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“More Songs of Self-Delusion”
Birdland – October 24
You can’t fake the sheer love of performing that Colleen McHugh demonstrated at her birthday show at Birdland. Or if you can, you’re the Meryl Streep of cabaret. The birthday girl clearly worked hard that night, but she made it all look like a spirited round of party games. McHugh performed with a full combo featuring Jody Shelton at the piano, Saadi Zain on bass, Matt Munisteri on guitar, and—for the first time ever, so she told us—a drummer (the accomplished and energetic Daniel Glass). The full-bodied sound of the band, accentuated with riffs and harmonies by vocalist Margaret Dorn, added to the evening’s excitement.
McHugh could have led with Irving Berlin’s “The Hostess with the Mostes’ on the Ball.” That song’s title defines her position for the evening perfectly. Instead she began with another Berlin beauty, “Blue Skies.” There are probably other songs in the canon capable of creating the kind of distilled happiness that “Blue Skies” provides. Few of them do it better in my book. When it’s sung by a voice like McHugh’s, which thrums warmly like the beating wings of a particularly hardy species of hummingbird, then your show is off to a grand start.
The hummingbird simile could be extended to McHugh’s wide-ranging repertoire. She extracts the nectar from many different species in the musical garden. McHugh performed a few Cole Porter selections (she’s planning an album of his material) and noted that she “had a thing” about him, “as you only can have with a dead, married, gay man.” But she also featured material by writers as diverse as Jill Sobule and Robin Eaton (“Mexican Wrestler”), Peggy Lee and Duke Ellington (“I’m Gonna Go Fishin’”), Jule Styne, Betty Comden & Adolph Green (“Just in Time”), and John Mayer (“My Stupid Mouth”).
Some singers have to strain when tackling that kind of diversity, but McHugh seems perfectly at home in each genre. For instance, her take on the Mayer song was first-rate. She’d probably worked out her vocal mannerisms and embellishments studiously. But the performance came off as perfectly spontaneous. She didn’t sound at all stodgy or out of her depth, as some club singers do when they turn to contemporary material. McHugh rocked.
I was also particularly taken with her performance of Burt Bacharach and Hal David’s “Are You There (with Another Girl)?” In her introduction, she noted hilariously that the song’s title seemed to be the musical query of a young Dumb Dora—an airhead who’s, like, totally oblivious to her boyfriend’s philandering. McHugh even reminded us of this joke during an instrumental passage in the song. But the humor didn’t get in the way of her execution of the number. She performed it exuberantly—savoring Bacharach’s jumping-bean rhythms and his now-leaping, now-dipping melodic lines. I suggest an album of Bacharach/David compositions for McHugh after she finishes up with Cole Porter.
Performers often pontificate about being “in the moment.” For McHugh such focus seems to come naturally. She can quip (and get laughs) in just about any situation. Nowhere is that more true than in her celebrated musical improvisations, the content of which is determined through audience suggestions. She is able to sing with full-throated confidence while one part of her brain is busy mapping out the rhythms and rhymes she’ll deliver several measures later. Her birthday-night improv song, titled “Way Down in Chinatown” (centering on a notorious fortune cookie message), was uproarious and satisfying. Shelton made the number even funnier by adding piano embellishments that might have come off the soundtrack of an old Charlie Chan movie.
The evening did not include a lot in the way of ballads, though not everything on McHugh’s song list was unadulterated frivolity. She gave a sensitive reading of Joe Raposo’s “Bein’ Green,” stretching out beautifully its measured musical line—climbing steadily from the melancholic to the hopeful. What was decidedly not on the evening’s program was anything despairing, depressing, or purely downbeat. It’s not that McHugh isn’t capable of creating darker moods, as she proved when she explored the nuances of self-tortured irony in “Free Again” (Armand Canfora, Joss Baselli, Robert Colby) at one of the recent “Simply Streisand” shows at the Laurie Beechman Theatre. But at Birdland she was not about to be the pooper at her own party.
As the evening grew short, McHugh did take a few minutes to pay respect to mortality and the passage of time. But it was not with anything wistfully reflective, like “September Song” or “Try to Remember.” Instead she sang Herb Magidson and Carl Sigman’s “Enjoy Yourself (It’s Later Than You Think),” tossing out cheeky asides to the audience (“Get that lump checked!). Could there have been any better way to mark another year’s passage (not to mention the imminent Day of the Dead) than by singing a number with a sassy conga rhythm that acknowledged but thumbed its nose at the Grim Reaper? The only thing I can possibly think of would have been the distribution of birthday cupcakes to everyone at Birdland. No worries: McHugh, ever the thoughtful event planner, had that confectionary angle covered.
Mark Dundas Wood is an arts/entertainment journalist and dramaturg. He began writing reviews for BistroAwards.com in 2011. More recently he has contributed "Cabaret Setlist" articles about cabaret repertoire. Other reviews and articles have appeared in theaterscene.net and clydefitchreport.com, as well as in American Theatre and Back Stage. As a dramaturg, he has worked with New Professional Theatre and the New York Musical Theatre Festival. He is currently literary manager for Broad Horizons Theatre Company.