From the Roundabout Theatre website: “At the forefront of both the Civil Rights and feminist movements, the prescient Trouble in Mind opened to acclaim off-Broadway in 1955, and was announced to move to Broadway in 1957...in a production that never came to be.”
Until now. This cast, led by LaChanze, Michael Zegen, and Chuck Cooper; and shepherded by director Charles Randolph-Wright, are continuing the conversation. It feels like it was written yesterday. Beautiful production. And heartbreaking. Must see.
Squigs Salutes: Diana
Opening on Broadway officially on November 17, it’s the story of our candle in the wind. Told by a stunning cast in rock and dance and campy tabloid dynamics. De Waal? Kaye? Hartramph? Fab! And m’pal Erin as Camilla? Truly a thrilla!
Squigs Salutes: Morning's at Seven
A thrilling cast and smart direction make this production of Morning’s at Seven an absolute delight. Dan Wackerman handily directs this cavalcade of brilliance: Lindsay Crouse, Alma Cuervo, Dan Lauria, Patty McCormack, Tony Roberts, John Rubinstein, Keri Safran, Jonathan Spivey, and astounding Alley Mills, once Lauria’s costar on TV’s The Wonder Years, who stepped in for the injured Judith Ivey and learned the play in a week.
Morning’s at Seven was written by Paul Osborn and originally produced on Broadway in 1939, starring Dorothy Gish. Set in the early 1920s, it follows four sisters and their families, navigating musings on home, family dynamics, and the need for fulfillment.
Squigs Salutes: Turtle on a Fencepost
You’ll go on quite a journey with Prisoner #11R0731 in this show. And such a fab cast taking you along on the ride!
Opening at Theater 555 on Sunday, November 14.
Squigs Salutes: Emilie Kouatchou
On October 27, new alternate Christine Daae, Emilie Kouatchou, became the first Black actress to star in the role in The Phantom of the Opera on Broadway. It’s overdue, but it’s a beautiful thing that it has finally happened. Congratulations, Emilie!
Squigs Salutes: Caroline, or Change
What an astounding production, anchored by the astounding Sharon D. Clarke! My first time seeing the piece, I was at once enraptured by the storytelling and immensely moved by the story. So many star performances, firing on all cylinders. Go!
Squigs Salutes: Mrs. Warren's Profession
This wonderful production of Shaw’s Mrs. Warren’s Profession on October 27 at Theatre Row by the esteemed Gingold Group. Helmed by David Staller, the stunning cast features Karen Ziemba, Nicole King, Robert Cuccioli, David Lee Huynh, Alvin Keith, and Raphael Nash Thompson.
Squigs Salutes: The Lehman Trilogy
The Lehman Trilogy, written by Stefano Massini and now translated to date into 22 languages, tells the story of the Bavarian brothers who dream of America and once here, build a business that grows from simple clothes to cotton to coffee to money money money. Simon Russell Beale, Adrian Lester, and Adam Godley tell the tale of the rise and eventual fall of the venture over multiple generations. The storytelling is at once jam-packed yet told simply, along with solo piano accompaniment. Truly astounding in its three hour plus scope.
Adapted by Ben Power and directed by Sam Mendes originally at London’s National Theatre, the play had commenced Broadway previews just before the Covid shutdown. They’ve returned and just officially opened.
Squigs Salutes: The Lyceum Plays
In a new production model on Broadway, two innovative plays are being produced in rep at the Lyceum Theatre on Broadway this fall. Is This A Room? is taken directly from the transcript of an unlawful FBI interrogation of a whistleblower in advance of the 2016 presidential election, and Dana H. is based around the actual recorded account of the playwright’s mother’s horrifying five-month kidnapping, brilliantly lip-synched by Deidre O’Connell.
Is This A Room? opened officially on October 11, 2021.
Dana H. opened on October 17, 2021.
Commissioned by producer Dori Berinstein.
Squigs Salutes: Thoughts of a Colored Man
Thoughts of a Colored Man should be required viewing for anyone working for a more equitable, inclusive, and kind world. Keenan Scott II has written of the greatest challenges, the systemic oppression, the danger, the heartbreak, the community, the joys, the hopes, the humanity, the love, the lust, the passion, the wisdom, the happiness, the anger, the depression, the life, and the vitality of Black men in America. I’m grateful to have had the chance to watch and listen. Led by director Steve H. Broadnax III, the cast is made up of seven extraordinary actors: Dyllón Burnside, Bryan Terrell Clark, Da’Vinchi, Luke James, Forrest McClendon, Esau Pritchett, and Tristan “Mack” Wilds.
Find out more about the show and get tickets on their website.
Thoughts of a Colored Man, John Golden Theatre
Hearts to Half: A Reflection on Connection
This year has been heartbreaking in so many ways, all around the world. In the part of the world that I orbit, the extended pause in an entire way of life has been particularly challenging to navigate. Well, I made a thing that has helped me hash out a few thoughts on the year. It also gave me something creative to do, ultimately bringing me collaboration and connection.
You can see HEARTS TO HALF: A REFLECTION ON CONNECTION, an illustrated short, here:
Hearts to Half started in moments of thought, anxiety, depression, wondering, helplessness, etc. A combination of feelings I know I’ve had in common with countless folks over this year. As I was doing some regular marker quick-sketching for virtual events, the first versions of this short were time-lapsed marker doodles. (Catch a glimpse of early, early test video near the bottom of this post.) But as the project evolved, I felt the need to tighten things up and broaden possibilities in editing, so I went to my usual ink/digital methods. The title became marquee lights I could flicker off and on (above). See an earlier title treatment (right). And, yes, Hearts to Half was at one time going to be made up of three or four short episodes before I landed on a stand-alone short format.
Here’s what I wrote as a description on its home page:
Connection. Finding common ground. Sharing stories that tell of where we've been and where we should go. Hearts seeking a common beat.
“House to half.” The house lights in a theater dim as a signal for us to take our seats at the beginning of a new adventure: A collaboration with those creating a world we all get to inhabit for a while. It’s very likely that we all will be a little different afterwards, having been able to walk in others’ shoes briefly, enriched by words, swept away by dance, replenished by song.
When marquee lights dimmed on Broadway and around the world in March 2020, no one could have foreseen that we would be without this connection for so long. Ghost lights have kept stages from going totally dark while we all have found ways to connect virtually with online events and livestreams and fund raisers. But after one year, there are flickers of hope as we see the lights at the end of the tunnel of the Covid-19 pandemic. We look forward to once again seeing marquee and stage lights blazing and house lights dimming.
More adventure is on the horizon, friends.
