jcm’s TOP 10 LIVE SF Shows of ’22!

🎵 CABARET! 🩰 BALLET! 🎻 INSTRUMENTAL! 🎭 THEATRE! 👄 OPERA! 👠 DRAG!

Here’s a toast to a rousing return to LIVE show fullness once more! I’m so grateful that we can partake in all that local companies, clubs, theatres, performers, and more worked so hard to create and provide for audiences. Share your favorite shows in the comments…any notable ones I missed?

1) Marilyn Maye • Feinstein’s at the Nikko, Sep 30

A year ago I discovered Marilyn Maye, thanks to the CBS Sunday Morning profile of her amazing career, recorded and onstage, and her notable longevity (link below)! When a post-COVID SF performance emerged, I SPRUNG on it!

At 94, she proved to have more energy than most of us at 30. By way of this Feinstein’s show (about which she proclaimed: “This is my favorite room.”), it was like witnessing a priestess, weaving a spell, with a deep love for her craft and very rare communication way with song. Or goin’ to church AND therapy all in one…walking out feeling uplifted and so very alive. Such generosity, open-heartedness, and a gracious smile…the entire show.

Specializing in medleys, from Porter to Waller to Mercer, and ending with one that tore me asunder and broke down the flood gates, featuring James Taylor’s “Secret ‘o Life” (“The secret to life is enjoying the passage of time”) and “Here’s to Life.” ❤️ Well, Marilyn sure feels like she has a right to dispense these wisdoms, and they emanate from such a place of truth. She embodies some of the best qualities of Frances Faye, Stritch and Rosemary Clooney, yet she’s ALL her own!

It was a once-in-a-lifetime experience, where time seemed to stand still, and everything outside our divine cloud just floated out of sight, because she made each of us feel so held by her. ⛅️ Johnny Carson sure knew something about singers and voices, as he invited her on his show 76 times! Surely few, if any from her generation are still performing at this level, and we must support this beloved art of cabaret.

Other highlights included: It’s Today (from Mame, with lyric: “To live love and laugh at it all”); Accentuate the Positive;  Ah, the Apple Trees / When the World Was Young (by Mercer); and her own unique take on Guess Who I Saw Today (the first and last songs named here her most requested).

Local cutie, Daniel Fabricant was fantastic on bass! Her pianist, all the way from NYC was phenomenal on the keys.

2) Don Quixote • SF Ballet, Mar 5

My long-awaited ballet date with a dear friend (my 1st SFB attendance in over 5 years), shifted tone with a text from her, as I neared the opera house (just 2 blocks away): “I just got here, and people are saying it’s canceled due to water damage on the stage. There was a fire alarm and the sprinklers turned on.” As I got in eye-shot, I could see the street and gutters filled with water, and a stream of water emanating from the giant set loading door, as crews hurriedly squeejeed the ground.

The sullen face of one adolescent girl descending the front steps said it all, as her mother voiced a teachable moment about disappointment. In fact, as we later discovered, it appears it was a messy and profuse water main break. I was in disbelief and shock, as I’d never heard of this happening at the house. But indeed it was true. The good news, we were able to transfer to the same-day evening performance. We weren’t going to give up on this easily.

Our 2nd attempt was successful, impossibly joyous (particularly Act 1, in a Barcelona Square), and full of techni-color! Literally. The costume palette in Act I could not have been more vibrant, from the orange toreador-style of the male corps de ballet (see below), to the pink backsides of the black capes (HOW do I take one of these out on loan?!), to the yellow of Espada’s first LEWK (worn by the commanding Daniel Deivison-Oliveira, of Brazil). It was a true visual feast!

Sarah Van Patten in Tomasson/Possokhov’s Don Quixote. (© Erik Tomasson)

Also, perhaps because so many folks from the cancelled matinée transferred, it was the most packed performance I’ve seen at the house in years (incl. opera). This lent to a more festive gala feel, along with the highly interactive ballet, which perhaps more than any other seems to lend itself to impromptu applause and gasps/woots of pleasure from the audience.

Joseph Walsh as Basilio (the Barber), and Jennifer Stahl (Queen of the Driads) were the real standouts for me. In physique, technique, facial expression…and, well, his good hair, Joseph delivered. Jennifer was the most commanding, in her classical technique, confidence and carriage. Joseph and Wona Park (as an effervescent Kitri) had wonderful chemistry, especially in their Act II Dream Pas de Deux, where she fluttered her toe pointe shoes on the floor, eliciting a gentle tapping sound, as she was moved across the stage, dropped over him, which felt like an expression of a fluttery heart, or early, young, sweet, doe-like love.

Gabriela Gonzalez (the Gitana/Gypsy Woman) in ACT II, Scene One: Spanish Countryside, grabbed our attention from her first entrance. It was as if Aida had entered to sing O Patria Mia. She was passionate, languid, and her free movements were refreshing in the midst of the more traditional controlled classical ballet. Overall, the principals didn’t seem quite at the superstar level of my ’04 memories of Loreena Feijoo and Joan Boada (retired at 40 from SFB, but artistic director of Boston Ballet II, as of ’22), or seemingly immortal Yuan Yuan Tan, or even Vanessa Zahorian. But they all more than satisfied. The production and character performers (incl. Alexander Reneff-Olson as the Don) did a very good job of storytelling.

Ricardo Bustamante brought MUCH pleasure as the fey, campy, flamboyant Lorenzo. It never felt homophobic, but always felt in character, and lovingly crafted. Some of his clumsy movements looked very ankle-twisty…it can’t be easy to dance as if you’re not a good dancer (same can be said of Davide Occhipinti, as Sancho Panza). The orchestra was fleet and pin-point accurate, as led by Ming Luke. The Leon Minkus score belied his Austrian heritage, as there were some moments of almost Straussian verve.

