Adventures in the Endless Pursuit of Entertainment

Quote of the Day

noreply@blogger.com (Sarah B. Roberts) — Wed, 02 May 2012 19:16:00 +0000

“If I hadn’t had theater to go back into, I would have sort of fizzled out, ignominiously,” [Angela Lansbury] says to Boris Kachka, New York Magazine, April 29, 2012 . Click on the link to read more and see photos of her apartment.

Angela is 86 and still goes to work everyday, plus lends time to multiple charitable events. Is there any wonder why this woman inspires me?

She's just one of the great reasons to see The Best Man on Broadway. I've been twice and luckily will go again next week! I can't wait.

Photo: Francois Dischinger for NY Mag

Happy birthday Kate Baldwin!

noreply@blogger.com (Sarah B. Roberts) — Wed, 02 May 2012 14:29:00 +0000

Happy birthday to lovely Kate Baldwin! She's one of the very best musical theatre performers in the world, besides being one of the loveliest people in the world. Kate stars as "Marian the Librarian" in Arena Stage's The Music Man in Washington, D.C. beginning on May 11th. I intend to get down to the Capital to see her in this iconic role...meanwhile, I'll be sending birthday wishes for a future and much deserved starring role on Broadway!

Peter and the Starcatcher on Broadway

noreply@blogger.com (Sarah B. Roberts) — Thu, 19 Apr 2012 17:11:00 +0000

I caught a preview of Peter and the Starcatcher last week.  The only preconception I had going in was from the press agent who invited me: "It's Peter Pan for adults."    He was right, but it's so much more.    I had a really great time at this play.   I admit that I thought it was going to be a musical, but it's actually a play with music. It is definitely on the cusp of being a musical, with clever accompaniment which adds to the hilarity.   The cast, packed with actors known for their musical theatre work, also gets the chance to present a couple of ensemble songs.

When I was a kid, my favorite character of Peter Pan was Captain Hook. It was no different in this adaptation, or rather prequel.    Christian Borle plays the villainous captain, known here as The Black Stache. He's known as "ruthless, heartless and peerless," but he's utterly hysterical and charming as he continuously breaks the fourth wall and bumbles his way through the action.   He's joined on stage by a rowdy bunch of players, filling multiple roles of pirates, sailors, orphans and natives: Adam Chanler-Berat, Teddy Bergman, Arnie Burton, Matt D'Amico, Kevin Del Aguila, Carson Elrod, Greg Hildreth, Rick Holmes, Isaiah Johnson, and David Rossmer. Celia Keenan-Bolger gets to be the only female in this crowd and she more than holds her own.

It is an irreverent prequel to Peter Pan, more or less explaining the who, how and why of the beloved fairytale. The show is a very physical and prop-heavy rout of an ensemble piece.   I was very much reminded of the plays The 39 Steps, The Invisible Man and even Brief Encounter, all of which I loved.

I think much of the humor was geared toward adults with it's current vernacular and pop culture references, but it is mostly clean humor and was certainly appreciated by the many children in the audience on the Saturday night we were there. There was a tween girl sitting next to me. She sat forward in her seat in order not to miss a moment and she repeated lines and laughed heartily at everything. It was great fun to sit next to her.

Peter and the Starcatcher is playing at the Brooks Atkinson Theatre on 47th Street.   Tickets are available via Ticketmaster.com or call 877-250-2929....use the code MAIL to get a nice little discount.

The Mikado at Carnegie Hall

noreply@blogger.com (Sarah B. Roberts) — Tue, 17 Apr 2012 19:27:00 +0000

Photo Credit: Jennifer Broski

Last week, I attended the Collegiate Chorale's concert of The Mikado with Theatre Aficionado Kevin Daly. We had a most marvelous time. Actually, I was quite surprised that I had such a good time.

It's true that the Collegiate Chorale regularly presents a lovely evening, but I wasn't expecting much from the silliness of Gilbert & Sullivan, although I had actually never seen The Mikado, much less one of their shows live. I'm definitely glad this is one that I didn't miss.

The cast included Chuck Cooper as The Mikado, Jason Danieley as Nanki-Poo, Jonathan Freeman as Pooh-Bah, Amy Justman as Peep-Bo, Kelli O'Hara as Yum-Yum, Steve Rosen as Pish-Tush, Lauren Worsham as Pitti-Sing, Victoria Clark as Katisha and Christopher Fitzgerald as Ko-Ko.

As a matter of fact, I think it would have been just a standard, well-sung presentation (especially thanks to Jason Danieley and Kelli O'Hara) but Victoria Clark and Christopher Fitzgerald had us rolling in the aisles. I expect funny when it comes to Christopher Fitzgerald, but I had no idea that Vicki Clark could bring the funny. I'm still dying just thinking of it. Brava and thanks for the laughs! In this instance, silly was not only good, but it ended up being a very welcome respite.

Julia Louis-Dreyfus at TimesTalks

noreply@blogger.com (Sarah B. Roberts) — Tue, 17 Apr 2012 19:10:00 +0000

photo by Walter McBride

Go to TimesTalks' face page to watch the archived livestream of Julia Louis-Dreyfus from February 13th.    Kari and I were there in person. On the front row.

