Birdland, the renowned music spot, is celebrating its 70th anniversary this year with its customary line-up of major attractions.

McBroom and Bucchino have built solid reputations through the years and have been long-time friends, but had never performed together. “I figured it was about time,” Bucchino has said.

The program opened with “That Smile,” which Bucchino wrote, and which they sang as a duet. The style throughout the program was one of rare intimacy, with McBroom singing as if she were in your living room, and both interspersing personal explanatory comments. With a few songs Bucchino revealed that they came from key moments in his life.

McBroom exhibited a sense of fun, as with “Putting Things Away,” a song that she wrote about the annoyance of straightening up at home. Another of her amusing numbers was “Eggs,” for which she wrote the lyrics to music by Michele Brourman.

She sang several Bucchino compositions, such as “Sweet Dreams.” “Sepia Life,” “The Song With the Violins” and “Grateful.” Bucchino sang his own number “On My Bedside Table” and also “Learn How to Say Goodbye.” In addition he performed a terrific piano solo with the Rodgers and Hammerstein “My Favorite Things.”

Unlike in some of her other shows, which also feature a male performer, in this one Haan made Shatto a thorough partner in which they generally sang together as well as soloed. The result was a lively production, enhanced by the piano accompaniment by Haan’s long-time musical director Richard Danley, who also got his chances to piano solo.

As I looked over the huge song list of Berlin numbers to be performed, I thought it impossible to cover so many songs without spending the night. But lo and behold, through slick pacing and medleys, the territory was entertainingly covered in a way that reflected Berlin’s remarkable output and range. (During his 60-year career, Berlin, who lived until the age of 101, composed some 1500 songs.)

Haan first appeared in a black fringed skirt with a white furry wrap, then turned up in military uniform for Berlin’s military songs, and later in a red gown with a black furry wrap, looking great in all three get-ups. When Shatto emerged in a tux, Haan sexily quipped: “I like men in tuxedos; I like them even more without them.” Shatto got in a remark of his own, saying he had performed on Broadway with divas whom he named. “But this is the first time I’ve performed with a chanteuse.” Haan customarily peppered her commentary with references to Luxembourg, of which she is a citizen.

The Berlin tone was launched at the start with “There’s No Business Like Show Business,” “Alexander’s Ragtime Band,” and “Let Me Sing and I’m Happy.” Throughout Haan interjected information about Berlin’s life, tracing his Russian roots to his immigration here as a youngster, emphasizing his origins with a number Berlin did not write. She poignantly sang the Yiddish “Ofyn Pripetchik” (music and lyrics by Mark Warshawsky). Haan and Shatto stressed Berlin’s life-long appreciation for America with their joint rendition of Berlin’s “Give Me Your Tired, Your Poor.”

Berlin’s military songs were highlighted, including his “Oh How I Hate To Get Up In the Morning” and “This is the Army, Mr. Jones,” with Haan tenderly singing the lesser-known 1943 “Take Me With You, Soldier Boy.”

There was a section of Hollywood songs, including “Puttin’ On the Ritz,” “Blue Skies,” “Cheek to Cheek,” “I’ve Got the Sun In the Morning” and “Counting Your Blessings Instead of Sheep.” Anther section featured love songs, including the enormously popular “Always,” which Berlin gifted to his wife on their wedding day, and an enticing medley of famous Berlin romantic tunes.

Winer turned out to be one of the best MCs I have seen. She was very well-prepared with her script, spoke with admirable clarity, and introduced the artists with detail and enthusiasm. She made a letter-perfect and attractive host, who kept the evening going in grand style. During her comments she made repeated references to iconic Broadway lyricist Betty Comden, who was a good friend.

The convention, started 30 years ago by the late Donald Smith, runs through Thursday (October 31) with a different theme each night. It takes place in Rose Hall, Jazz at Lincoln Center. The performers mostly had a number in the first act and then returned with one in the second act.

Particularly memorable was the appearance of Christine Andreas, who seemed to be surprised when presented with the annual Donald Smith Award in honor of the founder. Her first selection was a brilliant and moving rendition of “The Summer Knows” (lyrics by Marilyn and Alan Bergman), and her later selection closing the program was an exuberant “I’m Flying” from “Peter Pan” (Carolyn Leigh, Comden).

