Tag: Cole Porter


Interview with Deborah Robin on LOVE, LINDA: THE LIFE OF MRS. COLE PORTER

P3 Theatre presents LOVE, LINDA: THE LIFE OF MRS. COLE PORTER, a powerful one-woman musical about the dazzling Southern socialite Linda Lee Thomas and her improbable marriage to songwriter Cole Porter who created such classics as “So in Love,” “Night and Day,” “In the Still of the Night,” and “Love for Sale.”

Though Porter was gay, their companionship and love lasted through 35 years of marriage and a spectacular, glamour-filled life. With innovative arrangements, the timeless music and lyrics of Cole Porter weave through the compelling narrative of Love, Linda examining the darker sides of their life, while also celebrating the deep love that blossomed through their unconventional relationship.  “It’s an amazing love story,” said P3 Theatre Company Executive Artistic Director Jon Peterson. “Many people are surprised to learn that Cole Porter had a wife. The show has all the behind-the-scenes secrets as well as the luscious music of Porter.”

LOVE, LINDA: THE LIFE OF MRS. COLE PORTER had its Off-Broadway premiere in 2013 featuring music and lyrics by Cole Porter, with Book by Stevie Holland and Gary Wiliam Friedman. The show will have its Southwestern Regional Premiere October 16-24 at the 2nd Story Theatre in Hermosa Beach before moving October 30-31 to the Renaissance Performing Arts Center in Long Beach. Through song and story, Deborah Robin promises a tour-de-force performance as Mrs. Cole Porter. And as a fan of Cole Porter’s music but not knowing anything about his wife or their life together, I wanted to find out a bit more about the production, especially what led Deborah Robin to take on the role.

(Shari): Hi Deborah. Thank you for taking to time to speak with me about LOVE, LINDA: THE LIFE OF MRS. COLE PORTER.

 (Deborah): Hi Shari, it’s my pleasure to chat with you! I am so delighted that you have an interest in our show

(Shari): First of all, congratulations on your acclaimed pre-pandemic turn as Doris Day in P3 Theatre’s Day After Day: The Life and Music of Doris Day. What else would you like readers to know about your theatre background?

(Deborah): Oh thank you so much, Shari; Day After Day was a wonderful experience! I adore everything about Doris, and always will. It was a privilege to portray her, and to work with the P3 Theater Company. As for my theatre background, I have been involved in theatre for most of my life (including post-graduate studies at The London Academy of Music and Dramatic Art), with the exception of the years I stepped away to be home with my babies. The first time I stepped back into a theatre to audition again, it felt like coming home, like Cinderella’s magical slipper fitting her foot at last. I knew that I belonged here. Many of you can relate, I am sure! Speaking of magic, I have found that I gravitate to shows with elements of magic within them. Besides Doris, one of my favorite past roles to play was Mary Poppins. If enchantment is involved, I’m your girl!

(Shari): I take it you are a big fan of Cole Porter’s music. Do you have a favorite number or two you will be performing in the show?

(Deborah): Ah, that is a tough question! All of Cole’s music is timeless, memorable, marvelous! At this point, I think one of my favorites in this show might be “In the Still of the Night.” Some singers have interpreted this song dramatically, even fun and jazzy, but when it is done tenderly, with feeling, wow, does it touch the heart. Doris Day did an incredible recording of this song that I love, of course!

(Shari):  Since many aspects of Porter’s life simply could not be discussed in great detail during the 1940s and 1950s, such as his 35-year marriage to Southern socialite Linda Lee Thomas, what was it about her life and unconventional marriage that pulled you into wanting to portray her onstage?

(Deborah): Yes, absolutely, the reality of their marriage was not up for discussion at that time! There was a rather fictionalized account of their marriage in the movie Night and Day starring Cary Grant as Cole Porter. Apparently, after seeing the film, Cole remarked, with humor, “None of it’s true.”  But I knew almost nothing about Linda’s life before Jon Peterson of the P3 Theatre Company reached out to me during quarantine, asking if I’d heard of Love, Linda and if I might be interested in taking a look at it for the future? Of course, I said “yes” immediately because I relish Porter’s music, especially from Anything Goes and Kiss Me, Kate.

