Harriet Walter would love to play Macbeth. Yes, please.

"A third production with Phyllida Lloyd is planned, and although the play has not yet been determined, there is one tragic hero Walter would relish taking on. 'Having played Lady Macbeth'—opposite Antony Sher, in 1999—'I would love to play Macbeth,' she said. 'We were yin and yang. I would like to try the yang to the yin—or whichever the female is. I can’t remember.'"

Dame Harriet Walter, to the New Yorker in "Women's Work" by Rebecca Mead, November 16, 2015 issue. 

Having seen Dame Harriet twice in the all-female production of "Julius Caesar," once at the Donmar in London and once at St. Ann's Warehouse here in New York, I'm here to tell you that she knows what she's doing when it comes to Shakespeare and playing a traditionally male role.  She's equal parts thrilling and terrifying.

In a few weeks, I'll see her in “Henry IV” at St. Ann's with two other card carrying members of the Dame Harriet Walter Society.   It's imperative.  

(and yes, I've seen that Macbeth in which Dame Harriet played Lady M to Anthony Sher's Macbeth - it was released to DVD in 2003)

Sylvia at the Cort Theatre: Hey! Hey hey hey!

Almost exactly twenty years ago I saw A.R. Gurney's play Sylvia at the Zach Theatre in Austin, Texas. It was the first really grown-up comedy I saw and I've never forgotten it.

It's a play about a dog and the man who loves her...well, mostly. It's a really the sweet story about a married couple but it's the dog named Sylvia who really steals the show. Over the years, I would recall that dog named Sylvia, especially after I adopted my own little dog named Little Bit (actually shortly after I saw this play - maybe I was inspired). Mr. Gurney perfectly captures the voice and actions of a dog, with the help of the actress who plays her. I would imagine Little Bit talking to me as Sylvia talked to her human.

I was thrilled to see Sylvia in previews and was treated to "blogger night."  Two of the stars, Julie White who plays the wife and Annaleigh Ashford who plays Sylvia, were on hand to discuss and share stories of their process in preparing for this comedy.  Both ladies are dog owners: Julie has an ancient Pomeranian named Lulu (my Little Bit was a Pom too) and Annaleigh has a toy Australian shepherd named Gracie.   Annaleigh took obedience and agility classes with Gracie to help her prepare for this role. 

The play made its New York debut off-Broadway starring Sarah Jessica Parker as Sylvia the dog at the Manhattan Theatre Club.   Now, her husband, Matthew Broderick, is starring as the husband who adopts Sylvia, on Broadway at the Cort Theatre.    Robert Sella marvelously plays various roles to round out the cast.  

This time around, I'm a little more mature than the first time I saw it so the sweet, matures themes of the play touched my heart differently, but I still found Sylvia to be one of the most hilarious plays I've ever seen and my sides aching from laughing were proof of that.  I'm still chuckling at the thought of Annaleigh Ashford and her antics as the dog, especially in her scenes opposite Robert Sella.    (I want to see Annaleigh in EVERYTHING - she's delightful, brilliant, fabulous...)

Because the dog is played by an actress, you are privy to her thoughts and conversations and it's sometimes easy to forget that she is in fact playing a dog.  However, her movements in prancing about and constantly sniffing at things keeps you in the suspension of disbelief.  Her barks and greeting are "Hey! Hey!"  She doesn't hold back on her feelings for her new owners, the husband she loves, the wife of whom she's a bit wary of and just a tad jealous.  From her antics in the dog park to her behavior in the living room to her reactions to the stranger in her home, she has the audience in her paw...and practically rolling in the aisles with glee.  When she sees a cat in the park, her reaction is just about the funniest - and spot on dog characterization, save the wonderfully foul language - you'll ever see.   The performance is raucous and the audience laps it up.  A friend of mine went with her husband and she told me she never remembered him laughing so hard.  While it's sweet and simple adult-themed play, it's one of the best nights of laughing you'll have, particularly if you've ever had a pet. 

Beginning this coming Tuesday, November 10^th, audiences will be invited to stay for post-show discussions that will feature members of the Sylvia cast and company, in addition to leading animal experts, authors, media personalities and animal-related non-profits for its Tuesday Talkback Series.

Sylvia runs until the end of January.  Tickets are available via Telecharge or by calling (212) 239-6200 or in-person at The Cort Theatre box office (138 W. 48^th St. between 6th and 7th avenues, around the corner from the B/D or the N/Q Trains ).  Discounts are available via BroadwayBox.   A limited number of Rush tickets are available for purchase in-person at The Cort Theatre box office beginning at 10am Monday - Saturday (12pm on Sundays) for that day's performance(s) only. Rush tickets cost $32 with a maximum of two tickets per person. Rush tickets are subject to availability and may not be offered at all performances. Rush seating locations will be determined at the discretion of the box office.

Annaleigh Ashford and Julie White - Blogger Night

Annaleigh Ashford and Julie White - Blogger Night

Much Ado About Nothing at The Frog and Peach Theatre Company

I've been going to Shakespeare productions at Frog and Peach Theatre Company for quite a while.  Besides getting to hear and see the words of Shakespeare well acted, it was fun to walk just a few blocks for them right in my neighborhood. 

