http://www.artsjournal.com/lies/ Chloe Veltman on how culture will save the world en-US Copyright 2009 Fri, 06 Nov 2009 10:46:58 -0800 http://www.sixapart.com/movabletype/ http://www.rssboard.org/rss-specification Three Bay Area-based dramatists had the following to say in response to this question:

Trevor Allen: "I don't chose to direct my own work anymore. I have been very fortunate to have been able to work with some amazing directors who "get" my weird plays (Kent Nicholson, Rob Melrose etc.) However, I also don't think there should be an immediate negative reaction to a playwright directing their own work. As long as they know what they are doing--directing a play that they happen to have written and not rewriting their play while trying to direct it at the same time. If they know the craft of directing, then more power to them!"

Mark Jackson: "As a playwright who quite often directs his own work, I of course think it's a good thing. But of course it's not for everyone. Some playwrights also have a knack for directing, and some do not. The garden variety con that usually gets mentioned is that a playwright would not have the proper objectivity to direct his or her own work. Again, I think this depends on the person and as a generalization does not fly as anything more than a seemingly logical theory. The garden variety pro is that, as the playwright, one has an invaluably intimate understanding of the play. Really, though, I think the question of whether or not playwrights should direct their own work depends on the individual, and so as a general question it is irrelevant. Should THIS playwrigt direct his or her own work? That is a question to ask, I think."

Peter Sinn Nachtrieb: "I haven't directed my own work since college, except for a few readings here and there. I think it's an admirable skill to be able to wear both hats at the same time and i think leads to the generation of work that can have a very strong point of view. For myself, especially when a play is new, I really enjoy just focusing on the writing, though I will give extensive notes and observations to a director. But I like not having to be the one responsible for managing those notes and tech and actor process. As "just the playwright" I can worry about my own part of the puzzle and then be able to take notes from my perspective . I also like how a director that's not me can expand my work and insert their own awesomeness. I like the wiggle room within a play's process, the particular combination of bodies in the room that ultimately shape how a final product will look. That being said, never say never. But I think if I do ever direct my work again in the future, I think I would pick a piece that I feel like I've really finished writing."

A bit about what each of these playwrights are up to right now:

Trevor's drama The Creature is playing at The Thick House under the auspices of Black Box Theatre Company.

Mark is currently in Germany directing his adaptation of Heinrich Heine's Deutschland, Ein Wintermärchen, commissioned by Schauspiel Frankfurt.

Marin Theatre Company is about to stage Peter's Boom. Peter is in Bloomington, Indiana right now visiting another production of the play at Cardinal Stage. In fact there are multiple productions of his plays going on right now around the country. Read Peter's blog to find out more.]]> http://www.artsjournal.com/lies/2009/11/should-playwrights-direct-thei.html http://www.artsjournal.com/lies/2009/11/should-playwrights-direct-thei.html Fri, 06 Nov 2009 10:46:58 -0800 Finessing a sudden change in mood from comedy to tragedy and visa versa in the theatre is a challenging feat. I was reminded of this fact last night at a performance of Dominic Dromgoole's Globe Theatre production of Loves Labours Lost at Zellerbach Hall, Berkeley. The production is currently being presented under the auspices of Cal Performances as part of The Globe's current US tour. 

Shakespeare's sophomoric 1598 comedy of love and wordplay has one of the trickiest temperature shifts in the dramatic cannon, when, in the final part of the play, the celebratory mood that pervades almost the entirety of the proceedings is suddenly broken by the announcement of the death of the Princess of France's father. Managing the about-turn from ecstasy to depression effectively can make or break a production of the play. To my mind, the change has to be extreme. If it feels half-hearted, the ensuing denouement and final weird song about the cuckoo leave the audience feeling puzzled rather than floored.

Unfortunately, the temperature bumped rather than plummeted in the hands of Dromgoole and his British cast. I felt a change in atmosphere in the room, but it felt relatively tepid, like an English summer day.