When I began researching Linda, I was fascinated. She was certainly a very sophisticated, sparkling socialite, but very private. I believe she truly loved him since they were together for nearly half of her life. Did you know she kept every Cole Porter review, ticket stub, and program and that her scrapbooks reside at Yale now?

(Shari): No, I had no idea!

(Deborah): And she saved his life as well, insisting that doctors not amputate his legs when he suffered an accident since she knew it would crush his spirit. I believe Cole loved her, too! After she passed away, he wept inconsolably at her funeral, and said he’d had two great women in his life: his mother and Linda, who kept him going. He commissioned a rose for her as well, the Linda Porter rose.

(Shari): What else do you hope audiences will learn about her?

(Deborah): I hope audiences will come away with an understanding of and connection to this spirited lady. Linda was much more than Cole Porter’s wife, or benefactor, or muse. She was a bright and vivacious woman with a passion for culture, music, and Cole!

(Shari): No doubt their glamour-filled lifestyle was essential for both of them. But how do you think they were able to stay married for 35 years?

(Deborah):  Yes, they were the epitome of glamour! The palatial houses, lavish decor, the world traveling. Linda’s jewelry collection is just to-die-for! Many of her pieces were commissioned by Cartier, and are so gorgeous! One of her most iconic pieces was an aquamarine and ruby Belt Buckle Necklace made by Paul Flato in 1935, which is considered an American work of art.

I think there are many reasons Cole and Linda were able to stay married, which Linda discusses in the show. They admired and respected one another, in addition to love. She saw him for the man that he was, and gave him space and freedom in his intimate life. In a practical sense, for Cole, his marriage to Linda gave him access to a sophisticated social life; for Linda, Cole granted her access to the world of the arts. Of course, they did have problems in their marriage, which Love, Linda explores as well

(Shari): What do you think will surprise audiences about their behind-the-scenes life, either in Paris or New York?

(Deborah): I hope audiences will be pleasantly surprised, even touched, at the genuine love and affection that existed between these two! Marriage can be challenging enough under the best circumstances; Cole and Linda (with eyes wide open) managed to have a beautiful life together, as unconventional and puzzling as it may seem.

(Shari): For this production, are you able to rehearse in person with director Tony Santamauro and/or musical director Bill Wolfe or just online for now?  And have you ever worked with either of them before?

(Deborah): Yes, I have been able to work with both of these fabulous people in person, and we are following all safety protocols. Tony was my director for Day After Day, and I jumped at the opportunity to work with him again. He just radiates a zeal for theatre, he lives and breathes it, and is a joy to work with. This is my first time working with Bill, and he is delightful (and so talented)!

(Shari): What message do you hope audiences take away with them after seeing the show?

(Deborah): Besides all of the classic Cole Porter tunes that will be playing on repeat in their heads for days? Most of us know Cole Porter as a clever and witty composer who was unable to live openly as a gay man. He was more than clever and closeted; he was staggeringly brilliant, and much deeper and more complex than people realize. He was not able to be himself, openly, in the world, but he had someone in his corner who cared. Some of his more thoughtful songs really portray this side of him, touching emotions in us that cannot be conveyed except through music. I hope audiences will come away with a bit more insight into the captivating man that he was, and of the woman who adored him

(Shari): Is there anything else you would like to add?

(Deborah): Yes! The number one reason to come to this show is the music! It is delightful and delicious, and the particular arrangements in Love, Linda are de-lovely! There are also some lesser-known treasures you may never have heard before. Cole Porter’s music is universally loved for a reason, and I hope you will love it, too. Thank you so much, Shari, for your interest in our show, and for this interview! I really appreciate it.

