Micah 24601

How Does it Feel (To See Bob Dylan Live in Concert)?

2010-11-21T16:00:00.001-05:00

“Ladies and gentlemen please welcome the poet laureate of rock 'n' roll. The voice of the promise of the '60s counterculture. The guy who forced folk into bed with rock. Who donned makeup in the '70s and disappeared into a haze of substance abuse. Who emerged to find Jesus. Who was written off as a has-been by the end of the '80s, and who suddenly shifted gears releasing some of the strongest music of his career beginning in the late '90s. Ladies and gentlemen — Columbia recording artist Bob Dylan!”

That is how Bob Dylan is introduced at his concerts. Last night, the never-ending tour made a stop at the Mullins Center on the UMass Amherst campus. Bob Dylan has been touring with his band since 1988, giving his legion of fans a myriad of opportunities to see him. Consequently, there are a number of clichés surrounding Dylan concerts. Namely, his voice is gone, he can be almost impossible to understand, and that he reinvents songs however pleases him and is there to play his music, not please his fans. These stories are largely true. This does not render the concert unenjoyable, however. Far from it!

Bob Dylan’s voice has always been unconventional. He’s perhaps best remembered for his dry, nasal vocals on “Blowin’ in the Wind” and other protest songs from the early 1960s. But he left that behind pretty early. His enunciation was always idiosyncratic, but he was a tremendously expressive vocalist in his prime. Nowadays, however, Zimmy’s voice has deteriorated. There’s no way around it. He’s reduced to talking on pitch, resembling—in an odd way—Rex Harrison. This does make him difficult to understand. Dylan’s concerts necessitate an encyclopedic knowledge of his catalog and ability to recall song lyrics verbatim. Fortunately, there were few songs with which I wasn’t familiar, and a great many classics included in the evening’s set. Dylan is no longer a great vocalist. He is still a great artist. Though his vocal range was limited, his use phrasing and intonation was superb.

Dylan played his way through 16 songs without any patter, any introduction for the songs, just playing them. The concert was very much in the rollicking, bluesy rock vein that has characterized Dylan’s recent albums, and most of the songs were transposed to that style, whether or not they were originally written that way. This was Dylan doing his thing, and he did it well. He spent most of his time playing the keyboard over to one side of the stage, but would periodically wander over to center stage, sometimes with a guitar. His black suit had gold piping on the jacket and a gold strip down the trousers, and his broad-brimmed white hat was hard to miss.

Dylan at the keyboard for "Highway 61 Revisited"

Bob Dylan was clearly energized, bobbing behind the keyboard as he played. His harmonica solos were nothing short of inspired. His vocals were limited, but delivered with great gusto. Actually, he would have been a great deal easier to understand if the band wasn’t amped up quite so loud. But that is beyond the point. That’s how Dylan likes it, that’s how it is. The band provided some cracking accompaniments. They were led by virtuosic guitarist Charlie Sexton, who ended up in center stage most of the time that Dylan wasn’t. Sexton clearly enjoyed the attention, but was a bit distracting. Bob is a legend and can do as he pleases. Charlie, you aren’t.

The set list was extraordinary. With a catalog as vast as Dylan’s, there is so much to choose from, but he delivered a well-rounded set on Friday. I was hoping to hear something from Slow Train Coming. Dylan did not disappoint, starting off with “Gonna Change My Way of Thinking.” I had actually never heard “Shooting Star” before last night, but Dylan made it a touching ballad. There was plenty from his recent, bluesier albums like Love and Theft, Modern Times and Together Through Life. But there were also plenty of classics.

Dylan thrilling the crowd with a harmonica solo during "Shooting Star"

“Tangled Up in Blue” was a crowd-pleaser. It was a substantially different melody at times, but it’s a song that any halfway-credible Dylan fan can follow along. “Ballad of a Thin Man” was exceptional (see below), perhaps better than his original recording of it. The stage was lit severely as Dylan barked and growled ominously at the fictional Mr. Jones. This was not a young man who was peeved, this was a reckoning. Each time the chorus rolled around and Dylan asked Mr. Jones if he knew what was happening, it was as if the subject of the song was being interrogated by the jaws of Hell itself. “Like a Rolling Stone” ended the concert on a high note. Bob Dylan couldn’t hold the notes like he had in decades gone by, but age hadn’t withered his spirit at all. Miss Lonely still got raked over the coals with every “How does it feel?”

Some will complain that Dylan isn’t what he was. Obviously, he sounds different now than on most of his records, or on the legendary Rolling Thunder Revue. Some people are not just glad to see a living legend; they want to say the emperor has no clothes. Bob Dylan is not what he was? Hogwash, Bob Dylan is exactly what he’s always been: Bob Dylan. And I now have a 16-song playlist that is an excellent synopsis of his career. Not an exhaustive one, certainly; no concert could do that. But I heard protest music, folk-rock, gospel, blues and more, accompanied by bravura harmonica solos. All interpreted by a living legend. Good enough for me.

Your humble correspondent after the concert

Friday evening's set list:

Gonna Change My Way Of Thinking
Shooting Star
Stuck Inside Of Mobile With The Memphis Blues Again
Spirit On The Water
Rollin' And Tumblin'
Tangled Up In Blue
Honest With Me
Can't Wait
Tweedle Dee & Tweedle Dum
A Hard Rain's A-Gonna Fall
Highway 61 Revisited
Workingman's Blues #2
Thunder On The Mountain
Ballad Of A Thin Man
Jolene
Like A Rolling Stone

I think Dylan's most spectatular tune of the night was his spooky take on "Ballad of a Thin Man." Here you can see him perform just that song. This was recorded 17 November 2010, two nights before Bob Dylan appeared at the Mullins Center (he had the intervening night off, so this was his last concert before his UMass appearance). If you need

Read It and Weep

2010-09-17T12:38:00.003-04:00

Over at FrumForum, Kenneth Silber offers a tantalizing tale of the GOP embracing a Responsibility Movement. By emphasizing coalition-building and policymaking, Republicans are winning big and not embarassing themselves.

But there's a catch: this is all taking place in an alternate universe. Why not this one, you ask? How can we get to this alternate universe? Well, it would seem that this universe does not actually exist. Bummer.

Marv Wolfman, I'm blaming you for this.

Holy Squealing Pugs, Batman!

2010-07-20T13:25:00.013-04:00

I think one reason for Batman's continuing popularity over the decades is the remarkable breadth of the Batman universe. It encompasses classic sci-fi and gritty crime stories. Camp to noir, Adam West to Frank Miller, there is a Batman for all seasons. It just isn't always the same one. But here's something novel, even by the standards of the Batman canon.

I Think I'll Be a Clown When I Get Grown

2010-07-10T20:59:00.001-04:00

11 July 2010 marks the 50th Anniversary of Harper Lee's legendary To Kill a Mockingbird. There will be no shortage of literary criticism, I am sure, from writers able to assess literature far better than I. For a thought-provoking sociological perspective, I recommend Kathleen Parker's "To Kill a Parable." Surely other commentators will discuss the book's themes, Harper Lee's solitude, or the motion picture starring Gregory Peck. Perhaps a thorough correspondent will even note (as Micah 24601 did) the stage plays inspired by the novel.

Since To Kill a Mockingbird has previously been a subject of interest at this blog, I thought it only appropriate to mark its quinquagenary. So here, without comment or qualification, is my favorite passage from To Kill a Mockingbird:

"I think I'll be a clown when I get grown," said Dill.

Jem and I stopped in our tracks.

"Yes sir, a clown," he said. "There ain't one thing in this world I can do about folks except laugh, so I'm gonna join the circus and laugh my head off."

"You got it backwards, Dill," said Jem. "Clowns are sad, it's folks that laugh at them."

"Well I'm gonna be a new kind of clown. I'm gonna stand in the middle of the ring and laugh at the folks. Just looka yonder," he pointed. "Every one of 'em oughta be ridin' broomsticks. Aunt Rachel already does."

You're Never as Young as You Feel

2010-06-30T21:22:00.015-04:00

I know, been gone for a long time and all that. But let's get right down to business: the news business. Lawrence Harvey Zeiger, a.k.a. Larry King, decided to end his show of 25 years and scale back his contributions to CNN. King is a legend in TV news, and there have been a number of commentaries to that effect by observers far more knowledgeable than I. He certainly was quite influential politically in the early 1990's, first with Perot's candidacy in 1992, and then hosting the Gore/Perot debate on NAFTA in 1993. He's also spawned a variety of parodies, which in turn vary pretty widely in terms of quality. One of the better ones has Phil Hartman as King while Dana Carvey captures the madcap self-promotion that was H. Ross Perot.

But before King was a CNN superstar, he was a Miami icon. He was a disc jockey, he hosted a talk show for WIOD, he was with Channel 10 before it was WPLG, he was the Miami Dolphins' color commentator, he had a column in local papers. (A sample of his work in Miami can be seen in this fascinating interview preserved over at SFLTV, a blog dedicated to the news in South Florida.) And, yes, he was arrested in Miami (the charges were later dropped). The mugshot is famous enough, certainly. But I was wondering if there were any other photographs of a younger (was ever young?) Larry King from those Miami days.

Naturally, the solution in such instances is to turn to Google Images. And so I did. That's where I came across this gem. What is he wearing?? I'm sorry to be the one to break it to you, but being petrified isn't the same thing as being Peter Pan. Act your age, not your shoe size? Bad jokes abound. I know, I know. I'm sure I'm rushing in where angels fear to tread. "When I became a man, I put away childish things," is virtually a cliché by now. But those clichés get repeated for a reason. The only thing sadder than a grown man acting like an adolescent is a near-octogenarian acting like an adolescent. Ah, well. Enjoy Twilight this weekend, Larry.

The Internet

2010-04-13T19:37:00.003-04:00

National Humor Month marches on, and it's high time the Muppets made a guest appearance on this blog. Statler and Waldorf are my favorites, and they stopped by to tell us all about the internet:

My Funny Valentine

2010-04-10T10:56:00.004-04:00

It's a bit late for V-Day, but these are just perfect for National Humor Month. They allegedly hail from a Washington Post contest to compose a rhyme with the most romantic first line and the least romantic second line. I think that's an urban legend; these couplets have been circulating via e-mail for over a decade. Nonetheless, they're still hilarious, so enjoy!

I thought that I could love no other
Until, that is, I met your brother
Roses are red, violets are blue, sugar is sweet, and so are you.
But the roses are wilting, the violets are dead, the sugar bowl's empty and so is your head
Of loving beauty you float with grace
If only you could hide your face
Kind, intelligent, loving and hot
This describes everything you are not
I want to feel your sweet embrace
But don't take that paper bag off of your face
I love your smile, your face, and your eyes
Darn, I'm good at telling lies!
I see your face when I am dreaming.
That's why I always wake up screaming
My love, you take my breath away.
What have you stepped in to smell this way?

Historical Humor

2010-04-06T10:11:00.006-04:00

Ladies and gentlemen, boys and girls... It's April. And April, you may remember from last year, is National Humor Month.

To start off our commemoration of National Humor Month, Micah 24601 revisits one of the anecdotes from last year. If you don't you can read all about the "B.C." This year, I present you with a more famous version of that same joke. Jack Paar read a variant (he called the item in question a "W.C." instead) on the Tonight Show in 1960. The monologue was censored, and a frustrated Parr quit the show for a period.

This is a timely entry, given the late-night turmoil that was in the news several months ago. There is no one quite as witty and urbane as Paar anymore. Considering some of erstwhile Tonight host Conan O'Brien's gags, it's quite an indication of the differing periods that this piece was even censored. But is isn't censored here, so enjoy this classic bit of humor from a comedy legend.

The Influential Books Game

2010-03-25T20:57:00.028-04:00

Greetings, readers! First, allow me this admonition: if you do not read New York Times opinion columnists Ross Douthat, then do attempt to rectify that deficiency at your earliest convenience! Douthat's weekly columns are insightful, and his blog is pithy and updated daily, or even more frequently. I came across a recent blog post of Douthat's(full disclosure: from which I have shamelessly stolen my title for this post), and it seems that the blogosphere parlor game recently has been to list “10 books which have influenced your view of the world.” If you'd like to see which books have influenced Douthat, then by all means drop by his version of The Influential Books Game.

But I thought I'd join in, particularly because books have been woefully underdiscussed on this blog (Mamas, don't let your babies grow up to be grad students!). So here are ten books which at various points influenced how I saw the world. The rule is "go with your gut," so here are the picks which sprang off the top of my gut. This is not every influential, or even the most influential. I don't hold all of these books as equally important now, but they all made an impression somewhere along the road. The list is alphabetized, but in no particular order otherwise. Any Micah 24601 readers who enjoy being readers more generally are encouraged to post their own influential books via comments or on your own blogs. I'd love to see what you're reading. And without further ado...

Animal Farm is a slender volume, and unbelievably clever. It is the story of a revolution gone awry, of animals who are so near people that we can't help but shudder how much we resemble animals. It is a cautionary tale of the dangers of power. And it is a darn good "fairy story," mixing it's profound insights with a surprising, but hardly cloying, dose of whimsy. Given my profession and my hobby (quick--can anyone tell me which book on this list provided me that phrasing?), there are a number of books concerned with politics on this list. But if you want to understand politics and can only read one, make it Animal Farm.

Speaking of the New York Times, if you only read one op-ed columnist, make it Douthat's colleague David Brooks. Attentive readers will surely have seen this name before, and for good reason. Brooks' analysis of American politics and society is original and incisive. He grapples with great thoughts without being intellectually ostentatious. He is witty, urbane and conservative--and avoids reducing conservatism to simple-minded demogoguery. Bobos in Paradise exemplifies Brooks' observant sociological style, as he details the ascendance of an improbable new class: bourgeois bohemians, or Bobos.

This is a dark, dense, oppressive novel. It is also a captivating psychological thriller. Raskolnikov thinks himself above all law and wants to commit the perfect crime. He might have gotten away with it--if his conscience had allowed him. Instead, he finds God via a forlorn girl forced into prostitution to feed her orphaned siblings and redemption via confessing crime. The ending may not be what you'd consider happy, but it will be unforgettable.

A great deal of "history" is marshaled in favor of some cause or other. Amherst resident Joseph Ellis, though, simply captures the period. More precisely, he captures the brilliant personalities as they operated in their element. Ellis' work is nuanced, insightful, and filled with fascinating details about the early Republic.

This was Mark Twain's favorite book among all his works. There is a reverence which does not appear in any of his other works. Twain was the ultimate cynic, but his cynicism melts when confronted with Joan of Arc. How else do you explain such monumental accomplishments with so little self-aggrandizement? If nothing else, Personal Reflections of Joan of Arc is worth reading to see Twain in a completely different, and far more humble, light.

Were I not alphabetizing the list, this would be at the top. I've read The Lord of the Rings seven times. I've cheered, puzzled, trembled and wondered as I read. Tolkien did not merely tell a story. He created a whole new world, filled with different languages and cultures, myths and traditions, histories and nations. But he told a brilliant story all the same.

It is only fitting that we include works of drama on this list. I was introduced to this play via the 1966 motion picture starring Paul Scofield, who originated the role of Sir Thomas More in London and on Broadway. More is famous for refusing to assent to King Henry VIII's divorce, and as a result being executed. More famously said "I die the King's good servant, but God's first," and he is a fitting patron saint for politicians. He is hardly the last statesmen to try to keep his head without losing his soul. Robert Bolt's dialogue sparkles with flashes of wit and wisdom, and I highly recommend seeing Scofield's pensive performance in the Oscar-winning film.

Chesterton subtitled this surreal novella "a nightmare." And it is. The Man Who Was Thursday is nightmarishly good, and nightmarishly clever. But there are dark, desperate passages where you can feel the isolation and uncertainty rolling off the printed page. And at those moments, no qualification is needed. You are sharing in the protagonist Gabriel Syme's nightmare. Of course, Chesterton being Chesterton, the nightmare is simply a paradox, and the truth is all so simple at the end. This was one of the most confusing books I ever read on its first reading, and one of the most rewarding and thrilling with each subsequent reading.

It is only appropriate that Chesterton's dear friend George Bernard Shaw follow him. No musical, per se, appears on this list. But we do have Pygmalion, which became the basis for one of the greatest stage musicals of all time: My Fair Lady. I saw the classic 1964 film based on the Lerner and Lowe musical and was enchanted (who could not be?) by Rex Harrison's Henry Higgins. I had to find the original stage play and see my hero in the original. Pygmalion is not a long play, and it did not take more than 90 minutes to read. But every minute was sheer delight. Shaw's Higgins is a different animal: even more cynical and cutting. But he is such a clever curmudgeon, it's hard not to love him. Furthermore, Higgins' strong attachment to the English language comes through even more clearly in Pygmalion than it's successor. I recommend finding an edition with Shaw's "What Happens Afterward" addendum, written three years after the play originally debuted. With a brilliant wit, Shaw explains why Higgins and Eliza could never, ever end up together, and ends up giving us a number of hilarious but pointed observations aboutrelationships not appearing on stage.

This is a difficult book to write about. In some ways, it's because I haven't looked at the book in over a decade. As I recall, Roche's general thesis was that egalitarianism has produced a world without heroes, where society is afraid to call things good or bad, heroic or craven, for fear of promoting inequality. The book is a massive tome (though a highly abridged lecture based on the book is quite a good summary), but as a young teenager, I gobbled up the central point: some actions are manifestly unequal, and it is a disservice to the heroic to pretend it is on par with baser actions. Roche was the president of Hillsdale College, a conservative-leaning liberal arts college in Michigan. A World Without Heroes was published in 1987, and I read it in the mid-1990's. In 1999, Roche was involved in a scandal that led to his retirement from Hillsdale. His daughter-in-law alleged that she was in a nineteen-year affair with Roche, and shortly after committed suicide. I don't know if she was telling the truth or not. But she very well could have been. I don't intend to slander Roche, who passed away in 2006. But whether he was guilty or not, he wouldn't be the first person to leap rashly from his (or her) own high ideals. Ever since 1999, Roche's book has reminded me that there are, in fact, several reasons why the world is bereft of heroes. And it isn't just postmodernism or any system of thought that can be blamed. Unfortunately, more than one hero has been known to murder their own heroism. No man can be a hero to himself, wrote Chesterton. A tragic, but tragically necessary reminder.

Happy Birthday, Les Mis!

2010-03-12T11:32:00.004-05:00

On 12 March 1987, the world's most popular musical opened on Broadway. In the 23 years since, Les Miserables has seen two separate Broadway productions (the original, which ran for 16 years, and a revival), three national tours, an upcoming national tour, hundreds of school productions, and a number of regional productions. Not to mention the original London production, which will mark its 25th birthday this October, as well as innumerable foreign productions and tours. Les Mis truly is The World's Most Popular Musical! To commemorate, feast your eyes on the original Broadway cast as they sing "At the End of the Day" and "One Day More" at the 1987 Tony Awards. As an added bonus, the late Jerry Orbach introduces the clip.

