jcm’s Top 10 SF Performances of ’12

In the midst of the embarrassment of riches jcm partook in this year, above all, it was the year of the art song, “Hasa Diga Eebowa,” and contemporary american opera (and THIS without even having seen Moby Dick ;-(. This was particularly good news for art song and american opera, as it’s more the norm to bemoan their demise these days.

In capturing the highlights of the year, the performance and production were weighed most heavily, but in the case of new material, the script and score were of course considerations. Oh, and who can help some personal biases slipping in? Not jcm (ie: West Side Story = the greatest show ever written)! SO, here goes…

1) Sandrine Piau, (Susan Manoff, piano) CalPerfs, Hertz Hall

It was as if a gentle, gamine spirit had landed for just an hour or two, gracing us with her rare magic. She left us transfixed, susceptible to the whims of her potent storytelling. The program was studio-ready in its refinement and attention to detail, yet never bland or white-washed. She uses her lyric instrument to full advantage, painting a broad palette of tones and expressions. The very satisfying program featured french, german and english sets of Fauré, Bouchot, Chausson, Mendelssohn, Strauss and Britten, followed by a generous set of encores: “Voyage a Paris,” “Clair de lune,” and Strauss’s “Madchen Blumlein.”

TIE

Karina Gauvin,  (Michael McMahon, piano) Weill Hall at the Green Music Center

The Bay Area has been given a great gift in the form of the new Green Music Center. In structure it is reminiscent of the great Musikverein of Vienna. It is nearly all wood, which is visually rich, and acoustically perfect. In a word, intoxicating. This was the inaugural recital of the hall’s vocal series. They programmed very well, especially as Karina’s Bay Area appearances are rare. Highlights included: “Le Printemp” by Hahn, “Phylidé” and “L’Invitation au Voyage” by Duparc. For her encores, she performed Weill (ie: Weill Hall) and the Scottish “Ae Fond Kiss.” The latter was deeply satisfying. Her english diction is stunning, and her textual delivery particularly soulful. On a personal note, her sister and mother were in the audience, just a few rows in front of me. She shared that this was the rare performance they were able to attend, and dedicated a song to her sister. A special night indeed.

2) The Book of Mormon, National Tour, Curran Theatre

It takes you by the balls, and won’t let you go. I’ve rarely seen the kind of go-for-broke commitment from a cast as this. 21 year-old Grey Hensen, who played Moroni and Elder McKinley, as well as Jared Gertner as Elder Cunningham stole the show. I live for Gavin Creel, but oddly he seemed not to embody the role as much as to act it. Surely he’s settled into it by now, or will fully by its UK West End run. The first 20 minutes have to be the most perfectly crafted portion of almost any Broadway show I’ve seen LIVE. You know…those laughing-and-crying at the same time moments? The vocal power in the ensemble numbers was very impressive. Having an 8 year-old behind us in the audience made the profanity and vulgarity seem even more raucous and saucy.

jcm’s Top 10 SF Performances of ’11

It’s time for my third annual Top 10 round-up. These don’t attempt to be comprehensive reviews…but rather an Amuse-bouche of the most stellar performances I witnessed by the Bay, in ’11. How in the world can I compare a Pop Star to a Handel opera, you ask? Well…I warm up the jcm-ulator, and out come the tabulated results. It doesn’t lie. I seem to be trending towards opera, with musicals taking a back seat. Why? They sing louder, higher and without mics?

1) RING Cycle, SF Opera  details

With the carefully crafted characterizations of a stage play, this Cycle was a well-deserved hit and had the city abuzz with Wagner. Nina Stemme’s Brünnhilde was an utter triumph, equal parts true Wagnerian and singing actress. Stunning SFO leading role debuts were offered by Heidi Melton as Sieglinde, and Daveda Karanas as Waltraute. There wasn’t a weak link in the cast. Francesca Zambello’s concept was fortunately not too heavy-handed, largely staying out of the way of the story and score…more often informing it, and only periodically misstepping. I found the Industrial Revolution concepts throughout Das Rheingold to be the most iconic and potent. However, the mythic Die Walküre was the emotional highpoint, featuring the burnished, virile tenor of Brandon Jovanovich’s Siegmund. Siegfried was also surprisingly engaging. I had the good fortune of serving as Super Captain and Supernumerary in Walküre and Götterdämmerung.

