GONE TO LONDON

Happy Thanksgiving to you all.  I'll be back next week!

Two Broadway Plays

I saw A FREE MAN OF COLOR at Lincoln Center Theatre with my friend Linda of Pataphysical Science.   Historically intricate in characters and plot, it involves the story of a free black man in New Orleans amidst the time of the Louisiana Purchase.   It's bright, fast moving, funny, interesting, and shocking.  I loved it!  Jeffrey Wright stars, but out of the enormous cast Veanne Cox and John McMartin stole the show for me.

I also saw ELLING with Chris Caggiano of Everything I Know I Learned from Musicals.  It was bizarre but sweet and mostly entertaining about two insane asylum roommates who continue to live together on the outside as well.   It's a subtle look at love, trust and friendship and what is normal.  Brendan Fraser, Jennifer Coolidge, Richard Easton, Jeremy Shalos and Denis O'Hare star.   It was fun to see Brendan and Jennifer, but Denis O'Hare was fantastic!  

Thanks to my friends, I enjoyed comped seats.  Of the two, I would pay to see A FREE MAN OF COLOR again. 

I would see

Tune your radio: Susan Graham is on Prairie Home Compantion today!

Thanks to mezzo soprano Susan Graham's newly minted twitter account (@MezzoGraham), I learned that she will be guest appearing live today on Garrison Keillor's Prairie Home Companion.   Judging from the fun he's had in the past with a certain colleague of Susan's, I can only imagine what's in store for the always hilarious Suzie!  (On WNYC in New York it's at 6:00 pm today and fortunately shows are archived.)

Sondheim's Birthday Concert by the New York Pops

The New York Pops celebrated Stephen Sondheim's birthday at Carnegie Hall last night.   I went because obviously I wouldn't miss a Sondheim concert in New York City (my fourth this year), but mostly because Kate Baldwin was finally on the bill.

Pops, led by Stephen Reineke, is usually high on schmaltz and corny jokes, without being overly ambitious.  But last night they kept it going with style and even a little thinking out of the box. 

Kate Baldwin, Aaron Lazar, Christiane Noll, Alexander Gemignani, Marylyn Maye and Mary- Mitchell Campbell on piano along with Essential Voices USA gave it their all in this final concert of this 80th birthday season of Sondheim.

The men looked handsome in their tuxedos (something Aaron wears very well and finally, or unfortunately, a show in which he didn't have to take his shirt off).  The ladies looked impossibly glamorous and did the diva thing by having first and second act gowns.  

Highlights of the evening were Kate's hauntingly beautiful I Remember from Evening Primrose, the 1966 made-for-television musical; Getting Married Today, from Company, on which Christiane nailed the nervous breakdown and lay on the floor while keeping it going; Agony, from Into the Woods, richly sung with high irony by Aaron and Alex; Marilyn Maye's extended version of I'm Still Here from Follies - the lyrics repeat and the arrangement moves into sort of Vegas show song; and finally A Weekend in the Country, from A Little Night Music - fabulous hearing Aaron reprise the role he recently left on Broadway and Kate as Charlotte again (we loved her so much in the 2008 Center Stage Production in Baltimore), plus ridiculously thrilling to actually hear French horns in this original Jonathan Tunick arrangement. 

The Pops orchestra is fine and of course, it's always wonderful to hear an orchestra gloriously play those Sondheim tunes.    We got to hear the overture to Merrily We Roll Along (arr. Roland Shaw) and the fabulous Sweeney Todd Symphonic Suite (arr. Don Sebesky).   Every time I hear the Merrily overture, my excitement is heightened (even with a couple of clunkers from the trumpets) - it's big fun as far as musical overtures go and always make me hope for a full revival.  

They encored with Old Friends from Merrily We Roll Along and managed to surprise us with bringing Stephen Sondheim himself on the stage.   He finished the piece himself with the final words "DAMN FEW," which managed to bring down the house for good. 

The full set list:
All - Comedy Tonight, from A Funny Thing Happened on the Way to the Forum
Kate - Another Hundred People, from Company
Christiane & Alex - So Many People, from Saturday Night
Christiane - What More Do I Need? from Saturday Night
Kate - I Remember, from Evening Primrose
All - Remember? from A Little Night Music
Christiane - Send in the Clowns from A Little Night Music
Christiane, Kate & Aaron - Getting Married Today, from Company
Aaron - Being Alive, from Company
All - A Weekend in the Country, from A Little Night Music
Alex - Not While I'm Around, from Sweeney Todd
Alex & Aaron - Agony, from Into the Woods
Alex - Buddy's Blues, from Follies
All - Our Time, from Merrily We Roll Along
Kate - Children Will Listen, from Into the Woods
Aaron & Christiane Move On, from Sunday in the Park with George
Marilyn - I'm Still Here, from Follies
All - Sunday from Sunday in the Park with George

Tonight: Another Sondheim Birthday Concert

It was was just a little over six years ago that I began my commitment to all Sondheim music.  

