Selma Jezková, Royal Danish Opera at Lincoln Center Festival

On a whim, I bought a ticket for last night's one night only performance of Selma Jezková.  As part of the Lincoln Center Festival, it was staged in the Rose Theatre, which was a perfect venue for this fully staged event.  It's the opera of the story from the movie Dancer in the Dark by Lars von Trier.   I thought I knew the story, which is a young woman who is going blind and is sacrificing all to save the sight of her son, who has the same, but I was not prepared for this emotional downpour.

The movie is strangely horrifying and delightful all at once  - it's terribly tragic yet uplifting in Selma's optimism and self-sacrifice.   In the movie, Bjork placed Selma.   She scrimps and saves in order to save enough money for her son to have an operation to save his sight.  Her landlord, Bill, attempts to "borrow" her money but she is so desperate to save her son's sight, a struggle with a gun ensues and she shoots him.  He begs her to kill him to take away his misery, so she does.  She is simple and sweet and so devoted to her son, it's hard to know if she is really guilty of murder or just defending her own desperation.

The opera is by Danish composer Poul Ruders, with libretto by Henrik Engelbrecht. .   He completely captured the spirit and emotional intensity of the film in the music, which is sometimes stark and jarring and sometimes joyful.  Ylva Kihlberg sang the role of Selma.  She inhabited Selma with an aching fierceness and sang with a gorgeous strong soprano.   Additionally, Palle Knudsen was Bill, Hanne Fischer was Kathy, Gert Henning-Jensen was the District Attorney and Johanne Bock was Brenda, the prison matron.   Henning-Jensen was stunning in voice and acting.   Carl Philip Levin very effectively played her son Gene, in a non-singing character.

The opera, at only 70 minutes, is an abbreviated version of the film story.   We do not get to see much of Selma's love of musical theatre, although Ruders did manage to put in a few lines from The Sound of Music and does make her love of it clear.   Also, there's no "Jeff" nor is there time to even develop much of Selma's relationships with Kathy or even Bill.  

When the curtain rose, the scene was already set - a funeral in a church, with Selma already in an open coffin. The orchestra tuned briefly and then there were at least 2 to 3 minutes of complete silence before any action or the orchestra played another note.    I have never heard an audience grow so quiet so quickly.    Finally in all of that silence and stillness, Gene walked to the coffin and pulled Selma into a sitting position and embraced her.   She then came alive and the scene subtly changed to the factory where Selma worked as a metal presser.  

Each scene moved quickly into the next, but it didn't feel rushed.   Even with this quickness, the murder of Bill seemed to last forever, which very little music playing except for punctuation from the orchestra.  The trial was stunning and heart-wrenching, mostly because Selma simply will not divulge the truth about Bill and the money.   At the back of the stage during this, there was a projection of a large blinking eye.  It was terrifying.  

The real terror came on Selma's final day alive.   In the film, there is an incredible scene when she is attempting to be oblivious of her fate, already almost completely blind, and singing from The Sound of Music. Here she does have a meeting with Kathy who desperately tries to convince Selma to tell the truth, while Gene is lingering on the outside, all of his pain of losing his mother so evident.  

The final scene was shocking, sickening and so terrifying on so many levels.  I have never been so emotionally wrought in a theatre.   The prison guards actually took Selma up to a plank and put a noose around her neck. Intellectually, I knew that the actress wasn't really going to hang as she was hooked to a well-hidden safety harness, but emotionally it seemed real.   After the most gut-wrenching and heart-rending aria I have ever heard in which she sings to her son Gene that they will always be together, she is pushed off the plank and just dangles on the noose.  

Finally, she is lowered all the way into the coffin again and Gene is there to mourn.  

The applause was loud and long.   The cast took many bows, along with conductor Michael Schonwandt and the composer Poul Ruders.   Incidentally, the Royal Danish Opera has been the principal institution for Opera in Denmark since 1748.  The Royal Danish Orchestra was started in 1448 and is the world's oldest orchestra.  I was on the edge of tears during the applause but could not hold it back.

