Judy Collins Pleases in SPAC Performance

by Marilyn Nason, The Post-Star, August 17, 1971

Judy Collins popularity as a truly American folksinger seems to have diminished little over the years.

With more than 8,400 attending last night at Saratoga Performing Arts Center, Miss Collins made her third appearance on that stage, offering nearly two hours of her singing, guitar and piano playing.

About the only annoying thing one can say about this beautiful, long-haired girl is her persistent tuning of her three guitars. She changes from one to another, song after song. I suppose the cool dampness of the evening has a great deal to do with this, along with her obvious wish for perfection. But, darn it, does she really have to tune and tune and tune before nearly every number?

Pure, Clear Voice

Hers is an extraordinary pure, clear voice, which seems to have developed a wavering quality not remembered from previous years. There is no question she is a phenomenal folk singer and storyteller. Her enunciation is faultless and her quiet poise onstage make for a relaxed evening for the audience. She does not race all over the stage endangering limbs, mikes and equipment, but stands pretty much calmly playing and singing. The effect is magical.

For several songs last night, she sang with no accompaniment at all and it was most exciting. It is only a sure, talented pro who would attempt that in the cold vast amphitheater and succeed so admirably.

As all singers at SPAC do, she did all the songs for which she has become famous, offered several of her own compositions and seemed genuinely pleased at the applause recognition response to familiar tunes.

Good Lyrics

Many of her songs have lyrics worth listening to, tales ranging from Joan of Arc’s last moments to the lonely plight of a prisoner’s wife. The latter, called “Easy Times,” she wrote for a movie based on an actual Alabama prison, torn down because of overcrowded conditions.

She was backed by a pianist, bass player and girl drummer. Somehow it just never seems natural to see a girl playing drums. But if Karen Carpenter can do it, who is to complain? Miss Collins has a gentle manner. There is no raucous overamplification and, all in all, it is a show for everyone. Someone suggested backstage that watching her sing in her simple fashion is “like sitting in an easychair by the fireplace playing her records.” That pretty much tells the story. But anyone who sings, plays, performs for two hours is working and you had better believe it.

For the fashion-minded, she wore a red and white striped peasant gown with glitter bodice.

The SPAC School of Orchestral Studies will present the first in a series of three performances today at 2:30 p.m. with William Smith, assistant conductor of the Philadelphia Orchestra, conducting. Works will include Glinka, Dvorak and Brahms.

Tomorrow at 8:30 p.m. the much-awaited appearance of New York City Ballet dancers Edward Villella and Patricia McBride with the Philadelphia Orchestra will be presented. Long considered, this blending of the two major resident artistic companies of SPAC the past six years is certain to be an unusual extraordinary performance.