Sierra Rein (left) & Kay "ThePal" Pringle (right) |
When little rubber duckies attack, Mark freaks! |
Mark Levy |
Kay and Shell meet on stage |
Remember Shell, our squirrel? She returned, this time accompanied by three more friends, in the Salon Spotlight. With her was Robin (Adam Behlen), Bernnanut Squirrel (Rachel Policar), and Crow (Christopher Sierra). They sang from The Secret Music Garden, a show adapted and written by Mark Janas and the Manhattan School of Music Discover Opera students. Songs included "Rockin' Robin," "Nobody Likes Me, Everybody Hates Me," "Children Will Listen," and "She'll Be Comin' Round the Mountain," then all four of them sang a brilliant operatic quartet (adapted and "futz'd" with from Rigoletto) about worms and nuts. My response? "Holeee crap!" And I thought the Crow was cute...what?!?! I'm a SBF (Single Blue Female) in New York...you can't fault me for lookin'!
Shell, Crow, Robin & Bernnanut (Anna Lawrence, Christopher Sierra, Adam Behlen, and Rachel Policar) |
The mature, 2011 Bistro Award-Winning Janice Hall regally stepped to the stage and sang the wittily-silly Cole Porter song "Let's Do It (Let's Fall in Love)." Then, she sang the Noel Coward lyrics to this well-known song, reminding us that even our grandpa's generation had childishly dirty minds back in "the days"! We then had Blogette Erin Cronican (who is chronically talented) sing "No One is Alone" from Into the Woods, bringing a loving, warm, tearful lump in everyone's throats. Erin will be returning to The Salon this Sunday, May 8th, to CO-HOST with the theme "It's All Relative" in honor of it being Mother's Day. So come back on Sunday to hear and sing songs about mothers, family, or anything that you can bring a relationarish insight into (yes I made that word up, sue me).
The Classical Corner was next, and since I have no piano-playing experience and usually listen to only Judy Garland or Morrissey CD's, I was fascinated by Mark Janas' talents as pianist and teacher. The music festival he is attending (along with Julie Reyburn and Marquee Five) this summer at Skytop, PA, is doing a jewelbox version of Carmen, and it occurred to him to introduce to Salon how an opera is created. He brought in many versions of Carmen in book/paper form, starting with the 50-page novella by Prosper Mérimée (written in 1845). He then showed the libretto, which is adapted from the novella not like a musical (which is direct and more "realistic") but instead is written in an elevated, poetic language. Musicals "vamp 'til ready" all the time, but operas are precicely written to make the music lead the show rather than the drama and lyrics/dialogue (as traditionally in musical theater). The composer will then take the libretto and create some sort of musical sketch. Carmen's character is adamant and uncompromising; even the "Habanera" tango bass intro in the left hand, the "D" is unwavering in staying on its own (ie, it does not change with the chord progression). Then Don Jose's character is revealed with a beautiful aria, which Christopher Sierra obligingly and gorgeously sang the "Flower Song"—"La fleur que tu m'avais jetée." Mark revealed that "Toreador" is a made up word from Carmen, and then went into how the structure of the music surrounding Carmen's death (spoiler!) hinted at an ironic combination of death, culture, and the "dark eye" of fate and love awaiting. Once the overall structure of each character's piece, setting, events, and scene structure is created, an orchestral score (the biggest book, containing the vocal line and each instrument's line of notes from start to finish, is made (composers used to do their own, but modern musical composers often hire others to do so...not opera composers). Eventually, a reduced singer/piano version is created for easy travel to and from the theater, and to and from open mics like The Salon!
After the break, it was MY TURN! MY TURN! MY TURN! I first sang "Twelve-Tone Melody," a decidedly silly, discordant, but loving letter from Leonard Bernstein to Irving Berlin. Then, Sierra forced me to take a break on the piano (talk about indignity!) and sang "There's A Fine, Fine Line" from Avenue Q, a show that she's been gunning for ever since she saw the touring production in Los Angeles. I was then called back to stage and sang one of my favorite new "special material" songs, "My Moment" by Hector Coris. Hector moved away to Arizona, but is returning May 12-15th to perform "Around the World in a Bad Mood" for four performances at The Duplex - more info here. You can watch video of "My Moment" here.
Next to jump onto the creative Salon trampoline was Adam Shapiro (who is a wonderful teddy bear of a guy) and Tanya Moberly (who is a fantastic playdate, but watch out!). They sang "The Doctor is In" from You're a Good Man, Charlie Brown, and even had an adorable "Psychiatrist Help 5c" poster to create just the right setting for the song and these characters. Tanya is singing at the Zani's Furry Friends "LOVE MAKES THE WORLD GO 'ROUND" benefit concert at Birdland on May 7th, so if you like entertainment and helping animals, definitely go! And speaking of animals, the sassy Elaine St. George was next. She told us a great story of loving The Cowsills (the real-life model for The Partridge Family) as a kid, and how she asked her parents for the Cowsills' version of their hit song "Hair," but got the Original Broadway Cast Album of Hair instead. Elaine then sang "Sodomy" with some of her own original lyrics to reflect upon the life lessons she learned as a kid listening to the OBA of Hair. Elaine is currently performing her show "InspiRAYtion" at the Metropolitan Room - the last show is this Monday, May 9th, and Sierra tells me it's a great show (part tribute of the music of Ray Charles and part roast of the man, well-crafted, funny, and beautiful) - go see it if you can!
The Whistler Steve Herbst sang next, with Bill Zeffiro at the piano, performing "Scarlet Ribbons," a simple ballad dedicated "for everyone with little girls out there." Louisa Poster, who is appearing in the Israel Horovitz play Line at the Thirteenth Street Rep. Theater (the longest Off-Broadway show!) sang the delightful "Dipsy Doodle" from her Betty Hutton tribute show. Christopher Sierra and Adam Behlen then sang a duet-mashup of "They Say That Falling in Love is Wonderful" and "Song on the Sand," providing an example of how art imitates life (as Mark put it) as well as a great example of onstage teamwork, and with beautiful young male voices to boot! Adam Shapiro returned to the stage to sing about where he'd like to go on vacation, that pilgrimage of childhood itself, "Disneyland." It was a great power ballad, full of joy, yearning, humor, and high belt notes! Tommy Shull, who is practically a baby himself (haha) then sat at the the piano and played a moving piano piece, "Charle's Motivation," originally written by Tommy for a movie score and dedicated to his twin brother. Unfortunately, I learned Tommy's brother isn't single...darn! Bill Zeffiro then played the lovely "Waltz For Debbie," which had a gorgeous instrumental opening, followed by sweet and lovely vocals. I then closed the evening with "What a Wonderful World," reminding everyone to keep the "kid" inside them alive, and to never forget to take the time to look at things with an innocent, open, youthful attitude, and always with that "wide-eyed-in-wonder" perspective.
Sierra and I thank The Salon so much for having me and co-host! A terrific time was had!
Erin Cronican |
Sierra & I love Adam Shapiro! |
Guest Blogette for The Salon
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