After the performance, I was to meet Roxie outside of the theatre.  I spotted her and by the look on her face when she saw me, I knew I wasn't going to be able to hold it in.  I had to sit down on a nearby bench and just let it out, tears, sobs, heaving shoulders - the works.   I hate to cry and rarely do it, but this could not be avoided.  I was totally emotionally shook by this performance.    In a way, I'm glad it was a one-night only because if it wasn't I would have to go back again and again and have to cry again.  

The production in Denmark was filmed and is available on DVD.

Summer blockbuster: Renée Fleming and Joseph Calleja Live with the Israel Philharmonic Orchestra

Finally, Renée is where she belongs: sandwiched between Captain America and Harry Potter! 

Broadcasted into movie theatres via Fathom Events, Renée Fleming and Joseph Calleja appeared in concert with the Israel Philharmonic Orchestra last night.  

The performance of Renée Fleming was made possible by the Richard Tucker Music Foundation and the Tucker family, as a tribute to Richard Tucker - great American tenor, renowned Cantor and devoted friend of Israel.   Renée was the recipient of the annual Richard Tucker Award in 1990.   As you know, I'm a great fan of the Richard Tucker Gala, which will take place this year on November 6th.  

We saw the film, which was billed as live, but obviously with the time difference was not live, at the Regal in Union Square.    It was interesting to see the ICC International Convention Center in Jerusalem, which didn't seem quite full although the audience was clearly enthusiastic, right down to that rhythmic clapping that I've heard in Paris.   Renée looked gorgeous, first in a hot pink satin dress.  Her second dress was a bodice of large black sequins and and a very full skirt of red satin covered in black tulle.    Joseph Calleja, conductor Maestro Zubin Mehta and all the gentlemen of the orchestra were in white tie and tails.  Ladies of the orchestra wore variations of black evening wear.

Joseph Calleja has a gorgeous, full tenor voice.  He has a commanding and relaxed presence, especially with this repertoir.   (Sally noted that she liked his voice better than Bobby Alagna's, but I'm not certain he would kiss as well.)   He was particularly wonderful on "E lucevan le Stelle" from Puccini's Tosca. 

Renée was wonderful as well.   I love that she included the "Jewel Song" from Gounod's Faust, and especially "J’ai versé le poison dans cette coupe d’or" from Massenet' Cléopâtre.   The latter was stunning.  

The biggest event of the evening was Renée and Joseph's Duet from Act I of Puccini's Madama Butterfly.   Renée tweeted that this was her first ever performance of this duet.   Butterfly is one of my favorites and it was fabulous to hear Renée and Joseph's voices on this piece - so gorgeous. 

Renée encored with "Hallelujah" (on microphone) and Puccini's "O Mio Babbino Caro."  Joseph joined Renée on "The Brindisi" from La Traviata, which is always a blast.

This event, and those like it, are such a treat to fans of live classical performance.  I long to travel the world and see as many live performances of classical music (and opera and musical theatre) as possible, but this is a wonderful substitution until the day I finally board that plane. 

The evening's program:

Verdi - Overture to La forza del sestino
Verdi - La donna e mobile from Rigoletto
Gounod - Jewel Song from Faust
Verdi - Prelude to Act I of La Traviata
Verdi - Parigi, o cara from La Traviata
Puccini - Intermezzo from Manon Lescaut
Puccini - Vissi d’arte from Tosca
Albeniz - Triana from Iberia
Puccini - Aria, E lucevan le Stelle (Tosca)
Massenet - Aria, J’ai versé le poison dans cette coupe d’or from Cléopâtre
Rimsky-Korsakov Capriccio espagnol (4th & 5th movements)
Puccini - Duet from Act I of Madama Butterfly
 

Follies on Broadway!

Yesterday I saw these Follies ads on the 1 train downtown platform at the 59th Street station.  It slightly elevated my excitement that the Kennedy Center's production of Follies is actually going to open on Broadway!   In fact, the first preview is only about 10 days away on August 7th at the Marquis Theatre.  Opening Night is set for September 12th. 

