I was very sad when I heard that Muppeteer legend Jerry Nelson died last week. I met him on my very first visit to the real Sesame Street, and it was as momentous as anything else that happened that mind-blowing day. I wish I could remember exactly what I said to him, but I know it was something about having listened to his voice for practically my entire life.
I could tell that it genuinely meant something to him that I knew him and his work so well. He both wanted to hear it, and at the same time seemed to not quite be able to believe the impact he had had on a perfect stranger. It's an odd sort of fame, being a Muppeteer. But from my earliest days of Muppet fandom, he was one of the Big Four: Jim Henson, Frank Oz, Jerry Nelson, and Caroll Spinney. I always particularly loved Jerry's character Herry Monster, and feel honored to have performed him on two separate occasions.
Jerry was probably the most vocally versatile Muppeteer ever, and the most musical. There was some indefinable magic in his voice that made all of his characters fun to listen to, no matter how completely different they may have sounded from each other.
In terms of Jerry's "position" in the ranks of Muppetdom, the best analogy I've been able to come up with is to the first cast of Saturday Night Live. (And yes, it's completely weird that he and the other Muppeteers were actually in the first cast of SNL. But I digress.) I propose the following:
Jerry Nelson is to Frank Oz as Dan Aykroyd is to John Belushi
Belushi was the "star" talent. He had a huge, crowd-pleasing presence, and some truly memorable characters. He was great. The "audience favorite". But look at Aykroyd. He was always there to support, to fill whatever space was left by Belushi, and to do so memorably and often with brilliance. And this is not to say that Aykroyd wasn't completely capable of headlining a project himself, which he did splendidly. But he was never the crowd-pleaser that Belushi was...and yet, if you want to talk about sheer talent and versatility, who had more of that? Belushi or Aykroyd?
A brilliant utility man. That was Jerry Nelson. I'm so grateful to him for providing an enormous amount of inspiration at a very early age, and I'm so grateful I got to tell him that.
Thursday, August 30, 2012
Sunday, August 26, 2012
"Ringo at the Ryman" DVD preview
In this post I talked about the wonderful concert of "Ringo Starr and His All-Starr Band" at the Ryman this summer. In Ringo's August video message, there is what must be some footage from the upcoming DVD of that concert. I count at least 5 cameras used in that excerpt from the Ryman concert. Looking forward to the real release!
Wednesday, August 22, 2012
Nutty in Nashville
On Sunday I saw the final performance of the "Nutty Professor" musical here in Nashville. Earlier, I saw the final preview, and the crowd was elated when Jerry Lewis himself came out at curtain call. (See my previous blog post.) Alas, there was no Jerry this time; he had left Nashville a couple of weeks earlier.
And I was very sad to learn that the show's composer, the late Marvin Hamlisch, never got to see the show onstage. He was in town for a welcome party on July 9th, but never made it back. (The first preview was July 24th; Hamlisch died on August 6th.) I really like his "Nutty Professor" score, apparently his last complete one for the musical theatre. No matter what happens with the show from this point on, I hope they will be able to record a cast album. The score is lovely and dynamic and fun, and needs to be preserved for posterity. The ballad "While I Still Have the Time" certainly makes for a poignant coda to Hamlisch's incredible career.
I'm glad I got the chance to see the show a second time, although any changes from the preview I saw were undetectably minor. It is certainly a very enjoyable show, though by no means perfect. Having done a lot of adaptations myself, I'm very interested in the concept of "adaptation" in general, and I'm intrigued with how Lewis' 1963 movie was turned into a stage musical. So this isn't intended to be a "review" of the entire production, so much as just an exploration of the show's structure.
I watched Lewis' Nutty Professor film just before seeing the preview, and probably four times more between then and the final performance. I think the film works on its own terms, more as a character study of Kelp/Love than anything else. There's one issue though that both the film and musical fail to acknowledge, and that's the propriety of a relationship between Professor Kelp and student Stella Purdy. I believe most colleges have strict policies against this, right? But it never seems to cross anyone's mind. Faculty members are banned from going to the Purple Pit, but I guess they're completely free to commingle with students anywhere else!
