Gossip Central

A Holocaust Symphony Premieres at Carnegie Hall

Photo:  Aylin Tekiner

The Holocaust continues to unravel secrets. During this period of remembrance, a symphony by a survivor from Salonica, Greece pays homage to his community, its creative artists, and a little-known pocket of wartime history. You know the joke: how do you get to Carnegie Hall? Way more than practice! The music took a very long and arduous route by way of Auschwitz, culminating last week in an evening featuring Renan Koen on piano and a symphony conducted by Maestro Gurer Aykal from Turkey. Entitled “Hymns from Auschwitz,” the program, sponsored by Holocaust Memorial and Tolerance Center of Nassau County, was named for a newly composed piece by Elcil Gurel Goctu (b. 1979) for hazans, pianos, and orchestra, followed by the historic work, a symphonic postwar poem, whose composer Michel Assael (1918-2006) never heard his masterpiece performed.

As a researcher, renowned pianist Renan Koen was awed by the composers of Theresienstadt: how under the murderous conditions of the camp were they able to make art? Her work led to composer Viktor Ullmann who encouraged his fellow prisoners to write music before he was deported to Auschwitz, and murdered two days later. Michel Assael survived Auschwitz by playing in the orchestra there alongside Dr. Albert Menache who later wrote a memoir BIRKENAU (Auschwitz II): How 72,000 Greek Jews Perished. It may have been that Menache and Assael were performing when Ullmann was led to the gas chambers, as reported in the memoir. The music we were hearing at Carnegie Hall was Assael’s symphonic poem (1947-1948) inspired by Dr. Menache’s memoir.

The Little Prince: An Intergalactic Journey on Broadway

Aerial feats, dance, a touch of Gaul—Antoine Saint-Exupery’s The Little Prince at the Broadway Theater brings a beloved children’s classic to the stage with visual flair. Beginning as the book does with a crash landing in the desert, the show moves quickly from scene to scene as a boy in a yellow jumpsuit and yellow spiky hair from a nearby asteroid recounts his adventures to the downed aviator. Sort of a Candide meets Cirque de Soleil. 

One such encounter is with a beautiful rose (Laurisse Sulty), another with a wily fox (Dylan Barone), all of whom impart some wisdom to the boy (Lionel Zalachas). Chris Mouron, writer and co-director with the show’s choreographer Anne Tournie, does a fine job narrating these events. In green hair and tweetle-dum suit, she speaks with a heavy French accent, the story translated to English on both sides of the stage. My companion, 7-year-old Max Herman was grateful to be able to read her words, but was far more dazzled by a dancer with a toilet plunger, loving the spectacle—and proclaiming this part his favorite.

Clive Davis at 90

“The thing about turning 90,” quipped music impresario Clive Davis, “is I realized, last year I was 89.” The occasion was a birthday dinner at The River Café that was also a celebration of the Clive Davis Institute at New York University, an educational venue that also features studios where young artists can record their work. The pre-dinner opening of an exhibition of Davis’ archive showed off his gold and platinum records and a wall of artists Davis represented at Columbia, later Arista, J Records, and SONY: Bob Dylan, Aretha Franklin, Whitney Houston, Patti Smith, Bruce Springsteen, Simon & Garfunkel, Barry Manilow, and so many more in Davis’ stellar career spanning six decades. Famously, Davis signed Janis Joplin after hearing her perform at Monterey back in the day. In one vitrine with personal correspondence a visitor can see invitations to concerts, such as one, to a supper at Davis’ home for Joplin following a performance at Madison Square Garden. Clive Davis has an ear. Has---he is still going strong.

 

MJ: The Musical: The Art of Michael Jackson

If you love Michael Jackson, you will love MJ—it’s that simple. The musical limns the controversial performer’s rise to “King of Pop,” avoiding the more difficult challenges of his personality in favor of music and dance—it’s that simple. Not that the star’s dependence on pain killers is not a significant plot issue—it’s that plot is not really significant. You do hear the word accusers—once—but that particular untoward issue is not a part of Lynn Nottage’s book either. If you are of the mind that he should be cancelled, shove it. MJ is not about that, but about his art. 

