KT McCammond is the recipient of the 2005 Chicago After Dark Award for "Outstanding Cabaret Artist ". She has appeared to acclaim at some of the city's premier venues including Maxim's, Davenport's, The Cultural Center, The Peninsula Hotel, the Royal George Theater, and the Park West. Ms McCammond has lent her vocal talents to many corporate affairs for clients such as Xerox and Miller Corp., she is a member of Actor's Equity, and delights audiences with a walking, talking, singing Marilyn Monroe. KT is a 2004 graduate of the Cabaret Conference at Yale. She recently performed "Some Like It Hot", a Marilyn Monroe tribute with Elizabeth Doyle and Bob Moreen at Maxim's. Ms McCammond's latest solo show, Brahminology - Ode to the Boston Bluebloods, received a grand review from the Chicago Tribune, who called her "-genuinely, wickedly, funny-". She will be revising it for an encore performance at Maxim's in January. KT currently sings with Bob Moreen at Cornelia's, and at the East Bank Club with Bob Solone.

Solo Shows
"C'est L'Amour" - A Valentine's Day show featuring standard love songs, naughty love songs, songs in French and songs about the French. This show is especially arranged for dancing.

"The Love of My Life"- The many places and faces in which we find love brought to light through music from the Gerswhins to Joan Armatrading.

"KT Sings Kitt" -a celebration of the life and music of the immortal Eartha Kitt. Cabaret hotline called it "a delicious tribute" in which KT "weaves her story and Kitt's... into a seamless evening of top-notch entertainment."

"Brahminology: Ode to the Boston Bluebloods" KT gets back to her roots and exposes the old Boston society known as the Brahmins. Noel Coward, Cole Porter, Sheldon Harnick and more.

Review Quotes

"-genuinely, wickedly funny-. That McCammond sings so well....renders her message all the more potent. Here's the rare Cabaret show with teeth."
Howard Reich - Chicago Tribune

"She was made for this." Julie Wilson - Cabaret Legend

"Blending her captivating personality and commanding yet welcoming presence with an amazingly versatile voice, Ms. McCammond gives her audience a musical experience that can set the heart pounding one moment and then shatter it the next." Jeff Rossen - Cabaret Scenes, Chicago After Dark

"Perhaps, the reason for the award is her excellent voice and physical beauty. KT, however, offers more. Remarkably, she is wonderfully funny without mugging. She can lead us to reflect and regret by singing truthfully and without
manipulation. In the intimacy of cabaret, it is truth that wins the awards."
Carla Gordon - Cabaret Hotline Online

CABARET Chicago, After Dark Magazine

by Jeff Rossen

Into each life, a little love must fall - whether we want it or not. And those drops of emotion take many different shapes, from the overwhelming, slammed-into-the-wall jolt when we meet Mr. or Ms. Right to the undeniable an unavoidable link between parent and child. KT McCammond explores the world of love in "The Love of My Life" with a dynamite **** performance that showcases her amazing versatility and captivating personality and presence. Ranging from a rafter-shaking gospel turn in the knockout Look to Your Heart and tender tribute to her grandmother in Emily Remembers to her loving a cappella blending of Amazing Grace/Hush Little Baby (for her father and son) and bubbly I Just Found Out About Love, McCammond delivers a flawless hour that is certain to rank as one of the year's finest and should not be missed. With Valentine's Day making this the season of love, there's no more perfect way to celebrate it - or commiserate about it - than spending your Thursday evening with McCammond.

KT SINGS KITT AT DAVENPORT'S

Reviewed by Carla Gordon

When "KT Sings Kitt" by KT Mc Cammond ran last spring, I missed it due to a death in the family. Fortunately, it is back at DAVENPORT'S for a limited run in October.

Cabaret shows paying tribute to famous artists are challenging. (I know this first hand; having recently offered a tribute show of my own). Unlike Eartha, KT is neither African American, petite, nor the banished object of a political misunderstanding. Nevertheless, the connection between Kitt and Mc Cammond came through. They share not only a physical sensuality, but a delightful balance of elegance and smartass...........In a lovely contrast to the sassiness of much of the program, KT offered "Lilac Wine". Simply and quietly delivered, we understood the quiet despair that Kitt experienced over an unfulfilled love affair with a man of great wealth, who's family would not approve of the controversial Kitt.

