Lobban and Wallowitch: The Perfect Pair
Lynn Lobban and John Wallowitch, together again at Judy*s Chelsea.
Lobban, a pixiesh soprano, may have the most expressive eyes in cabaret; in assessing her acting skills, we would definitely say that the eyes have it. Her face is an exhibit of emotional snapshots--which is only fitting in that she sings the Wallowitch opus "Photographs" with the shutter of her heart open wide to the let the light flood in. Speaking of light, much of the material in this show has a dark, shaded nature. Wallowitch is no Pollyanna; his music has a deceptive simplicity but his lyrics are often laced with hard-won truths. He doesn't write with rose-colored glasses on but, rather, with thick, penetrating lenses that see past the obvious. That he can so elegantly articulate the human condition and then embrace it makes his music all the richer. There is no better example of this than "I Live Alone Again." Lobban begins it as a song of heartbreak, taking us through the painful, daily experiences of life after her lover has deserted her. Then, repeating the verse, she finds freedom in those very same experiences and noticeably brightens. By the coda, however, the cloud of loneliness tinges her happiness. The song offers a brilliantly dynamic emotional arc and Lobban captures it exquisitely.
Wallowitch, of course, is also known for his comedy numbers; his humor is as juicy as a Cole Porterhouse steak, and just as meaty. Lobban cleverly couples several of his tunes with famous songs by other composers to heighten the comic effect. For instance, she sings "Too Marvelous For Words" as a lead-in to Wallowitch's hilarious "Like," about inarticulateness. So, too, Lobban connects the Kander & Ebb anthem "New York, New York" with Wallowitch's "There Ain't No War in California" to explain why a fed-up citizen of Gotham is finally fleeing the Big Apple.