Topic: THE MORSE CODE NOTES (Read 39098 times)

bk · « **on:** March 21, 2004, 12:00:55 AM »

Well, you've read the notes, you've deciphered the various dots and dashes, you've broken the code and you are now ready to post on a myriad of topics of your own choosing. Post away, my pretties.

bk · « **Reply #1 on:** March 21, 2004, 12:05:18 AM »

In response to the late-night post of George - first he quotes elmoore:

<DR George, I believe - and I could be wrong here - that Topol and Carole Demas were replaced at the same time; I don't know if Lupone ever did the show with Topol. >

Then responds:

<I didn't know that Carole Demas was in it at all. I knew that the role was written with Betty Buckley in mind, and that she auditioned but didn't get it. I just assumed that Patti was the one and only Genevieve. The same friend who had the Merrily We Roll Along video also has a (very poorly recorded from the audience) tape of the show (or at least excerpts) with Patti (unless my ears deceived me) and Topol. "Meadowlark" is shorter than the version that everyone knows and has different lyrics.>

I saw The Baker's Wife in its pre-Broadway Los Angeles tryout, and Lupone definitely did the show with Topol.

Charles Pogue · « **Reply #2 on:** March 21, 2004, 12:16:31 AM »

Maya, continuing our Sondheim/Hart discussion from last night. I think both Sondheim and Hart, despite being intellectually and technically facile, are both lushly romantic and emotionally moving without devolving into any sort of cloying sentimentality. They both can get the same rap about being cold and smart without emotion, but it just ain't true.

One of my favourite playwrights, Tom Stoppard, gets the same rap but if you've ever seen The Real Thing or Arcadia, you know what a specious load of clap-trap that is.

bk · « **Reply #3 on:** March 21, 2004, 12:45:49 AM »

Interestingly, when I saw the special Company reunion in NY in 1993, I went to Mr. Sondheim's house afterwards to chat about Unsung Sondheim. Afterwards we shared a cab because he had to go back for the evening performance. On the way, I told him that this "Sondheim always writes cold, analytical lyrics and music" was pure BS, and hearing the score of Company that afternoon, I said was so filled with warmth and heart it was amazing. I thought he was going to kiss me. He raised his hands in the air and said, "Yes, you're right and I'm so tired of hearing that crap."

S. Woody White · « **Reply #4 on:** March 21, 2004, 12:57:08 AM »

This is starting to sound like a TOD:

What examples can you give of Sondheim not being cold and emotionless?

For me, the example is in Sunday in the Park with George, specifically in the pairing of the songs "We Do Not Belong Together" (in Act One) and it's parallel, "Move On," (in Act Two). In the first case, it isn't that Seurat cannot feel that is the problem, it is that he cannot feel for Dot in the way that she wants, that what he feels and puts into his art will always come first. In the second case, Dot returns to George and basically tells him to rejoice in what he feels for his art. She isn't resigning herself to coming in second, she has instead learned to rejoice in the art herself. The two songs together are a love song, one of great understanding and support.

(Is it any wonder that der Brucer and I started to fall in love while listening to this score?)

S. Woody White · « **Reply #5 on:** March 21, 2004, 12:59:56 AM »

And thank you, BK, for your own story above. I hadn't realized that there was a connection between the Company Reunion concerts and Unsung Sondheim. I'll have to listen to the disc again; I think the song from Reds is another example that we're looking for.

For which we are looking.

Whatever.

Tomovoz · « **Reply #6 on:** March 21, 2004, 01:09:42 AM »

I can't think of a Sondheim musical where I did not feel an emotional connection with the chartacters at some stage - How can you not feel for George in Sunday or even for the characters who are portrayed in Assassins? We don't have to like them or agree with them to feel for them in their isolated worlds. I feel so much for the leads in "Follies". The folly of their self delusion make them so human. Sondheim's characters are so often flawed which makes them more human than those usually depicted in in musical theatre. I don't find the characters "cold" at all. Mr Sondheim's lyrics and music seems to me to flesh out the characters provided by the book. We know so much more about their motivations, fears and hopes because he tell us so much in his lyrics and his music. We even are given a sense of when they know they are lying to themselves. If you would not like to lunch with a Sondheim character, it is because of their "reality". You would never be dining with one of George's cardboard cut-outs. Sondheim's characters have dimensions and contradictions - the music and the lyrics give us this.