I saw the production at the Kennedy Center five times, over two separate weekends.  It stars Bernadette Peters, Jan Maxwell, Danny Burstein, Ron Raines, Elaine Paige, Terri White, Rosalind Elias, Jayne Howdyshell, Florence Lacey, Mary Beth Piel, Susan Watson, and Don Correia.   I loved the production and can't wait to see it - there are some scenes that I could just hit rewind on and watch over and over. 

In particular, these are the things that I can't wait to see again:

• Danny Burstein as Buddy!   He's a miracle of acting, singing, and dancing!  I never expected such a brilliant and beautiful performance.  
• Elaine Paige's low, bluesy notes on "I'm Still Here" - she reaches right down and delivers them with such soul - it's thrilling!
• Rosalind Elias sing One More Kiss - it's so pretty!
• Jan Maxwell's fabulous understated delivery - she knows how to cut you and she will!
• Jan Maxwell imitating Bernadette's voice on a certain line
• Bernadette Peters tapping up a storm in The Mirror Number - she was the only one of the leads to put on tap shoes, besides Terri White and it's so much fun!
• Bernadette Peters deadpanning - so funny!
• Terri White - oh my gosh, she delivers!  She always knocks it out of the park with that gorgeous contralto of hers and she's great hoofer!
• The ghosts dressed in the most gorgeous eye-popping costumes by Greg Barnes.   They SPARKLE!

and

• basically, I can't wait to see the whole damn show again (and again)!

Check out Stage Rush TV - It's me up thar!

I appeared on the 71st episode of Stage Rush TV!    Jesse North, the creator and host of Stage Rush, extended the invitation to come talk about Kate Baldwin's recent concert, traveling to see theatre, etc. and I couldn't resist...even when I learned that we'd have to film outside on what was one of the hottest days of the summer in New York City.    

Check it out!

Zarkana at Radio City Music Hall

I recently had the opportunity to see Zarkana at Radio City Music Hall. It's the latest production by Cirque du Soleil.   They self-bill the show as an "irresistibly odd escape."  I think at least half of that billing is true, particularly the odd part. 

Zarkana is an amazing mix of the death-defying and mind-blowing acrobatics expected of the genre.  It's also a bizarre otherworldly, sort of post-apocolyptic world of clowns and performers.    The whole thing is set to new age music and guided by a ring leader.  

On the negative side, the "clowns" part of the circus were just too bizarre and esoteric for me.  Before the show, they wandered freely throughout the house and pestered individuals amongst the audience.   I never understood their purpose or the story.  These aren't your normal "how many you can fit in a car" circus clowns.  I was surprised at the number of very small children present as I can't imagine what they would glean from these "clowns".   During the show, the "clowns" were sort of half spectators and half performers.  I never quite understood their story and part of their art was just plain creepy.  

I happened to be a matinee performance, which had that constant movement of audience members who were busy eating, drinking, shifting, shouting and picture taking that Saturday matinee audiences often feature.     Another negative was that it's long a show, although there is an intermission, which seemed to ascerbate the squirming and short attention span of the young audience.  

Finally, it is extremely loud - the constant music, which is performed live and is sort of a cross between world music, rock and new age, is boomed into the hall at a very high decibel.  I rarely understood the lyrics or even what the "ring leader" Zark was singing, although I did like the timbre of his voice - it has a deliciousTom Waits quality.  I admit that my hearing is often sensitive and I was happy to have ear plugs. 

On the up side, the acrobats are amazing.   It is one death-defying act after another, each seeming more impossible than the one before.   It is impossible not to gasp and oooh and ahhh over their performance.   Their athletic prowess is only trumped by their fearlessness, particularly a the men of the high wire who later did an amazing routine on this very large steel circle - it was heart-in-throat thrilling.   The hights they flew and jumped in and around the huge proscenium stage of Radio City was extremely exciting. 

I've seen two Cirque du Soleil productions before, both in Vegas, and I always just feel discombobulated with an odd mix of overstimulation and confusion.   Where is the story?  What is the point?  My friend Darla, who loves Cirque and has seen many productions, says, "I never think too much about the story, it's all visual to me, and yes the acrobats are amazing. Some have been like beautiful dreams."   If you're like Darla, then perhaps this production is for you.  Personally, I just felt like I was in a nightmare, or maybe I should have taken Darla's advice before going.  

