Books with Bernadette

Bernadette Peters has written a new children's book!  This time it's  "Stella's Is a Star", about a Pit Bull who tries to fit in.   This effort, inspired by her own adopted Pit Bull Stella, is Bernadette's follow up to her New York Times Best Seller, "Broadway Barks", which featured her other adopted pooch, Kramer.   Bernadette again has written and performed a companion song to go with the book - "Stella's Song".

On Monday, May 3rd, Bernadette will read and perform  "Stella Is a Star" and "Stella's Song" at at Dylan’s Candy Bar (1011 3rd Avenue at 60th Street) from 3 to 5 PM.  After she will sign copies of the book. A portion of the proceeds from the sale of this book benefits Broadway Barks.  Broadway Barks was founded over ten years ago by Bernadette and Mary Tyler Moore and raises funds to to promote pet adoption and no-kill shelters.

During the afternoon, $10 raffle tickets will be sold for a chance to win a walk onstage with Bernadette Peters and Mary Tyler Moore at Broadway Barks on July 10, 2010!   Following the book signing, Bernadette will select one lucky raffle entrant as the winner of the walk-on appearance at the 12th Annual Broadway Barks Adopt-a-thon. The selected winner need not be present at the time of the drawing to win.

Quote of the Day

"There's a certain set of features that I have that seems to attract people to cast me as a sort of a hard bitten type...if I was built a certain way, I'd be playing sort of all the sweet cuddly nanny figures."


Harriet Walter about roles as an older woman, to Jenni Murray, BBC 4 - listen to the podcast here


(Oh boy! This play Harriet Walter is in, Women Beware Women at the National Theatre, which incidentally is on my horizon, should be interesting to say the least.  And thank you, Harriet Walter, for NOT playing the sweet cuddly nanny figures.)

Photo by Simon Annand

Happy Birthday to Roxie Zeek!

Happy Birthday to my lovely young friend Roxie Zeek!  

I had heard her named bandied about for many moons by Kevin before I finally met this infamous Roxie.   And what a fateful day it was!   We were at the bomb of Applause at Encores! when he brought her to us and she turned out to be the sparkle of the evening. 

Since then, we've enjoyed many theatre adventures,  some road trips in her big 'ole shiny caddy, some Harriet Walter Weekends, many gins & tonic, and 1000s of laughs.   On many occassion, I've felt grumpy and snarly, then she shows up with her sparkling self and just lifts the dark from my mood.  Her youthful enthusiasm inspires me to power through.  Plus, I like to keep her around simply for the fact that she's the Tall Girl.

Besides just being downright stylish and fun, I'm very impressed with Roxie.    Being thoroughly artsy crafty, she's a freelance costume designer by trade and she works at two different theatres in New Jersey, finds time to lead a Girl Scout troop and still give 100% to her friends, family and causes she believes in.   Even though she's a beatiful twenty something, she's a fabulous old soul, full of vim and vigor and ready to take the world with her laugh. 

Roxie's a reminder that there's no need to be complacent in life - with strength, talent and
perserverence not to mention a lot of hard work, she'll conquer her dreams yet and I am the better to witness the process.

A Taste of Shakespeare!

One of the best adventures I had last summer was a vist to Boscobel for an evening with the Hudson Valley Shakespeare Festival, so I'm very much looking forward to paying them a visit this summer.   And now, they'll be right in my neighborhood.   On May 13th, members of the company will perform pieces from this season's repertory at the David Rubenstein Atrium at Lincoln Center.   The Atrium has two entrances - one is on 9th Avenue and the other is on Broadway, technically 61 West 62nd Street.  It's a free, public space.

"A Sondheim birithday celebration is a celebration for all of us"

At City Center's Sondheim Birthday Gala, hostess Mia Farrow said, "A Sondheim birthday celebration is a celebration for all of us."   Yes it is.  Even when you've just run from work in pouring rain without proper footwear, you're sitting far back in the cave of the rear mezzanine with some very grumpy people and you've got to go back to work.  Any Sondheim, but especially a Sondheim Celebration,  is a sparkling respite from all that is out tough and miserable in the world.

