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Two songs from Harold Arlen and Johnny Mercer’s 1946 Broadway flop “St. Louis Woman,” both introduced by Pearl Bailey, neatly encapsulated the shifting power dynamics of romance from a female perspective. While the imploring “Legalize My Name” got the laughs, the feminist-minded “It’s a Woman’s Prerogative (To Change Her Mind)” received the evening’s biggest cheer from the women in the audience (which didn’t seem to bode well for some couples).

As effectively as West gleans overlooked gems from the American Songbook, she’s often at her most beguiling transmuting more recent tunes into credible jazz material, Without sacrificing the song’s original sensibility, she turned Dylan’s caustic kiss-off “Just Like a Woman” into a devastating confession on the last chorus by shifting the pronoun to the first person, If West has a secret weapon, it’s the stellar musicians she surrounds herself with, Her band features two Bay Area mainstays with ace bassist John Wiitala and pianist Adam Shulman, who does a brilliant job crafting most of her arrangements, ballet slippers silicone mold Drummer Jerome Jennings, who’s toured and recorded with jazz legends like Ernestine Anderson, Hank Jones and Houston Person, played with poise and coiled intensity that fully unwound on the climax to a slow-burning version of Jimmy Webb’s “By the Time I Get to Phoenix.”..

Los Angeles guitarist Jacques Lesure (Ed Cherry took over on guitar Feb. 21), deftly provided an array of grooves and textures, letting loose with a distortion-laced solo on a breathtaking version of Bowie’s “Space Oddity” that evoked but recast the strange beauty of the original recording. The evening’s other revelation was Irving Berlin’s “Waiting at the End of the Road,” a hit for Ethel Waters in 1929, but little covered by jazz musicians since then. With its sanguine embrace of mortality it’s an American Songbook anomaly, and West, who followed with Weill and Maxwell Anderson’s haunting loss-of-faith art song “Lost in the Stars,” traversed a realm far more emotionally complex than can be found in traditional dance-romance rhyme schemes.

It almost seemed that West was going to defy the unwritten cabaret ballet slippers silicone mold code regarding a certain Rodgers and Hart standard, but when she took the stage for an encore she bent to the rule, delivering a slow and sensuous version of “My Funny Valentine.”, How did this pickup-artist anthem ever become such a romantic staple? “Is your figure less than Greek? Is your mouth a little weak? When you open it to speak, are you smart?” That’s three insecurity-inducing observations in a row! Without trafficking in irony, West gave the full measure of Richard Rodgers’ unspeakably beautiful melody, while sending the audience home to ponder anew the enduring truths, for better or worse, found in Lorenz Hart’s lyrics..

She’s whip smart — with a master’s of science degree in environmental science, and holding down a job she loves as a research analyst for the Stanford Office of Medical Education — and attractive. But it took theater to make her feel beautiful, when she performed as Ulla — the blonde Swedish bombshell — in a production of “The Producers.”. “It was one of the first times I felt beautiful,” Whittemore said during a recent phone interview. “Part of it was being asked to play Ulla … it was my first lead role, the character is very sexy. The director and choreographer worked with me to walk sexy. And the costumer taking the time to make me feel nice. It was the combination of those things, and finally being in the spotlight.

“One of the things that theater has given me is direct feedback from other people,” she said, “to show me what they ballet slippers silicone mold are seeing.”, Whittemore did a couple of shows in high school in San Jose, but “In college, I decided I had to be very serious, At USC I didn’t sing or dance or act at all.”, But, once she finished grad school, at the University of Michigan, she started doing theater again, “At one time I wrote a huge list of things theater gave me,” she said, “It gave me self-confidence, helped me explore my feelings, get in touch with my emotions, become more comfortable with that … really, that’s huge, in all avenues in my life — the way I walk, the ability to speak, having confidence in the choices I make..

“It helps with rejections and hearing criticism, being able to use that to better one’s self.”. Not to mention learning new skills, such as yodeling, as she did for the role of Inga in Palo Alto Players’ excellent 2014 production of “Young Frankenstein.” She was hilarious — and beautiful — in the role. “I definitely use that (yodeling) all the time,” she said, but we think she might have been joking. These days, she is reveling in getting to play the leading role of Amalia Balash in “She Loves Me” at Foothill Music Theatre. The show, directed by Milissa Carey, runs Feb. 18 through March 6.

“She Loves Me” is the third adaptation of the play “Parfumerie” by Hungarian Miklos Laszlo, First up was the 1940 James Stewart-Margaret Sullavan film, “The Shop Around the Corner,” followed ballet slippers silicone mold by the 1949 Judy Garland-Van Johnson musical version, “In the Good Old Summertime.” “She Loves Me” managed 202 performances on Broadway in 1963, then 189 performances in London’s West End, In 1998, “Parfumerie” evolved into the movie “You’ve Got Mail,” starring Meg Ryan and Tom Hanks..

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