The Life and Times of Diahann Carroll

Whether on big screen, small screen or stage, Diahann Carroll commands attention and radiates power. From winning an early television contest as a child to winning a Golden Globe and a Tony Award and Oscar and Emmy nominations, she has earned her star status and her following through hard work, strong performances and a lovely voice.

And perhaps that's why The Life and Times of Diahann Carroll, her new cabaret act now playing Feinstein's at the Regency, is such a disappointment. A star like Carroll deserves a bravura show that celebrates every milestone in her magnificent career. And while Life and Times is far from weak, it isn't nearly as exciting and emotionally riveting as it should be– or could be, with such a dynamic performer center stage.

There are, to be sure, some wonderful moments in the show. Carroll's rendition of "A Sleepin' Bee," from Harold Arlen and Truman Capote's House of Flowers, is just lovely, as is Richard Rodgers' "The Sweetest Sounds" from No Strings. She performs a swingy "On a Clear Day," and her medley of songs Frank Sinatra made famous ("I Got You Under My Skin," "Come Fly With Me," "One For My Baby" and "New York, New York") is downright electric. Carroll knows these classic songs cold, and loves them, and that love permeates every note. The 7-piece band (Dean Schneider on piano, Sean Smith on bass, Dave Meade on drums, Mark Patterson on trombone, Earl Gardiner on trumpet, Ken Adams on tenor sax, flue and clarinet, and Ralph Olsen on alto sax, flute and clarinet) add to the old-school supper-club feel of  the evening, creating an atmosphere that is at once classic and vibrantly modern.

But her opening medley, a combination of Leon Russell's "A Song for You" and Arlen & Johnny Mercer's "Come Rain or Come Shine," has none of the energy that invigorate the stronger numbers, and her attempt at a more contemporary piece ("I Hope You Dance" by Mark Sanders and Tia Sillers) sounds forced and flat. The weakest moment involves new lyrics for Harry Ruby and Rube Bloom's "Give Me the Simple Life," which Carroll performs sitting down with her head bowed to read the new text. As cute as the revised song might be, and as interesting as her interjected narrations are, the song doesn't work when sung to a sheet of paper, and the moment feels deflated.

The interjected narrations, however, are the other highlight of the evening, and Carroll's stories about performing as a child and breaking new ground both on Broadway and in Hollywood during the Civil Rights movement are simply fascinating. When she ends the evening with Joni Mitchell's "Both Sides Now," the song takes on many new layers that only a career of more than five decades can give it, and it has never sounded more heartbreaking. Diahann Carroll has earned, by the sweat of her brow, an excellent retrospective of her wonderful career, and if Life and Times isn't it, at least it's a step in the right direction. May her next cabaret be stronger.

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