Charlotte Patton: Celebrating Men (Bless Their Hearts)

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Charlotte Patton

Celebrating Men (Bless Their Hearts)

Metropolitan Room, NYC, May 28, 2015

Reviewed by Alix Cohen for Cabaret Scenes

Charlotte-Patton-Celebrating-Men-Cabaret-Scenes-Magazine_212When Charlotte Patton says she likes men, the vocalist really means it. Her current show exudes feminine appreciation, puzzlement and resignation. Unfortunately formatted as a “drinking game,” (à la Andy Cohen’s let’s-get-sloshed-together television Clubhouse) and including several references to ignoring all male faults when carried into the bedroom (really!?), the show, directed by Karen Oberlin, nonetheless contains a breadth of well-chosen material.

Patton’s vocal skill rests in short phrases with any elongated notes arriving in the middle, not at the end where they sometimes go astray. Ability to communicate is showcased by low-key expression of lyrics, deftly including some which are spoken. Backed by Musical Director Barry Levitt, with Tom Hubbard on bass, her most successful numbers evidence both these attributes.

A lovely, Latin-tinted arrangement of “You’d Be So Nice to Come Home To” (Cole Porter) is paired with “It’s So Nice to Have a Man Around the House” (Harold Spina & Jack Elliott). This latter is the first of several lighter numbers which capitalize on Patton’s flair for the girly. She flirts with Levitt and provocatively places her back to Hubbard on the line “…And will help you zip your zippers…” A feathery “Do It Again” (George Gershwin/Buddy DeSylva) is beautifully phrased. The performer could give lessons is a suggestive “mmmm.”

Two more eclectic, extremely wry numbers demonstrate a feel for ’50s cool Patton might, at some point, explore more fully. The bass-centric (go, Tom!) “Thursday (Here’s Why I Did Not Go to Work Today)” by Harry Nilsson is delivered with a shrug and musical sashay. “Quality Time” (Dave Frishberg), to my mind the evening’s centerpiece, is all the more amusing for deadpan delivery and comic timing. “Being up to their ears in their careers,” she suggests “…a little hotel/ My firm could buy it, then we could gentrify it…” and “…a day and a night off/ I’ll talk to Syd/ Make it a write off…”

Mood shifts include a rendition of “I Must Have That Man” (Jimmy McHugh/Dorothy Fields) which is given an unnecessary ouch gay twist, and Stephen Sondheim’s “Losing My Mind,” the single occasion when underplaying doesn’t work. The terrific, slow-and-savored arrangement of “I’m Just Wild About Harry” (Eubie Blake/Noble Sissle) is aborted by lyrically injected thank-yous.

“Hard Lovin’ Loser” (Richard Farina), Patton’s unexpectedly effective encore, is rhythmically appealing and brims with throaty, on-target attitude.

If the vocalist focuses on what she does well, her next show might be a more consistent winner.

Note to Sound Man: During three numbers the piano threatened to or actually did overwhelm the vocalist.

Charlotte returns to the Metropolitan Room June 29, July 31 and August 20.

Alix Cohen

Alix Cohen’s writing began with poetry, segued into lyrics then took a commercial detour. She now authors pieces about culture/the arts, including reviews and features. A diehard proponent of cabaret, she’s also a theater aficionado, a voting member of Drama Desk, The Drama League and of The NY Press Club in addition to MAC. Currently, Alix writes for Cabaret Scenes, Theater Pizzazz and Woman Around Town. Additional pieces have been published by The New York Post, The National Observer’s Playground Magazine, Pasadena Magazine and Times Square Chronicles. Alix is the recipient of six New York Press Club Awards.