And here are some thoughts on how I developed Hearts to Half:
The first “scene” is a brief look back at a way we learn to connect with others. Stories. Told by loved ones around a dinner table, a childhood bed, a fireplace. I call these characters “the storytellers” and it may already be visually evident that their forms will evolve into something else soon. I added the other kids here as a representation of our siblings or cousins or friends. Any humans who make up our earliest fellow audience members. The glow of one’s heart is passed from one to another. Note: Our main character that we follow here is meant to be an “everyperson.”
As our main character gets older, the shared stories of youth and the need for this connection expands to include the stories in theaters. The storytellers are still part of the fabric of this connection. The flicker and glow of the past can be found onstage as we gather with others and share a common experience. The auditorium lights dim – “House to half”, calls the stage manager. – and we’re off.
[I should acknowledge that while I’m clearly using theater as the conduit here, I acknowledge any creative adventure wherein we gather for that “something” that’s exponentially bigger than us as individuals. And although this piece is focused distinctly around New York City, I celebrate the vitality of the arts and other creative endeavors in communities across the country and around the world. The arts in communities – and schools – are the lifeblood of that current of empathy that should be at the core of our society.]
There are studies that have found that in communal experiences like attending theatre or live music, hearts tend to beat in similar pulse patterns. However true this is, I use the idea symbolically as humans joining together in shared experiences. Common ground. Celebrating, engaging, expanding.
[Note: The “show” we’re seeing onstage is meant to represent an incredibly varied bunch of theatrical styles and subjects, from high drama to musical comedy. It’s chockablock and busy, but I wanted to include a LOT in one series of images. As I was drawing this section last summer, there was a big amplification of discussions on the necessary inclusion and representation of people of color in all aspects of theatre and the arts in general. This is a discussion that must continue, and while I didn’t set out to make the video about this, I acknowledge my need, and the general need, to keep setting places for all at our creative tables.]
We’ve all had the experience being swept away by the creations of artists, especially when it draws us in and makes us feel a part of it all, asking us to walk in others’ shoes for a while and hopefully come through differently than we were before. I wanted to capture this feeling by showing our main character sort of leaping out of their heart and embracing the experience.
And then it abruptly comes to an end. This global pandemic put a huge pause in the way we gather and share our humanity.
[Note: In the theatre, for practical and traditional reasons, theater staff places a “ghost light” on the stage when a theater is otherwise dark. Practically, it partially illuminates the area so anyone entering in the dark can avoid the dangers of falling into a pit or other obstacles. Traditionally, the lore of the theatre tells us that a ghost light is illuminated to acknowledge and honor either the artists and craftspeople of that theater who have passed AND/OR the characters in the stories that have been told. It’s a comforting thought that ghost lights on stages around the world have continued to glow, awaiting a return.]
On a final stroll through Times Square and the Theater District, our human passes marquee lights and billboards for shows (past, present, and future) and crowds, and as we go, lights dim and the crowd dwindles.
[Note: The last play I saw there was The Minutes at the Cort Theatre on Wednesday, March 11, 2020 at 7pm. I was on assignment for Broadway.com, and my friend Nikki joined me at this incredibly powerful theatrical experience. The buzz (backstage and in the press) was that an usher in the area had tested positive for the virus, and I had a hint of a hunch that things were going to be changing drastically very soon. On the way home, I grabbed a bite and a beer at a local brewery, and I shopped for some groceries. The next morning we all woke to word of the country shutting down. I have yet to visit the Theater District and Times Square here in NYC. I’ve stepped foot in Manhattan just three times since the beginning of the shutdown. I know that life is beginning to emerge, and I’ll get back there soon. And I’ll continue to dream along with countless others for more.]
Although this city never fully dimmed, I used the dimming of Times Square as a symbol of the heartbeat of the city stopping.
[A note about music: At some point, I was realizing that this thing that was emerging from my desk was going to need some music. Being delusional early on, I thought that my meager musical abilities might be sufficient (voice, ukulele, toy piano, slide whistle) but I quickly banished that thought. At one point, I chatted with a friend who is a genius on the ukulele to score it. I love the ukulele, but I eventually felt that this short might need a different tone. So I started thinking about talented people I know of, as well as reaching out to friends for recommendations. Our conversation led me to some research and a reconnection with Arri Lawton Simon who I worked with at Music Theatre Wichita some years back and have caught up with on occasion in years since. I looked up some of his work, his own and with writing partner Janine McGuire. (As McGuire and Simon, they have taken part in the BMI Lehman Engel Musical Theatre Workshop and have created some really great work. Check out their work and news here.) I reached out to Arri asking him to collaborate with me on Hearts to Half, and I’m so happy he has done so. We had originally discussed just a piano score. I also knew Arri played the clarinet and secretly hoped he might include it but didn’t bring it up. First of all, when he sent me his early musical sketches, I was so moved by his amazing work and how it really made my feelings take flight. Also, there was his clarinet (named “Gracie” as I came to find out) and it just made me so happy. It brought to mind Gershwin, Rhapsody in Blue. He mentioned to me that he was going for a Gershwin/Miles Davis vibe. Yes! I also catch hints of Sondheim too. Whatever the case, it’s Arri’s voice, orchestrated for two pianos and a Bb clarinet choir. It’s so lovely, and I’m very grateful for the results.]
And after a full literal and metaphorical black-out…
We see a flicker. A screen. Another screen. Connection finding a way. We’re all still finding our way to connect in new ways, but there have been SO many amazing virtual happenings over this past year, and I used screen captures of various events to represent the vast amount of offerings. SO much to be grateful for! And while so many have created so much, and we have found ways to connect – coming together to support one another, having “water cooler” moments to talk about, glimpses into aspects of folks that we otherwise wouldn’t have had – I think we can all acknowledge a fatigue from the vast amount and from the extended hours of sitting in front of screens.
[Note: Because part of the purpose of this segment is to symbolize both the connection (symbolized by the illustrated versions of the photos) but ALSO to acknowledge the lack of in-person connection and the occasional fatigue, I’ve edited this segment in waves of visuals, sometimes making it tricky to see everything clearly. So I’ve frozen stills of each wave to show detail. Just a representation of a small fragment of these efforts. WAVE 1 (counterclockwise from right): 1. Dr. John LaPook and his regular medical updates on Stars in the House, 2. Michael Urie in Buyer and Cellar on Broadway.com, 3. Rosie O’Donnell and Chita Rivera on the one-night reboot of the Rosie O’Donnell Show, 4. Seth Rudetsky and James Wesley and their amazing Stars in the House, 5. Meryl Streep, Audra McDonald, and Christine Baranski singing “Ladies Who Lunch” as part of Sondheim’s 90th birthday celebration on Broadway.com, 6. Brian Stokes Mitchell singing “The Impossible Dream” out his window to honor first responders and essential workers, 7. Bernadette Peters and other Broadway luminaries singing “Sunday” on the TKTS steps. I also included in image that was part of our efforts at Lights of Broadway Show Cards, not pictured in this particular graphic.]
