Kristin Chenoweth

For the Girls

Mesa Arts Center, Mesa, AZ, March 4, 2022

Reviewed by Lynn Timmons Edwards

Accompanied by Broadway royalty Mary-Mitchell Campbell on piano and Damien Bassman on drums, along with back-up singers Rachel Webb and Marissa Rosen, Kristin Chenoweth gave a master class on how to create the intimacy of a cabaret in a large concert hall. She was authentic and honest to the bone, from her Oklahoma roots and Christian faith to her 7-Eleven slurpy cup to the “it’s all about me” perspective as a star of Broadway, television, and film. Her current tour, which was postponed for two years because of Covid, highlights her CD For the Girls where she pays tribute to her heroes and friends Ariana Grande, Dolly Parton, Jennifer Hudson, and Reba McIntire, among others.

Striding onto the stage in a Covid-proof space helmet, she soon stripped it away and was all sparkles inside and out. The opening number, “I’m a Woman, W.O.M.A.N.” set the tone for a night of eclectic music that ranged from pop to Broadway to country and back again. It was followed by “The Song Remembers When,” written by Hugh Prestwood and originally recorded by her friend Trisha Yearwood, which she covered on her 2005 album As I Am. Then came the Lesley Gore-recorded “You Don’t Own Me” (John Madara/David White), which seemed like a declaration of solidarity with her singers. Later she featured them in duet on Carole King’s “(You Make Me Feel Like) A Natural Woman” (King/Gerry Goffin/Jerry Wexler), in which they showed off their superb talent to Chenoweth’s delight.

She confided her sadness over being locked away during the pandemic, unable to tour, and then sang the Streisand hit “The Way We Were” (Alan and Marilyn Bergman/Marvin Hamlisch) with her newfound perspective. She was particularly tender laying her head on Carpenter’s shoulder. We all got to meet Chenoweth’s fiancé, Josh Bryant, who displayed his guitar prowess on “Desperado” (Don Henley/Glenn Frey). The former runaway bride and cougar, now 52, is engaged to the 39-year-old Nashville musician. Her love for him was palpable as she made the song very personal—“let somebody love you before it’s too late.”

Chenoweth attended college to study opera before choosing the path to Broadway. Making sure we knew about her training, she nailed “Green Finch and Linnet Bird” (Stephen Sondheim). She had all the high-note lilt with no annoying vibrato. This gave Campbell a chance to talk about working with Sondheim on three shows to which Chenoweth said, “Sondheim thought of Carpenter as his daughter.”  “I Could Have Danced All Night” was too operatic for my taste, but her point about her training was well taken.

Chenoweth is a teacher and loves young singers, and so she came to Arizona two days prior to her concert to conduct master classes at Arizona State University. She asked how many young singers were in the audience and reminded them “breath, commas.” Apparently, Sondheim was strict with his singers about noticing punctuation. She also hit home with aging sopranos, reminding us to work the muscles!

A medley of “Always on My Mind” (Johnny Christopher/Wayne Carson Thompson/Mark James) recorded by Willie Nelson, among others, and Sondheim’s “Losing My Mind” was sheer cabaret artistry. Her interpretation was original, and she brought both herself and many of us in the audience to tears. The song led to a story of her meeting Nelson 19 years ago while performing the role of Glinda in Wicked. He came backstage after the show and invited her to his bus to jam with his musicians, which to this day remains one of her favorite experiences. When you have a signature song you must sing it. With Chenowith that song is “Popular” from Wicked, and these days she introduces it by poking some fun at Dr. Anthony Fauci.

In keeping with her promise of a wide range of songs, she included “Bring Him Home” from Les Misérables and “Yesterday Once More,” originally recorded by Karen Carpenter. She chose an original song by Campbell, “Reasons for Hope,” as her finale. I love to quote Nancy LaMott, “Relax, it’s cabaret; there’s always an encore.” Chenoweth sang the Charlie Chaplin/John Turner/Geoffrey Parsons “Smile” with no mic. Did she get that idea from Jeremy Jordon or vice versa? It’s a tough call in a large hall, but she pulled it off.

The Mesa Arts Center has great acoustics which makes it possible for artists like Chenoweth to successfully bring their cabaret shows to a large concert hall. Bravo to them. I hope to return to cover Randy Rainbow, May 4.