[upbeat music] - [Announcer] Coming up on "American Songbook at NJPAC," an evening with Debbie Gravitte and her Big Little Band.

♪ I'm as restless as a willow in a windstorm ♪ ♪ And as jumpy as a puppet on a string ♪ This Tony Award-winning diva reprises the song that brought her fame.

♪ 'Twas the end of Mr. Monotony ♪ [lively swing music] And sings every song like it was written for her.

♪ Bewitched, bothered, and bewildered ♪ ♪ Am I ♪ [calm music] ♪ Chicks and ducks and geese better scurry ♪ [lively big band music] ♪ When I take you out in the surrey ♪ ♪ When I take you out in the surrey with the fringe on top ♪ The "American Songbook Series at NJPAC" is presented through the generous support of the Blanche and Irving Laurie Foundation, the David S. Steiner and Sylvia Steiner Charitable Trust, the Joan and Allen Bildner Family Fund, and the Smart Family Foundation, David S. Stone, Esquire, Stone & Magnanini.

And now, from the Lizzie & Jonathan Tisch Stage at NJPAC's Victoria Theater in Newark, New Jersey, your host, Ted Chapin.

[audience applauding] - Welcome to a life force, Tony and Grammy winner, possessor of a remarkable vocal instrument, and one of the coolest people around and funny.

You've seen her on Broadway in "Cabaret," on television, and in concert.

Please let me welcome my friend, Debbie Gravitte.

[audience applauding] [audience cheering] [lively music] ♪ When I get a brand-new hairdo ♪ ♪ With my eyelashes all in curl ♪ ♪ I float as the clouds as air do ♪ ♪ I enjoy being a girl ♪ ♪ When friends say I'm cute and funny ♪ ♪ And my teeth aren't teeth, but pearl ♪ ♪ I just lap it up like honey ♪ ♪ I enjoy being a girl ♪ ♪ I flip when a fellow sends me flowers ♪ ♪ I drool over dresses made of lace ♪ ♪ I talk on the telephone for hours ♪ ♪ With a pound and a half of cream upon my face ♪ ♪ I'm strictly a female female ♪ ♪ And my future I hope will be ♪ ♪ In the home of a brave and free male ♪ ♪ Who'll enjoy being a guy ♪ ♪ Having a girl ♪ ♪ Like me ♪ [lively big band music] ♪ I flip when a fellow sends me flowers ♪ ♪ I drool over dresses made of lace ♪ ♪ I talk on the telephone for hours ♪ ♪ With a pound and a half of cream upon my face ♪ ♪ I'm strictly a female female ♪ ♪ And my future I hope will be ♪ ♪ In the home of a brave and free male ♪ ♪ Who'll enjoy being a guy ♪ ♪ Having a girl ♪ ♪ Like me ♪ ♪ Like me ♪ [audience applauding] [audience cheering] [sultry music] ♪ While tearing off a game of golf ♪ ♪ I may make a play for the caddy ♪ ♪ But when I do, I don't follow through ♪ ♪ 'Cause my heart belongs to Daddy ♪ ♪ If I invite a boy some night ♪ ♪ To dine on my fine finnan haddie ♪ ♪ I just adore his asking for more ♪ ♪ But my heart belongs to Daddy ♪ ♪ Yes, my heart belongs to Daddy ♪ ♪ So I know I couldn't be bad ♪ ♪ Yes, my heart belongs to Daddy ♪ ♪ Da, da, da, da, da, da, da, da, da ♪ ♪ So I want to warn you, laddie ♪ ♪ Though I know that you're perfectly swell ♪ ♪ But my heart belongs to Daddy ♪ ♪ 'Cause my Daddy, he treats me so well ♪ - Well?

[lively jazz music] ♪ Yes, my heart belongs to my Daddy ♪ ♪ So I know I couldn't be bad ♪ ♪ Yes, my heart belongs to Daddy ♪ ♪ Da, da, da, da, da, da, da, da, da ♪ ♪ So I want to warn you, laddie ♪ ♪ Though I know that you're perfectly swell ♪ ♪ But my heart belongs to Daddy ♪ ♪ 'Cause my Daddy ♪ ♪ My Daddy ♪ ♪ My Daddy ♪ ♪ My Daddy ♪ ♪ My Daddy ♪ ♪ He treats me so ♪ [sultry music] Oh, Daddy!

