The song's the thing with Natalie Douglas, who always finds a meaningful arc that that zooms to The Heart of the Matter. The audience gets her. Critics praise her. Her show is always worth seeing. In this show, she announces an eclectic song list, singing songs she loves and songs that have connected to her at various points in her life.

Douglas has a light voice and skittery patter that often obscures the intelligent approach of this lady. It is when she goes into her song that her rich, flexible alto displays the colors of emotion and intent. She does not have to say too much about Janis Ian's "At Seventeen;" the musical rendition is reflective and communicative, as heartbreaking as most adolescent problems. Douglas says she likes the song, "Mona Lisa," because she once heard Pearl Bailey sing it at the home of composer Jay Livingston. While Bailey never recorded "Mona Lisa," perhaps Douglas will, because her long lyrical lines illustrate why it was such a popular tune. It is one of those songs when the meditative words and melodic tune just sound right together, and Natalie Douglas brings out the pure pleasure of the music.

The gutsy strength and quirky rhythms in Abbey Lincoln's "Wholly Earth" is a switch from Douglas' sweet warmth in "Mona Lisa" and the building power inserted into "Wichita Lineman." She displays a maturity and extent of expression. "Maybe Its Love," an affecting love song, reveals the honesty that winds its way through Douglas' music, even when her patter often leads her in all directions. It leads to the song by Don Henley that is the title of the show - "Even if you dont love me anymore/ Forgiveness, Forgiveness, Forgiveness." And when Douglas brings her show biz glitz to "It Ain't Necessarily So," you've got the whole package.

Musical director/accompanist Mark Hartman on piano lends vigorous band support with Michael Blanco on bass, drummer Joe Choroszewski and Dan Davine on guitar.

Elizabeth Ahlfors
Cabaret Scenes
June 8, 2009
www.cabaretscenes.org