Electing to be known professionally by the single moniker, “Floanne,” the youthful twenty-something admirer of all things Piaf opened with a subdued rendition of Charles Dumont and Michel Vaucaire‘s “Non, je ne regrette rien” (“No Regrets,” more familiarly known by its lyric, “Non, je ne regrette rien”).  Her abundant energy, in continuing evidence during the rest of the show, then quickly burst out with the next number, “L’Homme á la moto” (“Black Denim Trousers and Motorcycle Boots”).

I’m not one to promote stereotypes, but if one is going to do a show about Edith Piaf, you’d want someone who sounds French, who looks French and who acts French, no?  Well, Edith Piaf – Alive and Living in New York, touched all those bases and made a home run with Floanne, decked out in a simple black dress and a close-fitting black cloche, who is French, and possesses more than a modicum of that oft-described Gallic charm.

The performance had the able assistance of Rachel Kaufman, the musical director and pianist, Ray Parker on bass and Mario Monaco, an impressive percussionist, plus guest guitarist Marcel Van Dam, all of whom deserved the frequent applause they received.  Well-known songs, such as “La vie en rose,” “Padam padam” and “Sous le ciel de Paris” (“Under Paris Skies”) were interwoven with less often-heard ones, the audience’s passion erupting with universal impromptu hand-clapping to Floanne’s highly-rhythmic “Milord.”

Alternating between assuming the persona of Piaf herself and the vocalist being addressed by Piaf, Floanne periodically stepped out of character to chat with her audience. That, plus the enthusiasm with which she performed the numbers and the palpable bliss just standing aside listening as the musicians took over the melodies, bespoke genuine enchantment with her subject.

The few rough spots were of brief significance and easily corrected.  For the first couple of numbers, the band tended to overpower the vocals.  More frequent explanation of the French lyrics, especially with some of the less-familiar numbers, would have improved one’s abilities to appreciate the song’s subtleties and Floanne’s renditions of them. Finally – and what could be easier to fix than this? – when Floanne sometimes gave up the mic to address the audience directly, it left those at the sides of the room straining to catch what she was saying.  Don’t be surprised if, by the time you see her next performance, and you should, you’ll wonder what I was talking about.

Edith Piaf – Alive and Living in New York, can be seen again at the Metropolitan Room Wednesday, November 30 and at the Triad Theatre Tuesday, December 6 and Thursday, December 8.  Following the change of years, Floanne can be caught at the Metropolitan Room again on January 21, February 18 and March 17.

Peter Leavy
Cabaret Scenes
November 28, 2011
www.cabaretscenes.org