P3 Theatre Company presents the Southwestern Regional Debut of LOVE, LINDA: THE LIFE OF MRS. COLE PORTER, a musical one-woman show starring Deborah Rubin about the improbable love of the gay songwriter and his socialite wife. With Music and lyrics by Cole Porter, Book by Stevie Holland and Gary Wiliam Friedman, the production is Directed by Tony Santamauro with Musical Direction by Bill Wolfe.

Performances take place:
October 16-24 at the 2nd Story Theatre in Hermosa Beach, with Adult General Admission: $32.00 or Senior/Student/Military General Admission $28.00, available at https://www.onthestage.tickets/show/p3-theatre-company/love-linda-the-life-of-mrs-cole-porter-65321

October 30-31 at the Renaissance Performing Arts Center in Long Beach with General Admission Adult: $35.00 or Senior/Student/Military: $32.00 available at https://www.onthestage.tickets/show/p3-theatre-company/love-linda-the-life-of-mrs-cole-porter-89246 

Run time is 75 minutes with no intermission, and both venues have wheelchair accessible parking and seating available. All ticket sales are final. Please note: For all in-person performances, you will be required to wear a mask indoors in compliance with the current LA County mandate. In addition to wearing a mask, you will need to present proof of vaccination against COVID-19 or a negative COVID-19 test (within 72 hours) along with a photo ID.

Headshot photo of Deborah Robin by Susan Spann

Stock Photos of Cole Porter and his wife Linda Lee Thomas

Photo of Deborah Robin as Doris Day in “Day After Day: The Life and Music of Doris Day”
by Caught in the Moment Photography


Spotlight Series: Meet Robert Yacko, One of the Busiest Triple-Threat Performers in L.A.

This Spotlight focuses on Robert Yacko, one of the busiest triple-threat performers in Los Angeles, whose musical theatre skills constantly bring magic to the stage.

Shari Barrett (SB): What would you like readers to know about your theatrical background?

Robert Yacko (Robert):  I’ve been around a long time, a native Philadelphian who cut his teeth on theater in high school after being a musician for a few years. I was pulled into the love of dance by a choreographer who saw potential in me. My brilliant acting teacher at Temple University, Joel Friedman, then gave me the tools that got me into the Juilliard Drama Division and things took off from there. My Broadway debut was in Fiddler on the Roof with Herschel Bernardi, directed by Jerome Robbins himself, assisted by Ruth Mitchell and Tommy Abbot. The subsequent National Tours we did brought me to LA twice, and after having the privilege of dancing with the legendary Cyd Charisse in summer stock, LA was beckoning.

“Sunday in the Park with George” with Robert Yacko and Pamela Myers at the LA Premiere at Long Beach CLO. Photo by Craig Schwartz

I was quickly welcomed in the City of Angels with two back-to-back seasons in the Mark Taper Rep, soon followed by one of the highlights of my career – starring in the Los Angeles Premiere of Sunday in the Park With George, with Pamela Myers (the original Marta from Company) as my brilliant Dot and Marie. We had the Broadway sets and costumes and a director chosen by Sondheim and Lapine, the wonderful Fran Soeder.

 

From that flowed lots of amazing opportunities, many of them in Sondheim musicals, which was a gift, since his work was the very reason I longed to do musicals. Highlights of my Los Angeles Theater work include Into the Woods with Leslie Uggams, Company with Carol Burnett and Patrick Cassidy, Chess with Jodi Benson, A.R. Gurney’s Sylvia with Cathy Rigby, The Donmar Warehouse production of Parade at the Mark Taper (which began my association with Jason Robert Brown), and more recently, Annie at the Hollywood Bowl with Lea Salonga, Megan Hilty, Anna Gasteyer, David Alan Grier, and Steven Weber.

As many singing actors do, I have also branched out into the LA Cabaret scene in the last decade, aided and guided by my inspiring friend, Bruce Kimmel. To say I have been blessed over the years, especially in this city, is an understatement!

(SB): I have seen many of the shows you mentioned, but were you involved with any productions when word went out to immediately postpone or cancel them?