[audience applauding] [audience cheering] [Debbie laughing] Good evening, and welcome to Little Big Band Broadway.

Here's something you should know about me.

♪ I can cook, too, on top of the rest ♪ ♪ My seafood's the best in the town ♪ ♪ Yes, I can cook, too ♪ ♪ My fish can't be beat ♪ ♪ My sugar's the sweetest around ♪ ♪ I'm a man's ideal of a perfect meal ♪ ♪ Right down to the demitasse ♪ ♪ I'm a pot of joy for a hungry boy ♪ ♪ Baby, I'm cooking with gas ♪ ♪ Oh, I'm a gumdrop, a sweet lollipop ♪ ♪ A brook trout right out of the brook ♪ ♪ And what's more, baby ♪ ♪ I can cook ♪ [mellow music] ♪ Some gals make magazine covers ♪ ♪ Some gals keep house on a dime ♪ ♪ Some gals make wonderful lovers ♪ ♪ But what a lucky find I'm ♪ ♪ I'd make a magazine cover ♪ ♪ I do keep house on a dime ♪ ♪ I make a wonderful lover ♪ ♪ I should be paid overtime ♪ ♪ 'Cause I can bake, too, on top of the lot ♪ ♪ My oven's the hottest you'll find ♪ ♪ Yes, I can roast, too ♪ ♪ My chickens just ooze ♪ ♪ My gravy will lose you your mind ♪ ♪ I'm a brand-new note on a table d'hôte ♪ ♪ But just try me a la carte ♪ ♪ With a single course, you can choke a horse ♪ ♪ Baby, you won't know where to start ♪ ♪ Well, I'm an hors d'oeuvre, a jelly preserve ♪ ♪ Not in the recipe book ♪ ♪ And what's more, baby, I can ♪ [lively music] ♪ For a candied treat or a pickled beet ♪ ♪ Step up to my smorgasbord ♪ ♪ Walk around until you get your fill ♪ ♪ Baby, you'll never be bored ♪ ♪ Oh, I'm a pâté, a marron glacé ♪ ♪ A dish you will wish you had took ♪ ♪ And what's more, baby ♪ ♪ I can cook ♪ ♪ What's more, baby ♪ ♪ I can cook ♪ [sultry music] Ooh, how 'bout this band?

[audience applauding] [audience cheering] Well, good evening again!

My name is Debbie Gravitte.

I've been in eight Broadway shows.

I have two Drama Desk nominations, one Emmy nomination, one Grammy Award certificate.

I have three children, one husband.

I had some chickens and one Tony Award, thank you.

[audience applauding] [audience cheering] Now, I have done a bunch of wonderful, wonderful roles on Broadway, and one of my favorites is this woman, and her name happens to be Mazeppa, and Mazeppa to me is not only an incredible teacher, but she's a great philosopher as well, and I wanted to share a little bit of her teachings.

[mellow music] ♪ You can pull all the stops out ♪ ♪ Till they call the cops out ♪ ♪ Grind your behind till you're banned ♪ ♪ But you gotta get a gimmick ♪ ♪ If you wanna get a hand ♪ ♪ You can sacrifice your sacro ♪ ♪ Working in the back row ♪ ♪ Bump in a dump till you're dead ♪ ♪ Kid, you gotta get a gimmick ♪ ♪ If you wanna get ahead ♪ ♪ You can, you can ♪ ♪ You can ♪ ♪ That's how burlesque was born ♪ ♪ Me I, and I ♪ ♪ And I ♪ ♪ But I do it with a horn ♪ ["Reveille"] [stately marching band music] Oops!

["Reveille"] Thank you!

[audience applauding] [audience cheering] ♪ Once I was a schleppa ♪ ♪ Now I'm Miss Mazeppa ♪ ♪ With my revolution in dance ♪ ♪ Ya gotta have a gimmick ♪ ♪ If you wanna have a chance ♪ [audience applauding] [audience cheering] So I know you're all wondering the show that I won the Tony Award for, thank you, thank you, again.