[WAVE 2 (clockwise from bottom center right): 1. Rob McClure’s Conductor Cam, 2. Jim Caruso and Ruby Locknar of Pajama Cast Party, 3. Marie’s Crisis virtual piano bar, 4. Leslie Carrara Rudolph bringing joy by way of candy-crazed Lolly Lardpop, 5. Lin-Manuel Miranda and Lord Andrew Lloyd Webber’s happy rivalry, 6. Julie Halston and Virtual Halston, 7. National Theatre Live represented here by James Corden in One Man, Two Guvnors, 8. the [title of show] Show Virtual Vineyard Theatre Show Show Show (could never remember that title) featuring Mindy, 9. Billy Stritch and Billy’s Place. I also included a glimpse of the iconic Broadway Up Close Tours sign in Times Square, not pictured in this particular graphic.]
[WAVE 3 (counter clockwise from lower right): 1. Cast and orchestra members of Ain’t Too Proud virtually offering “I’m Losing You” highlighting the Black Lives Matter movement and the election, 2. Lillias White and Andre DeShields as honored and going head-to-head on Broadway Advocacy Coalition’s Broadway VS. benefiting the Cody Renard Richard’s Scholarship Program, 3. a Zoom call I’ve gratefully taken part in somewhat regularly over this year, 4. a regular panel discussion on BIPOC representation in theatre led by Michael James Scott on Broadway.com, 5. Michael McElroy and Broadway Inspirational Voices’ virtual concert, 6. Ann Harada, Austin Ku, Thom Sesma, and Kelvin Moon Loh performing “Someone in a Tree” on Sondheim’s 90th event on Broadway.com, 7. an episode of Stars in the House with Shele Williams and Robin De Jesus, 8. Jim Caruso’s Pajama Cast Party episode featuring Natalie Douglas, 9. Rob McClure’s Conductor Cam. As you may have realized, I’m focusing on a moment that I’ve felt has been vivid to me in the discussion of race in the theatre and my personal evolution and growth on the issue. The moment of Rob’s Conductor Cam when he passes the baton to Kalena Bovell. You can see that video – Rob’s Conductor Cam “Poco a poco, accelerando” – here.]
[WAVE 4 (counterclockwise from bottom lower right): 1. Kalena Bovell on Conductor Cam, 2. Save Birdland! virtual concert to save the club, 3. Bill Irwin of the Vineyard Theatre’s Busker Project, 4. NBC’s One Night Only: The Best of Broadway hosted by Tina Fey, 5. Jefferson Mays in A Christmas Carol, 6. the Christmas Day telethon raising funds to save the West Bank Café, 7. Ratatousical: The Ratatouille TikTok Musical, 8. Dancing for Democracy event to raise awareness of the importance of voting in the 2020 election.]
[As a final wave of this segment, I included a nod to whatever pop-ups and adventures that will come our way as the weather improves here in NYC. There are some wonderful things happening already and much more to come. And while the economy of the commercial theatre of NYC may still be a ways from coming back, connection will find a way.]
The waves of online connection give way to the screen signaling a return to live theatre.
[Note: A note on the color palette. I knew as I was creating this piece that the choice of red and blue may evoke political parties. This is not my intention at all. I chose these colors based on temperature (warmth and comfort of the reds and oranges, cool of the blues). There’s a comfort and familiarity to the “before time” and a cold disconnect of trying to connect virtually. But as we move into the final scenes, the colors intertwine, symbolizing the gathering of lessons learned and sensibilities attained into whatever the next chapter will bring.]
Here, you can get a clean look at all the show titles and lyrics that have made up my Times Square signage. These were of course chosen to combine at this moment to convey new messages for a new time…
“The world only spins forward.”
The people return. The lights flicker on and shine brightly.
House lights dim to half. Hearts beat.
“A blank canvas. So many possibilities.”
That’s a peek into my brain and heart as I made this thing. We’ve had time to sit with our thoughts a lot this year. I’m already an over-thinker and I’m not always confident that I’m adequate at communicating those thoughts, but I gave it a good try here. A lot of personal specificities in a sea vague generalities, but a lot of common ground with so many. I hope.
Here are some early video tests when Hearts to Half was early in its creation:
Save Birdland!
In January, a wonderful effort was made by many folks, especially Michael and Tom D’Angora, Gianni Valenti, Jim Caruso, Susie Mosher, and more, to raise money to keep the legendary Birdland Jazz Club afloat in the midst of this insane pandemic shutdown. This culminated in a fantastic star-studded virtual event celebrating Birdland as institution and a symbol of NYC and the arts. I’m not sure how exactly, but I made it into the crazy lineup with a wee celebration of Jim Caruso’s Cast Party, through the filter of my quick-sketching of the weekly virtual Pajama Cast Party during the shutdown. Here’s my minute. I’m so grateful for the opportunity!
Marley was dead, to begin with...
In a world that needs Charles Dickens’ message of humanity more than ever, there’s a new telling of A Christmas Carol. And in a time when experiencing the world through our screens is de rigueur, this version blends the storytelling roots of old and technological wings of now. Starring the astounding Jefferson Mays and led by innovator Michael Arden, this tale of connection and community really hits home.
Jefferson Mays in A Christmas Carol
I was mesmerized by Mays’, Arden’s, and Suzan Lyons’ adaptation that sends Mays careening between 50-plus characters and a combination of traditional stagecraft and projected effects, conceived by Arden and Dane Laffrey. Jefferson Mays is an absolute treasure in his portrayal.
The purchase of a ticket to stream the production will benefit your choice of one of 60 arts organizations in need of funding during the hardship of the global pandemic. (A couple theaters I’ve worked with – The Paper Mill Playhouse and The Cape Playhouse – are among those partnering with the production.) For tickets and more information, visit the website.
Quick Sketchin'!
Jim Caruso’s Cast Party has been a happy constant for me. Jim and I connected even before I moved to NYC, and I’ve spent many a Monday evening enjoying the goings-on there at Birdland. Occasionally, I’d join the fun and quick-sketch live during the show, drawing each performer in the time it took them to do their thing, and also raise a little money for charity. Well, now that entertainment like this has had to go online due to the pandemic, Jim and his producer Ruby Locknar are now bringing us Pajama Cast Party on Monday nights, and I am once again jumping in on occasion to draw. It’s ever so much fun! Join us, won’t you? Every Monday at 8pm on the Cast Party Network channel on YouTube. (Note: I’m not there every week. Many, but not all.) Here are a couple videos I whipped up as a peek into some of the hijinx:
We have titles!
