It's Complicated with Meryl Streep, Alec Baldwin & Steve Martin

I caught a pre-release screening of It's Complicated last night. It's slated for release on December 25th. Unfortunately, it's no Christmas present. The best thing I can say is that it was free.

The film itself, written and directed by Nancy Myers, is a combination of Nancy's other films, especially Something's Gotta Give and Father of the Bride. Some scenes are almost exactly the same - just change the face of the actors. Of course, true to Nancy's style, the house and shots are pretty.

It's a waste of a dream cast - Meryl Streep, Alec Baldwin, Steve Martin and John Krasinski. Even Mary Kay Place is in it. Poor Mary Kay Place is relegated to barely a cameo. Alexandra Wentworth and the useless Rita Wilson have each more lines. What a waste. Steve Martin was nicely understated and sort of dreamy. He's no wild and crazy guy in this film - he actually plays a real grown up. Unfortunately, there's not an ounce of chemistry between Meryl and Alec - they just look so uncomfortable with each other.

Meryl plays a neurotic divorcee who has come in to her own with everything except love. Alec is her ex-husband, remarried to a young, sexy wife and with a young son. Meryl and Alec have three grown children. At least I think they are grown - they are angelic looking blondes with giant blue eyes - the most unrealistic casting ever. John Krasinski plays the fiance of the oldest daughter and is obviously there for comic relief. It's no relief.

I usually don't like supporting cast members, but these are worse than usual. The divorce supposedly happened 10 years ago, but there's a strange timing issue with facts - the son is graduating from Columbia (ugh, they all travel to New York for the graduation and Alex's new wife can't go, bingo, so easy). So you would think the son is probably 22 or 23 but he later says he was only 8 when his parents divorced. Huh? Anyway, I'm picky.

Is it a romantic comedy? A girl-friend comedy? A family comedy? Who knows. Oh, one more thing - Meryl has a French pastry shop and yes, she cooks a lot in the film. Really, two cooking movies in a row for Meryl? Wait for this one to come to DVD or better, cable tv - you'll be grateful for the commercials.

Oh, Carrie!

In today's New York Post, Michael Riedel's talking about the possibility of a revival of the probably the greatest flop musical of all times: "'Carrie,' unburied, Some see promise in biggest flop ever" . I say YES, Jeffrey Seller and Kevin McCollum, DO IT!

There's also video of Michael's earlier interview with Betty Buckley, who played Carrie's mom in the musical (yes, she was the gym teacher in the movie!)! When There's No One is a gorgeous song.

Tonight: Love, Loss & What I Wore

Mary Birdsong, Tyne Daly, Lisa Joyce, Jane Lynch, Mary Louise Wilson! Oh my!

Either way you look at it, Oleanna gives you something to talk about

Kevin and I attended the Broadway run of Oleanna at the invitation of the producers. Rarely have we disagreed about anything, but this Mamet play definitely divided us. As it did most of the audience. The play is a tight, increasingly tense and provocative 75 minutes. After the curtain call, two attorneys who practice in sexual harassment law participated in a talk back. The audience was definitely divided in opinion, and not just male vs. female.

Oleanna was written in 1992. It's the story of a female student and male professor, played by Julia Stiles (Broadway debut) and Bill Pullman. Although she accuses him of sexual harassment and rape, it's more the story of a he said/she said and the abuse of power. Its first New York run was off-Broadway a year after the Justice Clarence Thomas confirmation hearings in which Anita Hill testified that he sexually harassed her, which perhaps even more brought the issues of the play to the forefront. It's horrifying that even 17 years later, these issues are not resolved and are still so incendiary.

Although it seemed to me that her story was slightly contrived and exaggerated, I could not help siding with her. Not simply because she is a woman, but because of the fear of power that I personally feel. When I was a senior in college, I had to visit my International Politics professor to plead my case in order to gain the grade high enough to pass for graduation. He did nothing improper, but I still feared his power - I had everything to lose and he owed me nothing.

Also, it was easy to be prejudiced against Pullman's professor because he acted like a jerk. He's published and sees his own opinion as the right opinion, even though the student doesn't understand it. He makes very little attempt at helping her understand it. He seemed more concerned with his own personal success - he was about to be tenured - rather than teaching. I was infuriated for her when he made her wait while he attended to personal business over the phone, especially when he knew that she needed his help.

