The premise of Calendar Girl is fairly daunting—presenting a new show every month, tackling a different subject with song.  When reviewed, Colleen McHugh dealt with “green,” the color of impending spring and such.

It’s not easy learning a song a month, let alone a whole new show. McHugh’s effort was impressive, though she would have benefited with more rehearsal as she was still mostly “on book.”

Explaining to the audience that she lost her voice impersonating Ethel Merman the prior weekend, she started out singing somewhat unevenly.  Ironically, once she owned up to the “abuse,” her voice relaxed and she sounded considerably renewed.

Numerous chances were taken with repertoire and style—many of which worked well.  Probably her best vocal was a shimmery “It’s Not Easy Being Green.”  Being a former Second City improv artist, she was able to compose a stunningly funny and vocally prodigious “Power Ballad” based on an audience member's story regarding some sort of green goo.  (I can't retell it in this GP-rated publication.)  A strictly ¾ (march tempo) version of “Evergreen” did not work though, as it was more grating than funny.

As many gifted females in New York (or in high school theater departments for that matter), she assumed the persona of a straight girl in a gay man’s world, literally concluding that she herself was actually a gay man.

Is McHugh doing a disservice to herself and her audience?  While possibly getting a strong following of loyal fans, she (and others applying this shtick) can lose the chance of really connecting with a larger audience and ultimately their own essence.  A performer does not start out as a gay icon, or anyone's icon—it is an earned position usually gained after years of presenting one’s own unique, often vulnerable, persona.  But McHugh’s patter was pseudo tough and brassy, as she commented on the foibles of celebrity performers in other rooms and explained the mechanics of putting her show together rather than revealing any of herself to the audience.  I would have liked to know more of who she really was.

With a little more introspection and less extroversion, I think Colleen McHugh can ultimately make a star turn and reach as wider audience, rather than the more limited (though invaluable) niche.

On piano and backup vocals, Jody Shelton offered a perfect balance of refinery, while Michael Pearce provided solid support on the bass.

Melody Breyer-Grell
Cabaret Scenes
March 9, 2009
www.cabaretscenes.org