Monday, May 22, 2017

LIST OF WORKS INCLUDED


USTheater, Opera, and Performance

TABLE OF CONTENTS
(alphabetical by playwright)

John Adams and Peter Sellars (USA)

Aeschylus (Ancient Greece)

Ilse Aichinger (Austria)


Eleanor Antin (USA)
"On Credit" (on Before the Revolution) by Douglas Messerli

Julie Archer and Lee Breuer (USA)
"The Locked Windows" (on Archer's and Breuer's Peter and Wendy) by Douglas Messerli

John Arden (England/Ireland)
"Pulling Down the Roof" (on Serjeant Musgrave's Dance) by Douglas Messerli
Robert Ashley (USA)
"An American Original" (on the death of Ashley and a concert in 2015 at Redcat in Los Angeles)

Back to Back Theatre (Australia)
"Playing the Play" (on Ganesh Versus the Third Reich) by Douglas Messerli
Béla Balázs  see Béla Bartok
Joe Arias (USA)
"Strange Fruit" on Arias' Billie Holiday Centennial Concert) by Douglas Messerli

Joey Arias and Basil Twist (USA)
"This Is It" (on Arias with a Twist and Michael Jackson) by Douglas Messerli

Amiri Baraka (USA)
"Essential Dichotomies" (on Baraka's "The Toilet" and on his life and poetry) by Douglas Messerli 

Djuna Barnes (USA)
"Freeling Family" (on Djuna Barnes' Biography of Julie van Bartmann) by Douglas Messerli
Three from the Earth
"The Days on Jig Cook" (on George Cram Cook and the Provincetown Players)
"Djuna Barnes' Roots," (on the short plays of Djuna Barnes) by Douglas Messerli

"The Songs of Synge"
The Antiphon

J. M. Barrie (b. Scotland/England)
"The Old Lady Shows Her Medals" (printed play)
"The Old Lady Shows Her Medals" (radio play with the Barrymores)
"Bond of Age" (on Barrie's "Rosalind" and "The Old Lady Shows Her Medals") by Douglas Messerli
"The Locked Windows" (on Archer's and Breuer's Peter and Wendy, based on a novel by J. M. Barrie) by Douglas Messerli

Béla Bartok (Hungary)
"Locking Up Being" (on Bartok's Bluebeard's Castle) by Douglas Messerli
"What's Love Got To Do with It?" (on Bartok's Bluebeard's Castle) by Douglas Messerli
Tina Bausch (Germany)
"You Know What I Mean" (on Bausch's Ten Chi and Richard Foreman's Deep Trance Behavior in Potatoland) by Douglas Messerli

Samuel Beckett (Ireland/France)
"Be Again" (on Beckett's Krapp's Last Tape)
"Nell's Death" (on Beckett's Endgame) by Douglas Messerli
"Living in the Details" (on Beckett's Waiting for Godot) by Douglas Messerli (Los Angeles Production)
"Little Catastrophes" (on Beckett's Act Without Words II, Come and Go, Catastrophe, Footfalls, and
     Krapp's Last Tape) by Douglas Messerli (at Los Angeles' Odyssey Theatre)
"Sweating It: Three Mid-Century Tragi-Comedies) (on Beckett's Waiting for Godot) by Douglas Messerli (New York Production)
"Talking the Tears Away" (on Beckett's Happy Days) by Douglas Messerli
Interview with and performance of Krapp's Last Tape by Harold Pinter

Belarus Free Theatre (Belarus)
"Sunday, Bloody, Sunday (2)" (on the company's Being Harold Pinter) by Douglas Messerli

David Belasco (USA)
The Return of Peter Grimm

Hans Bellmer (Germany)
"Notes on the Ball Joint"

Shelley Berc (USA)
A Girl's Guide to the Divine Comedy
Alban Berg (Germany)
"Desire Severed from Award" (on Berg's Lulu as performed at the MET Opera) by Douglas Messerli

Hector Berlioz (France)
"Delusion and Dream" (on Berlioz' Les troyens) by Douglas Messerli
Felix Bernstein (USA)
Singing "Goodbye Old Girl" from Damn Yankees at age 12

Leonard Bernstein (USA)
"It's Love" (on Bernstein's Wonderful Town) by Douglas Messerli
"Spiritual Uplift" (on Bernstein's Trouble in Tahiti)
"Three Bernstein New Yorks" (on Bernstein's On the Town, Wonderful Town, and West Side Story) by Douglas Messerli
Chuck Berry (USA)
Chuck Berry singing "Johnny B. Goode" / live performance [link]
Susan Birkenhead (USA)
see Bob Martin
Georges Bizet (France)
"Love vs. Faith" (on Bizet's The Pearl Fishers) by Douglas Messerli

