Ann Kittredge: Romantic Notions
Ann Kittredge is an entertainer. The artist has confident stage presence; she communicates with an audience. A superb voice in terms of range, control, and choices is channeled to precise, visually honed theatrics. Of particular pleasure are original arrangements, especially those of familiar material. When I complimented musical director, Christopher Denny, he noted that pauses/silence is as important
as musical treatment. These are expertly employed as is parenthetic minimalism and repetition.
The title song (Keith Hermann/Barry Harman) ends in a stage-whispered “cherish.” Just as the room settles, rhythmic guitar (Sean Harkness), bass (Tom Hubbard), and drums (Rex Benincasa), successively enter supporting Carole King’s “I Feel the Earth Move.” Shoulders rise. Notes stretch like taffy. When
you look at me that way… is seductively directed at an audience member. The sky comes trem-bel-ing dowwwn, Kittredge sings.
Aaron Heik, Ann Kittredge, Tom Hubbard, Sean Harkness
“I Just Called to Say I Love you” (Stevie Wonder) arrives with jazzy, Latin beat, buoyant as a bird surfing the wind. The vocalist’s voice fans out, smooth and bright. Her hips respond. Aaron Heick’s sax is superfine. “I Just Wanna Dance With You” (John Prine/Roger Cook) opens with deferential bass, then
satin sax. Layering works beautifully in this show. It’s an easy, flirty two-step. That’s what they
invented dancing for, she sings arms outstretched, patting the air.
The familiar introduction to Cole Porter’s “Night and Day” instead prefaces Jimmy Webb’s “Didn’t We?” Piano is tender, vocal halting. Wounded pauses wrap a lament. “What the World Needs Now is Love”
(Burt Bacharach/Hal David) follows as if in tandem. Sequence features a capella, gossamer piano, brushes on cymbals, throaty bass. Hand in her lap, Kittredge focuses on lyrics just short of a sob.
Original takes on “Accentuate the Positive” (Harold Arlen/Johnny Mercer) and “Mr. Tambourine Man” (Bob Dylan) are captivating. The first begins with evangelical verse, cymbals, plucked bass, brushes… “Take it!” she tells the band. Bass punches like rhythmic pinking shears. Percussion evokes uptown street sounds. Musicians key off one another with veteran skill. Vocal soars, slides, climbs, arcs, whirls and winks. It’s fun! The Dylan emerges a respectful ballad. Piano conjures dappled sun on water replete with ripples and eddies. Here’s the author’s poetry with underpinning, not interference.
Ann Kittredge and Sean Harkness
The artist sang Billy Joel’s “You’re My Home” to the groom at her wedding. It’s warm, resolute, personal.
I need you in my heart – she looks around, extends her arms – You’re my home. Sean Harkness’s guitar caresses.
“The trigger for worldwide air play was this next 100 year-old song,” Kittredge tells us. In duet with Harkness’s gorgeous guitar styling, we hear Victor Hebert’s “Sweet Mystery of Life.” Interpretation bears no resemblance to Jeanette MacDonald’s overheated rendition from Naughty Marietta. Kittredge sings like sighing with clarity, grace and feeling.
Photos by Natasha Castillo
Ann Kittredge: Romantic Notions
MD/Piano – Christopher Denny
Director – Barry Kleinbort
Drums/Percussion – Rex Benincasa
Guitars – Sean Harkness
Reed Instruments – Aaron Heick
Bass – Tom Hubbard
Chelsea Table + Stage
152 West 26th Street
