AN UNUSUAL MUSICAL JOURNEY AT 59E59

Posted on May 6, 2013 by
Jessica Walker stars in THE GIRL I LEFT BEHIND ME, with Joe Atkins on piano, part of Brits Off Broadway at 59E59 Theaters. PHOTO: Carol Rosegg

Jessica Walker stars in THE GIRL I LEFT BEHIND ME, with Joe Atkins on piano, part of Brits Off Broadway at 59E59 Theaters.
PHOTO: Carol Rosegg

The 59E59 Theaters comprise one of Manhattan’s most sophisticated and active theatrical venues. It is no surprise then, to find very unique offerings being showcased there for New York’s busy theatre scene. Such is certainly the case with the current limited run of The Girl I Left Behind Me, an unusual one-woman production starring the very vocally talented Jessica Walker in the theater’s third floor cabaret space. A British import, the piece fits in well with the theater’s current series of shows being presented under the banner of “Brits Off Broadway.”  Written by Ms. Walker and Neil Bartlett (he also directs the work), the one-act show gives its audience a peek into the little-known world of assorted female vocalists who were known for singing as women while being dressed as men. It was a bit of devilish cross-gender trickery that popped up from time to time in the traditions of the English music halls, Vaudeville and beyond. It is a somewhat remote niche of musical performance that is certainly interesting to sample, but with its firmest roots in Great Britain, it may be a bit too remote for satisfactory general consumption on this side of the pond.

With that initial thought as a backdrop, I will be quick to point out that the trim and attractive Ms. Walker, smartly dressed in a gentleman’s tuxedo (with an assortment of gent’s hats close at hand) has certainly done her historical homework here in this collaboration with Mr. Bartlett. One senses they have brought considerable scholarship to this examination of a musical form that could easily have fallen through the cracks of the historical record for both the late 19th and early 20th centuries. Serious music students may well enjoy becoming familiar with the genre, and Walker’s rich mezzo-soprano voice is certainly up to the task of recreating the performances of the notable crossover vocalists celebrated in her performance. It should be noted that these women always performed in their own voices without any intention of deceiving the audience about their real gender, male attire not withstanding. One of these was Ella Shields. She was perhaps best known for performing the music hall favorite, “Burlington Bertie From Bow,” a song composed by her husband, and nicely performed here by Ms. Walker. Sadly, after performing that very song on August 3, 1952, Ella collapsed on the way to her dressing room and died that same evening.

We meet other masters (or should I say mistresses?) of the form,  such as Vesta Tilley, Hetty King, Annie Hindle, the sister act of ‘Tempest and Sunshine,’ and yet another “Ella,” Miss Ella Wesner. The latter’s work was recognized with a performance of, “Down By the Old Mill Stream,” during which Walker encouraged the audience to join in on the repeated chorus. Of course there are touches of scandal in the book, as when Ella elopes to Paris to live openly there with her lover, a notorious New York actress named Josie Mansfield. The narrative points out that Ella must have taken secret satisfaction in singing a song like “Hi! Waiter,” in which we hear the lyric line:

“And all those who’ve never made love to a girl,

Well they don’t know the fun they have missed.”

Similarly, we learn about blues singer, Gladys Bentley, [no known relation to your author], who is described as,  “…a six foot, cross-dressing cabaret queen and out bull-dagger,” in 1930’s Harlem. Walker celebrates this artist with a fine performance of “Baby, Won’t You Please Come Home?” Gladys, by the way, was known for, “…her white satin tuxedo, her matching white topper and her girlfriends.” Among her cronies were Beatrice Lillie, Tallulah Bankhead, and the as yet undiscovered, Joan Crawford.

The aforementioned Vesta Tilley is acknowledged as the most successful of these ladies who preferred to perform as gents, and in her honor Walker does a nice turn with, “I’m the Idol of the Girls,” that has more than a touch of irony in its lyric. Meanwhile, as far back as 1864, Annie Hindle is credited with becoming the very first woman specializing in music hall male impersonations. Walker recognizes her contributions with a fine rendition of “Don’t Put your Foot on a Man When He’s Down.” Speaking of Hindle, she raised many an eyebrow in 1886 when she married her dresser, Miss Annie Ryan, in front of an unsuspecting minister who was later quoted in the New York Sun as saying, “The groom gave me her –I mean his—name as Charles Hindle, and he assured me that he was a man. I had no other course to pursue. The bride is a sensible girl, and she is of age. I believe they love each other, and that they will be happy.”

