This past weekend, as Broadway was alive with the current revival of Cats: The Jellicle Ball, which expertly blends the worlds of Broadway and Ballroom, another expert was sharing her craft downtown at Joe’s Pub. Betty Buckley, Broadway’s original, Tony-winning Grizabella, hosted a “ball” of her own, one defined by masterful storytelling, emotional nakedness, and a true connection between audience and artist.
Buckley—who spent decades solidifying her status as one of the all-time great musical theatre performers, offering riveting performances in such musicals as 1776, Cats, Carrie, Song and Dance, The Mystery of Edwin Drood, Sunset Boulevard, and Triumph of Love—opened her April 24 evening with her show’s sole theatre offering: a buoyant, life-affirming rendition of “I Can See It” from Harvey Schmidt and Tom Jones‘ The Fantasticks. Buckley’s steely voice filled the room, as she drew the audience into her world and didn’t let go for the emotional hour that followed.
Early in the evening, Buckley set the tone not only musically but personally, introducing her musicians with affection and admiration. The Broadway favorite was joined by a quartet featuring long-time musical director Christian Jacob, who got the chance to shine on two piano solos; Tony Marino, who has been expertly backing Buckley on bass for nearly four decades; Keita Ogawa on drums and percussion; and Jordan Peters on guitar. Throughout the concert, Buckley celebrated their individuality, generously stepping out of the spotlight and shifting it to these accomplished musicians.
James Taylor‘s “The Secret of Life” followed; in Buckley’s hands, the song became more than a gentle reflection on the meaning of life; it was a beguiling meditation on the beauty of small moments. She lingered on phrases, investing each lyric with truth, making this well-known song feel newly discovered. One of Buckley’s many strengths, in fact, is her ability to provide so many emotional colors that listeners can find their own personal path to a song’s meaning.
She followed that song with the first of two Mary Chapin Carpenter gems, “Come On Come On,” which Buckley admitted was her favorite song. Indeed, the stage and screen star has performed the tune for years, but here it felt newly unearthed. Her interpretation has only deepened with time, layering experience and reflection into every lyric. As she sang, “Tonight I am thinking of someone, 17 years ago / We rode in his daddy’s car down the river road / Come on, come on, it’s getting late now,” her eyes filled with tears, and there was unlikely anyone in that room who wasn’t thinking of a lost love or missed opportunity. Few performers can revisit material they’ve been performing for decades and make it feel even more urgent and immediate.
Later in the evening, Buckley brought a similar emotional depth to Carpenter’s “I Am a Town,” painting a vivid emotional landscape with subtleties in vocals and phrasing. As she came to the song’s conclusion, this writer couldn’t help but think of a line from Sunday in the Park With George: “I am not hiding behind my canvas—I am living in it.”
One of the most heartfelt segments of the night came when Buckley spoke about the recent loss of her 99-year-old mother, Betty Bob Buckley. The actress shared how her late, beloved mother—also a singer—would delight Buckley and her siblings when they were children by descending the stairs of their split-level Texas house belting out “Volare.” With a gentle smile, Buckley offered her own rendition of the classic tune (including a few Italian lyrics), inviting the audience to join in on the chorus. It was a beautiful exchange, a reminder of music’s communal power, and of Buckley’s generosity as a performer.
READ: Why Betty Buckley Wanted to Make an Animated Film About a Mayfly
But the evening at the intimate Manhattan venue was far from solemn. Buckley brought levity and playfulness to Lyle Lovett’s “If I Had a Boat,” clearly relishing its wit and whimsy. Her between-song patter was equally engaging—sharp, self-aware, and often laugh-out-loud funny. She understands pacing not just musically, but emotionally, giving the audience space to breathe between more intense moments.
Other highlights included the wonderful George Benson and Carpenters hit “This Masquerade” and a fully realized rendition of Susan Werner’s “The Man I Used to Love.” Buckley also scored with a heartfelt take on Sara Bareilles‘ “Enough” from the upcoming new musical The Interestings (Buckley has released a single of the tune, which will be also featured on her 19th solo recording, due July 17 from Palmetto Records).
The masterful storyteller concluded her evening of song with a stunning rendition of “Woman of Heart and Mind” by Joni Mitchell. It was the perfect conclusion: introspective, expansive, and deeply human.
For her encore, Buckley turned to Fred Rogers’ gentle anthem “Won’t You Be My Neighbor,” but reframed for the present moment. In her hands, the song became less an invitation and more a call to action—a supremely tender plea for empathy in divisive times. There was a spiritual undercurrent to her delivery, transforming the familiar refrain into something closer to “love thy neighbor.” It was one of the evening’s most poignant statements, sending the audience into the night with a sense of connection and responsibility to one another.
For those lucky enough to be in the sold-out room, the experience was singularly emotional, drawing on the performer’s joys, sorrows, loves, losses, and longing. Joe’s Pub may not have had the costumes or choreography of a Jellicle Ball, but Buckley’s performance was equally magical.