Copyright 2000 Reed Elsevier Inc.
Daily Variety
February 17, 2000
SECTION: Pg. 14
LENGTH: 391 words
HEADLINE: Aimee Mann; Michael Penn
BYLINE: DAVID SPRAGUE
BODY:
(Joe's Pub; 200 capacity; $ 30)
Presented in-house. Musicians: Aimee Mann, Michael Penn,
Buddy Hodge; Patrick Horn, John Sands. Opened and reviewed Feb. 15, 2000;
Closes Feb. 17.
Relationships that span the rehearsal room and the bedroom are rarely fortuitous,
and almost never equal --- but the pairing of longtime critical darlings
Aimee Mann and Michael Penn is clearly an exception.
At the first of three sold-out evenings at this intimate cabaret, the couple
shared the stage and the spotlight comfortably, each offering enough support
--- and surrendering enough space --- to allow the other to shine. For most
of the 90-plus minutes, both singer-songwriters remained onstage, trading
off two-song mini-sets.
Mann kicked things off with a solo version of "Save Me," culled
from her Oscar-nominated soundtrack for "Magnolia," and proved
her mettle by meeting an audience request for an acceptance speech by ad-libbing
a ceremony-night address.
Penn was slightly less jocular, but still managed to tweak the heartstrings
with a passel of songs drawn from his new "MP4" album --- highlighted
by the indigo-hued "High Time"--- as well as a selection of older
numbers, such as the jug-band styled "Me Around."
As they traded off duties, swapping instruments and goosing each other with
looks and offhand gestures, it became clear that the sum of the couple's
talents was more than the individual parts.
It's not so much that they've changed their individual styles---Mann is
still understatedly bitter, Penn determinedly doleful. But the aura surrounding
their performances has lightened drastically.
That newfound buoyancy was constantly in evidence --- from guitarist Buddy
Judge's Elvis Costello impression during Mann's "The Other End of the
Telescope" to the between-song banter provided by comedian Andy Kindler,
hired to voice the "inner thoughts" that Penn is too shy to express
for himself.
The encore was particularly loose in construction: The cheers went up for
the opening bars of Penn's 1989 hit "No Myth" turned to giggles
when Mann took the vocal lead and dreamed aloud of being "a Romeo in
black jeans."
But by the time she ceded the mic to her beau for verse two, it was clear
that they weren't merely going for the spit-take; rather, they were proving
that dark thoughts needn't be expressed in monochrome.
BACK