American Masters--Ella Fitzgerald Something to Live For, television biography on DVD

Ella Fitzgerald is an artist that I find it easy to be inspired by--and this PBS American Masters television biography makes it plain to see why. Ella Fitzgerald Something to Live For gives good insight into Ms. Fitzgerald's personal life while giving over the bulk of its time to her professional life.

She recorded almost 2000 songs in her 5 decade career, and nearly 35 of them are excerpted or played in full during this 90 minute documentary. There is a nice balance between the well-known Ella hits and the unfamiliar. A funny highlight for me was a trio of Ella, Dinah Shore and Joan Sutherland singing "Three Little Maids" from the Mikado.

There are perhaps too many duets excerpted in this show, including with Frank Sinatra, Mel Torme, Louis Armstrong, Perry Como, and others. While some of these duets are fun and interesting, it takes away time from showcasing what Ms. Fitzgerald could accomplish when in complete control of the music-making.

And control is what she demonstrates in every song. No one could roll out a legato line, or bend a pitch like Ella. The scat and swing singing is also of the highest order. How does one manage to do both so well?

Ella Fitzgerald--Something to Live For

from PBS American Master's Series on DVD

Benjamin Britten's "Rejoice in the Lamb" preparation for live performance

Tomorrow, the church choir in which I sing is performing Benjamin Britten's Rejoice in the Lamb during the service. So I thought I would share my lamb thoughts...

When the choir started rehearsing Rejoice in the Lamb, you could easily count the number of confused looks on members' faces--mine among them. The poetry of Christopher Smart (pictured, right) and the message Britten extracts from it are not obvious at first. There is a slight Gertrude Stein "pigeons on the grass, alas" quality to much of the verse that obfuscates its meaning. But this is not mere word-play. There is also a child-like quality that belies an adult understanding of the ways of God.

Christopher Smart was in in an insane asylum and considered mad when he wrote the poem he called Jubilato Agno. He seems to have equated some of his fate to that of Jesus--misunderstood by the public powers, and resigned to suffer at their hands. But Smart also saw God in this suffering. He saw God in everything--in his cat, in mice, in flowers, in rambling off the alphabet, in silly rhymes. But what drew composer Benjamin Britten to Smart's poem, I believe, is Smart's belief that we are perhaps closest to God in music, whether making it or listening to it.

Britten wrote this piece in 1943. Imagine London at that time. The city has been a primary target of bombing for four years. During the blitz, civilian lives are being lost daily. Public services like power, water, trash collection are sporadic. Supply chains from Europe and elsewhere have been interrupted, so food is often in short supply. Blackout orders have shut down all the concert halls, theaters, and movie houses. Entertainment of all types has come to a complete stop for fear of being in a crowd when the bombs start falling.

It is in this world that Benjamin Britten is asked to compose a cantata for use in church--about the only place that live music is being heard. And WH Auden hands Britten a poem from a forgotten 18th Century poet. A poem which has raised its author's reputation from obscurity and madness to prominence and brilliance. A poem which, while written in 1763, was not published until 1939 after being pieced together from hand-written loose-leaf sheets that had somehow survived 175 years. A poem which was probably written to stave off deeper depression during Smart's institutionalization and daren't consider anything other than his cat Jeoffry. Did Britten see this as the survival story that England needed in its dark days?

The music Britten composes is by turns nursery rhyme-like tunes, robust mixed-meter dances, and chant. Chant opens the piece, and is used again for the darkest, most penetrating moments of the cantata. The dances enliven the texts about how the many Old Testament characters to which Christopher Smart refers should glorify God. Dance meters also are used when the chorus sings it anthem to music-making.

The nursery rhyme-like tunes come during three solo sections; a treble soloist (a female soprano in my choir) likens the stretches and meanderings of a cat's movement to praying. The organ part portrays the cat with its twists and turns. An alto soloist sings of the bravado of a mouse (perhaps this is an analogy to how we are to engage our lives?). Thirdly, a tenor soloist muses about flowers and draws comparisons to Christ, the bloom of Mary. Here, the arching line of the soloist floats over a chipper organ part that seems to me to be tripping through a field of daisies.

You can make your own correlations between that time and ours. Between Christopher Smart's story and your personal struggles. Between Benjamin Britten's faith and your own. For me, when the darkness seems to be all around and I'm not certain where the next bomb is going to fall, I am glad to be able to revel in the "Shawn, Lawn, Fawn", and the "Flute, Suit, Moot, and the like", believing that "the trumpet of God is a blessed intelligence" which comes "from the hand of the artist, and from the echo of the heavenly harp, in sweetness magnifical and mighty."

