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After a childhood spent in India, England and France, and a failed married before the age of 20, Montez trained briefly as a dancer in Spain where she assumed her stage name.She then travelled across Europe performing her risqué routines.Yes, they're playing kids but the emotions of warily reaching out to another are universal and timeless and for a scene or two, it works wonderfully."If I Loved You" and "You're A Queer One, Julie Jordan" are gems delivered beautifully, but I remember the emotions they evoke so deftly in the acting moments.Corny in the hands of amateurs; moving in the hands of pros.Lupone's trumpet of a voice is more muted now; Patinkin's swoops and moans and various voices from deep bass to high falsetto as familiar as ever. Of course, but we've been acquiring that taste for years. The Theater Season 2011-2012 (on a four star scale) Thanks for reading.

Offended by a negative review published in the , Montez publicly attacked the editor Henry Seekamp with a horsewhip.

Front and center are Lupone and Patinkin, working their way effortlessly through "Another Hundred People" and they're off.

It's not strictly a concert and it's not a lazy love-fest or walk through their greatest hits.

They switch and he admires Lupone as she acts her way through "Don't Cry For Me Argentina." As with several other points in the show, the audience is raptly quiet when these two command the stage.

Almost as an aside, Lupone delivers a nicely modulated, moving "In Buddy's Eyes" shortly thereafter.

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