For all its interesting historical details, the show is primarily a musical event that is skillfully guided by Musical Director, Joe Atkins, accompanying on the eighty-eight.

Jessica Walker stars in THE GIRL I LEFT BEHIND ME Photo: Carol Rosegg

Jessica Walker stars in THE GIRL I LEFT BEHIND ME
Photo: Carol Rosegg

In addition to the title song, the eclectic song list includes such other tunes as, “I Love the Ladies,” “Jolly Good Luck to the Girl Who Loves a Sailor,” “Angels Without Wings,” “Why Did I Kiss That Girl,” “Following in Father’s Footsteps,” “I’m Sowing All My Wild Oats,” and “I’ve Got the Time, I’ve Got the Place.” There are even brief snatches of classic opera from Der Rosenkavalier and The Marriage of Figaro, and it must be said that Walker’s elegant voice was well prepared for those segments. Occasional “dim the spotlight” cues might help guide a cautious audience to moments when applause is appropriate, and some of the numbers may seem a bit too obscure for contemporary tastes. But a clear audience favorite was the more familiar and beautifully sung, “After the Ball.” Interestingly, Charles K. Harris, the first man to ever earn a million dollars in royalties, composed that latter song, which is sung here in tribute to Miss Tilley. I imagine I was not alone in having that tune linger in my brain long “after the ball” was over.

THE GIRL I LEFT BEHIND ME continues through Sunday, May 19th, at 59E59 Theaters, 59 East 59th Street, New York, N.Y. Tickets are $25 ($17.50 for 59E59 Members). For tickets and information call Ticket Central at (212) 279-4200 or visit the website at http://www.59e59.org.

Posted in Theater Reviews, Concert Reviews, Broadway, Off Broadway, London Theatre, BroadwayStars.com, ThePeoplesCritic.com, 59E59 Theaters | Tagged , , , , , , , , , | 1 Comment

ROCKAWAY BEACH BOARDWALK RESTORATION PLANS

Posted on March 13, 2013 by
A SECRET SANDY SURVIVOR

A SECRET SANDY SURVIVOR

I don’t usually extend my work as a critic to reviewing architectural designs and structures. But on a recent and near-perfect late winter afternoon in this March of 2013, I decided to celebrate the first hint of spring with a bike ride on the Rockaway Beach Boardwalk. Sounds impossible in the aftermath of Hurricane Sandy? Well its not! On that day a week ago I took the photo above of the long and very pristine section of the boardwalk that runs from about Beach 74th Street up to near 80th Street. While politicians and well-meaning community leaders jockey for position as millions of dollars go up for restoration grabs, few seem to know there was (and is) a solid and durable way to organize the reconstruction of this treasured beachfront asset, the beloved Rockaway Boardwalk. The section depicted here was the more recently constructed portion that utilized a brilliantly creative composite “stone” made, as I understand it, from a product blending recycled concrete and plastic. Talk about “going green!” What a splendid way to protect the environment, and as you can see in this unretouched photograph, the product weathered the “Storm of the Century” just beautifully with its eye-popping domino design still beckoning to all comers.

Rock Jetties Protect the Shore

Rock Jetties Protect the Shore

How has the New York media remained so blissfully unaware of this? Why waste time with months or years of dickering about how to proceed with the reconstruction? Go and see for yourself how successful this method has been in the face of everything nature could throw at it.

Solid Support Structures

Solid Support Structures

Step down on the sand and examine the solid support sturctures that are the underpinings of the span. While there, take note that the area is also in the zone of the massive stone jetties, the installation of which will be a critical future component of any serious longterm effort to protect this, one of the most beautiful beaches in all the world. Let’s not waste time with million-dollar impact studies and design competitions. Let’s get down to business with the proven strategy that works. The clock is ticking.

Posted in Hurricane Sandy, Rockaway Beach Boardwalk | Tagged , , , , , , | 1 Comment

Taking a “Page” From American Pop Music History

Posted on December 21, 2012 by

Patti Page 5

Like many New Yorkers, my world has not been untouched by the still ongoing effects of the now notorious Hurricane Sandy, which, for some time, have sidelined my work as a critic. For my return to the fold, I tried to choose a production with upbeat potential. It seems I chose wisely with FLIPSIDE The Patti Page Story. Conceived, created and directed by Greg White, we have here a pleasant mix of background storyline and 28 songs associated with the popular singer. This little gem is already selling out much of its limited run, so I hope readers are not disappointed if they attempt acquiring tickets.