Jennifer · « **Reply #7 on:** March 21, 2004, 06:16:16 AM »

Good morning everyone!

Hey before I forget, yesterday BK was talking about Atkins sweets. I was wondering if anyone has tried his caramel chews (not sure of the exact name). They just got these at my Club Price. OMG, they are good. They taste like caramel chocolates.

Michael · « **Reply #8 on:** March 21, 2004, 06:16:38 AM »

Quote from: S. Woody White on March 21, 2004, 12:57:08 AM

This is starting to sound like a TOD:

What examples can you give of Sondheim not being cold and emotionless?

For me, the example is in Sunday in the Park with George, specifically in the pairing of the songs "We Do Not Belong Together" (in Act One) and it's parallel, "Move On," (in Act Two). In the first case, it isn't that Seurat cannot feel that is the problem, it is that he cannot feel for Dot in the way that she wants, that what he feels and puts into his art will always come first. In the second case, Dot returns to George and basically tells him to rejoice in what he feels for his art. She isn't resigning herself to coming in second, she has instead learned to rejoice in the art herself. The two songs together are a love song, one of great understanding and support.

(Is it any wonder that der Brucer and I started to fall in love while listening to this score?)

Actually the above songs are Parts Two and Three of a complete love song. The first part of the song occurs during the title song when Dot steps out of the dress and goes over to George(s) and sings"

George's stroke is tender
George's touch is pure
Your Eyes George
I love your eyes, George
I love your beard, George
I love your size, George
Bust must, George
Of all,
But Most of all
I love your painting
I think I'm painting

This section of the song has the same melodic them that is carried over to We Do Not Belong Together and then in Move On.

Robin · « **Reply #9 on:** March 21, 2004, 07:04:29 AM »

The notion that Sondheim writes technically-brilliant but emotionally-distant songs just plain puts me in a tizzy. A tizzy, I say!

There was a local production here of Pacific Overtures recently, in which the reviewer leveled that idiotic charge yet again. In his review, he said that there were no "characters" in Pacific Overtures for an audience to relate to. Obviously, he fell asleep from time to time during the production. That's my explanation of his poor judgment, and I'm sticking to it.

And speaking of local productions, I feel I must tell the assembled masses about a local treasure we have here in Minnesota: The Twin Cities Gay Men's Chorus, directed by the incredible Stan Hill. Over 150 voices strong, the TCGMC doesn't only perform the standard repertoire, they commission new music, and aren't in the least bit afraid to program modern or avant-garde works. And they almost always sell out their performances.

Last night, the Significant Other and myself attended their latest concert, entitled "Our Legacy in Song". The first half was essentially a "greatest hits" collection. It brought back some wonderful memories of concerts past, and filled the sell-out crowd with warm fuzzy nostalgia. And of course, there were Show Tunes, from La Cage aux Folles and Ragtime, to name two.

The second half of the concert looked forward, with a specially-commissioned song-cycle entitled Metamorphosis, written by Robert Seely and Robert Espindola, and performed with the locally-based James Sewell Ballet. The piece was based on interviews with members of the Chorus, and their experiences are reflected in the twelve songs of the cycle, which is by turns humourous and hearbreaking, but ultimately hopeful and uplifting. I was personally moved to tears by Metamorphosis, and it's a rare thing, given my calloused old heart.

The James Sewell Ballet is an avant-garde dance company, based here in Minnesota. Michael and I are enthusiastic fans (and financial contributors) to both organizations. And you can imagine our delight when we found out that they were going to be on-stage together for Metamorphosis.

One of the greatest things about the TCGMC is their audience. It's not just gay men, it's folks from all walks of life. And, according to their audience surveys, the audience is 55% straight folks. From all over the midwest and beyond. At intermission, I spoke to a very nice fellow who'd travelled all the way from Idaho to see this concert; he was once a Twin Cities resident, who couldn't give up seeing the Men's Chorus once he'd moved out west.

I love these guys. They're a treasure! And if you ever have the opportunitiy to see them, do it. And do try to check out your local gay or lesbian chorus; they're springing up all over the country (and the world, for that matter). I've seen a lot of these choruses over the years...and I've rarely been disappointed in their offerings. They are organizations worth supporting.