3) Julian Bennett Recital • Barbro Osher Hall, Apr 1

with Matthew Park, piano

The new 200-seat Barbro Osher Recital Hall, on the 11th floor of the SFCM Bowes Center features floor-to-ceiling glass walls, offering views overlooking a spectacular vista of City Hall, and nearby classical music venues. It’s a $200M “vertical campus” designed by Mark Cavagnero Assoc. (completed in ’21), and was built to withstand a 9.0 magnitude earthquake. (On the first floor, there is allegedly zero street noise, due to a 6-foot trough built below the windows, and a floating floor.)

Julian Bennett, whom I knew nothing about before I arrived at this recital was a star, in character, looks, musical talent and passion! (I now follow him on instagram…duh!) My how we lucked out, although my Spidey-Senses are often spot on.

The program included Gian Carlo Menotti’s Arioso from his Suite for Two Cellos and Piano: III (’73). I LOVED this piece…what a find. This piece immediately brought myself and my friend to tears. Certainly, the experience of this dramatic space also played into that. Some further backstory, Julian shared that this piece was written for/dedicated to Piatigorsky. Menotti partnered with Samuel Barber for 30+ years, but in Barber’s post Antony & Cleopatra failure (via harsh critics reviews), depression and alcohol dependency overtook him and Menotti ended their partnership. I could feel this melancholy and loss in this piece (Barber’s death was in ’70)

See full program here: Julian Bennett Second Year Graduate Cello Recital

Next up, was Juon’s Sonata for Cello and Piano in A Minor, Op. 54. Joan was a Moscow-trained Russian (Swiss born). Britten’s Suite No. 1 for Solo Cello, Op. 72 includes complex layering, and a hand/finger strumming which sounded quite Asian to my ears. It reminded me of moments of his Curlew River. I still haven’t fully acquired an ear for Britten more contemporary palette but I’m getting there.

The final piece, Meditation, by his mother, Korine Fujiwara, was about that moment where the self/spirit leaves the body and goes onto wherever it goes. I loved this piece. She was sitting in the first row, with his father, it appeared. It was nice to have that familial energy there, as it also imbued the experience.

4) Moulin Rouge! Broadway Tour • Orpheum, Sep 22

Even upon entering the interior of the theater, it was clear this production REALLY committed to creating a strong sense of place and time. The real star was the sets, costumes and utter genius of working in popular song. An utter feast for the eyes and senses.

Like the Book of Mormon, the first 15-20 minutes of this show kick-off at 200% energy, delivery, pacing, and are immediately OFF TO THE RACES! I joked with my friends that our pre-show dinner restaurant surely must have laced our meal with speed or LSD. But it was a very fun, and transporting ride!

Conor Ryan (as romantic lead, Christian) served shades of Ewen McGregor, but his own mark of raw sincerity and just enough moments of unhinged vocal grit. He really gave it his all. I also reveled in Austin Durant (as Harold Zidler, the Master of Ceremonies-of-sorts), and André Ward (as Latrec), who shone, especially in his very tender Nature Boy, which provide a much needed slow down and some pacing respite!

Courtney Reed (as Satine) felt too strong, and perhaps not gamine enough, as the memory of Nicole Kidman and her red shock of hair loomed large. I also wish they had made that wig choice here to differentiate her visually more. Her costume styling also felt off (i.e. her disco booties and shimmer tights in Act I felt more like Xanadu or Starlight Express?), until the end.

Tyler Eisenreich was the only Swing we got on this night, and I couldn’t imagine a better Duke of Monroth than he. He actually made Satine’s Christian-or-Duke bind all the more convincing.

jcm’s TOP 10 LIVE Shows of ’21!

JAZZ! 🎵 OPERA! 👠 DRAG! 👄 CHORAL! 🎻 ORCHESTRAL! 🎭 THEATRE!

Even with the ongoing uncertainty around live performance during this pandemic, it was VERY nice to have been able to partake in a more robust offering this year, certainly than in ’20, due to theatrical re-openings (all but one here in the SF Bay Area). Here’s a toast to that 🥂, to MUCH more in ’22…as well as to more stability and safety to allow all companies and clubs to be able to run, and performers to work their magic, as they are meant to, and not hang so precariously in the balance, without full ticket sales, or audiences. #FingersCrossed. Well, here we go. Share your favorite shows in the comments…what did I miss?

1) “Cosmopolitan Holiday Music” • Pink Martini, SFJazz, Miner Auditorium, Dec. 4

China Forbes’ voice was as fresh and expressive as ever. It’s truly hard to believe this band has been at it over 25 years, while she still vocally sounds 27…if with the wizened intent and spirit of someone who’s lived more, of course. Her banter with Thomas Lauderdale was entertaining, disarming and sweet. He even stripped down at one point, as a hard sell for one of their merch t-shirts, as he modeled a sample.

The vibe and energy this band produces is like no other…multi-cultural, drawing from classical and other traditions, inclusive, interactive, and essentially joyous.

Their music takes me back to a past era and relationship in my life. My 40th Bday in Palm Springs was literally named ‘n branded “Pink Martini-Land!”…but it was very tender to return to some of that energy, whilst also admiring how the band has evolved, to include more guest singers and POC in their lineup (incl. alluring vocalist Edna Vazquez, from Jalisco & Portland) which felt particularly important, given their musical mission.

Highlights from this program were the fresh, jazzy arrangement of “We Three Kings”; the moody, Croation tone poem “U Plavu Zoru,” featuring an Argentinian violinist; “Exodus,” sung by Portland pianist/singer Jimmy Herrod, which was emotionally overwhelming; their old classic “Hang on Little Tomato,” which makes SO much more sense when you know the back story (it’s a long story)! The FULL setlist can be found here, where I submitted it.

I also fell completely in love with Timothy Nashimoto, one of their long-time members, backup percussionists, and singers. His hips move like no others, and I couldn’t take my eyes off him! The final two songs were Jimmy’s belted anthem “Tomorrow” (no wonder he ended up on America’s Got Talent!), and their traditional 4-EV-R finale: “BRAZIL”!

It was wonderful to stand and dance a bit at our seats on some of the climaxes, and SO good to be back simmering in this wonderful acoustic again, and with the space’s great sightlines.