"When I think more than I want to think Do things I never should do I drink much more that I ought to drink Because it brings me back you.."

Like, Kitt, KT sings and moves gracefully. Ms. Mc Cammond dazzled in a backless and bejeweled red halter. KT is a recent After Dark Award winner. Perhaps, the reason for the award is her excellent voice and physical beauty. KT, however, offers more. Remarkably, she is wonderfully funny without mugging. She can lead us to reflect and regret by singing truthfully and without manipulation. In the intimacy of cabaret, it is truth that wins the awards.

DAVENPORT'S is located at 1383 North Milwaukee Avenue, Chicago, IL - 773-278-1830 - http://www.davenportspianobar.com/

Copyright, 2005 by Carla Gordon

CABARET
by Jeff Rossen
"KT Sings Kitt"/KT McCammond - This Saturday, January 17, marks the 77th birthday of one of the most unique performers show biz has produced, Eartha Kitt. From the Catwoman on TV's Batman series to a sultry siren on the Broadway stage to an outspoken activist for world peace, Kitt has created a persona and body of work that continues to intrigue today. Recently having finished a run in the Broadway revival of "Nine," Kitt is still making a name for herself and shows no signs of being slowed down by age. But who is "Eartha Kitt" and how did the illegitimate Eartha Mae become the woman who's wowed audiences around the world for over 50 years?
That story is part of what KT McCammond gives us in her tribute to the woman known as the original material girl, along with a healthy and diverse sampling of Kitt's musical legacy, from one of her latest, Back in Business to her first hit, Uska Dara (A Turkish Tale). With a style as distinctive as Kitt's, it might be easy to fall into the trap of mimicry or recreation, but McCammond's performance is filled with a fresh approach to the selections, even if she does conjure up a sense of Kitt now and again.
With the strikingly inventive piano support of George Howe not so much behind her as it is enveloping her, McCammond takes us through nearly a dozen and a half of Kitt's better known titles with a generous helping of her more obscure creations. McCammond's smoky alto and ability to play with equal conviction the sassy vamp of Sell Me and the fragility of The Day That the Circus Left Town combine into a winning musical experience,......"

MUSIC REVIEW
McCammond sinks her teeth into Boston, between songs
By Howard Reich | Tribune arts critic
December 7, 2007

Cabaret singers who are funny—genuinely, wickedly funny—remain in desperately short supply.

So when KT McCammond gleefully skewers her family, her childhood, her forebears and her in-laws, it's clear that this will not be an evening of tender love songs.

McCammond, in other words, comes not just to sing but to get even, which makes her new show at Davenport's deeply satisfying for those with a dark sense of humor. Since it probably has been a while since any Chicago singer has spent an evening lambasting the peculiar cultural mores of Boston, where McCammond grew up (sort of), her unabashedly autobiographical show should remain the definitive word on the subject for some time to come.

Anyone who titles a cabaret evening "Brahminology: Ode to the Boston BlueBloods" clearly does not suffer from conventional thinking. As its name suggests, the show explores Boston's upper-upper crust—the folks who claim a lineage that goes back to the Mayflower and who still dress accordingly. These are the fantastically focused, relentlessly successful and—according to McCammond—somewhat repressed individuals who are her parents, grandparents and so on. The list of words they dare not say in public could fill a thesaurus.

So how does all of this translate into music? By discussing her Boston-inspired neuroses in such detail, McCammond casts traditional cabaret repertoire in a distinctly personal light. Suddenly, Noel Coward's whimsical "Why Do the Wrong People Travel?" epitomizes the hauteur of high society. The Puritans that Cole Porter cites in "Anything Goes" never sounded more pitiable.

That McCammond sings so well—as she did Wednesday night before a smallish but enthusiastic audience—renders her message all the more potent. Here's the rare cabaret show with teeth. Bostonians beware.