A Little Love in Paris and London

"Oh, what times we're going to have, my little love," says Auntie Mame to her nephew Patrick.  Those words have resonated with me for years.  My own auntly style is informed by own bevy of beloved aunts - Beth, Ethel Sarah, Gladys, Lillie Bell,  Rosemary, Georgie, Wilma, Diane and Dale - in addition to the one and only Auntie Mame.    I also live by the words of Mame, Jerry Herman's musical version of Auntie Mame, "Open a new window, Open a new door, travel a new highway that's never been tried before; Before you find you're a dull fellow, punching the same clock, walking the same tight rope, as everyone on the block. The fellow you ought to be is three dimensional, soaking up life down to your toes."

Thus armed with such advice and being one who has learned from example, I'm doing my best to open windows for my own little loves, Cody, Cara and Camilla.   Cody and Cara have both been to New York City (Camilla who is only 4 will get her chance soon enough).   This year, I decided to widen that door even further and take 13 year old Cody on his first trip abroad.

On July 5th, Cody successfully flew to New York by himself - from Midland to Houston to Newark, for the first time. We did a few New York things, including Coney Island, a baseball game in which we rejoiced in the Cubs walloping the Mets, and some walking in Central Park, before departing for Paris on July 7th.

In Paris, we stayed at the  "fancy" Hotel Caron de Beaumarche in the Le Marais, just blocks from the Seine and Il Saint-Louis.   We spent time doing all of the wonderful Parisian things one does - sipping cafe creme in cafes, munching on baguettes, floating on the Seine, and people-gazing.  We took the RER out to Chateau de Versailles (my first and last time) where we loved the gardens.  We saw most of the city from the top of a tour bus.  We stood in line for three hours and then finally a few hours at the top of the Eiffel Tower.  We visited Notre Dame.   We even successfully found ketchup, much to the amusement of a waiter.  By the end of our time there, Cody was just as polite in French as he is English. Best of all, we laughed and smiled and basked in the blissfully, cool Parisian weather.   I learned so much about this boy, only a teenager since June.  For the first time I saw him as the young man he is becoming with his integrity and smarts on top of his easy going nature and delightful, if sometimes wicked, sense of humor, which includes a multitude of vocal mimicking.

There were funny moments when Cody broke out into various accents, namely cockney, thick Texan, or Cajun.  He would try to fool me into thinking somebody was tapping me on my shoulder:  "I got ya!" he would yell.  He would also constantly try to photobomb.  Then there were those moments when he'd listen to my ipod and talk to me about music. He loved my Van Halen mix.   I listened to his ipod too.  Like me, he's developing quite a palate for the eclectic.   He would randomly break into song.  At the classical concert we went to, he called the violins "fiddles" and started singing, "If you're gonna play in Texas, you gotta have a fiddle in the band."  This kid kills me!

On Wednesday the 11th, we took the Eurostar under the English Channel to London.  This train travel was a first for Cody as well and it was quite enjoyable.   The time in London proved to be even more fun than Paris.   Since our visit fell between the Queen's Diamond Jubilee and the beginning of the Olympics, the city was decked through out with flags, both the Union Jack and of the nations of the world, and jubilee and Olympic posters.   I've always found London to be clean, but it seemed as if everywhere we looked, it sparkled even brighter.    Most days we were lucky to dodge light rain and rarely had to wait in lines. 

Cody reveled in all things British - the taxis, the buses, the tube, the food, and the soldiers.  We stayed in Kensington at Base2Stay near the ultra convenient Earl's Court Road stop on the District Line of the Underground.   While Cody like our "fancy" hotel in Paris, he absolutely loved this modern spot.  We were in a bunk bed room and he cheered at all of the features of the sweet little room, exclaiming everytime we came in, "It's so cool!" 

The first evening we walked right on to the London Eye without hesitating for a moment.  At first Cody was dubious about this slow ferris wheel, but of course ended up being thrilled over the view, just as I knew he would be.    We then enjoyed a walk down the South Bank before heading back to our "local" in Kensington to have Cody's favorite fish and chips.

