A classically trained voice can shine in a cabaret situation, especially when the artist is New Orleans’ multi-talented Sarah Jane McMahon.

This legitimate singer of opera and theater music (Sondheim, Weill) has taken to the cabaret stage with a bang. After opening up with some Kern/Harburg, (“Can’t Help Singing”) and Marc Blitzstein (“I Wish It So”) McMahon launched into one of my favorite neglected tunes, “Much More,” from The Fantasticks.  I don’t know what more from this gal you can ask, as she was blessed with looks, a first rate voice, and a passion for theater even leading to contortions (including juggling, cartwheels and splits) she learned while doing Barnum.

Reminding us that she was indeed a certified opera singer, she took to center stage and spun out the deceptively simple “O Mio Babbino Caro” à la Puccini’s Gianni Schicchi.  Sarah’s voice not only possesses the silvery sheen of 1970s Metropolitan Opera’s Judith Blegen, but also is strong in the depths; in fact, her low notes and mixed register chest/head voice is almost unheard of in this type of classical instrument. She belted out “Taylor, the Latte Boy,” floated “My Ship” (literally and figuratively) and closed with an impassioned “The Light in the Piazza.” The notable Ross Patterson was a perfect choice of pianist—unobtrusive, yet making his instrument sound like an orchestra when need be, such as in the final number.

Writer/director Michael Shell also made a promising debut, though he must learn that the audience needs something to identify with in a cabaret show. The “script” dwelled on McMahon’s almost impossibly high level of achievement and good fortune, starting with her three-year romance with a high school sweetheart (noting he was actually not gay even though a “theater boy” who sent roses monthly), her successful college career and effortless acceptance (by wisely and comically singing the unusual “Les Mamelles de Tirésias”) to an intensely competitive opera program sponsored by Placido Domingo.  This ultimately led to her sharing the stage with Merv Griffin and getting to keep her Bob Mackie designer gown. Sarah’s one negative experience was the requisite and failed Hollywood casting couch attempt by an unnamed mogul. She’s kinda like the opposite of Candide — a hero we can all feel comfortable with.

There were some contemplative episodes (evacuating from hurricane Katrina) and the show could have benefited from more of them. Operatic climaxes employed in some of the theater tunes came early in the show and should be pushed back in the program. These things are easily remedied. I would also suggest she make us privy to at least one personal failure – even if she has to invent one!  Cabaret requires that the artist not just dazzle us, but deliver us from our pain by offering us a common ground. Sarah is deeply religious and has recorded an inspirational CD sharing her blessings, so she probably does understand these matters. I look forward to her next venture.

Melody Breyer-Grell
Cabaret Scenes
September 14, 2009
www.cabaretscenes.org