Proctors Archives - Ramblin' with Roger

Funny Girl; Hindustani violin

Albany Symphony Orchestra

My wife said to me, “Should we try to do both of these things, or is this really stupid?” I replied, “Yes, we should, and yes, it’s really stupid.” We had tickets to see Funny Girl at Proctors at 2 pm on April 5th as part of our subscription.

I’ve never seen Funny Girl, as a movie or as a musical. I did know that it was based on a real vaudeville performer named Fanny Brice, who was in Flo Ziegfeld’s Follies and became a big star on Broadway. Yet I know some of the music: If A Girl Isn’t Pretty, I’m The Greatest Star, and People. Don’t Rain On My Parade contains some of the most interesting chord changes I’ve ever heard.

I liked the first act. The second act seemed to have more focus on Fanny’s husband, Nick. It was less exciting, and the actor’s voice wasn’t consistently strong, cracking at least once.

The genuine local interest was that there was a former Albany High School young woman in the cast, Annabelle Duffy, an understudy for Fanny Bryce, as well as a couple of other characters, and also a swing. Melissa Manchester, known for songs like Midnight Blue, played Fanny’s mother. I’m glad I saw it, but I didn’t love it. I wonder if it was the end of the tour’s wear and tear, for the next stop, in Rochester, was the last for the touring company.

Next gig

We had obtained tickets from friends of ours who were under the weather to attend the Albany Symphony Orchestra concert at the Palace Theater in Albany that evening. After we got something to eat, we needed to pick someone up and take her to the Palace by the 6:30 pre-concert talk led by conductor David Allen Miller and composer Reena Esmail, who had written the Concerto for Hindustani Violin, a piece in five parts: Aakash (space), Vayu (air), Agni (fire), Jal (water), and Prithvi (earth) with an atonement postlude.

We learned that the soloist was Kala Ramnath, playing the Hindustani violin while seated on a platform with her legs crossed. It’s tuned lower than the standard violin, often using viola strings. She’s considered the Ravi Shankar of Hindustani violin. She was accompanied by her tabla player, Abhijit Banerjee.

The first piece of the program was Bolero by Maurice Ravel. We heard it by ASO 11 years ago. As I said at the time, Bolero is much better and more interesting than listening to recordings.

The Hindustani violin piece of music doesn’t adhere to standard Western music signatures. I’m not sure about this, but I could have sworn that Ramnath was looking offstage at composer Esmail to see when to come in. Whether that was true or not, it did seem to work.

Passion

After intermission, it was an early Berlioz piece, Symphony fantastique. The story that Miller told about Berlioz highlighted how he was inspired by his passionate feelings for Irish actress Harriet Smithson, whom he first saw in 1827 in the Paris production of Romeo and Juliet. She later became his wife in an unhappy marriage. The unconventional 55-minute Symphony was subtitled Episode de la vie d’un artiste (episode from the life of an artist).

Then my wife took TWO people home, making it an entertaining but exhausting day.

Re: Berlioz, check out Discovering Classical Music and a live recording by The Orchestre Philharmonique de Radio France conducted by Myung-Whun Chung.

Theatre!: Lehman Trilogy; Bring It On

cheerleading

My wife and I saw the Lehman Trilogy at Capital Rep on March 8, a 3 p.m. performance. It is the story of three immigrant Jewish brothers from Bavaria who started a small clothing store in 1840s Alabama. Henry arrives first, followed by his two younger brothers, Emanuel and Meyer. Over a century and a half, the business went from being a cotton dealer to railroads to banking and other activities before the 2008 economic collapse.

Lehman Trilogy is a three-act play by Italian novelist and playwright Stefano Massini. It initially ran for five hours as it was performed across Europe. It was translated by Mirella Cheeseman and adapted by British playwright Ben Power, trimmed to three hours.

The show was initially scheduled for Broadway on 7 March 2020 in previews, to open officially on 26 March. But everything shut down on 12 March. Eventually, the Broadway production won five Tony Awards in 2022.

