Showing posts with label theatre. Show all posts
Showing posts with label theatre. Show all posts

Monday, March 7, 2016

Paying for the Fiddler

This morning, as I was perusing the New York Times online, I stumbled upon a mention of the current Broadway revival of the musical "Fiddler on the Roof". The mention was in the headline of an article about the lifestyle of one of the show's performers. As I checked to see if I was interested in the article, I noticed a link to the show's review, from which I surmised that the revival started its run a few months ago. That review contained a link to the original production's review from 1964, which I also read.

from the 1964 review
 
I must mention that I subscribe to the New York Times online. Personally, I still I prefer the old fashioned experience of holding a newspaper, folding and turning the pages (and the sound that made), and getting my fingers smudged with rubbed off ink. I liked seeing the ads for products in which I had no interest; graphic concoctions of art and commerce that helped pay the paper's operating expenses. I liked seeing articles that piqued my curiosity, I liked reading opinions that differed from my own. I do not wish to be party to the slow and painful death of newspapers and objective reporting, but the fact of the matter is that the Times is unaffordable for me to purchase on a daily basis. My online fee, acquired during a special promotion, runs $15.00 a month and includes the paper's historical files. I would not be able to afford one month of the paper's Sunday edition for that price. These promotional deals are often set for a number of months, and bear constant watching, as the monthly fee is deducted automatically from my bank account. When the deal expires, one will find one's account charged at a much higher rate without warning. A month isn't really a month - the date on which my subscription fee is deducted from my bank account is a moving target, forever edging forward. At the beginning of this past autumn, the deduction was made during the third week of the month. It is now made within the first few days of the month. This maneuver, of course, is not unique to the Times. My cable/phone/internet bill does the same thing. As that one is a much larger amount, I can't let it be set to automatically deduct lest I be caught short. But the date for that bill still changes, a month is not a month, and the 'due by' date seems to move forward as well. But I digress. 

When I lived in New York City, or within a hour or two of it, I greatly enjoyed going to shows. Reading the original review of 'Fiddler', I started to wonder how much it cost back in 1964 when it debuted. As the review was in a .pdf scan of the paper, I went to the next page to check the theatre listings for the price. In 1964, an orchestra seat for that brand new musical cost $9.40 on a Friday or Saturday night when prices were highest.

As cost is relative, I looked up the minimum wage in 1964. The Federally set minimum in those days was $1.25 an hour. Which means, that forgetting taxes, deductions, and etc. someone earning the minimum wage would have to work for 8 hours to afford one ticket.

The top price for an orchestra seat for the current revival, which is far less than the price of a new show, is $167.00 for a Friday or Saturday night. Someone working at the Federal minimum wage of $7.25 an hour would have to work over 23 hours to afford one ticket.

The Broadway Theatre, one of the few theatres whose entrance is actually on Broadway. It was built as a movie palace with a stage. Mickey Mouse made his debut here before it switched to live shows. It returned to movies for the premiere of Disney's 'Fantasia', and once again for the premiere of Cinerama. When I was seeing shows there, the exterior looked quite different. (The first show I saw there was 'Cabaret', back in 1968.) The current façade and marquee are from work done when the neighboring skyscraper was built a few years ago.


My curiosity got the better of me, and I looked to see how much an average orchestra seat for the current hot ticket, the hip-hop infused musical 'Hamilton' would cost. Finding ticket prices is somewhat difficult if one isn't ordering, and for 'Hamilton', tickets are hard to get. I found someone who complained in a letter written last June that the mid-orchestra seats they had just acquired for that November cost $327.00 each. I decided to check the show's website, which claimed that a few seats were indeed available. The cost for next Friday night was well over $1,000.00. I think it was close to $1,200 something, but my eyes and mind boggled. I had to look away.






Sunday, February 9, 2014

Hyperbole

When exactly was it? How did it happen, I often wonder, that our language descended into such decadence that the only thing left for it is the phenomenon of 'semantic satiation'? Was it the advertising hucksters who threw adjectives against nouns with punny commercial abandon? Was it the politicians seeking to waltz already malleable truth? Understanding isn't really necessary, even when it is still possible. I suppose this rumination originated with posts on Facebook. Some people post wonderful, funny, fascinating things. Images, videos, articles, news stories, memes. There are many posting groups centered around themes, such as "classic movies", "cute cats and funny furry animals", "my sad tale of woe", "horrid Hollywood homicides", "liberal politics", "Obama is destroying our country", etc. Some of these groups make money for advertisers by delivering a targeted audience. Many times, links are posted to web pages which, of course, contain paid advertising. A 'linked' article may require one to page through, well, several "pages". Pages with advertising. And pop up windows with advertising, and buttons to "like  this" on Facebook, Twitter, or any of a half dozen or more other "social networks". "Liking" basically translates as, "this will cause your friends who use said service to see your name and picture recommending this post, and there is even room for you to make a comment! You will show everyone that you are just so cool and with it by sharing this interest. Or educate them in this topic. Our headline and a few sentences will stay. And, Oh!, we have ads for you, too!") Each page view is rewarded with some one thousandthmillionth something or other of a cent. Volume is money. Advertising brings volume. So, in Social Media Land one doesn't have a "cute cat pic", one has "The Funniest cat pic of all time! I laughed so hard I wet my pants!" A minor and slightly unfortunate happenstance is suddenly an "Utterly Huge Fail!!!". (The latter phrase always seems to be used by individuals who betray no irony in using that particular verb as a noun.) "The Most Incredible Thing Ever of All Time!" It's like an all news channel, constantly producing raised levels of stress.