Things That Make Me Miss Miami for $500, Alex

2010-03-03T18:51:00.006-05:00

Laurie Jennings (now of WPLG) with Rick Sanchez while both were coanchors at WSVN
News junkies in Miami will no doubt remember Rick Sanchez. Indeed, he's rather hard to forget (no matter how one may try). His "if it bleeds, it leads" style led to WSVN's rating success. His pompous assertions and his overblown manner earned him a short gig with MSNBC, and a longer tenure with CNN. Between the two cable networks, Sanchez returned to Miami to play Oprah for WTVJ.

Well, he may not be in Miami anymore (neither am I, actually, but that's beyond the point), but fear not! He is still bleeding, if not leading, all over the news. I saw this clip and had to pass it along. One wag (I forget who off the top of My head) described Rick Sanchez as "Ted Baxter meets Ricky Ricardo." Watching this clip from The Daily Show, it's not hard to see why. Enjoy!

The Daily Show With Jon Stewart

Mon - Thurs 11p / 10c

The Uninformant

http://www.thedailyshow.com/

Daily Show
Full Episodes

Political Humor

Health Care Reform

RFK's Heroic Journey

2010-02-26T21:08:00.021-05:00

This past Tuesday, I saw Bobby Kennedy. Okay, okay… If you want to be picky, what I actually saw was a sometimes fascinating docudrama from L.A. Theatre Works, RFK: The Journey to Justice. This play follows the growth of Robert Kennedy from “Bad Bobby,” the calculating enforcer, to “Good Bobby,” the moral crusader who opened America’s eyes to domestic poverty and opposed the Vietnam War. It was rather appropriate to view such a drama at the University of Massachusetts (even if the Fine Arts Center concert hall is an appalling--and appallingly dated--venue). It was also a timely event. In addition to being a welcome addition to the rather thin canon of presidentially-themed theatre, Tuesday's performance only slightly predated an announcement that Matt Damon is all set to play RFK in a forthcoming biopic.

Kyle Colerider-Hugh (Byron White, Lyndon Johnson, J. Edgar Hoover, and others) and Henry Clarke (Robert F. Kennedy)
"Video killed the radio star," sang the Buggles, but thankfully some people never got the memo. L.A. Theatre works is committed to preserving the nearly lost art of radio theatre. The BBC still does some radio dramas, but it is rather infrequent elsewhere. LATW’s productions are cast with top-notch talent, and their library is extensive, consisting of many of the greatest plays ever written down through the centuries. After a 10-city national tour, RFK: The Journey to Justice will be recorded in March before a live audience in Los Angeles. Accordingly, the show is staged minimally, merely microphones on a stage for the actors to read into. But the actors were so familiar with the material that most were able to recite the lines without hardly ever glancing at the script. Many of the actors were expert at assuming a number of roles, accents, and perspectives. Sheilynn Wactor was able to carry off every female role in the play, from Coretta Scott King to a starving eight-year-old girl from Appalachia.

Yours truly with Henry Clarke (RFK)
Most important to the show’s success of course, was its primary character, Robert Kennedy. Henry Clarke did a splendid job of channeling RFK. Clarke captured Kennedy’s distinctive voice and mannerisms unostentatiously, inhabiting the character without lapsing into parody. Clarke was equally believable as a hard-nosed hatchet man, or a warm-hearted benefactor. (The script, on the other hand, was less credible, but I’ll get to that in a moment.) The play is fundamentally about RFK’s transformation, and would have faltered without Clarke’s engaging turn as Bobby.

Your humble correspondent with Philip Casnoff (JFK, Ted Kennedy)
Other characters were primarily props for Robert Kennedy’s journey, but a couple of performers stood out. John Heard was originally slated to play John F. Kennedy at the tour’s outset, but this reviewer was glad to see Philip Casnoff instead. Casnoff originated the role of Freddie (The American) on Broadway in the cult musical Chess. He has also directed two episodes of the popular (and now late) television series Monk, including the famous “Mr. Monk Stays in Bed.” Casnoff also portrayed Ol’ Blue Eyes in the 1992 miniseries Sinatra. This last role is particularly notable in light of Casnoff’s current role, given the close relationship between the two. Casnoff was JFK in Act 1, which culminated in the President’s assassination. In Act 2, Casnoff portrayed Ted Kennedy. Casnoff does not look very much like either of RFK’s brothers, but that’s hardly a problem for radio. He nailed the accent, and what’s more, Casnoff captured Jack’s dependence on Bobby. As JFK, Philip Casnoff was properly insistent and demanding, and Clarke and Casnoff’s interplay made the relationship apparent in ways that the script alone did not capture.

Kevin Daniels made for an impassioned Martin Luther King, Jr.
Even more impressive was Kevin Daniels’ portrayal of Martin Luther King, Jr. Like Casnoff, Daniels did familial double duty by playing Martin Luther King, Sr., in several scenes. Also like Casnoff, Daniels did not altogether resemble his character physically, conceding in the post-show talkback that he was too tall to play King. But Kevin Daniels was riveting as he recited King’s legendary speeches. It isn’t easy to conjure up one of the greatest orators of all time, but Daniels did so, and was able to project the same demeanor plausibly in scenes where King’s dialogue was not a famous speech.

Michael Leydon Campbell (Burke Marshall & others) and Henry Clarke (RFK)
Despite the play’s radio drama origins, the staging transcended watching the actors read lines. Instead of standing at their microphone and reading on cue, the actors moved sat in a row of chairs and then came to a microphone as their lines were necessary. The choreography that resulted removed the static sense of just watching a radio show. Minimal as the staging was, it was effective. The costumes were indispensable to setting the right atmosphere without sets to evoke the period. Sack suits, three-piece suits, cuff links, skinny ties and skinnier lapels were completely authentic and true to the period being portrayed.

John Wesley (Louis Martin & others) and Henry Clarke (RFK)
RFK: The Journey to Justice was well-cast and innovatively staged. The script, especially Act 2, left something to be desired. This play is clearly an exercise in hagiography. There is much to laud in Robert Kennedy, true, but in this production it comes at the expense of both historical detail and dramatic tension. In Act 1, we see RFK’s measured and slow-but-sure progress as a result of his brother’s demands, the turbulence of challenging an unjust society, and his own conscience. Act 2 gives us a rather flat portrait of a saintly Bobby Kennedy, with no hint of any other motive. The second half of play also seemed to have much less original dialogue, and use more excerpts from speeches. The fact that Kennedy and Lyndon Johnson hated each others’ guts would surely bring some nuance, and certainly drama, to the picture, but it is simply omitted. In the talkback after the show, Philip Casnoff noted that as a college student in 1968, he had supported Gene McCarthy because he was unsure Bobby Kennedy would actually bring an end to the war. This drama does not give us any understanding as to why this might have been a logical question in ’68.

Henry Clarke (RFK) and Kevin Daniels (Martin Luther King, Jr.) in rehearsal
One may wish, as this reviewer did, that the show had been a bit more historically nuanced, or a little less cloying near the end. But whatever qualities I might have preferred to see, the show told its story, and it told it well. The production had many of the hallmarks of old-fashioned radio theatre, while also layering a visual dimension with these. Most importantly, the play had the bravura performance of Henry Clarke, completely at ease while inhabiting an American icon. I’m sure if I were as conversant in French history as I am in American, I’d find ample reason to complain that Les Mis didn’t always get it right, either. What RFK: The Journey to Justice did get right was an evening of top-quality, thought-provoking drama.

At The End of the Day You Get Lots of Awards

2010-02-19T10:05:00.011-05:00

The cast of Actors Playhouse's acclaimed production of Les Miserables

The Carbonell Awards are South Florida's equivalent of the Tony Awards, recognizing excellence in regional productions. Last year I saw two productions eligible for this year's awards. I was not surprised that Caldwell Theatre's Frost/Nixon did not get much Carbonell attention. The superb Actors Playhouse production of Les Miserables, however, was a very different story.

Carbonell nominations were announced on Tuesday, and Les Miserables received 12, more than any other South Florida production last year. David Michael Felty got a well-deserved Best Actor in a Musical nomination for his turn as Jean Valjean. Gary Marachek's Thenardier earned him a nomination for Best Supporting Actor in a Musical. But the most interesting category was Best Supporting Actress in a Musical, where three--count 'em, THREE--actresses from Les Mis were recognized for their work. Gwen Hollander (Eponine), Melissa Minyard (Fantine) and Margot Moreland (Mme. Thenardier) were all nominated in the Best Supporting Actress in a Musical category. Congrats to all three, and I hope that one will take home the prize. My favorite is Melissa Minyard, though. Her Fantine was profoundly poignant. Minyard acted brilliantly, and sung even more brilliantly. That's no easy task. No disrespect to Hollander or Moreland, but those are easier roles in which to do well, I think.

Irrespective of how that one category turns out, here's hoping that Les Mis will conclude Carbonell night with ten awards--and more's the pity that it can't win the whole dozen!! That said, I'll leave you with a reminder of David Michael Felty's powerful, Carbonell-nominated performance. In this song, Valjean has just stolen the Bishop's silver. After being captured and taken back to the Bishop's house, Valjean is pardoned by the Bishop, leading him to wonder "What Have I Done?"

Happy Presidents Day!

2010-02-15T11:08:00.006-05:00

Broadway's Len Cariou as Richard Nixon in the Canadian Stage Company's production of Frost/Nixon.

Happy Presidents Day, readers. Or, as it's officially known in Massachusetts, Washington's Birthday. Whatever the day is called, here's hoping you enjoy it.

Naturally, a holiday about presidents gets me thinking about some of my other favorite things, especially theatre. There is a dearth of musicals about politics in general. There's Chess and Evita, but the pickings are pretty slim after that. Musicals about presidents are even more sparse. Anyone remember Teddy and Alice? Yeah, I didn't think so. There's a bit more presidential material to be had when surveying straight plays. Certainly, Frost/Nixon stands out in recent years, and Micah 24601 reviewed the Florida regional premiere of Peter Morgan's presidential masterpiece a year ago.

But this morning I ran across some fascinating information about our presidents and the stage. Not on stage, mind you, but actual presidents and their interactions with legit theatre. Broadway.tv has a wonderful series of posts. Want to know which president appeared in a movie musical? What was Abraham Lincoln's favorite play? Who met his wife auditioning for a community theatre production? Check out Broadway.tv's brilliant Presidents and Broadway section for all this information and more!

UPDATE: Ray has done a riff on this theme using his own favorite art form, the game show. You can see several presidents' appearances on What's My Line over at The Dinally Alley.

You're a Grand Old...Trademark?

2010-02-12T11:47:00.025-05:00

The first Olympics remembered here at Micah 24601 are the 1988 Summer games in Seoul, South Korea. I was 5 at the time. Being a precocious cuss, I was more informed about metaphyics then geography, and I found the idea of a city named "soul" rather amusing. But even though those lazy, hazy days of ignorant bliss are over, I still watch the Olympics. Thank goodness that there's some reason for Bob Costas to appear on broadcast television, besides handing out oversized checks every May at the Kentucky Derby! And when else do we get to hear John Williams' rousing "Olympic Fanfare and Theme"? Much has beeen made of the unofficial competition between Olympic games. Lack of American superstars, Americans' natural preference for summer sports, etc., have all been asserted to dampen interest in the Winter games. Where's Tanya Harding when you need her, eh? Well, this blogger will be wishing Team USA well. But if nothing else, there has been a drop-off already. The 2010 US Olympic logo (top left) is generic and uninspired, a disappointment after the imaginative, stylized eagle/8 logo America employed in 2008. Incidentally, folks, let's get one thing clear: it's 2010, and that's pronounced "twenty-ten." You didn't call 1996 "one thousand, nine hundred ninety-six," did you?

But I digress. Speaking of disappointments, get a load of the outfits designed by Ralph Lauren for the 2008 (say it with me: "twenty-o-eight") and 2010 Openening Ceremonies. The 2008 ensembles were masterful. According to USA Today, they were inspired by one of my favorite movies, Chariots of Fire. The vintage detailing is impressive: high-waisted trousers, three-button jackets, newsboy caps, striped neckties and scarves. I suppose the 2010 get-ups are alright, but they certainly fall short of 2008. Why exactly would you screen print the year on the pants? Is anyone likely to forget? Speaking of the pants, they look like a ski bum rolled out of bed and forgot to put anything over his long underwear. The jackets and turtlenecks would work quite nicely if the pants didn't look like something suitable only for lounging around a dorm!

I'm sad to say, however, that the biggest problem occurs in both outfits. Come winter or summer, Ralph Lauren puts his abominably huge emblem over the left breast of each jacket. It's a bit much, to say the least. But the problem isn't just the logo largo. According to the U.S. Flag Code, the flag should always be worn on the left side. Now Olympic logos are not the flag, I know. But still, they are the element of the design that explicitly (as opposed the red, white and blue palettes that implicitly) serve as a symbol of our country. And that should be what's over the athlete's hearts, not the corporate endorsement. Perhaps you might think that the polo pony is more fitting, since money is often near and dear to athletes. But this is the Olympics. In the otherwise underwhelming film Miracle (which chronicled the 1980 US Olypmpic hockey team, a.k.a "The Miracle on Ice"), Kurt Russell as coach Herb Brooks berates his players for forgetting that "the name on the front of your jersey is [an awful] lot more important than the name on the back." Kudos to Ralph Lauren if he can keep America's athletic emissaries stylin'. But the country is more important than he is, and the design of his clothes should reflect that.

Forever Young

2010-02-06T17:40:00.007-05:00

Well, my apologies for the long absence. But Micah 24601 soldiers on, readers. This blog is now more than one year old, with our first post being published on 26 January 2009. What a year has passed since then. Alas and alack, the one-year anniversary went uncommemorated.

But since tomorrow is the Super Bowl, and part of Super Bowl hoopla involves the commercials, allow me to share my favorite from last year, featuring Bob Dylan and some other dude (OK, Will.i.am, whoever he is) singing Dylan's classic "Forever Young." Not a bad birthday wish for this blog or any of its readers. Keep your eyes pealed, boys and girls: I won't be away nearly so long next time, and I have some posts coming up next week!

Merry Christmas from Julie Andrews

2009-12-24T09:15:00.006-05:00

OK, I missed a few days. But I can't not finish, though I do regret omitting several songs. I'd still love to hear about your favorite songs--and why they appeal to you. At any rate, I hope all my readers have a merry Christmas and a prosperous 2010. You may get a post out of me before the calendar changes, but even if not, God bless!

Day 1: Julie Andrews

Why I love the song: What could be more appropriate for Christmas Eve than a medley of classic Christmas carols? The melodies are enchanting, the lyrics are familiar yet profound. They are rendered simply and without ostentation, letting the beauty of the songs and their message shine without distraction.

Why I love Julie Andrews: The original 'Liza Doolittle in My Fair Lady, Oscar-winner for Mary Poppins, and let's face it, folks--The Sound of Music would be a minor Rodgers and Hammerstein classic rating below Carousel if it wasn't for her. If it wasn't for her, and her four-octave voice. That famed vocal range is no more, alas, but every Christmas I enjoy Julie Andrews' two Christmas albums.

You might also want to check out: While I am tempted to choose something theatrical, most of her work in musicals in well-known. Instead, try her pensive and haunting rendition of Don McLean's "Vincent (Starry, Starry Night)." Was there anything she could not sing?

Day 5: The Winter Boy Was Born

2009-12-20T15:35:00.005-05:00

Day 5: Colm Wilkinson - "Winter Boy"

Why I love the song: I cannot find out any information about this song, but it sounds like a traditional ballad from centuries gone by. Like many other venerable Christmas songs, it fuses deep thoughts such as universality ("cities of glass and steel are waiting, / villages sheltered and still are waiting") and ultimate purpose ("the star that shown in December / cast a shadow of a thorn") with a clever metaphor ("the Winter Boy"). And for fans of Les Mis, seeing Colm sing on a barricade is just cool.

Why I love Colm Wilkinson: The original Jean Valjean in both London and Broadway, Colm was "christlike without being cloying" (in the words of one drama critic). His high tenor and stratospheric falsetto make his voice unique. Even more unique is his gruff voice--he never sounds wimpy, no matter how high he is singing.

You might also want to check out: The staging of "Winter Boy" is clearly intended to evoke Colm's signature song from Les Mis, "Bring Him Home." Here is the concert version, where Colm gives us "The Prayer" (as it is known to cast members) in all its fervency and power. "Bring Him Home" has become an unofficial anthem for POWs, MIAs, and all soldiers in harm's way.

Day 6: Do You Hear What I Hear?

2009-12-19T14:14:00.008-05:00

Day 6: Kristin Chenoweth - "Do You Hear What I Hear?"

Why I love the song: This song tells the Christmas story via intriguing metaphors. It captures the wonder, the hope of that first Christmas, and the eagerness to share the message that the participants must have felt.

Why I love Kristin Chenoweth: It's getting to be a cliche by now, but it's still true: her voice. She doesn't show off her coloratura here as much as I might like, but she has a sparkling, exquisite soprano. She also has a superb talent for comedy (again, unemployed in the above clip).

You might also want to check out: If you're a longtime Micah 24601 reader, you might have already seen Cheno do "My New Philosophy" from You're A Good Man, Charlie Brown. But Christmas is a season of giving! So take a gander at Chenoweth singing "A Spoonful of Sugar" at a fete honoring Julie Andrews. It's a great example of Chenoweth's stratospheric soprano and her comedic timing.

Day 7: A Jingling White Christmas

2009-12-18T09:25:00.007-05:00

I hope you're enjoying this tour of my favorite voices and holiday music, readers. I'd love to hear about your favorites--feel free to leave a comment and join the conversation. Perhaps I may use your suggestion in the next week.

Day 7: Mandy Patinkin - "White Christmas/Jingle Bells"

Why I love the song(s): They are classics! And a perfect pairing. "White Christmas" (which Patinkin has also recorded in Yiddish) is longing and wistful, while "Jingle Bells" is bright and festive.

Why I love Mandy Patinkin: Patinkin has an airy falsetto, a bold baritone, and not much in between. He's probably best known for being Inigo Montoya in The Princess Bride ("Hello, my name is Inigo Montoya. You killed my father. Prepare to die."), and some TV work. But he is also a Tony-winning star of Broadway, with a unique an expressive vocal style.

You might also want to check out: If you want more histrionics from Mandy, check out this performance of "Something's Coming" from West Side Story. Watch till the end and get a bonus: a very young David Letterman makes an appearance.

On the Eighth Day of...

2009-12-17T08:08:00.007-05:00

Well, remember what I said about 12 days of Christmas? Yeah, not quite. Though I've never celebrated Hanukkah, I would be remiss if I didn't acknowledge it--and along with it, my Jewish ancestors.

Day 8: David "Dudu" Fisher - "Exodus"

Why I love the song: This isn't exactly a Hanukkah song. It is the theme for a movie (also titled Exodus) set several millenia after the Maccabean revolt. If all that wasn't enough, the lyrics were written by Pat Boone, who isn't even Jewish. Still, I think it does a fine job of displaying the tenacity that led to the holiday of Hanukkah. And Dudu Fisher delivers an electric rendition that is not only a performance, but a heartfelt declaration.

Why I love Dudu Fisher: A cantor-turned-theatre star, Dudu Fisher originated the role of Jean Valjean in the Israeli production of Les Miserables. After that, he performed the role in both New York and London. Fisher is the only performer in the history of the West End or Broadway not to perform Friday evenings or Saturday matinees in order to keep Shabbat.