In October, 2004, I saw a revue of Stephen Sondheim's music called Opening Doors at Zankel Hall, the smaller hall behind Carnegie.   It was a brief run, but I managed to see it twice from the front row, mostly thanks to being so enthralled with Kate Baldwin's performance.   It was the first time I had ever heard her sing and obviously, she has become one of my favorite performers.   

It was a particularly fun, if weird, show.  Best of all it was the perfect introduction into the world of Sondheim shows and the man behind the music. 

Tonight, I'm going to Carnegie Hall for yet another Sondheim 80th birthday concert.   The draw this time is one Kate Baldwin.   She, along with Aaron Lazar, Alexander Gemignani, Marilyn Maye, and Christiane Noll, is performing with the New York Pops.  

Kate is making her Carnegie Hall (Stern Auditorium) debut tonight.   I'm thrilled to be there to witness yet another step in what's becoming a marvelous career.   But mostly, I'm thrilled to be going just because I can't imagine missing her singing Sondheim numbers.

Bryn Terfel at Carnegie Hall

I attended my first recital by a male artist last night at Carnegie Hall.    The only difference with a male performer - and drawback - is that there are no fabulous gowns and no change at intermission.  Oh well, Bryn Terfel was pretty fabulous as was and there was nothing to distract my crow eyes.   Bryn is a bass baritone from Wales and I've seen him a number of times at the Metropolitan Opera (I LOVED his Falstaff in 2003) and have several of his recordings, it probably goes without saying that my favorite is Under the Stars with Renee Fleming.

Bryn's baritone is warm, rich and magnificent.   It's so interesting to hear the capability of range in a voice of his size - earlier this year I heard him in Wagner's Das Rheingold which vocally is all about enormity and power - but in last night's lieder, it was intimate and nuanced.  

The first half of the announced program was dedicated to Schumann lieder  - Belsatzar," Op. 57, Liederkreis, Op. 39, "Die beiden Grenadiere," Op. 49, No. 1 and "Mein Wagen rollet langsam," Op. 142, No. 4 .   From the Liederkreis, I adored the Mondnacht.   The other song cycles were Finzi   - "Let Us Garlands Bring, Op. 18," from on Shakespeare texts - and Ibert's "Chansons de Don Quichotte."  

Schumann was in German, Finzi was English and Ibert was French.  I preferred Bryn's voice on the German and English, over the French.  I particularly enjoyed "It Was a Lover" from the Finzi cycle.   

As usual, we sat in the balcony where the unamplified sound floats perfectly up to the ceiling.   For Bryn, his large voice was beautiful, but hearing his pianissimo float up was divine. 

Malcolm Martineau accompanied Bryn at the piano.   We had heard him play for Susan Graham before at a Carngie recital (she was there last night as well, so she tweeted .  He's a brilliant accompanist and seems to have a lot of fun from his spot on the bench.   He even joined in on one of Bryn's encore pieces.    I really loved his playing on Schumann's My Car Rolls Slowly from the "Die beiden Grenadier" lieder.

Bryn dedicated his encore section to his hero John Charles Thomas, an American singer of Welsh descent.  John Charles sang on Broadway and in opera houses around the world.   Bryn presented sort of a bio about him, infused with songs that he had performed, even including Home on the Range which the Carnegie audience joined in on.    Apparently, John Charles had quite a hit with that piece and when he performed at the Lyric Opera in Chicago, the audience chanted to hear it when the opera was over, much to the chagrin of the critics.   

He included a wonderful rendition of Mack the Knife, sung in the original German from Die Dreigroschenoper (The Threepenny Opera).   Bryn also encored with a rousing Mefistofele, after noting how much audiences love its bad boys.  He accompanied it with an incredible, hysterical two fingers in the mouth whistle, sustained and on pitch.  

His final encore was a song I had heard in church many times, but never quite this beautiful or emotional  - “The Lord’s Prayer”  that had been arranged for John Charles by Albert Hay. 

I had hoped that he would give us some Sweeney Todd, which he has performed a number of times, at least My Friends or especially Epiphany (or oh my God, since Suzi was there might she have joined him on A Little Priest).  I was chanting Sweeney very quietly, when I heard the gentleman several rows behind me also chanting Sweeney.   I guess we should have joined forces.   Next time, Bryn, next time. 

