As the musical theatre community grieves the loss, at 89, of the finest soprano ever, Barbara Cook, much is said about the beauty of her voice, the clarity of her tone, the warmth of her sound. Yes, all of that is so, but I feel every bit of praise for her vocal gifts somehow misses the point. You can possess fantastic vocal cords, you can train your ass off, as opera singers do, in quest of perfection, you still wouldn’t come close to her accomplishments. She wasn’t merely the Voice; she was the Actress, the Personality.
Barbara Cook, it is said, had two careers: leading lady in Broadway musicals, and then the doyenne of the cabaret world. That’s a natural progression for someone whose specialty was acting lyrics with meaning and intent. In musicals, roles are more plentiful for the young and the thin. Once she was neither – and most mark The Grass Harp (1971) as the end of the beginning – she took her gifts to the venue where audiences give the most concentration to lyrics. Rooms with fewer than 100 seats get listeners to prick up their ears. (Of course, Cook was so successful, the rooms included Carnegie Hall.) There aren’t those musical theatre distractions like sets, dancers, book scenes, a story to tell. I’m among the lucky ones, who got to sit in rapt attention at the Carlyle one night, her warmth delivering happiness to everyone in the room.
Mostly, though, like most of you, my understanding of Barbara Cook is based on cast recordings. Since I’m often talking about how those twelve inches of vinyl make misleading impressions, I’m going to have to ask: “What am I missing here?” The most obvious omission is the acting, and Cook was a good enough actress to appear in two of Broadway’s more notable comedies in the 1960s, Little Murders and Any Wednesday. I find this remarkable, aware of the seemingly unbridgeable chasm between performers in musicals and thespians in plays. Records and videos give glimpses of what the lady can do with lines. Take that most popular of American arias, butchered by many an opera diva, Glitter and Be Gay. The original Broadway cast album of Candide – which has to be the most glorious capture of a flop musical, ever – has her speaking
Pearls and ruby rings…
Ah, how can worldly things
Take the place of honor lost?
Can they compensate
For my fallen state,
Purchased as they were at such an awful cost?
Can they dry my tears?
Can they blind my eyes to shame?
Can the brightest brooch
Shield me from reproach?
Can the purest diamond purify my name?
I’ve heard too many sopranos with no idea how to put the right spin on those words to make them funny. Cunegonde has been forced into whoredom – that’s the “awful cost” – but she’s so tickled by endearing trinkets, she’s not certain she got the bad end of the bargain. Nobody would write such a concept today, in our increased-sensitivity-to-sexual-slavery times. But 61 years ago (and ever since), Cook’s interpretive gifts made this hysterically funny and fun.
When considering what we love about her signature song, Vanilla Ice Cream from She Loves Me, is it the gloriousness of the penultimate high B, or is it that we’re reacting to a grounded-in-reality character sorting through a bunch of emotions and discoveries in a recognizably human way? Amalia’s numbers in She Loves Me inspire love in all but the coldest-hearted listener. Since I’m always thinking about songwriters, I usually marvel about Sheldon Harnick’s humorous, charming text and Jerry Bock’s delightful near-classical setting. Collaborator Cook got the whole thing to fly; it could never have worked without her fully-formed character. In a little gem called No More Candy, her would-be shop clerk is forced to improvise a defense of how a small box with a lock on it is “functional” and delicately mentions a “slight tendency to overweight.” Now, there are plenty of observers who believe that Cook’s life story is that she went from thin leading lady to plus-size cabaret star due to a notable change in girth. But this ignores something (I’m clearly straining to avoid saying “the elephant in the room.” Sorry.):
Barbara Cook – the young and thin edition – was not astoundingly pretty. This separates her from many, if not all, of the ingénues who burst on the scene in the mid-fifties. Here was a new kind of star. Not dazzling in appearance, she got us to focus on her characters’ hearts, what they were feeling in every breath. This, to me, is the musical theatre ideal: At its best, we’re living the emotional life of the people we’re watching. And, as they fall in love “Vanilla ice cream: imagine that!” we do the same. So, a classical beauty finding love, by 1955, was old news. Of course hot stuff succeeds in getting male attention. It’s harder for us mere mortals. And I think this is key to why I find Something You’ve Never Had Before the most moving of her numbers. She offers a heart that’s true, not a face that could launch a thousand ships, and I tear up at the idea that the man’s too dense to notice her inner beauty.
All of this reminds me of a Sondheim song I never much cared for until I heard Barbara Cook’s rendition. In Buddy’s Eyes had always struck me as a rather plain and extended wifely paean, not quite dramatic enough to justify its length. But when Cook sings “I’m young; I’m beautiful” or “I don’t get older” you hear the heartbreak in the self-delusion. Ambivalence simmers underneath; the lady is kept alive by the lies she tells herself. You don’t think Sally is crazy, hearing the Follies In Concert album; you revel in a beautiful coping mechanism; you care.
Finally, let’s pivot back from the complex to the simplistic, and take in how she infused what’s essentially a plain (not fancy) lullaby with true longing. In The Music Man, it’s established that every night she sings a plaintive waltz to a little girl. We’re set up for something meaningless and dismissible. Cook colors her tones in a way that illuminates the touching reality that Marian the librarian truly depends on a wish and a star to bring her love.
Sweet dreams be yours, dear, if dreams there be
Sweet dreams to carry you close to me.
I wish they may and I wish they might.
Now goodnight, my someone, goodnight.