Changed for Good

Every now and then a musical piece comes along that not only brings memories of Gregory and our relationship to the front but does so with tears. This is one of them:

Every now and then this song comes on

and I take the time to let myself cry and breath

and cry and breath.

Gregory and I first heard this piece when

we were in Tuscany for the first time in 1999.

How Can I Go On

Freddie Mercury, Montserrat Caballé

When all the salt is taken from the sea,
I stand dethroned,
I'm naked and I bleed.
But when your finger no longer points the way,
Is anybody there to believe in me,
To hear my plea and take care of me?
How can I go on,
From day to day,
Who can make me strong in every way?
Where can I be safe,
Where can I belong,
In this great big world of sadness?
How can I forget

Those beautiful dreams that we shared.
They're lost and they're no where to be found.
How can I go on?
Sometimes I tremble in the dark.
I cannot see,
When people frighten me.
I try to hide myself so far from the crowd.
Is anybody there to comfort me?
Lord, take care of me.

Perfect

As I am writing this post, I am playing what I have chosen as my 2018 theme song. I've never done this before but it just felt right. I found this song serendipitously while browsing Apple Radio, a piano piece, that feels driving, strong, and hopeful. That is what I want my 2018 to be for me and for others. It is called "Perfect" and is by The Piano Guys. Not sure if the copyright laws will preclude Blogger from letting it exit, but worth the try.

https://itunes.apple.com/us/album/perfect/1258279291?i=1258279931

A Dream for All Dreams

This morning I woke up a little early, lie in bed contemplating life, and decided to turn over and go back to sleep for a little while. No, not a comment on my life contemplations but rather it felt good to be in bed with the sun beginning to peek in and with no obligations at all for the day.

My decision was rewarded with one of my wonderful, full color, exquisite detail, full sound and music, beautiful lighting, dreams. I think that while I have had many such dreams, this one would have to be placed towards the top of my list.

Have a peaked your interest? I hope I can describe the experience as well as I experienced it!

The dream takes place in a restaurant, bar, nightclub. Gay or gay friendly. Darkly lit. A little smoky,  not from cigarettes but rather so darkly lighted and decorated that the impression you get is one of being in a special, secluded, exclusive, expensive place.

I am sitting at the bar having a glass of wine. I had asked the older bartender woman about their whites and she ran the list from memory. I asked for a "taste" of the Pino Grigio.

She brought me a full glass (bistro glass vs stemmed one,) popped it down on the bar in front of me, and said good naturedly and smiling, "Taste all you want, you still have to pay for it!"

A man sitting next to me, good looking and somewhere in his twenties to forties, and I spoke for a while and he flirted with me. I enjoyed the flirtation and the possibility of a hook up later, which he implied as he left to visit with some other friends who had just arrived.

Suddenly a group of at least six drag queens; all in different style but matching pattern, color and material dresses; swoop into the room accompanied by loud Abba type music, with bright lights and mirrorballs causing the room to become a rainbow of color and excitement.

The performers are staged all around the room interacting with the various seated groups but presenting a unified, choreographed, musical, piece which holds together quite well. Apparently the evening's show had begun. 

Next my attention is back at the bar where I am eating my dinner:  T-Bone steak grilled medium-well; baked potato with sour cream, chives, and butter; and lettuce wedge with blue cheese, red onion, and crumbled bacon waiting to be eaten at the end of my meal. Need I say, DELICIOUS!

The next part of the dream is a little confusing as to why it even takes place in this setting but bring on the best part!

The entertainment is over and the room is once again dark, dimly lit, and feeling a little smoky. I notice that over in a far corner there are several men with two or three tigers, a black bear, and a brown bear cub. 

The animals are apparently trained and under control and present no threat. I decide to be brave and approach them, asking if I may pet the tigers. I receive the go ahead.

Before long the three tigers and I have bonded and we are "playing." It begins with simple petting and then elevates.

I feel their warm fir and the pressure of their bodies against mine as we tumble on the floor. I can feel the rough lick of their tongues on my face and the strength of their teeth as they nip but do not hurt. I can feel them head butting and rubbing their snouts against mine.

I ask the wait person (female) to please take some photographs of the cats and me with her phone as I had forgotten mine at home (actually I did forget my cell phone earlier when I went out for dinner.) Would she please e-mail the photographs to me.

I remember thinking that I'll probably get cat hair all over the navy blue blazer which I was wearing but discount the thought as, "Who cares!"

