SEVERAL factors distinguished Nina Krisofferson's Billie Holiday Story from the standard tribute show.

First there was the equal prominence of Nina and Billie's names in the show title, indicative of Kristofferson's valuation of her worth as a actress and singer in her own right. Second was the ticket price, the cheapest at £24, the most expensive at ten pence shy of £40.

This would be expensive, even if you recalled Kristofferson from her striking lead performance in North Broadsides' adaptation of Medea at Scarborough's Stephen Joseph Theatre in 2010, but it did indicate that she had invested plenty in making her Holiday memorable.

Wardrobe, set design and choice of musicians were all of the highest standard, from her two dresses to the crimson red drape to the trilby hats and suits of her five players led by pianist Alan Rogers, musical director for Strictly Come Dancing's tours.

The price unquestionably precluded Kristofferson from drawing a larger house to her York debut , and the National Centre for Early Music would have been a more practical venue, but the show suited a red velvet theatre setting, not least because of Kristofferson's innate theatricality.

Last June, fellow jazz singer Tina May sang and told stories as herself to illuminate her admiration of French chanteuse Edith Piaf in her Little Sparrow cabaret show at the NCEM. By comparison, Kristofferson turned herself wholly into Holiday for a warts-and-all portrayal of the New York singer haunted by drink and drugs, domestic abuse and racism, re-telling her life story with purple-bruised language and frankness as the Grim Reaper waits in the wings in 1959 at Holiday's final concert. She did not impersonate Holiday's singing voice so much as capture its unique characteristics and how her life informed it.

Kristofferson gave all of herself to all of Billie: a combustible combination indeed. Word of mouth should ensure a bigger audience next time.