Review: Cheyenne Jackson Makes OC Cabaret Debut at Segerstrom Center

With a notable career that spans the Broadway stage and both the big and small screen, musically-gifted actor Cheyenne Jackson unsurprisingly delivered a wonderfully charming, wickedly hilarious OC solo debut set during his three-night run to close out Segerstrom Center for the Arts' 2024-2025 Cabaret Series at the intimate, candlelit stage of the Samueli Theatre in Costa Mesa from April 10-12, 2025. 

Entitled SIGNS OF LIFE, the show is a West Coast replica of the same show he conceived and performed for 54 Below in New York City.

Backed by the superbly talented Willy Beaman behind the piano, Jackson not only showcased his impressive, Broadway-honed singing chops but also his knack for touching and comedic storytelling, providing OC with a program that was as magnificent as it was swoon-worthy—with plenty of emotion, laughs, and ribald cheekiness generously served in between. 

Musical theater fans in attendance, of course, know Jackson best for his roles on the stage, beginning with his Broadway debut as the understudy to both lead roles in THOROUGHLY MODERN MILLIE (where he met his Best Friend Gavin Creel). Later roles include originating lead roles in ALTAR BOYZ, ALL SHOOK UP (his debut lead role on Broadway), and XANADU, and significant turns in productions of AIDA, DAMN YANKEES, FINIAN'S RAINBOW, THE MOST HAPPY FELLA, INTO THE WOODS, ONCE UPON A MATTRESS, and many more. 

Most recently, Jackson starred alongside Kevin Cahoon for Pasadena Playhouse's reimagined production of LA CAGE AUX FOLLES helmed by OH, MARY! director Sam Pinkleton.

Beyond the stage, keen-eyed TV watchers may know Jackson best for his featured roles on 30 Rock, Glee, several seasons of the American Horror Story anthology franchise, Julie and the Phantoms, Descendants 3, and Call Me Kat. In 2022, he finished in third place during the seventh season of the in-disguise reality singing competition The Masked Singer. On the big screen, Jackson made his feature film debut portraying real-life hero Mark Bingham in United 93, which chronicles the events aboard one of the highjacked planes during the September 11 attacks.

I was lucky enough to catch Jackson's third and final show of his well-attended run at the Center which also featured a special surprise guest vocalist, WICKED alum and former Mad TV star (and OC resident) Nicole Parker, whom Jackson co-starred with in that Pasadena Playhouse production of LA CAGE. 

Right away, a notable difference that comes up between Jackson's show and other cabaret shows that have played here before was Jackson's stronger emphasis on his shared stories, curating his program with fewer song selections and making more time for his personal testimonies—which turned out to be equally as sublime as his musical interludes.

Like a croony showman of yesteryear, Jackson kicks off his set with an a cappella intro of "Feelin' Good," which he starts off from the back of the room, then weaved through the audience (past his proud Mom, who apparently attended all three performances) before landing center stage as the adorable Beaman ferociously plucked away at the piano.

"Tonight," Jackson declared, "will be an evening of honesty."

That declaration turned out to be oh so true, and, on occasion, oh so funny. Funny overshares included the revelation that his two very young children, twins Willow and Ethan, think all drag queens are actually called "Yassss, Queens!" (because of the frequency of the phrase being uttered whenever drag queens are in their midst), and he also confessed that he has had five hair transplants—and has no qualms about admitting it.

"I'm havin' a ‘good hair night' tonight, so I'm so happy to be here!" he joked.

But Jackson also allowed for some vulnerability, too, noting that the evening marked not only his husband Jason's birthday (who was unable to come because of a prior commitment), but also that the evening was a bittersweet one because it was also the very day his father passed away exactly 8 years before. 

Much of the evening referenced back to his affections for his father, which he spotlighted later with a recollection of the time when he was 13 years old and his father—whom he thought would prefer him to do more traditionally "masculine" activities like sports like other fathers would want for their sons—reassured him it was okay to pursue what he liked and be exactly who he is instead… a lovely bit of encouragement sorely lacking in today's father-son dynamics.

"I'm not like those other boys!" Jackson recalled, noting that he was already coming to terms with his gay identity at that young age—something most kids growing up in rural parts of the country aren't exactly welcomed to be. 

But his Vietnam veteran father, much to Jackson's surprise, gave him some great, if unexpected advice while both were watching a football match.

"He told me, ‘Shiny…' that's what he called me… ‘it's okay not to be like them…just be yourself, and I'll be fine'." 