Linda Purl opened with a jazzy take on “I Feel a Song Coming On” (lyrics by Fields). Purl puts her own spin on numbers, as with her second song, an unusual rendition of “Just the Way You Look Tonight”(Fields).

Welcome humor was introduced by James Naughton with “Westport,” cleverly detailing sexual goings-on in that Connecticut community. For his second number he did a spellbinding “Witchcraft” (Leigh).

And so it went. Songs chosen were mainly ones reflecting the contributions by various women. Stacy Sullivan, one of the best of current cabaret singers, scored with “I Love Being Here With You,” and opened the second act with a rousing “Big Spender.” Darius de Haas delivered the back to back combination of “Sunny Side of the Street” and “I Can’t Give You Anything But Love” and returned in the second act with “Some Other Time.”

Tom Wopat, with his Broadway experience, was solid with his two numbers, “Look Around” and “I Won’t Dance.” Debby Boone clicked with “I’m Waiting Just for You” and “Where Do You Start.” La Tanya Hall, extra smooth, made a major impression with “The Best is Yet to Come” and “A Case of You.”

The personality she can pour into a song was evident last night in the very first selections, “I Can’t Be Bothered” and “Happy Go Lucky,” which quickly established rapport with her audience. Then she swung into “Italian Street Song” and “Cuanto La Gusta,” forecasting the range one could expect to follow.

Gillette can be sexy, as with “Teach Me Tonight,” very tender, as with “It Never Was You,” soft and easy going in her interpretation of “Shall We Dance,” longingly with “I’ll Never Go There Anymore,” and especially showing off her voice with a medley from “Showboat.”

Throughout she delivered funny comments and anecdotes, referring for example, to meeting her former doctor husband at an autopsy. She gave a sexy report on teaching Richard Gere how to tango. She shared stories about different roles she has played, including Pocahontas in London.

In joyfully reporting that she has a new great granddaughter, she commented on aging by quoting humorist Will Rogers as asserting, “The only way to slow advancing age is if it had to pass through Congress.” As entertaining as Gillette’s stories are, she could tighten them a bit.

The guts of her show is delivering her interpretations of a wide range of songs, including “High Plains Jamboree,” “That Terrific Rainbow,” “You Mustn’t Kick It Around,” “You Have to Want to Touch Him,”"Everybody Says Don’t,” “Everyone Needs Someone,“ “I Can’t Help Lovin’ That Man,” “Life is Just a Bowl of Cherries,” and more.

There is amusing interplay of duets with her pianist, Paul Greenwood, who on occasion joins in the singing, as does bass player Ritt Henn, which adds to the show’s easygoing feeling. For her encore, Gillette sang Cole Porter’s “You’re the Top” and after doing his lyrics inserted some very funny made-up ones by Barry Kleinbort reflecting contemporary times. The biggest laugh came when she sauntered toward someone in the audience and, continuing the “you’re the” string of lyrics, sang “You’re the f—k in a play by Mamet.”

Sutton, with a white tux jacket over a black shirt, is effusive in welcoming his audience, and he loves to aim songs at adoring women fans. He sings in English and Hebrew and showers the crowd with his larger-than-life personality that goes along with his talent. He is skillful at establishing intimacy with the crowd –-he introduced his parents who flew in from Israel to attend--and he dominates the stage with his musical skill, dispensing lots of humor along the way.

The women singers he presented last night were Amanda Jane Cooper (Glinda in“Wicked"), and Ali Ewoldt (Christine Daae in “The Phantom of the Opera”). Both Cooper and Ewoldt are terrific, each in her own way. Sutton’s approach is to let his guests solo and also duet with them in what comes across as fun-filled collaboration.

Cooper, blond and full of zest, sang “For Good” from “Wicked,” and she and Sutton riffed on “Hello, Dolly!” and playfully sang “Anything You Can Do I Can Do Better” from “Annie Get Your Gun,” which in the “I can sing higher than you” bit allowed Cooper to soar with her soprano voice. They sang “The Rain in Spain,” with Sutton delivering some of it in Hebrew. There was also amusement in the routine of teaching Cooper to also sing a bit in Hebrew.

Ali Ewoldt has a great voice, as she thrillingly demonstrated with “All I Ask of You” from “The Phantom of the Opera.” She and Sutton teamed on “Tonight” and “Somewhere” from “West Side Story” and “Climb Every Mountain” from “The Sound of Music.” Sutton treated Cooper and Ewoldt with generosity, lavishing praise on them and giving the impression that he was excited to share the stage with them.

