Oh God, Body Grease! Murder in the Magnolias Act Five

Oh God, Body Grease! Murder in the Magnolias Act Five
   

         Ten days before the first performance I was hit by a particularly virulent sinus infection. I gave it to my wife, my daughter and my secretary – who in turn gave it to her family. It was something out of Stephen King’s “The Stand”. Fortunately there were no more rehearsals for that week and I had seven days to recover.

            And recover I did, although my voice was still scratchy and hoarse from the drainage and coughing. At all times I had cough drops and taffy in my mouth to keep it moist.
            Fortunately my years as a radio announcer taught me how to care for my voice. When I speak to you it may sound raspy, but when performing you can’t tell.
            The Tuesday we returned from our week-long break we had our first dress rehearsal. I switch characters and costumes between the Prologue and Act One, Scene one.  I couldn’t change in time. I was still dressing when my cue came.
            We had it figured out by the next rehearsal and had it down pat by the first weekend performance: Put on my ascot and button the shirt to my neck to hide it. Put on my string tie over the ascot. Put on my black pants, roll the pant legs up and put on my white pants and white suit coat. Buttoning the top two buttons hide the black pants. Put on my black moustache and soul patch and glue/tape the white beard and moustache over it.
            Between acts I peel off the white beard and mustache, the string tie and the white suit and pants. A fellow actor touches up the black mustache and goatee, another helps with the spats. I switch glasses, fluff up my ascot, put on my Panama hat and I have been on time every since.
            I have plenty of time for the other costume changes between the other acts.
            
 

             The performances have been wonderful. We hope for an audience of fifty for each performance and the first weekend beat that! I’ve seen lots of family and old friends each night – or the parents of old friends! My sister and two of her sons went the first night. My nephews, 10 and 6, enjoyed the show. The six-year-old couldn’t stop giggling at the slapstick. My father, sister and her new boyfriend were there Saturday night and my cousins attended the Sunday matinee. This Saturday my wife and other cousins will watch the show and my sister will be back Sunday.
            The three audiences have all enjoyed the show. Funny how each audience laughed at different jokes. Some routines fell flat one night and then met with laughs and applause the next. Lines that I did not think were that funny are getting the biggest laughs of the night. This is why I’m not a playwright…
 
            We have a “brush up” rehearsal this Thursday and then another weekend of performances before it is all over. Some cast members were upset over missing or misreading lines. I think we’ve all been doing fine. We cover for each other and if a line is missed we move on! We’re doing splendidly and I hope the local papers give us good reviews.
            I introduced my sister to Heidi, who plays the Voodoo Woman. If we had performed the play in high school my sister was to have also played the Voodoo Woman. At one performance, I talked with the mother of the girl who was to have played Lorraine Caruthers.  I had not seen her mother in 33-plus years. I think the boy who was to play Billy Jerk will be there Friday.
            It is tremendous fun and I am so happy to have screwed up my courage and auditioned.
            The only real problem is the befuddlement of my daughter. She saw the photos of me as Thornbird’s sister and has asked six times this evening why I wore a dress. “Boys don’t wear dresses! Boys don’t wear wigs! Why do you wear a dress in your play?” I guess I should be grateful we’re not doing “Some Like it Hot” …
            Hopefully some reviews and more photos in Act Six!
 

                                                                                                 Copyright 2014 Michael G Curry
 
 
 
 
 
 
 
 
 

 

 

 

 
 

 

 
 
 
             

 

 


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A Night of the Most Excellent Order – a review of “The Beatles – a Night that Changed America, a Grammy Salute

