music Recital Hall. There were 22 singers accompanied by Howie Pfeifer, Stefan Kukurugya, Jean-Claude Orfali, and Peter Storms, as well as two additional accordionists. Professionals and participants joined forces to put on a fabulous show. Tirzah Blomberg performed her catchy original tune, “A Swing in the Yard”; it was exactly what the occasion called for.
The final performance for the participants, From Chicago to Paris with Love, was held on November 4. It was hosted and directed by Chicago’s own Anne and Mark Burnell and it was a celebration of the joining of two neighborhoods—Old Town in Chicago and Montmartre in Paris. The Connexion‘s ambassador David Reithoffer gave the rousing introduction. Elizabeth Doyle and Ava Logan combined forces for an homage to Bricktop with “Let’s Do It,” “Un Homme Primitif,” and more. Chicago’s Swinging Sisters (Barb Smith, Carolyn Broquet, and Tirzah Joy) performed “La vie en rose” and “Donnez-Moi tout ça.” Jeff Harnar and Spider Saloff brought cabaret jazz to the stage with “And the World Goes ‘Round,” “That’s Life,” “I Love Paris,” and “Chicago.” Our French contingent performed a French set with Orfali at the keys and Wilfried Touati on accordion. Suzanne Griffiths offered a bluesy “All That Jazz.” Lexa Maxa intoned “Ma Belle Amie.” Susan Arjmand showed us her pipes with “Ah Quel Diner.” Sue Benjamin Burke crooned “It Had to Be You” in English as well as in her own French translation. The Burnells brought us “Isn’t It a Lovely Day” and “A Sunday Kind of Love.” Lynne Jordan wailed on “Work Song” and brought down the house. The grand finale was “All You Need Is Love.” Ain’t that the truth!
Participants for Chicago 2024 included Michèle Barbier, photographer Jean François Carreau, Anne Fromm, Isabelle Georges, Angélique Dessaint, Mylène Launay, Jean-Claude Orfali, Martin Pénet, Clotilde Rullaud, Wilfried Touati (France), Jeff Harnar (New York), Stefan Kukurugya, Lealiza Lee and Sue Benjamin Burke (Detroit), Jeanie Carroll (Las Vegas), Meri Ziev (South Florida), Melissa Flavia, Suzanna Griffith, Angelina Réaux (California), Lou Ella Rose (Philippines via Chicago), Steve Normandin (Quebec, Canada), Shelley Schneider (Nashville), Helene Alter-Dyche, Susan Arjmand, Carolyn Broquet, Mark & Anne Burnell, Susan Dennis, David Edelfelt, Sheri Flanders, Ruth Fuerst, Deborah Good, Carla Gordon, Beth Halevy, Claudia Hommel, Elisabeth Howard, Daniel Johnson, Lynne Jordan, Tirzah Joy, Ava Logan, Lexa Maxa, Staci Kelly, Lauren Lassen, Cristina Marinescu, Howie Pfeifer, Spider Saloff, Barbara Smith, Peter Storms, Christine Steyer, and Lydia Stux (Chicago)
For more information on this wonderful cabaret resource for performance and education for our chosen art form please visit CabaretConnexion.org. The next Connexion will take place in Paris, France, from October 26 through November 3, 2025. You are welcome to join us. You do not have to speak French, but you will learn some.