The scene before the shift was marked by an eruption of movement and hilarity that felt inorganic to the rest of the production, as if the director were purposefully setting up the big moment, rather than letting it catch us unawares. Actors ran around the stage for no apparent reason, and threw bits of baguette around.

When the messenger walked on stage to deliver the news, he stood out front so we could see him clearly. The cast took a while to notice him, with the princess herself being the last to stop bombarding the stage with bread. This created a lovely bit of dramatic irony, as the princess was the last to hear the news -- news that concerned her before anyone else on stage.

But somehow, the timing was off and the messenger's proclamation felt flat and stagey. The Princess' grief seemed real enough. (Michelle Terry is a wonderful performer -- I found her haughty-gamine Princess to be completely engaging throughout thanks to her lively physicality and sonorous speaking voice.) But the entire moment fizzled and the final cuckoo song, though quirky and melancholy, did not carry the weight of tragedy. The entire last 15 minutes of the production seemed more like a balloon slowly letting out air than one that went pop.

I wonder if Dromgoole might improve the staging of this final scene by listening to Mahler's Fourth Symphony, Mozart's Don Giovanni and pretty much any of Beethoven's symphonies? Mozart, Mahler and Beethoven are masters of sudden mood changes. Dromgoole could learn a thing or two from these guys. ]]> http://www.artsjournal.com/lies/2009/11/abrupt-mood-changes.html http://www.artsjournal.com/lies/2009/11/abrupt-mood-changes.html Thu, 05 Nov 2009 09:43:39 -0800 When headliner Nadja Michael (pictured) became "indisposed" last Friday for that evening's performance of Strauss' Salome at San Francisco Opera, stand-in soprano Molly Fillmore was flown in from Arizona at the last minute and hustled on stage.

Considering the fact that Fillmore, who is performing the role at Arizona Opera this month, had very little rehearsal time, she did a serviceable job, though the orchestra was too loud and it was quite often difficult to hear the soprano's voice especially in the higher part of her register.

If only Fillmore hadn't had to do any dancing.

Salome is not one of those "park and bark" operas, where a singer can get away with standing on stage more or less stock still or walk about a bit. There's a 20 minute exotic dance routine for the titular character right in the middle of the show. It's the pivotal moment of the story in fact: The princess wiggles lasciviously for the king and coaxes him into making her a rash promise that will cost him his kingdom.

I gather from Opera Tattler that Fillmore, though she had had an opportunity to rehearse the role with San Francisco Opera early in October, had not had much of a chance to learn the choreography. The dance, which in this production draws inspiration from early 20th century choreographers like Isadora Duncan, Ruth St Denis and Martha Graham, has some tricky moments in it, particularly involving the skillful manipulation of a variety of gauzy veils.

Fillmore moved awkwardly throughout. It was rather painful to watch her go through the motions. I was terrified that she was going to get herself tangled up in a veil or, worse, still, trip over her own feet. Plus, she lacked grace and lyricism, making the dance more clumsy than sexy. The twenty minutes went by agonizingly slowly.

I suppose it's mean-spirited of me to fault an underrehearsed performer who stepped up to the plate at such short notice. And it's not as if Michael had been earning raves herself in the role. Mark Swed of the Los Angeles Times reviewed the production on October 22 and had trouble with Michael's intonation, though he at least found her slightly more convincing in the part from a physical perspective.

But I won't forget Fillmore's Dance of the Seven Whales in a hurry, which isn't necessarily a good thing. ]]> http://www.artsjournal.com/lies/2009/11/dance-of-the-seven-whales.html http://www.artsjournal.com/lies/2009/11/dance-of-the-seven-whales.html Wed, 04 Nov 2009 08:19:56 -0800 Andrew Taylor's latest blogpost at ArtsJournal about "portfolio careers" in the arts got me thinking this morning about whether anything has really changed in the way that many people in the arts make a living, despite the terminology.