Patrons arriving early can enjoy a projected running slide show of photos from Page’s years in show business. There are publicity stills, sheet music copies, magazine & album covers, and lots of shots of Page with such noted celebrity friends as Bob Hope and Burt Lancaster. Patti Page 1An eager buzz permeates the room, and when the curtain rises the show employs an unusual theatrical device as Haley Jane Pierce portrays Clara Ann Fowler (Patti’s reflective and more contemporary older self), while attractive Lindsie VanWinkle portrays the star during her more glamorous, pop-singing prime. Throughout the production, the two interact in ways that could at first be confusing until audience members realize that Clara was the star’s real name before she became known as Patti Page, “The Singing Rage.” A fine supporting cast (Willy Welch, Justin Larman, Jenny Rottmayer and Kassie Carroll) brings pleasant variety to the proceedings, with the gents in several bit roles and the gals primarily acting as backup singers for Miss Page.

The time is 1965, and the action takes place both at radio station KTUL in Tulsa, Oklahoma (set designer, Matt Avra), and also in the mind and memory of the mature Clara as she revisits the empty studio in which she got her career start so many years before. Patti Page 2As Clara reflects on the concert years that followed, each memory calls up a performance scene that brings the talented VanWinkle back to perform another of the star’s hits. Between songs, the narrative from Clara provides bits and pieces of Patti’s life story. We learn of her hardworking and loving father (tenderly portrayed by Welch), her sisters (played by Carroll & Rottmayer), her poor Oklahoma childhood in a family with 11 children, and her somewhat ruthless concert manager (a very animated Mr. Larman).

For her opening number, “It’s Been So Long,” VanWinkle arrived onstage in the first of a series of gorgeous costumes by designer, Corey Martin. Long black gloves and sparkling jewelry accented a shimmering teal & black evening gown, as a sky of blue stars twinkled above the stage (lighting designs by Laurel Shoemaker). Moments later VanWinkle was back in a sleek black gown with red lace accents, while she delivered a rhythmic and Latin-flavored, “All My Love,” and the twinkling stars turned to ruby red. Next came the merry gaiety of the familiar “Mockin’ Bird Hill,” as the backup singers joined VanWinkle dressed in matching pastel-striped summer frocks. Patti Page 4The number could have popped right out of a Lawrence Welk show. There was plenty of pizzazz for “Frankie & Johnny,” and “Don’t Sit Under the Apple Tree,” and a rich and pleasant “To Each His Own,” soon followed. VanWinkle joins Rottmayer for the lovely, “Oh What It Seemed to Be,” but at times there would seem to be a disconnect in the flow of the song as Clara and Patti alternate singing from their separate dimensions. There’s a sassy “Oklahoma Blues” duet, and a soft, warm, “Every So Often.” The gals produce swell harmonies in songs like, “With My Eyes Wide Open,” and the satisfaction could be enhanced if the two talented backup singers would tone down the coy grins and incessant synchronized gestures that seem to punctuate every syllable of the song. Songs of such quality can stand on their own without the need for excessive antics. Touches of silliness worked better with the fun-filled tunes, “Detour” and “How Much Is That Doggie In The Window?” Those numbers had the happy audience cheerfully clapping and singing along.Patti Page 3

Another glamorous highlight is Patti’s arrival on stage in a glistening Cinderella ball gown of pale lavender as she delivers a velvet smooth, “Why Don’t You Believe Me? The wardrobe fun continues when she next appears in a smart and sparkling peach-colored pantsuit draped with soft yellow chiffon while singing a snappy, “I Don’t Care.”

We learn that Miss Page was a pioneer with her song, “Confess,” in which she developed the “over-dubbing” and echo techniques still so common in music today. She was unique as well in having her own TV shows appear on all three networks of the day. Her dad’s kindly influence (“Never forget who you are and where you came from”) seems always in the background until his death in 1963. Clara recalls affectionately, “He was a man of few words, but he loved to hear my voice.”

The girls bring more mellow harmonies to “Allegheny Moon,” and the lushly visual, “Old Cape Cod,” though our sometimes-hyper backup singers seemed to be twisting to each beat of the latter. The gentle vocal elegance of VanWinkle’s “You Belong to Me,” was every inch the equal of her beautiful beige & gold gown. There was the cheerful energy of “Back in Your Own Backyard,” and the jazzy fun of the lesser-known recording, “Boogie Woogie Santa Claus,” which surprised all by becoming a hit record due to the “simple and honest” flipside tune, the classic “Tennessee Waltz.” Here the number was a bit diminished with some dialogue interruptions and Patti at first staring vacantly on as Clara launches into the song before her. In a perfect world such a perfect song would be delivered just as written, but the delightful full cast finale of “This is My Song” quickly erased that minor complaint.

