Review: Marissa Mulder's Impressionistic Theater/Cabaret Piece Exploring the Life of Marilyn Monroe is Both Fascinating and Fragmented

When New York cabaret community insiders and frequent club goers heard that Marissa Mulder was planning a Marilyn Monroe-themed show, the consensus was the vocalist's naturally breathy voice paired with a roster of songs from Monroe's films would be a good fit. Sidestepping expectations, Mulder and Director Sondra Lee have instead put together a one-woman theater piece with almost as much monologue (using Monroe's own words) as music. Equally surprising, the impressionistic show (currently in the midst of a four-show run at the Laurie Beechman Theatre after launching in February at the Metropolitan Room) features not Monroe's familiar material, but rather songs that reflect what its creators intuit as her internal life.

This is a remarkable evening. Most songs are well selected as are the quotes (though at times the script seems excessive or intrusive). I'm startled to find myself adapting to contemporary material as it relates to an icon representing a very different era.

I'm broke but I'm happy, I'm poor but I'm kind . . . I'm lost but I'm hopeful, baby/What it all comes down to/Is that everything's gonna be fine, fine, fine . . . ("Hand in My Pocket," Alanis Morissette) "When I look in the mirror I see what I don't want to know . . . " It's a Barnum and Bailey world/Just as phony as it can be . . . ("It's Only a Paper Moon," Harold Arlen/EY Harburg/ Billy Rose). "The only thing I wanted to be was a great actress . . . " The piece is, like this, intriguing, kaleidoscopic, splintered.

"Wherever You Are" (Michael Abbot/Sarah Weeks) and "Let Me Be Your Star" (Marc Shaiman/ Scott Whitman) seem apt. We meet a child/woman looking both back and forward with pain and hope. Sentiments are well rendered. The artist is deeply invested. She inhabits many of Monroe's qualities emitting a kind of tender glow.

Noel Coward's "Chase Me Charlie" one of Mulder's signature songs, is, as usual, adorable. Musical Director Jon Weber on piano musically skibbles, the performer flirts. "Please don't make me a joke," she suddenly says--one of several interjections. "I've Got a Crush On You" (George & Ira Gershwin) and "My Heart Belongs To Daddy" (Cole Porter) continue this part of Monroe's persona. Mulder is sex on the hoof, yet projects innocence in her white shirt and black slacks. She circles the room stroking men; arm up, down through her hair, sliding along her thighs. Neither gesture nor inflection is tarty/base.

I interpret the subtle choice of "Everybody Loves Louis" (Stephen Sondheim) as referring to second husband Joe DiMaggio, yet it's performed with high anxiety rather than optimism. In fact, after initially taking pleasure in success, the star is no longer attributed any happiness by this show's authors. She must have anticipated, at least at the beginning of her marriages, a fresh start and loving future. Exchanging a musically histrionic choice for newlywed dreaming would balance.

Mulder is marvelously open and raw. I spoke to more than one audience member sure she was addressing them personally. This is a tough thing to sustain and rare for those we think of as cabaret singers. It serves the piece immeasurably.

"Mr. and Mrs. Host and Hostess, our guests, our dinner . . . " That I would be good even if I did nothing/That I would be good even if I got the thumbs down . . . ("That I Would Be Good," Alanis Morissette/Glen Ballard.) Both quote and wrenchingly recited lyric indicate plausible emotions. As intimated in earlier shows and spot-lit here, Mulder can, in fact, act. Direction is skillfully reticent, centering on the internal, which comes through in lyrics, rather than extraneous demonstration. When the performer moves, she's compelled. When she gestures, it illuminates.

Break-up and disillusionment follow. Our heroine appears angry, however, rather than crushed which seems out of character. Not till we get to "Bird Set Free" (Sia Kate Isobel Furier/Tobias Jesso Jr.) do we hear a repressed scream. Sliding down a wall to her knees, Mulder kills it.

"I must make an effort to go to class" refers to time at The Actor's Studio . . . Cause I'm perfectly incomplete/I'm still working on my masterpiece . . . ("Masterpiece" Dennis Joseph Matkosky/ Cindy Alexander) also fires on all cylinders. Tom Waits' "The Piano Has Been Drinking" strips the character of a compass.

The next two songs depict Monroe's giving up. Mulder handles them like fine, breakable glass. "Ain't No Mountain High Enough" (Nikolas Ashford/Valerie Simpson) is, however, a puzzle. While I understand not wanting to end with her death, this just doesn't sound . . . Do we believe she was determined to climb back on top, exhilarated, planning?

A somewhat mixed bag, but on the side of innovation and superior performance, well worth a visit.

Jon Weber's Musical Direction is superb; his playing deft and admirably low key.

Next Performances: June 6, June 17, both at 7:00

Photos by Steve Friedman

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