Rita Moreno's famed Tony acceptance speech for Best Featured Actress in a Play for The Ritz in 1975. Enjoy:
Friday, December 4, 2009
Thursday, December 3, 2009
31 Days of Oscar: 2010 Edition
It's an annual TV event that I take great pleasure in every winter, and I'm not even talking the Oscar ceremony. Every year to celebrate the annual Academy Awards, Turner Classic Movies has its "31 Days of Oscar." Here's some further info direct from TCM:
The 2010 edition of the month-long event will feature 360 Academy Award®-nominated and winning movies, all presented uncut and commercial-free. The month's schedule is designed so that each movie is linked to the next movie in the lineup through a shared actor or actress.
"31 Days of Oscar" will begin Monday, Feb. 1, at 6 a.m. (ET) with Kevin Bacon and James Coco in Only When I Laugh (1981). Coco and Harry Andrews will then be featured in Man of La Mancha (1972) at 8:15 a.m., followed by Andrews in 55 Days at Peking (1963) at 10:30 a.m. The festivities will continue linking from movie to movie, one star at a time, throughout the month. The final movie in the festival, Diner (1982), starring Bacon, will bring the entire month full circle.
TCM host Robert Osborne, who is also the official biographer of the Academy Awards and the Academy's red carpet greeter, will host 31 DAYS OF OSCAR, which will mark its 16th year on Turner Classic Movies. The 2010 edition will feature 22 films making their debut on TCM, including Gladiator (2000), Titanic (1997), Mrs. Brown (1997), A Room with a View (1985), Trading Places (1983), Frances (1982), Only When I Laugh (1981), Alien (1979), Julia (1977), Serpico (1973), Lady Sings the Blues (1972), Thoroughly Modern Millie (1967), An American Dream (1966), Morituri (1965), Summertime (1955), Call Me Madam (1953), The Snake Pit (1948), Moonrise (1948), Kiss of Death (1947), Kitty (1945), Alexander's Ragtime Band (1938) and One Hour with You (1932).
The Academy Awards for outstanding film achievements of 2009 will be presented live on Sunday, March 7, 2010, at the Kodak Theatre at Hollywood & Highland Center® and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.
Click here for the complete schedule.
Wednesday, December 2, 2009
"A Jubilant Song" at Carnegie Hall
On March 30, 2008 I was lucky enough to be in the audience for the New York premiere of A White House Cantata, the concert revision of Bernstein-Lerner's 1600 Pennsylvania Avenue, a fast failure in 1976. The Collegiate Chorale, who was responsible for that premiere, held a gala concert called "A Jubilant Song" last night at Carnegie Hall. I was more than thrilled to go when invited, especially when I learned that they would be performing excerpts from 1600/Cantata. Now while I have my quibbles with the Cantata and the use of opera singers instead of more qualified musical theatre performers in the lead roles, it's always a pleasure to hear selections from this exceptionally underrated, often brilliant score.
Hosted by Tony-winning actor Roger Rees, the evening was the gala inaugural concert to introduce the new music director James Bagwell, who is assuming the mantle of conductor after the unexpected death of Robert Bass. The Collegiate Chorale was first established in 1941 by Robert Shaw and has been a staple of classical repertoire in NY ever since, emphasizing choral tradition and American music but also presenting operatic works.
While there many guest vocalists, the first segment of the evening was strictly about the Chorale. The evening started with performances of Giovanni Gabrieli's "In ecclesiis," Alexander Kopylov's "Svete Tihiy" and an arrangement of the spiritual "Set Down Servant." This led into Norman Dello Joio's "A Jubilant Song" which may be one of the most difficult choral pieces I have ever heard with intricate melodic lines and rhythms; I can only imagine what the sheet music for this piece must look like.
With the exception of Daniel Mobbs as the President, the principal singers of A White House Cantata were on hand to reprise their work from the 2008 concert performance. Mobbs was George Washington in "On Ten Square Miles by the Potomac River," Soprano Emily Pulley sang a tender "Take Care of this House" with Kalif Omari Jones while "Anita Johnson and Robert Mack performed the infectious "Lud's Wedding." Pulley, in a tremendous Carnegie Hall debut, recreated her colorful "Duet for One" to the wild enthusiasm of the audience. While she's no Patricia Routledge (who is, really?), she understands the schizophrenic comedy better than other opera singers who have taken on the part in presentations of A White House Cantata (namely Nancy Gustafson and June Anderson). The segment ended with a full-throated rendition of "To Make Us Proud," originally cut in Philadelphia but reinstated by the Cantata. The song echos other anthems, specifically Bernstein's own "Make Our Garden Grow."
One of the great joys of the entire evening was hearing this music performed, not only in such a perfect performance space as Carnegie Hall, but also to hear simply pure acoustic sound. Except for Rees' commentary, the entire evening was without amplification. Though I've had a considerable classical background, I haven't gone to many concerts or to the opera as much as I'd like in recent years. Every time I do; however, I marvel at the extreme beauty of hearing music performed with some sort of electronic filter. Even some of our loveliest musicals on Broadway are miked to the hilt, with an emphasis on loud. It was especially evident how thrilling to hear selections from a score I love, with its complete original orchestration intact. 160 voices singing "To Make Us Proud," and holding out that last note for what must be glorious eternity. You can't ask for anything more stirring or moving.