“What’s remarkable is that all of the characters. From Steve Barnes’ TU review: “It’s hard to overstate just how good the cast is or the epic nature of the acting tasks set before them. Two are long familiar to audiences at The Rep: Kevin McGuire for 14 years (‘Man of La Mancha,’ ‘Red,’ ‘A Midsummer Night’s Dream,’), Oliver Wadsworth for 24 (‘Fully Committed,’ ‘A Sherlock Carol’). The chameleonic triumvirate, who combined play 47 roles, is ably completed by William Oliver Watkins, returning to The Rep after an impressive performance in ‘Sweat’ a year ago this month.”

You always knew which characters they played: sons, wives, competitors. It was remarkable. See if you can.

Bring It On: The Musical

I’m sure I never saw the 2000 movie Bring It On, though my wife and daughter had.

Albany High School staged a production of Bring It On: The Musical, and though it was a busy week, my wife and I attended the March 14 show. While both stories centered on cheerleading, my wife stated that the musical’s narrative, created a decade after the film’s release, was far more compelling. “On her last day of junior year, Campbell Davis prays to be named the captain of the Truman High School cheerleading squad.” She gets the gig, but “two weeks before the end of summer, Campbell receives a letter with terrible news: she’s been redistricted to inner-city Jackson High School.”

The musical was fabulous, from the videos telling us to turn off our phones to the metal detectors at Jackson High. (The audience went through detectors before the show.) Campbell’s telephone conversations with her Truman buddies were likewise on the screen in the back, to significant effect.

In the past decade, we have seen several musicals at Albany High. There have often been star performers, but the ensembles have become stronger musically. The sound is better, and so is the orchestra.

“Each year, the Collaborative School of the Arts High School Musical Theatre Awards (HSMTA) celebrate the incredible talent, dedication, and creativity of high school students from across the Capital Region.” I’m rooting for Albany High.

Gala

On March 10, I went with my friend Mary to the 2025-2026 Season Announcement Bash for the shows that will be playing at Proctors in Schenectady and Cap Rep in Albany. Broadway World shared the list. Performers from A Beautiful Noise, the Neil Diamond musical (Sweet Caroline), Spamalot, The Sound of Music (Do-Re-Mi), & Juliet, and The Outsiders sang.

My wife and I got season tickets for both venues this current season, which was probably overly ambitious; we’re figuring out what to do in the future.

Theater: Parade; Maybe Happy Ending

from Atlanta to Seoul

By happenstance, I saw two theatrical productions in three days, Parade and Many Happy Ending.

In February 2024, Proctors Theatre in Schenectady held an event to announce the 2024-25 Broadway schedule for Proctors and Cap Rep in Albany.

When they discussed the musical Parade, which would start its tour at Proctors, an older gentleman on a screen said essentially that it was a sad and depressing story, but it was good. That could not be the “sell” the Proctors’ folks wanted to hear.

The musical won the 2023 Tony Award® for Best Revival of a Musical and was nominated for a Grammy Award® for Best Musical Theater Album.

Katherine Kiessling of the Times Union wrote, “The heart of the show is assigned to Leo and his wife Lucille, played by Max Chernin and Talia Suskauer. The pair is charged with embracing the Franks’ rough edges—his aloofness and her initial desires to cling to her privileged life and flee the hardships of her husband’s trial—and eliciting empathy.”

They are a Jewish couple in the nineteen-teens Atlanta. He’s from Brooklyn, but she’s a native of Georgia. He runs a pencil-making factory. A young female employee is killed, and Leo is suspected.

Variety asked about the 2023 revival: “Will audiences take to a disturbing but captivating musical that deals with racism, antisemitism, and injustice?” Newspapers superimposed on the stage area ensure the audience knows the outcome before the production begins.

It’s very well done and important. While having a downer of an arc, it’s not all depressing, and it was worthwhile. My wife and I attended the January 11 program. It will be touring throughout the country through September 7.

Made in Korea

Two days later, my daughter and I were in Manhattan working on a project. We contacted one of my nieces and her Significant Other. They secured four rush tickets for Maybe Happy Endings at the Belasco Theatre for January 13. The show opened on November 12.

“Inside a one-room apartment in the heart of Seoul, Oliver (Darren Criss, probably best known from Glee) lives a happily quiet life, listening to jazz records and caring for his favorite plant…

“When his fellow Helper-Bot neighbor Claire (Helen J. Shen) asks to borrow his charger, what starts as an awkward encounter leads to a unique friendship, a surprising adventure, and maybe even…love?”

