December 14, 2001 U.S. Army Band presents 'A Holiday Festival' concert Photos by Sgt. 1st Class Johnny Turpen Maureen McGovern was the special guest for the performance. by Staff Sgt. Suzette Niess Special to the Pentagram More than 10,000 people packed DAR Constitution Hall last weekend to see "A Holiday Festival" featuring Maureen McGovern and members of The U.S. Army Orchestra, Chorus, Chorale and Herald Trumpets. With a beautiful holiday setting each of the four performances was a showcase of the wide range of talent exhibited by the musicians of "Pershing's Own." "It's the best Christmas show in town," said one patron. "We come every year because the season isn't complete without this wonderful show." . . . Special guest star Maureen McGovern rounded out the second half of the performance singing several holiday favorites. McGovern, a 29-year veteran of show business and a Grammy nominee, took the stage stating "It's so great to be back onstage with this extraordinary band." McGovern was The U.S. Army Band's special guest for their 1999 "Holiday Festival." After coaxing the crowd to sing along with her on Irving Berlin's "White Christmas," she laughed and said, "you can all now put on your resumes that you've sung with Maureen McGovern." The house was stilled as McGovern read a favorite passage of hers entitled "One Solitary Life" from the book "Who is this Jesus?" to the piano accompaniment of "Away in a Manger." A special guest of McGovern's was her father who is retired and living in Northern Virginia. Mr. McGovern said his daughter's first exposure to music was a barbershop quartet that he and some buddies sang in when Maureen was a little girl. "She used to attend all of our rehearsals which we held at our home. One day I noticed she had memorized all four parts to many of our songs. The rest is history," he said. McGovern dedicated her performance to the men and women who serve both here and abroad.

THEATER REVIEW - Nov. 8, 2001 McGovern performance rules over superb 'Lion in Winter' by Franci Hart The Oklahoman Broadway star Maureen McGovern and community theater favorite Steve Vann ruled Tolbert Theater in the Stage Center Presents offering of "Lion in Winter." Intrigue, conspiracy, manipulation and deceit reigned when Henry II, his sons, wife and mistress gathered for a family Christmas in James Goldman's play, directed by Rhonda Clark and produced by Carpenter Square. Transported to 1183 by Tom Harrington's historically accurate set and Corey Martin's period costumes, "Lion in Winter" begins with a controlled passion that ebbs and flows, building to the final confrontation between Eleanor and Henry. McGovern's performance as the saucy, enigmatic Eleanor carried the production. She captured perfectly the complexities of a woman who would do anything for power yet could love passionately. Vann matched McGovern stride for stride as the aging lion. He was smug, powerful and always regal. McGovern and Vann played Henry and Eleanor's love-hate relationship fully. The stage literally sizzled with passion. This superb production is highly recommended. It continues at Stage Center, 400 W Sheridan, with performances at 7:30 p.m. today, 8 p.m. Friday and Saturday and 2 p.m. Sunday. For tickets or more information, call 270-4801. READ MORE --The Oklahoman

INTERVIEW: Playing queen is comfortable for McGovern 2001-11-09 By Marcia Shottenkirk The Oklahoman McGovern: Cast in stage productions She deems herself the "disaster-theme queen of the 1970s." But now Maureen McGovern, the voice behind "The Morning After," is taking on another royal role, that of Eleanor of Aquitaine in the Stage Center Presents production of "The Lion in Winter." The special guest artist will be appearing in performances this weekend along with a cast from Carpenter Square Theatre. "At its root, it is a strong love story," McGovern said of the James Goldman play. "It's the story of these two people who loved each other very deeply but also couldn't stand to be in the same room with one another." She describes "The Lion in Winter" as "the ultimate dysfunctional family whose members are in a constant struggle for power and love. "It is such a wonderfully rich story with a language that reads as smoothly as the lyrics to a song." And she should know. Considered one of the most respected singers of the time, McGovern has been called "The Stradivarius Voice." . . . Her recording career began with the No. 1, Academy Award-winning gold record "The Morning After" from "The Poseidon Adventure" and a Grammy nomination for "Best New Artist," followed by the Oscar-winning gold record, "We May Never Love Like This Again" from "The Towering Inferno." McGovern made history in 1975 as the first singer to record and introduce two Oscar- nominated songs in the same year, "We May Never Love Like This Again" and "Wherever Love Takes Me" from the movie "Gold." Most recently, she was nominated for a Grammy for her compact disc "The Pleasure of His Company." . . . Today, she has come a long way from her time as the "disaster- theme queen." Though it catapulted her into the spotlight, the distinction would lead her to walk away from the music industry twice. "My recordings were other people's choices," she said. "It wasn't until the early 1980s that I found out who I was musically." In 1981, McGovern auditioned for the role of "Mabel" in the Broadway production of "The Pirates of Penzance." Producers were looking for someone to replace Linda Ronstadt. Although McGovern had never studied acting and never even performed in summer stock or a high school play, the producers wanted her for the part. "I've always learned on my feet," she said with a laugh. "It's a real satisfaction when you can take hold of the situation and learn from it. Besides, that experience is where I found I had a real love for the theater." Since then, she has starred on Broadway in "The Pirates of Penzance," "Nine" and "The Three Penny Opera." She also has appeared in numerous stage productions throughout the country, spending between 70 and 90 percent of each year traveling away from her home in Los Angeles. McGovern came to Oklahoma City following the highly successful Boston debut of "Letters from 'Nam," where she also played a character named Eleanor whose son served a tour of duty but did not make it home. "That was a real intense piece," McGovern said. "So it was nice knowing I would come here next and do something a little more lighthearted. "In the face of tragedy, humor gets us through. It can heal the contempt and the horrors. I truly believe that." McGovern also believes "The Lion in Winter" will provide more than enough laughs to soothe and entertain the people who come to see it. "The language is so rich and wickedly funny," McGovern said. "I couldn't pass up the opportunity to play Eleanor. She is one of the greatest roles a woman could ever play." . . . "Eleanor is just one of the most exquisite women in history. She was a very beautiful woman -- the Princess Diana of the age," McGovern said. "She was very beloved and very hated at the same time, and she had such a deliciously wicked sense of humor." Though she won't be singing in the production, McGovern certainly hasn't given up on song as an integral part of her career. "I listen to the radio, and sometimes think I'm from Mars," she said. "A lot of the music we hear is so damaging and mindless. We're just learning to realize the power of music to heal." That belief has led her to her most recent project, creating the "Works of Heart Foundation." "Through the years, I've gotten so many letters from people who said 'The Morning After' gave them some kind of hope, inspiration. The more I though about that, the more I thought I could do this. I could record a library of life-affirming, positive music," she said. The foundation gives McGovern a vehicle to promote her own style of music. "It enables me to record music in all the areas which I love and for a higher purpose. I want to be the cheerleader for those who are using music as a therapy. "From seniors to preemies, we've found that music can get inside when other things can't." With a career spanning recordings, concerts, the Broadway stage, films, television and radio, McGovern said she has no desire to slow down or choose to follow only one aspect of the entertainment industry. Staying busy keeps her from her greatest fear: "I don't want to be pigeonholed ever again." The Oklahoman