On his own, Sutton sang a variety of numbers, such as “Come Fly With Me” and “Sway.” Confessing that he longs to perform in “Chicago,” he sang that show’s “All I Care About.” He did a medley from “Fiddler on the Roof,” and especially demonstrating his vocal prowess, “Man of La Mancha” and “Don’t Rain on My Parade.”

This time she made her entrance wearing a sexy outfit consisting of a black top and black shorts covered with sparkling silvery mesh from neck to toe. It never takes long for Haan to personally connect with the crowd, which was already clapping along as she opened with “Willkommen” and “Cabaret” from “Cabaret” (Kander and Ebb), followed by her rousing interpretation of “New York, York New York” (also Kander and Ebb). Haan cements her relationship by sometimes moving teasingly among attendees and singing directly to them.

Accomplished in acting out lyrics with style and movement, including a wiggle here and there, Haan might also succeed at standup comedy if she chose. Her recounting of an episode when she sang in China was completely hilarious. She described getting up in the morning and recoiling at finding chicken feet on the hotel breakfast menu, which sent her scurrying to a nearby Starbucks. Unfortunately, that day she was hit with a bad case of diarrhea. She described going to a drug store where nobody spoke English, and acted out her motions attempting to show a rush out of her derriere to get the personnel to recognize her predicament and describe the right medication.

After having everyone laughing uproariously, Haan proceeded to sing a Chinese 19th century folk song in Mandarin, which she had studied for the occasion. The number was titled “Mo li hua” (“Yasmin Flower Song”).

Haan, whose origins stem from Germany and Luxembourg, also achieved hilarity by singing a renowned “Mary Poppins” number in German. The title mouthful is “Superkalifragilistischexpialigorisch.” You have to hear it to believe it.

Haan provided another example of her ability to sing in German with a number she plucked from a 1931 German film called, “The Man Who Is Looking for His Murderer.” The song’s title is “Wenn Ich Mir Was Wünschen Dürfte” (Friedrich Hollaender).

She does especially well in French, giving her own brand of intensity to both the popular “La vie en rose” (Luis Guglielmi) and “Milord” (George Moustaki), the second inducing more clapping from the audience.

“Bokserboym” (“Carob Tree” by Chava Alberstein) was sung in Yiddish, and Haan also sang a number in Hebrew, “Rikmah Ensoshit Achat” (“One Human Tissue” by Moti Hamer), dedicated to Holocaust Remembrance Day. Haan’s Spanish contribution was her take on the popular “Besame Mucho” (Consuelo Valázquez).

Describing her trip to Sweden, she launched into a number in Swedish, “Gabriellas Sång,” from the Swedish movie “As It Is in Heaven.” Haan even studied some Turkish to be able to sing “Yigidim Aslanim,” written by Zülfü Livaneli in tribute to Mustaf Kemal Atatürk, the founder of the Republic of Turkey and its first president. Not to ignore Italian, Haan wistfully sang “Con te partirò” (“Time to Say Goodby”).

Of course, she also showed her way with lively interpretations of Americna theater classics—the lilting “So in Love” (Cole Porter) from “Kiss Me Kate” and “You Can Always Count on Me” (David Zippel and Cy Coleman) from “City of Angels” For her encore, grounded solidly in the tradition of Broadway, she served up a lively medley from shows by Jerome Kern, Oscar Hammerstein, Cole Porter and George Gershwin.

What’s more, there was the attraction of her terrific backup band. David Rosenthal contributed elegant solos on guitar. Richie Goods on bass, Shedrick Mitchell on piano and Kendrick Scott on drums also had their entertaining moments in the spotlight. The excellent blend between Henry and her musicians added impact to numbers chosen.

Henry has a smooth-as-silk musical style that first establishes intimacy with her audience, and then she edges ahead as she escalates with her vocal power. She looks great (this time clad in a clinging dress attractively patterned in red and black) and she moves scintillatingly when listening to a musician’s solo, as well as using body language to emphasize particular lyrics.

The fact that her chosen songs were all about love offered the opportunity to pour out her heart and soul, sometimes with easygoing tenderness and at other moments with impassioned vigor. Her versatile voice accommodates whatever mood she is attempting to project.