Julia's "Elaine" is one of my favorite characters ever.   I loved learning that "Elaine's" hairstyle in the early years of Seinfeld was inspired by her own love of Helena Bonham Carter in A Room With a View and wore it curly mainly because when she was a regular on Saturday Night Live, she was discouraged from wearing it curly.   Her work on Saturday Night Live actually got her the Seinfeld job because her former colleague Larry David, the co-creator of Seinfeld, called her up after NBC told them to get a girl for the show. She said that her favorite episodes of Seinfeld were the ones in which she had a hard time getting through because she was laughing too much and described the one in which "Kramer" sets up the Merv Griffith Set in his apartment.   Yes! One of my faves, as well.

Julia says, "Look it" and "Yeah" just like "Elaine." She also inspired "Elaine's" signature "Get out."     I also loved that on top of her humor, she is really a beautiful woman. Wow -she's a knock-out!

When you watch the livestream, at 1:23, she is telling a story about running into "Vincent" from Seinfeld at a party for VEEP. I audibly gasped and she looked right at me and responded, "Yeah."   It was awesome!

Julia will be playing the Vice President in a new series called VEEP , which begins this Sunday on HBO. Yes, I subscribed just for this show.   I can hardly wait!

DiVaR Alert: Renée Fleming in Rodelinda on PBS

noreply@blogger.com (Sarah B. Roberts) — Tue, 17 Apr 2012 15:54:00 +0000

CHECK YOUR LOCAL LISTINGS:

Watch GP at the Met: Rodelinda on PBS. See more from Great Performances.

Tonight: Bruce Springsteen at MSG

noreply@blogger.com (Sarah B. Roberts) — Fri, 06 Apr 2012 19:07:00 +0000

Last month when I was in San Antonio, I was shopping with my mother. She pointed out the new Bruce Springsteen album Wrecking Ball. As excited as I was to get the new album, I was just a little more excited that it was Mom who had the presence of mind to point it out...or maybe that it was confirmation that she actually does listen to me rattle on about my loves. Either way, the album is frakkin' awesome and I can't wait to hear Bruce perform it live tonight at Madison Square Garden. I know Sally, Kari and I will be dancing in the aisles!

Patricia Racette: Diva on Detour

noreply@blogger.com (Sarah B. Roberts) — Thu, 05 Apr 2012 19:00:00 +0000

Last night I had the pleasure of attending the live recording session for Patricia Racette's upcoming cabaret album.

Patricia Racette is a world-renowned operatic soprano, known best for role as Cio-Cio San in Madama Butterfly.   I don't have supporting data, but I heard somewhere that she holds the record for singing Cio-Cio San in Madama Butterfly more than any living soprano. I've been fortunate to see her Cio-Cio San a number of times at the Metropolitan Opera as well as Roberta Alden in An American Tragedy, Elizabeth in Don Carlo, Alice Ford in Falstaff, Giorgietta in Il Tibarro, Angelica in Suor Angelica, Lauretta in Gianni Schicchi, and Ellen Orford in Peter Grimes (also at the WNO).   She's one of my favorite performers and I consider her one of the best stage actresses around, in any genre.   Her performances are complete, emotional experiences that draw you in to the heart of the character.

For her cabaret, Patricia returned to her roots and her love of jazz classics and the American songbook. She cut her teeth on this repertoire as a teenager when she would attend jam sessions with a group of "retiree dudes."

Her album, to be released by GPRrecords later this spring, will feature standards by Porter and Gershwin, some Piaf and even Sondheim, among others.    The live recording session was held at Sound Associates on 45th Street in Manhattan. About 35 friends and loved ones joined Patricia and her accompanist Craig Terry in the studio. It was intimate and felt a little like a cabaret club, without all of the trappings of a club, although we did sip prosecco.

Patricia's non-operatic voice is warm and inviting, even surprisingly low. It has a smooth sound without the heavy vibrato of an opera singer. She also interprets lyrics beautifully. Alhough she's happily married to fellow opera singer Beth Clayton, it was her medley of sad songs that had us all swooning.    And because we were encouraged to participate in this live session, we'll be on the album too with our genuinely appreciative applause and cheers.

The album, Patricia Racette: Diva on Detour, is available for pre-order at GPRrecords.com.

DiVaR Alert: Renée Fleming on Live from Lincoln Center

noreply@blogger.com (Sarah B. Roberts) — Thu, 05 Apr 2012 14:29:00 +0000

Check your locals listings: Renée Fleming is singing at the Penthouse at Lincoln Center this Friday night, April 6th. It will be broadcast on Live from Lincoln Center on PBS. She's singing some Indie "rock," Rodgers & Hammerstein...and best of all, Samuel Barber's Knoxville: Summer of 1915.

Watch http://video.pbs.org/video/2208152474 on PBS. See more from pbs.

