By Andrew Gans
26 Oct 2007

Question: I'm sure you will. Your brother [Hunter Foster] is in the other Frankenstein musical this fall, Off-Broadway. Do you two joke about that?
Foster: Yeah, we had dinner the other night and were talking about it. We were just like, "People are going to have a field day!" [Laughs.] ...It's this crazy thing, but they're completely different projects. I'm actually really curious. We're both so curious about the other. I'm like, "Do you have a huge lightning machine?" [Laughs.] But I think that what's cool is that they're taking a very artistic, simple approach, which will be a really nice contrast to what we're doing. And again, we're a spoof comedy. They're like apples and oranges — they just happen to share Frankenstein. And, luckily, he's not playing Frankenstein in Young Frankenstein because then it would be incestuous and gross. [Laughs.] So this is working out very well.

Question: And, your husband is in Legally Blonde. Do you find it's easiest when you're both working in shows?
Foster: Right now it's hard because we're on opposite schedules, but once we're on the same schedule it is easier. It's easier than when we're out of town, but right now we're like ships passing. And then you go, "Oh my gosh, look at us. We're so lucky. We're both employed and working on Broadway in two great shows." We try not to take that for granted either because that's not always going to happen.

Question: Are you involved in any other projects at the moment?
Foster: I am, but I don't know if I can talk about it. Ask me in maybe a month and a half! [Laughs.]

Question: Have you ever thought about doing a solo album?
Foster: Yes. It's on the top of my list. It's something I've been wanting to do for a really long time, but I haven't had the time to really devote to it the way that I want. But it's something that I think I'll be working on this year.

Question: What type of music do you think you'll record?
Foster: It'll be a lot of theatre [music], but it'll be eclectic. I really enjoy folky, sort of Norah Jones, Patty Griffin, Eva Cassidy, that type of sound. So I would kind of love it to be along those lines. But there'll definitely be theatre songs. It'll be a theatre CD, I guess, as opposed to trying to break through. I'm not quite sure. I was just trying to think of what I like to listen to. It'll be very similar to the music that I've done in my two concerts.

(Young Frankenstein plays the Hilton Theatre, 42nd Street at Seventh Avenue. For tickets, call (212) 307-4100 or visit www.ticketmaster.com.)

	Betty Buckley at Town Hall

BETTY BUCKLEY at Town Hall
Something is happening to Betty Buckley that is rather mystifying: She's getting better! No, she's not belting higher than she did when she was in The Mystery of Edwin Drood or Carrie, but, to borrow a few adjectives from Stephen Sondheim, her interpretations of lyrics have grown "better and stronger and deeper and nearer and simpler and freer and richer and clearer." At a time in her career when many would simply offer rote interpretations of their signature tunes, Buckley manages to find new meaning in her best-known songs, and she performs them with an emotional fragility that is entrancing.

There were many high points in Buckley's Oct. 20 Town Hall concert, the second evening of Scott Siegel's acclaimed Broadway Cabaret Festival. The first was her rendition of Mary Chapin Carpenter's "Come On, Come On," which the singing actress admitted is currently her favorite song. It would be impossible not to be moved by Buckley's passionate rendition of this heartbreaker about the remembrance of the loss of a first, great love. Buckley is so present in every lyric that she seems to be reliving these experiences ("We rode in his daddy's car down the river road. . .") before the audience's eyes.

Buckley — who was backed by Clifford Carter on piano, Tony Marino on bass, Dan Rieser on drums and Billy Drewes on reeds — followed with three tunes from "Betty Buckley 1967," the wonderful, new and never-before-released CD on the Playbill Records/Sony BMG Masterworks label that was recorded by the award-winning actress at the tender age of 19. I have to admit I was a bit nervous to hear how these songs would sound 40 years later, but I needn't have been. Buckley's versions of "One Boy," "C'est Magnifique" and "They Can't Take That Away From Me" were so full of joy and vocal power they were rejuvenating; the latter, which built to stunning climax, was particularly thrilling. In fact, that segment of the evening — which began when Buckley sheepishly played a snippet of "1967" on an onstage record player — may have been the most exhilarating.