Jens Bjørneboe (Norway)
The Bird Lovers
 "Cataloging Evil" (on Bjørneboe's The Bird Lovers and Semmelweis) by Douglas Messerli


Lily Blau (USA)
"Differential Equations" (on Blau's The Missing Pages of Lewis Carroll) by Douglas Messerli

Jerry Bock (USA)
"On the Side of the Angels" (on the deaths of Bock, Joseph Stein, and Tom Bosley) by Douglas Messerli 
"Writing Tenderly" (on Jerry Bock's, Sheldon Harnick's and Joe Masteroff's She Loves Me) by Douglas Messerli

Maxwell Bodenheim and Ben Hecht (USA)
The Master Poisoner

Tom Bosley (USA)
"On the Side of the Angels" (on the deaths of Bock, Joseph Stein, and Tom Bosley) by Douglas Messerli
Matthew Bourne (England)
"Dance of Surprises" (on Matthew Bourne's Early Adventures) by Douglas Messerli

Jane Bowles (USA)
"A Necessary Remedy" (on Bowles' In the Summer House) by Douglas Messerli

Bertolt Brecht (Germany)
"Moon of Alabama" from The Rise and Fall of the City of Mahagonny
Selected Audio Works

Stephan Brecht (b. Germany/USA)
"Stage and Street" (on the theater writings of Brecht) by Douglas Messerli

Lee Breuer (USA)
Porto Morco
"Barnyard Philosophers" (on Breuer's Summa Dramatica and Porco Morto) by Douglas Messerli 


Lee Breuer and Maude Mitchell (USA)
"You Great Big Beautiful Doll" (on Mabou Mines Dollhouse) by Douglas Messerli
Marshall Brickman, Rick Elice, Bob Gaudio and Bob Crewe (USA)
"Everybody Leaves" (on Brickman's, Elice's, Gaudio's, and Crewe's Jersey Boys) by Douglas Messerli

Benjamin Britten (England)
"Celebrating Liberation" (on Eric Crozier's and Britten's Albert Herring) by Douglas Messerli
"The Darkness Understands and Suffer" (on E. M. Forster, Eric Crozier, and Britton's Billy Budd) by Douglas Messerli
"The Piper's Son" (on Myfanwy Piper's and Britten's The Turn of the Screw) by Douglas Messerli

Abe Burrows, Jack Weinstock, Willie Gilbert, and Frank Loesser (USA)
"The Company Way" (on How to Succeed in Business without Really Trying) by Douglas Messerli
see also Frank Loesser
 Jez Butterworth (England)
"Sunday, Blood Sunday" (on Butterworth's Jerusalem) by Douglas Messerli

John Cage (USA)
"Nothing on a Lecture (on Robert Wilson's performance of Cage's Lecture on Nothing) by Douglas Messerli

Karel Čapek (Czechoslavakia/now Czech Republic)
R. U. R. (Rossum's Universal Robots)

Al Carmines (based on Gertrude Stein) (USA)
In Circles
Promenade (with Maria Irene Fornes)

Aimé Césaire (Martinique)
"Trying to Be Everything" (on Césaire's Une Saison Au Congo) by Douglas Messerli

Anton Chekhov (Russia)
"The Dogs Howl" (on Chekhov's The Seagull) by Douglas Messerli
Moose Charlap (music) (with Irene Mecchi (teleplay, based on the play by J. M. Barrie), Carolyn Leigh, Betty Comden and Adolph Green (lyrics, with additional lyrics by Amanda Green) and Jule Styne (music) (USA)
"Walkin' the Plank (on Peter Pan Live! [TV production, 2014]) by Douglas Messrli

Marissa Chibas (with Erik Ehn and Travis Preston) (USA)
Listening (on Chibas', Ehns', and Preston's Brewsie and Willie) by Douglas Messerli

Lucinda Childs (USA)
"Unaltered Images of Movement" (on Childs', Adams', and Gehry's Available Light) by Douglas Messerli
Julia Cho (USA)
"Dead Languagaes" (on Cho's The Language Archive) by Douglas Messerli

Jean Cocteau (France)
Complete recordings of theater, performances and other works (link with UBUWeb)
Barbara Cook (USA)
"Getting to Know Her" (on Cook singing at the Wallis Annenberg Theatre) by Douglas Messerli

