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Disappointment...

I have thought a lot about commenting on the dispute between The League of American Theaters and Producers and IATSE which has led to the strike affecting the Broadway theater. I don't feel it is my place to publicly discuss the issues at hand because I don't know any more about them than has been disclosed in the media. I can, however, talk about disappointment.

The picture above is very ironic. It is taken in front of the St. James Theater where The Grinch That Stole Christmas should be playing. Instead a new show is in town: The Grinch That Stole Broadway.

Whatever the issues, whatever the impasse, because people on both sides of the table are unable to continue talking and compromising, the real loser is the audience. Ticket sales to popular shows are made months in advance and patrons plan special trips into NYC. Vacations are often planned around theater experiences and can't be replicated. For many people it is a "once in a lifetime" experience and one that won't or can't be duplicated after their ticket refund. It is disappointing to the patron and a disappointment to the City and organizations that count on the revenues derived from these visitors. Over 5 billion dollars is generated for the New York City annually through visitor spending by tourists attracted to productions playing in Broadway theaters. It is estimated that theaters and related businesses are losing about 17 million dollars a day during this strike.

Another potential disappointment is for BROADWAY CARES. They were in the midst of their six week winter fund raising drive, a window of time in which the attending audience is asked to donate to this important organization. A lengthy shutdown will be a major disappointment for them.

My hope is that the craftsmen and the producers will come back to the bargaining table looking for solutions that will benefit everyone...including the patrons and associated Broadway businesses and organizations. What blesses one, blesses all!

American Theater Wing...A Great Educational Resource

You often hear me refer to the Tony Awards in association with our faculty at US Performing Arts. So many of our teachers have been honored for their performances by either participating in a production which has been nominated or has received a Tony, or have been nominated for or received one for their personal performance. This award for excellence in the theater, both on Broadway and regionally, was established by the American Theater Wing in 1947 and named after the then famous actress, director and one of the founders of the ATW, Antoinette Perry. I still remember having attended a presentation of these awards as a very young aspiring actress in the 1950s and being so completely awestruck by the people in the room that I had goosebumps! The Diary of Anne Frank was honored that year as the Best Play and although its star Susan Strasberg was nominated the honor went to the absolutely intriguing and captivating actress Julie Harris for her role in The Lark.

Although awards of recognition of one's excellence in their craft is important, in my opinion the greater good accomplished by the American Theater Wing is in its original purpose. ATW's purpose or mission statement is in providing education in the theater. That the do that so well and in so many ways. If you are not familiar with the American Theater Wing take time to peruse their website. There you will find clips from Downstage Center, one of my favorite shows, featuring current Broadway actors in interesting discussions with each other and the host. You'll also find very valuable resources and links to sites with additional helpful information. They feature a number of networking opportunities as well. I think you'll find their site an important resource of current material.

The San Francisco Experience

There is no doubt that San Francisco is one of the most breathtakingly beautiful cities in the world. Its ever changing vistas and views are something you never get used to or take for granted. Its vibrancy and eclectic culture draws movie makers and theatrical producers from all over the world. Looking at the Sunday San Francisco Chronicle Datebook quickly shows you the numerous opportunities there are for entertainment.

This week I am entertaining an actor friend from London. This is his first visit to San Francisco and my husband and I want his visit to be memorable. We want him to see and taste the things that make San Francisco renowned. Frankly I haven't done this "tour guide" thing for awhile and I feel a bit rusty. The funny thing is that a few weeks ago at a social event a couple of people were comparing notes on having just done a similar thing with out of town guests. One of them said, "Boy do I really miss The San Francisco Experience. Do you remember that show that used to be at Pier 39? I used to start all my visitors to the City there and then we'd decide what we wanted to see after that." Well, this week I really miss The San Francisco Experience and I think it's time to bring it back!

The San Francisco Experience was a multi-media production celebrating the sights and sounds of this great city, shuttling viewers back and forth in time while comparing the historical events of San Francisco with today. It was packed with special effects. Most memorably it recreated both the 1906 and 1989 earthquakes allowing the visitor to safely experience what it feels like to be in an earthquake. Audiences not only learned interesting facts about The City but were stimulated to go out and enjoy the things they had seen. The show ran for over 15 years in San Francisco, finally closing its run at Pier 39 a number of years ago. During its final years it was very successfully managed by my business partner, Craig Patterson and if truth be told, I was one of the producers.

The production company founded by Bing Crosby, David Sacks and Charles Patterson went on to produce other Experiences such as The Hawaii Experience, The Hollywood Experience, The New York Experience, The Taiwan Experience, and The Christmas Experience. All were critically acclaimed and all had very long runs.

