from THE BEVERLY HILLS OUTLOOK - April, 2003
Alan Chapman and Karen Benjamin at the Gardenia
BY GINA ZOLLMAN
Karen Benjamin
swept onstage like a friendly whirlwind, blowing kisses and stirring up
excitement at the Gardenia on Saturday night, April 5. She and her
husband, Alan Chapman, are a supremely entertaining duo, replete with very
hip, original material and some favorites and standards that are a joy
to hear. Karen has that "it" factor, that makes her unendingly interesting
to watch, and did I mention her voice? With pipes like these, she
could make it anywhere, but we are lucky to have her in our world here
in Los Angeles.
They opened with Alan at the piano, and Karen stage center, with "Words
Can Wait Until Some Other Day," which segued into "It's Been A Long, Long
Time," as it has been 5 or 6 years since they last appeared at the Gardenia.
Interjected into the lyrics were some funny lines, and it gave a hint of
the clever show to follow.
We were then treated to an uptempo rendition of "S'Wonderful," and Karen
was every bit the gamine with her pixie haircut and coltish prancing onstage.
She sang her heart out, with well-honed vocal embellishments, especially
on the high notes which she essayed with thrilling trills. Her upper
register was in full force, delighting with her range and control.
Most of all, what comes through with both of these performers, is their
love of their craft and their audience.
Alan's baritone was interesting as it sounded so natural, almost as
if he were speak-singing. His first original number was hilarious,
and the happy crowd really ate up "I Gave You a Nose Job in My Mind," which
sprang from an unfinished musical. Karen regaled us with intermittent
stories, and set up her next tune letting us know many of her family (mostly
doctors) were in the audience. "I'd Rather Sing a Song" was clever
and funny, about how serious and untempting the chores of doctors are,
and it showed her heart is truly in her life's work, which show business
no doubt is. "It's a therapy song," she explained, as not every one
of us gets to sing for our supper, so to speak. Then came their zip
code tribute to Beverly Hills real estate, and it was done to perfection.
This material is pure gold, and they sell it well. Karen topped that
with a frightfully funny parody of "Phantom of the Opera" in which she
appeared for over four years, and brought down the house.
More highlights included Alan's very witty and urbane send-up of Sondheim,
which both musically and lyrically skewers the master, and we were rolling
over with how excellent it was. Karen and Alan have been together
20 years, but their combination remains fresh and inviting, not at all
routine or hackneyed in any way. Karen's voice was both stylized
and legit sounding on "I Believe I Could Get Close to You." Then
she was jazzy and upbeat and very expressive on the emotional, "Can't Help
Lovin' That Man of Mine." Alan quickly followed that up with a parody,
opining "Can't Help Lovin' that Lamb of Mine," giving the answer to the
age-old question, what if songwriters were born in the midwest, instead
of the lower eastside of NYC? They milked it for all it was worth!
Karen dazzled us all with a big finish and a signature high note.
At this point it was hard not to notice that the room was packed, with
audience everywhere, including the entrance jammed with well-wishers and
fans, and with good reason. After a tune about "Old Man Rosenthal"
that turned out to be a hoot, we got another zinger with a song about that
appalling modern phenomenon known as "Call Waiting," very clever and original.
"When Two Lawyers Make Love," another original, was quite well-written
and oozing with legalese and double entendres. I could go on telling
you of each gem, but I will leave you with the Hope Diamond of the songlist,
the sidesplitting showstopper, "Como Te Gusta Mi Pinga," which will go
without translation as this is a family publication. Suffice it to
say, it was written for the flamboyant Jim J. Bullock's never-realized
cabaret show, and it was terrific.
Karen gave us a very heartfelt, sincere and stripped bare rendition
of "How Deep Is the Ocean," and at the tail end, after a begged-for encore,
she gifted us with a timely, "Count Your Blessings," reaching out to her
audience ever so bravely in these scary times. She then gave in
to a request, and sang "Summertime," and it was sensational. I'm
not sure I ever truly understood the lyrics until she drew them out with
such vocal dexterity and meaning. I have to say it was the most satisfying
piece of the evening, and a great way to end a phenomenal show. What
can you say about two people who epitomize show biz talent and cabaret
class? Go see them yourselves, again and again.
