Archive for the ‘drag’ Category
jcm’s TOP 10 LIVE SF Shows of ’23!
As I prep to head off to see the Joffrey Ballet Nutcracker in Chicago, which will round out my performing arts year, I reflect back on the SF Bay Area shows I’ve been graced with this year. An ideally satisfying musico-cultural year for me includes opera, jazz, musical theatre, drag (theatre), outdoor festivals, dance, a play (or two) & MORE! 🎻 This year was no exception, with no less an embarrassment of riches, as it was refreshing to get back to a show attendance count a bit closer to my pre-COVID levels. 🎭 As always, there are many local shows I necessarily missed. 🎵 Are there any I left out that were among your favorite(s)? SHARE in the comments…
1) Die Frau Ohne Schatten • SF Opera, Jun 10
The bar is HIGH when you see your favorite opera, by your favorite operatic composer, AND you’ve waited 30 years for your city’s house to mount it. Well, thankfully that bar was more than met! This being only the 3rd time I’ve seen this opera live, no thanks to how rarely it’s mounted, given how difficult it is to stage, and SING!
The score itself and orchestral playing were easily its first notable stars here. Conductor Donald Runnicles had them gloriously wrapped around his (and Strauss’) finger. Their collaboration so rapturous, and with great dramatic impetus and flow.
I had seen this same production at LA Opera 15+ years ago, with the now sadly deceased Inga Nielsen (Empress), and Brian Asawa (Youth Apparition). Prior to attending this remounting, I upheld preference for a different production at Lyric Opera of Chicago (in ’07), with Christine Brewer and Deborah Voigt, given its earthy warmth, and far east aesthetic nods. BUT, on second viewing, and from a very different vantage point (I was in the orchestra in LA), I also grew to love this production and sets. That being said, I do still feel like Hockney’s Turandot is his magnum opus.
The Empresses’ final grand entrance here (Act 3, Scene 3), in regal red, against the all-deep-blue set was spellbinding magic. As was the golden fountain, and Phantom of the Opera-like boat affect with the passage of the Empress and Nurse in the previous scene.
Nina Stemme on opening night had been honored with the SF Opera Medal, and deservedly so. She was our very satisfying Brünnhilde over a decade ago. At 60 years old, her technique is still a marvel. She qualifies as the loudest, most thrilling singer I’ve seen, up there with Gwyneth Jones. Her high notes pierce your soul. She brought much gravitas and heart to the role, as well as austerity when apropos.
Linda Watson, also my Dyer’s Wife in LA was fantastic as The Nurse. Seering in her intensity, and stone-like in her physical chilliness and strength. Not a beautiful sound, but an appropriately frightening, haunting one.
Camila Nylund as the Empress didn’t best memories of Rysanek in amplitude, and who could? (as I know from her recordings). But she did present a warm character, with much beautiful singing, even if she didn’t fully warm up until after her entrance “aria”, which includes some moments of Straussian coloratura.
David Butt Philip was tireless, if slightly more compact than desired as The Emperor. And Johan Reuter, as the Dyer was very satisfying, with his warm tone, and increasingly earnest leanings towards his Wife. It was noted that among the soloist, chorus, dancers, this production required a total of 110 personnel!
The theme of partner love of this fairy tale is always overwhelmingly moving to me. The parallel theme of fertility and requisite child-bearing is often cloying and annoying. But, I’m able to focus on the overarching one, and find so much catharsis in that. As Strauss said in ’48: “It has made a deep impression…and music lovers in particular consider it to be my most important work.” YES, we/I do! Thanks Richard.
2) The Lion King • Orpheum Theatre, Dec 14
Somehow, I had avoided and/or missed this theatrical phenom and hit for its first 27 years. I’m sure my general musical theatre cynicism and deference to opera played a role. But, this production proved no less an art. Taymor’s classic production, presented by Broadway SF, felt still fresh and new to me. And thankfully, even being bombarded with marketing for the show for decades, most of it remained a visual surprise.