George Cram Cook (USA)
"The Days of Jig Cook" (on Cook and the Provincetown Players) by Djuna Barnes

George Cram Cook and Susan Glaspell (USA)
Suppressed Desires
"Celebration of Suppression" (on Cook's and Glaspell's Suppressed Desires) by Douglas Messerli

Noël Coward (England)
"Breaking Away" (on Coward's Blithe Spirit) by Douglas Messerli

Eric Crosier (England) see Benjamin Britten
Bob Crewe see Marshall Brickman

Tim Crouch (England)
"The Miracle of Art" (on Crouch's An Oak Tree) by Douglas Messerli
Stan Daniels (USA) see Joseph Stein
Gordon Davidson (USA)
"Creating Los Angeles Theater" (on the death of Gordon Davidson) by Douglas Messerli
Claude Debussy (France)
"The Outsiders" (on Debussy's Pelléas et Mélisande) by Douglas Messerli 

Shelagh Delaney (England)
"Permanent Outsiders" (on Delaney's A Taste of Honey) by Douglas Messerli
"Thieves of Love" (on Delaney's A Taste of Honey) by Douglas Messerli
Mark Dion (USA)
see David Lang

Gaetano Donizetti (Italy)
"Battling Divas" (on Giuseppe Bardari's and Gaetano Donizetti's Maria Stuarda) by Douglas Messerli
"Scarf and Ring" (on Donizetti's Roberto Dovereaux) by Douglas Messerli
Antonín Dvořák (Czechoslavakia)
"Raping Nature" (on Dvořák's Rusalka) by Douglas Messerli 
Elevator Repair Service (USA)
"Problems with the Text" (on Elevator Repair Services' Arguendo) by Douglas Messerli

Rick Elice (USA)
"Wasted on Youth" (on Elice's Peter and the Starcatcher) by Douglas Messerli
see also Marshall Brickman
Everly Brothers (USA)
"Bye Bye Love" (on the Everly Brothers and Phil Everly's death) by Douglas Messerli

Cy Feuer (USA)
"The Brotherhood" (on Cy Feuer and his death) by Douglas Messerli

William Finn and James Lapine (USA)
"Something Bad Is Happening" (on Finn's and Lapine's Falsettos) by Douglas Messerli
Ronald Firbank (England)
"The Princess Zoubaroff"

Richard Foreman (USA)
Deep Trance Behavior in Potatoland
"The Unfortunate Truth of My Situtation" (on Foremlan's Old-Fashioned Prostitutes) by Douglas
Messerli 
"You Know What I Mean" (on Foreman's Deep Trance Behavior in Potatoland and Tina Bausch's
Ten Chi) by Douglas Messerli

Maria Irene Fornes (b. Cuba/USA)
"The Power of Desperation" (on The Conduct of Life) by Douglas Messerli
"A Very Long Walk" (on Promenade) by Douglas Messerli
"Rain of Summons" (on Fefu on and Her Friends) by Douglas Messerli
Jackson C. Frank (USA)
singing "Milk and Honey" and "Blues Run the Game"

Scott Frankel (USA) see Doug Wright

Max Frisch (Switzerland)
"The Conflagration" (on Frisch's The Arsonists) by Douglas Messerli

George Furth (USA) see Stephen Sondheim
Juan Gabriel (Mexico)
"Amor Eterno" [link]

Armand Gatti (Monaco/France)
Two Plays: The 7 Possibilities from Train 713 Departing from Auschwitz and
Public Song Before Two Electric Chairs


Susan Glaspell (USA)
Trifles
see also George Cook Cram

Betty Garrett (USA)
"I'm Still Here: Two Valentines" (on performances by Garrett and Eliane Stritch) by Douglas Messerli
Bob Gaudio see Marshall Brickman

Jack Gelber (USA)
"Eye to Eye" (on Gelber's Square in the Eye and Arnold Weinstein's Red Eye of Love) by Douglas Messerli

Philip Glass, Robert Wilson, Lucinda Childs, and Christopher Knowles (USA)
"This One Is Being Very America" (on Glass, Wilson, and Child's Einstein on the Beach) by Douglas Messerli
"Send in the Clowns" (on Glass' Akhnaten) by Douglas Messerli

James Goldman (USA)
"Slightly Sour" (on Goldman's and Sondheim's Follies) by Douglas Messerli
Philip Kan Gotanda (USA)
"Mixed Messages" (on Gotanda's Remember the I-Hotel) by Douglas Messerli