But now, they've moved down to midtown.  It's still worth going to see them!   Now ensconced at the Workshop Theatre (312 W 36th St. 4th Floor), they are better than ever.  The black box space is just a bit more intimate and the acoustics are marvelous.  And really, New Yorkers are happy to travel any where in the city for great theatre, right?

On now, Frog and Peach has mounted a really groovy production of Much Ado About Nothing.  As usual. director Lynnea Benson takes a rock & roll approach - it's fast and tight and ultimately fun to watch.  It's so much fun to see Lenny Ciotti as Benedick.  He's hilarious and it's cool to see an actor move to stage front from the usual cast of supporting characters.  While not your typical leading man, he's a refreshingly wonderful and is quite marvelous in the role.  I was rooting for him all along.  I really hope to see him in more roles at Frog & Peach (perhaps Macbeth? God, he'd be so good).  Lenny and Amy Frances Quint as Beatrice had great chemistry.  I couldn't wait for them to get together!   Amy is always the perfect leading lady - beautiful and regal, but she handles the comedy very well too.

Seeing this company's performances on a fairly regular basis over the years has lead me to recognize so many of the actors and witness their progress as Shakespearean experts.  I always love where they take me.   Marcus Watson as Claudio and Ilaria Amadasi as Hero are perfect as the young lovers.   Veteran actress Vivien Landau perfectly gender bends Leonato to Leanata as mother to Hero.  I think it should always be the mother - brava to Vivien and brava to Lynnea for making this change.  David Elyha absolutely steals the whole show as the ridiculously incapable constable Dogberry.  It's one thing to see him hilariously and nattily dressed as a hippy, but his delivery is riotous.  It's one of the funniest performances I've seen.

The Frog and Peach always features music in its productions - classic rock & roll before curtain and during intermission always set the tone.  They also wonderfully feature original music.  This production features original music by Ted Zurkowski and is wonderfully performed by actor David Personne. 

I enjoyed all of the performances and it's always a treat to see company members, old and new, JP Makowski, Alyssa Diamond, Matthew Velez, James Foster, Jr., John Lampe, David Personne, Alec Barniskis, Liz Tancredi, Paul Battiato, Samuel Douglas Clark, Jamar Brathwaite and Vicki Kulkin.  They all round out this production fabulously.  A little bonus is that Samuel Douglas Clark, an Aussie, recites his lines with a decidedly British accent.  I have to admit that this Anglophile gets kick out of hearing Shakespeare with a posh accent amongst a very American cast (save for Italian actress Ilaria Amadasi who still speaks with a Italian accent, which is funny since this play is set in Sicily.)

The creative team by Asheley Cuask (set & design),  Dennis Parichy (Lighting Design), Tom Knutson (Movement), Ellie D’Eustachio (Stage Manager)  Sara Parcesepe (Asst. Stage Manager), and Nannan Gu (Design Intern) efficiently assist this actors in doing this fun and fast-paced production.  Of note, Nina Vartanian's costume design is fabulous - she decks out the cast in groovy 1970's vintage chic and it's a completely transportive effect.

I'm so glad I saw this production.  It's a play I've seen a number of times both on stage and on film, and Frog and Peach doesn't disappoint.  It runs for another week -  November 15 at The Workshop Theatre (312 W 36^th St. 4^th Floor - between 8th & 9th Avenue, just around the corner from the 34th street subway stop on 8th Avenue) with performances Thursday–Saturday at 7:30pm and Sundays at 3pm. Tickets are $18.  Tickets are available at the door or via SmartTix .



Amy Frances Quint, Vivian Landau and Ilaria Amadasi



Lenny Ciotti  and Amy Frances Quint



David Elyha and JP Makowski

  

DiVaR Alert: Great Performances: Chita Rivera: A Lot of Livin’ to Do - Preview

CLICK HERE TO WATCH A PREVIEW: Great Performances: Chita Rivera: A Lot of Livin’ to Do - Preview

Check your local listings - on Thirteen WNET in New York, it's on Friday, November 6, 2015 at 9:00 pm and repeats on Sunday night at 7:00 pm and Monday morning at 3:00 am. 

I've seen several variations of Chita's cabaret and I'm here to tell you, Chita is FABULOUS.  Don't miss it!

Nika Leoni - Soprano and Composer

Last week I went to Empire Opera for the first time, specifically to see Nika Leoni.   I had been looking for a chance to hear her again, ever since I heard her in "Pushkin's Little Tragedies" in 2009.  

That's a long time to remember such a voice, but her voice is that memorable.

Empire Opera, a New York company founded in 2007, hosted this Composers Concert, i.e. an evening of Songs by Singers, at the Advent Lutheran Church on Broadway.  It was an enjoyable evening, especially in that it was only blocks from my home.  I was impressed by the variety of talent and performance. 