Hunter Ryan Herdlicka at Feinstein's

Hunter Ryan Herdlicka had me at hello when we met at Bernadette Peters' party after her Broadway concert little over a year ago.  It was just on the cusp of Hunter's Broadway debut as Henrick in A Little Night Music.  What I loved most about him was his commitment to the history of Broadway and respect for those who have come before him.  He wore his enthusiasm and excitement on his sleeve, leaving little doubt in my mind that he would become a star.  

I've seen Hunter perform as Henrick seven times in A Little Night Music and each time has been more thrilling than the last.   Always playing with passion, he has grown in subtlety and nuance.   It's been exciting to see him in the role.

And then there's his solo cabaret show.   On Monday night, Hunter had his second outing at Feinstein's.  He was invited back after a wonderful debut in the summertime.    He kept the show sentimental and tender set running with just the right amount of droll humor.    Not one to be shy, he seems to have no problem sharing some ridiculous and very funny stories about his early childhood.  He, as a seven year old, was already a self-proclaimed "musical theatre addict."

Like his first show, Hunter opened with "I Happen to Like New York," mixed with "Another Hundred People" once again.  It's a great opening number and I know that when Hunter sings those lyrics, he really means it.  

In the audience were Hunter's castmates from A Little Night Music - Ramona Mallory, Bernadette Peters and the two alternating Fredrikas, Keaton Whittaker and Katherine McNamara.    I was impressed to hear him sing, seemingly with no qualms, “No One Is Alone” from Into The Woods, a show Bernadette starred in and a number often sings in concert.  

Keeping with covering Sondheim tunes, he also sang "Johanna," from Sweeney Todd, a number he professed to always have wanted to sing.  He told us about talking to Bernadette about this and she told him that since it's his concert, he should sing whatever he wants to sing, adding "After all I sang 'Later' in concert and I'll never get to play Henrick."   I was very excited to hear his rendition of "Johanna," as I'm often thinking of another revival of one of my favorite shows.  He would absolutely make a fantastic Anthony or even Tobias. 

He also sang Sondheim's "The Glamorous Life,” from the 1977 film of A Little Night Music.  He said, "It's performed byt he 13 year old girl Fredrika, but I thought why not."  His two Fredrikas were sitting in the front row, I imagine, beaming at him through his beautiful rendition.  

He kept his "Peter Pan" medly from his first show, something which I was very glad about.   His performance of these pieces is poignant, due to his confession that it was the first show he was passionate, read obsessed, about.   He practically wore out the vhs tape of Mary Martin's tv production of Peter Pan and used "I Won't Grow Up" as an audition piece as a child.
His grandparents and mother were also sitting in the front for this show, ignoring his mandate that they sit in the back.  It's obvious that they are proud and supportive of him and he couldn't hide the fact that he's a bit homesick for Dallas and his mom.   He proceeded to sing a quite emotional rendition of “How Are Things in Glocca Morra?” from Fininian's Rainbow. 

He closed with Jerry Herman's "Penny in My Pocket," a song I love and find personally appropriate for this venue since the version I have is sung by none other than Michael Feinstein, the very proprietor of this night club.    It's a rousing number and I think telling of Hunter's success that has come with a lot of talent, a lot of hard work and possibly just a little luck.

Much to my surprise and delight, he encored with "The Age of Not Believing" from his former co-star Angela Lansbury's Bedknobs and Broomsticks.   It basically said it all.   

Under the stage direction of  Diana Basmajian and the music direction/piano accompaniment of the immensely talented Mary Mitchell Campbell, this show at Feinstein's is a mixture of light comedy and sweet emotion.  It runs almost too fast and ends way too quickly.  I was thrilled to be a guest of his publicist Judy Katz.    Fortunately, I also remembered to bring tissues this time. 
A Little Night Music closes on January 9th, freeing Hunter's schedule for something new and exicting.  I can't wait to see what comes next for him.  

Stars in attendance: Jan Maxwell and Bernadette Peters

Hunter and his castmates - Ramona, Bernadette, Keaton and Katherine

Hunter with Bernadette, the godmother of his puppy!

Sally meets Phyllis

On May 7, 2011, the most anticipated show of the season begins at the Kennedy Center - Sondheim's FOLLIES.   Bernadette Peters and Jan Maxwell have been cast as the two leading ladies, respectively Sally and Phyllis.  Last night, after Hunter Ryan Herdlicka's show at Feinstein's, the two actresses met for the first time.

Tucker Gala 2010

Last night the 35th annual Tucker Gala concert came and went far too quickly.   It's an annual concert to raise money for the Richard Tucker Music Foundation.  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 winner is tenor James Valenti. 

