AFTER DARK
CABARET REVIEW: Stacy Sullivan: A Tribute To Miss Peggy Lee
Stacy
Sullivan
It's A
Good Day: A Tribute To Miss Peggy Lee
Metropolitan
Room
Reprising her Peggy Lee show, A
Peggy Lee, Stacy Sullivan has been packing them in at the
Metropolitan Room with her run in what has,arguably, become the show of the
year. And, with good reason. The show has legs and will be as fresh Tribute
To Miss ten years from now as it is today.
It's that good. It's one of those rare cabaret shows that has staying power.
Naturally, this is mainly due to its subject - Peggy Lee who remains one of the
most influential jazz/pop stylists of the last 100 years. That asunder, there's
Stacy Sullivan, who, after a sabbatical, has returned full circle to the
Manhattan cabaret scene and is well on her way to the kind of recognition that
will keep her before the cabaret public for a long time.She makes it all happen
and is worthy of the many kudos she's received over the last year.
At the top of her set, Ms. Sullivan notes; “Peggy Lee
had a big voice, but she chose to sing softly.” The original “less is more
gal,” Miss Lee learned early on that, “... if I sing softly, they will listen -
to the words.” That sounds like Cabaret 101. It is.
In this celebrated showcase of Lee's songs, Sullivan
wisely doesn't try to emulate Lee's inimmatible sound or her penetrating, yet
subtle, sexiness. Rather, she lovingly remains true to herself and swings the
program with incandescent arrangements by the brilliant jazz pianist Jon Weber.
His jazz-tinged charts and keyboard riffs cannot be overstated enough. And,
those musical designs play a huge role in the success of this show with deft
assists from bassist Steve Doyle. It all makes for the type of show where stars
are born - in another era. And that's quite a compliment these days. In todays
schizo music world, this show will likely make waves in the cabaret arena
alone. And for that, the genre must be grateful.
Vocally, with her expressive, soft soprano (used
sparingly) in top form, Sullivan's presentation of bits and pieces of this
innovative blues artist reveals that Peggy Lee's life was, at times, as much
theater as it was music.A lean but effective narrative frames this ethereal
evening as Sullivan swings her audience down a musical memory lane. She does
this and manages to eschew the drama that her mentor faced privately with
health and personal problems throughout her career.
This journey begins with an inviting, gently seductive
mix of enchanted melodies starting with Lee's I Don't Know Enough About You (written with Dave Barbour to whom she was married
for several years) which segues into a medley of I Got Rhythm ( written by the Gershwin's) into My
Romance (Rodgers-Hart) and a sophisticated One
Kiss (Romberg-Hammerstein.) Sprinkled
with brief anecdotes, it is all inviting and flows without effort. There's a
lesson to be learned here as so many cabaret singers drag out their patter ad infinitim in tribute shows. The emphasis here is on terrific
songs and the lady being honored not expansive annotations.
As previously noted, while Sullivan never imitates
Peggy Lee's uniqueness, Lee reverberated throughout the room. In a show filled
with so many musical highlights, Sullivan wisely keeps it tight and pays homage
to the lady who left such a respectable legacy through her singing and
songwriting. However, at times, Sullivan did echo Miss Lee in her days at
Mister Kelly's in Chicago or Basin Street East in New York. This was due, in part,
to her intelligence, talent, and that epic backup team of Weber and Doyle (on
her thrilling new studio CD on LML Music of songs from the show, Bucky
Pizzarelli sits in adding just the right touch.)
It was all a special occasion that Stacy
Sullivan beautifully created with her team. And, it wasn't just the
terrific singing. She entertained as well as recalled these stalwart songs which Lee
used to achieve her star status. Lee was always mindful of recent trends, new
composers and her own expanding catalog. She adjusted as well as crooners could
in those days when musical tastes changed the face of American pop songs and
the mores that took over the music business. Mostly, Lee was cognizant of the
meaning of lyrics. And, like Lee, Sullivan conveyed all of that without being
redundant or preachy. Perhaps the thing she shares mostly like Lee, in all
departments, Sullivan is a consummate, intimate singer meticulous and
confident. And, it was all there in this special show. In a world where girl
singers are almost a thing of the past, replaced by loud belters who sound like
they're auditioning for “Rent,” Stacy Sullivan paid respectful homage to the
artistry of Peggy Lee. In doing so, she brought a new spin to classic old
favorites. More importantly, she infused those songs with the same warm
sensitivity with a wriy touch of humor that contributed to Lee's legend. A
riveting reading of Angels On Your Pillow (Lee/Horner) fused with a teaser of Fever (Cooley-Blackwell) caps this perfect show by a lady
who is a welcome entity in a genre that is too often mundane. Brava
Stacy!