Taking place in a rehearsal studio in 1992 Los Angeles, --along with an ensemble of talented singers and dancers—Michael Jackson is rehearsing for his “Dangerous” tour. A film crew follows him around, hoping to get more of his personal side in an interview. Everyone’s concern for his demons is out front, getting at his opioid consumption and how that’s wrecking the schedule, not to mention the budget—but wisely, the music and dance, everything you know and love, shapes the origin myth, with first-rate staging, and Christopher Wheeldon’s brilliant choreography and direction.

Hugh Jackman and Sutton Foster in The Music Man: “There Was Love All Around”

Harold Hill, a talented conman, who wants to swindle the Midwest town of River City, Iowa, had me at hello. That may owe to the fact that “The Music Man” is played by Hugh Jackman. Arriving on a train, bumping along with salesmen grousing about Hill’s wiles, Hill pays them no mind, singing and dancing his way into the townsfolks’ hearts. All except Marian, the librarian, who is onto him from the start. It does not take the signature “Seventy-six Trombones,” to know he will win her over too. That’s the stuff of the American musical, and especially a revival as juicy as this one is, at the Winter Garden Theater. It helps too that Marian is that darling of this classic genre, Sutton Foster, who when she is won over by Hill can cast a look of epiphany as no one else can.

Steven Spielberg’s West Side Story: Get Ready to Rumble

You will not have to ask, do we need yet another adaptation of this classic? With Leonard Bernstein’s music and Stephen Sondheim’s lyrics firmly implanted in your head, a memory of the 1961 Jerome Robbins’ choreography and Arthur Laurents’ book, prepare to be delightfully shocked at how much this new version of West Side Story feels new. Maybe it’s Tony Kushner’s masterful script that takes us first into an image of urban renewal, the ‘hood, a battleground for the Sharks and Jets, being right here in Hell’s Kitchen cum Lincoln Center (shot on a lot in Paterson, New Jersey), and the wisdom we bring knowing the future: everything must change.

But come back to that era: to the cars and shops declaring poverty, ethnicity, the warehouses, crumbling buildings—the boys styled like mid-century heroes, a bit of Marlon Brando and Jack Kerouac. Enter the sweet-faced Polack Tony for Anton (Ansel Elgort) and the Latina ingenue Maria (newcomer Rachel Zegler). Justin Peck updates the original choreography without upsetting Robbins’ vision. And then there’s Rita Moreno, the Oscar-awarded Anita in 1961, now near 90 and getting ready to be celebrated at the Museum of the Moving Image. A widow, perhaps an oracle to the young, as Valentina, Moreno bridges past and present: Spielberg has her singing “Somewhere,” and your heart aches.

Freda Payne at The Cutting Room: What Love Could Be –And Is

An apt locale for a book party for a famed pop singer, the Cutting Room filled with well - wishers for Freda Payne’s memoir, Band of Gold, last week. Co-writer Mark Bego flew in from Tucson, wearing the most outstanding jacket, a print of black & white with sparks of bold color. Yes, it was rock n’roll --without the music. And Payne, resplendent in red, greeted everyone with a kiss and hug. Of course, I knew Freda Payne’s most famous pop tune, “Band of Gold,” grew up with its sound in my ears, her great voice on the proto-feminist lyrics: Left on her wedding night, she laments, all that’s left is a band of gold—and memories of what “love could be.” It did seem like a turning point in 1970. For Freda Payne, a jazz vocalist of note, this was a breakout, flying high on the pop charts.

Up next for her is a new release, “Freda Payne: Let There Be Love,” featuring duets with Dee Dee Bridgewater, Kenny Lattimore, Kurt Elling. With Johnny Mathis, her rendition of the Gershwins’ “They Can’t Take That Way From Me” is an inspiration. She is set to perform at Birdland on November 22.

Todd Haynes' The Velvet Underground at the New York Film Festival: Homage to a Bygone Era

Film at Lincoln Center had a grand plan for Todd Haynes’ new film, The Velvet Underground. They would bring extant founding members of the band John Cale, Maureen (Mo) Tucker, for a performance at the movie’s New York Film Festival opening. That, sadly, was not to be. The premiere, though, with a posh party at Jazz at Lincoln Center, celebrated the city’s creative energy from which the New York Film Festival emerged, and the music that influenced generations of artists to come.

