Drama, drama, drama, every day. But I wouldn’t change it for the world. Friday I was irritable. We had a donor event at night and it put a little roadblock in our process. The cast circled their wagons, protected what they had, didn’t take too many risks, saved their voices, worried about memory. The 30-minute show went fine, and afterwards we got the usual kinds of questions: “You guys are so good at those popular songs. Why aren’t you on Broadway?!” It’s a lovely compliment, but really…what would these beautiful artists sing on Broadway these days? Spider Man? Rock of Ages? Jersey Boys? Book of Mormon? Don’t get me started. I behaved pretty well until Eugene blurted out (incorrectly) that José Carreras had created the role of Tony in West Side Story on Broadway. I heard a strangled yawp come out of me that doesn’t usually emerge in public. (The first Tony was Larry Kert, who could actually speak English, in case you are coming up blank.)
But Saturday was a day of grace. We did a workthrough of the show and all four singers plunged in to do the final lock-and-load, running a Dustbuster over the French diction, tweaking the musical details, and rolling with Michael’s and my good cop/bad cop duo as we laid down the law about matters of singing and acting. If the four of them were treading water on Friday, they swam the English Channel on Saturday. I was very proud of everyone.
But I was even prouder on Sunday when they sang the Caramoor performance. Everyone was in great voice, the hall was packed—a full house in Westchester for French art song!—and I felt blessed. Meredith is like a muse to me—she inspires beauty with her charismatic sound and classy phrasing. Kristin merges good taste with take-no-hostages brass, a patrician walk on the wild side. Brent has sweetness, sensitivity, squillo, and smarts in such abundance that he’s like a Teuscher truffle that got into Mensa. And Eugene? 100% animal and 100% artist, a singer who can be pelvic and exalted at the same time.
Today we had our dress rehearsal in Merkin, which sounded cavernous and echoey after a week in Caramoor’s Music Room, and the piano had all the delicacy of the F Train. We’ll all be ready for it tomorrow—it always takes a day to adjust but Merkin is ultimately a great place to make (and hear) music. We had a visit from royalty: jazz legend Bucky Pizzarelli, who’s playing in the NYFOS’s gala on April 2, was so fascinated by what he saw on our website that he stopped by to hear some of the show. I was very nervous playing Irving Berlin in front of him, but I think Kristin and I passed muster. “You weren’t playing what was on the page!” he exclaimed. (“Duh!” I thought…I mean, I don’t have any idea what’s on the page.) “It was great! Both of you!”
What a relief. Tuesday night should be a blast.
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