In a personal note that serves as preface to the printed program, Miss Page, (still active and performing today at age 85), writes as follows: “I often hear that a particular song or performance of mine continues to hold a special memory for someone.” That will probably never be truer than for lucky fans that are able to capture a ticket to “Flipside.”

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Click_Here_for_FLIPSIDE_video_preview

The limited engagement of FLIPSIDE The Patti Page Story continues through Sunday December 30th at Manhattan’s 59E59 Theaters, 59 East 59th St. (Between Park & Madison), with performances Tuesday thru Thursday at 7 p.m., Friday at 8 p.m., Saturdays at 2 p.m. and 8 p.m., and Sundays at 3 p.m. Tickets are $60 ($42 for 59E59 members). For tickets & information call Ticket Central at (212) 279-4200 or go to www.59e59.org.

Posted in Theater Reviews, Concert Reviews, Off Broadway, BroadwayStars.com, ThePeoplesCritic.com, 59E59 Theaters | Tagged , , , , , , , | Leave a comment

Twin Talents Shine in “THOSE FABULOUS DORSEYS”

Posted on September 19, 2012 by

If there had been any question as to whether the 59E59 Theaters complex is a Mid-Town Manhattan Mecca for presenting cutting edge variety in the performing arts, the current run of “The Anderson Twins Play the Fabulous Dorseys” would make it clear. The Theater ‘C’ setting was transformed into a delightful cabaret with café tables illuminated from above by the crimson accents of gaily fringed hanging lamps. The surrounding walls have a period charm of their own, decorated with posters, photos and musical instruments reminiscent of the Big Band Era during which Tommy and Jimmy Dorsey reigned in the big band ballrooms. Claustrophobics need not apply for attendance as the intimate room is tightly packed for 60 guests squeezed in four-at-a-table, but for those who can jump that hurdle you are in for a stunning musical ride down Memory Lane.

The handsome and youthful twins, Pete and Will Anderson, may be in their late 20’s, but they could pass for much younger. Nevertheless, their mutually brilliant talent has a rich musical maturity that is simply astonishing to witness up close in such a setting. Their sextet for this gig is solidly backed up by a somewhat fluid group of rotating musicians who bring high-quality musicianship to trumpet, drums, bass and piano. The printed program lists Jon-Erik Kellso (trumpet), Ehud Asherie (piano), Kevin Dorn (Drums) and Clovis Nicolas (Bass), but audiences can anticipate occasional alternates in each of those supporting roles as was the case when talented Dave Baron took over on bass at the performance I attended.

For reasons that were not entirely clear to me, there was one peculiar glitch as the show prepared to get underway. The attractive performers, all smartly dressed in suits, ties and French cuffs, walked through the audience to assemble on the small corner bandstand that comprises the set. But then there was an awkward period of several minutes with the cast just sitting there looking at each other and out over the audience toward an open exit door. The audience waited politely as we all wondered what the delay was. Finally, a host from 59E59 stepped forward to give a brief introduction, and then it was off to the races for a truly stunning and creative musical tribute to the Dorsey brothers.

The show began quite cleverly with a surprisingly clear and audible projection of an episode of the old “What’s My Line?” television show hosted by John Charles Daly. The mystery guests were Tommy and Jimmy Dorsey, and after a series of amusing questions from the panelists, Dorothy Kilgallen finally correctly solved the mystery. With that the lights came up on the bandstand for a light, mellow opening with the Ray Noble tune, “Cherokee.” Next came a delicious Sy Oliver composition, “Opus One.” The musical virtuosity of the twins was immediately clear during the terrific solo moments that verified their Julliard credentials. (Pete plays tenor sax, clarinet and bass clarinet, while Will handles alto sax, clarinet and flute). Kellso’s solo segments would dazzle throughout the performance, with drums, bass and piano shining just as brightly.

