Well, dear readers, I am up in arms. Yes, I am sitting here with so many arms it’s ridiculous, but not as ridiculous as the expression “up in arms.” Have any of you actually used the expression “up in arms” and if you have did anyone understand what the HELL you were talking about? As a matter of fact, what the HELL am I talking about? I have no clew, frankly, and yet on I go, up in arms about something or other, with no end in sight. Here is something that I’ll bet you didn’t know – if you take “in sight” and remove the space, you get insight. Aren’t you glad I gave you insight into in sight? Should we title today’s notes Little Known Facts? Perhaps we should. Here is a little known fact: If you play the banjo while eating a live sparrow, you will have good luck for thirty-six minutes straight. That is a little known fact. In fact, that little known fact is known only by me, and now, in turn, you dear readers. Perhaps we’ll have some more little known facts later, like why I’m up in arms, but for now let’s talk about something new – like yesterday, which, of course, is old. I got up at nine, and immediately was greeted with a little missive from some person at Equity, accusing me of spending over the limit that Equity decrees can be spent on a NYMF show’s production. The only reason I can think of for the accusation is that the agent of one of my cast members forwarded a private e-mail exchange – he’d written me a really inane e-mail to which I responded and set him straight on some issues. He responded to that like a middle school child, and then, because I’d mentioned that I’d spent a certain amount on the show, I believe he forwarded my e-mail to Equity, thinking he’d just cause me trouble. The person at Equity, rather than just taking a third party’s forwarding of an e-mail as gospel and calling us to ask about it, instead instructed NYMF to withhold our box-office monies due to us. I wrote back this person at Equity and explained that we, in fact, produced our show in strict accordance with Equity guidelines, that we had every piece of paper and receipt to prove it and that the figure I touted was easily explained in that those extra monies were for things outside the scope of the Equity production budget – such things as the actors’ and stage managers’ salaries (which aren’t included in the production budget of $15,000), the rehearsal space (a huge expense, also not included in the production budget), my lodgings, flights, and living expenses (the hugest expense and also not included in the production budget), and the NYMF advance fee (also not included in our production budget). A little simple math tells you that when all those costs are added up it comes out to precisely the figure in the e-mail I sent. Oops. I demanded an explanation of why we weren’t asked questions prior to their putting a hold on our money, and I asked for the hold to be removed immediately. Meanwhile, my general manager wrote her own letter of outrage, and also provided our clearly laid out production budget, all of which this person from Equity will be greeted with tomorrow. If I’m right about the agent whose agenda caused these problems, well, let’s just say that karma will take care of him, with as much help from me as I can give said karma. After dealing with all that pointless drama, a whole slew of nice things began to happen – we added two wonderful people to our fundraiser show, Rex Smith and Patrick Cassidy, and it’s great to have them on board. Some of the difficult LACC funding stuff was made a slight bit easier. And then I had the pleasure of rehearsing with Miss Beth Malone, and hearing her do her terrific song from Sister Act – The Musical. I will say Miss Malone is new to me, having only seen her excellent performance in Sister Act, and I just think she’s great. I wish I’d thought of her when we were having so much trouble casting Joyce in The Brain. She seems drama-free and non-neurotic, which are big plusses in my world.
I had to start a new paragraph, as that one was going to be the longest paragraph EVER, which is, of course, a little known fact. After she left, Richard Berent, the musical director, and I went over a few other songs and came up with some arrangement ideas, then we both toddled off to the Pantages to meet up with Julie Reiber of Wicked (she’s the Elphaba cover). We went to the rehearsal room where she proceeded to tear the roof off the jernt with The Wizard and I, and I predict that’s exactly what will happen at the Alex, and they’d better secure that roof but good. What a voice! And a nice person, to boot (I didn’t boot her, though). After hearing those two songs, plus having worked with Alet and Andy Taylor last week, I’m beginning to have a good feeling about the show itself. The big task for me next week is to begin structuring the evening – that’s always the hardest thing, the show order, but I’ll just dive in and begin the process. After that, I finally came home and sat on my couch like so much fish.
Well, why don’t we all click on the Unseemly Button below because it’s late and I must get my beauty sleep.
Last night, I watched a motion picture on DVD entitled The Jazz Singer, starring Mr. Al Jolson. I hadn’t seen this film in many years, probably since the 60s. I became a huge Jolson fan whilst in junior high school when the Million Dollar Movie ran The Jolson Story every night, sometimes twice, and I watched every single showing. Happily, my parents had 78s of all the songs from that film, and I’d stand in front of the mirror and mime to the records – I had the moves down perfectly, and eventually I got the voice down perfectly, too. For those who’ve read the Kritzer books, you know that I used to put on Monday night entertainments for my family and relatives, and Jolson was one of my biggest hits. And during that time, the Million Dollar Movie also aired The Jazz Singer, and I loved it, too. I’m happy to say that I still love it after viewing it last night. It’s just a sweet film, and the sequences with live sound are just charming, as is Mr. Jolson, doing his thing. My favorite discovery during this viewing was the appearance of a very young William Demarest sitting with Al in a restaurant, just before Al gets up to sing. I had no idea he was in the film. Of course, Mr. Demarest played a major role years later in The Jolson Story. I don’t know if that qualifies as a little known fact or not, but it sure wasn’t known by me. And when Jolie does Mammy, it’s just magical and I was on my knee singing along, just as I used to when I was but a wee sprig of a twig of a tad of a lad of a youth in bygone days. This is part of a three-disc set from Warners. The transfer is pretty amazing, but even more amazing is the sound, which is fantastic. Apparently, they found a complete set of unused Vitaphone discs and transferred them for this DVD. The results are astonishing.
Today, it’s more work, setting up rehearsals for Friday, starting to structure the show, and still trying to find a kid to do the opening number – I’m very worried about it, but everyone is looking hard.
The new Kritzerland release is up for preorder. It’s a 2 CD limited edition soundtrack to Jacques Demy’s film, Une Chambre En Ville, with music composed and conducted by Michel Colombier. If you’re a fan of The Umbrellas of Cherbourg, this is very much cut from the same cloth, although Mr. Colombier’s score is a little more serious, with achingly beautiful melodies, and glorious symphonic orchestrations. It’s a real musical, with every line in the film sung, and I promise you, it’s an exquisite listen. Visit www.kritzerland.com to see the album cover, hear track samples and read a bit more about the film. The 2 CD set has a reasonable price, and there are only 1200 copies and then it’s gone. Act now. Do Hamlet, for example.
Well, dear readers, I must take the day, I must do the things I do, I must, for example, do it all, hope for nothing but good things, and a stress-free day, and then I must find something fun to eat. Today’s topic of discussion: It’s sometimes hard to listen to singers of the 20s and 30s in context of those eras, but of the famous men and women singers of those decades, who are your favorites, and what songs that they sang are your favorites. And of all of them, who do you think was stood the test of time and dated the least? Let’s have loads of lovely postings, shall we, whilst we uncover some more little known facts.