2) Fidelio • San Francisco Opera, Oct. 14

As one entered the opera house, a projection of Leonore’s back was on the scrim. As the overture progressed, one suddenly realized she was slowly rotating. It was used to VERY great affect. Her feminine silhouette also juxtaposed with her “male drag” look. It felt like a choice that furthered the building drama of the overture, rather than distracting from the music. 

The orchestra began in a slightly disconnected manner for me, with a horn splat and some blurry transitions (after decades of listening to the Klemperer recording with the Philharmonia Orchestra, what can you do?), but they really settled in. And by the end of the overture, led by Eun Sun Kim, they gave us a thrilling and triumphant ride, as they gelled.

The score stands on its own. The love quartet, and prisoner’s chorus one waits intently for decades to see LIVE like this. Both are always rapt. It’s a top 5 favorite opera for me, so I know I bring a lot of my own memories and story to it, and we certainly bring our own so up socio-cultural narratives to it as well. That’s why It feels so timeless. Because this is a story that sadly will never end…incarceration and political prisoners, but ALSO liberation, freedom, and ultimately love.

Anne-Marie Mackintosh’s Marzelline, and Christopher Oglesby’s Jacquino offered more vocal heft than usual, not a soubrette nor a tenorino. That was welcome. Mackintosh really held her own in the large ensembles. I didn’t love her Megan McCain (on The View) styling (hair/wig and Republican-blue costume), and in this modern context the in-office flirting…no, harassment, from Jacquino which in past traditional productions felt “cute” and playful, here was really awkward and felt at odds with the modernity.

The rotating set was stunning, even if when in motion the sound was a bit distracting until it came to rest. I’d say the pay-off was there on the overall approach, and tableaux it enabled.

James Creswell’s Rocco was excellent, embracing the modern feel in his portrayal. A very tonally robust voice, never covered by the orchestra. I felt this context helped his character feel more real and less of a caricature.

Elza van den Heever was stunning. Her primary aria felt heartfelt and earnest. She struck just the right tone of sorrow and yearning. Her top resplendent. As her aria finished and the stage rotated, revealing the prisoners in their cages, it was emotionally overwhelming, supported by this very affective staging. She’d clearly make a great Chrythosemis and Sieglinde. Her bottom not quite as robust…but again, hard to banish the memory of the bottom of legendary mezzo, Christa Ludwig. I did, thankfully see Elsa at the SF Conservatory in the ’90s when she was was just emerging, and still a mezzo…I believe in Ariodante.

Greer Grimsley, dressed in a stiff suit, like an archetypal Republican, brought plenty of nefarious, villainous vibes, and his well known Wotan grandeur. At times he was a little more sizzle than steak. The “BOOs!” that greeted him during the view must be a Don Pizarro role tradition I didn’t know about. He played along well and it was sweetly amusing and apt.

Our introduction to Russell Thomas’ Florestan employed a piece of stunning staging and lighting. His first cry of “GOTT!…” began with a slow crescendo…as if from his soul. (This can’t be easy as a first onstage note for a singer.) I didn’t experience it as singing. He is a STAR. Elemental. Having trained my ear on Jon Vickers for decades, he did not disappoint. Offering shades of Vickers’ ring and percussive approach, but with plenty of his own tone and style. His race no doubt added meaningful additional layers of poignancy, and a haunting quality, as he sat languishing in chains, AND as he was liberated and celebrated.

The finale almost brow beats you with joy, in its almost impossibly sunniness. And I happily took the beating, as Beethoven used every voice percussively. The chorus delivered…making it sound fresh, unfored, and ebullient. And the primarily yellow prisoner costumes added to the sunniness. 

Elza’s bow showed just how grateful SF is to have one of its own back (from SF Conservatory and Merola/Adler). Her aria and her final bow received a very generous response. And she displayed being moved by that as well. It was such a satisfying and transporting night.

3) “The Ho Must Go On!” • Jackie Beat, OASIS, July 2

D’Arcy Drollinger, Owner and Artistic Director of OASIS (and reviewed below in The Golden Girls’ LIVE), understandably chose Jackie Beat to reopen their Cabaret Show lineup after the first wave of COVID began to subside. NOONE can do what Jackie does. She’s a stand-up comedian, writer, performer/singer drag genius, and easily my biggest/greatest drag influence all these years. PLUS she sings all of her material LIVE, and it’s all parody versions rewritten by her. 

The Intro by D’Arcy provided a warm, moving introduction to Jackie and her show. The audience was ALL AGLOW, given how starved we were for live stage shows, and comedy/laughs on this level.

Highlights from the show included: “Don’t Speak,” “Tainted Love” (“Painted Mug”), “If I Could Turn Back Time,” “I Always Feel Like Somebody Watching Me,” Stevie Nicks’ “Stand Back“ (“Back Fat”), “Two Tickets To Paradise” (“Two Dicks Now I’m Paralyzed”), Robyn’s “Dancing On My Own” (“Necromancing On My Own”), Chicago song, Janis Ian’s “At Seventeen” (“In Quarantine”), and “Running with the Devil.” Her cover song titles alone are LOL-worthy…am I right?

It was a real treat. She has a way of ripping you (i.e. an audience member) a new one, BUT you know she loves you and has a great heart. That’s a skill. It’s NO surprise she wrote for the Great Joan Rivers! Even her schtick about shamelessly heckling audience for tips is never grating, always hysterical…as she drags her tip bucket around the crowd, whilst never missing a note (and she deserves every penny 🤣).

Sadly, Jackie contracted COVID this week, and had to cancel her New Year’s shows…she’s doing ok, but send her healing vibes, or some love on her social medias!

jcm’s TOP 10 Movies, Docus & Series of ‘21!

I promised myself after last year’s historic S.I.P., and no doubt breaking my own personal streaming record, I wouldn’t take in QUITE as much content in ’21, also not knowing how much longer the pandemic would lagger on, as well as the surge of new variants. Well, thankfully I did meet my promise, watching only about 80% of my ’20 amount. 🤣🤣🤣 But, ’21 also brought plenty of great content, and I’d love to offer these tips for you any you may have overlooked, and share my highlights of the year, acknowledging there’s loads of content I wasn’t drawn to, or didn’t see. Any favorites of yours I missed? Share in the comments!