You might also want to check out: Dudu Fisher's star-making turn came in the Tel Aviv production of Les Mis. Here you can see him perform "Bring Him Home" in Hebrew! In any language, his tenor is fervent and moving.

Day 9: Merry Christmas, Darling

2009-12-16T09:17:00.003-05:00

Day 9: The Carpenters - "Merry Christmas, Darling"

Why I love the song: This is easily the most famous of The Carpenters' Christmas songs. In addition to the deeper ramifications of Christmas (which are well-represented in other songs), it is also a time to be with loved ones. "Merry Christmas, Darling" reminds us of that with aching poignancy.

Why I love Karen Carpenter: Why else? That extraordinary voice! Her alto ranged from shimmery to smokey, a truly exquisite instrument. Karen and her brother Richard (playing the organ here) comprised the Carpenters, an all-American brother-sister team that was tragically ended when Karen died due to complications from her anorexia.

You might also want to check out: Watch Karen and Richard harmonize in "We've Only Just Begun." It is a far cry from what music videos have degenerated into (and I might add that this is evident in any Carpenters video...they just don't make 'em like they used to!). You also get a chance to enjoy Karen's talent for drumming.

Day 10: When a Child is Born

2009-12-15T09:10:00.002-05:00

Day 10: Michael Ball and Claire Moore - "When A Child is Born"

Why I love the song: A prominent theme in Christmas music, whether sacred or secular, is the longing and anticipation. Like many of the Old Testament prophets, this song captures the anticipation of both the first and second comings.

Why I love Michael Ball and Claire Moore: Michael Ball...wow. The man does not hold a note, he caresses it. From sotto voce to bold baritone, listening to him is pure pleasure. The original Marius in Les Mis, he appeared with Moore in the London production of The Phantom of the Opera. Her classically-trained soprano is clear and not screechy--an excellent pairing! If you're observant (or just reading), you may notice that they are singing on the Phantom set, and standing on the "Masquerade" staircase.

You might also want to check out: You will hear this again, but really, do I have to pick just one? I could give dozens of Ball's songs. But, let's be fair to Claire. So hurry and check out a superb rendition of "All I Ask of You" from Phantom featuring both Ball and Moore.

Day 11: God Rest Ye, Merry Gentleman

2009-12-14T16:03:00.003-05:00

Day 11: Libera - "God Rest Ye, Merry Gentlemen"

Why I love the song: Who, What, When, Why, and How--this songs says is all. It was featured in a counterpoint yesterday, but this song deserves to be heard on its own. It is, to put it simply, a classic. The Olde English arrangement adds character and flair to the profundity.

Why I love Libera: The vocal arrangements are multi-layered, and the boyish sopranos are pristine. Minor chords from the frequently accompanying organs add balance and depth, and prevent Libera's songs from becoming cloying.

You might also want to check out: "When a Knight Won His Spurs," a heroically charming song shot through with vivid imagery.

12 Days of Christmas!

2009-12-13T16:41:00.008-05:00

Last year on Facebook, I wrote a note a week before Christmas, offering 7 of my favorite Christmas carols and songs, as done by some of my favorite singers. Well, I am going to expand that his year for (what else?) the Tweve Days of Christmas. As a general rule, you can expect some classic Christmas songs (carols or otherwise), and voices that do them justice! I'll also point you to some non-seasonal masterpieces as well. I can't promise that all 12 days will feature a song, but I have some Christmas goodies in store for you (some of which have been hinted at previously). So without further ago, let the countdown begin!

Day 12: Peter, Paul and Mary - "A Soalin'"

Why I love the song: The guitar is delicate and virtuosic. The song refers to the custom of wassailing, similar to trick-or-treating, but at Christmas, where the poor would go from house to house to get food for the Christmas celebration. The "God Rest Ye, Merry Gentlemen" counterpoint is a nice touch.

Why I love Peter, Paul and Mary: Three voices and two guitars--PPM popularized a sometimes-stark but pure and idealistic strain of folk music. The music was sincere, and the harmonies were always lovely. Noel Paul Stookey's (the tall one) song "There is Love" was sung at my parents' wedding.

You might also want to check out: A great example of early PPM is "Early in the Morning" from their first, and self-titled, album.

A Date Which Will Live in Infamy

2009-12-07T19:13:00.003-05:00

Today is December 7th. In FDR's immortal words, "a date which will live in infamy." I think it's important for Americans to keep history in mind. Not just history--important as it it--but our history. So on this date, let's remember the infamy. And let's give thanks that FDR gave this reply: "No matter how long it may take us to overcome this premeditated invasion, the American people in their righteous might will win through to absolute victory." That's why he is one of our greatest Presidents.

RAYndeer Games

2009-12-07T01:11:00.001-05:00

Well, it's been a while since we featured the work of Ray (designer of the only official Micah 24601 Playbills). But Ray is still blogging over at The Dinally Alley, and he has a special holiday treat for his readers. So sleigh ride on over to his End Song Challenge, which is considerably more difficult than it sounds. Like all Dinally Alley RAYndeer games, End Song Challenge is open to anyone--even Rudolph. Well, almost anyone. Rudolph is OK, but Mitt should stay away!

Let it Snow! Let it Snow! Let it Snow!

2009-12-06T17:26:00.005-05:00

Well, it was going to be the big change between Miami and Massachusetts. And, no, I do not mean politics. (Though that certainly is different.) I am, of course, referring to winter weather. When the temperature dips into the low 50s in Miami, it becomes the lead story on the news. Well, it has gotten considerably colder than that, and the winter is only starting. The first I saw of snow was in late October, and it was little more than a few flakes twirling through the air. Nothing accumulated on the ground, but several snowflakes were kind enough to linger on the sleeve of my sweatshirt long enough for me to take their picture.

But yesterday, snow--real snow--finally came. (And here all the native New Englanders shake their head in disbelief.) A light snowfall, but snow all the same. It was coming down slowly for about 12 hours or so. Here you can see the snowflakes swirling and the accumulation of snow on the ground.

Barring a miracle, I will not have a white Christmas (I'll be in Miami). But I am getting some white stuff before Christmas. And by the way: I'm in Massachusetts now. Snow means wet, cold stuff, for any Miamians reading this. The grass (oy vey! The double entendres will not leave me alone today) is still green in December. But I don't think it will be for too much longer. At any rate, you can see my first steps on snow.

This strikes me as a bit narcissistic, like a baby book I'm too old to be filling out for myself. Ah, well. Stop reading, everybody. Just look at the pictures and post comment critiquing the photography. But for my own notes, when I look back at this period in my life, here is my first snowball.

And here is the target of that missile. Pretty good aim, if I do say so myself.

The next morning, the snow was crunchier. You can tell the snowfall was light. If you look closely, you can see a white spot in the middle of the tree trunk. That would be the aforementioned snowball. I actually didn't even notice it was there until I uploaded the pics off of my camera. Pretty cool.

And that's my first snowfall in Mass! It won't be the last, but don't worry--I won't clutter up this blog with a photo diary of each one.

What the Dickens?

2009-12-01T22:16:00.003-05:00

The author with Gerald Charles Dickens, actor and great-great grandson of Charles Dickens

Every year in the several weeks between Thanksgiving and Christmas, I take in as many adaptations of A Christmas Carol as I can. The various incarnations of Dickens’ classic can be quite disparate, but it is a rare version that is not at all enjoyable. Different media offer different pleasures. Who can help but smile as George C. Scott (the most complex Scrooge on film, in my humble opinion) actually enjoys his haughtiness? And is the appreciation any less when you can hear John Gielgud or Paul Scofield’s rich tones as they narrate the tale? Well, in the short period of time between Thanksgiving and now, I have already experienced two version of A Christmas Carol. And yesterday, I had the honor of seeing Gerald Charles Dickens, great-great grandson of the Charles Dickens, perform his forbear’s legendary story.

The younger Dickens’ performance was an impressive one-man show. But it was more than that: it was a chance to see history come alive. Gerald Charles Dickens is keenly aware of his great-great grandfather’s legacy. A Christmas Carol, the current Dickens tells us, was the first and last work performed by Charles Dickens. Dickens performs on a stage empty save for a hat rack, and two chairs. And with that minimal backdrop, Gerald Charles Dickens became each character in the story.

Gerald Charles Dickens in costume

As an actor, Dickens was able inhabit each character use various voices to distinguish one from the other. He was also aware of his body position. In the early parts of the story, Dickens would begin talking as some character speaking to Scrooge, and not bother to turn around for Scrooge’s reply—as if Scrooge couldn’t be bothered to even turn and face the person he addressed. This changed as Scrooge was reformed, however. Dickens’ Ebenezer Scrooge was not merely mean; he was sinister, complete with a low, unsettling laugh. A 75 minute length involved some trimming of dialogue, but nothing important was lost. Performing enthusiastically and solo for over an hour is surely nothing to sneeze at. Dickens was not only adept at transmitting the characters, but also at ad-libbing and addressing the audience directly, then returning to character without missing a beat. As an adaptation of A Christmas Carol, Gerald Charles Dickens’ was heartfelt and dynamic. But more than that, Dickens the younger used his family connection to do more than beguile an audience into watching him. He recreated history.

All Good Gifts

2009-11-25T11:09:00.010-05:00

Happy Thanksgiving, Micah 24601 readers! It will be to experience Thanksgiving in an actual Fall climate this year. Thanksgiving hasn't inspired nearly as many songs as Christmas has, but here is one of my favorites. The song itself predates Thanksgiving as we know it, but its message reinforces the whole point of the holiday.

"All Good Gifts" is an old Lutheran hymn, and was incorporated into the musical Godspell by Stephen Schwartz. The word "godspell" is an archaic form of the word "gospel." Schwartz's musical was certainly unconventional (not to mention highly metaphorical, almost allegorical), but not unorthodox. Godspell may be most famous for reworking the 13th century hymn "Day by Day," or its 1972 Toronto production, which launched the careers of Gilda Radner, Martin Short, Andrea Martin, Paul Shaffer, and my second-favorite Canadian-born Jew: Victor Garber. (For those wanting to know, New York Times columnist David Brooks would be first on that list.) Garber would go on to reprise his leading role in the 1973 film based on the musical.

Here is Merrell Jackson's fine rendition of "All Good Gifts" from the 1973 motion picture. Have a happy Thanksgiving, and remember to give thanks for all good gifts tomorrow!

Alive With the Sound of Music

2009-11-14T20:59:00.035-05:00

Your humble correspondent with the Von Trapp Children.
From left to right: Amanda, Justin, Sofia, Melanie

I don't know if the hills are alive with the sound of music, but Yankee Candle Village was. Yankee Candle stores can be found throughout the country, but their flagship location is in South Deerfield, Mass. And this afternoon, for the fifth straight year, the Von Trapp Children gave a free concert at Yankee Candle Village. Naturally, your humble correspondent was on hand to do his part to celebrate the 50th Anniversary of Rodgers and Hammerstein's last collaboration.

These Von Trapp Children are from Montana, the great-grandchildren of Captain Von Trapp. The siblings' grandfather was Werner Von Trapp, who had his name changed to Kurt (a.k.a. "I'm incorrigible!") in The Sound of Music. Despite their musical moniker, these Von Trapps are not quite children anymore, ranging in age from 21 to 15. Prior to this afternoon, I was familiar with the early work of The Von Trapp Children, but not enamored of it. They began singing eight years ago, when they were substantially younger. But their voices have matured splendidly since then (Sofia now studies at Berklee College of Music in Boston).

The four harmonize very well. This reviewer wishes that the 45-minute concert had featured a bit more vocally challenging material or arrangements of the songs that were included. Sofia shined at the beginning of "Do-Re-Mi," and Justin showed a fairly impressive falsetto in "Anything You Can Do" from Annie, Get Your Gun. Most selections were drawn from The Sound of Music, but other songs included the aforementioned "Anything You Can Do," the spiritual "Down By the River to Pray," and the Rwandan national anthem (which can be heard on the quartet's website, http://www.vontrappchildren.com/).

The costumes were authentic Austrian garb, and their significance was explained in the course of the show. Justin was wearing leiderhosen--but not, he assured us, made from curtains. The Von Trapp Children were accompanied by piano on most songs, but did just fine singing a cappella. The Von Trapps provided exactly what their enthusiastic audience wanted: old favorites, served up with a touch of history and a great deal of charm.

The Von Trapp Children in concert

Christmas Carol Virtual Tree

2009-11-03T21:15:00.002-05:00

Happy Birthday to TR!

2009-10-27T11:32:00.007-04:00

Happy birthday to one of our greatest presidents: Theodore Roosevelt. Born in 1858, Teddy would be 151 had he survived to be a quite venerable old man. TR only lived to be 60 (dying in January 1919), but in that time he was the youngest man to ever assume the presidency (JFK would later become the youngest ever elected), the first sitting president to win a Nobel Peace Prize, an author of dozens of books, Vice President, Governor of New York, rancher, conservationist, and more. Not to mention lending his name to one of the most beloved toys of all time!

Happy birthday, Teddy Roosevelt!

Wake Up and Smile!

2009-10-20T21:57:00.006-04:00

Well, this isn't National Humor Month, but what's wrong with laughing outside the month of April? Here is one of the funniest things I have ever seen. It's a hilarious send-up of morning "news" programs. I'm sure Diane Sawyer is glad to be trading up the evening newscast!

Find more videos like this on www.truveo.com.

Seeing The Cos

2009-10-17T21:53:00.034-04:00

The Springfield Symphony Hall, with banner announcing Bill Cosby

On Friday evening, I was fortunate to see a legend. Thanks to twitter, Bill Cosby was giving away tickets to his shows in Springfield, Mass. I was a lucky winner, and so I schlepped down to the Springfield Symphony Hall on Friday evening to see him.

The Cos is probably best remembered for his iconic sitcom The Cosby Show in the 1980's. But even apart from that, his resume is nothing to sneeze at. He is one of the great comedians of his era. He became the first black star of a network TV drama series in I Spy. In recent years, Cosby has even become something of a social commentator. And, of course, the Phantom of UMass would be remiss not to point out that The Cos has an (earned!) doctorate in education from UMass-Amherst.

Bill Cosby's billing is certainly nothing short of impressive:

Bill Cosby’s successes, that span five decades and virtually all media, are remarkable accomplishments for a kid who emerged from humble beginnings in a Philly project. He is without a doubt one of the most influential stars in America today with an uncanny ability to touch people’s lives. Cosby does so without resorting to gimmicky or lowbrow humor, representing the voice of the vast, ordinary world out there while pointing out the humor in our lives.

And he lived up to it. The setting was simple enough. For most of the evening, Cosby sat on a chair in the middle of the stage and talked. He did two shows that evening, one at 7 p.m. and one at 9:30. I went to the latter. I don't know how long the earlier show lasted, but Cosby talked for nearly two hours when I was in attendance, finally stopping at about 11:15. He's now 72, and he looked quite tired, but he gave his audience a great show nonetheless.

Cosby spoke about growing old, the health problems that come with age, and his 45 year marriage to his wife. He was certainly hilarious, but he was more. There was a poignancy as The Cos looked back at the way life changes a person. At times he was the curmudgeon that his septuagenarian status entitles him to be. But at times his humor was young at heart and still michievously impish.

Like seeing Topol in Fiddler on the Roof this Spring, seeing Bill Cosby was worth it simply for the sake of seeing a legend. Unlike Topol, however, The Cos is still bringing fresh insights out of his familiar role. Many thanks to Bill Cosby for his generosity, and for a great show.

It's Grrrrrreat!

2009-10-14T14:26:00.002-04:00

Blogging has been a bit slow lately as the semester has kept me plenty busy. But I realized that I frequently snap pictures as I go through the days, and I can blog on the fly by emailing them...

So here is my first mobile post, sportsfans! As I left my apartment at 9 a.m., the temperature was 28 degrees F. And outside my door was the first frost I've seen this season. Not quite frosted flakes, but a morning treat all the same. It was a lovely crisp morning, and the frost was pristine--especially on the still-green patches of grass.

Ironically, I was listening to Simon & Garfunkel's "Leaves That Are Green" before I left this morning. Well, if any leaves haven't turned to brown and withered in the wind yet, they will very presently.

That's the news from the Pioneer Valley, folks. Stay tuned for more news...
Sent from my Verizon Wireless BlackBerry

Never Forget

2009-09-11T07:56:00.008-04:00

Who can ever forget where they were eight years ago? I was two weeks into the first semester of my freshman year of college, waiting for Intro to International Relations to begin. Several students came in and said that planes had hit the Twin Towers. We had no idea of the full extent of the situation until class was over. In those 75 minutes, international relations changed dramatically.

In memory of this day, I offer this song from Linda Eder. Like Good Friday, this is a day where I will forego tangents about Ms. Eder's vocal capabilities in order to focus on the solemnity of the day we remember. But do pay attention to the first versa and how poignantly is captures an aching loss of innocence.

The Road Goes Ever On and On

2009-09-07T09:38:00.007-04:00

Happy Labor Day, gentle readers! Labor Day at Micah 24601 means two things. First, I will revive my annual suggestion that a year might be more meaningfully spent if we all actually labored on Labor Day--and then took off the rest of the year, instead of vice versa.

More importantly, Labor Day is the unofficial last day of summer. As I type this, it is 55 degrees outside, and that's 10 degrees warmer than when I woke up this morning! Not a very summery day by South Florida standards, but I'm in New England now, and it is a lovely day all the same. Summer being over, I return to grad school tomorrow. I return--and I begin. Back to grad school, but my career at UMass is just commencing.

In honor of the occasion, I offer these words from J.R.R. Tolkien. As a special treat, hear the poem below in Tolkien's own distinct voice. Happy Labor Day to all, and best wishes to all Micah 24601 readers out there who are currently engaged in or about to begin their own semesters. Here's to my own Ph.D. in a few years' time. And whither then? I cannot say.

The road goes ever on and on
Down from the door where it began.
Now far ahead the road has gone,
And I must follow if I can,
Pursuing it with eager feet,
Until it joins some larger way
Where many paths and errands meet.
And whither then? I cannot say.

"Freud's Last Session" is Brilliant in its First Production

2009-08-31T19:54:00.007-04:00

Freud’s Last Session is a superlative new play that has been taking the Berkshires by storm. Originally having its world premiere over four weeks in June, its run was extended to an additional three weeks in August, and then extended again an additional week, taking it into September. It is now the longest running show in the Barrington Stage Company's history. I was quite glad to hear of the initial extension, because it meant that the extended run would overlap with my Massachusetts residency. Freud’s Last Session is the latest in a string of projects resulting from Dr. Armand M. Nicholi’s book, The Question of God. Dr. Nicholi, a professor of psychiatry at Harvard Medical School and a Christian, has been teaching a course contrasting the worldviews of Freud and Lewis for decades. In 2004, the book was made into a docudrama that aired on PBS. (Simon Jones, most recently of Broadway’s Blithe Spirit, was Lewis, while Peter Eyre of the upcoming Hamlet revival with Jude Law was Freud.)

