Like her Broadway contemporaries Bernadette Peters and Mandy Patinkin, Patti LuPone emerged during the final throes of the “Golden Age” of Broadway that was dominated by Andrew Lloyd Webber and Stephen Sondheim.

She shot to fame as the original Broadway Evita, consolidated her position in award-winning roles in Sondheim musicals and Les Misérables, and has now perhaps become the era’s preeminent survivor and live performer if A Life in Notes is any indicator.

Patti LuPone. Photo © Douglas Friedman

Not that A Life in Notes is a recycling of LuPone’s Broadway canon. Yes, we got Don’t Cry For Me Argentina, I Dreamed a Dream and Some People, but they’re not delivered writ large with a big orchestra. A Life in Notes is LuPone unplugged and intimate, warts and all, from her childhood in Long Island to her Juilliard student days in the Big Apple.

Flanked only by musical director Joseph Thalken on piano and Brad Phillips (albeit with a mighty array of guitars), LuPone invites the audience into her world with a nostalgic mix of songs like Ebb Tide (one I remember from a Mantovani record), Teen Angel and Leon Russell’s masterpiece A...