"Lori and the Boys" at the Cavern Club, 8/21/05

"Lori and the Boys", a spectacular, song-filled comedy cabaret in the time-honored Vaudevillian tradition, has set a new standard for entertainment in LA's cabaret haunts. Lori Donato, that elegant yet game Grand Dame of the piano and nightclub stage, brings us yet another fun-filled romp, starring the long-legged Lady herself and her three supremely talented and diversely engaging "Boys".

I was bowled over by their professionalism, charm, wit and original take on this often over-done and misunderstood art form. I got my $15 dollars worth in the first 15 minutes, with their campy numbers, heartfelt singing, terrific original material, perfectly matched song solos and utterly mesmerizing, well-choreographed ensemble pieces. It was a trip back to the old days, when people really sang for their supper, and totally entertained their audiences. What a concept!

The Cavern Club is the perfect venue for this type of show, intimate, yet unlike a nightclub, the seats are theatre-style, so everyone has a great sightline to the action onstage. Both Lori and her co-star Greg Stanton play piano in addition to singing their hearts out, so that added a nice musical change-up throughout the night. Her other co-starring "Boys", Kurtis Simmons and Eric Seppala, added sex appeal, humor and Broadway caliber vocal chops to Lori and Greg's artful contributions.

This show was electrically-charged, from the custom-made opening number to the equally perfect, hand-crafted finale. I was so thoroughly delighted by the material and the diverse staging, a different configuration for each scene, it seemed, with each performer getting their moment to shine, showcasing specialty material tailored for their personality and vocal strengths. I would have enjoyed even more "Andrew Sisters"-style ensemble/harmony numbers. The "Ratpack" feel to the whole evening, albeit with gay overtones, was a concept so ripe for this day and age, I'm surprised I haven't seen it done before!

Highlights for me were all of Kurtis Simmons' songs, that handsome and sexy male siren extraordinaire, who sang a number of female-identified hits like "Blue Bayou" and "Son of a Preacher Man", putting his indelible, heart-wrenching and even humorous spin on them. I just adored the loony Viking-looking Eric Seppala's funky take on "Twisted" (a total gem), and his show-stopping, wacky novelty piece, "Cave Man", which could be the premise of an entire sitcom, a genre this multi-talented singer/comedian is surely destined for. The running gag of Eric being rather nervous and unclear on his entrances worked like gang-busters for me. The dry, deadpan wit and delivery of the musically hip Greg Stanton (you should have heard him swing the entire neighborhood on "Let the Good Times Roll"), was a clever ballast to the raw energy and cutting-edge improvisational quality of the show. You have to rehearse a lot to get that ease of interplay, folks, and this company had their timing and banter down to a diamond cut.

Lori Donato, the star and primary producer of the show, was purely part of the ensemble on this evening, partaking of the humorous tone and totally supporting her co-stars with her piano stylings (always inventive and never dominating). Her transition to another stage of her life, marked by a recent milestone birthday, was a running theme throughout the show, and her vulnerability and openness throughout her powerfully personal musical set-pieces were her feminine gift to the proceedings. Lori has that unmistakable "star" quality that comes from truly serving decades of audiences, and bringing them what they crave, in a selfless, yet fully formed way. It's as if she can "rule the day" on stage, taking command, but without making you feel she is full of herself. That is an enormous feat, and why she is so beloved, here and abroad.

Greg Stanton is a gifted pianist, always sure and precise, but rollicking and foot-stomping when called for, to be sure. But his outstanding contribution on this night, for me, was his Bob Newhart-style, all-American, sardonic take on the proceedings. It's as if "Everyman" was up there on stage, amidst the mayhem and heightened reality, making some offbeat sense of the whole thing. A great looking, bespectacled, yet profoundly "normal" man, he didn't have to "do" much to reel us into his plain-spoken world. He surprised me musically with his "inner soul man"! He and Lori literally traded places at the piano a few times, never missing a beat, a clever and unusual sidelight to this special night. A nice touch from "Lori and the Boys".

"Lori and the Boys" has "legs" for days, months, even years, with the endless possibilities such a format offers. I can only say, with Lori's impeccable taste, her own gorgeous alto serenading the room in her powerful yet somehow beckoning way, and her exquisite choice of co-stars, she allows you an insight into her rare world of showbiz longevity: give people a hilarious, original, action-packed, fast-paced, high quality, riveting show, more than they ever dreamed of, and they'll keep coming back, again and again and again. I know I will! Catch "Lori and the Boys" at the Cavern Club and other venues around town. You'll be SO glad you did!

