When you're not where you thought you would be New Year's Eve

Head out on the highway to the airport where you hear from the Continental Airlines agent that the jet has a flat tire because somebody left a nail out on the jetway and won't possibly leave before 3:00 pm because nobody in Midland knows how to change the tire on the jet so they have to fly a crew out from Houston to fix it and there's no way you will possibly make any connections from Houston to LaGuardia then you see the most disappointed look on your nephew's face because he won't get to see fireworks in Central Park to celebrate the New Year arriving and then yell at the gate agent when she tells you the soonest you can leave is 8:00 a.m. the following morning so you tell her that you better both be upgraded so then you head back out on the highway completely irritated and disappointed but then the day passes and you realize that its one more day to spend with the ones you love and that Audra McDonald Live From Lincoln Center comes on even in Midland and your nephew Cody asks you if that's opera but his friend Jordan thinks its American Idol and then you hear peals of laughter from the children playing and your brother-in-law cheering for Greenbay in the other room and your sister making s'mores in the oven...and even better, this is an entertaining adventure too. Happy 2007!

Christmas Vacation

Merry Christmas, y'all. I'll see you for plenty of adventures in 2007.

Conversation of the Day

T: Sarah, I want to see that new show that won some Tonys.
S: Yes? What show is that?
T: You know, the one, oh I don't know the name of it. I've been seeing the commercials for it on tv. It's the dirty something.
S: Dirty? There's nothing on Broadway called Dirty something.
T: Yeah, oh, I think, The Dirty Escort. That's it. The Dirty Escort.
S: What are you talking about? And I know I haven't seen many shows lately, but I don't know about any show called The Dirty Escort.
T: Yeah there is! It won Tonys!
S: Oh my God. Are you thinking of The Drowsy Chaperone?
T: Yes! That's it! Can we go?

On Broadway: Fame Becomes Me

Last night I finally saw Fame Becomes Me on Broadway. It was FUNNY - irreverent, ridiculous, hysterical...I loved every minute of it. Martin Short has more energy than I have in my little finger. And it was doubly good to see Bernadette Peters take the stage as "Jiminy Glick's" interview subject.

Tonight: A Concert

Apparently, the best way to spread Christmas cheer is by singing loudly for all to hear. Renée Fleming will try her best to do so at Carnegie Hall tonight. Bah hum bug.

Post concert: Okay, so not so bah hum bug afterall. Much to my chagrin, dear Cordelia was unable to attend so I scored her first row center orchestra ticket for tonight's concert. I hate that she was too ill to come, but lucky me! It was the first time I had been so close to La Diva Renée's Voice. It was not the repertoire I've been longing to hear live, but it did the trick to sooth my tired, overworked and suffering from a lack of Adventures soul...and so it did put me in the mood for a little Christmas. Hey, who doesn't need a little Christmas right now, anyway? Renée wowed us with a couple of new gowns - a glamorous black satin number with black velvet gloves and then a stunning bright redder than red number after the intermission. She not only looked like the icing on the cake, but the cherry on top! The treat of the evening was the two surprise duets with fiddler extraordinaire Mark O'Connor, who accompanied on his arrangement of Away in a Manger and Amazing Grace. Amazing Grace was perfect, beautiful and a suitable reminder to think of those less fortunate or suffering. Renée eloquently introduced the song and encouraged us to take a moment to think of loved ones and others and try to make a difference.

The backstage experience was harried and hurried. I have never seen such a mob. Renée was scheduled to do a post-concert cd signing, so when she greeted me she said "I'm sorry I have to go, they are giving me the bum's rush." Yeah, Renée, some bum you are! Wanda, her brother Tom out from LA, his friend Peggy, Sue, Sally and I did out best to keep the evening going at our new favorite joint, Seppi's. There were stories galore (good Lord, two ladies had seen the original Mame and one saw it in Philadelphia way before Broadway. Tom saw the original Sweeney Todd.) and lots of laughs. It was fun to recount how we met each other - of course, how else, but via Renée!

One Year

Happy Blogiversary!

