CHICAGO - MIDWEST CABARET REVIEWS

A ROXY WITH MOXIE

Reviewed by Carla Gordon

Picture the child of Ethel Merman and Don Rickles and you've got Roxy Bellows. Throughout performances during her late night run at Chicao's DAVENPORT'S CABARET AND PIANO BAR, Roxy reminds us, "This show isn't about me!" Roxy makes it about the audience, learning everyone's name to work the room with the energy of a Chicago alderman in November. However, it's laughs not votes that Roxy gathers.

The hilarious Miss Roxy has no qualms about crossing the propriety line; focusing on a story about the proliferation of Neo Nazism in Idaho. Roxy identifies an audience member from the Potato State who then becomes enfolded in her musical world.

My few sentences won't do justice describing the Art of Roxy. From audience member interviews lasting mere seconds, Bellows (Pat Musker in the light of day) effectively reaps for her improvisational songwriting mill. The night I attended, Dame Roxy brought to the stage an audience member who is a dentist. Roxy's salient question for that hapless performer sought his most meaningful guidance from dentist to patient. Flummoxed, the dentist responded, "Pay your bill!" Outraged, Roxy reminds both dentist and audience that the correct answer should have been, "Floss!" Bellows then queries audience members as to flossing frequency, quickly offering a completely spontaneous tune extolling the virtues of multiple daily flossings.

Although it's the spontaneous humor that reigns in a Roxy show, her excellent vocal skills should not be overlooked. She can belt with the best of 'em sustaining solidly pitched power notes for eons. The next moment, she is crooning; the next chirping a fine Betty Boop squeak. Roxy's ability to provide vocal variety helps keep the tunes, and the show engaging.

Accompanying Roxy for her nearly two hour long performance was Larry Rothbard. Providing support for a Roxy show is a challenge relatively few cabaret piano players encounter. Roxy's show is entirely improvised. Her piano player must make sharp turns in tempo and melody often with no warning. Larry also provided effective smartass directed at the star. Since Roxy feels free to insult the audience, we howl when her performing associate offers a bit of comeuppance. I am considering nominating Mr. Rothbard for a Congressional Medal.

Bellows' approach to cabaret is risky business. She calls audience members to the stage throughout the show, expecting them to participate actively in the moment. An improvisational musical sketch with a theater student/audience member led to a hilarious take on a baby sitter more interested in food than child care. Another audience member grousing about an unhappy thirty-year career with the telephone company sparked a Roxy offering about knowing when to cut the cord. Sometimes, however, audience members had little to offer. That's when Roxy's skills count the most; she must and can fill the moment. She also assumes great risk in not softening the insults. (Recall how Don Rickles would hug Johnny Carson after a particularly intense volley of slams?). The night I attended, young woman virtually pouring out of her dress to reveal a left breast rose was addressed throughout the evening by Roxy as "Tattoo Girl." At one point she gave Roxy the proverbial finger. She didn't have to. Roxy Bellows isn't about malice; she's about laughter.

DAVENPORT'S is located at 1383 North Milwaukee Avenue, Chicago, IL - 773-278-1830 - http://www.davenportspianobar.com/

Copyright, 2006 by Carla Gordon

 

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