Dave Read

A Chorus Line at BTF

July 7, 2012 performance reviewed by Frances Benn Hall

Berkshire Theatre Festival‘s production of A Chorus Line is a dynamic reenactment of its original performance that involves so many specialists, in the fields of orchestra, choreography, lights, sound, and costumes that we can merely list them and aver that they are all deserving of high praise.

This short speculation concerns the part played by Eric Hill as Director and what possibly was included in his involvement, and considers evidence of his working with the dancers in character interpretation. It also gives opportunity to discuss some of the scenes that moved me and to list a few names of performers whose work I admired.

The scenes chosen are ones in which a chorus member, desperate to be chosen, bares his soul, and in doing so makes one consider WHY these “children” for they are mainly still young, endure constant rejection at auditions as they try to hang onto a career choice that is perilous at best.

Asked to talk about themselves, they are confused, reluctant, rambling and avoiding, but in their self-confessions are woven into songs and dances that begin with childhood and move through growing as a struggling dancer. Nili Bassman as Cassie has a story that breaks the heart as she pleads for a chorus job, she who has been a star, a lead, demoting herself from past stardom no begging to be in the chorus line. She needs a job. She needs to eat. She knows the stardom is behind her.

Paul (Eddie Gutierrez) near the play’s end, brings into appalling focus how painfully and confusedly he has struggled with his sexual identity, especially in relation to his father, and his adolescence, and shares with us the moment when his father almost accepts him.

Sheila (Dana Winkler), Bebe (Julienna Katz) and Maggie (Karley Wilcocks) are fleet and lyrical and poignant in their memories of how it all began, when as tiny little girls they had fathers interested in their small ballerinas, and how “everything was beautiful at the ballet.”

In dance, song and story, the show is threaded with dancers who share their joys and dreams but let us realize, perhaps for the first time, how much it has cost them and how willingly they have sacrificed. The musical numbers that evolve from these confessions are as varied as the experiences, all choreographed with precision and style (or humor if needed). And, of course, this alerting the audience to a side of life in the chorus line that we possibly never considered, the sacrificial one, is important.

However the real joys of the play are the marvelous skills of the dancers, the musicians, and all who make this such a glorious evening at the theatre. And behind all that, the skills of the theatre artists who make it all possible. Go. And watch out for the hats. Because hats matter gloriously in what I think of as “the silver surprise” when we thought we had seen it all and were clapping furiously.

BSO opens Tanglewood season with 1937 all-Beethoven program

July 6, 2012 performance review by Dave Conlin Read

Christoph von Dohnanyi leading the BSO at Tanglewood on Opening Night July 6, 2012; photo: Hilary Scott

Despite all the attendant publicity – and publicity’s essential theme tempus fugit, I got a sense of timelessness at the opening concert of the Boston Symphony Orchestra‘s 75th anniversary Tanglewood season. Conducted by Christoph von Dohnanyi, the program was a replication of the first concert Serge Koussevitzky led in the Berkshires on Aug. 5, 1937, Beethoven’s Leonore Overture, his Symphony No. 6 and then Symphony No. 5 after intermission.

It is the genius of Beethoven and his ilk to compose scores that can be brought to life by an orchestra. Once animated, the symphony occupies a gap in time where a listener can repose, affording him a respite in eternity, without the inconvenience of dying.

Alternate metaphor: We live, if not precisely minute to minute, then moment by fleeting moment. Listening to the work of such a composer as Beethoven, I get a sense that, because these scores of musicians are so keyed into time, exquisitly so, that time itself loses its grip on me.

Watching Maestro von Dohnanyi go about his business, his gestures looking so casual (so not arty) that I imagined an overnight custodian somewhere air conducting to the radio. But he clearly was keyed in and with such a masterful grasp of timing that the smallest, quietest passages were beautifully apparent tonight. Good choice for the BSO to have the former Tanglewood Music Center conducting fellow to lead the first of several anniversary-themed programs this summer.