Mukelisiwe Goba as (Rafiki) offered an exuberance and other-wordliness, with her bright voice and signature tongue clicks throughout. Gerald Ramsey as Mufasa, and Peter Hargrave as Scar were stellar. I loved that both their strong voices were grounded in a bass or baritone bottom, unlike the standard pushed-up tenor usually featured in modern musicals. Mason Lawson as young Simba was a joy. It seemed there was nothing he couldn’t do. But the three character roles of Drew Hirschfield as Zazu, Nick Cordileone as Timon the Meerkat, and John E. Brady as Pumbaa the Wart Hog walked away with the show for me. The laughter that was elicited was genuine, not from some requisite response.
The production didn’t have a whiff of standard Disney, which is largely why it feels so fresh. Spiritual and transcendent, the art of the puppetry combined with dance and caricature were wholly transporting and magical.
“Scar’s Sexy Gay Topless Hyena Ballet”, as I named it, was a highlight. A presumably straight man sitting near us laughed through it…I think it just made him uncomfortable, as it was indeed quite evocative and alluring.
3) Omar • SF Opera, Nov 5th
“There need not be shame in our stories, histories, or feelings.” – Julie (paraphrased)
This opera, by Rhiannon Giddens & Michael Abels, which debuted just last year at the Spoleto Festival, leaps to the top of my Greatest Modern Operas list, with this SF Opera production. It was a thrill to be at an opening that was nearly sold out (big in these times).
It was heart-wrenching and joyous to witness the profound telling of this story, about Omar ibn Said, a Muslim man who was forced into slavery, who wrote his own autobiography in Arabic. They’ve created what felt like such a fresh, beautiful, and accessible musical vernacular that is neither too referential nor historic, as well as not patronizing nor preachy.
The first half leans into some ethnic/world music and bluegrass elements. The second half into Gershwin, Spirituals, and American standards a bit. But that’s far too great a simplification of its genius.
Omar was perfectly portrayed by Jamez McCorkle. His strong tenor voice and textual clarity were peerless, and with a sincerity that felt beyond performative. Much of the opera, he is an iconic, columnar protagonist force, that others are reacting to, but thankfully he also gets a great final scene to show his stuff. Brittany Renee as Julie (no surname) was stunning, at times reminding me of the tonal lushness of Leontyne Price.
The ancestral mover (Jermaine McGhee as a whirlwind of spinning fabric, ala a Whirling Dervish), was so compelling throughout, creating a visual and conceptual cohesion too. Initially, it made me think it was representing the tempestuous seas they had to cross, and all the associated trauma memories of that.
The nearly ubiquitous chorus, providing a strong community support archetype was lush and passionate and with verve in the right spots. The set design was visually and conceptually rich.
There is much for us to process and own socio-culturally, and personally in this story. Inflicting this trauma on black folk. But the resilience shown was astounding.
4) Dear San Francisco • Club Fugazi, Sep 21
This experience embodied poetry in motion (and then some literal poetry too). It’s just the sort of artistic creation that SF needs to help shift the downward doom narrative folks are easily latching onto, into an upward spiral! That perception is both a real transition going on in our city, as well as a catastrophizing one.
The show goes beyond more standard circus and/or flow arts in the way it does its storytelling, essentially a love story to SF, and reveals the stories of the performers as a part of that. I found it therapeutic, thrilling, heartening, and cathartic.
Favorite moments were: Shengnan Pan and Enmeng Song‘s “Kong Zhong,” because of their couple’s love and family story intertwined into it. He is a rare virtuosic proponent of this Chinese Yoyo art, and apparently learned it from Shengnan. It’s such an ensemble show it feels impossible to single one performer out. Sereno Aguilar Izzo, from Mexico was a brick shit-house, as they say…DAYUM! A bit like The Rock, but still lithe and flexible. Maya Kesselman, Chloe Somers Walker and Kiran Walton exuded so much sincere joy. Dominic Cruz offered some finely textured singing and guitar work. It was nice to have live music also be a part of this.
