2013-05-19T07:18:52-04:00 Melody Breyer-Grell http://www.huffingtonpost.com/author/index.php?author=melody-breyergrell Copyright 2008, HuffingtonPost.com, Inc. HuffingtonPost Blogger Feed for Melody Breyer-Grell Good old fashioned elbow grease. tag:www.huffingtonpost.com,2013:/theblog//3.2993851 2013-04-03T17:35:46-04:00 2013-04-03T17:36:01-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/ "Little Big Band." Her voice, robust but not brassy, swings melodically like an old-time vocalist. A generous singer, she always includes an accomplished guest artist, and for her anniversary show, she wheeled out a cavalcade of New York staples too numerous to all be mentioned.

Ms. Genecco, diminutive and androgynous, is a sporty, attractive MC. She opened with "It Had Better Be Tonight," (Henry Mancini) followed by "The Moment of Truth" (Music and lyrics by Collen Gray), and "Tex" (Satterwhite and Frank Scott). She then turned over the show to her guests, starting out with Shaynee Rainbolt. Having listened to Rainbolt for years, last night was a revelation. In "I Only Have Eyes for You," her voice was, clean, focused, rangy and swinging. Her performance left me wanting more.

Broadway and TV actress Luba Mason offered up a seductive, velvety "Love for Sale." She owned the stage as she lithely delivered the familiar lyrics.

NYC icon Marilyn Maye (with her musical director Billy Stritch) stopped in and brought the house down with a rollicking jazzed up rendition of "On the Street Where You Live." This woman was on the old Tonight Show with Johnny Carson over 70 times. When she struts her stuff, you can tell why. She is a powerhouse. Stritch's piano playing was big and resonant, yet supportive and agile.

We were graced with the true Broadway belt of Karen Mason, who Terese joined in a virtuosic version of "Come Rain or Come Shine." Mason also shone in "The Moment of Truth," by songwriter Paul Rolnick, her husband, with music by Shelly Markham.

K.T. Sullivan camped it up with an outrageous interpretation of Irving Berlin's "You'd Be Surprised" with her unique soprano and purring vibrato. One can see why she is so well-regarded by the local cabaret scene.

For a change of pace, Terese introduced Klea Blackhurst, who regaled us with a hysterical tune from Gentlemen Prefer Blondes. Her comedic timing reminded me of the late Madeline Kahn. She also has quite a set of pipes.

Genecco closed the set with Bill Zeffiro -- pianist, singer and song writer. They made a duet of his tune, "A Voice in the Blue." Zeffiro's voice was as strong and clear, and his song was evocative of another time -- when music had sentiment and melody.

The Iridium is doing us a service by having Scobar Entertainment (headed by Scott Barbarino -- himself a fine baritone) present Ms. Genecco monthly. I would recommend this event as a destination to tourists and locals alike. She is to be found the last Tuesday of each month at the Iridium, at 1650 Broadway in New York City.]]> tag:www.huffingtonpost.com,2013:/theblog//3.2817602 2013-03-08T16:00:15-05:00 2013-05-08T05:12:01-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/ A Dangerous Method.

While that film concentrates on Jung's relationship with Sabina Spielrein, Ken Wydro's Secrets, introduces a later patient/lover, Toni Wolff.

As potent as that relation is rendered, the real passion here is found in the relationship between the two doctors themselves.

The play is based on a collection of 1,000 letters between the icons. It portrays their first introduction, with Dr. Freud cautiously inviting Jung into his office, with the meeting becoming a 13-hour marathon, leaving Mrs. Jung (Emma) virtually abandoned, until her husband appears all those hours later, bearing pastries.

Jung's word association process quickly leads Freud into relating the story of his nanny and her eventual dismissal. Before you know it, the men are in a collaboration so strong, that Freud names Jung as his successor as the president of the International Psychoanalytic Society.

The rest is indeed history, as the colleagues work together, ultimately revealing the irreconcilable differences that shattered their association, not just as professional cohorts, but as friends.

Their relationship is fraught with drama. There is a great deal made out of Freud being a Jew (although he did not have a relationship with God) and Jung's Christianity (ultimately leaving Jung with an unquenchable thirst for all things divine and spiritual.)

One main reason for the split, was Jung's insistence that the libido was not merely sexual. It encompassed all things; art, music and the essence of all creative endeavors. Freud claimed it was just about sex.

The breakup, as indicated by the letters, was as intense as a father and son, or even lovers. Although there was no actual homosexuality, Freud did ponder on its possibility, when he realized how deep his love for Jung was.

Wydro, in a world of theatrical alchemy, was able to intertwine the letters' contents with actual meetings in a way that was all in one piece, reminding us that theater can be as essential to us as other substances, such as air and food.

The cast was sturdy and able, the major standout being John Michalski's sympathetic Freud, Rigid in his scientific believes, but fluid in his relationships, Wydro was able to portray both sides equally. Cooper Grodin was an energetic Jung; Natalia Volkodaeva a lyrical Toni Wolff; with Anita Anthonj a vulnerable, yet strong, Emma. As Freud's earlier sidekick, Sandor Ferenczi, Demetri Bonaros nimbly added some extra insight into the goings on.

Secrets will be at the TBG Theater at 312 W. 36th Street, until 3/10, and hopefully will be produced again.]]> tag:www.huffingtonpost.com,2013:/theblog//3.2714731 2013-02-26T11:23:14-05:00 2013-04-28T05:12:01-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/
It is hard to find a jazz singer today that can please both traditional tastes and the more adventurous of us, but Aimee fits the bill. Her voice, a smoky delicate instrument, literally scales the heights with her ambitious, yet melodic flights into instrumental quality, jazz vocalizing.

Following a generous band ensemble piece, Aimee started off her set with a simple French number, "Je Suis Seule Ce Soir." That accomplished, she continued on with a swinging "Foggy Day In London Town," a smooth "Dindi" and an adventurous "Detour Ahead." Many of the pieces had extended scat solos and her "Well You Needn't" (Monk) was living Be-Bop. A lovely and exciting singer, she did not present any wrist-slashing ballads, but it was a "party."

In perfect contrast was her guest singer, Linda Ciofalo. The sultry voiced Ciofalo, with a sound like spun cotton candy and a soulful vibe, contributed three numbers, a standout being "My One and Only Love." Linda took the song to a romantic pinnacle, shimmerlingly spinning out each lyric, as if important as the music. She swung "I Didn't Know What Time it Was" and offered a jaunty "La Isla Bonita" ala Madonna.

The singers were fortunate to be working with some of the most accomplished musicians in the business, featuring John Hart. His guitar is smooth, yet strong, intricate yet accessible. His time and phrasing moved the audience to cat-call following his many generous solos. He was joined by the creative and articulate Jon Davis on piano, the strongly nimble Paul Gill on bass and the tightly rhythmic Aaron Kimmel on drums. Everyone was featured to their full advantage and the evening flew by.]]> tag:www.huffingtonpost.com,2012:/theblog//3.1832093 2012-08-28T09:42:50-04:00 2012-10-28T05:12:04-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/
Co-founded in 1981 by General Director Michael Capasso and Artistic Director Diane Martindale, Dicapo Opera Theatre has annually offered repertoire ranging from the operatic classics by such masters as Mozart, Bellini, Donizetti, Verdi, and Tchaikovsky to the 20th century works of Menotti, Thomas Pasatieri, Tobias Picker, Robert Ward and many others. It has also had the distinction of performing all of Puccini's operas and instrumental music.