Since ending his 20 year tenure as Music Director of the Cleveland Orchestra in 2002, Maestro von Dohnányi has kept busy. This season, he leads subscription concerts at the Boston and Chicago symphony orchestras, and at the New York Philharmonic. Last season he became Honorary Conductor for life of the Philharmonia Orchestra; this season he leads the Philharmonia in Madrid, Cardiff, in a Brahms symphony cycle at the Théâtre des Champs-Elysées in Paris, and at London’s Royal Festival Hall.

James Taylor at Tanglewood July 2 – 4, 2012

by Dave Read.

The Koussevitsky Music Shed at Tanglewood is a holy place in the minds of legions of classical music lovers, sort of a chapel to the cathedral – Symphony Hall in Boston. Over the past decade or so, the BSO has instituted a way to ready the place for the returning congregants, inviting lay ministers Garrison Keillor and James Taylor to hold services that are certain to clear the dust from the rafters and get the aisle-wardens, parking-assistants, concessionaires, and ticket-takers into mid-season form.

Tanglewood audience July 4th James Taylor concert; photo: Dave Conlin Read

Keillor, an annual Tanglewood attraction since 2000, can now be counted on to append nearly a whole show of audience sing alongs to his 2 hour live broadcast of A Prairie Home Companion. And James Taylor, who has played 40+ times at Tanglewood since 1974, has taken to scheduling little series of shows, often with special guests. This year’s 3 night run included one with Taylor Swift, the young country-pop sensation who was named after him. She appeared late in the first set of the July 2 show for a duet on Fire and Rain, and sang her own hits Ours and Love Story in the 2nd set. Ms. Swift’s entrance caused an eruption of shrieks from the youngsters in the sold-out audience that reminded us of the reception afforded the youngsters from Liverpool when they were introduced by Ed Sullivan in 1964.

Tanglewood lawn scene,July 4th James Taylor concert. — Tanglewood lawn scene,July 4th James Taylor concert photo: Dave Conlin Read

The Beatles get a mention at all James Taylor concerts, when he talks about his luck in getting signed by them to record his first album on their Apple label. The album included Carolina in My Mind with appearance by Paul McCartney and George Harrison, and Something in the Way She Moves, which inspired Harrison to write Something. This season’s version of Taylor’s band was missing singer Arnold McCuller but included long-time collaborator Larry Goldings on keyboards and Dean Parks on pedal steel, each of whom added serious and searing oomph to the proceedings.

We attended the 1st and 3rd show; together the series attracted somewhere in the neighborhood of 53,000 fans. Mr. Taylor is also on the program for the Gala 75 Anniversary concert July 14, which features Boston Symphony, Boston Pops, and Tanglewood Music Center Orchestras, plus special guests John Williams, Keith Lockhart, Andris Nelsons, Anne-Sophie Mutter, Yo-Yo Ma, and Peter Serkin.

Seiji Ozawa’s Tanglewood farewell press conference

July 15, 2002 article by Dave Read

Maestro Ozawa’s opening remarks:

My private thoughts – its kind of rare in my profession, 1960, July, I came from Paris to Boston airport, on Pan American, first time in my life to come to America. And then I took autobus from there to Lenox, to join this school here, so – 1960, which is 42 years ago, I came here as a student, and to me, my kind of study in Japan with my great teacher, Professor Hideo Seiko, who was a wonderful teacher but kind of focused on areas like ear training, score reading and how to conduct Bach, how to conduct Haydn, Mozart, Beethoven, Brahms, and some Tchaikovsky and never go out of that kind of repertoire.

Seiji Ozawa's Tanglewood farewell press conference, July 12, 2002; photos by Dave Read. — Seiji Ozawa’s Tanglewood farewell press conference, July 12, 2002; photos by Dave Read.

Mahler, for instance, I never faced a Mahler score. Here, when I arrived, in our room, my classmate is studying Mahler’s Sixth Symphony, very intensely, which I think he was conducting at the end of the summer somewhere and that gave me a shock, that I did not know one note of Mahler. And I never had any opera experience and here we had many students and conductors studying opera. So I had a shock… really my studying of wide repertoire, by shock, I started here.