Review: McGovern proves her showmanship in knockout DSSO concert Kyle Eller Duluth Budgeteer News October 17th, 2001 Maureen McGovern's "Stradivarius Voice" came over the crowd at Saturday's Duluth-Superior Symphony Orchestra pops concert in waves. From the coloratura on "The Boogie Woogie Bugle Boy of Company B," where she sang with the trumpet's fast-moving, stratospherically high solo in a perfect third, to the smoky nightclub sound of "Fever," to "Somewhere Over the Rainbow" sung a capella -- and wireless -- McGovern demonstrated a range of vocal abilities Duluthians are not likely to see repeated for some time. The 52-year-old performer, whose black outfit with just a flash of red on the toes and heels of her shoes (reminding more than one audience member of those lighted sneakers kids wore a few years ago) contrasted with the glittery gold and red banners, had remarkable stage presence, too. Before "Fever," she joked about all the baby boomers joining her in that over-50 club: "If you ask me, global warming is just a collective hot flash," she said. Almost as remarkable was her ability to take every song and make it personal. She shared stories of her family on several occasions, including "I'll Be Home for Christmas." On "Over the Rainbow," everything but McGovern stopped, and she dropped her mike to her side; the audience was so hushed listening to her voice that I couldn't bring myself even to scratch on a notebook. It was truly a remarkable, intimate moment. Many of McGovern's songs were performed a capella or accompanied only by her musical director and gifted pianist Jeff Harris, but when the orchestra did play it found moments to shine. The brass, particularly the trumpet soloist, was remarkable throughout. When the strings had a chance to play, which wasn't often, they got to play those lush, rich chords we come to associate with pops concerts. But the show was McGovern. In "Blues in the Night," she added little embellishments of such sharp, crystal clear notes in the upper registers that the crowd didn't want the concert to end, even though the evening was edging toward 10 p.m. The crowd, if still showing vestiges of the Northland's renowned Scandinavian reserve, was pumped up for her performance. They responded to every move with enthusiasm, and even had more opera glasses in hand than normal. McGovern responded to the immediate standing ovation with a series of programmed encores that included "The Morning After," "God Bless America" and "Our Love is Here to Stay." The concert went until after 10:15 p.m. The strong second half was all the more remarkable for what preceded it. When McGovern appeared on stage just after intermission and picked up the wrong microphone, singing completely through her opening number despite the fact that nobody in the crowd could hear her, it seemed that the karma generated by a spotty first half by the DSSO had taken over. . . . When McGovern, "The Stradivarius Voice," strutted on stage and put on a show fit for a lip-reader, it seemed things could not get worse. "Fix your mike," a not-so-kindly voice yelled from the balcony, although many in front had already informed McGovern no one could hear her. But McGovern, showing not only confidence and presence but an unexpected and genuine warmth toward the crowd, fixed the mike and sang the piece again on request -- drawing applause even from the orchestra. "It's my first time in Duluth, and I'll be singing every song for you twice this evening," she said, before demonstrating her courage and launching right into an a capella piece. And that was the turning point. A forgettable concert became a memorable one, leaving only those of us with notebooks cognizant that something strange had come before those wonderful sounds. Read more at: Budgeteer News Kyle Eller is news editor for the Budgeteer News. Reach him at kyle.eller@duluth.com or 723-1207.

DSSO makes a comeback with McGovern's second-half singing BY SAMUEL BLACK FOR THE NEWS TRIBUNE The audience received two concerts for the price of one Saturday night, though the offerings in "Hurray for Hollywood'' were most unequal. The Duluth-Superior Symphony Orchestra launched its Pops Live! series with an able but perfunctory performance of several movie theme songs. Vocalist Maureen McGovern saved the second half. . . . McGovern's entrance changed everything, from the instruments on the stage to the color of the stage lights. Wearing a black suit with red satin cuffs and black shoes with red glittering heels, she picked up a microphone and mouthed, "Sing, Sing, Sing'' while the orchestra drowned her out. After finishing her opening number, she was greeted with shouts from the audience: "We can't hear you!'' Handed a microphone that worked, McGovern flippantly asked, "Do you want to hear that again?'' To a roar of assent, she turned to her pianist/director and nodded. The audience was hers for the rest of the evening. In the more than 15 songs that followed, McGovern showered an enlivened audience with her exceptional vocal range, her changes of mood, and her infectious love affair with the great popular music of the mid-20th century. "Fever'' was red and sultry, and she had the orchestra singing phrases in the colorful teasing of "A-Tiskit A-Taskit.'' As the lights turned blue, she offered an unaccompanied overview of some of her favorite tunes from the 1940s, followed by a rich piano/vocal arrangement of "White Cliffs of Dover.'' The orchestra returned for "I'll Be Seeing You,'' and the whole stage jumped to life with Duke Ellington's "Caravan'' and McGovern's signature version of the "Boogie-Woogie Bugle Boy,'' in which DSSO trumpeter Earl Salemink kept pace with her vocal gymnastics. Then the stage darkened, and in a single white spotlight McGovern quietly sang "Somewhere Over the Rainbow'' a cappella. McGovern proceeded through a medley of blues tunes, followed by a prayerful singing of "God Bless America'' in which she invited the audience to join her in a majestic repeat. Singing to the "resilience of the human spirit,'' her first encore was "The Morning After'' from "The Poseidon Adventure,'' the movie theme that launched her recording career in 1972. With the house on its feet, she returned for her second encore, a gentle rendition of Gershwin's "Our Love is Here to Stay.'' Along with her pianist/arranger/conductor Jeff Harris and the drum wizardry of Steve Houghton, McGovern made her first appearance in Duluth a warm and memorable one. Read complete review at: Duluth News Tribune

