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Le Dome performer
will put a song in your heart. Performer Tennie Leonard can put a song in
the heart of all who hear her vibrant voice. The diminutive diva completely
charmed the unfortunately sparse audience which gathered under the
glass-topped Le Dome at The Manor in Opening with "With A Song In My Heart," which showcased the
big voice which seems to flow effortlessly from this little lady. Leonard
expressed appreciation for the muted glamour of The Manor's skytop cabaret.> "I live in the city," Leonard related meeting her idol, Judy Garland, when the Leonard introduced her pianist, David Brunetti,
who sang with her on two duets, "Once In A Blue Moon" by David
Friedman and "It's the Little Things", by Stephen Sondheim. Leonard
then broke into "On the 90th Floor," a lament to lost love and the
perils of excess, and continued the feeling with "On My Own" from
"Les Misérables" only to change
the mood completely with the mischievous "The Mood I'm In." Leonard showed off here range and her French with a rendition of Edit
Piaf's "If You Really Love Me." Not done being mischievous,
however, Leonard took on an exaggerated Summer vacations are the only excuse which should be accepted for not
packing every chair in Le Dome for this fine performer. She really can sell a
song, and will sweep you up in the moment. If Leonard returns to The Manor
after vacationers return from their respective destination, they should give
this lady a hearing. Jacqule McCarthy, Associate Editor, "The
recently re-opened Judy's, in its new home in On the evening we caught Ms. Leonard's performance, her show was being
video taped. Scott Barnes, her director, made a brief comment
vis-à-vis the taping but his concerns were happily unfounded. Affectionate, enthusiastic applause welcomed Tennie
to the stage. Sporting a new hair style and wearing an elegant, short evening
dress the diminutive chanteuse evoked the glamour of the Supper Club era.
Launching into her opening medley of Today and After Today, an
upbeat grouping with superb instrumental accompaniment by her orchestra that
was reminiscent of the Big Band sound, Ms, Leonard opened with a bang! Down shifting effortlessly into the timeless ballad Isn't It Romantic,
then catching her breath before the demanding and wonderful Judy Garland
Medley, she reminisced about meeting Judy Garland, describing it as once of
the "greatest nights of my life." Frank Sinatra brought Judy to Tennie's show and she performed for her idol. A wonderful segue took her into a medley of her favorite Judy Garland
songs. Tennie brought alternating smiles and goose
bumps with her interpretation of the unforgettable lyrics of these timeless
gems and I'm sure much singing along! Her velvet tones enfolded the audience
in The Man Who Got Away which sprang to life in her talented hands.
Although time and space won't allow a discussion of each song, Tennie's audiences have come to expect that she will sing
certain ones - specifically the unforgettableNon,
Rien De Rien (No Regrets),
made famous by Edit Piaf and the hysterical Arthur In The Afternoon, sung with a fair A variety of standards, contemporary compositions and musical theatre
songs filed the eclectic program. I would be remiss not to mention the
talented musicians backing Tennie. Ably directed by
long time musical director/arranger/collaborator and singing partner, David Brunetti, the group of musicians brought in for the video
taping is not what one generally sees in the intimate cabaret venues and at
times, the combines cacophony of sounds of the bass, reeds, drums, trombone
and piano caused Tennie to struggle vocally. But
the singer's indefatigable warmth and energy, her humor and acting ability
plus her vocal talent, not only allowed her to persist, but to make this a
highly entertaining evening. This consummate professional is a must see for
cabaret aficionados and also for those learning its demanding
discipline." "A
spotlight isn't necessary when Tennie Leonard
performs. She lights up a room by herself. Case in point: Her warm
personality and rich voice brought a lovely glow to Judy*s Tennie's versatility was illuminated
by her next number: a moving performance of Cole Porter's Down in the
Depths on the 90th Floor. Continuing in a well-paced and varied program,
she brought humor and heart to top quality selections written by such writers
as Amanda McBroom, Craig Carnelia, John Bucchino and Carol Hall; Mercer and Arlen; Bernstein/Comden/Green; and Sondheim. Her rendition of Kurt Weill's My Ship was a jewel, allowing the
feelings and imagery of Ira Gershwin's lyric to shine through. With
naturalness and simplicity of style, Tennie proved
to be a songwriter's - and an audience's - loving
friend. Hats off, too, to the arrangements and performing of musical director
David Brunetti. Peter Haas CABARET SCENES "Leonard's
strongest moments came on lighter fare, such as a very funny "Arthur in
the Afternoon," which was a riot. She had everyone in stitches... she
has a delightful personality and vitality..." There's so much
to be said for any one who follows their dream, no matter when in life they
choose to do so. Tennie Leonard, for instance,
always sang, always wanted to sing live, and now is doing just that, both
live and on her first CD, From My Heart. Hers is a life worth singing
about, full of experiences good and not so good. She had launched her cabaret
career not long after marrying, and was on the rise with shows attended by
the likes of Judy Garland and Buddy Hackett, but the sudden death of her
husband stopped all that. From the pain of losing him at an early age to the
joys and trials of raising her daughter Lauren, now an entertainment
attorney, Tennie brings a lot to the table in terms
of emotion. Her live performance recently at Tom Rolla's Gardenia was lively,
engaging and entertaining, with lots of audience interaction. For that
matter, her comfort level both with the crowd and the musicians belies her
time off from the cabaret scene, and indicates the drive and talent of a true
professional. Tennie offers up a blend of standards
and new material, and in the process demonstrates that she's got the pipes
for everything from torch to ballads. Of special note is her rendition of
"My Foolish Heart," which sums up a life of chances taken,
with the results mixed. The same goes for her cover of "For All We