Next, the genesis of the show’s “Those Fabulous Dorseys” title became more apparent with the first of a series of video clips from the 1947 film of the same name. Those clips guide us through childhood, adulthood and family life for the sometimes-feuding brothers. In between we have a live smorgasbord of musical goodies from the band that includes such treats as, “Dusk in Upper Sandusky,” “Hollywood Pastime,” “Runnin’ Wild,” “Beebe,” “Swanee River,” “After You’ve Gone,” and “Deep River.” Just about every number spotlights the considerable individual talents of the gifted ensemble. Kellso’s subtly muted trumpet softly starts a “Tangerine” that is sent quickly soaring, and then in an amusing takeoff on the feuding Dorseys in the film, the Andersons have an onstage feud of their own that results in the full cast angrily stalking off the stage for intermission.

But fear not. They return ten minutes later for a lush, “I’m Getting Sentimental,” the pounding excitement of “Song of India,” the prancing merriment of “Sunny Side of the Street,” and a fun-filled version of Claude Hopkins’ “I Would Do Anything For You.” “Oodles of Noodles” has Will soaring on sax, while Pete brings blues and soul to “Loose Lid Special.” There is a frisky rendition of Dizzy Gillespie’s “Grand Central Getaway,” and a jazzy “Flight of the Bumblebee,” full of sharp edges with unexpected twists and turns.

For these identical twins with identical talent, George Gershwin’s, “I Got Rhythm” would be a joyful closer with Will shining on clarinet and Pete matching him on sax. One can’t help but admire the youthful enthusiasm this group brings to music that was written and popular before they were ever born. I heard a woman in the audience remark, “Maybe there’s still hope for great music!” In any event, one line in the film might apply quite nicely to the Anderson twins: “If they just stick together they can lick the world!”

THE ANDERSON TWINS PLAY THE FABULOUS DORSEYS continues through October 7th at the 59E59 Theaters at 59 East 59th St. in Manhattan. Performances are Tuesday-Thursday at 7:30 PM, Fridays at 8:30 PM, Saturday at 5:30 PM and 8:30 PM, and Sundays at 3:30 PM. (There will be additional 7:30 PM performances on Sundays, September 23rd and 30th). Tickets are $25 (17.50 for 59E59 members). To purchase tickets, call Ticket Central at (212) 279-4200 or go to www.59e59.org .

    For a video preview visit:

 http://www.youtube.com/watch?v=YuJLwg0r4E4&feature=youtube_gdata_player

Posted in 59E59 Theaters, BroadwayStars.com, Concert Reviews, Nightclubs, Off Broadway, Theater Reviews, ThePeoplesCritic.com | Tagged , , , , , , , , | 1 Comment

Bennett Stars, But Belasco Steals The Show

Posted on August 26, 2012 by

Judy Garland
PHOTO: Courtesy of Smithsonian Institute

For leading lady, Tracie Bennett, the role of Judy Garland was not a new one. But it must be said her performance in the just concluded Broadway run of End of the Rainbow was certainly a tour-de-force reflection on the last years of Miss Garland’s often troubled life. Directed by Terry Johnson, this Peter Quilter play spares nothing of Judy’s tragic final efforts to free herself from her demons. The drug and alcohol addictions, emotional breakdowns, fiery rants, financial disasters and failed marriages are all on display. In one scene Judy can’t recall all of her ex-husbands’ names, quipping, “Who’d I miss? Grumpy, Dopey, Sleazy…?” Set in London of 1968, we find ourselves in Judy’s elegant French Provincial suite at the Ritz Hotel. Scenic designer, William Dudley, has created a charming grand salon with a soft ivory hue that is offset by ornate gold trim, sparkling chandelier, high ceilings, elegant furnishings and circular wall paintings in the classic style.

The Belasco Theatre – New York
PHOTO: Courtesy of ThePeoplesCritic.com

Speaking of ornate and elegant surroundings, the Belasco Theatre is a perfect example. Designed for impresario David Belasco by the architect, George Keister, the venue first opened as the Stuyvesant Theatre in 1907. Rich wood panels of the ceiling are accented by Tiffany lighting and stained glass, while enormous murals by American artist, Everett Shinn, preside on the walls above the proscenium. It is clearly one of Broadway’s most elegant houses, but alas, the elegance of the set and theatre did not translate to the performances on the stage. That may be due, in part, to some awkward aspects of the script, and to character interactions that make the piece oft times uncomfortable to watch. Michael Cumptsy plays Anthony, Judy’s gay and patient musical director, and there are flashes of both warmth and exasperation in his portrayal. Tom Pelphrey plays Mickey Deans, Judy’s manager, fiancé, and soon-to-be last husband. As the action begins in December of 1968, Deans goes head-to-head with her for tantrums, and tries with little success to keep the star sober and drug-free for the five-week concert run at London’s Talk of the Town nightclub. Reflecting on her addictions, Judy muses, “No wonder I skipped down the Yellow Brick Road! I could have flown down it!”