One of the performers had stepped in 2 days before and I didn’t even notice he didn’t fit right in. WOW! It was special to be back in Club Fugazi. SF history in itself. Louis Armstrong, Janis Joplin, Robin Williams, and Val Diamond have graced this stage!
Continue readingjcm’s Top 10 Show Picks of 2018
WELCOME to my 10th ANNUAL (!) post of the finest shows that the SF Bay Area has to offer. I’ve loved taking in local live/stage shows all these years, and sharing my resonances and reactions with you. In that vein, I pass on to you Langhorne Slim’s poignant message (from the Rooster Stage at Hardly Strictly Bluegrass, my #5 entry below): “Wishing you peace, love & ALL THE SWEET SHIT in life!”
Especially in the past few years, the amount of what I’ve been able to experience has necessarily lessened, so this is hardly a comprehensive list. But I know what I like, and am grateful to have sampled even this much crème on top of another year of shows!
What were your favorite Bay Area performances of the year? Please share in the comments.
1) Erasure, World Be Gone Tour, The Masonic, August 17
Andy Bell gave us all (esp. the gays) a lesson in what 50-something can look like. He displayed boundless energy and a giving spirit, a fearless and bold play with his sensuality/sexuality (donning a faux tattoo full body tight), a voice nearly as fresh as in their earliest recordings (starting in ’86)…and THIS from someone who has had BOTH hips replaced! It was wonderful to dance with them for nearly half the concert. It was nearly impossible to stay in our seats.
Their setlist included every hit I craved to hear: Oh L’Amour, Ship of Fools, Breathe, Just a Little Love, Chains of Love, Sweet Summer Loving, Victim of Love, Phantom Bride, World Be Gone, Who Needs Love Like That, Atomic (Blondie cover), Love to Hate You, Blue Savannah, Drama!, Love You to the Sky, Sometimes, Always, Stop!, Encore: A Little Respect
2) Stacey Kent, I Know I Dream, The Fairmont, February 24
This was my second time seeing Stacey, her husband and bandleader Jim Tomlinson at the Fairmont. This concert was just as transporting. I lapped up the broad range of songs she performed, from diverse cultures and song traditions. But it is her Bossa Nova repertoire that will remain my favorite from her. Thankfully, this setlist offered at least 4 of them. Stacey always leaves me wanting more…just like travel, love, and sex, which most of her songs are about.
Highlights included: Make it Up, (a Jobim song), Les Amours Perdues, Happy Talk (by Rogers & Hammerstein), The Very Thought of You, Polka Dots and Moonbeams (Sinatra’s first hit, a requested song), Bullet Train, To Say Goodbye (by Edu Lobo, Brazilian), La Rua Madureira, Je Palle d’amore (by Nina Ferrer, performed as a samba, with a more hopeful air), Mon Jardin Hiver
The lyrics to their original, Make it Up really resonated to me:
“I love you and you love me
And I can’t tell you why
You’d have thought by now we’d have figured out
The reason and the rhyme
You love me and I love you
And it’s been this way so long
That if we knew what were doing
We’d be doing it all wrong
So let’s just make it up as we go along.”
3) Roberto Devereux, San Francisco Opera, September 18
Sondra Radvanovsky displayed dramatic and vocal fearlessness. A voice of this grand scale (aka true dramatic coloratura) was a treat in this repertoire. It made me crave some Wagner rep. from her, perhaps Senta, or even an attempt at Isolde, neither or which she has performed. Her final mad scene was surprisingly beautiful, and affecting. Her haggard and harried appearance never disrupted the sung line. It elicited a level of feeling from me the rest of the opera hadn’t, as much of it was VERY technically polished, but perhaps a bit too period.