In this current era of and enhanced demand for online entertainment, I’ve been dabbling in lending a hand in visual matters, particularly hand-lettered titles. Here are a couple of peeks. First up, I created the illustrated introduction titles (and caricatures) for friends behind theatrical endeavors [title of show] and Now. Here. This. benefiting The Vineyard Theatre here in NYC. Direction and editing by Matt Vogel, voiceover by Michael Berresse. Theme song by the crazy cast.
I created the next video for the team at Birdland Jazz Club here in NYC as live venues are on hold in the midst of quarantine. On this one, I illustrated a version of the neon sign at the club and hand-lettered the titles, and I edited the videoed messages from Birdland regulars to create a cohesive, fun, uplifting shout out to Birdland audiences.
Twelve Days of Stephen Sondheim
In honor of legendary Broadway composer/lyricist Stephen Sondheim turning 90 on March 22, 2020, I set out to steer my Instagram “A BroadWAY WITH WORDS” venture into a celebration of Sondheim’s work, particularly HIS words. So I chose a show or theme to represent on each of the twelve days leading up to the big day.
Here is a show-and-tell of the lineup:
Follies (1971) In the ruins of a once thriving follies theater, former performers and stage door Johnnies reunite one last time and see the ghosts of their former selves through a thin veil.
I’m Still Here. Yvonne DeCarlo as Carlotta Campion sang this paean to perseverance which offered a glimpse into pop culture and socio-politics of the early part of the twentieth century.
Broadway Baby. Ethel Shutta as Hattie Walker told of an actor’s quest for that moment in the spotlight.
A Little Night Music (1973) Bergman’s Smiles of a Summer Night inspired this waltz-laden romp of missed opportunities and hope for connection.
The Glamorous Life. The repetition in a working actor’s life is mused upon by the cast, particularly by Desiree Armfeldt, originated by Glynis Johns.
The Miller’s Son. Handmaid Petra, originally played by D’Jamin Bartlett, latches onto all that life can offer.
Songs written for the screen.
Little Dream from The Birdcage (1996). Nathan Lane as Albert rehearses “a complex number, full of mythical themes” in this box office hit co-starring Robin Williams and based on La Cage aux Folles.
I Remember Sky from Evening Primrose (1967). Young Ella, played by Charmian Carr, who has been held since childhood by a nocturnal society in a department store grasps onto her memories of the outside world through the language of her familiar surroundings.
Into the Woods (1987) Taking several well-known fairy tales and inspired by breakdowns by Bruno Bettelheim, Sondheim and James Lapine create a masterfully woven tapestry of familiar characters that come together and ultimately unravel, leaving crumbs of wisdom along the path.
No One Is Alone. The Baker (Chip Zien), Jack (Ben Wright), Cinderella (Kim Crosby), and Little Red (Danielle Ferland) grapple with loss and finding new connections.
Children Will Listen. The Witch wraps up a series of the very grown-up twists and turns in children’s fairy tales.
Anyone Can Whistle (1964) This "a satire on conformity and the insanity of the so-called sane" ran only nine performances, but has given us a thrilling score and so many gems.
A Parade in Town. Mayor Cora Hoover Hoople (Angela Lansbury), sees the party going on without her as her cherished yet coerced limelight has been stolen.
Everybody Says Don’t. Dr. J. Bowden Hapgood (Harry Guardino) lays out his bold and idealistic thoughts on life.
Pacific Overtures (1976) How amazing that Sondheim, John Weidman, and Hal Prince would stage an epic indictment of capitalistic cultural exploitation in the year of the U.S.’ bicentennial.
Someone in a Tree. Likely my favorite Sondheim song (and, at least at one time, Mr. S’ as well), the Reciter (Mako) gets three versions – Old Man (James Dybas), Boy (Gedde Watanabe), Samurai (Mark Hsu Syers) – of an eye-witness account of what happened in the treaty house as Japan signed a trade agreement with the U.S,’ Commodore Perry, which cracked open Japanese culture to outside exploitation.
Poems. Passing time on a long journey two men trade poems about their true love: Kayama (Isao Sato) and his wife, Manjiro (Sab Shimono) and America.
Sweeney Todd (1979) This epic grand guignol of a tale packs a whirlwind of revenge and reckoning for power abuse around a memory of a love story in industrial Victorian London.
My Friends. Now reunited with his precious razors, barber Benjamin Barker, now Sweeney Todd, will get revenge on those who have wronged him and his family. (Note: The lyric “At last, my RIGHT arm is complete again!” was adjusted by original Sweeney Len Cariou because he thought of Todd as a lefty.)
A Little Priest. In a sprightly dance of lyrical wordplay, Sondheim leads Todd and Mrs. Lovett (Angela Lansbury) through the possibilities of who fills the meat pies.
Not While I’m Around. Mrs. Lovett receives the gift of comfort from urchin Tobias Ragg (Ken Jennings) even as she knows he’ll need to be silenced for what he knows.
Passion (1994) Based on Italian film Passione D’Amore, a young soldier is torn between his tryst with beautiful Clara and Fosca, the sickly, obsessive cousin of the Colonel.
Loving You. Fosca (the wonderful Donna Murphy) exposes her soul and the laser-focused desires at the core of her being.
Happiness. Clara and Giorgio (the amazing Marin Mazzie and Jere Shea) open the story in an earth-shaking dalliance.
A Sondheim sampler. Thoughts from across the canon.
Invocation and Instructions to the Audience from The Frogs. First performed in Yale University’s swimming pool with a Greek chorus that included Sigourney Weaver and Christopher Durang, The Frogs was freely adapted from the Aristophanes comedy. Dionysus (Larry Blyden) fills the audience in on what is to come.
Do I Hear a Waltz from Do I Hear a Waltz. Leona Samish (Elizabeth Allen) hears music in Venice.
Pretty Little Picture from A Funny Thing Happened on the Way to the Forum. Slave Pseudolus (Zero Mostel) lays out the plan for Hero (Brian Davies) and his love, virginal courtesan Philia (Preshy Marker), to float away to happiness.
Merrily We Roll Along (1981) In this infamously misunderstood show, – and one of my favorite scores – we witness three friends and collaborators’ relationships devolve, but we see it in reverse time. So the hope of songs that come later in the show are tinged with the knowledge of what we already know happens.
Our Time. The thrill of being at the headwaters of life of following one’s dreams! We find three new friends – Frank (Jim Walton), Charley (Lonny Price), and Mary (Ann Morrison) – on a NYC rooftop seeing Sputnik race across the sky.
Now You Know. Facing crumbling hopes, realist Mary lays out the truth.
Company (1970) An early “concept musical”, we see bachelor Bobby surrounded by the whirlwind of advice and nurture from his married friends and the potential of romantic connection on the occasion of his 35th birthday. The 2020 revival recasts Bobby as Bobbie, flipping the gender and focus of this legendary Broadway tale.
Getting Married Today (1970). Crazy Amy (Beth Howland), feeling all the pressure on the day she is supposed to wed Paul (Steve Elmore), attempts to claw her way out.