To be fair, even after seeing the musical twice, I can't remember if Stella actually becomes a student of Kelp's. Unlike the movie, she doesn't start out that way. But after Kelp teaches her a little about chemistry and she warms to the subject (and its teacher), does she then enroll in his class? I believe so, but don't remember for sure. But even if she doesn't, and isn't technically a student of his, that's a mere "workaround" on an issue that was probably pondered by every audience member at one point or another. I think it should be tackled head on; it could even be used to advantage as a plot point.
And speaking of plot, here's what I see as the show's main problem: While the film is full of interesting and amusing incidents, it's pretty skimpy on actual plot. And I'm afraid this holds equally true for the musical. There comes a point in Act II when I ask myself: "What exactly is happening? What am I waiting to see resolve?" Interesting things happen, to be sure, but the central conflict never really comes out into the clear. I suppose that conflict is "Will Stella see Kelp for who he is, and forget her infatuation with Buddy Love?" But since Kelp and Love are ultimately the same person, and Stella already seems half-sweet on Kelp anyway, there's a level on which it simply doesn't matter which she chooses.
Even in what is supposed to be a light and frothy evening, the story needs much higher stakes. Sure, Kelp is longing to be accepted for who he is, but we need something stronger to care about than that. The character of Miss Lemon has been greatly expanded from the movie, and that's fine, but she and Warfield remain decidedly peripheral characters to the main storyline. It's Stella and Kelp/Love that need to engage us, and give us something stronger to care about. The musical stirs a few new complications into the movie's storyline, but it doesn't really manage to raise the overall stakes.
I don't want to even begin to play script doctor here, but I can't help but feel that the answer lies in the character of Stella. Her fate needs to be hanging in the balance, in an important way, and so the Kelp/Love conflict must be resolved for the benefit of her personal welfare. Maybe Love is pulling her towards the dark, seamy, and dangerous side of life, while Kelp is trying to pull her towards higher education and "the light"? I don't know.
But I really hope this gets addressed in the musical's next step on the path to Broadway. The show has a lot of promise, and for many reasons it deserves to reach a larger audience. I hope that happens.
And I was very sad to learn that the show's composer, the late Marvin Hamlisch, never got to see the show onstage. He was in town for a welcome party on July 9th, but never made it back. (The first preview was July 24th; Hamlisch died on August 6th.) I really like his "Nutty Professor" score, apparently his last complete one for the musical theatre. No matter what happens with the show from this point on, I hope they will be able to record a cast album. The score is lovely and dynamic and fun, and needs to be preserved for posterity. The ballad "While I Still Have the Time" certainly makes for a poignant coda to Hamlisch's incredible career.
I'm glad I got the chance to see the show a second time, although any changes from the preview I saw were undetectably minor. It is certainly a very enjoyable show, though by no means perfect. Having done a lot of adaptations myself, I'm very interested in the concept of "adaptation" in general, and I'm intrigued with how Lewis' 1963 movie was turned into a stage musical. So this isn't intended to be a "review" of the entire production, so much as just an exploration of the show's structure.
I watched Lewis' Nutty Professor film just before seeing the preview, and probably four times more between then and the final performance. I think the film works on its own terms, more as a character study of Kelp/Love than anything else. There's one issue though that both the film and musical fail to acknowledge, and that's the propriety of a relationship between Professor Kelp and student Stella Purdy. I believe most colleges have strict policies against this, right? But it never seems to cross anyone's mind. Faculty members are banned from going to the Purple Pit, but I guess they're completely free to commingle with students anywhere else!