LIVE, LIVE, LIVE

noreply@blogger.com (Sarah B. Roberts) — Wed, 04 Apr 2012 15:34:00 +0000

This morning I received a message from my mother that my cousin Tina is being taken off life support at noon today.   I can't even remember the last time I saw Tina, or even talked to her - we were teenagers perhaps. I know we played together as toddlers and were both in attendance at the rare Roberts family gatherings. I know she was one of the cousins who stayed up too late in Grandma's living room watching Helter Skelter one Thanksgiving. I believe that she was a year or two older than me.   We never spoke outside of these occasions, but I remember writing a letter to her once. We probably have nothing in common other than the fact that our fathers were brothers.

But it makes me so angry because she is too damn young to die.

It also reminds me not to be complacent and makes me even more adamant about my refusal to be one of the poor suckers who waits.

As I was sitting and contemplating the news, I remembered that a few weeks ago I heard Betty Buckley sing a life-affirming Venice.   It's from William Finn's Elegies and tells the story of a friend who is dying from AIDS.   The chorus of the song is:   "My friends, I’m taking you to Venice. Because in Venice everyday life’s a work of art, And must be seen first hand. Life ends, but nothing ends in Venice. Beauty and pleasure is all we can hope to understand. Beauty and pleasure is all we can hope to understand. In Venice, Venice." Betty has a marvelous way of squeezing every ounce of emotion out of every consonant of every lyric, and I felt the anger, sadness, love and joy.

And I think of every day and how lucky I am to deal with just regular old life, the MTA, new eye glasses that still haven't arrived or assholes at work. I'm lucky I can go and sit through a long, shitty production of Manon at the Met Opera or a production of the musical Carrie that perhaps takes itself a little too seriously.

There is much to love about everything I get to do or choose to do and can do every goddamn day.

I can love a Sunday that starts with a Cuban lunch with a great friend and ends with serendipidously seeing Mary Louise Wilson nonchalantly comfort her grandson as he silently mourns his friend just by being present in the play 4000 Miles at Lincoln Center Theatre.

I can look forward to going to a recording session of a cabaret album tonight by a woman who is normally a butterfly in the opera. I can look forward to the upcoming Live from Lincoln Center in which Renée Fleming will perform a heartpounding rendition of Barber's Knoxville: Summer of 1915. I can look forward to going to the Bruce Springsteen concert with my great friends Sally and Kari at the Garden.

I can look forward to going down to Washington on the train to see the world premier of Positions 1956 directed by my dear friend Noah Himmelstein at Urban Arias. I can look forward to going to Washington again this summer to see Kate Baldwin be thrilling in The Music Man at Arena Stage and even Donna Murphy finally do a solo concert at the Kennedy Center in the fall.

I can start thinking about all of the operas, concerts and shows I'll book over the next year.   I can continue planning a summer vacation with my nephew. I can think about planning a trip to Bruges with my friend Kari. I can look forward to friends who will visit me in New York soon and later.

Best of all, I can just live this day and see what else happens.   I can hope and dream and celebrate and live. So, my friends, do me a favor but mostly do yourself a favor: LIVE, LIVE, LIVE!

Quote of the Day

noreply@blogger.com (Sarah B. Roberts) — Thu, 29 Mar 2012 22:39:00 +0000

“People are united in this tiny, few-block area,” she says. “They’re all theater rats, and they don’t care about living well.”

Candice Bergen, about falling in love with Broadway, to the Intelligencer, Boris Kachka for New York Magazine

Candice is starring in The Best Man at the Schoenfeld, in only her second Broadway show. She's fabulous as the shy and neglected wife of a presidential candidate, and she gets to deliver one of the best lines of the entire evening.

Across the Alley from the Alamo: Renée Fleming, Family and Friends in San Antonio

noreply@blogger.com (Sarah B. Roberts) — Tue, 13 Mar 2012 21:26:00 +0000

Had it really been eight years since I visited my former hometown of San Antonio, Texas? I'm not sure, but my Aunt Dale says so. Either way, it had been too long and the draw of seeing Renée Fleming and seeing family and friends was too strong to forego the opportunity.

I flew down on Wednesday, March 7th and was happy to be reunited with my Mom and her youngest sister Dale. We were also joined by my dear friend Beth from Austin, who has been with me to see Renée many times, including in Austin and at the Met Opera.

Renée's program was unlike anything I had witnessed before. A mix of modern opera, song cycle and rock, she showed San Antonio how it's done in her one night only debut in the Alamo City. Looking more glamorous than ever with her chic haircut and dressed in a new black Angel Sanchez gown which featured a full skirt with ribbon-like geometric pattern and one shoulder, the back being sheer with the ribbon-like geometric pattern, she opened with Ravel's Shéhérazade, which is incidentally on her newly released album Poemes. It's dark and sensual. She then returned to sing Gounod's "Ô Dieu! que de bijoux! … Ah! je ris de me voir si belle" (Jewel Song) from Faust, with which she thoroughly charmed the audience as she gestured to her fabulous diamond earrings

After the intermission, Renée returned in perhaps the most fabulous dress I've ever seen her wear - another Angel Sanchez creation of strapless pink sequins with a sheer blue overlay. It was ultra glam much to the audience's delight! She calmed the audience down to perform the newly orchestrated "Night Flight to San Francisco." Renée had previously performed the piece based on Tony Kushner's Angels in America some time in 2000, but composer Ricky Ian Gordon specially orchestrated his piece for this concert tour at her request. Lucky for us, the brilliant composer was sitting just a few rows in front of us. It's lush and somewhat like Samuel Barber. It is emotionally astonishing and gorgeous.

