Archive for the ‘musicals’ Category
I’m back for my annual musings on the finest SF/Bay Area live performances of the year (#whatiattended)! As always, there’s a very healthy dose of opera, musical theatre, and jazz here, so they are more than well represented. And, I’m well aware of some great shows I had to miss because of my budget, or other commitments, but alas…it’s still a scrumptious array. Reflecting on these is a favorite way I savor and reexperience them once again.
What were your favorite Bay Area performances of the year?
1) Champion, Opera Parallèle, SFJAZZ Center
This unique jazz opera by Terence Blanchard is about the life of world champion boxer Emile Griffith, including his struggle with trauma-related dementia. A deeply affecting, tragic story, with gay content that was very impactful on a personal level. It features a great score, which deserves to land on the stages of the top American opera companies. It was heading to the Kennedy Center next, so it at least also had that audience. Unfortunately, it’s up against Charlie Parker’s “Yardbird” (featuring Lawrence Brownlee), so I fear it’s doubtful two jazz/jazz-oriented operas can have major legs. But, I get ahead of myself. This evening (Feb. 27th) had a sense of event, with Tuck and Patti, and Terence Blanchard in the audience, and lingering in the lobby afterwards as well. And we had the good fortune there of briefly meeting the contemporary opera legend, baritone Robert Orth, who passionately played Howie Albert.
The opening scene was so alive it reached out and grabbed the audience. The orchestral palette was rich, with the percussion and bass real stand outs. The orchestral hand-clapping-as-percussion really resonated. Former Merolini Karen Slack lit up the stage as Emelda Griffith, as did Arthur Woodley as the elder Emile, who was devastatingly real. The Herman’s Hole/”pussy” scene, with its fluid sexual expression was compelling and confusing, reflecting his confusion and the surrounding culture. Victor Ryan Robertson as Benny ‘Kid’ Paret was also very touching, a great physical actor, with a pleasing lyric voice in the midst of all the dramatic voices. A couple of scenes featured an actual boxer/dancer/percussionist who moved onstage in an unstoppable fashion.
Some lighting/projection cues revealed glaring flaws, and a couple of voices sounded tired. Also, where we sat there were frequent challenging sight lines, but it was thrilling to experience this opera in a true hall to jazz.
2) Dolly Tour: Pure & Simple, Shoreline Pavilion (Mountain View)
Not much needs to be said about this legendary woman. There may be many great drag impersonators of her, but there is only 1 Dolly. Her mix of goodness, simplicity, and yet worldliness and acceptance seems to be without peer.
It was a lovely night out as well, reminding me of concerts of my youth at Riverbend in Cincinnati. My favorite songs/moments included “Little Sparrow/If I Had Wings,” “9 to 5,” and two vocal quartets: “I’ll Fly Away,” and “The Seeker,” which skewed more towards bluegrass. Also, “Coat of Many Colors” and her new single “Pure and Simple” were really lovely.
I was in some disbelief that she sang it all live. The nuance and tone was so fresh…as if she was 25 again. She offered many quotable moments. When inviting a handsome band member to the spotlight for a featured musical moment, she shared: “I said I was married I didn’t say I was blind.” Her costumes take a page from Elvis’ book…bell bottoms and sequins for days!
3) Cabaret, National Tour, Golden Gate Theatre
The Emcee, Randy Harrison surely brought in audience based on his Queer as Folk celebrity, but he exceeded my expectations on stage. He offered a more solid, robust voice and technique than I expected, and than most of this role previous exponents had. I also appreciated that he used his voice in a somewhat less caricature-y fashion. He expressed plenty of lithe, engaging movement as well.
Andrea Goss, a petite Sally Bowles, was fantastic, offering a gamine, pixie appeal. Her small-scale delivered a big presence and impression. My date, who has seen a dozen or so Cabaret productions put her in his top 3…the slew of past celebrity Sallys not holding up real great by comparison.
As is often the case with this show, the love story between Fraulein Schneider and Herr Schultz tugged on many a heart string. The set design, and how it was used was engaging throughout, integrating the orchestra in an authentic way, true to the milieu.
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
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
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
With Ildar Abdrazakov, Patricia Racette, Ramón Vargas, Marina Harris…
4) Anything Goes, Broadway Tour, Curran Theatre
With Rachel York, Fred Applegate, Erich Bergen, Alex Finke…
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.”
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.
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!
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.
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.
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.
“Your evil wish is my command, HONEY!”
Experience a taste of Lili’s fragile suffering here (ala Tebaldi).
I’d pay for two fistfuls of Yuans for that!
They are all “free, white, AND virgin”…at least when they arrive.
What else would you expect from a “Jaded Hussy”?
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”:
From whores to boys. They sure do clean-up well!
Here are just a few more of the colorful faces at the Hypnodrome.:
Don’t miss it!!! We run til April 24th!
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!
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).