Pops concert showcases McGovern vocals Saturday, September 29, 2001 Her hour-long set of about 10 numbers featured music of the Big Band era, some evergreens, ballads from World War II, and concluded with her signature tune, "The Morning After," a pop hit from the early 1970s. Tremendous range is what was enjoyed here. Not just breadth of material handled deftly, or a variety of moods balanced nicely, but a truly spectacular voice with as much range as can be imagined. She also demonstrated great ease maneuvering about the stage, among the more difficult feats for a performer to truly master. McGovern clearly mastered this long ago. That showed. She felt at ease, her audience felt at ease. Up-tempo numbers raised the spirit while reflective ballads soothed the soul, something needed these days, right? "Sing, Sing, Sing" was followed by a stunning rendition of "Fever," a tune made famous by Peggy Lee. And it's fitting to mention Lee when talking about McGovern's act since she is obviously knowledgeable about the history preceding her, which likewise is apparent in her kinship for the great songwriters from whose books she draws so effortlessly. Ella (you know the one) made "A Tisket A Tasket" famous long ago. But, as she kept doing last night, McGovern brought the coquettish ditty to life her own way, without Fitzgerald's famous temper tantrum funnies and lots of other tricks instead. Superb! So too was McGovern's later excursion through the Harold Arlen songbook with a trio of torch songs: "The Man That Got Away," which Judy Garland turned to once Dorothy grew up; "Stormy Weather," that Lena Horne will always stun with in that dreamy window; and "The Blues In The Night," another of Ella's classics. The tunes bring to mind these great performers, but McGovern - and this isn't easy - relied not at all on shadowing. In her WWII tribute, she sang "I'll Be Seeing You" and a snazzy rendition of "Boogie Woogie Bugle Boy." But her "The White Cliffs Of Dover" was absolutely incredible. In a word, jaw-dropping. McGovern put aside the microphone she crooned with so skillfully upon tackling "God Bless America," perhaps to demonstrate her Broadway chops. Ethel Merman didn't need a mic, either. McGovern is deserving of such noble company in every way. Grant Cooper's pops orchestra supported McGovern and her men at every turn. And their opening first half of the concert was without flaw. . . . Only one quibble. We wanted more, since what was offered was as good as it gets. Read complete review: Syracuse, NY - The Post-Standard

Letters from 'Nam by Ryan Defoe "I was there!" exclaim the six exuberant young soldiers in Letters from 'Nam. They are speaking, of course, of the Vietnam War and all its so-called glories. The interesting thing is that I'll be saying the same thing to people when they ask me about Letters from 'Nam. "I was there!" Letters from 'Nam is a great new theatre piece; given the events of September 11, it is even more relevant now than it was before, and sometimes harder to watch. Transforming a book of letters written by Vietnam soldiers to their families and musicalizing it for the stage is quite a daunting task. However, it is a task that NSMT and the author, Paris Barclay, successfully accomplish. Led by Grammy-nominated Maureen McGovern (or as some theatre buffs may know her, Margaret White in the workshop of Carrie) as Eleanor Bridges, the mother of one of our soldiers, this cast knows what is going on. Each actor develops an engaging, idiosyncratic character for us to get to know throughout the evening. There is an obvious camaraderie both onstage and off for the Letters from 'Nam cast and it shines through onstage. . . . Eleanor (Maureen McGovern) experiences the Vietnam War through letters from her son (David Burnham) Maureen McGovern is a joy to watch. At first, the focus of her character is unclear, but as the evening progresses she is given great material and steals our hearts. Ms. McGovern never leaves the stage; she is ever-present in our sight as she is ever-present in the mind of her son. As act two progresses, and the war becomes more and more difficult for her son, Ms. McGovern becomes more involved in the action of the soldiers as she is further involved in the mind of her son and his wish to get home to her. Ms. McGovern is given two stand-out numbers to sing, one in each act, and my only regret is that she doesn't have more to do. Her "There Will Still Be Christmas" is a showstopper. This lady has talent and should be considered one of the great theatre divas, right up there with Betty Buckley and Patti LuPone. . . . In light of the recent events, I was a bit uncertain at first of a new musical about war. But Letters from 'Nam is not about war. It's about human relationships, as is all great theatre, and the way war happens to effect them. It is a study of human character and nature and the way we survive our tough times. Everyone should see Letters from 'Nam; it should have a promising future. Read complete review at:Talkin Broadway

September 13, 2001 ''Letters from 'Nam" elicits an emotional response By SHEILA BARTH Salem News correspondent BEVERLY -- They say, "The truth shall set you free," and truth is what the two-act musical play "Letters from 'Nam," at the North Shore Music Theatre through Sept. 23, is all about. . . . In "Letters from 'Nam," award-winning writer-director Paris Barclay de-emphasized the horrors of war and focused instead on hopeful letters exchanged as families counted down the days soldiers had to serve. In the play's opening, six earnest-looking soldiers in fatigues, carrying huge duffel bags, sing a rousing rendition of "I Was There!," its lyrics lifted from actual letters. Mother Eleanor Bridges (McGovern) verbally counts down the days her son Billy must serve as a helicopter pilot, starting with over 365 days.. . Days dwindle as the action unfolds. Barclay uses the theater-in-the-round for subtle symbolism while depicting the war's ugliness. Several of the 23 songs address the soldiers' frustration, such as "Paper Soldier," sung well by a desk-bound soldier played by Jeff Mosier, or "Chopper Man," a composite of letters written by several soldiers and mother Eleanor Wimbish (renamed Eleanor Bridges in the play), woven together in one lilting song. There's sadness in a rainy scene, where a soldier is laid to rest after being shot accidentally by his own troops, in the song, "The Land of Make Believe." . . . There's conflict in the reprise, "I Don't Understand This War," after soldiers watch news of anti-war demonstrators on television, man's first walk on the moon, and witness war losses. McGovern is Every Mother, singing the hauntingly pretty, inspirational song "There Will Still Be Christmas," written by Barclay. One soldier, suspended in a bamboo cage, sings to his beloved Jeanne, clinging to hope after being beaten, thrown into a pit and returned to his cage. . . . The entire cast's singing and acting is powerful. McGovern runs an emotional gamut as mother Eleanor Bridges. McGovern showed her own mettle after missing her performance on preview night due to an allergic reaction to stage fog. She was taken to the hospital, but performed twice the next day, and refuses to miss another performance. The theater is using less smoky fog, not detracting from the play's effect. After a standing ovation, the cast turned the spotlight on the audience, honoring Vietnam vets in attendance, who rose, smiling, basking in belated applause of 30 years ago. Read complete review at: The Salem Evening News Online Edition