I first heard the term "portfolio career" applied to arts workers around 10 years ago when a management consultant friend of mine in London said to me, "it's pretty cool, you're portfolio lifestyle. I want one of those." At the time, I wasn't quite sure what he was getting at. I didn't consider my weird mixture of jobs -- which in 1999 consisted of working as the junior in the New York office of a big British daily newspaper, freelancing as a theatre critic all over the city, finishing up my masters thesis, moonlighting as a dramaturg for an underground performance art company and playing oboe and singing for a variety of semi-professional ensembles -- as being portfolio-like. I just thought of myself as muddling through until a "proper" job came along.

I had always been taught that you weren't really doing anything worthwhile unless you had a "proper" job, which consisted of going into an office and being paid, hopefully well, for steady work for a single highly-thought-of company over years and years, while gradually earning the favor of your superiors, rising to the very top and retiring at 60 to glory and grandchildren.

But I do remember thinking even back then that "portfolio" had a nice ring to it. The corporate tinge to the word made me feel important. Even though I wasn't really proud of what I was doing at the time, I started referring to myself as having a "portfolio career" at parties. People looked impressed. as time passed, I started feeling comfortable about my wheeling and dealing. I realized, despite the unpredictability of it all and decidedly shaky prospects, that it was the only way for someone like me to go. It still is.

Ultimately, it doesn't matter what you call making a living in the cultural industries. There isn't really any news here -- people in the arts (and many people in many other sectors too) have been functioning this way for a long, long time in all kinds of economies, both good and bad. "Portfolio career" means "freelancing" really, but it just sounds a bit grander. ]]> http://www.artsjournal.com/lies/2009/11/musings-on-the-portfolio-caree.html http://www.artsjournal.com/lies/2009/11/musings-on-the-portfolio-caree.html Tue, 03 Nov 2009 09:22:20 -0800 Even the most lighthearted and confident stars of the opera stage suffer from moments of unconscious stress. The bubbly American mezzo-soprano Susan Graham is currently in rehearsals with the Philharmonia Baroque Orchestra for a series of six concerts of the music of Henry Purcell. She's playing the legendary Queen of Carthage in Dido and Aeneas. The series begins at San Francisco's Herbst Theatre this Thursday before the artists take off to Palo Alto, Berkeley, Los Angeles and Davis for a couple of weeks.

Yesterday afternoon, while in conversation with Philharmonia Baroque's director, Nicholas McGegan, Graham -- a propos of nothing it seemed -- shared the contents of a nightmare she'd had the night before:

"I had a dream last night that I looked at my contract and it read that I had been engaged to sing not only the role of Dido but three other parts too." Graham's smooth, powered brow furrowed slightly at the unsavory recollection. But McGegan quickly ironed out the creases on his leading lady's face. "No, we're saving you just for Dido," he said, patting her shoulder. "There will be no costume changes for you. It's a one-dress show." ]]> http://www.artsjournal.com/lies/2009/11/susan-grahams-nightmare.html http://www.artsjournal.com/lies/2009/11/susan-grahams-nightmare.html Mon, 02 Nov 2009 08:56:26 -0800 The San Francisco Public Schools commission is running a marketing campaign right now. The slogan on posters dotted in bus shelters and elsewhere around town is "The City is Our Classroom." "That's all well and good," I thought as I walked passed a poster on a walk around the neighborhood this morning. "But that doesn't make up for the fact that classrooms, in the conventional use of the word, aren't necessarily doing their job anymore in this city." I was thinking in particular of my recent visit to San Francisco's rundown School of the Arts (SOTA) (see my blog entry of two days ago) which left a a bitter taste in my mouth.

In this pensive mood, I walked around the corner and came across Keith Sklar's 1989 mural, "Learning Wall." Sklar's enormous, psychadelic triptych is looking really faded. I read somewhere online that the artist had scrubbed out some portions of it a while ago. Not sure if that's true, or if it is, why he would have done such a thing.

I walk past Sklar's mural almost every day as I live close by, but not until this morning did I really stop to look at it closely. It's hard to figure out what's going on as the work is so busy. The main theme (a popular one in Bay Area murals) seems to be cultural pluralism. There are Inca heads, Chinese stringed musical instruments, Ancient Egyptian effigies and all manner of patterns and people. At the top is a motif of people holding hands. The whole thing swirls with color and texture like a giant bubbling cauldron of knowledge and ideas.

