BWW Reviews: Tony Nominee Judy Kuhn's Homage to the Songwriting Rodgers Family at Lincoln Center's American Songbook Series Is Entertaining but Uneven

Judy Kuhn, a multiple nominee for both Tony and Drama Desk Awards, celebrated three generations of songwriting Rodgers in her American Songbook debut at Lincoln Center's Appel Room on February 4: The legendary Richard Rodgers, his daughter Mary Rodgers, and grandson Adam Guettel. In the course of the evening, we moved back and forth from iconic, powerfully melodic songs to more consistently lighthearted and tender fare to contemporary, operetta-like material. It's not difficult to attribute authorship.

Kuhn opened with a rendition of "Oh, What a Beautiful Morning" (Oklahoma-Richard Rodgers/ Oscar Hammerstein II), featuring a spectacularly original arrangement by Musical Director Todd Almond (left in photo, below). The song began acapella, followed by solo violin, then piano, bass, guitar, and woodwind in that order. Strings make their own paths through melody, rather than shadowing/supporting. The vocalist has a lovely contralto, but I have to remind myself to listen to her.

From there, we went directly to "The Call" (Floyd Collins -Adam Guettel), in which bluegrass roots are ably exemplified with another, arresting, iconoclastic treatment. As Guettel's style is additionally complicated, the simple words of an Ozark cave spelunker have competition.

"If I follow that sound/I could find what I'm lookin' fer/It could be glory callin'/callin' me/Callin'. . . " This is not to say Kuhn doesn't perform with commitment and exuberance. Self-admittedly obsessed with Guettel, whether she makes a fist with one hand or places another on her chest, she tackles the role with infectious pleasure.

Kuhn offered additional numbers from Floyd Collins, several increasingly complex choices from the song cycle Myths and Hymns, and "Love to Me" from Guettel's The Light in the Piazza. To my mind, the last was the most effective. Here, Kuhn as Margaret Johnson watching childlike daughter Clara fall in love, finds herself reexamining her own marriage. Hands clasped, the performer's phrasing is natural and reflective as Margaret wrestles with realization. Octaves slide effortlessly through difficult transitions. Compelling.

Three selections by Mary Rodgers include "Song of Love" (Once Upon a Mattress- the musical that "made" Carol Burnett-lyrics by Marshall Baer), which is sung as a duet in counterpoint to "A Wonderful Guy" from South Pacific (Richard Rodgers/Oscar Hammerstein II). As Kuhn introduces it, there's a shout from the audience. Schuler Hensley (far right in photo) comes running down the aisle shouting "Winifred!" (The princess of Mattress.) Though game, Hensley (as Prince Dauntless), is constantly cut off, having little opportunity for comedy. Kuhn eschews it completely. Though technically clever, the experiment comes off as novelty diminishing an expansive love song and eviscerating an otherwise wonderful, comic one.

Richard Rodgers songs include gorgeous versions of "If I Loved You" and "Hello Young Lovers" (respectively from Carousel and The King and I-- lyrics Oscar Hammerstein II.) Kuhn's subtle vibrato feels like ripples, emerging soft-edged. She inhabits fullness of emotion, imbuing both characters with history and the importance of the moment. Quieter passages are as pristine as those which find an open throat. The results of control are apparent without a glimpse of process.

A duet of "We're Gonna Be Alright" (Do I Hear a Waltz?-lyrics- Stephen Sondheim) with Malcolm Getts, lacks focus and characterization. "The Sweetest Sounds" (No Strings for which Rodgers, just after Hammerstein's death, wrote both music and lyrics) sounds oddly like an Israeli folk tune. Half way through, Kuhn was joined on and off stage by a huge, leaderless, young chorus apparently brought together here for the first time. The result is not special, nor does this particular song warrant the approach. Someone should have asked the group to uniformly wear black as they looked jarringly picked up off the street.

Judy Kuhn is a gracious and talented performer with fortes, examples of which were displayed in this show. While one applauds innovative approach, however, it should always be in service of the material. This was a mixed bag.

Photos by Ken Yatarola
Lincoln Center's American Songbook presents
Judy Kuhn Sings Richard Rodgers, Mary Rodgers, and Adam Guettel
Todd Almond-Arranger/Musical Director/Piano
Josh Clayton-Orchestrator
Malcolm Gets-Director
February 4, 2015

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