On Meeting Lena Horne

My first real job took me to LA. I worked the Las Vegas Fun Train in Winter sometimes and once met Mantan Moreland, a comic actor best known for his wide-eyed presence in the Charlie Chan movies. I told him that I was going to see Lena Horne at Caesar’s Palace, he gave me his card and said to use it, he’d meet me there. Mantan didn’t come with me to the show, he decided to hang out with his pals. Caesar's employed celebs like comedian Nipsey Russell and the former heavy-weight champion Joe Louis to mingle out and about the casino lobby area.

Mantan’s card put me in Lena Horne’s dressing room, she was expecting Mantan---of course. I told her he was out front somewhere with Nipsey and would see her later. Lena Horne was beautiful and gracious to me, a regal iconic figure of civil rights change and great strength. She sat at her dressing table still wearing a tight fitting royal blue sequined gown, her coal black hair stylishly short. A framed photo of her son stood on the table. She had lost her husband not too long before the Caesars Palace engagement and in fact, had been out of the limelight for a few years. We spoke a few minutes about little that I can remember now some 38 years later. She signed a photo to me, I thanked her and left.

Today, I can still see Lena Horne standing on the stage at Caesar's Palace, her dark eyes piercing straight ahead as she sang. Ms. Horne recorded "Being Green" in 1972, it's the best I've heard---even better than Kermit. It seemed such a poignant statement about the treatment Lena Horne and other black entertainers had received over the years.

One afternoon on my day off, I drove up to Mantan's place just off Highland, I hadn't run into him again while in Las Vegas. He showed me his scrapbook, drank hard liquor with milk in it and spoke adoringly about Leslie Uggams as though he had discovered her. About a year later after I'd moved to Washington, D.C., I read in the news where Mantan had died. Whenever I see, hear,write or read about Lena Horne, I always think of Mantan.

Tina Fey at "30 Rock" SNL's Perfect Palin

NBC's Saturday Night Live team gave fans a perfect parody of Sarah Palin with Tina Fey's return to 30 Rockefeller Center last night.

Amy Poehler portrayed the tougher stereotypical view of Hillary Clinton in sharp contrast to the clear likeability quotient of Sarah Palin. If we've learned one thing during this campaign, the likeability factor remains King or Queen.

Fey hit the mark on every media discussion point of recent days by covering the difference between pitbulls and pigs, Palin's foreign policy experience "I can see Russia from my house," and professing her service as mayor of the "crystal meth capitol of Alaska." SNL fans should expect to see more of Fey's Palin. It seems only fitting at this point, if we can't cry over the election mess, we'll just have to laugh. Again.

MAMA MIA Delivers On Happy

Seriously sappy and happy, MAMA MIA triumphs on the big screen. Ignore the critics. Don't expect a great film, see it for the sheer entertainment of watching Meryl Streep lead an eclectic ensemble cast in being silly and charming while singing ABBA tunes amid a glorious Greek Island backdrop. I defy women over 50 to not walk out of their neighborhood movie theatre with a smile and lighter step, it can't be done.

I remember seeing Streep for the first time in a PBS broadcast version of Wendy Wasserstein's stage show "Uncommon Women and Others"-- it's hard to imagine this now, but the show had to be at least 30 years ago. The next time I remember seeing her was in "Julia" and "Kramer vs. Kramer." These critically acclaimed performances were followed a few years later with her emotionally shattering performance in "Sophie's Choice." Watching MAMA MIA caused me to reflect that Meryl Streep has delivered many of the most naturally striking performances of my generation. Very cool.

It seems odd to me, but I have friends who really don't care for Meryl Streep, something that I don't quite understand since I'll actually see a film because it has Streep in it--regardless of the critical reviews. I'm always curious to see how she delivers a role, embodies a character. So, I appreciate Meryl Streep in just about any project she undertakes.

Her early breakout performances underscore womens' role in society, MAMA MIA offers yet another culturally historic snapshot of circumstance, choice, and consequence. Among my generation, it's very familiar territory when contrasting her character's life with those of her best pals, played by the incomparable Julie Waters and Christine Baranski.