2) Stacey Kent, Venetian Room, Fairmont Hotel  details

I fell in love with her voice three years ago. After stalking her tour schedule for a Bay Area performance, I got to experience her art live at last. She’s a real pixie…a gentle spirit, with a frail flutter to her vibrato. She completely transported me and her audience, casting a convincing spell. Her palpable, loving connection to her band leader, sax player and husband Jim Tomlinson added to the glow. She embodied “less is more,” drawing us in, rather than overworking her numbers in a too extroverted manner. Her set included lots of brazilian and french songs unfamiliar to me, some off her just released album. Come back soon Stacey!

 

jcm’s Top 10 Best LIVE Performances of ‘10

It’s that time again! I’m serving up my second annual Top 10 LIVE Performances of the year. It’s a follow-up to my ‘09 list. Sadly, there are no Broadway shows on this list. I plan on remedying that in 2011!

1. Die Walküre, San Francisco Opera (Details)

This production offered one of the finest casts that could possibly be assembled for this opera (and The Ring) in the current operatic landscape. The production said some new things, and offered a few fresh perspectives, but didn’t try too hard, or overshadow the score. Maestro Runnicles is a Wagnerian master, and he and the orchestra rose to the occasion again. Yeah, I was a “Supernumerary” in the production, but I was able to watch much of it from the orchestra during rehearsals, and even accounting for my bias, this would still takes my top spot. Enjoy my full review here.

Mark Delavan (Wotan) & Nina Stemme (Brünnhilde); Photo by Cory Weaver

2. Scalpel! The Musical, Brava Theatre (Details)

Can you say fun? It had me at the opening number, with countless heals and drag runway walks. It was the first show I’ve seen in the Brava, and I immediately loved this venue…the warm lighting, the urban ambience, and the straight, raked seating offering direct views. Even with all the camp and hijinks, the entire cast was completely committed to the material. This was the second mounting of the show, and my fingers are crossed that it returns yet again. Apparently, there was a bit of a curse on the production, with multiple cast injuries (including a very unfortunate broken leg for leading man, Mike Finn), but they pushed through, with some quick and fortuitous replacements and prevailed. Picturing Sara Moore as “poop-raking” TV reporter Kitty Kelly (“Hardballs” host) still makes me laugh.

 

Emily McGowan: Fritzy, Arturo Galster: Pepper Van Allen, Cindy Goldfield: Jacqueline Bulgari

3. Heidi Melton: Salon at the Rex, The Rex Hotel (Details)

To hear Heidi Melton plead in spoken french AND debut her chest voice was alone faint-worthy, and positively scintillating. And, to hear her in repertoire much outside her core operatic rep and comfort genres was a treat (ie: Irving Berlin and Kurt Weill cabaret, and Korngold songs). Her rendition of Berlin’s “Always” left not a dry eye in the audience. (Her Noe Valley Chamber Music Recital a few weeks before was also very beautiful). No thanks to the Adler “Future is Now” concert, which was on the same night, the recital was over all too soon (evidenced by a jcm quotation here and here)! I stuck around and imbibed and dined at the bar…I wanted to savor the spell Heidi had cast.

 

My Drag Name: Lost & Found!

Well, my over six month search for my drag name has come to an end. I (think) I found the pot ‘o gold at the end of that rainbow! But, the fun of getting there is worth sharing.

You  may remember last October, I included an online poll here on jcm to help make the selection, and some of you weighed-in. At that time, I was most tickled by the more jokey, lower-common-denominator names. Well, I’ve come to my senses, and have more recently been drawn to more ownable names, more directly linked to me or my name in some way. I also realized I wanted a name that was adaptable, and wasn’t going to be so specific it pigeon-holed me, should I want to get her on stage (but, of course!). She WILL have a private debut in Palm Springs next weekend!

