Well, dear readers, I had a most splendidly splendid evening last night, as you might have expected. I attended the opening night of Stritch at the Ahmanson Theater. My companion for the evening was our very own Miss Tammy Minoff. Prior to the show we supped at Otto’s Restaurant just below the Dorothy Chandler Pavilion. One really has no choice because it’s the only restaurant to hand, other than the courtyard dining in front of the Mark Taper Forum, and that is almost as expensive and run by the same people. They also have a little store with boxed sandwiches and such, and one suspects that that is the best of the three places. Otto’s is a lovely restaurant that happens to serve some of the worst food ever put on plates. The one reasonable dish I’ve had there, Crab Cakes, is, of course, no longer on the menu. I had a grilled chicken breast swimming in some kind of shitake mushroom sauce, surrounded by spinach, lentils, carrots and warm tomatoes. It was barely tolerable, and the whole thing looked like food gone awry – the lentils looked like rat pellets (if you get my meaning) and the spinach was languid and droopy and there were all manner of shrubs on the plate and, of course, the sorry-looking chicken breast itself. Tammy had the roasted chicken (I think that’s what it was) and after her first bite she made one of those “PU” faces because there was some disgusting spice they’d use that tasted like licorice. She kept saying it was some sort of “weird seed” which I think is also the title of a Meltz and Ernest song. The best thing about supping there was our arrival – in front of us waiting to be seated was Mr. Blackwell.
After dinner, we wandered over to the theater and ran into the fellow who used to do all my CD covers (and who still does covers for “the label”) and he told me a most amusing story as to why The Sherman Brothers Album had been delayed. I shan’t repeat it here other than to say someone was not using all cylinders in their cabeza. Then we milled around with the crowd in front of the theater and I saw many people I know and adore, such as Bruce Vilanch, David Zippel (who, of course, worked with Tammy on The Goodbye Girl), our very own Norm Lewis, Ken Page, and the delightful clothing designer Pete Menefee (he did the costumes for the play I did at the Taper) and Tom Hatten. When we entered the theater a very nice fellow came up to me and asked if I was Bruce Kimmel and it turned out he was currently reading Benjamin Kritzer and he was/is also a budding Hainsie/Kimlet who occasionally reads these here notes. I told him he simply must post and hopefully he will, but it was very nice of him to stop and say hello.
Unfortunately, I had left my glasses in a coat which was in my house so I had to watch the show out-of-focus. However, even without my glasses I did notice Mr. Rip Taylor in the audience. In any case, the show then began and the audience went crazy from Miss Stritch’s first entrance and never stopped going crazy until the end of the show three hours later. Miss Stritch is electrifying and she takes hold of that stage and never lets it go. She is hilarious, touching, forthright and wonderful. It’s a very well put together show, simply done with her only prop being a chair, which she uses as if it were her co-star. If one had even the slightest nitpick it would be that it did seem to go on a bit long at close to two hours and forty minutes. I was thrilled she told a story about doing the play Time of the Barracudas at the Huntington Hartford, which I saw. When I went to her place to rehearse with her for the recording of Drat! The Cat! I brought up the play, and she said she hadn’t thought of it in years, and then she regaled Todd Ellison and I with many of the tales she told in her show. I can’t recommend this highly enough, so if you find yourself in Los Angeles, California during the run, make sure you see it. Bravo to all concerned.
What am I, Ken Mandelbaum all of a sudden? Well, why don’t we all click on the Unseemly Button below because you won’t believe it but I’ve gone and answered all your excellent questions.
Well, we had a plethora of questions, so I’d best just plunge in whilst trying not to think of the sorry chicken breast and Tammy’s weird seed. I think I even remember a tale – The Randy Vicar and the Weird Seed. In any case, onto the questions.
