Ann Hampton Callaway wrote and sang the theme from the TV hit The Nanny, or as she likes to call it “my accountant’s favorite song.” As you might guess from that swinging tune, she definitely thrives on the jazzier end of cabaret, and that inspired her to craft a loving musical history of the hope and joy jazz brings to the movies. To wit, her latest club act “Jazz Goes to the Movies.” (Ann is also an out lesbian, who gave me the honor of being the journalist to do her “coming out interview” – you can read that here).
Ella Fitzgerald greatly influenced Callaway, so it’s completely natural this show should find Ann mixing Ella’s sumptuous syncopation and scat with Fred Astaire’s crooning (more on that in a moment). On songs Ann herself sang for the movies – “Come Rain or Come Shine” from The Good Shepherd and “The Nearness of You” from Last Holiday – the jazz quotient is through the roof.
As to Astaire, Ann remarks that while some people are “Deadheads” she’s a “Fredhead,” and she interprets several songs that Astaire originated in movies. “Let’s Face the Music and Dance” – an Irving Berlin number Fred sang to Ginger Rogers in Follow the Fleet – receives a very emotional reading. She applies the first line of the song to the present day: “There may be trouble ahead.” But in that connection she takes very seriously the remedy offered by the next couple of lines: “But while there’s music and moonlight and love and romance / Let’s face the music and dance.”
Even more emotional is her Pride-themed take on Rodgers and Hart’s “My Funny Valentine.” Callaway relates that when lyricist Lorenz Hart received this gorgeous and melancholy melody from Rodgers, the closeted Hart looked in the mirror and wrote the words he longed to have some man sing to him. The song moved Callaway (and us) so much, that she had to sing The Nanny theme to lift her own spirits.
She even extends her “movie” theme to the recent remake of A Star is Born. No, she doesn’t sing that song, but she does her own take on “La Vie en Rose” (which Gaga sings in a bar in the film), including Callaway’s own intro – a brief love letter to the city of Paris. Callaway, as always, achieves a kind of jazz-pop perfection, shimmery and rich. Highly recommended.
For tickets, click here.
To learn about Jonathan Warman’s directing work, see jonathanwarman.com.