Here is the short-list of names I toyed with, and then…the final pick! (They’re listed here by what they’re based on.) Enjoy…

My First Name

Paulie Girl
Paulyanna (yes, I can tend towards rose-colored optimism and idealism at times)
Paulie Baby (ala a childhood nickname)

My Last Name

Zillernelli (ala Farinelli)
Zildo (a one-time, h.s. band-camp nickname I hated, but considered reclaiming)
Agnes DeZille
Killer Ziller
Zilleratura (ala coloratura)
The Great Zildini (via Woody)
Phyllis Ziller (via Jef & Val)
Zillbinetta

My Hometown

CinCin (Italian for cheers, usually pronounced cheen-cheen. In japanese “chin” is slang for dick.)
CinCin Addy
Cincinasty (ala one of the cities nicknames: Cincinasti)

Opera/Musical

Turandon’t (via La Cieca, thanks to a Parterre blog post title)
Shamneris! (via Gil)
Hella Longaria! (ala Eva Longoria, via Paul…I think)
Ariadne auf Nachos
Holleratura (via Heidi)
Fannie Girl (ala Funny Girl)
Elektranny
Zerbonetta
Arabella Strauss
Soignee River (ala “Swanee River;” soignee = polished, well-groomed; showing sophisticated elegance)

Misc.

Moniker
Faboo (a word I made up, short for fabulous!)
Sham I. Am (a nod to Dr. Seuss, and me being a ham)
Ham I. Am
Demi Monde (demimonde = mistress, on the fringe of society, a wealthy lover)
Tuck (ie: what does a drag queen do?)
Giggles (something I do a lot of)
Pop Tart
Vanity Schmanity
Esoterico (a collection of items of a special, rare, novel, or unusual quality)
Toots E. Pop
Addy H. Dee (from ADHD)

After much ado, I now give you…

Faux Paul (as in faux pas, or “a violation of accepted social norms”)

Bonus: (My Partner) CJ’s Drag Names

Edamame (food)
Ana Constance Diet (food!)
Hella Dee Lish (food!!)
Boniva Selexa Viagra (prescription drugs) – his final pick!

Denise Hale Attends “Pearls Over Shanghai”

March 27, 2010

Since I was playing Scrumbly Koldewyn’s jazzy percussion sidekick “Hung Lo” in this evening’s performance of “Pearls Over Shanghai,” I decided to do the pre-show rounds with my camera, and attempt to capture the unique and bustling spirit of my fellow Thrillpeddlers as they put on their costumes and faces in the dressing rooms and other backstage haunts at The Hypnodrome!

Lili Frustrata (Eric Wertz) & Wigs Aglow

I was lingering in the loading dock, hoping for someone in full costume to come or go, so I could capture that amusing juxtaposition (ie: Madame Gin Sling squatting in full headdress, see below). This landing serves as the performers’ backstage passageway, for coming and going for entrances throughout the evening. It was also used as the audience emergency escape route in the notorious flood last December. During the show, the performers open the metal garage-like door, pass down the sidewalk in front of an antique store, and reenter through the main front door or wooden, sliding stage door to make their (memorable) entrance. On a rainy night, with full Cockettes’ makeup, I recall this seeming like quite a challenge the first few weekends I performed. Now it’s old hat, and part of the fun!

Original Cockette Rumi Missabu as Madame Gin Sling

I had just captured a pensive photo of our SM (Jon) taking a momentary break on the loading dock, and was standing on the sidewalk. A very well dressed woman, with sleek, dark hair, pulled-back with a classy band approached me on the sidewalk. She wasn’t the type you normally encounter in these parts. She asked me if or how she was going to be helped up onto the loading dock. I thought she was just jesting with us, in Cockettes’ fashion. I then noticed a large, black limousine waiting on the street, complete with driver and passengers shrouded behind tinted glass. Clearly, this woman preceeded the mystery guests in the limo. “Who were they?,” I wondered.

