Review: Karen Oberlin Presents Captivating Revival Of Frank Loesser Tribute Show As One Of 'Cabaret's Greatest Hits' at Metropolitan Room

Karen Oberlin's original performance of Heart & Soul: The Songs of Frank Loesser in 2010 (Loesser's Centennial celebration year) at The Algonquin Hotel's legendary Oak Room earned her a MAC Award nomination for "Best Major Artist" (as well as an award for the Live CD) and sterling reviews. Hence, the show's inclusion in Producer Stephen Hanks' monthly Metropolitan Room series, New York Cabaret's Greatest Hits (which launched last August and runs through 2016). Oberlin's captivating performance Wednesday evening showcased not only her acknowledged prowess with plumy ballads, but also her flair for comedy and an aptitude that handles nuanced jazz with seamless transitions. The vocalist was joined by her original collaborators, Musical Director Jon Weber on piano and Sean Smith on bass, while the show was directed by the piece's original helmsman, Eric Michael Gillett.

A bubbly "If I Were A Bell" (Guys and Dolls) is followed by "I Don't Want to Walk Without You" (with Jule Styne for Sweater Girl), the latter a very pretty piano stroll with elongated vocal phrases that savor every sentiment (an Oberlin gift). The vocalist sighs into it. Similar style affects "Lovelier Than Ever" (Where's Charley?) which is performed with nuanced pauses as if reliving a moment; eyes closed, head nodding slightly.

We learn that Loesser--from a Jewish immigrant family that favored classical not popular music--was a diminutive man with an outsized personality who wrote erudite letters, but swore like a sailor; that the artist tended to write in the middle of the night with a peanut butter and olive sandwich on one hand and an ashtray full of unfiltered camel cigarettes at the other. Bio is brief and telling. Oberlin particularly thanks author Robert Kimball (present in the room) whose 2003 book The Complete Lyrics of Frank Loesser helped broaden the show's scope.

A rendition of the comic "Bloop, Bleep!"--Bloop, bleep, bloop, bleep, bloop, bleep/The faucet keeps a-drippin' and I can't sleep . . . is terrific. Oberlin's brows form a point in exhausted consternation while she enacts the untenable situation. Musically the song goes from cabaret to jazz and back with stops, stars, and octave loops. Conversion is effected with complete equanimity. Accompaniment is like a theater set of sound.

Also theatrical is the funny "Hamlet" (Red, Hot & Blue)--a filmed version of the play had just won the Oscar--about the iconic character that chopped down his uncle and Mickey-finned his brother. The song, reminiscent of the Annie Ross/Wardell Gray "Twisted," has a very cool 1940s vibe that the trio handles with perfect period attitude.

"My Time of Day" (Guys and Dolls) is silk and powder. Oberlin paints images, Weber adds shadows. "Heart and Soul" (with Hoagy Carmichael from A Song Is Born) has bass-centric pulse and pillowed piano touch rather than the usually plikety-plink. Phrasing is as natural as breathing. "I Wish I Didn't Love You So" (Perils of Pauline): I should be smiling now with some new, tender friend . . . is completely believable. Oberlin imbues her performance with wistful regret, gravitas.

"The Inch Worm" (Hans Christian Andersen) in lovely vocal duet with Weber, conjures 19th- century lamp crystals moving in a breeze, while "Snug as a Bug in a Rug"--backed by Smith's rhythmic bass-thrum, slide, thrumedy thrum, slide, thrum--arises juicy with clearly communicated innuendo.

"I Believe in You" (from How To Succeed In Business Without Really Trying) was initially going to be sung by the Rosemary character to incipient boyfriend, Jay Pierpont Finch. Instead the show's authors wisely decided to give it to Finch addressing himself in a men's room mirror. Oberlin peels her eyes away from us--the artist is an expert communicator--in favor of her (invisible) image. She blows herself a kiss (nice touch) and even emits the proverbial growl. A classic 1960s arrangement features one of Weber's two-hands-that-sound-like-four piano solos.

Oberlin closes with "More I Cannot Wish You" (Guys and Dolls), performed as she gracefully exits the room and culminating a highly entertaining, roundly satisfying show.

The next installment of New York Cabaret's Greatest Hits at the Metropolitan Room features Jeff Macauley performing his 1997 Bistro Award-winning show MWAH! The Dinah Shore Show on February 13 at 7 pm.

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