When Lori Donato casts her musical spell, you are transported to an enchanted musical land... and you just don't want to come back!

Very few people in this world can make music that will stir your soul to laughter, to sadness, to romance, or to pathos. One of those simply superb few is Lori Donato.

What is most remarkable about Lori Donato is her assurance and ability to communicate the essence of a song. The dramatic intelligence that fuels her performances is applied with keen focus. As a pianist and singer Lori Donato is extravagantly gifted. She practices the “art that conceals art”. None of her songs ever rings false or registers as emotionally vague. She is a superb vocal actress. And let's talk about her voice: sweet and subtly tangy as dark honey, perfectly placed, evenly voiced across its registers, bell-like and shimmering in the high notes and warm as a cello in the low. Her music displays not only technical excellence but delightful original interpretation as well.

Lori Donato musically combines velvety warmth and creamy richness with radiance and purity. Her voice seems to flow by magic, each tone perfectly centered, capable of a wide-ranging variety of color and nuance.

Lori Donato is the musical equivalent of an expensive box of scrumptious chocolates and I intend to gorge myself on them whenever I have the chance.

Lori Donato's jazzy CD "The Road Ain't No Place For a Lady" is a soulful and honest compilation of standards and unusual tunes, including the original title track. Lori is a seasoned jazz singer, having honed her skills everywhere from local to international clubs, and in the competitive world of cruise ship entertaining. Now a woman of a certain age, her voice is fully realized and able to helm complicated and layered material unsuited for the younger set. Her life experience and musicianship earned through years on the road come through for her on this exemplary collection.

She starts out this CD, which is being featured at Tower Records' listening station in our own West Hollywood and getting nationwide airplay, the seldom heard

A standout on this CD and in a recent live performance I attended is the titular number "The Road Ain't No Place For a Lady." Written my Lori and the fabulous Howlett Smith, and arranged by the talented and ubiquitous Gil Leib (as was the whole album), this original clips along at a swinging tempo, rife with sentiments about life on the road, as only Lori can tell it. Other favorites on his recording are her smoky-voiced and sexy "Broken Down Kitchen Blues," a 12-bar blues shuffle perfect for Lori, with a laundry list of "needs" that is hilarious, and her "Two For the Road." This Henry Mancini movie theme is a personal favorite of mine, and Lori brings you along for the ride, giving an authoritative, well-enunciated and distinctive take on this gem.

Her live performance at Spazio's on February 18 of this year was unfortunately marred by a weak sound system. Still, Lori's subtle command of her craft ruled the day, and she not only had her own crowd near the bar eating out of her hand, but she drew in the rest of the huge roomful of diners who might otherwise have chatted through a more mundane, less engaging performer. There was a lack of ego onstage, and a disarming candor that was never too confessional, just real and concerned with including the entire room in her personal journey. She pulled out a Herculean four sets, and I caught the first two. Her voice was hard to discern, singing very low. Quite frankly, it was muddy due to the sound, but she was so genuine and unaffected, she overcame this setback and kept on like the trouper she is. Her "I Love Being Here With You" was very up tempo and a nice opener for her. She gave tribute to the great dames of jazz, most notably Peggy Lee, and her "Fever" was a terrific match of voice to material, finger-snapping and, unlike the great Peggy, very animated. I noticed that her band's sound was mostly very "thick" and could have laid back more. Wonderful musicians all, I still couldn't hear enough of Lori, the star of the show. Occasionally she takes requests, for example her "I'm a Woman" was a hit, and she sings it as an antidote to that male paean, "My Way." Well done, Lori.

I was most impressed with Lori's take on "At Last," a much-recorded song that didn't make it on the CD. Very well-acted, you can tell she's sung this song before, and she gives it specific, meaningful phrasing as only someone like Lori can. Overall, a very accomplished performer I would go see again and again. Hopefully with better acoustics!

Find Lori's prodigious appearance schedule at www.loridonato.com, or email greatdame@earthlink.net for more information. You can get her CDs at shows or at records stores everywhere, and online at www.LMLMusic.com. Discover for yourself this tremendously gifted jazz performer!