Each year, as soon as the date is announced, I mark my calendar and when invitation arrives, I run to the post office to mail my check for tickets.   It is,  hands down, my favorite concert event each year.   This year international opera stars Pavol Breslik, Ferruccio Furlanetto, Elina Garanca, Marcello Giordani, Brandon Jovanovich, Simon Keenlyside, Angela Meade, Anna Netrebko, Lisette Oropesa, Deborah Voight , Christophoros Stromboglis, Paul Appleby, Jennifer Johnson, Tom Fox and Wendy White joined James Valenti, the Metropolitan Opera Orchestra and New York Choral Society under the baton of Maestro Marco Armiliato.    My favorite mezzo-soprano Susan Graham made a surprise performance! 

This concert is a time for the singers to show off and have fun.  I think the singers are having just as much fun as the audience is in Avery Fisher Hall.   It's an opportunity to hear the "greatest hits," as Sally says.  Singers are paired for duets, who probably wouldn't appear together in an opera.  As well, arias are performed from operas that might not make it to the stage in New York.   This year's program was no exception.  Highlights for me were Elina Garanca's "Carcelaras" from Las hijas del Zebedeo, Simon Keenlyside's "Vision fugitive" from Herodiade, Angela Meade's "Era desso il figlio mio" from Lucrezia Borgia, Anna Netrebko's "Heia in den Bergen" from Die Csardasfurstin (complete with such exuberant choreography that her up-do tumbled!), Deborah Voigt's "Sola, perduta, abbadndonata" from Manon Lescaut, and Susan Graham's "Ombra mai fu" from Serse.   The thrilling last number of the evening was Finale of Act III of La gioconda featuring Deborah Voigt, Wendy White, Marcello Giordani, Christophoros Stromboglis, Tom Fox and the Choral Society.

As usual, all of the women looked gorgeous in their gowns (and Susan looking sensational in a very chic pantsuit), opera hunks were abundant and Maestro Marco is still the cutest conductor around.   I think Angela Meade received the loudest, most enthusiastic response and frankly, an encore would have been welcome.    Sally managed to stay away from any skirmishes with grumpy old ladies this year, but I fell into a fit of giggles when the gentleman behind me snorted in laughter right as Deborah was about to sing her very serious aria - let's just say I was in a precarious state and the fact that next to me Kari was having a hard time keeping it together as well didn't help matters.  

Unfortunately, this year's concert was not filmed for broadcast as it has been in previous years.   I will have to settle for biding my time for another 12 months for this fabulous annual event to come around again. 

A Little Night Music

 

I saw A Little Night Music from a front row seat last night as part of a mutual treat from my college student cat sitter Kyle - he provided the student id for rush, I provided the cash - $54 for two seats.   What a steal.

It was special to be there with Kyle - he's a musical theatre major and since he's new to New York City, he has seen few shows and is uber excited about everything.   He was especially excited to see A Little Night Music - his first Sondheim show, his first Bernadette Peters, his first Elaine Stritch, and his first front row seat.   Seeing a show with a neophyte is always an interesting experience and this was no exception - my jaded eyes are freshly opened.

It was thrilling to be so close to the actors.  Already heart wrenching moments that I had experienced from further back in the house became even more realistic  -  the angst of Hunter Ryan Herlicka's Henrick as he agonizes over always being ignored, and the pain and anger of Erin Davie's Charlotte and Ramona Mallory's Anne as they voice the state of being married.   Seeing tears flow down Ramona's face was stunning.   Erin continues to nail the wit and Ramona has grown beautifully in the role. 

There have been some changes in cast since I last saw it - Bradley Dean is now the Count and Stephen Buntrock is Fredrick.   Bradley's count is perfect  - he's large, menancing, handsome and plays him as the dolt he is.   Stephen is getting there - he hasn't found all of the humor and irony of his predecessor Alexander Hanson, but he's handsome and capable.  It fun to see him lovingly lift Bernadette into his arms at the end and twirl around with her.   

Katherine McNamara was on as Fredricka.  She plays her sweetly and the looks on her face are adoring of her fellow cast members.  

Elaine Stritch as Madame Leonora Armfeldt didn't nail "Liaisons" - it seemed to go on for ages and the ad libbing was uncomfortable. Yet, she triumphed like the old pro she is, and particularly with the "wooden ring speech" which was intensely regretful and yet enlightening. The way she plays Madame Armfeldt made me think that when she dies, it is because she is finally satisfied that her daughter has maybe found her way with love and her own family and now she can move on. It was heady to experience.   Wouldn't it be fun for Sondheim to write a pre-quel about Leonora and that Croation Count?  Perhaps he is Desiree's father. 

