Sally Olson: Carpenters Tribute Concert
Sally Olson
Carpenters Tribute Concert
The Triad, NYC, April 29, 2017
Reviewed by Rob Lester for Cabaret Scenes
Sally Olson
Photo: Ken Signorello/
Green Destiny Images
There’s zero doubt in Sally Olson’s Karen Carpenter homage that she’s studied her subject. Her performance comes across as, well, studied. Points for knowing detail-by-detail nuances of phrasing, stylings, and intonation well enough to reproduce devotionally, worshipfully, wistfully. Tribute shows court trouble. How slavishly to follow deep footprints: Imitate? Channel? Attempt capturing essences? Add one’s spin interpreting? Olson’s own pleasing voice and physical appearance have similarities to the contralto female half of the hit-making Carpenter siblings. Her longtime connection to Karen’s more fragile/lonely side include sharing one eating disorder (factored in the sad 1982 death, age 32).
Changing wigs and wardrobe modeled on the honoree’s 1970s looks, fan club prez Sally dutifully goes presentational routes, “Carpentry” often “nailed,” but clipping some notes more legato or sustained in original versions. Vermont-based Olson says this music brings her mega-joy, but seemed low-key to the point of dour, even mournful, in early sections of a two-act concert (with intermission). She later appeared somewhat rejuvenated. Repertoire was dominated by expected giant hits. Musical Director Jeffrey Klitz, while skillful, made little attempt to evoke sibling pianist Richard Carpenter in stage persona; they barely looked at each other.
Major misjudgment: Letting audiences hear Karen’s richer, extremely distinctive voice before/between live Olson renditions (pre-show/intermission recordings, frequently presented narrated archival film clips). It’s the close-but-no-no-cigar syndrome. Patter needs tweaking as some bio facts are repeated, belabored, needing to be more “thoughts from the heart” than “lecture from the podium.” She read some, even “You’ve been a wonderful audience” which needs to sound genuine, not scripted! She’s reworking this as a theatrical piece, staying in character 100%; hooray for that because it needs a director. Alternating between patter as historian/admirer Sally commenting and singing “as” Karen is jarring. Stay tuned because she’s determined.
Category: Cabaret Reviews, New York City, New York City Cabaret Reviews, Regional