As for me and MAMA MIA, I always enjoyed listening to ABBA in the 70's for sure, and "Dancing Queen" is one of my favorite numbers in the film.

I was struck by the lighting in the film and attribute some of this to what I remember about the Greek Islands. The light and color of the sky and water are like no where on earth. When you first see Meryl Streep on screen, you'll notice she's standing in a halo of light, the effect is a combination of natural light and how the film is lit. My filmmaker friends tell me that lighting is the most important aspect of a film shoot, I can't say otherwise after watching MAMA MIA. The director and DP definitely make the most of light. Silly entertainment with a lot of heart, MAMA MIA delivers on happy.

Got a MAMA MIA story to share? Feel free to comment.

Photo Credits: Universal, Peter Mountain

Check out a fun clip of "Dancing Queen":

Mama and Me In The First Church of Harpo

Oprah arrived at our family home to meet and speak with my Mother. Since Mama died 19 years ago a few days before Mother's Day, I find it significant that the high priestess of The First Church of Harpo sought her out.

I'd opened the front door to find Oprah coming up the walk, a small entourage of people with her, a limousine parked out front on the narrow street that most people have a hard time finding.

"Oprah's here," I called out, silently wondering what in the world is Oprah doing at my childhood home in Florida. A flurry of activity and greetings followed all around, a few "Faithful Friends" from my parents Sunday school class were there helping Mama get ready for a luncheon.

"O" came into our living room and sat in one of the upholstered side chairs. She was tired and without pretense told us she "needed a little refuge time along with some spiritual rejuvenation."

Everyone left Oprah alone for a moment except me, I'd been standing off to the side observing. She fit right in with her surroundings as if it was perfectly normal for her to be sitting in a stranger's living room. Someone handed her a tall glass of ice tea.

Even though "O" looked bone tired and needed refuge from celebdom, I cast aside my southern manners and approached her.

"Would you mind taking a picture with my Mother and I before you left?" I asked.

Her people 'weren't sure.' One of the "Faithful Friends" gasped out loud.

"O" didn't mind at all.

Photo: Me and Mama, Antonelli's Begonia Gardens, Capitola, CA, 1984.

Barking Up The Right Tree

Sally Dyal's first book debuted in December, her adoring friends and family were thrilled to receive a copy.

Queen Latifah Lights Up Symphony Hall

Queen Latifah gave fans a taste of the blues, jazz, funk, and soul Sunday night with her Trav'l'in Light tour swing through San Francisco's Davies Symphony Hall. Davies proved to be a great intimate venue that worked well for Latifah's easy style, humor, nine piece band and three talented back-up singers. The only thing I wanted more of was the Queen singing more songs. And it seemed awkward to sit down rather than stand up during her more robust numbers---you know complete audience engagement?

A generous entertainer, Latifah devoted a little too much time featuring her band members and over produced a finale number with her back-ups. A good singer, not a great one, Latifah holds her own doing funk,the ballad "I Know Where I've Been" from this summer's box office hit, Hairspray, and gives an enjoyable cover of "Poetry Man" and "Georgia Rose."

Queen Latifah's career in show business reads somewhat like a fairy tale, along with hard work, talent, a keen business sense, image shaping, and marketing. There were few young people in the San Francisco audience, which reveals how her career has evolved in demographic positioning over the years. From rapper to film actress, talk show host, film producer, author, product spokesperson, and trying new muscial genres, Latifah more than once thanked us for supporting her throughout her career as she has tried a little of this and that.

She introduced an audience guest, who happened to be the daughter of the songwriter/musician who wrote Trav'lin Light for Billie Holiday. Latifah introduced her father later, he stood onstage behind huge speakers throughout the show. After a standing ovation and leaving the stage, her father reappeared coaxing us to continue applauding--- a little weird since no one needed cajoling to want an encore.

If Queen Latifah comes to your town, go see her. If it's other than a huge stadium, even better.

