Rachel Potter
Stages
Laurie Beechman Theatre, NYC, August 11, 2025
Reviewed by Bart Greenberg
Photo by Sara Kerens
Rachel Potter returned to the New York cabaret stage for the first time in 10 years to celebrate her 40th birthday and the release of her new CD, Stages. The singer possesses a powerful voice, a strong stage presence, and excellent acting skills, and when she was allowed to take center stage these talents were allowed to shine. However, there were too many distractions to really treasure it all. Her decision to replicate her entire recording on the stage using the backing musical tracks and four fine on-stage musicians, as well as a number of very talented guests coming and going, was an unfortunate one. She was often in danger of getting lost in the shuffle. There were also major sound issues, which she handled with as much aplomb as any seasoned performer could. It was noticeable that among all the names listed in the extravagant program that were handed to the sold-out audience, no one was listed as director.
The on-stage band certainly attacked the material with energy and deftness. Music director/pianist Chris Brent Davis led drummer Damien Bassman, bassist Yuka Tadano, and guitarist Eric Davis, and they all provided strong support for Potter. They also blended in well with the pre-recorded music and kept it from sounding too karaoke-like. Considering the variety of the music involved and the many singers present, they did yeoman work as they supported all the performers.
Potter’s solos allowed her to display a wide range of her personality. She was kittenish in “The Life of the Party” (Andrew Lippa), where she seemed to be channeling Karen Walker. She was a full-throated contemporary Broadway diva in “Come What May” (Sara Bareilles) and a lost little girl in a medley of “Part of Your World” (Howard Ashman/Alan Menken) and “Disneyland” (Ashman/Marvin Hamlisch). As her stated goal in doing this show/recording was to reconnect with the girl she used to be, this variety of musical styles was evidence of her achieving that goal.
The mash-up of the last two songs mentioned was also evidence of the intelligence that guided and presented the show’s selections. Highly effective was the combination of “On My Own” and “I Dreamed a Dream” (both Claude-Michel Schönberg/Alain Boublil) in which Caroline Bowman shared vocal duties for an intense and effective experience. Another smart combination of related songs was “The Amazement Trio,” a mash-up of three Disney “I Want” songs: “Just Around the Riverbend” (Menken/Stephen Schwartz), “Go the Distance” (Menken/David Zippel), and “Out There” (Menken/Schwartz). The blending of Potter’s voice with the two excellent tenors Jamey Ray and E.J. Cardona was indeed amazing. Two other fine tenors, Omar Jose Cardona and Marty Thomas, performed “Come What May” (Vaughn Horton) while Potter was making a costume change. Potter and Tony winner Ali Stroker, offered a gentle and touching duet on “Some Things Are Meant to Be” (Jason Howland/Mindi Dickstein). Christine Dwyer partnered with Potter on an incredibly moving “For Good” (Schwartz). Yes, there was a good deal more to this overly long though well-performed evening. Hopefully, when Potter returns to the cabaret stage (and she certainly should), she will bring with her a guiding hand to help her keep the focus on herself and her own formidable talents.