C.S. Lewis (Mark H. Dold) is greeted warmly by Sigmund Freud (Martin Rayner)

Now, however, the contrasting philosophies have been adapted yet again. Playwright Mark St. Germain has given us a probably fictional meeting between the two men, based on Nicholi’s book. The clash of their ideas, however, is anything but fictional. To St. Germain’s credit, the play sparkles with wit and pathos, never becoming tedious or academic. The setting is fairly simple: in 1941, as German bombs fall on London, Sigmund Freud is dying of mouth cancer. Two weeks before committing suicide, he invites a young Oxford don for a chat. That young don, largely unknown at the time, but later to become world-famous, is C.S. Lewis. Freud wants to know why Lewis has abandoned his atheism and become a Christian. And Lewis wants to tell him.

Your humble correspondent with Martin Rayner (Sigmund Freud)

Martin Rayner’s Sigmund Freud is a tour-de-force from the word go. Initially a loveable curmudgeon, his skeptical jabs keep the young Lewis on his toes and the audience chuckling. But Rayner is no Johnny one-note. As the play progresses, and as Freud grows to trust his sparring partner, out spills the anguished bitterness over the death of a daughter, the death of a grandson, and his own oral cancer. At one rather heated moment, Freud wishes he had gone senile so that he could believe in God—only to seek revenge against him. We may or may not agree with Freud’s psychoanalytic theories or his impudence, but Rayner makes sure that we glimpse the great pain chafing at his soul.

The reviewer with Mark H. Dold (C.S. Lewis)

Mark H. Dold’s C.S. Lewis is not such an obvious replica of his historical character at first blush—instead he brilliantly makes the role his own, and shows us new facets of Lewis. This is not the C.S. Lewis of William Nicholson’s Shadowlands: brilliant, but distant. Dold’s Lewis is passionate, and comes with an evangelical zeal to tell Freud why he converted from a rabid strain of materialism not unlike Freud’s own. Despite going toe-to-toe with Freud in their debate over metaphysics, Lewis is generally deferential to the older, and at that point much more esteemed, Freud.

Lewis (Mark H. Dold) helps Freud (Martin Rayner) put on his gas mask during a bomb scare

I’m not sure how much Mark H. Dold looks like C.S. Lewis in his early forties. I suspect he has a great deal more hair. Nonetheless, Lewis does not have such an iconic appearance as Freud. Both performers use their characters’ public profile, or lack thereof, to brilliant effect. Rayner is splendidly charismatic and never hammy as he utilizes Freud’s well-known accoutrements. Dold builds his own Lewis out of the play’s solid grounding in Lewis’ works, but brings fresh vigor to those ideas. The characters’ costumes are similarly chosen. Freud’s tweedy brown suit is entirely predictable. Lewis’ Turnbull and Asser-style striped shirt with white collar and sharply tailored 1940s jacket make him—dare I say it?—dashing. Perhaps the image of a rumpled academic is too much in my mind, and perhaps C.S. Lewis only became so tweedy himself in later decades, though I doubt it. At any rate, the divergent costumes are effective in emphasizing the differences in the characters, differences which two tweed suits would probably not underscore so well. The tiny set is a an exquisitely detailed replica of Freud’s study in London, and the intimate Stage II venue allows the audience to be the proverbial fly on the wall as these great intellects spar.

Freud (Martin Rayner) on his famous couch while he discusses God, life, and death with Lewis (Mark H. Dold)

Ultimately, however, the play is a great success because of the playwright, Mark St. Germain. He is abundantly familiar with the works of both men, and he weaves their thoughts expertly through a winsome dialogue that is heavy at times, but never fails to charm. So who wins? Well, St. Germain is willing to construct an apocryphal meeting between Freud and Lewis, but he is no revisionist. For all we know, Freud still commits suicide two weeks later, despite Lewis’ concern for his life and soul. Still, he is not unaffected. Near the end of the discussion, Lewis observes that Freud does not like music. Freud admits that he does not like music because he cannot rationally explain the emotions it provokes in him. Lewis urges Freud to accept the possibility of something beyond his reason, but is rebuffed. After Lewis leaves, Freud turns on the radio to hear the tail end of a wartime speech from King George VI. Despite huffing at the King’s invocation of God, Freud visibly resists the urge to turn off the radio when the speech is done, and music begins to play. Instead, he turns the volume up and sits back in his chair to listen. Lewis has clearly given Freud something to think about. And they have both given the audience much to think about. What more could one ask from a meeting of such great minds?

Yours truly with both Mark H. Dold (C.S. Lewis) and Martin Rayner (Sigmund Freud)

This "Streetcar" Covers New Ground

2009-08-30T21:29:00.015-04:00

The Barrington Stage Company of Pittsfield, Massachusetts, has given us a solid production of one of the classic works in American theatre: A Streetcar Named Desire. Most impressively, BSC utilized two stars of musical theatre—Marin Mazzie as Blanche DuBois and Christopher Innvar as Stanley Kowalski—to good effect in Tennessee Williams’ legendary straight play. Prior to seeing this production on stage, my Streetcar experience was limited to the 1951 Elia Kazan motion picture. The first of several timeless collaborations between Kazan and Marlon Brando (followed by Viva Zapata! and On the Waterfront), the film does spoil viewers with Brando’s definitive performance as Stanley Kowalski. If you doubt me, find a review evaluating any post-1951 production of A Streetcar Named Desire, and comprising more than one paragraph, that does not implicitly—and usually explicitly—compare its male lead to Brando.

Christopher Innvar(Stanley Kowalski), Kim Stauffer (Stella Kowalski), and Marin Mazzie (Blanche DuBois)

And who can top the iconic performances of Vivien Leigh and Marlon Brando? Wisely, the Barrington Stage production did not try. Nor did they re-imagine the entire piece in some new and different light. Instead, they hewed to a safe course; the story was framed for us in familiar terms. Indeed, the set has not changed all that much from the original Broadway production: we still look into Stanley and Stella’s ramshackle first-floor apartment. And where this production did tinker around the margins, I think it did so unsuccessfully. Judging by applause, most of the audience seemed to enjoy the blues numbers between scenes. I found them unnecessary at best, interfering with the flow of the drama. At worst, I found them ham-handed and manipulative. The dour lyrics usually tried to reinforce the scene just prior, but I would rather that the story be played out by the actors, with nuance, than summarized and spoon-fed to me at the end of every scene. If the music of Tennessee Williams’ prose is not enough for audiences, why are they there?

Kevin Carolan (Mitch) and Marin Mazzie (Blanche DuBois)

But the few questionable staging decisions were a minor quibble. The drama is framed, by and large, by familiar settings. It is the actors who gave new life to the production. And they did so subtly, not ostentatiously. And this was the BSC Streetcar: conservative, not reinventing the wheel, but showing the story in a new light by virtue of fresh takes on the characters concerned. The story is fairly familiar by now: Blanche DuBois arrives unexpectedly to visit her sister and brother-in-law in New Orleans, the terminus of her literal and figurative ride on a streetcar named Desire. Clinging to delusions of grandeur, she butts heads with her sister’s brutish husband, until the contest of wills drives her insane.

Your humble correspondent with leading lady Marin Mazzie

Marin Mazzie is a three-time Tony nominee. Being one of the most spectacular sopranos on Broadway, it is not surprising that her Tony nominations are for musicals. It was a treat to see Mazzie exhibit her versatility in her excellent, and fresh, turn as the doomed Blanche. This was not Jessica Tandy or Vivien Leigh. Mazzie was not diminutive and frail, already beginning to crumble as she stepped off the aptly named streetcar. Certainly, the wheels of Blanche’s destruction were already in motion, but she simply refused to acknowledge them. The contrast between Blanche’s pretention and Stanley’s refusal to conform to anything but his own domineering wants became all the more potent as Blanche fantasized until her final breakdown. And unlike Leigh’s Blanche, Mazzie’s dreams of past glories were not idle escapism. They were futile, certainly, but that did not make the slipping Blanche any less likely to hold to some hope of their fulfillment.

Yours truly with Inspector Javert-turned-Stanley Kowalski Christopher Innvar

If Christopher Innvar was less impressive as Stanley Kowalski than Brando, who can blame him? After all, who has been Brando’s equal in the role? However, one needn’t be Brando to turn in a fine performance—and that Innvar did. Like Mazzie, Innvar has a successful career in musical theatre. He was accorded the honor of playing Inspector Javert in the Tenth Anniversary cast of Les Miserables on Broadway. Also like Mazzie, Innvar was more than equal to his task in this straight play. As Stanley Kowalski, Innvar was not the awe-inspiring force of nature that simply swept away the helpless Blanche like a tidal wave. No, Innvar’s Stanley was a man who wanted what he wanted, and resented the meddling Blanche. He not only resented her because she interfered in his getting what he wanted, but also because he detested what she was. Stanley was what he was, without affectation and without apology. He had nothing but contempt for his rival and her airs, rightly perceiving that they were only a mask for her inadequacies.

Kim Stauffer and myself

And so the battle was pitched between this unusually robust Blanche and Stanley the alpha male. The field of battle was Blanche’s sister and Stanley’s wife, Stella. If Blanche was sturdier than usual, Kim Stauffer’s Stella was less so. Stella was not propping Blanche up at every turn as much as Blanche was attempting to pull Stella out of Stanley’s orbit and into her own. “I like to wait on you,” said Stella to Blanche. Indeed she did. The problem is that the genuinely—and somewhat generically—solicitous Stella liked to wait on two different people who enjoyed her waiting on them, but also hated each other’s guts. Like any turf under dispute, Stella was torn up in the ensuing struggle. But it is no surprise that she stayed with Stanley at the end. Whatever Stella’s sympathy with her sister—which is not feigned—Blanche’s absence means that Stella clung all the more tightly to the only gravitational pull left. And we know that the unsophisticated but canny Stanley knew this.

The author with Kevin Carolan

In a classy move, Kevin Carolan dedicated his performance as Mitch to Karl Malden, who originated the role in the 1947 Broadway production and also reprised it in the 1951 film. Like Malden, Carolan portrayed everyman Mitch movingly. He was not sure what to make of Blanche’s bravado, but he genuinely cared for her. His weeping as Blanche is led off to the asylum—despite his disappointment in her deception—was poignant, and provided a profoundly decent counterpoint to Stanley’s vengeful dynamism.

Chrisopher Innvar (Stanley Kowalski) and Kim Stauffer (Stella Kowalski)

By eschewing impudent edits to A Streetcar Named Desire, the Barrington Stage Company preserved the haunting drama at its core. But by virtue of the casting, and their thought-provoking approach to their roles, a new view of the drama appears to us. Gone were psychology’s tangled, neurotic inevitabilities. In strode the sometimes gruesome chess game that is power politics. Sigmund Freud left this Streetcar, and Thomas Hobbes conducted it to its conclusion. And like rubberneckers passing a train wreck, we couldn’t keep our eyes off the tragedy.

Marin Mazzie (Blanche DuBois)

Something Old, Something New

2009-08-27T20:44:00.007-04:00

August is nearly over, and I have no intention of letting an entire month pass without a comment of some sort on Micah 24601. So I will just file a brief update, gentle readers. I have been in Massachusetts for 3 weeks or so now, and getting settled has kept me busy. I don't think I realized how significant South Florida was (despite the fact that I had lived there all my life!) until I noticed how often it was a subject label for my blog posts. Perhaps because moving to Western Mass was a conscious decision, I am a bit more aware of my interest in the area from the outset. And I will be sharing some of the interesting tidbits as time goes by.

So keep your eyes peeled, my hiatus will come to an end shortly. Specifically, two theatre reviews are forthcoming. Naturally, I was eager to explore theatre in Massachusetts. This past week, I was fortunate enough to catch 2 shows before the academic business of the semester. "Something Old, Something New" does not just describe my move. The Barrington Stage Company's 15th anniversary season furnished fine examples of both classic and contemporary drama. First was the legendary A Streetcar Named Desire. Then came a thought-provoking new work that has been wildly popular in its BSC world premiere, Freud's Last Session, centering around a (probably fictional) meeting between C.S. Lewis and Sigmund Freud.

I intended to post quick reactions to both as an omnibus review of my experience with both BSC's Mainstage (Streetcar) and Stage II (Freud). Despite being only 70-odd minutes, however, Freud's Last Session left me with much to say. A combined review would thus be entirely too unwieldy. So I will get to work on those reviews. I enjoyed Streetcar, but I am very excited about Freud's Last Session and the reception it has received. You'll find out why shortly--don't touch that dial!

Mark H. Dold as a young C.S. Lewis and Martin Rayner as Sigmund Freud, in Freud's Last Session

Where Do You Get Your Morning Paper?

2009-07-27T15:46:00.003-04:00

On the West Coast of Florida this past weekend, I saw something I had never quite seen before. I suppose I could describe it to you, but they say a picture is worth a thousand words. So without further ado, I present to you a Starbucks restroom (yes, a restroom):

Is this a comment on the quality of the New York Times, or do they actually sell more papers this way? Do any Micah 24601 readers have a better explanation for this strange phenomenon? (Editorial comment: It is impossible for me to mention the Times without recommending the expert poltical and social analysis of columnist David Brooks.)

One Small Step for Man, One Giant Leap for a Newsman

2009-07-20T19:13:00.024-04:00

This weekend was historically notable for both past and present events. 40 years ago this weekend, America held its breath as Apollo 11 launched, and then as Neil Armstrong and Buzz Aldrin walked on the moon and planted our flag there. The landing was made all the more memorable by CBS anchor Walter Cronkite's pregnant exclamation "oh, boy!" It was (as noted by pundit John Dickerson) an ironic twist of fate that Cronkite died this weekend. Would there be a more timely moment to revisit footage of "the most trusted man in America's" boyish glee as The Eagle landed? Micah 24601 thinks not. So, in honor of the lunar landing's 40th anniversary, as well as the distinguished career of Walter Cronkite, here is vintage CBS coverage from 20 July 1969, anchored by Walter Cronkite and Wally Schirra.

Walter Cronkite left the CBS Evening News in March of 1981. Anchoring the news from 1962 to 1981, Cronkite covered a great many stories of historical import. Not surprisingly, his coverage is remembered along with the events themselves. There is no dearth of material to remember Cronkite by. Still, this is not the same thing as seeing him do a newscast for a half hour. I suppose we news junkies of Generation Y must content ourselves with familiarizing ourselves with Cronkite's iconic status and distinguished enunciation via the anthology that YouTube and eulogies provide. Still, there is one important way that Cronkite affected network news through the 1980's and beyond. Had he not retired in 1981, it is very likely that a then-up-and-coming Dan Rather might have abandoned CBS for ABC, which had never had a very successful evening newscast up to that point. Had Rather joined Roone Arledge's ABC News, Peter Jennings might never have built that very network into the news powerhouse it became (and that it never was prior to Jennings). So we Millenials can thank Cronkite even in his absence. I grew up watching Jennings on World News Tonight. Even though I know he never achieved Cronkite's status for the nation at large, Jennings was the news--for me at least.

So I am enjoying the nostalgiac look back into the world of Walter Cronkite. It is a world I never knew first-hand, but a fascinating place all the same. Despite this, I don't think that Cronkite's legacy is cheapened by the fact that his influence is felt long after he left the anchor's chair. With a mix curiousity and appreciation, this lifelong though relatively young news junkie bids Walter Cronkite adieu.

A Second Act for the Man in Black

2009-07-16T11:29:00.012-04:00

On 16 July 1986, an American legend was discarded in the headlong pursuit of profit. It is an old phenomenon (and one that has not gone unnoticed by this blog), but an unfortunately recurring theme. In this particular chapter of the saga, Columbia Records declined to renew its contract with Johnny Cash, despite their 28-year affiliation. In Columbia's defense, Cash was not the figure he once was. Hits like "Folsom Prison Blues" and "Walk the Line" were distant memories, and new Cash songs were not their equals.

So Cash was off to Mercury Records for a brief and unstatisfying stint. But the story does not end there. Had it ended there, Johnny Cash would be remembered for his innovative contribution to country music and searing social commentary, but there would be precious little to remark on after the mid-to-late-1970s.

But this was not, as Paul Harvey would say, "the rest of the story." Irony of ironies, Def Jam impresario Rick Rubin offered The Man in Black a contract with the nascent American Recordings. The result was American Recording, with its spare acoustic guitar accompaniment and Cash's rumbling baritone. American Recording was the first of 5 collaborations between Cash and Rubin. Significantly, all of Cash's albums with American Recordings (including the posthumous American V) won at least one Grammy Award.

The antithesis of "Forever Dumb," the American Recordings are musically diverse, but the theme is not insubstanial: they expand on Cash's lifelong fascination with sin and redemption. Cash was uniquely able to play all roles in this drama: at various times he was the crafty old outlaw, the sagacious onlooker, the sorrowful penitent, and the fire-and-brimstone prophet.

So today let us remember Johnny Cash and his second act. Take a listen to the 2 songs from the original American Recordings embedded in this post. Enjoy the complexity, the weighty themes, and the grizzled appeal of The Man in Black.

"Worst Thing That Could Have Happened"

2009-07-14T17:10:00.006-04:00

Thanks to The Weekly Standard for bringing this clip to my attention. Costas is no dummy, and he readily declines to comment on the legal reasoning underpinning Sotomayor's strike-ending judicial decision. Does the fact that Costas belives her ruling the "worst thing that could have happened" to baseball mean that she will not be a good Supreme Court justice? Of course not. But if no less a baseball afficianado as Bob Costas addresses the ruling in such superlative terms, I think it's safe to conclude that all the hooplah about Sotomayor "saving baseball" is just that.

Speaking of Bob Costas, the All-Star game is as good a day as any mourn his absence from calling games for such a long time. True, he just resumed the practice for the nascent MLB Network this Spring, but that is a far cry from his previous exposure with NBC Sports. For nearly a decade now, Costas has been relegated to hosting footbal pregame shows, Kentucky Derbies and Olympics. While the latter task is arguably rather significant (putting Costas in the same category with sports broadcasting legend and frequent Olympic host Jim McKay), the biennial schedule is not only infrequent--it does not allow for Costas cerebral play-by-play. Costas does a fine job with basketball, but he shines particularly brightly when calling baseball. He is the thinking man's announcer, and a devotee of the game. It is fitting that tonight's game is in St. Louis, where Costas began his broadcasting career for the now-defunct American Basketball Association. Costas would never complain that baseball games take too long (as Fox's Joe Buck did). They just don't make 'em like they used to. Bob, you are missed.

And the Cow at Least Got Up on the Roof

2009-07-13T11:47:00.005-04:00

Seen in Wal-Mart: Tevye Farms milk! Tevye, as readers will probably recall, is the milkman-protagonist of the musical Fiddler on the Roof. The picture above is not the clearest, but you can probably make out the cow in the logo holding a violin. The label brought a smile to my face, so I'm happy to share it with you.

Additionally, Micah 24601 would like to share this video, which was not included in our previous compendium of Tevyes. But Herschel Bernardi--the original Charlie the Tuna--deserves to be included with the other memorable Tevyes. This video hails from the 1981 Broadway revival of Fiddler. Enjoy!

Happy Phourth of July!