One of the most impressive things is that this theater was literally built "by hand" by Michael Capasso -- who conveniently at the time was also a contractor. With residency that began in 1991, the church basement was radically transformed into an elegant, effective, and modern theatre during the 1995 renovation.

A lovely 15 minute film of the process can be checked out on Youtube. This little gem is both funny and moving, making an irresistible case for the company.

The helpful conviction supplied from the folks at St. Jean Baptiste Church adds to what a friend calls the "Miracle on E. 76th Street."

Dicapo Opera Theatre is the only opera company in New York, after the Metropolitan Opera and the City Opera, to present an entire season of opera productions, musical theater, concerts, family fare, and other events.

Logistics aside, Dicapo delivers in the most important of ways -- the repertoire and the execution of such.

For example, although I have seen Pagliacci numerous times, I found myself much more involved in the action, thus having more compassion for "the clown," Canio. When he was carefully preparing himself for the "show," applying makeup and singing "Vesti la giubba", I was moved to tears by the intimate emotion I was able to feel projected by a fine artist in a reasonably sized theater. Another example is the company's Norma. Sure, I had always been spellbound by the music, but this time the drama of the piece was just as compelling as the aural experience.

While it is not uncommon for some opera companies to offer musical theatre, Capasso does it in a way that is quite seamless between opera and the above.  It has been said by some (and I heartily agree) that musical theatre is very close to opera and even fills some gaps left after the great melodic composers reached their apex. Along with the great operetta composers came along Kern, Gershwin, Rodgers etc. Earlier opera (Mozart, etc.) used speech as well as music and immortal gems such as Showboat and later Oklahoma seem to follow the great tradition -- leading up to works such as Sondheim's towering Sweeny Todd and the sublime A Little Night Music.

Capasso's 2012's bounteous production of Frank Loesser's Most Happy Fella exemplified the marriage between formal opera and musical theatre. The capable cast featured two really shining stars -- baritone Michael Corvino as Tony and Lauren Hoffmeier as Cleo.

The score and dramatics of Loesser's unforgettable melodic musical dramedy were showcased with care, soaring excitement and more than a touch of humor. I hope he brings it back for another look.

This brings us up to taking a preview of Dicapo's diverse and exciting 2012/2013 season. Opening with the tried and true Pagliacci, directed by Capasso and conducted by Music Director Pacien Mazzagatti, starts Thursday evening, Oct. 11, at 7:30 p.m., with performances to follow on Saturday evening, Oct. 13, 8 p.m.; Friday evening, Oct. 19, 8 p.m., and Sunday afternoon, Oct. 21, at 4 p.m. Dicapo takes its production of Pagliacci to the Tilles Center for the Performing Arts on Long Island for a performance on Friday, Nov. 2, 2012.

The season's second offering is the world premiere of Thomas Pasatieri's The Martyrs, with a libretto and direction by Daphne Malfitano, starring the world-renowned Catherine Malfitano as Marianne and Zeffin Quinn Hollis as Percy. Performances take place on Thursday evening Nov. 8 at 7:30 p.m.; Saturday evening, Nov. 10, 8 p.m., and Sunday afternoon, Nov. 11, 4 p.m., followed by performances on Thursday evening November 15, 7:30 p.m.; Friday evening, Nov. 16, 8 p.m., and Sunday afternoon, Nov. 18, 2012, at 4 p.m.

The Martyrs will be followed by yet another Dicapo world premiere -- Marrying Mozart, a play with music by Mozart, libretto by Michael Capasso and the noted writer Bill Van Horn. Based on a best-selling novel by Stephanie Cowell, Marrying Mozart offers a believably appealing portrait of the young Mozart in Vienna struggling to find work as a composer. Mr. Capasso directs. Performances are scheduled for Thursday evening, Dec. 13 at 7:30 p.m., Friday evening, Dec. 14, 8 p.m.; Saturday evening, Dec. 15, 8 p.m., and Sunday afternoon, Dec. 16, 2012, at 4 p.m.

The season's fourth production, The New York premiere of The Letter, an opera noir by Pulitzer Prize-winning composer Paul Moravec and libretto by noted critic-playwright-biographer Terry Teachout is next. The Letter is based on the classic Somerset Maugham play and short story filmed by Hollywood in 1940. Michael Capasso will direct, with performances scheduled for February 2013 on Thursday evening, Feb. 7 at 7:30 p.m., Saturday evening, Feb. 9 at 8 p.m., Friday evening, Feb. 15 at 8 p.m., and Sunday afternoon, Feb. 17 at 4 p.m.
 
Dicapo Opera Theatre's season continues with a classic of the 19th-century operatic repertoire, Gaetano Donizetti's Lucia di Lammermoor. Performances are on Thursday evening April 4, 2013, at 7:30 p.m.; Saturday evening, April 6, 8 p.m., Friday evening, April 12, 8 p.m., and Sunday afternoon, April 14, at 4 p.m. Dicapo takes this production to the Tilles Center on Friday, April 19, 2013.
 
Kismet, the exotic and melodious show with lyrics and musical adaptation (as well as some original music) by Robert Wright and George Forrest, is adapted from the music of Alexander Borodin with a book by Charles Lederer and Luther Davis, based on an 1911 play by Edward Knoblock. Performances are scheduled for Thursday evening, May 16 at 7:30 p.m., Friday evening, May 17 at 8 p.m., Saturday evening, May 18 at 8 p.m., and Sunday afternoon, May 19 at 4 p.m.
 
A happy addition to the regular season is the Opera for Kids.

The complete schedule for this series follows:
Pagliacci Oct. 20 & 21, 2012
Beauty and the Beast Dec. 2 & 3, 2012
Gianni Schicchi Jan. 19 & 20, 2013
La Cenerentola March, 2 & 3, 2013
Lucia di Lammermoor April 27 & 28, 2013

While having the pleasure of speaking to Michael today regarding the riches of his company we eventually also reached a point where economics reared its hungry head.

There is good news, worrisome news and hopeful news. Happily Dicapo has maintained a steady stream of earned income, even since the downturn of 2008. But like many American opera companies, Dicapo has suffered greatly during this economic downturn and has experienced a drastic reduction in contributions -- more than 60 percent over the past four years.

As a result the company has entirely revamped the Board of Directors, and the new Chair, Judith Iovino has put together a group of supporters and new members who have pledged to match contributions, dollar for dollar, up to $250,000, resulting in what the directors hope will be an infusion of $500,000 this season -- so as to stabilize the financial health and future of Dicapo Opera.

"We are encouraging existing supporters to give more and to generate new donors. Without this effort we know that our future is at risk," said General Director Michael Capasso.