(Robert): I had two corporate shows scheduled in late March, one of which was cancelled, one postponed. I have been working with my corporate event company for 17 years and those were the first to go, as they are highly attended events. And I was slated to do the second in a series of Concerts at the Wallis Annenberg on April 1st, organized by the outgoing Mayor of Beverly Hills with Richard Sherman’s son, Greg. The first Concert of this series we did on February 26th, which was an evening of Tom Lehrer and Stephen Sondheim as a partial sing-along. The April concert was to be in a Hollywood Musicals theme, but this event was cancelled.

I was due to perform in the April and May Kritzerland Cabarets at Vitello’s, the second of which would coincide with our Director/Producer Bruce Kimmel’s new book Simply, A Lifetime of Lyrics being published, and would highlight his songs. The April 5th event had to be cancelled. However, the May Concert went online on May 3rd on Facebook Live and YouTube Live with a theme change.

Robert Yacko as Henry Ford in “Ragtime” at 3D Theatricals

The biggest event of mine that got postponed, first from March 30th to June 1st, and now to a TBD date, was the 2nd Benefit for Musical Theatre Guild’s Educational Outreach, an event called Rewind2: By Request at the Rockwell. I was honored to be directing this benefit show and we had been working hard on its planning, built with music from audience-requested musicals from MTG’s archives, using 25 of LA’s best musical theater actors. I’d been working closely with Kristi Holden (producer / organizer) and our Musical Director, Dan Redfeld, since late January and we had a stellar lineup of songs and MTG members to perform them. We were about to have our first rehearsals when everything shut down. This was the toughest one to lose, even temporarily, but I do know that it will get done when we can do so safely.

(SB): That was a lot of changes in such a short time. How were the shutdowns communicated with the cast and production teams?

Robert Yacko in “Undiscovered Country” in the Mark Taper Rep, with Christina Pickles

(Robert): With the corporates, our manager let us know via group email as soon as things changed. With Kritzerland, I spoke to Bruce Kimmel as things unfolded, and at the point where Shelter in Place went through April 15th, we knew we had to cancel April 5th. Then in mid-April, I got a message that we might try and do a Kritzerland online. The Wallis concert word came in a group email from our vocal director Carly Bracco, who had already put a ton of work into the event. It was heartbreaking for many, as this one is lost for good.

Finally, the MTG Benefit word came through back and forth messages with our brilliant coordinator Kristi, who at first tried to have us keep our March rehearsal schedule and get tracks to the singers for the June date. At the same time, MTG was still trying to plan for Kismet on May 3rd and a Glendale Arts event immediately after, which I was asked to direct as well. We soon realized that putting 20+ singers in among some of our elders was not prudent, considering how COVID news was darkening daily. It was first shared privately among the production staff and performers, then the date changes were announced publicly.

(SB): Are plans in place for any of those productions to be done at a future date?

Robert Yacko as Horace Vandergelder In “Hello, Dolly!” at 3D Theatricals

(Robert):  One corporate event may be done in October. The Wallis concerts are gone permanently. Krtizerland went on Facebook Live and YouTube Live, with guest star Liz Calloway contributing from NY. The MTG Benefit will happen at a TBD date. It will be a great show for a worthy cause, to support and inspire the next generation of Musical Theater Artists.

(SB): I have to say, you are one of the busiest stage actors I know. What future productions on your schedule are also being affected by the shutdown?

(Robert): I worked last November for the first time with David Green’s Musical Theatre University in Palm Desert doing Gypsy with a dear friend from NY, Alix Corey, who teaches there. Their program is extraordinary and so are the students involved. David and I talked about future productions (among them, JRB’s Honeymoon in Vegas), and in truth, I am not certain how this affects the program’s schedule. I was to be a guest star at the group’s last (of 6) cabaret shows on March 19th, but that of course was cancelled. I will indeed work with this group again when it is safe to do so.