OK, end of Sunday Sermon.

elmore3003 · « **Reply #10 on:** March 21, 2004, 07:31:41 AM »

Good morning, all!

BK, thank you for clearning up the question of cast comings and going in THE BAKER'S WIFE. Like CANDIDE and THE GRASS HARP, I think it's score is so magnificent, but I doubt the book will ever work. I always felt with CANDIDE that Hellman's flawed book was better than the silliness and camp that followed it, that a "dramatic" book with character development had been replaced by a "story theatre" attempt to put Voltaire's book onstage (especially true in the National Theatre of Great Britain production where I wanted to stand and yell "cast singers, it's an operatic spoof!" after listening to a lot of score with a lot of second-rate singing).

I've love the film PEYTON PLACE. I always thought the book itself got a bum rep in the 50s, but I admire Grace's attempt to expose small town hypocrisy. In the original manuscript, which she was forced to change by her publisher, Lucas Cross was Selena's father, so the rape was incestuous and this was too much for the time.

So much for profundity, who am I all of a sudden? Dorothy Parker (all I need is enough space to lay my hat and a few friends)?

DR Jane, yes, we'll have homestyle beancurd!

Kerry · « **Reply #11 on:** March 21, 2004, 07:35:34 AM »

It's the first day of Spring! Happy Solstice everyone!

.......and yet Spring can really hang you up the most...............

elmore3003 · « **Reply #12 on:** March 21, 2004, 07:38:04 AM »

Well, I couldn't decide if I was thanking Dear BK for "cleaning" or "clearing" up the Topol-Lupone question, but THE BAKER'S WIFE got me thinking about French films of the 30s and how both THE BAKER'S WIFE and CARNIVAL IN FLANDERS, source of another flawed musical, need restored prints with unexpurgated subtitles. Both films are quite delightful, but their current subtitles quite laundered.

DERBRUCER · « **Reply #13 on:** March 21, 2004, 07:39:55 AM »

Well...today's LACalenderLive is a load of goodies with HHW tie-ins:

Exhibit the First: (for DR Lurie)

Out of the picture

Toontown darkens for L.A.'s animation artists, as computers and an overseas workforce overtake their future.
By Lynell George
Times Staff Writer

March 21 2004

Eddie Goral doesn't look like a man who would have painted himself into a corner.

Even among the requisitely colorful Trader Joe's crew he works with in Pasadena, Goral stands apart: There's the whimsical push broom of mustache that looks as if it were daubed on with a big, saturated brush and the metal professor specs. It's that and the booming question he poses to most anyone passing through his checkout lane: "So, what's your passion?"

He wastes no time telling you his: "Painting." He nods toward a brightly hued mural that seems to float above the top quarter of the store, a points-of-interest sweep of Pasadena — the Arroyo, the Colorado Street Bridge, the Rose Bowl.

"Before this?" he'll explain, if you press him as he runs bottles of "Two-Buck Chuck" through the price scanner. "I was an animator."

Suddenly whimsy drains away. Anger flashes in its place. "Until Disney got rid of all of us."

*******************

The article goes on, at great length (10 pages in my Word document) detailing the agony of the dissappearance of traditional animation from the American scene.

The subject of the article has afriend named Bruce:

"Ex-Disney animator Eddie Goral, now a store checker, with a cel from his own “Bruce, the blue-eyed moose” project.
(Genaro Molina / LAT)

der other-blue-eyed Brucer (not a mooser)

Matt H. · « **Reply #14 on:** March 21, 2004, 07:42:22 AM »

INTO THE WOODS is so full of warmth and heart, it's amazing. I remember Joanna Gleason's Tony acceptance speech where she mentioned the show is about parents and their relationships with their children, and she was right.

I also played the Narrator/Mysterious Man in a local production some years ago, and I can tell you I got a lump in my throat every night sharing the song "No More" with my son, the Baker.

The warmth and heart, the depth of feeling in so many of his songs is all right there, if folks would just sit down and really listen. Sondheim has endured a lifetime of people telling him or writing about his cold, hard lyrical attitude and the lack of melody in his music. None of that is the actual fact.

