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ABOUT "ABOUT LAST NIGHT" AND ITS AUTHORS 
This is a blog about the arts in New York City and the rest of America, written by Terry Teachout, Laura Demanski (otherwise known as Our Girl in Chicago, or "OGIC" for short), and Carrie Frye (who signs her postings "CAAF"). Terry, who lives in New York, is the drama critic of The Wall Street Journal and the music critic of Commentary. more

ABOUT TERRY'S BOOKS 
Terry recently finished writing A Cluster of Sunlight: The Life of Louis Armstrong, which will be published by Harcourt in the fall of 2009. One of his essays is included in Robert Gottlieb's Reading Dance, just out from Pantheon. He contributed an essay to Coudal Partners' Field-Tested Books (as did OGIC) and wrote the introductions to William Bailey on Canvas and the paperback edition of Elaine Dundy's The Dud Avocado. more

ABOUT TERRY'S OPERA 
Terry is collaborating with Paul Moravec on The Letter, an operatic version of Somerset Maugham's 1927 play. It was commissioned by the Santa Fe Opera and will open there on July 25, 2009. Here is an ongoing series of progress reports on the writing and production of The Letter.
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Lend me your ears (and eyes)
Men at work
Men at work (II)
Men at work (III)
Men at work (IV)
For better and worse
Men at work (V)
Men (and women) at work (VI)
Notes from an unkept diary
The case for lower-case opera
The envelope, please
Right turn at Albuquerque
Moment's notice
Men at work (VII)
Scene stealing (I)
Scene stealing (II)
Becoming an artist
In one piece
Among the brethren
By the clock
Size matters
No, but I heard the movie

SEE TERRY TALK 
To watch Terry's wsj.com review of American Buffalo, go here.

Archive  5433 entries and counting

CONTACT
tteachout@artsjournal.com
ogic@artsjournal.com
caaf@artsjournal.com

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TOP FIVE

A list of new things we've liked (subject to unexpected and wildly capricious updating).

CD 
Stephen Sondheim: The Story So Far (Sony Classics, four CDs). Eighty-two songs by the greatest musical-theater composer of the postwar era. All of Sondheim's shows are represented, and the performances range from original-cast recordings to rare demos sung and played by the composer himself. Sondheim fanatics will already have the bulk of this material, but if you're just getting to know him, The Story So Far is a good place to start (TT).

PLAY 
Dividing the Estate (Booth, 222 W. 45, closes Jan. 4). Horton Foote's grimly funny portrait of a houseful of Texans who've been sponging off their mother for so long that they've forgotten how to earn an honest buck is the best-written, best-acted play in town, not excluding August: Osage County and A Man for All Seasons. It's the go-to show for theater buffs who long to spend a whole evening on Broadway without having their intelligence insulted. Give yourself a ticket for Christmas (TT).

BOOK 
John Adams, Hallelujah Junction: Composing an American Life (FSG, $26). A hugely important, exceedingly well-written memoir in which the composer of Nixon in China and Doctor Atomic explains with engaging clarity why he broke with modernism to forge a new, more accessible style of classical composition. Even if, like me, you find it impossible to warm up to Adams' minimalist music, this book will leave you in no doubt of why it has made so deep an impression on a generation of American composers and listeners (TT).

CD 
John McCormack, Deutsche Lieder 1914-1936 (Hamburger Archiv für Gesangskunst). When not singing "Mother Machree" and "The Garden Where the Praties Grow," Ireland's favorite tenor was a dead-serious recitalist who had a knack for bringing out the ballad-like quality of German art songs. This beautifully remastered imported CD contains all twenty-seven of his surviving recordings of songs by Brahms, Mendelssohn, Raff, Schubert, Schumann, and Wolf. Some are performed in English, others in Irish-tinged German, but all are sung with a combination of straightforwardness and sweet lyricism that I find completely charming. Would that McCormack had recorded twice as many Lieder, but to hear him singing Wolf's "Herr, was trägt der Boden hier" (his favorite art song) is to be reminded of how lucky we are to live in the age of recorded sound (TT).

GALLERY 
John Marin: Ten Masterworks in Watercolor (Meredith Ward, 44 E. 74, up through Dec. 20). Ten important works on paper by the pioneering American modernist whose virtuosity in the watercolor medium remains unrivaled. Some are from Marin's estate, others from private collections, and most are familiar only to Marin specialists. A rare opportunity to view a great American painter at the peak of his powers (TT).

Out of the Past

Not new, but still worth a look or listen (and no less subject to change without notice).

CD 
Mel Tormé and the Marty Paich Dek-Tette (Bethlehem). Originally recorded in 1956, this immensely sophisticated collection of pop standards teamed Tormé with a ten-piece jazz ensemble whose arrangements were based on the influential 1949-50 recordings of Miles Davis' "Birth of the Cool" nonet and played by such heavy West Coast hitters as Bud Shank, Red Mitchell, and Mel Lewis. It established Tormé as a world-class jazz singer at a single stroke and remains wonderfully listenable to this day. The opening track, "Lulu's Back in Town," became one of Tormé's trademark songs, though his sensitively sung version of Harold Arlen's "When the Sun Comes Out" is, if possible, even better (TT).

BOOK 
Aljean Harmetz, The Making of Casablanca: Bogart, Bergman, and World War II. This book, originally published in 1992 as Round Up the Usual Suspects, is not a standard-issue piece of celebrity-oriented fluff but a snappily written, hugely entertaining primary-source history that delves deeply into the genesis of the iconic studio-system picture of the Forties. It may well be the most informative book ever written about the making of a Hollywood picture, and among many other useful things, it leaves the attentive reader in no possible doubt that the auteur theory of film is utterly irrelevant to the creation of an assembly-line film like Casablanca (TT).

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