When the renowned composer and lyricist, Stephen Schwartz, came to Houston last year, it was to collaborate with Kelli Estes, the increasingly popular founder of her outstanding musical troupe, Lone Star Lyric.
Schwartz, perhaps best known as the genius behind the creation of the legendary musical, “Wicked,” (which has taken both Broadway and Hollywood by storm over the past two decades), had earlier produced an original opera titled “Séance on a Wet Afternoon.” The enterprising Miss Estes had persuaded him to allow her company to mount a new LSL production of the opera right here in Houston. That success took place last summer. But as usual, Estes quickly moved on to new projects.
This weekend’s offering was LSL’s delightful Saturday night of cabaret at the Ovations nightclub in Rice Village. Titled, “All That Jazz,” it was a wonderful way for me to travel back in time after having enjoyed these same talented performers in that very venue back in 2019.
Montgomery County resident, Rob Clark, was a first-time visitor to the club, and correctly pointed out the pleasantly intimate and cozy atmosphere of the room. After Estes’ cheerful welcome to the audience, the fine three-member band warmed things up with a perky rendition of Neil Hefti’s big band favorite, “Cute.” Estes followed with a sincere secondary welcome, as she offered the audience the song, “I Love Being Here With You.”
Then things really started to heat up as a beaming and joyful Stephonne Smith bounced around the stage while lending his rich and resonant bass baritone voice, to giving the audience a thrilling cross-country trip via, “Route 66.” Crisp accents on drums from Ben Atkinson, and bass from Alan Simmons, made the trip even more exciting.
Co-star, Sarah Brindley, then stepped forward in an eye-catching black dress so adorned with glittering rhinestones it looked like she had captured all the stars in the midnight sky. It added a special glow to her very nice “A Foggy Day.” When Stephonne stepped forward again he visibly “channeled” the spirit of the late dance genius, Fred Astaire, during his joyful, lively and commanding performance of that star’s, “Steppin’ Out With My Baby.”
Kelli returned with, “A Nightingale Sang in Berkeley Square,” that was delightfully accompanied by dazzling work from Debner Franks on piano.
I had to catch Kelli during intermission to tell her of a mystical and memorable performance of that same song I had the good luck to witness many years ago in an elegant Toronto hotel dining room where Mel Tormé was performing, accompanied by the legendary George Shearing on piano. Stephonne’s next number was a seductive, warm and resonant, “Try a Little Tenderness,” that was highlighted by powerful vocal transitions, nicely decorated again by light touches from percussion and bass.
Although the lyric is traditionally aimed as a caution to we men as to how to handle a woman, the singer added an amusing twist by lastly flipping the gender, and aiming the final chorus at the ladies. That was a “tough act to follow,” but Kelli bravely carried on with a gentle, “April in Paris,” that seemed to float skyward at its smooth conclusion. Then it was time for the very jazzy title tune to close Act One, with Sarah and the band delivering a sensational, “All That Jazz.”
Following pleasant audience Intermission visits to the house bar, Stephonne returned as a kind of poet, beautifully delivering a very visual and dreamy depiction of Hoagy Carmichael’s, “Memphis in June.” Sarah and Kelli then returned to start the room gently swaying with tropical rhythms. First Sarah brought the purity of her voice to, “Quiet Nights and Quiet Stars.” Continuing that celestial mood, Kelli offered more rhythmic intoxication with, “East of the Sun.” Stephonne would then command the stage once more with a devilish performance of, “Superstition.” The sparkling piano from Mr. Franks, and the spooky and uproarious gestures and body language of the singer, all added to the fun.
That fun would continue with delicious black humor as Sarah offered Cole Porter’s very droll musical murder mystery, “Miss Otis Regrets.” Another mystery is how Kelli was then able to catch me off-guard, by nicely singing, “Spring Can Really Hang You Up,” a song with which I was somehow totally unfamiliar. It has a somewhat whimsical and wandering lyric, and Ella Fitzgerald had done a nice recording of the tune years ago that I had never come across. Leave it to Kelli to continue my education.
The show’s “Jazz” theme would go full steam ahead as the full cast delivered a rousing “Birth of the Blues,” and the band showed off once more with a prancing and playful theme from “The Pink Panther.” Playful as well was Sarah’s closing, “The Lady is a Tramp,” and as the cast joined her on the stage for a final, “The Best is Yet to Come,” the audience seemed to somehow sense that they were telling us the truth.
Coming Soon: LONE STAR LYRIC will be at at Doc’s Jazz Club – Houston, for two summer performances: June 3, 2026 a tribute to LADIES’ PARTS in song, and then on July 26, 2026, a concert version of Stephen Sondheim’s musical, “FOLLIES.” For tickets and information visit LoneStarLyric.org.
The columns of David Dow Bentley III have appeared on Broadway websites, in newspapers from the East Coast to the Gulf Coast, and may be viewed online at the website: www.ThePeoplesCritic.com. E-mail may be directed to ThePeoplesCritic3@gmail.com