[audience applauding] [audience cheering] I won this Tony Award for a show called "Jerome Robbins' Broadway."

"Jerome Robbins' Broadway" really was a compilation of all the shows that Jerome Robbins had directed or choreographed, "Fiddler on the Roof," "West Side Story," "Peter Pan," "High Button Shoes," "Funny Thing Happened on the Way to the Forum," the list goes on and on what Jerry Robbins did for the American musical.

And when he was putting together the show of "Jerome Robbins' Broadway," he remembered a song written by Irving Berlin that had been cut from two other shows that he had worked on, "Call Me Madam" and "Miss Liberty," and Jerry decided that he finally had somebody who could sing this song.

[audience laughing] [audience applauding] So Jerry Robbins called up Irving Berlin, and Irving Berlin called Jerry Robbins, and then, I got my Tony.

[sultry music] ♪ Playing on his slide trombone ♪ ♪ In a certain monotone ♪ ♪ He was known as Mr. Monotony ♪ ♪ Any quiet interlude ♪ ♪ That would bring a change of tune ♪ ♪ Didn't go with Mr. Monotony ♪ ♪ Sometimes he would change the key ♪ ♪ But the same dull melody ♪ ♪ Would emerge from Mr. Monotony ♪ ♪ Folks for miles would run away ♪ ♪ Only one preferred to stay ♪ ♪ She would come around and say ♪ ♪ Have you got any monotony today ♪ ♪ They were married, but we find ♪ ♪ That she quickly changed her mind ♪ ♪ She grew tired of Mr. Monotony ♪ ♪ Round the neighbors it was known ♪ ♪ While he played on his trombone ♪ ♪ Someone played with Mrs. Monotony ♪ [lively music] ♪ From another village came a snappy clarineter ♪ ♪ She heard his playing ♪ ♪ Strange to say, she liked it better ♪ ♪ 'Twas the end of Mr. Monotony ♪ ♪ There's a moral to my song ♪ ♪ Trombone players don't last long ♪ ♪ And it's right to do them wrong ♪ ♪ When they've only got monotony to play ♪ ♪ And it's not any monotony that's gay ♪ [mellow music] ♪ Don't stay ♪ ♪ Just say ♪ ♪ I don't want any ♪ ♪ Monotony ♪ ♪ Today ♪ [sultry music] [audience applauding] [audience cheering] Ladies and gentlemen, please welcome the Little Big Band.

[lively big band music] [lively big band music continues] [lively big band music continues] [lively big band music continues] [audience applauding] [lively big band music continues] - Is it true that your first Broadway show is what brought you to New York from California?

- No, [laughs] oh, you did so much research on that.

- No, no, no, no.

- No, actually, what brought me originally, I did a show called "Spotlight," which closed out of town at Washington, DC.

I got an agent, and I was in New York, and then I got my first Broadway show.

- And the show I was referring to is "They're Playing Our Song."

- Yes.

- Which started in L.A. and came to New York.

- Yes, it went out of town.

- Yep.

- So we rehearsed here, went out of town, and my family, my friends got to see me in L.A., it was great.

- So even though you said that the first one that you were in never made it to New York.

I wanted to ask, coming to New York with a hit new musical, what was your expectation of what your career was gonna be like?

That there were gonna be new musicals coming every year or so?

- Well, that's what it felt like at the time.

I mean, I remember, I do remember very specifically thinking about how much I wanted to be on Broadway and the feeling of opening night that I was on Broadway, and I went, "Uh-oh, now what?"

Because I had done the thing that I really had wanted to do.

And, but yes, at the time, you know, I'm really young, I'm ambitious.

I have only one thing in mind, and that's, you know, Broadway stardom.

And I just thought the shows are just gonna keep rolling in, rolling in.

- Because your career now is partly theater and partly concert- - Yes.

- And cabaret as well, when did the idea of doing concerts start?

- Well, I'm gonna say it was actually backwards.

It was sort of cabaret, because sort of in-between doing shows, you sort of went and did your cabaret show.

And of course my first cabaret show, I went, "I'm gonna have a 14-piece band, and Marc Shaiman's gonna do all the arrangements."

