The word “songbird” might well have been coined for musical theater’s Lea Salonga (Miss Saigon). Opening a return engagement at the Café Carlyle, she brought a quietly assured stage presence, a skill at revealing the meaning behind a lyric and, best of all, her clear, sweet soprano.

She also brought a well-crafted, broadly appealing program. Included were show numbers (Rodgers and Hammerstein’s wistful “Love, Look Away,” Lerner and Loewe’s “On the Street Where You Live,” Kander and Ebb’s “It’s a Quiet Thing,” Sondheim’s “Everybody Says Don’t”) as well as popular standards such as the Gershwins’ “Nice Work If You Can Get It” and “Love Is Here to Stay,” “I’m Beginning to See the Light” and “How Deep Is the Ocean.” She even went country, with the Johnny Cash-recorded “I’ve Been Everywhere.” With particularly warm spirit, she brought her Philippine background to the fore as she performed two traditional songs in her native language, prefacing them by explaining their meaning. She needed no translation.

Throughout, her band added dimension to every number with rippling jazz-tinged arrangements. Larry Yurman was pianist and musical director, with John Miller on bass and Jack Cavari on guitar.

Only one major element was missing from Lea Salonga’s opening night performance: Lea Salonga herself. Nowhere in her cool, well-rehearsed performance was there a clear sense of the woman herself. We emerged from The Carlyle not knowing her any better than when we went in. Perhaps audiences later in the run got that benefit.

Peter Haas
Cabaret Scenes
June 7, 2011
www.cabaretscenes.org