She used the microphone to talk to the audience here and there, and introduced the Composer Gordon and even comment on her dress, "This is getting dangerous - the dress is getting more applause." She could not have been more charming. I always see this in the "provinces" as compared to a New York City concert or recital - it definitely different and actually more fun. She took this opportunity to perform three numbers from her "rock" album, Dark Hope. I was unsure how I would feel about these, but there were no electric instruments, only accompaniment by the San Antonio Symphony which gave them almost a hauting quality. I love Renée's non-opera voice which is surprisingly low and rich. She sang "Endlessly," "Hallelujah," and "Soul Meets Body." I really loved hearing her sing "Hallelujah" live. My Aunt Dale, a child of the 60s, instantly recognized "Hallelujah" and seemed pretty excited over that one and I think I heard her singing along.

She also sang "Vilja-Lied" from Die lustige Witwe and Korngold's "Marietta's Lied" from Die tote Stadt, which could not have been more thrilling. My Aunt Dale leaned over to me and commented that the Vilja was her favorite so far. I held my breath way too long in the "Marietta's Lied!" It's absolutely to die for.

Here's where things really took a turn for the amazing. Renée' premiered the orchestration of yet another piece, Todd Frazier's "We Hold These Truths" from Thomas Jefferson.   This composer, a Texan, was also in the audience.

After the audience kept bringing her out for bows, Renée announced that she was just going to sing everything she knew.   She treated us to "Io son l'umile ancella" from "Io son l'umile ancella" from Adrianna Lecrevour and "O Mio Babbino Caro" from Gianni Schicchi (I'll never understand why people go so nuts for this one).

Unfortunately, I dropped my camera just before we entered the Majestic Theatre so I have no curtain call photos. You'll just have to take my word for it on those dresses. I'd also love to show you pictures of the magnificent Majestic, which I had forgotten was so fabulous. I was a volunteer there when I lived in San Antonio - it feels a little bit like an outdoor amphitheatre with it's midnight blue ceiling which sparkling star lights.   It's a glorious space.    And even though I "worked" there, I was never in the backstage area until this evening and I was thrilled to see that the walls are covered with paintings and autographs of many of the touring Broadway shows and performers!

I loved introducing my Aunt Dale to Renée, as well as re-introducing her to Beth and my Mom.   It's always icing on the cake to visit her after a performance and tell her personally how much the performance meant to me.   I was also glad to finally meet her sister, who I share in common the survival of a former job experience.   Any Renée performance is an event to me and this was one of the best. After the show, we went to Mi Tierra for margaritas and mariachi music!

First Preview of The Best Man on Broadway

noreply@blogger.com (Sarah B. Roberts) — Tue, 13 Mar 2012 18:27:00 +0000

Even though it was the end of a very busy period at my day job and the eve of an out-of-town trip for which I hadn't yet packed, I couldn't resist catching the first preview of The Best Man on Broadway last Tuesday. I have not missed a first preview of any show Angela Lansbury has starred in since she returned to Broadway in Deuce in 2007 and I really didn't want to start now. I bought my last minute ticket at TKTS.

The Best Man stars Angela Lansbury, James Earl Jones, John Larroquette, Candice Bergen, Eric McCormack, Kerry Butler, Jefferson Mays, Michael McKean, Dakin Matthews, Sherman Howard, Donna Hanover, Angelica Page, and Corey Brill.

Gore Vidal's play, written in 1960 and set in 1960, is about two presidential candidates at the party convention, each vying for the nomination.   The candidates are played by John Larroquette and Eric McCormack.   James Earl Jones plays a former, extremely popular president, from whom they are both hoping to obtain an endorsement.   Candice Beren and Kerry Butler play the potential first ladies. Michael McKean plays Larroquette's campaign manager while Jefferson Mays plays a former colleague of McCormack's. Angela Lansbury plays Mrs. Sue-Ellen Gamadge, an elderly southern lady who is the Chair of the Women's Division of the Party.

The moment you walk into the Schoenfeld Theatre, you begin your time travel back to the 1960 convention. The theater has been transformed into the floor of a party convention and there are old tv sets and patriotic flags everywhere and a speech with cheers from a crowd are heard over the sound system. I felt my heart beat with patriotic pride just a little harder.

The scenic design by Derek Mclane is absolutely fabulous, switching back and forth between two luxurous hotel suites and the stage of the convention arena.   Ann Roth's costumes are fantastic too, especially for Kerry Butler, who plays the young wife of candidate McCormack, and Angela Lansbury.   Angela's costumes are perfect for the woman of that certain age and station and add some hilarity to her already hiliarious portrayal of the Southern doyenne.