Her opener was “Almost Like Being in Love” (music by Frederick Loewe and Alan Jay Lerner), which she charged up dramatically. Her “Wild is the Wind” (Dimitri Tiomkin and Ned Washington) had intricate emotional appeal. In her rendition of “Don’t Take Your Love From Me” (Henry Nemo), Henry projected tender pleading. There was a thoughtful mood in her interpretation of “What’ll I Do?” by Irving Berlin, which she introduced with an account of Berlin falling in love. Henry did quite a few informational introductions which explained reasons for her choices. She also gave a fresh, moving rendition of “I Didn’t Know What Time It Was” by Richard Rodgers and Lorenz Hart. Henry turned intriguingly pensive in singing “All My Tomorrows” by Jimmy van Heusen and Sammy Cahn.

Another strong point is Henry’s ability to have fun with a song. “Joe” enabled her to look at a guy who may be acceptable as an experience but is basically a jerk not meant for a serious relationship. Another in a similar vein was “Until It’s Time for You to Go” (Buffy Saint-Marie) about relations with a man until a woman decides to get him out of her life.

When Henry sang “That’s All” (Genesis), she infused it with total commitment, and a jazzy take at full strength to convey giving everything to love. In “Save Your Love for Me” (Johnny and Sue Edward) she reached passionate intensity. In a complete change of tone, Henry did as her encore “Great is Thy Faithfulness,” a hymn, which has words by Thomas Crisholm and music provided much later by William M. Runyan. There was a gospel-like aura to this triumphant conclusion.

The theme is celebrating the centennial of the democratic Weimar Republic, which flourished in the 1920s and early 1930s. When Hitler took over Germany many of the songs were banned because of their rebellious content of feminism, sexual liberation and trans-gender portrayal, or because of being written by Jewish composers. In the Weimar period the cabaret scene flourished in Berlin with an anything-goes aura, and great songs emerged from composers of the day, many of the numbers penetrating and sassy in satirizing life and prejudices of the time.

The big surprise in Haan’s latest clever and entertaining Weimar tribute, performed as if in Berlin’s Wintergarten Theatre, is the addition of a special guest--beautiful, dark-haired French cabaret artist Magali Dahan. The two are sensational in their duets, and voilá, at one point they illustrate what might have occurred in the free-spirited Weimar cabaret world when Haan and Dahan sing as lesbian lovers, sexily tongue-kissing and also with a hand gently passing over a private area. It’s surprising to behold, and the two performers make the most of the love-charged moments.

The show is packed with superb numbers, some sung in German, some in English and some in both. Haan opens with the feminist “Chuck Out the Men” (“Raus Mit Den Männern”), written by Friedrich Hollaender.

There is the sexy “I Am a Vamp” (“Ich Bin Ein Vamp”), a number by Mischa Spoliansky and Marcellus Schiffer. Another song with sex appeal is “Naughty Lola,” (“Fesche Lola”), by Hollaender, who also composed the dreamy “Falling in Love Again,” with the mouthful German title, “Ich Bin Von Kopf Bis FuB Auf Liebe Eigestellt.” That number gives Haan the opportunity to convincingly slide into her Marlene Dietrich mode, a perfect blend with the period being portrayed.

Other songs with a bite include taking apart the sexual divide in “Masculin/Feminin” (Maskulinum/Femininum”), by Spoliansky, and also “Abortion Is Illegal,” by two of the era’s greats, Hanns Eisler and Bertolt Brecht. There are many more appealing renditions, and, of course, no program like this could not feature “Lili Marleen.”

Haan indulges amusingly in her trademark sauntering among audience members, and, of course, picking out a few men on whom to shower affection. Dahan also does the same—I was one of her targets on opening night. The gambit extends the fun in a tasteful but not intrusive way.

It is a smart move on Haan’s part to introduce Dahan to New York audiences. Dahan sings excitingly and flashes sexy stage movement that blends well with Haan’s mischievous acting style. Haan in her musical number not only honors the Weimar era but makes you accept the illusion that she has become part of it.

“Berlin, Mon Amour” features the invaluable, skillful work at the piano by Haan’s long-time musical director, Richard Danley, and the show has been directed by Barry Kleinbort and produced by Peter Martin and Joseph Barry.

