By Alix Cohen

Dorothy Fields (1905-1974), widely considered America’s leading female lyricist and one of the first to be successful, wrote over 500 songs with 12 composers. The artist segued from youthful poetry to clever yet accessible lyrics and librettos as if destined for the profession.Fields was the first woman to win an Academy Award (with Jerome Kern) for the song “The Way You Look Tonight” from the film Swing Time.

Goldie Dver’s show is not a biography, but rather an appreciation, a smorgasbord of the lyricist’s talent. For the most part, selections are braided in twos with similar message. Some are duets with MD, Dan Pardo. Dver has the vitality of the Energizer Bunny, vibrato cut by pinking shears, and a captivating laugh.

“I’m a Brass Band” (with Cy Coleman) and “I Feel a Song Coming On” (with Jimmy McHugh) start the evening off with buoyancy. “Yes, I wrote the words to “I Feel a Song…” but I don’t believe it,” Dver quotes Fields. “I’ve always had to squeeze it out and tease.”

“I’m in the Mood for Love” (with McHugh) is prefaced by a story about Dver’s parents, married at 17 and 21. A charming photo of them at The Latin Quarter is placed on the piano. The artist herself recalls $5 voice lessons at 9 years old. She and Pardo drolly demonstrate her teacher’s technique.

“After Forty, It’s Patch, Patch, Patch” (with Coleman) is a nifty comic turn with updated interjections by the vocalist. Here’s a song she both personalizes and plays to audience.

Later, “He Had Refinement” (with Arthur Schwartz), replete with Brooklyn accent and twinkling eyes, is similarly appealing. These particularly stand out not only because of her skill with wry humor, but also because much of the show is performed without eye contact, seemingly more aware of vocal execution than sharing. As it’s clear Dver more than capable of the latter, one wonders.

“You Couldn’t Be Cuter” (with McHugh) and “Exactly Like You” (with dear friend, Jerome Kern) wink in counterpoint. New to me, “Happy Habit” (with Schwartz) is dancey and bright, while “Make the Man Love Me” (with Schwartz) emerges on the edge of a chanteuse sob. All she needs is a chiffon scarf.

The title song (with Coleman) finds her leaning forward snapping her fingers, an embodiment of the lyric. She moves well. Minimal gestures fit. Tempo is cool. Interpreting the infectious original as tango, waltz, and rumba, however, does it no favor.
We close with “Thank You for a Lovely Evening” (with McHugh) which sounds bespoke, but is, in fact from the MGM film, The Girl From Missouri.

Goldie Dver is warm, gracious, and sophisticated in her choices. She and the band look elegant.

Goldie Dver: The Rhythm of Life-The Dorothy Fields Songbook
James Beaman – Director
Dan Pardo – MD/Piano; John Miller – Bass, Chip Fabrizi – Drums

The Laurie Beechman Theater 407 West 42nd Street https://thebeechman.com/