I’ve wondered why some of the celebrity songstresses have chosen to use one name. There’s Cher, Ashanti, Beyonce, Charo, Madonna, to name a few. I have to assume because it’s memorable and so it is understandable why Devlin has chosen this route. She is a memorable singer adept at jazz and the blues and not afraid to show her rich, emotional soul.

Hailing from the west coast, Devlin has not only honed her vocal skills but is also a quality actress.  Carmichael/Mercer’s “How Little We Know” was sincere in its suppleness and set the stage for the many arenas in life where love may be hiding. Perhaps it’s on a “Louisiana Sunday Afternoon” (Golde/Ivers). Precise phrasing added to the bluesy up tempo swing, made this rendition a fun-filled highlight. Devlin has a good sense of humor and just enough quirk to do justice to k.d. lang/B.Mink/I.Berlin’s “Miss Chatelaine"/"Cheek to Cheek.”

Director Lina Koutrakos can pride herself not only in her direction but in writing a ballad “Kiss Me” which is poignantly presented by Devlin. “When Love Comes to Town” our chanteuse is ready to jump that train in this down and dirty blues number. She is plaintive, sad and burdened with memories in “Why” (A.Lennox), sorry for the things she’s done.  “Big Long Slidin’Thing” (L.Kirkland/M.Thomas), arranged by Tex Arnold, is a double entendre of levity.  Devlin is a saloon singer with so much more!

Aside from microphone adjustments that needed to be made and less use of the fourth wall, Devlin is an engaging vocalist with a fine cache of skills.  Perhaps a positive addition to her next show would be more insight into her, personally.  We can already assume quite a lot from her choice of songs, but are we correct?

All music was arranged (except as noted) by cabaret favorite Rick Jensen on piano and vocals. Dan Martin was on bass.

Sandi Durell
Cabaret Scenes
October 15, 2008
www.cabaretscenes.org