Coloratura soprano Erin Morley, who recently made her debut at the Metropolitan Opera brought the concert to a crashing halt with an exquisite rendering of "O beau pays" from Giacomo Meyerbeer's Les Huguenots. Morley, dressed to the nines and with the poise of a true star, stunned the crowd into an extended ovation - the largest of the evening - with her gorgeous sound and flawless technique. I look forward to following the singer's career, as I'm sure there is nothing but good things awaiting this diva on the rise.
The evening built to its climax with a performance of Beethoven's "Choral Fantasy, Op. 80" Acclaimed pianist Jenny Lin proved her virtuosity and flawless proficiency with the lead-in piano solo. For the finale, Morley and tenor Salvatore Licitra were to lead the famed "Brindisi" from La Traviata; however, an emergency kept Licitra in Switzerland last evening so instead they divided up the parts between the various soloists. While they urged the audience to join in on the chorus, most of us were content to just sit back and enjoy the performers onstage.
I'm even more excited for the Collegiate Chorale's next concert: Ricky Ian Gordon and Michael Korie's The Grapes of Wrath will be presented at Carnegie Hall on March 22, 2010. This marks the world premiere of a two-act concert version of the ambitious contemporary opera. Jane Fonda, Nathan Gunn, Victoria Clark, Steven Pasquale and Christine Ebersole are among the folks participating.
The world is small and funny and fine. Last night, my high school freshman English teacher, Mrs. Fran Schulz, was also at the Chorale gala. Of all the teachers I have had, she ranks as the one who has made the most impression on me, and I continue to maintain a remarkable friendship. Throughout my freshman year, she encouraged my interest in film and theatre, often handing me a package of films and performances she felt I needed to see every Friday. With a personality akin to Mame, Fran is the only teacher I've ever had who entered the classroom with a quality not unlike star presence. I've been imbued with her enthusiasm for literature and theatre, and she has always been supportive of me as a writer and performer. An avid theatregoer, she has regaled me with stories of seeing every major revival of My Fair Lady in New York and London, Camelot with Richard Burton and again with his understudy John Cullum. She also has seen every major star turn by Angela Lansbury since the original Mame. I could go on for hours. She continues to encourage and advise me, even though I haven't been her student in 12 years. I can only hope that you've had a teacher like her at some point in your life.
Hosted by Tony-winning actor Roger Rees, the evening was the gala inaugural concert to introduce the new music director James Bagwell, who is assuming the mantle of conductor after the unexpected death of Robert Bass. The Collegiate Chorale was first established in 1941 by Robert Shaw and has been a staple of classical repertoire in NY ever since, emphasizing choral tradition and American music but also presenting operatic works.
While there many guest vocalists, the first segment of the evening was strictly about the Chorale. The evening started with performances of Giovanni Gabrieli's "In ecclesiis," Alexander Kopylov's "Svete Tihiy" and an arrangement of the spiritual "Set Down Servant." This led into Norman Dello Joio's "A Jubilant Song" which may be one of the most difficult choral pieces I have ever heard with intricate melodic lines and rhythms; I can only imagine what the sheet music for this piece must look like.
With the exception of Daniel Mobbs as the President, the principal singers of A White House Cantata were on hand to reprise their work from the 2008 concert performance. Mobbs was George Washington in "On Ten Square Miles by the Potomac River," Soprano Emily Pulley sang a tender "Take Care of this House" with Kalif Omari Jones while "Anita Johnson and Robert Mack performed the infectious "Lud's Wedding." Pulley, in a tremendous Carnegie Hall debut, recreated her colorful "Duet for One" to the wild enthusiasm of the audience. While she's no Patricia Routledge (who is, really?), she understands the schizophrenic comedy better than other opera singers who have taken on the part in presentations of A White House Cantata (namely Nancy Gustafson and June Anderson). The segment ended with a full-throated rendition of "To Make Us Proud," originally cut in Philadelphia but reinstated by the Cantata. The song echos other anthems, specifically Bernstein's own "Make Our Garden Grow."
One of the great joys of the entire evening was hearing this music performed, not only in such a perfect performance space as Carnegie Hall, but also to hear simply pure acoustic sound. Except for Rees' commentary, the entire evening was without amplification. Though I've had a considerable classical background, I haven't gone to many concerts or to the opera as much as I'd like in recent years. Every time I do; however, I marvel at the extreme beauty of hearing music performed with some sort of electronic filter. Even some of our loveliest musicals on Broadway are miked to the hilt, with an emphasis on loud. It was especially evident how thrilling to hear selections from a score I love, with its complete original orchestration intact. 160 voices singing "To Make Us Proud," and holding out that last note for what must be glorious eternity. You can't ask for anything more stirring or moving.
