My TENDER review (Gloucester Playhouse until July 25th)

TENDER, playing at the Gloucester Playhouse (MA, USA) until Sunday, July 25th, is a well-crafted study in family, desperation, and timeliness.

The family consists of Amanda, a hard-working realtor who is drowning in the present crisis; Frank, her irascible and unappreciative father; and Brian, who has reluctantly embraced the role of homemaker.

Amanda misses important meals and struggles to accommodates Frank's increasing forgetfulness. Frank is hooked on television and disrespects Brian to the point of calling him 'Martha' (as in 'Stewart'). And Brian tries to be mother and father to (unseen) daughter Lexie.

Their conflicts and rare tender moments are effortlessly woven by a fabulous script by Kelly Younger. There are few subtleties in Younger's play. TENDER is palatable, visceral. What you see ...

Great directing, like great film editing, is unseen. Eric C. Engel moves his players around the stage seamlessly. He is unafraid to have an actor's back to the audience; real life isn't blocked for an audience.

The cast is also seamless. Denise Cormier, as Amanda, is a bundle of raw energy. She moves from big-time player to absentee mother to loving wife to frustrated daughter without a break, without a breathe. Her silent, frustrated pauses say just as much as her dialogue.

Richard McElvin, as the father Frank, bounces around the stage as if he were a much younger man. If Frank's mind, he is. When he speaks about San Simeon, we see him. We see his absent wife (Amanda's mother). We feel for him. At times, he appeared to be ready to over-do it, and he pulls himself back in.

Rounding out the economic cast is Brendan Powers as Brian/'Martha'. He is the one who has to deal with Frank all day -- no small task -- and chauffeur their daughter and shop, etc. Powers is the calming influence in the play, the break the audience needs from the frenetic activity of Frank and Amanda. But never does Powers let us forget that Brian is a vital part of the family.

A wonderful production, especially in the intimacy of the 175-seat Gloucester Playhouse. It would play just as well in a small house in New York.

Random Sunday morning stuff

I won this Playbill on eBay yesterday. Plus, two minutes and seven seconds that will amaze you. -- Janet McTeer as Nora in Ibsen's 'A Doll's House' (1997). http://youtu.be/PNI_YfcJz3M

Zsa Zsa Gabor breaks hip in fall from bed. http://bit.ly/aAWhUi I like this lady, though I would not be able to tell you why. :o

Sunday morning radio: Enough of the acoustic crap. Time for Elvis!

I put movies in my Amazon.com shopping cart, not necessarily because I'm going to by them, but I do want to see them. I might wait till they're available at the library, or I may get them on Pay-Per-View. Latest: A SINGLE MAN (2009). Thanks, Landice & Krissy!

My very belated IDOMENEO review

I don't know enough about opera to opine of the subtleties, the nuances, and the other stuff that make opera critics sound the way they do.

In fact, before I took Dr. Elizabeth Seitz's "Opera 101" at the Boston Lyric Opera, what I knew about opera could fit on the head of a pin.

I do know that for my first live opera, I could not have made a better choice than IDOMENEO, which wrapped up its successful run this past 4th of May at the Schubert Theatre in Boston, MA, USA.

IDOMENEO was written by Mozart soon after he had finally managed to attend a performance of Gluck's IPHEGENIE EN TAURIDE. They were strikingly similar stories. A storm, an angry god, a sacrifice.

From BLO.org: "Idomeneo, King of Crete, makes a promise to Neptune, God of the Sea. When the king realizes the terrible price it will exact, vows and hearts are broken. Longing pours into arias and ensembles as only Mozart writes them."

And as only the Boston Lyric Opera cast can sing 'em! Mozart, and conductor David Angus, allowed each of his fours stars to shine, and they did not disappoint.

I'm not a fan of tenors. They tend to be bombastic and trite. Jason Collins, as Idomeneo, was neither. A tenor who sings for the music and the audience instead of himself, Mr. Collins brought out the heartbreak and the dilemma of a father who is also a leader -- and his two vocations clash painfully.

Ilia, the love interest, was sung by Camille Zamora, a soft yet powerful soprano. A bit of a thankless role, Ms. Zamora's Ilia provided a gentle contrast to the others.