And people said, "You can't do that."

And I did it at this great place called Les Mouches.

- Right, I remember.

- Down, way Downtown, and that's what sort of launched that world for me.

And then I got into the concert world with symphonies later.

That was a little bit later.

- I wanna talk a little bit about "Jerome Robbins' Broadway" because I think I'm correct in this that you doing "Mr. Monotony" in "Jerome Robbins' Broadway" is probably the last time Jerome Robbins did something new on Broadway.

- Yes, yes.

- Because everything else in that show was a replication of something that had happened before.

- Yeah.

- What was it like, you know, having Jerome Robbins direct you in a song for the first time?

- Well, first of all, I was completely aggravated because I kept standing there doing nothing, and I finally went, "Okay, Jerry Robbins is gonna give me my choreography."

And he went, "No, no, just do that.

Do exactly what you're doing.

Don't do anything more."

So I was, "Where's my choreography, Jerry?"

But it was an incredible honor.

I mean, you know, when you're working with somebody, you don't necessarily know the history behind that person.

It's sort of in retrospect now, I go, "Oh my god, Jerry Robbins, all the things he did, and he loved me."

And it was so wonderful to be a part of that.

- I would also point out that it had a cast of 50, from which one person won the Tony Award for Best Featured Actress.

[audience applauding] And I think Miss Mazeppa had a little bit to do with that.

- Yes, I think so, but.

[audience applauding] ♪ Chicks and ducks and geese better scurry ♪ [upbeat big band music] ♪ When I take you out in the surrey ♪ ♪ When I take you out in the surrey with the fringe on top ♪ ♪ Watch that fringe and see how it flutters ♪ ♪ When I drive them high steppin' strutters ♪ ♪ Nosey-pokes will peek through their shutters ♪ ♪ And their eyes will pop ♪ ♪ The wheels are yellow, the upholstery's brown ♪ ♪ The dashboard's genuine leather ♪ ♪ With isinglass curtains you can roll right down ♪ ♪ In case there's a change in the weather ♪ ♪ Two bright sidelights winking and blinking ♪ ♪ Ain't no finer rig I'm a-thinking ♪ ♪ You can keep your rig if you're thinking ♪ ♪ That I'd care to swap ♪ ♪ For that shiny little surrey with the fringe on the top ♪ [Debbie scatting] [lively big band music] [Debbie scatting] ♪ I can see the stars getting blurry ♪ ♪ When we ride back home in the surrey ♪ ♪ When we drive back home in the surrey ♪ ♪ With the fringe on top ♪ ♪ I can feel the day getting colder ♪ ♪ Feel a sleepy head on my shoulder ♪ ♪ Nodding, drooping close to my shoulder ♪ ♪ Till it falls, kerplop ♪ ♪ The sun is setting on the rim of a hill ♪ ♪ The moon is taking a header ♪ ♪ And just when I'm thinking all the earth is still ♪ ♪ A lark will wake up in the meadow ♪ ♪ Hush, you bird, my baby's a-sleeping ♪ ♪ Maybe got a dream worth a-keeping ♪ ♪ Whoa, you team, and just keep a-creeping ♪ ♪ At a slow clip clop ♪ ♪ With that shiny little surrey with the fringe ♪ ♪ Shiny little surrey with the fringe ♪ ♪ Shiny little surrey with the fringe on the ♪ [Debbie scatting] ♪ On top and on top and on top and on top, on top ♪ [Debbie laughing] [audience applauding] [audience cheering] When I first moved to New York, I'm born and raised in Los Angeles, California.

Do people really come from Los Angeles?

I do, born and raised, and I came East to make my fame and fortune on Broadway.

And when you first come to New York, everybody says, "Well, are you taking acting class?"

"Oh yeah, yeah, yeah, I'm taking acting class."

"Are you taking dance lessons?"

"Oh, yeah, yeah, I'm taking."

"Are you taking tennis?

Are you taking badminton?"

You have to take lots and lots of classes.

And I met this wonderful, wonderful teacher, and he was, he helped me with not voice lessons per se, but how to make a song my own.