There were some play readings I was to do with the gifted writer/director Suse Sternkopf (who took my great Cabaret headshot photo), with the ultimate design to create a new theater company. That is off the table until we can reconvene, as her two plays require a real intimate emotional connection which is hard to make with semi-strangers on Zoom.

Other than the MTG Benefit and their Glendale Arts show at the Americana being delayed to indeterminate dates, what is mostly affected is the ability to audition for future work, which is huge. Since no one knows exactly when and if productions can be done, no one is auditioning for anything of note. Of course, that will delay the start of productions at theaters across the board when they can re-open.

(SB):  How are you keeping the Arts alive while at home by using social media or other online sites?

(Robert): Since I work a lot, the initial shock of having my entire work schedule vanish in the course of two days, topped by the ever-frightening tone of the news, caused me first to reach for humor, rather than panic. It was partly to keep things light and probably partially due to disbelief and denial. So, in the first 9 days of Shelter at Home, I started posting parodies of Musical Theater Posters, as if these were the only shows we could do now: things like Sunday in the Park Without George and No Company. I posted a dozen on Facebook the first day and people clamored for more, as everyone needed a way to laugh off the shock of this new normal in which we were suddenly living. I began posting every day on Facebook and Instagram, and in 9 days, I had created 101 mocked up posters of “Quarantined Musicals.”

A friend asked me to make a book of them for her as a cheer-up and a funny memento, so I went into iPhoto and created one, and sent copies to friends to keep them smiling in the moment and to keep as a funny memory once the plague has passed.

Just 10 days ago, I submitted my vocal-part video for a virtual choir, in which I was asked to participate by Jeff Rizzo and Eric Andrist. It is an 8-part SATB 1 & 2 choir version of a well-known pop song from the 70’s, which I cannot mention until it is ready. Fifty great LA singers sent in vocal/visual tracks to be edited together by David Engel. It should be ready soon.

As mentioned, I was shooting 3 songs for Sunday’s Krtizerland show, from composers Randy Newman, Cole Porter, and Noel Coward. And I am redesigning my professional website. It’s time and I have the time now.

Otherwise, like so many, I am eagerly watching the online concert events like Sondheim’s 90th Celebration and Jason Robert Brown’s Subculture show, highlights of the last 2 days (as I write this). And I am trying to stay in touch with my friends in our circle to make sure everyone is okay.

(SB):  Are there any other thoughts would you like to share with the L.A. Theatre community while we are all leaving the Ghostlight on and promising to return back to the stage soon?

(Robert): Be Kind – to yourself first and to everyone around you, friends, family, and strangers alike. There is no roadmap for this current madness, but we as artists are more used to the kind of uncertainty that everyone is experiencing right now, and are suited to help however we can. This time is a reminder of the Native American adage that “No one wins unless the whole tribe wins.” We are all part of a tribe, both in the theater world and the rest of the world. No one is safe unless everyone is, and kindness goes a long way in making someone’s day, and in relieving some of the stress that breaks down immune systems. The smallest gestures make an enormous difference.

(SB): I so agree with you on bringing kindness into the world. Before the pandemic at the opening night of Daniel’s Husband at the Fountain Theatre, director Simon Levy gave me a badge that says “Make America Kind Again” which I proudly wear every day. I wish I had hundreds of them so I could give one to each person who has reacted so positively to its message.

(Robert): I also encourage everyone to mine your solitude for its gifts of self-learning and resting, which is something we don’t do enough of when the wheels are turning full-speed. The digital world has made resting and recharging a forgotten art, one we all need to do to create our best work and, of course, to stay healthy.

You can find me by name on Facebook and Instagram. You can also watch some great videos of my many Cabaret performances on my self-named YouTube Channel, as well as a few bootlegged videos from productions of Company, Chess and Sunday in the Park With George, plus a recording of some unsung Sherman Brothers.

This article first appeared on Broadway World.