I urge visitors, to put this on your travel schedule and New Yorkers, longing for a cathartic operatic/theatrical experience to attend as many of Dicapo's shows as possible. Enjoy!

For tickets to all events please contact Smarttix at 212-868-4444 or visit www.dicapo.com. The Dicapo Opera Theatre is located at 184 East 76th Street (at Lexington Avenue) on the lower level of the St. Jean Baptiste Church]]> tag:www.huffingtonpost.com,2012:/theblog//3.1657340 2012-07-11T15:14:44-04:00 2012-09-10T05:12:03-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/ As CEO of Arnell Group (AG), Sara Arnell manages the agency's internal brand consulting group, directing consumer research, consumer insights and the development of business, brand and digital strategies which form a seamless bridge to AG's advertising and design teams. Previously, Sara spent 21 years directing brand and business strategy for AG's clients. Some of the companies Sara has worked with include Revlon, PepsiCo, GNC, and Jose Cuervo International, Mars, Unilever and Johnson & Johnson.

I met with Sara a couple of times over lunch to discuss her marketing concept "freshing" -- a method for keeping brands fresh through the power of constant, forward-moving change.






Mel: What exactly is freshing?

Sara: Brands have what we call "innovation time frames." Every one or two years, companies might have one big idea about how they can refresh a brand. They take a really long time to develop it and test it, both internally and externally, until finally, the idea is ready to be revealed. That gives a company only one opportunity to make news. The idea with freshing, which is about constant change, is to regularly come out with a lot of small ideas so the excitement is always building. Then you have lots of opportunities to have people talking about your brand.

Mel: How did this concept come to you?

Sara: We live in one big social network. Have you updated your profile picture in the last week? Changed your relationship status? "Liked" something? That is all freshing. Every time you tell people you know, or don't even know, a little bit about what's happening in your life, you are freshing. You are putting out news and highlighting events that add value to who you are and what is going on with you. I think social media has raised the public's expectations about getting news all the time; people are always signing onto their networks to add relevance. And they are always going back to check the relevance of the people in their network. So the idea came to me that since people are doing it daily, couldn't the idea apply to brands, too?

Mel: So is it a more "holistic" approach to branding?

Sara: Yes. It is also lower risk, more subtle and more consistent. The worst thing that someone can say about a brand is that it is not relevant. So the planning of change, in small increments, brings you into a process that people can be involved with every day.

Mel: What is the difference between freshing and the changes any brand or company must make over time to stay competitive and survive?

Sara: If you look at the economy, you'll see that everyone is having the same conversations. Our budgets have to be cut. We need to do more with less. We need to meet consumer needs. In today's competitive market place, we do not necessarily get rewarded for taking risks. We get rewarded for successes, but risks do not always pay off. With freshing, you have lower cost and lower risk. If an idea doesn't work out, you can move right onto the next thing. It's not like you have the devastation of putting one or two years and a lot of money and effort into one idea that doesn't pan out. And if it does pan out, consumers will quickly become bored with it and be looking for the next big thing.

Mel: Freshing appears steadier, less stressful and, ultimately, more integrated.

Sara: It is. Freshing is a business practice, but you can still apply it to yourself. You just told me that you stopped eating sugar. You made one little change that can have a big impact on your overall health. You mentioned that next, you want to cut out caffeine, so when you are ready, you will stop that, too. And one day when your husband looks at you and says "Yea baby," you'll know that making those gradual changes worked. The alternative, putting all this pressure on yourself by cutting everything out at once and going to the gym every day, would take so much time, effort, even money. Not only would you be miserable from completely depriving yourself, but you would eventually burn out, and ultimately, it wouldn't work.

Mel: What companies are doing a good job of freshing at this time?

Sara: Starbucks and Target are great examples -- every time you walk in, you can expect to see something new. In turn, they become brands we love and are loyal to. You have to give consumers something to be excited about, especially for products they already know and love -- that is the real trick to freshing.

Mel: So is all change freshing?

Sara: Not everything you do out there is freshing. Freshing involves strategic change, not random change. Telling your Facebook community that you just went out for a lobster roll, for instance, is not freshing, but changing your picture status or liking something can be -- if it moves your conversation forward and gives out tidbits of information for people to latch onto and understand.

Mel: What are some types of products that are traditionally good at freshing?

Sara: Things like laundry detergent, paper towels and home products are constantly making subtle improvements. How many ads do you see about these products that boast that they are "new and improved"? And they often really are. Consumer product companies are geniuses in this regard. For example, there is a company (Scott) that has gotten rid of the cardboard roll in the middle of toilet paper. If you can innovate toilet paper, then you're doing something right. Software companies are also great at freshing. Every time you open up your computer, there is something new to download -- a new improvement, an app for your smart phone -- all of this is freshing.

Mel: Let's talk about M&Ms. They were the same for years. Now they do a lot of limited editions. Different colors, different combos of flavors from nuts to pretzels. That sounds like freshing.

Sara: Yes! Making those subtle changes is a good way to test consumers and see what they want.

Mel: Who needs to do a better job of freshing?

Sara: I think car companies in general need to do a better job of keeping what people love about a car in place while still bringing something new to it.

Mel: I have a real problem with apparel companies that put out a classic look and then pull it the following year for all new, trendy stuff.

Sara: You don't have to reinvent the wheel with freshing. These companies can change the colors for the seasons and don't have to toss everything out. Now, if you wait too long, then you might just need to do a complete revamp, but the idea of freshing is to teach people that brands shouldn't wait until they are at that point. Freshing treats it along the way, almost like preventative care.

Mel: J.C. Penny recently unveiled a new logo and has had some snappy ads to go with it. Do you think that is freshing or a total new revamp?

Sara: Interesting that you mention J.C. Penny. Recently, they changed their structure and began offering "month-long values." That did not seem to be working. Their sales went down significantly. So they changed their message to "sale" instead, and sales instantly picked back up. The customers didn't connect with "month-long values," but "sale" resonated. It wasn't vague. That little message tweak is freshing. So, too, is PR, a new logo design, a cool promotion. Freshing can take many forms -- and, for the best brands, it's never finished.]]> tag:www.huffingtonpost.com,2012:/theblog//3.1401565 2012-04-04T11:48:05-04:00 2012-06-04T05:12:02-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/ Mad Men presented an overweight Betty Draper Sunday night, I shivered with dread. How were they going to handle this situation?

In the past some dialogue alluded to the fact that she was a chubby child, who somehow morphed into a model. Sure that happens (I guess) but the back story was muted.

Now, after all those years of marriage and three children, she is suddenly fat again out of nowhere. Perhaps it would have been an honest and interesting choice to see her struggle with her weight from the get go. In fact it would have been a nice turn off to Dan, as it was never fully explained why he was so against her.

If the weight issue was brought in earlier and more realistically, a plot line of diet pills could have bloomed. It would have made for compelling showdowns. The shooting of the birds, the anger at her daughter, all kinds of juicy, relevant situations could have co-existed with her battles. Imagine a cold Don, just telling her not to eat so much and her problems would be solved. Coulda, woulda, shoulda on that one.

