WHAT PEOPLE SAY ABOUT ANN
Ann Kittredge's Iolanthe is a vocal and visual knockout…the part demands the gentleness, strength and warmth Ann Kittredge brings to it; the beauty of her mezzo voice is a bonus.
We seem to have had a recent spate of women performers who have returned to the cabaret stage after longish periods of marriage and motherhood. Mostly they have been very welcome and successful. There’s no reason Kittredge can’t join their number…She’s got the job.
Because "The Music Man" is so familiar to virtually every American, it must be fresh as this morning's daisies to retain credibility. Ann Kittredge brings just such a freshness…Kittredge's soprano voice is one of those gorgeous instruments often described as "bell-like" for it's clarity and ringing tone. Even more winning than her wonderful voice is the way Kittredge underscores her character's repressed sensuality. We really root for Marion to get together with slippery Harold, which makes the story all the more satisfying.
The non-starter shows all have lovely material, numbers like "Chanson," sung by the wonderful Ann Kittredge, and "Meadowlark" from "The Baker's Wife." Technical glitches became occasions to cheer…when Kittredge's mic conked out, she glided toward the footlights...and sent her voice out into the theatre without electronics. It was almost disappointing when the sound system came back in.
Much of the show's success is due to its leads. In what is basically an ugly duckling story, Ann Kittredge is a feeling center. Eleanor may seem too passive, but the reasons for her passivity are the drama's point. To her moving acting, Kittredge adds a rich voice that gives her songs personality and distinction.
…The estimable Ann Kittredge, who was so alluring and tragically reserved as the title character in Gilbert & Sullivan's "Iolanthe" a couple of seasons ago, turns in a steamy performance here…Kittredge's rendition of a song about Attila, with the ravished refrain, "my Attila, my Hun," is a sexy highlight and her performance of the final, chilling anthem of alienation, "I Don't Know Who I Belong To" is devastating.
"I must tell you that [Ann Kittredge's] rendition of "Love for Sale" is outstanding! Perhaps of the hundreds and hundreds I have heard, the best!"
Probably the funniest scene involves…Ann Kittredge as Lady Jacqueline Carstone. Ann Kittredge makes a sleek, catty seductress.
Ann Kittredge steals the show as the Hays' daughter, Rosalind, particularly in the hilarious balcony scene from Hay's production of Noel Coward's "Private Lives." Ms. Kittredge's performance in this scene is outstanding.
Ann Kittredge is enchanting as Fiona MacLaren, the lass who falls in love with the 20th century American. She is both determined, proud and heartbreakingly vulnerable.
Ann Kittredge, of the beautiful, lyrical, operatic voice, portrays Constance as one would hope. Not too bright, abundantly giddy, and Daddy’s favorite girl.
Nothing is funnier than Ann Kittredge’s performance of Kate’s soliloquy, I Hate Men, or more convincing than her rendering of Lilli’s reflective soliloquy, So in Love. She is a striking woman with a gift for comedy.
As a child of theater herself, Kittredge’s It’s About Time (a wonderful double meaning in that title) reflects [her theatrical] roots with a narrative and songs constituting a mini-theatrical. The show is an engaging personal history, filled with a rainbow of emotional expression…By the closing “Unexpected Song” it was apparent that the combination of a pleasing upbeat personality, well-curated songs and an absorbing narrative added up to success for Kittredge’s return to the stage ….and It’s About Time.