Phil asks of all my creative ventures (writing, performing, producing, etc.) which one provides the most fulfillment. Certainly writing the two Kritzer novels has thus far been the most fulfilling thing I’ve ever done. It wasn’t easy, but at the end of each I felt I’d really and truly accomplished everything I’d set out to. And, as not far along as I am in the third book, I feel that every time I write I’m accomplishing something – we’ll see if it’s good or bad. I also felt great accomplishment producing all the CDs. I really felt I made a contribution to the world of theater music, and I really felt I brought something new to the table as a producer. Am I a fan of Rage Against the Machine? Never heard of it. However, I often have rage against the machine, especially the computer.
William E. Lurie mentions that although it hasn’t opened yet, advance word would seem to indicate that Miss Bernadette Peters is miscast as Mama Rose. What classic musical roles do I think Miss Peters would be right for, and what performer today that hasn’t done Mama Rose in a major production do I think should play it. First off, I won’t discount Bernadette until I see it, but it would seem she’s not found her Mama Rose yet from what I’ve heard (from people I trust, NOT from those idiots on other boards). I think Miss Peters could do a revival of Call Me Madam (I think she’d do her own thing but would be excellent), she could do Miss Adelaide (a bit long in the tooth, of course, but still, she’d be good), she could do Molly Brown (a bit long in the tooth, of course, but still, she’d be good) and I’m sure there are others I’m not thinking of. I think Patti Lupone could deliver an interesting Mama Rose, and she’d certainly be a draw.
Jrand52 says that I mentioned in the Beginning of the End commentary that I would like to talk to the blonde girl who turns over the makeup table. Is there one certain participant in these types of films that I would particularly like to interview and what would I ask this person? Well, certainly Marjorie Hellen (aka Leslie Parrish) and I would like to ask her to marry me.
Sandra asked a question about a frozen egg salad sandwich and how best to thaw it. I would never thaw a frozen egg salad sandwich – I would eat it like an egg salad Popsicle during the day. I have known dear reader Sandra for quite some time and I’d like to know at what point she became the Bob Newhart of haineshisway.com. I feel a career in comedy is something that Sandra is very qualified for, don’t you, dear readers? Her musings are delightfully droll and surreal.
MattH asks have I ever seen Elaine Stritch acting a role in a stage play or musical and if so what were my opinions about her then as opposed to what she’s doing now onstage in her one-woman show. I first saw Miss Elaine Stritch in a play entitled Time of the Barracudas, which was done “pre-Broadway” here at the Huntington Hartford Theater. I loved the play (by Peter Barnes) and I loved Miss Stritch and her co-star Lawrence Harvey. It never made it to Broadway because there were many personality issues between cast and director (the first director was replaced, I believe). I next saw her in Company, in which she was brilliant, absolute perfection. Then I saw her in Showboat, and she was very good in it. As I’ve already said, in her one-woman show she’s absolutely amazing.
Laura asks if when I travel I travel light or pack heavy. I don’t believe there is anyone who packs lighter than I. One overnight bag to carry on the plane. If it’s going to be a longer trip I actually Fed Ex clothes to the hotel in advance.
Arnold M. Brockman asks what the song I Said Good Morning by Andre Previn and Comden and Green is from and who has recorded it besides Comden and Green. I’d have to imagine it’s from It’s Always Fair Weather, as I don’t think they wrote anything else with Mr. Previn. I have no idea who else recorded it, so if anyone knows they can pipe up.
Jose asks what computer software and hardware do I use when I record, arrange, edit, etc. And do I use Mac or PC versions of said software? I never remember names of programs, but I don’t use them at all – the orchestrators and engineers use them. Vinnie, for example, uses a Mac, as does Grant Geissman. Do I miss the days of analog sound and lighting systems in the theater? I do grow a bit weary of the “technical artistry” that computers bring to stagecraft, with all those swiveling lights and multiple mics. There are times when I just wish they’d stop all of it and let the show do the work.
Kerry asks if I am still going to be in town next week and if I still have my calendar marked. I am and I do, but it is best to e-mail me a reminder on Monday.
Jason asks what the term A&R means in the recording industry. Artists and Repertoire. When someone is an A&R man, they usually find the singers to record, and the various kinds of albums to do.