2009-07-03T10:26:00.011-04:00

As longtime readers will know, Micah 24601's alter ego is the Phantom of... Well, the "of" part is currently in transition, but you can read about the Phantom's once and future haunts. So happy "Phourth" of July from the Phantom, and all of the dissociative personalities here at Micah 24601.

On a more serious note, "freedom isn't free." We hear the phrase (I can't resist using "ph" words today--so, phreedom isn't phree!) often--so often that it has virtually become a cliche. It very often refers to the efforts of American troops. This is certainly very true, but there is--and must be--more meaning than that. Without minimizing the sacrifices of our armed forces, this country belongs to all of us. And it is the accumulation of all our efforts, for better or worse. So let's keep in mind these wise words from one of the most patriotic men who ever lived:

The things that will destroy America are prosperity at any price, peace at any price, safety first instead of duty first, the love of soft living and the get rich quick theory of life.
--Theodore Roosevelt

One final consideration for your "Phourth": how is your civic literacy? The Point (a great blog with delightfully eclectic commentaries) brought this little quiz to my attention. The average score is an appalling 49%. I took it and scored 93.9%, thank you very much. I don't think this particular quiz is necessarily the best instrument to test civic literacy--the Intercollegiate Studies Institute mixes queries of basic civic information with some questions that are a bit slanted to inculcate the ISI's economic perspective. Nonetheless, most of the quiz is basic and indisputable enough that the average score should be considerably higher. If any brave Micah 24601 readers care to take it, feel free to note your scores in a comment, and let's see how much better we can go than the public at large.

RIP Karl Malden, 1912-2009

2009-07-02T09:42:00.016-04:00

Karl Malden in his Streets of San Francisco fedora

Karl Malden died yesterday at the age of 97. Malden is, in my estimation, one of the greatest character actors in history. I first came across him while I was still a youngster, via Streets of San Francisco reruns (one of his few leading roles) and his iconic American Express commercials, with their "Don't leave home without them" catchphrase. Malden as General Omar Bradley was a steady counterpoint to George C. Scott's Oscar-winning histrionics in Patton, and a relentless but not unjust detective pursuing a killer in I Confess. In addition to all this, Malden had an extensive stage career.

But I think that Malden's greatest triumph was as the corruption-battling Father Barry in On the Waterfront. The brilliant film is best known for Marlon Brando's "I coulda been a contender" line, though it also served as a metaphor for director Elia Kazan's own testimony naming suspected Hollywood communists before the House Un-American Activities Committee. But my favorite aspect of the film has always been Karl Malden as Father Barry, the priest who exhorts dock workers to testify against the corrupt union. Consider this scene, where Father Barry denounces the murder of a would-be witness against the mob. The union leader orders a sling of cargo dropped on the offender's head, a clear retaliation that would go unmentioned--except for Father Barry's courage. I think this is the best portayal of a sermon in the history of cinema, dwarfing Orson Welles as Father Mapple in Moby Dick.

Acting as a profession is often confused with some of its most popular (i.e., not best) stars--an unfortunate circumstance, as this leads to a "Forever Dumb" perception of what can actually be a profound art. But Malden was no dummy. Gina Dalfonzo notes in The Point that he was married to his wife, Mona, for 70 years (while archly noting that "he didn’t get there by crying in Argentina"). He may not have been coolest or most handsome matinee idol, but he was a person and an actor of quality. Both of these species are diminishing. So we remember them all the more fondly. And today, we remember Karl Malden.

Karl Malden in the opening credits of Alfred Hitchcock's I Confess

Forever Dumb

2009-06-29T14:42:00.006-04:00

A Prairie Home Companion is a charming slice of Americana. An old-fashioned radio variety show of the sort that simply does not exist anymore. This past weekend, in a show originating from Lenox, Massachusetts, Garrison Keillor and guest Heather Masse dueted on a funny but pointed parody of Bob Dylan's "Forever Young."

Dylan's original song never conflated youth with immaturity and superficiality. Still, a popular culture obsessed with celebrity and being the flavor of the moment (even the flavor of the month is too old, oftentimes) encourages just such an approach. And--dare I say it?--such banality has resulted in many hourlong "news" specials since last Thursday. So many thanks to Keillor and his Midwestern common sense for reminding us that substance is still important.

May you always be important,

And cool and stylish, too,

And be admired by others,

And have people wait on you.

May the members of your fan club

Fill a great big stadium

May you stay...

Forever Dumb.

May you grow up to be beautiful,

And very rich and slim.

May God give you everything you want,

Though you don't believe in Him.

May you ever be successful

As you follow your own drum.

May you stay...

Forever Dumb.

May your hands always be skillful,

May your cars always be swift.

Oh, a big red Masterati,

With an automatic shift.

May you stick your finger in a pie,

And always find the plum.

May you stay...

Forever Dumb.

Forever Dumb,

May you stay...

Forever Duhhh-uhhhh-uhhhhmb.

If you'd like to hear Keillor and Masse, the entire show can be heard on the show's website, or hear "Forever Dumb" at the 8:20 mark.

There is No Rest of the Story

2009-06-24T11:06:00.005-04:00

The Paul Harvey family

Alas and alack, Paul Harvey is no more. Worse, his programs are also history. Initially, longtime Paul Harvey pinch-hitters Gil Gross and Doug Limerick were to continue the morning and afternoon "News and Comment," with Limerick taking over "The Rest of the Story." But now both "News and Comment" and "The Rest of the Story" have been replaced (since the end of March, apparently) by "The Huckabee Report." Sure, Huckabee is folksy enough. But he's a politician. I'm jaded about politicians, particularly those with obvious presidential aspirations. American icons should not be replaced with would-be flavors-of-the-month.

This probably shouldn't matter too much to me. After all, there hasn't been an ABC Radio affiliate in South Florida for several years. And my Paul Harvey collection is bigger than most: 2 videotapes, 4 books, and numerous audio clips. Still, it's the principle of the thing.

I understand ending the newscast. I like Gil Gross very much, but still, it just isn't the same without Paul Harvey. Even if they replaced Paul Harvey on "News and Comment," changing the name and branding might be a good marketing hook to get fresh listeners. And it will never be "Paul Harvey News and Comment" again, anyways. But "The Rest of the Story" should have continued. Paul Harvey, Jr., has written the scripts since the program's inception in 1976, and has filled in for his father on the air. So, gentle readers, what do you think? Here is Paul Harvey, Jr., giving "The Rest of the Story." Sure, he isn't quite the same. Who is? But the feature deserves to continue. Or, at least, so says Micah 24601. What say you, readers? Like Alfred P. Doolittle, "I puts it to you, and I leaves it to you."

The Rest of the Story
Paul Harvey, Jr.
3 January 2008

Happy Flag Day!

2009-06-14T20:41:00.009-04:00

Today marks the 232nd birthday of the American flag. On 14 June 1777, the Continental Congress adopted the Stars and Stripes--and the rest is history. A day to remember! And who better to pay tribute to Old Glory than Johnny Cash? The Man in Black was nothing if not a patriot. So here is one of my favorite Johnny Cash songs: "Ragged Old Flag." I defy any American to listen to it and not swell with patriotic pride.

The flag is not just a flag. It is a symbol, but not a mere symbol. It is the embodiment of every bit of effort, blood, sweat and tears expended by Americans from 1776 to this day. It represents the soldiers who fought for it on battlefields near and far. It represents the inspired words of the Declaration of Independence, the preamble to the Constitution, "with malice toward none," "ask not," and all the words that we cherish. It is Washington, Lincoln, and the Roosevelts. It is America.

"Sure, I wave the American flag. Do you know a better flag to wave?"
—John Wayne

Jehanne

2009-05-30T19:49:00.009-04:00

"Love, Mercy, Charity, Fortitude, War, Peace, Poetry, Music--these may be
symbolized as any shall prefer: by figures of either sex and of any age; but a slender
girl in her first young bloom, with the martyr's crown upon her head, and in her
hand the sword that severed her country's bonds--shall not this, and no other,
stand for PATRIOTISM through all the ages until time shall end?"
--Mark Twain

On 30 May 1431, Joan of Arc was burned at the stake by the English at Rouen, France. Joan was only 19, but this peasant girl had not only set France on the path to victory in the Hundred Years' War within the span of a year, she also had also become more than history. Joan became a legend. And what a legend she became. The many depictions of Joan of Arc include the 1948 motion picture starring Ingrid Bergman, which earned producer Walter Wanger a special Academy Award for for "distinguished service to the industry in adding to its moral stature in the world community by his production of the picture Joan of Arc."

Even more impressive was Mark Twain's Personal Recollections of Joan of Arc. Joan was an illiterate and devoutly religious peasant girl. Mark Twain was Mark Twain--cynical, and not likely to be impressed by a young girl claiming to see visions of saints and angels. Nonetheless, Twain fell in love with Joan of Arc. As you can see in the excerpt below, a reverence generally unknown to Twain pervades Personal Reflections of Joan of Arc, which Twain considered the best of all his novels.

She was perhaps the only entirely unselfish person whose name has a place in profane history. No vestige or suggestion of self-seeking can be found in any word or deed of hers. When she had rescued her King from his vagabondage, and set his crown upon his head, she was offered rewards and honors, but she refused them all, and would take nothing. All she would take for herself--if the King would grant it--was leave to go back to her village home, and tend her sheep again, and feel her mother's arms about her, and be her housemaid and helper. The selfishness of this unspoiled general of victorious armies, companion of princes, and idol of an applauding and grateful nation, reached but that far and no farther.

So here's to Joan! In her honor, I offer Micah 24601 readers a poem I wrote nearly 10 years ago. The title is "Jehanne" which was Joan's name in the 15th-century dialect she spoke. The prononucaiation is "zhay-AH-nuh"

Jehanne

Out of the dark medieval night came
This maiden destined for holy fame;
And well she bore her noble name:
Jehanne.

Christened by others Joan of Arc,
The Maid of Orleans, or The Lark;
To what name did her hallowed ears hark?
Jehanne!

Her simple faith, pure as a child,
Upheld her through the battle wild,
This little girl, so meek, so mild:
Jehanne.

Vic'try she brought, and still she fell
As it were, into the grasp of Hell.
The flames consumed, and there ends tell
Of Jehanne.

Still I wonder where she's gone
Our murky dusk rolls on and on
What here shall call forth the dawn?
If not Jehanne?

Might she not still inspire--
The glory of her purity ennoble desire?
And beauty of her faith still bring us higher,
Near Jehanne.

And thro' the ages, still it rings,
Carried on honor's clarion wings
And still drowns out inferior pings:
Jehanne!

Joan was illiterate, but could sign her name. Her signature survives on several letter she dictated

What Did He Die For?

2009-05-22T10:57:00.010-04:00

The Memorial Day weekend begins tonight. If you have read Micah 24601 over the past few days, then you know that I have been urging remembrance. Not necessarily to the exclusion of any other festivity, but certainly not letting festivities exclude our gratitude to America's brave men and women (it's a shame that the phrase is virtually a cliche) in the military.

As the holiday is upon us, I would like to share the following video with you: "What Did He Die For?" by Twila Paris. Though official, it is a "concept video," and perhaps not as slickly produced as other music videos. In this YouTube era, Paris' absence from her own video may seem to indicate a homemade slideshow, but I think her lack of vanity is commendable. Regardless, the message of the song comes through loud and clear:

Look inside and ask the question:
What did he die for,
When he died for me?

A Fitting Memorial

2009-05-20T11:30:00.010-04:00

Memorial Day is the informal kick-start to Summer. As a result, Memorial Day festivities are unfortunately rather unrelated to the holiday's purpose. This is a shame. There are plenty of other holidays strung throughout the year--and even more days unclaimed by any celebration whatsoever--to let the day pass without remembering the sacrifices that have been made to keep America free and strong. This is not to disparage any particular event or recreation, but merely to note that some remembrance should be made--that is, after all, what the day is for.

I am particularly fond of one commemoration of Memorial Day in particular: the National Memorial Day Concert. A more reserved cousin of A Capitol Fourth, the concert is shown live on PBS every year. With a mixture of partiotic and inspirational songs, veterans' stories, and historic featurettes, the National Memorial Day Concert is both enjoyable and thought-provoking.

One of my favorite things about the National Memorial Day Concert (and, to a lesser degree, A Capitol Fourth) is that they nearly always have a Broadway performer participating. Idina Menzel, John Schneider, Kristin Chenoweth and Marin Mazzie have all paid tribute to our brave troops in recent years. This year, the concert offers a special treat: both Brian Stokes Mitchell AND Colm Wilkinson.

Colm Wilkinson is best known as the original Jean Valjean in both the London and Broadway casts of Les Miserables. Upon hearing that he would sing for Memorial Day, I was a bit perplexed why the Irish-born tenor residing in Canada was commemorating an American holiday. But my queries were short-lived. It didn't take too much thinking to know that Colm would almost certainly be singing "Bring Him Home," the ethereal ballad from Les Mis that was written specifically for his stratospheric tenor. (The Oshkosh Northwestern confirms, in an excellent article about the concert.) "Bring Him Home" is an unofficial anthem for POW/MIA soldiers, but is also a poingnant prayer for all in harm's way.

Brian Stokes Mitchell is the sort of performer they do not make anymore. A "king of Broadway" or "last leading man" with a larger-than-life baritone. In the long-standing opinion of your humble correspondent, he was born to play Inspector Javert, and finally did so last summer at the Hollywood Bowl (it's all on YouTube, folks). I was first acquainted with "Stokes" and his voice when he assumed the title role in the most recent Broadway revival of Man of La Mancha in 2002. I do not know which song Mitchell will sing on Sunday. He sang "The Impossible Dream" to serenade Olympians last summer as part of A Capitol Fourth, but I think it is also very proper for the occasion. You can see his performance of that song from the Tony Awards above. In addition to a powerful voice, Stokes' acting conveys both Don Quixote's doddering dignity and the authority of his ideals. (It is a shame that Man of La Mancha is regarded as a one-tune show. As stirring as "The Impossible Dream" is, the show as a whole is even more profound--but that is a subject for another post!)

So check with your local PBS station--most will be carrying the National Memorial Day Concert live at 8 p.m., Eastern. In South Florida, tune in to Channel 2 at 8, though both 2 and Channel 17 will rebroadcast the concert. Check their websites for full schedules.

Remembering with Paul Harvey

2009-05-19T09:41:00.012-04:00

Hello, readers. Blogging has been slow this month, unfortunately. To parahrase Paul Harvey, thanks for standing by--now for the news! I have several Memorial Day items for this week. But I thought I'd start off by continuing the Paul Harvey parade. I have 2 very special audio clips for you today. These do not concern Memorial Day per se, but they certainly concern events that every American should keep in their memory--and they are events that are seared on the national memory.

So here is the continuing tribute to Paul Harvey and his coverage of the events that Americans will always remember....

JFK Assassination

Here Paul Harvey gives a poignant editorial following the assassination of John F. Kennedy on November 22, 1963. Harvey's point is as significant and relevant today as it was more than 45 years ago.

9/11

For my generation, September 11, 2001 was the equivalent of the Kenneday assassination. Here is the end of that day's newscast, complete with an oddly appropriate "For What It's Worth" anecdote.

I Just Got Back From Massachusetts

2009-05-08T12:32:00.009-04:00

OK, I actually got back Monday, and even if I had just deplaned (what an abominable word!), it still isn't what the BeeGees sang. Well, I'm going back to Massachusetts, too--before the Fall semester, but not sure exactly when yet. Here's hoping I don't look like Robin Gibb when I do. (Check out this youtube video if you don't get the joke. If you still don't get it after watching the video, well--you don't know which is Robin or you have very weird aesthetics.)

National Humor Month is long past. It was very good to Micah 24601, so I thought that some mention of its passing would only be fitting. Until next April, old friend.

In the mean time, let me update you on the Massachusetts trip that kept me away from blogging for 2 weeks. In about a week's time, I went from Boston (Logan International Airport, right on the water) in the east, to the Berksires and about 15 minutes or so from the New York border in the West, and then back again. But most of the time was in the Pioneer Valley, especially Amherst (my home in several months) and Northampton. So here are a few pictures to chronicle the Boston portion of the trip.

The first stop in Boston was the John F. Kennedy Presidential Library. Here I am behind the desk that Robert F. Kennedy used as Attorney General. Suffice it to say that the chair was not quite as historic. The picture is somewhat fuzzy because flash photography was not allowed in the JFK Library. The Kennedy Library was a very sanitized look at "Camelot," which means that it did not begin to capture the complexity that was John Fitzergerald Kennedy. Nonetheless, this public myth endures to this day, and is significant. The JFK Library is full of interesting artifacts in this vein.

But Boston's attractions are not solely political. Fabled Fenway Park is one of the oldest baseball parks still in operation. Here legends like Jimmie Foxx, Ted Williams, and Carl Yasztremski played the American pastime. Whether state or sport, Boston is shot through with sites historical. The Red Sox were playing in Cleveland on Tuesday evening, which was a good thing--the pre-game crowd would have made visiting the stadium and getting pictures vastly more difficult. But, as it happened, we were unencumbered by crowds, and here I am standing under the Green Monster, Fenway's legendary left-field wall.

Speaking of sites historical, here I am standing on the site of the Boston Massacre. It was a relatively minor "massacre," with 5 fatalities. The "memorial" is also rather unobtrusive, being simply a ring of cobblestones in the pavement. Then-attorney John Adams, in an ironic and unpopular move, defended the British soldiers in the subsequent trial, saving them from potential hanging. Despite rather unfortunate genetics resulting in both a paucity of height and a thinning hairline, I am happy to report that no bystanders mistook your humble correspondent for John Adams. Or Paul Giamatti.

The next day I visited Cambridge, a Boston suburb. Being a born academician, it was hard to resist the lure one of the world's best-known universities: Harvard. Contrary to the popular aphorism, you cannot, in fact, pahk the cah in Hahvahd Yahd. But you can walk around it, and see a number of dormitories, the Widener Library, and other Harvard buildings. Here I am with a statue of the venerable university's "founder": John Harvard. As you can see, it is customary to rub Harvard's left foot, and this has worn away the patina. This statue is evidently known as "the statue of 3 lies," according to Wikipedia. Evidently, Harvard is not the founder, the date was wrong, and the face depicted was not Harvard's. Ah, well. They tried.

So that is Tuesday afternoon and Wednesday morning. After Harvard, it was time to check out the Pioneer Valley in Western Mass. Subsequent portions of the trip will be coming up in the days to come!

Rays (But Not Tampa Bay's)

2009-04-23T11:06:00.005-04:00

Well, the Phantom of UMass gets a Playbill before "Phantom 2: Love Never Dies"! Many thanks to Ray for this creation. Speaking of Ray, I know many of my readers also frequent The Dinally Alley--but let me take this opportunity to recommend to any readers who have not yet loitered in its cyber-premises.

If you're into game shows, The Dinally Alley always has the breaking news on that front. But Ray also ran a very interesting series of features recently. Entitled "Getting to Know You," Ray explore his life and interests in 5 segments. I would highly recommend reading them:

An earlier Playbill creation, courtesy of Ray

So check out Ray and his amazing creativity! He doesn't just write about game shows, he's also quite adept at making them. There is ample evidence of this on his blog, but let's continue the theme of drawing lines between Ray and other motifs here at Micah 24601. Here is an episode of Middle Ground from late Summer 2007. Part 1 and Part 2 are online, but be sure to check out the ending of Part 3, from the 4:30 mark on, for a special performance of "If I Were a Rich Man." (Nope, I'm not saying who dropped by that day--but it wasn't Jack Wagner! Or any other Jekyll & Hyde alum, for that matter.)