Know," a song that can easily be mawkish but here is delivered with
a bittersweet, knowing air. There's also a quiet, heartfelt rendering of
"Ferris Wheel,"something
new to our ears but hopefully a treasure that others will investigate. |
"...she
began to weave her magic... her great phrasing and beautifully held notes
blended effortlessly... One of the highlights of the evening, "Non, Ne Regrette Rien,"
sung in French, amazingly interpreted and highly dramatized with lighting,
was reminiscent of the late legend, Edith Piaf." "...Leonard
has been a trooper in clubs like Mama's and Judy's for a few years now, and her proficiency at brassy show tunes as well as
heartwarming ballads was very much in evidence to the packed house." Tennie
Leonard - "A Little Space": Tennie Leonard is a diminutive dynamo and powerhouse singer who can
surprise with a really big voice, singing straight from a heart full of
life's experiences. Once a rising star in the 60's who performed
at The Living Room in NYC to auspicious audiences including Judy Garland and
Buddy Hackett, and managed by Jilly Rizzo –
owner or Jilly's nightclub – who booked her
into the major hotels in the Catskills as well as Carson's The Tonight Show and the Merv Griffin Show, Tennie
left the stage to raise her daughter. Returning a decade ago Tennie Leonard performs regularly in the tri-state area. It's a pleasure to sit back and
watch a pro take the stage with assurance and candor. This gracious little lady,
wearing a stylishly elegant dé colleté black gown, opened with a medley of One Step and DeLovely, setting a tone of tenderness,
longing and hopefulness, followed by I
Hear Bells , a positive view of life but sung with a tinge of
underlying sadness. The evening of music and songs are
an unusual but good compilation of Cole Porter and Maltby
and Shire. She gave an introspective reading of I've Got You Under My Skin …a firm but soft, tender
sell, Tennie is sweetly romantic. Cole Porter's So In Love followed sung with a
plaintive approach "…love, so in love …
." So believable, so urgent, and showing off her resonant, lower
register. Turning to the music of Maltby and Shire with a stellar song entitled Patterns ,
about the struggle to change life's patterns in spite of "what I
know…". This was decidedly a wonderful interpretation and reading
– the best in the show with the line " …at
least we would have been alive, you and I…what if we had loved like
that." The medley of At Long Last Love and I've Been Here Before questions the
psyche of love. Down in the Depths,
a Cole Porter number with that oh! poor me phrase
"what's the use of swank and cash in the bank, alone in my sorrow, down
in the depths of the 90 th floor". Tennie gave it just the right amount of poor me. The
following number The March of Time has a fabulous line "….I wasn't
ready for the quickstep of the march of time…" Before her last number, Tennie let her audience in on a stroke of great fortune.
At the age of 17, she co-wrote and recorded her first single Sincerely Yours , on RCA/Decca. The
B side also got a lot of air play. It was Last Year's This well done show closed with an
encore medley of Porter's Every Time
We SayGoodby and After You (Who?). Again, Tennie
Leonard gives a reading that makes you sit back and hear the plaintive words
of longing and love. Music director David Brunetti and Frank Wagner on the bass create musical
underpinnings for this diva in her show, What about today? ....anything goes,
directed by Scott Barnes. If there is any complaint about the
show perhaps it's the use of the melody line by the music director throughout
most of the show. Perhaps the singer's phrasing, which in the beginning of
the show was a little too simplistic with too much of the same tempo, would
change if there were more chords. The choice of using Maltby
and Shires Patterns suggests
a look at some of songwriter/performer John Wallowitch's
material. It would be great to hear Tennie Leonard
pick up some more comic songs as well as darker material. In spite of an obvious cold or
allergy attack, proving what a great "pro" she is, Tennie never once complained, but instead gave excellent
readings and interpretations. Bravo! See her superb website www.tennieleonard.com and listen to
the lady sing. Philis Raskind TheaterScene
(May 9, 2005) What
About Today? Anything Goes… Although no one will believe it, a
voice from the wings announces, “Tennie
Leonard, in her first farewell show.” This belting pixie is a
personable and confident singer who brings her latest show, What About
Today? Anything Goes…, to Danny’s Skylight Room. Admittedly,
it’s a pretty cumbersome title, but it refers to her two current muses,
the team of David Shire and Richard Maltby, Jr.,
and Cole Porter. The songs selected reveal something about the men
themselves, as well as about the singer and the songs she chooses.
Sophisticated, witty Cole Porter showed his dark side in
songs like Down in the Depths, which Leonard performs sitting
alone at a table with a martini; he also contributed her encore: Everytime We Say Goodbye and After You.
It is, however, with the Maltby and Shire songs
that Leonard delves deepest for the core of personal relevance. Directed by Scott Barnes and
accompanied by David Brunetti, Leonard’s
selections are well-suited for a lady of a certain age. Leonard infuses Patterns
and What About Today? with a been-there,
done-that nuance uniquely flavored with her upbeat spirit. This optimistic/disillusioned
mood pervading the show is effectively defined with the pairing of
Porter’s hopeful At Long Last Love with an acknowledgement of
disenchantment in Maltby and Shire’s I’ve
Been Here Before. Leonard has a big voice and one
problem in her shows has been that she over-uses it. This time she tones down
the decibels in some of the Maltby and Shire tunes,
and also in Porter’s So In Love, which she performs with
poignant desperation. Petite and chic in a gorgeous black
gown, if this is Tennie Leonard’s first
farewell show, she’s got quite a few more to go. It seems she’s
got more to say than ever before, and there are a lot of songs to help her
say it. Elizabeth Ahlfors |
To hear what the critics are writing
about, be sure to check the CD page. This and all the other pages are on the
navigation bar below.
To see and hear a performance or two, there are clips on the Video page.
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