Pop radio hit over-exposure made some listeners under-appreciate them and a sound and look dominated by sweetness soured some, but the brother/sister Carpenters had musical skills and smarts. Presenting a mostly successful and enjoyable show—not without its dips and slips—likeable, open-hearted Maria Ottavia was and is more than just a fan fanning the flames of memory, largely due to the talents of lead vocalist, gone-too-soon Karen Carpenter, whose voice resonated with her in many ways.  (The songwriting/arranging/ instrumental skills of brother Richard weren’t emphasized and his name was barely mentioned.)  At this early performance, Maria was visibly nervous, but when the crowd responded with pleasure and support, she gushed gratitude and relief and joy, blowing kisses. (I’m told this was reigned in later.  Director Lennie Watts allowed her strong suit of sincerity to come forth in patter and interpretations.  The opener “Yesterday Once More,” originally a tribute to Carpenters’ musical forebearers became instead, with snippets of Carpenters’ hits (later sung in full), a love letter to the duo and their era. Some biographical data was well told and even more might be added.

Mega-hits “(They Long to Be) Close to You” and “We’ve Only Just Begun” didn’t begin at the beginning of the well-worn lyric, perhaps to bring us in unexpectedly without anticipating an “oh, this one!” reaction?  Smart.

Cheerleaders can be serious. Maria’s affection is infectious, her involved and invested performances persuasive. She pleads her case for appreciation, mixing nostalgia with ardent presentations that also cause us to listen to some oldies with new appreciation. Musical Director Tracy Stark’s ideas for arrangements honor the originals’ spirit but are never entrusted to encrusted candy-apple glossy goo or soppy, sloppy pop schmaltz. She makes things fun, fervent and, yes, hip. Versatile Tracy plays piano with panache and a well of light-rock musical vocabulary, often joining in rich layers of harmony singing with Dara Seitzman and Xerxies Eclipse.

Maria’s voice can be clear, but it also seems clear that some songs found her singing in a less comfortable, higher range and her pitch can be unreliable there.  She had to sing “Sing,” with a challengingly complex arrangement too high (its lyric “Sing out loud, sing out strong” became unintentionally oops-ish.)  The high voicings being low points seemed also odd, since Karen Carpenter’s voice was noticeably a deep one and Maria is in her comfort zone and sounds best and most secure in lower ranges and using her chest voice.  In soprano territory, the voice can sound thin. Occasionally, she laid on the fan-fest a bit thick.  But I stuck through it through thick and thin, thinking the sweetness and depth plumbed very much offset these Carpenters carpings.

Maria, vulnerable and communicative, is well worth seeing, especially if you love this material or want to have a delightful intervention that will convince you that your younger, snider, sentiment-eschewing self might have missed something.  This isn’t old bubble gum to chew, but warm, deeply felt music which Stark often knocks out of the park and, mostly, Maria makes some magic. You may make musical friends with her and some AM radio oldies with newly-awakened ears.  We call that “cabaret.”

Maria has one more show at Don't Tell Mama on July 27 at 7:30 pm.

Rob Lester
Cabaret Scenes
July 11, 2010
www.cabaretscenes.org