The Best Man is over 50 years old, but unfortunately it is feels relevant. I was shockingly horrified to hear the dialogue about birth control, polital pandering, adultery, mental health and homosexuality.  Even though it is a very funny play, the drama is riviting as are the twists and turns of events.   Even though no party affiliation is ever mentioned, I found myself siding with candidate Russell, played by Larroquette. He is incredible in this performance. In fact, the entire cast is incredible and it is thrilling to see them playing.   The only downside is that Angela Lansbury and James Earl Jones aren't in more scenes.

At the first preview, during dialogue delivered by James Earl Jones, an audience member in the orchestra section suffered an attack. Somebody from the audience called out for a doctor and Mr. Jones responded by asking the stage manager to get one. The curtain came down promptly and we waited for approximately thirty minutes for the show to resume where it had left off. Its the stuff of live theatre and it was thrilling, even with the illness. With its three acts, it was a long evening but worth every minute.

The producers say that this is a strictly limited 18 week engagement. Opening night is April 1st.   After the show last Tuesday the 6th, I tweeted that I would be going to The Best Man again and often. It so happens that I'll be there tonight and I can't wait for the hilarity and drama all over again.

Painting Churches at the Keen Company

noreply@blogger.com (Sarah B. Roberts) — Tue, 13 Mar 2012 17:24:00 +0000

I already know that in seven months when I look back at all of the live performances I saw in 2012, Tina Howe's Painting Churches at the Keen Company will be at the top of my favorites list.

Tina Howe is one of my favorite playwrights and as soon as I heard that a new production of this wonderful play Painting Churches was being produced, I knew I had to see it, regardless of who was in it. But fortunately, I didn't have to worry about the casting - the brilliant Kathleen Chalfant is playing the matriarch Fanny Church. Matching her brilliance, John Cunningham plays Gardner Church.   Their daughter is played by Kate Turnbull, who holds her own.

Painting Churches is about an aging couple - she's a Boston socialite, who is trying to hold life together, and he's an erudite poet scholar, who is ungracefully slipping into dementia.     They are leaving their large Boston home out of necessity. Their daughter, a portrait painter and art teacher, has come home to help with the packing and to meet her personal goal of painting their portrait. The daughter, who visits her parents rarely, is unable to accept the changes in her parents and their circumstances.    It's a poignant story that is told with much wisdom and wit.

This efficient and beatuiful production is directed by Carl Forsman. The set is designed by Beowulf Boritt.   Especially imporant, costumes are by Jennifer Paar.   She does a great job of dressing the eccentric socialite Fanny who has succumbed to shopping in thrift stores out of need, both monetarily and to occupy herself.

Kathleen Chalfant was everything I wanted her to be and then some as Fanny.   She is at once hysterical and heartbreaking. She quietly draws you in and then lowers the boom as she fights to move on and open her daughter's eyes to the truth.   She is no-nonsense yet nonsensical and whimsical.  John Cunningham plays Gardner with much dignity, but also with complete abandonment when it calls for Gardner to slip out of his own right mind.   I was thrilled to see both of these actors live, as I had only previously experience them on Law and Order.

I wondered at the effect that this story had on this mostly elderly matinee audience.  There was much laughter and applause and I couldn't help but think that perhaps they saw the truth behind the pain of aging and dementia.

The Keen Company's Painting Churches is at The Clurman, on the lower level of Theater Row on 42nd Street between 9th and 10th Avenues.    Tickets are available via Telecharge at 212-239-6200 or online. It runs through April 7th.

Rutherford & Son at The Mint Theater

noreply@blogger.com (Sarah B. Roberts) — Tue, 13 Mar 2012 16:11:00 +0000

The Mint Theater has mounted the 100th anniversary production of Githa Sowerby's Rutherford & Son. It is directed by Richard Corley and features Robert Hogan in the title role, as well as Dale Soules, David Van Pelt, Eli James, Allison Mclemore, James Patrick Nelson, Sandra Shipley, and Sara Surrey. Robert Hogan, Dale Soules and Daivd Van Pelt were all in the original production of Rutherford & Son at The Mint in 2001.

The play, set in the harsh environment of Northern England just after the turn of the century is about Rutherford and his three grown children. He comes across as a tyrant but Sowerby subtly nudges him to be seen in different ways - a successful business man, a struggling business man and, or a man who simply wants more for his children.   His children cannot except his rules or unable to see his wishes for them and he is unbending in his attitudes and I found myself torn in sympathising with him. The language of the play, presented in the unique dialect of Northern England, lends to the time period. Van Pelt was particularly good at the difficult dialect.

Vicki R. Davis is responsible for the set, which blends the past and present with period furniture and photos of the landscape on panels hanging on the edges.   The modern touch of the panels gave me a sense of the roughness of their plight - even though the family is socially superior because of their father's success, they are still enduring the harshness of the environment and time period.    Charlotte Palmer-Lane's period costumes were fine but the black crepe dress worn by Ann, played by Sandra Shipley, was particularly beautiful. It was suitable for a woman of her station - a spinster playing the role of matron of the home.