We are still a society that does not know how to deal with women and weight when it comes to entertainment. Sure, drinking and smoking is getting its fair amount of attention as is recreational drug use. But TV is about being sexy and the only sexy overweight people seem to be sit com dads. Yea I would hit Kevin James, really! But other than Mike and Molly and various black sitcoms, (you go, Tyler Perry!) the onus is on the women to be perfect. The joke is that the sexiest woman on Mad Men (or on all TV) -- Joan (Christina Hendricks) -- gets called out by the press commenting on her weight because she is not fashionably anorexic. Well, the audience does not care, thank the Lord. She is the real breakout star of the series.

I am acquainted with some people who claim to have started gaining weight later in life, but know many more who have had a lifetime (from early childhood) struggle as devastating as drugs or alcohol, especially in a society that shows zero tolerance and even less good science backing up how to deal with it. From the processed foods some of us get addicted to, to genetic propensity, the subject is sadly more complicated that I think Michelle Obama and her good intentions can handle. Personally, no matter how "healthy" my school lunch would be, who could stop me from taking my money and going out to buy candy. Or stealing money or stealing candy! Pawn my wedding ring -- anything to get a fix.

In a nice touch, Betty's new husband, Henry, still loves her as he sees her as she was, as with the Johnny Sack character in The Sopranos. The most telling conversation took place with the much heavier mother-in-law, castigating her. Fat on fat hate. Now that is realistic. Been there -- seen it.

How will this play out? Will the weight be shed? Will Don's new wife fix her teeth? (That must be a lot easier than losing weight.) It would be fun to see her with braces and Don rolling his eyes in utter exasperation at the cost of capping her whole mouth. Women have gotten married to fix their teeth. I did...

There was a 1985 German movie, Sugar Baby. The picture's overweight heroine, tired of being single, made herself up, found sexy clothes and got herself a man. She managed to be sexy and keep her dignity -- a revolutionary concept. Is that possible on TV or will fat woman always be a joke or a tragedy?]]> tag:www.huffingtonpost.com,2012:/theblog//3.1185211 2012-01-05T10:58:31-05:00 2012-03-06T05:12:01-05:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/
Upon delving into Campbell's body of work I found that I was aware of just a fraction of his brilliance. His beautiful voice and face would be enough to please the general public, but as I studied his live performances, I heard something more in his voice that any of his studio recordings could capture. A survey of concert performances of "Wichita Lineman" showed a growing artistry as his lustrous voice was used with a growing passion, range and depth. As many people have said of especially effective singers, he had a "tear" in his voice -- a way to bare his soul through his instrument.

Speaking of instruments, I was also surprised to find out that even if he had never sang a note, Campbell would have been a supremely successful commercial musician, due to his prodigious guitar playing. He played a supporting role in some of the most famous classic rock albums in history, including the Beach Boys' Pet Sounds. His mastery of the 12-string guitar is legendary, as he is respected as a "guitar players" player. Campbell even replaced Brain Wilson in a two-year tour. His "cred" is impeccable.

Not bad for a poor old country boy (one of an Arkansas sharecropper's 12 children). Working as an apprentice, (with the support of a couple of talented uncles) climbing up the rungs of showbiz, Campbell was delivered to the nation a fully developed performer and show-stopper.

I became obsessed with Campbell as I often do when performers are more than just a celebrity, but someone touched by something quite divine. So I am delighted that Campbell will be appearing at The Town Hall in New York City this Saturday, Jan. 7. This concert, part of his "Farewell Tour" (due to his Alzheimer's diagnosis) is something I anticipate with excitement and some trepidation.

Campbell has evolved in his 40-plus year career from an irresistibly beautiful and talented youth to a weathered, still powerfully effective artist -- his 2008 "Good Riddance" compliments Green Day's original. These days he looks like a figure in a Norman Rockwell painting, perhaps sitting on a porch smoking a corn-cob pipe and eating shoo-fly pie. His aging visage casts just as an iconic and purely American an impression as when he was a strapping young man.

For those interested in being surprised and delighted I urge you to peruse the large number of clips on YouTube, starting with his youngest earliest bits, where he wailed like a gospel singer, and follow the maturation of his style throughout the decades. Two of the biggest treats are his giddy "William Tell Overture" on guitar and his definitive version of Jimmy Webb's "The Moon's a Harsh Mistress." Happy Hunting.]]> tag:www.huffingtonpost.com,2011:/theblog//3.1133098 2011-12-07T18:27:27-05:00 2012-02-06T05:12:02-05:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/
For anyone who does not know the the plot of this picture by now, I will keep it simple. The world is coming to an end. We know this because the prelude (or dumb show) wraps that up in the first few minutes with a glorious tableaux of the bridal-gowned Justine (Kirsten Dunst), her little nephew Leo and sister Clair (Charlotte Gainsborough) standing witness to a rogue planet crashing into the Earth, leading us to believe total destruction of our planet and all life forms is inevitable.

This fantastical piece is followed by a wedding from hell, certainly not a Jewish one, to be sure. It is dry and dull and although the bride seems game at first -- after her parents act out, her sister obsesses on her, and her husband appears to be a bore, her innate clinical depression sets in as she tells her boss (in advertising) to take a flying leap. She is one hot-mess.

Not long after this disastrous affair she is delivered (by cab) back to her brother-in-law's (John) magical castle, an oasis that very conveniently has 18 holes of golf, as he keeps reminding her. Rich as the Koch Brothers, he is pissed off at the cab fare, but she is a major bummer. There are more issues here than her now crippling depression though. Her sister's nervousness is righteous as she (against hubby's instructions) surfs the Internet, researching predictions regarding the fate of Earth and planet Melancholia. It is set to pass the our planet in five days. Will it hit or miss? This scenario is a survivalist's dream or nightmare, depending on the outcome, which our auteur did try to clarify in the opening sequence.

Von Trier has stated that the idea for this picture came to him as he was receiving treatment for severe clinical depression. Depression is almost a right of passage for a large percentage of people in the arts and although arguably (only arguable by people who don't know s*&t about depression) genetic and chemical, people with this disease are hard to be around because part of depression is having your editors down. Depressives are actually more realistic than "healthy" people. Missing the chemicals in their heads to help ward of negative thoughts and obsessions they are often compelled to make sense of it all by attempting to create works of art.

Happily medicated, but still remembering (sometimes) how bleak everything has looked, I have been able to cull beauty and even hope from this apocalyptic time bomb.

Our non-hero is the very controlling yet almost sympathetic,"scientifically" minded brother --in-law -- the ultra-American Kieffer Sutherland. Hmm, was this a more subtle way for Von Trier to rag on the Yanks than inDogville? Anyway, Kieffer gently rails on, addressing the infallibility of science, assuring his family that all will be ok. It is really touching. The passing planet will be a stupendous experience to observe -- then it will move on with life returning to normalcy.

Justine will have none of that (she knows things) and as the evidence of doom grows she becomes stronger as the other characters fall apart.

"The earth is evil. We are alone, no one else is out there" Yada, yada, yada, she prophecies,
though she ultimately evolves into a pillar of comfort and empathy, aiding her diminishing family in preparations for the final event.

