“Mary Bogue & Claude Hall Both Sides Now Upstairs at Vitello’s, Los Angeles, CA, October 19, 2017 Reviewed by Elliot Zwiebach for Cabaret Scenes (L-R) Mary Bogue & Claude Hall It was an evening of fire and smoke as Mary Bogue brought the heat and Claude Hall provided the sizzle in a love-fest of a show that summed up their life journeys thus far. Bogue is a powerful earth-mother who is a master at communicating her accumulated wisdom and emotions, whether sassy or soft; while Hall is elegance personified—a tall, slinky singer with a regal bearing who smolders. Individually, each is a joy to behold, but together they are pure magic. When both were on stage, they were delightful as they jokingly sparred about stealing each other’s man on Duke Ellington’s  “Rocks in My Bed.”  They also had fun with Leonard Cohen’s ”Dance Me to the End of Love” and shared a clearly genuine affection for each other on a sweet, mellow take on Joni Mitchell’s “Both Sides Now.” In the first of two solo segments, Bogue sang about being a woman scorned, albeit with few regrets—defiant and in charge on a powerful “Unchain My Heart” (Bobby Sharp/F.  James/Teddy Powell); hurt but accepting in a quiet, torchy “”Don’t Explain” (Billie Holiday/Arthur J. Herzog); hot and bluesy on “I’m Gonna Cry You Out of My Mind” (Ralph Bass/Linda Hopkins/Luis Rivera); and moody and sincere on the noirish “Blue Smoke” (Tom Culver/Steve Rawlins). In complete contrast, she was utterly endearing in her second solo set as she expressed her love and affection for the new man in her life, who was sitting ringside.  She expressed her surprise at finding love in middle age in “Love Must Be Catching” (Ray Stanley); sang about her newfound joy on “How Sweet It Is” (Brian Holland/Eddie Holland/Lamont Dozier)—with the audience spontaneously joining in on the refrain; and was wholly committed on “Because of You” (Arthur Hammerstein/Dudley Wilkinson) before closing the set with Wayne Moore’s “My Superman,” a tender, lovely tribute to her guy. When Hall sings she displays the elegance of Lena Horne, the crisp enunciation of Eartha Kitt, and a breathy, sensual quality all her own that adds power and oomph to her performance. With a focus on songs about learning to know herself and how to control her own destiny, her solo set included a tender, full-voiced “Down Here on the Ground” (Lalo Schifrin); a sensual “I Want a Little Sugar in My Bowl” (Clarence Williams/Dally Small/J. Timothy Bryman); and an enthralling, haunting This Hotel (Johnny Keating), plus a sincere “God Bless the Child” (Billie Holiday/ Arthur Herzog, Jr.) that pumped new energy into the standard. In her second segment Hall reflected on her ability to find inner peace, encompassing a big, throaty “It’s Time for Me” (Howlett Smith/Spence Maxwell) and a contemplative, slowed-down “Man in the Mirror” (Glen Ballard/Siedah Garrett), plus an assured, expressive “An Easier Affair” (George Michael/Ruadhri Cushman/Kevin Ambrose/Niall Flynn)) and a defiant “Please Don’t Let Me Be Misunderstood” (Bennie Benjamin/Gloria Caldwell/Sol Marcus), in which the audience again spontaneously joined in. Completing the evening’s magic was the Steve Rawlins Quartet, including musical director Rawlins on hot piano, Grant Geissman, featured on several powerful solos, on guitar, Gordon Peeke on drums, and Bill Markus on bass.” - Elliot Zweibach