I was invited as artistic director by the Boston Symphony to come here, at that time musical director William Steinberg had a health condition, he could not do hot, summer, outdoor concerts, so they invited me. That moment was really for me the beginning of surprise miracle – that I came back to Tanglewood permanently. And then I become conductor for the Boston Symphony, so all my circle – my repertoire, my studying, started here, using my knowledge from Professor Seiko in Japan.

For me, it’s a really special place, and now I must say goodbye. It’s really very amazing emotional thing for me.

I don’t have much thinking more than that, but this place has become my system, and the Boston Symphony is really in my system, and many of you know, the school here, where I came in 1960, I was really very involved in the school, so that also is in my system. And this nature here, same lake – we used to have a swim, now still we swim together, so it is something very special for me.

So this weekend for me is very special, and for you to come, I appreciate very much. Any questions from you?

Ellie Tesher, Toronto Star: Do you feel that going to Vienna is really the pinnacle of your career?

Seiji Ozawa: No. First, for my type of profession, orchestra or me, I think changes are good. That’s what people say and I accept that. And anyway between myself and my wife, we felt professionally I must finish my work. I did not know it would be opera, but I love opera and during my years here we tried from the stage – sometimes from the Shed and the Theatre, Peter Grimes.

But very limited opera repertoire I have, so when I got the opportunity to do opera, I thought very good chance for me to do it before I die, to enjoy opera. This is why I made the decision, so I will try anyway.

Dave Read: Maestro Ozawa, do you see any similarities between Vienna and the Berkshires, goegraphically, culturally, artistically?

Seiji Ozawa: I don’t know! Funny thing, last week in Boston a Japanese TV crew took me to the other side of the Charles River, to a beautiful area where I’ve never been, where the sailboats are. They asked me, where do you usually go?

Between my house in West Newton, Symphony Hall, 2 Japanese, 1 Chinese, 1 Italian restaurant – that’s it, and I don’t know those places in Boston. Viennna – I know the Musikverein, I know the Schonbunn Palace, I know around it, but I don’t – Yes, I know the wine area, that I know. But other places, I don’t know yet.

Dave Read: Are there any tips or advice you would pass along to your successor, Mr. Levine, regarding life in the Berkshires?

Seiji Ozawa: About a week ago, I was in Japan on the subway around noon on my way to rehearsal and my portable telephone rang. You’re not supposed to do this, but I answered and it’s Jimmy!

I had to tell Jimmy, “I”m on the train.” So I got off at the next stop so I could talk in quiet; two minutes later, I’m on the platform, same question, exactly. He asked me, “Hey Seiji, you give me all the information you can give me.”

So I said of course I’d love to do it, but really I have nothing to tell, because different conductors have different ways…So, the orchestra is ready.

The only thing that is sad for me is that he doesn’t come right now – you know, he’s so busy, so there’s a gap that’s sad for me.

Dave Read: Where was he calling from?

Seiji Ozawa: Ah! He was calling from Rome at five o’clock in the morning. I said where? and he said he just came from New York where it’s eleven o’clock at night. He was going to Verbier, Switzerland. it was so funny. (James Levine is Music Director of the UBS Verbier Festival Youth Orchestra.)

Dan Levy, WTEN TV: What are your over-riding emothions this weekend?

Seiji Ozawa: Last April when I said goodbye at Symphony Hall, I was so sad, so sad – inside of me was like catastrophe, I was sick. Next day, I was reallty sick.

So I thought this place, it is open, and the public and the nature, I thought this would be for me and for my group, symphony and students, a big, happy celebration. The program is made for that, I hope it will be. Mahler’s 9th Symphony in Symphony Hall, the orchestra played so good for me; nobody between me and the orchestra and that was the best communication. Two weeks ago I watched the performance on Japanese TV and I was in tears. Something I did not know, I was so busy that moment. When I see the faces of the orchestra members, it was very special.