A Night of the Most Excellent Order
A review of “The Beatles – a Night that Changed America, a Grammy Salute”.
            Popular music and I have not said a kind word to each other in over twenty years. That is why, up until the afternoon of February 9, 2014, I had no plans to watch the CBS Special “The Beatles – a Night that Changed America, a Grammy Salute”. It was taped some weeks ago, but it aired 50 years to the day – to the hour – that the Beatles appeared on Ed Sullivan. It was the most-watched television program up to that time.
            Reading through the list of scheduled performers – the ones hyped, that is – was akin to reading “Entertainment Weekly”. Page after page of people I don’t know starring in TV shows and movies I don’t care to see. The only group I had heard of was the reunion of The Eurythmics. Oh joy. A combo I didn’t like 30 years ago are reuniting so I can dislike them all over again.
            But it was necessary to get the public to pry themselves away from reality shows to watch musicians play songs from fifty years before.
            It wasn’t until previews were available on Youtube that I decided to watch it. Well, Tivo it. Stevie Wonder performed. Okay, so it’s not just “American Idol” rejects wailing their way through the Beatle catalog. There was some talent involved.
            Fortunately, instead of a parade of the latest talent-less celebrities known more for their tongue and twerks, we saw some fine performances!
           
            And it was a great show! The performers – all of them – did an excellent job! The bits in between the songs were of more interest to me, but I was not disappointed by the performances. The ones I knew, the ones I only heard of and the ones I never heard of – all did superbly. I have no desire to run out and get their latest albums, but …
            I had to look up the spelling of some of the performers on Google, I apologize if I didn’t get them right…
            The show started with the original intro tag. Coming up next on the “The Ed Sullivan Show” … a great way to start it.
            LL Cool J gave us an introduction to the reason for the special and introduced a clip from the “The Ed Sullivan Show” – the Beatles performing “All My Loving”. It segued into Maroon 5 finishing the song and they then performed “Ticket to Ride”.
            Throughout the show shots of audience members peppered the performances. Mostly they concentrated on Paul and Ringo and their wives in the front row; but occasionally we saw Yoko and Sean and George’s widow Olivia as well as other stars. I only recognized a few of them.
            Next came Stevie Wonder with his hit “We Can Work It Out”. Rumor is he did it twice because he did not like the first take. “Fire me, sue me,” he told the audience. It’s Stevie Wonder. He could have done a dozen more…
            And now we get to see the house band – Peter Frampton doing his usual excellent guitar work. He was an uncredited guitarist on George Harrison’s “All Things Must Pass” album. Steve Lukather, a touring member of Ringo’s All Starr Band also played guitar excellently. Had he played this well with Toto they might not have sucked. Kenny Aaronson played thunderous drums. He played with everyone – EVERYONE – in the 1980s and I know him from the woefully underappreciated album “HSAS” with Sammy Hagar and Neil Schon. The director apparently loved Kenny too – they cut to him playing every six seconds or so.
            Johnny Depp introduced the song “Something” performed by rock veterans Joe Walsh and Jeff Lynne. They were joined by George’s son Dhani. It was the only stage appearance by a Beatle-spawn. Sean Lennon was in the audience but did not perform. Why didn’t he?
            Eric Idle appeared next, reprising his role as the narrator/TV journalist from his “Rutles” specials. They gave his character a name – Nigel Spasm (although his name was never given in the original Rutles programs). He mentioned the Rutles performing that night 50 years ago. He was hilarious.
            He introduced (and narrated) short biographies of the Beatles beginning with John Lennon. John’s was the most effective. It ended with the death of his mother and the line “… the love of music his mother shared … would … transport him our of Liverpool and across the universe.” Lovely.
            Why did they decide to colorize part of the black and white photos in these biographies? We the People do not need big, bright and loud colors to keep our attention; we can handle black and white photos, thank you. Treat us like adults and we will start acting like adults. Deal?
            Next began a series of excellent, excellent, walk-throughs and interviews with Paul, Ringo and David Letterman. They discussed the studio, the set list, their choice of name, etc. It was usually done after the commercial break and was one of the highlights of the show.