“ The Red Lipstick Blues Metropolitan Room, NYC, December 3, 2015 Reviewed by Victoria Ordin for Cabaret Scenes For an hour or so, Los Angeles-based blues singer Mary Bogue and her dazzling band (Musical Director Steve Rawlins on piano, Calvin Hill on bass, and Jon Mark McGowan on trumpet) transformed the Metropolitan Room into a living and breathing museum of blues. From the first moments of the spoken overture about the ugly, painful history that gave rise to the blues—set to “Ol’ Man River”—one felt Bogue’s visceral connection to the music of Billie Holliday, Etta James, Sippie Wallace, Duke Ellington, and B.B. King. Like a rhapsode, she submerges her ego to the larger drama—by turns tragic, bawdy, and funny—she presents in both story and song. The performer personalizes “Soul Shadows” (Sample/Jennings) with her own lyrics honoring her musical forerunners. Bogue’s enthusiastic rendering of “A Bad Case of the Blues” (Ons) provided a nice set-up for “It’s Only a Man” (Borne/Webster)/“My Man,” imaginatively arranged by Steve Rawlins and Marilyn Maye. In speaking about the grande dame of New York cabaret, Bogue lovingly captured Maye’s notorious bluntness. And nowhere was her passionate resolve to overcome life’s greatest setbacks clearer than in “I’m Going to Cry You Right Out of My Mind,” written by 92-year-old Linda Hopkins, the friend Bogue calls a “living legend.” Even when Bogue is belting and swinging, one always detects in her voice (and her expressive blue eyes) the vulnerability which draws her to this genre. “Evil Gal Blues” (Feather), “Tain’t Nobody’s Biz-ness If I Do,” and “Rock Me Baby” (King) were all crowd pleasers. The audience’s disappointment as the show drew to a close was palpable. In a review of this length, one cannot do justice to Bogue’s alluring presence and colorful anecdotes, so I will simply say this: The Red Lipstick Blues is a cabaret experience not to be missed.” - Victoria Ordin

“Mary Bogue: The Red Lipstick Blues Elliot Zwiebach | November 23, 2015 | 0 Comments Mary Bogue The Red Lipstick Blues Tom Rolla’s Gardenia, West Hollywood, CA, November 20, 2015 Reviewed by Elliot Zwiebach for Cabaret Scenes Mary Bogue is red hot! Her singing is impeccable, her emotion is palpable and the way she connects to the blues is real. Whether singing about triumph, tragedy or down-and-dirty raunch, Bogue had her audience caught up in the grit of the music and the passion behind the lyrics — not only with her vocals, but with amazing support from Musical Director Steve Rawlins on piano, a sure-fingered Clarence Brown on bass and, particularly, from an outstanding Nolan Shaheed on trumpet. Shaheed was so strong on so many solos that reverberated through the intimate space that it took a performer as strong as Bogue to hold onto the spotlight. And hold onto it she did, with one powerful number after another, from a hip-swinging take on “’Tain’t Nobody’s Biz-ness If I Do” (Porter Grainger/Everett Robbins) to the delightful “Rocks in My Bed” (Duke Ellington) to a medley of torch songs with opposite points of view — “It’s Only a Man” (Hal Borne/Paul Francis Webster), which downplays one’s emotional attachments, combined with “My Man” (Jacques Charles/Channing Pollock/Albert Willemetz/Maurice Yvain), which involves surrender of one’s emotions. Bogue opened the show with the haunting “Soul Shadows” (Joe Sample/Will Jennings), which included some self-penned lyrics saluting the ladies who sang the blues before her, including Billie and Ella and Etta and Bessie, with particular attention to one of the survivors — Linda Hopkins, on the verge of 91, seated at ringside and clapping her hands and shaking her head in apparent enjoyment as Bogue sang. Referring to Hopkins as a national treasure, Bogue sang one of Hopkins’ own compositions (written with Luis Rivera and Ralph Bass) — “I’m Going to Cry You Right Out of My Mind” — with power, passion and deep emotion. Along the way there were other down-and-dirty ditties, including: Sippee Wallace’s “I’m a Very Tight Woman,” which was abetted with R-rated comments from Shaheed in between trumpet blasts; Leonard Feather’s “Evil Gal Blues,” a real show-stopper that Bogue seemed to revel in; and the original version of “Hound Dog” (Jerry Leiber/Mike Stoller), which ended up as an audience sing-a-long with Stoller himself looking on from the audience. Bogue had two guests in the show: Sylester Major, who displayed terrific phrasing in an appropriately dramatic “Ol’ Man River (Kern/Hammerstein) and a gentle, jazz-tinged “I Cover the Waterfront” (Johnny Green/Edward Heymann); plus Paul Horner, who — intrigued by the title of Bogue’s show in pre-show publicity — took over the piano to sing a song he wrote for the occasion called “Red Lipstick Blues,” in which lipstick becomes a metaphor for evil. Mary Bogue is scheduled to appear at NYC’s Metropolitan Room on Dec. 3” - Elliot Zwiebach

