Review: Lane Bradbury An Absolute Delight In WE MUST REMEMBER THESE MOMENTS at Pangea

Delightful Lane Bradbury has returned to the cabaret stage with a brand new show titled WE MUST REMEMBER THESE MOMENTS and what the singing actress, dancer, and horsewoman is doing is all in the title. This new club act is a musical memoir... but it isn't a linear story in which Broadway's original "Dainty June" starts out at point A and travels to point Z. These are moments from her life. Like popcorn reminiscences and their musical representations fly into the air, landing in the laps of her enchanted audience. It is a lovely and charming musical cabaret, a chamber piece, a story hour, and Lane Bradbury is a wonderful storyteller.

Scripted with the aid of her director James Beaman, Lane Bradbury's show makes no demands on the human ear. The stories that Ms. Bradbury tells are personal tales from her life, told in her own voice, so they trip off of her tongue as easily as though she were just talking to you from the center of her living room, as she is about to pour you a cup of tea. Indeed, at her March 18th premiere, Lane was surrounded by friends, all eager to see what she has created, and the benevolence flowed from stage to tables and back again. With a singing voice that remains strong and powerful, Lane uses the compositions of Stephen Schwartz and of Marvin Hamlisch, of Fain & Webster and Rodgers & Hammerstein to tell the stories of her youth, her family life, her show business adventures, and the lessons she has learned along the way. And even though there is no clear path from the start of the show to the end of it, the structure is working for her. It's almost like there is an invisible little apothecary on the stage with Lane, as she opens one drawer, pulls out a memory to share with the audience and then puts it back before moving on to another drawer. It's quite effective and fits the ethereal air that Lane brings to the proceedings.

One of Lane's most effective musical numbers in the cabaret is titled "The Fairy Ring" and there is a certain degree of discussion about sprites and fairies from the petite ballerina who once played Ondine (one of the most mystical creatures in theatrical hisory), all of which is interestingly appropriate because Bradbury is rather like a woodland creature of a mystical nature, herself. Her manner and mode of dress, her movement and the quality of her voice all remind one of a mythical being sent to bring magic and whimsy to a world badly in need of joyful whimsy and otherworldly adventures. All smiles and shrugs, giggles and grace, Lane Bradbury tells the tales of life as a Southern Belle, inspired by love and social observations to step out of the archaic construct of southern bigotry. There are memories of Mom and Dad, and anecdotes about life loves of the romantic, parental, and equestrian nature. There are stories shared about June Havoc, Jerome Robbins, and Ethel Merman, and there are the lessons Lane has learned along the way, lessons that have given her strength and dreams. And everything is presented with honesty and artistry. Musical Director Michael Roberts has seen to it that Lane is well served by her score and his arrangements of the songs that create that score. Some numbers are presented as two acts ("No Time At All") while others are just barely a snippet being used to make a point ("At The Baller"). The highlights of the production, though, are a powerful "You've Got To Be Carefully Taught" and Lane's own compositions "The Fairy Ring" and "There's Another World," both of which go the distance when it comes to supporting Bradbury's storytelling goals. The inclusion of occasional ballet moves and the bond between Bradbury and Roberts also sweeten the stories being presented. It's an elegant production, authentic to who Lane appears to be, and easy to enjoy.

In an interesting move, Lane Bradbury was not amplified at her show - and she didn't need it. It is true that there was a microphone to the front of the stage and to the left of the stage, but Bradbury did not carry a mic with her and did not, ever, put her lips up to either of the mics standing nearby. The stage actress simply used her space and her instrument, free to move about the stage and focus on her storytelling, and this writer didn't miss a word, didn't miss a beat, and didn't miss the mic. Mr. Beaman has given his star a solid foundation upon which to build her journey and he has given her a safe space in which to play. At the March 18th premiere of We Must Remember These Moments there weren't many glaring instances that Ms. Bradbury was having any nerves or opening night jitters but it is almost certain that, as the number of performances increases, the lady will settle further into the script and the performance. Everything in life gets better with practice, and this is sure to be a case of a good thing improving. And this is a good thing. Lane Bradbury is enchanting. As a person, she is enchanting. As a storyteller, she is enchanting. As an entertainer, she is enchanting. Like the fairy sprites mentioned in her show, there is something magical about Lane Bradbury, and the moments she makes in real time during this musical cabaret are moments worth remembering.

We Must Remember These Moments will play Pangea again on March 25th at 7 pm. For information and reservations visit the Pangea website HERE.

Photos by Stephen Mosher; Visit the Stephen Mosher website HERE.

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