One year ago today, this blog was born. I moved to New York in 2002 to have fun and experience as much as I possibly could fit in. I think I'm doing a pretty good job of meeting my goal. Shout out to Khaleem who inspired and encouraged me to start this blog in the first place.

Click here to see a few of the people I met in my adventures.

Home Sweet Home and Special Christmas Cards

Days and sleepless nights of words, words, words like local rules, Draconian, schedules, matrices, form 20F, equity holders, affidavits, reorganization, chapter 11, form 7...to nice words meet me downstairs and I've missed you so much...to come straight to the office when you land at La Guardia...to nevermind, we're waiting until Monday...to the driver, take me uptown instead...to the mailbox where the the best Christmas card ever is waiting and happy kitties upstairs...

Whoever's in New England...

You spend an awful lot of time in Massachusetts
Seems Like every other week you've got a meeting waiting there
Business must be booming or could something else
Be moving in the air up there

You say that it's important for our future
An executive on her way up has got to play the part
Each time duty calls you got to give it all
You've got with all your heart

When whoever's in New England is through with you
And Boston finds better things to do
You know it's not too late 'cause you'll always have a place to go
When whoever's in New England is through with you

I hear the winter time up north can last forever
I've been told it's beautiful to see this time of year
They say the snow can blind you till the world you left behind
Just disappears I hear

I packed your bags and left them in the hallway
But before you leave again there's just one thing you oughta know
When the icy winds blow through you remember that it's me
Who feels the cold most of all

When whoever's in New England is through with you
And Boston finds better things to do
You know it's not too late 'cause you'll always have a place to go
When whoever's in New England is through with you

(by Kendal Franceschi/Quentin Powers)

Okay, yeah, so it's not this intriguing but guess where I'll be working for the next few days?

Opera: Giulio Cesare In Egitto

Handel GIULIO CESARE IN EGITTO, Theatre du Champs-Elysees 10.22.2006; Renaud Delaigue (Curio), Sonia Prina (Cornelia), Franco Fagioli (Tolomeo), Christophe Rousset (conductor), Rosemary Joshua (Cleopatra), Andreas Scholl (Giulio Cesare), Mario Cassi (Achilla), [supernumery], Alice Coote (Sesto)
After reading about all the scandal coming out of La Scala this week as reported by my friend Opera Chic and hearing the news that even Placido Domingo was heckled for his conducting of La Boheme at the Met last week, I was reminded of my experience at Theatre du Champs-Elysees in Paris in October. I realized I never said anything about my first opera experience outside of the United States!

I decided to go to Cesare for two reasons really: Khaleem was going and it was a chance to see Andreas Scholl in action again.

I wasn't in the ideal condition to handle a Handel opera after walking around Paris for hours and hours, but I took a chance that my will power would overcome my tired mind and body. I was nervous, knowing that my ears would be shocked again when hearing the counter-tenors - and this opera has THREE counter-tenors - and that I would have to endure the droning of harpsichord. It wasn't a big house. There wasn't a big orchestra. There wasn't even a real curtain. When the "curtain" did open, I believe I gasped audibly at the starkness of the stage. There was nothing but sand. I'm used to grand opera at the Met and there was certainly nothing grand about this production. But I do love the theatre, so I waited. Fortunately, the theatricalness of it all didn't disappoint.

Last season, I was blown away by Scholl in Rodelinda at the Met. Not only is his presence physically commanding, but his voice is commanding - yes, even the shockingly high counter tenor. He just takes over and runs away with a show. Here, he was terrific. He didn't blow me away as he did as the returning king in Rodelinda, but he was Ceasar to me here - a leader of his men and irresitable to Cleopatra. The two singers who really caught my attention in this production were Alice Coote and Rosemary Joshua. Coote has a brilliant energy and her mezzo is rich and beautiful. Joshua is glamorous yet unassuming. Her voice is bright and clear without being tinny. She seems fearless on the stage.

The "set" or lack thereof, never inspired me but it served its purpose. It didn't distract from the singers. This was also my first modern dress opera. I was able to concentrate completely on the story - even though I did nod off in the first act (horrors!) - and even more surprisingly, there were no Met titles and the super titles were in French! But by the end, I was thrilled.