We had a cool moment Royal post office where we went to purchase post card stamps.  The lady clerk got us to look at her book of Olympic coins and of course, we succumbed to a purchase to a pretty cool set of London souvenirs.  Cody was thrilled to learn that shooting is part of the Olympic games and we, of course, started dreaming of the possibilites of him becoming an Olympian.   Cody is a member of 4-H and is an excellent shot.

The next day we watched the entire Changing of the Guards at Buckingham Palace, visited Churchill's Cabinet War Rooms, attended Even Song at Westminster Abbey and a rainy boat ride on the Thames.

On Friday, we took a bus tour to Bath, Stonehenge and Salisbury Cathedral.  It was a long but enjoyable day.  The English Countryside was gorgeous and I loved spending that much quiet time on the bus with Cody.   His only real criticism of the entire trip came on this day and it was about Stonehendge, "I thought it would be bigger."  We had a delightful tour guide who kept us laughing as well, not that's hard for this easy natured boy or his aunt.  

We had a longest, biggest day on Saturday. It started early at the Tower of London.   We beat the crowds and explored all of the nooks and crannies.  Cody loved all of the ancient and current military accroutement and I, of course, loved the Crown Jewels.  This was my fourth or fifth time visiting the Tower and I really don't tire of the romance and history of the site.   I really loved seeing it through the eyes of a 13 year old boy enamoured with military history.  

After the Tower, we crossed the Tower Bridge to visit the HMS Belfast, the Royal Navy ship moored in the Thames.  We spent three hours climbing up and down ladders from bridge to engine rooms, from bow to stern.   Cody turned every knob and flipped every switch he could and loved every second of the exploration.  

After yet another pub lunch, we tubed to Lambeth to visit the Impirial War Museum.   This site was also high on Cody's list of favorite spots.  The museum is chock-a-block with tanks and guns and memorabilia from many of Britain's past wars.  We even went through World War I trenches and a World War II bomb shelter.   Cody could have stayed at this museum for many more than three hours, but we hit closing time. 

That evening, it was finally my turn for a treat (not that I hadn't already loved every minute):  we saw the West End production of Sweeney Todd at the Adelphi Theatre.  Michael Ball was "Sweeney" and Imelda Staunton was "Mrs. Lovett."  I loved "indoctrinating" Cody and he in turn loved telling all of fellow audience members, ushers and souvenir man that it was my 26th time to see a production.   Of course, I loved the show most of all because Cody loved it, even though there was nothing revelatory about the production.   Cody said, "I see why you love this show."   He spent the following day singing bits of the songs, even hiliarious changing certain lines to "There was a farmer and his wife...there was a mailman and his wife...etc."  A riot!  

On Sunday, we recovered from our long Saturday with some shopping before meeting my British friend Darrell for a brief tour of Convent Garden before heading to the Barbican for the London Symphony Orchestra's final concert of the season, featuring Renée Fleming.   I was a bit worried about Cody being able to sit through the program, difficult even for an adult, but of course, in his true brilliant fashion, he passed through it with flying colors.  I do believe he loved the Stravinky "Petrushka," especially since he is a cornet player and the piece features so many different sounds, including trumpets.  His only question was, "Why is she singing in French?"  We met other fans of Renée's, from Great Britain, Holland and Austria.  I loved exposing all of this culture Cody.  After the concert, we headed backstage to meet La Diva.  I did indeed feel quite proud when Cody shook Renée's hand.  I think he enjoyed the evening and I couldn't have been prouder of him and of the experience.    Afterward, we were treated to a ride home from my friend Suzanne in her very interesting little car, which fascinated Cody.

Our trip came to an end all too soon early the next morning.  After tubing out to Heathrow, we discovered that our direct flight to EWR on United was cancelled.  We were able to re-book on an Air Canada flight to Toronto then back on United Express to EWR much later than planned.  I was initially annoyed at the change, but leave it to Cody to be excited - he was in three countries in one day.  

Traveling with my wonderful thirteen year old nephew was one of the great experiences of my life and I can't wait to do it again.   Cody already has plans for us to somewhere else - he's dreaming of Japan.   I said, "We'll see"; but, truth be told, I'd jump at the chance to do it all over again.   I hope that I opened that window for him, as well as his heart and mind.   At least I have two more chances to do this again with two other little loves Cara and Camilla when they finally turn thirteen and frankly, I'm already counting the days until we depart.   