TOP 10 MOVIES

1) Supernova (US theatrical release ’21) • Underrated IMO, particularly in the award show noms, where it was largely ignored. A poignant, intimate, and painfully real close-up on a partnership, confronted with a terrible cognitive challenge.
2) Nomadland (US theatrical release ’21)
3) West Side Story ’21 (see review at bottom)
4) Passing (Netflix)
5) Cruella
6) Dune
7) Promising Young Woman
8) The Father (US theatrical release ’21)
9) US vs. Billie Holliday (Hulu)
10) Bo Burnam: Inside (Netflix) • SUCH a unique and relevant piece!

TOP 10 DOCUMENTARIES

1) Rita Moreno: Just a Girl Who Decided To Go For It (Netflix) • This helped open my eyes up to just how trailblazing, and instrumental she has been. Holder of the rare EGOT, and yet, a seemingly ego-free, spacious human being. It’s also the perfect follow up to watching the new “WSS”!
2) The New York Times Presents: Framing Britney Spears (Hulu) • THIS has surely been Britney’s year. Rightfully so.
3) Roadrunner • About the real Anthony Bourdain. Necessary viewing for all human beings.
4) Amy Tan: Unintended Memoir (Netflix)
5) TINA (HBO)
6) This is a Robbery: The World’s Biggest Art Heist (Netflix)
7) Tiny Shoulders: Redefining Barbie (Hulu)
8) STRAY (Magnolia Pictures)
9) The Magic of Callas (PBS/Amazon)
10) FOUND (Netflix) • About three teenage girls born in China, abandoned by their parents, and adopted by US families.

TOP 10 SERIES

1) Feel Good (S2, Netflix) • This series perfectly rides that line between humor and raw poignancy, no doubt an embodiment of Canadian-born lead Mae Martin’s stand-up comedy material and tone.
2) Hacks (S1, HBO)
3) Only Murders in the Building (S1, Hulu)
4) The Other Two (S2, HBO)
5) The White Lotus (HBO)
6) The Chair (S1, Netflix)
7) Genius: Aretha (NG/Hulu)
8) Special (S2, Netflix)
9) Sex Education (S3, Netflix)
10) insecure (S5, HBO)

BEST DOCU SERIES

1) Penguin Town (Netflix) • These Penguins come to life as full-blown characters. Their trials and pleasures are captured so compellingly.
2) Stanley Tucci: Searching for Italy: Naples, Bologna, Tuscany, Milan, Sicily, Roma (CNN)
3) Behind the Attraction (Disney) • This is a VERY fun series!
4) Bad Sport, Gold War episode (Netflix)
5) Worn Stories (Netflix)

BEST ANIMATED MOVIES

1) Soul (DisneyPlus, Dec. 25, 2020) • This movie offers an important culture reference to “flow state“, which is an important awareness for mental well being.
2) Luca (Amazon) • Very sweet to see the story of two best boy friends develop.
3) OUT (short film, DisneyPlus)
4) Muppets Haunted Mansion (Disney) • a 1-hour Holiday Special

BEST REALITY COMPETITION / SERIES

1) Portrait Artist of the Year (S3, Amazon) • A simply stunning series. It teaches you SO much about artists’ process.
2) The Great Pottery Throw Down (S4, HBO) • I SO vibe with this show, thanks to its tactile art form, and compelling filmed setting.
3) The Great British Bake-Off (S9, Netflix)
4) DragRace AllStars (S6, Paramount)
5) Motel Makeover (Netflix)

jcm’s “CHEESIEST” AWARD

A Castle For Christmas (Netflix) • COMPLETE cheese, with Brooke Shields as a famous writer escaping to a Scottish castle to find herself again, but I gobbled it up.

jcm’s “RAZZIE AWARD” (i.e. worst movie)

A Clüsterfünke Christmas (Comedy Central) • Despite the very talented SNL-alum writing team, I couldn’t finish it! It was pretty unwatchable.

West Side Story ’21 REVIEW:

It’s hard to be objective about a piece that I’ve listened to since childhood, is literally a part of me, and in large part formed my musical and romantic ideals (the latter part not a good plan, of course). I got to play Diesel on stage, have sung “Something’s Coming” several times (and Maria’s/Anita’s parts in private…lol). My tears flowed throughout the entire movie…which was largely about my past memories, overlaid with current projections of this new piece itself.

Mike Faist (Riff) of Newsies and Dear Evan Hanson fame was a TOTAL star…I couldn’t take my eyes off him. Not a false note in his performance for me, he simply seemed to exist as this character. And he embodied unique casting as well, not the typical more thug-like Riff. He was more lithe and viscerally wounded. I REALLY hope he isn’t altogether overlooked in the awards show nominations.

The other leads were all stunning as well, even Ansel Egort, considered by most not at the same level as the others, was the best Tony I’ve seen in a modern version, offering moments that called to mind a young Brando. This may have been the first time I didn’t want to fast-forward through “Gee, Officer Krupke,” my least favorite song in the show, the staging concept was so kinetic.

The end of “America” is surely one of the greatest modern large company stagings ever captured on film…I was almost in disbelief at its grand scale. Rita Moreno’s LIVE “Somewhere” was a study in sincerity and longing. As much as I love the original, more traditional operatic approach, she sold me on this more intimate, and integrated one. Her portrayal was a gift, anchor, and thread of tradition for this production. Janusz Kaminski’s cinematography had us literally RIGHT in the midst of the action. It could not have been more experiential on a 2D screen.

The soundtrack, conducted by Gustavo Dudamel was also FULL of new layers and nuance, making the score sound fresh and new again. Nary a complaint, which is VERY rare indeed for a movie musical redux…only one may be that they cut the Somewhere Ballet.

CLASSICS FINALLY SEEN

Citizen Kane (’41)
Frida (’02)
The Artist (’11)
Versailles ‘73: American Runway Revolution (‘12 Docu.)
Frozen (’13)
The Lego Movie (’14)
The Sound of Metal (’19)
I May Destroy You (‘20 Series) – DO NOT MISS this series!

Are there any of your favorites that I left out? If so, share in the comments!

Also, check out last year’s BEST OF 2020 list (scroll down to see the movie, docu., series nods)!

jcm’s BEST SHOWS OF 2020!

Since nothing about this year was status quo (thanks to THAT “C…” word), nothing about my list will be either. FIRST, I share my Top 2 LIVE SF Bay Area Shows, admittedly from the woefully slim offering possible outside of our quarantines (that I didn’t also perform in, because that would be tacky, no?).

Then my list skews heavily towards VIRTUAL / ONSCREEN (with a strong penchant for Netflix, especially for Documentaries). As much as I’m enjoying this Golden Age of the Documentary & Series (my designation), I do hope I never watch quite as much onscreen content in the future, as I did this year. 😉 #BringOnTheVaccine!

But alas, whilst S.I.P., it’s sure been an engaging resource, which I’m grateful for. Oh, and why not see it as an accomplishment of sorts (LOL!) in this crazy year? Here’s what I logged (how did you do?):

67 Movies
40 Documentaries
27 Series Seasons
20 Reality Competition / Game Show Seasons
7 Specials / Comedy Shows

What were your top live/virtual shows or artists? Share in the comments below! I hope we can all return to our favorite venues in 2021, as performers and audience.

BEST LIVE SHOW

“Rightfully Ours”

Feb. 29 • Post:Ballet & SF Girls Chorus, YBCA

This was one of the very few live shows I was able to attend before our first lockdown in March, but it still earned this spot! I was thankfully invited by a Girls Chorus alum, a dear friend. The seamlessly woven evening of song and dance was haunting, provoking, and moving. The highlights for me were “Wanting Memories” and “Belong Not (On Children)”. I recognized the Ladysmith Black Mambazo music used in “W.M.” from my old Paul Simon cassette (I still have it). I loved staging tableaux choreographed in that number, as if they were sitting around a pond shore together, in stillness.

Post:Ballet

“Belong Not” included my favorite Kahlil Gibran text, On Children: “Your children are not your children…They come through you but not from you…” I appreciated the presence of four male dancers in the group, offering some balance. And yet, witnessing singers and dancers, and women and men dressed in the same grey skirts was compelling, and equalizing, in its non-binary approach.

I enjoyed the physical percussion technique used, including stomping, clapping, hip slapping, etc. This was a very mature and rather weighty show and rep. for a girls’ chorus. Not standard, traditional fare. I was impressed by its gravitas and daring. Perhaps I’m the old-fashioned one in my exceptions of what they would deliver…now I’ve thankfully been skooled!

BEST LIVE DRAG SHOW

“Dining + Drag”

Oct. 10 • SF Oasis, Rooftop & Parklet

After not having seen ANY live show in EIGHT months, let alone Drag, attending this one was like being let out of a cage. Technically, we watched it three times in a row <side eye>…and with the Mexican food delivered to our table, it was A TIME…and the QUEENS delivered! 

Hostess Roxy Brooks-Lords, an Austin queen, was hysterical in her banter, balancing vulgarity and charm well. She did a number werking the middle of 11th Street (!), unlike anything I’ve ever seen. Fearlessly dancing and prancing down the middle of the road, and improv. Interacting with drivers-by. Unforgettable.

SF Oasis, Rooftop & Parklet

Elsa Touche (SFWeekly.com’s ’20 “Best Drag Queen”!) delivered her signature “That CAN’T be a lip-sync!?” lip-sync in Liza’s “Yes,” offered a cute tear-away moment in her second number, and her always irrepressible charm and bright wit. Amoura Teese served up her EPIC LQQKS and unstoppable dancing. Juhnay Arabesque brought some apropos pre-Halloween witchiness and sass. A perfect quartet. We MUST keep this venue alive through the pandemic. It’s essential to our community!

10 BEST THINGS (ON A SCREEN)

Most impressive & heartening adaptative response:

Virtual Drag & Performance (!!!)

It has helped save our SF Drag & Performance communities (and some bars/clubs), and the livelihood of some (local) performing artists. Some of the essential ongoing SF Bay Area shows include: The MASCARA Show (at the Castro Country Club), SF Bay Area Ducal & Imperial Court Fundraiser Shows, NCTC, Drunk Drag Broadway, The Monster Show SF, Katya’s Quarantini, So You Think You Can Drag?, Polesexual, ENCORE, AND MORE! I could never place them in any order…the diversity and talent is astounding. And, let’s not forget the very fine, large scale A Sondheim 90th Birthday Celebration, and the Metropolitan Opera At-Home Gala, both early in the pandemic.

Most life-changing relationship:

My Octopus Teacher (Netflix)

A man and an octopus, in my favorite documentary (AND movie) of the year. It transcended the standard nature show format by having a strong story arch, and offered a reminder of the harm our disconnection from nature can bring.

Biggest shot of adrenaline:

Leslie Jones, as Host of “SUPERMARKET SWEEP!, S1

She was born for this, and her joy and playfulness are palpable. Watch the funny story of her early relationship with the show. (I need to get on this show!)

Most ample serving of kitsch:

Dolly Parton’s Christmas on the Square (Netflix)

This musical is already a new kitsch cult classic, which I’ve watched twice this month! IT HAD ME at Christine Baranski’s earnest and antagonist-a “Gotta Get Out”. And, DOLLY is the Person of the Year (duh!), defying and transcending all categorization.

The thing we most didn’t know we needed:

The Masked Singer, S3&4

This was the show that back in 2018 we had NO IDEA we needed. But, Korea knew we did, with their “King of Mask Singer,” debuting back in 2015! Masks + costumes + solid pipes = MAGIC. To see some great artists try on new/different musical genres, and release them from the shackles of their pigeon-holed stylistic and public persona is cathartic for them, and for us. The judges are a fun quartet too, with Ken Jeong playing on hits grating brand. The costumes create fantastic and unique caricatures…asnd the guessing couldn’t be more fun.

Most fascinating persona:

Mucho Mucho Amor: The Legend of Walter Mercado (Netflix)

The latest patron saint of eccentrics (ala Liberace). His legacy wavers between high camp and immense heart. Just my vibe.

Essential BIPOC stories finding new audiences:

We have SO much work to do. I am Not Your Negro (’16, Netflix), and 13th (2016, Netflix), and They’ve Gotta Have Us (’18) were essential viewing for this year, helping us define and reveal our blind spots, to see things more clearly as they are, and inspire us into greater action!

Most exciting use of a basic shape:

The Circle, S1 (Netflix)

Back when life seemed normal, pre-COVID, this was quite an addictive and fun ride! Will there be a Season 2? It MAY be a game well-suited to COVID area, actually. Top 3 Joey, Shubby & Sammie sure lit up that screen.

My biggest celeb besties. Obvs:

Issa Rae, Alison Brie, Michelle Buteau, Melissa McCarthy, Yvonne Orji, Sandra Oh…DUH! Well, they just don’t know it. Is that weird?

Most annoying surprise:

Kim-K on My Next Guest, with Dave Letterman (Netflix)

She MIGHT be real, and have a heart, not just a pocketbook. I didn’t want to like her. Ugh. I blame Dave. LOL. He’s such a masterful interviewer, and could quite possibly make a houseplant look empathic and interesting.

TOP 10 DOCUMENTARIES:

1) My Octopus Teacher (Netflix)
2) Our Planet, Series (Netflix)
3) Mucho Mucho Amor: The Legend of Walter Mercado (Netflix)
4) Crip Camp: Disability Camp (Netflix)
5) Athlete A (Netflix)
6) Circus of Books (Netflix)
7) Linda Ronstadt: The Sound of My Voice (Amazon)
8) Becoming: Michelle Obama (Netflix)
9) A Secret Love (Netflix) – an essential 7-decade story of love
10) Amazing Grace: Aretha Franklin (Amazon)

SENTIMENTAL DOCU. FAVES:

• The Ice King: John Curry (’19) – he was tortured in many ways, but gave us unsurpassed skating brilliance
• #cats_the_mewvie” (Netflix)
• The Lost City of Cecile B. De Mille (’17) – FASCINATING!
• Merely Marvelous: The Dancing Genius of Gwen Verdon (’19, Amazon)

TOP 10 SERIES:

1) Queens Gambit (Netflix)
2) Dead To Me, S3 (Netflix)
3) Killing Eve, S1-3 (Hulu)
4) Unorthodox (Netflix)
5) Insecure, S3&4 (HBO) – my sentimental favorite!
6) Atypical, S2&3 (Netflix)
7) TIE: The Great, S1&2 (Hulu) / Bridgertons, S1 (Netflix) – they were both equally delicious moderns twists
8) Sex Education, S2 (Netflix)
9) Dispatches from Elsewhere, S1 (Amazon) – quirky & flawed, but beautifully spiritual
10) EastSiders, S1-3 (Netflix) – I actually learned something about gay relationship from this

TOP 10 REALITY COMPETITION:

1) The Circle, S1 (Netflix)
2) The Great British Baking Show, S7&8 (Netflix) – delicious British perfection!
3) Next in Fashion, S1 (Netflix)
4) Cheer, S1 (Netflix)
5) Masked Singer, S3&4
6) The Big Flower Fight S1 (Netflix)
7) Project Runway, S19
8) The Amazing Race, S32
9) Dancing With the Stars, S29 – I was rooting for Nev & Justina! Ah well.
10) DragRace AllStars, S5

TOP 10 MOVIES:

1) Chef (Netflix) – rec. by a friend, this one surprised me…Favreu is sensationally real. Admittedly, I’m biased towards self-actualization-thru-travel, family food/restaurant, and tender father/son stories!
2) Ma Rainey’s Black Bottom (Netflix) – Chadwick Boseman (RIPower) & Viola Davis offer tour de force Oscar-worthy performances. Director, George C. Wolfe really allows the scenes to settle in and simmer, which also reveals its clear stage play origins. I was grateful to meet this embodiment of “Ma”…a self-possessed, unbending woman. An icon.
3) Boys in the Band (Netflix) – I still need to see the original. The screenplay (and original play) are problematic for me, but the overall synergy of the actors/characters reach some electric and authentic heights here.
4) Uncle Frank (Amazon)
5) The Photograph (Amazon) – Issa Rae!
6) Palm Springs (Hulu)
7) Enola Holmes (Netflix)
8) Funny Boy (Netflix)
9) Mank (Netflix)
10) The Life Ahead (Netflix) – Sophia Loren!

FIRST-TIME MOVIE CLASSICS – S.I.P. MADE ME DO IT:

Roman Holiday
Holiday (“I love feeling free inside even more than I love you, Linda.”)
The Shining
The Witches (’90 orig.)
Valley of the Dolls
The Farewell (’19)

Check out jcm’s 2019 list too! >

The Greatest Love Duets & Arias of Opera

What better time spent on this Valentine’s Day than to bathe in the gifts of the operatic canon. I’ve selected only one from a given composer (i.e. we know Puccini or Verdi alone could fill an ENTIRE list). I tried to balance obvious choices with some less so. Surprisingly, none from Mozart inspired inclusion here.

Some embody a new or even first love (such as the Louise and Rigoletto selections), others a more mature, spiritual love (such as Tristan und Isolde and Die Tote Stadt). I’ve included translation excerpts in a few instances, where the text is particularly purple and ripe. I hope you enjoy this collection.

And, by all means, share your favorites, or any I missed in the comments. it was a challenge to narrow down, as you can imagine. Admittedly, the offerings are much more lean in the baroque realm, and none from modern opera <sad trombone>. And, yes, it’s terribly heteronormative, but alas, if you’re like me, you can project all sorts of fantasies onto these stories too ;-P

So, draw up a warm bubble bath, light some candles, get a great view of the stars, hop in the sack, and push <PLAY!>…

Und du wirst mein Gebieter sein (duet)
Arabella (Richard Strauss)

Depuis le jour
Louise (Charpentier)

“Since the day I gave myself my destiny seems all flower-strewn. I think I’m dreaming under a fairy sky my soul still intoxicated by your first kiss! What a beautiful life! My dream wasn’t a dream! / Oh! I’m so happy! Love is spreading its wings over me! In the garden of my heart sings a new joy!”

Ja vas lyublyu
Queen of Spades (Tchaikovsky)

O Nuit Divresse (duet)
Les Troyens (Berlioz)

“Endlessly intoxicating night of ecstasy.”

Signore ascolta
Turandot (Puccini)

“Her heart is breaking! My, how long I’ve walked with your name in my soul. With your name on these lips!”

Gluck das mir verblieb (duet)
Die tote Stadt (Erich Wolfgang Korngold)

“Joy, that near to me remains, come to me, my true love. Night sinks into the grove, you are my light and day. Anxiously beats heart on heart. Hope itself soars heavenward.”

Mild Und Leise
Tristan und Isolde (Wagner)

“Don’t you see it? Brighter and brighter how he shines, illuminated by stars rises high? …(It) sounds out of him, invades me, swings upwards, sweetly resonating rings around me? …be engulfed — unconscious — supreme delight!”

A te o cara (duet)
I Puritani (Bellini)

Caro Nome
Rigoletto (Verdi)

“Sweet name, you who made my heart throb for the first time, you must always remind me the pleasures of love! My desire will fly to you on the wings of thought and my last breath will be yours, my beloved.”

A levé toi
Romeo et Juliette (Gounod)

Dove sei
Rodelinda (Handel)

Signore deh non partire
L’Incoronazione di Poppea (Claudio Monteverdi)

Mon cœur s’ouvre à ta voix
Samson et Dalila (Saint-Saëns)

“My heart opens itself to your voice.”

Any glaring omissions, or ones you would like to add in the comments? Fire away!

jcm’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.

(credit: Fredy Rimando)

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.

(credit: Cory Weaver)

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 Show Picks of 2017

This year benefited from the serious good will of many friends…sharing comps, gifting me tickets, or taking me as their date. I could nearly call this it the Cheap & Free Top 10 of SF, and yet I’m clear it may not have been so cheap for them, so that’s not quite accurate. Whatever the case, it is with an special level of gratitude that I share my ninth annual jcm’s Top 10 Show Picks of the SF Bay Area.

What were your favorite Bay Area performances of the year? Please share in the comments.

1) La Temple de la Gloire, Philharmonia Baroque, Zellerbach Hall, April 28

QUELLE GLORIEUSE! To see such a lovingly and idiomatically rendered rare gem of French Baroque opera was utterly transporting, from the fantastically pompous overture replete with Falcon Crest-like trills, to the appearance of a queen bedecked in silver Glinda costume, with Statue of Liberty-esque headpiece. It had not been performed since its original debut in 1745!

The cast’s training in early music style showed in their trills, and phrasing, and they were clearly not just putting on this style. It included countless sumptuous french lyric sopranos, and more than one true, ringing haute-contre (incl. the virtuosic Aaron Sheehan). The dance troupe perfectly balanced fluidity and restraint, and was headed by a true baroque dance star, Olsi Gjeci (from Vlorë, Albania). He was entrancing, in embodying qualities of femininity and masculinity, from his white lily entrance, to his Bacchus drunken antics.

Photo; Jeff Phillips

The Philharmonia Baroque Chorale sounded 3X its size in spirit and volume (were they miked?). The orchestra perfectly bubbled and lilted. A fanciful ostrich served up very sexy legs. The costumes would make Mackey or Galliano swoon. Bacchus and Érigone’s impossibly saturated and colorful East Indian-inspired costumes stood out. I could go on. Breathtaking. The Trajan scene was the only scene that dragged a bit for me.

It was allegedly a “million dollar production.” Well, it showed. And to see such a packed house, and hearty response to a baroque opera really says something. BRAVI!!!

Here is a fascinating video showing the making of and preparations for the production.

2) Coco Peru: The Taming of the Tension, Oasis SF, March 8

I inadvertently went to “church” on this eve…and encountered a priestess that made me sob, swoon, and snort. She was sentimental, spiritual, with a heavy helping of sarcasm. She is Coco Peru! I’ve never paid much attention to her (I’ve always been more a fancier of Jackie Beat and Varla Jean), but now I’m a believer.

This artist takes “drag” where it rarely goes…to meaningful places. Through compelling and riotous storytelling, with a sense of intent and conviction that is faultless.

Her setlist included: I Touch Myself, The Fear (Lily Allen cover), Somewhere That’s Green, Nowadays, The Killing Moon (Echo and the Bunnyman cover), and humor/subjects incl. “The circles” (re: a certain Spanish lizard), Liza & Shirley, Chita, love, social media, “yaaassss queen,” theatre etiquette, facial fillers, 8 more years (before retirement)…

“For years I’ve helped young people find their voice. Now I want to say shut the fuck up. Our world is not your reality tv show.”

How did Coco end up above Hamilton? Well, she speaks my language, so it landed right at the center of my heart.

3) HAMILTON, Orpheum Theater, March 9 (SF Premiere!)

I was stunned and awed by Andy Blankenbuehler’s masterful choreography. Sensual, passionate, high concept, organic. Having played in high school theatre with Andy, and connecting with him again at this performance, my lens was no doubt skewed towards his contribution to this iconic show. Every moment rich with choreographic storytelling.

A particular heart palpitation movement the dancers did really resonated to me. Andy titled it the “Martha Graham” moment. A few months later at a local dance workshop through Pop Star Booty Camp, I was able to try a portion of Andy’s “The Room Where it Happens” choreography, taught by Derek Mitchell, resident choreographer. It was a real thrill, and really got under my skin.

Aside from the PBS documentary, and the Tonys, I hadn’t exposed myself to the soundtrack or show in any meaningful way, so I was able to experience this performance very much in the moment, almost as new material. (Truth be told, something about an over-produced sound quality to the soundtrack, and Lin Manuel’s voice didn’t draw me in.) LIVE, it’s a whole other beast.

Photo: Joan Marcus

I favored Emmy Raver-Lampman as Angelica, and Amber Iman in the small part of Maria (with rich, alto, Sarah Vaughan tone). I couldn’t keep my eyes off the male ensemble dancer, Andrew Wojtal, who also played a judge for a blink, among other small roles. He was a major talent, so committed to every movement. I enjoyed qualities about each of the leads, and especially appreciated the rawness and realness of Michael Luwoye in the title role. It was great not having any celebrity casting choices to distract.

The role of the King of England (Rory O’Malley) was indeed much needed humor in the midst of the intensity and great amount of words to take in of the hip hop/poetry slam style of much of the show. The tender and sassy moments (i.e. the Schuyler Sisters) were for me the most accessible, given my lens and tastes.

jcm’s Top 10 Show Picks of ‘15

It’s time for my seventh annual Top 10 Bay Area round-up. Seventh?! Can it be? As always, this doesn’t attempt to be a comprehensive Bay Area review list, more a fun way to highlight what was most memorable for me in ’15. As a student working full-time, there are plenty of great offerings I have to pass on (i.e. dance and plays are sadly missing from this Top 10), but this tradition is a constant reminder of the embarrassment of riches we have to draw upon here. No doubt one of the things that keeps me in the Bay Area, despite the ever-unfriendly cost of living. Care to share your favorites of ’15?

1) Stacey Kent, Venetian Room, The Fairmont Hotel

Stacey was near the top of my list in ’11. She was slated to return to SF in ’13, but had to cancel. After that long wait, she returned at last again this year. She and her band were as transfixing as before. Few can weave the spell she does. There is a sort of personalized intimacy about her craft.

In some patter between songs she shared that she had taken part in the commemorative Corcovado festival honoring the Cristo Redentor monument in Rio de Janeiro, telling magical stories of meeting and working with the great Marcos Valle. With excited humility she said that one of the Brazilian jazz greats had upheld her to the younger generation as the model for modern bossa nova technique (perhaps more than even the current native Brazilian singers, was the assumption). I wasn’t surprised by this. Her clean, distinct, but always compelling tone and delivery are like a modern day Astrid, or Blossom Dearie. Never to be mistaken for another, but in that lineage.

In this concert she performed This Happy Madness, Só Danço Samba, The Face I Love (Marcos Valle), Waiter Oh Waiter, O Barquinho, The Changing Lights, So Nice, One Note Samba, How Insensitive, Waters of March (duet with husband, Jim Tomlinson), I’ve Grown Accustomed to His Face, and Ice Hotel.

After she performed “How Insensitive” she said “I be that hit home.” To see if that’s true, check out the lyrics here.

2) Les Troyens, Opening Night, SF Opera

This opera sat on my wishlist for decades. There was a false start during the Rosenberg era, when it was announced but pulled due to the onset of the recession. It was last mounted at SFO in the late ‘60s. So rarely performed, and so challenging to mount, it’s no surprise it took so long for the SFO to do so. It was worth the wait.

Opening night held three surprises. The first was the 25th Anniversary of Susan Graham’s debut with SFO. The second was the onstage presentation to La Graham of the SF Opera Medal by David Gockley. This whole affair was very moving, and included long, rapturous applause. During her acceptance speech, she spoke about her debut as Minerva, in Ulysses, as well as notable memories from Iphigenie…, and Xerxes. The third was that this was one of only a few performances that included stellar high tenor Bryan Hymel, as he pulled out early in the run.

The orchestra, chorus, and ballet were essential to the production’s success. Highlights included Graham’s devastating Adieu, fière cité, during which she stood onstage alone, in front of a plain black curtain, and appeared to be welling up as she sang. The audience was rapt. The Nuits d’ivresse duet was sensual and intoxicating, with Hymel particularly tender and affecting. He had a more slender voice than expected, but a thrilling top, which he is lauded for. Chong Wang and Rene Barbera delivered glorious ariettes of sorts. Antonacci proved her singing-actress status. Sasha Cooke was stunning, offering a dark, clarinet-like tone. She seemed a true vocal successor to Susan, and it felt as if one could see a passing of the torch here, in their particular vocal fach. The metallic-looking horse was a stunning, giant malleable puppet, not unlike the dragon from the SFO Ring Cycle. Berlioz’s orchestration was like a soothing bath.

3) Mighty Real, The Brava Theater

This musical based on the life of local, SF legend Sylvester was the love-child of a gay couple from NY. Broadway producers had turned it down, but they championed this important SF story. One of them, Anthony Wayne starred in the title role. Another producer, Cheryl Lee Ralph, was present, and offered a moving speech after the bows. She shared that “Sylvester was a man who walked in the light of his own truth.” Indeed. The musical made that loud and clear. And they brought him very much to life.

Many from the local City of Refuge fellowship were in the audience. This added to the aliveness of the show, through audience reactions. Wayne as Sylvester offered a falsetto that never faltered and stellar storytelling abilities. The supporting cast was very memorable, especially the women who portrayed Martha Wash and Tina Turner (in Proud Mary). It made me long for the disco days, which I am too young to have fully experienced (aside from a long-time Donna Summer obsession via cassettes).

It shared a story of sadness and loss, but also transcendence. It was deeply moving to mix with men seated near us who lived through this SF era.

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!

In the Bleak Midwinter

Happy Christmas to you!

Click on the image or link below (and turn up your volume) to enjoy my favorite performance from Christmas in the Ballroom 2011 (a track off our live CD).

It features our chorale of 9 and pianist in a simple, largely unison arrangement of the Holst classic, by Catherine Bennett. So atmospheric and peace-filled.

The photography is from my february visit to beautiful Telluride, CO.

May you have peace and joy!

In the Bleak Midwinter