Bill A. Jones Sings Song Stylings of Love on Saturday, February 15th

Actor/singer Bill A. Jones has a varied background as an entertainer and has established himself as quite a sensational crooner of pop songs over the past few years. As he prepares to perform at Feinstein’s Upstairs at Vitello’s this Valentine’s weekend, he chats in detail about his career thus far.

Tell our readers about your love of singing and how your career got started.

BJ: I grew up in an extended musical family outside of Nashville, and the music we performed was country. As a 6 year old, in talent shows and on local radio stations, I sang songs like, “Okie From Muskokee” and “Folsom Prison Blues.” Yes, I sang lyrics like, “I shot a man in Reno just to watch him die” as a 6 year old! (laughs) So I grew up singing in church and at square dances, and hearing rock and roll on the radio, until I discovered the great standards sometime in my early teens. One of my earliest influences came from the Bing Crosby Christmas album, and from there I gradually worked up to Sinatra and all those other iconic artists that sang what we now call Classic Pop Standards.

About the same time, I started doing musicals in high school, and started working in radio when I was 16. For a stretch during my college years, I’d be rehearsing a play during the week, on Saturday Nights play Bass and sing in a square dance band, and on Sundays knock out a shift at a Nashville radio station. While I eventually stopped playing country music – about the time I got cast in a production of a wonderful little musical called Tintypes – I stayed with the radio, and continued acting and singing. Eventually I moved to LA to scratch the acting itch, and promptly stopped singing for about 15 years!

Why did you stop singing?

BJ: Well, when I got out here, the Musical Theatre scene was very different from what I was used to. For one thing, they expected you to dance! And while I’d started tentatively singing with a Big Band in Nashville, I had no idea of how to connect with that community in LA. So for about 15 years I concentrated on my acting career, worked as a radio personality, and met my wife and started a family.

Fast forward to me singing “But Not for Me” on a passenger talent night on an Alaskan Cruise about 17 years ago. That got my singing ‘itch’ going big time. I returned to LA, discovered a Big Band that needed a singer, and one ‘coincidence’ after another since then led me to where I am today. And interestingly enough, when I started singing again, my acting career picked up. I remember, I was thinking about an arrangement of some song or another as I was waiting to audition for Glee, for instance. And ironically, I got cast on that show not for my Singing ability.

Tell us about your time on Glee.

BJ: I had the pleasure of recurring for 6 seasons as “Rod Remington.” If you’ve never seen the show, Rod was sort of a later day version of Ted Baxter from the old Mary Tyler Moore Show – a local TV newscaster who was a legend in his own mind.

First time I worked, I did a little ad lib that broke up everyone, and I was doing a little schtick making eyes at Jane Lynch – who was playing back – and I guess someone took notice and the role got bigger than originally intended. I had a ball every time I was on set, and I’ll forever be grateful to Ryan Murphy for taking my career up several notches.

Apart from your family background did anyone serve as a mentor to you? Who was this mentor and how did this person help you to go forward?

BJ: I know I’ll leave someone out, but here it goes: my Nashville vocal coach, Lucille David is one. my High School drama teacher, Joyce Mayo. Steve and Eydie’s musical director for 27 years, Jack Feierman, who taught me a lot. A couple of Big Band leaders, John Vana and Harry Selvin. Arrangers Bill McKeag and Diz Mullins. Composer and arranger Van Alexander. Pianist Bill Marles. And when I first started singing again, a gentleman named Frank Perry. He was perhaps one of the last staff pianists at one of the hotels here in LA, and had rubbed elbows with dozens of greats. Frank saw me singing early on with a Big Band, and during the break said, “Hey, come over here,” as if he could no longer hold back his frustration, and had to steer me in a better direction. That started a conversation that lasted for several years on how to approach lyrics. Invaluable. All of them.

Talk about your daughter and her contests and advancement in the field. She is taking after you and you sang together in the past. Will you get an opportunity to sing together again soon?

