Category: Nightlife

Cabaret Review: Latrice Royale

Latrice-Royale 2017

I knew from her last cabaret act that Latrice Royale can sing, y’all! And she’s actually pretty damn good at it! There’s no attempt at giving you “girl singer,” but she clearly models her approach to song interpretation on the likes of Aretha Franklin. She may not have Aretha’s pristine vocal instrument, but she certainly understands her lessons in musicality and expression. And her take on jazz composer Diane Schuur’s bluesy meditation “Life Goes On” (also the name of the show) makes a very good case for this solid but obscure song.

Like her previous act (titled Here’s to Life) Life Goes On is solidly in the mold of traditional autobiographical cabarets. However, since the earlier act told the story of most of Latrice’s life, and this is more of an update, the balance is slightly off. Both acts are more talk than song, but with less life material, some of the patter gets repetitive. Latrice has such presence that it never becomes unwatchable, but this particular show could use more songs for sure. Because when she sings something like “Nobody Does It Like Me” or the suggestive “Hot Nuts” it is pure drag gold.

Latrice Royale is backed by a very able jazz trio led by her fiance Christopher Hamblin on the piano. Life Goes On feels more polished than the cabaret acts I’ve seen from other Drag Race alumni, full of humor, soulfulness and candor. Latrice is the real thing, and I want to hear much more from her as a singer. Highly recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Cabaret Review: Trixie Mattel

Trixie Mattel

The title of Drag Race fan favorite Trixie Mattel’s show, Ages 3 and Up, is clearly profoundly ironic. This stand-up act is filled to the gunnels with comedy that’s either perverse or dark, or sometimes both at once. Oh, and by the way this run is completely SOLD OUT, so keep a sharp eye on producer Spin Cycle’s website for her next engagement (and for that matter, a great variety of Drag Race-related entertainment).

This show is Trixie’s first full-length entry into stand-up, but she’s been honing it for a while, and she clearly has a natural aptitude for the form. Plus, either Trixie or her creative team is paying attention to how the best stand-up acts have been built for some time now – circling in from a highly topical and satirical beginning to a very personal and more thematically serious ending. Everybody from Alec Mapa to Colin Quinn does it like this, and there’s a good reason: it raises stand-up to a higher and much more satisfying plateau.

Trixie’s also very gifted at meta-comedy, getting a secondary laugh when she reads the room’s reaction – or freely admitting she loves a certain bit so she’s keeping it, audience reaction be damned! Though there’s a lot in the show that’s autobiographical, including an actually touching ballad she wrote about lost love, Trixie keeps Drag Race-related stories to a minimum. She plays off her being eliminated twice with a joking bitterness that feels more affected than real, and freely admits that the show profoundly changed her life. Recommended.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Cabaret Review: Jinxk Monsoon & Major Scales

jinkx-major-mourning

‘Tis the season – time for drag queens to work a holiday theme to buy Mama a new pair of shoes! There’s a joke in Jinkx Monsoon’s current Xmas show that makes that explicit – “Why do we put ourselves through doing holiday shows? For the paycheck!!!” This particular show also features her musical counterpart, pianist/composer/raconteur Major Scales, and is called Christmas Mourning, mostly in response to the election.

Their biggest hit, The Vaudevillians, was a real stunner, a thoroughly thought-out evening of cabaret theatre, which successfully staked their claim to be regarded as major players in the worlds of both high drag and cabaret. This show is almost as structured – which is very unusual for holiday drag shows. Monsoon and Scales are more entertaining and smart than the vast majority of the competition, which is why they’re capable of producing a holiday drag show that’s nearly as high concept as The Vaudevillians.

They share traumatic Christmas stories, sing a Lana Del Rey song with “exactly as much effort as she herself puts into performing it” and give Mariah Carey the bird. They even sing a couple of strong original songs. One cheekily pays tribute to being gender-fluid. The other (a solo for Scales) pictures a passive-agressive dinner with Trump-voting relatives.

