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06-18-2013, 03:21 PM
Finding Her Own Place Within a Lineup of Divas
By STEPHEN HOLDEN
Published: April 18, 2013
As the Broadway star LaChanze paid tribute to Diana Ross in her show, “Love Hangover,” at 54 Below on Wednesday evening, the image she presented was a historically revealing triple exposure of three African-American divas: the honoree; Billie Holiday, whom Ms. Ross portrayed in “Lady Sings the Blues”; and LaChanze herself.
At the same time, the show offered a revisionist take on the streamlined Motown sound. While some songs recycled the label’s signature groove, others were reconceived by the musical director Jeff Neiman, who played piano and synthesizer. The Supremes hit “I Hear a Symphony,” in particular, was embellished with classical allusions. Ms. Ross’s weepy hit “Touch Me in the Morning” was lightened up with a bossa nova and became dry-eyed.
So much of song interpretation is about subtext, which Ms. Ross and Holiday wielded to powerful effect. For both, coyness was an essential strategy. Ms. Ross refined a wiggly sexiness along with a vocal tone that ranged from tart to saccharine while conveying a synthetic glamor. Holiday’s coyness was a wounded erotic outpouring that emanated from deep within.
LaChanze, unfailingly charming and vocally steady, is a more direct singer. There was no game playing, conscious or unconscious. Wearing a clingy white gown, she affectionately parodied some of Ms. Ross’s moves. Her strongest performance was her version of “You Keep Me Hangin’ On,” arguably the most durable of the Supremes’ string of hits. Her version revolved around the accusation, “You’re just using me.”
The songs from “Lady Sings the Blues” included a clunky “Them There Eyes” and a drawn-out “Good Morning Heartache.” The more gospel-oriented Motown standards, “You’re All I Need to Get By,” which Ms. Ross recorded in 1970 and was sung on Wednesday as a duet with Jerry Dixon, and “Ain’t No Mountain High Enough” received relatively restrained performances that didn’t try to shoot the moon.
In ending the show with Ms. Ross’s 1979 hit, “The Boss,” LaChanze reinforced the impression that she is proud to belong to a new generation of divas taking charge of their music with poise and confidence.
http://www.nytimes.com/2013/04/19/arts/music/lachanze-at-54-below.html?adxnnl=1&ref=arts&adxnnlx=1371582780-VqtFLztg64BCvAkIpY771w
By STEPHEN HOLDEN
Published: April 18, 2013
As the Broadway star LaChanze paid tribute to Diana Ross in her show, “Love Hangover,” at 54 Below on Wednesday evening, the image she presented was a historically revealing triple exposure of three African-American divas: the honoree; Billie Holiday, whom Ms. Ross portrayed in “Lady Sings the Blues”; and LaChanze herself.
At the same time, the show offered a revisionist take on the streamlined Motown sound. While some songs recycled the label’s signature groove, others were reconceived by the musical director Jeff Neiman, who played piano and synthesizer. The Supremes hit “I Hear a Symphony,” in particular, was embellished with classical allusions. Ms. Ross’s weepy hit “Touch Me in the Morning” was lightened up with a bossa nova and became dry-eyed.
So much of song interpretation is about subtext, which Ms. Ross and Holiday wielded to powerful effect. For both, coyness was an essential strategy. Ms. Ross refined a wiggly sexiness along with a vocal tone that ranged from tart to saccharine while conveying a synthetic glamor. Holiday’s coyness was a wounded erotic outpouring that emanated from deep within.
LaChanze, unfailingly charming and vocally steady, is a more direct singer. There was no game playing, conscious or unconscious. Wearing a clingy white gown, she affectionately parodied some of Ms. Ross’s moves. Her strongest performance was her version of “You Keep Me Hangin’ On,” arguably the most durable of the Supremes’ string of hits. Her version revolved around the accusation, “You’re just using me.”
The songs from “Lady Sings the Blues” included a clunky “Them There Eyes” and a drawn-out “Good Morning Heartache.” The more gospel-oriented Motown standards, “You’re All I Need to Get By,” which Ms. Ross recorded in 1970 and was sung on Wednesday as a duet with Jerry Dixon, and “Ain’t No Mountain High Enough” received relatively restrained performances that didn’t try to shoot the moon.
In ending the show with Ms. Ross’s 1979 hit, “The Boss,” LaChanze reinforced the impression that she is proud to belong to a new generation of divas taking charge of their music with poise and confidence.
http://www.nytimes.com/2013/04/19/arts/music/lachanze-at-54-below.html?adxnnl=1&ref=arts&adxnnlx=1371582780-VqtFLztg64BCvAkIpY771w