I am a sucker for biography, especially musical and entertainment biography. Stay Forever: The Life and Music of Dusty Springfield recently opened at The Renberg Theatre at the Los Angeles Gay and Lesbian Center. Of course I had heard of Dusty Springfield and knew some of her songs (“Son of A Preacher Man”, “Wishin' and Hopin'"), but I knew next to nothing about her life and her place in musical history.

Dusty Springfield was a made-up name for a Catholic Irish girl named Mary Isobel Catherine Bernadette O'Brien who wanted to sing soulful songs that sounded "black." Dusty Springfield was also the kind of persona a Catholic girl might live with when she discovered she was gay or maybe bisexual. She was a great singer, of complicated emotions, who became a fearless, powerful voice for women in the male-dominated music business. She also helped spread the popularity of Soul and R&B around the world.

Kirsten Holly Smith wrote the story and performs sixteen of Dusty’s songs, as well as an encore with lyrics that ask us not to forget Dusty Springfield. After seeing Stay Forever: The Life and Music of Dusty Springfield, and hearing Kirsten Holly Smith’s dead-on rendition of Dusty and her music, I don’t think anyone could or would want to forget.

The play follows Dusty’s life, from her beginnings, in a girl group where she eventually became the lead singer, to her fabulous solo career in the ‘60s. We then find out about her seven-year secret relationship with another woman, their breakup, and her eventual “outing” by the British tabloids long before it was “cool” or even advisable to come out of the closet. Her career took a downhill turn in the '70s as the music changed and she fell victim to the temptations of drink and drugs, became a “cutter,“ and had to be institutionalized for a while. All this is acted with great skill and depth of feeling by Ms. Smith, who captures Dusty's mannerisms and seems to understand the ups and down that she faced. Eventually Dusty had a comeback, only to get breast cancer, which she faced with great courage until her death at 59.

This exciting and moving show is directed by Derrick LaSalla, who uses the broad and narrow space of the Renberg Theatre with great skill. He keeps things moving, using slides, costumes (nicely designed by Norman Cox), scrims, and expressive lighting by Tim Guion. I hope he gets a more suitable space when the show goes to New York, a space that will provide him with more choices for staging and presentation.

Last but definitely not least are the marvelous four-piece band and the capable backup singers Lelah Foster and Annette Moore. Zachary Provost, who has performed with Elton John, Carlos Santana, and Natalie Cole, and was Josh Groban’s musical director for five years, plays keyboards and is the musical director. His work is superlative. Go see this at the Renberg Theatre through March 2 (with a possible extension).