So why was I able to take in this film and then dance around not being one bit depressed?

The obvious assets to list are the repetitive strains of my beloved Wagner, the hallucinatory beauty and color of the film with the pitch perfect performance of Dunst (though wallowing in her pain, provided much pleasure with her beautifully posed nude goddess tableau on a rock, near the climax of the story.)

With all the above being noted, the real pleasure I took from the film was that with a bit of a mental health adjustment or some good old time spirituality and or science, I was able to find a redemptive message to this film.

As the planets were moving toward each other in the prelude, they appeared to me as a pair of lovers in an act of great courtship and sensuality culminating with an ultimate union of cells, rather than the destruction off all things living. Was not the Earth and life itself evolved by a series of explosions and cataclysmic events culminating in what and who we are today? Maybe it is time to clean house and start again.

Rather than accepting the finale as the end of times, I saw the essential necessity of the "cycle of life" being carried elsewhere -- choosing to believe we are not alone. (This just in, an Earth-like planet was discussed in the Science Times yesterday!)

I just feel (and I am backed up by "science" in this) that the purging and rebuilding as indicated at the end of Wagner's Ring Cycle (The Twilight of The Gods) is the actual truth...a notion upheld by "true believers," properly medicated mental patients and science fiction devotees.

Maybe a Brave New Word is not such a bad idea...






]]> tag:www.huffingtonpost.com,2011:/theblog//3.1031968 2011-10-27T17:56:11-04:00 2011-12-27T05:12:02-05:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/
Perhaps the "Golden Age of Criticism" was when great artists themselves, George Bernard Shaw and Richard Wagner, etc., put out a body of work, not only in their chosen fields as playwright and composer, but as dedicated critics, producing works that stand up on their own.

There is a saying, those who can, do, those who can't, teach; and those who can't teach, become critics. While that statement can hold water, it is not always the case. If people ask me to defend my stand personally (not that many dare to -- I might be their next critic) I say I waited until I had years of performance behind me and some many reviews of my own work. Now that I write criticism, I admit my reaction to anything other than perfect notices was mercurial at best, certifiable at worst. I hope my "targets" are much more self-actualized than I was.

In the very beginning of my work, I found myself trying to find positives that were not always there, as there is the urge not to make waves in cabaret, since it is such a small world and the critic feels a bit protective of it and themselves. I got over that fairly quickly by deciding not to review people whom I considered "friends" or people I might not care for on some level, that I was already aware of. I steered away from reviewing performers I knew, with very few exceptions. I told press agents beware -- just because you got me into the show and I know you, it will not influence my findings. The main reason I chose to follow my heart is because, rather than make fair-weather friends, I chose to use criticism as a vehicle for my own frustrated artistic goals, and the only way to be a critic of value is to have no agenda, except writing honesty and entertainingly. I do this for the selfish reason of hoping to become recognized as an artist, perhaps not in my original field of singing, but in my newfound outlet of writing. I admit I have nothing to lose by taking this stance, and the folks who have published me have been surprisingly eager to let me have my say.

I propose that the arts would benefit from writers who have nothing to gain except for the above statement that I have put forth, and don't think I need to elaborate further. In addition to all that, there are no longer the same amount of free meals being offered to sway me.

Is there such a thing as objective criticism? I'd like to believe there is. In musical theatre and vocal music performance, one thing to look at is if the lyrics are served by the performer. That is a pretty cut and dry business. If one is swinging a song about a tragic event, or offering a dirge to present a ditty, that rarely, if ever, conveys the lyrical or musical intent of the composer. When jazz musicians do this, I call them out on it. Just because one is creative musically and is adventurous, does not mean they can take a tune like "Lady is a Tramp" and turn the heroine into a schizophrenic (actually that might not be a BAD idea). What I AM saying, is when songs are turned around without contextual consideration, even the most unsophisticated of audiences (often the most emotionally honest) know it and feel uncomfortable, rather than freed by their experience. A friend of mine recently showed me an opera production of Verdi's Nabucco, where the chorus was singing and dancing in bee costumes. Really? I was waiting for the late John Belushi to show up as a Samurai Bee and slash them all to death.

So the first thing I look for is interpretation. In cabaret, having a great voice (whatever that is) is not critical. It is important, though, that the singer is not screaming and vomiting their emotions on stage, taking one captive. You think your story is that interesting? When you are 22? There is a minute chance that that's true, unless you are Edith Piaf, and if you are, I can't wait to see you. Keep it light and flowing and save the tragedy for Greek drama. Cabaret is not that. You are the vehicle to make people feel better about life, so be sure it is on a good day, not a bad one. Even when you sing torch songs, there should be a wink and a nod to the audience, always making them feel enriched by your offerings, not sorry for you. Conversely, avoid being saccharine and overly cute. Don't make your audience want to kill you, because your life is so much better than theirs. I could go on, but will save it, so if I ever do a performance class, I have something new to offer!

Remember, that as much as I WANT you to do well, most of us (unless they are pathological) do want to see something we will enjoy and want to be able to say something positive. It is much easier to write a good review than a negative one, both technically and emotionally, for the writer. I would love to hear someone who is BETTER than me!

My final advice to performers is to be your own advocate. Try to see what is personal in a review and what is truly helpful. Only you can do that. Your friends and family might pump you up, or tell you to ignore or listen slavishly to the critic. There is always a chance that even if the critic does not "get" what you do, it is authentic and valuable (except for my work, everything I say is always true!). Many great artists are not "gotten" on their first try. It is hard to hear anything new. Think of all the great classical composers and painters; few were successes right off the bat.

A note about critics in this day of technology. Due to blogs and the infinite space of the Internet, almost anyone who wants to can get online and express their sentiments. I am sure the annoyance at easy communication started when people learned to write and no longer needed smoke-signals to get the word out. Still, it is pretty daunting when you realize your competition just has to hit the send button and voila, their work is being submitted to the New York Times. I wish typed copy was still required to have the prospective author read, at least before they are hired. I know I find addressing an envelope much more challenging than writing a 2,500-word piece. On the other hand, without the Internet, folks like myself would not be able to keep up with all the details and choose never to write anything.

Right now, with today's economy, the possibility of Global Nuclear Destruction at hand, our real challenge is to avoid Armageddon. The arts as we know them, will take care of themselves as they always have, as they are a representative of society, rather than the other way around. Good luck to us all.

WHAT MAKES A GOOD CABARET CRITIC?

Saturday, October 29, 2011

Hear what performers, directors & critics have to say
about the state of the art of criticism today...

DATE: Saturday, October 29 2011 ~ 1-3pm

PLACE: The Metropolitan Room212.206.0440
34 West 22nd St.
Between 5th and 6th Avenues
New York, NY 10010]]> tag:www.huffingtonpost.com,2011:/theblog//3.935890 2011-08-26T12:17:35-04:00 2011-10-26T05:12:01-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/


The Buddhist Heritage of Pakistan: Art of Gandhara at the Asia Society -- What happens when an irresistible force meets an immovable object? Melissa Chiu's diplomatic coup.