Although physical advances by him seem to be no more than a mere touch and inappropriate and suggestive language, she is understandably hurt and offended. What we don't see is more of a physical violation on his part which makes it hard to understand where her escalation of the accusations are coming from - which is what makes the play perhaps the most controversial as it sends him into a spiral of desperate destruction of his career and personal life.

I still feel fear of power at times in a male-dominated work place. There is a particular person at my office who summons me for meetings and then makes me wait and listen to his telephone conversations, whether they are personal or business. It's a passive-aggressive act that he gets away with simply because he holds the power.

What I took away from Oleanna was a look at the the length at which someone is willing to go in order to stand up for her rights. Seldom have I felt that tense at a performance. It's classic Mamet - choppy dialogue, strong language, fearless realistic characters. It's such a play of inference that you really can't know the truth - I would even guess that if I went back I might feel differently. Doug Hughes' direction is tight and he does a great job of intensifying the wait - you know something ominous is going to happen by the mere opening and closing of the blinds of the professor's office. I loved Julia Stiles' performance - she held her own against the more experienced Bill Pullman.

Oleanna is playing an open ended run at the Golden Theatre on West 45th. To save over 40% on tickets, just visit BroadwayOffers.com and enter code OLMKT93. Tickets are only $59 on Tuesday-Friday or $65 on Saturday and Sunday! (Valid through 11/15)

Kate Baldwin, Let's See What Happens

Kate Baldwin is appearing at the Barnes & Noble Lincoln Triangle at 5:30 today. She'll perform some songs from her terrific new solo album, Let's See What Happens, and do a signing as well.

"Let's See What Happens," Kate's first solo outing, was officially released on Tuesday. It is a fabulous recording. The quality is terrific - beautiful arrangements and in listening quality. Even better, it's a fabulous mix of toe tappers and heart tugging tunes.

Kate's voice is clear as a bell; at times she's belting, while other times she's honestly singing from her heart. She's captured the art of singing a song - there's acting there and the point of each song comes across beautifully. In "Moments Like This" and "Paris is a Lonely Town", I can just see her standing before a big band in a 1940s night club. The uptempo songs are reminiscent of big band swing days and they make me want to get up and dance.

"That Something Extra Special" from the flop musical "Darling of the Day" is simply gorgeous. Any fan of "Finian's Rainbow" will be happy to have this definitive recording of "How Are Things In Glocca Morra?" before the revival cast album is even recorded.

There's no pandering to the contemporary popular. It's a lovely mix of timeless tunes by Yip Harburg and Burton Lane that are nothing less than classics, even if some are little known. But make no mistake, these tunes aren't old fashioned. Kate has infused youth into them. There's nothing about Kate that's old fashioned - she's timeless and classic.

A few weeks ago, I received an advance copy of "Let's See What Happens" and it has been at the top of my rotation ever since receiving this gem. It's sublime in every way.

Met Opera, look out: La Diva Renée taught me to sing

We attended Renée Fleming's first public master class at Julliard. It was also the re-dedication of newly renovated The Peter Jay Sharp Theater. Renée has been teaching master classes around the world, even in South Africa earlier this summer, but this was her first public class in New York City.

Renée shared stories of her time at Julliard and things that she's learned along the way. She told a tale or two about silly things that have happened to her on the stage. Most recently, on opening night of Der Rosenkavalier this season, she had her petticoat on backwards under her dress in Act III.

Four students performed: Cecelia Hall, mezzo-soprano, sang Con I'ali di costanza from Handel's Ariodante; Lei Xu, soprano, sang Rachmaninov's COH (The Dream) from Opus 38; Paul Appleby, tenor, sang Flamand's sonnet: Kein Andres from Strauss' Capriccio; and, Emalie Savoy, soprano, sang Il est doux, il est bon from Massenet's Herodiade. After each performance, Renée spent time teaching them tips and tricks and adjusting their techniques. She said that the thing with these Julliard students is that they are already so good that there isn't much to adjust.

The thing in common that all four did need was adjustment in their breathing technique. She told Paul, "The voice is on a solid cushion of air, but should be connected with the body." She stressed engaging the body so the voice doesn't collapse. She taught the technique of bending over while breathing so you could feel the diaphragm and intercostal muscles. As little as these students needed, it was so interesting to hear the difference when they tried again with just the tiniest of adjustments.