The thing that was most shocking and exciting all at once was the booing from the audience directed at the French horn player who threatened to ruin Scholl's beautiful aria "Va tacito e nascosto". This is basically a duet between the horn and the counter-tenor. The horn player warbled off-key through it and sounded in dire need of a trip to band camp.

It was my first time of experiencing boos in the theatre. I was excited that it happened! Yet, I was shocked too! I had heard stories of audiences being very demanding in Europe. In America, it rarely happens unless they are mad that somebody is a no-show. American theatre audiences wouldn't dare be so rude - unless of course, it's keeping their cell phones on, talking, eating, getting up and down numerous times... Well, booing and heckling happens at American sporting events all the time - sports fans are very demanding of their favorite players and when they are let down, they let the player know about it. I think this should be the case at the theatre too - whether its the Broadway, concert or opera stage. Why shouldn't we expect the very best and voice our opinion if it's not? We're certainly paying for the best. The Europeans have it right. This is the artist's job! Of course there's pressure...but they say if you can't stand the heat, get out of the kitchen. So, the next time I'm horrified at a performance, I'm prepared to let the artist know about it. At least, I think I am.

Tonight: A Gig by Lauren Molina

Tonight: Lauren Molina at Pianos!

Lauren is wildly talented. Lauren plays the cello, guitar and even broke out the ukelele at this gig. I discovered Lauren in her Broadway debut as Johanna in Sweeney Todd. Johanna was never a character I identified with; I found previous shrill and flighty, but Lauren's Johanna brought me around. Lauren is gentle and wide-eyed, but has a sense of the ridiculous, both in Sweeney and as a performer. I saw her grow in her performance of Johanna from shy to confident. I have not forgotten seeing her fearless cabaret performance of A Call from the Vatican at The After Party this summer. She was absolutely fearless, after all A Call from the Vatican is not for the shy and retiring. Lauren's Pianos gig was filled with her own original songs and a cover or two. Her voice is pretty with just the right amount of emotion. She doesn't try to sound like a pop singer. She simply sings with honesty, peppered with a touch of humor. You can listen to a few of her songs at her Myspace.

Tonight: An Opera

Verdi DON CARLO, Met 7.12.2006; Levine; Racette, Borodina, Botha, Hvorostovsky, Pape and Ramey. MY WORD. Triumphant! Bravissimo! It was a starry, starry night. I couldn't have asked for a more exciting cast. Every single aria was delivered with brilliance and beauty. I was most overwhelmed by Pape's aria at the top of Act IV. What he lacked in warmth in his acting, he made up with his tender voice in "Ella, giammai m'amo". He wasn't as commanding throughout the performance for the most part. I saw him two seasons ago in Faust and was blown away by him so I was expecting just a bit more. Borodina had a chance to show off her comic timing in Act II with "Nei giarden". I have been impressed with her since I saw her perform at the Volpe gala and then again this season in Gioconda. Her voice is deep and rich and she delivered throughout. I closed my eyes to Botha and just listened to him. He is one of the few tenors that I have actually enjoyed listening to - he has a rich emotional voice, not high and tinny, but lovely. Disappointingly, he has no stage presence - not a lick of charm and that mullet must go. I guess I can put up with his lack of acting skills as long as I can hear that voice. Ramey's voice is strong but at times I was reminded of the diesel trucks that tend to idle on my street. Is it age? Nevertheless, he was sufficient. Finally, I have seen Hvorostovsky in an opera. Oh my. How is it possible that he is even better looking in person? And that voice! I was a bit taken back by his stand and deliver approach at times, but oh, he did deliver. Naturally, it was Racette who left everybody else in the dust with her gentle acting. Her voice is absolutely lovely and her beautiful acting just makes her the whole package. I think of all of the singers I have seen at the Met, she is perhaps the most consistent in both performance of voice and acting skill. I enjoyed this opera very much, yet I was left a little dumbfounded at the ending. Did the librettists succumb to writer's block? Did Verdi get tired of composing? It is an odd ending to a perfectly lovely story - it didn't make sense or give us closure. But if there's one thing I've learned in opera, it's not to expect stories that really make sense.