Suddenly the two bears join the party. The black one is not huge but none-the-less large. The brown one is a pup. For a while the event has turned into a "Michael Sandwich" and I am luxuriating in the experience: its feel, its smell, and just the possibility and joy of it happening. 

With that I wake up and out loud comment, "Wow!" Briefly I wonder if I ever hooked up with the good looking kid. Briefly I think that maybe some day I will get to pet a fully grown tiger. Wouldn't that be wonderful? It was always a wish of Gregory's and maybe someday I was have the experience for real for both of us.

 

The Typewriter

Love this, as any author/writer/poet would.
https://www.youtube.com/watch?v=wZCh4EY_kug

OPERA Part III

I wrote this piece while "Light Walking" for the opera Regina at The Lyric Opera of Chicago. Light walking takes place when lights are being set for an upcoming opera and people are needed on stage as stand-ins for the singers to make sure the lighting effects work successfully.

• • • • •

The fire curtain goes up. The house lights dim. The auditorium black. 

Stars twinkling in the heavens ... exit signs at the back of balconies one and two. 

Six stippled red rivers flow ... main floor aisle lights on alternating rows reflecting on the carpet. 

Count the burned out yellow with red lettered EXIT lamps. 

Count the burned out orange lamped wall sconces. 

Will be working by opening night. 

Shadows of seats and rows, the audience yet to arrive. 

Reflection of directors booth, lighting booth, sur-title booth at the rear of the Artis Kranik Theater.

A makeshift desk with several computers, dim lamps, telephone, microphone at the center row on the main floor. 

Seated there, the stage director, assistant stage director, lighting director, set designer, costume designer, stage manager, assistant stage manager.

Center Stage. Apple red, glossy grand stairway. Flared upstage center, curving and raising stage left, narrows up stage some thirty steps away and exit stage left. Grand stair handrail runs the stair up stage but not securely. Hold to guide you, not support you. Some twenty higher rise steps down the escape stair off stage. Enter, exit, GO! Up the center of the stairs, at intervals, three chairs next to three tables holding three lamps. Caution taken but safe.

Up stage. Three levels of louvered windows five across each level. Level one windows raise to meet the rake of the stage. Level two windows eighteen steps off stage right. Level three windows twenty eight steps off stage left. Tall rise steps. Watch your step. Shaky but secure. Narrow walkway behind each level of windows. Narrow, watch your step. Shaky but secure. Each pair of windows secured with a bolt. Slide back the bolt. Open the window. Floor to ceiling view available. Careful. Then notice two cables from door jam to door jam to guide you. Not support you just guide you. Caution taken but safe.

Floor canvas. Wood grain painted panels, one width, double width, triple width. Randomly arranged. Blue in some light, black/gray in other. Slippery. Watch your step. Raked. Watch your step. Will work on roughing up later. Don’t fall into the pit ... or the tuba! Caution taken but safe.

Fire curtain goes up. House lights dim. A hush. Auditorium black. The conductor enters, spot light, applause, dim. The conductor raises his baton, “Michael, enter at top of stairs and slowly walk down. Up stage at rail. Or closer to center if you are comfortable. GO. Michael, sit in the wheel chair holding the bank box in your lap. Stage hands secure the wheel chair. Don’t forget the rake. Raise the wheel chair foot rests. Feet flat on floor for support. Just in case. GO.

Angela, sit in chair stage left. Go to the lip of the stair landing stage right. Face down stage. Three quarters body front. Look back up stairway. Exit stage right. GO. Jim, enter third level windows stage left, stand by center windows, open windows, close windows, open windows, close windows.

The lights circle the stage searching you at just the correct angle. Lights from stage left, stage right, up stage and down stage. Each item lit to perfection. Each item aglow (or shadowed in the dim.) “The stage will go to black out. GO.” In the fly, electricians adjust lights. At the makeshift desk with several computers the people make notes, discuss, decide, make notes, pick up the microphone, say GO.

Light walkers stand and wait until the next GO. Twelve in the afternoon until ten at night, fifteen minute break every two hours, two half hour dinner breaks. Four dollars an hour ... but done for love not money.

And finally ... light walkers take a bow and thank you.

OPERA Part II

The following is a transcript of the interview that took place at The Lyric Opera of Chicago and was broadcast on WBEX Public Radio on October 18, 2010. See the previous post for more information. Also you can click on the link to hear the interview (for as long as it remains on WBEZ's site.)