About Con I'ali di costanza from Handel's Ariodante, she said she called Susan Graham and Joyce DiDonato since this is not in her repertoire. Susan said, "This is the hardest aria ever composed for any voice." No pressure there! She encouraged Cecelia to not worry about pitches, just "sing out Louise." She told her to throw caution to the wind and that it would be more interesting even if she misses a few notes and it's not perfect. And it was.

She worked mostly with Xiu on breathing. She had a beautiful, clear soprano voice and the Rachmoninov was very high. She encouraged her to add color, not to "change choice, just add to it." She further said, "When you're really doing well, you don't even think you're singing any more."

Paul's performance of the Kein Andres was terrific. After he sang the opening, he looked at her and she responded as the Countess, which earned a big laugh. He continued on - he has a gorgeous, full tenor voice. She encouraged him to make a statement, be forthright with the text, and not sing it "art-songy". She said, "Too musical can be just singing to yourself." She also worked with him on breathing technique.

They saved the best for last with Emaile and her BIG aria from Herodiade. She is already amazing. Renée said, "I love the color in her voice. I would recognize it in a heartbeat, even in a bar." She encouraged her to slow down and let go of singing in one position. She said, "You're too young to have mannerisms - that comes with age and experience," which earned a big laugh as she most certainly had her tongue planted firmly in her cheek. She said a big note doesn't have to be loud but should resonate and be rich. Further, "It takes a tremendous amount of courage and trust to sing pianissimo." She said she still struggles with this at the end of Act 1 of Rosenkavalier.

I am very excited about the prospect of hearing these students perform some day, hopefully soon, when they are professionals.

I love hearing Renée speak almost as much as I love hearing her sing. She's so smart and quite the card. She's also one of the most generous people I know. After the event, Noah and I went to the reception where I thanked Renée. She asked me if I enjoyed it and I said of course, and that what I learned only enhanced my appreciation for the artists.

Cheap seats for A Little Night Music

It turns out that I don't have to worry about the price gouging for the upcoming revival of A Little Night Music! I can see the Walter Kerr on 48th Street from my 40th floor office! (double click on the picture to embiggin)

What divas? Hugh Jackman was in the house!

Der Rosenkavalier! I've now seen Der Rosenkavalier four times - twice at the Met plus one dress rehearsal plus one at Chicago Lyric. This is one that I plan on seeing over and over again. It's a little like a romantic comedy chic flick, only much more beautiful because the music of Richard Strauss is no less than breathtaking.

It's the story of teenage count Octavian (played here by divine mezzo soprano Susan Graham in a signature "pants role") who is in love with Princess Marie Therese (I'm certain that Renée Fleming was born to play this role of the Marschalin) at least twice his age. In Act I, after a night of blissful trysting, Octavian (dotingly called Quinquin and Marie Therese are basking in the early morning glow. Octavian is devoted to her and she's soaking it up.

Unfortunately, they are interrupted and she bades Quinquin to hide as her oaf of a cousin Baron Ochs visits, seeking a favor. Octavian disguises himself as a chambermaid. Hilarity ensues as Ochs is unable to resist "her"(Susan Graham says, "I'm a girl playing a boy playing a girl - what a mess!"). To further muddle the mood, a horde of court attendants, including an Italian singer, her hairdresser and a dog barge in to the Marschalin's boudoir. The hearts and flowers of the love affair fade quickly as the Marschalin realizes that she's feeling her age and that Quinquin is undoubtedly going fall for some young thing. She sings the heartbreaking aria about the reality of the aging woman. Alas, she's right.

In the meantime, in Act II, the oaf of a baron has enlisted her help with his arranged marriage to the young thing Sophie (played by the lovely Miah Persson). Count Octavian does his duty and presents Sophie with the silver rose in favor of the baron - yes, he's Der Rosenkavalier, i.e. Cavalier of the Rose! (I'd fall for him too - he's dressed in a beautiful white suit that is bedazzled with a million diamonds! Sparkley!)