Photo Credit: Michael Thompson

Luciano Pavarotti . . . Great Dreamer

Torino, Italy Olympic Ceremony

Beverly Sills America's First Lady of Opera

Beverly Sills lost her battle with lung cancer today, she died at home in New York City. If Ms. Sills had been eligible, HRH Elizabeth R would have no doubt invested her as another Dame Commander of the British Empire.

Instead of Dame, we know Beverly Sills as Bubbles, one of the most beloved opera singers of all time who reigned as America's first lady of opera.

I first heard Sills sing during a free Opera In The Park performance at Golden Gate Park in 1976-- a glorious way to spend Sunday afternoon in San Francisco. I was lucky enough to be in town on business and went with a friend who was living here. After the performance, my friend and I made our way over to Club Fugazi on Green Street. We stood in line for the local original hit musical phenomenon, Beach Blanket Babylon.

We were seated upfront near center stage. To our great delight, Beverly Sills and a small entourage came in and sat several tables behind us. The show was fabulous, creative, and just bowled us over in hysterics---an amazing ensemble cast which to this day has a few original members. The performance included a wonderful parody of an opera singer in honor of Beverly Sills. I remember turning around to see her loving it as much as we all were--a perfect day ended with a perfect night.

I will never forget this early trip to San Francisco before I moved here--it was my first introduction to Beverly Sills singing, listening to opera, and Beach Blanket Babylon.

In January 1977, I was visiting my parents at home in Florida. Beverly Sills served as National Mothers March Chairwoman for the March of Dimes and was in town with The Northeast Florida Chapter. I enjoyed the good fortune of attending a coffee in her honor at the Epping Forest estate. Ms. Sills had recently published her memoir, "Bubbles, A Self Portrait" and was signing advance copies of her book with sales proceeds going to the March of Dimes. Of course, I still have the first edition autographed copy of her self portrait. And it was the last time I saw Beverly Sills in person.

Final Performance, New York City 1980:

Color Photo Credit: Justin Lane, New York Times

Nia Helps Launch Mary J. Blige "Reflections"

What becomes a legend most? Nia launching Mary J. Blige's latest "essential collection" CD, along with recent features on The Today Show and in the New York Daily News.

La Môme . . . No Regrets, Piaf Film Portrait Triumphs

Crippled by arthritis and alcohol, La Môme struggles onto L'Olympia's concert stage with help from a morphine shot and the sheer will to sing once more. Olivier Dahan's poignant film portrait of Edith Piaf belongs to Parisian-born actress Marion Cotillard. Cotillard must have been channeling The Little Sparrow, her performance captures Piaf as spectacularly and exhaustingly as she lived.

Opening in early June as La Vie En Rose across the U.S., Dahan's stunning tribute recently closed the 50th Anniversary San Francisco International Film Festival. Dahan alternated speaking in French and English during a Q&A exchange with SF Film Society's Executive Director, Graham Leggat and the audience.

Dahan's inspiration for making the film came from a photograph of Piaf. He then set about reading everything he could find. He chose not to interview friends or others who knew her best because he wanted to develop his own interpretation of who she was. Dahan's initial script came in at 240 pages, the final came in at 140---still 40-60 pages longer than most screenplays today.

Unlike most of us, Dahan said that he doesn't consider Piaf an icon, (no one asked him who he does consider to be one). However, when asked what it was like to make the film, Dahan replied, "It was like standing at the base of an enormous mountain."

Dahan's technique of alternating flashbacks with "present" pivotal moments of triumph and tragedy is startling and perfect. In explaining why he placed one of Piaf's little known personal tragedies near the film's end, he said it was to honor how she herself handled it, 'Piaf never spoke about it in life' and he didn't want viewers to "dwell on it" throughout the film. That Dahan revealed this issue during Piaf's final hours was another brilliant choice.

It's hard to believe that Dahan doesn't consider Piaf an icon --- he so clearly honors her in one of the most---stunning (did I say that enough already?)---character portraits ever produced on film. Dahan said he feels proud. When long-time friends of Piaf finally saw the completed film, they told him, "Yes, that's her. You got her right."