You know what? I'd love to play Mame, Auntie Mame.

All we need now is a producer.

Happy Mame Day!

Forty-five years ago today, Jerry Herman's MAME opened on Broadway at the Winter Garden Theatre.  It starred Angela Lansbury as Auntie Mame, Bea Arthur as Vera Charles and Jane Connell as Agnes Gooch.   It moved to the Broadway Theatre on October 6, 1969.   It ran a total of 1,508 performances.  Angela took Mame on the road.  Her Broadway replacements included  Ann Miller, Jane Morgan, Janis Paige, and Sheila Smith.  It ran successfully in the West End of London with Ginger Rogers as Mame. 

MAME won the 1966 Tony Award Best for Musical for its book by Jerrome Lawrence and music and lyrics by Jerry Herman.   Jerry Herman won the Tony Award for Best Composer and Lyricist.  Angela Lansbury won the Tony for Best Actress in a Musical, her first of five.  Frankie Michaels, who played young Patrick, won the Tony for Best Featured Actor in a Musical, setting a record for being the youngest person ever to win a Tony at the age of ten.  Bea Arthur won the Tony for Best Features Actress in a Musical.  The show was also nominated for Best Scenic Design (William and Jean Eckart), Best Choreography (Onna White), and Best Direction (Gene Saks).  Jerry Lanning, who played older Patrick, won a 1966 Theatre World Award.

Mame is the musical version of Auntie Mame, based on the novels by Patrick Dennis and the play by Jerome Lawrence and Robert E. Lee.   The story is about a glamorous, live-loving, madcap single aunt who inherits her young orphaned nephew Patrick.  It's a joyous and life-affirming story, and I myself try my best to emulate Mame's philosophy:  "Life is a banquet and most poor sons-of-bitches are starving to death."

MAME has only been revived on Broadway once:  in 1983, by Angela Lansbury herself.   While Angela's performance was critically acclaimed, the production was not and ran only for one summer season.    In May, 2006, a limited run of MAME was produced at the Kennedy Center starring Christine Baranski and Harriett Harris.  It was fabulous, but not quite enough so to get it moved to New York.   Last year, Jerry Herman himself stirred up talk that a revival might be in the works in an interview with Broadway World.   Since the brilliant revival of Jerry Herman's LA CAGE AUX FOLLES only recently closed and there is still word on the street that a revival of his HELLO DOLLY! is in the works, one can continue hoping that a full-fledged Jerry Herman Renaissance is in the cards and we will sooner than later get a revival of MAME on Broadway.   Donna Murphy for MAME, anyone?  

Blessed Mother of Maude Adams, NO, Tilda, NO!

I had to read this Variety article, Swinton feels the love for 'Mame', twice. You can guess what I did. Yes, that's right. I VOMITED IN MY MOUTH. Talk about ghastly. Blessed Mother of Maude Adams, is there nothing sacred anymore? "[Luca]Guadagnino said he and [Tilda] Swinton aspire to remake 'Auntie Mame' as a 'rock-n-roll, super funny, super mainstream movie.'"

Uh, didn't you notice that Auntie Mame is already a "rock-n-roll, supper funny, super mainstream movie." If you think it's not, then I can't help you. Ever.

Quote of the Day

Robbins: Mame is so important philosphically in today's world. It is such a cry for individualism, for freedom.

Angela: Yes, you're so right. Indeed, it is. Of course, it is. As you say, we must allow the individual to emerge. And I think, Mame felt this as far she herself was concerned unconsciously and yet, she perpetrated this creed to everybody she came in contact with. And this is what, I feel, comes across in her character and this is what lifts the audience up and what thrills me more than anything is the fact that young boys and girls who have seen the show, they dig her, by God, she's a standard carrier for them and they understand and they sense that she represents another generation who understand them, because she's no age, she goes on forever.

Robbins: She did what she wanted to do, she was ahead of the times, she believed in leading, and not following, not being back in the gray of life.

Angela: Yes, absolutely, oh she believed that militantly. And this was the reason she could not, would not condone injustice, or bigotry, intolerance in any area of her life. It's very evident in the play, although it's touched on lightly, and with care and with subtlety. Nevertheless, she stands for a lot of marvelous things.