Eight Forty-Eight Monday through Thursday at 9am and 8pm; Friday at 9am EIGHT FORTY-EIGHT 10/18/2010 Supernumeraries: Opera's Extras You may not be able to sing. In fact you may not know an aria from an arpeggio! But that doesn’t mean that you can’t tread the boards at the Lyric Opera of Chicago. They need extras. In the opera world these special scene fillers are called supernumeraries, or “supers” for short. For WBEZ, Anne Cadigan spent the day at the Lyric Opera learning more about them.  By day, Ken Giambrone works in advertising. But at night, the characteristics that make him successful at his day job, could get him fired. GIAMBRONE: Rule number 1 is we’re supposed to make absolutely no sound on stage at all. Nothing. There’s a saying among us, if the audience notices you, you’re doing something wrong. Night after night during opera season, men and women from all over the Chicago area finish up their day jobs, hurry over to North Wacker Drive, and spend their evenings on the stage of The Lyric. They are supernumeraries or extras on stage-the servants, prison guards, maids, policemen, townspeople, things like that. GIAMBRONE: We just sort of fill out the scenery. We’re kind of like live action scenery in a way. Ambi – REHEARSAL AND ORCHESTRAL INSTRUCTION  It’s a rehearsal day at the Lyric and Macbeth and Carmen are practicing simultaneously. Macbeth uses 14 children as supers, and there are 30 adult supers in Carmen. Many of them have been doing it year after year. Evanston resident Michael Horvich calls supering at the Lyric his “second career.” HORVICH: I taught for 30 years and right before I retired, I came to a backstage tour that the opera guild gives. The person that was leading the small group of about 20 people around the opera house was a super and talked about “supering.” And I said to myself  ‘oh my god’ can you imagine being on stage at the Lyric Opera of Chicago? So I retired and came to a casting. I’ve been in the opera as a supernumerary for 10 years now and I’ve been in about 20 operas. Ambient – “Ermine? Yes Maestro? From the top, please.” WALTERS: We do eight operas a year and almost every single opera has supers in it. Bill Walters is the "Super Captain."  He’s in charge of hiring, rehearsing and wrangling the 200 plus supers that will appear on stage at The Lyric over the course of a season. Occasionally, however, there are parts that he just can’t fill. WALTERS: We did Porgy and Bess a couple of years ago and, it was of course a special cast of course because it’s all African-American. And we needed, I think, 30 for the show. And, so we always have kids, I mean kids come in all the time, so we had enough kids to do it. And I noticed during rehearsal that their parents would be sitting there, bringing them, watching the rehearsal and one by one I went up to them, and I was like, 'You know, are you going to be here every night, driving your child?' Because we were still looking for adults. And they’re like, 'Well yeah,' and I said, 'Would you like to be in the opera?' Diane Gallagher of Muenster, Indiana, once found herself in a similar position. Her eldest child was a super in The Magic Flute  The Lyric needed someone who could dance and her son pointed at her. She has a ballet background  It wasn’t long before she was making her debut. She was a Dancing Lion. GALLAGHER: (laughing) So that was an experience in itself! Being able to see out of the costume and do the dance steps. So I will always remember my first time here! Diane is now an experienced super. She and her husband and 3 of their 4 children now regularly make the 45-minute trip in from Indiana to play all kinds of walk-on roles. It’s taught her children to love opera. GALLAGHER: Well, I think it’s a great, educational experience in the fine arts. And they just…they truly enjoy it. You know, they love being on stage. They’re learning about different operas, and different performers throughout the world. It’s just wonderful. Ken Giambrone says that being so close to the action is quite the experience. He should know – he’s been in 15 operas. GIAMBRONE: It’s pretty loud! (laughs) It’s pretty loud. I remember when I was in the Pearl Fishers...Nicole Cabell, I was lucky I got to be in a scene with her, part of the story where she takes off her necklace and gives it to me. It was unbelievable to me that she was standing right there and I was standing in front of 3,500 people. She stands right there and is like inches from my face and she sings to me. To ME. It was pretty thrilling. For Michael Horvich, the man who got turned on to supering by that tour guide, “being on stage at the Lyric Opera of Chicago” is every bit as amazing as he imagined it would be when he first heard the word supernumerary ten years ago. HORVICH: When I’m on stage my spirit soars. It fills the whole opera house. To be in the middle of all of that gorgeous music. It’s a dream come true, really.

