Little Love turns 14

How is it possible that my nephew, my special little love, Cody turns 14 today?  He'll be in high school come August.  I'd like to keep him out of those damn long pants just a little longer...at least he's still playing the bugle, er trumpet.

Witches, Thanes and Madness, oh my!

 

Last week I managed to see two remarkable and unusual productions of Macbeth.  They could not have been more different from one another.   One was Alan Cumming's one man on Broadway and one was the Tempest Ladies' all female production off Broadway.   Both were equally visually stunning, innovative and satisfying.   I'd see both again in a heartbeat. 

I always thought that The Tempest was my favorite Shakespeare, but having seen Macbeth quite a bit over the last few years, I'm starting to think that it might actually be my favorite.  It's got the political element, the madness, the intrigue, the supernatural and the believability that I love. 

Having seen it fairly regularly may have helped me follow along with Cumming's dive into madness with the Scottish play.   It's set in a cell in an insane asylum.  It appears that it's a forced commitment and the dread and fear is evident.  It's not strictly one man, as there are two actors playing doctor (Jenny Sterlin)  and orderly (Brendan Titley).  With just the slightest inflection of voice and change in body language, he conveyed the various characters.  His madness is evident and increases as the drama of the play unfolds, even as he subtly delivers the text, even as Lady M.  It's painful, astounding and consuming.  It's fairly graphic but also fascinating.  I was absolutely enthralled by the concept and the performance.

I was also enthralled by the beautiful production by The Tempest Ladies.   The Tempest Ladies is an all female company.  They play all of the roles in each performance, meaning each actress takes a turn at each character.  Each character is assigned a symbolic item of costume and the transition between actresses is so seamless, it's almost indiscernible that the actress has changed.   They highlight the text with percussion instruments and chanting.   Each actress fiercely and fearlessly gives her all to each character and the result is gorgeous.  The simplicity lends further depth to the text.  It's also interesting to see women taking on the masculine roles of murder and power - even as Lady Macbeth pleads to lose her femaleness - "unsex me" -  in her plotting to kill Duncan.  I adore this theatre company and what they do is nothing short of extraordinary. 

The Tempest Ladies' Macbeth is running through June 15th at The Actor's Theater Workshop on West 28th Street.  Tickets are available online  via Brown Paper Tickets.   It's possibly the best $20 you'll ever spend on Shakespeare.

Meanwhile, Alan Cumming's Macbeth is at the Barrymore through July 14th.  Tickets are available via Telecharge.  If you looking for something different and you  know the play pretty well already, this is a great take to see. 

 

Measure for Measure at Frog & Peach Theatre Company

The Frog & Peach Theatre Company  has launched its spring Shakespeare at the West End Theatre on the Upper West Side.  This season, it's a great production of Measure for Measure. 

This was my first time seeing Measure for Measure.  I thought it was going to be a comedy, but it came across more as a commentary on political hypocrisy.   Shakespeare wrote it in 1603 and of course, it could have been written yesterday, i.e. not much has changed with our politicians.  That's not to say I didn't laugh; I certainly did - it's full of irony and the cast delivered the wit with great skill. 

Typically Shakespearean, it's full of hidden identity, trickery, lust, love and justice for all.   It is even a bit risque with accusations of fornication, unlawful marriage, pregnancy out of wedlock and sexual blackmail.  

Directed by Lynnea Benson, this one had all of the elements that are customary of the Frog & Peach - simplicity in set that allows the text to shine and naturalistic actors practicing beautiful delivery. This production also featured fantastically flamboyant and sexy costumes by Asa Benally.  
I've seen at least four productions of Shakespeare by Frog & Peach and I've enjoyed them all.   I love that it's Shakespeare in a neighborhood - I walk 6 blocks to spend the afternoon with them.   The company is so accessible and some of the actors deliver the text so naturally, it feels like they are just having a conversation with you - notably Brad Holbrook, Erick Gonzalez and Vivien Landau.  

Measure for Measure features these three as well as company regulars Eric Doss (he does play a bad guy so good), Amy Frances Quint, Ilaria Amadasi, Macus Watson, Rachel Handler, Flor Bromley, Oliver Conant, Philip Oros, Stephen Siano, Alex Simmons, Jonathan Reid Wexler, Megan McGarvey, Julia MacMillan and Steve Mazzocone.   Mazzocone, togged as a super stylish dandy, had me giggling at his every line delivery.

Frog & Peach always comes with the bonus of music - often, they set the tone with pre-curtain and intermission rock music.  This production features some sort of Dixie land jazz.  This production also features a lovely original piece by Ian McDonald and performed by company member Iliaria Amadasi. 