I was in awe seeing Bernadette Peters' Desiree as she wisely and skillfully "listened" to her former lover Fredrick described the ridiculousness of his young wife to her.  Every tiny look and gesture was worth a million words.  Later, her "Send in the Clowns" went beyond all expectations  - every nuance Bernadette offers finally makes clear what this story is about and the loss that Desiree is feeling is poured out for all to see, but in a beautifully subtle and quiet way.

We went to the stage door after, a rarity for me these days.  Kyle was thrilled to meet members of the cast, specifically Ms. Peters.  I always love visiting with her  - she is always so lovely and sweet to everybody.   I was thrilled to see Hunter as well, especially on the eve of his next solo cabaret at Feinstein's this Monday.  He's a fantastic performer on Broadway, but he really pulls out all the stops at his own show.    

This was my seventh and probably final time seeing this production.  It closes on January 9th.  Unless I sit on stage, I couldn't get closer again.  I still maintain that I don't love this production - the distressed look of the set, the drab colors, the lack of lighting, the minimalist band accompaniament still turn me off; yet, I still love the story by Hugh Wheeler and of course, the music of Stephen Sondheim stirs my soul.   It's musical theatre at its best. 

I'm not jealous

I'm not the jealous type.  Really, I'm not.  I'm thrilled for you if you get to do something exicting.  Yes, I am.  But, damn it, I admit that I am incredibly envious of this one.   My friend Simon Cram, an opera singer himself, traveled to Italy to see Mariella Devia in Maria Stuarda in Modena.   But I'm the one who introduced him to her voice!   At the very least, he could have stowed me in his suitcase.   Off with his head, I say.    

Simon says: "I was absolutely transported. It was spectacular. The whole cast was amazing, but when Devia came out, there was a pause, then a hush, then thunderous applause and bravis for several minutes. My heart was racing so fast. Then she started to sing and, Sarah, I've never heard anything like it. She is pure magic, grace and artistry."

I was first introduced to Mariella Devia when my friend Sally and I saw the film of Maria Stuarda (available on DVD!) at Symphony Space, presented by Opera in Cinema.  It was filmed live at La Scala.   Even at a screening of the film, it felt so vibrant and present  and I have never felt so thrilled by a performance.   It seemed as though most of the audience felt the same way - loud applause and bravas and Mariella wasn't even there to hear it!     I have heard from my friend Opera Chic, who has had the pleasure of witnessing Mariella perform live, that Mariella doesn't leave Italy any longer after the death of her husband who was her manager.  

I really must start planning my own trip to Italy.

A Posh Week in the Endless Pursuit

Last week was posh.  The title of this little blog website is Adventures in the Endless Pursuit of Entertainment.   I love being entertained, but I'm not just seeking vapid, mindless escapism.  I'm looking for live performances and visual arts that inspire, challenge and thrill me.   I'm open to trying almost any new experience, but I also find myself returning to the known quite often as I just can't get enough. 

On Wednesday, I treated myself to Wings at Second Stage Theatre.   I went for Jan Maxwell, who is one of the most miraculous actresses around.  In my opinion, she can do anything and she proved it once again in this jarring story about a woman who has suffered a stroke.   It's a terrifying performance and story.   I was trembling from the onset and I hope that neither any of my loved ones nor myself ever suffers a stroke.   Visually, it was a hectic mix of multi-media sound and projection.  It was just as overwhelming to see as what the character was experiencing.  Then when she began to recover, the pace seemed to relax as well.   Still, it was an extremely intense theatrical experience. 

On Thursday, my friend Kaitlin invited me to the Down Town Association (FDR was a member!) for a "Literary Night with Edward Albee" and dinner afterward.   It's an elegant, venerable establishment and I enjoyed the experience very much.  Albee is my favorite playwright - I've loved Who's Afraid of Virginia Woolf, Seascape and The Occupant.  I especially loved reading Three Tall Women and would love to see a revival of it.    I enjoyed talking to him about The Occupant, especially in relation to his statement that he doesn't write about real people, only fictional.  The Occupant was about the late Louise Nevelson, a sculptor and a friend of his.  He said that he was able to use her as a character because she was already a fictionalized version of herself and that he could never really know her.   He thanked me for my question and was pleased that I liked the play. 

Albee spoke of his own writing practices and  how he lives with characters for a while before he ever puts them down on paper,   how the suspension of disbelief is essential for theatre, and the importance of knowing classical music and other visual arts for playwrights to "compose" a play.  He said that he is influenced by everything he experiences in the arts and it's up to us to decide what we are going to accept or reject.  

He verbalized some that I have been unable to explain about my own theatre going habits:  "any work that you only see once and 'get,' must not have much content."    Perhaps this is why I am apt to see certain shows or programs multiple times.  

