Casey Borghesi
Live at the Beechman
Laurie Beechman Theatre, NYC, September 3, 2026
Reviewed by Bart Greenberg
Earlier this summer, The Laurie Beechman Theatre and the York Theatre Company dubbed Casey Borghesi a “Star to Be.” Early in September, she returned to the Beechman (she had been outstanding there last year as part of the company of The Beat of a Wandering Heart) for her solo debut for an electric evening that offered a mix of pop and theatrical numbers. With the help of music director/pianist Aidan Wells, as well as Cat Barker on bass, Ben Shanblatt on guitar, and Brad Bailey on drums, who were all clad in black making them look like an ensemble, she thrilled and at times overwhelmed, the audience.
She propelled herself through the audience in a Halston-style early-Liza halter-top outfit and offered a mix of humor and sexiness in a big medley that included “Lady Marmalade” (Bob Crewe/Kenny Nolan), “Sweet Love” (Anita Baker/Louis A. Johnson/Gary Bias), and “Express Yourself” (Madonna/Stephen Bray). Flirting with members of the audience, she cut a big swath before she ventured onto the stage to keep the energy going with a song she had written, “Steppin” Out,” which was performed for only the second time in concert. It’s a great disco-like dance number. She delivered all of these as if she was a huge arena, which created major energy but also seemed a bit too much for the Beechman’s intimate space.
She certainly charmed her audience with her patter, during which she was more of her relaxed self. She possesses a self-deprecatory sense of humor that is slightly reminiscent of Laura Benanti. As she moved into some theater songs, things calmed down a bit. Awell-acted “Defying Gravity” (Stephen Schwartz) and then “People” (Jule Styne/Bob Merrill), which was performed with absolute purity with only piano accompaniment. Now, that was cabaret. A later rendition of “Songbird” (Chrisine McVie) received the same sensitive treatment.
“Proud Mary” (John Fogerty) was brassy and loud, with Borghesi seemingly possessed by Tina Turner. For “Islands in the Stream” (Barry Gibb/Robin Gibb/Maurice Gibb), she was joined on stage by Matt Kelley, a good ol’ country boy with lots of stage presence of his own. Their off-stage friendship was obvious in their on-stage chemistry. For her encore, “Purple Rain” (Prince), Borghesi changed into a gown for a glamorous end to a very exciting show. Hopefully, as she continues her club performances, she’ll be able to define her cabaret persona more clearly.
