By Lynn Dimenna, Cabaret Scenes | October 12, 2009

Yanna Avis has been called a cross between Edith Piaf and Marlene Dietrich and that is certainly a flattering comparison. On the contemporary scene she might remind one of “Uma” or “Ute,” as in Thurman or Lemper, given the equally alluring and mysterious quality they share with the international chanteuse. On stage at Feinstein’s at Loews Regency for the second time this fall, in a magnificent skintight black pants suit with a soft white, flouncy collar and cuffs, she definitely enhanced the beauty and elegance of the room
Sultry and sexy, singing a multi-lingual repertoire that has become her forte, she had the strong support of some very fine sidemen: on accordion Patrick Farrell, bass David Finck and violin/viola Eddie Malave. Her Musical Director, David Shenton, and director, Daniel Isengart, musically and artistically shaped a program that enabled her to work her unique and appealing magic to the delight of her savvy, sophisticated audience.

To be sure, very few “chantoosies” in fishnet stockings covering legs that go on forever can stretch out and caress the top of a Steinway and make it look so natural and effortless. One can sense that Ms. Avis is as comfortable there as she is at a café in Paris or dining at the Ritz! All the songs on her song list, whether in French, Italian, Spanish or German, serve to heighten the “mystique!”

Negotiating off the stage and in and around tightly cramped chairs, however, proved to be a challenge that she might not have anticipated. On the other hand, her foray into the audience provided an opportunity to get a sense of who the real Yanna Avis truly is. Seeing her vulnerable made her a bit less mysterious and that much more likeable.

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