Peggy Herman

PEGGY HERMAN CELEBRATES THE CD RELEASE OF “HERMAN ON HERMAN”
IN ONE-NIGHT-ONLY CONCERT AT FEINSTEIN’S MAY 6

Peggy Herman releases a brand new recording of her critically acclaimed show, “Herman on Herman,” her tribute to Broadway legend Jerry Herman, at Feinstein’s at the Loews Regency, 540 Park Avenue, on Sunday May 6 at 7:30pm. The one-night-only concert features many of the songs from the show’s premiere in May of last year, plus additional material that was added to the project in the intervening months.

With arrangements by the renowned music director Alex Rybeck, “Herman on Herman (with a Touch of Merman)” gives the Jerry Herman songbook a whole new spin, lending a fresh take on these classic Broadway show tunes. Backing Herman on Herman – and blending a range of popular styles, including folk-pop, smooth jazz, Brazillian and Broadway -- are Rybeck on piano, Jered Egan on bass and Rex Benincasa on drums and percussion. The same threesome play on the album, augmented by strings, brass, winds, and guitarist Sean Harkness.

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Peggy Herman does ‘Herman on Herman’
MONDAY, MAY 16, 2011
SANDI DURELL

It’s Herman on Herman (with a touch of Merman)!

For quite a while this Herman could actually say “I’m Mrs. Jerry Herman . . . not that one! But what’s in a name.” Seems she was married, for a while, to Jerry Herman, a carpet salesman. After splitting with the rug guy, she got back to doing what she was obviously born to do . . . sing! After a hiatus from the cabaret scene, and with a natural affinity and love of the Jerry Herman songs, her new club act sparkles with the brilliant and unique arrangements of Musical Director Alex Rybeck and under the direction of Peter Glebo, and nine-timeTony Award Winner Tommy Tune.

Wherever this Herman has been hiding, who knows? But the packed house at the Metropolitan Room and other cabaret enthusiasts have a good thing going with her return. She possesses a rich mezzo quality, with smatterings of all rainbow colors, and knows precisely how to use its subtleties.

Stories about her name, the mix ups and husbands are sprinkled throughout. The most essential, however, is how many familiar, and some unfamiliar, Jerry Herman tunes have been creatively presented. It’s like listening to his songs for the first time with Alex Rybeck’s distinctive arrangements. Paired with “No Tune Like a Showtune,” “It’s Today” as a slow bossa became a sexually suggestive rendition. The unforgettable “Mame” was a slow swing into quick double time, the name never even mentioned until the last breath. The poignant pairing of “Song on the Sand” and “And I Was Beautiful” presented an engaging story with a dusting of soft touches.

The usually frantic “Wherever He Ain’t” had more of a slow, burlesque take-it-off beat. The sadness of dreams dashed was emotionally expressed in what mama said . . . I’m the “Best in the World.”

Interestingly, I didn’t find as much Merman as I did the knowing professional’s quality of how to use a voice successfully. Peggy Herman not only has the vocal expertise, but the fine dramatic skills that will easily pave the way, as she concluded her story with “World Take Me Back.”

Additional band members included Jered Egan on bass and Rex Benincasa on drums.

Herman on Herman with a Touch of Merman
Metropolitan Room
New York, NY

Peggy Herman has said that she was born to sing the songs of Jerry Herman, who was clearly born to write showstoppers. Since Ms. Herman likes to perform big, brassy, dramatic tunes in the tradition of Ethel Merman, this particular marriage of singer and song was meant to happen.

Making her Metropolitan Room debut, Ms. Herman presented an eclectic collection of tunes from both Mr. Herman’s most successful musicals – Hello, Dolly!, Mame and La Cage aux Folles and his least successful — Dear World and Mack and Mabel. Hello, Dolly! was represented by three of its incarnations – the original Broadway production (Carol Channing,) a slightly different version with Merman and Hollywood’s treatment (Barbra Streisand).

Ms. Herman began and ended the program with songs from Dolly – “Just Leave Everything to Me,” added to the film score for Streisand, and “World, Take Me Back,” sung by Merman upon joining the Broadway cast in the final year of the six-year run. Merman originally turned down the Dolly role which had been created with her in mind. The song had been written for the original production but dropped once Carol Channing was cast.

