Okay, the show’s title, Cole Porter Live at Maxim’s was an bit of a fib, but Spider Saloff was there singing Porter’s songs, and if he had indeed been present he would have been delighted.  Saloff is a jazz buff’s dream.  From the outset, with a freshly-contemplated “Night and Day," she hit an intriguingly high standard.  Not just the classy black gown, long black gloves and the martini in her hand.  Where some jazz vocalists utilize the original charts for little more than a springboard into their own creations, Saloff honored the composer’s melodies, and used her artistry in effective and imaginative phrasing.

As if her renditions weren’t enough to convey her meaning, Saloff’s expressive body language was as telling as a musical Marcel Marceau, the legendary late French mime.  Combined with her sometimes-exaggerated facial expressions (she can tease the audience with the best of them), there was no doubt about this singer’s approach to her material. Saloff’s accompanists, the fleet-fingered Tony Monte and bassist Steven LaSpina, rounded out an absorbing ensemble and had ample opportunity to display their own expertise. Monte’s keyboarding was special in a “Love For Sale” break, and LaSpina’s solo bass during “You’d Be So Nice to Come To” was a show stopper.

Saloff proffered one other obvious fib as she introduced “guest Marlene Deitrich.”  A spin-around on stage and a sudden change of accent transformed Saloff into the German film star who, with appropriate impatience, barked “Play now!” at her musicians and delivered a campy and rib-tickling “Laziest Gal in Town.”  If, as in that number, Saloff’s theatrics occasionally were over the top, she’s so good spirited that it was easy to relish it as part of the package.

Peter Leavy
Cabaret Scenes
May 27, 2009
www.cabaretscenes.org