For this evening, Nika Leoni was accompanied on both of her pieces by pianist Violetta Zabbi.

Nika's performance on this particular evening was especially thrilling, singing her own compositions.  In the first act, she performed a selection from her song cycle Love Songs, with text from the poetry of Sara Teasdale.  This short set was lovely and I found myself wanting more.   Five of the six songs were performed coquettishly and all were quite pleasing.  These poems/songs are teasing and playful, however, my favorite of this piece was To-Night, a departure in that is a song of passion and want, which Nika sang powerfully. 

Nika's second work of the Composers Concert was Euridice Suite, for which she co-wrote text and score.   Scene I lyrics are by Marilena Ruscica and Scene II lyrics are by Nika.   Here, they took the story of Orpheus but told it from Eurydice's perspective.   It's an interesting and welcoming take on a familiar story.  The music has a sound of mystery and runs the gamut of feelings which Eurydice must have been experiencing during her time in Hades and separation from her husband.   It's dramatically beautiful while conveying confusion, love and finally acceptance.  Again, Nika is so vocally expressive and took me on the journey with her and honestly I found myself quite lost between her voice and her telling of the story.

Nika Leoni's talent is extraordinary.  Her lower tones are so velvety rich that I almost believed her to be a mezzo, but she belies that with her gorgeously full upper register.   There's a lovely brightness in the voice as well as deepness.  She exudes a calm and elegant presence, while vocally she expresses emotion with great aplomb and maturity.   It's an exciting combination and voice I hope to hear again and again in the future.

Audra McDonald, Your Tardiness Is Excused

We were supposed to see Audra McDonald at Carnegie Hall on December 12, 2014.  Unfortunately, she postponed due to a work conflict.  We finally saw her on Wednesday night, April 29, 2015.  She was just a little late; but, for the show she gave us, she is certainly excused for her tardiness! 

I have seen  Audra in concert (mostly at Carnegie Hall!) and on Broadway here in New York many times now and I am never, ever disappointed.  In fact, I'm usually thrilled.  Her performance this week was definitely thrilling.  She gave us almost songs from the musical theatre, both from the golden age of Broadway and modern musicals, and with just a couple of standards thrown in for a treat. 

I love Audra - her stage presence is magestic yet humble.  She says what's on her mind and she shares hilarious anecdotes (i.e. I was the darkest Mother Abbess ever; Chipotle is my office; "Audra McDonald dropped the F Bomb in Carnegie Hall") . 

She called this concert "Songs from My Living Room."  She chose songs that she great up listening to as well as shouting out to the ladies who inspired her:  Barbara Cook. Chita Rivera, Betty Buckley, Patti LuPone, Liza Minnelli.   She especially sang in honor of Chita Rivera and Barbara Cook and said she hoped she would have a Broadway career like they have had.  I think she'll do okay in that deparatment (6 Tonys and counting and she's only 44 years old). 

Seeing her in concert is like just hanging out with her friends, until she opens her mouth and out pours that huge, glorious, warm mezzo sound, not mention when she occassionaly throws in some soprano notes and your eyes want to roll back in your head.  

Her thrilling set list:

"Sing Happy" from Flora, the Red Menace by Kander & Ebb
"Mister Snow" from Carousel by Rodgers & Hammerstein (Audra's first Tony Award!)
"Chief Cook and Bottle Washer" from The Rink by Kander & Ebb
"My Buddy" by Walter Donaldson and Gus Kahn
"Let's Not Talk About Love" from Let's Face It by Cole Porter (additional silly lyrics personalized for Audra by Dachslager)
"No One Else" from Natasha, Pierre & the Great Comet of 1812 by Dave Malloy
"Proud Lady" from The Baker's Wife by Shephen Schwartz (he especially revised lyrics for Audra)
"It Was Never You" from Knickerbocker Holiday by Kurt Weill
"Vanilla Ice Cream" from She Loves Me by Bock and Harnick
"Tale of Otter and Bear" by Shaina Taub
"Maybe This Time" from Cabaret by Kander & Ebb
"How Could I Know" from The Secret Garden by Marsha Norman and Lucy Simon (Audra's Broadway debut!)
"Facebook Song" by Katie Miller-Heidke (who happens to be Australian opera singer!)
"When I'm Gonna Go Back Home" from The Scottsboro Boys by Kander & Ebb
"Writing on the Wall" from The Mystery of Edwin Drood by Rupert Holmes
"Make Someone Happy" from Do Re Mi by Styne, Comden and Green
"Rainbow High" from Evita! by Andrew Lloyd Webber
"Climb Ev'ry Mountain" from The Sound of Music by Rodgers and Hammerstein
"Over the Rainbow" by Harold Arlen and E.Y. Yarburg

Sweet bonus:  Audra on Buzz Feed.  It's brilliant.  http://www.buzzfeed.com/ninamohan/audra-is-flawless#.lk13A9J8J

The arts are not

I found this note in a stack of papers in an old file folder recently.  I don't know the why, when, or where of this quote from Michelle Obama, but it's been sitting on my typing stand and I think it's time to share it. 