'Letters from 'Nam' keeps Vietnam alive By Carley Thornell Eagle-Tribune Writer September 14, 2001 The phrase "Don't ask, don't tell" would most likely be associated with the military by someone today, but for a topic much different than Vietnam. But it was a policy alive and well for a different reason during that conflict, as we learn through the voices of seven actors in "Letters from 'Nam" at North Shore Music Theatre. "You don't want to hear about my Vietnam. Don't ask unless you want to know," six soldiers say in the opening number. Dwayne L. Barnes plays 1st Lt. Kenny Rutherford in the North Shore Music Theatre's world premiere musical ''Letters from 'Nam'' until Sept. 24. And indeed, the play does stir up the same emotions and issues of one of the most volatile periods in American history. Only unlike other dramas, such as the melodramatic, part-fiction "Miss Saigon" and TV's "China Beach," this one carries more merit because it's based on the words of soldiers and their families. Each character is a composite of someone real, adapted by Paris Barclay from the book "Dear America: Letters Home from Vietnam." Maureen McGovern does an excellent job playing the mothers, girlfriends and children of the characters, primarily through voice. The soprano moves about and around North Shore's circular stage without distracting from the spell that keeps us in the jungle with the boys. It's primarily her vocals that lend the role credence, which is ironic considering that David Burham, who plays her son Billy, is so powerful because of his exterior. Starting off shockingly fresh and baby-faced it's almost doubtful he's the right choice for a soldier, and it's easy to see why, after a two-year search, he was chosen to replace Donny Osmond in "Joseph and the Amazing Technicolor Dreamcoat." But as time goes on, Burham's universality is recognizable. It was fresh-faced boys like him -- the kid next door, the young newlywed or high school graduate -- who were sent to war. There are traces of every boy in his face, Spanish, Italian, Catholic or otherwise, and as we watch him grow, we get more comfortable with his placement as he does at looking at his situation with narrowed, less-trusting eyes. The rest of the crew shines, and the combined effort makes one forget initial concerns that the olive-green jungle fatigues and McGovern's simple slacks and sweater set would make for drab scenery. Indeed, "Letters from 'Nam" makes the most expert use of the round stage I've seen in any North Shore production. Action is constantly taking place, as soldiers probe for land mines and throw and plant grenades; but somehow, the ongoings don't distract from the story. The intimate setting of the amphitheater allows us to see snippets of each soldier's emotional and physical struggles simultaneously, but not confusingly. Also easy to understand are the vocals. The actors' enunciation is excellent and the acoustics are tuned so each word is clear. However, the score itself has a 'rock opera' feel -- perhaps appropriate for the era -- but at many times so overpowering it's out of place. Something more modern (groundbreaking, not copy-catting) would have perhaps attracted a younger audience, which might be an added bonus for subject matter that applies more to parents of Gen-Xers than twentysomethings themselves. The important thing, though, is that this production, much like the letters it was based on, is much more than a history book. It's a living message. Lawrence Eagle Tribune

'Letters' strikes timely chord as it evokes emotions of war By NANCYE TUTTLE Sun Staff September 14, 2001 BEVERLY -- Phil Benn, Fred O'Neill, Bob Chambers, Robert Wynn. The names of the young men I knew who had served, and in one case, died in the Vietnam War echoed in my mind Wednesday at North Shore Music Theatre at the start of Letters from 'Nam. And as the gripping, emotionally-wrenching new musical by Paris Barclay unfolded, I mourned the young lives lost in the war, the families forever affected, the people ever changed. Granted, my feelings were on the surface, as are most Americans' these days, as we come to grips with the tragedy engulfing our nation. But seeing Letters from 'Nam proved to be positive and uplifting, even as my emotions gave way and the tears freely flowed. . . . Musical and recording star Maureen McGovern plays the "everymother" role of Eleanor, reading letters, keeping busy and counting off the days until her son, Warrant Officer Billy Bridges, the brash young helicopter pilot, returns. . . . The balanced score is a tender and boisterous mix, including ballads like the nostalgic "I Was There" and "(There Will Still Be) Christmas," a cocky "Chopper Man," the joyous "The Kid is Coming Home" and raucous "Saigon Tea." Barclay adapted most lyrics from actual letters. Cynics will belittle the outspoken patriotism that Letters from 'Nam proudly evokes. But a healthy shot of flag waving is rightly appropriate now. Letters from 'Nam paints a vivid, respectful picture of real men who served, and even died, in this faraway war. . . . Complete review at: Lowell Sun.com

North Shore delivers Letters from ’Nam BY CAROLYN CLAY Boston Phoenix September 13, 2001 It would be hard to get more American than Letters from ’Nam, which is unabashedly patriotic and sentimental (one lyric bemoans a soldier’s being " cursed by long-haired doves " ). The show piggybacks for emotional impact on the widespread feeling — apparent in the nation’s heartfelt response to the Vietnam Memorial — that the men and women who fought in Southeast Asia deserved better than they got. Barclay was moved by Dear America (which was also made into a TV-movie) and sought to transfer its portrait of the everyday experience and spirit of Americans fighting in the paddies of Vietnam to the stage. Using letters by numerous writers, he creates six composite soldiers who are, of necessity, types. But they are brought to pulsing life by the actor-singers of the North Shore production. Veteran chanteuse Maureen McGovern, herself no slouch in the vocal department, stands in for the homefront correspondents in general and one doomed chopper pilot’s mom in particular.. . . . . .McGovern, whose character lacks specificity but whose soaring voice lacks pretty much nothing, plays his mother, who frames the work by reading from a letter she leaves at the Wall. . . . Read more at The Phoenix.com

Heartfelt `Letters from 'Nam' . . . by Terry Byrne Boston Herald September 11, 2001 The Vietnam War still aches. Twenty-six years after that ``police action'' ended, we still lack a sense of closure. So Paris Barclay's musical adaptation of ``Dear America: Letters Home from Vietnam,'' the letters of real soldiers to and from their families, arrives with built-in expectations and even a sense of longing. . . . In addition to the six soldiers, we also meet Billy Bridges' mother, played by legendary singer Maureen McGovern. McGovern, who exhibits enormous acting skills as well as stunning vocal power, frames the piece with visits to her son's name on the Vietnam Veterans Memorial in Washington, D.C. These scenes, taken directly from a mother's letters, are incredibly moving, perhaps because director Ben Levit allows them to be abstract moments. . . . Read more at The Boston Herald

JAZZ REVIEW 'Sondheim and Jazz': Sidemen by Sidemen by Sondheim By STEPHEN HOLDEN New York Times June 27, 2001 When you consider the music of Stephen Sondheim with its melodic elegance and harmonic bravery, it's astonishing that so few jazz musicians have integrated it into their repertories the way they have the songs of Gershwin, Rodgers, Berlin and Porter. Among jazz vocalists, Sarah Vaughan's extravagantly lush embellishment of "Send in the Clowns," which she elevated into a late- career showstopper, stands as a singular and dazzling exception. But why should that be? Some reasons were suggested by "Sondheim and Jazz: Side by Side," a demure, often anemic concert potpourri of the composer's music presented by the JVC Jazz Festival on Monday evening at Carnegie Hall. For one thing, Mr. Sondheim, unlike his forerunners, grew up one generation removed from swing. As much as his songs may incorporate rhythmic experimentation, most don't obviously lend themselves to a jazz-ready, four-on-the-floor back beat. Many of Mr. Sondheim's greatest songs are waltzes, which unfairly or not, lend them a quaint European tinge in the minds of many American jazz musicians. Mr. Sondheim's lyrics are also problematic for jazz singers. With their psychological density and tricky internal rhymes, they have the integrity of finished poems and leave less space than simpler lyrics might for freewheeling personal interpretation. . . . The vast majority of the performances hovered closer to the pop end of the pop-jazz spectrum, while others brought out the composer's classical affinities. For creamy vocal beauty, Nnenna Freelon's carefully wrought renditions of "I Remember" and "Children Will Listen" and Maureen McGovern's pristine "Anyone Can Whistle" (a duet with the clarinetist Ken Peplowski) stood out. Kurt Elling's "Sunday," expanded with modernist harmonies (by his pianist and arranger Laurence Hobgood), coolly examined this impressionistic hymn to color as though turning it under a jeweler's lamp. . . . Read review at : New York Times