Actors from original and revival productions of Stephen Sondheim's work gathered to reprise their roles - and in some cases their current role.  The most thrilling moments for me were: Donna Murphy, from the original production of Passion, singing  Fosca's Letter and Loving you from Passion, Joanna Gleason, from the original production of Into the Woods, singing Moments in the Woods, Maria Friedman, from the original London production of Sunday in the Park with George, singing Children and Art, Jim Walton, from the original production of Merrily We Roll Along, singing Our Time.    Maria Friedman, who has been in a number of Sondheim shows in the West End and named him as the Godfather to her son, was a surprise.  She beat the volcanic cloud to get here and thank goodness - the last few bars of her Broadway Baby are worth the money. 

It was exciting to hear the audience so enthusiastic for various artists, demanding encore bows from Raul Esparza, Len Cariou, Michael Cerveris, Catherine Zeta-Jones, and Nathan Lane.  When Angela Lansbury, looking resplendit in silver satin,  took the stage, the audience jumped to its feet in thunderous ovation before she had even sung a note and it may have been her best Liaisons yet. 

I borrowed the evening's set list from Martin at Talkin'Broadway:

FOLLIES - Overture
ROAD SHOW “Get Out / Go” -- Michael Cerveris and Alexander Gemingnani
PASSION: “I Wish I Could Forget You” – Donna Murphy
ASSASSINS: “Gun Song” – Debra Monk
INTO THE WOODS: “Moments in the Wood” – Joanna Gleason
SUNDAY IN THE PARK WITH GEORGE: “Children and Art” – Maria Friedman
MERRILY WE ROLL ALONG: Overture
SWEENEY TODD: “Pretty Women” – Michael Cerveris, Mark Jacoby and Len Cariou
PACIFIC OVERTURES: “Someone in a Tree” – B. D. Wong, Claybourne Elder, Alexander Gemignani and Mark Jacoby
A LITTLE NIGHT MUSIC: “You Must Meet My Wife” – Alexander Hanson, Catherine Zeta-Jones and Len Cariou
COMPANY: “Being Alive” – Raúl Esparza (Doyle: “COMPANY opened 40 years ago tonight.”)
ANYONE CAN WHISTLE: “Anyone Can Whistle” – Sutton Foster
A FUNNY THING…, THE FROGS, and other shows: “Invocation and Instruction to the Audience,” “Love is in the Air,” and bits of “Comedy Tonight,” “The Ladies Who Lunch,” “I’m Still Here” – Nathan Lane (coming on fumbling, carrying a tuba and a cello and as he finishes his song he tips John Doyle quite a few green backs.)
Shelia Hancock greetings read
Julia McKenzie greetings read
BOUNCE, ROAD SHOW: “The Best Thing That Ever Has Happened” -- Claybourne Elder, Alexander Gemignani and Michele Pawk
Milton Babbitt greetings read
Judi Dench greetings read
PASSION: “Loving You” – Donna Murphy
INTO THE WOODS: “ No One Is Alone” – Kim Crosby, Chip Zien, Danielle Ferland and Ben Wright
FOLLIES: “Broadway Baby” – Maria Friedman
Glynis Johns greetings read, about SJS: “He’s such a lovely young man.” –
A LITTLE NIGHT MUSIC: “Send in the Clowns” -- Catherine Zeta-Jones
recorded voice of Julie Andrews w/ greetings and she sings (!!!) a bit of “Not a Day Goes By.” -
Doyle reads some statistics on SJS awards: 61 Tony Awards, 5 Best Musicals, 8 Best Actress awards and many others mentioned -
A LITTLE NIGHT MUSIC: “Liaisons” – Angela Lansbury
MERRILY WE RROLL ALONG: “Our Time” – Jim Walton, Raúl Esparza and Maria Friedman
*Mia Farrow brings on Stephen Sondheim to a sustained ovation.*

Well, I guess that it's for this season's Sondheim Birthday Celebrations...at least in New York.  The NSO Pops is presenting three nights at the Kennedy Center May 6-8th, Ravinia takes its turn on July 31st .  That same night, across the pond, BBC Proms celebrates and will broadcast it both on the radio and the tele.    