The production runs until May 19th, with four performances from Thursday through Sunday: Thurs, Fri, and Sat at 7:30 PM, Sun at 3:00 PM.  You can't beat the price either: $18 General Admission, $12 seniors and students.  Call the Smarttix Box off at (212) 868-4444 or purchase online.

DiVaR Alert: Tucker Gala 2012

Tomorrow night, the 2012 Tucker Gala will be broadcast on PBS' Live from Lincoln Center. I attended the concert at Avery Fisher Hall in Lincoln Center on November 11th and it remains my favorite concert event of the year!

This was my sixth time to attend. It included performances by international opera singers as well as the winners of the annual Richard Tucker Music Foundation prizes. The Foundation, named after the great American tenor, was founded as a "non-profit cultural organization dedicated to perpetuating the artistic legacy of the great American tenor through the support and advancement of the careers of talented American opera singers by bringing opera into the community." Each year the Richard Tucker Music Foundation awards cash prizes to individual U.S. born singers. There is no application process, only nomination.

This year's stars were Ildar Abradzakov, Marcelo Alvarez, Olga Borodina, Giuseppe Filianoti, Gerald Finley, Marcello Giordani, Liudmyla Monastryska, Erwin Schrott, Ailyn Perez (2012 Richard Tucker Award Winner), Jamie Barton, Quinn Kelsey, Tara Erraught, Stephen Costello, Amber winners of grants from the Richard Tucker Music Foundation, members of the Metropolitan Opera Orchestra and the New York Choral Society, all under the baton of Maestro Fabio Luisi.

This year seemed to belong to the bari-hunks, but there's some diva thrown in too, especially with the knock-out mezzo sopranos Ms. Olga Boradina and Jamie Barton. The glamour and beauty came from this year's winner Ailyn Perez who wowed in several different gowns and opened the evening with Manon's gavotte on the Cours-la-Reine, my most favorite of all of the arias. The evening was as thrilling as ever and I'm so excited that it's hitting the airwaves on Live from Lincoln Center so others can see why I love the concert so much. Brava, Tucker Gala, brava.

Because Baby, It's Cold Outside But These Two Are HOT

The Outgoing Tide at 59E59

I was fortunate enough to catch Bruce Graham's "The Outgoing Tide" at 59E59 last weekend.   This is the play's New York premier.

Starring Michael Learned, Peter Strauss and Ian Lithgow, "The Outgoing Tide" a dramedy about a family stuck in a mire of indeciviness about change being forced upon them.

Peter Strauss, in a truly brilliant performance, plays rough yet surprisingly tender Gunner who is suffering from dimentia.  I was absolutely blown away by his performance.   His wife Peg, played beautifully and subtly by Michael Learned, is grasping at her rope's end and is trying to make things easier for both of them while wading in a little bit of denial.   Their grown son Jack, played by Ian Lithgow, is dealing with his own issues, both with being a father and coming to terms with his relationship with his own father.

I found the play to be very funny while being realistic, even while it tackled the sad and all too prevalent topic of aging parents.   At first, I was taken aback by the crassness of Gunner, but I found myself agreeing with him, cheering for him and even crying for him.   His character is brave and realistic.   I could see my own mother in Peg, in her wanting to take care of her husband, even in her denial of the seriousness of his condition.   I was slightly reminded of "On Golden Pond," but without the angst.  

It's beautiful one set production with lovely lighting.  Dirk Durossette was on board for scenic design, while lighting was by James Leitner.   The smoothly run show is directed by Bud Martin.  The producer is  Delaware Theatre Company.

Tickets are available online via Ticket Central or by calling 212-279-4200.  59E59 Theaters is at 59 East 59th Street between Madison and Park Avenues.  It's running until December 16th and is well worth a viewing.

Betty Buckley at Feinstein's

For the last four years or so, Karigee and I have looked forward to October (and sometimes February) in New York City more than any other month because it would mean the return of Betty Buckley at Feinstein's.   This October came too slowly and then went way too quickly and took Betty with it....and it was possibly the last time we'll see her there, at least for a very long time.   Feinstein's at the Regency is closing its doors on December 31st due to renovations coming to the Regency. 