            Some of my favorite bits throughout were interviews from women (girls) who were in the audience 50 years before. This was peppered with Ed Sullivan performances of “I Want to Hold Your Hand” and “I Saw Her Standing There.”
            Kate Beckinsale (someone who starred in movies I’ve not seen) introduced Ed Sheeran (a singer I’ve never heard of) doing “In My Life”. He did an excellent job! Wonderful guitar work – I’d like to learn his version of this song (which was performed at my wedding).
            More audience shots. Ah, I recognize someone – Tom Hanks! Tom Hanks was in an audience that had camera shots and this was the first time he managed to get his mug in front one? Wow.
            They showed a clip from “Let It Be”. They got the rights to show a clip from “Let It Be”. This is akin to showing footage of Bigfoot. It was the rooftop concert version of “Don’t Bring Me Down”.
            In the middle of the song it segued into two singers named John Mayer and Keith Urban singing the song (ala “All My Loving” at the beginning of the show). They cut off a clip of “Let It Be”. THEY CUT OFF A CLIP OF “LET IT BE”. To use the previous analogy – is would be the same as showing ten seconds of authenticated proof of Bigfoot then airing a bit from “Harry and the Hendersons”.
            Katy Perry managed to cover her cleavage long enough to sing “Yesterday”. There was some controversy when she changed the lyrics by switching gender (“I’m not half the girl I used to be”). Oh, get over it. Happens all the time. That is no controversy; leave her alone. 
            Then came the Beatles’ Ed Sullivan performance of “She Loves You”.
            An aside: strange that the two songs most associated with the Beatles – not the most popular but the most iconic – “I Want to Hold Your Hand” and “She Loves You” are the two least-covered songs in their repertoire. They did not cut away to anyone “taking over” “She Loves You” from the Ed Sullivan clip – whereas they did twice earlier in the show.
            At this point, and peppered throughout the rest of the show, were my favorite bits. Interviews with the crew of the “Ed Sullivan Show” on that day 50 years ago. Bill Bohnert, art director/set designer, John Moffett, associate director, and Vince Calandra Sr, production assistant and George’s stand-in during rehearsal were interviewed about their work on the show that day and during rehearsals. Bill tells the story that Paul said, “We’ve always wanted to do ‘The Ed Sullivan Show’.”  Funny, not a half-hour ago Paul said they had never heard of “The Ed Sullivan Show” until they were booked on it. No one else seemed to care …
            There was a moving story of John Lennon’s awe at standing in the same spot as Buddy Holly when he did Sullivan a few years before.
            LL Cool J introduced the song “Revolution” performed by Imagine Dragons. “What!?” says I. “The kid’s band? Disney’s version of the Wiggles?”  No, that was Imagination Movers – this is Imagine Dragon. They did a very good acoustic version of the song.
            Dave Grohl was next. He was in the Foo Fighters and Nirvana with Kurt “what a weird bong” Cobain. He gave a moving tribute, saying his mother had always been a fan of the Beatles; saying his daughter is a fan of the Beatles; and lying about HE always being a fan of the Beatles. I recall 22 years ago he and his fellow grungy ilk saying they don’t like music by dead people.
            They stopped saying that when Cobain showed us what his brains looked like.
            I guess being invited to a Beatles tribute helped his love of the group along a bit.
            That being said, he and Jeff Lynne did a superb version of one of the Beatles’ best and least-known songs. “Hey Bulldog”.
            Back to Kate Beckinsale introducing The Eurythmics. There is no “The” in their official name. When they were popular they insisted that DJs NOT call them The Eurythmics, just Eurythmics.
            So THE Eurythmics played “Fool on the Hill”. I said that correctly – they PLAYED “Fool on the Hill”. If you recall The Eurythmics were a purely electronic band; all computerized. Yet, when they performed they had drums, back-up singers and guitars. “If they were true to their art,” I said on the radio back in 1985 or so, “they would set up a computer on stage, put in a floppy disk, press play and tell the audience to enjoy the show.”
            Annie Lennox has a lovely voice and is a powerful singer, but I’ve never liked it personally – oil to my water. Dave Stewart was once in a band in the 1970s called Longdancer. It was an EXCELLENT group. And some of his post-The Eurythmics bands harkens back to those rock ‘n roll days. So The Eurythmics reunite. From the hype you’d think this was the highlight of the show. It wasn’t. It was GOOD, mind you, but not the highlight of the show.
            Alicia Keys andf John Legend gave testimonials and then gave their rendition of “Let It Be”.  I had heard of them both but never heard their music. I only knew of John Legend when I would joke about (ironically) him being in the Beatles with Paul McKenzie.
