Ann Kittredge

Romantic Notions

Chelsea Table + Stage, NYC, September 27, 2024

Reviewed by Alix Cohen

Ann Kittredge is an entertainer. She has confident stage presence, and she communicates with her audience. She has a superb voice in terms of range and control, and her song choices ars coordinated with precise, visually honed theatrics. (Barry Kleinbort is her director).

Of particular pleasure were the original arrangements, especially those of familiar material. When I complimented musical director/pianist Christopher Denny, he noted that pauses and silence are as important as musical treatment. These were expertly employed as were parenthetic minimalism and repetition.

The title song, by Keith Hermann and Barry Harman ended in a stage-whispered “cherish.” Just as the room settled, a rhythmic guitar (Sean Harkness), bass (Tom Hubbard), and drums (Rex Benincasa) entered successively to support Carole King’s “I Feel the Earth Move.” Kittredge’s shoulders rose, and her notes stretched like taffy. “When you look at me that way” was seductively directed at an audience member followed by “The sky comes trem-bel-ing dowwwn.”

“I Just Called to Say I Love You” (Stevie Wonder) arrived with a jazzy Latin beat, buoyant as a bird surfing the wind. The vocalist’s voice fanned out smooth and bright; her hips responded. Aaron Heick ‘s sax was superfine. “I Just Wanna Dance with You” (John Prine/Roger Cook) opened with a deferential bass, followed by sax. Layering worked beautifully in this show. The song was an easy, flirty two-step. “That’s what they invented dancing for,” she sang with her arms outstretched, patting the air.

The familiar introduction to Cole Porter’s “Night and Day” instead prefaced Jimmy Webb’s “Didn’t We?” The piano was tender, the vocal halting. Wounded pauses wrapped around a lament. “What the World Needs Now Is Love” (Burt Bacharach/Hal David) followed as if in tandem. The sequence featured a gossamer piano, brushes on cymbals, and throaty bass. With her hand in her lap, Kittredge focused on the lyrics just short of a sob.

Original takes on “Ac-Cen-Tchu-Ate the Positive” (Harold Arlen/Johnny Mercer) and “Mr. Tambourine Man” (Bob Dylan) were captivating. The first one began with an evangelical verse, enhanced by cymbals, plucked bass, and brushes. “Take it!” she told the band. The bass punched like rhythmic pinking shears; the percussion evoked uptown street sounds. The musicians keyed off one another with veteran skill. Kittredge’s vocal soared, slid, climbed, arced, whirled, and winked. It was fun! The Dylan song was delivered as a respectful and slowed ballad. The piano conjured dappled sun on water replete with ripples and eddies. Here was the author’s poetry with underpinning, not interference.

Kittredge said that she had sung Billy Joel’s “You’re My Home” to her groom at her wedding. It was warm, resolute, and personal. “I need you in my heart”—she looked around and extended her arms—”You’re my home.” Sean Harkness’ guitar caressed. “The trigger for worldwide air play was this next 100-year-old song,” Kittredge told us. In duet with Harkness’ gorgeous guitar styling, we heard Victor Herbert’s “Ah! Sweet Mystery of Life.” Her interpretation bore no resemblance to Jeanette MacDonald’s overheated rendition in Naughty Marietta. Kittredge sang as if sighing with clarity, grace, and feeling. One couldn’t help but be curious as to how a bit more naturalness would have enhanced the lyric’s meaning.