By Alix Cohen

Without other similarity to the character Baby June from Gypsy, Rachel Matz Hunter might be called “a five foot two bundle of dynamite.” Diminutive only in stature, the talented vocalist shoots off sparks. A tandem “Yes!”(John Kander/Fred Ebb) and “Cockeyed Optimist” (Richard Rodgers/Oscar Hammerstein II) expresses joy at being back on stage after a long hiatus.

“Colored Lights” (John Kander/Fred Ebb) is performed tender and dazzled, looking up, at one point slowly revolving. The Hello Medley follows interspersed with a story of being drawn to theater- playing a male in Hebrew school, then a pop hit on the Bat Mitzvah circuit- ‘Omonna live forever!” she sings. A list of teen heart throbs is endearing, but too long.

Hunter’s NYC Medley (she moved from Florida) is familiar. The artist leans out to her audience sharing. “I marched to the beat of my own drum in 5” platform heels.” She was plucky.

We hear about bad dates. “A Hundred Easy Ways to Lose a Man” (Leonard Bernstein/Betty Comden & Adolph Green) organically leads into “Funny Girl.” (Jule Styne/Bob Merrill) The first finds her worthy of playing sharp witted, wise cracking Ruth Sherwood in Wonderful Town; the second is aptly wistful.

“If I Were a Bell” (Frank Loesser) announces meeting “him.” Shrugging off years like a coat, Hunter is infectiously thrilled. She graduates and goes corporate for security. They marry and have a child. The artist sings “Baby Mine”, a lovely ballad by Frank Churchill/Ned Washington and “Not While I’m Around” (Stephen Sondheim) with the baby ostensibly in her lap. She exudes vulnerability and ardor.

“Sometimes life takes a turn you don’t see coming,” Hunter tells us prefacing the House Medley. “A chair is still a chair, even when there’s no one sitting there…” (“A House is Not a Home”- Burt Bacharach/Hal David) By the second selection in this group, the deflated artist has us sighing with her.

In her 40s, divorced and with a child, she moves back to Florida determined to make positive changes. The After Today Medley exhibits fraught gusto.

Hunter’s screen name on ‘J Date’ is “Take Two.” In best fairy tale manner, sher meets a Jewish doctor. “What More Can I Say?” (William Finn) is besotted, humble, and wary. “We felt so right, but the second time is tricky.” I don’t know that Stephen Sondheim’s “Marry Me a Little” fits. Traditionally performed by someone who doesn’t want formal commitment, it’s undoubtedly meant to smudge surety, but may add too much resistance. She turns to the man sleeping beside her. The next song arrives decisive.

The artist has been happily married 6 years. John Kander/Fred Ebb’s “A Quiet Thing” and “Colored Lights” are opalescent with gratitude. She’s gone back to the stage. An exuberant encore from a recent role in Fiddler on the Roof makes it easy to imagine Hunter in the heady role. She’s formidably in character.

15 minutes too long, some of the show’s denser medleys could successfully feature fewer songs or reprises. “Empathy” (Joel Waggoner) is clever, but seems unsuited to narrative.

Rachel Matz Hunter is immensely likeable, her story well written, mined for humor, and relatable. I’ve sketched trajectory, but it’s the journey that’s entertaining. The generally “up” evening is highly polished, songs well chosen and sequenced. Hunter is a perfect example of hitting every note not being as important as the rest of the package. She’s a disarming delight.

Photos by Alix Cohen

Rachel Matz Hunter: Take Two
Directed by Faith Prince
MD/Piano Bobby Peaco
REPRISE : September 9 at 7:00
Don’t Tell Mama 343 West 46th Street
https://donttellmamanyc.com/