Liora Michelle
Songbirds of the Silver Screen
Don’t Tell Mama, NYC, December 2, 2025
Reviewed by Jacqueline Parker
Photo by Conor Weiss
When was the last time you saw a cabaret show that opened with “Italian Street Song” (Victor Herbert/Rida Johnson Young) from Naughty Marietta? My guess is never, and it was an experience worth waiting for. Hearing Liora Michelle’s gorgeous soprano voice trilling “Napoli” as she walked down the aisle at Don’t Tell Mama was as incongruous as it was thrilling. She was honoring Jeanette MacDonald, of course, in her opening numbers. Then she worked her way to Helen Morgan and Irene Dunne with patter about Show Boat before she sang Morgan’s signature number from that show in a moving rendition of “Bill” (Jerome Kern/P.G. Wodehouse/Oscar Hammerstein II).
Michelle’s patter was an informative connective tissue linking these glorious singers as she described the trajectories of their careers. The spotlight moved to Grace Moore with the not-often-heard “Minnie the Moocher” (Cab Calloway/Clarence Gaskill/Irving Mills). Three Russian gypsy-romance-style songs introduced Deanna Durbin and her career, which she intentionally cut short by moving to Paris.
Michelle is a classical soprano who crosses over well into singing the American Songbook. I’ve heard other classical vocalists try to do that and none of them were as successful in doing it so seamlessly. It often felt like being in a shoe that’s the wrong size—it just doesn’t fit, no matter how competent the performer.
Michelle’s coverage of Irene Dunne returned briefly with “Smoke Gets in Your Eyes” (Kern/Otto Harbach), and then homage was paid to Jane Powell with “Oceana Roll” (Lucien Denni/Roger Lewis) used in the film Two Weeks with Love. Michelle, whose voice is often reminiscent of Kathryn Grayson’s, soared with “Love Is Where You Find It” (Nacio Herb Brown/Earl K. Brent). (She even looks a great deal like Grayson.)
Shirley Jones, Julie Andrews, Deborah Kerr, and even Marni Nixon (the popular voice double for many Hollywood stars) all had respect paid to them. In a trilogy of songs from three versions of A Star Is Born,—Judy Garland (“It’s a New World”), Barbra Streisand (“Queen Bee”), and Lady Gaga (“I’ll Always Remember You This Way”)—were all acknowledged.
The evening ended as it had begun, with a classic yet easily recognizable operatic number, Puccini’s “Nessun Dorma” (from Turandot) with English lyrics by Edward Heyman. This was a perfectly crafted show, with every detail highlighted to perfection. Michelle is a lovely woman, whose warmth and love of music are almost palpable, and, like Grayson, she has beauty and style that are unforgettable.
Director Lennie Watts is to be congratulated for guiding this show so skillfully, and equal kudos to Music Director Bill Zeffiro on piano and his band of excellent musicians: Mitch Endick on winds; Chip Fabrizi on drums; John Miller on bass; and Ted Stafford on guitar, mandolin, and sax.