 
 
I'm not an Obama fan, but these "memes" are visual hyperbole and very annoying.
This post was originally going to note that we are midway through the awards shows season, and compare those programs and their breathless reportage with the State of the Union address. Hyperbole being a seemingly necessary ingredient all around. At the moment, however, I've become overwhelmed by "the night that changed the world" and several variations of that phrase. The night referenced is this very evening (February 9th), exactly 50 years ago. In this case, there is no exaggeration.

At 8pm Eastern Standard Time that night, Marconi Mark IV television cameras began broadcasting from what was then known as the CBS 'Studio 50'. It had opened in 1927 as the 1,400 seat Hammerstein's Theater. At various times, it was known as the Manhattan Theater (twice!), Billy Rose's Music Hall, and served as a nightclub. In 1936 it became Radio Theater #3, and then the CBS Radio Playhouse. It was converted into a television studio in 1950. Shortly thereafter, it became the home of "Talk of the Town", which soon changed its name to what everyone was already calling it - the "Ed Sullivan Show". 

Studio 50, at 53rd and Broadway, was a busy place. The Honeymooners was broadcast from there for several years.
As were What's My Line, To Tell the Truth, Password, the Rogers and Hammerstein Cinderella, Kate and Allie, etc.


Sullivan had been a boxer who had segued into being a sports reporter for The New York Evening Graphic. When Walter Winchell left the paper for the Hearst syndicate, Sullivan took over as theatre critic and gossip columnist. He soon had the power to make and break careers using the El Morocco as his home base (Winchell used The Stork Club). As the era of café society began fading, CBS hired him to host a variety show. The show was a huge hit and quickly became required viewing in any home with a tv set. And then there was the night in 1956 when Elvis Presley was on. Close to 83 % of the US tv audience tuned in - over 60 million people. (If someone tells you that they saw that show, ask them about the look on Sullivan's face after seeing Elvis perform. If they describe it, they didn't see the show. Sullivan was sick that night and "Elvin Presley" was introduced by guest host Charles Laughton.) By the way, Elvis was not "cut off at the hips" on that broadcast. That didn't happen until his third appearance.

By 1960, the Sullivan show was so famous that it was used as a plot device in the Broadway musical "Bye Bye Birdie". There was even a song called, "Hymn for a Sunday Evening", which was in the sequence that aired on the Sullivan show (advance the video player to 6 minutes into this clip if you want to just see the number in question performed by Paul Lynde and the cast):



In 1963, Sullivan was traveling through Heathrow airport as the fans of a band returning from a tour went wild. He said it was 'like Elvis all over again'. He offered the band top dollar for a guest spot. The band's manager, Brian Epstein, said he would take far less money - as long as The Beatles got to appear on three consecutive shows, got top billing, and numbers at the beginning and end of each show. Their first appearance was 50 years ago this evening.



Sullivan wisely planned for the bedlam which would follow the Beatles opening segment, and had the second act, a card magician, prerecord his appearance. The third act was the cast of the London musical, "Oliver", which had just transferred to Broadway. While waiting to go on, they had cheered their countrymen from the wings. The teenager playing the Artful Dodger was so impressed by the Beatles' screaming fans that he decided that he would have to become a rock star. After his run in Oliver, he signed with Screen Gems, the tv arm of Columbia Pictures, appeared on a few tv shows, and recorded a record for their label.  He soon became famous as Davey Jones of the Monkees.

The Beatles' Sullivan shows were broadcast in black and white - the show didn't make the change to color until 1965. (1965 was the first year of widespread color broadcasts. In those days, CBS had its own color process, which was different from the other networks. NBC used the system and cameras developed by RCA, which happened to own NBC. ABC was still too poor to afford its own color cameras, so they leased from NBC. In one of those moments of true irony, when color recording was desired for use in the US space program, the RCA designed equipment ended up using the CBS system to accomplish that goal.)

There will be a big Grammy tie in celebration of the Beatles anniversary tonight at 8pm. It will take place in the Ed Sullivan Theater, formerly Studio 50. For the last may years it has been the home of the David Letterman show. I don't know if they will use the old black and white footage - if they do, you'll note that Paul and Ringo often look up - they were looking at the fans in the balcony, which has since been removed. It's a much smaller theater now - these days, they use less than 400 of the seats. When the theater was rehabbed to house hi-definition broadcasts a few years back, a little known passageway to CBS' Studio 52, around the corner on 54th street, was sealed up. That studio, by the by, became better known as the nightclub "Studio 54". The Sullivan show faded away in 1971, victim of an aging demographic and lack of interest in vaudeville style entertainments. And the Beatles? Well, if you don't know that part... just check Facebook tomorrow. There will be lots of posts about them and the show tonight, with headlines like "Greatest Night Ever!", "Colossal Grammy Fail - What Were They Thinking?" and etc.




Sunday, February 10, 2013

Farewell, Lieutenant Cable

One of the things that disturbs me about reading news on the internet is the speed with which certain stories vanish. Oh, they're still out there, but the listings of the various stories on the news services change very quickly on a busy news day. If you don't happen to catch a headline when it appears, it may soon be gone. Sometimes, it takes awhile to catch up with a story, or to even find a story you didn't have time to read when it was first listed. This morning, while catching up with the New York Times, I found one of those stories that got by me.

The actor John Kerr has passed away. He was once a fairly well known name on Broadway, winning the 1954 Tony award for his performance in Robert Anderson's then daring play "Tea and Sympathy". It was a florid little pot boiler which co-starred Deborah Kerr (no relation). They both reprised their roles in the movie version. 

Due to the censorship restrictions of the time, the script of the movie suffered a bit. On stage John Kerr's character, 17 year old student Tom Lee, was tormented by classmates who found him less than manly. He knew how to sew. He read books. He liked classical music. Somewhere between Broadway and the MGM sound-stage, he changed from being a suspected homosexual to being a suspected "sister boy". Etc. At the play's conclusion,  older woman Deborah Kerr helps the young man's opinion of himself by starting to unbutton her blouse while uttering the now famous line, "When you speak of this in future years - and you will, be kind". Curtain.