Hallelujah. Amen.

Rejoice in the Lamb

Music by Benjamin Britten
Text from Jubilate Agno by Christopher Smart
One performance only by
St. Pauls United Church of Christ Chancel Choir
Lincoln Park, Chicago IL 60614

Sunday, May 16, 2010 11am service

Billy Elliot The Musical live on stage in Chicago

I believe this is a "sit-down" production that is in Chicago for a long stay. Judging by the full house and enthusiastic audience, Billy Elliot The Musical deserves a good run.

It took me a while to get my head around this show; it breaks some conventions that I have stuck in my craw about musicals. Mostly, the expectation that the moving moments of a show will be during songs; here the highlights are during dances. Billy's dancing was of course the standout and Cesar Corrales, the young performer who played Billy in the matinee I saw, was excellent. Not just a well-trained dancer, but an actual stage presence.

The music by Elton John was a little disappointing to me. Apart from Billy's "Electricity", the songs don't have a tune that you can leave the theater humming. And Billy's song is nearly immediately swept out of your head by the wonderful dance number that follows. Having seen Sir Elton's Lion King and Aida, I know the man can write effective stage musical songs.

In Billy Elliot, there are three roles other than the title character who have primary songs--Billy's father; dance instructor Mrs. Wilkinson; and Billy's friend Michael. Mrs. Wilkinson is portrayed in Chicago by Emily Skinner, an accomplished Broadway veteran from Side Show, Jekyll & Hyde, and The Full Monty. That experience shown in her performance. Armand Schultz as Billy's father was best when not singing.

One thing this show did a lot, and usually well, was blend Billy's real life with his fantasy life. This happened in the dancing dress number for Billy and Michael, the pas de deux for Billy and Grown Billy, and in scenes between Billy and his deceased mother. Even the struggle between striking miners and British police authorities was a blend of realities of sorts--although I found this less effective. Perhaps purposely, the police presence was made into a joke with their first entrance that seemed straight out of Gilbert and Sullivan.

I have to end with a probing question that kept me awake last night: why when Billy left at the end of the show to go off to The Royal Ballet school, did the actor climb into the orchestra pit?

Billy Elliot The Musical
Music by Elton John
Book and lyrics by Lee Hall
Opened in London in 2005, the New York production opened in October, 2008
This Chicago production opened in March, 2010 and has an open run.
Cast: Emily Skinner, Armand Schultz, Cynthia Darlow, Patrick Mulvey, Cesar Corrales (my Billy), Gabriel Rush (my Michael),

Golden Boy original Broadway cast album on CD

If you need any proof of Sammy Davis, Jr.'s strength as a singer, just listen to this show from 1964. I suspect his live performances were electric, because his vocal performance of Golden Boy seems to jump off the cast album. Mr. Davis makes the uneven score uniformly sing.

Between the notes to this CD release and some online reading about the history of this musical, I can understand why the show seems a bit of a hodge-podge. The book is based on Clifford Odet's 1937 drama of the same name but with significant changes--including changing the title character from an Irish-American immigrant to an African-American outsider. I suppose that in the 30s, the Irish in America were outsiders, too, but now the race card is clearly played, and the civil rights cause of the 60s is the larger issue that boxer Joe Bonaparte is fighting.

I generally like most of the music on this album, although it does seem to be missing a uniform "voice" a lot of the time. There are numbers that seem like Big Band, swing, gospel, pop and more conventional Broadway. Some of it deserves a life outside the theater, although I had never heard any of these songs before. I was particularly struck by two elegiac ballads about life in the big city--"A Night Song" which is in the Sinatra vein, and "While the City Sleeps" which lacks a little structure and oomph.

This is clearly a vehicle for Sammy Davis who shines throughout even when the heavy-handed inter-racial love story and some obvious racial jokes are added. The rest of the cast has significantly less to do, except Paula Wayne as the love interest with the great character name of Lorna Moon. Ms. Wayne has a slightly gravely character voice that reminds me of a younger Elaine Stritch.

I wonder if Encores has ever done a concert version of this show? I can imagine Taye Diggs in it.

Golden Boy
Music by Charles Strouse
Lyrics by Lee Adams
Book by Clifford Odets and William Gibson
Opened in 1964
Cast: Sammy Davis, Paula Wayne, Billy Daniels

Ghost Light Monday--Cat on a Hot Tin Roof, British Television adaptation on DVD

The year 2011 is the centenary of playwright Tennessee Williams and I've been considering some sort of personal Williams project. Maybe the Year of Williams Thinking? Too derivative?