On Angela Lansbury's Return To Broadway

Angela Lansbury opens in DEUCE May 6 after almost a 24-year absence from Broadway and her fans are thrilled. She and the venerable Marian Seldes share the stage for a full 90 minutes without intermission. No small feat for anyone to play 8 shows a week, let alone someone who's been in the spotlight for more than 60 years.

My first theatrical experience with Angela Lansbury took place at The Winter Garden Theatre on a cold Friday night in December 1966. The show was MAME. My high school friend, Pat Sousa, and I had received a weeklong theatre trip to NYC as Christmas gifts that year. We saw CACTUS FlOWER, DINNER AT EIGHT, MAME, SWEET CHARITY, and THE ODD COUPLE. If memory serves me correctly, Marian Seldes appeared in DINNER AT EIGHT.


If you're lucky enough to have seen Angela Lansbury in MAME, you've experienced the joy of musical theatre and perfect casting. Who can forget Mame sparring with Vera Charles (Beatrice Arthur), or embracing Agnes Gooch (Jane Connell) after she learns how "to live," and Lansbury standing arm-in-arm among the chorus line, all dressed in top hats and riding habits, as they sing the show's signature song.

Not only did we see the most popular theatre hits of the day, we also met the show's stars---this involved a little amateur sleuthing similar to Lansbury's own Jessica Fletcher.

Surprisingly, getting backstage at the Winter Garden proved simple. We found an unlocked door leading from the house to backstage. Pat and I stood (along with one tall wooden ladder and a stagehand) in the middle of an otherwise empty stage while trying to figure out where to find the dressing rooms. You can imagine how two starry-eyed teens with dreams of being on Broadway ourselves attempted to act as if we belonged on that hallowed stage where real magic had just taken place. And then, quite magically, Jane Connell appeared. We gushed about how much we loved her and the show, she signed our programs, and we said that we wanted to meet Angela Lansbury. It's possible that we used the explanation, "we came all the way from Florida to see the show." This innocent plea--out of the southern-laced mouths of babes with freshly scrubbed faces--had worked for us earlier in the week at The Palace Theatre. My gushing had landed us in Gwen Verdon's dressing room.

Jane Connell escorted us across the Winter Garden stage, through the wings, and let the stagedoor manager know "they're with me." As we began making our way upstairs to the dressing rooms, Angela Lansbury descended (gaily talking with her son and daughter). Jane introduced us, Pat gushed, I don't remember saying anything,(I had done most of the gushing when meeting the aforementioned Gwen Verdon). Angela Lansbury, tall, gracious, and kind, signed her picture in my MAME souvenir program. I've kept all my autographed programs from that fabulous holiday gift.

Years later, I caught Ms. Lansbury in SWEENEY TODD and watched "Murder She Wrote" off and on---a favorite television progam of my Mother's. On one of my parent's trips out to visit, I took them up the coast to Mendocino, the small picturesque seaside town we see as Cabot Cove, Maine in Murder She Wrote's opening scenes.

Bravo to Angela Lansbury for sharing her extraordinary talent with us again.

DEUCE Plays The Music Box Theatre, May 6 through August 19, 2007
Tickets: www.broadway.com

Piano Playing Cat Nora Releases New Video

Nora, the piano playing cat, just released her new video. Nora's first video hit YouTube in January. More than 1.5 million views later, this little piano playing cutie immediately landed on television newscasts around the globe. Notable U.S. featured spots include The Ellen Degeneres Show and Good Morning America. Nora tickled the ivories on The Martha Stewart Show in March.

For more about Nora, visit: Ravenswingstudio.

Watch Nora:The Sequel

On An Original DreamGirl

Jennifer Holiday, Great Dreamer

On Black and Blue

Another legend of rhythm and blues, Ruth Brown, passed away yesterday. I remember seeing a Saturday matinee of Black and Blue on Broadway some years ago. Ruth Brown, in a Tony award-winning performance, starred side-by-side with Linda Hopkins and Carrie Smith to deliver the lead singing roles. Tap dancing legends like Jimmy Slyde and Bunny Briggs danced to the music of Duke Ellington and Fats Waller, (Savion Glover's understudy danced his role that day), and a number of well-known jazz musicians played in the orchestra.

