Chad Jones’ Theater Dogs

Last night at Davies Symphony Hall, Bernadette Peters was in a good mood. Her voice was in great shape (and her shape was in GREAT shape).

In other words, Peters’ “Summer in the City” concert was a triumph.

Last time Peters was in town, she was performing a theatrical concert at the Orpheum Theatre to promote her new Rodgers and Hammerstein album. That 2001 run got scotched by illness (she says Rita Moreno gave her the flu at a Jerry Herman tribute), and she hasn’t been back since.

Friday night, she stood in front of the San Francisco Symphony, with her longtime musical director Marvin Laird at the conductor’s podium (and, quite often, at the piano), and delivered the kind of old-school Broadway razzle dazzle that has made her a beloved musical theater icon.

If you’ve seen Peters in a show, especially a long-running one, you know that she can get tired and bored, and she can let her weariness come through in the performance so that it seems she’s giving it about 50 percent. In her many appearances with the SF Symphony – 1991, 92, 95 and 98 – Peters has been hot and lukewarm. She trotted out a lot of the same songs, jokes and mannerisms, concert after concert.

This time around we saw a much fresher Peters. At 60 she has lost none of her Kewpie Doll looks – That hair! Those curves! – nor has her voice, one of the most bizarre instruments on Broadway, lost any of its appeal. I say her voice is bizarre because it is. The break between chest and head voice comes at a strange place, and her control is not always there. Sometimes the drama in her performance comes from wondering whether she can actually hit the note.

That said, Peters has learned to use her odd voice incredibly well. She has comedy notes and break-your-heart notes. She’s a smart interpreter, and as she has gotten older, she has learned simplicity can be equally as effective as the most involved vocal manipulation. That’s one of the reasons she’s so good at singing the songs of Stephen Sondheim, who was well represented in Friday’s song selection.

After an orchestral program conducted by Edwin Outwater that featured Broadway composers Sondheim, Bernstein, Gould and Styne (no mention need be made of the attempt to make the Stray Cats’ “Rock This Town” into orchestral rockabilly), Laird led the orchestra through an overture that plucked out highlights from Peters’ career (Gypsy, Mack and Mable, Sunday in the Park with George).

Peters entered singing a cutesy “Let Me Entertain You” from Gypsy and then got serious with “No One Is Alone” from Into the Woods, a song she sings just about better than anyone, and the simple arrangement for piano and cello was stunning.

Aside from a go-nowhere running joke about trying to sell a vacation home in Florida (five bedrooms, six baths, one pool), Peters was charming. She did do her “this is my back” joke when she turned to sip water, but mostly she connected with the adoring audience as she strutted through her vampy “There Is Nothin’ Like a Dame” and then climbed on top of the piano for a hot – truly hot – “Fever.”

She headed back to Rodgers and Hammerstein for “Mr. Snow” from Carousel and “Some Enchanted Evening” from South Pacific (she says she’s seen the current revival twice and that we should catch it if we can) and then surprised us with a delicate “Shenandoah” that was practically a cappella. A recent gig at L.A.’s Disney Concert Hall forced her to add some Disney to the act: a lovely medley of “When You Wish Upon a Star” and “A Dream Is a Wish Your Heart Makes.”

The Sondheim section of the evening started on the Davies grand organ in a riff from Sweeney Todd that turned into a beautiful “Johanna.”

Peters sings “Not a Day Goes By” all the time, but Friday night’s version seemed somehow less acted and more natural, which made the song all the more heartbreaking. Her “You Could Drive a Person Crazy” is fun (not as fun as Andrea McArdle’s), but her “With So Little to Be Sure Of” brought weight and drama and beauty (more than the set closer “Being Alive,” which didn’t have quite the oomph it should have).

For an encore, she performed her first composition, “Kramer’s Song,” a lullaby she wrote for her dog and that accompanies her recently published children’s book Broadway Barks. Peters walked into the audience to perform the song, which is truly lovely and emotional and has more than a touch of Sondheim in it.

Of course Peters could have performed more songs from her own shows. She didn’t do anything from Song and Dance or Annie Get Your Gun or anything of note from Gypsy. But it was nice getting a mostly fresh plate of show tunes from such a delightful diva.

Visit Peters’ official site: bernadettepeters.com

Bernadette Peters’ career is going to the dogs.

No, the two-time Tony Award-winning Broadway diva has not hit the skids. She’s just more interested in dogs at the moment than the stage.

Peters, 57, who performs with the San Francisco Symphony Friday, July 25, as part of the “Summer in the City” series, has been a self-described “dog person” since age 9 when she begged her mother for a canine companion. Then she got Suzie, a small golden lab, who became a beloved family pet.

“My father, who delivered bread, was a man who didn’t talk about his emotions, but when that dog got old and wandered away to die, he took it so personally. `I never thought she’d do this to us,’ he said,” Peters recalls on the phone from her New York home. “We did get another dog, a little poodle, and he carried that animal around under his arm. He was sort of a dog whisperer, which helped when he made deliveries.”

Throughout her life, Peters has had dogs.

“I didn’t know at first you had to actually be in charge, be the alpha,” she says. “I’m good with dogs now. I understand that.”

Years ago she had a poodle named Rocco, a dog she claims was the smartest dog ever.

“I took him on `The Tonight Show’ because there was a guy there rating animal intelligence,” Peters recalls. “Contrary to what people think, poodles are not that smart, he said. Ha ha ha. My dog won. When I was in the movie The Jerk, we had trained dogs, and the trainer, to get them to speak, would use a signal. Sometimes they’d speak, sometimes they wouldn’t. I’d watch them and think, `Rocco could do that.’ I remember telling my father that Rocco was so smart – he was like a little boy in a dog suit. My father came to visit and said, `You’re right!’ I was in such mourning when Rocco died. It was just him and me for so long.”

About 11 years ago, after her golden retriever had died, she found Kramer at the ASPCA. “He’s a Heinz 57 mutt,” Peters says. “He’s a tramp, like in `Lady and the Tramp.’ I should sing that song.”

She’ll probably get around to it, but for now she’s singing “Kramer’s Song,” a song she composed herself to accompany her first-ever children’s book, Broadway Barks (Blue Apple Books) named for the annual Broadway animal-adoption event she and Mary Tyler Moore founded a decade ago.

Peters will be singing “Kramer’s Song,” a tender lullaby that accompanies the book on a CD tucked into the back cover, in concert, and on Saturday, July 26, she’ll do a book signing at Books Inc. on Market Street.

“I had never composed anything before, and at first I didn’t want to sing the song because I wondered if it was good enough,” Peters says. “But then I got comfortable with it because I know it comes from someplace real.”

Her friend Stephen Sondheim, whose songs she sings just about better than anyone, hasn’t heard the song yet. “But he wasn’t surprised when he heard I’d written something,” Peters says. “He says the way to write a song is for it to come out of a situation.”

In addition to discussing her next stage project, Peters is at work on a second children’s book – this one about her pit bull, Stella. As for the real life Kramer, he’s enjoying his moment in the spotlight.

“He loves his song,” Peters says. “It makes him bark. He’s loving being on TV, loves the applause. I think he was an actor in his last life.”

The success of Broadway Barks, the annual New York event that involves the cream of the Broadway theater community, didn’t surprise Peters.

“When you’re an actor, your heart has to be open and available to feelings and emotions,” she says. “Actors are usually very sensitive people, and they fit perfectly with animals. Communication with animals is very good for us – they help us find the quiet in ourselves.”

Peters’ primary causes these days involve animals. She’s working to turn New York into a no-kill island when it comes to abandoned animals, and she’s working to increase funding for groups that spay and neuter animals in cities.

Of course, she’s still very much involved in show business. In addition to her concert work, she’s planning her next album – something she describes as “a small album of standards.” And she’s in meetings about her next stage project. “There’s nothing to talk about yet,” she says.

She recently finished work on a Lifetime movie called Living Proof that costars Harry Connick Jr. and will air in October. She’s also working on another children’s book, this one about her pit bull, Stella.

“People have the wrong idea about pit bulls – they’re so loving. That’s what I want to write about – about how appearances aren’t everything,” Peters says. “I may try to write a song for her, but I’m not ready to get `Kramer’s Song’ out of my consciousness yet.”

Bernadette Peters performs with the San Francisco Symphony at 8 p.m. Friday at Davies Symphony Hall, 201 Van Ness Ave., San Francisco. Tickets are $30-$35. Call 415-864-6000 or visit www.sfsymphony.org.

Peters will sign copies of her book, Broadway Barks, at 2 p.m. Saturday at Books Inc., 2275 Market St., San Francisco. Call 415-864-6777 for information.

Here’s Peters performing “Kramer’s Song” on “The View.”

Michael Feinstein is one of the most in-demand crooners in the land. If people want sophistication, elegance and abundant love and knowledge of the Great American Songbook, they immediately turn to Feinstein.

For more than 20 years, Feinstein has reigned as the King of Cabaret, the Sultan of Standards and the Torch Bearer for Torch Songs.

A formidable interpreter of American classics from Gershwin to Berlin to Jimmy Webb (yes, he pays attention to modern songwriters as well), Feinstein is also an incredible storehouse of facts and lore. He has invested years in preserving the legacy of America’s greatest songwriters, and he recently created the Feinstein Foundation for the Preservation of American Popular Music to do just that.

But at the moment, all of his good works for American song are taking a back seat to his other career: showman.

On Saturday he finishes up the run of his annual holiday show at his New York nightclub, Feinstein’s at Loew’s Regency, and Sunday he flies to San Francisco, where he’ll have one rehearsal before he performs at 7 p.m. at Davies Symphony Hall with the San Francisco Symphony. He’ll repeat the show the following night, New Year’s Eve.

“This is how I like to experience the holidays,” Feinstein says. “I like to see the holidays through the eyes of audience members who all have different things they appreciate about this time of year. I sing the songs and look into the eyes of the people, see their reaction to the music. That’s much more fulfilling than sitting at home looking at a Christmas tree.”

Feinstein, 51, is officially bicoastal. He has an Upper East Side home in Manhattan, and in Los Angeles, he lives in what used to be the Russian consulate.

“Kruschev slept there,” Feinstein says.

In his late 20s, when he was starting to break out of piano bars and gain some notice, Feinstein played San Francisco’s Plush Room, which was then newly reopened.

“I was having a whale of a time then,” Feinstein recalls. “It was a great, magical room for connecting with audiences. I have so many memories from there. Sammy Cahn came in one night. Milton Berle came in and ended up doing 20 minutes. Irene Manning of Yankee Doodle Dandy came in. Herb Caen wrote about me, `The kid’s got it,’ and it was like being anointed by the Pope. All the intelligentsia, the movers, shakes and money of San Francisco were there.”

Feinstein remembers that era as having “a heightened sense of joy. It was before the world had changed, before the city had changed and before the worst of AIDS. It will never be that again.”

One New Year’s Eve, Feinstein recalls playing the Plush when Joan Fontaine (Rebecca), the actress, was squired into the room.

“She was an old-guard Hollywood actress, bowing and waving, and she was seated down front by the piano. She was drinking Champagne, and as the evening progressed, she got loopy and drunk, then kind of quieted into a stupor. Then she was bubbling like a tea kettle, mumbling under her breath. She started heckling me and told me, `Shut up! You can’t play. Get off the stage.’ I went from being thrilled to having Joan Fontaine in the audience to praying she would pass out.”

This New Year’s Eve promises to be a little less belligerent.

“Working with the symphony in one of my favorite cities is fantastic,” Feinstein says. “I’m a romantic, and New Year’s Eve should be romantic and celebratory. One of the songs we’ll be singing is `Here’s to Us’ and another is `The Folks Who Live on the Hill.’”

Keeping songs like those alive is of paramount importance to Feinstein, who has amassed an impressive collection of American song-related artifacts. Recently he bought what was left of a collection of production discs from the MGM musical days that include outtakes and demos.

“There’s no money in preservation,” Feinstein says, which is why he created a foundation to spearhead a national effort. “If it’s not The Wizard of Oz and not deemed viable to turn a profit, nobody’s interested.”

Though classic American song — what many call standards — is still alive and well, more attention needs to be paid, Feinstein says.

“New audiences are discovering this music all the time — they hear it at the movies and on TV,” he says. “It’s such adaptable music. It can survive Rod Stewart and other mediocre interpretations, which still get the music out there and please millions of people. People get something from this music like they do from Beethoven, Shakespeare or Picasso. There’s a unique value to it, not limited to a certain age group.”

Twenty years ago, Feinstein wondered if he’d have an audience in the future because his brand of music seemed to appeal so strongly with older people. And though older people continue to connect with the music, younger people are constantly discovering it.

“I still have an audience and will continue to have an audience,” Feinstein says. “This music will endure. There’s no doubt in my mind.”

Upcoming for Feinstein: He’s working with his pal Liza Minnelli on a CD of songs by Minnelli’s godmother, the great Kay Thompson; he’ll perform in London next month at Feinstein’s at the Shaw, a newly christened performance space; he’s producing a documentary on the late Kitty Carlisle Hart; and his musical, Perspectives, will likely have its debut in London’s West End.

Michael Feinstein and the San Francisco Symphony shows are at 7 p.m. Dec. 30 and 9 p.m. Dec. 31 at Davies Symphony Hall. Tickets are $20 to $175. Call 415-864-6000 or visit www.sfsymphony.org.

For more information on Feinstein, visit his Web site at www.michaelfeinstein.com.