Maud Hixon©Andrea Canter

“The biggest challenge of this project has been keeping up with the learning curve,” says Twin Cities vocalist Maud Hixson. “I'm stretching a lot musically while working with many different people in a new environment.” The project is a cabaret show devoted to the songs of composer Michael (Mickey) Leonard. And the new environment? New York City where Maud presents Mickey and Maud: The Songs of Michael (Mickey) Leonard at the city’s oldest cabaret, the Duplex, on December 2nd and 9th. 

The Road to Manhattan

Maud’s route from St. Louis Park to Central Park has more or less followed a straight line, a line that begins in her early love for the songs of the 1930s and ‘40s and moves on a path through gigs at Twin Cities clubs like the Times, Rossi’s and Dakota to the famed International Cabaret Conference at Yale in summer 2006. “Going to the Cabaret Conference and working with the people involved helped me zero in on what cabaret really is―presenting music for a listening crowd,” says Maud. Cabaret isn’t so much a genre as a way of listening to the music, or more specifically to the stories of the lyrics.  Maud clarifies, “It’s listening in a different way than when the music is either wallpaper (background for conversation) or a wall of sound (modern instrumental jazz)... I have always wanted to master the kind of performing that is about storytelling.” 

Through grants from the Minnesota Arts Board, Maud was able to hone her cabaret craft at the Cabaret Conference where she began her collaboration with director Erv Raible of Cabaret and Concert Artists International, a past owner of many celebrated nightclubs in New York including the Duplex. Until that experience, she was not really aware of the music of Mickey Leonard beyond his most familiar tunes, “Why Did I Choose You?” and “I’m All Smiles.” Another connection from the Yale Conference, pianist/ director Tex Arnold suggested she explore Leonard’s songbook. With a second grant from the Minnesota Arts Board, Maud began to develop her own show, researching the music and working with Arnold, who serves as her director for this production.  Preparation has also involved work with coaches in New York. “I’ve had technical voice training from [cabaret star] Ann Hampton Callaway’s mom, Shirley Callaway, and coaching regarding interpretation from Laurel Massé—a founding member of Manhattan Transfer,” says Maud. “I’ve spent a few weeks working in New York, otherwise all my preparation has been long distance.” In addition to Tex Arnold on piano, Maud will be backed by New York bassist Steve LaSpina.  

Mickey Leonard

Of the myriad songwriters in Manhattan, why Leonard? “I know a lot more songs from the ‘20s through the ‘50s, and he was mostly writing in the ‘60s,” says Maud. “So at first, I wondered if I would like his music, considering my old-fashioned tastes for melody and harmony. But his music is gorgeous in every way, sophisticated and beautiful. This is why he was recommended so highly to me.” 

Although a prolific writer and arranger, Leonard’s contributions have largely been below the radar screen, contributing songs to failed Broadway productions of The Yearling and Pousse-Café, the music to the long-running television series Happy Days, and arrangements for Nancy Sinatra and Dick Haymes. The fact that Leonard’s name is not familiar to most audiences was a motivating force for Maud in developing her show: “Although everyone knows something about Mickey Leonard, his body of work is not really familiar, and no one person has done a show of his music before, so people in New York are interested. It’s a unique presentation and a great way to introduce myself to this community, as it will mean something to them.” 

“Mickey and Maud” at The Duplex and Beyond

Maud Hixson©Brooks Peterson

With only a few weeks to go, Maud notes that “I am just working on pulling it all together now, and finally completing the research. It has taken me quite a while to learn how to research this material. The internet has been a good first resource for information, as well as talking to people in New York and spending time at the library. A lot of my biggest discoveries have happened in the last couple of months--I have gotten better at this as the project has progressed.” 

Given the limited cabaret opportunities in the Twin Cities and the intense work she has put into her New York show, is Maud likely to do more cabaret shows? “Absolutely--by the time I am done I will actually know how to do it! Cabaret shows are often centered on a performer’s state of mind or taste in overall repertoire. But I really am a history nut, so I think I would still like to continue to explore one person’s body of work...This show is interesting because different lyricists have been involved with the composer, but it would also be interesting to see how a show might hang together if the focus was on my involvement with one lyricist.” 

Whatever happens next, Maud will bring this cabaret experience to the stage. “This has been like training for the Olympics—really good for me, whatever happens next. I am pleased as this project has done a tremendous amount toward showing me how to do my job better...I really feel like I have established better ways of applying myself, doing specific things each day. I’m more focused on doing the creative work.” 

And hopefully some of that creative effort will take place here in the Twin Cities. Notes Maud, “I will definitely be bringing this project home. Perhaps in performance, but certainly in the way it will enhance my knowledge and perspective in my musical undertakings here.” 

In New York, you can catch Maud Hixson and “Mickey and Maud: Maud Hixson Sings the Music of Michael (Mickey) Leonard” on December 2 and 9 at 7 pm, at The Duplex, 61 Christopher Street (at Seventh Av); reservations at (212) 255-5438; visit www.theduplex.com. More about Maud Hixson at her website, www.maudhixson.com. For a full interview with Maud regarding her show and the art of cabaret, visit the JazzINK website at www.jazzink.com 
 

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