The good news Albee imparted is that he has at least three plays in head that he hasn't yet written down and wants to do - he said that will take the next four years.    He said that good, important work is still done although it's hard o have it paid attention to in this media era of the soundbyte.   He aid that it's harder for a serious play or art to survive amongst the "junk" becasue that's what people want to see - that most people do not want to have their values questioned or challenged and would rather just be enterained in an escapist fashion. 

I, for one, do need to escape - fortunately, it's this sort of work that I seek for the experience. 

On Friday night, I went to see The Scottsboro Boys with Noah.   It's a new musical by Kander and Eb based on a group of young, black men who were wrongly accused, convicted and imprisoned for raping two women in Scottsboro, Alabama in the 1930s.   Kander and Ebb employ the minstral show as a means for telling this horrifying story.  

I still don't quite know what to say about it.  It's good - beautifully acted, sung and the actors are amazing.   But it's shameful and upsetting as well.  The use of traditional minstral is an interesting juxtaposition as the means of telling the story simply because the era of the black performer having to perform as minstrals was completely degrading.  Yet, despite the degradation, it's beautiful.  The dancing is thrilling and the music is delightful - until you listen to the lyrics.   The lyrics slam you with an understanding of the horror that these men experienced.   

The whole experience of being in the Lyceum for The Scottsboro Boys is definitely staying with me.     Plus, the theatricality and the direction and the very simple set is still astonishing me - Susan Stroman is nothing short of brilliant with this production. 

On Saturday night, Kari and I headed to The Whitney Museum's member night.   The allure of the new exhibit of Edward Hopper and his contemporaries plus the promise of a cash bar and live jazz was more than enough to travel all the way to the east side.    Before going in, we serendipitously caught the fireworks show for the New York Marathon - perfection for a beautiful, clear night over Central Park.   The Hopper exhibit is divine - I loved being introduced to paintings by John Sloan and particularly Martin Lewis' Shadow Dance.    I especially loved seeing Robert Henri's portrait of Gertrude Vanderbilt Whitney, the founder of The Whitney.   I've seen small postcard side print of the portrait, but seeing it so large with all of its vibrant colors was breathtaking.  

After The Whitney, we headed to Bistro Chat Noir.   It's my favorite restaurant in New York City.   I had the
Lemon Sole “Duglere”.     So good.

On Sunday, Kari, Sally and I went to City Opera's Leonard Bernstein Revue:  Lucky To Be Me .    The first half was Bernstein's classical and the second was Bernstein's Broadway.   As he said, "There's no high or low music, just good and bad."   This was all good.  

The classical  - Kaddish Symphony, Mass, Songfest - was gorgeous, sweeping and poetic.  The Broadway stuff  - selections from his shows, all of which I've seen except 1600 Pennsylvania Avenue - On the Town, West Side Story, Wonderful Town, and Candide- was fun  and finally soaring.   Any concert ending with Make Our Garden Grow  is a winner.   The performers  - Michael Cerveris, Victoria Clark, Darius de Haas, Christine Ebersole, Christopher Feigum, Joshua Hopkins, Sara Jakubiak, Cheyenne Jackson, Joshua Jeremiah, Donna Murphy, Kelli O'Hara, Sidney Outlaw, Patricia Risley, Talise Trevigne, and Michael Urie - were all excellent - even though at times difficult to hear in the fourth ring - c'est la vie for a cheap ticket.     It was the sort of performance that I would gladly see over and over.  

Christine Ebersole - Concert at the Metropolitan Museum of Art

Kari, Roxie and I wandered through the Egyptian mummies and relics at the Metropolitan Museum of Art to see Christine Ebersole's concert in the Grace Rainy Rogers Audiotrium a couple of weeks ago.  Christine mostly sang songs from her new Noel Coward album, which was inspired by her turn as "Elvira" in the 2009 revival of Noel Coward's play Blithe Spirit. 

Christine only sang a few "Broadway" songs, including "42nd Street," "Too Darn Hot," and  "Can't Help Lovin' Dat Man of Mine."    She also included her rendition of the "Folks on the Hill," which I love.   The Noel Coward songs were terrific, switching back and forth between the fun and the wistful.   Christine's soprano always sparkles and her glissando is thrilling.   She encored with a fabulous Eartha Kitt's number "Mink Schmink!," sounding almost exactly like her and completely hysterical.  

Christine was joined on stage by a jazz trio lead by John Oddo at the piano.  John Oddo was Rosemary Clooney's pianist for almost two decades. 

Unfortunately, Christine only teased us with the promise of performing songs from Grey Gardens when she would break into her "Little Edie" voice.  She shared many stories about her beloved family, her life in Hollywood and now New Jersey, and her career...unfortunately, she spent a little too much time on the "Lectures" portion of the "Concerts and Lectures at the Metropolitan Museum of Art."  