(Just as a by the by, in the movie version there is no doubt about the outcome of that final stage scene as a framing device was used to tell the story in flashback.) 

John Kerr then took on the role of Lieutenant Cable in the movie version of the Rodgers and Hammerstein WWII musical "South Pacific". Cable falls in love with an Island girl, but refuses to marry her due to the racial prejudices of his family. It is the Lieutenant who, full of self loathing, sings the message song of the show:

You've got to be taught
To hate and fear,
You've got to be taught
From year to year,
It's got to be drummed
In your dear little ear
You've got to be carefully taught.

You've got to be taught to be afraid
Of people whose eyes are oddly made,
And people whose skin is a diff'rent shade,
You've got to be carefully taught.

You've got to be taught before it's too late,
Before you are six or seven or eight,
To hate all the people your relatives hate,
You've got to be carefully taught!            
              


Mr. Kerr was offered the starring role in a major biopic of Charles Lindbergh. Stating, “I don’t admire the ideals of the hero,” (who had been a Nazi sympathizer) he turned it down. It affected his career. He still got occasional roles in B movie fodder like the 1961 Roger Corman drive-in epic "The Pit and the Pendulum". He turned up on tv from time to time as a guest star, and played a recurring role for a season on the mid 1960's soap opera "Peyton Place". He took up the study of law and was admitted to the bar in California in 1970. While practicing law he accepted occasional acting jobs on stage and tv. His last appearance as an actor was in 1986. He passed on February the 2nd, at the age of 81. 

Rest in Peace, sir.
Rest in Peace.

Monday, December 3, 2012

From December to December

This morning, as is my wont when I have a little free time, I checked the almanac to see who was born, and what had happened, on this date in history. I love this kind of thing - several years ago, I created a partially illustrated daily almanac on a web site, but that's another story. At any rate, this morning I checked the almanac on Wikipedia. And there it was - on this day in 1960, the musical Camelot opened at the Majestic theatre on Broadway.

Camelot- a name which, to folks of my age at least, evokes an entire era, as well as a presidency. And the Wiki on it is wrong. The First National Tour (which uses the original Broadway production's staging, sets, and costumes) originally starred Anne Jeffreys as Guinevere. I know, because I saw it in Philadelphia. Twice. It was the first live show I ever saw. I was either 11 or 12 at the time. One of my classes at school went on a field trip to see it. Some of my family went off to see it as well, and I was delighted to go a second time. I remember my aunt Mary being upset with the curtain calls because Guinevere was in the gray auto-de-fe gonna-be-burned-at-the-stake outfit in which we'd just seen her instead of any of the "prettier" outfits she'd worn in the show. I remember Ms. Jeffreys participation as I was fan of the Topper tv show in which she and her husband starred as the ghosts of Marion and George Kirby. I no longer recall who filled the other lead roles, except that I'm certain that Arthur Treacher was Pellinore.

Ms. Jeffireys performed the role for 6 months as a personal favor to Alan Lerner, and she was delightful in it. The second time I saw the show, there was an slightly unplanned incident. It occurred during Guinevere's song, "The Lusty Month of May". Among the company onstage were King Pellinore and his sheepdog. The dog sort of ad-libbed; he suddenly squatted and did his business. Ms. Jeffreys didn't miss a beat - she sang her next lines, "Whence this fragrance wafting through the air? What sweet feelings does its scent transmute? Whence this perfume floating ev'rywhere?", while looking askance at the dog and "Pelly", and holding her nose. The audience loved it.

Sadly, the three numbers from the original Broadway run which were performed on the Ed Sullivan show are not available on You Tube or any of the other streaming video sites. I'd love to have posted one or two here. I did find this short "making of" video which has a quick clip or two, though.



Camelot furthered my interest in musical theater, in show tunes, in collecting and listening to the then recent development of long playing record albums (the show's album was the top selling LP in the US for 60 weeks! - it was one of the first LP's I bought), and so on and so forth. I never realized what a huge influence it was on my life before. The fact that I can recall parts of the production I saw 50 years ago says a lot. Seeing live theater, professionally done (no disrespect to local theater companies intended, but it's not quite the same, you know) particularly the big splashy musicals, is one of the few things I miss from my years in New York and Boston. I was lucky to see as many shows (and operas) as I did. And who knows, now that I'm retired, maybe some day I'll be able to go and indulge myself again.

Monday, July 2, 2012

Mama, Look Sharp

In Congress, July 4th...

The Fourth of July has always been special to me. When I was young, growing up in a small town in the southern part of New Jersey in the 1950's, it meant parades and fireworks. I was in the parade once or twice, marching with the cub scouts back in the days when they still had such parades.

For awhile there, the cub scouts used to go off to the roller rink over in Delmar about once a month. I loved going, even though I was never very good at it; my coordination lacked, well, coordination. Once, our roller rink was going to be closed for a private party. So we all piled into the bus and drove over to Delaware to a rink there. I remember how we waited on the bus. It was hot and uncomfortable. I remember the adults conferring up at the front of the bus. And we waited and waited. We never went in. Instead, the bus took us back home. It was many years before I found out what had happened. One of the cub scouts was a kid named Bruce. We were friends from school. The rink's owners had told the adults that we could go into the rink only if Bruce, who was black, stayed on the bus. The man who argued that we either all went in or none of us went in was my father. The rights of Americans, it seemed, didn't apply to all Americans. That new thing called the TV showed the lie, and the 1960's were born.