On the question of Sondheim's disdain for Lorenz Hart, I, too, am at a loss. Yes, Hart did have a couple of lazy, sloppy rhymes in his prolific career, but can we not be generous? forgiving? understanding when knowing the demons the man dealt with and the astounding songs he DID produce?

Matt H. · « **Reply #15 on:** March 21, 2004, 07:43:53 AM »

In response to DR RLP's query last night about whether "PennyO, Panni, Pogue, and Pulliam" was onomatopoeia, of course the answer is no. It's alliteration.

DERBRUCER · « **Reply #16 on:** March 21, 2004, 07:50:28 AM »

Exhibit the Second: (for BK)

L.A.'s own Mayor Zelig

A new film follows Rodney Bingenheimer's journey from a torn childhood to hanging with the hip bands of the music scene.
By Richard Cromelin
Times Staff Writer

March 21 2004

"What's happening?" says Rodney Bingenheimer, looking up from his breakfast of fruit and scrambled egg whites. He's sitting in the far corner booth at the Denny's coffee shop in Hollywood's Gower Gulch, where he arrives every day at 1 p.m.
...
But radio DJs with a nose for the now come and go. Bingenheimer's true claim to fame and inescapable uniqueness stems from something more elusive and fascinating: his presence for four decades at the throbbing center of the Los Angeles music scene.

There he's become something of a presiding spirit — a ubiquitous, deadpan leprechaun who pops up at every notable event. Actor Sal Mineo long ago pronounced him the mayor of the Sunset Strip, and no one's come along to challenge him yet.

Those who have seen the framed photos on the walls of his Hollywood apartment — Rodney with Dylan, Rodney with Elvis, Rodney with Lennon — inevitably think of Zelig, the Woody Allen character who drifted from one momentous historical scene to another.

There's also something Warhol-like in the way Bingenheimer maintains his reserved, understated manner amid the social swirl. He's a shy man who likes to keep his private life private and his feelings close to his vest.

Which makes the latest twist in his saga all the more remarkable: "Mayor of the Sunset Strip," a documentary film opening this week, captures him with his guard painfully down.
...
Although most people might look at Rodney Bingenheimer and see a cuddly music mascot or a rock 'n' roll kewpie doll, George Hickenlooper saw both a kindred spirit and the stuff of symbol. That's why he signed on to direct "Mayor of the Sunset Strip." It wouldn't be just a glorified VH1 biography. It would be something much bigger.

"Celebrity ultimately is an extension of the human need to be loved," says Hickenlooper, whose previous films include 1991's "Hearts of Darkness: A Filmmaker's Apocalypse," a documentary on the making of "Apocalypse Now," and the 2001 drama "The Man from Elysian Fields," with Andy Garcia and Mick Jagger.

"I saw Rodney as a perfect Zelig-like metaphor for what's happened to American culture and our obsession with celebrity," adds Hickenlooper, who says that the pain of his parents' breakup gave him a powerful bond with his subject.

"Our culture's trying to sort of heal those fragments that have come along with the rising divorce rate and the breakdown of religion and all that, so I was interested in Rodney in an anthropological sense."

Maybe so, but even though Hickenlooper cites Gershwin and Stravinsky as his favorite music and puts a USC professor expounding on celebrity in the film, "The Mayor of the Sunset Strip" still rocks, with its buoyant, thumping music and a cast of colorful interview subjects. Among them: Cher, Bowie, Joan Jett, Courtney Love and the cynical, flamboyant record producer Kim Fowley, Bingenheimer's longtime friend, whom Hickenlooper describes as "Darth Vader to Rodney's Luke Skywalker."
...
Sitting up military-school straight in his booth at Denny's, he's a man of few words, at least when the subject is himself, and with his breakfast plates empty he's itching to head home to open the day's shipment of CDs and make some calls (he lives an e-mail-free life and doesn't even own a computer). Later, he'll be stationed at the nearby International House of Pancakes at 5 p.m. and then Canter's deli on Fairfax at 11 p.m.

