The perfect prostitute song for you would be "Huguette's Waltz" from
Rudolf Friml's operetta THE VAGABOND KING. The role of Huguette is
actually for a mezzo (it was recorded by Frances Bible, who played Augusta
in the original cast of BALLAD OF BABY DOE), but I should think you could
get away with it.
The second obvious choice would be "Love for Sale" from Cole Porter's
NIGHT AND DAY.
Another good choice might be one of Moll's songs (e.g., "I'm Checking Home
Now (Moll's Lament)", "A Nickel Under the Foot") from Blitzstein's THE
CRADLE WILL ROCK; Moll is a morally innocent prostitute in a corrupt
town.
Another possibility is the "Solomon Song" from Kurt Weill's THE THREEPENNY
OPERA, which is sung by the duplicitous prostitute Jenny Diver. The
role, though said by Weill to be for soprano (it was written for his
somewhat vocally uncategorisable wife Lotte Lenya), really sits in a mezzo
tessitura - but still should be well within your vocal comfort range.
Better yet, if you're seeking a good male/female duet for your revue, the
"Tango Ballad" from this show - a kind of arch nostalgia/reminiscence duet
sung by Jenny and her pimp - would be ideal.
There's another prostitute named Jenny in another Kurt Weill show, this
time Jenny Hill in his RISE AND FALL OF THE CITY OF MAHAGONNY - and again
a role he wrote for Lenya, and a role revived recently in Vienna by
soprano Catherine Malfitano. "Moon of Alabama" is the song to consider
from this show.
Less well known is Weill's MARIE GALANTE, in which the title character is
a prostitute with a pure heart. Marie is a soprano, and the song
"J'attends un naivre" ("I wait for a ship") is extremely touching - so
much so that it became on of the theme songs of the World War II French
resistance fighters.
You could also sing Aldonza's non-belt song from MAN OF LA MANCHA, "What
does he want of me?" Aldonza is one of those vocally schizo roles - it
requires a singer (like the role's creator, Joan Diener), who can sing
both legit soprano, and chesty belt alto. Her song "It's all the same" is
another possibility - a bit more earthy and belty, but still within the
realm of a "legit" singer who's "slumming it" vocally. Aldonza's third
number, the powerful dramatic monologue "Aldonza" probably wouldn't be
comfortable for you.
The third verse of Noel Coward's song "Mad About the Boy" is the verse
sung by a "lady of the night". I'm a legit mezzo, and used to use this
song a lot, with great success, as an audition piece. I'd say you could
probably do both Verses 1 and 3, and have it work for you.
By the way, I hope the participants in this cabaret don't limit themselves
to the obvious (Fantine in LES MIS, Lucy in JEKYLL AND HYDE, Charity in
SWEET CHARITY, Kim in MISS SAIGON, various from BEST LITTLE
WHOREHOUSE IN TEXAS, Eva in EVITA, Mary Magdalene in JESUS CHRIST
SUPERSTAR etc.) and forget about the French streetwalker musical IRMA LA
DOUCE and the lesser-known Fosse prostitute musical NEW GIRL IN TOWN.
Unfortunately, Irma and Gwen are both quintessential belters (Irma was
played by belter-chanteuse Elizabeth Seal, and Anna in NEW GIRL was
written for Gwen Verdon).
Not sure how sexually explicit you're willing or allowed to get, but
there's also the very funny, but very "blue", song "I Never do Anything
Twice", written by Stephen Sondheim for the soundtrack of the film THE
SEVEN PERCENT SOLUTION. The song is a series of reminiscences by a Madam
of some of her most memorable "Johns".
Karen Mercedes
http://www.radix.net/~dalila/index.html
________________________________
One must be something if one
wishes to put on appearances.
- Ludwig von Beethoven
|
