Despite the closing of hotel venues and nightclubs, intrepid cabaret has continued to find outlets. Musical theater artists are adding cabaret performance to their rosters bringing in new fans. Former singers return to the stage after children have grown or careers wind down. Young people, whose shows expand the definition of American Songbook, often think of the genre as a step to other opportunities.

A number of notable vocalists offer workshop guidance. Venerable institutions like the O’Neill Cabaret and Performance Conference extend exposure to the scope of the art, including feedback from and collaborations with veteran artists.

In New York City, vocalist/teacher Michael Kirk Lane has created similar breadth of learning on a local, more intimate scale. Affiliated with 92NY since 2020, Lane’s interviews, Master Classes, and, in its second year, Summer Conference, also feature individual discourse and eminent experts. Lillias White and Melissa Errico conducted 2024 Master Classes. For week long Summer Conferences, each accepting 12 participants, Lane has partnered with Broadway star Faith Prince to put forth professional level training for cabaret and concert stage.

Back row: Alex Rybeck, Jeff Harnar, Jennifer Tepper, Carolyn Montgomery, Sidney Myer, Natalie Douglas; Front: Michael Kirk Lane, Faith Prince (Photo by Hannah Jane)

Last year included participation by, in part, Alex Rybeck, Tracy Stark, Billy Stritch, Yasuhiko Fukuoka,
Jeff Harnar, Natalie Douglas, Jennifer Tepper, Sidney Myer, Carolyn Montgomery…Musical directors, songwriters and artists who discuss every aspect of performance. Click to access the Conference Application.

It’s notoriously difficult to earn a living performing cabaret. Most artists have civilian jobs. Desire to return or evolve with the aid of professional help can be costly. 92NY’s music department offers selective scholarships. Starting this year, The American Songbook Association adds to financial aid opportunity specifically for cabaret. Application can be found on the Summer Conference page.

Carolyn Montgomery

Carolyn Montgomery, executive director of the American Songbook Association, drives educational efforts out of the ASA. She calls new funding “an effort to spread the widest possible net, supporting
anything that will get cabaret into the ether.” The organization takes part in applicant screenings. At
the end of February, two students benefited from partial scholarships towards celebrated composer/lyricist/playwright Joe Iconis’s Master Class.

“I’m thrilled to be able to continue to expand our offerings at 92NY for professional-level training for the cabaret and concert stage. On top of that, our new collaboration with the ASA will allow greater access to those interested in the art form to study and hone their craft alongside the amazing artists who we have joining us at 92NY.” (Michael Kirk Lane)

Based on merit and need, ASA Scholarships are open to those 16 years old and up at a level of skill and talent considered essential to involvement. It’s not necessary to have performed professionally, though most candidates have done so. A large proportion of those who attend mount shows the following year. The application link can be found on 92NY’s Cabaret Conference page.  Chosen performers will be notified no later than June 15, 2025

I spoke with two singers who attended last year’s Conference and classes.

Hannah Jane

Young Hannah Jane, already a veteran of concert and cabaret stages, shortly leaves for a London engagement. I ask about the most important things she learned. “Monologing,” she immediately responds. “Faith will have you speak lyrics before you sing them. It’s important to really know what you’re saying.”

“And simplicity. I know for myself, I sometimes sing very big,” she says. “I was performing `Guess Who I Saw Today’ (Murray Grand /Elisse Boyd). You don’t normally hear 24 year-olds singing that song, but at the time I was engaged. It felt like something I was always a little bit afraid of because my dad cheated on my mom…I was seated and Faith said, get up and walk around. Choose a person and sing to them…when
I did that, even as I shifted, I could feel people following me.”

“We picked four songs and sent them in so nobody’s choices overlap,” she continues. “Everyone got a good amount of time. Panels stressed that finding the right musical director is just as important as the end result. We talked about press releases, professional travel, and what show fits/is appropriate to specific venues.”

The history of cabaret was of particular interest to Hannah Jane. “It was incredible,” she says. “They had all these videos. You get to learn where the craft comes from.” Ultimately, she adds, “I’ll prize the relationships I came out with most of all.” Hannah Jane’s website.  

Christopher Collette

Having self-produced his first show, Christopher Collette’s then husband gifted him two private sessions with Marilyn Maye. Since that time, he’s presented three additional shows. Chris started at 92NY with its inaugural Master Class (Faith Prince/Michael Kirk Lane), then followed up with another helmed by Lillias White and the 2024 Summer Conference. I ask about his take-aways.

“Faith says the music’s almost secondary to connecting with the story and the audience,” he says. Chris has extensive musical training which he said tended to override awareness of expression. Like Hannah Jane, he spoke of monologing as being especially helpful. Sometimes the vocalist writes out lyrics in longhand to help memorization and character. “Now every song is a scene from my experience, even if the arc of the show isn’t about my life.”

“Lillias also focused a lot on vocal and breathing techniques. She said, ‘I want you to breathe through your back down to your butt. C’mere. Hold me,’” he says. “So I’m holding Lillias White from behind. She said, ‘Can you feel that?’ And oh, my God!”

Being open to change was also a lesson. When Chris sang “Nothing is Too Wonderful to Be True” (David Yazbek), it was suggested he try it up-tempo. “It was more authentic to me; celebrating not contemplative.” When he was thrown listening to accompaniment in a different key than the music in front of him, Lane suggested he get rid of the score and concentrate on lyrics.

I ask the performer what he learned from panels. “We talked about how much time it takes to put together a show,” he says. “Alex Rybeck, whom I respect immensely, said, ‘As much time as you have…I put together a show with Karen Mason in the back of a taxi when Rosemary Clooney canceled. We had three hours.’ It was equally valuable listening to others get coached. The Conference was like getting a PHD in cabaret performance.”Christopher Collette: Life of the Party will be presented again at Don’t Tell Mama, March 24 at 1 p.m.

Any new effort to give performers a leg up nourishes the art. Community awareness is as important as its collective support.

Photos courtesy of performers
Opening: Faith Prince and Michael Kirk Lane

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