Jazz: Performers sing it and swing it in style BY GEORGE KANZLER STAR-LEDGER STAFF April 6, 2001 Morristown - For Maureen McGovern, the John Pizzarelli Trio and the members of the big band touring with them, it was No. 35 of a whirlwind 39-show bus tour. But as show No. 1 of two in New Jersey (the second is Saturday at the Union County Arts Center in Rahway) it was very special to Pizzarelli, who grew up in Paterson and Saddle River. Making it even more special was the presence of the guitarist-singer's father and mother, as well as assorted cousins, aunts and uncles, in the audience at the Community Theater in Morristown on Wednesday night. And since John just happened to have an extra seven-string guitar (the kind both he and his dad play) on stage, Bucky Pizzarelli graciously accepted an invitation to join his son on stage for two guitar duets. McGovern, the Broadway/cabaret singer with affinities for jazz, came with her own big band, but at the end of the show she also did three duets with John Pizzarelli, and they were the climactic highlights of a very entertaining and musical show. Teaming McGovern, with her multi-octave range and virtuoso, high-octane voice, with Pizzarelli's more mellow, laid-back vocal style could have been problematic, to say the least. But the two found common ground in a jazzy camaraderie exemplified by their opening duet, "In the Cool, Cool, Cool of the Evening," accompanied by Pizzarelli Trio members Ray Kennedy, piano, and Martin Pizzarelli (John's brother), bass. The two singers traded the easy-going verses (long associated with Bing Crosby and a host of duet partners), with just the right amount of casual flair. McGovern was at her personal, intimate best singing "You're Getting to Be a Habit With Me" in a minimal duet with Pizzarelli's accompanying, caressing guitar. And for a finale, the two were joined by the big band for a retooling of "(If You Can't Sing It) You'll Have to Swing It," famously known as "Mr. Paganini" when it was a tour-de-force vehicle for Ella Fitzgerald. For this tour, it became "Mr. Pizzarelli," as McGovern and Pizzarelli sang, scatted and played can-you-top-this? in a funny, good-natured version of a jazz cutting contest. It wasn't the only time memories of Ella Fitzgerald were evoked during the concert, nor was Ella the only legendary jazz diva remembered. McGovern was at her swingingest in a surprisingly effective update of Fitzgerald's first hit (with Chick Webb's big band in 1938), "A-Tisket, A-Tasket," the singer scatting along with the band as well as swinging the lyric. In a completely different vein, McGovern turned into a husky-toned vamp to do Peggy Lee's signature song, "Fever." McGovern also unlimbered her jazz technique on "I'm Late," taken at a ferocious clip, scatting along with the big band passages as well as bouncing the lyrics, with perfect diction, across the whirlwind beat. She was just as effective as a jazz/cabaret romantic, doing bittersweet Rodgers and Hart gems like "This Can't Be Love," "It's Got To Be Love," "I Wish I Were In Love Again" and "It Never Entered My Mind." A singer who may be a bit too proud of her stylistic breadth, McGovern also ranged through some of the more operetta-like Rodgers and Hammerstein numbers like "My Favorite Things" and "How Are Things in Glockamora," the latter done a cappella, sans microphone, at the lip of the stage. The Pizzarelli Trio's opening set featured the group's deft, smoothly intricate small-group swing versions of standards, many of them associated with the similarly constituted (instrumentally), Swing Era Nat "King" Cole Trio, as well as an affecting new love song penned by Pizzarelli and his wife, Jessica Molasky, "DaVinci's Eyes." And as in any John Pizzarelli appearance in the Garden State, there was also that unofficial, and gently satiric, state anthem, "I Like Jersey Best," done in the extended version that includes hilarious parodies of Bob Dylan, Lou Reed, Lou Rawls, the Beach Boys and others doing the song. Pizzarelli's talents as a comic singer-impersonator were also on display with McGovern, when she asked him to do his Dylan doing "Always" during their duets, as well as his dead-on takes on Tony Bennett and Harry Connick Jr., the latter replete with wicked snores. Read more in the The Star-Ledger

McGovern, Pizzarelli jazz it up at By Peter Landsdowne TELEGRAM & GAZETTE REVIEWER April 5, 2001 WORCESTER-- Singer Maureen McGovern and singer-guitarist John Pizzarelli put the finishing touches on the sixth annual Mass. Jazz Festival Tuesday night in Mechanics Hall with an inspired duet on “Mr. Paganini,” which drew the second standing ovation of the evening from an appreciative crowd of more than a thousand jazz fans. Pizzarelli garnered the first standing ovation of the night at the end of his superb opening set with his own trio. Best known for her pop hit “The Morning After,” Ms. McGovern is not generally regarded as a jazz singer. But that perception could change if she continues to move in the direction that she established Tuesday night. Backed by the five brass, four saxophones and rhythm section of the Big Band Swing Orchestra, the singer showed a familiarity with several classics from the American songbook, and the ability to perform challenging material from the jazz realm. Her opener, “I'm Late,” was just such a piece. The song comes from the White Rabbit's histrionics in “Alice in Wonderland,” but in Ms. McGovern's bold and brassy interpretation, the novelty tune became a jazzy anthem that displayed her uncanny ability to sing in unison an octave above the lead trumpet. Elsewhere in her well-received set, she revealed an in-depth understanding of the music of Rodgers and Hart, especially during a superbly sung medley of “This Can't be Love,” “It's Only Love” and a swinging “I Wish I Were in Love Again.” Ms. McGovern was also in fine fettle on a sultry “Fever” that had her belting out the lyrics to the Peggy Lee hit, and she invested Harold Arlen's “Blues in the Night” with the same steamy heat. Her unaccompanied version of “How Are Things in Glocca Morra” drew applause, but really didn't have the emotional impact of the latter two songs. Additionally, Ms. McGovern's rendition of the obligatory “The Morning After” seemed out of place in a jazz set. The singer redeemed herself on a lilting jazz waltz version of “My Favorite Things” and a burning “Ding Dong, The Witch Is Dead” from “The Wizard of Oz.” . . . Worcester Telegram & Gazette