Micah 24601 in the News

2009-04-22T09:44:00.008-04:00

Well, as you might have deduced from reading Micah 24601, the past few months have been quite busy for South Florida theatre. It has actually been far more busy than the three shows I've seen and reviewed: Tovah Feldshuh in Golde's Balcony, Robert Creighton originating Cagney, Brian Stokes Mitchell, David "Dudu" Fisher, Mandy Patinkin, Mandy Patinkin and Patti LuPone (yes, Inigo Montoya had two separate concerts in South Florida), Thedore Bikel as Sholom Aleichem, and a number of other events--all have played in South Florida within the past three months.
Three shows in as many months is an unprecedented pace. In a slower timeframe, I might have gotten to some of the others, but I am very happy with the shows I did choose. And I have almost certainly seen my last show as a resident of South Florida.

South Florida Theatre Scene is a good source for finding out about upcoming shows. They also do a great job of compiling reviews for shows so that you can get a feel for critics' reactions. I am happy to say that they featured Micah 24601's Les Mis review! You can check out the Les Miserables reviews for yourself.

Additionally, WPBF (ABC affiliate in West Palm Beach) reporter Christi Knight interviewed Fiddler on the Roof star Topol for WPBF's Seen on the Scene feature. After reading my blogs leading up to the show, she contacted me via twitter and asked for a question to use in her interview. The interview can be seen at the WPBF website ("Topol Talks to WPBF"). I would highly recommend watching the entire interview, but my question can be seen around the 12:00 mark.

While we're on the subject of South Florida Theatre, the Carbonell Awards (South Florida's Tony Awards) were awarded earlier this month. Playbill.com has a full listing of all the winners, but I was glad to see Julian Gamble and Nancy Opel win. I saw Gamble as Juror 3 is Twelve Angry Men at the Broward Center and I saw Opel play the titular role in The Drowsy Chaperone at San Francisco's Orpheum Theatre (it had been in Broward earlier in the year, hence its Carbonell eligibility). Both gave very good performances, though I thought Kevin Dobson was even more powerful than Gamble, albeit in a smaller role, as Juror 10 in the same production. I stage doored both shows, but missed both Gamble and Opel. Ironically, I also saw the winners of the 2008 Carbonells for Best Supporting Actor and Actress, Timothy Jerome and Sally Ann Howes (Howes, of Chitty Chitty Bang Bang fame, was one of the nicest people I have ever met at a stage door), both with the national tour of My Fair Lady.

I will end this rather rambling recap of theatre news and tangential Micah 24601 involvement by pointing you to recent reviews. Keep them in mind, I suspect that you may see some of the names mentioned in the reviews come Carbonell-time in 2010.

Your humble correspondent with Timothy Jerome (Alfred P. Doolittle) and Sally Ann Howes (Mrs. Higgins) in December 2007. Jerome and Howes would subsequently win Carbonells for their performances.

My New Philosophy

2009-04-21T10:30:00.004-04:00

Well, National Humor Month is still with us, and Fiddler has had its run. (Which is a good thing, as readers seem much more interested in the former than the latter.) Anyhow, with the exception of the spontaneous "Confrontation" courtesy of Neil Patrick Harris and Megan Mullally, Micah 24601 has yet to feature Broadway humor--a significant oversight. (And "Confrontation" was not intrinsically humorous, just out of place--or so most people would think...)

To remedy this problem, here is "My New Philosophy" from You're a Good Man, Charlie Brown. Kristin Chenoweth--all 4'11" of her--is perfect for the role of Sally Brown. You probably couldn't tell it from this video, but Cheno has an exquisite coloratura soprano. Here, however, enjoy her comedic skills, along with the gently incisive commentary on human foibles that made Peanuts beloved for many decades.

A Memorable Fiddler

2009-04-17T18:06:00.016-04:00

Playbill signed by most of the main cast members--except, unfortunately, Topol. I must say, this is the plainest Playbill I have seen for a production of this scale.

The Jewish community in the Russian village of Anatevka suffers a precarious existence, Tevye tells us. Nonetheless, they are able to keep their balance—“like a fiddler on the roof.” How? The answer is simple, says Tevye. “That I can tell you in one word: Tradition!” Like the inhabitants of Anatevka, the touring production of Fiddler on the Roof can be summed up in that same one word. Tevye, Academy Award-nominated star of the film adaptation of Fiddler, leads this cast as well. The tour reproduces the original Jerome Robbins choreography and direction. It is a very traditional (some might say unimaginative) approach to the show. This approach has its ups and downs.

Topol as Tevye comforts his oldest daughter Tzeitel, played by Rena Strober

Topol stole the show as Tevye. He was given an ovation as soon as he appeared on stage, before he had even said a word. And the applause continued throughout the night, following every scene in which Topol appeared. Topol’s rumbling bass is, if anything, even lower than his younger days. His voice didn’t quite appear to be what it was, it rumbles just fine, but he no longer booms “Tradition!” quite the way he did. His vocal range is a bit abridged during his songs, but no one cared. Topol had the audience in the palm of his hand, and he knew it. His performance has taken a hammy turn, always gesturing, mugging for the audience and leaving them in stitches. In one sense, he was a joy to watch. Topol was a veteran performer who knew his role inside and out, who was a legend in that role, and who kept the audience hanging on every word. On the other hand, the over-the-top antics detracted from the poignancy of the overall piece. Tevye tells Chava that “a bird may love a fish—but where will they build a home?” The crowd laughed a bit too uproariously, and the pathos and agony Tevye experienced upon learning his daughter loved a Gentile was lost.

The rest of the cast was at least adequate, and sometimes more. The direction took no risks, so all of the roles were what you’d expect them to be if you were at all familiar with the show. Mary Stout was very Borscht Belt as Yente the self-deprecating matchmaker. Susan Cella’s Golde was effective at henpecking Tevye just enough to warrant his comical asides and bluster, but not so much as to call into doubt Anatevka’s patriarchal society. Bill Nolte was the butcher Lazar Wolf, but his accent was off-putting. Some reviews have called it Irish; for me, it seemed to verge on Jamaican. Whatever the linguistical origin, it was far from Russian or Yiddish.

Tevye’s daughters sang well, which made for a charming “Matchmaker, Matchmaker.” Rena Strober (former Cosette understudy on Broadway and with the Third National Tour of Les Mis) was a spunky Tzeitel. Her imitation of Yente during “Matchmaker” was one of the few thought-provoking elements of the production. One could easily how a marriage against her will to Lazar Wolf would turn her into just such a creature. Erik Liberman was her eventual husband, Motel the tailor. Liberman was certainly effective at conveying Motel’s milquetoast personality, but the performance was a bit one-dimensional. Jamie Davis had a beautifully pristine soprano that made Hodel’s “Far From the Home I Love” the vocal high point of the show. She also acted well, but Colby Foytik as Perchik made for an underwhelming revolutionary. Allison Walla was Chava, but failed to differentiate her role from that of the other two sisters.

Final verdict? This Fiddler is not anything new. And the ensemble is uneven in places. It surely does not replace the beautiful complexity of Topol’s earlier performance in the 1971 movie, not by a long shot. But it is still worth it. Seeing Topol perform was a joy, even if it was a slightly different joy than his previous take on the role. One does not often get the chance to see a legend. This tour affords audiences that opportunity, and surrounds its star with an enjoyable—though not superlative—production.

Your humble correspondent with (L-R) Jamie Davis (Hodel), Rena Strober (Tzeitel), and Erik Liberman (Motel)
The author with Susan Cella (Golde) and Mary Stout (Yente)

If They Were Rich Men: A Compendium (But a Humorous One)

2009-04-16T12:33:00.012-04:00

Zero Mostel from the original Broadway production of Fiddler on the Roof

In honor of Fiddler on the Roof tonight, I offer you a look at Tevye. The wry, longsuffering father and milkman is the central figure in Fiddler. And what song is more identified with Tevye than "If I Were a Rich Man"? Not even "Sunrise, Sunset," as popular as that may be (and the latter song is not a solo). There is certainly also an amusing charm in Tevye's daydreams of wealth, so it is not out of place during our commemoration of National Humor Month. I have chosen the 3 Tevyes most important to the development and continued relevance of the show, and placed them in more or less chronological order.

Zero Mostel originated the role of Tevye on Broadway. There was considerable pressure to cast him in the Fiddler movie, though the original London Tevye, Topol, was ultimately chosen. This video is from the 1971 Tony Awards--presumably because the film was coming out that year. Though clean-shaven for this video, Mostel had a very full beard when he originated the role in 1964. He would later also star in Fiddler's first revival, in 1976. I always felt that there was more vaudeville and Catskills than Russian steppes about Mostel's take on the role, but he certainly made Tevye a larger-than-life figure.

Israeli actor Chaim Topol (generally known simply as Topol) originated the role of Tevye in London. Born in 1935, he was a very young 32 when he first performed the role. He was then selected to lead the 1971 film cast, despite Zero Mostel's popularity. He has since performed the role in a 1990 Broadway revival, London revivals in 1983 and 1994, a 2006 Australian tour, and now leads the 2009 US tour well into his seventies. I have always thought that Topol had an old-world authenticity that Mostel did not. Despite have performed the role of Tevye thousands of times, there is no other video evidence of this other than the film. But Tevye turned in a superlative performance in the movie, so enjoy it anyway! I will be certain to give my assessment of his performance this evening.

Theodore Bikel claims to have performed the role of Tevye more than any other actor, though Topol may have some claim to that distiction by the end of the current tour. Bikel has been Tevye in numerous Fiddler on the Roof tours. He was the original Captain von Trapp on Broadway, and he was Zoltan Karpathy in the movie version of My Fair Lady. Here Bikel makes for a very patriarchal Tevye.

What say you, readers? Leave a comment and let me know which Tevye you prefer.

Theodore Bikel from a Fiddler touring production

The B.C.

2009-04-15T09:03:00.005-04:00

Hello, readers! National Humor Month seems to be a popular institution on Micah 24601, so here is more for your enjoyment. This is one of the funniest chain e-mail forwards I've come across since I started e-mailing c. 1997. There's not much to say about it that won't spoil the joke itself, so read and enjoy!

A very proper lady began planning a week's camping vacation for her and her Baptist Church group. She wrote to a campground for reservations. She wanted to make sure that the campground was fully equipped and modern, but could not bring herself to write the word "toilet" in her letter. So, she decided on the old-fashioned term "Bathroom Commode."

Once written down she still was not comfortable. Finally, she decided on the abbreviation "B.C." and wrote, "Does your campground have its own 'B.C.'?"

When the campground owner received the letter, he could not figure out what she meant by "B.C." He showed it to several of the campers, one of whom suggested the lady was obviously referring to a Baptist Church since there was a letterhead on the paper, which referred to a Baptist Church.

Therefore, he sent this reply:

Dear Madam,
I regret very much the delay in answering your letter, but I now take the pleasure in informing you that the B.C. is located nine miles north of the campground, though I admit that is quite a distance away if you are in the habit of going regularly. But you will no doubt be pleased to know that it will seat 350 people at one time, and it is open on Tuesday, Thursday, and Sunday of each week.
Some folks like to take their lunch and make a day of it. The acoustics are very good, so everyone can hear even the quietest passages. It may interest you to know that my daughter met her husband there. It may interest you to know that right now there is a supper planned to raise money to buy more seats (as the old ones have holes in them). They are going to hold it in the basement of the B.C.
I would like to say that it pains me very much not to be able to go more regularly, but it is surely no lack of desire on my part. As we grow older, it seems to be more of an effort, particularly in cold weather.
If you decide to come down to our campground, perhaps I could go with you the first time, sit with you, and introduce you to all the folks. Remember, this is a friendly community!

Tradition!

2009-04-14T14:29:00.007-04:00

Today, the national tour of Fiddler on the Roof begins its South Florida run at the Kravis Center in West Palm Beach. I think Fiddler is one of the most beautiful, poignant films I have ever seen, and I am looking forward to seeing the show on Thursday evening. Making this tour particularly special is the fact that Topol--star of the 1971 film--is reprising his leading role as Tevye the milkman. Topol has played the role (literally) thousands of times. The casting director followed Tevye's watchword: "Tradition!"

Like Tevye and his family, my paternal grandfather's parents and two older sisters were Russian Jews who emigrated to America. Like Lazar Wolf, my great-grandfather was a butcher in the old country. This show deeply resonates with me. It is heartbreaking, but charming, as Tevye tries to maintain his balance--"like a fiddler on the roof!" Both vicious anti-semitism and encroaching modernity threaten the Jewish community's practice of tradition, resulting in Tevye's frequently exasperated, though not irreverent, queries directed at God.

In the days to come, I will share some of my favorite scenes from Fiddler. Here is a promo from Topol's 2006-2007 Australian tour. This tour is largely the same, though the cast (Topol aside) is completely different. But both tours use the original Broadway direction and choreography. South Floridians, keep an eye out: if West Palm Beach is too big of a schlep (I couldn't resist!), the tour will return to South Florida in October for a two-week run at the Broward Center for the Performing Arts. (I would probably wait to see till October to see the show myself, if I was not going to be a Massachusetts resident by then.) Though the tour is billed as Topol's "farewell," he has told the Pittsburgh Tribune-Review that he wants to keep doing the role. It may not be the last chance to see him as Tevye, but why pass up any chance to see a legend?

The opening number of the show, "Tradition," shows off a robust score, and brims with Old World charm. Topol (only 37 when this film was made), makes good use of his commanding bass voice, as well as impishness. Keep your eyes peeled for more Fiddler goodies in the next few days, as well as a review after I actually see the show.

From the 2009-2010 national tour: Topol as Tevye and Arthur A. Atkinson as the titular "Fiddler on the Roof"

Morning in America, Not Mourning in America

2009-04-13T15:45:00.004-04:00

Hello, readers! National Humor Month marches on, and so does Micah 24601. You may have guessed somethign about the next batch of comedy from the pun in the title. Today, I mine the humor surrounding yet another of my favorite figures: Ronald Reagan. Here are two videos from Dean Martin celebrity roasts; Reagan appears as both roaster and roastee.

Here is comedian Don Rickles in the 1973 roast of Ronald Reagan. Rickles has a very distinctive, hilariously abrasive style. He has made a career out of insulting audiences. There are some dated references to California politics, but Rickles explains them well enough (evidently Jesse Unruh wasn't well known in '73, either!). If nothing else, Jack Benny laughing on Ronald Reagan's shoulder (*hums* "These are a few of my favorite things...") makes this clip is worth watching!

Not to be outdone, Reagan zings George Burns in 1978. Reagan can't resist a crack about Jimmy Carter (whom he would defeat in the presidential election just 2 years later). Reagan's style is a good deal more winsome, but it's still a roast!

So, enjoy these videos. And don't forget to follow Reagan's example--and vote Republican! Or, if that's asking too much, at least follow his example--and laugh!

Happy Easter!

2009-04-11T16:40:00.003-04:00

Happy Easter! I hope all Micah 24601 readers will have a happy and meaningful Easter weekend. Here are a few treats from the wide world of cyberspace to enjoy as you contemplate the holiday.

G.K. Chesterton was a talented novelist, an astute social critic, and an enormous personality. I could fill several postings with Chestertonian anecdotes and epigrams--and I'm contemplating doing just that. But for now, enjoy a typically pithy and thought-provoking description of Easter by GKC:

On the third day the friends of Christ coming at daybreak to the place found the grave empty and the stone rolled away. In varying ways they realised the new wonder; but even they hardly realised that the world had died in the night. What they were looking at was the first day of a new creation, with a new heaven and a new earth; and in a semblance of the gardener God walked again in the garden, in the cool not of the evening but the dawn.
--G. K. Chesterton The Everlasting Man

Last but not least, enjoy this modern classic: "He's Alive" by Don Francisco. In the tradition of great folk music, it's a story-song, centering on Simon Peter's reaction to the resurrection. I'm not sure where this particular video comes from, but the performance is made all the more jubilant by the brass section and large choir at the end, while the beginning retains the contemplative, even despairing, folk-rock edge.

Thoughts on Good Friday

2009-04-10T09:45:00.010-04:00

How does one open a greeting today? Happy Good Friday? That sounds as odd to my adult ears as the term "Good Friday" itself did when I was a child. I have, unfortunately, not had an overabundance of time to compose an extended essay of my own. And the pinnacle (that is, the weekend in totality is the pinnacle) of the Christian liturgical calendar is not Oklahoma!; somehow, it deserves more than meandering, impromptu observations. So (at the risk of this blog becoming YouTube's greatest hits), I offer two items for your consideration.

Here is Lea Salonga singing "Via Dolorosa" with the United States Military Academy Glee Club. The first 10 or 15 seconds are a fine quote, though not altogether relevant for these purposes, by Douglas MacArthur. Normally I would gush about Salonga, but I'll save that for another day. Suffice it to say that she delivers the song in a reverent but heartfelt manner.

And I leave you with this thought-provoking article. Jill Crattini is the managing editor for "A Slice of Infinity," for Ravi Zacharias International Ministries (RZIM). You can recieve the short articles (or "slices") by e-mail, or browse the archives. I hope you read, and--if it is not too shallow a thought for today--enjoy.

Friday, April 18, 2003
Vulnerability on Good Friday
Jill Carattini

Prolific author and lecturer Henri Nouwen offers a fascinating illustration in his book, In the Name of Jesus. Recounting his experience as a priest within the Daybreak community—a community of mentally handicapped men and women, he describes the vulnerable realization of finding himself suddenly and thoroughly irrelevant. Since no one could read his books, his vast authorship was as insignificant and unimpressive as his twenty years of experience at Notre Dame, Yale, and Harvard. And yet, it was this uncomfortable sense of irrelevance that helped him recover his true identity. Writes Nouwen, "These broken, wounded, and completely unpretentious people forced me to let go of my relevant self—the self that can do things, show things, prove things, build things—and forced me to reclaim that unadorned self in which I am completely vulnerable, open to receive and give love regardless of any accomplishments." (Footnote 1: Henri Nouwen, In the Name of Jesus, (New York: Crossroad, 1996), 16.)

On this Good Friday, we remember a man who changed all of history by dying on a cross, a vulnerable, unadorned man. Indeed, the very Son of God who made his way to a broken and wounded world, the Author of Life who chose to live among people that did not understand him, the Divine Servant who emptied himself on Friday to give us eternal victory on Sunday.

But if truth be told, perhaps many of us would prefer to overlook the darkness of Friday and move straight to the light of Sunday. And I have often wondered if our discomfort with Good Friday has anything to do with our discomfort with vulnerability. We remember today the vulnerable, broken Christ before an angry, mocking crowd. The people yelled, "Save yourself, if you are the Son of God, come down from the cross." (Footnote 2: Matthew 27:40b ) The religious leaders jeered, "You said you were the King of Israel, come down and we’ll believe you!" (Footnote 3: 27:42b )

There is a part of me that wishes he would have come down to show them just Who they were mocking. He could have done so. He could have proved his power, his identity. But He didn’t. He chose to stay. He chose to die. He chose to be vulnerable, exposed, and powerless.

