TWO FOR THE SHOW,
AND THEN SOME

A seasoned cabaret favorite finds fresh
pleasures in the songs of Dorothy Fields,
Cy Coleman, and their collaborators

Jane Scheckter (photo by James Gavin)

By the time composer Cy Coleman and lyricist Dorothy Fields got together in the mid-1960s to write songs for a Broadway musical, both were established pros with many credits. That show, based on a Fellini movie, would be called Sweet Charity, and it was a hit, with a movie version for which the writers concocted some additional numbers. After the abandonment of a musical about Eleanor Roosevelt, their only other full score to make it to the Great White Way was Seesaw. That was in 1973, and Dorothy Fields passed away the next year. Savvy performer Jane Scheckter’s solid set at Pangea on the last night of September smoothly surveyed their collaborations, which were “top-drawer, first-rate”—to quote a bit from their song “If My Friends Could See Me Now”—but, wait, there’s more! That is, as the act’s title wording, Together and Apart, indicates, the audience was presented with additional Coleman melodies with a variety of lyricists, as well as the words of Fields that graced other composers’ creations. Much was graceful and lovely, even lovey-dovey, or joyful, while the thoughtful segment dedicated to Seesaw saw the most drama and punch.

The mix served to emphasize the simpatico/complementary combination of Mr. C. and Miss F., as well as their versatility by including lots of songs they wrote with other partners, such as jazzy Coleman’s work with other female wordsmiths whose surnames had the same pronunciation—Carolyn Leigh and Peggy Lee. Then there were standards about love relationships aplenty, courtesy of the Fields of romance with music by Jimmy McHugh (like “Exactly Like You”) or Jerome Kern (it was nice to be reminded of “Remind Me”). The set list, like the room the act was performed in, was packed! The device of medleys, such as a grand one collecting lyrics about faces (including “It’s a Nice Face,” a sweet item from the film of Sweet Charity), allowed for the grand total to grow. Gratifyingly, the net was spread wide enough to make room for some rarely heard treats, such as “Look Who’s in Love” (music by Albert Hague from the musical Redhead, a Broadway entry that, like Sweet Charity, starred Gwen Verdon singing Fields).

Sentimental without turning corny, playful without being coy, assertive without getting strident, and respectful of the material’s origins, the invested phrasing and arrangements flattered the singer and songs. Credits for the arrangements were equally divided between the work of her two longtime music directors, the late Mike Renzi and this night’s primo pianist, Tedd Firth. Two other ace musicians were wisely recruited for an exciting reuniting/delighting: veteran bassist Jay Leonhart and drummer Peter Grant.

Some patter was a bit scattershot, not always connected to the song that came right before or after, and could be tighter, but did feel natural and truly conversational, even when giving facts about song history. An anecdote about being starstruck when put on a phone call with Peggy Lee to get the words to a song was endearing.

Unpretentious, accessible, and clearly in love with her love songs, Jane Scheckter’s smooth skills are not news to those who have been regular cabaret observers for decades. And anyone who likes quality songs performed with care and class who belatedly checks her out will likely be delighted to be a “Scheckter Inspector” and then accumulate her fine CDs as a “Scheckter Collector.”

Jane Scheckter (photo by Jeff Harnar)

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photos courtesy of the artist

Dorothy Fields and Cy Coleman: Together and Apart
Jane Scheckter
Pangea, 178 Second Ave. in New York
reviewed on September 30, 2026, at 7
for more shows, call 212.995.0900 or visit Pangea
visit Jane Scheckter at Sing Jane Sing  

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