Allen Graubard (USA)
"Comment on Gellu Naum's The Taus Watch Repair Shop"

Alice Goodman, Peter Sellars, and John Adams (USA)
"Six Degrees of Insanity" (on Goodman's, Sellars', and Adams' Nixon in China) by Douglas Messerli

David Greenspan (USA)
Son of an Engineer
"Going Nowhere" (on Greenspan's Go Back to Where You Are) by Douglas Messerli
Tammy Grimes (USA)
"Are You Sure?" (on the death of singer/actor Tammy Grimes) by Douglas Messerli

John Guare (USA)
"On Red Eye of Love"

Dan Guerrero (USA)
"Mariachi to Merman" (on ¡Gaytino! ) by Douglas Messerli

George Frideric Handel (England)
"Tears and Hope" (on Giulio Cesare) by Douglas Messerli

Lorraine Hansbery (USA)
"Survivors" (on A Raisin in the Sun) by Douglas Messerli

Sheldon Harnick (USA)
"Writing Tenderly" (on Harnick's, Bock's and Masteroff's She Loves Me) by Douglas Messerli

James Harris (USA)
"Theater in the Merry-Go-Round" (on James Harris's An Illegal Start) by Pablo Capra

John Hawkes (USA)
"The Empty Pool" (on Hawkes' The Innocent Party) by Douglas Messerli


Jake Heggie (USA)
"The Face of God" (On Heggie's and Terrence MacNally's Dead Man Walking) by Douglas Messerli
"Embracing the Cannibal" (on Heggie and Gene Scheer's Moby-Dick) by Douglas Messerli

Matthew S. Hinton (USA)
Drake Disappears
Lucas Hnath (USA)
"What Does It Mean to Believe?" (on Hnath's The Christians)
Billie Holliday (USA)
"Stormy Weather" sung by Billie Holliday (1952) [link]
Billie Holiday singing "September Song" and others
Hotel Modern (and Arthur Sauer)
"Toy Soldiers" (on their production of The Great War) by Douglas Messerli

Henrik Ibsen (Norway)
"The Man Who Stands Alone" (on Ibsen's An Enemy of the People) by Douglas Messerli
When We Dead Awaken
"When We Dead Awaken" (on Ibsen's play) by C. H. A. Bjerregaard
Hedda Gabler 
"Burned Up" (on Ibsen's Hedda Gabler) by Douglas Messerli
"Ibsen's New Drama" by James Joyce

Luigi Illica and Giuseppe Giacosa (Italy) see Giacomo Puccini

Eugène Ionesco (Romania/France)
"Sweating It: Three Mid-Century Tragi-Comedies" (on Ionesco's Exit the King, Waiting for Godot and West Side Story) by Douglas Messerli
"Growing Horns" (on Ionesco's Rhinoceros) by Douglas Messerli

Michael Jackson (USA)
"This Is It" (on Jackson's filmed rehearsals and Joey Arias and Basil Twist's Arias with a Twist) by Douglas Messerli
Tom Jacobson (USA)
"Asking Questions" (on Jacobson's Captain of the Bible Team Quiz) by Douglas Messerli

Henry James (USA)
Summersolft

Alfred Jarry (France)
Early chansons, lectures about Jarry, and a film version of Ubu Roi (link to Ubuweb)
Ubu Roi (film version by Jean-Christophe Averty)
David Javerbaum (USA)
"Holy Lite" (on Javerbaum's An Act of God) by Douglas Messerli

Len Jenkin (USA)
"Heart of Darkness" (on Jenkin's Dark Ride) by Douglas Messerli
Dream Express (link with Jenkin's site)

Rajiv Joseph (USA)
"Accidents of History" (on Joesph's Archduke) by Douglas Messerli
"Damaged Goods" (on Joseph's Gruesome Playground Injuries) by Douglas Messerli
"Tyger! Tyger! Burning Bright" (on Joseph's Bengal Tiger in the Baghdad Zoo) by Douglas Messerli

James Joyce (Ireland)
"Ibsen's New Drama"

Dennis Kelly and Tim Minchin (England)
"Loud and Quiet" (on Kelly's and Minchin's Matilda) by Douglas Messerli

Robert Kelly (USA)
"Monologues for Orpheus: A Dance Play"

Adrienne Kennedy (USA)
"Herselves: A Chamber Piece" (on Kennedy's Funnyhhouse of a Negro) by Douglas Messerli
B. B. King (USA)
"The Thrill" (on a performance and King's death) by Douglas Messerli