So, I really do think it's time to bring it back. With today's technology I think it could be a visitor's blockbuster.

The Ultimate Street Performers

Street performing is as old as civilization. Stories were passed down in early tribal fashion from one generation to another through musical and spoken word performances in the out-of-doors to gathered audiences. Today we similarly gather at street festivals, outdoor venues, and more formally at theatrical plays. Perhaps the greatest of all "street festivals" is the New Orleans Mardi Gras.

A tradition that I find charming, inventive and entrepreneurial is that of the corner street performer. You find them in every city, literally on the corners or in the subway and train stations. They are musicians, actors, comedians, jugglers and dancers. Just like in traditional theater venues some of these performers are absolutely "top notch" and others either need a little more seasoning or perhaps just don't have what it takes.

I tend to be drawn to street performers. I think they are unabashedly brave...there is nothing separating them from their audience...and sometimes you get to see an undiscovered gem. A good thing to remember is that after leaving Juilliard Robin Williams honed his improv craft on the streets of New York! I have seen some incredibly talented musicians and dancers performing their wares on the street.

Watching the gathered audiences is often as interesting as watching the performers. I'm also interested in the psychology that draws an audience to a performer. Why does one act draw a mass of viewers while another goes begging? Believe me the answer is not always the obvious, "because one is better than the other." This question was very much on my mind when I walked past a number of street performers today in San Francisco. I saw some musicians playing their hearts out (and very well) with no one even giving them a second glance. Perhaps as my husband said it's location, location location. But if it is as simple as that then why did the group I have nicknamed the "ultimate street performers" draw such a large crowd? In order to even find them you had to walk down a long pier and through double doors built to screen the noise of their unique sound. Once through those doors the first thing you notice is the crowds thronging the railings. Before you know it you are drawn to the group's melody and mesmerized by the choreography of their powerful, yet graceful dance. People didn't just stroll by or stop momentarily as I had seen them do with other performers. They stood enthralled for a quarter of an hour or longer even in the chilly weather. That's why I have dubbed them the Ultimate Street Performers. (Note the Diva taking center stage while the tired backup dancers rest in the background.)



The Ultimate Street Performers

Applications, Applications, Applications...

For those of you in the midst of your first semester of high school Senior Year it probably seems as if your fantastic summer of '07 with its internships and summer programs is a distant blur. The summer sun may be gone but now you're sweating through mid-terms, trying to enjoy the accomplishment of your fall production, and every time you turn around someone asks, "How are you coming along on your college applications?" It can feel as though everyone's on a time line.

Doesn't it seem as though you just started high school and now in rapid motion you have to make the "life altering" decision of where to apply to college? Which is the right school or the right program? Do you declare a major or do you go into school as a liberal studies student and declare later? Can you convince your parents that your passion for theater or media is a real passion and that its pursuit will give you great happiness?

There are different roads for different people. You've been preparing for this for years...really years. Some of you have done all the "right things." You've taken challenging courses, your grades and SAT scores are stellar, and you've participated in enrichment summer programs, perhaps even acquiring college credit. Some of you may still be finding your way academically. Maybe you don't test well so that your test scores don't reflect your real ability and potential. None of this really matters when you're sitting alone at night looking at the mound of work and personal statements that are required to submit a college application. There is also the question of when to apply. Should you apply for early decision or early action?

Senior year can be a stressful and overwhelming experience when faced with all these decisions and then you add to it the requirement of an audition and interview or the need to present a portfolio of work. It is important to take a deep breath. Step back for a minute and let some perspective settle in. First of all, there is not only a place for each one of you but the right place. It is sometimes just a matter of changing your perspective and not listening to all the misinformation from friends and family members. It's important to really do your homework and sometimes that means getting a "tutor." There is wonderful guidance counseling available through organizations such as the Independent Educational Consultants. A few regular meetings with a counselor can put you and those applications on track pretty quickly and will give you a direction and a peace of mind.

A Broadway Happening...

This is intended to be the last entry chronicling my trip to NYC last week, but I love my work and enjoy sharing it, particularly when it is filled with exciting people and events. Last Saturday night I attended a small dinner party for about 25 people. The highlight of the evening was that incredibly talented Tony Award winning actress pictured above. If you don't readily recognize her it is Christine Ebersole. The picture on the right is from her 2007 Tony winning performance as Edie Bouvier Beale in the hit musical Grey Gardens based on the cinema verity documentary of the same name . The picture to the left shows Christine in the center flanked by Scott Frankel, librettist, and Michael Korie, lyricist.