And this wonderful man introduced me to this next song, which I love so much, written by Kurt Weill and George Gershwin.

[gentle music] ♪ My ship has sails ♪ ♪ That are made of silk ♪ ♪ The decks are trimmed with gold ♪ ♪ And of jam and spice ♪ ♪ There's a paradise in the hold ♪ ♪ My ship's aglow ♪ ♪ With a million pearls ♪ ♪ And rubies fill each bin ♪ ♪ The sun sits high on a sapphire sky ♪ ♪ When my ship comes in ♪ ♪ I can wait the years ♪ ♪ Till it appears ♪ ♪ One fine day one spring ♪ ♪ But the pearls and such ♪ ♪ They won't mean much ♪ ♪ If they're missing just one thing ♪ ♪ I do not care if that day arrives ♪ ♪ That dream need never be ♪ ♪ If the ship I sing doesn't also bring ♪ ♪ My own true love to me ♪ ♪ If the ship I sing ♪ ♪ Doesn't also bring ♪ ♪ My own true love ♪ ♪ To me ♪ [dramatic music] [mellow music] ♪ I can wait the years ♪ ♪ Till it appears ♪ ♪ One fine day one spring ♪ ♪ But the pearls and such ♪ ♪ They won't mean much ♪ ♪ If they're missing just one thing ♪ ♪ I do not care if that day arrives ♪ ♪ That dream need never be ♪ ♪ If the ship I sing ♪ ♪ Doesn't also bring ♪ ♪ My own true love to me ♪ ♪ If the ship I sing ♪ ♪ Doesn't also bring ♪ ♪ My own ♪ ♪ True love ♪ ♪ To me ♪ [gentle music] [audience applauding] [audience cheering] That's an arrangement by the incredible Mr. Russ Kassoff.

[audience applauding] [audience cheering] Now, I have these incredible musicians behind me, and I thought it was only apropos for me to ask them, I played the trumpet, so now I'm going to ask them to sing.

Ladies and gentlemen, the Russ Kassoff Little Big Band Chorus.

♪ Hey, listen to my story ♪ ♪ 'Bout a gal named Daisy Mae ♪ ♪ Lazy Daisy Mae ♪ [whimsical music] ♪ Her disposition is rather sweet and charming ♪ ♪ At times alarming, so they say ♪ [band members scatting] ♪ She has a man who's tall, dark, handsome ♪ ♪ Stout and strong ♪ ♪ To whom she used to sing this song ♪ ♪ Hey, Daddy, I want a brand-new car ♪ ♪ Bracelets, caviar ♪ ♪ Daddy, you oughta get the best for me ♪ ♪ Hey, Daddy, please, don't I look swell in sables ♪ ♪ Clothes with Paris labels ♪ ♪ Daddy, you oughta get the best for me ♪ [Debbie scatting] ♪ Here's the amazing revelation ♪ ♪ With a bit of stimulation ♪ ♪ I'd be a great sensation ♪ ♪ I'd be your inspiration ♪ ♪ Daddy, I want a brand-new car ♪ ♪ Champagne, caviar ♪ ♪ Daddy, you oughta get the best for me ♪ [lively swing music] ♪ Here's the amazing revelation ♪ ♪ With a bit of stimulation ♪ ♪ I'd be a great sensation ♪ ♪ I'd be your inspiration ♪ ♪ Daddy, I want a brand new car ♪ ♪ Champagne and caviar ♪ ♪ Daddy, you better get the best for me ♪ ♪ For me ♪ ♪ Daddy ♪ ♪ Daddy ♪ ♪ You oughta get the best for me ♪ ♪ Bada bada badow ♪ [audience applauding] [audience cheering] What about this band?

[audience applauding] [audience cheering] I get to sing with them.

This is amazing.

One of the great moments of my life, I was asked to appear with New York City Ballet.

Yes, and after my children freaked out that I was going to be dancing, and I told them, no, I actually got to be a part of this wonderful ballet called "Thou Swell," which featured the music of Rodgers and Hart, and this was one of the songs that I got to sing on stage with beautiful ballerinas flitting about me.

