A NIGHT OF FIRE, SILK, AND SWING
Prior to Pacific Jazz Orchestra‘s (PJO) dynamite event at The Soraya—the start of “Jazz at Naz” festival’s fourth season—I already knew its guEst vocalist Eva Noblezada to be a bone fide star. And I don’t toss that word out often. The girl who started her career as a teenager in London’s revivals of Miss Saigon and Les Misérables has proven herself time and again. I was lucky enough to see her in both Hadestown and The Great Gatsby on Broadway, but it was her cabaret turn at Green Room 42 in NYC where I saw that she isn’t just a wonderful performer, but a raconteur who eschews patter for an improvisational banter with her fans. Now, having left Gatsby just two night ago, she slams it in this concert with only one rehearsal, then heads to open Hadestown in 10 days in London, where it will be filmed, and then back to Broadway to play Sally Bowles in Cabaret beginning March 29. Woof!
Eva Noblezada
For her first solo concert and L.A. debut, Eva sent her song-wish-list to founder of PJO, Chris Walden, who then arranged the tunes for L.A.’s first resident jazz orchestra which, since I saw their first outing at The Wallis in 2023, offers a mixed-genre season of five projects in venues across L.A. with different guest artist, including Aaron Tveit at The Soraya and Rufus Wainwright at The United Theatre on Broadway in DTLA.
So, if you’ve ever wondered what it would sound like if a Broadway diva, a smoky jazz club, and a 40-member full-bodied orchestra had a love child, Eva Noblezada’s one-night-only concert on February 1 gave a resounding answer: electric fun. Backed by PJO’s lush, full, golden sound—like a POPS ensemble and a Count Basie big band on steroids—Eva delivered a performance that was equal parts sultry, soaring, and downright playful. As a salute to Eva, PJO began with Walden conducting the “Eva-ture,” an overture of songs from her shows. It was so wondrous that I marveled it was written for a one-off. Incredible.
Eva Noblezada and the Pacific Jazz Orchestra
Draped in a slinky black number that caught the light just so, Eva strutted onto the stage and launched with powerful pipes into a bold, brassy rendition of “Don’t Rain On My Parade” that dared you to take your eyes off her (Spoiler: you couldn’t), followed by a touching “Colors of the Wind” from Pocahontas. From there, the night unfolded like a well-mixed cocktail—equal measures of jazz, Broadway, pop, and pure storytelling magic. But Noblezada didn’t just sing—she lived each song.
Between numbers, she charmed the audience with off-the-cuff banter, cracking jokes about her Filipino roots and her Broadway misadventures. After her longtime partner Reeve Carney joined her to sing “All I’ve Ever Known” from Hadestown, she noted, “I just love to watch him walk away.” So do I, girl. Who knew he had a backside that mimics a ski slope? She also noted that in a musical, you move on to the next moment if you mess up, making theater almost easier than a live concert, because if you “fuck it up” here—gasping with glee when that popped out of her mouth—it’s being taped for livestreaming.
Eva Noblezada and Reeve Carney after performing "All I've Ever Known" from Hadestown at The Soraya on Feb. 1, 2025
She also shared heartfelt reflections on how jazz and musical theatre have shaped her artistry, crediting legends like Ella Fitzgerald as key influences. She slinked through Rodgers & Hart’s “Manhattan,” Antônio Carlos Jobim & Gene Lees’ “Corcovado,” and turned Arthur Hamilton’s “Cry Me a River” into an intimate confessional, her velvety vocals curling around the lyrics like a slow-burning fuse—yeah, she’s a chanteuse as well. And with family members from her native San Diego in the house, she also credited her parents and a special aunt for their nurturing support (mom and dad were watching the show from North Carolina).
Conductor Chris Walden leads the Pacific Jazz Orchestra
The Pacific Jazz Orchestra proved to be the ultimate scene partner, knowing exactly when to let the brass wail and when to scale back, allowing Eva’s vocals to shimmer in the spotlight. The rollicking swing arrangement of Gene de Paul & Sammy Cahn’s “Teach Me Tonight” was a winner, while a string-heavy take on Sade’s “Smooth Operator” allowed Eva to show off her ability to nail a pop sound. PJO really wailed when a surprise guest, Reeve’s sister Paris Carney, joined Eva for a duet of Shania Twain’s “Man! I Feel Like A Woman!” And for the entr’acte, Walden created a gorgeous medley of two songs by Kurt Weill, “My Ship” and “Speak Low” (not to Eva: how about a Broadway revival of One Touch of Venus?). Several members of PJO were affected by the recent wildfires, but unlike other scheduled performers, they didn’t cancel or postpone concerts. This evening was as much for them as it was for us. A healing through music.
Eva Noblezada
I salute Eva Noblezada: First, there’s the talent, which includes awesome vocals without resorting to vocal pyrotechnics—she sings songs very much as written. Second, she can dance with a body as nimble as a flexible straw. Third, she’s a wonderful interpreter of lyrics—I mean, this is a stunning actress. Fourth, she’s a natural anecdotalist who can relate stories and very candid observations about things like tourists getting on her nerves during both summer and Christmas-time in New York. Fifth, she’s gorgeous. Sixth, she’s genuine—kooky, outlandish, and loquacious, yes—but truly authentic with effortless charm, both loving and pocked with personality.
With a deep love for the music she sings, Eva didn’t just bring Broadway to The Soraya—she brought soul, fire, and a touch of mischief. It’s a shame that The Pacific Jazz Orchestra and Eva can’t make this a regular affair—because once you’ve heard her sing jazz, you’ll never want her to stop.
Executive and Artistic Director of The Soraya, Thor Steingraber, the force behind this concert,
Conductor and Arranger Chris Walden, Eva Noblezada, and Reeve Carney after Eva's L.A. debut
photo credit: Luis Luque, Luque Photography and The Soraya
