Interview: Robyn Spangler of BILLY BARNES' BASH at Catalina Jazz Club

Broadway World LA requested established cabaret singer, Robyn Spangler, ten minutes to answer ten questions reflecting on her personal insights to her fine singer career. She advocates West Coast cabaret singers on her Meta page Cabaret West. 

What inspired you to pursue the live performing arts?

I come from a musical and performing family - fourth generation, so I guess family members inspired me. My great grandfather was a professional clown and violinist with the Barnum and Bailey Circus. My grandfather was a local Ohio band leader. Grandpa played trumpet and violin  for dances and weddings throughout the Ohio River Valley. My devoted mother also played the piano with her father's band. Since I can remember, weekends were filled with fun extended family gatherings where everyone brought an instrument. We sang and played admirably to entertain ourselves. When I was younger, I was certain this is what everyone did then.

Who are your biggest artistic influences and how have they shaped your style?

Oh gosh! Sooooooo many!  Regarding musical influences, I grew up in the ’60’s and ’70’s but my family would also play and sing music from the ’40’s and ’50’s.  Everyone from Doris Day, Barbra Streisand, Ella Fitzgerald, Linda Ronstadt, Dolly Parton, Diana Ross to Cher. My dad was the one who loved country and bluegrass. My babysitter would play Sinatra records crooning in the afternoon. I loved it all!  Regards to style, I don’t think many of us are born knowing what style we are going to sing.  As a kid, you would just sing along with the radio or in the church choir. When I was 17, I sang and played keyboards in my first cover band and this was the beginning of finding my style. Then I lefts for college and studied opera! Summer stock, dinner theatre, and choir all require you to sing a certain way. I could vocally do whatever was asked but it didn’t require style. It wasn't until my career took me to a solo place where I carried my own show is when I developed my own style.

Can you describe your creative process when preparing for a live performance?

The creative process starts with a lot of research. I ask myself why did this composer write this song? What is the song truly about back then? This is not always easy to find but if you can find this info, it’s usually as good as the song. A great example of this is Carole Cook's "Something Cool."  Then fitting it in with the set is the next step. It’s like putting together a jigsaw puzzle.

What is your favorite aspect of performing live in LA?

It’s the people I perform with on stage. Musical directors, band members, and fellow performers whom I admire. They are the best at what they do. You can just look at each other and know what is coming next. I was recording a Christmas album a few years ago and Don Most contacted me and asked, “Are we going to do a duet on the album?” And we did. How great is that? I am so grateful and proud to work with entertainers I admire and respect.

Is there a difference between the New York and LA cabaret vibe for you?

For me personally, no. I have a wonderful following in both cities and I don’t change the set list - they know what to expect when they see me. The bookers at the clubs are key to our success by  promoting my shows but like my work so it’s a comfortable working relationship on both coasts.

How do you handle stage fright and anxiety for yourself or others?

I’ve been doing this so long I typically don’t have stage fright. I get good nervous energy - a singers' natural high - right before I go on. When my son was little he would say over and over before a show, “Are you nervous? I’d be so nervous!” I’d reply, “Well I am now!” We laugh about it now. I’m so glad he’s grown…  

Who are your favorite composers and why do you select them to perform live?

I love more composers than I can count. For me, it’s more about finding a song I connect with, but is a fit for the message of the show and a song "I have to sing."  Then working closely with the musical director to come up with an original arrangement so the audience feels like they are hearing it for the first time.  

Do you have any pre-show rituals or superstitions before performing live?

Not really.  However, if I have a really terrible sound check, I usually have a really good show.

How do you incorporate audience feedback at your live performances?

I do a couple of Linda Ronstadt tributes - a club act and an orchestra show. She’s got over 500 songs in her catalogue so choosing 12-15 for the club act is a challenge. One night at a club in NY as I was thanking the audience after the last song, some guy yelled out, “I only came to hear ‘Blue Bayou’ and you didn’t sing it!” In that moment I realized that even though it wasn’t one of my favorites, it was one of her most popular hits and there was an expectation this would be included in a Rondstadt revue. Going forward, I ended the show with “Blue Bayou”.

What Los Angeles pivotal venues have you yet to play?

The iconic Hollywood Bowl! Otherwise, if it never happens, I’ve gotten to play so many great venues all over the US and UK, I’m happy right where I am!