Bennett was essentially fearless, savage, and occasionally tender as the struggling Garland, and really held up her end in many ways, especially vocally. Her somewhat raspy voice may have been tired as this four-month run came to a close, but the dynamic atmosphere of Garland’s song delivery was very much in evidence for numbers like, “You Made Me Love You.” She did not try to mimic the star we all remember, but she did capture mannerisms that were unmistakably Garlandesque. It was Bennett’s vocal power that rescued the show early in Act One as the bickering dialogue between the players in the hotel suite was becoming tiresome. Suddenly we were transferred to Judy’s onstage performance in Talk of the Town. Bennett explodes with a stunning, “I Can’t Give You Anything But Love,” and the powerful 5-piece band is revealed behind her. (Musical Director, Jeffrey Saver). She is a visual knockout as well, dressed in a crimson chiffon gown with scarlet feather trim. (Costume designs also by Mr. Dudley). The nightclub performance continues to build in excitement as Miss Bennett delivers an electrifying “Just In Time,” accented by audio echoes, with soaring voice and gestures to match. The segment was a wonderful relief for what had been approaching boredom, but the set closes in somewhat frantic fashion as Judy drags her fiancé reluctantly onstage to introduce him to the audience. Back in the hotel suite the following day, Judy is not very happy with a newspaper review photo that “…makes me look like the Bride of Frankenstein.” She runs herself down with lines like, “My chin and my tits are in a race to my knees.” Bickering escalates and we start to hear the saucy tongue and four-letter words Judy can quickly toss off when angry. ( Watch out! She might toss a fruit bowl across the room as well.)

Garland as Dorothy in “The Wizard of Oz”
PHOTO: Courtesy of Smithsonian Institute Postal Museum

Unpaid hotel bills endanger the continued stay until Judy threatens the manager with a jump out the window that might result in “…Dorothy splattered all over your red carpet.”

An awkward BBC radio interview follows (announcer played by Jay Russell), and Judy demonstrates her knack for saying the wrong thing at the wrong time as she asks the broadcaster, “Is your sex life as colorful as your sweater?” But suddenly the tension is relieved and we are jetted back to Talk of the Town as Judy delivers “For Me and My Gal,” and “The Trolley Song,” with a playful hyper-energy that seems at times to be alternately frantic and grotesque. Back in the hotel suite the drunken rants and petty arguing with Mickey become increasingly annoying. Her desperate groveling on the floor is disturbing as Mickey finally storms off and she belts out a wailing, “Man That Got Away.”

In Act Two’s return to the nightclub Judy is in a glittering, rust-colored suit as she delivers a disjointed, “When You’re Smiling.” It is full of wandering ad libs, off-tempo singing, forgotten lyrics and cursing from the stage. We move on to a “Come Rain or Come Shine” that seems like a freak show exhibit exaggerating every physical quirk associated with Miss Garland. Soon her death from a drug overdose follows, but our pain continues as we hear speculation that, “Immortality might just make up for everything.” Judy has a ghostly return for a weepy and melancholy, “Somewhere Over the Rainbow” that somehow seems joyless and out of place.

Garland in younger and happier days
PHOTO: Courtesy of Kentucky Educational Television

We have seen all the troubles we wish a troubled life could avoid, and I found myself hoping it was never quite this bad for the diva. Sure, much is based in the reality of her struggles, but is this the Judy Garland we need to remember? I don’t think so.

Posted in Theater Reviews, Concert Reviews, Broadway, London Theatre, BroadwayStars.com, ThePeoplesCritic.com | Tagged , , , , , , , | Leave a comment

Hamlisch and HSO Well-Matched at Pavilion

Posted on August 7, 2012 by

[ NOTE: The PEOPLE'S CRITIC column below from August 17, 2000, is reprinted here in memory of brilliant Broadway and film composer, Marvin Hamlisch, who died today. ]