Getting Married Today (2020). In the revival, Amy has now become Jamie (Matt Doyle) marrying Paul (Etai Benson).
Being Alive. This anthem to letting down one’s guard and letting love in has been heard countless times in the last 50 years, including in four Broadway productions by Dean Jones (1970, Larry Kert (1970), Boyd Gaines (1995), Raul Esparza (2006), and in 2020, Katrina Lenk.
Sunday in the Park with George (1984) Perhaps my favorite Sondheim show because of its connection of visual arts with the performing arts as well as the need of artists to create. Act one follows a fictionalized version of French pointillist painter Georges Seurat and his drive to create something new. Act Two finds his great-grandson struggling with the same thing.
Move On. Truth bomb dropped by Sondheim by way of Dot (Bernadette Peters) to George (Mandy Patinkin) urges that one needs just to draw from one’s self to bring something new and special to the world.
Sondheim in Words
I wrapped up the twelve days with a video version of a piece I created for the 92nd Street Y’s Lyrics and Lyricists concert honoring Sondheim in 2019. Sondheim with his Blackwing pencil and yellow pad emerge from a cavalcade of words he has brought to us over the years.
Surprise! Twelve Days of Sondheim turned into a baker’s dozen, fittingly starting with:
Prologue from Into the Woods. Sondheim’s classic yeasty request.
Finishing the Hat from Sunday in the Park with George. As I said, there are so many gems in this show, and this is one of my favorites. The core of an artist’s life: making something where there was previously nothing.
The Ladies Who Lunch from Company. Speaking of hats, Elaine Stritch as Joanne sunk her teeth into this acidic musing. Patti LuPone in the 2020 revival knocks it out of the park too.
Happy happy birthday, Mr. Sondheim!
And thank you all so much for joining me on this journey! More “A BroadWAY WITH WORDS” will be coming your way on Instagram every Monday!
Broadway.com Ten Year Recap: Part Deux
I’m nearing my ten year anniversary as artist-in-residence and contributor to Broadway.com’s Broadway Ink feature. As a kickoff to a variety of pertinent milestones, my editors asked me to choose ten of my favorite illustrations from the nearly 500 I’ve done on assignment. It’s truly like what I would imagine choosing favorite children would be like. You can see my choices at the here. I used a specific set of criteria for that list, but I could tell stories about nearly all of my illustrations. Here’s a supplemental selection of my doodles that have particularly significant personal meaning to me:
A Little Night Music 2010
Bernadette Peters and Elaine Stritch had replaced Catherine Zeta-Jones and Angela Lansbury in this beautiful revival, and Broadway.com assigned me to draw it. It was the very first show I attended on complimentary press tickets, something that is admittedly a wonderful perk of covering the theatre for a publication. As Ms. Peters sang “Send in the Clowns” I noticed that the notebook in which I was scribbling was conspicuously near my eye level, in the third row, in full view of anyone onstage. If Bernie hadn’t been gazing contemplatively over my head, she might have felt the need to call me out for taking the world’s slowest bootleg.
Next to Normal 2010
I was assigned to draw this astounding show when the wonderful Marin Mazzie and Jason Danieley joined the cast. After this sketch posted, Marin and Jason bought a print for their collection. Shortly thereafter, I was catching a late show of the amazing Tuck & Patti at the Blue Note Jazz Club downtown. As the lights dimmed, two seats next to me were filled by a couple just on time. It was Jason and Marin who had just come from their evening show. That evening, we connected over their show, the illustration, Tuck & Patti. Friendships like this are treasures. I’m so grateful to have found several dear pals because of our connections from stage to song to sketch.
A Life in the Theatre 2010
This revival of the wonderful Mamet play starred Patrick Stewart and T.R. Knight. After I had attended the show, I was deciding what I wanted to include in the sketch. I latched onto the idea of representing a sequence that found the actors in a lifeboat. I hadn’t taken adequate notes during that scene and production photos didn’t include it, but I remembered that my friend Moira MacGregor (who had costumed shows I had done in Southern California and was now making her mark on Broadway) was the show’s costume supervisor. I e-mailed her to ask what Mr. Stewart wore on his feet in the scene. She sent me a copy of that page of her official costume plot. It was a lesson in the synergy in this collaborative art form as well as the generosity of friends. Black socks. He wore black socks.
The Scottsboro Boys 2010
I am still thanking the universe that I got to see this show. What a team! What a cast! What a sobering subject matter. This was one of the first pieces that I drew for Broadway.com that I connected with on such a profound level. After my official assignment, I returned to this production a few times, bringing friends along.
Arcadia 2011
I do my homework before seeing any show I’m assigned to. I have to admit, however, that sometimes, when the schedule is packed, I can get a bit lazy. Approaching this Stoppard play, I must admit that I didn’t know much about it. But my dear friend Lisa who has joined me at many weighty play-going experiences told me that this was among her favorite plays. It spurred me to lean into my homework. I learned a lot about it, and it definitely resulted in a better illustration than I would have done originally. Also, she did ask me to include the turtle.
Bengal Tiger at the Baghdad Zoo 2011
I’m very grateful to say that Robin Williams bought the original ink sketch and five prints of this piece that represented his Broadway debut. His team contacted me and asked me to ship it all to his home in California. I was thrilled, but a little bummed that I’d likely not meet him in person. However, when wonderful NYC-based Arian Moayed and show family bought prints, I found myself at the Richard Rodgers Theatre making a delivery. (Ironically, another Broadway show for my pal Moira, this time washing lots of stage blood out of costumes). As I sat alone in the stage management office, a wild bearded face poked around the doorframe. “Are you the artist?” It was Robin. I stammered an affirmation. “I think I bought the original.” “Yes, you did. Thank you.” We had a quick conversation before he went off to fight call. My heart exploded a little. And as I crossed the stage to exit the theater, Robin stopped what he was doing. He gave me a thumbs up and exclaimed “Good job, boss.” I’ve been riding on that affirmation for years now.
