Thursday, March 31, 2011

True Grit


"Never give up, for that is just the place and time that the tide will turn."
-- Harriet Beecher Stowe

"If you really want something, and you really work hard, and you take advantage of opportunity, and you never give up, you'll find a way."
-- Jane Goodall

Wednesday, March 30, 2011

The Elixir of Love Available at New York City Opera


By Mary Sheeran
 
            I was at a writing conference recently, with the “hot genres” being hocked around me as if they could cure the ills of publishing. That means I was seeped in time travel, alternate universes and parallel time concepts. So I felt right at home when the curtain went up on New York City Opera’s production of The Elixir of Love and found a 1950s diner on some southwest rural stretch of American road, with everyone was jitterbugging to – of all things – Donizetti. In Italian! (So why don’t they call it L’Elisir d’amore?) I’d never realized how up with the times opera could be. This production of Jonathan Miller’s is one alternate universe with subtitles trying to bring Donizetti up-to-date. But the trouble with wandering through the quarks of time in most works of art is that it really doesn't matter. Donizetti already was up-to-date. 
 
            As I sat back to watch Nemorino (David Lomeli) in his blue collar work uniform sadly pining for the owner of Adina’s Diner with a Coke in his hand, I supposed that the diner could be a parallel to an Italian pastoral setting, but I had already been caught up by Nemorino’s plight, which takes just a few moments to recognize. With Nemorino, you don’t need anything else. Without him, no production design will make sense.
 
            Maybe this could have been one of the “jump the shark” episodes of “Happy Days” with the Fonz as Belcore and Tom Bosley as Dulcamara. I can almost see it now (although they’d probably don Italian pastoral costumes…). But no, his opera translates to us without a cent to spare on making it somehow more recognizable and relevant.  Felice Romani’s libretto is ditzy enough for Lucy, but it is believable because of the poor, ignored Nemorino, who just picks us all up with his engaging sweetness and his gorgeous voice, and sure, we’d believe anything. He is the reason why this production gains our affection. We’d even believe he loved that cold money loving Adina (Stefania Dovhan) and maybe he was right, because she was hiding the fact that she loved him. Well, if you believe her, Nem, I will!
 
            The story has several stock characters from 19th century comic bel canto operas, the sort Donizetti (La Fille du Regiment, Don Pasquale) could write with both hands tied behind him. You’ve got the snake oil doctor and the handsome braggart of a soldier. We all get these two no matter when in time we're placed. And yet, as we laugh, the composer can deliver the most beautiful music so that comedy turns to pathos or human drama on a 16th note. So throw a zippy convertible on stage (and it hogs the stage, I assure you) or dress the guys in leather jackets, no matter. If you don’t feel anything for Nemorino, nothing else will work. Because Nemorino is you and me. So Nemorino had better be good.
 
            Not a problem in this production. Lomeli plays the ardent, slightly bumbling fellow to perfection. He has a rich, generous voice that does not overpower but has a firm center, so that his music floats around you like a caress. He sings and acts with great feeling, without even looking as if he’s carrying us along at every step. His famous Act 2 aria, the well loved “Una furtive lagrima,” is a star making aria (see Enrico Caruso or Luciano Pavarotti), and he sings it beautifully, straight to us.
 
As entertaining as the other characters are, they’re pretty much living in one dimension. Dovhan sings Adina with a lovely voice, but Adina is one of Donizetti’s least sympathetic characters. When she can finally display deep feeling in her Act 2 aria, “Prendi, per me se libero,” it’s a shame because the aria never gets going, it’ s all starting and stopping, very tough to carry over. She does well, a bit uneven at the top, but the aria’s almost a no go, except we trust that Nemorino loves her. José Adán Pérez’s Belcore (an army guy here) swaggeresjust fine as Belcore, although he could have projected his voice and his acting more. I could say as much for Marco Nisticò’s Dr.  Dulcamara, who played the sly quack  -- who just happens to have a stock of Tristan’s love potion in his convertible  -- but he didn’t take full vocal advantage of the fun Donizetti gave him musically.
 