Zarkana runs into October at Radio City .   On a related note, this production knocked the Tony Awards out of its customary home at Radio City to the smaller Beacon Theatre on the Upper West Side.  Surprisingly, it was a good fit in the more intimate venue and further making many fans of the award show happy, it sounds as though Zarkana plans to do the same thing again for the next few summers as mentioned in this CBS Sunday Morning profile.  

Angela Lansbury, the non-singing character actress

Angela Lansbury is a "non-singing character actress."  So sayeth Anne Midgette, critic of The Washington Post, in her review of the production of SWEENEY TODD at Wolf Trap.   Specifically, she says of "Mrs. Lovett", "This role of the purveyor of meat pies made from the bodies of Todd’s victims is so often given to non-singing character actresses — Angela Lansbury, Helena Bonham Carter — that it’s a treat to hear it done by a real singer."   

So Anne Midgette, what are you saying it takes to be a real singer?  Is one a singer only if one sings operatic or classical musical?  Do Broadway songs not count?   

Are you saying that in the five musicals Angela Lansbury performed in prior to portraying "Mrs. Lovett," she didn't sing either?   That's right, five musicals:  ANYONE CAN WHISTLE, MAME, DEAR WORLD, PRETTYBELLE, GYPSY plus SWEENEY TODD.    She also repriesed her role in MAME in 1983 and also did a short stint as Anna in THE KING AND I.

Although I'm no expert, as supposedly the classical music critic for The Washington Post is, I have listened to these five musicals, plus SWEENEY TODD, and I assure you, Angela Lansbury was singing.   In fact, she won four Tony Awards these performances:  Best Actress in a Musical for MAME, DEAR WORLD, GYPSY AND SWEENEY TODD.  She also garnered a Golden Globe for her portrayal of Mrs. Lovett for the filmed production of SWEENEY TODD.  The recordings of MAME and SWEENEY TODD also won  Grammy Awards.   All of these productions were recorded as cast albums, plus most recently A LITTLE NIGHT MUSIC in which Angela Lansbury sings the role of "Madame Armfeldt."   She also won the Tony for Best Supporting Actress in a play for the role of "Madame Arcati" in BLITHE SPIRIT (too bad it wasn't the musical version, HIGH SPIRITS, because you know, she would have been singing).

Besides singing on stage, you know when she's just a non-singing character actress, she sang in the movies THE PICTURE OF DORIAN GRAY, 'TIL THE CLOUDS ROLL BY, BEDKNOBS AND BROOMSTICKS, BEAUTY AND THE BEAST , BEAUTY AND THE BEAST - THE ENCHANTED CHRISTMAS, ANASTASIA and MRS. SANTA CLAUS.   Additionally, she sang at numerous Broadway concerts, on television variety shows such as The Danny Kaye Show, the Julie Andrews Hour and even a couple of times at The Oscar Awards and on Murder, She Wrote.  She even sang in a whole concert with the Mormon Tabernacle Choir!  

Now, I firmly believe that Angela Lansbury does not need anybody to rescue her from such a statement by Anne Midgette.  However, as a fan of many genres of music, including opera and Broadway, I feel the need to point out that there are many types of singing and yes, even character actors can and do sing.   Even though, of course, I'm no expert on such a topic, because you know, I'm not hired by The Washington Post to opine.  So, consider this, Anne Midgette, the next time you drop somebody's name in your review, perhaps you could check out their profile and work before you write about it.  You're entitled to your opinion, just as am I, but I do believe that it is arrogant and ill-informed to say simply announce that someone is a non-singer, especially Angela Lansbury, who of course is, unarguably, an excellent character actress and a singer.    

Brilliant Traces at the Arclight Theater

Last week, I saw Brilliant Traces at the ArcLight Theater. 

I love the ArcLight - it's in the lower level of the Church of the Blessed Sacrement on West 71st Street.  From it's twinkle lit entrance to the comfortable, cool black box space, it's the perfect setting to see an off-Broadway play on the Upper West Side.   It's always easy for me to say yes to seeing a show there, even without knowing anything about the play.  