In the late 60's as I stepped out into the world on my own, the lie being exposed on TV was the Vietnam War. On October 15th, 1969 there was a worldwide Moratorium to End the War. People either stayed home from work or left their jobs to attend massive protests. I went to the one in New York City. It was a Wednesday, matinee day on Broadway, and the cast of several shows spoke at their curtain calls and invited the audience to attend the next rally with them. The cast of "1776" was there; Howard DiSilva, an actor who had once been blacklisted and who played Benjamin Franklin in that show, and I somehow fell into a great conversation about war, our times, and our country.

"1776" was a very different kind of musical. It concerned the creation and signing of the Declaration of Independence in Philadelphia. Philly was the big city near my hometown, an hour away. I had, of course, been to the old State House where the events took place. As a kid in the area, you went to such places. I also remember a trip to the old barracks in Trenton. The show was a huge success. At the 1969 Tony Awards, the number used to represent the show was one involving none of the principal performers. In it, a young messenger tells of seeing his two best friends shot and killed at Lexington green. The story is barely remembered and rarely told, but that morning most of the Minutemen had left town to defend the colonist's cache of arms in nearby Concord. When the British reached Lexington, its defenders were largely old men and teenagers.

(Video from YouTube of "Momma, Look Sharp", a song from the stage musical 1776, as performed on tv during the 1976 Tony Award Broadcast, was ordered removed by Google due to a copyright claim from SONY, whose Columbia Pictures company owns the movie, but not the musical itself, nor the Tony Awards. I tried to write Google about this at the address they gave me, but  that address turned out to not exist. Since I do not have the money to hire a lawyer in case of further actions should I repost this, I have removed it. So much for freedoms in a corporate controlled environment. If you wish to follow the wishes of the author of this post and watch this video at this point as intended, it is still available on YouTube at the following link: http://youtu.be/lYtbKXCaQx4


Three generations of my family fought in the Revolution as soldiers of the 26th Massachusetts Regiment under Colonel Baldwin. The Regiment was involved in the siege of Boston, and distinguished itself at the battle at Throg's Neck NY where, wildly outnumbered, they managed to hold off the British until General Washington and his troops could escape to White Plains, NY. They were involved in the battle there, and were with Washington when he crossed the Delaware. They would have been billeted at the barracks in Trenton. Of my three family members there, I think it was my great-great-great grandfather Hiram, who was a teenager at the time.

My post on this blog last year told how, during one particular July 4th during my years in New York City, I began to be uncomfortable in crowds. That post has this link, which still works, to the great Jean Shepherd radio broadcast which tells the 4th of July story of Ludlow Kissell and the Dago Bomb That Stuck Back. When you can, take the 42 or so minutes to listen to a master storyteller, please. You'll be glad you did.

The best July 4th celebrations I know are held every year in Boston. I was somewhat skittish about being in large crowds by the time I lived in Boston, but in 1989 I went downtown to the oldest part of town and took a few pictures of the events of the day. It is on July 4th every year that the USS Constitution, anchored in Boston harbor, is taken out into the bay. The yearly trip is required to keep the ships' commission. The ship is better known as "Old Ironsides".




Every year, there is a small parade which winds its way through the old streets, pausing briefly at sites such as the Granary Burial Grounds, which is the final resting place of three signers of the Declaration of Independence (Sam Adams, Robert Treat Paine, and John Hancock), a number of Revolutionary era patriots including Paul Revere, the victims of the Boston Massacre, and Mary "Mother" Goose (yes, really!). The parade stops again at the Old State House. It was there that the Boston Massacre took place, where British troops opened fire on protesting colonists. The pavement there is marked with a circle of granite where the first American to die for the cause of independency, an escaped slave named Crispus Attucks, fell dead.






It was from the balcony of the Old State House that the Declaration of Independence was first read to the people of the United states. It is read aloud there every year on the 4th. Being asked to do so used to be one of the greatest of honors in Boston.


The parade ends at Faneuil Hall, now better known as the Boston Market. The hall is upstairs; many a debate and meeting held there laid the groundwork for the Revolution. When I lived in Boston, every year on the 4th of July a topic of current public interest would be presented and debated there.
The old Boston and Quincy markets are now a tourist attraction. It was the first such historical place redeveloped by the Rouse Corporation, a creator of indoor shopping malls.





Back at the Old State House, there was a special ceremony that July 4th of 1989. A reproduction of the Liberty Statue that had been in Tiananmen Square in China that June was brought in. It was in Tiananmen Square that a large scale people's protest demanding freedoms was put down by massacring the protesters. I moved closer to get a better look. There standing on the spot where the Boston Massacre had taken place, was Ray Flynn, the mayor of Boston, and Shen Tong, one of the student leaders of the Tiananmen protests.



Mr. Shen had managed to escape the massacre and evaded the manhunt for his arrest. He simply boarded a plane out of China. No one stopped him. He was a hero. He was in his last days of being a teenager at the time.

Brattleboro used to have wonderful 4th of July parades. A friend and I used to drive out from Boston to attend them. Some years back, a local group whose mission was to shut down the local "Yankee" nuclear plant, was told it could no longer participate in the parade; marchers were no longer to protest anything at all, they were only allowed to celebrate our freedoms, thank you very much. The parade was largely financed by the nuclear power plant. People began to stay away. And although in subsequent years the protests were allowed to resume, the parade never really regained its footing nor did it ever regain the crowds that used to attend.