Still, I'll jump at any chance I get to hear Christine perform live.   I'm especially hoping that she and Billy Stritch reprise their annual Town and Country Christmas this year. 

Michele Lee - Broadway Original

Last month, I went to the Broadway Originals Concert, the last event of the Broadway Cabaret Festival at Town Hall.   The afternoon concert Christiane Noll (Ragtime), Stephanie D'Abruzzo and John Tartaglia (Avenue Q), Tom Wopat (Annie Get Your Gun, A Catered Affair), Christa Moore (Big, Gypsy), Maureen Silliman (Shenandoah, I Remember Mama), Sarah Uriate Berry (A Light in the Piazza), Jo Sullivan Loesser (The Most Happy Fella), Lucy Arnez (They're Playing Our Song), Carole Demas (Grease), Loni Ackerman (No, No, Nanette, Evita), Nancy Opel (Urinetown,  Triumph of Love) and cabaret legend Marilyn Maye.  The show was directed by Michele Lee (Seesaw, Bravo Giavonni), and most exciting to me, who was also the headliner. 

It was fun to hear these Broadway singers reprise some of the songs that they originated or performed in Broadway shows.  They also shared funny or poignant stories from mishaps or events connected with the show.   Stephanie D. Abruzzo told her about story about the time that Lauren Bacall came backstage after Avenue Q and told her that she couldn't wait to sing along with the cast album to "It Sucks to be Me."  Nancy Opel told of how Urine Town went on with the show just days after 9/11 - when the cast exited the stage door, they were greeted with a big crowd of grownded flight attendants who were treated to the show by the producers.  

The most tear jerking story came from Michele Lee who told of performing the reprise of "I Believe In You" from How to Succeed in Business Without Really Trying after the assissignation of President Kennedy.   She then sang the song and I don't believe there was a dry eye in the house.

A special treat was hearing Marilyn Maye perform songs that she actually recorded on vinyl before the shows were produced on Broadway - "Step To The Rear," "Sherry," "I'll Never Fall In Love Again" and "Cabaret."   She also included the theme song from the 1960s Lincoln Mercury commercial that she recorded to the tune of "Step to the Rear."

I have long been a fan of Michele Lee's for a long time and this was my first opportunity to hear her perform live.  I've played the shit out of her numbers "Nobody Does It Like Me" from Seesaw and "I'm All I've Got" from Bravo Giovonni, as well as her solo album Taste of the Fantastic.   She was just as fabulous as I knew she would be and hearing her perform these favorites live from a thrilling experience.     She also sang  "I'm Way Ahead" from Seesaw which she prefaced with the tape recorded voice of composer Cy Coleman playing and singing the song for her.  

Broadway: It Gets Better

I've been on both sides of the bully fence.   I know how hard it is to feel different and be treated differently.   I also regret the times that I treated others badly because of their differences.  

When I was in my mid-twenties, I tried to find an out when I couldn't deal with an issue that was haunting me.   Fortunately, I had the best friends and family imaginable.   They supported me and helped me find the assistance that it took to get past that terrible, painful time - one of my friends even paid for a therapist.   I'm living proof that it definitely does get better.   

For anybody who doesn't have that built-in support system, there's The Trevor Lifeline: 866-4-U-TREVOR (866-488-7386) 

If you or a friend are in crisis, please call.  Toll free, confidential and available 24 hours a day, 7 days a week.  http://www.thetrevorproject.org/

Sondheim - Finishing the Hat

Stephen Sondheim has written a book.  It's A BIG, TALL GIANT of a book, but of course it would be.  And it only covers his writing career from 1954 and 1981.  A second volume will be released "in a year" so he says.  I love it, except that it's too big to carry around everywhere like I want to.   It's not really an autobiography but he does take the time to tell his side on his creation of musical works written for the stage, including Saturday Night, West Side Story, Gypsy, A Funny Thing Happened on the Way to the Forum, Anyone Can Whistle, Do I Hear a Waltz?, Company, Follies, A Little Night Music, The Frogs, Pacific Overtures, Sweeney Todd, the Demon Barber of Fleet Street, and Merrily We Roll Along.   All of the lyrics are included, with his commentary, plus production and rehearsal photographs.  It's brilliant.  

Sondheim was interviewed on the radio twice last week - once for WNYC's Leonard Lopate Show and once for NPR's Fresh Air with Terry Gross.   (And during her introduction, Terry mistakenly says, "There's a revival on Broaday of his 1971 show 'Follies.'  The revival stars Bernadette Peters and Elaine Stritch."   Oh if that's isn't a hopeful Freudian slip, I don't know what is.  Maybe its prophesy.) 

