The subtle, sultry, sly, sexy, sighing, swinging song stylings of Peggy Lee: capturing their essence is like catching the wind.It ain’t easy. Stacy Sullivan’s Leeward-blowing wind often found a happy medium between tributes’ oft-seen extremes: conscious/self-conscious imitation or radical rethinking. Stacy is intrinsically warmer, more effusive, more emotionally direct, bubblier than the often cool, restrained, minimalist icon who breathed jazz. Cabaret’s Stacy took half a chill pill, engaged engagingly creative jazz pianist Jon Weber and super-bassist Steve Doyle, maximized her natural breathy qualities and playfulness. Visually, beyond the blonde bond, shared grace unites the ladies. Research led to fascination, empathy and awe, ever evident. Non-chronological biographical bits alternated with frequent statements of admiration—this could be tighter and better focused. Connecting 1954’s “Johnny Guitar” (Victor Young’s music, Peggy’s lyrics) to Lee’s troubled marriage to guitarist Dave Barbour would be more effective if it were clearer where their relationship was at when it was written. More specific reasons why Sullivan connects with Lee experiences or life/career choices would deepen this. (To borrow the title of one well-done trademark, “I Don’t Know Enough About You.”)

Crucially, she’s singing wonderfully, with lush in-the-zone tones. She has cutely kittenish chemistry with the marvelous musicians on two audience-pleasing numbers. The set avoided being all signature songs (“Fever” was just a snippet), but included several Lee co-wrote. There were standards not primari-Lee associated with Peggy (“Hey There”), but, hey, there was plenty to relish with this radiant fan club president, now a NYC resident.

Rob Lester
Cabaret Scenes
November 11, 2011
www.cabaretscenes.org