Lili's Platforms: The envy of ALL!

Perhaps readying myself for the show, and already being a smidge in character, I told her with a degree of sass, and in so many words that part of the fun was helping oneself onto the dock, as many of the characters (ie: Madame Gin Sling, Petrushka, Lili Frustrata, etc.) manage to do it, despite their considerable platform pumps!

When it became clear she mistook this performer’s passageway as the main entry, I shared with her that it was around on the other side of the theatre, and pointed her in that direction.

During the show, as I played my various percussion instruments, I enjoyed observing this woman, as well as another woman with finely coiffed silver hair and stylish yellow and black print blouse, in the comfy Turkish Lounges. Both surely had the finest posture and carriage of anyone I’ve ever seen sit there! Somehow, each smile on their face felt particularly well earned.

When, after the show, from the dressing room we overheard Scrumbly hailed by socialite Denise Hale, it became clear who was in our midst. (I believe the woman I first interacted with was author Diane Dorrans Saeks.) Scrumbly shared that back in the day, when performing at The Palace Theatre, The Cockettes’ also often received socialites and politicians in their audiences, and that they contributed greatly to the overall milieu.

Having “attended Baron Alexis de Rede’s Orientalist Ball in Paris”, and even “slipping semi-incognito into the Ritz-Carlton hotel in Shanghai,” (according to The Style Saloniste link above) Denise certainly knows a thing or two about the real AND fantasy world we conjure up.

— “Chang VI” & “Hung Lo”

[UPDATE: SF Chronicle's Leah Garchik made mention of Hales' attendance in her 4.1.10 column, as did the BAR.]

What Defines Me?

I just discovered a colleague’s very stylish blog, and was inspired by her post asking “What Defines You?,” and her subsequent personal list. As a bit of a Top 10 List addict, I was fast on my way to rounding up my own. I’ve left jcm off the list, as it’s eminently clear that this blog defines me, but that’s just too easy, eh? Here they flow, in random order:

My 7th Birthday Photo

This photo (May ’77, Cincy, OH) conjures up the warm, sentimental feelings of uncomplicated youth, and a loving connection with my family. Although my folks aren’t pictured here, their nurturing presence is all around (and on the other side of the camera). The Winnie the Pooh cake was likely by my special request. I love the retro feel of the old square prints, with rounded corners.

There is a simplicity to my memories of childhood, and of these such moments…no crowded party, or branded birthday theme (seemingly requisite these days), just closeness and joy. I’m so thankful to have the foundation that my upbringing provided me. Funnily enough, CJ has a photo that is almost exactly the same (parallel lives?). Now, just two months from my 40th bday, I suppose I’m a bona fide “adult”!?

“Peristeriona” Ceramic Vase

This vase holds all the memories of CJ’s and my beautiful around-the-world journey together…Hong Kong to Greece to Senegal. It was something I had dreamt of doing for decades, while I racked up frequent flyer miles!

We purchased this in a charming little shop on Sifnos, an authentic, less touristy Greek Island option that we both long to return to one day. The yellow and black colors call to mind the brilliant glow of the sun, and the contrasting shadows, on the traditional white structures and breezy hillsides.

CJ and I have the gift of travelling very well together, and our time on this island was one of our most special yet…divine food, a white-knuckle scooter ride through the hills, and lots of R&R by the sea.

2010 SF Bay Area Theatre Critics Circle Awards

The SFBATCC nominations were announced today. I’m thrilled to share that the composer/music director and lyricist of my current show were included, as well as many deserving theatre friends and colleagues. Many congrats to all of them, and way to go Ray of Light Theatre on a whopping 11 noms! Below are my highlights:

[UPDATE: Complete list of winners...and see asterisks below!]