I can't say it's beautiful to look at, especially in its current faded, grimy state. But it serves as a reminder that education was at one point prized in this city. The mural is painted, somewhat ironically, on the side of an old, vacant and rather beautiful Department of Education building. I heard rumors that SOTA is eventually supposed to move from its current location in the fog belt into these premises. Financing, I suppose, prevents this from happening any time soon (if indeed this plan is more than a rumor.) It would be great if SOTA would move downtown. That would put the arts high school right next to the Symphony, Opera, Ballet and Conservatory of Music, not to mention the New Conservatory Theatre Center, The Asian Art Museum, the main branch of the San Francisco Library, the Herbst Theatre and several private galleries.

I imagine Sklar's "Learning Wall" is more likely to get a fresh coat of paint before that happens though. ]]> http://www.artsjournal.com/lies/2009/10/learning-wall.html http://www.artsjournal.com/lies/2009/10/learning-wall.html Fri, 30 Oct 2009 08:52:35 -0800 It's a wonder that I ever got sent to the US as a technology correspondent for a major British newspaper back in 2000, really. My lack of prowess at -- and genuine interest in -- figuring out the nuts and bolts of everyday applications I use is not something of which I'm proud. But there's only so many things I can pay attention to on any given day, and worrying about which format I transfer audio files to and from my laptop sadly isn't one of them.

I was made to feel the full force of my technophobia yesterday afternoon when I went across the Bay to Berkeley to guest-lecture for an hour at an adult "vocal music appreciation" class. Unlike many serious music fans (and most classical music journalists) I don't keep my music library on CD, only digital audio files on my computer, even though most people in my line of work proselytize against this for reasons of quality. I don't perceive a huge difference in the quality of a CD versus most of the audio files on my laptop. frankly. Then again, computer audio files do vary radically in quality, which is a detail I confess that I need to pay closer attention to.

So I turned up to class with a playlist in an embarrassingly motley range of file formats. Some of them were near-CD quality. Others, I must confess, I'd yanked off YouTube using AudioHijack, and the quality was far, far from perfect. One or two of the tracks sounded like they were being played at the bottom of a well.

The teacher of the class was not impressed. He had the most staggeringly stagey audio setup I'd seen in a while, with speakers resting on ball-bearings. You couldn't so much as breathe on the shiny black objects without causing him to get upset. I got a public dressing down for having some of the tracks as MP3 files rather than the more up-to-date AIFF files. "Did you rip some of this stuff off the Internet?" I was asked with a critical "tsk" halfway through the class.

I dunno. Of course it's preferable to have optimal quality when you're listening to music. It's always better if you do. But having a slightly-less-than-perfect listening experience isn't going to cause your eardrums to explode. And going with a not-extremely-good output is OK too if you're under duress (ie you want to play something that is only available on YouTube) and using the music sample to make a general point rather than listening intensively in private.

The students in the class didn't seem to mind all that much anyway. Many of them came up afterwards to say how much they'd enjoyed the lecture. And hopefully the teacher forgave me for my sin. Rest assured, though: I'll be paying closer attention to audio file formats in the future. Lesson learned. ]]> http://www.artsjournal.com/lies/2009/10/confessions-of-an-audio-dolt.html http://www.artsjournal.com/lies/2009/10/confessions-of-an-audio-dolt.html Thu, 29 Oct 2009 08:30:35 -0800 Articles about how the recession is affecting the arts in San Francisco are commonplace these days. Janos Gereben's October 25 piece in The San Francisco Examiner brought the point home once again.