After the Columbia/TriStar office in which I worked in Boston was closed, I moved here. I was in my later 40's and worked three low wage jobs to pay the basic bills. I eventually ended up working for a co-operative organic food wholesaler. After a number of good years, the company went public and was bought (a behind the scenes deal) and I was out of work again. It was a year later before I found work as a clerk in a video store. By the following year, I was managing the store and ordering all the retail goods for both of the stores belonging to the owner. I eventually took over all of the owners work, ordering all of the rental titles for both stores. I worked about 15 hours a day and averaged about two days off a month. After a full year of such work, the owner took me out to lunch. He proceeded to tell me everything he thought I had been doing wrong for the last year. I asked when I was going to get the raise he had promised me over 6 months before. A few days later, he gave me work to do that meant I had to be in the store on the Fourth of July, which was to be my first day off in over a month. I was exhausted and dispirited. The job had taken over my life, most of my friends had fallen away as I no longer had time for them, and had offended some of them unintentionally and unknowingly. My health had suffered, I injured my knee and exacerbated the arthritis there, my skin condition started, and my weight ballooned. That July the 4th, I quit. That decision probably saved my health and mind. But it ruined me financially and spiritually. I could not find work. It was 2008 and the Great Recession had begun.

Now, a few months shy of 62 and early retirement, I usually end up working my low wage job on July the 4th. With reduced hours, standard now for two and a half years, I can barely afford rent and food. The date no longer gives me much of a thrill. That dream is gone. I work with a number of teenagers. I look at them, and realize that they live in a world that is so different from mine, at least the one in my head. America is no longer a moral force in the world. We no longer work for the common good. They either accept, or don't care, or don't feel there is anything they can do that we are now a country that tortures prisoners and marches off to preventative wars. That corporations own and cheapen everything that isn't reserved for the economic ruling class. That extraordinary amounts of money are spent in attempts to purchase the Presidency to the benefit of competing business interests. That unions are said to have almost destroyed the well being of our economy. They think it is right to give up liberty in order to preserve it. Their popular culture is as manufactured and crass as their music and the news they get from television, much of the internet, and the costly remaining newspapers. Their media and their television doesn't expose the lie, it is the lie. They spend their work breaks texting local friends or playing games on their cell phones. They have been fattened on processed chemicals instead of real whole foods, which are only for the well off now. I think about the social progress of the last few years, anti-bullying, obtaining basic rights for gay people, the first steps to getting healthcare for everyone. And it seems to me that these are battles largely being waged by the last remnants of the generations who came of age in the the tumult of the 1960's and 70's. I search the faces around me, but I see few who might become heroes of liberty. July the Fourth is now a day to work, get drunk, set off illegal fireworks, go shopping, and barbecue ever more expensive foodstuffs. The battles in which three generations of my forefathers fought are longer remembered. The ideals and progress built up in this country for the everyday citizen are being forgotten; they are becoming passe. I wonder if our teens would risk their lives for liberty? I look around me, and the only thought I have is, Momma, look sharp.

My best wishes for the Fourth to all those who remember, and still care.

Thursday, March 22, 2012

Being Alive

It was May of 1970. At the time, I was living in Ocean City, New Jersey, and was in New York City for a day trip. I went to see a Broadway musical whose New York Times review had persuaded me that seeing it was a matter of great importance. It had only a semblance of a story, being told in vignettes surrounding a bachelor's birthday party. The revolutionary set used elevators and moving platforms to constantly remake itself into various New York City apartments and suggest their buildings. The leading man had been replaced just after the show opened. There was feeling it might not last.

The show, called "Company", concerned itself with alienation, with one man's loneliness in life, with the nature of friendships, with disillusion and disappointment. It was not your everyday musical comedy. There was one moment in particular, late in the second act, in which one character drunkenly savages her world and realizes that she is herself one of the "Ladies Who Lunch". It was devastating. That was the day I became a fan of Stephen Sondheim, the man who conceived the idea of, and wrote the music and lyrics for that show.

I was still living in Ocean City when a full page black and white ad appeared one Sunday in the New York Times' Arts and Leisure section. In those days, newspapers did not yet print color - it was only used for the Sunday funnies. The ad was relatively simple, yet complex, and made me think of Sondheim. There was something of a modern psychedelic feel about it. I taped it to my living room wall.

I knew immediately that whatever it was, I would be going to New York to see it. It tuned out to be an ad for Stephen Sondheim's new show, a nostalgic anti-nostalgia musical, which only reinforced my desire to go. Seeing it was one of the great experiences of my life. I ended up going to see that show three times. When I first tried to describe the multi-song finale (which consisted of spectacular "follies" styled numbers taking place in the leading character's minds) to friends, I said it was as if Federico Fellini had directed a Broadway musical. I was enormously gratified some years later to read a history of the show in which its producer/director (Hal Prince) described the concept for the staging of the finale in the same words.

Two more shows followed, both brilliant (A Little Night Music, and Pacific Overtures), both of which I was gratified to attend. Then came word that Sondheim's next show would be a bit of Grand Guignol based on an old melodrama.

One afternoon in 1979, my best friend Jerry Campbell and I were hanging out in his apartment in the East 90's. He had just purchased the newly released cast album for that show, which I hadn't seen yet, and insisted that I hear one particular number, "A Little Priest". I made him play it again. And again. It ends the show's first act, and, while composed in a standard musical comedy form, completely subverted the genre. I soon talked my good friend and former roommate, musicologist Keith Lacey into going to see it with me. It was another of the great experiences of my life. I saw it twice, once with the original cast, and once with the replacement cast. Here's the Little Priest number from the First National Tour, which was the Broadway production, with the original Mrs. Lovett (Angela Lansbury) and the 2nd Sweeny Todd (George Hearn). Mr. Todd, a barber seeking vengeance for a horrible wrong, has just slit the throat of someone who has recognized him. His landlady, Mrs. Lovett, who has a business making and selling meat pies, helps him think the situation through:



As the years after Sweeny ticked by, I ended up moving to Boston. One of the things which helped me decide to do so was a song from Sondheim's Pulitzer Prize Winning show Sunday in the Park With George. Before I left, an excerpt played on my answering machine.