Of the cast, Dale Soules, Sara Surrey and Martin Van Pelt stood out particularly. Surrey played Rutherford's daughter, unwilling to accept her station in life. She portrayed the young woman who was quickly advancing in age beyond her years with quiet heartbreak.  Van Pelt played the working man, considered a servant. He played him humbly yet strongly.   Dale Soules, in her too brief scene, practically stole the show as the mother of a young man accused of stealing. She received much deserved and enthusiastic exit applause.

Githa Sowerby first gained acclaim as a playwright in England with this play in 1912. She broke through barriers when women did not have roles outside of their homes.   Rutherford & Son was slated to play only four performances at the Royal Court but after reviews, it transferred to an extended run in the West End.   Indeed, Sowerby is a powerful storyteller.

Rutherford & Son plays at the Mint Theater at 311 West 43rd St, 3rd floor, between 8th and 9th Avenues.   It is scheduled to run through April 7th.   Tickets are available online or via the box office at 866-811-4111.   The Mint is one of my favorite off-broadway companies - they consistently mount evocative, beautiful productions of obscure dramas.   It is one of New York's jewels of off-broadway theater.

And I will go to Texas.

noreply@blogger.com (Sarah B. Roberts) — Wed, 07 Mar 2012 12:13:00 +0000

"You may all go to hell, and I will go to Texas." Davy Crockett (And I'll be seeing Renée Fleming at the Majestic Theatre tonight - her debut in San Antonio - and cousins, aunts, uncles, friends and finally later this week my Little Loves!)

Vanity Fair Portrait: Angela Lansbury

noreply@blogger.com (Sarah B. Roberts) — Sat, 03 Mar 2012 14:48:00 +0000

Angela Lansbury is the subject of a V.F. Portrait in the April issue of Vanity Fair! Her Sweeney Todd (and often Murder, She Wrote) co-star Len Cariou pens the lovely portrait. The photo, by Annie Leibovitz, is taken on the stage of the Gerald Schoenfeld Theare where Angela is about to be eight times a week in The Best Man. Previews begin this Tuesday, March 6th.

Renée Fleming, Ariadne auf Naxos, Festspielhaus, Baden-Baden, Germany

noreply@blogger.com (Sarah B. Roberts) — Fri, 24 Feb 2012 14:06:00 +0000

A week ago today, I was already in Baden-Baden, Germany ready for Renée Fleming's role debut in Ariadne auf Naxos.   It was a weird production in which Renée was transcendant. I love nothing more than hearing her sing Strauss.

Tomorrow, the production will be broadcast via live stream on Medici.tv.   Go here: http://www.medici.tv/#!/ariadne-auf-naxos-festspielhaus-baden-baden-philippe-arlaud. It is free to watch and will remain available for free in Medici's archives.

A message from 6th graders in Greenwood, Texas

noreply@blogger.com (Sarah B. Roberts) — Fri, 24 Feb 2012 03:08:00 +0000

My nephew Cody, who is in 7th grade, is a member of the Greenwood Leadership Organization ("GLO"). His 6th grade colleagues created this video for the Project Outreach category for Destination ImagiNation. This year's theme is the world canvas. GLO identified suicide and bullying as a need that should be addressed in their community. Please watch their beautiful message.

Auf Wiedersehen

noreply@blogger.com (Sarah B. Roberts) — Sat, 11 Feb 2012 05:53:00 +0000

Way back in 2008, we started hearing and then talking to Renée Fleming about the possibility that she would sing "Ariadne" in Strauss' Ariadne Auf Naxos.

Last year it was finally confirmed that she would sing the role in Baden Baden, Germany, at the Festspielhaus. My gang and I immediately started saying we wanted to go (at least one of us believes that this is the Greatest Opera Ever Written. The rest of us just want to travel.)

Then we heard it would be in February. FEBRUARY! We whined about it being in the dead of winter to Renée backstage at the Met (I think after Armida)...but she said, "Yes, it's February but you can stay in New York City in February or you can go to the Black Forest in February." So we're going, as if she really had to twist our arms.

So we leave tomorrow in search of bier, bier, schnitzel, castles, opera and a German winter adventure. Auf Wiedersehen!

Michael Cerveris' Barber

noreply@blogger.com (Sarah B. Roberts) — Sat, 11 Feb 2012 05:38:00 +0000

Last month, Michael Cerveris performed at the Lincoln Center American Songbook series. Go read the review here at the NYTimes. Michael's evening was chockfull of music - Southern, Traditional, New Orleans Style, Americana and even a few Broadway numbers from his "day job". He had with him a huge band, including wash board, banjo, sousaphone, trombone, mandolin, steel guitar, guitars, ukelele, to name most of them.

The thing that has stuck with me though is Michael's rendition of Barber's Knoxville: Summer of 1915. Michael prefaced the piece, on which he gave his band a break and brought on a classical pianist to accompany him, with his love for James Agee. Previouslym I had only heard it sung live once by soprano Renée Fleming. Her rendition was soaring and sultry. Michael's rendition was more poetic and even sad. It's fresh in my mind but I long to hear him sing it again. During the concert, I noticed a stack of books on a stand next to Michael's chair - after the concert, I helped myself to a closer look: it was in fact a stack of James Agee books.