"The Arts are not just a nice thing to have or do if there is free time or if one can afford it.  Rather, paintings and poetry, music and fashion, design and dialogue, they all define who we are as a people and provide an account of our history for the next generation."  Michelle Obama

 

The Other Mozart at the Player's Theatre

photo: www.anthonycollins.nyc

On Saturday night, I was immersed in the experience of  THE OTHER MOZART .  It's a one-woman drama about Maria Anna Mozart and is a theatrical experience not to be missed.

Although I've always thought that Wolfgang Amadeus Mozart was my favorite composer, I never realized that he had sister, much less that she was as much the progeny that he was. I was nothing less than transported in to her world by  Sara Florence Fellini as she sensitively and beautifully performed the monodrama.

Maria Anna Mozart, known as Nannerl, was almost five, and longing to play music, when her brother Wolfgang Amadeus was born.  At age 7, she was finally taught the harpsichord by their father.

Wolfgang's insane musical brilliance and young death is simply a part of our culture, but the story that unfolds about his sister is one that is profoundly sad although enlightening.  As she tells her own story we see her mature but resign herself to her fate as a product of the 18th century.  It's maddening to realize the waste of her own brilliant musical talent merely because it was not proper in juxtaposition to the expectations that she fulfill the duties of wife, housekeeper and mother.   

As a child, Nannerl traveled with her father and brother sometimes performing on her own and then as sort of the opening act for Wolfgang at royal courts all over Europe.   Through her recounting, lines taken from her actual letters to her family, we are taken into the 18th century and into the age of the Enlightenment as we see it through her excited eyes and words.  Sadly, as she matured, it was decided for her by her father that she should return to a rather lonely existence in Salzburg to prepare for marriage and children.  She was allowed to continue practicing and even wrote her own compositions, although they were never published or possibly heard by the public.  Her life was confined in poverty and circumstances until she finally was eventually married to a rather cruel widower, at age 33, and had her own children, all of it portrayed as rather prison like in the play, as her freedom of music was stripped away into a rural, cold life that was completely opposite of the life she had known as a child traveling and performing in the royal courts of Europe. 

Maria Anna Mozart's legacy may be that she preserved all of correspondence and manuscripts of her brother, ensuring that Wolfgang was not lost to us.

THE OTHER MOZART is by Sylvia Milo, who shares the performance schedule with Sara Florence Fellini when she steps into the role every other Saturday.  The production of THE OTHER MOZART is stunning.  Performed in the 50 seat black box of Steve & Marie Sgouros Theatre on the 3rd floor at the Players, the experience is immersive in light, by Joshua Rose and design by Anna Sroka.  

The set is a 18-foot dress, designed by Magdalena Dabrowska from the National Theater of Poland, that almost takes on a life of its own.  The actress is dressed in pretty period undergarments with corset and the donning of the dress, i.e., set is an culmination of the evening.  Even the hair design, by Courtney Bednarowski, lends to the feel of the period.  The choreographer is Janice Orlandi who has designed the movement on and within that dress, sometimes manic, sometimes childlike, sometimes defeated, finally accepting.

The sound, which is rather magical, is provided by Nathan Davis and Phyllis Chen (of Lincoln Center's Mostly Mozart Festival and the International Contemporary Ensemble) using clavichords, music boxes, bells, teacups, and fans.  All under the direction of Isaac Byrne,  the light, sound, and even scent, combined with the emotional fervor and performance by Sara, transport into Nanerl's world and life. 

Sara Florence Fellini very believably takes us through Nannerl's life from childhood to late in life with a lithe, witty and sometimes manic performance.  She's ethereal at times and never anything less than breathtaking. 

THE OTHER MOZART is a thrilling and sensual evening of theatre.  My senses were completely on edge by the final moments; I wanted it to end yet I wanted, almost needed, to see it all over again.  I feel almost overwhelmed to know about his sister now and I need to know more.

THE OTHER MOZART runs until April 25th at the Player's Theatre at 115 MacDougal Street.  Tickets are available online via Ovationtix or call 866-811-4111.  When you go, use the one glass door that is marked 115 on the doorframe.  It's rather inconspicuous and there isn't really a box office (I've seen many productions in this space and theatre goers are always ridiculously confused at this location).  Take the stairs up to the third floor.  Tickets are available at the door, including reduced priced student tickets, however, all seats on Saturday night appeared to be filled.  

Opera Singers, Wagner + Girl Pop = Girl Power Perfection

Everything about this is awesome and full of girl power - mezzos and sopranos Ruby Hughes, Clara Mouriz, Charlotte Trepess, Elizabeth Watts and Kitty Whately, with the ladies of the BBC Philharmonic and The Halle conducted by Sian Edwards, and with special guests -- violinist Tasmin Little and pianist Kathryn Stott. The entire orchestra is female!

Rasheeda Speaking at the New Group

On February 21st, I saw the matinee of the New Group's production Rasheeda Speaking.  It stars Tonya Pinkins, Dianne Wiest, Patricia Connolly and Darren Goldstein.   Joel Drake Johnson's new play is under the direction of Cynthia Nixon, making her directorial debut. 