To be fair, even after seeing the musical twice, I can't remember if Stella actually becomes a student of Kelp's. Unlike the movie, she doesn't start out that way. But after Kelp teaches her a little about chemistry and she warms to the subject (and its teacher), does she then enroll in his class? I believe so, but don't remember for sure. But even if she doesn't, and isn't technically a student of his, that's a mere "workaround" on an issue that was probably pondered by every audience member at one point or another. I think it should be tackled head on; it could even be used to advantage as a plot point.
And speaking of plot, here's what I see as the show's main problem: While the film is full of interesting and amusing incidents, it's pretty skimpy on actual plot. And I'm afraid this holds equally true for the musical. There comes a point in Act II when I ask myself: "What exactly is happening? What am I waiting to see resolve?" Interesting things happen, to be sure, but the central conflict never really comes out into the clear. I suppose that conflict is "Will Stella see Kelp for who he is, and forget her infatuation with Buddy Love?" But since Kelp and Love are ultimately the same person, and Stella already seems half-sweet on Kelp anyway, there's a level on which it simply doesn't matter which she chooses.
Even in what is supposed to be a light and frothy evening, the story needs much higher stakes. Sure, Kelp is longing to be accepted for who he is, but we need something stronger to care about than that. The character of Miss Lemon has been greatly expanded from the movie, and that's fine, but she and Warfield remain decidedly peripheral characters to the main storyline. It's Stella and Kelp/Love that need to engage us, and give us something stronger to care about. The musical stirs a few new complications into the movie's storyline, but it doesn't really manage to raise the overall stakes.
I don't want to even begin to play script doctor here, but I can't help but feel that the answer lies in the character of Stella. Her fate needs to be hanging in the balance, in an important way, and so the Kelp/Love conflict must be resolved for the benefit of her personal welfare. Maybe Love is pulling her towards the dark, seamy, and dangerous side of life, while Kelp is trying to pull her towards higher education and "the light"? I don't know.
But I really hope this gets addressed in the musical's next step on the path to Broadway. The show has a lot of promise, and for many reasons it deserves to reach a larger audience. I hope that happens.
Monday, July 30, 2012
Nutty, Nuttier, Nuttiest
Saw the "Nutty Professor" musical in previews last week! Enjoyed it very much. Perhaps at some point I'll expound upon the experience a little, but in the meantime let me say "Bravi" to all involved, I think the show has great potential, and thanks to The Nuttiest One himself — Jerry Lewis — for appearing at curtain call!
Saturday, July 14, 2012
Alice Ripley on Hee Haw!
I was surprised to hear that Broadway star Alice Ripley did time in 1992 as a Hee Haw Honey in the final year of "Hee Haw". Twern't hard to find the evidence, though. That's not her in the frame below, but she's the first one to appear in this video (with fellow "Les Misérables" Broadway star Gary Morris).
She's not in it again after the first 12 seconds, so you can quit watching after that. You're welcome.
She's not in it again after the first 12 seconds, so you can quit watching after that. You're welcome.
Friday, July 13, 2012
All Aboard with Mr. Be!
One of my earliest TV watching memories is a show called "All Aboard with Mr. Be". It aired on WDCN, the Nashville public television station we watched in my hometown of Clarksville. A little recent research revealed that the show was shot at WKNO in Memphis. I also read that the puppets were built by legendary Nashville puppeteer Tom Tichenor, and performed by a Memphis high school student named John McDonald. I have always remembered the name of one of the puppets, "Poncey de Lion", who was of course a lion.
And today I got confirmation via email that the "Mr. Be" puppeteer was the same John McDonald who is now artistic director of the Roxy Regional Theatre in Clarksville! John and Tom Thayer have done an incredible thing in creating a professional theatre in Clarksville. I saw their "Into the Woods" a couple of years ago, and was very impressed.
As I told John, my childhood self would be very proud that my grownup self knows Poncey de Lion personally!
And today I got confirmation via email that the "Mr. Be" puppeteer was the same John McDonald who is now artistic director of the Roxy Regional Theatre in Clarksville! John and Tom Thayer have done an incredible thing in creating a professional theatre in Clarksville. I saw their "Into the Woods" a couple of years ago, and was very impressed.