So, thank you Mr. Sondheim for turning eighty and giving a celebration to all of us. 

Tonight: yet another birthday celebration for Sondheim

 Starring Len Cariou, Michael Cerveris, Claybourne Elder, Raúl Esparza, Sutton Foster, Alexander Gemignani, Joanna Gleason, Alexander Hanson, Mark Jacoby, Nathan Lane, Angela Lansbury, Debra Monk, Donna Murphy, Michele Pawk, Jim Walton, B.D. Wong, Catherine Zeta-Jones, and Chip Zien and several surprise guests!

Catching up on some adventures

I've been very busy using my brain at my new job while trying to maintain just the right amount of socializing. People ask me when I sleep. I'll sleep when I'm dead!  In the mean time, I've got a lot of livin' to do and you know I've managed to find time for some fabulous adventures over the last seven or eight weeks.

On March 8th, I went to Birdland to see the sparkling  Kate Baldwin perform. Her shows are so very fabulous and satisfying. I just love her!

On March 15th and 16th, I went to the birthday concerts for Stephen Sondheim at the New York Philharmonic. One night I sat next to Karigee and the other, Noah Himmelstein - both the most influential Sondheim lovers in my life. What joy! What excitement! What triumph! This concert is scheduled to be televised on Great Performances later this year for you people who were too unfortunate to be there to see the magic in person.

Later that week, Noah and I caught the first preview of Sondheim on Sondheim at Studio 54.  If you don't know why Sondheim is a genius after you see this show, you'll never know.  And when you hear Barbara Cook's rendition of Take Me to the World and Send in the Clowns you  might as well be at a master class.  It's a funky show mostly for Sondheim lovers.  I want to see it again.

On March 22nd, I saw a concert version of Ricky Ian Gordon's opera Grapes of Wrath at Carnegie Hall. Wow! I loved it! Victoria Clark was Ma Joad, Nathan Gunn was Tom Joad, Elizabeth Futral was Rsasharn, Matthew Worth was Connie. Matthew Worth was fabulous. Christine Ebersole sang the small role of waitress Mae, and practically stole the show. The evening was narrated by Jane Fonda. I found it completely soul stirring and my eyes did not stay dry. By the way, Noah Himmelstein was the assistant director.

Oh, I saw Dmitri Hvorostovsky and Sondra Radnovsky at Carnegie Hall on April 1st. We were in the next to last row of the house. Sondra has a voice that rattles the ceiling. They did the final scene from Eugene Onegin together. They are rock stars.

Over March and April, I saw God of Carnage three times. The acting is ridiculously good. The story is frantic and pathetic but oh my goodness it's damn funny. The context is so serious but as the characters fall apart and dig themselves into a deeper hole, the funnier it gets. Dylan Baker, Janet McTeer, Jeff Daniels and Lucy Liu are giving it everything they've got.

I did see Porgy and Bess at the Washington National Opera at the Kennedy Center on April 3rd. Who would think that the xylophone would be so thrilling? Plus,  I really love going to the Kennedy Center.

On March 27th, Karigee and I took the Metro North up the Hudson River Line to Beacon, New York. We went to Dia and saw art. It used to be a Nabisco factory and the space is now flooded with natural light. I loved the giant installation of Warhol's Shadows - I always thought he only did pop art.

On April 17th, I saw La Cage Aux Folles the night before it opened with Chelsea and some other youngin's from Washington, DC, thanks to their early morning student rush efforts .  It's romantic, touching, funny, and thrilling. Kelsey Grammer and Douglas Hodge played it beautifully. Here's a SarahB Endorsement: I was moved to tears during Song on the Sand .  I want to see it again.

I ran into Doug and Steve on Broadway at the stage door after. Go figure!  Later that night, at Angus McIndoe's, Steve on Broadway introduced me to the West End Whingers. We closed down Angus' for the first time in a very long time - actually since the last time I was with Steve on Broadway at Angus' - I think it was after the penultimate Gypsy when Patti LuPwned that photographer. Coincidentally, CHELSEAwithaSEA was there both nights.