Click here to experience the curtain call excitement!

Behold the autograph alley experience: Yes, I got Pape's autograph. I was told it couldn't be done. But I got it. And now somebody owes me a cookie. Note: Sally was supposed to photograph the autograph coup, but she was too distracted by Hvorostovsky's hunky presence, which was surprisingly surly and broody.

Tonight: A Concert

Tonight: Wynton Marsalis and The New York Philharmonic play Tchaikovsky's Nutcracker with a Ellington twist.

Program: AARON COPLAND (1900-1990) - El Salón México (1936) - well, I had to do something I rarely do: work late. I arrived at the third tier of Avery Fisher Hall just as the orchestra was beginning the Copland piece, much to my chagrin. I had to suffer with the other tardy souls in the lobby. The Phil had the forethought to place large flat screen televisions so we could watch the performance via short circuit, but it was rather hard to hear. Oh well. And I love Copland. Sigh.

CHRISTOPHER ROUSE, born in 1949 in Baltimore, Maryland - Symphony No. 2 (1994) - This was the debut of this piece and the composer was in the house. It was an angry, chaotic, messy trainwreck of a piece, yet I didn't hate it. I certainly didn't love it though. It was startling at moments. It kept the horns and the percussion quite busy. I was glad when it was over.

PETER ILYICH TCHAIKOVSKY/Ellington (1840-1893) / (1899-1974) Ellington’s Nutcracker (1962) It wasn't just Wynton. It was the whole Jazz at Lincoln Center Orchestra. Whew, did they ever swing! I'll never be able to go to the Nutcracker Ballet without snapping my fingers and tapping my toe again. The Phil and the Jazz took turns playing the same movements of the suite. It became almost comical - sweeping strings, jubilant horns, sweet sounds trading places with a nutcracker wit the bluesy jazz. It was perfect. I'll never be able to go to the Nutcracker Ballet without snapping my fingers and tapping my toe again.

Click here to catch some of the action!

One Heck of a Six Degrees

This is one heck of a six degrees discovery about Angela Lansbury! As my friend Bob would say, this is just Lansburryiffic!

I just watched Angela's "Biography" on A&E - yes, my first time to see it, shocking I know.

In 1942, June Havoc was in a play in Hollywood with Angela 's mother Moyna MacGill - it was a grand guignol horror play. Angela was 17 years old. Moyna "hired" her to hand out smelling salts to the audience members who felt faint from being scared. (Just two years later, Angela would be nominated for an Oscar in her film debut of Gaslight.) June Havoc was the real life "Baby June" from the show Gypsy. Gypsy is the fabled story about June and Louise Havoc's mother Rose. June ran away and became an actress and of course, Louise became the famous burlesque performer Gypsy Rose Lee. In 1973, Angela starred as Mama Rose in the West End of London production Gypsy. She was the first to try it after Merman and the first to do it in London. (Merman had been asked to do it in London around 1960 but refused to go because she was in love with Jack Klugman (yes, Oscar) - her "Herbie" in Gypsy). Angela was scared to death to do Gypsy because she thought everybody would be expecting Merman and wisely she knew that she was no Merman. Arthur Laurents, who wrote the book for Gypsy, was directing the London production and finally convinced Angela do it because she could actually act the part - which Merman couldn't do. Of course, this lead to triumph. Angela toured Gypsy in the US and brought it to Broadway in 1974 and she won her third Tony for the effort.


Small world, isn't it? Small and funny and fine? (Yes - lyrics from the song "Small World" from Gypsy) Uh, who wrote those lyrics? Of course it was Sondheim! What else did Sondheim write? Well, Sweeney Todd of course, which he envisioned as a grand guignol horror!!!! Oh it's all a lovely full circle.


Oh good grief, I love stuff like this. My whole day is made. It really doesn't take much.

June and Louise Havoc