As I told John, my childhood self would be very proud that my grownup self knows Poncey de Lion personally!
Sunday, July 8, 2012
Ringo at the Ryman 7/7/12
Wow, what a great concert! Ringo Starr and His All-Starr Band played the Ryman last night on Ringo's 72nd birthday, and we were there! Burton, Laura, and I have now seen two Beatles live, and I'm afraid it's going to have to stop there.
Earlier in the day, I braved the 100+ degree heat solo to attend Ringo's traditional "Peace and Love" moment in front of the Hard Rock Cafe at noon. I was able to snag two of the white P&L wristbands that Ringo and others tossed to the crowd, but I wasn't so lucky with the large peace-symbol-frosted cookies.
The concert started at 8. While my knowledge of 70s-80s rock is severely limited, I knew practically every song played last night. The line up of the All-Starr Band was Todd Rundgren, Steve "Toto" Lukather, Gregg "Santana" Rolie, Richard "Mr. Mister" Page, Gregg Bissonette on drums, and Mark Rivera on everything else. When Ringo wasn't singing up front, he drummed on every number except Black Magic Woman. (He played a cajón on Page's "You Are Mine".)
Ringo played a piano intro on "Don't Pass Me By", which he described as the first song he ever wrote. He seemed a little sheepish about it, and after the song he mentioned the lyric "You were in a car crash/And you lost your hair", saying something to the effect of "When I wrote that, I thought 'Look out, Lennon and McCartney!'". Nice to hear the song, but I'm probably not the only one who wishes he had done "Octopus's Garden" instead. Or both.
With the exception of "With a Little Help From My Friends", Ringo sang all his hits in lower keys, sometimes by as much as a fifth. But if you were going to a Ringo concert for his sterling vocals, you were going to be disappointed anyway! He sounded great. He's Ringo. He's a Freakin' Beatle. Who can quibble? And he looked incredible; not an ounce of body fat on that 72-year-old frame!
When Ringo returned to the stage after "Black Magic Woman", Rivera led the house in singing "Happy Birthday" (the traditional song, not the Beatles one). Ringo joked: "Thank you, Mark! Enjoy this show; it's your last." Ringo then sang "Anthem" from his latest album, which he followed with the Lennon-penned "I'm the Greatest". Funny to hear him sing "Now I'm only 72/And all I wanna do/Is boogaloo"!
It was after this number that we got a special guest, as Joe Walsh took the stage to perform "Rocky Mountain Way". Walsh returned at the very end to sing backup on "With a Little Help From My Friends", along with Brendan Benson, Kix Brooks, Gary Burr, Felix Cavaliere, Vince Gill, Richard Marx, Brad Paisley, and Lucy Walsh.
Here's the complete setlist:
Matchbox (Ringo)
It Don't Come Easy (Ringo)
Wings (Ringo)
I Saw the Light (Rundgren)
Evil Ways (Rolie)
Rosanna (Lukather)
Kyrie (Page)
Don't Pass Me By (Ringo)
Bang the Drum All Day (Rundgren)
Boys (Ringo)
Yellow Submarine (Ringo)
Black Magic Woman (Rolie)
Anthem (Ringo)
I'm the Greatest (Ringo)
Rocky Mountain Way (Walsh)
You Are Mine (Page)
Africa (Lukather)
Everybody's Everything (Rolie)
I Wanna Be Your Man (Ringo)
Love is the Answer (Rundgren)
Broken Wings (Page)
Hold the Line (Lukather)
Photograph (Ringo)
Act Naturally (Ringo)
With a Little Help From My Friends (Ringo)
Give Peace a Chance (All)
There were several videocameras there, including one on a jib; the concert will reportedly be released on DVD! Look for me in it; I'll be the middle-aged guy in the audience with the big smile on his face.
UPDATE HERE!
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