“THRILLED TO BE ONE OF THE "PICKS ” - Frank Dain, Editor

“ Mary Bogue Confessions from the Heartbreak Hotel Metropolitan Room, NYC, June 10, 2015 Reviewed by Ron Forman for Cabaret Scenes   Photo: Angie Clement-Cromwell Mary Bogue opened her show at the Metropolitan Room by asking, “Are you ready to have fun?” The fun does begin as soon as this present-day incarnation of Mae West takes the stage. Dressed in a tight sequined dress, Bogue commands your attention. The show is set in the imaginary Heartbreak Hotel; interspersed between the songs are confessions of the doorman, desk clerk, housekeeper, bartender and a guest at the hotel. The thoughtful collection of songs all work so that by end of the show, I felt that I had spent an evening in the Hotel. Bogue’s opening number, an up-tempo, bluesy “Sneaking Around on You,” set the stage for the rest of the show.” She shifted gears and did a nice swinging “Travelin’ Light.” A hauntingly lovely “Mood Indigo” and beautifully sung “Under a Blanket of Blue” had a raucous “Heartbreak Hotel” sandwiched between them. Bogue sang the original “Big Mama” Thornton version of “Hound Dog,” rather than Elvis Presley’s sanitized one. The audience joined in by howling at appropriate times. Guest Craig Pomranz followed the reading of the bartender’s confession with “Scotch and Soda,” followed by “You Go to My Head.” Bogue told the moving story of her marriage to her now-deceased husband, before closing with a swinging “Blue Champagne.” The encore said it all: “One Night of Sin.” Indeed.” - Ron Forman

“   Mary Bogue: Confessions from the Heartbreak Hotel Elliot Zwiebach | February 17, 2015 | 0 Comments Mary Bogue Confessions from the Heartbreak Hotel Tom Rolla’s Gardenia, West Hollywood, CA, February 7, 2015 Reviewed by Elliot Zwiebach for Cabaret Scenes Mary Bogue seems incapable of hitting a false note, either vocally or emotionally. She is a solid singer—especially when it comes to the blues—expressing a sincerity and honesty and passion in every word and gesture, with an ability to convey complete truth at all times. In her latest show—set in a hotel, with testaments from various employees setting up the songs—she went through a wide gamut of feelings, from the soft, romantic tenderness of “Travelin’ Light” (Sidney Clarke/Harri Akst), abetted by a moody bass solo by Lou Schoch, to a swinging, declarative “Love for Sale” (Cole Porter) to a breathy, inviting “Meet Me, Midnight” (Barry Manilow/Bruce Sussman). Bogue was at her bluesy best in “About Last Night” (Zan Overall), expressing the emotions of the morning after a night of passion, with Steve Rawlins providing spectacular work at the keyboard. She also excelled in a laconic, evocative, romantic ballad, “Under a Blanket of Blue” (Al Neiburg/Jerry Livingston/Marty Symes) and shone on a gentle version of “The Lies of Handsome Men” (Francesca Blumenthal). Bogue was amusing in an enticing version of “Nice Girls Don’t Stay for Breakfast” (Jerome J. Leshay/Bobby Troup) and absolutely passionate in one of her signature songs, “Blue Champagne” (Grady Watts/Frank Ryerson). The show also featured two guest singers: Jeffrey Gimble, with a deep, sonorous reading of “Lush Life” (Billy Strayhorn) and an up-tempo take on “All the Things You Are” (Kern/Hammerstein); while Al Timss crooned his way solidly through “Me and Mrs. Jones” (Kenny Gamble/Leon Huff/Carey Gilbert), followed by a smooth version of “Heartbreak Hotel” (Mae Boren Axton/Thomas Durden) in counterpoint to Bogue singing “Black Coffee” (Sonny Burke/Paul Francis Webster) in a brilliant duet arranged by Rawlins. Share this: Click to email this to a friend (Opens in new window) Click to print (Opens in new window) 4Share on Facebook (Opens in new window)4 2Click to share on Twitter (Opens in new window)2 More Like this: Related Mary Bogue: My Friends Call Me RosieSeptember 23, 2014In "Cabaret Reviews Mary Stanford: Shall We Dance? --at The GardeniaJanuary 9, 2015In "Cabaret Reviews Nov. 20: Keri Kelsey & Todd Schroeder: Mr. and MisscommunicationNovember 16, 2014In "Los Angeles Tags: About Last Night, Al Neiburg, Al Timss, All the Things You Are, American Songbook, Barry Manilow, Billy Strayhorn, Black Coffee, Blue Champagne, Blues,Bobby Troup, Bruce Sussman, Carey Gilbert, Cole Porter, Confessions from the Heartbreak Hotel, Elliot Zwiebach, Female Vocalist, Francesca Blumenthal, Frank Ryerson, Grady Watts, Great American Songbook, Harri Akst, Heartbreak Hotel,Jeffrey Gimble, Jerome J. Leshay, Jerome Kern, Jerry Livingston, Kenny Gamble,Leon Huff, Los Angeles, Lou Schoch, Love for Sale, Lush Life, Mae Boren Axton,Marty Symes, Mary Bogue, Me and Mrs. Jones, Meet Me, Midnight, Nice Girls Don’t Stay for Breakfast, Nightclubs, Oscar Hammerstein, Paul Francis Webster, Popular Song, Sidney Clarke, Singer, Songbook, Sonny Burke, Steve Rawlins, Supper Clubs, The Lies of Handsome Men, Thomas Durden, Tom Rolla’s Gardenia,Travelin’ Light, Under a Blanket of Blue, Vocalist, west hollywood, Zan Overall Category: Cabaret Reviews, Los Angeles, Los Angeles Cabaret Reviews ” - Elliot Zwiebach