            I’m not sure why Miller felt he had to move the opera to our 1950s, and it’s been done before with other operas. But Miller couldn’t disguise Donizetti’s world or convince me that people in the 1950s were as isolated from the world (Radio? Jukebox?) as 19th century peasants. Nor could anyone could disguise the charm and whimsy of this opera, which is a happy elixir for anyone with a heart no matter where and when it’s set. 
 
The Elixir of Love. Music by Gaetano Donizetti. Libretto by Felice Romani. Production by Jonathan Miller (2006). Conducted by Brad Cohen. Set and costume designer: Isabella Bywater. The opera was first performed in May 1832, in Milan.
 
New York City Opera’s production of The Elixir of Love plays through April 9 at the David H. Koch Theater at Lincoln Center. For tickets and information, go to www.nycopera.com.
 
Mary Sheeran is the author of Quest of the Sleeping Princess, a novel set during a gala performance at the New York City Ballet (www.questofthesleepingprincess.com) and Who Have the Power, a historical novel set during the Comstock Lode era about a pianist discovering that her mother was a healing woman of the Washo tribe (www.whohavethepower.com). She is also a singer, having sung in several operas in New York City companies as well as in recital halls  and cabaret rooms throughout the city. 

Monday, March 28, 2011

THIS IS THE ONLY TIME WE WILL SEE AND LIVE THIS EVENT

This year, July has five Fridays, five Saturdays and five Sundays. This happens once every 823 years. This is called money bags. So, forward this to your friends and money will arrive within four days. Based on Chinese Feng Shui. The one who does not forward .....will be without money.

I am taking no chances!

Sunday, March 27, 2011

Priscilla Queen of the Desert


I expected I was going to either love or hate Priscilla Queen of the Desert because it sounded too outrageous to experience mildly or with mixed feeling. I’m happy to report I had a fabulous time and would go again in a heartbeat.

I hadn’t seen the 1994 movie on which it is based but I just ordered it from the library. The Broadway version, written by Stephan Elliott and Allan Scott and directed by Simon Phillips, takes its plot -- and I use the word loosely -- of three drag queens on a road trip through the Australian outback, and turns it into a jukebox musical, that easy-way-out form that takes popular music and builds (contrives) a plot around it rather than create original music to support a story.

Jersey Boys is by far the best of the jukes I had seen previously because it tells the story of Frankie Valli & The Four Seasons, so it’s natural to blends in their hits.

Priscilla wisely chooses the opposite approach, devising hilarious ways of incorporating songs, such as having one of the queens, in full makeup, sing “Say a Little Prayer” at his vanity while looking at a picture of the 6-year-old son he has never met. Another features that 80s disco hit “Don’t Leave Me This Way” sung by a middle-aged queen mourning at the funeral for her 25-year-old husband. So wacky. Do not go to this show expecting anything serious.

One of the most uproariously funny scenes is played to “MacArthur Park” and offers dancing cupcakes and plenty of sweet green icing flowing down. Costume designers Tim Chappel and Lizzie Gardiner and lighting designer Nick Schlieper should start writing their Tony speeches now. (Chappel and Gardiner won Oscars for their movie designs and an Olivier Award for the London stage production, which is still running.)

The two dozen songs are hits of yesteryear by artists as diverse as Dionne Warwick, Donna Summer, Madonna and Pat Benatar. The actors sing -- and belt -- some and lip-sync others.

Tony Sheldon, who plays the man-hungry, middle-aged transgendered Bernadette, also should start composing an acceptance speech, as should Nick Adams, who plays Adam/Felicia, the youngest and most flamboyant of the three. Will Swenson (in photo) as Tick/Mitzi doesn’t have the vocal strength or energy he had in Hair, but he’s just so likable as the secretly married but estranged husband and father whose desire to meet his son prompts the journey from Sydney to remote Alice Springs on a battered old bus they name Priscilla. The folks they encounter along the way have never seen the likes of this flashy trio.

The musical had its world premiere in 2006 in Sydney, moved on to Melbourne and New Zealand, becoming the most successful Australian musical of all time. Its North American debut was in Toronto before it journeyed down to Broadway's Palace Theatre where it opened March 20. Sheldon has played Bernadette since the show’s inception and was nominated for a Best Actor in a Musical Olivier Award in London.

