Liz Robertson: Songs from My Trunk
Liz Robertson
Songs from My Trunk
Feinstein’s/54 Below, NYC, November 18, 2015
Reviewed by Rob Lester for Cabaret Scenes
Photo: Maryann Lopinto
Look down Below: it’s Halley’s Comet! You’d expect to have to go to her native England to see the down-to-earth Liz Robertson, who has been a working theater star there for years. But the rare American sighting came below street level for one night only at Feinstein’s/54 Below. Like that famous comet, visible from Earth once or twice in a lifetime, Broadway has only had the pleasure of her company twice. And the last time was when she appeared in a Jerome Kern revue in 1986, the same year the actual Comet passed by. Later that year came the passing of her husband, great lyricist/bookwriter Alan Jay Lerner. And his name and words came up frequently in this current and delightful show by his last wife—his eighth, but who’s counting? Accompanied by accomplished New York pianist Mark Janas, she sounded (and looked) great.
Lerner, who was a mere 36 years her senior (but who’s counting?), was represented by material with music by Burton Lane, such as a reflective nuanced “Too Late Now,” Carmelina’s puzzlement about an unlikely attraction to a non-Prince charming older man “Why Him?” with which she scored laughs, and “Hurry! It’s Lovely Up Here” which was, well, lovely. And wouldn’t it have been un-loverly to leave out “Wouldn’t It Be Loverly” from Lerner & Loewe’s My Fair Lady since starring in a revival of it is how she got to know you-know-who. (A slowed-down version was warm and as tender as it could be.) Her one other appearance on the Broadway stage was in 1983’s Dance a Little Closer, and three selections from it proved again how the quality of a score cannot be dismissed because of the number of post-preview performances (just one, but who’s counting?). It was truly thrilling to see her reunited on stage with her leading man from the show, Len Cariou, in superb and sensitive voice.
Non-Lerner items were less dazzling. The version of “Surrey with the Fringe on Top” was copied hook, line and sinker from every nuance of Vikki Carr’s recording, and “Frim Fram Sauce” needed more flavor (and looseness!). A sweet rendering of a Beach Boys hit, “God Only Knows,” felt more genuine. It came via a story about a teen-aged romance. This lady has great stories, including a hilarious one about going blank on a song’s words after the first line, then just repeating it over and over to the full melody when auditioning for its composer, a “feat” recreated for us.
Let’s hope she won’t wait like Halley’s Comet–or even ‘til Lerner’s centennial in 2018—to return stateside.
Category: Cabaret Reviews, New York City, New York City Cabaret Reviews