Thrillpeddlers: Pearls Over Shanghai
Original Music & Music Direction: Scrumbly Koldewyn
Original Lyrics: Link Martin

Scrumbly (as Gertrude Stein) & Me (as Hung Lo) — Photo by Daniel Nicoletta

Ray of Light Theatre: The Who’s Tommy
Entire Production
Principal Performance: Zachary Franczak* (He was a star!)
Supporting Performance: Cameron Weston
Director: Shane Ray
Music Director: Ben Prince*
Set Design: Angelo Benedetto*
Lighting Design: Dustin Snyder*
Costume Design: Mark Koss*
Choreographer: Ellyn Marie Marsh*

Ray of Light Theatre: I Love You, You’re Perfect, Now Change
Ensemble
Music Director: David Dobrusky

New Conservatory Theatre Center: Dames at Sea
Entire Production*
Supporting Performance: Leanne Borghesi* (So well deserved, dear friend!)
…and more

Broadway By the Bay: Crazy For You
Director: Brooke Knight
Musical Director: Attilio Tribuzi*
Choreographer: Robin Tribuzi*…and more

Shotgun Players: The Threepenny Opera
Entire Production
Ensemble…and more

Boxcar Theatre: Rent Boy Ave.: A “Fairy’s” Tale
Musical Director: Michael Mohammed…and more

Michael Phillis: Dolls — NCTC
Solo Performance: Drama

J. Conrad Frank: Katya’s Holiday Spectacular! — NCTC
Solo Performance: Musical*

“Pearls Over Shanghai” Welcomes John Waters

Cast with John Waters and Sebastian (me as Hung Lo, fifth from right).

For our January 8th show, we were graced with the presence of John Waters, as well as Sebastian, director of multiple Cockettes’ movies. The evening had a very special allure, thanks to their presence in the audience. Enjoy these vibrant photo moments from that performance, by fabulous photographer Dan Nicoletta.

Madame Gin Sling (Rumi Missabu) lears.

“Your evil wish is my command, HONEY!”

Lili Frustrata (Eric Tyson Wertz) prepares for her tragi-operatic "Un Bel Di" opening.

Experience a taste of Lili’s fragile suffering here (ala Tebaldi).

A whore (Kegel Kater) gives beautiful face.

I’d pay for two fistfuls of Yuans for that!

3 Occidental Sisters: Delightful, Deluxe, & Delicious (Adeola Role, Liza Bouterage & Miss Sheldra).

They are all “free, white, AND virgin”…at least when they arrive.

Lottie Wu (Kära Andrea Emry) and Hank (Will McMichael) gettin' naughty.

What else would you expect from a “Jaded Hussy”?

Mother Fu (Russell Blackwood) instructs.

Mother Fu sure knows how to “THICKEN the plot”!

In January, in celebration of the 40th Anniversary of The Cockettes’ and their opening of “Pearls…” at The Palace theatre in San Francisco, there is a special “After Glow” floor show, featuring some fabulous drag king action! This image is from a scene from The Cockettes’ “Hot Greeks”:

The boys gettin' it on, on the front line (Kegel Kater, Nancy French & L. Ron Hubby).

From whores to boys. They sure do clean-up well!

Here are just a few more of the colorful faces at the Hypnodrome.:

Scrumbly Koldewyn, Katya Smirnoff-Skyy, Michael Phillis, Addy Role, Jef Valentine, ME as Hung Lo

And, enjoy our latest slideshow by cast member Liza Bouterage, of Nicoletta’s and David Wilson’s photos. (I’m the final Chang image, at 1:19.)

Don’t miss it!!! We run til April 24th!

jcm’s Best of ’09: A Look Back

In the quieter, darker, colder days of January, in addition to looking ahead to what the year will bring, and setting goals, it’s always especially nice to reflect back on the previous year, to recall and relive some of its finest moments. So, it is in that spirit that I share my Top 10 LIVE Performances List for the year.

1. Hair on Broadway (8/2): I’ve certainly said enough about this love-rock musical on my blog in the past 6 months, but for good reason. Attending the acclaimed Broadway production with CJ and some dear friends was deeply moving, and a wonderful way to further launch me into my ACLO production. Although the singing style was more “pop” than I’d like (relative to the original productions), when seeing it live, any stylistic qualms fell away, and the raw honesty of the production swept me away. Steel Burkhardt was a surprisingly good understudy for Will Swenson, as Berger.

