Review: Rosemary Loar's Buoyant, Original JINGLES AND JAZZ at The Green Room 42

Jingles and Jazz is Rosemary Loar’s very first holiday cabaret, and judging from the enthusiastic response at The Green Room 42, it certainly shouldn’t be her last. From her opening “Winter Wonderland”—laced with improvisational scatting, unexpected melodies, and rhythmic play—it was immediately clear that the ensuing 70 minutes of Christmas music would be anything but familiar.

Even the most well-worn holiday chestnuts—“The First Noel,” “God Rest Ye Merry Gentlemen,” “O Holy Night,” and “O Come All Ye Faithful”—sounded newly minted, revealing fresh beauty and emotional depth. Loar also included lesser-heard gems, such as the heartwarming “It’ll Be Christmas Before You Know It,” whose composer, Paul Rolnick, was in the audience and graciously acknowledged. The evening was further enriched by two originals from Loar herself, “Music in My Ear” and “Over the Moon,” both of which fit seamlessly into the program.

The variety of selections kept the night buoyant and inspired, from a funky, going-to-church rendition of “Christmas Will Really Be Christmas” to a playful exploration of “Jingle Bells” as previously styled by Frank Sinatra, Lena Horne, Batman, and European countries—culminating in her own uplifting, jazz-inflected take.

One of Loar’s signature strengths is her gift for mashups—formerly known as “medleys,” as an audience neighbor reminded me—where one song melts effortlessly into another. Her encore, pairing “What Child Is This” with “Mary Did You Know?” was a particular standout.

Loar’s extensive jazz credentials are matched by an impressive theater background, which explains her ability to step fully into a song’s world and remain there until the final note fades. There is no winking at the audience, no breaking of the fourth wall; instead, she inhabits each song completely, holding its emotional landscape with quiet authority.

She shared a charming anecdote about having played Grandma Who in Dr. Seuss’ How the Grinch Stole Christmas! The Musical, proudly noting her pivotal line, “Cookies!” Imagining what it might be like to play the Grinch himself, she reinterpreted “One of a Kind,” delivering a touching highlight.

Between songs, Loar offered genuine, unaffected Christmas memories from her upbringing in a family of nine: waiting until Christmas Eve to afford a tree, placing the baby Jesus in the nativity scene at midnight, filling car rides with song, and singing around Aunt Dottie’s piano—a tradition she continues today with her own circle of friends.

Sharing the stage with her superb jazz trio—Frank Ponzio on piano and music director, Tom Hubbard on bass, and Vito Lesczak on drums—Loar also welcomed two special guest musicians: Gary Schreiner on chromatic harmonica and, later, Scott Reeves on alto flugelhorn. All five musicians played exquisitely.

With so many memorable moments, it’s hard to choose a favorite, but “Little Drummer Boy,” with its striking contrasts between hush and percussion, would be a strong contender. Clad in a sparkling scarlet spaghetti-strap gown, Rosemary Loar delivered a warm, cozy evening of Christmas music marked by range, originality, and skill—with direction by Barry Kleinbort and arrangements by Loar and Ponzio. As my neighbor succinctly put it, “She makes you feel so comfortable and at home.”

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Learn more about the artist at rosemaryloar.com

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