They’re not playing by the numbers in the playfully titled Music 4 Two. Well, 4 one thing, the set list’s numbers are admirably eclectic, although, un4tunately, what is initial noncon4mity becomes a glut of gloomy, glum, humdrum heaviness. Did talented singer (sometimes guitarist) Dawn Derow’s obvious admiration of the represented singer-songwriters (earnest, confessional) perhaps influencing her three consecutively-placed originals, blind her to the cumulative effect? It was likely as unintentional in Music 4 Two as having the word/syllable “for” in four titles: “”I’ll Be Waiting for You” (Adele); “He Comes for Conversation” (Joni Mitchell); Cole Porter’s classic “Love for Sale”; and “Forgiven” (Alanis Morrisette). Perhaps the need for change dawned on Dawn during the opening night show, as she mentioned that she often shuffles her set lists during runs. Not to be lost in the shuffle amid the need to shuffle is that she has an attractive, clear voice, is confident, comfortable and committed.

Now…  what about the other of the “two” the title Music 4 Two refers to? It’s ubiquitous — and, more importantly, uber-talented — guitarist Sean Harkness. With equal billing in publicity/postcards with both their faces, one expects he’d be more prominently featured and interactive.  Ever the gentleman and gentle spirit, he accompanied and sang some harmonies with aplomb and charm, but wasn’t truly sharing the bill or even sharing his full skill set—no long, juicy solos, no “tearing it up”. Adventurous artists often have growing pains. Dawn’s growing – often glowing—in Music 4 Two… 4-two-itously.

Like her glowing body glitter that catches the light, flickers of bright ideas and smiles add to the glow and the breaks in the storm clouds of sadder introspective material.  Rather than staying mid-level in murkiness or keeping songs of complaints at a cabaret’s drink minimum of drinking in such moods with just those two goblets of whine, another option is to choose just a couple of the songs to go for broke and brokenhearted on.  Derow daring to be devastated and dangerously desperate could up the dramatic ante, rather than anti-climactically repeating a chorus.  An actress as well as a singer (who’s also done opera), she might be able to “go there” – it may be worth a try.  High drama can be more compelling than musical diaries with just one Kleenex.  Dawn might take two pages from the compelling Barb Jungr, who will be back in town soon.  First, Barb never shies away from anguish and sorrow and her diving deep into that pool, fearlessly but fully focused, makes her magnetic.  Secondly, when her program is a series of sorrows, she leavens things not with upbeat numbers, but with breaks for patter with stories and asides where her comedy and personality bubble up, to let the audience “breathe.”  Then, she’ll jump right back into serious songs with serious weeping and wailing.  Dawn’s own good humor surfaced in an unexpected turn of events when there was a problem with the audibility of her guitar, which she realized belatedly.  Mock-chiding Sean for not speaking up, she quipped, “Bad ‘stage boyfriend’!” and it lightened the mood.  We saw a little of their mostly under-wraps camaraderie that could be played up.  More talk back and forth between them, reactions and eye contact with each other could all help.  (Dropping his name into a lyric feels forced; it might be “cute” once; twice is once too much.)  In guitar-and-vocalist acts with other female singers, Sean has shown that he can be a strong on-stage partner (without upstaging the woman at the mic).  In an excellent show with the talented Deb Berman, All in Good Time, a good time was clearly had by all – on stage and in the audience; Terese Genecco, who also has him in her band shows, had him as a genuine collaborator sharing spotlight and energy on her show of Elvis Presley songs. Granted, they presented very different kinds of material, more upbeat stuff, but the point is that there is that real partnership potential should they go for “side by side” rather than “sideman” status.

Dawn’s songwriting has its plus and minus sides for me.  There are some good ideas, good turns of phrase, and what comes off as honest emotion.  On the negative side, “Long Gone” feels too long with too much repetition (“When I’m done with this sentence/ When I’m done with this song…”) rather than development. I had trouble catching many words in “The Girl in Between,” but it has a solid basic concept.  Her “Ode to Cape Cod,” where she has lived, was unpretentious and endearing.  However, her lyrics are marred by relying too often on what some pop/rock/folk songwriters settle for: not-so-near rhymes instead of pure rhymes. (Samples from hers: shoulder/over; gone/song; line/time; life/stride/; and, if my forced-fast scribble says what I think it says, road/show).  Better to write in non-rhyming lines than the almost-rhyming sounds that distract.  Like everything else in the show, there is potential everywhere, things that can be put together as well-matched as her purple outfit and purple eye shadow.

I suspect she’s ready, willing and able to make some adjustments that will pull her audience in, not just pull in an audience in numbers when Music 4 Two returns for three dates in October 14, 19 and 28, all at 7 pm.

Rob Lester
Cabaret Scenes
September 21, 2011
www.cabaretscenes.org