But it's hard, as the article's headline states, to think that "optimism abounds" when you visit a place like the San Francisco School of the Arts High School (SOTA.) I visited the school for the first time the other day for a meeting and was shocked by the state of the buildings. They were more run down than any other school I've ever seen (and I've seen some pretty run down schools in the Bay Area.) The walls were dirty, many of them covered in graffiti. The corridors were grimy, the restrooms had dripping faucets and smelled bad. The classrooms were similarly derelict. The teacher with whom I had my meeting says he didn't have a desk, chairs or pencils in his classroom for the first few weeks after he arrived. He had to beg, borrow and steal these basic items. In the middle of our get together, a rat scuttled across the room. We had to leave.

How have things gotten to this point? SOTA is an amazing institution which turns out incredibly accomplished students, some of whom go on to forge successful careers in the arts. The environment in which people are forced to learn and teach is scary, frankly. I'm amazed that anyone can learn to play a concerto on the cello or rehearse for a play in this setting.

We do not live in a third world country. We need to do something about this fast. ]]> http://www.artsjournal.com/lies/2009/10/broken.html http://www.artsjournal.com/lies/2009/10/broken.html Wed, 28 Oct 2009 09:13:14 -0800 In the middle of the San Francisco Contemporary Jewish Museum's (CJM) exhibition of works by the illustrator and children's book author Maurice Sendak is a picture of one of the scariest looking chickens you ever saw. Painted in kaleidoscope colors with tail feathers more dense and intimidating than the flora of an exotic jungle, legs and claws as thick and gnarled as ancient tree trunks and an imperious look in its eye, the bird couldn't possibly look less benign. You have to take a step away from the wall to remind yourself that you're not looking at the globe's next major global threat, but a cartoon drawing of livestock.

Many images in the CJM's Sendak exhibition have this -- or the opposite -- effect on the viewer. The most benign creature has a sinister quality about it; and the most hideous of all ogres possesses an angelic soul.

Take the many illustrations of monsters on display. They have pointy teeth and enormous claws. They look like they should be able to eat a small boy for lunch. Yet there's something so magnetic about the way in which the artist draws faces and creates poses for his characters, that even the scariest-looking beasties seem approachable. In one memorable image from the show, for instance, a couple of simple worry lines added below the eyes of a hairy monster gives the creature a human personality. People wear their concerns in this way.

The exhibition sets out to demonstrate the partially-hidden "other story" in Sendak's work. Looking at the pictures is a game of trying to uncover the sub-meanings beneath the alternately cute- or cruel-seeming canvases.

Solving the puzzles is fun. But the lengthy and sometimes unhelpful descriptive plaques that explain the mysteries to museum-goers are rambling and heavy-handed in places. And the fact that the exhibition is curated within the walls of a Jewish museum also imposes meaning upon the images that may not necessarily be as overt a part of their makeup as the museum would have us think. References to the Holocaust and Sendak's difficult childhood abound. Knowing about the influence of 20th century Jewish history on the artist's work provides a fascinating context for the double meanings in his art. But the curatorial Holocaust descriptives are so over-labored that they come to define the pictures, in the end skewing our view of the artist's legacy.

In the end, I found myself tuning out the Jewish stuff and simply enjoying Sendak's sublime sense of the ridiculous. His pictures of kids in zippered wolf costumes and zany approach to child etiquette in the book What Do You Do, Dear? touched me most of all. ]]> http://www.artsjournal.com/lies/2009/10/wild-things.html http://www.artsjournal.com/lies/2009/10/wild-things.html Tue, 27 Oct 2009 08:26:15 -0800 It's a curious and not always desirable thing when an artist becomes so closely identified with one canonical work that the rest of their work gets ignored.

On Friday, I had the honor of spending a little while in the company of composer Terry Riley up at his home on the Nevada border. (I didn't file a blog entry on Friday because I was traveling all day; sorry, dear readers, usually I'm much better at letting you know in advance that I'll be out of town.)

During the course of conversation over herbal tea on the soft-spoken composer's rustic wooden wraparound porch, Riley talked about his seminal minimalism movement-inspiring ensemble work, In C. He touched upon everything from how the work came to be and what the legendary opening night performance at San Francisco's Tape Music Center in 1964 was like, to his feelings about different performances and recordings over the years and the work's reaction against the overly-intellectual serialist fashions of the mid-20th century.