Our hero, Idamante, was sung by mezzo-soprano Sandra Piques Eddy, the only singer who had appeared previously in the Bostn Lyric Opera. Gawd, I love these 'trouser roles'! Clear, strong, and boyish, Ms. Eddy took command with every note, every recitative, every aria. ...

... A paradox, since the entire cast, including a wonderful supporting cast and chorus, meshed so beautifully. The set and costumes were understated yet stunning. The orchestra was enjoyable. The art direction inspired.

Then there was Electra, a character who defines the overused phrase "kick ass." A ballsy soprano of the old school, Ms. Caroline Worra shone, moving from love-struck to spurned to vengeful with aplomb. (I think 'aplomb' is required in opera reviews.)

EPILOGUE: Before the show, the aforementioned Dr. Elizabeth Seitz, the BLO's Principal Guest Lecturer, gave us one of her informative mini-lectures about IDEMENEO, Mr. Mozart, and the era in which the opera was written. Her knowledge and enthusiasm is infectious. If you don't want to become hooked on opera, avoid this lady at all costs.

For the rest of us, she is a gem.

My NYC ADVENTURE! and the awesome TKTS lady

I'm getting this Boston-to-NYC thingy down to a science.

It took me just under a four-hour drive, and that includes stopping at the 'last rest area on I-95' to change out of my shorts and into my jeans. I also brought some CDs, so I wouldn't have to radio station search when I got out of Massachusetts.

I parked at the Holiday Inn at 57th Street parking lot. Good decision. I'd rather walk to Times Square/Broadway than drive through all that traffic. Plus I could use the Holiday Inn's facilities, another plus.

Got into the TKTS line (the NY version of Bostix) and chatted with a few people in line. The line for the plays (as opposed to musicals) is much shorter, but I still had to wait about 15 minutes. As I neared the front of the line, some 'tool' tried to cut in front of the musical line.

The TKTS security lady was having none of it. She gave that jerk the verbal (female dog)-slap to end all verbal (female dog)-slaps. She ordered him out of the roped-in area and to the back of the line. She should get a Tony Award for that!

After I got my ticket, row N orchestra for $60, I went to Famous Dave's Bar-b-que and had a beer and the sweetwater catfish. Very delish, and my waitress was just the right amount of friendly. Then I wandered around Times Square/Broadway before the play.

I saw a suitcase -- er, I mean, large purse -- at a street vendor, and it had the three things I've been looking for in a purse: tan color, zipper top closure, and a flat shoulder strap. I bought it, and I love it.

Made my way to the Jacobs Theater and into my seat. I spoke with the lady sitting to my left. When she mentioned that she was planning to see A LITTLE MIGHT MUSIC, I was able to tell her that both Catherine Zeta-Jones and Angela Lansbury were leaving the show on the 20th. The lady said that she usually sees one show a month, but she'd get into NYC (She's lives in Westchester.) to see ALNM.

GOD OF CARNAGE was better the second time. The actors gelled better. The intensity was much better. Lucy Liu was more confident -- and sexier. She almost fell out of the top of her dress. Whoa!

Janet McTeer stole the show. She was a maniac. Again, I marveled how she could be in complete control while playing a character so out of control.

Stagedoor: It was a madhouse. about 50 -- yes, 50 -- people, and a line of limos, waiting for the actors. Janet McTeer emerged first, and she signed autographs and posed for pictures. (BTW, so does Lucy Liu. I love an actor who's good to their fans.) Fortuitously, I was positioned so that Janet had to pass me on the way to her limo. I shook her hand -- I also love a lady with a firm handshake -- and said, "You were wonderful. Please come back soon. Don't stay away too long." I know the last two sentences mean the same thing, but I couldn't help it, because ...

... The lady is so effin' gorgeous!!!

Afterward, I walked along Fifth Avenue. Everyone was out and about. I made my way to Central Park, and visited the shrine: the Apple Store. The Manhattan store is actually below ground. I touched an iPad. (BTW, the largest Apple store is on Boylston Street in Boston, MA, USA.)

Ended my NYC ADVENTURE! walking along Central Park South. I stopped to watch a groups of very enthusiastic break dancers. (I must remember to always carry a dollar of two for the pass-the-hat thingy.) I patted a couple of beautiful -- and well-cared-for -- horses at their carriages. When the horses were fed their grain, the pigeons descended. They'd pilfer the grain, but when the horses started eating, the pigeons flew away. When the horse raised his head, the pigeons were back at the grain.