McGovern pays homage to masters by Robert Nesti Boston Herald April 1, 2001 Maureen McGovern and John Pizzarelli, Symphony Hall, Friday night. Mention Maureen McGovern and many people think you're speaking of the subject for a segment of VH1's ``Where Are They Now?'' Yet this '70s pop star, best known for introducing ballads from movies (``The Morning After'' from ``The Poseidon Adventure'' was her biggest hit), segued to a career as a superb song stylist equally at home in the theater, cabaret and the concert stage. But it was her jazzier side that she emphasized at Symphony Hall Friday night where she performed with guitarist/singer John Pizzarelli and a 15-piece swing band in a concert sponsored by the FleetBoston Celebrity Series. She opened with homages to two female jazz greats: Peggy Lee (``Fever'') and Ella Fitzgerald (``A Tisket, a Tasket''). Later, she scat-sang her way through a delightful take of Harold Arlen's ``Ding Dong, the Witch Is Dead,'' as well as trumpeting through another Arlen standard, ``Blues in the Night.'' Her success rests on how perfectly she balances her considerable vocal instrument, which at age 51 shows little sign of wear, and her interpretative skills as an actress. Nowhere was this better realized than in a segment devoted to the music of Richard Rodgers, whose centenary is to be celebrated next year. Noting that Rodgers worked with lyricists more diverse than Lorenz Hart and Oscar Hammerstein, she demonstrated their differences with a medley of Hart's tart observations on the foibles of romance, followed by a swinging version of Hammerstein's sentimental ``My Favorite Things.'' The first half of the concert featured Pizzarelli, a genial, talented jazz guitarist who offered a set of familiar standards and lesser-known tunes. Pizzarelli, the son of jazz guitarist Bucky Pizzarelli, was joined by his brother Martin on bass, and jazz pianist Ray Kennedy Boston Herald

McGovern, Pizzarelli show why classic songs survive By ANDREW McGINN Springfield News-Sun Staff Writer March 25, 2001 Somebody tell K-Tel it has some competition. Maureen McGovern and John Pizzarelli are walking, talking, scatting compilation albums. During the first of a two-night stand Friday at the Clark State Performing Arts Center, the two showcased 70 years of vintage pop in just over two hours. From Gershwin to Rodgers, “Songs You Never Get Sick Of” was the night’s theme. Performing separately — Pizzarelli first, then McGovern with a big band — they each provoked the same thought: Where have all the good songwriters gone? Ain’t nobody scribing tunes like “Somewhere Over the Rainbow” these days. Period. Thankfully, we have these two to keep the great American songbook from dying. . . .McGovern, in her third appearance here, picked things up with the big band. Dig that jazzy rendition of “Ding, Dong the Witch is Dead” from “The Wizard of Oz” — it would have made any right-minded munchkin want to boogie. It was another “Oz” selection, though, that made the entire show — “Somewhere Over the Rainbow,” performed without the band and without a mike. P e r f e c t i o n.

McGovern better after 'Morning After' By CHRISTOPHER POTTER News Arts Writer March 23, 2001 - The Ann Arbor News . . .how does one compete with McGovern, one of the greatest living scat singers and one of the world's greatest living slow-drawl torch singers? How does one share a program with an artist whose vocal chords can span three octaves with the sleek power of a Porsche accelerating from zero to eighty? Backed by Kennedy's Big Band Swing Orchestra, McGovern - whose cozy audience repartee is second to none - was sultry as can be on Peggy Lee's "Fever," then ravishing on a Rodgers-and-Hart medley that included a sudden octave leap that was sheer vocal gymnastics on "It's Got to be Love." Like any great singer, McGovern gives great songs their emotional due. Both singer and actor on "It Never Entered My Mind," she looked from the inside-out to give Hart's lyrics ("I wish that you were there again/To get into my hair again") a profound pathos. She launched into Rodgers and Hammerstein's "Hello, Young Lovers" a capella at such an intimidatingly high key that one held one's breath wondering whether she would make it to the final, mountain-top note. She did, of course, sans so much as a quaver. . . . This puckish Ohioan loves to spring surprises, as when she sang the lead-in to "Over the Rainbow" with full orchestra, then suddenly lowered her microphone and sang the song without instrumentalists or augmentation - and drew the biggest ovation of the evening. . . . READ MORE HERE: Michigan Live - Ann Arbor Edition

Music Review: Maureen McGovern By ROBERT EISELE - Special to The Star Date: 03/17/01 From the syncopated scat of a radical reinterpretation of "Alice In Wonderland's" "I'm Late" to a sweetly sublime a capella of Broadway's "How Are Things In Glocca Mora," singer Maureen McGovern was the master of all she surveyed Friday night at the Carlsen Center's Yardley Hall. Though she burst onto the national consciousness nearly 30 years ago with her back-to-back Oscar-nominated songs from a pair of vintage disaster movies, the singer's richly melodic voice has matured as she graduated from self-described "disaster theme queen" to show tunes and jazz. Backed by a 15-piece band under the sure hand of musical director Ray Kennedy, McGovern moved from the distinctive jazz influences of Ella Fitzgerald in "A Tisket, A Tasket" to the more melodic strains of composer Richard Rodgers. Noting the disparity in temperament of Rodgers' writing partners, the singer segued from the brittle sophistication of the songs written with Larry Hart ("This Can't Be Love," "Wish I Were In Love Again") to the cockeyed optimism of his legendary pairing with lyricist Oscar Hammerstein. "They couldn't have been more dissimilar," McGovern noted of the hard-drinking Hart and the gentle family man Hammerstein. "For Larry, the glass was always half-empty, both literally and figuratively. But for Oscar, it was always half-full." The singer thoughtfully book-ended Rodgers and Hammerstein's scathing indictment of racial intolerance "You've Got To Be Carefully Taught" from the score of "South Pacific" with truncated phrases from Stephen Sondheim's cautionary "Children Will Listen" from "Into The Woods." It was an inspired juxtaposition that worked both musically and thematically. The musical theater tunes flowed on, with a glowing "Hello, Young Lovers" and an up-tempo, jazz-inflected "My Favorite Things," both demonstrating McGovern's ability to breathe new life into old material. A register-hopping version of "Ding-Dong, The Witch Is Dead" offered a new slant on the Munchkin victory march from "The Wizard of Oz," followed by a supremely visceral "Blues in the Night" -- both from the versatile hand of composer Harold Arlen. Guitarist John Pizzarelli, whose trio offered up a solid opening set of jazz tunes, returned at evening's end to join the headliner for "In the Cool, Cool, Cool of the Evening" and "Getting To Be A Habit With Me," providing a satisfying coda to an eminently enjoyable, stylistically diverse sojourn through some of the treasures to be rediscovered in the American songbook. The Kansas City Star

Evening of jazz a treat at Emens By Bradford Meyerdierks The Star Press March 15, 2001 MUNCIE - Entering Emens Auditorium on Tuesday evening, you could sense a special jazz ambiance as the lighting showed a dimly lighted blue stage with a deep purple tinge on the curtains. The John Pizzarelli Trio ‹ Pizzarelli (guitar); Ray Kennedy (piano), and Martin Pizzarelli (bass) entertained fantastically, featuring songs by Benny Goodman, Frank Sinatra, Nat King Cole and Irving Berlin. The guitarist continually acknowledged his audience throughout the performance. Pizzarelli joked, smiled and played as the rest of the trio's fingers flowed with flurry. ...After intermission, Maureen McGovern entered with plenty of energy. Most of her vocal numbers were either sexy and sultry or just plain fun. She sure could spit out those scat-improvised sections scattered throughout the scale. The youthful, versatile (all-male) Big Band Swing Orchestra complemented her well. ...