MARVIN HAMLISCH
Photo: Courtesy of the U.S. National Institute of Health

It was a warm night in Texas when renowned Broadway and motion picture composer, Marvin Hamlisch, took his place at the grand piano of the Cynthia Woods Mitchell Pavilion for his recent concert there. Mopping his brow on arrival, Hamlisch, and the Houston Symphony that accompanied him, had the perfect recipe to cool things off: a medley of Cole Porter tunes that began with a pure, elegant, “Night and Day.” Suddenly, to the accompaniment of rich, orchestral accents, there emerged a Latin version of  “You Do Something to Me,” that was full of rhythmic grace. This gave way to a crisp and jazzy “I Get A Kick Out Of You,” with piano and orchestra weaving in and out of each other’s artistry. A haunting violin solo was featured in “It’s Alright With Me,” and a shimmering return to “Night and Day” closed out the set. By this time, Mr. Hamlisch was drenched in his white dinner jacket. When fans shouted, “Take off your coat,” he declined, teasing that he didn’t want to leave the audience with the image of a “sweaty Jew in a shirt.” He urged that double applause be awarded the orchestra members because “…First of all, they are great, and secondly they have stamina!”

            The program continued with selections from the Hamlisch soundtrack for “Sophie’s Choice.” It was a tender and embracing score, and beautifully displayed the extraordinary talents of HSO. Next on the bill was a tribute to Richard Rodgers. It included a sumptuous and exotic “Bali Ha’i,” (under rose-colored spotlights), an “Oklahoma” that was bursting with joyful energy, a “Lady is a Tramp” full of bounce, and a soft, caressing “With a Song in My Heart.” Handsome tuxedoed soloist, Steven Leahy, gave the audience more Rodgers hits beginning with a smooth, almost operatic rendition of “Hello Young Lovers.” He followed that with a delightful “It Might As Well Be Spring,” that was perfectly controlled. With swinging backup from the orchestra, Leahy delivered a foot tapping, high energy “This Can’t Be Love.” Then, in a sudden downshift, he offered a gentle and tender “Some Enchanted Evening,” which rose to such heights that it caused unfortunate distortion from the microphone. Audio problems continued as Leahy, never the less, gave a resounding, and well-received performance of Andrew Lloyd Webber’s, “All I Ask of You,” from Phantom of the Opera.

            Then followed a comic segment in which I unexpectedly played a part. Hamlisch asked the audience to call out song title suggestions so that he might select one to use in composing a new tune from the stage. Having watched him suffer in the Houston heat, I violated the traditional critic’s low profile, and called out: “Houston Summer Night.” The composer wasted no time in taking my idea to the keyboard, where he quickly put together a forgettable, but witty lyric, that closed with the line: “How I hate to concertise when the Fahrenheit is 1-0-4!” The audience roared with laughter.

            Better music was found in the subsequent Jerome Kern medley. Among the sparkling highlights were “The Song Is You,” “They Didn’t Believe Me,” “I Hear Music,” and a Showboat collection that featured one of the best versions of “Old Man River” I have ever heard. Hamlisch tipped his hat to Barbra Streisand (he was her rehearsal pianist when she was on Broadway in Funny Girl) as he performed “People,” and “The Way We Were.”

            The highpoint of Act II was the composer’s performance of “…the Overture that A Chorus Line would have had, if it had had an overture.” It seemed to contain all the wonderful songs from Mr. Hamlisch’s Pulitzer Prize winning Broadway show. I was especially moved as I listened to the beautiful “What I Did For Love,” and recalled how, a quarter of a century ago, many of the sixth grade girls in my charge would cry whenever we rehearsed the touching song for our graduation performance. I think I have finally caught up with their sentimentality.

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A Midsummer Night’s “BUNNY” for HSO at Pavilion

Posted on August 2, 2012 by

Houston Symphony with Guest Star, Bugs Bunny
PHOTO: Courtesy of ThePeoplesCritic.com

My story could have been called A Midsummer Night’s Dream, but I understand that title has already been used. But dreamlike it was, to see an audience of nearly ten thousand people of all ages, many of them children, all drawn together under a starry sky and half moon to share an experience at the Cynthia Woods Mitchell Pavilion that would bring delight to one and all. The recent event was titled BUGS BUNNY AT THE SYMPHONY, and what a symphony it would be when the renowned Houston Symphony Orchestra took to the stage to accompany what Elmer Fudd might have referred to as, “dat wascally wabbit.” Three huge movie screens would surround the audience to display some of the very best of the Warner Brothers vintage cartoons. Simultaneously, the orchestra would accompany the films with an evening of memorable musical classics. The Pavilion reportedly expected an audience of about 2500, but the enduring popularity of Bugs Bunny would quadruple that number as it united friends and families across the generations to enjoy the color, witty humor, superb animation and wonderful music that have made these cartoons classics in every sense of the word.

