By Marilyn Lester***Who could resist an invitation from Madelaine Warren to reconvene after a pandemic-induced hiatus from live performance? In her new show, Invitation, at the Laurie Beechman Theatre, many delights awaited in song and narrative, which was personal,
engaging and often philosophical. On the nature of love for instance, the classically trained Warren announced “love is where you find it” as a thought and a statement, as she launched into the song of the same name by Nacio Herb Brown and Earl Kent.
Warren’s narrative was economical but powerful, and cannily crafted to set up a set of eclectic numbers. Clearly, these were songs very special to her, and they showcased a range of emotion from humorous to introspective and points in between. In the former category, “Undecided” (Sid Robin, Charlie Shavers) was delivered with winning sweetness, while in the wry “Down with Love” (Harlold Arlen, E.Y. Harburg), Warren captured the irony perfectly. In the novelty song, “Someone’s Been Sending Me Flowers” (David Baker, Sheldon Harnick), she superbly mined the depths of the number’s charm. Leaning toward the serious were “It Can’t Be Wrong” (Max Steiner, Kim Gannon), the operatic theme from Now Voyager, and the closer, a wistful, contemplative “For All We Know” (Fred Coots, Sam Lewis).
Warren’s interpretive skills serve her well. Before a full, robust presentation of “Bewitched, Bothered and Bewildered” (Richard Rodgers, Lorenz Hart), she explained that the tune, from the 1940 musical Pal Joey, was sung by the character Vera, who’d entered into a surprising relationship with Joey. Audiences were shocked by the naughty lyrics being delivered by a female. The tune has a lot of choruses and Warren made them count. Another interpretive highlight came with “Sophisticated Lady” (Duke Ellington, Mitchell Parish). It’s a tricky tune. Males tend to sing it as pejorative, but Warren, with a female point of view, hit a far different note, singing the number with empathy and understanding.
A highlight of the set was a gorgeous rendition of “But Beautiful” (Jimmy van Heusen, Johnny Burke). Warren has a rich vocal tone in the lower registers, which soars in the upper ranges. Her transitions are sometimes a slight bit strained but mostly smooth, and overall quite pleasing. As a performer, she’s elegant—full of charm and likability. What’s more, her love of performing, of singing comes shining through. Yet, in some regards she’s also an enigma—paradoxically shy and reserved, yet giving and eager to make a connection with her audience. Most meaningfully, the sum total effect is authentic and pleasing; you can’t help 
but be thankful for responding to her heartfelt invitation. Director Barry Kleinbort (who also participated in musical arranging) helped bring out the best of Warren, but, of course, he began with a top-notch performer.
Music Director Christopher Denny at the piano, as always, played terrific support for his singer, and his arrangements brought out Warren’s excellent sense of rhythm and timing, such as adding bossa nova beats to “All of Nothing at All” (Arthur Altman, Jack Lawrence) and mining the haunting atmospheric of both “Lazy Afternoon” (Jerome Moross, John Latouche) and the show’s title song “Invitation” (Bronislau Kaper, Paul Francis Webster). The ever-reliable bassist Tom Hubbard supplied an abundance of creative ideas as the set’s anchoring time-keeper.
Photos by Jeff Harnar