Snag! Sophie and Quinquin instantly fall into young love and of course, Sophie is mortified by the Baron. Things drag on and the baron and his crew become more and more dispicable. Unable to stand that his newly beloved Sophie is betrothed to this boor, Quinquin fights him. He is sent on his way, but not before he devises a plan to reveal the low life that the Baron really is.

In Act III, Quinquin's plan is executed - more hilarity! He's dressed like the chamber maid again and is ready to snare the baron. Voila, it works! Enter the Marschalin who advices the baron to hit the road with his dignity. Sophie is there too and Quinquin implores for her blessing, which she gives even though her heart has broken. The three sing a trio that is so beautiful it will slay you, and of course, it brings some to inevitable tears.

We convened backstage to see La Diva Renée and Diva Suzi - and other lovely friends whom we've become acquainted with because of La Diva. And yes, we did see Hugh Jackman saunter by the green room. Apparently, it was his first trip to the Met and he did cause quite a stir. Even Susan Graham couldn't help but swoon.

Beg, Borrow, Steal: Box Office Opens Today for A Little Night Music

Tuesday - ThursdayOrchestra: $132.00 Mezzanine (Rows A-F): $132.00Mezzanine (Rows G-J): $102.00 Balcony: $52.00

Friday - Sunday: Orchestra: $137.00 Mezzanine (Rows A-F): $137.00 Mezzanine (Rows G-J): $107.00 Balcony: $57.00

Tuesday - Thursday: Premium Seating: $277.00 Aisle Seating: $157.00 (May only be purchased in pairs.)

Friday, Saturday matinee, Sunday: Premium Seating: $352.00Aisle Seating: $162.00 (May only be purchased in pairs.)

Saturday evening: Premium Seating: $377.00 Aisle Seating: $162.00 (May only be purchased in pairs.) All prices include a $2.00 facility fee.

"Catherine, you keep your Oscar, and I'll keep my vamp"

Chita is so sparkley! SOB and I were smiling ear to ear as she knocked one after another out of the ballpark. Intersperced with great stories (oh sure, we heard some of them in The Dancer's Life and in her previous cabaret outings, but I'll gladly listen again and again), the songs were I won't Dance, a West Side Story medley, A Bye Bye Birdy medley, My Wish for You, I Don't Remember You, Where You Are, Kiss of the Spiderwoman, Let's Make Love, Sweet Charity, Camille, Collette, Fifi, It Was Not Exactly Paris, Carousel, Love and Love Alone, More Than You Know, The Dancer's Life, No Class, Chief Cook and Bottlewasher, Chicago, Circle of Friends. The encores were Nowadays and All That Jazz. She's quite the raconteur: "Did anybody hear there's going to be a Spiderman musical? I wonder if they know there was a Spiderwoman first?" Yes! Segue into Where You Are. That's perfection. The best stories came in relation to Chicago and working with Kander and Ebb. She said Catherine Zeta-Jones was at opening night of this show at Birdland. Play the video to hear the brilliance.

Tonight: Chita Rivera at Birdland

Tonight, I'll be on the arm of my favorite SOB at Chita Rivera's show at Birdland. Chita is celebrating the release of a new album: And Now I Swing. Songs on this album were featured at the cabaret she performed at Feinstein's last November. Boys, let me tell you - she can swing.

Hamlet on Broadway

Wow. This was my first live production of Hamlet. I've read it. I've seen the movies. This was definitive. Someday, I'm sure I'll see another production, but I'll always remember the time I saw Jude Law in Hamlet on Broadway. Jude is absolutely stunning - oh yes, he is beautiful, but he is also fearless, foolish, funny, breathtaking. The production is gorgeous - a testament that all you need is brilliant text, light, actors. It only runs until December 6th, so don't wait to go. There's always Shakespeare, but this particular mounting is a must.

Tonight, oh sweet prince: HAMLET ON BROADWAY

(unfortunately suttonhoo can't go, so she's granted me her ticket...I'll do my best to swoon in her place)

Happy Birthday, Angela Lansbury!

This month, Angela Lansbury returns to Broadway for rehearsals of A Little Night Music, which is scheduled to begin previews on November 24th at the Walter Kerr. Last season, she starred in Blithe Spirit and picked up an historic fifth Tony Award for Best Supporting Actress in a Play (previously she had four for Leading Actress in Musical).