I really liked the production, particularly the mini opera that accompanied the overture. Jamie Barton delivered gobs of glorious tone, and with great dramatic commitment, even if some of the surtitles, and period cultural considerations elicited laughter. As always, she called to mind Marilyn Horne’s fach, but with cleaner technique. I could have done without her rape by the Duke.
Russell Thomas was very impressive too. It was great to see this trio back together again after our ’14 SFO Norma!
jcm’s Top 10 Performances of ’13
It was another stunning year of live performance in the Bay Area and beyond. I’m forgoing reviews this time, thanks to grad school demands. I’m grateful yet again for the embarrassment of riches…one of the many reasons I gladly call San Francisco home!
1) Matt Alber @ The Rickshaw Stop
Presented by SF Bear Pride
November 8
With NAKIA, Jeb Havens…
Program incl.: Monarch, The River, Velvet Goldmine, Old Wallingford, Tightrope, I Wanna Dance With Somebody, Field Trip Buddy, Hide & Seek, Always (ACAP), End of the World, Yellow, New York, Old Ghosts…
A taste of Matt live
2) Pink Martini @ The Hollywood Bowl
July 19
With China Forbes, Storm Large, Saori Yuki, Ari Shapiro…
Program incl.: Brazil, Zundoko bushi, Splendor in the Grass, Eugene, Hang on Little Tomato, Get Happy/Happy Days medley, And Then You’re Gone/But Now I’m Back medley, Yo Te Quiero Siempre…
3) Mephistopheles, San Francisco Opera
September 14
With Ildar Abdrazakov, Patricia Racette, Ramón Vargas, Marina Harris…
4) Anything Goes, Broadway Tour, Curran Theatre
January 28
With Rachel York, Fred Applegate, Erich Bergen, Alex Finke…
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.
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.
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.
Our Pink Martini Music Video Won 4th Place!
Our prizes?
Two guest list tickets for an upcoming Pink Martini show, as well as some “other gifts” (possibly P.M. schwag?!). We’re contemplating one of the Hollywood Bowl Pink Martini shows in September. But, it’s tempting to save up for a European concert locale.
What people are saying
Pink Martini’s Business Manager shared this:
“We’ve been consistently amused by your video since its submission. In fact, it was the first video we received that we really loved, and at that time, unsure how the contest would go, we were relieved to know we had at least one gem. By far the best of the “home video” type entries we received.
We’d love to…post it permanently on our YouTube channel and on our website, and use it at other venues too. Thanks again for your video, and thank your fabulous cast for us as well!”
The creation of the video was a joy, but the contest announcements have brought it all to life again!
See their facebook page for fan’s comments on our video and to follow the remaining contest, and click “Like” to keep up-to-date on their concerts and activities.
The Final “Cut”: Music Video Contest Entry
I now present to you my entry for La Cieca’s (parterre.com) light-hearted lip dub video competition:
Although a winner hasn’t been announced, happily, my entry was featured today on parterre.com: Darkest Before the Dawn
[UPDATE: I won! My video received the winning prize worth $200.00, and cries of “Bravissimo!,” “genius,” “brilliant,” “poignant” and “hilarious.” Woo-hoo!]
The song is opera diva Renée Fleming’s recent crossover single “Endlessly” (originally by Muse). It was GOBS of fun to create…a tragic tranny mess? Visionary? You be the judge, but it’s nothing if not fun. Plus, I didn’t know I was a blonde (the look chosen to APPROXIMATE the album cover)…the results proved me SO wrong.
For non-opera aficionados, the paper dolls are of Peter Gelb (he runs the Metropolitan Opera), Barbara Walters (operagoer), Mary Zimmerman (director), James Levine (music director and conductor at the Met), and La Cieca! (Yes, the inside jokes abound.)
I invite you to share comments directly below the video at vimeo.com link provided above! Praise me, roast me, sex me up, and so on!
Here’s the official collectible album cover: