Archive for the ‘hair’ Tag
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).
Here’s some rough but spirited snapshots/outtakes from our recent “Hair“ photoshoot. The actual photographer’s selects are still to come. It was a fantastic experience…bonding us further as a “tribe”, and connecting us with the true spirit of the show. Yes, the men’s hair needs to grow longer…there is time for that (and/or wigs). In the meantime, enjoy this small taste of what’s to come…
I’m (as Berger) at far left in the second photo, at center of the third photo, and at far left (partially cropped) in the final photo.
I come bearing REALLY good news. As a follow up to my “The Year of Hair” post, I’ve been cast as Berger in “Hair”, at the Alameda Civic Light Opera. (Now I get to try to make you forget Treat Williams.) The amazing Ryan Rigazzi, a 9-year Beach Blanket Babylon star is my “other half”, Claude! And, the inspired Amanda Dolan, a fellow sexy mover (ie: Phantom) from Ray of Light Theatre’s Rocky Horror Show LIVE our Sheila.
We’ll be performing in the historic Kofman Theatre, September 12, 13, 19, 20, 25, 26, and 27. Come see our show and support local theater!
My postings will be sporadic, at best, as I need to bury my nose in my script for a while, and will be deep in rehearsals through August.
“My name is George Berger, but I don’t dig George, so just call me Banana Berger, or Cheese Berger, Unzipper Berger, Pull ’em down Berger, Karma Berger, Pitts Berger, Take ’em off Berger, Up your Berger, Any Berger and I’ll answer you.”
I am thankful that the stars (and planets) aligned to make it so. First, I rediscover my love for the song Where Do I Go?, and purchase the music to prepare it for my music ministry at church. Second, an inspired new Broadway production opens on March 31st. [Enjoy a rehearsal video of Aquarius.] Third, my beloved niece and God-daughter catches the bug, adopting the show as one of her favorites, and embracing it’s milieu (a gal after my own heart).
Finally, to top it all off, after years of talking about HAVING to perform in the show, I discover that the local theatre company ACLO is putting it on in the fall, and thankfully get cast (the details of my exact role are still being ironed out in callbacks). I have had a blast doing a variety of shows over the past 5 years, and many have been great growth opportunities, but not since I was in West Side Story at Broadway By the Bay in ’04 have I been in one of my Top 5 shows!
Our production runs September 12 – 27 in the historic Kofman Theatre in Alameda, CA. And, I’ll have the privilege of seeing the Broadway production on August 2nd, hopefully with all the current cast members.
My love affair with the show seems to have really gotten going in ’89, when I attended a CCM production, at my University of Cincinnati. I had just graduated from high school and was a freshman in the College of DAAP. The show knocked me over. It was one of those truly life-altering experiences, where you feel your very fiber is transformed in some way. I had plenty of insecurities back then, particularly about my body. This show gave me permission to strip those away, embrace the gift of my body, and celebrate it. It was as if a huge layer of fear had been pealed away. Of course other layers still remained, but this was a huge step in the right direction. To this day, I can remember how effective the charming but forceful Sam Samuelson was as Claude (I had seen him as a fantastic Joseph there too), and how Beth Blankenship embodied the mother-nature-scaled presence required for Aquarius, with her rock-solid belt and larger-than-life persona.
I spent countless all-nighters in my home studio working on graphic design projects, singing along with the Broadway soundtrack (White Boys, Walking in Space, Sodomy, and Easy to Be Hard were the most overplayed). The original Off-Broadway production opened in October ’67 at the Public Theater. It was then overhauled and moved to Broadway in April ’68. Enjoy an exhaustive history of the show and all its deets on Wikipedia, or this tribute site.
My roommate in my first West Coast apartment in Noe Valley (’93) proved to be the Kathy Bates of Hair fan-dome. He had at least 25 international Hair record albums…in German, Spanish, and seemingly endless languages. Enjoy this excerpt from an eccentric Hebrew production. The ’05 Actor’s Fund benefit recording provided a much needed fresh take on the musical. Although the album is not spot-on, it included one of my favorite new artists Jennifer Hudson singing a soulful rendition of Easy to Be Hard. A VERY unlikely Sheila, she nevertheless delivers a great (although a bit too slow) “studio” version.
The new Broadway production features the finest male musical theatre performer of his generation, Gavin Creel, as Claude. This performer can do no wrong, in my mind. I discovered him via the Broadway cast recording of Thoroughly Modern Millie. Honestly, I would never have imagined him a candidate for the role of Claude, as his ultra-tender tone, and tendency towards pop-inspired melismas don’t seem like an obvious choice for this fresh-off-the-farm character. But, I’m thrilled such a great artist is engaged in such an acclaimed production, and now nominated for another Tony! This video shows him in beautiful form in more familiar territory.
The show explored the prominent themes of the hippie movement, and ‘60s: race, drugs, nudity and sexual freedom, pacifism and environmentalism, religion and astrology, literary themes and symbolism. Theatre writer Scott Miller explained why the movement embraced these themes:
“Contrary to popular opinion, the hippies had great respect for America and believed that they were the true patriots, the only ones who genuinely wanted to save our country and make it the best it could be once again…. [Long] hair was the hippies’ flag—their… symbol not only of rebellion but also of new possibilities, a symbol of the rejection of discrimination and restrictive gender roles (a philosophy celebrated in the song “My Conviction”). It symbolized equality between men and women.”
These themes brought about much controversy, in their divisiveness. A Mexican production survived only one performance, and was shut-down by the government for being “detrimental to the morals of youth” (Wikipedia). Claude, in essence, battles out the opposing moral sides of the primary love vs. war dilemma of the era, in having to decide whether or not to resist the draft, as his friends had.
The original Off-Broadway productions did not have the oft-discussed nudity. But, all “twenty seconds” of it were integrated by the new director Tom O’Horgan in its original Broadway reincarnation. The concept was “inspired by two men who took off their clothes to antagonize the police during an informal anti-war gathering” (Wikipedia). The familiar controversy over this nudity has reared its head yet again. The verdict is still out on whether our ACLO production will include it, or not. Apparently, concerns voiced by the school that owns the theatre may put a kabbosh on it. For some cast members that will provide relief, for others disappointment. We shall see!
I was shocked (and tickled) to discover this telegram from the legendary diva Callas, to the original Broadway cast. Who in a million years would have pictured her in that audience? Not moi!
Amusingly, Leonard Bernstein remarked that “the songs are just laundry lists” and walked out of the Broadway production. Perhaps the true freedom portrayed in the show wasn’t in his vocabulary and scared him, as he was a man that lived, in essence, a double life.
Disco diva Donna Summer appeared in a German production! She is shown here singing Aquarius.
In the coming weeks my role in the ACLO production will be determined. They are two roles that could not be more different. I can’t wait for more to be revealed, and to begin rehearsals!