Brilliant Traces, written by Cindy Lou Johnson and directed by Adam Fitzgerald, stars Erica Linderman as Rosannah and William W. Warren as Henry.  It's a fast-paced play about two lonely and hurting individuals who serendipidously end up in each other's company.   Rosannah literally blows into Henry's secluded cabin in the middle of a blizzard during wee hours of night.   In the midst of confusion, the two caracters slowly reveal to each other truths about their personal desperations.    Both actors put in good performances and play off each other very well.   They palpably portray fear and anxiety, while being simultaneously funny and heartbreaking.

Brilliant Traces runs through July 24th and tickets are available via Theatermania.



Production photo by Kevin Thomas Garcia



Kate Baldwin Loves Sheldon Harnick - Get the Album!

In March, Kate Baldwin celebrated the music of Pulitzer and Tony winning lyricist Sheldon Harnick at a week of concerts at Feinstein's at the Regency.  Mr. Harnick himself joined Kate in the delightful concerts.  Fortunately, the set was recorded and is now available on cd from PSClassics and iTunes.   Tonight, Kate and Mr. Harnick are throwing a cd release celebration back at Feinstein's.   I can't wait to toast Kate, Mr. Harnick and the new album!

Puppies, Kitties, Bernadette Peters: Broadway Barks is today!

Yesterday, the eve of Broadway Barks 13, was one of the hottest, swampiest, rainiest days of the summer in New York City.   I just happened to run into Bernadette Peters at a restaurant and asked her if the show would  go on, considering the weather.  She was quick to assure me that the weather would be perfect!  I think she's right - today is turning out to be beautiful - in the 80s with sunshine and low humidity.  

Bernadette Peters, along with Mary Tyler Moore, is the founder of Broadway Barks.  Broadway Barks promotes animal adoption and raises money and awareness for no-kill shelter animals.   Over the last 13 years, 1,000s of pets have been adopted and millions of dollars raised in support of pet adoption and no-kill shelters.  Bernadette works tirelessly, even taking time to visit animals at these shelters and helping some to find them temporary shelter in order avoid euthanasia. 

Today the tradition continues in Shubert Alley in the heart of Broadway - it's the alley between 44th and 45th Streets, just west of Broadway.    At noon, Bernadette will be signing her two best-selling children's books, Broadway Barks and Stella is a Star, both inspired by her own adopted dogs, Kramer and Stella.   

Beginning at 3:00 pm, dogs and cats from over 25 New York City area animal shelters will arrive in hopes of attracting a new home.   At 5:30, many of these adoptable pets will be presented by Broadway actors, including Nick Adams, Nina Arianda, Heidi Blickenstaff, Steel Burkhardt, Kerry Butler, Norbert Leo Butz, Bobby Cannavale, Reeve Carney, Victoria Clark, Jennifer Damiano, Paige Davis, Matt DeAngelis, Sutton Foster, Adam Godley, Joel Grey, John Benjamin Hickey, Jackie Hoffman, Nikki M. James, Isabel Keating, Josh Lamon, John Larroquette, Beth Leavel, Joe Mantello, Michael McGrath, Judy McLane, John McMartin, Patina Miller, Michael Mulheren, Bebe Neuwirth, Rory O’Malley, Brad Oscar, Patrick Page, Andrew Rannells, Paris Remillard, Elizabeth Rodriguez, Annabella Sciorra, Alexandra Silber, Kacie Sheik, Will Swenson, Aaron Tveit and Yul Vazquez.   

There is also a raffle for cool prizes as well as a silent auction of celebrity-autographed memorabilia.   Funds raised from the raffle, silent auction, signed memorabilia sales and donations are distributed to the participating shelters and rescue groups and to the Picasso Veterinary Fund, which is administered by the Mayor’s Alliance for NYC’s Animals and provides grants to shelters and rescue groups to cover extraordinary veterinary costs.  Broadway Barks is sponsored by the ASPCA and Newman's Own.   Broadway Cares/Equity Fights AIDS  is the producer of Broadway Barks.   

Bernadette Peters - Photo by Monica Simoes for Broadwayworld