            John Legend has an excellent voice! Alicia Keys … well, it’s like the issue I have with anyone – ANYONE – on “American Idol”. I would have more respect for her talent if she could sustain a solid note for more than two seconds. Was someone shaking her seat or does she cover the entire musical scale with every note?
            More bits with audience members and crew members. Here they included reminiscings from Mitzie McCall and Charlie Brill – a comedy duo who also performed on “The Ed Sullivan Show” that night! I wanted more of this – I wanted to know who else was on the show as well as what else was on that night? What did NBC and ABC air? This show’s main focus was on the Beatles, true, but it was also focused on “The Ed Sullivan Show”, too. I have the Beatles’ appearances on Sullivan on DVD, so I know who else was on the show, but a few clips of the other performers wouldn’t have taken up much time.
            Actress Anna Kendrick, who starred in movies and TV shows I’ve never seen, introduced the song “Here Comes the Sun” and gave us a history of its writing. Would it have violated some law to mention it was a hit for Richie Havens, who died last year? Pharrell Williams and Brad Paisley, whom I have not heard of, performed the song with members of Cirque du Freaks, er, Soleil pole dancing above them. Other members of the circus troupe sat in front of them holding dolls. This circus troupe is popular why?
            Gary Clark Jr., Dave Grohl and Joe Walsh did a rousing rendition of “While My Guitar Gently Weeps”. A fun moment was the camera cutting away to Ringo who was miming Grohls’s drums. I love Joe Walsh. He is an excellent guitar player and even shared some vocals here (not his strongpoint one must admit). He, as well as the other two, was wonderful, but … would it have been so hard to get Clapton? Really?
            Jeff Bridges gave a wonderful testimonial and introduced Ringo. Ringo then made us forget the past hour and a half and stole the show. He perfomed “Matchbox”, “Boys” and got the audience involved in “Yellow Submarine”. Musically, it was the highlight of the show. And kudos to Ringo for introducing at least one member of the house band – sometimes All-Starr Peter Frampton. Ringo gave a shout-out to Grohl and his daughter. You could tell Ringo was impressed with his drumming.
            Sean Penn, who is looking more and more like DeNiro, introduced Paul McCartney. After Ringo’s funfest this seemed almost anti-climactic. Paul went through rote versions of “Birthday”, “Get Back” and “I Saw Her Standing There”. The house band left and Paul performed with his group. By now Paul could do these songs in his sleep. He nearly did. Too bad. He had nothing to prove, true, but it was almost as if we were supposed to enjoy McCartney being McCartney and not enjoying his performance.
            Case in point: Paul did “Sgt. Pepper”. He would have been forgiven if he changed the lyrics to “50 years ago today…” The press would get on Kate Perry but not HIM. Just before Ringo joined him onstage, Paul sang “Billy Shears”. He could have said “Ringo Starr”. The audience would have loved it. I would have loved it! To me this shows how Paul was going through the motions rather than relishing the moment.
            Paul and Ringo have only performed together (post-Beatles) once in 2010. So their “With a Little Help From My Friends” was momentous and fun. Ringo brought back the enthusiasm he apparently took with him from his previous set.
            For the finale, “Hey Jude” they were joined by the house band and the other performers and producers.
            Yoko, Sean and Olivia never took the stage. I think that was a wise move. They would have been given a standing ovation, to be sure. But they were there to honor their husbands and father.
            It was a wonderful program and I enjoyed it very much. Probably not enough to rush out to get the DVD, but I liked it and was glad I saw it.
            I did have some problems with it: as I said earlier, this was about the Beatles, but there was enough about “The Ed Sullivan Show” to wonder why they didn’t talk about who else was on that “America-changing” day” Why not show a clip of Frank Gorshin’s hilarious stand-up from that night? Or a bit from Sophie Tucker?
            Would it have hurt to have Mickey Dolenz give a two-minute tribute to fellow-Monkee Davy Jones? He was on the show too that night, doing a song from “Oliver” as the Artful Dodger.
            Also, perhaps after two-and-a-half hours the powers-that-be were afraid We the People would not have the attention-span for another 50 minutes; but why not SHOW the entire Ed Sullivan program from February 9, 1964. It couldn’t have been a question of acquiring the rights – they showed a clip from “Let It Be” for god’s sake!
            And where the hell was George Martin?
Copyright 2014 Michael G Curry
 