 I returned to New York City for what turned out to be the last time with the express purpose of seeing Sondheim's Into the Woods as my birthday present to myself. Eventually, I moved here to Brattleboro. I soon found myself working three jobs to get by. One was at the Brattleboro Food Coop. I remember one shift, having just come out of the walk-in freezer, spying one of the meat department's two young female employees standing behind the counter a few feet away. She was having difficulty with a customer. After the customer left, I looked at her, and said something on the order of "Haven't you got poet or something like that?" She replied "The trouble with poet is how do you know it's deceased?" We've been friends ever since. It was Laura, now the proprietress of the blog "Austanspace". Although I'm not sure I've ever said this to her, she's been my best friend for the last decade at least. She's also the person who nicknamed me "Stevil".

At any rate, I wanted to take a moment here to briefly note how much I adore the work of Stephen Sondheim, which has greatly influenced and enriched my life.
Today is his birthday, and I can't believe that he is supposed to be 82 years old.
He's not, it's that simple.
Theater Gods do not age.

Sunday, March 4, 2012

Finishing touches

In one portion of  yesterday's post (the Jean Harlow birthday nod), I wanted to include a video clip from the movie "Dinner at Eight", which would explain that part's title. The clips available on YouTube were of poor quality, and one was even in the wrong frame ratio. So, since it is now within my power (and with many Thanks to the people who helped me lug my stuff around over the years) here's a clip which shows a bit of Harlow's delivery as she sets up Marie Dressler for one of the all time great double takes; a stevil  film favorite moment:




Oh, by the way, it was on this day in 1791 that Vermont became the 14th of the United States.

And there are a couple of birthdays today of people whose efforts have provided me pleasure, and of whom I'd like to take note: that ol' red headed priest and composer Antonio Vivaldi was born today in 1678 (I used to have a thing for chamber music, especially when played on period instruments),  silent serial queen Pearl White, illustrator Milt Gross (worth a long post of his own),












Shemp Howard (there was a time when I was a bigger Curly fan, but depending on my mood I kind of preferred Shemp the last time I checked), magician-card sharpe and author John Scarne, Avery Fisher (audio engineer and benefactor who paid for the acoustic redesign of what had until then been Philharmonic Hall at Lincoln Center),  actor Edgar Barrier (who I so enjoy in his role as Martok in one of my all time favorite movies, "Cobra Woman"), actor John Garfield (seen below with Lana Turner),












and Ward Kimball - who deserves a multi post of his own: one of Disney's "Nine Old Men", redesigner of Mickey Mouse, designer and animator of the likes of the dwarfs in Snow White, the crows from Dumbo, the Mad Hatter and the Cheshire Cat, the mice and Lucifer the cat from Cinderella, the hunters in Peter and the Wolf, etc. A short clip (again, from my stuff and from my private files on You Tube):



Kimball was also the trombonist of the dixieland styled band the "Firehouse Five Plus Two". I've played them on my radio show. He also had this thing with steam trains and restored one that he installed on his property in Southern California. He was the first person to do something like that, and it directly inspired Walt Disney's interest.

And last for today, it's time I take note of the passing of Davy Jones. These things are starting to hit close to home now. One guy I know, a few years younger than myself, noted, "I had a crush on Davy Jones, and I'm not even gay." He was pretty damn cute, with a kind of well scrubbed potential bad boy charm.
















Reading some of the reminiscences published about him, one of the things that stood out: he decided that he wanted to become a rock star when he was standing in the wings on the Ed Sullivan Show as the Beatles made their first US appearance. He was there to perform as part of the moved over from England Broadway cast of Oliver, in which he played the Artful Dodger. You know I just have to do this:



Thank You for entertaining me, Davy Jones.
Rest in Peace.
 

Sunday, February 19, 2012

Showbiz Gospel

Somedays, he murmured to himself, somedays.

This morning, a bit after the store where I work opened, there were three of us in the front end. Two young women and myself. The two women were talking. As I walked the few steps from my register to where they were standing, I began to hear what they were saying. They were looking at the cover of People magazine, which of course had the Whitney Houston story splashed across its cover. The magazine had, I had gratefully noticed, used a glamour shot of Ms. Houston from when she was young, beautiful, and on top of the world. I first heard the younger woman, all of 18 years, saying that she'd heard of her but didn't really know who she was. The other woman, who I'd guess is in her early 20's and who recently moved here from upstate near Burlington, said that she knew her big song was "I Will Always Love You", but she couldn't remember how it went.

After watching the webcast of Ms. Houston's funeral service, I had commented that I now wanted to change my plans. I'd long ago given up any idea of a funeral, and had noted that I wanted to be cremated and have my ashes blown in a few people's faces. Now I'm thinking of being sent off to my final resting place by a 100+ voice gospel choir. (Okay, I'm kidding, but gosh, would it ever be a fun time for my friends.)

This isn't really something new, though. I've long had a thing for gospel, though I've never really collected it, read up on it, or studied it. It goes back to, well, I suppose it goes back to the hymn sings I loved to attend when I was young. I sang in a youth choir (I think I posted a picture about a year ago). I especially loved the sound of a hundred voices resonating in a wooden church. You haven't heard Amazing Grace until you've been in the center of such a church and such a group. But Methodists don't sing Gospel. Methodists are, in the words of Norman McLaren's A River Runs Through It, "Baptists who can read". Methodists have summer camps, and in those days camp would hold a last night  pledge your soul to the Lord campfire, and there was always an older black woman present, singing gospel tunes while you signaled your pledge by "throwing your faggot on the fire". Needless to say, these observances made me very nervous; I always kept a watchful eye that they weren't coming for me.