Still, for some the discomfort with Good Friday runs deeper. Truly, its darkness is hard to take in; its silence is awkward, its memory is haunting. Perhaps we recognize our own vulnerability before the cross, the irrelevance of our accomplishments. And in that uncomfortable recognition, many feel a pressing need to "do" something; to fill the silence, to scrub our souls in a flurry of spring-cleaning, to make our lives somehow ready for Easter Sunday. "What do we do on Good Friday?" becomes an urgent question.

Nonetheless, Good Friday answers with silence—for it is a day when mourners and mockers alike are reduced to the same impotence. A day when we can do nothing but behold, or brush aside, the One pierced for our transgressions—for He has done everything. God alone did it. He came to us in infinite love. He judged what is human. And He granted grace beyond any measure.

What do we do on Good Friday? The old hymn provides much wisdom:

When I survey the wondrous cross,
on which the Prince of glory died.
My richest gain I count but loss,
And pour contempt on all my pride.
Were the whole realm of nature mine,
That were a present far too small,
Love so amazing, so divine,
Demands my soul, my life, my all.

Truly, what God has accomplished today through a vulnerable vessel is remarkable. And indeed, Sunday is coming.

Hello Americans, Stand By For...Laughs

2009-04-08T18:46:00.005-04:00

As promised, here is an entry in both the continuing display of Paul Harvey miscellanea, as well as more laughs for National Humor Month.

You first should understand what exactly is being parodied. Paul Harvey was an enthusiastic pitchman. He refused to advertise any product that he did not use, but he plugged those items he found satisfactory with gusto! So here, I present Paul Harvey's ad for...a bong.

Yes, readers, you read me correctly. No, Paul Harvey did not sell marijuana pipes, Yes, Paul Harvey was the epitome of bourgeois Middle America. Someone obviously recognized the irony and created this hilarious mash-up, combining various phrases from the Paul Harvey newscasts into an advertisement that resembles a Paul Harvey salespitch in every but the object being sold!

Paul Harvey advertises a BONG

And the Winner Is...

2009-04-06T21:05:00.006-04:00

Yes, that's right. Beginning in the Fall, I will be a Ph.D. student at the University of Massachusetts - Amherst. Beginning in the winter, I will freeze to death. Thanks very much to Micah 24601 readers for their feedback. There was a lot more interest in this issue than I anticipated. I found it amusing that readers' logo preferences seemed to more or less track with my own assessment of academic and professional considerations.

The Phantom of FIU is officially retired. But the Phantom of UMass is just getting started.

Tonight is a good time to announce because the NCAA men's basketball championship game will be starting in several minutes, and Michigan State University will face the University of North Carolina. My first memories of UMass are of its basketball team during the Marcus Camby-John Calipari era. Needless to say, their basketball glories of 10-15 years ago did not affect my decision-making. But newly minted loyalty is already seeping into me. Rick Pitino, coach of the University of Louisville, is a UMass alumnus. Louisville was the number-one ranked team in the tournament, but was upset by Michigan State. So naturally, I'm rooting for UNC.

Les Humorables

2009-04-05T22:35:00.003-04:00

Well, National Humor Month marches on. Micah 24601--and we'll try and have something fitting for Easter near the end of the week--continues to bring you things that tickle its funny bone. But during the early part of the week, we're looking for laughs in places you might not expect--or that you might expect, if you read frequently.

And so I offer you this clip (thanks to Ray for bringing it to my attention some time ago), with some humor derived from Les Miserables. TV and Broadway actor Neil Patrick Harris and Jason Segel (whoever he is, never heard of him) spontaneously break into "The Confrontation" during an episode of The Megan Mullally Show (which I never saw, but I don't believe it ran very long...). As some other random panelist interjects, Les Mis isn't a very funny show, and "The Confrontation" isn't among the few (and mostly dark) humorous moments in the show.

But the sheer audaciousness of the spontaneous singing should be enough to bring a smile to your face. And it will no doubt bring funny memories to those friends who have seen me do just this sort of thing (though never on television, but I'm available if you get your show back, Megan). So enjoy it! And if any readers want to learn either half of this song, I already know both sides of the counterpoint, so just let me know! I'll be happy to recreate the scenario in the video.

And keep your eyes peeled folks. Coming up this week:

Ph.D. announcement (there has been a lot more interest in this than I thought there was...)
More humor from my favorite places: a HILARIOUS Paul Harvey clip.

Stay tuned and don't touch that dial!

Byron Pitts

2009-04-03T10:08:00.014-04:00

Yesterday the Phantom haunted FIU once again. (I should note that I fully realize each visit will one of the last as a South Florida resident, but more on that in another post--coming soon, I promise. Thanks for your responses on the potential Phantom logos.) CBS News chief national correspondent Byron Pitts gave a great keynote address for the FIU School of Journalism Awards Ceremony.

I've been an avid news-watcher since (literally) before I can remember. I've always been partial to ABC News, especially in the Peter Jennings days (I like Elizabeth Vargas, too, until the two-anchor experiment was cut short by Bob Woodruff's injuries). I suppose I should also note that I was deeply skeptical of Katie "Peace out, homies" Couric assuming the anchor chair at CBS News. But (her first few months of trying to reinvent the newscast aside) she has worked hard and dug up the news like a pro. Her interview with Sarah Palin was the single most damaging thing to happen to Palin's image during the campaign. (And I'm a Palin fan, so I'm not giving Couric credit just for bloodying Palin's nose--the questions were fair, it's unfortunate that the interview didn't turn out well.)

But this post is about Pitts, not Couric. Still, I doubt I'd see very much of Pitts if I hadn't been watching more CBS News in recent months. All the business of television news aside, Pitts gave an inspiring lecture. This was in large part because of Pitts' inspiring story. Columnist Howard Kurtz of the Washington Post profiled Pitts in 2007 with the headline: "Illiterate at 12, CBS Success at 46." You can see a snippet of Pitts' story in the video above, courtesy of the speaking bureau that represents him, Greater Talent Network.

But Byron Pitts had more than a great story. He was tremendously gracious, dispensing advice to aspiring journalists, and even talking with this non-journalist. If you're interested in hearing Pitts in his entirety, watch the above 2008 lecture from Eastern Carolina University. (It's a very watchable 20 minutes or so.) His remarks yesterday were a bit more specifically tailored for journalism students, but the the parameters of both talks are the same. I am definitely going to watch for Byron Pitts' reports in the future. I am following him on Twitter (a great tool for keeping up with journalists, by the way). He hasn't used his account much yet, but I hope he will: http://twitter.com/byronpitts.

This is No April Fools' Joke!

2009-04-01T09:34:00.004-04:00

Good morning, readers! Today may be April Fools Day, but it is also the start of National Humor Month. In honor of this fine institution, Micah 24601 will be featuring great humor all throughout April. To kick off our celebration of humor, we present one of the most hilarious American humorists of all time: Bob Newhart.

Here Newhart plays a psychiatrist--but not the affable, yet bumbling, Robert Hartley of The Bob Newhart Show. Instead, Newhart plays brilliantly against type in a guest appearance on Fox's MadTV as a curt and anything-but-sympathetic therapist. Enjoy!

If you can't bear to let the day pass without exploring April Fools Day hoaxes, then check out TIME magazine's list of the 10 best pranks of all time.

I came across the list thanks to TIME's Twitter feed. If any Micah 24601 readers are also twittering (is that supposed to sound like a good thing?), then check out my nascent Twitter profile, or just click the logo below:

Oh, What a Beautiful Mornin'!

2009-03-31T11:37:00.017-04:00

Given our common start date (we'll ingore the 40-year separation for the time being), I took the liberty of adapting the logo from Oklahoma!'s most recent national tour.

Some Micah 24601 readers, I am sure, will recognize March 31 as the day that my odometer rolls over. But I am not the only thing to enter the world on this auspicious date. (And, no, I am not referring to Al Gore. *sigh* No day is perfect...)

Poster for the original Broadway production of Rodgers & Hammerstein's Oklahoma!

On March 31, 1943, Rodgers and Hammerstein's first collaboration opened on Broadway. Adapted from Lynn Riggs' play Green Grow the Lilacs, R&H chose the much more punchy title Oklahoma!--and the rest is history. Both Richard Rodgers and Oscar Hammerstein, Jr., would be remembered as luminaries of musical theatre, even had they never worked together. Hammerstein wrote the lyrics for Jerome Kern's Showboat score, and Rodgers' partnership with Lorenz Hart had produced a number of notable musicals.

Hugh Jackman as Curly in the most recent London revival of Oklahoma!

But there had never been a show like Oklahoma! For the first time, every element of a musical: the songs, the dialogue, the ballet, the comic relief, all revolved around and contributed to the development of the show's plot. Oklahoma! revolutionized the musical, but it did more. By deftly mixing uproarious humor with melodrama, Rodgers and Hammerstein created not only an art form, but a classic. Not content to rest on their laurels, they followed Oklahoma! with a string of hits: South Pacific, The King and I, Carousel, Flower Drum Song, and The Sound of Music.

A young Florence Henderson co-starred with Ralph Lowe as Laurie and Curly in a national tour of Oklahoma! in the early 1950s.

So here are some Oklahoma! goodies for your perusal. The score is glorious, and the lyrics are as fresh as the day the show opened...

Alas and alack, I wish there were more old-time Oklahoma! videos online. Celeste Holm was charmingly daft as Ado Annie in the original Broadway cast. Florence Henderson and John Raitt were dynamic as Laurie and Curly. Videos for these exist, but they are not readily available. (Nostalgia buffs may enjoy this 1952 article from a Sasketchewan newspaper about then-18-year-old Florence Henderson's star turn as Laurie.) Never fear, however: the internet is not completely bereft of TV moms in the role of Laurie. Shirley Jones (later of The Partridge Family) was a relative unknown when chosen to star in the film adaptation of Oklahoma!, but her crystal-clear soprano and wholesome charm make her an excellent choice. The song "People Will Say We're in Love" displays Hammerstein's lyrical genius. Curly and Laurie are plainly destined to be together from the start of the musical, but neither wants to be the first to admit it. The backhanded compliments fly fast and free as Hammerstein shows us how much Curly and Laurie care for each other--but without descending into gooey sentimentality.

Here is Hugh Jackman, who led the 1998 London revival of Oklahoma! This video hails from the "Hey, Mr. Producer" concert tribute to Cameron Mackintosh. The London revival starring Jackman was filmed and used to air quite frequently on PBS. (It is available on DVD, and can be found without too much difficulty on YouTube.)

Last, but not least, the Cameron Mackintosh production transferred to Broadway in 2002. Josefina Gabrielle (as Laurie) and Shuler Hensley (superlative in the role of the show's villain, Jud Fry) came across the pond, but Patrick Wilson was the new leading man. Wilson brings a virile presence to the role, as well as a winsome enthusiasm (both of which, I might add, Joel Schumacher completely squandered as he directed Wilson to a listless, foppish performance of Raoul in The Phantom of the Opera movie). Enjoy the lush vocal harmonies of "Oklahoma!" (the song as opposed to the musical) as the entire cast joins in.

The original Broadway cast of Oklahoma! From left to right: Lee Dixon, (Will Parker); Celeste Holm, (Ado Annie); Alfred Drake, (Curly); Joan Roberts, (Laurey); Joseph Buloff, (Ali Hakim); and Betty Garde, (Aunt Eller)

So, happy birthday, Oklahoma! After 66 years, you're still doing fine. And we're still cheering: Oklahoma, OK!

More of the Rest of the Story

2009-03-26T09:14:00.009-04:00

Paul Harvey in 1992

Well, readers, I know it has been a while since the last Paul Harvey sighting on this blog. But no worries, I am still proudly unhip! And I intend to continue this meandering Paul Harvey tribute until Micah 24601's archives of Paul Harvey miscellanea are exhausted. But that will be a while. So, enjoy this inspiring edition of "The REST of the Story."

Good day!

Paul Harvey, The REST of the Story

(Once you've listened to Paul Harvey, you may want to know more about Jerry Traylor. If that is the case, you can check out http://www.jerrytraylor.com/.)

Those Peripatetic Phantoms

2009-03-23T12:59:00.019-04:00

Well, it is no secret that I have long been "The Phantom of FIU." The nickname originated in the Fall semester of 2002, and I have proudly used it ever since. I was primarily located at FIU's Biscayne Bay Campus at the time, which was fairly small. I would walk around it, and you didn't have to walk around for too long before you would bump into the same people more than once. So I would joke that I was the Phantom of FIU, and the nickname stuck. Oh yeah, and I sung the song in the library (yes, the library) once...

Ramin Karimloo as the Phantom in the West End production

The nickname, of course, derives from Andrew Lloyd Webber's The Phantom of the Opera. Readers may be interested to know that ALW is hard at work on an unfortunate sequel to his masterpiece. With the treacly title Love Never Dies, the show is set to premiere in Toronto later this year. Current London Phantom Ramin Karimloo (who also appeared as the young Phantom who escapes the carnival in the Joel Schumacher movie) is thought be a likely choice to don the second incarnation of the Phantom's mask, though John Barrowman has also been mentioned. The new Phantom musical would be based in New York, and based on Frederick Forsyth's novel (which was a sequel to Lloyd Webber's musical, not the original Leroux novel) The Phantom of Manhattan. As novels go, Forsyth's was better than Leroux's, though I have no idea why we need another Phantom musical when the first one ended so perfectly.

But I digress... There will be plenty of time to assess the merits of Phantom 2 at a later date. (I will say this: Karimloo is a fine vocalist, so things could be worse.) Suffice it to say that the Phantom of the Opera (or Karimloo) is not the only Phantom on the move. Yes, sportsfans (or whatever sorts of fans read this): the Phantom of FIU will also be haunting a new location come fall. No, not Coney Island. I am getting a Ph.D., not building an amusement park. Where? Well, Frederick Forsyth isn't choosing for me, so I have to make up my own mind. But here are the possibilities, as well as possible logos. All entries are not equal possibilities. But I'm not posting that here. Next thing you know, Yahoo News has a headline that says "Grad Director Informed of Applicant's Choice Via Blogspot" or something like that. Once the decision has been made (it's close), and proper notices sent to grad schools, the Phantom's new habitat will be revealed here. The following are in alphabetical order only.

Claremont Graduate University has no mascot. However, CGU is a member of the Claremont consortium (a half-dozen or so schools around Claremont, CA), and the mascot for male undergraduate Claremost institutions is Stanley the Stag. (Female teams are nicknamed the Athenas, but no need to go there...)

George Mason University is in Fairfax, Virginia. Their nickname is the Patriots, but their logo (which can be seen here) does not lend itself to easy manipulation by this Phantom. Their fuzzy green mascot (what is it, anyway?) makes an appearance instead.

The University of Connecticut would make for a Huskie Phantom!

Would The University of Georgia be a dawg-gone improvement for the Phantom of FIU?

The University of Maryland Terrapins hail from College Park. Testudo (the mascot's name) dons the mask for his try-out.

The University of Massachusetts Amherst is ready for the Phantom to join its ranks of Minutemen.

So, any comments on the logos? (No, I will not substitute logo preferences for academic and professional considerations, but I'm interested to hear which you like anyway.) I leave you with this Phantom's favorite Phantom, Colm Wilkinson, as he sings "The Phantom of the Opera" with Rebecca Caine (Christine to his Phantom in the original Canadian cast of The Phantom of the Opera).

U - S - A!

2009-03-18T09:03:00.011-04:00

Warning: stop reading if you wish to avoid sarcasm or unabashed nationalistic chauvinism.

The World Baseball Classic was a blast last night at whatever they're calling Joe Robbie Stadium these days. It was do-or-die for the US against Puerto Rico. Entering the bottom of the 9th inning, Puerto Rico was ahead 5-3. But the US scored 3 runs in a thrilling bottom of the 9th, eliminating Puerto Rico and moving on to face the Venezuela tonight.

Your humble correspondent at the World Baseball Classic

The atmosphere in the bottom of the 9th was electric! Fans stood the whole time, chating "U - S - A! U - S - A!" with every pitch. When the final 2 runs scored, the stadium roared with cheers as complete strangers high-fived each other.

One item caught my eye. Puerto Rico rightfielder Alex Rios is actually from Alabama. What? I understand that foreign players would want to play here and then play for their own country in international competitions. Top-notch American soccer players have only recently had much opportunity to play in the USA. Before the 1990s, they would often play professionally in Europe. If Puerto Rican, Japanese, or any other players are good enough for the Major Leageus, then I certainly don't begrudge them their nationality. But why is an American playing for another country?

So, in honor of the participants in last night's game, Micah 24601 offers "America" from West Side Story. This version of the song hails from the 1961 motion picture of the show, though readers may also be interested to know that a Broadway revival directed by librettist Arthur Laurents will open tomorrow. Enjoy the song, Micah 24601 is declaring it Puerto Rico's official non-national anthem (because they aren't a nation!). And any Alabamans who care to secede from "The Star Spangled Banner" (they get like that every once in a while) are welcome to adopt it as their own as well.

Smoke on your pipe and put that in!

Top o' the Morning to You!

2009-03-17T09:08:00.007-04:00

Good morning and happy St. Patrick's Day to Micah 24601 readers! I hope you enjoy our special, one-day-only holiday look. Most of you are probably wondering who on earth the face above belongs to. Well, it isn't St. Patrick. It is Colm Wilkinson, the Irish singer who originated the role of Jean Valjean in Les Miserables. The song "Bring Him Home"--the last song added to the show--was tailored specifically for his uncanny vocal range.

Colm Wilkinson as Jean Valjean

But today is not a day for France, but Ireland! Fortunately, Colm (despite living in Canada for many years) has not lost his Irish sensibilities. So here is Colm Wilkinson's rendition of the classic Irish folk song "Danny Boy." Ignore the first 10 seconds. I'm not sure who edited the video, but those comments go with the previous song (whatever it was). But it's not long before you'll be enjoying Colm's soulful tenor and stratospheric falsetto!

Twinkle, Twinkle, Little Shuttle, How I'm Glad the Launch Wasn't Scuttled

2009-03-15T21:33:00.003-04:00

According to CNN.com's coverage, the space shuttle Discovery launched--or blasted off, as Florida newspersons like to say--at 7:43 pm, EDT. I happened to be walking at FIU's Biscayne Bay Campus at the time, and got this pic of Discovery. I saw on the Wednesday news that the launch had been rescheduled because of leaky gas lines, but didn't think anything of it until I saw the contrail.

But there you have it, folks. Aren't cell phone cameras great?

Do You Hear the People Sing?

2009-03-14T18:09:00.021-04:00

Well, you can hear them sing—gloriously—at the Actors’ Playhouse in Coral Gables. Their production of Les Miserables is an inspiring triumph. All future regional productions in Florida, beware: the bar has been set, and it has been set high. Judging by the conversation around me in the men’s restroom at intermission, I am not the only one who thinks so, either.