They are required listening.

Sondheim: The Birthday Concert

Last night, I attended a screening of Sondheim: The Birthday Concert hosted by the Producers Stewart F. Lane, Bonnie Comley and Ellen M. Krass.  The New York Philharmonic concert starring Laura Benanti, Matt Cavenaugh, Michael Cerveris, Victoria Clark, Jenn Colella, Jason Danieley, Alex Gemignani, Joanna Gleason, Nathan Gunn, George Hearn, Patti LuPone, Marin Mazzie, Audra McDonald, John McMartin, Donna Murphy, Karen Olivo, Laura Osnes, Mandy Patinkin, Bernadette Peters, David Hyde Pierce, Bobby Steggert, Elaine Stritch, Jim Walton, Chip Zien, and American Ballet Theatre Dancers Blaine Hoven and Maria Riccetto was filmed over two nights last March.

The film will be released on dvd and blueray on November 16th before being broadcast on PBS stations on November 24th.

The film was screened at the NYIT Auditorium on Broadway.  In attendance were the concert and film's director Lonny Price, as well as performers Jim Walton, Laura Osnes and Jenn Colella.   The audience applauded and cheered just as if it was live and after the credits rolled, somebody yelled, "Encore!"  

The film is exquisite.  Anybody who was in attendance - I was there both nights - will rejoice of this beautiful souvenir of the concerts.   It's a combination of both nights - the West Side Story ladies with Karen Olivo perform America from the first night, as is Alex Gemignani singing Something's coming from West Side Story and Jim Walton is there performing a song from Merrily We Roll Along from the second night.   The close ups of the performers are priceless, particularly during the Magical Circle of Divas - Bernadette, Patti, Donna, Marin, Audra, and Elaine.   Even better, there are plenty of shots of Mr. Sondheim himself, reacting from his aisle seat in the orchestra section.  


Although there appear to be no "extras," this is a priceless souvenir of the resplendent 80th birthday concert for Stephen Sondheim.  For those who did not attend for unfathomable reasons, lucky stars should be counted that this was filmed and is available for purchase.   It is nothing less than a must have.

Sondheim: The Birthday Concert

In case you haven't heard, Stephen Sondheim turned eighty years old on March 22, 2010.   Everybody from the New York Philharmonic to the BBC Proms has celebrated this Musical Theatre Great's birthday - Roundabout even renamed a Broadway theatre for him.  And there are still more birthday celebrations to come - the New York Pops gets to have their cake on November 19th at Carnegie Hall.  

The icing on Sondheim's birthday cake is a present to all of us - the New York Philharmonic's two night concert in March was filmed for a Great Performances broadcast on November 24th.  In  New York, it's on WNET at 9:00 pm.

 But before we get to that, we will celebrate with a dvd release of this Great Performances.  My copy via Amazon is slated for delivery on November 16th.   I can't wait to watch it and hear myself cheering from the 2nd tier of Avery Fisher Hall - I was there both nights! 

The starry evenings at the Phil were directed by Lonny Price and hosted by David Hyde Pierce.  It starred Laura Benanti, Matt Cavenaugh, Michael Cerveris, Victoria Clark, Jenn Colella, Jason Danieley, Joanna Gleason, Nathan Gunn, George Hearn, Patti LuPone, Marin Mazzie, Audra McDonald, John McMartin, Donna Murphy, Laura Osnes, Mandy Patinkin, Bernadette Peters, Bobby Steggert, Elaine Stritch, Jim Walton, Chip Zien, and American Ballet Theatre Dancers Blaine Hoven and Maria Riccetto. Paul Gemignani, Mr. Sondheim's longtime collaborator, conducted the New York Philharmonic.

I’m thrilled to have this souvenir of the blockbuster evenings. It was a dream to hear numbers performed by the original performers – Bernadette and Mandy singing "Move On" from Sunday in the Park with George and Joanna and Chip singing "You’ve Changed" from Into the Woods, as well as covers from artists who performed in revivals of Sondheim’s shows – especially George Hearn (original replacement "Sweeney Todd") and Patti LuPone and Michael Cerveris in the revival of Sweeney Todd.   Then there was the Magical Circle of Divas in Red - Bernadette, Patti, Audra, Marin, Donna and Elaine - that could have gone on all night. 

And here's something that just adds to my excitement: while the rest of you have to wait at least another 2 weeks for the DVD, or for the PBS broadcast if you're cheap,  I get to re-live those two nights in March tonight when I attend a screening of the production for Great Performances, hosted by the producers Stewart F. Lane, Bonnie Comley and Ellen M. Krass.  
One thing is for sure, the birthday presents just keep coming.  Thanks for turning 80, Stephen Sondheim!