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From Show Business Weekly:

The sultry musical Jacques Brel is Alive and Well and Living in Paris seems to have been conceived in the wine-soaked, seedy grandeur of the intimate Zipper Theater, a place where mismatched sofas are crammed together near a stage that overflows with the emotionally stark performances of four superb actor-singers. Instead, as the title suggests, the material originated in France, but director Gordon Greenberg has carefully calibrated this production — a revival of the successful 1968 New York original — to reflect both a strong European sensibility and the universal themes underscored by Brel’s evocative, accordion-tinged melodies.

Cabaret Scenes:

The Zipper Theatre has a unique flair, with a funky lobby décor of antique sewing machines, old posters, fringed lamps, frowsy sofas, and a bar. It provides a perfect entree into the theatre, with Robert Bissinger's musty moodiness in set design and Jeff Croiter's melodramatic lighting. Another quirky touch is in the theatre itself, which offers audience seating of old car seats in leatherette with oversized throw pillows.

If this does not put you in the mood of post-WWII Europe, you can't help but score with Gay Marshall, providing Piaf-esque panache with tear-jerkers like Ne Me Quitte Pas and a wrenching Marieke, and Cuccioli, alternately brash, blase, mischievous, and romantic. He is a standout with Amsterdam. The newcomers, Jayne Paterson and Constantine Maroulis, add their own interpretations. Paterson recalls a 1960's mod look, miniskirt, high boots, long hair and heavy eyeliner. She has a light soprano voice that brings sweetness to songs like I Loved and quiet drama to the tedium of Old Folks but she could build up the fierceness in My Death. Maroulis brings a welcome new, young comedic look to the role played previously by Rodney Hicks. He portrays a post-war unsettlement with the whorehouse visit of a young soldier, Suivant (Next).