I can be a stubborn fish swimming in these familiar cabaret waters, and it took a few songs for Marjorie Hayes’s bait to grab me. But she reeled me in and I was hooked. With this stranger before me in a tiny room, it was TMI/TE (Too Much Information/Too Early), hearing right away how she longed to performing again after months with her seriously ill mother. The first songs were all over the map stylistically. Under Erv Raible’s direction, she does become relaxed and centered, talking about her work as a college acting instructor in Texas and getting through to her students (or not). Her humor, dedication and perspective came through. William Finn’s story song about the rewards of teaching, “Only One,” seemed tailor-made and the James Taylor-made “Millwork” was effectively stark, angry contrast: portrait of a woman hating a mundane job.

The voice can be powerful with attractive dark colors. Quibble Department: In “You Belong to Me,” why (twice) change the line, “I’ll be so alone without you/Maybe you’ll be lonely, too” to “I’m gonna be so alone without you/And I’m hoping you’ll be lonely, too?” It does nothing for the song but clutter and clunk up the musical line. Veteran pianist Paul Trueblood filled the bench for original Musical Director/co-creator Michele Brourman whose songs were also represented. Miss Hayes truly shines with theatrical songs that let her fully inhabit specific characters. Billy Elliot’s “Grandma’s Song,” complete with appropriate accent, was thus a major winner. Another accent (Russian, and broad like the humor of the song) was employed for “Vodka.” Cheers!

Rob Lester
Cabaret Scenes
July 20, 2010
www.cabaretscenes.org