By Andrew Poretz***The mezzo theater, concert and cabaret performer Jillian Laurain is one of those singers of a certain age who has never come to this reviewer’s attention before, despite a long list of theater and cabaret credits in New York and internationally. My bassist friend Marco Panascia’s invitation to check out her latest show changed that. With such esteemed musicians as Panascia and guitarist Sean Harkness on the stand with Laurain, who could resist?
The evening, The Windmills of Your Mind at Don’t Tell Mama, a presentation of songs with lyrics by the husband and wife team of Alan and Marilyn Bergman, was an eclectic mix of familiar and more obscure songs written with various composers with whom the Bergmans wrote. In addition to the aforementioned musicians, musical director-pianist Bob Goldst
one and drummer David Silliman supported Laurain.
Laurain was off to a fine start with a medley of “Papa Can You Hear Me?” and “Windmills of Your Mind,” a pair of Michel Legrand compositions from Yentl and The Thomas Crown Affair, respectively. These were well-sung, and Laurain’s acting ability lent the number a strong emotional impact.
Laurain and Harkness teamed up for a beautiful done medley of “You Must Believe in Spring” and “On Rainy Afternoons” (Lalo Schifrin), which almost sounds like one long title. The apropos “Make Me Rainbows” (John Williams) was also very well sung, in a manner reminiscent of Shirley Jones, with a perfect high-note ending.
Interestingly, while Laurain is least effective with up-tempo, swinging songs, she handled the dramatic blues arrangement of “Love Makes the Changes” surprisingly well. Singing in chest voice, Laurain’s sensitive reading on a medley of “Where Do You Start” (Johnny Mandel) with “The Way We Were” (Marvin Hamlisch) led the singer to an emotional ending that left her visibly moved.
Laurain surprised the audience by doing something “I haven’t done for a long time,” when she made her way to the piano and relieved Goldstone. As the quartet looked on, Laurain accompanied herself on “I Knew I Could Love You” (Ennio Morricone). This number was touching, and very personal and powerful.
The finale was even stronger than the opening, with another pairing ofLegrand songs from Yentl, a medley of “No Matter What Happens” and “A Piece of Sky,” with a couple of lines from “Papa Can You Hear Me?” as an inspired coda.
Though the show had a number of highlights, the set was a mixed bag. Some songs, like “Pretty World” (Antonio Adolfo) and “Nice ‘n Easy” (Lew Spence) didn’t really suit her voice. Laurain often appeared to have to read lyrics, a pet peeve of this reviewer. Her highs and lows sometimes came back-to-back, such as when she followed “I Knew I Could Love You” (Ennio Morricone) with “Fifty Percent) (Billy Goldenberg). Unfortunately, she “forgot to bring” lyrics for this powerful “11 o’clock number” from Ballroom. Still, Laurain has a lovely voice that is fairly untouched by time, an appealing and warm presence, and brings much to the plate as a cabaret performer.
