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Terry Teachout on the arts in New York City

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Archives for December 14, 2020

“And it looks like you’ll stay”

December 14, 2020 by Terry Teachout

Nancy LaMott died a quarter-century ago this past weekend. While she isn’t as well remembered now as she deserves to be, Nancy was a rising star in 1995, having made her Carnegie Hall debut earlier that year and released her most ambitious album, Listen to My Heart, on which she was accompanied by a studio orchestra led by Peter Matz, who had previously worked with Noël Coward, Tony Bennett, and Barbra Streisand. But the fame of which she dreamed never came to pass: Nancy went into the hospital for a hysterectomy the day after she taped Listen to My Heart. She had uterine cancer, and started chemotherapy immediately after the surgery. She gave her last public performances (one of which was recorded) in October, wearing a blonde wig to replace the hair she had lost, and died two months later. She was forty-three years old.

Nancy and I met seventeen months before she died. I was interviewing her for the New York Daily News, and we realized on the spot that we liked one another very much. I took her to a performance of George Balanchine’s ballet version of A Midsummer Night’s Dream a few weeks later, and we went to dinner together after the show, talking until the restaurant closed. From then on we were the best of friends, exchanging regular phone calls in which we heedlessly shared the most intimate of confidences. I can still hear in my mind’s ear her warm alto voice on my answering machine, always starting off with a cheery “Hi, LaMottski here!” (Nancy was the kind of person who spoke in exclamation points.)

I wrote about her many times, but never succeeded in fully conveying her sheer goodness, though I tried hard to capture it on paper. Not that it mattered, for you didn’t have to know Nancy to hear in her radiant singing the kind of woman she was. She called herself “a major-chord singer,” which was exactly right: for all the sophistication of her art, she was still a small-town girl at heart, sweet and generous and uncomplicated, and she knew how to be happy.

As I wrote in The Wall Street Journal when Live at Tavern on the Green, the album of her last opening-night performance there, was released in 2005:

I won’t pretend to be objective about Nancy—we were too close for that—but I was hardly the only critic to know her for what she was. John Simon, one of the toughest customers in New York, said that “she fully fathoms what a song is about, and then, rather than merely singing it, lives it.” Stephen Holden put it a different way in her New York Times obituary: “She brought to everything she sang a clean, clear sense of line, impeccable enunciation and a deep understanding of how a good song could convey a lifetime’s experience.” All this is on Live at Tavern on the Green, along with a special quality I tried to put in words when I wrote in the New York Daily News that she sounded “sincere and sensuous at the same time, as if the girl next door had snuck out at two a.m. to make a little whoopee with her steady boyfriend.”

Nancy and I felt from the start as though we’d always been friends. We loved one another deeply and devotedly, though never in a romantic way. She met Peter Zapp, a gifted stage actor, in San Francisco in May of 1995, and I knew as soon as she told me about him that she had found the man of her dreams. I rejoiced with her, and became good friends with Pete once we finally met. (Nancy and I both found it wildly funny that she saw him for the first time when he was playing Roy Cohn in Angels in America.) Theirs, alas, was destined to be a brief love, for her long-precarious health—in addition to metastatic cancer, she had Crohn’s disease and wore an ileostomy bag—crumbled in December. Pete flew back to New York at once, but it was clear by then that she was dying, and I rushed to the hospital to keep vigil with him and a few of her closest friends.

Late that night, the doctors told Nancy that she was near death and offered her opiates to relieve her agonizing pain, explaining that they would send her into a coma from which she would not awaken. Pete had proposed to her the day before, and now she told him that she wanted the morphine—but that she wanted to marry him first. I fed quarters to the pay phone in the corridor outside her room in order to find a priest who could come right over, then stood by her bedside as she and Pete said their vows. She died an hour and a half later.

Losing Nancy was the worst thing that had ever happened to me, and it was not until I lost my Hilary under similar circumstances last March that I experienced anything that surpassed it. As a result, years went by before I could bear to listen to Nancy’s records again. Even now I don’t play them as much as I ought to, something that would have saddened her, though she would, as always, have understood.

I did, however, make a point of playing her records for Hilary, who loved them, and on the terrible night that my own life’s companion died, I posted a link to a medley of two songs from Stephen Sondheim’s Merrily We Roll Along that Nancy had recorded in 1993, knowing that the lyrics summed up everything I was feeling:

Not a day goes by,
Not a single day
But you’re somewhere part of my life,
And it looks like you’ll stay.

Where’s the day I’ll have started forgetting? Beth sings in the same song, knowing all too well that there is no forgetting such people. To be sure, I no longer think about Nancy every single day, and I suppose it is possible that a time may also come when I no longer think about Hilary every day, either. But I know that each time I do, I will remember them both with tender gratitude for the blessing of their having been part of my life. That is true love.

*  *  *

Nancy LaMott sings “Moon River,” by Johnny Mercer and Henry Mancini, accompanied by Christopher Marlowe. This was the last song she ever sang, on Charles Grodin’s TV show a week before her death:

Just because: Marin Mazzie sings “Not a Day Goes By”

December 14, 2020 by Terry Teachout

Marin Mazzie sings Stephen Sondheim’s “Not a Day Goes By,” from Merrily We Roll Along:

(This is the latest in a series of arts- and history-related videos that appear in this space each Monday, Wednesday, and Friday)

Almanac: Cicero on memory

December 14, 2020 by Terry Teachout

“The life of the dead is placed in the memory of the living.”

Cicero, Philippicæ

Terry Teachout

Terry Teachout, who writes this blog, is the drama critic of The Wall Street Journal and the critic-at-large of Commentary. In addition to his Wall Street Journal drama column and his monthly essays … [Read More...]

About

About “About Last Night”

This is a blog about the arts in New York City and the rest of America, written by Terry Teachout. Terry is a critic, biographer, playwright, director, librettist, recovering musician, and inveterate blogger. In addition to theater, he writes here and elsewhere about all of the other arts--books, … [Read More...]

About My Plays and Opera Libretti

Billy and Me, my second play, received its world premiere on December 8, 2017, at Palm Beach Dramaworks in West Palm Beach, Fla. Satchmo at the Waldorf, my first play, closed off Broadway at the Westside Theatre on June 29, 2014, after 18 previews and 136 performances. That production was directed … [Read More...]

About My Podcast

Peter Marks, Elisabeth Vincentelli, and I are the panelists on “Three on the Aisle,” a bimonthly podcast from New York about theater in America. … [Read More...]

About My Books

My latest book is Duke: A Life of Duke Ellington, published in 2013 by Gotham Books in the U.S. and the Robson Press in England and now available in paperback. I have also written biographies of Louis Armstrong, George Balanchine, and H.L. Mencken, as well as a volume of my collected essays called A … [Read More...]

The Long Goodbye

To read all three installments of "The Long Goodbye," a multi-part posting about the experience of watching a parent die, go here. … [Read More...]

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