Brahminology: Ode to the Boston BlueBloods presented at Davenport’s Piano Bar and Cabaret, is KT McCammond’s recollection and reflection of her experiences growing up among, or should I say amongst,  the Boston Bluebloods.

The word “Brahmin,” as McCammond explains, refers not only to India’s sacred cow, but also to the highest stratum in India’s (former) caste society. Today it is likely to mean an aloof New Englander from an old, respected family, who, due to wealth or connection to Pilgrims or Puritans, carries a big social, political, or economic stick. McCammond’s take, while highly personal, is not  particularly sentimental. She presents many aspects of the Bluebloods through song and it’s fun. That they are snooty we learn from her nose-in-the-air offering of Noel Coward’s “Why Do the Wrong People Travel." That the bluebloods money oriented we learn through Kurt Weill’s “Economics.” That they are spoiled we learn from her lusciously sensuous “Peel Me a Grape”(by Dave Frischberg and Blossom Dearie). Rather than playing the tune cute or kittenish, Mc Cammond brings a sense of utter entitlement and the song delights.

McCammond further discusses the social requirement among the bluebloods that emotional displays be avoided. In her offering (along with musical director Bob Moreen) of Michael Brown’s “Lizzie Borden,” we hear the tale of the axe murderess who sliced and diced her parents. Borden is described in an understated way as “a problem kind of kid.’ We get the repression angle even while we are laughing.  McCammond does explain how her family has now moved outside the (blueblood) box. In an interesting medley combining Noel Coward’s “Poor Little Rich Girl” and Kurt Weill’s “Trouble Man," McCammond explores the confusion that love adds to an otherwise ordered life. However, if McCammond presents this show again (hopefully, she will), I think we need to learn both through her music and her dialogue even more about how she, herself, now responds to the insight that emotional repression may no longer be the best choice.

McCammond sings beautifully. Her voice has a grand range and flows smoothly from a lower comedic register to lilting highs. She looked stunning in the taupe sheathe with the flared bottom. It was beaded in ecru and reminiscent of a sepia portrait. It encompassed, much in line with the show’s theme, the look of old money. Did the corn-fed red-blooded Midwestern audience relate fully to Brahminology” Maybe. But have no doubt that they connected well to KT McCammond. She’s a top-notch cabaret chanteuse.

Carla Gordon
Cabaret Scenes
December 8, 2007
www.cabaretscenes.org