I fell in love with Michael's work when I first saw him in Assassins on Broadway, for which he won the Tony Award. I've seen him many times in other plays and readings, and soon, I'll see him again on Broadway when he resumes his day job as "Juan Peron" in Evita. Of course, he was the main object of my devotion when he played a barber Sweeney Todd on Broadway as well. But it will be his performance of the Barber work that will stay with me from now on.

Photo by Richard Termine for The New York Times

Reeds and a Soprano at Carnegie Hall

noreply@blogger.com (Sarah B. Roberts) — Sat, 11 Feb 2012 05:17:00 +0000

Sunday, January 15th, was one of the coldest days we've had in New York City in a long time (and subsequently hasn't been as cold since). I think the windchill was around 4 degrees farenheit.

But inside Carnegie Hall, the temperature was warm and festive for the Met Orchestra's concert featuring clarinetist Stephen Williamson, clarinetist Anthony McGill and soprano Renée Fleming.   Maestro Fabio Luisi conducted the Met Orchestra.

One of my favorite things about sitting in the family circle at the Met is being able to watch the orchestra at work.  Over the last few years, even though we're roughly a football field apart, my seat has been directly adjacent to principal clarinetist Anthony McGill. I love to watch him at the back of the pit. But seeing him strut his stuff on the stage at Carnegie. He played the COPLAND Clarinet Concerto - actually, he played and danced the concerto. Even Maestro Luisi got in the act with the choreography. In fact, I found it hard to sit still as they joyfully worked thru the music. It was glorious!

Clarinetist Stephen Williamson opened the concert with the MOZART Clarinet Concerto in A Major. It was blissful. It is played in one of my favorite movies, Out of Africa, and I was transported back in time when I was a teenager. The movie had a very big impact on me and its soundtrack was among of my first introduction to classical music.

The main act of the day was my favorite soprano Renée Fleming. She looked like a present in a beautiful deep pink satin gown.   Renée was in amazing voice and I have to say this was one of the her best concerts I have been to as of late. I adored the Mahler cycle - her voice was full of emotion as it soared above the orchestra. Even better, she sang Barber's "Give Me Some Music" from Antony and Cleopatra. She treated us to an encore of Previn's  “I Can Smell the Sea Air” from A Streetcar Named Desire. It was so divine and really whetted my appetite to see her in the concert version of a A Streetcar Named Desire next season either at Chicago Lyric Opera or here at Carnegie Hall.

The program:
MOZART Clarinet Concerto in A Major, K. 622 – Stephen Williamson, Clarinet
MAHLER "Ich atmet’ einen linden Duft" - Fleming
MAHLER "Liebst du um Schönheit" - Fleming
MAHLER "Um Mitternacht" - Fleming
MAHLER "Blicke mir nicht in die Lieder" - Fleming
MAHLER "Ich bin der Welt abhanden gekommen"
COPLAND Clarinet Concerto – Anthony McGill, Clarinet
BARBER "Give Me Some Music" from Antony and Cleopatra - Fleming
HERRMANN "I Have Dreamt" from Wuthering Heights – Fleming
BARBER "Do Not Utter a Word, Anatol" from Vanessa – Fleming
ENCORE – PREVIN “I Can Smell the Sea Air” from A Streetcar Named Desire - Fleming

Ernani at Met Opera

noreply@blogger.com (Sarah B. Roberts) — Tue, 07 Feb 2012 15:55:00 +0000

Ernani is one of the sillier Verdi operas, but the music is expectedly gorgeous.  The production is typical grand opera - giant sets, a huge chorus and especially opulent costumes. It starred the wonderful Angela Meade as Elvira, Ferrucio Ferlanetto as Silva, Dmitri Hvorostovsky as Don Carlo, and Roberto DeBiasio in the title role.   It was so fabulous to see Angela as such a younger performer more than hold her own against the veterans of the cast, especially Ferrucio.

In my fourt time to hear Angela sing live, I am still astounded by her huge, beautiful voice! It has such control - the pianissimi is as thrilling as the fortissimo.

My favorite moment came when Angela entered in the final act to find her evil uncle Silva and her new husband Ernani about to do battle and she sang "STOP!" It was so powerful and full of emotion and LOUD.   An older man sitting next to me in family circle said out loud, with much delight, "WHOA!"

Susan Brings the Sexy to Carnegie Hall

noreply@blogger.com (Sarah B. Roberts) — Sat, 04 Feb 2012 20:15:00 +0000

Save for the peekaboo slit in the bodice of her dress, Susan Graham was dressed like a virginal angel for the first half of her Carnegie Hall concert on Wednesday night.

For the second half, she left the angelic backstage. Susan vamped onstage in a clinging, shimmering black gown, dripping in Vendura jewels.  The gown hugged all her curves and the audience catcalled and whooped it up for her. This only encouraged her to show off her sexy side even more, practically whipping the audience into a rowdy frenzy.   Things were about to get out of hand after one excited gentleman shouted out, "You look beautiful, Susan!"   She responded in kind, but then let him have it with "Enough," after he boldly shouted out his demand for "A Chloris."