On Thursday night, my friend Beth from Austin, Sally and I went to see Armida at the Met. I met my new email friend Glenda and her husband Steve who came all the way from Brisbane, Australia to fulfill her dream of seeing Renée Fleming at the Metropolitan Opera. We all went backstage after to visit La Diva in the green room. It sure was exciting watching Glenda meet her. I rather enjoyed Armida more than I thought I would - except that it's long due to really boring recitative, which Renée told me is rather difficult to sing because it sits low in her range. She also told me that she'll be singing a recital deep in the heart of somewhere that's near and dear to me later this year.

On Friday night, after the third round of God of Carnage this time with Beth , Karigee joined us at Angus were we ran into Theatre Aficianado Kevin Daly, Steve on Broadway, and the West End Whingers. We were also introduced to Baz Bamigboye of the Daily Mail who kindly treated us to a Blue Moon. Once again, we were thrown out of Angus in the wee hours.  What a trend.

Yesterday, I became a member of the Whitney Museum of American Art.  They have one Rothko on exhibit right now.   It's true that I have a thing about Gertrude Vanderbilt Whitney, one of the great women of the 20th century.

Speaking of Rothko, I saw RED on March 28th.  It's the new play by John Logan about artist Mark Rothko, transferred from the Donmar Warehouse in London to Broadway.    It is by far the best new play of the season and the performances by Alfred Molina and Eddie Redmayne are phenomenal.  I want to see it again.

Thinking of Alfred Molina reminds me that Donna Murphy played his wife, Mrs. Octavius, in Spider-Man 2 in 2004.  I took Cody to see it and we both spent time covering our eyes.  But, DONNA MURPHY!  She can do anything and everything!   I saw her three times as Mayoress Cora Hoover Hooper in ANYONE CAN WHISTLE at Encores!   She is BRILLIANT!   Indeed, Sutton Foster and Raul Esparza as well as the entire cast were BRILLIANT!

DONNA MURPHY FOR MAME!

PS

Murder She Wrote: Season 12, the final season, is now available for pre-order on Amazon for $34.99. It sort of makes me sad that there will be no more seasons to look forward to, unless Universal decides to release all of the Murder, She Wrote movies on dvd. Please.  Remember I was a fan of Angela Lansbury as Jessica Fletcher in Murder, She Wrote LONG before I knew that she was Queen of Broadway.

Yes, I did finally find the Bedknobs & Broomsticks Eglantine doll sans self-propelled action bed via Ebay for $11.00. I haven't had this much fun playing with a doll in a very long time.  However,  I still want the bed and shall not give up.

Happy Bard's Day to You!

William Shakespeare was born on this day in 1564.  He also died on this day in 1616.    So, Happy Bard's Day to you! 

Tonight: Armida at Metropolitan Opera

DiVaR Alert for Renée Fleming and Susan Graham!

Hey Boys, don't forget to set your DVR for Great Performances at the Metropolitan Opera's Der Rosenkavalier starring Renée Fleming and Susan Graham on PBS.  It was filmed live in January, 2010, and is one for the ages.   In New York City, it's on Channel 13, WNET at 12:30 pm, Sunday, April 25th.  I know you'll check your local listings.

Bernadette Peters to sign “Stella’s Song”

Bernadette has written a new book!  “Stella’s Song” is a follow up to her New York Times Best Seller "Broadway Barks."   The mother of two adopted dogs Stella and Kramer, Bernadette was inspired to write these books about her two pooches.  Proceeds from the book sales benefit Broadway Barks, the organization she founded with Mary Tyler Moore over ten years ago that benefits no-kill animal shelters and the promotion of pet adoption.  

"Stella is a Star" is about "a pit bull who tries to fit in."  On Monday, May 3rd, Bernadette will perform her a reading and sing her original song called "Stella's Song", after which she will  sign copies of the book.  The event is at Dylan’s Candy Bar (1011 3rd Avenue at 60th Street) from 3 to 5 PM.