Now, I love Murder, She Wrote, after all, it was the impetus that triggered my adoration of Angela when I was in high school (MSW just celebrated it's 25th anniversary!). But this is not her defining role at all, its just perhaps the one that gave her the most exposure to the world (hello, I saw it on BBC-1 when I was in London). At some point later, I discovered her body of film work - magnificent and diverse roles that established her as one of the greatest character actresses and garnered numerous Golden Globe awards as well as three Oscar nominations, beginning when she was just a teenager.

However, it is her theatrical work that thrills me most. Her original cast albums - Anyone Can Whistle, Mame, Dear World, Prettybelle, Gypsy and Sweeney Todd , as well as original soundtracks Bedknobs and Broomsticks, Beauty and the Beast and Mrs. Santa Clause- are always in my rotation. She delivers with so much tenderness, humor and beauty, that I can see those brilliant performances in my mind's eye. Angela is arguably today's most beloved stage actress, as well as one of its best. Rooms hush when she walks in, crowds cheer, audiences go wild at just one note from her. At a time when film and television roles are scarce for women even at age 60, audiences clamour to see this 84 year old.

There is much to learn from her as well. Tall and beautiful, she is the picture of grace, class, agility and vibrance. She inspires good will as well as good health, patience, graciousness and a generosity of spirit. I am overjoyed to see her on the stage again in just over a month and will toast her return most gleefully.

Happy 84th birthday to Angela!

(photo by Bruce Glickas)

Calling All Hitchcock Fans!

Before a bird lands or a plane dives near, all self-respecting Alfred Hitchcock fans should get themselves over to see to see The 39 Steps at the the Helen Hays Theatre on 44th Street. It's a wonderful, clever spoof of the 1935 film of the same name. I recently watched the film again - an exciting mystery chocked full of romance, noir and unintentional hilarity.

Hitchcock makes one of his early cameos - and look for him in the stage production too.

I saw it when it was still at the Cort Theatre last year, but jumped at the chance to go again as a guest of the producers, along with my buddies Theatre Aficionado Kevin and Byrne of Stagebuzz.com. It's even better at the jewel box Helen Hays Theatre. The cast of four is fantastic - somehow, together they play 150 different characters. You've got to see it to believe it.

Before you go, check out the official website, www.39stepsonbroadway.com for all kinds of fun enhancing activities. There's also a talkback on Tuesday nights after the show - we were privy to moderation by Stone and Stone.

But act fast, because the fun ends on January 10, 2010. Go with a discount from Broadwaybox.com!

Christine Brewer's Joyous Voice

Last night, Christine Brewer made her Carnegie Hall debut with her recital at Zankel Hall. I was expecting to hear her very big voice, but it was powerful in every sense of the word. It is big, but its warm quality is like dark molasses, slowly filling every empty space. Her high notes are thrilling, but her bottom register is practically sensual. The program was wonderful. I particularly loved her breathtaking performance of Wagner's Wesendonck Lieder, Op. 91. Christine subtly and tenderly captured every emotion - a surprise to me since I'm new to Wagner in general and expected only a glass-shattering dramatic soprano.

The text of the second half of the program was in English and here her fun personality shone through, as she conveyed every ounce of humor. The joy in her voice was the greatest discovery. It was only enhanced by the happy look on her face as she sang and comfortably talked to the audience. She seems to be quite a character and could probably talk up a storm. Song recitals can be thrilling or emotional, but they are most fun when there is joy and laughter. This was not lost on the audience who applauded long and loud at every opportunity.

Finally, she shared a cycle of songs she called Nightingale Songs that she put together in tribute to her first voice teacher and predecesor sopranos Helen Traubel, Eleanor Steber, Eileen Farrell and Kirsten Flagstad. Her teacher saved the programs of times he saw these sopranos and wrote notes on them, including their encores. She shared these: "Sing to Me, Sing", "Night", "Hickory Hill", "Love Went a'Riding", "If I Could Tell You", and "Hills". She got a big laugh when she invited us to sing along on "If I Could Tell You". She said that some of these are out of print, but that voice teacher left her all of his music when he passed away. What a lovely legacy and tribute.

Her encores were Harold Arlen's "I Had Myself A True Love", the hysterical "Review" by Dougherty(which reminded Sally and me of one of Ben Moore's comic songs ) and the traditional "City Called Heaven" arranged by Hall Johnson.

