Marilyn Maye
Birdland Theater, NYC, December 28, 2024
Reviewed by Jacqueline Parker

Photo: Kevin Alvey
Thunderous and loving applause greeted Marilyn Maye as she ascended the stage at the Birdland Theater. Wearing a glamorous black-sequined pant suit and bedecked with matching jewelry, she dazzled—literally, figuratively, and emotionally. Maye is a cabaret veteran who knows how to please an audience and how to keep its attention until she sang the final note. One of her signature pieces is Jerry Herman’s “It’s Today,” which she punctuated with a few high kicks to the appreciative “whooos” of her fans. Throughout the evening, she interacted subtly with the audience, making eye and hand contact with those nearby.
There were themes throughout the show, and she started with songs about rainbows, making the lyrics of the ever popular “Over the Rainbow” (Harold Arlen/E.Y. Harburg) come alive with her skillful delivery. Rainbows set the romantic mood for what was to follow: songs about faces and smiles beginning with “Put on a Happy Face” (Charles Strouse/Lee Adams). When she performed “I Love to See You Smile” (Randy Newman) so sincerely and lovingly there was no choice but to love her right back.
It’s not often that a nonagenarian can teach something about sex appeal, but if anyone can, it’s Marilyn Maye! She sang “Honeysuckle Rose” (Fats Waller/Andy Razaf) with such powerful subtlety that she reminded the audience of just how sexy nuance can be.
It’s also not often that a singer in cabaret gets a standing ovation in the middle of a performance, but that was the only way the appreciative audience could register how much they loved her version of “Fifty Percent” from Ballroom (Billy Goldenburg/Alan and Marilyn Bergman). As if that moment was not dramatic enough, she followed it with “Guess Who I Saw Today” (Murray grand/Elisse Boyd); it was so convincing that after living through its emotional impact one prayed to never have a moment like that in life.
As easily as Maye can break your heart with her songs, she can repair them with the same grace. Her musical trio of Tedd Firth on piano, Dan Glass on drums, and Tom Hubbard on bass superbly helped her make each selection appear effortless. Their chemistry was reminiscent of the kind of banter Bing Crosby used to have with his musicians—honest, warm, and humorous. Her voice was strong and powerful, and it can direct any emotion to the most vulnerable part of your soul. She is truly a national treasure. She her show with new lyrics to “What Are You Doing New Year’s Eve?” (Frank Loesser) before leading us all in a sing-along of “Auld Lang Syne.”