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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's latest book, Pops: A Life of Louis Armstrong, will be published in December by Houghton Mifflin Harcourt in the U.S. and JR Books in England. One of his essays is included in Robert Gottlieb's Reading Dance, published last year by 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

SEE TERRY TALK 
To watch Terry's wsj.com review of Guys and Dolls, go here.

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
The Doctor is in
A doll's house
Free at last
Looking for trouble
Cover story
Step away from the car, sir
A ripping good show
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TERRY'S TWITTERS 

Archive  5755 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).

CABARET 
Daryl Sherman (Oak Room, Algonquin Hotel, 59 W. 44, Monday nights through April 27). A smart, light-footed songstress whose piping, Mildred Bailey-flavored voice never fails to swing or to please, Sherman is currently appearing on Mondays at the Oak Room, accompanied by James Chirillo on guitar and Boots Maleson on bass. They don't come any hipper (TT).

GALLERY 
Jane Freilicher: Changing Scenes (Tibor de Nagy, 724 Fifth Ave, up through April 18). New and old work by one of my favorite American modernists, a chronically underrrated painter whose soft-spoken still lifes and landscapes reflect the influence of Pierre Bonnard and the cubists yet remain unmistakably American (TT).

PLAY 
Our Town (Barrow Street Theater, 27 Barrow St.). David Cromer's revival of Thornton Wilder's greatest play, which is still going strong two months into its off-Broadway run, is the best show in New York--if not America. Arrestingly and incisively unsentimental, it cuts to the heart of Wilder's familiar tale of a small New England town and makes it as fresh as a news flash. I'm not normally fond of surprise endings, but Cromer has tucked one into this production, and it packs the punch of a bolt of lightning. Do not miss this show for any reason whatsoever (TT).

CD 
Blossom Dearie, Four Classic Albums Plus (Avid, two CDs). Readers of my recent tribute to "the hippest person in the world" should hasten to snag this British import, which couples her first three Verve LPs, Blossom Dearie, Give Him the Ooh-La-La, and Once Upon a Summertime, with an ultra-rare instrumental trio album from 1955 that shows why Dearie's crystalline piano playing was as widely admired as her fey, delicately swinging vocals. The three Verve albums are accompanied by Ray Brown on bass, Herb Ellis or Mundell Lowe on guitar, and Jo Jones or Ed Thigpen on drums, which is maximally cool (TT).

BOOK 
Steven Suskin, The Sound of Broadway Music: A Book of Orchestrators and Orchestrations (Oxford, $55). Part history, part handbook, this staggeringly well-informed study of Robert Russell Bennett, Don Walker, Sid Ramin, and the other virtuoso technicians who scored the classic musicals of the pre-rock era is long overdue. If you read my posting about how The Letter was scored and want to know more about the mysterious process of turning a black-and-white piano part into a full-color orchestration, The Sound of Broadway Music will walk you through the drill with a minimum of technical obfuscation (TT).

Out of the Past

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

NOVEL 
Stewart O'Nan, Last Night at the Lobster. I don't know how this tough, no-nonsense 2007 novella about the closing of a suburban chain restaurant got past me, but now that I've finally caught up with it, Stewart O'Nan is going straight to the top of my catch-up list of contemporary novelists. At first glance there doesn't seem to be much to it, but before long you realize that you're reading a deeply serious moral tale whose protagonist, a Red Lobster manager whose marriage is in trouble, is one of the most memorable fictional characters to come to my attention in recent years. Short and wholly to the point, Last Night at the Lobster is a minor masterpiece (TT).

FILM 
The Devil and Daniel Webster. William Dieterle's bracingly dark 1941 screen version of Stephen Vincent Benét's once-popular short story about a New England farmer who makes a Faustian bargain isn't exactly forgotten--the Criterion Collection released a deluxe version in 2003--but it's not nearly as well known as it ought to be. The cast, especially Walter Huston and Edward Arnold, is superb, and the atmospheric black-and-white cinematography borders on the miraculous. As for Bernard Herrmann's score, which won him his only Oscar, it's identical in quality to the music he wrote for Citizen Kane in the same year. If you missed this one on TCM the other day, pick up a copy of the DVD and revel in a first-class piece of work (TT).

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