With a voice that’s the very essence of musical comedy, Ms. Herman performed every song with pizzazz, style and honesty. She can belt or turn it down, as she did in “Song on the Sand”/“And I Was Beautiful” (La Cage aux Folles and Dear World respectively), warmly romantic and intertwined. “Loving You,” a sweet song from the film version of Mame, suggested a tangible connection with the audience. In “I Won’t Send Roses” (Mack and Mabel), Herman rendered a stunning theatrical performance singing both the male and female lyrics as film director Mack Sennett and actress Mabel Normand.

“Wherever He Ain’t,” a finger-snapper and showstopper also from Mack and Mabel – “If he’s in heaven, I’ll go to hell,” and “Best in the World” (A Day in Hollywood, A Night in the Ukraine), an evocative song about a stage mother and a daughter who eventually comes to believe that she’s a star long after becoming one, were quite effective.

Crooning to her husband, Ms. Herman sang “I’m with you as long as I live” from “As Simple as That” (Milk and Honey) and “No other music but your sweet music,” a lyric from “No Other Music” (Miss Spectacular), while Herman’s longtime musical director and arranger Alex Rybeck, a MAC winner in 2010, played an exquisite piano solo. Throughout the program, Jered Egan provided impressive support on bass. The act was conceived and directed by Peter Glebo and nine-time Tony Award winner Tommy Tune.

Unlike poor Mabel who had to suffer Mack for the singular “lack of romance in his soul,” Peggy Herman received lots and lots of roses at the conclusion of the show. Since her spouse of twenty-one years was last seen entering with armloads of flowers, it’s probably a safe bet that her love has not gone unrequited.

There’s only one more opportunity to see Herman on Herman at the Metropolitan Room – Sunday, June 5 at 4:00 PM.

Jerry Osterberg
Cabaret Scenes
May 16, 2011

Cabaret Scenes
January/February 2005
by Jeff Rossen

Ah, a Johnny Mercer lyric. On the list of America's finest wordsmiths whose contributions to the great canon of the American popular songbook helped make it what it is, Johnny Mercer and Ira Gershwin were the tops when it came to expressing the most in the fewest words. And for a singer, Mercer's lyrics allow a range of interpretations, something Peggy Herman demonstrates wonderfully on Mercer and more... Listen to the outright joy she brings to Come Rain or Come Shine, softening the usually heard belt and replacing it with almost a giddy glee. Then there's the wistful reverie found in Moon River and acidic vengeance in the pairing of I Wanma Be Around/Goody Goody (which made me laugh out loud, thanks to her band's unexpected contribution). What an inspired journey she takes us on in On the Atchison, Topeka and Santa Fe/I Thought About You, and the Blues in the Night ring out when Herman sets her chops into them. As for the "and more" of the album's title, Herman adds strong renditions of a pair of Alan and Marilyn Bergman lyrics with her disarmingly frank performances of Fifty Percent and How Do You Keep the Music Playing?, and her I'm a Brass Band is a delightful change of pace that helps make Mercer and more... an even more entertaining winner.

How can one keep from falling in love with a woman who possesses the richest voice in cabaret.... marvelous songs, old and familiar songs, sung the way they were meant to be sung...

BACKSTAGE:
January 2, 2004
Bistro Bits
by John Hoglund

Peggy Herman-"Mercer and more..." (Original Cast Records): On an album arranged and conducted by Alex Rybeck, big-band crooner Peggy Herman belts out some of the best standards ever written. In a brassy, almost Mermanesque delivery, Herman pours her heart and decibels into every cut on this lush album. Johnny Mercer mainstays like "Fools Rush In" (Mercer-Bloom), "That Old Black Magic" (Mercer-Arlen), and "Come Rain or Come Shine" (Mercer-Arlen) are given the full- tilt treatment. The Dorothy Fields-Cy Coleman tune "I'm a Brass Band" might be the title of her memoir should she write one. She's got a big voice that serves a big talent.

NY POST:
The Mount St. Helens of cabaret... her explosive and powerful voice renders any comparisons moot...

THEATRE WEEK:
Herman really knows how to handle her voice, the songs and the mike. In short, she isn't afraid to be original and herself...

JOHN HOGLUND:
Vocally impressive with a big brassy mezzo belt... bubbly, confident and full of sass

PHYLLIS DILLER:
A dynamic young artist whose singing and presentation absolutely galvanizes an audience....

TOMMY TUNE
"What a voice..."

Contact:
Peggy@peggyherman.com

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