All of the songs Susan sang, accompanied by Malcolm Martineau at piano, were all about women. She sang in German, Russian, French, and English. The songs portrayed the various emotional state of these women, in their sadness, loneliness, despair, then fierceness and even madness. So much tragedy! So much beauty.   One set of songs all drew from Goethe's Mignon. She sang Joseph Horovitz' Lady Macbeth - even in recital, in her shimmering black gown, she acted this piece as if it was a full blown production. What a thrill it was to hear her sing Duparc and Berlioz, but especially a set of Poulenc, Fiançailles pour rire, the final set of her announced program. I could listen to these all day long.

In a final set of selections announced from the stage, Susan really started having her way with us. She made me very happy when she included J'ai deux amants (Andre Messager, from L'Amour masque, 1923) - it's on her C'est ca la vie, c'est ca l'amour album which makes me dance around my apartment.   She also included a Cole Porter piece and another from Vernon Duke, proving that she's just at home in American songbook as she is in French rep.   She closed with the hysterical Sexy Lady, which was written for her by Ben Moore for her debut at Carnegie nine years ago and which chronicles her lament of being a mezzo trapped in pants roles.

Fortunately, in an encore she finally gave us what we really wanted, our favorite and hers, A Chloris by Reynaldo Hahn.   I daresay it's her signature song. The last time I heard her sing it live, unbelievably five years ago at Carnegie Hall, I thanked her for singing it and she told me that nobody loves it more than she does.

Her final encore was The Boy from ... by Stephen Sondheim and Mary Rodgers from The Mad Show. Susan is known for her comedic styling and she didn't disappoint here.   But, it sure was fun to see the sexy side of Susan too.    It will be too long until we see her again - at the Met Opera next season, probably in Les Troyens.

Photos poached from Bill Madison's review of the recital on Billevesées  (and yes, backstage I believe I witnessed kiss he speaks of, although I didn't realize it was him):

At the Feet of Follies

noreply@blogger.com (Sarah B. Roberts) — Wed, 01 Feb 2012 12:56:00 +0000

In January I had the opportunity to see Follies on Broadway three more times before it closed. Once was with Byrne of StageBuzz.com  courtesy of Jesse at StageRush.com. All three times were in front orchestra seats, the final two at the very feet of those beautiful girls of Follies, front row center - once with Kari on her birthday and once with my little love Noah. What a thrill!

I loved every moment, but particularly the performances of Bernadette Peters as "Sally," Terri White as "Stella," and Rosalind Elias as "Heide." All three women captured the essence of Follies - braving this reunion and being forced to look back at their younger years as performers, and relive those moments when their current reality is perhaps not what they dreamed it would be.

Terri has the big show stopper of each night, "Who's That Woman," also known as "The Mirror Number." All the ladies join her in the number, remembering their big number from at least thirty years ago, but they are in it for the fun of the memory and the proof that they've still got the legs to do it. But seeing the look on Terri's face in between her twirls and ace hoofing was what did it to me - there was an air of triumph but also pain in that she somehow knew she had the where with all to take it all but gave it up for an ordinary life of singing in the shower. All around her, the ladies are laughing and whooping it up and she's in command, but there's that pain on the surface. It's a number that makes me feel whistfulness for what could have, while simultaneously making me smile until I think my face might break.

Rosalind Elias' character Heidi is the oldest lady at this reunion. She was perhaps a diva and her number was an operatic aria. All of the ghosts of Follies are their to witness her look back and know that she will soon join them. She takes her chance to sing her aria, a number written for her, but there's an air of realization that this "One Last Kiss" is the final chance. She seems to accept that her life is nearly over when she sees the ghost of her own younger self. It's poignant, yet absolutely thrilling.

Bernadette is one of the most beautiful women around and she's more lovely and caring than most people I know. What you see is what you get and she's everything you want her to be. But seeing Bernadette up close as "Sally" deepened my belief that this woman as actress can do anything.     Her character Sally is fragile and broken and she has believed that she has wanted only one thing for the last 30 years, a man she could never have.   Sally is not the character to love, or even like. She probably suffers from mental disease, perhaps as severe as bi-polar disorder. It is the most difficult character of Follies - she's not stylish or glamourous like her counterpart; she's come to the reunion only to have one more chance to get what she believes she wants; and she's on the verge of breakdown. Bernadette portrayed all of these unlikeable characteristics of Sally, literally crying through the performance while traveling all of the emotional peaks and valleys that Sally goes through in the evening. She took me on this journey with her, rooting and hoping for her to realize her dream, even when I knew it would or even could happen. I'll never forget seeing her face so completely soaked from tears while singing "Losing My Mind" so perfectly.

After a successful run at the Kennedy Center and a thrilling run at the Marquis Theatre on Broadway, Follies is moving Los Angeles in May.   Of these three actresses I loved so much through this run, only Terri is going on to the next leg. She'll hoof her way into the hearts of Los Angeles without me. Seeing Follies at the very feet of these beautiful girls is enough to last me a lifetime.