BWW Reviews: Baby Jane Dexter's Rules Of The Road (Part 3) at the Metropolitan Room Is a Life-Affirming Mix of Shattering Realities

In a show business world of frauds and air kisses, Baby Jane Dexter is the ultimate survivor . . . the real thing . . . a true New York cabaret legend. Accolades, awards, great press, and life-altering shows have been her calling card over the last 25 years since she returned to cabaret after a decade long absence. She has shared her life experiences through laughter and tears in song and through good times and bad. Regardless of the situation, she has ferociously plowed forward with a vengeance and never let her fans down.

In spite of major heart surgery a few years ago, neurological issues resulting in vertigo that has caused her to use a walker, and even caring for her late mother for many years, she is defiantly not interested in talking about herself or her problems. Many celebrated artists begin and end their sentences with me, myself or more about me (as they interrupt private conversations.) Baby Jane is not into self-indulgence. She has survived the perils of Job but that has not deterred her or rendered her cynical or apathetic. Her life speaks for itself and her devotees know this. While she could write a blistering saga of self-pity and survival, instead, she would rather belt her personal anthem "Everybody Hurts" ("Hold on . . . Hold on . . . ") or, as in this latest outing, Rules Of The Road (Part 3), she intones a welcoming "Reach Out, I'll Be There." And she means it.

This new show, running at the Metropolitan Room on weekends through December 27, is another life-affirming mix of shattering realities fused with the promise of better days. It is a must see. With Musical Director Ross Patterson at the piano, well chosen songs like the Peggy Lee/Cy Coleman tune "I'm In Love Again" and a haunting rarity like Mike Scott's "Open" set the stage for what lies ahead. Dexter warmly involves pieces of dreams with the emotional development of a hypnotically structured saga. An unknown ditty called "Arm, And A Leg" aches with the pain of a love that isn't there. "Willin' Woman" is a terrific song about being ready for it all. She wraps this quartet up with her staple "Settle For Love" that roars like the current in a sea of love-driven trials that drives the crowd wild. And with songs such as Peter Allen's torchy ballad, "I'd Rather Leave While I'm In Love," and Randy Newman's "Guilty" and "Shining," the show only gets better.

John Bucchino's "Sweet Dreams," the unglued story of a male hustler and an abused wife who meet at a bus station is an unlikely choice for her. Given Dexter's unique spin with her lived-in growl, it is riveting as her shrewdness in telling a story keeps the audience hanging onto every word. When it's over, they erupt in sustained applause (led by best friend Julie Wilson.) Ultimately, the roller coaster comes to a halt and the audience walks away moved by this force of nature whose work remains disciplined even during times of personal chaos. She's back and she's on her feet. She is that survivor. And it's that quality that makes her remarkable. She teaches us about ourselves. And that is what makes her the club legend she has become.

Regrettably, just two days before opening the new show, she tripped in a shoe store over boxes and a foot-sizing device in the crowded aisle. This caused serious head/eye bleeding and many stitches, a day in Bellevue and relentless dizzying headaches. A lesser artist would have quickly canceled. Not this trooper. Never one to compromise professionally, heavily medicated on painkillers, spinning from her trauma and unsteady, she cautiously took to the stage and gave it her best. Predictably, it was not her shining hour. The following night, coming back like Garland and knocking it out of the park, the audience was on its feet screaming for more. She was back-- sans medication. Unfortunately, the very respected cabaret critic for the New York Times caught that opening night show at which Baby Jane clearly wasn't in shape to perform. His accounting of her show made no mention of Dexter's traumatic accident.

Why did Dexter plunge ahead and not postpone? Typical of Baby Jane, she cared more about her audience than herself. She did it the hard way--as she always has in the past. Magically, as usual with Baby Jane Dexter, lemons became lemonade.

Baby Jan Dexter appears on Fridays and Saturdays at the Metropolitan Room through December 27.

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