“            Mary Bogue Sentimental Journey Tom Rolla's GardeniaWest Hollywood, CA   Mary Bogue is a warm and gentle soul.  Beneath the glitz she wears and the verbal sass she is capable of delivering is a woman who cares deeply about the human condition—as she demonstrated in her latest show—which uses a trip on a train as a metaphor for one’s journey through life, with all its comings and goings and occasionally abrupt changes in direction. Bogue is never better than when she’s singing the blues — whether getting past a disappointing love affair, as in the powerful wail of a down-and-dirty anthem like “I’m Going to Cry You Right Out of My Mind” (Linda Hopkins), or affirming a commitment to a relationship in a dramatic, sultry version of Leonard Cohen’s “Dance Me to the End of Love.” She absolutely soared on a prayerful, thoughtful reading of Joni Mitchell’s “Both Sides Now,” as she reflected on her mother’s passing and the view of the world from above the clouds and below — a magnificent grace note to a magnificent evening. The show opened with “Sentimental Journey” (Les Brown/Ben Homer/Bud Green) — a deep-voiced introduction to the evening’s emotional ride — and also included a solid vocal on Sam Cooke’s “You Send Me,” a swaying version of Johnny Mercer’s “Dream” (in which Bogue caressed the lyrics ever so gently), a sincere, smooth take on “Tennessee Waltz” (Pee Wee King), and a smooth, purring delivery on “Nice ‘n’ Easy” (Alan & Marilyn Bergman/Lew Spence). Al Timss served as the “conductor” of Bogue’s train, singing a couple of songs in an easy, laid-back style — “Take the A Train” (Billy Strayhorn/Joya Sherrill) and the Mercer/Harry Warren pleaser, “On the Atchison, Topeka and the Santa Fe.” Bogue had very strong musical support from a pair of veteran musicians — the steady, capable Ron Snyder on piano and the versatile Dave Fortin on bass and trumpet. Elliot ZwiebachCabaret ScenesApril 20, 2014www.cabaretscenes.org ” - Elliot Zwiebach

“           Mary Bogue Boudoirs, Bordellos & The Blues Metropolitan RoomNew York, NY             In the tradition of Mae West and Sophie Tucker, but uniquely Mary Bogue, the West Coast big-voiced belter burst onto the stage of the Metropolitan Room with her show Boudoirs, Bordellos and the Blues. Bogue is a performer whose stage presence makes it virtually impossible to take your eyes off her. The show was a fast-paced collection of sassy songs and very funny patter with three tenderly performed ballads included for a nice change of pace. Bogue’s opening number, “Rock Me, Baby,” set the tone for the next 75 minutes. It was followed by a tender “Don’t Go to Strangers” and a very sexy Mae West-ish “Light My Fire.” She then did a funny duet with her very talented trumpter David Fortin: “Romance in the Dark.” Fortin did two very nice vocals on “You Made Me Love You (I DIdn't Want to Do It)” and “Tenderly” while Bogue changed into a stunning red-sequined dress. Bogue then performed a slow,  bluesy “Nightlife” followed by a very moving “Love for Sale.” Her closing number,  “Save Your Love for Me,” allowed Bogue to show off her chops as a brassy blues singer. The encore was a loud and rousing “It Ain’t the Meat, It’s the Motion.” Ron FormanCabaret ScenesJuly 31, 2013www.cabaretscenes.org  ” - Ron Forman