Additionally, $10 raffle tickets will be sold for a chance to walk onstage with Bernadette Peters and Mary Tyler Moore as well as an adoptable pet at the 12th Annual Broadway Barks Adopt-a-thon in Shubert Alley on Saturday, July 10, 2010.  Following the signing, Bernadette will select one lucky raffle entrant as the winner of the walk-on appearance at the 12th Annual Broadway Barks Adopt-a-thon. The selected winner need not be present at the time of the drawing to win.

Macbeth at the West End Theatre

Shakespeare is happening only 8 blocks from my apartment.  EIGHT blocks!   Shakespeare on the Upper West Side and it isn't even summer and you don't have to wait in line all night long.  And it's GOOD!  

The Frog and Peach Theatre Company are presenting Shakespeare's tragedy Macbeth at the West End Theatre at 86th Street and West End Avenue.  

This was the first time I had seen Macbeth staged (except for Verdi's opera at the Met), although I had read it.   Seeing the action was riveting.  Lynnea Benson directs and keeps the pace moving, even through those long monologues of iambic pentameter.  It moves swiftly and seamlessly.   Ian Marshall is the fight director and made the action seem real - even taking a small cast and making them seem multiplied in the sword fights and battles.  He also somehow manages to get the cast to execute the fights without stepping out of their very small stage space.   The costume designer, Laura Taber Bacon, has dressed them in modern clothing and it works.  The production feels very professional, which is not always the feeling I come away with from off-off Broadway productions.

Moti Margolin is Macbeth and he is really fantastic.  He begins him reluctantly, then with complete enthusiasm as he succumbs to the manipulation, then with vulnerability as he slips into madness.  He makes the lines easy to understand with just the right amount of sarcasm and realism.  Other stand-outs in the cast are Lenny Ciotti who doubles as Seyton and Hecate and Todd Butera as Macduff.  Ciotti has the perfect voice for Shakespeare.   Butera was just plain bold.   I enjoyed Kaitlin Large's Lady Macbeth as well.  At first I thought she was too young and sweet looking, but she used that to seduce Macbeth into doing the deed, especially as she became more determined that it be done.    Amy Frances Quint also stood out as the main witch.

Margolin and Large also have no qualms about doing what it takes to make this an edgy production - they appear nude, covered with blood, after the king is killed.  It's very affective, frightening and quite beautiful in the dim light.   In fact, I thought it might be a bad ass production even before it began - Guns N' Roses was playing over the speaker system, sort of setting the tone.

I loved that there were few props and very little set in this small space - they let the words and action transport the audience.    It was intimate and real and everything else was shut out.    I did happen to overhear that the couple sitting next to me were also there the the previous day, quote "Once is not enough."   Although I was unable to stay for it, Sunday Matinees are followed by an informal talk-back with cast and Artistic Director Lynnea Benson.

The West End Theatre is a comfortable little black box theatre on the 2nd floor of the Church of St. Paul &  St Andrew United Methodist.  Coincidentally, I have occasionally attended worship service in their sanctuary but didn't realize that the gem of  the West End theatre was on the 2nd floor.

Macbeth  plays in rep on Thursday thorugh Saturday at 7:30 p.m. and on Sundays at 3 p.m.   It runs through May 9th. The running time is about 2 and 1/2 hours, which go by very quickly.  At only $18, the tickets are a bargain and are available  online via Smarttix or by calling (212) 868-4444.   Tickets may also be purchased in-person at the theater ½ hour prior to the performance.

Bergdorf Goodman celebrates Sondheim's 80th Birthday with its windows

Now this is my kind of window shopping! Bergdorf Goodman, on 5th Avenue at 58th Street, has dedicated five of its windows to the style of Stephen Sondheim. My morning bus stops right in front of Bergdorf's - what a way to start my day for the next week or so.  (Click on the Flickr link on the slide show to go straight to see larger versions.)

Sweeney Todd at Signature Theatre

I saw Sweeney Todd at the Signature Theatre in Arlington, VA on April 4th.  I still haven't recovered from the experience.  It's no secret that I have a distinct fondness for Sweeney Todd.  My expectations were high, even for this regional production.