	Betty Buckley at Town Hall

I'm always amazed by the multitude of layers Buckley can find in a song one has heard dozens of times: Her take on the classic James Taylor tune "Fire and Rain" was so intensely emotional one could have heard the proverbial pin drop as the entire audience was transfixed by her performance. She followed the Taylor gem with an upbeat "It Might As Well Be Spring" that preceded the Act One closer, "With One Look." I've probably watched Buckley perform that Sunset Boulevard anthem nearly two-dozen times, but I remain astounded by the vocal and emotional colors she brings to the lyric. And, her singing on the final "With one look, I'll be meeeeee" was as staggeringly powerful as ever.

The second half of the evening, which began with a simple reading of "Some Enchanted Evening," also included "The Man I Used to Love," a poignant pairing of "Heart Like a Wheel" and "The Water Is Wide" and a belty rendition of "Come Rain or Come Shine" that threatened to blow the roof off the cavernous theatre.

Buckley also offered a beautiful version of the Fantasticks ballad "They Were You," another tune from "Betty Buckley 1967." Full-voiced renditions of My Fair Lady's "On the Street Where You Live" and "I Could Have Danced All Night" were followed by the touching story song "Dreamin'."

	Betty Buckley at Town Hall; photos by Ben Strothmann.

Buckley concluded her generous two-act concert with Andrew Lloyd Webber's "Memory," which she first performed in the original Broadway production of Cats 25 years ago. As she transformed into the faded glamour cat Grizabella before the audience's eyes, Buckley poured out her heart and voice in a soul-stirring version of her signature tune. A good friend remarked that her interpretation was a master class in the art of song performance, although I'm not convinced her kind of brilliance can be taught.

Buckley's two encores were equally memorable: a thrilling rendition of Brenda Russell's "Get Here" and a particularly moving version of Tom Waits' "Take It With Me When I Go," where Buckley seemed to become one with the lyric.

I do have one quibble with the evening — Buckley's choice of an opening number, "Angel from Montgomery." Not to say that she doesn't perform it beautifully, but the first line she utters, "I am an old woman named after my mother," is quite misleading. Okay, she may have been named after her mother, but Betty Lynn Buckley is anything but old. In fact, she is as vibrant, exciting and emotionally engaging as anyone currently performing on a concert stage.

One final thought: Isn't it time some intelligent producer brought this master storyteller back to Broadway?

DIVA TIDBITS
And more Betty! "Betty Buckley 1967" has hit the Billboard charts. The new release, which arrived in stores Oct. 16 on the Playbill Records/Sony BMG Masterworks Broadway label, has placed at #2 on the Top Heatseekers (Middle Atlantic) chart. "Betty Buckley 1967" is also #33 on the Top Heatseekers Chart and #19 on the Top Internet Albums Chart. Buckley spoke with Playbill.com about her new recording, the first of her acclaimed solo discs to chart on Billboard. "I am blown away! I cannot believe this," said the award-winning actress. "When Richard Jay-Alexander kept saying, 'We're gonna chart,' I honestly thought it was some major positive thinking, but pie in the sky. I am amazed. . . I am just along for the ride and totally shocked and so grateful. What a trip!"

DRG Records has released a CD of a solo album recorded by the late, Tony-winning performer Gwen Verdon. Entitled "The Girl I Left Home For," the recording was originally released by RCA Victor in 1956. The 12-track disc features vocals by Verdon, who is backed by Joe Reisman and His Orchestra. The CD includes a ten-page booklet with photos of Verdon in her various Broadway outings as well as new liner notes penned by Will Friedwald. Song titles include "Ain't Misbehavin'," "Sand in My Shoes," "It's a Hot Night in Alaska," "Mister and Missus Fitch," "Bettin' On a Man," "Why Can't I?," "I've Got The World On A String," "Jenny," "Find Me a Primitive Man," "No-Talent Joe," "The Lady Is a Tramp" and "Daddy." "The Girl I Left Home For" has a list price of $13.98. For more information visit www.drgrecords.com.

