Belgian-born songstress Micheline Van Hautem debuted her new Edith Piaf show at the Upper West Side’s Triad Theatre.  Tribute shows are often a mixed blessing to a performer in that they hopefully inspire one to seek out the original artist’s work, when the inevitable comparisons beg to be made.  Finally, there is the question of whether the show succeeds by standing on its own merits.  But Micheline, radiant with confidence and good will, won the hearts of her audience upon her arrival on stage.  Not resembling Piaf physically – Micheline is tall and longhaired – it became clear that this was not a character impression as much as a loving presentation of Piaf’s songs.

The singer possessed a sweet and somewhat slender voice contrasting with that of the dark, earthy-voiced Piaf. Most of the material covered was comfortingly familiar Piaf Standards, as Micheline commented that Piaf had a genius for picking great songs. Stalwart numbers such as “La Vie en Rose,” “C’est si bon” and “If You Love Me” constituted much of the show.  In an interesting conceit, some Jacques Brel was offered up as music Piaf would have sung if she did not pass so prematurely upon entering middle age.  Another interesting addition was Les Paul’s “Johnny.”

One of Piaf’s distinct qualities was her throbbing fast vibrato. Ironically, Micheline has habit of flattening hers. This may be a conscious choice, but allowing some healthy vibrato could be beneficial in keeping the tone free and supple.

The much-acclaimed cabaret showman Steve Ross was an astute choice for Micheline’s guest star.  The two blended nicely in a charming string of duets before he flew off to his own engagement at the Algonquin’s Oak Room.  Pianist Guus Westdorp—looking quite bohemian with his long unruly hair—added an authentic European touch with his shimmery piano tinkling.

Looking back, the evening met many of the criteria for a truly good tribute show.  I left eager to seek out more Piaf, and the packed audience was clearly entertained.  Still, some of the mono-lingual American audience might well have felt it helpful if numbers included verses in English.  As lovely as the music was in itself, connecting to the lyrics is critical to attaining a full appreciation of the songs

Melody Breyer-Grell
Cabaret Scenes
January 30, 2009
www.cabaretscenes.org