Oscar Kokoschka (Austria)
Murderer the Women's Hope

Bernard-Marie Koltès (France)
"Men in the Streets" (on the Zeromski Theatre's production of In the Solitude of Cotton Fields) by Douglas Messerli

Michael Korie (USA) see Doug Wright

Alfred Kreymborg (USA)
Jack's House (A Cubic-Play)
Lima Beans
"Food for Love" (on Kreymborg's Lima Beans) by Douglas Messerli


Tony Kushner (USA)
"Crashing Through the Ceiling of Despair" (on Kushner's Angels in America: Millennium Approaches) by Douglas Messerli

Tom La Farge (USA)
Talking While Shaving

Jeffrey Lane and David Yazbek (USA)
"No One's Home" (on Lane's and Yazbek's Women on the Verge of a Nervous Breakdown) by Douglas Messerli
David Lang (USA)
"Where Is Evil?" (on Lang's and Dion's Anatomy Theater) by Douglas Messerli
James Lapine (USA)
"Out of the Woods" (on Lapine's and Sondheim's Into the Woods) by Douglas Messerli

Miklos Laszlo (Hungary/USA)
"Working Against Love" (on Laszlo's Parfumerie) by Douglas Messerli 

Arthur Laurents (USA)
"Three Bernstein New Yorks" (on West Side Story and two other Bernstein musicals) by Douglas Messerli
"Sweating It: Three Mid-Century Tragi-Comedies" (on West Side Story and plays by Samuel Beckett and Eugene Ionesco) by Douglas Messerli
"The Coward's Hand" (on Laurents' Home of the Brave) by Douglas Messerli
"A Necessary Vacuum" (on Laurents' Gypsy) by Douglas Messerli

Jerome Lawrence and Robert E. Lee (USA)
"The Gang's Still Here" (on Lawrence's and Lee's The Gang's All Here) by Douglas Messerli
"My Broadway Hit" (on a celebration for Jerome Lawrence) by Douglas Messerli


Stacey Levine (USA)
"The Good House" (in Levine's Susan Moneymaker, Large and Small) by Douglas Messerli
Susan Moneymaker, Large and Small: A Ten Minute Play
Frank Loesser (USA)
"Chance and Chemistry" (on Loesser's, Swerling's and Burrows' Guys and Dolls) by Douglas Messerli

Kirk Lynn (USA)
"Approaching the Real" (on Lynn's The Method Gun) by Douglas Messerli

Tracy Letts (USA)
"Muddy Boots" (on Letts' August: Osage County) by Douglas Messerli

Joshua Logan (USA) see Oscar Hammerstein II

Terrence MacNally (USA) see Jake Heggie

Maurice Maeterlinck (Belgium)
The Intruder

Claudio Magris (Italy)
To Have Been
Voices: Three Plays

F. T. Marinetti (and others) (Italy)
"The Futurist Synthetic Theater"

Bob Martin (USA)
"Warm Up" (on Martin's, Charles Strouse's, and Susan Birkenhead's Minsky's) by Douglas Messerli
Jules Massenet (France)
"Between Duty and the Devil" (on Massenet's Werther) by Douglas Messerli

Joe Masteroff (USA)
'Writing Tenderly" (on Masteroff's, Harnick's and Bock's She Loves Me) by Douglas Messerli

Vladimir Mayakovsky (Russia)
Vladimir Mayakovsky: Tragedy in Two Acts with a Prologue and an Epilogue
The Bathtub (adapted by Paul Schmidt)
Missy Mazzoli (USA)
"Glimpses of a Vaster Landscape" (on Mazzoli's opera Song from the Uproar) by Douglas Messerli

Arthur Miller (USA)
"Tearing Down Bridges" (on Miller's A View from the Bridge) by Douglas Messerli
"Whatever Happend to Willy Loman?" (on Arthur Miller's Death of a Salesman) by Douglas Messerli

Tim Miller (USA)
"Tokyo Tim"
Jelly Roll Morton (USA)
"An American Epic" (on Poor Dog Group's production of The Murder Ballad [1938]) by Douglas Messerli

Wolfgang Amadeus Mozart (Germany)
Douglas Messerli Bad Day on the Seville Streets (on Lorenzo da Ponte's and Wolfgang Amadeus Mozarts's Don Giovanni)
Douglas Messerli Terrifying Twists (on Lorenzo da Ponte's and Mozart's Le Nozze di Figaro)
Douglas Messerli Emblems of Love (on Emanuel Schikaneder's and Mozart's The Magic Flute)