The Will Aronson and Hue Park musical reminds us that “love is never obsolete.” It was delightful, not just because of the storyline, dialogue (“She’s a 5” was particularly funny), songs, and performances, which included lounge singer Gil Brentley (Dez Duron) and James and others (Marcus Choi).

Maybe Happy Ending uses specially made video projections, plus a fantastic physical space. “The musical exists in the relatively constrained spaces of the Helperbot retirement home, but there are also a series of flashbacks to Oliver’s time working with James in his house and Claire’s time working for her owner. Then, when the two robots eventually leave their apartments, there’s an entirely new landscape and horizon to contend with. And all of this takes place in a single unbroken act…”

Technology

Laffrey’s solution was to create a “machine that moved us through this world.” He used a “giant mechanism that encompasses the whole stage and fills it with moving pieces. For most of the show, the audience’s view is comprised of one or two boxes, one for each of the robot’s rooms—those boxes can slide horizontally, meaning there’s occasionally a single room and, more often, two side-by-side. The stage also has a central turntable, upon which some sets (James’ house, for instance) rotate.

“Simultaneously, Laffrey designed four huge black panels trimmed with neon. These panels, which are positioned in front of the stage where a curtain would be, slide up and down and side-to-side in order to act like a camera lens’s iris, opening wide to show the whole stage or narrowing to focus on a single piece of action. It’s a tool that occasionally makes the musical feel more like cinema than theater—the audience is seemingly viewing the play through a giant lens.”

A Korean-language version of Maybe Happy Ending opened in Seoul in 2016, and its English-language premiere was in Atlanta the following year. The show was very enjoyable, though sitting in the fourth row of the balcony, I had difficulty seeing some limited action in front of the stage.

MJ, as in Michael Jackson

jukebox musical

My wife and I went to Proctors Theatre on Wednesday, December 4th, to see the touring company of the Broadway musical MJ. We had planned to attend the following weekend, but a more intriguing offer arose.

I thought it was funny when several dancers were working out on stage, and some people behind us complained. “Why are they stretching now? Why didn’t they do that backstage?” They didn’t recognize that this was part of the actual show, as I had suspected. “Five minutes before Michael!”

It isn’t easy to separate the show from what one already knows about Michael Jackson, and I know a lot. The trick about these so-called jukebox musicals is that you can’t just have a whole string of songs together in a “then he sang” order.

For instance, I thought Michael’s mother Katherine, who was supportive without being harsh, was involved in one of the early great performances, singing I’ll Be There with Little Mike and contemporary Michael. Here’s a guide to the songs.

It’s like the 1992 Dangerous concert that MJ and his troupe were preparing for. You have to have a narrative flow. Michael was an artist with a vision who never wanted to hear “No.” Everything had to be bigger and better, even when it didn’t make sense financially.

A different Joe Jackson

The production made much of this, rooted in his never-satisfied father, Joe, who pushed his sons to form what became the Jackson 5. He could see that Michael had the greatest potential for success. Joe was a failed musician who put his dreams aside in favor of factory work and raising a family of nine. He was living through Michael, and he could be brutal to his son. You can’t live on your laurels.

The MTV reporter who hung out around the rehearsal intimated some of the rumors about Michael sleeping in a hyperbaric chamber, getting plastic surgery, and bleaching his skin. Michael mostly sidesteps them.

Possibly the most interesting feature is that the same actor plays the guy playing his father and the guy playing his manager, and sometimes, they blend together in Michael’s mind.

Ultimately, I think it was a decent musical, although I thought the first half of the Lynn Nottage script was much stronger than the second.

I was reading someone’s comment that the main character (Jamaal Fields-Green) occasionally disappeared. Many interviews I’ve heard featured that high-pitch, fairly monotone vocal pattern.

I enjoyed the show for what it was, though I was happy that songs were unfamiliar to some of the audience so I could experience the performers. The MJ tour continues through August 2025.