On top of the thrills that came with hearing Betty perform live in such a sophisticated, intimate venue, I had some of the best times of my life on those evenings.   Some of my best friends came along for the various incarnations of her show:  Karigee (natch!), Robert "Ravinia Bob" Bullen (Chicago Theatre Addict), Kevin Daly (Theatre Aficionado at Large), Byrne Harrison (Stage Buzz), Roxie, Chelsea, and Steve and Doug.   Between rather large bar tabs, sometimes hotel room bills and tickets for multiple repeat visits, we dropped some serious change at this joint.   And let me tell you, it was worth every last red cent. 

Betty was at Feinstein's for the whole month of October with a new show "The Other Women: The Vixens of Broadway."   She sang the songs of supporting female characters of musical theatre - all show stoppers and each stopping her own show.   She opened with "When You're Good to Mama" - vamping around the room and selling it like nobody's business.   As usual, Betty delivered the gamut of emotions - she makes me laugh and laugh and then she'll pierce my heart when she gets down to the emotional business.  

I was thrilled to hear her sing a really sultry rendition of one of my favorite songs from Rodgers and Hammerstein's Allegro, "The Gentleman is a Dope."  She also gave us an especially gorgeous "Something Wonderful" from The King and I.  The set also included "A Fact Can Be a Beautiful Thing" from Promises, Promises, "Another Suitcase In Another Hall" from Evita, "I Know Things Now" from Into the Woods and "The Miller's Son" from A Little Night Music.  

Betty had her band with her - Christian Jacobs on piano, who also did all of the arrangements, Tony Marino on Bass (incidentally Betty and he did one of the coolest skatting riffy things!), Vic Juris on guitar and todd Isler on drums.   Together with Betty, they give her sets an old school, jazzy sound - Betty gets to be the Girl Snger and the only thing missing is a dance floor.   It's a delicious sound of which I'm absolutely mad.  

Until I can hear her live again, which I hope is sooner rather than later, and hopefully someday again at Feinstein's (and quite possibly across the pond when she stars in DEAR WORLD at the Charing Cross Theatre), I'll have to be satisified with Betty's albums, all of which I love.  I'm particularly smitten with her latest: Ah Men! The Boys of Broadway which is beyond fabulous in repertoire and sound.

photo by Stephen Sorokoff

GIANT at the Public Theater

Yesterday, I took advantage of the Public Theater's benevolence and scored a free ticket to see the new Michael John LaChiusa musical GIANT.  The book is adapted from the Edna Ferber's epic novel.   It stars Kate Baldwin, Brian D'Arcy James, Michele Pawk, John Dossett and PJ Griffith.  

Actually, it was Karigee who told me that Graham Rowat tweeted the news.   So, I got up early and journeyed downtown.  It wasn't exactly an odyssey, but thanks to the city still being in hurricane recovery mode, it did take about an hour and half and involved a cross-town bus, a limited subway ride and cab ride.   The people at the Public are awesome and welcoming, so I was able to shelter inside while others slowly arrived for the noon time ticket giveaway.   The Public only regained electricity just after 5:00 pm on Friday.  

Although this is the third incarnation of the show - first at the Signature in Arlington, VA, then at the Dallas Theatre Center early this year, GIANT is still in previews in New York.  It opens next Thursday, November 13th and is scheduled to close on December 2nd.    If the critics love it as much as last night's audience, then it is sure to get an extension.  Dare I dream of a Broadway transfer?  I hope so.  

Overall, the cast is brilliant.  I loved seeing Kate in another leading role and she is indeed resplendent in this.   It was so good to see Michele Pawk and John Dossett on stage again.  This is the best show in which I've seen Brian D'Arcy James.   I was so blown away by Katie Thompson as Vashti - where has she been?  What a set of pipes!     In fact, the entire cast is chock full of great pipes and it's beautifully sung.  

As a Texpatriot and one who has had family members who were ranch hands and ranch owners, any annoyances I harbor are just nitpicking are mostly just about costuming on the men.   The good far outweighs the bad and I loved the specific little Texas things - Michele as Luz mentions "Sonofabitch stew" (aka menudo), Mike the cattle lobbyist wears a Texas Longhorn tie,  and there's a history lesson about the Alamo.  I couldn't help but burst some Texas buttons.

The show does that that epic, everything is bigger in Texas feel, and it's allowing the cast, especially Kate shine brighter than the Lone Star.  The whole show is beautiful and I can't wait to see it again in a few weeks.

Angela Lansbury: THE CHALK GARDEN!!!!!

I've been waiting to find out if the clue in the photo of Angela Lansbury's desk in the New York Magazine Shoot that appeared last May was anything.  Finally, she reveals to the Sydney Morning Herald that, "...already anticipating a role in New York this time next year in the Enid Bagnold play The Chalk Garden."

Photo: Francois Dischinger