Even by artist standards, composer Burton Lane is fraught with arresting contrasts.  Who else could have written an affectionately existential ballad like “Too Late Now” and a witty commentary on romance and the IRS entitled “In Our United State”? As Rex Reed wrote, “Burton Lane loved Gershwin and golf, politics and peanut butter.

The 92^nd Street Y’s Lyrics & Lyricists series, famous for its enlightening musical lectures and enlightened musical crowd, proved the ideal vehicle for Lane’s elusive genius, too often limited to the cosmic chromaticism of “On a Clear Day You Can See Forever” and the glories of Glocca Morra.  Singers Heidi Blickenstaff, Liz Callaway, James Clow and Joshua Henry tackled that diverse body of work—and often in close harmony.  Patricia Wilcox’s tight choreography paid erudite homage to the songs’ history, as in James Clow’s unmistakably Astairian shrug in “How Could You Believe Me When I Said I Love You….” Less identifiable but equally delightful was Joshua Henry’s “Headin’ for New Orleans,” written for an unproduced film of Huckleberry Finn. Sadly, Andy Einhorn’s lagging arrangements did not keep pace with either.

Characteristic of L&L, authenticity took center stage with the appearance of John Cullum, star of the original On a Clear Day... Cullum’s frank, fresh “Melinda” from that show reminded us yet again what is lately lacking onstage. And if we were in any doubt, Mr. Lane himself, projected onscreen from a 1981 appearance on that very stage, sang “Where Have I Seen Your Face Before?” in honor of his blessed collaborator, Yip Harburg.  We could not but look back at those fine features and whisper, “We’re so glad we saw yours.”

Patrick Monahan
Cabaret Scenes
February 12, 2011
www.cabaretscenes.org