While I was a theater major in college, I have seen and read very little of Williams'
work--just the occasional film adaptation and I'm sure I had to read Glass Menagerie for some class. Oh, and I was in a production of Summer and Smoke in college. I've always had the (unsubstantiated) thought that Williams told the same couple of stories over and over. Perhaps I should read and see a little more before I make such a bold and damning statement.

Well, while I consider that project, I ran across a television adaptation of Cat on a Hot Tin Roof that I thought might be interesting, so I checked it out from the library and enjoyed watching a version created for Granada Television in 1977. Such a quintessential American play seems an odd choice for the British Television company, but this was part of a series of performances produced and starring Laurence Olivier, who must have seen the role of Big Daddy as a good fit for him at the time.

The production is well done with a seasoned cast of mostly Americans. Natalie Wood is memorizing as Maggie and while I found her performance a little too twitchy even for this twitchy character, I couldn't take my eyes off her. Ms. Wood's husband Robert Wagner portrays Brick, Maggie's downward-spiralling husband. I enjoyed Mr. Wagner's performance as well. He is very still for much of it, particularly in contrast to Maggie.

If I do take on Tennessee, one question in my mind is the structure within his plays, both the overall structure and of the scenes and beats within the plays. If feel that maybe he is a good structuralist and gives actors lots of moments to build and release the tension in a scene. At least that is my first impression based on this one television version. Given the loads of Williams plays to investigate (by reading, seeing live, or viewing on film) that question alone could fuel a year's worth of discussion.

Cat on a Hot Tin Roof
by Tennessee Williams in 1955
This production for Granada Television produced in 1977 as part of Laurence Olivier Presents
Starring Laurence Olivier, Robert Wagner, Natalie Wood, Maureen Stapleton

Jason Graae--An Evening of Self-Indulgence--Live at the Cinegrill on CD

Aptly titled.

I like Mr. Graae's singing. He has an ability to reach into his top register with apparent ease and without losing any legato in his line. I also liked his choice of music for this production--all of which has touched his career at some point or in some way. I could have used one more comic number to balance the ballads, but that's a very personal preference. Mr. Graae ably delivers both comic songs and ballads.

Where the recording of this event let me down was in the patter between numbers. There was too much of it, and I believe unless you were one of Jason's best friends it wouldn't be very funny. Undoubtedly, the loss of visuals hurt here. But you know, you're producing an audio-only CD, so adjust accordingly.

Jason Graae: An Evening of Self-Indulgence
Live cabaret performance at the Cinegrill in Los Angeles on CD
Cast: Jason Graae, Gerald Sternbach

9 to 5 Original Broadway Cast album

I remember the musical version of 9 to 5 making the talk-show splash when it opened a year or so ago. Between having music and lyrics by Dolly Parton and starring unlikely musical theater performer Allison Janney, bits of the show made rounds on The View, Regis and Kelly, etc. I must have heard a song or two from one of those appearances, but I don't recall which.

In listening to the cast album, I was struck that the accompaniments for many of the songs are guitar-based, not piano-based. I supposed that's fitting given the composer is a country singer/songwriter. I don't bring that up as a dis, just an observation--a score sounds different when composed on a guitar rather than a keyboard. I had the same observation with Spring Awakening, which is also by a singer/songwriter/guitarist--Duncan Sheik. That may be the only thing Duncan Sheik and Dolly Parton, and these two shows have in common.

The capabilities of the cast seems to be the primary strength of this album. The songs feel uneven to me at times, and several don't have a strong-enough sense of what they want to be to create a positive impression.

The two songs I was drawn to the most are both sung by Stephanie J. Block as Judy. I have seen Ms. Block perform live and know that she is a powerhouse singer, and fortunately is given two good songs to showcase her abilities. Unfortunately for Ms. Block this show and the previous show where she originated a lead role (Pirate Queen--I saw it, don't ask) have closed within a couple of months. I'm certain she is well-respected in the musical theater world, but Ms. Block need a good vehicle to find herself well-known among audiences.

Allison Janney as singer doesn't completely embarrass herself. She's fine when she's not in her head voice and has enough legato and hutzspa (sp?) to sell her songs. Megan Hilty as Dolly doppelganger Doralee has a nice, versatile voice (I was surprised to learn she was a replacement Glinda in Wicked--very different styles of music) although I didn't care for the music she is given. Marc Kudish as devil-boss again impresses me with his voice, but his one front-and-center number didn't reach me.

9 to 5
Music and lyrics by Dolly Parton
Book by Patricia Resnick
opened in 2009
Cast: Allison Janney, Stephanie J. Block, Marc Kudish, Megan Hilty