The dinner was held at the stunning new Alvin Ailey Studios with it's floor to ceiling windows overlooking 9th Avenue. The studio was set up with small tables of 6 which made dinner conversation very easy. My dinner partner was Michael Korie and I enjoyed hearing his candid thoughts on writing. I was not only interested in his writing of Grey Gardens but also his opera Harvey Milk which had premiered at The San Francisco Opera.

Following dinner Michael Kerker of ASCAP moderated a panel with Doug Wright, Michael Korie, and Scott Frankel talking about how the Grey Gardens documentary inspired how and what they wrote for the musical version. They showed clips from the movie with Christine "morphing" into song. It was an amazing intimate evening. It reminded me very much of some backers' auditions I had attended as a child with my father when writers such as Comden and Green and Jule Styne had played their way into the hearts of producers hopefully wanting to back their shows. In the this case no one was looking for backing and the show had already come and gone on Broadway sweeping in many notable awards before closing.

The following morning I made the brisk few block walk from my hotel to The Russian Tea Room. When was the last time I had the opportunity to brunch with 14 Broadway artists? There was so much talent and so many Tony and Drama Desk Award winners in that banquet room that it was an amazing embarrassment of riches. As I looked around the room I realized that 3 of those artists are part of our US Performing Arts faculty family and several more are going to join us in 2008. Wow!

The artists present were Lynn Ahrens (lyrcist), Danny Burstein (actor), Stephen Flaherty (composer), Michael Gorman (actor), Sandy Duncan (actor), Justin Greer (actor), Jonathan Hadley (actor), Dee Hoty (actor), Elmore James (actor), Baayork Lee (choreographer, director, actor), Rebecca Luker (actor), Dana Moore (actor), Lea Salonga (actor) and David Zippel (lyricist).

In addition to these extraordinary guests, many of whom would leave to join their casts for matinées and evening shows, there were 15 Kennedy Center Committee members and staff. The sole purpose was just to eat, mingle and talk about the business. I use the word passion a lot. There was so much passion for the arts in that room in palpitated.

Following lunch I went with a friend to see Danny Burstein in his Tony nominated performance of Adolpho in The Drowsy Chaperone. It was a most enjoyable afternoon at the theater. Danny is outstanding...and hysterically funny. It's two hours of fun with no intermission.

The New York portion of my trip ended on a high with dinner at La Dolce Vita, a tiny little Italian restaurant in Soho with good friends Robert Pullen and Baayork Lee. I couldn't ask for anything better.

Radio City Music Hall

I haven't been to Radio City Music Hall since it completed its seven month $7,000,000 refurbishment in 1999. When I was given the opportunity last Saturday to take a VIP tour I quickly opted in. I highly recommend that you take the tour the next time you're in NYC.

I know that everyone immediately thinks Rockettes when they think about the Hall but there's a lot more, not the least of which is the lavish meticulously and authentically restored art deco interior design. This is a "vaudeville" house with a class act and movie premieres.

From the moment you step off the Avenue of the Americas into the theater you have stepped back into time. The authenticity makes you wish you had been born in another time. It is truly a suspension of disbelief. I suddenly could feel myself in an elegant shimmering gown with freshly coiffed hair and long painted fingernails. So convinced was I, that it was startling to catch a view of myself in a mirror with my wind and rain tousled hair, and wearing a short jacket and jeans!

The tour through each of the many men's and women's lounges would be worth the price of admission alone. They are so elegant and comfortable I'm not sure why anyone returns to their seat following a visit. There is sculpture and statuary everywhere worthy of the finest museum placement. In fact, one of the paintings, now returned to the men's lounge, was residing for years at MOMA.

You only have to stand before the incredible auditorium doors to know you are in a very special theater. The auditorium houses the larges proscenium stage in the country with some of the best acoustics anywhere. But, there is no backstage. They built the theater without a backstage. You have to go see a production to see how ingeniously they have solved the problem and the way staging compensates for the lack of storage and cross-over space.

Probably my favorite room was the Conference Room Suite. It was filled with so much "deal-making history" and pictures of contract signings that I could have spent the afternoon just looking at the pictures in the frames dotting the walls and furniture.

Backstage is backstage. The history is shown in the photos on the walls. There are the normal dressing rooms and costume shops and green room. There is the hustle bustle of performers rehearsing and having fittings...and there is the smell. Backstage always smells like backstage. I guess it's a combination of musty space, makeup and perfume. It's always a stark contrast to the front of the house, but that's what it should be when there is magic about to happen.