Jesus Christ Superstar, Nice Work if You Can Get It 2012
This one will get a little personal, but I think it’s important. A dear friend named Johnny passed away in March of 2012. He took his own life. The day that news made it to NYC, I had already made plans to get together with my friend Lisa (of aforementioned Arcadia anecdote) and mutual pal Sully for St. Patrick’s Day. Before the meet-up, I was scheduled to attend the revival of Jesus Christ Superstar. I had seen Johnny in two productions of Jesus Christ Superstar, once as Jesus and another time as Judas. Honestly, this show was the last thing I wanted to see at this moment. I was having a rough evening, but I opened myself to the experience. You can see my illustration here. I walked down 8th Avenue after and was given the message that Sully was hanging at the Imperial Theatre where he and his fellow Nice Work If You Can Get It family had just started tech rehearsals, and he invited us up. Still heavy-hearted, I wandered up the backstage stairs at the Imperial, shortly thereafter joined by equally sad Lisa. We sat there for a substantial amount of time as flies on the wall as a few of the funniest people on Broadway decompressed after a long rehearsal day. Tales of early tech mishaps. Impressions of the drunk bridge and tunnel St. Paddy’s revelers along 46th Street. We laughed. Hard. Through occasional tears. It was thoroughly unexpected and totally cathartic. It was exactly what we needed at the moment. I don’t think they knew what they had done for us. Lisa and I then went to Joe Allen and ate and drank Irish stuff with Sully. And the pain of the day was cushioned by the love of friends and the collaborative embrace of our artistic community. I’m endlessly grateful. All this to say that we’re not on this journey alone. If you’re feeling adrift, shoot up a flare. We’re here.
Soul Doctor 2013
One of the joys of living in NYC is seeing dear long-time friends finding success in this wacky city. My pally E is one amazing example. He’s got a number of Broadway shows under his belt at this point, but this was the first time I was able to witness an old pal open as a lead in a Broadway show, alongside the amazing Amber Iman. On opening night, I sat between Eric’s mom Leslie and his publicist Lisa. I cried happy tears. Needless to say, I put a lot of pressure on myself to capture the moment as I was assigned in my official duties. I think this met the mark in many ways. So proud of my friend.
Fun Home 2013, 2015
This is another example of watching a friend anchor a new show in NYC. I was first assigned to cover Fun Home in its run at the Public Theater. I was blown away when I saw it and was tickled to see my friend Beth’s hand covered with new lyrics that had just been put in that day. Flash forward to covering the show on Broadway at the Circle in the Square and the chance to join Beth and her wife Shelley at their Tony Award night party. Oh boy.
The Last Ship, Beautiful 2014
The Last Ship is another show that my pally E opened on Broadway. The timing worked out so that when Mom, Aunt Sandi, and my grandma were in town seeing me flail about in Can-Can at the Paper Mill Playhouse, Mom was able to be my plus-one on my press tickets at The Last Ship. Thanks to E, backstage, Mom found herself feet from Sting. He had just returned from a vacation so he was entrenched in a conversation with the musical director and unavailable, but Mom said she was happy just breathing the same air as him. So I think we all won. Also, the family attended Beautiful: The Carole King Musical that Mom and Aunt Sandi connected with significantly because of their love for Carole King’s music. My grandma whose musical tastes might have crested with the Glenn Miller and Harry James Orchestras, after seeing the show, proclaimed that the songs in Beautiful “would do really well on the radio!”
The Father 2016
I feel that one’s education in their field continues forever. Most of my education in illustration over the years has been through my own research and just keeping my eyes open to the great work of others. But I did take advantage of the continuing studies program at NYC’s School of Visual Arts for a couple of classes because it afforded me the chance to learn from Steve Brodner, political and pop culture caricaturist and visual storyteller that I had long admired. I must admit that my own illustration workload kept me from completing all of my class assignments, but Steve asked if we could use one of my work assignments as a class assignment. Wow! This was great! The timing worked out to tackle The Father, starring Frank Langella (a role which later earned him a Tony). Although I had a relatively quick turnaround on the deadline, I bounced everything off of Steve, and he helped me shape it. One of the big lessons I’ve learned from him is to sketch way more than I think I need. Throw a lot of ideas out there. Along the way, a visual problem will likely be solved in a better way than if I had just settled on the first decent idea I’d come up with. Side note: I’m also happy to say that Steve continues in his wonderful encouragement of me and my work, accepting me as a colleague and even on occasion asking me in to talk to his classes. Grateful!
Shuffle Along, Or The Making of the Musical Sensation of 1921 and All That Followed 2016
Sometimes, the logistics of getting in to see a show and then accurately depict it on schedule is tricky. For this epic show, press tickets were hard to come by and the show was in flux a bit. My team bought me a ticket to attend so we could cover it well, but as the wonderful Audra McDonald was out the performance I attended, I saw her wonderful understudy Darlesia Cearcy. I checked in with the press team because a stipulation of my assignment was to feature Audra, and I wanted to represent her well. But they let me know that Audra’s and Darlesia’s costumes were a bit different and there wasn’t yet visual reference available for Audra’s. I adjusted, and I gave a bit of an abstract angle to some costuming. We made it work.
Oslo 2017
Every year, April brings quite the whirlwind of Broadway shows opening. Typically the deadline to be considered for that year’s Tony Award consideration comes the final week of the month. I’m often totally swamped with scheduling tickets, attending the shows, sketching, inking, coloring, etc. The privilege of seeing every Broadway show is a benefit that I’m endlessly grateful, so it seems ungrateful to say that, considering my immense workload and crazy April schedule, I’m not always enthused about schlepping into the Theatre District and sitting in a theater for another few hours. Just typing that feels icky. But it’s just true sometimes. In this case, I found myself in the Vivian Beaumont Theatre. I had honestly not learned a whole lot about Oslo, so I got the theater a little early to be sure I was able to read the Playbill. It was going to be over three hours? Oh heavens. It was about the Israel/Palestinian peace accord negotiations? Ah geeeez! I just had to hunker down. BUT! The play started, and as has happily been the case with many a show over my tenure, I was swept away. The storytelling was just SO good! The cast was stellar! The time flew by. It was just a kick in my pants to be open and actively grateful for the blessing of getting to experience the work of so many wonderful artists and to have the chance of celebrating it.
A Midsummer Night’s Dream 2017
Here’s another example of the gift of escaping into the theatre. Tensions were high at the beginning of the Trump presidency. (Well, they still are, but the feeling was somewhat new in 2017.) The Public Theater had presented Julius Caesar earlier in the summer in which Caesar was a Trump lookalike (as other productions had featured other presidents over the years) and security was heightened because of protest threats. I was so anxious when attending that one. But they followed it up with this sparkly gem of a production of Midsummer, directed by Lear de Bessonet and featuring such lovely folks as Phylicia Rashad, Kristine Nielsen, Danny Burstein, Annaleigh Ashford, Kyle Beltran, Jeff Hiller, and so many more. The fairies were all played by adorable folks of advanced age who were choreographed in whimsical dances by Chase Brock. It was the antidote to the earlier angsty experience and i think my joy in seeing it made its way to my sketch. In artsy composition speak, I separated the mortal world and the supernatural by playing with positive and negative space and by using varied color palettes.