Bette Midler is one of the show’s Broadway producers, which is appropriate since she’s a favorite of drag queens and female impersonators.

For more information visit priscillaonbroadway.com.

Thursday, March 24, 2011

Individual greatness


"Each of us has an individual greatness. God would not be our author if we were something worthless.  You and I and all of us are worth very much, because we are creatures of God, and God has prodigally given his wonderful gifts to every person."

-- Archbishop Oscar Romero, who was assassinated on this date in 1980 while saying Mass in El Salvador. He had been openly critical of the United States for its support of the dictatorial government and the day before he was shot had preached a sermon calling on Salvadoran soldiers, as Christians, to obey God's higher order and to stop carrying out the government's repression and violations of basic human rights.

He is one of the ten 20th century martyrs who are depicted in statues above the Great West Door of Westminster Abbey in London, a testament to his wide respect even beyond the Catholic Church

Wednesday, March 23, 2011

Fear not


A Sermon for Lent II (A) preached Sunday, March 20, 2011, by The Rev. Thomas Miller, Canon for Liturgy and the Arts at the Cathedral Church of St. John the Divine.                                                                                                                   
 
"If I say, 'Surely the darkness will cover me, and the light around me turn to night,' darkness is not dark to thee, O Lord; the night is as bright as the day; darkness and light to thee are both alike."
 
That verse from Scripture, from Psalm 139, is one of the sentences we read at the beginning of Evening Prayer.  And it comes to mind more and more these days.  These days, as the darkness threatens to overcome us, as anxiety and fear creep into our consciousness, and as we realize just how afraid of the dark we are.  There is so much upheaval and calamity in the world that there sometimes seems to be no escape, try as we might to look the other way or to convince ourselves it’s not really as bad as it is.  Well, I’m sorry to say, it is pretty bad, which may be all the more reasons to remember Psalm 139 and the first chapter of John, and all scriptural witness to the divine light of life that rescues us from darkness and from the shadow of death, and not only rescues us but gives us new life.
 
One of Lent’s more bracing challenges may be to encourage us, not to turn away from darkness, but to face right into the darkness and to dwell in the shadows for a time: the shadows in our own lives and the darkness that seems always to be threatening the world around us.  We are able to look into the darkness, that place of unknowing and uncertainty, that place of nothingness, when we believe that God “gives life to the dead and calls into existence the things that do not exist,” as Paul proclaims to the Romans, and that Christ came into the world not to condemn it but to save it.  To save us, Jesus looked into the very depths of human darkness, even into the darkness of death, and he did not turn away.  And through that darkness he showed to us the light of life.
 
It’s easy to forget that the dark and the shadows are as much a part of life as the light.  If we fail to acknowledge and face the darkness, to see what lurks in the shadows, we may fail to see what needs to be amended in our lives so that we can move through the darkness to the fuller light of God’s glory within us and all around us, and to appreciate its power to illumine our path and to lead us even when the days seem darkest.  And yet fear of the dark persists.  It pervades the history of the world at least as much as our sense of enlightened progress.
 
It is now just coming up on 100 years since the beginning of the Great War, World War I, that war to end all wars, which started in 1914.  On the eve of that horrific, and often said pointless, conflict, Sir Edward Grey, the British Foreign Secretary, famously said, “The lamps are going out all over Europe.  And we shall not see them lit again in our lifetime.”  And he was not far wrong.  The years 1914 to 1918 were among world history’s darkest days, and we have been living with the legacy of that war ever since.  After the giddy and nearly delusional respite of the so-called Roaring Twenties, the world was plunged into a decade of financial collapse and the resumption of war.  Just 70 years ago, London and Great Britain were being devastated by the Blitz, which began in September 1940.  The world was again being subjected to the darkness that can threaten to extinguish the light of life and enlightened civilization as we know it.  But the light was not extinguished. 
 