When considering Asian art, Pakistan (particularly of a Buddhist nature) might not be the first place to come to mind, but the more worldly Americans realize that Asia covers a lot more than the "Orient."

There is a continuance from the Turkic tribesman of Asia minor to Uyghur (Chinese Muslims) to the Mongols to the Han Chinese as well Japan, Korea, Vietnam and all of East Asia. Even New Zealand and Australia are represented by the Asia Society.

The Asia Society takes on all of the above and more. It is in the process of sharing Buddhist art from as seemingly unlikely a terrain as Pakistan, a country where Buddhism predated many other of the area's religions. This collection, well covered and reviewed in the New York Times and other media turned my interest towards the Asia Society in general, and led me to Melissa Chiu, President and Director of the Society's Museum. I recently conversed with Melissa at the offices of the museum -- a bright and modern space, as opposed to the relaxing and exotic sanctuary that lay below. Chiu, who was raised in Australia, of Chinese and Aussie parentage, seems to be born for her role in the promotion of Asian art.




A noted author (Chinese Contemporary Art, Art and China's Revolution ) and prolific lecturer (Harvard, Yale, Columbia, just to name a few) Ms. Chiu is surprisingly young. She is slight yet formidable, almost like a heroine in a romance book. But Ms. Chiu 's world is the opposite of a gothic novel, it is more a thriller of high-powered deal brokering and delicate politics.

Chiu (as recruited by the AS) came to the society in 2001, leaving her post as the founding director of Sydney's Asia-Australia Arts Centre. In New York, she became the first curator of contemporary Asian art in the U.S. and was named museum director in 2004.

MBG: You chose to model your career around Asian Art -- was it because or despite of your background -- or is it a non issue?

MC: Although I was raised in Australia, I did spend much time in Hong Kong -- I have much family
in Asia and visited often. Things are complex these days...

MBG: So, you would consider yourself a "Citizen of the World?"

MC: Yes, that is a way to look at it.

MB: Considering the vast amount of geography and religions in Asia, does it even make sense to
identify as "Asian?" Some people are, at least on paper...

MC: The people of different countries do see themselves defined by their nationalities rather than
the continent itself.

MBG: Are you yourself an artist?

MC: (a quick and gently firm) No...

I found myself smiling at that, as so many people I have met who have ended up working on the periphery of the art world were "struggling" artists at one time. This was not Ms. Chiu's case, nor did she come across that way.

MBG: Was the Asia Society always so inclusive of these several cultures? Did it always represent the diversity of the continent as it does today?

MC: We were founded by John D. Rockefeller III and yes, from the very beginning he was
looking to establish communication and relationships between the countries themselves and the rest of the world. Initially established to promote greater knowledge of Asia in the U.S., the Society today is a global institution.

MBG: There is a lot more that art being tossed around here.

MC: Yes -- with offices throughout the U.S. and Asia -- educational mandate has been filled through a wide range of cross-disciplinary programming. As economies and cultures have become more interconnected, the Society's programs have expanded to address this.

MBG: Has there been any shift away from or towards the Islamic projects since 9/11? Is Islam
a more sensitive subject to approach? Were you involved in the politics?

MC: Yes I was in constant touch with the representatives in Pakistan and the situation has
become even more difficult since the recent events (I had asked her about the bin Laden effect on
the project). It was six months late.

MBG: What were some of your challenges?

MC: People had trouble getting visas as U.S.-Pakistan relations are probably at their lowest ever,
The bin Laden raid, the Raymond Davis incident ( Davis -- a private contractor for the C.I.A. killed two reportedly armed men in Lahore). Lahore was the city where the art was -- in its museums. It put the show in jeopardy. The death of a major advocate, Richard C. Holbrooke -- senior diplomat for Pakistan and a former chairman of Asia Society, also complicated matters. There were problems with getting American visas for the Pakistanis chosen to accompany the objects to New York. I could travel easily to Pakistan, due to my Austrailian citizenship. I was in contact with Shahbaz Sharif (minister of the province) knowing that I would have to persuade him to help me set up meetings and I had great assistance from the United Nations.




Buddhist civilization of Gandharat flourished in northern Pakistan 2,000 years ago, almost foundered. Ms. Chiu said her argument to Pakistani authorities -- that showing the antiquities in New York could help counterbalance the image of Pakistan as a dangerous place, was a tough sell."I persisted because this is a unique opportunity for us to show the cultural heritage of Pakistan."


As we wound down during our chat I asked the rather naive question if the sharing of art could
cause "world peace." Chiu wisely made no assurance of that being the case, but we both agreed it
couldn't hurt!

Images courtesy of the Asia Society.]]> tag:www.huffingtonpost.com,2011:/theblog//3.916758 2011-08-02T23:02:32-04:00 2011-10-02T05:12:02-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/
His stage persona is that of a laughing sage, an Oberon, ethereal and majestic concurrently. No word or gesture is wasted (Mark never had patience for that!) and most every note he sings serves his audience, the band and the music itself. He does not go as far "out" as in the past, although I think the "avants" would be satisfied. Most definitely a jazz gig, last night ran smoothly as would a well rehearsed cabaret show, with all the marks being hit.

Starting off with a witty and agile "Senor Blues", he moved into as poignant an "I've Got You Under My Skin" as imaginable. Combining his jazz sensibility with a stage actor's skill, the lyric did not offer much hope as it acknowledged a defeat - that although understood intellectually, could not be accepted emotionally. The musicians did not look on like some "hip cats" making smooth moves, but observed Mark as if they were were watching a play - involved with the "character's" plight, without sacrificing musicality. This emotional response from a band is almost unheard of in jazz, yet Mark is a "musician's musician."

Murphy then pulled out some written notes and actually told jokes with the the timing of a Borscht Belt comic. Although topical - Mark's jokes were merely wry observations - he permitted his audience to come to their own conclusions.

Mark expertly proceeded to tear apart the stage with some "greatest hits" including "Stolen Moments", "Twisted" and an arrangement of "My Foolish Heart" displaying all his vocal and rhythmic artillery. I must also must note (to cause my readers further envy) that he nailed an old fashioned "Body and "Soul" to my squealing delight.

George Mesterhazy used alchemy turning his piano into an impressionistic orchestra, while Martin Wind not only plucked his instrument, but bowed beautifully as his attention was raptly directed towards "The Maestro." Willard Dyson on drums deftly completed the trio.

You can partake of Mark at the Kitano this August - Friday and Saturday the 26 and 27th.
]]> tag:www.huffingtonpost.com,2011:/theblog//3.904116 2011-07-21T11:36:41-04:00 2011-09-20T05:12:01-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/
Mark Murphy was at his early peak at the time he recorded his first jazz masterpiece, RAH. This followed the singer's early "pop" with pop music. Tall, imposing and with a sonorous speaking voice, Mark was gifted with many talents, but he always knew -- since he heard Art Tatum as a kid -- that he was a jazzer.

As RAH opened with its blazingly hot and original, yet accessible track of "Angel Eyes" I can only imagine how it burned into the psyches of the vocal jazz community forever. That was 1961.