*************************************
Comment 1: " flamboyant record producer " is a bit redundant.

Comment 2: Do all record producers have strange eating ~~disorders~~ habits?

der blue-eyed Brucer

DERBRUCER · « **Reply #17 on:** March 21, 2004, 08:07:20 AM »

Exhibit the Third: (For Jay, M. Shayne, and Panni)

LEGENDS OF HOLLYWOOD

Poetry in motion
Powerful images and timeless tales of reality versus dreams mark F.W. Murnau's films. VIDEO

By Kevin Thomas
Times Staff Writer

March 21 2004

In "Sunrise," F.W. Murnau's 1928 poetic fable of guilt and redemption, the filmmaker transports the audience, via a trolley ride, from the innocent pastoral beauty of the countryside to the city with its bright lights and glittering amusement zone. Murnau captures in striking detail the impact of this world on a farmer (George O'Brien) and his wife (Janet Gaynor) — the lure of the city ultimately a seductive threat to the couple and their happiness. It remains one of the most striking moments in the silent cinema.

Murnau reverses direction in "City Girl," a 1929 talkie in which a waitress (Mary Duncan) in a busy Chicago café imagines that life on a farm would be paradise in contrast to her hardscrabble urban existence with all its noise and pushing and shoving.
...

On Thursday, the Academy of Motion Picture Arts and Sciences, which has an exhibit of Murnau posters and photos, will screen "Sunrise," a joint restoration project with the British Academy of Film and Television Arts. The film, which has a synchronized score, brought Gaynor the very first Oscar for her performance and for those in "Seventh Heaven" and "Street Angel" and one for its pioneering cinematographers, Charles Rosher and Karl Struss.
...
Photographed by Ernest Palmer, the dynamic, sweeping "City Girl" screens April 3 as part of LACMA's series "Halo of Dreams: The Films of F.W. Murnau."
...
The LACMA series commences Friday with the sprawling and melodramatic "Phantom." Adapted by Thea von Harbou from Gerhart Hauptmann's novel, "Phantom" is remarkable for the intensity of Murnau's expressiveness and psychological insight. Unfolding in flashback, it tells of a humble city clerk (Alfred Abel, later the master of "Metropolis") already deluded that he possesses poetic genius when he is struck by a phaeton driven by the angelic-looking daughter (Lya De Putti) of a rich family. He becomes haunted and undone by his recurring images of the radiant young woman in her phaeton passing through the town square like a goddess in a chariot. Reflective of the times, "Phantom" examines a society in such desperate straits that it is in danger of valuing money above all else.

A triumph of production design (by Hermann Warm of "The Cabinet of Dr. Caligari"), "Phantom" has remarkable sequences depicting the clerk's fevered imagination and a cast of vivid characters, including Anton Edthofer as the oily gigolo of the clerk's prosperous pawn broker-money lender aunt (Grete Berger). The film will be presented with live organ accompaniment by Robert Israel, who will be performing the eloquent score he composed for the film.
...
Exhibition: "F.W. Murnau: Film Pioneer," Academy of Motion Pictures Arts and Sciences, 4th Floor Gallery, 8949 Wilshire Blvd. Beverly Hills. Through April 14.

Screenings: "Sunrise," Thursday, 8 p.m., Academy of Motion Pictures Arts and Sciences. (310) 247-3600. Retrospective, "Halo of Dreams: The Films of F.W. Murnau," Friday through April 10, Los Angeles County Museum of Art, 5905 Wilshire Blvd., L.A. (323) 857-6010.

******************************************
The article fills four four Word document pages with details of Murnau's films.

Comment 1. It seems Robert Israel had a career before writing TV Quiz Show theme music.

Commen 2. An actressss named "Lya De Putti"!

"...and I can tell you now, she is by birth, HUNGARIAN, and of Royal Blood!..."

IMDB reports:

Biography for
Lya De Putti

Birth name: Amalia 'Lia' Putty

Mini biography
Daughter of a Hungarian Baron and Countess she went on to perform classical ballet in berlin after a breif stint in Hungarian Vaudeville. She later made several films at the German UFA Studios most notably VARIETY (1925), before going to Hollywood in 1926. While in America she starred in several movies, mostly in vamp roles.

