"Bon Chic Bon Genre" meaning "Good Style, Good Attitude," is not only a clothing line but also a singing act that promises "50 Years of French and American Signature Songs." Style was apparent at the Metropolitan Room when an instrumental quartet came onstage dressed in natty black jackets and red ties to render a jazz inflected "Autumn Leaves." Vocalist Valerie Ahneman appeared next, wearing the same dramatic color combo, a black sheath with a red scarf tied in a bow around her neck -- tres a la mode. This snazzy ambiance showed "Good Style, Good Attitude," and respect for her sophisticated audience.

But sophistication demands depth and complexity, and cabaret calls for for intimacy and communication. If Ahneman, a charming lady, wants to sing in cabaret, her New York debut indicated some flaws. She has a light, breathy tone, her range is small and her pitch needs work, like a good singing teacher and time spent listening to notes and reproducing them. Then she can work on interpretation with phrasing and vocal nuances.

This show depended on its instrumental backup for freshness. Ahneman's musicians, whom she did not introduce, featured musical director Laurent Medelgi on lead guitar, Bartosz Hadala on piano and keyboard, drummer Yutaka Uchida, and Danny Zanker on bass, all talented musicians in the wrong show. They often overwhelmed Ahneman, especially so when Bartosz Hadala turned from piano to electronic keyboard. The arrangements by musical director/guitarist Medelgi, provided various "BCBG styles" -- funk, ambient funk, rock and straight ahead jazz -- to enliven songs originated by familiar artists like Edith Piaf, Patsy Cline and Eartha Kitt. Giving songs like "La Vie En Rose," "Crazy," and "C'est Si Bon" a new look is admirable, but behind Ahneman, the instrumental styles all sounded vaguely like rockabilly. Ahneman's strengths sang to the uptempo rock beats of Les Champs-Elyzee and Game of Love.

There was a theme of sorts with one song representing each decade but neither the program nor the song renditions revealed any point of view, although to Ahneman's credit, her introductory patter offered tidbits of information.

Valerie Ahneman showed respect enough for the genre of cabaret to provide "Good Style, Good Attitude," for a cosmopolitan French/American program. To succeed in cabaret, however, she now must work on her vocal assets, choose meaningful music, perform it well, and entertain an audience.

Elizabeth Ahlfors
Cabaret Scenes
August 8, 2008
www.cabaretscenes.org