Maybe it was the Hall Johnson Choir in the movie version of The Green Pastures. Maybe it was shows on tv. Or, maybe it was the Broadway musical Purlie. Or the Gospel film whose name I can't remember (was it just called Gospel?) that we distributed when I was at Films, Inc. Whatever. Show-biz Gospel. When I first started looking for a place to live in New York City, which would have been 1972, there was a new rock musical which opened on Broadway called "Dude". It was written and staged by the guys who had created "Hair". It was a disaster. Clive Barnes, the critic for the New York Times, had commented that if  it had another two weeks to work on its problems, it could have been a great show. I went to see it. It was uneven, but it was also wonderful. I ended up becoming friends with the brother of one of the creators, who passed me in for the rest of the very short run.  See, what most of the critics didn't get was that the loose story line was a continuation of the story of the main character from Hair. Except, in this case, the role was played by two black guys; a very young Ralph Carter and, as his older self, a Gospel singer named Nat Morris. Also in the cast were a few other singers with Gospel backgrounds: Nell Carter, Salome Bey, Delores Hall. The music had a sort of rock country feel, but as the show came closer to closing, the Gospel singers took over. During the final performance, young Ralph Carter decided he wasn't going to be shown up by the older Dude, and he vocally let loose. The rest of the show took on the aura of a revival meeting. It was a wonderful night to be there.

In 1985 a show opened called "The Gospel at Colonus". It was the Oedipus story, told as Church. It was freakin' fabulous. The role of Oedipus was portrayed by the Five Blind Boys from Alabama. The Messenger was a then less well known Morgan Freeman. The Chorus was performed by the choir from the Abyssinian Baptist Church. It was, happily, recorded for broadcast on PBS. I taped it, and still have it in my Betamax collection of stuff. All that's in storage these days and last time I checked, there was trouble with the Betamax. I haven't seen the tape for about 10 years now. So, while thinking about it, I checked You Tube. And they have a promo clip! So here's a sample of one of the most unusual and most enjoyable shows ever produced on Broadway; I hope you enjoy it!




Thursday, December 1, 2011

Second to the right, then straight on til morning.

Gosh, it's been so busy. Or I've been so busy. I only had four hours of work today, had several errands to run, things to do, and so on and so forth. So of course, I decided to wander around down town (which is a short walk from where I live). The local holiday season kickoff is tomorrow (Friday). First up is a weekend long retail promotion dubbed "Holly Days". Tomorrow at 5pm will be a tree lighting in a little vest pocket park at the main intersection on Main Street. Sadly, I won't be able to get there, I'll be working. Lately, I seem to have developed a kind of sadomasochistic love/hate relationship with this town that I adopted as my own. This last year the town has suffered a soul and mind numbing series of natural disasters and murders that exposed nasty attitudes of condescension and disgust by the new age republocrats of economic superiority towards the working and disadvantaged classes. I really want to be there for the tree lighting. Our town needs this, we need to show our support, we need to show our care. We all need to be represented.

I've got the tv on in the background, and it keeps interrupting my train of thoughts that I wanted to record today. They are lighting the Christmas tree in Boston tonight. I lived in Boston for eight years. It's a wonderful city, and had my industry (the film business) not left town, and if it weren't for the high crime rate, I'd be there still. The tree is put on the Commons, and is always around 45 feet tall. Every year, it is sent as a gift of thanks to Boston for the emergency aid that was given Nova Scotia after an early December 1917 disaster, which remains to this very day the largest ever accidental man made explosion in the world. The show was opened by Boston native Joey McIntyre, former and current New Kid on the Block. He's grown up, to say the least. He opened with a solo statement of "Oh, Holy Night" which was joined by a chorus of young black women. McIntyre looked too thin, haggard and maybe possessed. He stood almost argumentatively at first, too clear eyed to be drunk, staking out his ground. He was an Irishman with the fever upon him. It was just about the best damn version of that song I've ever heard. I hope it shows up on YouTube.


Anyway, I was wandering around downtown because tomorrow is also Gallery walk, and I wanted to see what was to be seen before the madness and crowds take over. Where the town's newspaper, magazine, and office supply store (Baker's) used to be, there is now an oh so very trendy home furnishings shop. I thought I'd take a look at what they were offering. And there it was. It was stunning. It was gorgeous. I should have taken a picture. An extraordinarily well preserved, in perfect condition Heywood Wakefield art-deco stick wicker club chair. The left arm-rest magazine holder was in perfect shape. It was beautiful, and I want one. It was $650.00 and  was/is
easily the best I have ever seen. I have no idea if that was a good price or not. If I had money, I wouldn't care about that. I wouldn't even pause to ask. I'd be getting out my means of payment. The example to the right is missing the backrest pillow, and the backrest height is a little short. And the painted trim is only one color. The one I saw today had both a dark green stripe, and one dark maroon. And the left arm magazine slot was a tad smaller and better integrated into the whole. But you get the idea. My Great Great Uncle Harry had one in his summer home in Ocean City, New Jersey. I loved that chair. At least I have good taste.

There are a couple of birthdays for a December 1st that I should like to note:



Today would have been Matthew Shepard's 35th Birthday.
He was martyred in mid October 1998, at the age of 21.

He was kidnapped, tied to a fence, savagely beaten, and left to die alone in the freezing cold.
When the perpetrators of his horrific deed were tried, there was no way to accuse them of a hate crime even though they had bragged about what they had done to the "faggot",
as the state in which the trial occurred had no such enabling legislation.

This led to the immediate creation of a National Hate Crimes Act,
which was rejected by the Republican United States House of Representatives.
(Then President George W. Bush had also promised to veto the bill if it should pass.)

In 2007, under Nancy Pelosi's leadership, the bill was reintroduced in the House.
And in 2008, and in 2009.
During the 2009 debate, the Representative from Virginia labelled the listing of Matthew Shepard's death as a hate crime "a hoax".
Mr. Shepard's mother was sitting in the gallery at the time.
The House finally passed the bill.
In the Senate, Ted Kennedy and Vermont's Senator Lahey immediately reintroduced the bill.
It passed in October 2009, and was signed into law by President Obama  - 11 years after Matthew Shepard was beaten to death because he was gay.