Although Murphy, when I worked with him, was at this point of his musical career an avant-garde singer ( at least comparatively speaking), the most interesting thing about studying with him was that his foundation was stronger than most singers of any sort. His insistence on diction and proper vocal technique is ironic... considering the freedom he allows and almost demands in the music.

Also probably why at this point of his life, he has better high notes than most Met Divas could dream of. I learned a lot from Mark, but never to be cool... ya gotta be born that way.

Talking with Mark.....

I must admit that I did not start off the interview very well -- the logistics were crazy. I was supposed to meet Mark at 11 a.m. in a cafe near the famous Strand Book Store and since I did not realize what cafe it was, by the time we found each other I ended jumping in Mark's car and accompanying him to his 2:00 p.m. interview at WBGO in New Jersey. It was hot and stressful and I was grateful that I was along for the ride...

One time ,in passing, Mark made the statement about how bad it was for jazz singers today, what would they do?

In my oracular wisdom I attempted to impart to him that they probably had to return to the roots of the music and put their own inflections on it. It is seems that because as far as vocabulary goes, it does look like Mark, through years of deconstruction of melodies and stretching rhythms has pushed the limits as far as they need to go.

In our interview I picked up on that and pressed my point...

ME: Look what Maria Callas did for opera years after the musically vocabulary was used up.

MM: "Well" he said contentiously "there is one guy, what's his name in Chicago" He has copied me and is getting all the credit" (I paraphrase on that!)

ME: But he DOES acknowledge you...

He just waved my rationalizations off. At his age, Mark does not hold back, vocally or with his opinions. He is of the opinion that he has not been compensated for his work and I don't doubt him, as he has made about 40 some records or CDs. His words are hard ones.

ME: Mark, what was the bottom line for you. Making the transition from pop (where he was starting to be a sensation) to throwing it in all the way to jazz. What did your handlers think?

MM: Huh?

ME: You know, your agents, advisors, what ever you call them, what did they...

MM: F$#k them, that is what I think, do you have anything cold to drink?

I guiltily handed him some of my nutritionally deadly chocolate shake and that seemed to mollify him. He did not get to have water because of me in the cafe, I was cringing with guilt..

ME: I can say that, really?

MM. What do I care -- I just did what I needed to do. I found some great guys, made a demo and ran around with it for three years...

ME: RAH was your real break through, real jazz, no doubt, a total success, vocally and musically.

MM: Yea, but that Richard Rodgers would not let me do "My Favorite Things" the way I wanted to -- he did not approve of the verse to the tune. So it was cut.. Well they have it in Japan floating around somewhere.

ME: So look, you started to hit it, but the Brit invasion started -- but then you invaded Britain!! You lived there for 9 years or so..

MM: Hmm -- I was brought over there by some Australian scam artist who told me there was a Jacques Brel show lined up for me. She just fell into a bottle of wine and never got out.

ME. A drunk in showbiz, how surprising? Well we all have our own poisons ( I said taking another pull from my milkshake) But you did stay, and must have found work.

MM. Yes I met some TV producer who said I looked like Jesus and got me a TV series, lasted one episode., but I did work and got singing jobs all over Europe and...

ME: So many jazz performers get it going in Europe, it is almost a right of passage, same as in opera.

At this point I have to say that one must really hear Mark's music to know what I am talking about. He has at least three distinct periods... First the pop, which alone could have made him, as Sammy Davis Jr. was bowled over by his witty, clean, vocally polished grasp of the American Song Book. Although he did not particularly sound like Jack Jones, that is the closest I can come with all due respect in conveying his beginnings as a recording artist.

Then there was the second stage, Bop! Strong, thrilling and melodically sung, slightly progressive, purely jazz music that was accessible as examples on RAH and his following recordings. For me, a jazz traditionalist, it changed the way I listened to male jazz singers, full of scat, leaps and bounds and melodies, not to mention strong, stirring ballads -- that was the Mark I loved the most.

Eventually Mark moved more "out" and really personalized his music, bending his voice to the sounds that he hears and still makes use of the lyricism with honest emotion, even though he is in the most progressive of vocal states. Not everyone gets this ( I certainly don't always), but the ones who do are slavish in their devotion. Jonathan Schwartz , the "curator" of the great American Song Book and host on Sirius Radio proclaims Murphy the greatest Jazz singer of these times. He constantly lands number one in the Yearly Downbeat Best Male Jazz Singer poll.

Now we talk about the dark side of the record business. For a man who has made 40 albums, he wants to know where the money is...

Me: Well I just saw this new compilation of yours on Rhapsody music service. Do you like the cuts they picked?

MM: I don't know, I don't have a choice. They throw these things together and I am not in the light about all this.

ME. You don't even know about this?? They (I have to find out who they are) can just put together your music and sell it?

It was really not a conversation either of us could continue, how can you talk about a business that is no longer a business, the record business.

We were pulling into Newark and Mark proclaimed that he was no longer talking and that he was resting for the radio. One thing Mark knows how to do is cut out all distractions and concentrate on his career and what the next move should be

His new CD, Never Let Me Go is available on CDBaby.com -- where many of us who want to get paid eventually move on to, even ones who have been on labels as big as Verve and Concord, as Mark has been. I am not sure he even knows what CDbaby.com is, but maybe he will be thrilled when the checks come in from this artist driven company.

See Mark at Birdland! Get his Never Let Me Go and if you are a fan of really hip traditional vocals, go back into his catalog (probably on Amazon) and find Meet Mark Murphy.You will get to experience the last of the great original cool cats -- one who might have had lived several of his lives but with a couple more to go. With Mark entering into his 80th year, the time to see him is NOW -- which happens to be this Sunday at Birdland.]]> tag:www.huffingtonpost.com,2011:/theblog//3.897874 2011-07-14T12:01:52-04:00 2011-09-13T05:12:02-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/
Days later, when Jack Ruby murdered Oswald on TV, the act didn't seem untoward. Not being old enough to understand due process, I simply concluded that Ruby, not being able to tolerate our president being shot by this man, had made the next logical (an eye for and eye) move.

Almost one half a century has passed, and while books and commissions have declared that the "case is closed," many people (so-called conspiracy theorists) reject the idea of the lone gunman and are looking for answers.

The thing I respect most about Dennis Richard's play, Oswald (created from the author's study of Oswald's incarceration and interrogation before he was killed by Ruby), is the fact that I did not know what the author's personal opinion of the events were, as we were left to make up our own minds. The playwright trusted his audience to come to their own conclusions, based on the information he offered up.

Most importantly, Oswald did work as a theatre piece. The inherent drama between Oswald and his interrogator (Dallas police Capitan Will Fritz -- masterfully played by lawyer-cum-actor, Jonathan Miles) stood up on it's own as drama. Miles is an audience pleaser, spectacularly entertaining with with his vocal and physical phrasing being symphonically rich and expansive. The hit all the notes.

My interest was held further, on discovering information I was not cognizant of -- mainly that there was such convincing evidence of his crimes, not only against JFK, but regarding the murder of a police officer ( J.D. Tippit), with a bountiful amount of evidence.