Review of The Importance of Being Earnest at Williamstown Theatre Festival

June 30, 2012 matinee reviewed by Frances Benn Hall

Oscar Wilde’s The Importance of Being Earnest now playing at Williamstown Theatre Festival is a smashing success. Director David Hyde Pierce’s weaving the joys of Wilde’s one-liners with the accents of Damon Runyan’s mobsters in a delightful English setting (where in 1932 mob members have migrated to escape mob problems in the good old USA) works magnificently. And having the versatile and competent Tyne Daly play Lady Bracknell is icing on the cake. It is a role all the great 20th century English actresses have played to our enchantment.

Tyne Daly in a scene from The Importance of Being Earnest at Williamstown Theatre Festival. Photo: T. Charles Erickson

Having given that glorious rave, one must admit that the first act was flat. The Wilde dialog was there but brought almost no laughs or response from the audience. The two male leads seemed underplayed and even the dominating entrance of Lady Bracknell and her daughter not enough. And then, after intermission, the curtain came up on the glories and praises that prompted the opening of this review.

The setting as in the script had changed to the country and the skies were blue and the roses blooming in the garden where Cecily (Helen Cespedes), spirited and delightful and very sure of herself, and Miss Prism (Mary Louise Burke), a zitsy family retainer, take the play immediately to its Wilde level where the pedantic clergyman Rev. Chasuble (Henery Stram) carries it along.

No sooner are he and Miss Prism gone, the stage is activated by the challenging arrival of Gwendolyn (Amy Spanger) to spar spiritedly with Cecily over who Earnest might love, only soon livened by Algernon (Louis Cancelmi) on a Bunbury trip, pretending to be John’s brother, to fall conveniently in love with Cecily. And of course suddenly levels are elevated further by the arrival of John Worthing, (Glenn Fitzgerald) dressed in deep mourning for a non-existent brother and, dynamic on his own turf, demanding Algernon leave.

Act 3 set inside the house at the country estate is even more dynamic and hectic. All the tangles of act 2 are resolved and the actors are all in splendid form. But the real glory of Act 3 is Tyne Daly. She dominates casually, it would seem, from her chair. But she has within her a heart of steel. She makes it look easy. That is her glory. It is nice to have her in the Berkshires.

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2012 Review A Prairie Home Companion at Tanglewood

The 13th live broadcast from Tanglewood of A Prairie Home Companion, with Garrison Keillor, featured the familiar guests Arlo Guthrie, Heather Masse, and The DiGiallonardo Sisters, as well as the Guys All Star Shoe Band and the Royal Academy of Radio Actors, Tim Russell, Sue Scott, and Mr. Fred Newman.

The show got off to a fast start with the DiGiallonardo Sisters harmonizing on a hilarious Berkshires version of George M. Cohan’s Give My Regards to Broadway:

“Give My Regards to Stockbridge, Remember me To Lenox and Lee;
…
Oh how my heart is yearning, to see the Koussivitsky Shed;
Give my regards to Tanglewood, We’re gonna try to knock’em dead.”

By the time the live broadcast closed with City of New Orleans, Arlo Guthrie at the grand piano leading a vast chorus of singers, Mr. Keillor had once again delivered a thoroughly entertaining program, comprised of a perfect blend of heartfelt and hokey singing and humorous skits with pan-o-sonic effects. Then there’s the News from Lake Woebegon, which always has a poignancy because its denizens and their misadventures, for all their odd particularities, are pretty much like the people we know, some of whom we miss now.

Sometimes at Tanglewood, the 2 hour radio program can feel like a pretty fancy warm up to the best event of the day – the on-stage after party concert and sing-along that today lasted well past 9PM. We left the Shed during the enchanting Swing Low Sweet Chariot, which is great fun to sing as a member of an ad hoc choir of thousands.

Thirty minutes earlier we sang along with Arlo on Home on the Range; watching him singing that song and wearing a handsome cowboy hat, we remembered that Arlo Guthrie was named for Davy Crockett!