 
 
 
 
 

 

 

 

 
 

 

 
 
 
             

 

 


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Oh God, Body Grease! Murder in the Magnolias Act Four

Oh God, Body Grease! Murder in the Magnolias, Act Four
 
                We are in our fifth of seven weeks of rehearsals. Starting next week we add Monday practices to our Tuesday and Thursday schedule.
                Stephanie, our fearless leader and director, gave us until February 1st to learn out lines. I think we have, for the most part. The cast at the least now know their characters and have a feel for what they would say, if not what they should say.
                It’s tough. Erika, who plays the lead Amanda, said on her Facebook page how strange the lines are. Very true. “Murder in the Magnolias” is a broad spoof filled with cracked characters. To say the bulk of the lines, especially in the first two acts when the characters are being introduced, are off-beat non-sequiturs is being kind.
                It is not until the third act that there is anything resembling realistic conversation. It’s easier to memorize lines when there is a flow to them. If one line is “How are you?” and the next “Fine, thank you, yourself?” – that has a flow and makes sense. If nothing else you can wing it.
                But “Murder in the Magnolias?” Yeek…
                The opening scene has the Colonel complaining about his sister Amanda’s botanical garden. He says a few lines about vicious and despicable weeds. Amanda tells him to hush, now. The Colonel says the plants are the unnatural and morbid. Amanda talks about how hot it is this evening. This at least feeds me the line about favoring prickly heat; but it’s a strange path. Perhaps as we practice it will seem more natural.
                Another great example is with my other character Thornbird. In between an argument between Amanda and Pete Bogg about excavating around the house I mention there is something odd about the “O” on my typewriter: a line completely out of the blue with no relation to the current conversation. It defines the character, sure, but I have to remember where it fits – what is my cue line? I’ve missed it a few times now during rehearsal. There’s not much cadence to dig into.
                Odd and obtuse lines – we have to memorize our cues and then get the cadence right to make it funny.
                As I said, it’s tough.
                In the third act is gets better. Most of the lines (mine anyway, I pity the actress (Britney) who plays Blanche – her non-sequiturs never seem to end. At one point her character literally stands up, holds up her hand and says “I would like to stop the drift of this conversation.” (I paraphrase) Talk about left field.
                But the lines and character quirks are starting to gel. Now that the lines are down we are working on the physical part of the show and blocking more effectively. You stand there. When he says this, you move over there. We’ve added some physical comedy during segments where characters are otherwise simply talking to one another. One cute segment between Blanche and Bubba: Blanche is demonstrating how she trains dogs; Bubba thinks he is talking to him. “Sit up!” He stops slouching. “Off the table!” He moves his leg from the coffee table. “Play dead!” Umm, what?
                The set is coming along nicely, too. Most of the walls are painted and the windows and doors are in. Over the mantel is a painting of the Colonel. Stephanie took my photo in almost-costume a few weeks ago and will print it out using a photoshop program that makes it look like a painting with brush strokes, etc. It will hang with pride on the stage wall!
                Here is a photo:
 


                  On Thursday, January 30th I was in court most of the day and still had my briefcase in the car along with my I-Pad. I was the first one at practice and shot a few photos of the set.