OPERA

Very exciting having been interviewed by WBEZ Public Radio about being a Supernumerary (acting extra) at The Lyric Opera of Chicago. I began my supering career in the 1998/99 season, over ten years ago, and have been in 21 operas last count. The interview took place at the opera house during rehearsals for Carmen.

Musical theater has always been a love of mine. Opera is a recent love of approximately the last ten years. My approach to music is that “Life is meant to be sung” and opera certainly fits that bill.

Several years ago I retired after 30 years as an educator. What better way to use my new found free time then to be involved with the Opera, both on stage (as a supernumerary) and behind the scenes (light walking, rehearsing, or watching a scene from the side.) 

Being a supernumerary has enabled me to pursue a career in music and acting at this time in my life without the intense training and early commitment that actors and singers must make to be successful in theater and opera.

The people at the Lyric are wonderful to work with. I feel that I am an important part of the company. As a supernumerary, I am entitled to attend all of the season’s dress rehearsals and the end of season party. 

While supernumerary roles may be small compared to the role of the chorus or principals of an opera, I am part of the big magic created by the Lyric Opera of Chicago at each performance for the approximately 3,600 people in the audience.

Click here to listen to the Radio Interview.

COSTUMES - PICTURE ONE

Act I - Gypsy Street Person

Act II - Waiter at the Tavern of Lillas Pastia

Act III - Micaela's Guide to the Gypsy Hideout

COSTUMES - PICTURE TWO

ACT IV - The Aguacil, Govenor of Seville

The Judy Garland Duets

I was so tickled to see that a quote from a review I wrote to Laura as a thank you for her wonderful performance ended up in the poster for her upcoming show at the Wilmette Theater.

Prized Chicago cabaret artists Laura Freeman and Rob Dorn pay tribute to Hollywood legend Judy Garland and her famous duets with stars such as Bing Crosby, Gene Kelly, and Mickey Rooney among many others. Cabaret critic Michael Horvich calls Freeman “sultry and spectacular as she meets each song with gusto.” Featuring memorable duets such as “For Me and My Gal” and “I’ve Got Rhythm,” the show’s a classic look back at Garland’s career and her place in old Hollywood.

The Wilmette Theatre

1122 Central Ave. Wilmette, IL.

August 16, 2010 – 7:30P.M.

www.wilmettetheatre.com

Laura Freeman in "Lexicon of Love"

LAURA FREEMAN

LEXICON OF LOVE

SKOKIE THEATER

JULY 25 2010

A performance by Laura Freeman never fails to thrill, move, and entertain. Her "Lexicon of Love," a new show that looks at how dating and love change as we get older, is another hit.

She is a singing actor whose story telling abilities speak to each person in the audience through her voice, her eyes, her repartee, and her song selection. She covers a wide range of emotions and song styles with aplomb. We laughed, cried, and tapped our feet through the entire show.

"Meadowlark" was a show stopper, another was "Surprise Me," and the piece about her grandparents filled the house with the joy and sadness of love. Laura's new interpretations of old standards and presentation of newly written material were amazing and more than worthy of any world class Broadway musical.

Beckie Menzie's accompaniment embellishes, supports, and clarifies each song and adds to Laura's beautiful voice. This was the first time we were pleasantly surprised by Becky's lovely voice in a duet with Laura. 

Becky Menzie, in her own right as a Jazz Artist,  and vocalist Laura Freeman make an excellent team. If you get the chance, do NOT miss this show!

Michael Horvich

Cabaret Critic

Chicago Illinois

Laura Freeman Sings

Saw Laura Freeman and Rob Dorn with Beckie Menzie perform The Judy Garland Duets at the Skokie Theatre Music Foundation on Sunday, August 16, 2009. Laura and I have worked together backstage at The Lyric Opera of Chicago.

Rob's tenor was in fine tune. He was equally excellent at whispering as he was belting out his songs. He almost won the "Who channeled Judy Garland!" contest between Laura and he.

A close tie in the "Channeling Contest" was Laura, whose soprano was sexy, seductive, silly, serious, scintillating, sultry and spectacular as she met each song with gusto! Laura is equally amazing in whatever approach she chooses to deliver her songs which causes you to "feel" the moment.

Beckie is not only an adept accompanist but such an accomplished musician at the piano. While she does not overpower the singers, she is an important integral part to the success of the show and a joy to listen to. Highly recommended!!!

HERE IS A SITE YOU MIGHT LIKE TO VISIT
Laura Freeman