Jazz singers McGovern, Pizzarelli fill evening with magic, high jinks By Paul Hyde STAFF WRITER Greenville News March 11, 2001 Fine jazz singers are such a rarity these days that it was a sheer delight to hear two of the best Saturday evening at Greenville's Peace Center. Maureen McGovern and John Pizzarelli presented a concert of torch songs, Broadway tunes, smoky ballads and other old standards — all delivered with style and aplomb. Backed by a 12-piece band, McGovern moved effortlessly from pop tunes to scat singing to mellow standards, emphasizing especially the songs of Richard Rodgers (with both Hart and Hammerstein) and Harold Arlen. She opened the show with a lively "I'm Late" from "Alice in Wonderland." Then came a sultry "Fever," with echoes of Peggy Lee. McGovern also offered a silvery "Hello Young Lovers" from "The King and I" and a poignant "You've Got to Be Carefully Taught" from "South Pacific." Throughout the show, McGovern displayed tremendous vocal and emotional range. Torch songs and ballads were balanced with some musical high jinks — as when McGovern and Pizzarelli engaged in a lively "scat duel" on the Ella Fitzgerald hit "Mr. Paganni." There was also at least one moment of pure vocal magic: Setting aside her microphone and with all lights dimmed, except for a spotlight, McGovern offered a heartfelt, a cappella rendition of "Over the Rainbow." McGovern also was an engaging conversationalist, noting her nickname of "Disaster Theme Queen." She earned the moniker as a result of her popular recordings of "The Morning After" (from "The Poseidon Adventure") and "We May Never Love Like This Again" (from the "Towering Inferno.") She sang a soaring "The Morning After," noting that its theme of hope seems even more relevant today than 33 years ago when it first jumped to the top of the pop charts. Read more at: The Greenville News.

McGovern, Pizzarelli know how to swing Saturday, March 10, 2001 BY JENNI JOHNSON Post and Courier Reviewer Charleston, SC Review Goody, Goody ... glory hallelujah' and tons of thanks to the Charleston Concert Association for bringing Maureen McGovern and her Big Band Swing Orchestra and John Pizzarelli and his Trio to The Charleston Music Hall Friday night. Pizzarelli, tall, dark and youngish opened the evening with electrifying, jazzy guitar playing and a voice perfectly suited to songs from the popular American songbook such as Gershwin's 'I've Got Rhythm' (with Scat Singing not heard since the late Mel Torme), I'm in the Mood for Love' and one of his own songs, 'Da Vinci's Eyes,' that made you want to hear the rest of the songs. His brother, Martin, and an exceptional Jazz pianist, Ray Kennedy, completed the Trio. John Pizzarelli is one cool cat and chats with the audience as easily and with as much skill as he plays his guitar. Maureen McGovern is in her prime. She can sing a sexy love song and make anyone young, or young at heart, wish everyone would just go away. When she sang 'My Mamma Done Told Me,' heads nodded and you just knew she was telling you the way it really was. McGovern and Pizzarelli came back for a great jam session to end this show of showy shows.

Maureen McGovern enthralls Sumter crowd By Ivy Moore The Item, Sumter, SC March 9, 2001 Maureen McGovern is a vegetarian who travels with Spirutein and Soy Silk to sustain her energy — and she’s not afraid to talk about how the soy products prevent her hot flashes. In fact, she admits to being in “the last six months of my 51st year,” though her appearance and high-energy stage performance in Sumter Thursday night belie her having hit the half-century mark. "...McGovern definitely reached the Patriot Hall audience with her a capella rendition of Harold Arlen’s “Over the Rainbow.” Sung without a microphone, as well, the wistful ballad held the audience rapt — not even a cough disturbed the moment.. . . . . .McGovern obviously enjoys performing with jazz guitarist and singer John Pizzarelli. “He’s a great musician and a lot of fun on the long bus rides. He’s a great guitarist and singer,” she said. Pizzarelli opened Thursday’s concert with his trio, exhibiting an incredible talent and a pleasing voice and style reminiscent of Mose Allison and Michael Franks, with a little Sinatra thrown in. Either headliner could have brought down the house, but to see Pizzarelli and McGovern together was a treat unequalled for Sumter. Their closing duets — a scat challenge — were simply some of the best jazz around. . . . . . .Those of us who were there will never forget the evening. To paraphrase one of McGovern’s own Gold Records, “We may never love (a performance) like this again.” Read more at : The Item

McGovern's concert offers variety, spice By Bill Egan News-Journal Correspondent Thursday, March 08, 2001 PALM COAST -- An enthusiastic audience at Flagler Auditorium heard everything from a jazz trio to orchestrated movie themes on Tuesday night. The highlight of the evening however, came when Maureen McGovern set aside the microphone and the orchestra their instruments. She moved to the apron of the stage for a stirring version of "Over the Rainbow." The audience was mesmerized as she projected her subtle shadings throughout the vast auditorium. ...The second half of the program began with Maureen McGovern singing a jazzy "I'm Late" from "Alice in Wonderland." This was a madcap version never imagined by the film's Mad Hatter. She was backed by the 12-piece Big Band Swing Orchestra, led by Kennedy of the Pizzarelli Trio. Her set was filled with great nostalgia and featured a number of songs by Rodgers and Hart, Rodgers and Hammerstein, and Harold Arlen. McGovern's program covered a wide variety of styles from the sultry "Fever" and a torchy "Blues in the Night" to an a cappella "Hello Young Lovers" and a poignant "You've Got To Be Carefully Taught" -- the latter interspersed with a few phrases from Stephen Sondheim's "Children Will Listen." Her anecdotes between songs were interesting as she related memories of her reign as "Disaster Theme Queen." She first came to the attention of the public when she sang "The Morning After," the theme song from the disaster film, "The Poseidon Adventure." Following her solo set, McGovern teamed up with Pizzarelli for a smooth rendition of "In the Cool, Cool, Cool of the Evening," and "You're Getting to be a Habit With Me." Next they treated the audience to a "scat-duel" with the Ella Fitzgerald hit, "Mr. Paganini." In this case it became "Mr. Pizzarelli." Read more at: Daytona Beach News-Journal

March 4, 2001 McGovern show softened Civic Center’s ambience a bit By Anthony Westbury Editors Notebook "...Ms. McGovern was a delight, too. With a crystal-clear voice that might shatter glass given an opportunity, she has a stunningly accurate feel for scat singing. Her a capella rendition of "Over the Rainbow," without even a microphone, was breathtaking. But I hope the people up at the back heard her. As close as I was, the sound was the best I’ve ever heard at the Civic Center. No boomy stuff, no painfully shrill treble notes clashing against the black-painted girders up above. Even the softest notes rang true. My congratulations, gentlemen, for some great sound." Read more at : Fort Pierce News

