Cabaret Review by Andrew Poretz . . . .

Chanteuse Artemisia LeFay is a unique throwback performer, best known for embodying the type of Weimar Republic cabaret star of a century ago, as portrayed by Liza Minnelli in the film Cabaret. I first reviewed Artemisia back in 2022 (see HERE) and saw her again in January at her Spirit Soiree show at the Back Room speakeasy downtown. There, she unveiled her original songs for the first time.

Artemisia brought her latest show, Wasted Girl to Triad Theater on May 5. The theater is perfect for her material. Although it dates only to 1984, the venue looks and feels like a long-lost New York vaudeville house.

The multi-talented Artemisia is a very good singer and performer with considerable stage presence and charm. She has a dramatic way about her that only adds to her delivery, and has the big, expressive eyes of a silent film star. (Interestingly, her childhood friend, Bryce Edwards, reviewed here several times, is her 1920s Tin Pan Alley counterpoint.) Her songs touch upon love and death, the erotic, the unique and the unusual.

The evening started with “Ballad of the Unmarked Grave,” an instrumental played by pianist Renée Guerrero (who happens to be Artemisia’s mother) and violinist Khullip Jeung. This somewhat ethereal piece, an original composition by Artemisia, set the mood for the rest of the show. Artemisia appeared in a vintage-looking black dress (presumably of her own design), evoking a somewhat Goth-tinged 1920s outfit. The simple stage setting featured a stool covered by a black velvet tablecloth to form a table, topped by a traditional tea service.

Artemisia opened with “Ballad of the Scopophile.” The clever title is a giveaway not only to her fascination with the eroticism of long ago, but to her high intellect. This is not a writer who underestimates her audience. In introducing her second number, “Ich Liebe Dich” (“I love you”) by confessing to a dream in which the late Joan Rivers told her she could write this song about someone she hates.

The delightful “Plum Blossom” hinted of a sapphic love – “I’ll love her when she comes my way,” with a particularly beautiful violin accompaniment. When Artemisia arrived at “Phantoms of the Cabaret,” she displayed her ability to craft a new song with an entirely traditional music hall structure, including the rubato verse to set up the story, evocative lyrics, and a second rubato verse mid-song. Artemisia used good acting skills and dramatic poses, which enhanced the performance.

Artemisia surprised again with an original stride piano composition, “Trepidation Rag,” performed solo by her mother. (Scott Joplin, eat your heart out!) This song served as something of an intermission piano roll song you might hear at a nickelodeon.

It is impossible to be bored by Artemisia’s music or performance. “Beatrix The Queen of Bones” was co-written by Artemisia and her brother ( the rising jazz pianist and singer Quintin Harris), after a pair of childhood friends died in quick succession. The haunting chord procession brought a “Phantom”-like horror to the music. The violin ended the piece with an intentional lack of resolution.

Artemisia stated, “Death may be eternal, but so is love.” She showed great humor with “Coffin Built for Two,” my favorite number of the set. The witty lyrics make a double coffin sound almost as fun as a bicycle for two.

Returning to her role as a musical historian, she sang the “Ballad of Anita and Sebastian,” about the German performer and writer Anita Berber, who was the subject of an Otto Dix painting. The lyrics alludes to Greek mythology (the lotus-eaters from Homer’s Odyssey). This song also followed the Weimar song construction, with a double verse. The lyrics told the story in a manner reminiscent of the great TV show themes where, if you first watched an episode in a later season, the theme told you all you needed to get the premise and characters. This is some fine songwriting.

Artemisia saved the sexy title song, “Wasted Girl,” for last. All of Artemisia’s material was written solely by her, with the exception of “Beatrix The Queen of Bones.” These are songs of substance, beautifully crafted both musically and lyrically. These compositions tell stories and the stories guided their writing. We’re talking the level of the great songwriters of the Great American Songbook. Several of them were as wonderful as any “standard” I’ve heard.

Wasted Girl took place on May 5 at The Triad Theater, 158 West 72nd Street between Broadway and Columbus Avenue (www.triadnyc.com)

Photos: Hoyeon Choi