George asks what brand of region free DVD player I have? He’s seen several on eBay and wonders if they’re any good. You have to be really careful of buying a region free player on eBay because most of them don’t do proper conversion in terms of widescreen. I have a JVC XV-S500 which is very good and which does everything properly. The other highly recommended player at a similar price ($250 when I bought it, probably a bit cheaper now) is the Malata. I bought mine at hkflix.com, and they have a new even cheaper player (around $100) that does the conversion properly, the Sampo. Visit their site because they are very detailed and excellent to deal with.
Matthew asks if I have a college degree and if so what is it and where did I receive it. No, I never wanted a college degree. I attended LACC for three years, basically only taking theater classes.
Jay asks when I go to a restaurant before an event at the Music Center where do I dine? As I’ve already written, the easiest thing to do is dine at Otto’s, which unfortunately is one of the worst restaurants (and high priced to boot) I’ve ever eaten in. There is an area outside the Taper where they serve food, too, but it’s run by the same people as Otto’s and it’s also quite pricey.
Craig has a mini-plethora of questions and here they are: What are my favorite Chinese dishes and do I take out from the same place I sit in. Yes, to the latter – I love anything Kung Pao, I love chicken with cashews, I love Wor Won Ton Soup and I really love Orange Chicken. This is all presuming that the restaurant cooks these dishes well. What country or ethnicity makes the best desserts? Oh, I don’t know – I like good old American cakes, donuts and pastries, cream pies, fruit pies, hot fudge sundaes and the like. Do I own any wacky boxers? Yes, Slapsie Maxie Rosenbloom. No, I do not own any boxers with the exception of my Nudie Musical boxers. What’s the very first memory I have? Well, in Benjamin Kritzer it seems to be the tonsil incident, so I’ll go with that one. What celebrities have I been confused with? Only one – Chevy Chase. Of course, he used to be confused with me before Saturday Night Live. What a difference a hit TV show makes.
Ron asks if I were to make a non-musical film, who would I hire to compose the underscore and why? Well, of course, it would depend on the type of film. I might hire Elmer Bernstein to do a simple touching story like Benjamin Kritzer, because he did such a beautiful job with both To Kill a Mockingbird and Henry Orient. I might hire John Williams for a romantic story, or perhaps Dave Grusin or Johnny Mandel. And, of course, if I could lure Andre Previn back to film scoring I would hire him any day of the week.
Ray asks if I had to choose just one person in my life who gave me a bit of advice which made a big difference in my life, who would that person be and what was the advice. I don’t know that I’ve met that person yet. I do like Sondheim’s advice – “Whoever has the most passion wins.” And my lawyer gave me some really good advice when the debacle of October 2001 happened – he said never get into bed with people without having a lawyer turn down the covers. Never again, that much I can tell you.
Dennis asks how do musicians get a job in a show. A contractor hires the band, and said contractor usually hires people he’s worked with and trusts. Once hired, those musicians, I believe, have the run of the show, and only if they leave can they be replaced.
Td has discovered 8 ½ by Mr. Fellini and believes it is one of the finest he’s ever seen. I could not agree more, it is a brilliant motion picture, one of many Fellini masterpieces of which my favorites are The White Sheik, I Vitelloni, La Strada, 8 ½ , and La Dolce Vita. What are the best black and white DVD transfers that I’ve seen? In Harm’s Way is pretty stunning black and white scope, Citizen Kane is great as is Sunset Blvd. and my newly acquired La Dolce Vita is superb in every way. Criterion’s version of Dryer’s Joan of Arc is extraordinary, as is 42nd Street and Séance on a Wet Afternoon.
Well, dear readers, I must take the day, I must do the things I do, I must go hither and thither, I must dig out the Meltz and Ernest song entitled Weird Seed, I must write and make phone calls and whatnot. Today’s topic of discussion: I know we’ve done this before, but in honor of La Stritch, what are the best one-person shows you’ve seen. I’ll start – I would certainly put Stritch at the top of my list, but I’ll also include Oscar Brown, Jr., Martha Schlamme, and Lily Tomlin’s The Search for Intelligent Life in the Universe (well, it’s really Jane Wagner’s, performed by Lily). Your turn.