Archive for the ‘Tilda Swinton’ Tag

jcm’s Top 10 Show Picks of 2019

I’m gaga reflecting on another rich year of San Francisco Bay Area opera, music, theatre, drag, dance… Welcome to my 11th Annual TOP 10 List! As always, reflecting on these is part of how I enjoy the pleasures of the year all over again, and an essential part of that was sharing in most of these with a good friend. I hope you enjoy perusing them as well. The top two offerings here fulfilled long-standing dreams/wishes to see each LIVE. That alone made them notable for me, even setting the amazing results aside.

What were your top shows/live artists? Share in the comments below…and hope to see you at a venue in 2020!

1) Heart: LOVE ALIVE Tour, Sept. 6

Ann Wilson is in ASTONISHING vocal shape at 69 years old…far beyond what I expected. She cast a heartfelt, passionate, witchy spell, and served up breezy, personable storytelling intros to each song, with a warmth I didn’t expect. 

It dawned on me that perhaps only because she’s still alive and kickin’, is she not considered the legend that Janis Joplin is. I mean, c’mon…this is a GODDESS in our midst! Why aren’t we bowing down before her? Even the masterful Linda Ronstadt can’t sing anymore. And this woman sounds like she’s 35. Plus, she also whipped out a masterful flute solo (ala Lizzo)…who knew?!

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Her sister, Nancy is not far behind at 65. It was a nearly spiritual evening, with musical highlights incl. Magic Man, Dog & Butterfly (duet), Love Alive, Mistral Wind, The Boxer (a fantastic cover of a Simon & Garfunkel favorite!), and the fabulous encores: Alone (Ann’s anthem belt), Barracuda, and Stairway to Heaven (picking up on their Kennedy Center Honors’ tribute). Their hits have always been special to me, as my siblings and I used to belt them in our falsettos, racing down Cincy freeways.

This was my first time at the Concord Pavilion, which felt like quite a trek from San Francisco (even with a friend), but in a beautiful, natural, oh so very NorCal setting. It’s similar to Shoreline, but a more dramatic, inspiring location.

2) Rusalka, SF Opera, Jun. 13 (Unofficial Final Dress Review)

My favorite international DIVA, Rachel Willis-Sørensen was in divine, refulgent voice. I always liken her timbre to Golden Age German mezzo Christa Ludwig, but with thrilling, easy high notes. (I’m thrilled to have scored tickets to see her at Opéra National de Bordeaux in 2020 as Donna Anna, in a sold out run.) She was a chameleon throughout the night, and well supported by the costume/wigs/makeup team…Act I: ala The Ring (the 2002 film), Act 2: ala Katy Perry, Act 3: ala Lady Gaga or Bowie in Labyrinth. She is no doubt the full package.

Brandon Jovanovich was virile and passionate, his Czech sounding so idiomatic (to my ears), with just the right throatiness and nasality. Yet another powerful role assumption this finest of dramatic tenors has blessedly brought to our house.

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Photo: Cory Weaver / San Francisco Opera

Jamie Barton was hysterical and offered a complete, 3D character. She just simply WAS Jezibaba, with a huge, booming voice. Act I was the highlight, Act III was powerful, and Act II sagged just a bit, based on the less seasoned Foreign Princess. Conductor Eun Sun Kim, recently announced as our new SF Opera Artistic Director (!) lent inspired leadership to the proceedings. I’m proud of the company for this historic promotion.

The opera ballet was surely the most playful and fun I’d ever seen (usually they feel like the bathroom or losenge break to me), with its camp, whimsy, mythic tone, and choreo by Andrew George. The Wood Nymphs were spectacular, particularly Natalie Image, who is a star-in-the-making. All three were perfectly whimsical and absurd. A welcome taste of Bouffon/buffoonery.

3) This Side of Crazy, New Conservatory Theatre Center (NCTC), Oct. 17

After performing some old skool #SouthernGlam in the “Happy Hour is a Drag” pre-show in the NCTC lobby, I stayed to experience the MainStage offering, Del Shores’ world premiere commission. Kate Boyd, scenic designer, offered an amazingly detailed, and intimate set that really drew one into the story, and created a real sense of place. I felt like I was really IN that home. The writing was masterful, with at least 25 quotable, quippy one-liners…surely a Del Shores specialty. Wes Crain curated costumes that with each entrance elicited a gasp or snicker. Just right.

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Ditty Blaylock (Christine Macomber, left) & Bethany Blaylock (Amy Meyers, right) / Photo: Lois Tema, New Conservatory Theatre Center

Christine Macomber was a tour de force as the family matron Ditty Blalock, a narcissistic, self involved joy, but wrapped in a messy sort of love. I’d LOVE to know more about her past, and her own trauma. That could easily be a Part II play (calling Del Shores!).

The actresses portraying the Blaylock daughters/sisters were a very well-rounded trio. You could feel their dynamic synergy at all times. Alison Whismore was particularly affecting as the neurotic, chain smoking, gaunt, and just on-the-edge Abigail Blaylock. Cheryl Smith and Amy Meyers were also excellent and committed as the other sisters.

So many laughter and tears. This is silver screen ready! Throw Olympia Dukakis or some celeb in that role (or keep Christine!) and it’ll be the next Steel Magnolias. As Ditty exclaimed to her daughters: “I taught you to have conviction, even when you don’t mean it.” (close, if not exact quote).

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