Mildly off-topic: Unreleased Michael Jackson Tracks Discovered in Abandoned Storage Unit

Black Theatre Troupe of Upstate New York (BTTUNY)

Eclipsed

On June 21, 2021, it was announced that the Black Theatre Troupe of Upstate New York (BTTUNY) will be a Resident Community Company at Capital Repertory Theatre (theREP) (251 N. Pearl Street).

“For eleven years of programming, [BTTUNY] (formerly named Soul Rebel Performance Troupe) has had no permanent performance space, which necessitated an ongoing search for venue availability for every show the company produced. With dedicated headquarters in Capital Repertory Theatre for their upcoming productions, Founding Artistic Director Jean-Remy Monnay states, ‘…it is very exciting to know that BTTUNY has a secure home base for all of our shows this season and into the future. To know that we can plan a full season of work because we don’t have to worry about ‘where’ the next production will take place, is just so wonderful. With this residency, BTTUNY can grow. Our programming can grow, and so can our audience base.'”

This is way cool. My wife and I have spent a fair amount of time in the “new” CapRep building. For the past few Octobers, it has hosted the Readers Theatre fundraiser for Wizard’s Wardrobe, an afterschool tutoring service in Albany’s South End .

Support

“In addition to providing space on both of their new stages (the Lauren and Harold Iselin Studio and the theatre’s Main Stage) – Capital Repertory Theatre (and the Proctors Collaborative) will provide some support to BTTUNY such as ticketing, marketing, and development support, and some production support as outlined in the agreement between BTTUNY and the Proctors Collaborative. However, BTTUNY remains its own company. All programming and decisions for BTTUNY remain in the hands of Monnay and his board of directors.”

Part of that ticketing support this year included offering season ticket holders of Cap Rep and Proctor’s Theatre in Schenectady – this year, we took both! – complementary Try Me tickets. The Proctors Collaborative, including the Universal Preservation Hall in Saratoga Springs, uses this method to promote programs that might not have as much visibility. BTW, I’ve never been to UPH and need to rectify that.

On the list of Try Me tickets was a BTTUNY production of Berta, Berta. What’s that? From playwright Angelina’ Cheri’s website: “After committing an unforgivable crime, Leroy is granted one final wish: a chance to make amends with his long-lost lover Berta. Their reunion swells from a quarrelsome conjuring of the past to an impassioned plot to escape their impending fate.

Song

“The play is inspired by the prison chain gang song ‘Berta, Berta’, which originated on Parchman Farm, Mississippi State Penitentiary. It is a fictional origin story.”

The CapRep /BTTUNY description is slightly different. To my mind, it’s more accurate: “Set in 1920s Mississippi, ‘Berta, Berta’ tells the story of Leroy, a Black man sent to jail for following a White woman down the street to help her–a supposed crime that never existed. Prison changes him, and upon getting out, he finds himself to be a true criminal. Before giving himself back up to the police, however, he is determined to make amends with his long-lost girlfriend, Berta. The play highlights themes of doomed love, tragic misunderstandings, a flawed and biased prison system and magical realism.”

Review

The review in the Berkshire Eagle by J. Peter Bergman is spot on. “On director Michael A. Lake’s three-room set, Sadrina Renee and Alvin Kershaw play their story with grace and passion and their very professional abilities. You can’t help falling in love with these troubled people as they live through their traumas and their needs…

“This is a play like no other I have seen, and I have seen a lot of plays in my lifetime. There is rarely a moment when the two players are still, and those are all utterly romantic. Lake has kept Berta as active as a person could be at two in the morning. Leroy, on the other hand, facing disgrace and arrest, is as calm a human being as possible, an amazing feat of control. The way in which he responds to her would make him as fidgety as Berta, but instead, his calm is sometimes chilling.”

The play’s short run ended in October, but BTTUNY will be performing more programs this season. Valley Song by Athol Fugard will be at Hubbard Hall in Cambridge, NY, about an hour from Albany, on November 15-17 and 22-24.

They will perform Once On This Island on CapRep’s main stage from February 6 to 16, 2025. I saw this show at Proctors in 2020, just before the pandemic.

The final BTTUNY performance of the 2024-25 season will be Eclipsed by Danai Gurira from May 29 to June 8 in TheRep’s Iselin Studio. Based on the quality of Berta, Berta, I imagine these will be fine performances.