Wow!  What an afternoon.  Aside from it conjuring all sorts of office PTSD for me, I found the play to be uncomfortable and quite terrifying, although quite hilarious.  It's the best and worst kind of comedy - the one that punches you in the stomach and makes you think about its message for maybe forever...and hopefully it reached out and changed a few minds.  The story is set in a doctor's office. The main characters are two administrative assistants who seem to be friends and amiable co-workers until their boss stirs things up by promoting the older white one in order to get rid of the less experienced black one.  Nobody will say what they really mean and it's an itchy dance around racism and prejudices, both perceived and very real.

I felt so challenged as a white person in the midst of some very diverse audience demographics.  I was sitting beside an older white woman and the two of us were sandwiched between black women.  The audience was fairly mixed racially, although I was among the few younger seat fillers.   All of the black women in our row were ready for Tonya Pinkins to take them to church, as it were.  They were having a great time!  Meanwhile, I felt nervous on a number of levels.  There are office politics, scary co-workers and manipulation flying around the room.  The whole kettle threatening to boil over at any minute and it has everybody on edge. Each of the characters (and probably every last audience member) had some prejudice whether they admitted it, much less realized it.  

The play was superbly acted, which should not surprise anybody considering the pedigree of its actors and director (Tonys, Emmys, Oscar, etc galore).  As usual, I had a hard time keeping my eyes off Tonya Pinkins.  She's a magnet, cool and gorgeous and so very, very real in every movement.   Dianne Wiest is sheer perfection at playing meek and unsure of herself and falls apart in front of the audience's eyes.    Darren Goldstein is smarmy and disgusting and quite perfect as the manipulative, upper middle class white doctor (ugh, my bosses were not doctors, but lawyers and I could see his type coming a mile away).  Patricia Connolly is wonderfully oblivious as the little old lady patient - she has no idea that she's saying anything wrong at all and quite outrageously threatens to steal the whole show.   

Rasheeda Speaking is on until March 22nd produced by The New Group at The Pershing Square Signature Center in the The Romulus Linney Courtyard Theatre, 480 West 42nd Street.  I used Broadwaybox for discounted tickets.

Debbie Voigt: Voigt Lessons at 92Y

Last week Debbie Voigt presented the new York City premier of her one woman show "Voigt Lessons" at the 92nd Street Y last Thursday night.  And girl, there were lessons to be learned.   

 

Deborah Voigt is one of the greatest dramatic sopranos of modern times.  I have seen her sing opera and lieder at the Met Opera and Carnegie Hall.  I saw her in my first Wagner, Tristan und Isolde and later in my first Ring Cycle, Gotterdammerung and Siegfried and earlier, in two Richard Strauss operas, Elektra and Die ägyptische Helena.  At Carnegie, I heard her sing Strauss' Last Four Songs with the Met Opera and in her own lieder recital.   Hearing her was thrilling, indeed.  

Aside from loving her singing, Debbie is a personal heroine of mine: she has shared her journey of conquering her compulsive overeating and addiction, weight issues, and other personal hurdles.  She published her memoirs, Call Me Debbie: True Confessions of a Down-To-Earth Diva, in January.

Voigt Lessons, a lovely evening of song and story, is a beautiful companion to her published memoirs.  The piece was created by Deborah Voigt, Terrence McNally (Tony award winning playwright and book writer) and opera and theatre director Francesca Zambello.  Richard Jay-Alexander staged the evening.  Debbie was accompanied on piano by her music direct, Kevin Stites. 

Debbie talked of learning to sing in the choir as a little girl in church to her time in high school musical theatre to learning to sing opera on the largest stages in the world.  She punctuated her very personal history by sharing some of her favorite songs from The Carpenters, musical theatre, old hymns and even Strauss and Brahms lieder.   She teased us with the opening bars to the second act of Tannhäuser.   She especially wowed us with her rendention of the tenor aria Nessun Dorma.   She even thru in a 'Ho-jo-to-ho'!  She closed the evening with the old gospel, His Eye is on the Sparrow.

She is warm, funny and beautiful.  She worked from a script for the evening, but at times spontaneously and to our great delight, went off book from time to time bring even greater joy to the evening.    Debbie did say shes still has some of the great roles in her, for which I cheered as loud as I could:  Kostelnička (Jenufa), Ortrud (Lohengrin), Dolly (Hello Dolly!) and Mame (Hell Yes!).    This was an evening of range - range of music and emotion - and I have no doubt she's up to any and all of these roles.

I found the evening to be quite cathartic.  I found myself in tears from the honest emotion and stories she shared.  I'm very grateful that she has been brave enough to own up and tell us all about all of this.  It's not easy.  As a woman who has struggled with compulsive overeating for as long as I can remember, I identify with her story and I know it's the hardest thing to work on much less talk about.  Everything and anything is easy compared to this, at least for me.   After the concert, I waited in line to have her sign my copy of her book and I'm so glad I did.  I felt a boost to continue working on my goals just being able to tell her thanks for being so brave.  Thanks very much indeed, Debbie. 