With regards to a question about the potential future of In C, Riley, who has this Buddha-like presence about him, became slightly piqued for the one and only time in our interview. When I asked the composer: "what are your wishes for the future of In C?" he responded that he hoped people would start paying attention to some of his other music for a change.

As beloved as the work is -- and as much as it has helped to pay the bills -- I can imagine how frustrating it must be for the composer to mostly only ever get to talk about and hear this one work. There are dozens of recordings of In C on Amazon.com, (four pages worth!) but relatively few of Riley's other works. Rainbow in Curved Air comes in second with two pages of CDs. 

I imagine F Scott Fitzgerald had a similar problem with The Great Gatsby and George Lucas, similarly, with the original Star Wars trilogy.

I guess that's where critics can make a difference. In cases where an artist deserves to be known for more than one project (which isn't always the case, though it is when it comes to Riley) let's try to expose our audiences to a broader variety of an artist's output so that his or her legacy isn't forever associated with just one canonical work. ]]> http://www.artsjournal.com/lies/2009/10/terry-riley-on-the-future-of-i.html http://www.artsjournal.com/lies/2009/10/terry-riley-on-the-future-of-i.html Mon, 26 Oct 2009 10:49:25 -0800 Ukulele virtuoso Jake Shimabukuro has made a name for himself for pushing the ukulele to its aesthetic limits. But is it necessary to push the instrument so far that we don't get to hear the uke at all? Shimabukuro's San Francisco Jazz Festival concert last night at Davies Symphony Hall started off as a bit of a letdown, frankly, primarily because the performer seemed intent on having us forget that he plays the uke at all.

The instrument was miked, completely ruining its delicate sound. Thanks to this and long sections of rock-style strumming, the uke sounded more like a guitar than anything else. At times, such as when he played a song in the style of a koto (a Japanese 13-stringed instrument), the effect was mesmerizing. More often than not though, I got bored by the performer's endless attempts to look and sound like a member of Nirvana or the Black Eyed Peas.

In the second half of the program, things picked up. Shimabukuro started plucking his instrument with much more regularity. Intricate finger-work, passionate delivery and wide-ranging dynamics infused all the pieces he played. I particularly loved his use of harmonics. He made his instrument sing and for the first time in the evening's program, he showed us what the ukulele really sounds like when it's played damn well. At last, I felt like I was listening to the instrument I came to hear.

By the time the finale rolled around, the musician's never-before-performed take on Queen's schizophrenic idyll, Bohemian Rhapsody, (you have to hear Shimabukuro play this song to understand what an amazing musician he is) I was a complete convert to his sound. ]]> http://www.artsjournal.com/lies/2009/10/ukulele-rhapsody.html http://www.artsjournal.com/lies/2009/10/ukulele-rhapsody.html Thu, 22 Oct 2009 10:16:10 -0800 A question to all you culture writers and artists out there: How do you cope with the guilt of not getting to experience even a fraction of your city's arts offerings? It's an embarrassment of riches.

Times are hard. But people are harnessing their creative energies as much as they've ever done. If only I could find a creative solution to the problem of there not being enough days and nights in the week to see all the work being produced. Did I say "all"? If I went out to experience a performance every single evening of the week, caught gallery shows and other daytime activities in the light hours and saw all the matinees I could, I still couldn't hope to cover the Bay Area's cultural scene at the most basic level.

Quick: Someone invent a drug that will allow me to be in 19 places at once. ]]> http://www.artsjournal.com/lies/2009/10/guilt.html http://www.artsjournal.com/lies/2009/10/guilt.html Wed, 21 Oct 2009 12:57:38 -0800 Sick of boring standing ovations and polite clapping? Wish audiences would show their feelings about a performance in a more visceral way? The San Francisco-based theatre company PianoFight has the answer: Have audiences throw vegetables at the performers at curtain time.

PianoFight, which should consider renaming itself "FoodFight", presented its inaugural Throw Rotten Veggies at the Actors Night immediately following a performance of its latest production S.H.I.T. Show Deluxe last Friday night at Studio 250 / Off-Market Theatre. You can find out more about the event here and watch a short YouTube video here.

