Review: Lillias White: DIVINE SASS, A TRIBUTE TO SARAH VAUGHAN

A tribute to "the Divine one," count me in! Especially if the tribute is presented by none other than Broadway and television star Lillias White. With her wide range, vocal dexterity, and eclectic material choices, White has a stellar career resume winning a Tony, Drama Desk, and Outer Critics Circle Award. White’s subtle changes to well-known melodies with superb riffing make the songs her own and is quite breathtaking. Wondering when she’ll wow you with her exquisite control and sustains made me wonder how she would honor Vaughan and put her twist on the icon’s music.

Vaughan was known for her rich contralto range, her tasty changes to the melody, her trilling and exquisite breath control. To many, she’s the greatest vocalist of our time, and right off the bat Lillias conceded does not have a 5-octave range and is herself, not an imitation. But their similarities are undeniable which makes for a superb evening of song.

Backed by the remarkably talented Mathis Picard on piano, White reveled in the opportunity to go ‘off book’ after performing eight shows a week for the past two years as the first female Hermes in Broadway’s Hadestown. This night’s show was indeed loosey goosey with White engaging the audience with chit chat and changing her setlist numerous times, with Picard bravely following along with White’s vamps.

First performed in 2022, White’s tribute will culminate in an upcoming CD release this spring. Opening with Al Fields and Timmie Rogers’ “It’s Crazy,” White and Picard set the stage well, segueing into the Gershwin’s “The Man I Love” morphing from ballad to up-tempo swing. Hoagy Carmichael’s 1939 “Bread and Gravy” was more growling and sassier than the original release by Ethel Waters. Even a seasoned pro goes up on a lyric and White worked it into an attempt at a “Blue Moon”/”Old Devil Moon“ medley. The audience ate it up. “Misty” (Erroll Garner / Johnny Burke) was one of Vaughan’s masterpieces – a master class in her inimitable style. Here is evidence of White’s abilities, moving up and down keys, utilizing her vibrato and low ranges expertly.

 “Shulie a Bop” written by Vaughan’s first husband George Treadwell is a swinging scat easily balanced by the lovely Ivan Lins/Paul Williams ballad “Love Dance” recorded by Vaughan on her 1982 Crazy and Mixed Up CD. White shines on ballads like this and absolutely nailed “In a Sentimental Mood” (Duke Ellington/Irving Mills/Manny Kurtz) recorded by Vaughan in 1961. White shows off her intonation and silky smoothness. Pulling from Dinah Washington, White performed the Fats Waller/Andy Razaf tune “Keepin' Out of Mischief Now” and closed her set with her unique take on Bob Merrill/Jule Styne’s “Don’t Rain on My Parade,” the 11th hour number from Funny Girl. A showstopper for sure, Lillias White is gracious, funny, congenial, and super talented. There’s not much she can’t do vocally which makes her a must-see.