That sentiment became the lyrical basis for Jackson's beautiful original song "Ok," a song about unconditional love and acceptance. Yes, tears started to form from many of us after that, especially after learning that his father has passed and that the song has now also become a guidepost for his own journey as a father.

Possessing a gorgeous voice that straddles old school jazz and belty musical theatre, Jackson's song interpretations—highlighting his vocal range and a sultry, smooth delivery—of course, did not disappoint. Highlights from his wide-ranging song book included a jaunty "Wink and a Smile," a sexy "Besame Mucho," a great cover of Chappel Roan's "Good Luck, Babe," a flashback to his ALL SHOOK UP role with Elvis' "A Little Less Conversation," and a soulful, exquisite cover of Donny Hathaway's "Song for You" that was just so, so good. I also absolutely loved Jackson's duet with Nicole Parker on "Falling Slowly" from the film/stage musical ONCE that was as beautiful as it was heartfelt.

Along the way, Jackson spoke about a life filled with plenty of challenges and joys. 

He recalled first discovering the joy of being a stage performer after being able to watch—as a young kid growing up in rural Oldtown, Idaho—a touring Broadway production of LES MISÉRABLES for the first time with his teacher and classmates during a school trip. As soon as the show began and he saw a troupe of actors charge forward singing and dancing in costumes, he was mesmerized.

"I thought then and there that… woah, I'm supposed to be a singing prostitute on Broadway!"

These days, at the cusp of turning 50 years old, much of Jackson's joy lately stems from his family, particularly in the raising of his two children with his husband. This led to a touching version of "Breeze Off the River," a song Patrick Wilson sings in the stage musical adaptation of THE FULL MONTY.

As for his challenges, he recalled being initially frustrated that his foray into television work post-Broadway didn't produce any positive results at first, so he started taking acting lessons, noting that TV was a completely different medium than Broadway.

Eventually, the lessons, he felt, were finally working—though with results he didn't quite expect.

"I'm notorious for booking pilots that never make it to series!" Jackson quipped, after a string of near successes that never went forward.

Funny enough, it was his stage appearance on DAMN YANKEES (with Jane Krakowski) that helped land him his recurring role on 30 Rock after Tina Fey saw him in the show. Since then, Jackson has enjoyed steady work on the medium, particularly in multiple seasons of American Horror Story ("I'm honored to have been murdered by Kathy Bates three times!") and, most recently, in the sitcom Call Me Kat, where Jackson had to privilege to work alongside one of his heroes, the legendary gay icon Leslie Jordan who passed away as the show was in production (Jackson did a great impression of him talking about how Jordan became an online star during the pandemic).

But one of the biggest losses in his life besides his father and Jordan was actor and close pal Gavin Creel, whose recent passing is still reverberating within the Broadway community. The two met when Jackson was his understudy on THOROUGHLY MODERN MILLIE and remained friends since then, even taking over for him temporarily in the 2022 revival of INTO THE WOODS (Jackson had played the role of the Wolf/Cinderella's Prince for the 2019 Hollywood Bowl production). 

Jackson also revealed that it was his friend who convinced him to do The Masked Singer, even suggesting a song he should sing.

Appropriately, as a tribute to Gavin, Jackson reprised that song, Sam Smith's "Lay Me Down," which took on extra somber, bittersweet context as Jackson dedicated it to his friend who taught him a lot about living life to the fullest because you never know what tomorrow may bring. The song, for me, was the evening's best performance and really showcased his talents as an actor and vocal interpreter.

Though Jackson did talk a lot about his Dad during the show, his supportive Mom was never far from his mind (it helped that she was in the audience for all three shows). This led to a couple of songs to end his show: Lady Gaga's "Edge of Glory" and, as an encore, "I Am What I Am" from LA CAGE OF FOLLES. Though his character didn't get to sing the song in the production, his solo show has now given him the perfect opportunity to give it his own spin, which was just, as expected, quite poignant and wonderful—which provided the perfect hopeful and empowering ending to Jackson's show.

If you ever get a chance to catch Jackson do another solo show, I highly recommend the experience.

* Follow this reviewer on Bluesky / Instagram / Threads / X: @cre8iveMLQ *

Mr. Jackson's headshot courtesy of Segerstrom Center for the Arts.

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Tickets to upcoming performances of Segerstrom Center for the Arts' 2025-2026 Cabaret Series can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa.

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