Prince of Broadway 2017
I am never late for curtain. Well, that’s not true. When I moved to NYC, I spent good money on a ticket to see Book of Mormon and noted the start time incorrectly. It was a 7pm show on a Thursday evening. Right around then I was finishing up work at the desk, a 45 minute commute away. That was a painful lesson. Since then, I double and triple check start times. Almost all of the time. So, as I frequently attend the theatre on press comps, I’m epically aware that for many reasons, I can’t be late for a show’s curtain. But. On the night I was seeing Prince of Broadway on assignment, my friend Lisa and I were grabbing sushi at Kodama a couple blocks away from the theater. About five after 7pm, I casually revisited the ticket confirmation email. My heart dropped into my shoes. We were late. Lisa was great and settled up, got my food to go, and would join me at intermission. I raced over to the theater and watched the first half on the lobby monitors. Thankfully Prince of Broadway was a very episodic revue of sorts and I needed to pick just one character each actor portrayed to include in the sketch and I had plenty to choose from. (I did, however, buy a ticket to return so I could hear Jason Robert Brown’s overture and see the first part of the show.) Another lesson learned.
Harry Potter and the Cursed Child 2018
To be totally honest, I was allowed the benefit of seeing this epic show in advance of my official press tickets to see it. From the time I saw the show and drew it to the moment I was released to draw it for my Broadway.com assignment, I had to make adjustments. In the grand effort to #keepthesecrets, I was informed that I could only feature certain characters in my sketch. I had jumped the gun. Thankfully I often work in layers, so I was able to easily adjust my illustration before press time and replace various characters with house banners and magical swirls. But one of these days I’ll be able to show off my original piece. Side note: When I was assigned to draw the American replacement cast, I was given a new, broader list of characters I was allowed to feature.
Tributes to Elaine Stritch and Marin Mazzie 2014, 2018
There are a few traditions in the Broadway theater realm that honor the passing of legends. Dimming of theater marquee lights, etc. When Elaine Stritch died, Broadway.com asked me to draw a tribute to her. I was thrilled to tip my hat to her using various theaters she had played. An honor. The day Marin passed, I got an email asking me to pay tribute. I don’t want to seem dramatic, but since Marin is a friend, I was in the midst of my own small grieving process, so I used the assignment as part of it all. This was the result. We will always think of Marin when we see sunflowers.
My calling is to celebrate the creations and the creators in this collaborative art form. This calling comes with all the strings attached that life itself has. And I feel grateful to be here. More to come. Thank you for seeing me and what I celebrate.
Public Works: Hercules
One of the most thrilling and engaging theatrical events in NYC, now in its seventh year led by astounding Lear deBessonet, is The Public Theater’s Public Works program. Hundreds of local tri-state area folks join Broadway stalwarts and hoardes of other creative people to flood the stage of Central Park’s Delacorte Theater with celebrations of community and connection. Past productions have included The Odyssey, The Tempest, and last summer’s Twelfth Night. This year’s production, in cooperation with Disney is a new adaptation of the animated movie Hercules (music by Alan Menken and lyrics by David Zippel – including five news songs - book by Kristoffer Diaz, choreography by Chase Brock, directed by Lear deBessonet).
The cast includes over 200 NY/NJ residents including Jelani Alladin (Hercules), Roger Bart (Hades), Jeff Hiller (Panic), James Monroe Iglehart (Philoctetes), Ramona Keller (Thalia), Tamika Lawrence (Calliope), Krysta Rodriguez (Megara), Rema Webb (Terpsichore), cameo groups 10 Hairy Legs, Passaic High School Marching Band, and a special featured performance by Broadway Inspirational Voices. Special shout-out to the immense puppets created by James Ortiz.
I was honored to be invited by Lear to attend dress rehearsal. What a moving experience! It was so much to take in and I hope this doodle captures just a bit of the joy.
Public Works’ 2019 production of Hercules.
Celebration commissions.
I recently wrote on Facebook: “It’s fun to get reports of my doodles getting revealed. Midtown, West Village, Manila.” Well here they are…
Superhero.
This is adventure-filled new musical Superhero currently running at 2econd Stage’s Tony Kiser Theatre. It was commissioned by (amazing composer/lyricist) Tom and Rita Kitt for opening night. The sketch features Kyle McArthur, Kate Baldwin, Bryce Pinkham, Tom Sesma, Salena Qureshi, Julia Abueva, Jake Levy, and Nathaniel Stampley.
To celebrate the closing of the Greenwich House Theatre run of the astounding improv rap troupe Freestyle Love Supreme, their production company enlisted me to draw this. The sketch features Andrew “Jelly Donut” Bancroft, Arthur “Arthur the Geniuses” Lewis, Bill “King Sherman” Sherman, Chris “Shockwave” Sullivan, Utkarsh “UTK” Ambudkar, and Anthony “Two-Touch” Veneziale, along with guest stars (and previous core members) Lin-Manuel Miranda, Daveed Diggs, James Monroe Iglehart, and Chris Jackson. When I was able to attend, Lin was the guest emcee and Stephen Sondheim was sitting less than ten feet from me. The show was amazing. The bonus was watching Mr. S have such a great time as well.
Freestyle Love Supreme.
Jonothan Roxmouth (and Meghan Picerno) in The Phantom of the Opera.
The current international tour of The Phantom of the Opera just opened in Manila, The Philippines. Meghan Picerno (Christine Daae) wanted to give an opening night gift to her Phantom, South African star Jonathan Roxmouth. Here it is. Meghan wanted the focus to be on Jonathan, so I was thrilled to be able to draw Christine as the fantasy just almost in reach.
The Lunts and Ten Chimneys.
The Theatre Guild logo on 47th Street, NYC.
Alfred Lunt and Lynn Fontanne, golden couple of the Broadway stage, were individually among the most popular and highest paid actors of their day. At one milestone point in their careers they signed a contract with Theatre Guild. Since they would be taking a significant cut in pay to create great art, they made two key stipulations. First, they would only star in plays together. Second, they would have summers off to spend at Alfred's childhood home in Genesee Depot, Wisconsin: Ten Chimneys. This legendary move meant that they could create a legacy of great work in New York City (and on tour) most of the year and then, in their down time, build a legacy of hospitality and fine living.
In 2010, I began a collaboration with the Ten Chimneys Foundation on an exhibit of illustrations featuring Alfred and Lynn. The exhibit would cover two facets of this couple's extraordinary life: some of their key credits on Broadway and their lives at Ten Chimneys. The exhibit was displayed at the Lunt-Fontanne Program Center for their 2011 touring season. For more information about Ten Chimneys and their wonderful tours and programs, visit their website.
ON STAGE
The Ten Chimneys Foundation chose the plays I drew, mostly focusing on just the Lunts in plays they starred in together, but including a couple of key co-stars along the way. I’ve also included photos of the theaters (or former locations) I took when the exhibit was on display:
Dulcy, Clarence
Dulcy at The Frazee Theatre, 1921; Clarence at The Hudson Theatre, 1919
This piece features Lynn and Alfred in their individual breakout performances.