The fence is gone now, it has been taken down.
But that will not erase the memory of what happened.







On a lighter note, today is also the birthday of Cyril Ritchard,
who was so marvelously campy as Captain Hook.




In one of those wonderful coincidences of synchronicity, today is also the birthday of Mary Martin who played Peter Pan in the same production. The Broadway show was so popular, it was broadcast twice when I was a child. (It was live both times.) It started my life long obsession with the Pan material.

In the late 1970's or early 1980's, my best friend at the time, director Jerry Campbell and I realized that two friends of ours were perfect for parts in a production. Acting teacher Michael Graves stood over 6 feet tall, and would have been a joy as Hook. His son, not quite 5 feet, had waist length jet black hair and an elfin manner. He could have been a great Peter Pan. The Freudian overtones would have been incredible. Sadly, the production never came together.

About that time, I started running a theatre bookstore for Bob Nahaus, who owned a popular show biz watering hole and eatery named Curtain Up. Two very dear friends of mine needed something special to get them the attention needed to obtain union cards. So, using my then 31 year old angst, I started writing a show called "Rehearsing 'Wendy and Peter' ", in which actors rehearse a play in which Wendy and Peter are middled aged. It gave me plenty of opportunities ' to poke fun at actors and the off and off off Broadway scene. And it gave my two friends the showboat of a lifetime - in the show they would start the 11 o'clock as Wendy and Peter in middle age, and without anything other than acting ability progress through recovering their youthful magic, to the charcters they play in the rehersal, until they ended as themselves at the end of the show. One of the store's clerks was a woman who wrote screenplays for big budget historical tv mini series. We discussed my ideas. Around that time, I was shot in the back of the head. I was seen, in a public place, kissing a male friend who was returning home to Germany. I was shot minutes later. The police were given a description of the shooter by eyewitnesses. The police never arrested anyone, blaming the incident on kids shooting at pigeons. Needless to say, I missed several days of work, and under doctors orders reduced the hours I was working. My boss then reduced my pay, which had been salary not hours-ly. I quit. Within a couple of months, there was an announcement in the trade papers that Steven Spielberg was going to produce and direct a major  movir about Peter Pan and Wendy in middle age. After I moved to Boston, I ended up working for Columbia/Tri-Star which released it as a Christmas behmoth, and ended up selling it to movie theates throughout New England.

To this day, if you want to see a grown man cry, stand beside me when I click on this:











Clap, Damn it.      CLAP!

    



Friday, August 26, 2011

a birthday note:

Today would have been Michael Jeter's 59th birthday. Sadly, he died from AIDS in 2003. I never knew the man, but I hope he was as crazy and sweet as some of his roles. He was a very entertaining performer, and I just wanted to remember him.

Here he is in a segment of a wonderful movie called "The Fisher King":



I'm not sure who had the notion to make a musical out of "Grand Hotel", and at first thought one wants to scream "Noooooo". But it worked and it was a damn good show. Set in Germany in the days before facism took over, Mr. Jeter is Otto Kringelein, a Jewish bookeeper who is deathly ill. He wants a taste of a better life and spends a day at Grand Hotel. Here, with Bruce Barrett as the Baron (a theif)they perform in a number directed within a inch of its life by Tommy Tune:



Happy Birthday Mr. Jeter.
I have to go off to work just now, but I will come back later this evening and try to find a better copy of the Fisher King quote.

Saturday, August 6, 2011

While I was doing something else...

So. While I was working away at busying myself with something of little or no importance what-so-ever, I had the tv on as my distraction du jour. And I noticed that "Stage Door" was coming on. I can't even pretend to remember when I first saw it, or how many times I've seen it. In the early days of tv, an RKO package in 16mm was very popular on independent stations (on UHF!) and late at night. "Stage Door" seemed to be on constant top 10 rotation. Every time you turned on the tv (at least in the Philadelphia market) there it was.  Again.  And every time I'd get hooked, mesmerized, and zombietized. It's been years since I've seen it. The script was clunky claptrap when it was new.
The screenplay was adapted from a stage play by Edna Ferber and George S. Kaufman. It's set in a boarding house for wanna be actresses (on West 58th!!). Ginger Rogers, Katherine Hepburn, Adolphe Menjou, Eve Arden, a very young Ann Miller, and Lucille Ball (Happy 100th Lucy!). With more character actors than you could shake a script at.  It was made in 1937, but there's something about it which feels like 1931. Maybe it's the one room set  piece 3rd walled  static no electricy thing. Whatever.  But it caught me again and  I was soon  engrossed... Maybe it's because Hepburn's character is supposed to be brash, annoying, spoiled, and with a superior attitude, etc.  - and she is.  She's aggrivating, but it's her character. I think. Therefore Decartes is. Well, I don't want to get into Hepburn bashing or anything, so I'll stop now. I just wanted to note that I had a great time watching it tonight. And now I remember why I watched it so many times back when...





Wednesday, July 6, 2011

"The Devil is Dancing Tonight"

                                
The latest many headed hydra of media attention has been the Caylee Anthony muder trial (ohhhh - what a fourtunate typo). I'm not going to write much about it, because if I ever re-read this I will hopefully have forgotten this sorry business completely and can read on in peace. I really don't want a world where real reality trumps tv show reality by degrading what is left of the nobler instincts of the human race.  I just wanted to take note of the superb quote from one of the media slut commentators. 
I doubt that it was an an-lib, but I like it anyway:


 "The Devil is dancing tonight".

It's got a ring to it.