Directed by Richmond Shepard (also the founder and artistic director of the Richmond Shepard Theatre in NYC's Gramercy area), the timing and pace of Oswald was crisp, yet not rushed, making for our rapt attentions. All the performances were good, with Tim Intravia showing real promise in the title role. His resemblance to Lee Harvey Oswald was uncanny, and his line readings were expert. I would suggest that his performance be a bit mopier and diffident from the get go, when he appeared a bit too sane (all research shows that LHO had severe social problems stemming from childhood behavior). He appears to have it in him, as his mugging in the question and answer session at the end of the show hinted at.

I recommend this show to people of all ages, as some of us need to remember, and others need to learn about this extraordinary piece of history. As it stands now, Oswald is a simple "black box" production, but with a bit of brushing up polishing, it could have "legs." ]]> tag:www.huffingtonpost.com,2011:/theblog//3.871615 2011-06-07T12:04:19-04:00 2011-08-07T05:12:02-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/
A Broadway star and mainstay, she is one of the handful of performers who define the classic "Leading Lady", as proved in her authentic Nellie Forbush via South Pacific. Her resume is complete with musicals of all styles -- from Sondheim to the modern classic The Light in the Piazza. This varied repertoire demands extreme vocal versatility, something she has in spades.

Ms. O'Hara has worked with symphonies and smaller ensembles, choosing the latter for this outing as led by her musical director, Dan Lipton. I particularly enjoyed Antoine Silverman's fiddle.

Getting rolling with Sondheim's "What More do I Need?" she charmingly delivered this vocally tricky and rangy ode to New York with accuracy and wit. Following with one of my least favorite tunes,"Always," she sang well, though the rather meandering arrangement did not tickle me. Conversely, her winsome "He Loves Me" was on par with her superbly nuanced "The Party's Over."

Ms. O'Hara's voice is clean, light and delicate, or so I thought until she started digging deep --
catching on fire. That said, I did find myself longing for a bass-baritone in South Pacific's "This Nearly Was Mine" -- though not for any lack of passion on O'Hara's part. But "The Light in the Piazza" soared thrillingly with an expanded soprano sound that is not usually heard in this "perky" type of girl.

The big surprise of the evening was her tune "They Don't Let You In The Opera (If You're A Country Star)," a story song regarding a country girl who wants to sing at the Met but never quite makes it until some extraordinary circumstances occur. For as much as she protests her country roots and gives preference over to the classics, Ms. O'Hara is one hell of a country singer. Any trace of measuredness goes right out the door as she sings the (expletive) out of anything with even a touch of country. Though I prefer opera to country, the latter is where the seat of her soul lives, thus I found myself most invigorated by Kelli's forays in the genre.

The singer balanced out her program with some special guests, most notably her husband and father -in-law, Greg Naughton and James Naughton, respectively. Greg helped out in some rock numbers from the Beatles ("I Will"), to Crosby, Stills, Nash and Young's "Carry On ."

Broadway is lucky to have this lady, because she could be amongst the best country singers and top earners in the world. For now, Kelli O'Hara is a first rate Broadway "diva" and fledgling cabaret performer doing exactly what she wants to do without much peer.
]]> tag:www.huffingtonpost.com,2011:/theblog//3.867842 2011-05-27T18:09:18-04:00 2011-07-27T05:12:01-04:00

Melody Breyer-Grell http://www.huffingtonpost.com/melody-breyergrell/ www.sundancenow.com and had my own personal sneak preview of a new psychological thriller -- The Ledge.

The Ledge held me on the edge of my seat from start to finish, which is a very good thing these days, when I am tempted to give up on many pictures after only five minutes. An imperfect film, it perhaps deals with too many issues to be completely successful, but the ones it succeeds with are worth the investment.

The opening frames of the movie are immediately visually stunning. Shot so cleanly and sharply as to almost look like a graphic novel, the first shots use as backdrop the flickering towers of an oil refinery that is never visited and only mentioned briefly, but it sets the mood and draws us in with its unconscious imagery.

We are soon brought to a glaring reality as Hollis (Terrance Howard -- one of the film's producers) is getting the bad news that he is sterile. It is especially bad considering that his loving wife has supposedly borne his two children.

Attempting to leave work early (he is a detective) after his shocking doctor's visit, a distracted Hollis is called in on a would-be jumper and what follows is his attempt to talk him down while receiving imploring calls from his wife. The jumper is not in any rush and is eager to share what has led him to this point in his life, although he appears uncompromisingly set on his planned deed.

Most of the picture goes to flashback as Gavin (Charlie Hunnam) accounts his forbidden romance with the wife of a religious zealot. In his attempt to free her from her husband's rigid "Born Again" impositions, he opens up a can of worms that moves the action very quickly and heatedly to the point of no return.

This is no ordinary religious couple but one which has actually been saved by the promises of heaven in return for a clean lifestyle, as we learn that Shauna (an irresistibly subtle, yet alluring Liv Tyler ) is not the prim, serious girl that the opening scenes suggest. She confesses to her ardent seducer that she was abandoned by her father -- eventually becoming a heavy drug user and prostitute. Her husband Joe (Patrick Wilson) literally saved her as she lay bleeding in the church that she was beaten in by a kinky john.

With the plot set in motion the film sets out to thrill us and take on the ever conflicting subject of faith vs. atheism. Not just religious faith, but faith in people, marriage, and an examination of life's uncontrollable tragedies.

The film is most successful and incisive when it comes to Gavin's description of the manner with which he will seduce Shauna. He will flirt then pull back and let her become obsessed with him -- against her will and better judgment. He is one a damaged fellow. The games he plays are very authentic and lead to a very sexy yet restrained coupling.

Sadly the filmmaker (director/writer) Matthew Chapman allows some polemic to creep into the story. Gavin's ardent support of gay rights seems tacked on as does the relationship between him and his gay roommate. The language becomes stilted and P.C. whenever the subject is broached. It is an unnecessary plot device -- used to reveal Joe as an ardent homophobe and fundamentalist creep. Being that main story is between the trio of the aforementioned characters, Joe's malevolence should have been revealed organically rather than politically. This excellent film might have been a great film if it was allowed to unfold that way.

Wilson shows his considerable range in a piece of deliciously controlled scenery chewing. He is truly scary, which adds to the entertainment value of the film, but quells any chance of him being sympathetic. Hunnam is often compelling but sometimes a bit stiff, though I think it was the dialog that forced him to voice many abstract ideas rather than emotions.

Liv Tyler is hypnotic as the good/bad girl and Terrance Howard in his smaller, yet key role is always fun to watch. His predicament with his wife is not really believable, but it did provide the film with a satisfying conclusion.

The most interesting thing I came away with is the oft made comparison to religion and opiates. Tyler, upon being invited to star gaze by Hunnam (in his secular attempt to make her feel part of the universe) claims that the experience is not as much fun as church, which clearly is her substitute for the euphoria she misses in her abstinence from drugs. Karl Marx, anyone?

Available now at www.sundancenow.com -- In theaters July 7th]]>