The Frazee Theatre once stood on West 42nd Street. In the photo at left below, it was in the space to the right of the Empire AMC movie theatre (which was previously called the Eltinge Theatre, named for the top female impersonator of his day and during Times Square development was actually picked up and moved hundreds of feet down the street). The Frazee was gutted in the 1988 for retail space and finally demolished in 1997 during the city's new 42nd Street movement.
The Hudson Theatre on West 44th Street began as a legitimate theater, then spent many years as a television studio (the first location of The Tonight Show) and then hotel conference space. It was recently restored and designated the 41st Broadway theater, ironically also the oldest Broadway theater since it originally opened just weeks before the Lyceum and the New Amsterdam. The Hudson is currently home to Burn/This.
The Guardsman
The Guardsman at The Garrick Theatre, 1924.
This play was adapted into one of the Lunts’ only film appearances. (They preferred the stage.) The Garrick once stood on West 35th Street around the block from historic Keen’s Steakhouse. It was demolished in 1932.
Pygmalion
Pygmalion at The Guild Theatre, 1926.
The Guild Theatre is now called the August Wilson Theatre and stands on 52nd Street, now the home of Mean Girls.
Design for Living
Design for Living at The Ethel Barrymore Theatre, 1933
Lynn and Alfred starred in this play with friend and frequent Ten Chimneys guest, Noël Coward who also wrote the play. The Barrymore is currently home to The Band’s Visit.
Taming of the Shrew
Taming of the Shrew at The Guild Theatre, 1935
Idiot’s Delight at The Shubert Theatre, 1936
The Shubert Theatre, prime showcase of the Shubert organization and anchor to Shubert Alley at 44th Street, is currently home to To Kill A Mockingbird.
Idiot’s Delight
Amphytrion 38
The Seagull
Amphytrion 38 at The Shubert Theatre, 1937
The Seagull at The Shubert Theatre, 1938
There Shall Be No Night
There Shall Be No Night at The Alvin Theatre, 1940
A young Montgomery Clift joined the Lunts in this play. The Alvin is now The Neil Simon Theatre and is home to The Cher Show.
O Mistress Mine
O Mistress Mine at The Empire Theatre, 1946
The Empire Theatre once stood on Broadway between 40th and 41st Streets. It was demolished in 1953.
A print of this image was purchased by a fellow who was a stage manager for the Lunts’ national tour of this play. He gifted it to Sardi’s and it currently hangs in the Little Bar on the first floor.
The Great Sebastians at The ANTA Theatre, 1956
The Great Sebastians
The Visit
The Visit at The Lunt-Fontanne Theatre, 1959
Their last Broadway play and the only one they performed on the stage of the theatre that now bears their name, The Lunt-Fontanne on 45th Street.
AT HOME
The foundation polled the docents for their favorite stories and locations around the estate. I did my best to commemorate the stories while featuring a variety of locations and the Lunts at various ages. The folks at Ten Chimneys would name the pieces.
Gracious entertaining. The Lunts loved entertaining. During their summers in Genesee Depot, they hosted their friends from New York. We took a leap in combining a few of their regular guests around the dining table at one time: Noël Coward, Helen Hayes, Montgomery Clift, Katharine Hepburn, Vivien Leigh, and Laurence Olivier. The Lunts' hospitality is legendary.
Dedication to craft. The studio is a little barn-like structure beyond the main house and past the garden. Many a dramatic passage was rehearsed and explored in this cozy retreat.
Lifelong friendships. There is a snapshot that is featured on the Ten Chimney tours which shows Lynn dying Helen Hayes' hair in the terrace room.
Balance. Alfred and Lynn in the garden with Walter, a very protective Toulouse goose.
Mentoring. The Lunts were known for their generosity in fostering talent in others. This legacy is carried on in the Ten Chimneys fellowship which takes place each summer. They also provided work and educational experiences for many Genesee Depot locals. Setting this sketch in the kitchen shows a bit of this, as well as showing Cordon Bleu-certified Alfred pulling some of his cardamom bread out of the oven as assistant Jules works in the background.
Whimsy. We show a Christmas gathering in the flirtation room. In the background are Alfred's sisters singing, and in the foreground we see the nieces and nephew (Johnny on the concertina). A story is told of one of the kids, having been offered milk after being allowed one glass of champagne each, said, "It tastes lousy after champagne, doesn't it?"
Creativity. Claggett Wilson was a painter and theatrical designer (who had designed the Lunts' production of Taming of the Shrew). In 1938, a visit of a few weeks turned into a two-year project of decorating Ten Chimneys. This included expansive murals in the drawing room (based on Biblical stories) and, as seen here, the entry way (which featured folks in various period costumes presenting symbols of hospitality).
Retreat. The hope with this piece was to show some of the grounds. There's the pool and the pool house (topped by a mermaid weather vane gifted by Cecil Beaton) as well as the original house on the property. This cottage was sometimes called The Hen House when it housed Alfred's mother and sister.
This piece also references two infamous stories at the estate. Noël Coward was known to walk totally naked from his upstairs bedroom all the way to his dips in the pool. The Lunts failed to inform a new (and rather conservative) maid about this. On first sight of this, she quit on the spot. Alexander Woollcott (amongst a long and varied life in the arts, memorialized as the inspiration for The Man Who Came to Dinner) often wore orange pajamas in the mornings. This resulted in other guests referring to him as an enormous pumpkin.
Lasting relationships. Alfred and Lynn were known to be very competitive in their table games. Many a battle was waged in the mural-lined drawing room, and in this instance they are being accompanied by Noël Coward on the “Noëlie piano” (which is also adorned with stunning Claggett Wilson paintings).
When this exhibit was on display at Ten Chimneys, the foundation invited me back to the estate to be a guest at one of their fantastic drawing room concerts featuring Christine Ebersole and Edward Hibbert reading Noël Coward’s letters and singing his songs, accompanied on that piano.
A life well-lived. Inspired by a photo of Alfred and Lynn walking down their driveway, away from the photographer, we flipped the angle. The fellow reading Dürrenmatt's The Visit in the foreground is Joe Garton, Ten Chimneys Foundation's founder and first president who passed in 2003.
Again, if you’d like to learn more about Ten Chimneys and/or want to visit, check out their website.
Genesee Depot, Wisconsin is a small unincorporated community located between Milwaukee and Madison. Once a whistle stop on the railroad that passed through town, the residents were very protective of their famous residents, often giving visitors incorrect directions when they asked where the Lunts lived.
Ten Chimneys became a National Historic Landmark in 2003.
The entrance and winding road to the The Lunt-Fontanne Program Center.
As I wandered NYC’s Theatre District in 2011 taking the theater location photos above, I dressed for the occasion.
Ten Chimneys (photographer unknown)