Coloratura soprano Erin Morley, who recently made her debut at the Metropolitan Opera brought the concert to a crashing halt with an exquisite rendering of "O beau pays" from Giacomo Meyerbeer's Les Huguenots. Morley, dressed to the nines and with the poise of a true star, stunned the crowd into an extended ovation - the largest of the evening - with her gorgeous sound and flawless technique. I look forward to following the singer's career, as I'm sure there is nothing but good things awaiting this diva on the rise.
The evening built to its climax with a performance of Beethoven's "Choral Fantasy, Op. 80" Acclaimed pianist Jenny Lin proved her virtuosity and flawless proficiency with the lead-in piano solo. For the finale, Morley and tenor Salvatore Licitra were to lead the famed "Brindisi" from La Traviata; however, an emergency kept Licitra in Switzerland last evening so instead they divided up the parts between the various soloists. While they urged the audience to join in on the chorus, most of us were content to just sit back and enjoy the performers onstage.
I'm even more excited for the Collegiate Chorale's next concert: Ricky Ian Gordon and Michael Korie's The Grapes of Wrath will be presented at Carnegie Hall on March 22, 2010. This marks the world premiere of a two-act concert version of the ambitious contemporary opera. Jane Fonda, Nathan Gunn, Victoria Clark, Steven Pasquale and Christine Ebersole are among the folks participating.
The world is small and funny and fine. Last night, my high school freshman English teacher, Mrs. Fran Schulz, was also at the Chorale gala. Of all the teachers I have had, she ranks as the one who has made the most impression on me, and I continue to maintain a remarkable friendship. Throughout my freshman year, she encouraged my interest in film and theatre, often handing me a package of films and performances she felt I needed to see every Friday. With a personality akin to Mame, Fran is the only teacher I've ever had who entered the classroom with a quality not unlike star presence. I've been imbued with her enthusiasm for literature and theatre, and she has always been supportive of me as a writer and performer. An avid theatregoer, she has regaled me with stories of seeing every major revival of My Fair Lady in New York and London, Camelot with Richard Burton and again with his understudy John Cullum. She also has seen every major star turn by Angela Lansbury since the original Mame. I could go on for hours. She continues to encourage and advise me, even though I haven't been her student in 12 years. I can only hope that you've had a teacher like her at some point in your life.
Judi Dench sings "Send in the Clowns"
With the first-ever Broadway revival of A Little Night Music approaching its opening date, I've felt like revisiting all my various recordings and texts and video of previous productions. This one is a favorite. Dame Judi Dench won an Olivier Award for her triumphant performance as Desiree in the 1995 Royal National Theatre revival of A Little Night Music. The production, directed by Sean Mathias, ran for 11 months and co-starred Sian Philips as Madame Armfeldt and Laurence Guittard (the original Broadway Carl Magnus) as Fredrik. A cast album of this production was made, but it has been long out of print and goes for extraordinary amounts on Amazon and E-Bay. However, if you do get the chance to hear it, you will not be disappointed. Especially in Dench's sublime portrayal, my second favorite next to originator Glynis Johns.
Here Dench appears on a British talkshow to promote the show and talks a little bit about the play and her character and the moments leading into "Send in the Clowns," followed by a heartbreaking rendition of the song by the star. Enjoy:
Here Dench appears on a British talkshow to promote the show and talks a little bit about the play and her character and the moments leading into "Send in the Clowns," followed by a heartbreaking rendition of the song by the star. Enjoy:
Leslie Caron
Leslie Caron, star of so many classic films, has released a memoir about her life called Thank Heaven. Trained as a ballerina, she got her big break at the age of 20 as a last minute substitute for a pregnant Cyd Charisse in An American in Paris, which launched her exceptional film career, including memorable turns in Lili (Oscar nomination), Daddy Long Legs, Gaby, Gigi (another Best Picture), Fanny, The L-Shaped Room (Oscar nomination) and Father Goose (among many others). She's also one of the few actresses to have danced on screen with both Gene Kelly and Fred Astaire. Living in semi-retirement, Caron still acts on occasion winning an Emmy award for a guest appearance on Law and Order: SVU in 2007. She also maintained a bed and breakfast called Auberge La Lucarne aux Chouettes in Burgundy. The daughter of an American dancer from Topeka, Caron recently became an American citizen after discovering that she was eligible. This winter, she will play Madame Armfeldt in the first-ever Paris production of A Little Night Music with Kristin Scott Thomas. While I would love to go over to see this one, I'll be relying on our very own Kari for a full report come February.
Caron is currently on a book tour in the United States, and was in New York over the past couple of days. She spoke and signed at Barnes and Noble Lincoln Center last evening, and also was interviewed by Leonard Lopate on WNYC. The charming, elegant actress talks very frankly about herself, her career, her romances (including an affair with Warren Beatty) and problems with drinking and depression.
Subscribe to:
Posts (Atom)
Posts