Debbie Voigt with Kevin Stites, photo by Richard Termine

Bonus: Because it's adorable and because my pal Jesse North is also in this video:

John & Jen at Keen Company

I was so delighted to see Keen Company's new production of John & Jen on Friday night.  The two-hander musical stars Kate Baldwin and newcomer Conor Ryan.  

It is a sweet, charming, funny, poignant musical with a great score and clever lyrics by Andrew Lippa and Tom Greenwald.  Orchestrations are by another Broadway composer, Jason Robert Brown.  
I loved the inventive music - from fun and very catchy to heart-string pulling.
The production is slight, leaving the actors to convey all of the changing times with their craft and they manage it very well.  Both actors have to play children to young adults, little brother and big sister in the first act and son and mother in the second act.   It's a beautiful coming of age story set during the 1960s into the 1980s. 

Conor is adorable at all times.  He does funny very well and his smile is contagious.  He had me laughing so much with his antics, which seems effortless.  He's got a great voice too.  I can't wait to see more of him. 

As for Kate, she never disappoints me.  Seeing her in the tiny space at The Clurman in Theatre Row is a magical experience.  The opportunity to see her on this stage is not to be missed - she's transcendent.   Her character  - big sister then mother - ages from 13 to late 30s.  Her transition is seamless and breathtaking.  She played all of the emotions so well and had me on the edge of my seat.  I really think there's nothing she can't do.

John & Jen plays until April 4th and I really think I will have to revisit this one.   Tickets are available at the Theatre Row box office at 410 West 42nd Street (btw 9th and 10th) or via Telecharge.  I used a Broadwaybox discount for $50 tickets.   

This is Keen Company's 20th Anniversary Production and to that they deserve many happy returns.  I have seen so many of their productions over the years and am never disappointed.  They offer a satisfying variety of drama and comedy, plays and musicals (their production of Marry Me A Little with Lauren Molina and Jason Tam is one of my favorite things ever  and they also gave me a chance to see the incomparable Kathleen Chalfant in Painting Churches). 

The Turn of the Screw at Everyday Inferno Theatre Company

Henry James' thriller The Turn of the Screw is currently on at Everyday Inferno Theatre Company.   This stylized production is adapted by company member Jamie Wylie and is eerily set in the Morris-Jumel Mansion, Manhattan's oldest house. 

Setting the production in the Morris-Jumel is certainly inspired.   It was built in 1765 and served as headquarters to General Washington during the Revolutionary War.   It is said that ghosts are in residence and on a chilly night in a very quiet section of Washington Heights, I certainly felt a chill.

Ms. Wylie has set James' tale in the late evening after a dinner party: a well heeled guest shares a supposedly true story of suspense over after dinner drinks.  It's far past dark and the only lighting is moody and fraught with anticipation.   The production is simple and elegant, nuanced by Anais Koivisto's direction and period costume design.  She allows the evening gloom at Morris-Jumel be a  character in this production.  

The piece moves seamlessly and swiftly and is very well acted, particularly by Meg Kiley Smith as the Governess slipping into madness and Victoria Blankenship as the well-meaning Mrs. Grose.  The are joined by a fantastic company of Leslie Gauthier, Leslie Marseglia, James McCloskey, Graham Miles, Sam Ogilvie and Scott David Reeves.  Ms. Marseglia is admirably calm as the eerie Miss Jessel.  Most of the company does double duty portraying characters and effectively transition.   Suprises in scenes had me gasping and jumping in my seat, a testament to the execution of this company.  

The combination of execution of this classic story, an inspired destination setting and the season guarantees a satisfying evening for any thrill seeker....much more satisfying and immersive than any contrived haunted house during this Halloween season. 

Everyday Inferno Theatre Company offers this production The Turn of the Screw at the The Morris-Jumel, just two blocks off the C train stop at 163rd Street, through November 2nd.  Tickets are available via Brown Paper Tickets . 
 

photo by Anais Koivisto



photo by Anais Koivisto

 



A perfect symmetry: Marian and Noah

On Monday night, after experiencing one of the most thrilling nights of live performance, I returned home to learn that Marian Seldes had passed away.   My first thought was:  perfect symmetry.  

The thrilling night of theatre was Andrew Lippa's I AM HARVEY MILK at Avery Fisher Hall.   I was transported to so many nights of thrilling theatre and live performance and the fact that my friend Noah Himmelstein had much to do with so many of them - either sitting at my side, recommending a show to me, or in this case, directing the piece.   

Dear Marian Seldes.  She lived, breathed, and fairly exuded theatre - either on the stage since the 1940s or in seats, almost every day.   She officially taught acting at Julliard and at other theatre programs, but also by her actions and her enthusiasm.   Any day with a theatre ticket was a good day for her.  She was kind, beautiful and always wore purple, possibly a subconscious choice to reflect her inner regalness.

