If you recall, in a recent column we touted Karen Murphy's dazzling performance in the Off-Broadway musical, Zombie Prom. So, when we heard that she was mounting a new cabaret act we were swift to amke our reservation. Her show, Torch Goddess. is as much a performance piece as it is a cabaret act, but call it what you will, it's an audacious work that walks a tightrope between seriousness of purpose and camp.

It's one of the special pleasures of Torch Goddess that Murphy never falls from her dizzy tightrope to land in the safety nets of either ditsy or deep. It's so much more satisfying, and so much richer an experience, when her torch song interpretations can be taken either way, often at the same time.

Appearing in a formal, off-the-shoulder navy gown, and bathed in a light suggesting cabaret noir, Murphy looks like a cross between Madaline Kahn and Rita Hayworth by way of David Lynch. She begins her act with a comically mysterious version of "Stranger in Paradise," and continues on with a dryly hilarious version of "Kiss of Fire."

She is sucha good actress that it's easy to overlook her splendid voice, which can swoop down to deep, husky blue notes before chargin up the scale through brassy, Mermanesque tones, until she hits the heights of surprisingly delicate high notes. A rich, expressive voice with lots of individuality, Murphy can put over the '60s rock 'n' roll hit, "Hold Me, Thrill Me, Kiss Me," like you've never heard it before, starting slow and building to an almost insanely wild finish.

And speaking of original interpretations, what Murphy does with "Secret Love" is nothing short of mind-boggling. What once was a saccharine love song, she insidiously turns into a sly parody that makes it seem as if a crazed Joan Crawford has inhabited her soul. Acted to the hilt, it's one of the show's grandest moments.

Bu then her show is loaded with grand moments, from her clever movie medley to her funny and sexy rendition of "Occasional Man." And who knew there were words to the "Theme From Peter Gunn"? It may not have been the best choice for her closing number, but it sure was a surprise.

Murphy's director, Mike Oster, deserves considerable credit for the style and sense of the show, not to mention the tone, while musical director Fred Barton has given Murphy -- and her audience -- a show full of originally conceived songs.

- Scott & Barbara Siegel
Dramalogue Review (New York Scene)