I had anticipated going since Signature announced their season over a year ago.  When they finally announced casting, I found myself feeling disappointed that some big New York names were included.  But I needn't have felt anything but sheer excitement.

Eric Schaeffer, the artistic director of Signature, directed this production.  I felt like he really understands this masterpiece and crafted this production lovingly.  He made it a period piece, capturing all of the best elements from the original production while throwing in a little of the John Doyle revival just for an added thrill.  

From moment one, as we walked in the theatre, chills were running down my spine.  My seatmates seemed to be feeling the same way the entire time - Wanda,  was wringing her hankie in her lap, while Chelsea was gasping and clasping her hand to her mouth.   The entire audience seemed rapt in awe and horror.  

The houselights were dimly lit even before overture began.  Eeire sounds were coming from the speakers - sort of dripping, perhaps screaming.  It really set the tone.  Chris Lee's lighting was beautiful and foreboding.  James Kronzer's set was industrial, cold metal with much of the chorus was often up above on sort of a cat walk, as if taking it all in, not able to look away.  The orchestra was fantastic, even though only comprised of piano, woodwinds, cello and percussion.  Orchestrated by Zak Sandler, it sounded much like Sarah Travis' in the recent John Doyle production - simple but still true to Sondheim's score.

Mrs. Lovett's home and the barbour shop above was very similar to the original Broadway production.  She had her dough, rolling pin and harmonium.  The meat grinder was a cement mixer, giving the act an even more stomach turning affect.  An elevator, which delivered Sweeney to the scene of the crime, doubled as Mrs. Lovett's oven, and smoke and red light oozed from its seams.    A real barbour chair was used, as was an ample amount of stage blood.  Every time Sweeney would slit another throat, blood would very realistically pour and the victim would slide down into Lovett's house.  Kathleen Geldard managed the costuming fine, making everybody look zombie like, except for Anthony and Johanna who were costumed traditionally.

Edward Gero was Sweeney and Sherri L. Edelen was Mrs. Lovett.   Gero was menacing, brooding, terrifying.  Edelen was always on the edge of madness and death.  They were costumed and made up to look like zombies, grinding their way through their miserable lot in life.  Every moment they were on stage was at once terrifying and thrilling.    Their chemistry was terrific and always on the fine edge of manipulation and love.   They sang it with grit and desperation and could not have been more perfect. 

The rest of the cast was fine, particularly Chris Van Cleave as Judge Turpin.  He played the Judge more lecherous than I had ever seen, and took his prayer scene to the extreme limit, including self flagellation in using his belt to whip his own shirtless back.

The first scene began with a bucket raining a shower of blood being pulled up to the ceiling from a grate in the floor.    The final scene ended with roped, sheeted dead bodies falling from the rafters - six or so fell around the theatre while one dropped to the stage.  I never saw an audience collectively jump in their seats like that.   I was in theatrical heaven the entire evening - it gave me every thrill I was expecting and some that were surprising.  At intermission, I told Wanda that it was a good thing that I didn't see before the final performance, otherwise I would have been completely obssessed with making my way to Arlington at every chance. 

Tonight: La Cage Aux Folles on Broadway!

Your First Time

Over the last few weeks, I've been emailing with some new friends from as far away as Austrailia whom I've met because of my adventures at the Met Opera and through my membership in the Beautiful Voice Group on yahoo.   They are in town to see their first opera at the Met - Renée Fleming in Armida.

In talking with them, I've been reminded of my first time at the Metropolitan Opera.   My friend Beth was visiting from Austin in January 2004.  It was the coldest it had been in New York City  since Grover Cleveland was president - almost 20 below!   Therefore, we were desperate for inside entertainment.

We had been to see Bernadette Peters in Gypsy (and you know what that set off), but we also decided to see an opera.  Beth was already an opera fan and attended the Austin Lyric Opera.  I had already become a fan of Renée Fleming from watching her on PBS and Ovation, but had yet to take in an actual opera.  I thought it would be too expensive, too fancy - it seemed out of my reach.   My only exposure to the Metropolitan Opera was via Cher and Nicolas Cage in Moonstruck so naturally I thought I also needed to get all dressed up for a date with a dude with a one hand and bedroom eyes. (Well, not really, but if you're a dude with one hand or two and you have bedroom eyes, feel free to call me.)

