By Michael Barbieri****At one point in Cynthia Crane’s most recent turn at Don’t Tell Mama, she reminded us that she’s a saloon singer. And while she is certainly one of the best interpreters of those smoky barroom songs, her wonderful show, This Is a Changing World, My Dear (Whether You Like It or Not!) proved that she is much, much more!
Cynthia Crane is a singer, actress and activist who’s been in the entertainment field for over 40 years. She’s a respected cabaret chanteuse, equally adept with standards, jazz classics, story songs, dramatic ballads, comedic specialty numbers, and yes, saloon songs. She’s one of the founders of the Impossible Ragtime Theater (IRT), has recorded eight CDs, and is the recipient of Backstage Magazine’s Bistro Award for Outstanding Vocalist.
In this act she confronted change (of course)—changes in our overly politically-correct world, changes brought about by technology, by age and by the changing mores of today’s society. She opened appropriately with Noel Coward’s “This Is a Changing World, My Dear,” her deep, throaty voice sounded clear and strong—a big sound which belied her diminutive stature. And while the rest of the world may have changed, Crane really hasn’t! In a simple but chic black tunic, with her trademark pixie-cut red hair, she looked as vibrant and adorable as ever! Coward’s song segued into an updated version of Cole Porter’s “Anything Goes,” with clever lyrics by Joe Keenan. References to gay weddings, tattoos and the Kardashians were current and funny. One particular lyric about how “girls of 10 are adolesc-ing and proving the fact by dressing like tiny ho’s!” was absolutely perfect! “Discontinued” by Julie Gold was a bittersweet discovery about the changing landscapes of our city and our lives. Crane sang about the closings of restaurants and shops; telling us “things that I believed would last forever…sayonara!’ The sad, inevitable refrain of “it’s out of stock, it’s out of print, it’s out of style…everything I love gets discontinued/it’s a brand new world” was terribly familiar to those of us over a certain age and there were sighs of agreement from the audience.
Not all change is bad, however. Two songs from the World War II era pointed out the ridiculous sexist views men had towards women back in the day, many of which have changed, thankfully. Both “You Can’t Say No to a Soldier” (Harry Warren/Mack Gordon) and “How Will We Get Her Back In the Kitchen?” (Zeb Carver/Jack Rollin) were full of chauvinistic references and could never be popular hits today. Still, Crane seemed to relish their outdatedness, saying they had built-in expiration dates and her delivery was full of sly glances that conveyed her humorous distaste.
Of late, I’ve been seeing the subjects of memory, aging and loss turning up in cabaret shows quite a bit. Crane’s devastating rendition of Marshall Barer’s “What Is My Name” was gut-wrenchingly raw and honest. The portrait she painted of a person coping with age and memory loss was at once sad and chilling. As she sang “no one can see what I was, because of what I became/what’s..my..God..damn…name?!,” you could have heard a pin drop. Ironically, Crane went dry on a couple of lyrics early in the number, but her acting was so solid, I was honestly not sure if this was staged; if she had been directed to “forget” her words or not! Either way, it was a breathtaking moment.
It was now time for the saloon singer to give us a number. Crane introduced “A Wet Night and a Dry Martini,” saying that smoky bar songs have become almost obsolete, with folks no longer allowed to smoke in bars! That didn’t stop her, though and her rendition brought to mind classic old nightclubs with carved wood bars, heavy curtains, sexy lighting and good strong cocktails.
With a comment about how truth seems to be up for grabs today—seemingly a little jab at the current administration—Crane gave us a simple, truthful version of Billy Joel’s “Honesty.” Her politically conscious side came out in full force with Ervin Drake’s “Card-Carrying, Bleeding Heart Liberal,” in which she proudly sang “Social Security is yours because I led the way, and I’ll defend it come what may…‘cause I’m a liberal…Capital L-I-B-E-R-A-L” and “I fought defensive wars the sons of riches rarely fight, they mostly hide way back, behind their daddy’s wealthy might,” which was more than a little jab at Trump—more like a giant, well-deserved swipe!
This Is A Changing World, My Dear was beautifully constructed—cohesive and topical, with moments of humor and poignancy setting a perfect balance. Musical Director John Bowen provided solid, sensitive accompaniment and Director Ted Story paced the show with a subtle hand. And then there was Crane herself. She’s been a part of cabaret for so long, she’s like a good friend. She’s so comfortable and engaging onstage, it almost felt like she was performing for us in her own living room.
Through all the personal ups and downs she presented, one thing was clear: Cynthia Crane is a survivor—a real fighter and the changing world will never get her down. Before her closing number she quoted Dorothy Parker, saying “Razors pain you, rivers are damp, acids stain you and drugs cause cramp. Guns aren’t lawful, nooses give, gas smells awful. You might as well live.” She then went into Yip Harburg and Harold Arlen’s “I Don’t Think I’ll End It All Today,” a chipper little ode to NOT committing suicide. It’s lovely to know that this fighter will be a friend to us all for a long time to come!
Great review of a great performer – every word true!!! See her!!!