Dazzling looking in a black silk tuxedo, Haan immediately took command with her interpretation of “My Ship” from the Broadway show “Lady in the Dark.” The production projected musical weight, because Haan had strong accompaniment by a six-piece group, with her long-time musical director Richard Danley at the piano along with the Novembergruppe Quintet, including band leader Dan Levinson on clarinet, alto saxophone; Jonathan David Russell, violin; Vinny Raniolo, guitar and banjo; Jared Engel, bass and tuba, and Mike Campenni, drums. The combination provides extra oomph to back up Haan’s singing, in contrast to some singers accompanied by just a piano and bass. This is serious stuff.

One thing about Haan is that she projects so much enthusiasm into the songs that flow from her, and also that she is such a skillful actress in delivering lyrics that you get the impression she is having a grand time and wants to be sure you share it with her. She makes you feel that she probably has about a thousand more songs ready to unfurl, which, if you have followed her, is reflected in her variety of program themes. All this, of course, takes meticulous preparation.

Haan dispenses lots of information about Weill, whose career was cut short when he died in 1950 at the age of 50. She covers his German period (Haan is also from Germany), his fleeing from the Nazi regime, and his re-establishing himself in the United States and catching the spirit of musical theater here.

Haan spans the territory. One may have heard “Pirate Jenny” from “The Threepenny Opera” many times, but Haan brings new color and terror to that number. In contrast, she can be very funny singing “The Saga of Jenny” from the Broadway show “Lady In the Dark,” a number about the gal named Jenny, who couldn’t make up her mind and “in twenty-seven languages she couldn’t say no.”

There is, of course, “Mack the Knife,” or “Die Moritat von Mackie Messer” as it is called in Germany, another from “The Threepenny Opera.” Her accent was very funny when she introduced Weill’s “Alabama Song,” mimicking what the state sounded like to her—Alabaaaama—when she visited there.

There were so many treats in her program, including “Surabaya Johnny” from “Happy End,” “Speak Low” from “One Touch of Venus,” and the poignant “I’m a Stranger Here Myself,” also from “One Touch of Venus,” among many other selections, whether reflecting Weill’s collaboration with Bertolt Brecht or his other musical ventures.

Haan likes to at some point stroll among audience members. She’ll address a lyric to someone in particular, or muss up gentleman’s hair. It’s part of her intimate approach and doesn’t come across as corny, as can be the case with some who try this.

Joining in the program dedicated to the Aznavour is Russ Kassoff, Constant’s pianist and musical director, with whom she has had a working relationship over many years. There is a logical connection in the show, as Constant knew and admired Aznavour, who was championed by her as he worked to achieve his illustrious career. The tone of the performance is primarily intimate and chatty, with information dispensed along with the music.

In the course of remarks Constant makes, she recalls how Johnny Carson, who repeatedly booked Constant on his show in the years after she performed on Broadway in “La Plume de Ma Tante,” didn’t know who Aznavour was when he visited the U.S. and asked Constant about him. She responded with a briefing and recommendation.

As for Kassoff, he had occasion to work with Aznavour, as reflected in a projected photograph. He was a pianist and musical director for Aznavour on various occasions, the last in 1999 at the opening of the Hotel Paris Las Vegas when he conducted and played for Aznavour, with accompaniment by Michel Legrand and a full orchestra. Kassoff gets a spot in the program to talk about Aznavour, emphasized with playing different numbers on different nights.

Constant begins her tribute with an array of images reflecting Aznavour’s extraordinary life and career. He has been credited with writing more than 1200 songs, and recording more than 1000. Her program highlights numbers in some way associated with him, both in French and English. She does this in an informal manner, and on the night I attended (January. 25) let the capacity audience in on the cabaret notables attending, introducing KT Sullivan, Mark Nadler, Steve Ross and Richard Holbrook.

Constant selects and sings numerous songs for which Aznavour wrote music or lyrics or both. Her opening number is “Emmenez Moi” (music and lyrics by Aznavour). She also sings “You’ve Let Yourself Go” (Music by Aznavour, English lyrics by Fred Ebb). She puts special feeling into “Que c’est triste Venise” (music by Aznavour), lyrics by Francoise Durin).

Constant is best when she sings with force, as with “La Boheme” (music by Aznavour, lyrics by Jacques Plante), and with her encore number, “Yesterday When I Was Young” (music and French lyrics by Aznavour, English lyrics by Herbert Kretzmer).