Craig Rutenberg was Christine's very able and even more good natured accompianist.

After, we went backstage to meet her, thanks to a mutual friend. The backstage corridor was filled with happy people and Christine was the head of it all, laughing and being wonderful. I'm seeing her at least twice more this season - in Elijah with the Boston Symphony Orchestra at Carnegie Hall (Stephanie Blythe too!) and in Misssa Solemnis with the New York Philharmonic at Avery Fisher Hall (Stephanie Blythe too! + Eric Owens, whom I just had to meet last night too).

Tonight: Christine Brewer at Zankel Hall

Tonight, I finally hear powerhouse soprano Christine Brewer live. The program is to die for:

Program Details

Christine Brewer, Soprano Craig Rutenberg, Piano
GLUCK "Divinités du Styx" from Alceste
WAGNER Wesendonck Lieder, Op. 91·· Der Engel·· Stehe still! ·· Im Treibhaus·· Schmerzen·· Träume
R. STRAUSS "Ich liebe dich," Op. 37, No. 2
R. STRAUSS "Breit über mein Haupt dein schwarzes Haar," Op. 19, No. 3
R. STRAUSS "Befreit," Op. 39, No. 4
MARX "Selige Nacht"
MARX "Hat Dich die Liebe berührt"
BRITTEN "Calypso"
BRITTEN "Tell Me the Truth About Love"
BRITTEN "Johnny"
BRITTEN "Funeral Blues"
J. CARTER Cantata
S. HOMER "Sing to Me, Sing"
MCARTHUR "Night"
SARGENT "Hickory Hill"
BRIDGE "Love Went a'Riding"
FIRESTONE "If I Could Tell You"
LAFORGE "Hills"

The Understudy at the Laura Pels

The Understudy at Roundabout's Laura Pels Theatre is a very clever, very funny, high energy 90 minutes of fun. Theresa Rebeck's dialogue is sarcastic and witty and never lags for a moment, even finding some poignant moments only to turn around and punch you with high irony. Scott Ellis' direction moves at a fast clip. Mark-Paul Gosselaar (omg, Zach from Saved by the Bell! He is cute!) as the "star" and Justin Kirk as the "understudy" are very funny and appear to be enjoying themselves immensely. Tony winner Julie White might have the most energy I've ever seen in a performance. Oh, she is FUNNY. She plays the "stage manager" and spends a good deal of time running to the back of the theatre (yes, the real theatre, as in the house)to her podium in the back. There's even an unseen, unheard character - "Laura" - one of my favorite gags in any show. I went in groggy from too much sleep and perhaps a bit grumpy too...by the end of the performance, I was all smiles.

The Understudy is scheduled to run until January 3rd, opening on November 3rd. Don't miss this blast of a good time. Discounts are available via HipTix or BroadwayBox.

Final Dress Rehearsal of Der Rosenkavalier at the Met

I was lucky to be invited to attend the final dress rehearsal of Der Rosenkavalier at the Met. It's not only one of my favorite operas (I've seen it twice before), but this go around it also stars two of my very favorite divas - Susan Graham and Renée Fleming! It opens this Tuesday the 13th. I have a ticket for the 19th and again for the winter run, when I'll take my mom to see it.

First Preview of Finian's Rainbow at the St. James

On Thursday night, I attended the first preview of Finian's Rainbow at the St. James with Kevin, my favorite Theatre Aficionado. I went to cheer on Broadway's newest leading lady, Kate Baldwin. And cheer I did...and by the time she took her curtain call, I shed a tear or two as well. I am indeed proud of this fabulous performer who is deservedly in the Star spot now. Congratulations, Kate!

I saw the dress rehearsal of Finian's Rainbow at City Center last spring. I definitely enjoyed it, mainly due to Kate, Cheyenne Jackson, Jim Norton and Terri White. And then it was mostly because of the wonderful Burton Lane and Yip Harburg songbook. This time, I enoyed it because it was plainly wonderful from the fabulous choreography to the terrific sounding chorus and orchestra (at least TWO! French horns!).

Changes to the Broadway cast are Christopher Fitzgerald, Chuck Cooper and David Schram (Roy from Wings!). Christopher is absolutely fabulous as the sly lephrechaun Og.