Now, if my surname was "putty" I can see changing it - but to "putti"? Sounds like a little spanish harlot!

der Brucer (wondering if no editor at IMDB knows to capitalize Berlin and put the "i" before "e" in brief)

DERBRUCER · « **Reply #18 on:** March 21, 2004, 08:14:54 AM »

And yes, BK, there are other Code writers:

Deep into the 'Code'

'Da Vinci' talks, tours, follow-up books serve a renaissance of interest in art and religion.
By Renee Tawa
Times Staff Writer

March 19, 2004

On a rainy day in Paris last week, 50-year-old Linda Ackerman headed to the Louvre for a bit of detective work. Her checklist included the "Mona Lisa," a painting that she had seen before — but not this way, not with new eyes on the "Cracking the Da Vinci Code at the Louvre" tour.

Sure enough, just as author Dan Brown had described in his novel, "The Da Vinci Code," Ackerman noticed for the first time that the woman in the Renaissance masterpiece looked androgynous. Ackerman took in the bulky shoulders, masculine face and, of course, the Smile. In Brown's mystery-thriller, Da Vinci left clues in his artwork pointing to an explosive secret about early Christianity and the irresistible notion of a cover-up by the Catholic Church and other power players.

In Paris, throughout the U.S. and elsewhere, insatiable fans are exploring the controversial themes in "The Da Vinci Code," even pulling members of the intelligentsia into the novel's energy field. The book's grip on the popular imagination is so fierce that academics and theologians are putting aside their ancient Greek and Latin texts and boning up on Brown's characters, including a self-mutilating, white-haired albino villain.

"The Da Vinci Code," which was published by Doubleday a year ago this week, is the fastest-selling adult fiction title ever, with more than 6.5 million copies in print in the U.S., according to a Publishers Weekly report to be released Monday. It has been translated into more than 40 languages and has sparked a wave of nonfiction titles analyzing Brown's theories. And just wait until Ron Howard's film adaptation is released in the next year or so by Columbia Pictures.
********************************************

Now if Kritzerland had an "...self-mutilating, white-haired albino villain..." maybe it could get a Ron Howard production!

der Brucer (furiously posting to get the site count up)

PennyO · « **Reply #19 on:** March 21, 2004, 08:21:03 AM »

Good morning, gang.

A lovely first day of Spring here in the forest. My flower beds are bursting with crocus, snowdrops, tulips, lily of the valley, hyacinth and hundreds of daffodils - all still in the bud. I'm hoping some of them will bloom while I'm here... gotta leave in about a week for LA.

The bluejays screamed me awake at first light - I have them in the habit of zooming in for peanuts every morning. And my starlings are back, whistling and singing as they make their annual nest under my eaves. I even saw some robins this past week.

I got my fractured Figaro off to the Penn Players at U of Penn in Philly - they are soliciting proposals for their Fall musical. While i was at it, I sent one to Paulette Haupt at the O'Neill Theatre Center. She is an old friend from the Old Days - workshopped Maury Yeston's early work, put together a reading of NINE, among other stuff... I was one of her actors in those days - ability to read music, sing anything made me useful. Gadzooks, those summers at the O'Neill were the best fun! I wish experiences like that to all our young actors at HHW.

Okay, so a jolt of caffeine, a scribble in ye olde journal, and out I go into the Springtime. Clear away the past, make way for what's sprouting and blooming. Ah, Life!

Jennifer · « **Reply #20 on:** March 21, 2004, 08:30:54 AM »

Just finished watching the movie CAMP. The only number that really gave me goosebumps was when Anna Kendrick sang "Ladies Who Lunch". Other than that, I loved the idea for the movie. But I thought the actual movie was just okay.

But I did enjoy seeing Stephen Sondheim. And I loved how all the theatre geek kids jumped up and down when they saw him. Somehow I think he'd get the same reaction around here

Now I must finish watching MONA LISA SMILE so I can go out and do some shopping.

Btw, DR Maya I was interested to read your review of the ETERNAL/Jim Carrey movie. My parents saw it yesterday with my sis, her hubby and some friends. And my mom hated it. I really didn't think it would be her cup of tea when I saw who wrote it. I doubt I will go to the theatre to see it. But I definitely look forward to it in video.