In the summer of 2007, I finally had the great pleasure of seeing her perform on the Broadway stage in DEUCE, starring opposite Angela Lansbury.   It was a dream to see these two actresses and I went many, many times.  From memorizing their lines - their delivery even - to greeting them at the stage door, it was my perfect Broadway summer.  

On July 4, 2007, Noah Himmelstein accompanied me to see  Marian and Angela in DEUCE.   He was already an associate theatre producer but he was working toward his goal of directing.  I know he was taking in more than just the performances of those two theatre legends.  We naturally gravitated to the stage door after in hopes of greeting them. 

It was one of those perfect serendipitous moments of being in the right place at the right time when I made Noah's photo with Ms. Seldes.   To me, the photo captures all of the volumes of love and knowledge passing from the great actress to the next generation of theatre professional.  

Later that fall, I had the photo enlarged and asked Ms. Seldes to autograph it for Noah.  She agreed to do so only if I would, in turn, provide her of a copy autographed by Noah.   Via associations, Noah went on to occasionally accompany Ms. Seldes to various theatre productions.  The learning between master and student continued.

We would occasionally run in to Ms. Seldes around the city - usually at the theatre - after the run of DEUCE finished.   One special occasion was after Barbara Cook's birthday concert in November, 2007 at Avery Fisher Hall.  Before we entered the hall, we saw our dear Ms. Seldes who said "Aren't we lucky to be here? I'm so excited. Barbara's so wonderful and I think she's such a great actress."

Ms. Seldes caught up with Noah and me as we were leaving. I said, "Marian, well, what did you think? Wasn't it perfect?" She replied, "Oh yes, it was perfect. Now we know there is a Heaven and she is an angel."

On Monday night, seven years later, I was celebrating after another glorious night involving my dear Noah Himmselstin at Avery Fisher Hall.  I couldn't help reflecting that certainly our Marian Seldes was there, this time as an angel, in that Heaven of live performance.




Noah Himmelstein & Marian Seldes, July 2007

I love this album: Ghostlight by Betty Buckley

Autumn in New York has been many things to me over the last 10 or so years - a calendar blissfully full of openings of new shows, opera, concerts at Carnegie Hall and the New York Phil...and especially Betty Buckley.

Betty is back in New York and this time, she's brought her new album GHOSTLIGHT with her.   She'll be at Joe's Pub all of this week performing songs from this delicious new album.   Oh my Lord, I can't wait to see her and immerse myself in her sound.

Ghostlight is produced by legendary artist T Bone Burnett.  Betty Lynn and T Bone go way back to their young lives in Fort Worth, Texas.  This album evokes all that comes from a long friendship - full of hope and love but also all of the things that all the years of living will do to you.   

Betty is that rare modern girl singer - she takes Broadway songs and standards, makes them her own and performs a full show with each and every stanza.   Her voice takes me places I didn't know how to get to on my own.  There's a lustful jazz sound to this album, sometimes completely mournful and then she moves on with a steely demand that all is hope and cheer despite the juxtaposition of the dissonant chords.  Betty's cutting, yet tender vocals are map of every human emotion.  Les you think this is an album of full of angst and longing, it's downright sexy too:  Body and Soul might make you drop everything to slow dance with your lover.

Besides all that, Ghostlight just sounds damn awesome.   It was recorded at The Village in Los Angeles, CA.   The session musicians are a who's who and include Bill Frissell on electric guitar and T Bone Burnett himself on acoustic guitar.  Betty Buckley was involved in all of the arrangements, and on my favorite of the tracks, If You Go Away (from Jacques Brel) Betty co-arranged with Bill Frissell. 

It's the type of album just makes me want to hit repeat over and over again.   Buy it on iTunes, Amazon or order directly from Palmetto Records - the liner notes are gorgeous.   Get to Palmetto thru Betty's beautiful site http://www.bettybuckley.com/

Buy the album then go see Betty this week at Joe's Pub down on Layfayette.  Next week, Betty is teaching her song interpretation workshop at the T.S. Schreiber Studio.  She's also doing a couple of extra concerts in the area - on the 12th, she'll be out at the Bay Street in Sag Harbor  and on the 18th she'll be in concert at the Tilles Center in Long Island.   In November, she heads to San Francisco for a series of performances at Feinstein's at the Nikko. 

I AM HARVEY MILK

Dearest Friends,

 

If you don't already have a ticket to I AM HARVEY MILK at Lincoln Center's Avery Fisher Hall on Monday night, get one! http://iamharveymilknyc.com/ Ticket prices start at only $40.

 

Here's the thing about I AM HARVEY MILK: it's technically termed a choral oratorio, but it's so much more. I think of it as cantata meets Broadway meets opera. I saw it at the inaugural performance in San Francisco and can't wait to see it again. My heart swelled and my mind opened larger than they had ever been before from what I learned and felt with this piece.

 

It is a biography of Harvey Milk, the first openly gay elected official. But to me it was more than just about Harvey Milk and being gay. It's about being true to yourself and who you are, respecting others for who they are and celebrating life. It transcends Harvey's personal story into all of ours, gay, straight, male, female, whatever.

