State Of Bliss

Album art for State Of Bliss

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Track Listing

Praise for State Of Bliss…

  • “Since surprise is such a welcome element in a cabaret act, it’s nice to report that Courtenay Day is full of surprises. Out she comes looking like a cross between Debbie Reynolds and Sandy Duncan in a black outfit that’s both demure and sexy. And then she starts singing in a voice sounding like a cross between Blossom Dearie and Bernadette Peters.

    And you think, “This ought to be light and easy.” For a while, it is. But before Day removes that black jacket and places it atop the piano Christopher Marlowe is expertly playing, she reveals a few tricks hidden up its sleeve. Most of them concern not keeping things light and easy. Without warning she’s probing standards for values that no one else has found. She’s singing the great Lorenz Hart- Richard Rodgers “I Didn’t Know What Time It Was” and proving it isn’t the happy boast of someone who’s come to know love. It is, her delivery indicates, the self-lacerating confession of someone who has awakened to love just a little late. On to Stephen Sondheim and — surprise, surprise — she sings “Every Day a Little Death” with more pain than it may possibly have ever been sung. That the mood piece-the true instance of brilliance from “A Little Night Music,” not “Send in the Clowns” — is paired with the composer-lyricist’s “Pretty Women” doesn’t make a great deal of sense, but so be it. Having made drama of Sondheim, she keeps the atmosphere thick by molding Billy Barnes’ “Something Cool” into a monologue that Tennessee Williams might have penned for Blanche Dubois.

    Having built impressively on her strengths, Day could still attend to some weaknesses, most notably a limited vocal range. When she goes for low notes, it sometimes seems as if the floor has fallen out from under her voice; when she goes for anything high, she often gets shrill. This is more noticeable, however, on her new CD, Courtenay Day Live at Don’t Tell Mama,” than it is live at Don ‘t Tell Mama, where she’ll be on Tuesdays through Aug. 8.”

    — David Finkle – Bistro Bits July 21-27, 2000
  • “COURTENAY DAY The voice floats in like a butterfly, but the acting stings like a bee. Sondheim’s “Every Day a Little Death” may have never been delivered with more hurt. But she can brighten the atmosphere, too. With the superb Christopher Marlowe at the keyboard. Don’t Tell Mama, every Tue at 7, through 8/1. (Finkle)”

    — The Village Voice – July 25, 2000
  • “Saturday I was at DON’T TELL MAMA (343 West 46th Street, NYC – 212-757-0788) at 6:00 pm to see Courtenay Day’s CD release show – and I was really impressed by this gal’s vocals. Having seen Wesla Whitfieid on Friday night, it was a real treat to see two very beautiful cabaret shows in a row! Courtenay has a voice that caresses you, and each delicious lyric is delivered with tender, loving care. It was a small house, but a quality one — with singers like Eric.”

    — Michael Gillett and Bill McKinley in the audience — along with Bany Kleinbort
  • “Take a glance at some of the top vocalists in the best cabaret rooms and you will rarely see a gimmick or a prop. Of course, there is Julie Wilson’s boa, but that is more of a trademark than an prop. Over the past few months I have seen some of the best in cabaret — Wesla Whitfield, Michael Feinstein, Tom Andersen, Jack Donahue, Marilyn Volpe, Andrea Marcovicci, Mark Coffin, Courtenay Day, Charles Cermele, Scott Coulter, Eric Michael Gillett, Annie Hughes, Baby Jane Dexter, Jeanne MacDonald, Barbara Brussell — the list goes on — and most of these shows had a theme, but nary a gimmick or a prop. These are folks at the top of the cabaret list. They just go out there and “sing the songs!”

    — Cabaret Hotline Online

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For cabaret singer Courtenay Day, making lyrics from the Great American Songbook come alive for audiences takes more than a beautiful voice and an elegant stage presence - though she has both in good measure. For Day it takes an…