So, we were watching Renée's Chatalet concert on Ovation when the subject came up.  I consulted Time Out New York and found out that Rigoletto (Armiliato; Pons, Nioradze, Rost, Flores, Lopardo)
was on and that it was actually affordable so we bought our tickets over the phone.   We fretted a bit on what to wear - since Beth was visiting she didn't pack evening wear, plus like I mentioned, it was almost 20 below zero outside!    We dressed in black jeans and of course, because it's New York City and the Met, it matters not what you wear for a Night at the Opera. 

We settled in to our balcony box and I don't believe I took a breath for the next four hours.  From the moment the chandeliers rose to the ceiling to the very last minute of the curtain call I was mesmerized.  It was simply the most magical evening I had ever spent in a theatre.   I was like a kid in a candy shop - I simply couldn't believe my eyes and ears. 

Two nights later, I went back alone for Madama Butterfly (Armiliato; Bunnell, Villarroel, Berti, Caproni) and I sat in the very last row of the Family Circle.  I was so enthralled by the drama and music, I forgot to look at the translated words on the Met titles screen in front of my seat.

So today, I emailed Kyle to remind him not to forget to look up to see the chandeliers rising to the gold ceiling.   I wish I could be there just to witness his face - and that of Ashley and Glenda's too next week - on this magical night.   There's just nothing like fulfilling a dream - or your first time.   

By now, I've been many times and plan to go many more and yet, the magical feeling of walking up the steps at Lincoln Center, seeing the fountain, entering into the shrine of the Metropolitan Opera house never, ever gets old.   The anticipation of going again and hearing heart stopping performances is always with me.  Coincidentally, Beth is arriving Monday for her annual trip to New York - fortunately the weather isn't quite so frigid and as luck will have it, we'll also be seeing Renée Fleming in Armida.

I'd love for you let me know about your first time at the Met Opera - or any opera house or theatre - in the  comments section below.

Hamlet at the Metropolitan Opera

Hamlet! It hasn't been at the Met in 113 years. It's a five-act French opera by Ambroise Thomas that premiered in 1868. Louis Langrée conducts. Simon Keenlyside plays the brooding Danish prince. Marlis Petersen plays Ophélie, Jennifer Larmore plays Queen Gertrude and James Morris plays Claudius. The final performance is tonight.

I saw this last week, courtesy of the Met Opera via my members with the Independent Theater Bloggers Association.   I was thrilled to accept this invitation, although I would had gone anyway as a participant in the Agnes Varis and Karl Leichtman Rush Tickets program , in which $20 orchestra seat are sold on the day of the performance. (We LOVE you, Dr. Varis!)

When I see a performance like this, it's like getting the wind knocked out of me and I'm so excited I can hardly fall asleep.   Every moment of this Hamlet is thrilling.    Other than its fairly ugly set by Christian Fenouillat, it's a beyond fabulous production.  

Hamlet is long, I know that from seeing it on Broadway last summer.  But the pace here is fast.  It's interesting to know the story and many lines from the play, but since it's opera it's all sung through making it an edge of the seat experience.   The production is by Patrice Caurier and Moshe Leiser and they don't waste a moment, directing some very physical scenes, especially between Keenlyside's Hamelt and Larmore's Gertrude.   At one point, he dragged her across the stage by her arm - thrilling!   Christophe Forey's lighting is also gorgeous, setting the mood from the very first moments.  

Ophélie's mad scene by Petersen was brilliant.  She was completely on the edge - singing insanity with incredible power while still managing to sing it heart breakingly beautiful.   Larmore, who is rarely at the Met,  sang as if she was going to milk every moment for what it's worth.   Keenlyside, so handsome with the mix of broodiness and aloofness, was fantastic.   In fact, the entire cast sounded gorgeous - including that Met Chorus.    

The score is gorgeous too.  I was expecting sort of Verdean, but it's actually light and sweeping and at times menacing. 