I was surprised to find out from PianoFight's artistic director, Rob Ready, that "lies like truth" had played a role in bringing about this auspicious occasion. A blog entry I wrote a year ago about the ongoing progress of Free Night of Theatre, a nationwide audience development concept that was piloted in San Francisco five years ago, prompted an exchange between Rob, Brad Erickson (the head of Theatre Bay Area) and I in the comments area of the blog, which in turn inspired Throw Rotten Veggies Night.

In response to Brad's comments to my blog post, Rob (writing under the moniker Carl Benson) wrote:

"I guess my over all point is this: instead of giving away the product to find new audiences, why don't we have National New Play Night/Week/Month/Year? Or how about National Throw Veggies at the Actors Night? I would totally get on stage for that, and I guarantee most of my friends would be there in the audience, hands full of rotten tomatoes. Really, all I'm saying is for theater to create new audiences, in a world where it's easier to access an audience using technology, theater has got to start having more fun. That's what people generally want when they go out, fun. Hard hitting is good, politically charged is good, socially conscious is good, but if they're not balanced with being entertained and having a good time, nobody is coming to the theater, especially in a time where spending cash is sparse and the TV is free."

To which I responded:

"The idea of holding a National Throw Veggies at the Actors Nigh is intriguing. Why not start one up locally?"

To which Rob replied:

"You got it."

And the rest as they say, is history.

PianoFight is hoping to expand Throw Rotten Veggies Night to other companies in the future. Says Rob: "I actually pitched the idea to a theater company at Queens University in Canada, called the Queens Players. My goal was to get a company in another country so we could dub the event "International Throw Rotten Veggies at the Actors Night" -- a bit of a one-up on TBA's "National Free Night of Theater" -- but they apparently weren't into the idea." Undaunted, PianoFight still aims to get more theatre companies involved. The group has apparently written a 20-30 minute set of "veggie tossing tailored sketch comedy" which other ensembles can use as a basis upon which to build a soiree of turnip and carrot lobbing.

I couldn't get to the event last Friday, but Rob says it went down quite well. "Even a couple girls who were sitting in the front row and got pelted in the back of the head with veggies throughout the set were all smiles afterwards and came out to the bar with the cast afterwards. I overheard one woman remarking to her husband with a big grin on her face, 'That was complete mayhem.'"]]> http://www.artsjournal.com/lies/2009/10/throw-rotten-veggies-at-the-ac.html http://www.artsjournal.com/lies/2009/10/throw-rotten-veggies-at-the-ac.html Tue, 20 Oct 2009 09:42:52 -0800 As every understudy knows, it's very difficult stepping into a star's shoes when you know everyone has paid to see someone else in the role -- not you.

Diana Damrau is no understudy. The German soprano made Metropolitan Opera history in the 2007-2008 season when she appeared as both Pamina and Queen of the Night during the same run of Mozart's The Magic Flute. This season she will undertake four debuts, as Marie in Donizetti's La fille du régiment at both San Francisco Opera and the Met, the title role in Massenet's Manon at the Vienna State Opera, Ophélie in Ambroise Thomas's Hamlet at the Washington National Opera and Donna Anna in Mozart's Don Giovanni at the Grand Théâtre de Genève. The soprano will also perform the title role of Aminta in a new production of Strauss' Die schweigsame Frau at the Munich Opera Festival.

Yet it must be strange for this performer, as accomplished as she is, to step into the role of Marie in a production of La Fille at San Francisco Opera which previously carried so much star power at The Met and London's Royal Opera House.

In its previous iterations, Laurent Pelly's production featured two of the biggest stars in the opera world -- Juan Diego Florez as Tonio and Natalie Dessay as Marie. Most people I know in San Francisco who have seen or are going to see the current run are going primarily to see Florez. I've even heard some patrons say how much they wish they could experience the chemically-combustive combination of Florez and Dessay like those lucky opera goers in New York and London. In short, say the name "Diana Damrau" in these parts and you're likely to get a blank stare.