2. Heidi Melton Recitals: (2/4) Her Salon at the Rex featured Purcell, Berg, Messiaen, Debussy, and Bolcom; (10/20) Her LIEDER ALIVE! recital second half at the SF Conservatory featured Wagner’s Wesendonck Lieder. Now in Berlin preparing for her Deutsche Oper Berlin debut, and just off her Met debut in Elektra, she thankfully gave San Francisco two satisfying recitals before her departure. The first was very casual in spirit, much like the salons of old, I imagine…a great artist sidled up to the piano, friends and fans with cocktails in hand, and the artist just telling stories, in words and song. Perfect! The second prooved her Wagnerian chops in the demanding Wesendonck.

3. The Cockettes’ Pearls Over Shanghai (8/15): Straight from The Cockettes’ closet and into The Thrillpeddlers’ Hypnodrome…this irresistable tale is told in glitter, technicolor, pasties, and skin, with raw, campy delivery, and a bawdy flavor. I am happy to now be a part of this production, its first revival since its creation in the late ’60s. John Waters just graced our audience. Don’t miss it!

4. David Wilcox at the Swedish American Hall (3/23): First row, perfect intimacy and completely disarming open-heartedness.

5. Donizetti’s La Fille du Régiment at SF Opera (10/22): This Pelly production is an example of a fresh take on an opera that enhances a classic, not apologizes for or covers it up. Diana Damrau and Juan Diego Florez struck the perfect balance of bel canto purity and knee-slapping hijinx. It was genuinely funny throughout…true laughter spilled forth from the audience, not just the polite opera-laughter one is accustomed to. Meredith Arwady’s turn as The Marquise de Berkenfeld was beyond her years in comedic timing, and positively ebullient.

6. Next to Normal on Broadway (8/2): Like really good therapy…onstage. Vocal chops for days from all 6 performers. Alice Ripley may be crazy, but she’s perfect in this role, and the show lives up to its buzz.

7. Verdi’s Requiem at SF Opera (5/29): This was a moving farewell for Donald Runnicles. Heidi Melton and Stephanie Blythe melded beautifully. Melton stepped in last minute for an ailing Patricia Racette. The performance just crackled with emotion and commitment. And, how special to experience a sacred choral masterwork in our opera house!

8. Gershwin’s Porgy & Bess at SF Opera (6/12): To finally hear this score performed live in its original operatic context was a true thrill, especially after growing so fond of pop and jazz renditions for decades. Laquita Mitchell and Eric Owens lovingly gave 120%.

9. Rossini’s Semiramide at Caramoor (7/31): In this case especially, it’s hard to separate memories of the setting and journey from the performance itself, but the warm summer air, cultivated audience, and Queer Opera Punk friends in tow helped make it very memorable. It starred bel canto masters Angela Meade, Vivica Genaux, Lawrence Brownlee, and Daniel Mobbs. And, how lovely to discover my old choir friend Heather Meyer in the chorale!

10. Paul Taylor Dance Company at YBCA (5/2): This Program C included Arden Court, (Music by William Boyce: Symphonic Excerpts), Private Domain (Music by Iannis Xenakis: Atrees), and Offenbach Overtures (including La Grande-Duchesse de Gerolstein and Berbe-Bleue Overtures). Unfortunately, this year held few dance performances for me, but, at least included this one! CJ’s high school acquaintance Rob Kleinendorst is a long-time company member. The Offenbach was absolutely hysterical, not the sort of tone I expected from the company. A real fresh surprise! Last time I saw their tour, I was floored by their dramatic, apocalyptic Promethian Fire. Although not intentional, it felt like a 9/11 tribute. Well, this Offenbach couldn’t be more different, and shows their breadth.

