Interludes

VIEWPOINTS – Nightlife roundup: ANGEL BLUE experiments with cabaret at 54 Below, ROBIN MCKELLE channels Ella Fitzgerald, et al. at Birdland

• By drediman
• June 2, 2026
• No Comments

As per usual, I’ve been augmenting my primetime theatergoing with a fair number of nightlife outings, largely to get better acquainted with performers as their authentic selves. As always, read on for my thoughts on two such intimate encounters.

ANGEL BLUE: REIMAGINED
54 Below

On a recent visit to 54 Below, I had the enticing opportunity to witness opera superstar Angel Blue take a shot at performing in a cabaret setting. Appropriately entitled Reimagined (RECOMMENDED), Blue’s show courageously presented a more vulnerable side of herself, emotionally exposing the frustrations and fears that have threatened her personal and professional journey on the winding road to stardom (she’s perhaps best known for originating the roles of Bess in the Metropolitan Opera’s production of the Gershwins’ Porgy and Bess, as well as the title role of the company’s new production of the Verdi warhorse Aida). I completely admire the beloved soprano — who looked glamorous and svelte in a sparkling form-fitting gown — for her spirit of experimentation and effort to grow beyond her comfort zone, and I was eager to cheer her on as she boldly embraced an entirely new genre. Indeed, taking on the intimacy of a cabaret club is certainly a far cry from conquering the Metropolitan Opera, one of the largest and most glamorous stages in the world. On the night I attended, Blue had just finished performing in a matinee at the Met, singing the role of Liù in Franco Zeffirelli’s lavish production of Turandot. Understandably, it seemed initially as if she was protecting her voice after that afternoon’s strenuous vocal expenditure, particularly her middle chest range, where some of her song selections sat tentatively. But as she warmed up under the supportive accompaniment of music director Cris Frisco on keys, her sound grew in stature, in the process showing aspects of her voice that many of her fans were not accustomed to as she transcended opera into the song stylings of jazz and popular music. Although the cabaret act was admittedly on the slighter side — lasting just under an hour — I nonetheless commend Blue for tackling such a brave cross-over, especially immediately after a grueling performance at the opera just that same day.

ROBIN MCKELLE
Birdland Jazz Club

Shortly thereafter, I was able to catch one of Robin McKelle’s shows during her recent visit to New York (RECOMMENDED), where she performed six shows over three consecutive evenings (i.e., two sets per night, ambitiously) at the famous Birdland Jazz Club — more specifically Birdland Theater, the club’s more intimate subterranean performance space. Like Blue, she started out the show somewhat tentatively. However, slowly but surely, she built her way up to a satisfying crescendo, eventually fully showing off her instinctual grasp of various genres (namely soul, jazz, and R&B) to crowd-pleasing effect. Succinctly put, McKelle vocalizes and emotes with a maturity and a sense of perspective that at times eludes younger or more technically-inclined singers. Suffice to say, she’s the kind of artist who wears her heart on her sleeve, feeling out the room to inform her performance rather than mechanically delivering identical shows night after night, perhaps resulting in uneven showings now and again. For this appearance at Birdland, McKelle was joined by a team of masterful jazz musicians — many of them longtime collaborators of hers — including Luther Allison on piano, Estratos (also known as Diego Joaquin Ramirez) on percussion, and Blake Meister on bass. Allison was particularly fine on keys, playing with effortless musicality and invigorating improvisational freedom. Although her show is clearly an ode to the catalog and vocal aesthetic of Ella Fitzgerald, it’s clear that McKelle is a devotee of the larger jazz tradition and the Great American Songbook at large (e.g., her rendition of Duke Ellington’s immortal “Caravan” was a rollicking hit with the audience). The end result was a show that was more eclectic and contemporary than you’d typically expect at a traditional jazz club, and that’s refreshing.