Jay · « **Reply #21 on:** March 21, 2004, 08:31:47 AM »

When the Los Angeles Conservancy does their annual "Last Remaining Seats" (a series of classic films shown in historical movie palaces in downtown Los Angeles), they always include one silent film, and rely on Robert Israel to conduct an orchestra playing a score that he composed to accompany it. His work is superb and the overall experience is quite marvelous

Stuart · « **Reply #22 on:** March 21, 2004, 08:42:21 AM »

Quote from: Jennifer on March 21, 2004, 08:30:54 AM

Just finished watching the movie CAMP.

Some of us actually attended Stagedoor Manor, the camp on which the movie is based. And knew Todd Graff. Not friends with Todd Graff, but knew Todd Graff. And many others.

Unfortunately, CAMP only played in Rochester for one week last fall, and more unfortunately, my dear partner and I were on a cruise during that week. So I have missed it. But will eventually get out to rent it.....

And Dear Brother, I am thrilled to know you have returned to the sushi-eating fold. I know what a horrible experience the last time was.......

Can I also say, last night my dear partner and I, both adjudicators for Rochester's "Stars of Tomorrow" program (like the Tony's, but for high school shows) went to see a production of IRENE in, of all places, Romulus, NY. And it was WONDERFUL. The girl playing Miss Irene O'Dare gave one of the most polished performances I have seen on a stage, professional or otherwise, in many a new day.

And now we are off to Batavia for an ANNIE. Oy.

Panni · « **Reply #23 on:** March 21, 2004, 08:42:58 AM »

Good morning. Could someone please tell me how to upload my pic. I think if my face is staring out, there will be no more Panni/Penny/Peone mix-ups. I have a jpg pic ready to go on my desktop.

Panni · « **Reply #24 on:** March 21, 2004, 09:07:22 AM »

I did it!
(Photo was taken at the Getty a few days ago.)

Jay · « **Reply #25 on:** March 21, 2004, 09:26:41 AM »

If I didn't know it was you, Dear Reader Panni, I'd have thought it was Miss Frances McDormand in that picture!

William E. Lurie · « **Reply #26 on:** March 21, 2004, 09:36:46 AM »

Der Brucer---
Thanks for the article. I know that Eisner has closed the animation studio i Florida and cut way down on the one in California. However the film I wrote about Friday (Mickey, Donald and Goofy as The Three Muskateers) has been completed and is awaiting release in some form or other. And as good as many of the computer animated films are, they just can't match the good old handdrawn, multiplane camera films that Eisner has eliminated. Walt is spinning in his grave.

***

We saw THE GAY DIVORCE last night (no - it's not what will be happening down the line in San Francisco). It has a great score of Cole Porter songs including hits like "Night and Day", lesser known numbers like "After You, Who?" and songs even Ben Bagley never revisited. It also has a very funny book. The problem is that the two don't go together at all, and with one exception songs are shoehorned into the plot with a line or two of dialogue from left field. The cast (as in most Musical Tonight shows) is much stronger musically than acting. However it was still very entertaining and a nice way to spend the evening. Today it's BEST FOOT FORWARD at Mufti.

bk · « **Reply #27 on:** March 21, 2004, 09:46:53 AM »

Say, where in tarnation IS everyone? I slept four hours due to my allergies. I then logged on to find I couldn't access or write e-mail at all. Called AOL - the usual idiocy. Finally got a reasonable tech on the phone who finally admitted to me that the problem just may be on there end, a server problem. He's filed a top-level report and supposedly something will be done in the next 72 hours. Otherwise, ta ta AOL. I did a system Quick Restore and that fixed it for now. None of this, prior to Friday's nightmare, was ever a problem before.

Panni · « **Reply #28 on:** March 21, 2004, 10:15:32 AM »

Quote from: Jay on March 21, 2004, 09:26:41 AM

If I didn't know it was you, Dear Reader Panni, I'd have thought it was Miss Frances McDormand in that picture!

Thank you, Jay! I used to get Mia Farrow a lot when my hair was frizzy from humidity, Joni Mitchell on occasion, and once even Marianne Faithfull (go figure). But never Frances. I'll have to wear dark glasses at all times from now on.

bk · « **Reply #29 on:** March 21, 2004, 10:22:34 AM »

Everyone MUST be reading Kritzer Time.

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Author Topic: THE MORSE CODE NOTES (Read 39098 times)