WILL MAKAR
Photo: Courtesy of ThePeoplesCritic.com

Even before the concert got under way there was abundant family fun out on the Pavilion plaza where youngsters could enjoy free ice cream and make their very own bunny ears.

BREAK AWAY Album Cover
Photo: Courtesy of WillMakar.com

Keeping things lively for the older set there was a fine pre-concert performance from local hero of American Idol, Will Makar, and his “Red Line” band. Shirlyn Makar, the star’s mom, had every right to be beaming with pride as the crowd roared approval of her son’s group. While chatting with her briefly after the show she kindly presented me with a copy of Will’s latest CD album, “Break Away.”

Then it was on to the main event as world-renowned conductor, George Daugherty, stepped to the podium. It was Daugherty who created, directed and conducted the Broadway musical hit, Bugs Bunny on Broadway, in 1990. Along with his producing partner, David Ka Lik Wong, he developed the new version, Bugs Bunny at the Symphony, which was launched in 2010 with twin World Premieres from both the Sydney Opera House in Australia and the Hollywood Bowl in California. With darkness descending, Daugherty led the regal Overture from Franz Von Suppe’s “The Poet and the Peasant.” Composed by Hollywood legend, Max Steiner, the familiar “Warner Bros. Fanfare” that followed brought cheers of anticipation from the audience. Then the first cartoon, “Baton Bunny,” brought peals of laughter from the crowd as conductor, Bugs, chalked up his baton as though it were a cue stick for a game of pool.  Next, in “Rhapsody Rabbit,” one could sense the universality of nonsense as a mouse torments Bugs while demonstrating boogie-woogie skill on the piano. The animated film, I Love to Singa, had a deliciously original “Looney Tunes” montage created by Daugherty, Wong and Scott Draper. It was highlighted by such familiar tunes, as “Would you Like to Take a Walk?” “Tiptoe Through the Tulips,” and “Hello My Baby,” while opera lovers could enjoy a taste of Rossini’s Barber of Seville with the “Largo Al Factotum” from a cartoon titled, “Back Alley Oproar.” Of course the Texas audience really enjoyed the Square Dance segment from “Hillbilly Hare,” which featured music of “Skip to My Lou,” and “Turkey in the Straw,” while Bugs played the fiddle.

BUGS BUNNY
Photo: Courtesy of Cynthia Woods Mitchell Pavilion

Time and again during the program it was fascinating to see the skillful synchronization of the orchestra with the films for such really musically complex cartoons as, “Zoom and Bored,” with its original score by Carl W. Stalling and Milt Franklyn (based on Smetana’s “Dance of the Comedians,” from The Bartered Bride). The technical skill, research and creativity involved can only be imagined.

Speaking of “The Dance of the Comedians,” following the Intermission the complete piece was performed by the orchestra with all the sweeping elegance that it deserves. With his large frame, the imposing Mr. Daugherty brought impressive grace to his work as conductor. The second part of the program featured such animated treats as “Tom and Jerry in the Hollywood Bowl,” with its music based on the Overture to “Die Fledermaus,” by Johann Strauss II. There were more creative cartoon montages by Laura Gibson and Scott Draper to celebrate both Scooby Doo and The Flintstones. As wide-eyed youngsters looked on with delight, little did they know they were being exposed to the classic music of Edvard Grieg (“In the Hall of the Mountain King”), and Jacques Offenbach (“Can-Can” from Orpheus in the Underworld).

In a cartoon titled, “Corny Concerto,” the artwork and visual fantasy of the animation seemed especially rich while accompanied by the waltz magic of the Strauss masterpiece, “The Blue Danube.” The cartoon’s graceful quacking swans at last made me realize where my brother and his granddaughter acquired the silly quacking concerto they love to sing together. There was so much more, including an amusing animated tribute to the works of Richard Wagner titled “What’s Opera, Doc?”  When the orchestra played the familiar “That’s All Folks,” theme that ended so many cartoons, it seemed the special evening was over. But the perfect encore followed as maestro Daugherty conducted the finale of Rossini’s “ William Tell Overture” during the screening of the conductor’s brilliant closing montage, “The History of Warner Bros. Cartoons in Four and One Half Minutes.” Who ever knew that education could be this much fun?

The columns of David Dow Bentley III have appeared on Broadway websites, in newspapers from the East Coast to the Gulf Coast, and may be viewed online at the website: www.ThePeoplesCritic.com

E-mail may be directed to ThePeoplesCritic@earthlink.net

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