    
            I also took some pictures of rehearsal, but I do not want to show them right now in case any of the actors object. When we start releasing any “official” cast photos I may post them in a future blog.
 
 



 
               The costumes for the play are mainly street clothes. Pete and Bubba can wear blue jeans; Bubba could wear a t-shirt with a pack of cigarettes rolled up in the sleeve. Lawyer Possum could wear a sports coat. Pete Bogg, a construction vest and a utility belt. Sheriff Billy Jerk could get away with street clothes and a badge and a brimmed hat – a full uniform would not be necessary. Facial hair for these male rolls is completely optional.
                Lorraine, Lotta and Blanche can be dressed business-casual.  Blanche later appears in a Southern-Belle-like dress, though. So does Amanda. “Cousin ‘Manda” also has a scene in which she comes straight from her disgusting mess of a weed pile. She decided to dress in boots, gloves and an apron.
                But the Colonel and Thornbird, my characters, are the exception. That hadn’t occurred to me when I auditioned. Oh the pain…
                Colonel Rance Chickenwing is (obviously) a spoof of southern colonels and our director wants him to look like Colonel Sanders. White suit, mustache and beard. Black-rimmed glasses and black string tie. He’ll wield a cane. I have the white suit – all the better to cosplay John Lennon – and other than the string tie his costume is complete – and a long, thick black ribbon can be used for the tie.
                Thornbird will wear a frock coat with a frilly shirt and ascot/cravat. I have those, except the cravat, but a fru-fru lady’s scarf will do for that. He’ll have a dark mustache and soul patch under his bottom lip – which will remain on for all three of his personalities. I see Thornbird wearing spats (he and the Colonel will wear the same dress shoes and socks, I’m afraid), gaudy rings, Panama hat, granny glasses and a cane – different from the Colonel’s cane.
                I hope to avoid anyone thinking Thornbird is the Colonel in disguise – ready to pounce on his greedy relatives. I’m trying to keep their mannerisms and voice different. The Colonel has a throaty growl and Thornbird a higher-pitched smoother voice (having sinus trouble over the past month makes it hard to avoid the rumbly growl, but now that it has somewhat passed I will try to pull it off).
                They have Thornbird’s sister’s dress ready: a dark-green-hooped skirt with mid-sleeve blouse. I presume I will still be wearing my frilly shirt underneath. They have a pig-tailed blond wig and a pink parasol for me. The theater isn’t heated well, so the warm wig feels nice, haha!
                Rufus T. Chickenwing’s costume is complete at well: a Confederate officer’s uniform, hat and saber. Esther has kindly lent me her toy plush parrot for the bird scene. Here’s the bird with my Panama hat (actually a wide-brimmed trilby, but it still looks the part).
 

 

 
                I should have enough time in between scenes to change. Going from the Colonel to Thornbird then Thornbird to his sister will be a rush; but if I get changed right away and don’t fool around watching the other performances, I should be okay. We only have one or two dress rehearsals to practice my quick-change-act. I will certainly let the director know if time is my enemy.
***
                It’s evolving into a fun show – the cast seems to like it and laugh at its silliness. We get along – or at least the people that DON’T get along are keeping it to themselves – a nice change of pace from 1981, I must say.
                Because of snow/sleet we had to cancel our practice on the 4th, which leaves only seven more rehearsals left.
                Seven.
                I think I’m going to be sick…
 

 

Copyright 2014 Michael G Curry                
 
 
 
 
 
 

 

 

 

 
 

 

 
 
 
             

 

 


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