I'm a fan of the classic Broadway show and this has it all. It's a blast of a great time and the performances are even better. I can't wait to take this one in again. Get discount tickets via BroadwayBox.

Will the Real Harriet Walter please stand up?

First it was at the Tonys, now it's the Actors' Fund newsletter. Or has she really been Janet McTeer all along?

The TIPA Project: New York Wit & Humor

In celebration of the 400th Anniversary of Henrik Hudson's discovery of the River that bears his name, Stanley Tannen's TIPA Project will present prose and poetry featuring New York humor by such writers as Ogden Nash, Mark Twain, Dorothy Parker, James Thurber, Paul Rudnick, and others this Friday, October 9th.

This celebration also marks the 385th anniversary of the founding of New Amsterdam, the 340th anniversary of the start of English rule and the 111th anniversary of the consolidation of the five boroughs into the City of New York in 1898.

The readings will be presented by Tony Award Winners Tammy Grimes, Frances Sternhagen, and Fritz Weaver, Academy Award Winner Lee Grant, along with Ronald Rand, Betsy Von Furstenburg, and Bess Rous.

The TIPA Project, or Toward International Peace Through the Arts, was founded by Stanley Tannen. Mr. Tannen began organizing readings in 1972. In 2006, the president of the United Nations Society of Writers nominated him for a Nobel Peace Prize. 2009 marks Mr. Tannen's 38th year as a peace advocate and activist dedicated to promoting the Humanities as an instrument for peace.

The reading begins at 12:30 pm in the sanctuary at Saint Peter's Church, 619 Lexington Avenue at 54th Street.

The Season of Kate Baldwin Begins

Earlier today, I passed by the St. James Theatre on my way to a lunch meeting. Glory be, there was the incomparable Kate Baldwin on a break outside the stagedoor from rehearsing for Finian's Rainbow!

Kate's first solo album, Let's See What Happens, is available today at PS Classics. But the luck of the Irish was with me as she presented me with an advance copy. This is a cd to have. I've been listening to it all afternoon. It's Kate's gorgeous voice rendering the songs of Burton Lane and Yip Harburg. Broadway standards don't get any better than these.

This Thursday, I'll see Kate in the first preview of Finian's Rainbow. On October 21st, Kate will take part in Seth's SIRIUS XM Live On Broadway Show in Times Square Visitor Center. On October 22nd, Kate will appear at the Lincoln Square Barnes & Noble. She'll perform songs, accompanied by Rob Berman, Kate will sing songs from her new recording "Let's See What Happens" at Barnes & Noble near Lincoln Center. The performance begins at 5pm and CD signings will follow.

My London Souvenir

On Saturday in London, after we purchased our theatre tickets, we stumbled upon Cecil Court, a perfect little street lined with book stores, just off Charing Cross Road and a couple of blocks from the Leicester Square tube station. In a bin in front a fabulous little sheet music and book shop, I discovered a program from the 1987 London production of Lettice and Lovage at the Globe Theatre starring Dame Maggie Smith and Margaret Tyzack. The pefect souvenir for this collector! Coincidentally on Monday, Dame Maggie was in the London Evening Standard sharing her sad story about fearing a return to the stage.

An Inspector Calls at the Novello Theatre, London

On Saturday night in London, we saw An Inspector Calls at the Novello Theatre in the West End. We were able to get discounted tickets at a booth in Leicester Square. I was fairly indecisive about what I would see - most of the theatre there has already been here or its coming here soon. I would have loved to see something at the Royal Shakespeare Company, National Theatre, the Donmar or Royal Opera, but pickings were slim to none.

I finally settled on An Inspector Calls because it had success in New York years ago and I thought it seemed sort of Agatha Christie-like. Stephen Daldry directed that production as well as this revival at the Novello (he won the Tony for Best Direction). Plus, Nicholas Woodeson (Lord Burleigh of Mary Stuart!) is the star of this production.

Our seats were terrific in the beautiful Novello. I loved the sets too. But oh, I should have done a little more homework. It was a preachy consequences and moral of the story sort of play - ugh - and the acting was just hammy. The mystery wasn't much of a mystery at all - just presentational what ifs. Unfortunately, Nicholas Woodeson was out (damn you, Lord Burleigh!).