Margot Moreland (Mme. Thenardier), Gary Marachek (Thenardier), Gwen Hollander (Eponine), Christopher Hudson Myers (Marius), David Michael Felty (Jean Valjean), Nikka Wahl (Cosette), Trent Blanton (Inspector Javert), Patrick Oliver Jones (Enjolras)

It should be noted, however, what this production of Les Mis is not. It is not a reimagining. This is the Les Mis we all know and love. It is coaxed a bit to fit the smaller venue, but no corners are crushed in the effort—Les Miserables works beautifully. The pit orchestra is small, and on rare moments can sound slightly over-synthesized. But mostly it supports the performers on stage expertly. The addition of a saxophone to the pit freshened some familiar songs. Indeed, the orchestrations never sounded garish, like those of the recent Broadway revival. The costumes were also effective and never detracted from the production. Particularly notable was Thenardier’s “Beggars at the Feast” costume, including lime green trousers with hot pink buttons festooning the front, and large pink bows hanging off of each leg—and the trousers legs only reached mid-calf anyway.

David Michael Felty (Valjean) and Trent Blanton (Javert)

The scenery was effective, and while not as elaborate and the tour of Broadway productions, was never inadequate or cheap. The turntable was not missed; the company used the stage well to keep the sense of motion without it. The largest change in staging was a turret at the extreme right end of the stage. Sitting in the left side of the audience, I was right under it (confused yet?). It did not detract from my enjoyment of the show in the least, but I am hard-pressed to find the value added by it. It seemed as if there had to be some change, so it was there for that reason. Javert used it to oversee the chain gang during the prologue (the prisoners were marched up the left aisle from the lobby to the stage, through the audience). He also began “One Day More” perched atop it, descending to take his place amongst the students. It might be seen as a physical manifestation of authority—a literal bastion of law and order, as it were. It might have been seen thus, if it was not also used for Enjolras and Marius’ entrance (“Where are the leaders of the land,” etc.) in “Look Down,” Enjolras’ beginning of “Do You Hear the People Sing?” as well as Fantine and Eponine’s appearance in the “Finale.” It seemed that it was there, and it was used, but it didn’t help much to emphasize any theme. But it was hard to mind when the performers using it were singing so darn well.

David Michael Felty (Valjean) and Nikka Wahl (Cosette)

One slight change occurred in “Look Down” as the beggars assembled. A young woman shivered next to a younger girl as several grimy figures approached. The woman then proceeded to scream at them to “leave my girl alone!” A gritty moment, but one that served to set the scene and illuminate the condition of the slums. It was a point that, I think, was not alien to Victor Hugo’s purpose in writing the novel in the first place. But the minor deviations from previous productions did not make or break the show. The most important element of this—or any—Les Mis is the cast. And here the production soared.

Your humble correspondent with David Michael Felty (Jean Valjean)

Jean Valjean is the lynchpin of the play—the hub around which various and sundry subplots revolve. It is Valjean’s redemption that drives the plot, from his first appearance as angry convict to his death as a saintly old man. Reviewing the original Broadway production for the New York Times, Frank Rich described the original Valjean, Colm Wilkinson, as “Christlike without being cloying.” In David Michael Felty, Actors’ Playhouse has a worthy Valjean. Felty’s voice is extraordinary, ranging from soulful to fervent to powerful. The applause following “Bring Him Home” continued until shortly after the orchestra began playing the next number. Felty’s full-throated vibrato on the last note of “Who Am I?” provided the sort of moment that makes musicals worth seeing. During “What Have I Done?” he put the bag containing the Bishop’s silver on the ground when he reached “I have come to hate the world…” Valjean left the bag there and walked away until he came to “He told me that I had a soul / How does he know?” as if using the Bishop’s silver to signify the character’s willingness to mend his ways. Despite his good deeds, Felty was never saccharine. He roughly grabbed messenger-boy Eponine away from his gate before “On My Own.” Felty also waved the knife at Javert several times during their encounter at the barricade, prodding him to leave in a backhanded manner. Instead of a generic brand, Valjean had “24601” on his chest. I know that this makes little sense: Javert had been a guard at Toulon and presumably would know that Valjean had been tattooed or branded with his prison number. But I don’t care. Seeing 24601 on his chest was just cool!

With Trent Blanton (Inspector Javert)

Trent Blanton was an effective foil to Valjean as the implacable and legalistic Inspector Javert. His baritone did no disservice to “Stars” and “Soliloquy.” I also like that he crossed himself during his prayers in “Stars” and “One Day More.” Suicide is an unforgiveable sin for Catholics (because it cannot be confessed and mitigated by penance). Some Javerts cross themselves, others do not. I think it adds to the character by making it clear how much cognitive dissonance the law-abiding Inspector must be enduring to commit suicide. But I think Blanton’s finest moment was “The Confrontation.” He was livid as he explained to Valjean that he had been born inside a jail, but had followed the law. I would have liked to have seen that fire, that contempt more throughout the performance.

L-R: Yours truly with Melissa Minyard (Fantine) and my brother Brandon(Photo taken by Margot Moreland)

When I initially saw the pictures of the cast, Fantine was not included. I wondered why she was not, and I was slightly worried as I wondered who had been cast in the role. It turns out that my worries were completely unfounded. Melissa Minyard gave a poignant, profound performance, and—barring the exquisite Lea Salonga—the best performance in the role that I have ever seen. Like Salonga or Ruthie Henshall, Minyard has the rare ability to cram her voice chock-full of emotion without being out of control. Minyard’s vocal range was extensive. Her “I Dreamed a Dream” was heartbreaking, as was the “Come on, captain…” bit of recitative. When recalling happier moments—“There was a time…,” “Hope was high and life worth living,” “He filled my days with endless wonder,” etc.—Fantine showed an improbable girlish wistfulness that made the conclusions of all those statements, and the disappointments that had followed all her good days, even more tragic. In keeping with the tradition of the musical, “Bullet Boy” made an appearance (that is, the actress playing Fantine appears as a revolutionary during the barricade scenes), but wearing an orange vest instead of a green jacket.

Gary Marachek (Thenardier) and Margot Moreland (Mme. Thenardier)

Margot Moreland and Gary Marachek provided some rare moments of comic relief as the rascally Thenardiers. Marachek’s portrayal still puzzles me. I am not terribly fond of slapstick portrayals of the devious innkeeper. I prefer a grittier, darker interpretation of the role. Initially, Marachek’s jumping jack-antics and tongue flickering seemed to be along the lines of a more humorous portrayal. But then I wondered: perhaps Thenardier was less slapstick than sociopath. I’m still not entirely sure which—if either—slant was intended. Regardless, Marachek certainly explored the vocal range of Thenardier more than any other I’ve seen, singing surprisingly well and not merely talking along the beat. But one item from his performance was tremendously perplexing. In “Dog Eat Dog,” Thenardier sang: “It’s a world where the dogs eat the dogs / Where they kill for the bones in the street.” And here he paused as the melody continued, omitting “and God in His heaven, He don’t interfere / ‘Cause He’s dead as the stiffs as the stiffs at my feet.” Instead he mumbled something about “they”—the dogs, presumably—being “dead at my feet.” This made little sense; even worse, it rendered the final lines—“I raised my eyes to see the heavens / And only the moon looked down” completely irrelevant. I hope that this was merely a slip of the tongue or memory rather than any attempt to change Thenardier’s ethics and their consequences.

The author with Gwen Hollander (Eponine)

Gwen Hollander was in fine form as the forlorn Eponine. She was an endearing waif, and sung “On My Own”—a song that is far too easy to sing like a half-baked pop star—very well. I think this is one of the rare occasions (actually, it might be the first) where I paid more attention to Cosette than Eponine!

Gwen Hollander (Eponine), Nikka Wahl (Cosette), Christopher Hudson Myers (Marius)

Christopher Hudson Myers and Nikka Wahl were both charming in their portrayals of Marius and Cosette. The acting at the beginning of “A Heart Full of Love” was particularly winsome. As Marius proclaimed his heart full of love and song, Cosette flashed a goofy, lovey-dovey grin at the audience. They were a pleasure to watch, although both were a bit lacking vocally. Myers was good, but not a vocal powerhouse that makes “Empty Chairs at Empty Tables” memorable. Wahl had a sweet voice, but it warbled a bit on the higher notes. Had she dialed back on the vibrato, it may not have been the most classically perfect performance, but it may have kept the totality of her vocals pleasant.

Patrick Oliver Jones (Enjolras), myself, and Nikka Wahl (Cosette)

Patrick Oliver Jones was born to play Enjolras. Very much reminiscent of Michael Maguire (not including the subpar TAC outing), Jones is tall, dark and charismatic. His strong tenor was authoritative, and his acting superlative: Enjolras was clear-eyed as he pursued the revolution. Jones had the essential quality that any effective Enjolras must possess: believability. Enjolras is leading the students to certain death (as Grantaire alone realizes, or at least as he alone is willing to state); Enjolras must be a compelling leader in order to plausibly inspire devotion to his vision of a just society in face of patently insurmountable odds. Patrick Oliver Jones gave such a compelling performance.

David Michael Felty performing the role of Jean Valjean while understudying the role as a member of the Third National Tour of Les Miserables

The ensemble sang extraordinarily well. On numbers like “At the End of the Day,” “Look Down,” “One Day More,” etc., they were as good as any company I’ve seen on tour or on Broadway. The soaring vocals and epic scope were not lost in translation. A very pregnant Colleen Amaya provided some unintentional irony in the ensemble—one of her various roles was the Bishop’s maid! Shane Tanner was a suitably brutish Foreman. Rebecca Simon (wife of Trent Blanton) was a stand-out as a saucy minx of a Factory Girl, kicking up her heels as she taunted Fantine and then cozying up the foreman to get her fired. From top to bottom, this cast was simply a joy to watch. From the opening chants of the dispirited chain gang to the hopeful vision of “a life about start when tomorrow comes,” the Actors’ Playhouse production of Les Miserables is nothing short of thrilling.

One Day More!

2009-03-11T10:08:00.021-04:00

One day more,

Another day, another destiny

This never-ending road to Calvary...

Yes, readers, it is one day before I see Les Miserables once more. Only one South Florida paper has published a review to date, but if that one review is any indication, I will be in hog heaven tomorrow evening. According to The Miami Herald's Christine Dolen, "Actor's Playhouse scores with superb `Les Misérables'." Dolen says:

For a number of the performers appearing in the knockout new production of Les Misérables at Actors' Playhouse, the stirring work by Alain Boublil and Claude-Michel Schonberg is the show that made them fall in love with musical theater. See it, and you'll have no trouble understanding why.

Les Mis--specifically, the Tenth Anniversary Concert--is indeed the reason I fell in love with musical theatre, so I am very glad to hear that the Actors' Playhouse has (it seems) mounted a worthy version of "The World's Most Popular Musical."

In honor of the occasion, I thought I'd put up a video of the magnificent end to Act 1 of Les Mis. The only problem? There are three version of "One Day More" on youtube, not counting the TAC and lesser-quality bootlegs. I couldn't decide between them, so here they are in chronological order--all of them, with some of my observations. If you have never seen the spectacular sight that is "One Day More," then watch at least one. And don't be surprised if you can't stop at one.

1987 Royal Variety performance from British TV

The first of several times that international all-stars were compiled from various casts. Some worth mentioning:

Israeli tenor David "Dudu" Fisher is Valjean
Original London Grantaire and Javert understudy Clive Carter is Javert
Simon Bowman (of Miss Saigon fame) understudied Michael Ball in the original London cast and appears here as Marius
Kaho Shimada, of several Japanese productions, did not know English and sang the role of Eponine phonetically

Moment to watch for: Hit pause around 2:00 as Jean Valjean embraces his adopted daughter Cosette. The picture is worth a thousand words: Cosette's despair over leaving France, Valjean's bewildered expression as he wonders if Inspector Javert has finally caught up with him, and the students marching as the latent social tumult explodes.

1988 Tony Awards

This is the original Broadway cast. "One Day More" is preceded by a bit of "At the End of the Day."

Who is the best Eponine to appear in a cast recording? Judge for yourself by watching these clips. Kaho Shimada was in the previous version, and Lea Salonga is yet to come. But the Original Broadway (and London) Eponine was Frances Ruffelle, seen here.
David Bryant is a pitiful Marius!

Moment to watch for: Keep your eyes peeled for 4:00, and be amazed at massive 'do of Original Broadway (and later TAC) Grantaire Anthony Crivello.

1998 "Hey, Mr. Producer!" concert

This event comemorated the career of British theatrical producer Cameron Mackintosh (Les Mis and The Phantom of the Opera among many, many others). Colm Wilkinson provides an excerpt from "Bring Him Home" before "One Day More."

The cast is mostly the same as the Tenth Anniversary Concert
Instead of Michael Maguire, however, Hal Fowler (then playing Javert in London, oddly enough) is Enjolras

Moment to watch for: At 3:41, the sight of Inspector Javert kneeling in prayer as the student march behind him provides a study in contrasts.

Tomorrow is the judgment day!

Tomorrow we'll discover

What our God in Heaven has in store.

One more dawn.

One more day.

One Day More!

Sophia Ragavelas (then Eponine, later Fantine) in an advertisement for the London production of the Les Mis. "The one and only" is an apt tagline for the show!

The REST of the Story!

2009-03-09T10:55:00.013-04:00

I am happy to say that there has indeed been some interest in more "The Rest of the Story" segments. I will be happy to share them, along with a number of other Paul Harvey audio goodies I've accumulated recently--including the "Parable of the Man and the Birds" that ended last week's post. So keep your eyes peeled, gentle readers, and don't touch that dial!

Yes, they will be coming (along with a lot of Les Mis--consider yourselves forewarned!). But this week, I wanted to continue the tribute. Many thanks to Ray (via his archive of commericals over at YouTube) for the above Paul Harvey tributes from WGN. He's rapidly becoming Micah 24601's Ed McMahon, but that's a story for another blog (it would be timely, given the late-night switcheroo in progress).

A few articles caught my eye over the past week. A prescient Forbes.com piece from 2006 asks: "After Paul Harvey, What?" The article begins with this consideration: "Paul Harvey hip? Of course not. The blog crowd wouldn't pay him any heed." Well, that may be. But if it is, then this blog is proudly unhip! And read by a variety of unhip bloggers as well. (Maybe we need a web ring?) But the question posed by the article's title is a bit less vacuous. And it is one that the ABC Radio Networks are now pondering.

Last week, Gil Gross and Doug Limerick were chosen to share Harvey's broadcasts, though Gross insists that he will only be a temporary replacement. Both have frequently served as substitutes for Paul Harvey over the course of a number of years. Paul Harvey, Jr., will presumably continue to be the only writer for "The Rest of the Story," and he would be a good choice to replace his father on that program. (Stay tuned, Micah 24601 will soon feature Paul Harvey, Jr., reading "The Rest of the Story" in his father's stead.)

But Guardian Angels founder-turned-ABC Radio host Curtis Sliwa probably said it best (in the Forbes article): "They could bring Jimmy Stewart back to life, and you still couldn't replace Paul."

Paul Harvey with his wife Angel and son Paul, Jr., enjoying a 1950s vacation to Miami. According to The Chicago Tribune, Harvey was named honorary Miami police chief during his visit.

PaulHarvey.com has an excellent series of tributes that were broadcast during "Paul Harvey News and Comment" all last week. Interim "News and Comment" replacement Gil Gross hosts, and various guests all share fond memories of Paul Harvey. Both informative and entertaining, it is an apt tribute to this great broadcaster.

If any readers are interested in more connections between Paul Harvey and South Florida (i.e., more besides the dated beachwear above), then listen to Friday morning and afternoon's segments of the week-long tribute. Larry King, who began his broadcasting career at local station WIOD (then an ABC Radio affiliate), shares many anecdotes from his long friendship with Paul Harvey, including some from his Miami days. And the WIOD remembrances don't stop with King.

So those are Paul Harvey's ties to this neck of the woods.

And now you know...the REST of the story!

I am Agog, I am Aghast!

2009-03-06T11:48:00.019-05:00

David Michael Felty (Valjean) and Trent Blanton (Javert) are starring in the Actors' Playhouse production of Les Miserables

For the past year, I have been anxiously awaiting news concerning the first South Florida regional production of Les Miserables. (Playbill's announcement from 5 March 2008.) The Actors' Playhouse production of "The World's Most Popular Musical" began performances on Wednesday, and is officially opening over the weekend. Reviews will presumably follow the opening, but The Miami Herald did run "'Les Miz' goes on despite miserable economics" in today's paper. Information has not been easy to come by (note to Actors' Playhouse: list the cast on your website!!), but cast information is now available and I am happier than a clam!

David Michael Felty will be playing Jean Valjean--a.k.a, prisoner number 24601. Alert readers may recall Felty's involvement with Amazing Grace: The True Story, which Micah 24601 is eagerly following. Felty understudied the role of Valjean with Les Miserables' third national tour, was in Frank Wildhorn's The Civil War on Broadway, and is currently John Newton's father in the development of Amazing Grace. Valjean's pursuer Inspector Javert will be played by Trent Blanton. Blanton is pursuing his MFA at Florida Atlantic University (I'll put aside the FIU-FAU rivalry for the sake of Les Mis), but played Grantaire and understudied Javert with the 3nt.

Your humble correspondent at the Jackie Gleason Center for the Performing Arts in January 2003

I will be seeing Les Miserables next Thursday, so look for a review here in about a week. This will be my sixth time seeing the show: I've seen the national tour twice, two school editions, and the Broadway revival. This will be my first regional production. Aside from my general love of Les Mis, I am also interested to see the leads. I saw Trent Blanton perform the role of Grantaire. It was the first time I saw the show, and Blanton (as Grantaire, the drunken cynic) uttered the words that form this post's title. I remember him as a very tall and slouchy Grantaire, sprawling indifferently as his fellow students brimmed with revolutionary fervor. David Michael Felty was Brujon both times I saw the tour--not a role that many remember, but he also understudied Valjean. After reading good reviews of Felty's Valjean (such as this; the same reviewer also liked Trent Blanton's understudy work), I almost wished I could see him. But only almost. I never regretted seeing Randal Keith do Valjean twice! But I look forward to seeing Felty take the lead at the Actors' Playhouse.

Actors' Playhouse cast: Patrick Oliver Jones (Enjolras), Gwen Hollander (Eponine), Christopher Hudson Myers (Marius), David Michael Felty (Jean Valjean), Nikka Wahl (Cosette), Trent Blanton (Inspector Javert), Gary Maracheck (Thenardier), Margot Moreland (Mme. Thenardier)

The rest of the cast is intriguing. Fantine is played by Melissa Minyard (not pictured above), who understudied the role of Valjean's adopted daughter (and Fantine's actual daughter) Cosette with the national tour and on Broadway. The rest of the cast has extensive experience in regional productions and a few national tours. But a large question mark still looms. The regional productions of Les Mis are contractually obligated to stage the show differently than the national tour. So I will be noting the direction of the Actors' Playhouse production, however conventional or unconventional it may be. Check back here next week for a full run-down!

Here is David Michael Felty singing "Bring Him Home," dubbed "the Prayer" by Les Mis cast members. If any reader has not yet heard this song, then remedy that unfortunate circumstance by hitting the play button below!