There are milestones in everyone's life--events that are so strongly embedded in your memory that you can actually recall the date, the time, the place, and the feelings you had when they occurred.
With the holiday season upon us how wonderful it is to experience the joyful celebration of friendship.
In her recent cabaret show, More Than You Know (November 23 at The Triad's Stage 72), Arlene Wolff continued a comeback that has been 50 years in the making (which started last November when she performed at the Waterwheel Café in Milford, PA).
For the third installment of his New York Cabaret's Greatest Hits--a wonderful new monthly series at the Metropolitan Room celebrating award winning and critically acclaimed cabaret shows of the past--Producer Stephen Hanks (and his Cabaret Life Productions) wisely chose Maxine Linehan's What Would
I first saw Julie Reyburn in her 2011 cabaret show Winter Songs, where she wonderfully explored in music the beauty of winter from its cool, autumnal evenings to the somber tranquility of a snow fallen night.
Opening Tuesday night with a four show run at the Metropolitan Room, Nancy Harms masterfully sang the luxurious, the lonely, and the seductive songs of the great jazz master, Duke Ellington.
Observing the last show of the second cycle of her year-long presentation of Songs I Feel Like Singing--four runs of four different shows with four different musical director/accompanists (Mark Janas, Sean Harkness, Ritt Henn, and Steven Ray Watkins)--one might note that 2014 Bistro Award winner Tan
It seemed appropriate that a cabaret show titled Confessions of a Native New Yorker would begin with the quintessential “call to all dreamers” song “Let The River Run” by native New Yorker Carly Simon.
From the moment she steps on stage and sings the entire first verse of Gloria Estefan's “Coming Out of the Dark”–-in the dark--you get the impression this is not going to be one of those usual personal journey “I've-been-everywhere-and-done-everything” kind of acts.
One of the joys of reviewing cabaret is being fortunate enough to discover a remarkable talent.
It takes a woman of considerable wit, style, and maturity to tackle (let alone celebrate) the subject matter of men.
These days at Birdland, trying to channel Dolly Parton's bigger-than-life-persona is the sultry Natalie Douglas, a seven-time MAC Award, Nightlife, and Backstage Bistro Award winner, who (on April 20) brought her own hip, quick-witted, earth-mother persona--along with her smokin' hot vocals--in a j
Mark McCombs is one of those madcap Thespians offering one of the best examples of “character work” on the current New York cabaret scene.
Songwriter, performer, producer, and now activist, Bobby Horowitz, has put yet another spin on the series/variety show, with her refreshing take on the subject of 'ageism' in America.
It was more than fitting that the New York cabaret community should honor the late Jerry Scott last Saturday night at Parnell's--the last piano bar that Jerry played before he died in April, 2013 at 67.
When Cole Porter wrote, 'Anything Goes,' he could have easily been referring to New York cabaret circa the 2000-sies.
In a two-reviews-in-one column critiquing shows from last March, my esteemed editor, Stephen Hanks quoted the poet Robert Browning: “A man's reach should exceed his grasp.
“March is Cabaret Month” in New York gives us the opportunity to examine where we are, and, most importantly, where we have come from with this most magical of all art forms--Cabaret.
A successful duo act is like a good marriage.