[gentle music] ♪ He's a fool, and don't I know it ♪ ♪ But a fool can have his charms ♪ ♪ I'm in love, and don't I show it ♪ ♪ Like a babe in arms ♪ ♪ Love's the same old sad sensation ♪ ♪ Lately I've not slept a wink ♪ ♪ Since this half-pint imitation's ♪ ♪ Put me on the blink ♪ ♪ I'm wild again ♪ ♪ Beguiled again ♪ ♪ A simpering, whimpering child again ♪ ♪ Bewitched, bothered ♪ ♪ And bewildered am I ♪ ♪ I couldn't sleep and wouldn't sleep ♪ ♪ When love came to tell me ♪ ♪ I shouldn't sleep ♪ ♪ Bewitched, bothered ♪ ♪ And bewildered am I ♪ ♪ I lost my heart, but what of it ♪ ♪ He is cold, I agree ♪ ♪ He can laugh, but I love it ♪ ♪ Although the laugh's on me ♪ ♪ I'll sing to him ♪ ♪ Each spring to him ♪ ♪ And long for the day ♪ ♪ When I'll cling to him ♪ ♪ Bewitched, bothered ♪ ♪ And bewildered am I ♪ [gentle music] ♪ I'll sing to him ♪ ♪ Each spring to him ♪ ♪ And long for the day ♪ ♪ When I'll cling ♪ ♪ To him ♪ ♪ Bewitched, bothered ♪ ♪ And bewildered am I ♪ ♪ So wild ♪ ♪ Beguiled ♪ ♪ Bewitched ♪ ♪ Am I ♪ [gentle music] [audience applauding] [audience cheering] - It is true that you, there's sort of a family business in your family.

[laughs] - There is a little bit of a family business going on.

I have three beautiful children.

My oldest son decided not to get in the family business.

So he lives in Charleston, away from the madness of New York.

But my other two children, my son is actually starring on Broadway as we sit here as Fiyero in "Wicked."

Hi, Sam, shout-out!

[audience applauding] - Don't let that pass by unnoticed.

- Yes, and he's got big plans, big plans.

And my beautiful daughter is an amazing filmmaker who is about to lift off into the stratosphere and the, oh, now I'm gonna cry.

You're gonna make me cry, talking about my kids.

The great thing is is I had no idea this would happen because it certainly didn't happen when I was growing up.

But there's so much support between all of us for each other and what each other does, and it just lifts us all.

And it's really, it's one of the best parts of being a parent and being in our business.

- Yeah, and how did you balance it all?

- Hahahahaha, well, I sort of feel like I, that's really when I started doing concerts.

I was doing "Chicago" on Broadway.

- [Ted] Right.

- I was doing eight shows a week, and that was when they first started doing like Friday shows, Saturday matinee, Saturday night, Sunday matinee, Sunday night.

And my kids back home were doing all their activities on the weekend.

And I went, "I am missing every part of my kids' lives except for getting up in the morning and making them lunch."

I was okay with missing that part.

- Right.

- And that's when I started doing concerts, really, because even though, yes, you're gone, you are gone, but I wasn't gone all the time.

Eight shows a week is really, it's for, you know, 24-year-olds.

- Right.

- With no children.

[audience applauding] [audience cheering] [lively music] You'll notice that this song has seven modulations, scored by Mr. Marc Shaiman.

