Amy Armstrong
Funk It! / She|He|Him
Nacho Daddy, Puerto Vallarta, Mexico, January 7/January 10, 2026
Reviewed by John Amodeo
One thing I respect about comedian/cabaret singer Amy Armstrong is that she is always experimenting, exploring different genres of music, and expanding her already immense repertoire. Now in her eighth season at Nacho Daddy’s in Puerto Vallarta, Mexico, where she has held court Wednesdays and Saturdays from November through April, she has used the luxury of a standing gig to try new things. Her 2024-25 season alternated between 80s pop on Wednesdays and Broadway hits on Saturdays. These shows were quite different, and both were spectacular.
As with all experiments, some worked better than others, and this season her new musical adventures have landed with mixed results. Her Wednesday show, Funk It!, which featured songs from funk, soul, and R&B with backup from the enormously talented duo of Eugenia Prieto (violin) and Al “Mimi” Ramirez (guitar) didn’t land like her other shows. While her R&B offerings such as Aretha Franklin’s “Baby, I Love You” (Ronnie Shannon), Al Green’s “Let’s Stay Together,” and Johnny Nash’s “I Can See Clearly Now” really cooked and were melodically and vocally rich, the funk and soul repertoire didn’t sit comfortably in her vocal register. That resulted in more of a monotone sound. Perhaps a little more R&B, such as some Gladys Knight or Laura Nyro songs would have provided some needed vocal variety.
Because there were only 11 songs in her two-set show, she had ample time for her hilarious standup sketches, whose comic timing ambushed the audience at every turn. No subject was taboo, including the randiness of gay men and her own sex life (or lack thereof), where she elevated self-deprecation to an art form. Her wide-eyed, rubber-faced expressions heightened every sketch and elicited a non-stop series of belly laughs that left us smiling long after the jokes landed.
On the other hand, her Saturday night show She|He|Him was one of the best shows I’ve seen her give. Armstrong joined forces with her longtime collaborator Mark Hartman at the piano and a special guest, local singer/actor Sargento Dan. Here, Armstrong varied her repertoire considerably and introduced new vocal arrangements that showcased some beautiful harmonizing and exceptional song interpretations.
Photo by John Amodeo
As a stage partner, the diminutive Dan couldn’t appear to be more mismatched with the towering Armstrong. But the minute they launched into their opening number, “Chapel of Love” (Jeff Barry/Ellie Greenwich), with its tight, well-synchronized harmonies, it was clear they were a match made in heaven; you just knew this was going to be one fantastic show, and indeed it was.
Dan is a rising star in Vallarta, having been first runner-up in its local talent competition, aptly named Rise. His performing career has taken off since then with a full-season gig singing Sunday nights at Garbo’s, a popular Vallarta cocktail bar. His effervescent stage presence, beaming smile, and mellifluous high tenor made him a perfect foil for Amy’s big brassy personality.
With more songs and two singers, little time was left for Armstrong’s standup comedy, but because the singing was so good no one complained. Dan is smitten with Broadway, and he impressed us with the depth and complexity of his song choices. Digging into the ballad “New York” (Jimmy Barnes/Kim Buchan) from Two Strangers (Carry a Cake Across New York), he showed impressive acting skill as well as vocal chops that were potent and poignant. His penultimate number in the second set called “El Final” (Juan Fran), sung in his native Spanish, showcased his deep, resonant low range and his expressive interpretive skills. In this powerful anthem, Hartman’s opulent accompaniment was virtually orchestral.
Armstrong was equally powerful in her solos, offering a theatrical and heartfelt “A Million Reasons” (Lady Gaga/Hillary Lindsey/Mark Ronson), and a bold and meaty take on Peggy Lee’s hit “Fever.” Armstrong made that one completely her own, especially with her gay twist to the Romeo-and-Juliet verse. Hartman was cool as a cucumber as his walking-bass left hand accompanied his finger-snapping right hand. In the show’s most ambitious moment, Armstrong raised the roof with a delightfully evil and terrifying “Poor Unfortunate Souls” (Alan Menken/Howard Ashman). It was so theatrical that any director would be well advised to cast her as Ursula in the next Broadway revival of The Little Mermaid. Armstrong was especially heartrending in “Anyone” (Demi Lovato), a rarely heard gem that just skewered our collective hearts.
But the real fun in this admittedly eclectic program came in the duets and trios. In Karina’s K Pop hit “Up”, even Hartman got in on the harmonizing along with Armstrong and Dan. Armstrong and Dan raised the emotional temperature again with Harry Styles’ “Falling.” That one built to a big finish, and the burners were turned up to sizzle on the Barbra Streisand/Donna Summer hit “No More Tears (Enough Is Enough)” (Paul Jabara/Bruce Roberts). Their encore, Gloria Gaynor’s hit “I Will Survive” (Freddie Perren/Dino Fekaris), in which the adorable scene-stealing Dan harmonized deftly with Armstrong’s commanding lead vocals, soared into the stratosphere. With a show this good, one can hope that Armstrong, Dan, and Hartman will keep collaborating. This is one experiment that can’t go wrong.