Black and Blue celebrated the period between WWI and WWII when Paris opened its arms and heart to black dance and music.

Ruth Brown often appeared in San Francisco, though I never saw her perform again, I do remember the fabulous Black and Blue . Ruth Brown, independent spirit and crusader for musician rights.


Photo Credit: Jack Vartoogian/FrontRow Photos

On Four Helping Hands

I have two 20th-21st Century marketing heroes, they're both in this picture. If I were an international pop star with lots of money and an ability to rake in more, I'd definitely figure out how to use my money to make a difference, there's so much one could do here at home and around the globe. You know, I use to believe a person could effect change one person at a time, today, I'm not sure this is true at all. If Oprah phoned, I'd take her call.

Photo: ABC

On Marilyn

"I used to think as I looked out on the Hollywood night, 'There must be thousands of girls sitting alone like me, dreaming of becoming a movie star. But I'm not going to worry about them. I'm dreaming the hardest."

It's hard to believe Marilyn Monroe's been gone 44 years, found dead, lying across her bed in the nude, phone in one hand, and empty pill bottles strewn about. I remember hearing this news that Sunday morning August 5, 1962 as my Father drove us along a narrow road on Sanibel Island, one of my favorite spots off Florida's Gulf Coast. It was a beautiful sunny day, no one in the car commented, I remember feeling a sense of loss.

What's remains true about her films today as much as yesterday---when Marilyn was good, she was very very good. Another cultural icon forever emblazoned in our memory.

On Critics & Love, Janis

SF Chronicle Theatre Critic Rob Hurwitt's Love, Janis review appeared in Tuesday morning's DATEBOOK Section. Of course I was looking for this review on DATEBOOK's front page but it ended up inside---for some reason, I figure Joplin deserved the front page in lieu of space given to Pearl Jam's first concert in 8 years or maybe scale back the art review of Quilts by Gees Bend to at least start Hurwitt's Love, Janis review on the front page. Anyhoo, Hurwitt gave a nice critical review overall though was disappointed in the second act. He did not mention the guitar player's bobbing head distraction--but then again, Hurwitt is a working critic with a critic's approach and perspective.

I sent Hurwitt a note with my 2 cents from seeing two preview shows (see 7/15 blog below) and a link to my blog. Here's our email correspondence:

Nancy to Rob Hurwitt:

Don't think it's a matter of topping the first act with the second act, I think overall the second act reveals an at-a-glimpse steady decline of what was happening in Joplin's life just as the play does all around. Theatrically, the format is no more unpredictable than most musical productions, that it's told entirely through her own words placing signature songs in just the right spot to illustrate her emotions in that moment proves perfect. We see her child-like exuberance in the beginning wane as she discovers the reality rock stardom life brings. She is bone tired, strung-out, and lonely. That Myler and company help us leave the theatre embracing her memory and message to "Get It While You Can" is nothing less than brilliant.

Rob Hurwitt to Nancy:

Thanks. Good to hear from someone who enjoyed the show more than I did. I've already heard from a few on the other side of the aisle: Waste of time, boring, nothing like the REAL Janis etc. Fortunately, my own memories of Janis in concert -- at the Avalon, in the parks, in Monterey etc -- remain vivid enough for me to stand by my evaluation of the singing (though the band was tighter than I ever remember Big Brother being, except at Monterey). On the other hand, I was disappointed in the second act. Dramatically, I didn't think it did much in terms of portraying the post-Big Brother period and the conflict between what she was achieving musically and how her life was falling apart. The format became pretty tiresome (why not mix it up a bit? Maybe two songs in a row, or a change in the spoken material presentation?). And I didn't feel I was getting more inside the character but rather that, as in life, Janis was becoming more guarded and we were getting more shut out.

Enjoyed your review, though. And, as I said in my review, when the show is hot I think it's really hot.

P.S. You can read Robert Hurwitt's Review by clicking on the blog title.