So it was terrific to see Damrau not only do Marie justice but also make the character completely her own -- quite a feat considering that she was dressed in exactly the same gamine outfits complete with Pippie Longstocking-like wig as her predecessor in the role, Dessay.

Damrau isn't as waifish as Dessay, but she's slim, light on her feet and full of gumption. Her willfulness and strength of character come through strongly in both acts. She's a great stage comic but also brings incredible sensitivity to her role. I believed completely in the mutual adoration between her and Florez's character.

Damrau matches Dessay equally in her vocal abilities. There's evenness and strength throughout her range. Her ornamentation is light and pure. She enunciates clearly and manages to convey the meaning of her words deeply through the quality of her singing.

Damrau doesn't yet have the star power of Dessay. San Francisco audiences are more excited at the prospect of Florez hitting his standing ovation-prompting nine high c's in "Ah Mes Amies" than hearing Damrau ace "Il Faut Partir." But it's probably only a matter of a couple of years before this superlative soprano's name is on everyone's lips -- even out here on the west coast. ]]> http://www.artsjournal.com/lies/2009/10/as-every-understudy-knows-its.html http://www.artsjournal.com/lies/2009/10/as-every-understudy-knows-its.html Mon, 19 Oct 2009 15:11:19 -0800 Had an unusual performance experience yesterday which threw up some thoughts about the nature of the exchange that happens between performers and audiences. I was part of a small group of singers drafted under the auspices of a current member of the University of California at San Francisco medical faculty to perform songs for patients on the wards of the university cancer center. I jumped at the chance to sing with this group because I have been interested for a while in the efficacy of arts programs in hospitals and heard great things about the uplifting effect that singing can have on the spirits of people in poor health.

We spent a couple of hours in the afternoon wedged first in the corner of a waiting room and second in a small lounge area where we performed a selection of a cappella songs -- madrigals, show tunes and standards mostly.

What was strange about the experience from a performer's perspective was how seemingly disinterested or even absent our target audience was. In the waiting room, the listeners were all lined up against a wall wearing protective face masks. Hardly any of them looked our way and no one applauded. When we were done, we just shuffled out without a word. Everyone in the room stared blankly ahead of them. We did get an appreciative nod from one or two nearby staffers though. I was happy to sing, but I couldn't help wondering if the patients would much rather we hadn't been there interrupting their peace. After all, we were intruders; they couldn't leave the room. The situation in the coffee lounge was possibly even weirder. The nurse seemed happy to see us and said she'd send word around. But for the first 15 minutes of our set no one came so we sang for ourselves. Eventually three people turned up but none of them were patients. I think one was a nurse and the other two, visiting relatives of a patient. They seemed to enjoy the music. But, again, these were not the people we had been drafted in to perform for.

Now, I don't mean to sound like all I care about is audience attention. But it does seem a little odd to rehearse for weeks within the framework of an organized hospital arts program only to fail to connect in any way with the target audience. Perhaps patients who heard our singing down the hallway did get something (hopefully positive) out of the music. Maybe the fact that we showed up is all that matters. It's not about us, after all; it's about them. On the other hand, might our efforts be more useful to the hospital if we actually got to sing in front of patients, preferably ones who knew we were coming and wanted to hear us?

I'm going back to UCSF next Tuesday. I hear from our industrious and dedicated music director, Debbie, that every performance that the group has undertaken so far at the hospital is different. (I was in Los Angeles for the first few outings, so yesterday was my debut as part of the ensemble.) So maybe next time we'll have a genuine audience. But here's a question: Is it enough simply to show up and sing on a cancer ward? Or is the exercise pointless if your target audience is seemingly disinterested or completely absent?

]]> http://www.artsjournal.com/lies/2009/10/its-not-about-us-its-about-the.html http://www.artsjournal.com/lies/2009/10/its-not-about-us-its-about-the.html Fri, 16 Oct 2009 09:45:02 -0800