Christmas Mourning is light years more thoughtful than your typical holiday drag act, while rarely being less than acidly hilarious. It’s somewhat similar to Mx. Justin Vivian Bond’s holiday shows – very funny but with genuine rage and love just below the surface. Don’t miss it!

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Simply Barbra Holiday Show: The Music, The Mem’ries, The Matzo…

simply-barbra

Steven Brinberg is the premier Barbra Streisand impressionist, who has taken his act, “Simply Barbra”, to international acclaim both on stage and television (performing on several occasions with none other than Streisand buddy Marvin Hamlisch) paying homage to all that is Streisand. Steven does not lip-sync but does a stunningly accurate singing impressionism of Streisand.

Steven will be doing Simply Barbra Holiday Show: The Music, The Mem’ries, The Matzo… at Feinstein’s / 54 Below this Sunday, December 18. It’s an evening of holiday tunes, Streisand classics and glimpses of other divas from Cher to Bea Arthur. All performed live, no lip synching. Look for a special guest star to join Barbra to help ring in the holidays – and sing some famous Christmas songs written by Jewish composers.

Steven Brinberg has been acclaimed for his vocal performance of Barbra Streisand for over a decade around the world. In addition to touring all over America he has also played extensively in England, Ireland, Scotland, Australia, Thailand, Spain, Mexico and Canada…more cities then the real Barbra! Steven was hired by Streisand’s management to perform at her friend Donna Karan’s birthday party.

The show contains songs from both The Christmas Album – “probably more from that one,” Steven notes, and Christmas Memories. “It’s funny,” says Steven, “I change the show constantly especially the talking. At one point, I referred to James Brolin as a famous B movie and TV actor, at another point I took the B out. The challenge in keeping the shows fresh after so many years is helped by Barbra still being such a presence. Keeps it current. And I’m always free to sing songs she has never done, as I know exactly how she might do them down to the last breath. I had been singing ‘Make Someone Happy’ in the show years before she recorded it. And the end result when she did it was pretty close. I was surprised though that she changed her phrasing on the lyric from ‘Love is the ansuh’ to ‘Love is the anserrr’ perhaps to plug the title of the album!”

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

Cabaret Review: Sharon Needles

sharon-needles

A song about Candy Darling by Lou Reed, and a Rocky Horror song delivered with a dash of Bette Davis and a whole lot of Alice Cooper – these were perhaps the most deliciously telling things about Sharon Needles’s Halloween-themed cabaret act. Needles keeps referring to her shtick as “stupid,” which I chalk up to a knee-jerk – and praise-worthy – punk need to puncture any and all kinds of self-importance. But don’t you believe it: This is one smart poison cookie!

The question I had going into this act was: “how well does this witch sing?” Because, like Bianca Del Rio, I don’t pay much attention to singles and albums released by drag queens. These are people who are meant to be seen live. And the answer? Sharon sings very well indeed, in a glam punk kind of way – the Alice Cooper reference above captures it, with an added dash of Marilyn Manson aggression.

The majority of the songs are from her campy horror albums. On those, the songs are done in a gothy version of the electropop style that is de rigeur for Drag Race graduates (I took a listen after I’d seen the act). Done live with only a piano, their hard rock roots are definitely showing, which makes me very happy. Makes me wonder what they would sound like played balls-to-the-wall Iggy & the Stooges style.

The above-mentioned cover versions are highlights of the evening. To hear the Velvet Undergound’s 1968 classic “Candy Says” sung with great sincerity and emotion by a man in a beautiful wig and dress is quite moving. And Sharon’s hilariously re-lyricized version of “Sweet Transvestite” gives new life to that midnight movie chestnut.

It’s a good thing this act is consistently high quality, cuz it’s a bit of a butt-buster with its nearly hour and a half length. That said, I didn’t really lose patience that whole time. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

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