On Love, Janis

Run---don't walk---to see San Francisco's official premiere of Love, Janis! on Sunday Night July 16th at the Marines Memorial Auditorium! You can love Janis Joplin or not, what matters is the sheer mastery of bringing her music and story to our attention again in this magical creative theatre experience! The delightful Morgan Hallett portrays Janis via letters written home, interview responses and her down-to-earth philosophy on life as two amazing singing artists, Katrina Chester and Cathy Richardson, thrill us with Janis in concert---The combination proves staggering in performance, heart and soul. Just as Joplin lived life on an emotional roller coaster ride, this tribute places context around her trying to simply live being true to herself. That Joplin found herself upon arrival in San Francisco seems an understatement---joyfully, Joplin realizes she's no longer an outsider. From "Haight Ashbury's first pin-up girl" to making sure she doesn't "end up as the poor man's Cher," we share in her pure girlish glee at discovering herself and San Francisco. Through her words and music, Love, Janis offers a glimpse into the final four years of Joplin's life. All three performers embody the spirit of Janis Joplin in their own unique style while drawing upon the nuances we remember about this iconic rock star. Watching Hallet show us the raw emotional depth and fierce intellect of Joplin along the way is a joy. And I caught both Chester and Richardson on alternating preview nights, they rotate performances due to the sheer exertion it takes to embrace Joplin in concert. I liked them both for different reasons and one a bit more in delivery than the other.My only distraction was the stage left guitarist's bobbing head. At first, I thought he was acting out one of the 'Big Brother' band members but he continued his same head bobbing through the 'Kozmic Blues'band change and into her third band. The set design and lighting work in an amazing theatrical adaptation of Joplin's story from director Randal Myler. The music rocks down to your bones just like it should! "Get up off your asses!" Janis shouted at us from the stage---and we did!

On Sunset Boulevard

The first time I saw Sunset Boulevard years ago was on"Saturday Night At The Movies." It took a few more years before one of my dreams came true and I made that first drive out Sunset Boulevard. Gloria Swanson played Norma Desmond an aging (50) and once shining star now forgotten and cast aside by the Hollywood system. Interesting that Sunset Boulevard came out in 1950 and I am pretty sure Swanson made her own brief 'comeback' with this film at the age of 50. I've always loved William Holden---never thought of him as a great actor, maybe because it came easily to him, he was a great star and enjoyable to look at on screen. Holden made some wonderful films in the 50's, among them another favorite, Born Yesterday. Take a look at the Sunset Boulevard trailer:



I loved Andrew Lloyd Weber's musical Sunset and feel lucky to have seen the original London production with Patti Lupone. Lloyd Weber fired Lupone later and replaced her with Betty Buckley. Buckley must have been an amazing Norma--- on my next trip to London, I bought tickets to see it again, unfortunately Betty Buckley's stand-in played the role so I never got to see her in "Sunset." Did get to multiple Betty Buckley concerts where she performed two or three of the shows signature songs---stunning.

On Oprah

Yesterday I tuned into a PRWeb sponsored teleseminar featuring Annie Jennings, a Public Relations expert who's currently promoting her consulting services about 'How To Get Booked On Oprah.' Annie's guest happened to be a former producer on the Oprah Show. The session prompted me to pause a moment and reflect on why I really chose to tune-in on Annie's teleseminar. It's pretty simple, I've come to expect the best from Oprah because that's what she and her team deliver. Who wouldn't want to (1) share their best with the best and (2) share it with others who may in turn be inspired because they watch the show. Today I met with a filmmaker client who had made a notation on a draft publicity strategy I'd put together for her. On the client goals section she'd written "Oprah." I grinned and shared the vision I'd had while driving over the San Francisco Bay Bridge on my way to meet her: I'd clearly seen her, the film's cinematographer and co-director, and a few key cast members onstage with Oprah laughing and sharing their experiences. They were on the show because it's a best-in-class documentary that reasonated with the team at Oprah who knew it would do the same with everyone who watches the show. Dreaming Out Loud!