A vivid portrait of the band, yes, The Velvet Underground is a deep dive into the historic artistic period of New York in the ‘60’s, especially showcasing the avant-garde filmmakers who shot evocative footage: Andy Warhol, Jonas Mekas. The Warhol Museum in Pittsburgh is a treasure trove of this rare material. The great Ed Lachman shot the interviews in 2018: Mekas at 96 was first.

The film is an homage to these underground filmmakers as well as to Lou Reed, whose teen years on Long Island, complicated sexuality and drug use provide the backstory for his artistic development. Studying poetry with Delmore Schwartz, Reed read Allen Ginsberg, William Burroughs, Hubert Selby, Jr., and Arthur Rimbaud. Early on, he proclaimed he would be a rock star.

Hamptons Journal: Susan Stroman Weekend at Guild Hall: Nathan Lane, Matthew Broderick, Brad Oscar, and Mel Brooks Zoomed, Little Dancer Preview

Starved for Broadway’s reopening, a happy crowd packed Guild Hall for an evening of clips and anecdotes about The Producers, the winner of the most Tony awards of any musical in history. On a panel introduced by choreographer Susan Stroman, a winner of 5 Tonys herself, the show’s stars Nathan Lane, Matthew Broderick, and Brad Oscar quipped and reminisced about the play’s Chicago debut, and the run on Broadway, shut down for 3 days in the aftermath of 9/11, but then it was Rudy Guiliani who urged everyone to get back to work. People did not know whether it was appropriate to laugh, said Oscar. And of course, the show offered the audience a way to grieve less for a two-hour period, Stroman remembered. Nathan Lane performed, but scheduled for a vacation he decided to take, he joked, “If I cancel my vacation, the terrorists won.”

And so the evening went with Lane recounting his first encounter with Mel Brooks in a swimming pool at the Ritz in Paris. Anne Bancroft, finished with her swim, went up to her room, and Lane thought, Mel Brooks is in the pool with me instead of with Anne Bancroft. He also remembered that it was Harvey Weinstein, a backer at the time, who read the all-important New York Times review at the opening night party . . . “and then went off to pee in a flower pot” . . . conflating the producer’s crimes with another #Metoo accusee. Matthew Broderick remembered people coming to the door, every performance someone else would show up, Al Gore, for example. Lane said Bill Clinton came, shook hands, but kept his eyes on Cady Huffman, the show’s splendid Ulla. But they were all in awe when Gene Wilder, the original Leopold Bloom, stopped by.

Hamptons Journal: Bay Street’s Camelot, Robert Longo at Guild Hall, Diana Frank at Tripoli Gallery

Legends of King Arthur and his court are having a moment: The Green Knight in theaters, and out east, Bay Street Theater’s production of Lerner & Loewe’s Camelot --under the stars! Now a classic, its signature song “If Ever I Would Leave You” sends a particular nostalgic chill—ah love—especially for the musical theater genre that Bay Street does so well! Remember the glorious revival of Annie Get Your Gun, Bay Street’s very last production before the COVID shut down? Or the intimate production of Evita a year before? With Camelot--outdoors—BayStreet’s setting conveys less castle and more country as Camelot wields its special charms.

King Arthur in this imagining is a fair and just ruler, looking for equal representation in his governance, hence the knights’ round table. His liberal ideas come after he meets and weds Guenevere; at first, a dated gender bias marks the musical’s first act, especially brow-raising in our current discourse on the roles of men and women. The king’s attitudes progress when Sir Lancelot enters the story, as Arthur (Jeremy Kushnier), “Jen” (Britney Coleman), and “Lance” (Deven Kolluri) sing about good leadership, marriage, and loyalty, all performances solid and square. But, in this three-way expression of courtly love, a stylized representation of king and his knight/ knight and the queen --where the younger pair fall in love at their own peril, heat would be good. But that does not come till the second act.