I won't soon forget this production.  Unfortunately, it's not on the Met's 2010/11 season list, but I hope it will return the next season.  I also hope that the Met doesn't wait so long to bring back Marlis Petersen, Simon Keenlyside and especially Jennifer Larmore.

Lend Me a Tenor on Broadway

Thanks to an invitation from the press agent, I saw the new revival of Lend Me a Tenor at the Music Box last Wednesday.  Wow!  It was REALLY FUN!   Rarely have I laughed that much in the theatre.

Lend Me a Tenor is a farce set in the 1930s in Ohio.  An opera company has hired a famous Italian tenor to sing at their tenth anniversary gala performance.   The evening doesn't go as planned. Hilarity ensues. 

The ensemble cast is comprised of Justin Bartha (Broadway debut), Anthony LaPaglia, Tony Shalhoub, Brooke Adams, Mary Catherine Garrison, Jay Klaitz, Jan Maxwell and Jennifer Laura Thompson.  Stanley Tucci makes his Broadway directorial debut.

Tony Shalhoub, Justin Bartha and especially Jan Maxwell were screamingly, side-splitting funny.   I believe that there is nothing that Jan Maxwell can't too - she is a genius.  

The set, a hotel suite, is by John Lee Beatty. The use of doors within the suite is very effective. The costume design by Martin Pakledinaz is lovely and quite perfect, and is used as prop as well.   There are even opportunities for a little audience participation for those sitting in about the first five or six rows of the orchestra - or maybe it should be that the audience should keep their eyes open and hands ready.  The pacing of this phsysical comedy didn't stop - it races by and the audience loudly and very enthusiastically shared their approval with roaring laughter and applause.  Even the curtain call itself is genius. 

In a rather drab 09/10 Broadway season, this play is not to be missed for a good time in the theatre.  Tickets are available via Telecharge and is scheduled to run through the summer.  

Tonight: Madama Butterfly at New York City Opera

Tonight, I finally cross the plaza to see a bonafide opera in that other house in Lincoln Center.  I won tickets via City Opera's twitter!    It turns out that I've saw this production on PBS in 2008, but that's okay, because there's nothing like the live experience.

Quote of the Day

“Geez Louise, this is so out there.”

Donna Murphy,  about Anyone Can Whistle

from Five Questions for Donna Murphy, By Erik Piepenburg,  ArtsBeat, The New York Times, April 7, 2010

Anyone Can Whistle opens tomorrow night at City Center.  I have tickets for Friday, Saturday and Sunday.

SWEENEY! SWEENEY! SWEENEY! SWEENEY! SWEENEY!

SWEENEY TODD!  Finally, I'm seeing Sweeney Todd at the Signature Theatre tonight.   I've been waiting for over a year!  SWEENEY TODD!!!!!

Tonight: The Ovsky's at Carnegie Hall

I stole this picture from Opera Chic, who borrowed the original shot from Pavel Antonov. New York Magazine talked to the Diva and the Divo - the 'Ovsky's as I like to call them - "Sassy soprano Sondra Radvanovsky and smoldering Siberian baritone Dmitri Hvorostovsky—opera’s best friends forever—talk to Rebecca Milzoff." They are fun to look at and read about, but they are even more fun to listen to and tonight that's what I'll do at Carnegie Hall.

The Program
Sondra Radvanovsky, Soprano
Dmitri Hvorostovsky, Baritone
National Philharmonic
Marco Armiliato, Conductor

MOZART Overture to The Marriage of Figaro
ROSSINI "Resta immobile" from William Tell
VERDI "Ernani, Ernani involami" from Ernani
VERDI "Gran' Dio!? Oh de' verd'anni miei" from Ernani
DVOŘÁK "Song to the Moon" from Rusalka
VERDI "Favella il Doge" from Simon Boccanegra
VERDI Overture to Luisa Miller
VERDI Act III, Scene 1 from Un Ballo in maschera
LEONCAVALLO Intermezzo from Pagliacci
TCHAIKOVSKY Final Scene from Eugene Onegin (oh. my. Lord.)


I saw them in Il Trovatore at the Met last season, twice.  And that wasn't enough.   I'm silly with excitement for tonight!