A high definition DVD of the Los Angeles Opera's February production of Kurt Weill and Bertolt Brecht's The Rise and Fall of the City of Mahagonny — co-starring Tony winners Audra McDonald and Patti LuPone and directed by John Doyle — will be released by EuroArts Music International Dec. 18. The DVD release will follow the Dec. 17 airing of the production on PBS stations around the country. The "Great Performances" telecast is scheduled for 9-11:30 PM; check local listings. For more information visit www.pbs.org.

Cabaretgoers who attend Chita Rivera's upcoming engagement at Feinstein's at Loews Regency can expect to hear songs from the Tony winner's legendary stage career. Rivera, who will play the intimate nightspot Nov. 6-24, will perform tunes from West Side Story ("America"), Sweet Charity ("Where Am I Going?" and "Big Spender"), Chicago ("All That Jazz" and "Nowadays") and The Rink ("Chief Cook and Bottle Washer"). The singer-actress-dancer will be backed by musical director Carmel Dean on piano, Michael Croiter on drums and Jim Donica on bass. Show times at Feinstein's are Tuesday-Saturday at 8:30 PM with late shows Friday and Saturday at 11 PM. All shows have a $75 cover and a $40 minimum. Feinstein's at Loews Regency is located in Manhattan at 540 Park Avenue at 61st Street. For reservations call (212) 339-4095 or visit ticketweb.com or feinsteinsattheregency.com.

The fourth annual Broadway Unplugged concert — featuring Broadway stars performing without microphones — will be presented Nov. 19 at Town Hall. Created and hosted by Scott Siegel, the evening will feature tunes from the American musical theatre. Those performers currently scheduled to lend their unamplified voices to the 8 PM event include Sarah Uriarte Berry, Marc Kudisch, Aaron Lazar, Beth Leavel, Michael McElroy, Sarah Jane McMahon, William Michals, Paul Schoeffler, Emily Skinner and Martin Vidnovic. Additional stars will be announced shortly. Tickets for Broadway Unplugged, priced $25-$75, are currently on sale by calling (212) 307-4100 or by visiting www.ticketmaster.com. Town Hall is located in Manhattan at 123 West 43rd Street.

And, finally, congratulations to Barbara Cook, who celebrated her 80th birthday Oct. 25! The inimitable Cook will mark this milestone with concerts in Los Angeles, New York and London in the coming weeks. On Oct. 27 Cook will offer No One Is Alone at the Disney Concert Hall in Los Angeles, CA. Cook will then perform with the New York Philharmonic Nov. 19 and 20; those concerts, featuring musical direction by Lee Musiker, will include songs penned by Sigmund Romberg, Harold Arlen, Kurt Weill, Rodgers & Hammerstein, Leonard Bernstein, Stephen Sondheim and Bacharach & David. The birthday celebration will culminate Dec. 2 in London with World AIDS Day Concert – Barbara Cook and Friends at the London Coliseum. Those scheduled to join the veteran performer include Elaine Paige, Julia McKenzie, Ruthie Henshall, Anne Reid, Maureen Lippman, Nicholas Parsons, Sian Phillips, Daniel Evans, Graham Bickley and Sally Anne Triplett. The evening will benefit Interact Worldwide, a UK-based international AIDS charity. For the Los Angeles concert, visit LAPhil.com or call (323) 850-2000; for the New York evenings, go to nyphil.org; for the London benefit, call 011-44-870-145-2200.

Well, that's all for now. Happy diva-watching! E-mail questions or comments to agans@playbill.com.