Dave Frishberg’s songs are the epitome of a stylish insouciance not readily found in modern compositions. Each and every one bears his shrug, smile and indelible stamp. “Slappin’ the Cakes” (a perfectly wonderful term for sexual come-on with the singular drive of a salmon swimming upstream—sung here with a twinkle by Frishberg), “I’m Hip” (with Bob Dorough), “I Want to Be a Sideman” and the always welcome “My Attorney Bernie”—deftly performed by Jessica Molaskey, innocently raising her eyebrows—simply couldn’t have been written by anyone else. Frishberg himself is at the piano throughout the show. While lesser-known songs with Alan Broadbent and one with Johnny Mandel are certainly worth wider airing, the two suicide songs from a musical about The Algonquin Roundtable seem best left where they are. Picturing Molaskey play Dorothy Parker was an interesting vision, however.

Molaskey handles the material with casual ease. Her smooth, mid-range voice is just right for Frishberg’s tonality and cadence. And she gets it. Neither mugging nor musical exaggeration is employed to put across "flo-dee-o-do" (admittedly phonetic). Oh, for an evening of Frishberg performed just by Molaskey! I would’ve loved to hear her undoubtedly playful rendition of “Long Daddy Green” (about the almighty dollar,) truly a song for our times, and of the, alas, missing “Peel Me a Grape” (a signature song of Blossom Dearie).

There are diverting moments when the pair sing together—which doesn’t happen enough—and charming ones when he sings alone. But both must fight to get around Frishberg’s loss of focus, syncopation and lyrics (unfortunately, not present on the music stand). Tongue-in-cheek jazz piano by Frishberg is hit and miss. A bass and different arrangements would have fleshed out what sounds like a hurdy gurdy. In fact, the evening would have been better served by the artist not playing his own work.

A few weeks ago, I saw an enchanting show during which Sheldon Harnick guested in performance with Kate Baldwin. Had Frishberg been Molaskey’s guest with less required of him, I suspect more would have been delivered. While there’s value in hearing original interpretations, at a certain point both performer and songs suffer needlessly. My only note to Molaskey: since she never connects with the audience, but looks out and over our heads throughout, we lose a facet of her performance that would, given the chance, bring it home.

Jessica and Dave continue at the Oak Room thorugh April 2.

Alix Cohen
Cabaret Scenes
March 17, 2011
www.cabaretscenes.org