♪ I gotta get my old tuxedo pressed ♪ ♪ I gotta sew the buttons on my dress ♪ ♪ Tonight I've got to look my best 'cause ♪ ♪ Lulu ♪ ♪ Is back in town ♪ ♪ I gotta get a half a buck somewhere ♪ ♪ I gotta shine my shoes, slick my hair ♪ ♪ Gotta get myself a boutonniere 'cause ♪ ♪ Lulu ♪ ♪ Is back in town ♪ ♪ You can tell all my pets ♪ ♪ All my charming coquettes ♪ ♪ Mrs. Otis regrets ♪ ♪ That she won't be around ♪ ♪ You can tell the mailman not to call ♪ ♪ I ain't comin' home until the fall ♪ ♪ I might not get back home at all 'cause ♪ ♪ Lulu ♪ ♪ Is back in town ♪ [lively music] ♪ I gotta get my old tuxedo pressed ♪ ♪ Gotta sew the buttons on my dress ♪ ♪ Tonight I've got to look my best ♪ ♪ 'Cause Lulu's back in town ♪ ♪ I gotta get a half a buck somewhere ♪ ♪ Gotta shine my shoes, slick my hair ♪ ♪ Gotta get myself a boutonniere ♪ ♪ 'Cause Lulu's back in town ♪ ♪ I'm so hot and bothered that I don't know ♪ ♪ My elbow from my ear ♪ ♪ I suffer something awful each time you go ♪ ♪ Much worse when you're near ♪ [lively music escalating] ♪ I'm a sentimental sap, that's all ♪ ♪ What's the use of trying not to fall ♪ ♪ I have no will, you've made your kill ♪ ♪ Take advantage of me ♪ ♪ I'm just like an apple on the bough ♪ ♪ And you're gonna shake me down somehow ♪ ♪ What's the use, you've cooked my goose ♪ ♪ Take advantage of me ♪ ♪ And tell all my pets ♪ ♪ All my charming coquettes ♪ ♪ Mrs. Otis regrets ♪ ♪ She won't be around ♪ ♪ Here I am with all my bridges burned ♪ ♪ Just a babe in arms where you're concerned ♪ ♪ Lock the doors and call me yours ♪ [lively music] ♪ I have no will, you've made your kill ♪ ♪ What's the use, you've cooked my goose ♪ ♪ So lock the doors and call me yours ♪ ♪ Lulu, Lulu ♪ ♪ Is back in town ♪ ♪ I'm back in town ♪ [audience applauding] [audience cheering] Thank you all so much.

You've been the greatest audience, really.

The people in the back, particularly, you've been amazing up there in the balcony, just fantastic.

I wanna thank everybody here at NJPAC, and most of all though, I wanna thank the incredible musicians that I have the privilege and honor to share the stage with.

[audience applauding] [audience cheering] We have just one more song, and I feel that it's very apropos at this time of year.

No matter what time of year it is, this is a song to celebrate good weather.

[lively music] ♪ I'm as restless as a willow in a windstorm ♪ ♪ I'm as jumpy as a puppet on a string ♪ ♪ I'd say that I have spring fever ♪ ♪ But I know it isn't spring ♪ ♪ I am starry-eyed and vaguely discontented ♪ ♪ Like a nightingale without a song to sing ♪ ♪ Oh, why should I have spring fever ♪ ♪ When it isn't even spring ♪ ♪ I keep wishing I was somewhere else ♪ ♪ Walking down a strange new street ♪ ♪ Hearing words that I have never heard ♪ ♪ From a boy I've yet to meet ♪ ♪ I'm as busy as a spider spinning daydreams ♪ ♪ I'm as giddy as a baby on a swing ♪ ♪ I haven't seen a crocus or a rosebud ♪ ♪ Or a robin on the wing ♪ ♪ But I feel so gay in a melancholy way ♪ ♪ That it might as well be spring ♪ ♪ It might as well be spring ♪ [Debbie scatting] [lively music] [Debbie scatting] [lively music continues] ♪ I keep wishing I was somewhere else ♪ ♪ Walking down a crowded street ♪ ♪ Hearing words that I have never heard ♪ ♪ From a boy I've yet to meet ♪ ♪ I'm as busy as a spider spinning daydreams ♪ ♪ I'm as giddy as a baby on a swing ♪ ♪ I haven't seen a crocus or a rosebud ♪ ♪ Or a robin on the wing ♪ ♪ But I feel so gay in a melancholy way ♪ ♪ That it might as well be spring ♪ ♪ It might as well be ♪ ♪ Might as well be ♪ ♪ Might as well be spring ♪ [Debbie scatting] Good night, thank you!

[audience applauding] [audience cheering] [lively music] - [Announcer] The "American Songbook Series at NJPAC" is presented through the generous support of the Blanche and Irving Laurie Foundation, the David S. Steiner and Sylvia Steiner Charitable Trust, the Joan and Allen Bildner Family Fund, and the Smart Family Foundation, David S. Stone, Esquire, Stone & Magnanini.

[lively music]