Honorable Mentions: South Pacific Tour, GG Theatre, SF; American Idiot, Berkeley Rep (World Premiere, and Broadway-bound); Kylie Minogue concert, Fox Theatre, Oakland, CA; Pink Martini in concert, Davies Symphony Hall, SF; Souvenir, with Judy Kaye and Donald Corren, Geary Theatre, SF; SF Opera Auditions for the General Director (David Gockley) highlights: Michael Sumuel’s “O! Du mein holder Abendstern”, Ryan Belongie’s “Cara Sposa” and Nathaniel Peake’s “Salut demeure chaste et pure” and “Ah! lève-toi soleil!”.

Overrated/Yawners: In the Next Room: The Vibrator Play, Berkeley Rep (now on Broadway?! I fell asleep.); Billy Elliot on Broadway (some great moments and some great dancing do not a great musical make).

The Cockettes’ “Pearls Over Shanghai”!

A Technicolor Discovery

Nearly six months ago, the local Thrillpeddlers Theatre production of The Cockettes’ musical “Pearls Over Shanghai” entered my theatrical radar. My friend Leanne Borghesi (faux queen Anita Cocktail) was Associate Directing it, and gearing up for a short run as Petrushka, the “White Russian femme fatal”. At the time I knew nothing of The Cockettes nor Thrillpeddlers. The “Pearls…” poster (gotta love the innuendo!), Leanne’s involvement, and the technicolor photos I found online (see teasers below) easily enticed me to want to know and see more!

My friend David Crocker, a Dresser at the SF Opera, painted some vivid pictures for me of attending the original Cockette’s productions at the Palace theatre in the late 60s. Most potent for me, of course, were his references to operatic excerpts from “Madama Butterfly”.

Goldie Glitters (Photo © Susie Nightowl)

When I finally attended “Pearls…” with CJ and some friends, I was completely drawn into the spirit of it…bawdy, risque, irreverant, and fabulous! The intimate Hypnodrome theatre (45 seat capacity) aids in the visceral nature of the experience. Two original Cockettes are in this production: Rumi Missabu (the original Madame Gin Sling) and Scrumbly Koldewyn (composer of “Pearls…”, lyricist for Petrushka’s solos, as well as current music director and pianist). I knew this was the next sort of theatrical endeavor I HAD to be a part of. My recent involvement in “Hair”, from the same era, was a natural transition into this. And, recently meeting and working with Walter Harris, brother of Cockettes’ founder Hibiscus, at West Fest allowed it to hit even closer to home.

Hello Chang!

Fast forward a few months. My friend Val (my Frankenfurter in ROLT’s “Rocky…”) followed Michael Soldier (aka Precious Moments), and TJ Buswell (a Thrillpeddlers’ regular) as Chang. However, his run was ending just before Thanksgiving. The production would need a new Chang come December. Thanks to nods from Val and Leanne, and my passion for the show, I was cast as the new Chang, for the December 4th through 18th performances. This character is the Crime/Gangster Lord of China, and referred to as “Mister Money”, and the “Ziegfield of China”…how fun is that?! I’m looking forward to raising the bar on my makeup skills too, since the performers design and apply their own.

I’m ecstatic to be stepping into this rich tradition, and special production. It’s one part burlesque, one part cabaret, one part drag show, and one part staged musical. It conjures up the spirit of what I imagine shows in pre-war Berlin, or Vaudeville were like…well, sort of.

Come & Experience It

Buy your tickets now! Be prepared to check your “PC” at the door. The Thrillpeddlers just received an SF Bay Guardian “Goldie Award”, so thankfully they are getting some well deserved attention and kudos. Be sure to rent The Cockettes’ documentary, AND enjoy a video preview of the current production (find more in my vodpod widget). Although my run as Chang will have ended, the 40th Anniversary of the original production will be celebrated into the extended January run, with special after-shows!

Madame Gin Sling (Rumi Missabu), and Three White Virgins!

Madame Gin Sling, Mother Fu (Russell Blackwood), and Chang (Michael Soldier)

Shangri La and Whores