And today, though not the result of war, our brothers and sisters in Japan are facing a great darkness, both literally and figuratively, and yet, hundreds of nuclear technicians are looking into the face of death so that millions might be saved.  The light has not gone out.  Perhaps one of the reasons we are shocked and sobered by the breadth of this devastation is that it is not the result of conflict among nations, but the result of an uneasy and essentially unstable alliance between humanity and the Earth.  As the rolling blackouts plunge Japan into darkness, and the death toll rises, we become more and more aware of our own vulnerability to the dark and our own fear of dwelling in the shadows, the shadows of life and the shadow of death.
 
Now, in some ways, you would never know this.  The other morning, as I summoned up my e-mail, the MSN home page offered up the usual flash of news stories which the user might want to click on and read more about.  The first flash asked the question, “Scared of omelets?  There’s an easy answer.”  Before I could quite comprehend what fear of omelets might actually be, it disappeared, and another flash said, “Japanese Reactor Out of Control.”  Well, now, I thought, that’s something to be really afraid of, but before I could click on it, another flash came up, which read, “March madness invades the office.”  Is that anything like the monster that ate Cleveland?
 
In this country, despite our denial and distractions, we are living under a fearful shadow.  Almost ten years ago, we experienced something so dreadful that many of us still don’t quite know what to make of it.  The horrendous criminal acts of September 11th, 2001, disoriented the country and there was wide-spread fear, fear of the darkness that might hold more surprises than we could ever imagine.  As a nation, our leaders put on a defiant face and retaliated against an unseen enemy with the sanctioned violence of war and an extensive scheme of homeland defenses.  And by doing so we admitted just how afraid of the dark we were.  Almost a decade later, fear continues to be one of the instruments that drives our national psyche.  It is often an instrument used unashamedly to advance a political agenda.  We are told to be afraid:  afraid of deficits, afraid of immigrants, afraid of unions, afraid of anyone different from us, afraid of anyone who wants to regulate us or take away our guns.  It seems we’re even afraid of omelets.
 
People’s fears are real enough, but the cynical manipulation of fear is a blot on the nation and all nations where it persists.  There are forces in the world that foment fear, even feast on fear.  We must see them for what they are, expose them, and reject them.  We see them at work abroad, most prominently today in the tragedy of Libya, and we see them at work at home.  Fear is too real to be exploited.  Such exploitation is morally reprehensible and not even remotely related to the Gospel of Jesus Christ. 
 
We can face up to our fear of the dark.  The good news of Christmas and Epiphany has not been revoked.  The angels who encouraged the shepherds with the good news, “Fear not,” are still proclaiming that message.  Gabriel’s reassurance to Mary to fear not is still at the heart of the good news of God’s beloved incarnate son.  The Epiphany star still leads us.  And that assurance is ours to take to heart as we confront the darkness before us and the darkness we perceive within ourselves.  God is waiting for us, even in the dark.  The writer of Psalm 16 observes:  “My heart teacheth me, night after night.  I have set the Lord always before me; because he is at my right hand, I shall not fall.”  God is waiting to lift us up and to reassure us even in the midst of our fears, perhaps especially in the midst of our fears.  It’s a revolutionary thought, but it’s a reality that lives among us as the Risen Christ.  Fear not.  Having faith in the Lord who entered into our darkness so that we might see the light may indeed be our salvation in these dark days, our hope for getting through the night.
 
I close with this prayer from Evening Prayer that might serve us in the daytime as well:  “Lighten our darkness, we beseech thee, O Lord; and by thy great mercy defend us from all perils and dangers of this night; for the love of thy only Son, our Savior Jesus Christ.  Amen.” 

Monday, March 21, 2011

Will


There is no chance, no destiny, no fate,
Can circumvent or hinder or control
The firm resolve of a determined soul.
Gifts count for nothing; will alone is great;
All things give way before it, soon or late.
What obstacle can stay the mighty force
Of the sea-seeking river in its course,
Or cause the ascending orb of day to wait?
Each well-born soul must win what it deserves.
Let the fool prate of luck. The fortunate
Is he whose earnest purpose never swerves,
Whose slightest action or inaction serves
The one great aim. Why, even Death stands still,
And waits an hour sometimes for such a will.

-- Poetical Works of Ella Wheeler Wilcox, 1917