Greek Theatre concert review
I must admit I felt a bit like a CBS television executive Saturday night at the Greek Theater. About two-thirds of the way through the program, I, too, felt like canceling the Smothers Brothers show. But my feelings had nothing to do with controversy (there was scarcely any political commentary); I felt only a touch of boredom.
Though the Smotherses started off nicely with a recap of their activities and the changing political climate in recent years. they soon settled on a format that alternated a basic comic punch- Tommy’s zany antics as “serious musician” Dick attempts to perform some folk tunes - with some straight renditions of folk-flavored numbers. The pair’s other famous comedy punch-mother loves Dick best-wasn’t revived.
The problem with the format was that the straight versions of such tunes as the Eagles’ “Tequila Sunrise” and Nilsson’s “I Guess the Lord Must Live in New York City” were essentially colorless, and the humorous ones (adaptations of such numbers as “John Henry” and “Michael, Row the Boat Ashore”), while well designed individually, suffered, as the evening progressed, from a sameness that undercut their impact. Any veteran comic should know you can only throw the same punch so many times and still have it land.
On television, where they could do just a couple of the skits and then have guest artists provide some variety, the single punch can work well. In a concert setting, however, the need to string more of them together worked against them.
What happens is you soon find yourself losing the all-important element of anticipation. You know, essentially, what is going to happen next, so you simply find yourself waiting until it arrives. The Smotherses need some new punches if they are to once again become, an engaging concert attraction. The audience seemed pleased, but audiences almost always do when visiting old friends.
Olivia Newton-John
With the Smotherses Friday and Saturday at the Greek was Olivia Newton-John, who has such a sparkle to her smile and personality on stage that she must go through two tubes of Pepsodent a day. There’s just as much sheen and gloss to her act.
She became a record star through a soft, romantic, country style (i.e. “If Not for You,” “If You Love Me, Let Me Know”), but apparently feels she needs a more rounded musical base if she is to succeed in the Las Vegas and/or Greek Theater concert market, so she has reached out for a sort of easy listening, pop music smorgasbord: cute numbers like the Beatles’ “Honey Pie,” dreamy ones like Bread’s “If,” universally known ones like “Take Me Home, Country Roads” and nostalgic ones like “Nevertheless.”
While her voice is capable of a bit more range and emotion than is shown on the hit singles, her arrangements are so simple, fluffy and virtually Muzak that she is never really challenged. The result is that none of the material is given the special interpretation that makes it anything more than soothing. The music, I’m afraid, consistently seems to take second place to her own “cuteness.”
She has a pleasing and safe enough style to do well in the easy listening market (she was well received recently as the opening act for Charlie Rich in Las Vegas), but she needs more gutsy arrangements if she’s going to be known for her music rather than her oh-so-lovely appearance and manner.