 

The piece is a collection, sort of a song cycle, of solos and choral numbers. It's very theatrical - heart wrenching, emotionally soaring, joyful!

 

There's a young boy singer, who sings the role of the young Harvey, a soprano who sings a sort of generic role of "mother" and "teacher" (at this one it's Kristin Chenoweth; I saw Laura Benanti in San Francisco, in LA it was Alexandra Silber), a men's chorus (this time made up of Broadway leading and chorus performers), and a tenor who sings Harvey. Harvey is being sung by Andrew Lippa, the composer and lyrcist of this piece. Accompanying the piece is the prestigious Orchestra of St. Lukes.

 

I'm also very excited that my dearest friend Noah Himmelstein has collaborated on this work with Andrew Lippa and directed it from the start. Noah has created a truly magical staging, intricately delicate but bold and inspiring.

 

Please find me before and after the performance, outside of Avery Fisher Hall near the center pillar of the walkway. I want to say hello to each of you! 
 

You Can't Take It With You on Broadway Needs More Kittens, Less Snakes

I was happily charmed when I attended Bloggers Night at  You Can't Take It With You last week.  Now playing at the Longacre Theatre on West 48th Street, the Moss Hart and George S. Kaufman classic runs until January, 2015.  

The cast is headlined by Rose Byrne (a lovely Broadway debut) and James Earl Jones.  Kristine Nielsen, as mother Penelope, steals the show.   Annaleigh Ashford, as daughter Essie, is a close runner up for thief of said show.  Also on stage are Elizabeth Ashley, Joanna Day, Julie Halston (she's always everything you want her to be), Byron Jennings, Fran Kranz, Mark Linn-Baker, Reg Rogers, Will Brill, Patrick Kerr, Marc Damon Johnson, Karl Kenzler, Nick Corley, Austin Durant and Joe Tapper.

And there are kittens!   And snakes.  The only thing this production needs is more kittens, less snakes.  MORE KITTENS!

Jeffrey Richards and his producing partners have once again done what they do best - bring a fantastic ensemble together on a gloriously decorated stage to bring a historic comedy to life (remember Blithe Spirit and The Best Man?  Although, let's not forget August, Osage County - another genius ensemble play but a drama, produced by Richards et al.)

You Can't Take It With You first played on Broadway for 838 performances, opening at the Booth Theatre on December 14, 1936.  It was revived on Broadway in 1945, 1965, 1967, and 1983.  In 1938, Frank Capra directed the film version starring Jimmy Stewart and Jean Arthur. 

If you're on the fence about seeing it, I beseech you to see it for Kristine Neilsen - she is an absolute genius and one of the very best of the American stage.  I loved her last season in Vanya and Sonia and Masha and Spike.

All Signs Point to Pre-Order at www.BettyBuckley.com

Betty Buckley is coming back to sing in New York!   She'll be performing seven shows at Joe's Pub October 7-11th.  My anticipation is palpable!  I haven't seen her sing live for almost two years.  Tickets are available online by clicking here  or by calling Joe's Pub at  212.967.7555.  

Currently through September 7th, Miss Betty Lynn is in Horton Foote's stirring play The Old Friends at the Alley Theatre in Houston. I saw her turn as "Gertrude Hayhurst Sylvester Ratliff" at the Signature Theatre here in New York.  It was the first time I had seen Betty in a straight play and I was completely blown away. The depth and realness she portrayed was emotionally cutting. 

On September 16th, Betty's much anticipated recording Ghostlight, produced by fellow legendary Texan and long time friend T-Bone Burnett will be released.   The album is available for pre-order so you get it immediately upon release (because who can't wait to hear this!) via the Palmetto Records site, or follow the links from www.BettyBuckley.com.   The album is available on cd or on vinyl.  There's also a limited edition vinyl and cd with art box - the photos are gorgeous! 

Meanwhile, fans and friends of beloved Betty are showing their spirit for the upcoming album release:

 

and my contribution since I rented a car last weekend:

Well, I've been watching Noah for a while...



 

From Baltimore Style Magazine, Ones to Watch by Ian Zelaya:

Noah Himmelstein, theater and opera director

Noah Himmelstein is certainly making a name for himself in the theater world. Having directed numerous plays and operas including “Things I Left On Long Island,” “Positions 1956,” and “Loving Leo,” his latest project is the 12-movement oratorio “I Am Harvey Milk,” which has been a monumental achievement for the Pikesville native and Carver Center for Arts and Technology graduate. Part choral work, part theater, “Milk” follows the life of the first openly gay man to hold public office and has been performed seven times around the country over the past two years—the most recent being a massive reunion show featuring more than 500 men from choruses and orchestrasacross the country at the Walt Disney Concert Hall in Los Angeles. “It’s the most extraordinary thing I’ve been a part of,” Himmelstein says. “My mission is to combine opera and theater.” “Milk” can next be seen Oct. 6 at Avery Fisher Hall in New York City, starring its writer/composer Andrew Lippa and Kristin Chenoweth.