BJ: I tell people she’s the real talent in the family. She just starred in her school’s musical production of 25th Annual Putnam County Spelling Bee. When I did my show in New York at the Triad a few months ago, the next night she sang with her high school choir at Carnegie Hall. We’ve only sung together a few times, like at a recent Actor’s Fund benefit, but it’s always a joy, and the response has been tremendous. And she’s only a junior in high school. She’ll be my special musical guest Valentine’s weekend at Feinstein’s at Vitello’s.

You’ve sung a lot with Big Bands, as well as with smaller groups. Which do you prefer?

BJ: When I worked on radio, I used to crank up the monitor whenever a great Sinatra record would come on with a classic arrangement by Nelson Riddle and the like. I gained a huge appreciation for orchestration. To have the power of 17 musicians displaying that artistry while backing you is amazing – especially considering I have several of those classic charts in my book. But I also love working with a small group, or just a piano. You gain a flexibility and an intimacy that’s hard to duplicate with a large group. The communication with your audience is more immediate, as sometimes you can hear subtle nuances like the inhale of a breath or a sigh. At the show at Feinstein’s I’ll be straddling those worlds with 6 musicians – a trio plus 3 horns, which lets me have a little bit of both. So, to circle back to your question – I love them both. Don’t make me decide!

How do you feel about contemporary music? Hip Hop and Rap? Are you comfortable with it? Do you think the American Songbook will survive?

BJ: I think the Songbook is going to survive as long as there is an appreciation for great melodies and lyrics that touch us in a meaningful way. Which will hopefully be forever. As far as contemporary music, I find some of Ed Sheerran’s writing quite good, for instance. But there’s also a lot of dreck out there, too! (laughs) I used to be totally dismissive of Rap, but I saw a performance by Common a while back, and I gained a greater understanding. I now see how it (Rap) can be a legitimate means of artistic expression. But to repeat, there’s a lot of dreck out there!

Who is your favorite composer?

BJ: That’s a tough one! I don’t know if I can narrow it down to just one. Cole Porter, the Gershwins, Johnny Mercer, Sammy Cahn, Frank Loesser, all tick the boxes for me. Irving Berlin would be another.

What is your favorite musical show of all time?

BJ: Again, a tough one! I used to say My Fair Lady without hesitation, as I played Higgins back in school, and have had a deep affection for it ever since. But there’ve been so many great shows since then, it’d be hard to say. But My Fair Lady is a great one.

Tell us a bit more about your daughter. Does she want to be a professional musical theatre actress? What are her plans?

BJ: As of now, she wants to pursue Musical Theatre, and is looking at various university level programs. Time will tell. She’s a junior in high school, so things could change.

This gig at Vitello’s is a big one. Will this show be different than shows in the past?

BJ: Feinstein’s at Vitello’s in Studio City, Saturday February 15th. Yeah, I’ve done my “Great Gentlemen of Song” show a lot, and I’ll be repeating some of that material. But this time I’ll be focusing on romance. The Theme is ‘Love Songs and More,” in recognition of Valentine’s Day. Last time I played at Vitello’s a few years ago, we sold out the place a day in advance – so I’m telling people to get tickets early. I’ll be bringing in 6 musicians this time – I call them my ‘A Players’ – and I plan to have a great time. And hopefully the audience will too! (laughs) Seriously, this is a very different experience than when I appear as a guest with a big band. I take a great deal of pride in my nightclub and cabaret shows, as I feel it lets me do what I do best. Not just sing, but tell stories, and share something of myself in a hopefully entertaining way.

Do you want to add anything?

BJ: People sometimes ask me what I prefer: Acting or singing.

Well, when you work in a scene with someone like Jane Lynch, who elevates your game because of their artistry – that’s pretty special, and something I’d be very reluctant to give up.

But when you do a show like the one coming up this Valentine’s weekend – the energy, or love that you put out as a performer, gets returned to you manifold by the audience. Which further feeds and elevates what you send in return to the audience.

It’s a beautiful thing.

For information about the show and to get your tickets go to FeinsteinsAtVitellos.ticketfly.com