Celebrity Songsters Belt Out Their Support for L.A. Music Center Social Circuits By PATT DIROLL, Special to The Times Tuesday, February 20, 2001 Two of the Music Center of Los Angeles County's leading support groups, the Fraternity of Friends and the Blue Ribbon, packed the Mark Taper Forum for "The Writer, the Singer, the Song," a gala tribute to American songwriters. The event, conceived by Academy Award-winning lyricist Hal David and his wife, Eunice, a longtime Blue Ribbon member, coincided with a meeting of the board of the American Society of Composers, Authors and Publishers in L.A. " 'Rainy Days and Mondays' never get me down" said Paul Williams, who emceed the show Feb. 12, a rainy Monday. Works by Williams, Hal David, Marilyn and Alan Bergman, Cy Coleman, Jerry Leiber, Mike Stoller and Jimmy Webb were featured. Each songsmith shared his spin on the creative process that takes place. "I'd throw a dart at a map of the United States and wherever it landed, I'd write a song about it," said Jimmy Webb ("By the Time I Get to Phoenix," "Galveston," "Wichita Lineman"). Cy Coleman ("The Best Is Yet to Come") began by answering the perennial question "What comes first, the words or the music?" with a quote from the late Sammy Cahn: "It's the phone call," he said. When Bergman had a momentary lapse in his convoluted lyrics to "The Windmills of Your Mind" (written with wife Marilyn), he noted: "That's what happens when you write every other word." Hal David crooned his lilting "I'll Never Fall in Love Again."

And Mike Stoller of the team Leiber & Stoller ("Hound Dog") brought down the house with one love ballad titled "Humphrey Bogart." Performers included Rosemary Clooney, Larry Gatlin, Sally Kellerman, Maureen McGovern, Helen Reddy and Dionne Warwick. Following a standing ovation, out came the umbrellas for a dash across the plaza to a supper in the Grand Hall of Dorothy Chandler Pavilion. Eunice David was co-chair along with Patty Wilson; Walter Grauman directed the event, which was sponsored by Sherry Barrat of Northern Trust and produced by Ronald Rosen and Karen Sherry."

Pop Singer, Comedian Are Offering a Valentine to Rodgers By ROSEMARY CLANDOS, Special to The Times February 9, 2001 Singer Maureen McGovern will join comedian Kaye Ballard Sunday at Cal State Northridge for a Valentine's Day tribute to the music of Richard Rodgers, of Rodgers and Hammerstein fame. McGovern's vocals will highlight Rodgers' compositions, and Ballard will supply the laughs and also play the flute in the afternoon and evening concerts. "Richard Rodgers gave us some of the most enduring romantic songs," said McGovern, who has recorded 25 albums. "He was one of the greatest songwriters and melody writers we ever had. His music is timeless." McGovern, whose career spans 28 years in concerts, theater, film and TV, will take audiences on a musical journey through two chapters of Rodgers' musical life. "Some composers write for the feet and not the heart," McGovern said. "I look for songs that are for the heart." McGovern calls "The Morning After," her top-selling hit of nearly 28 years ago, "the generic hope song." She still receives letters from listeners grateful for the song's positive message. She plans to release an album in the spring concentrated on the power of music to promote healing. "Sometimes the [lyrics] of a great song are specific enough, but generic enough, so people will read into them what they need in their lives," she said. On the other hand, Ballard said some of the best healing comes from laughter. "You have to have humor to get through life," Ballard said. "If you don't, it's very difficult."

McGovern shows her octaves Unleashed: Singer performs Big Band era Jen Graves; The News Tribune January 22, 2001 Many singers refer to the thing in their own throats as "the voice," rather than "my voice." It's the Royal V. Maureen McGovern doesn't, and it's almost blasphemy. What an instrument! She packed it into a scarf and carried it on the plane with her to perform with the Tacoma Symphony to a sold-out crowd at the Pantages Theater Saturday night. And "Sing, Sing, Sing" is just what she did. She unleashed - though I could have taken more scat, more outrageously high notes, more showoff - her 41/2-octave coloratura soprano on the Big Band-era composers of the 1930s and '40s, including Duke Ellington, Harold Arlen and Ella Fitzgerald. McGovern brought her own trio. But she was plainly the main event, and her jazzy voice masterfully, almost athletically, matched a blaring trumpet and a golden-burbling saxophone note for note, or beat for beat in harmony. You've heard a sax do a jazz solo, right? She sounds just like that - just as precise, just as controlled. Read the complete review in the News Tribune Click here

Soprano of 'Swing' Maureen McGovern to sing with symphony Jen Graves; The News Tribune January 19, 2001 McGovern moved west four years ago to get involved in Hollywood in a different way. This time, she wants to act in movies, not sing along. She played the voice of Rachel, Ben Affleck's character's mother, in DreamWorks' animated video "Joseph: King of Dreams," released in November. (No, she didn't meet Ben.) She didn't sing at all for her role in "The Cure for Boredom," a small indie comedy released last year that's a send up of the Mafia. "I always continue to sing, but just doing straight acting is more interesting to me at the moment," she said during a phone interview from her home. "I want to play odd, interesting, but very strong and independent women." It won't be a stretch. The redheaded singer has earned what she has accomplished. Read the complete review in the News Tribune Click here

Richard Termine for The New York Times

January 16, 2001 POP REVIEW Something to Remember Arthur Schwartz by: A Tribute by His Sons By STEPHEN HOLDEN When it comes to conjuring the essence of a past musical giant, nothing beats having had an intimate personal connection with the subject. That's one reason Lincoln Center's American Songbook tribute to the composer Arthur Schwartz on Friday and Saturday evenings transcended the stuffy hall of fame atmosphere that has shrouded several of the series' previous retrospectives. . . .Maureen McGovern applied her perfect fluting high tones to "By Myself," "Make the Man Love Me" and "Dancing in the Dark,". . . Read the complete review in the NY TIMES Click here

January 13, 2001 VARIETY REVIEW Something to Remember Arthur Schwartz by: A Tribute by His Sons By ROBERT L. DANIELS A varied blend of cabaret, jazz and Broadway performers gathered for a centennial celebration in memory of composer Arthur Schwartz, a lawyer who left the legal profession in 1929 to write songs. It was the right decision: Schwartz was a keen and knowing craftsman with a distinctive ear for elegant melodic construction. The concert was one of the best in the 3-year-old American Songbook series, which has previously honored composers Richard Rodgers, Harold Arlen, Jimmy Van Heusen and Frank Loesser. . . .The stately McGovern sang the radiant and fitting closing statement, "Dancing in the Dark," a melody that, as Jonathan Schwartz noted, was composed by his father in the time it takes to play it.

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