Columbus Circle: No, I didn't see Gladys Glover's billboard. (It Should Happen To You [1954]) I did see a young street performer who spend ten minutes yapping with a friend and two minutes juggling.

Back to the Holiday Inn/57th Street: I changed back into my shorts, picked up my car, and headed back to Boston at around 7:00 p.m. I left just in time, because about an hour outside of Boston, I started yawning. (The mocha Frappuccino® I got at Starbucks was good, but its effects had faded.)

All in all, a great ADVENTURE!

Welcome to Bristol City!

For those still trying to figure out that British-rhyming-slang thing. (WARNING: Not safe for work AND very bad words.) http://bit.ly/d8AxLH

Various and sundries

I really should do more with this blog.

For instance, I could write about how our government discourages hard work. Why bother making money when it's already misspent? "Always love your country, but never trust your government." (Robert Novak)

Or, I could write about how Richard Carpenter is trying furiously to establish his legacy -- which he has every right to do -- but does he have to do it by diminishing the legacy of his sister, Karen Carpenter?

Perhaps I could write about how Janet McTeer reminds me of the country of Iceland. Both are so beautiful that you can't help talking about them. But you're afraid that if you talk about them too much, too many people will find out about them and spoil the wonderment for you.

I could talk about how television is nothing more than cross-promotion. I'm sure you've noticed that most of the TV commercials are for other TV shows. And I'm sure you've noticed how award show hosts are picked based solely on the fact that their TV show is on the same network as the award show.

Or you can help me decide on a full-price smart phone, keeping my pay-as-you-go plan, or a two-years contract with the phone discount.

BIC = "butt in chair" or "Writers write."

In Praise of Men

There's been a lot of male-bashing lately, mostly from people who are far from perfect.

It's fashionable. It's encouraged by the all-men-are-pigs brigade, those who call themselves "feminists." There’s even a television channel devoted to the proposition that the entire male species is lazy, stupid, and greedy – the Lifetime Channel.

Baloney!

Men are wonderful creatures. Their tastes are simple and manageable. They are great for lifting and moving things. And when there's something to be fixed, they fix it – on one condition.


Men love sports and The Three Stooges.

Sports have rules, and the sooner you learn them, the sooner you can gauge when you can or cannot interrupt his viewing. In a nutshell, if there’s frenetic movement on the field, don’t interrupt. If there’s a commercial with a scantily clad female selling beer or cars, don’t interrupt. If the announcers have some lame D-list celebrity in the broadcast booth, your man is available.

Then there’s The Three Stooges. They’re funny – deal with it. Learn their names. There’s Moe, Larry, and Curly. After Curly, there was Shemp. After Shemp came Joe, the one no one likes. Finally, we have Curly Joe, who joined them in feature length films in the sixties.

The Three Stooges were masters of the eye-poke, the hair-pull, and funny noises. Their production teams were accomplished film editors who pioneered the use of the Foley (sound effects) machine.


Men are very handy when you need something moved.

Don't ask a woman to help you move. Do you think she bought that SUV to lug stuff? For women SUVs are little more than a symbol. "See, I can drive a big vehicle, too!"

If you want something lifted or moved, ask a guy. "Sure. I can come over. Just give me a call." Guys with trucks love to show you just how useful the truck is.

Even if a woman says she'll do something, don't count on it. "Sorry. There was a sale at Marshall's, and I just had to have that faux-fur-trimmed puffy coat, but I couldn't afford it at $20. I got it for $18!" You're supposed to be happy for her. Meanwhile, you still have three bags full of clothing you wanted her to help you take over to the second-hand store.

If she were a guy, the bags would be delivered, and that running toilet would be fixed, just because he could fix it. If a guy says he'll do something, he'll do it.


There’s one catch, ladies -- you have to ASK. If the garbage is getting skanky, most women will stand next to the can, tap their feet furiously, scowl, and maybe start to cry. Men are supposed to be mind readers.

Which reminds me – men cry when they’re sad or grieving. Women cry when they’re sad, grieving, mad, frustrated, afraid, angry, hurt, pre-menstrual, peri-menstrual, post-menstrual … you get the picture.

Yep, men are consistent, helpful, and eager to fix things. That’s why we love them.