Robbins: But in these days when the young people try to be so individual and nonconformist and are criticized for it, Mame was the prototype of complete individuality, doing what you want to do and loving it. We were talking to Louis Nizer earlier this evening about what Mame represented and the ability to be eccentric in the world as long as there's charm and love with it, you know, it's a marvelous quality.

Angela: Of course, it is. Becuase these kind of people can be so important in our lives, in our public life, our school life, it's the teacher that stands out that's just a little different from the other teachers because they're prepared to stand and talk and discuss with the kids on their level, these are the people, the characters in the newspapers that keep coming up, they're the ones, they're the frontrunners, they're not afraid to stand up and be counted, to be heard, to talk, to discuss, to lead. How many leaders are there? Too few unfortunately. But the ones that are there, we idolize. We need them so badly.

Robbins: Patrick Dennis put it so well in the key line in the play of course, "Life is a banquet and most poor suckers are starving to death."

Angela: That's right. That's right. That's it in a nutshell. It's right there for the tasting without hurting anybody, without it knocking anybody down, without scrambling to get in front. It's not necessary, it's right there. You just have to recognize it. So, you can see how important Mame is to me.



Angela Lansbury, Opening Night of Mame, May 24, 1966

All Aunts Considered

NPR's All Things Considered In Character Series is more like All Aunts Considered today. Bob Mondello calls Auntie Mame, "An Antidote To Social Caution." He says, "Mame is all about trying things, thumbing your nose at convention, taking roads less traveled because they are bound to be more interesting. And if that's all she stood for, she'd probably still be everyone's favorite aunt." You know there's nothing I like more than being an aunt to my own little loves and I hope they learn a thing or two from me about life being a banquet.




(Thanks to Vicki who gave me the heads up on this one.)

Set your DVR: Auntie Mame and Gypsy on TCM!

You know I already own these videos, but I don't want you to miss out! Set your DVR or mix a martini and settle in for an evening of Roz Russell on Turner Classics on Tuesday, July 29th. First, it's Auntie Mame at 8:00 pm, followed by Gypsy at 10:30 pm. And then if you can't sleep, stay up all night and watch her get a little saintly in The Trouble with Angels, its successor Where Angels Go, Trouble Follows and finally she'll play a sleuthing widow (not that sleuthing widow, silly!) in Mrs. Pollifax: Spy. Oh, what a movie night it will be. It's been Roz every Tuesday in July and they saved the best for last.

Notes for Gypsy movie beginners: That's not Roz's voice you'll hear for most of Mama Rose's songs. It's Broadway actress Lisa Kirk delivering a hell of a vocal performance. However, it is Roz on Mr. Goldstone and parts of Rose's Turn. Natalie Wood, infamously dubbed by Marni Nixon in West Side Story, does sing here as Gypsy Rose Lee. Gypsy Rose Lee did stop by the studio to give Natalie some stripper tips though. Best of all, keep your eyes open for composer Jule Styne conducting the orchestra during the opening credits.

Darling, it's your Auntie Mame?

OH my goodness. There's a rumor floating about the interwebs that Roundabout is planning a revival of Auntie Mame that will star Harriet Harris. Based on Patrick Dennis' best selling books about his favorite aunt (who, turns out, he just made up), this is the precursor to the musical Mame. Jerome Lawrence and Robert E. Lee wrote the play. Starring Rosalind Russell, it ran for 639 performances from October 1956 until June 1958 at the Broadhurst Theatre. There has never been a Broadway revival, although it became a wildly popular and Oscar nominated movie of the same title also starring Rosalind Russell. Betty Comden and Adolph Green wrote the screenplay.

I was just thinking to myself the other day that it would be fabulous if Jerry Herman's Mame and the play Auntie Mame shared a stage, in repertory - same stars, set, costumes. Matinees would be Auntie Mame and evening performances would be Mame. Producers would save on pit musician costs and the stars would get a little bit of vocal rest three times a week. The book of the musical, also written by Jerome Lawrence and Robert E. Lee, is basically the same as the play. I think it will work. Hey Producers, what do you say? If I had $20,000,000, I'd do it myself.