Gellu Naum (Romania)
The Taus Watch Repair Shop
Jacques Offenbach (Germany/France) (with Jules Barbier and Michael Carre. based on E.T.A.Hoffmann)
"Love and Tears" (on Offenbach's Tales of Hoffmann) by Douglas Messerli

 John O'Keefe (USA)
Reapers
"What Have We Reaped?" (on O'Keefe's Reapers)


Eugene O'Neill (USA)
"The Awakened Emperor" (on O'Neill's The Emperor Jones) by Douglas Messerli
"Standing in the Moonlight" (on O'Neill's Ah, Wilderness!) by Douglas Messerli
"Life in a Cage" (on O'Neill's The Hairy Ape) by Douglas Messerli
"In Control" (on O'Neill's Long Day's Journey into Night) by Douglas Messerli
"The Endless Voyage" (on O'Neill's Glencairn Plays) by Douglas Messerli
The Moon of the Caribees
"Written in Tears and Blood" (on O'Neill's Long Day's Journey into Night) by Douglas Messerli
Jerry Orbach (USA)
"Try to Remember" from The Fantasticks by Jerry Orbach [link]

The Orchestra of Futurist Noise Intoners (USA)
"Shouts, Screams, Shrieks, Wails and Hoots" (on Luigi Rusolo and The Orchestra of Futurist Noise Intoners) by Douglas Messerli
Joe Orton (England)
"Identity in Dashes" (on Orton's What the Butler Saw) by Douglas Messerli

Eric Overmyer (USA)
"The Fire Within" (on Overmyer's Dark Rapture) by Douglas Messerli
"Past Present Future Tense" (on Overymer's On the Verge) by Douglas Messerli
Rogelio Orizondo and Teatro El Público
"A Tragic Cabaret" (on Antignón, un contigente Épico) by Douglas Messerli
Suzan-Lori Parks
"Leap of Faith" (on Parks' Father Comes Home from the Wars, Parts 1, 2 & 3) by Douglas Messerli

Kier Peters (Douglas Messerli) (USA)
A Dog Tries to Kiss the Sky
The Rumble
The Confirmation
"Confirming Reality" (on Peters' The Confirmation) by Douglas Messerli
"Kier's Secret German Audience" (on Peters' The Confirmation) by Douglas Messerli
The Wonder

Francesco Mari Piave (Italy) see Giuseppe Verdi

Harold Pinter (England)
"Another Room" (on Pinter's The Room) by Douglas Messerli
"The Homecoming Gift" (on Pinter's The Homecoming) by Douglas Messerli
"Talk" (on Pinter's The Collection) by Douglas Messerli
"The Wasps" (on Pinter's A Slight Ache) by Douglas Messerli

"Service" (on Pinter's The Dumb Waiter) by Douglas Messerli
Interview with and performance of Krapp's Last Tape

Cole Porter (USA) [with P. G. Wodehouse, Guy Bolton, Howard Lindsay, Russell Crouse, Timothy Crouse and John Weidman
"Pure Poetry" (on Porter's Anything Goes) by Douglas Messerli

Francis Poulenc (France)
"Fanatical Martyrs" (on Poulenc's Dialogue of the Carmelites) by Douglas Messerli

Giacomo Puccini (music), Luigi Illica and Giuseppe Giacosa (Italy)
"Facing the Cold" (on La Boheme) by Douglas Messerli
"The Blindfold" (on Madama Butterfly, MET production) by Douglas Messerli
"Fin de siecle" (on Madama Butterfly, LAOpera production) by Douglas Messerli
"A Kind of Turandot" (on Madama Butterfly, MET production, 2016) by Douglas Messerli
"The Barbarian Within" (on Turandot, MET production) by Douglas Messerli
Henry Purcell (England)
"Hello, I Must Be Going" (on Purcell and Nahum Tate's Dido and Aeneas) by Douglas Messerli
Philippe Quesne (France)
"Elemental Theater" (on Quesne's La Mélancolie des dragons) by Douglas Messerli 

Peter Quilter (England)
"An Incautious Overdose of Life" (on Quilter's End of the Rainbow) by Douglas Messerli

Nina Raines (England)
"Moonlight" (on Raines' Tribes) by Douglas Messerli

Maurice Ravel (composer) and Colette (libretto)
"Bad Manners" (on Ravel's L'enfant et les sortileges (The Child and the Sorceries) by Douglas Messerli
Vicki Ray (USA)
"It's Elementary" (on Ray's piano concert at Redcat in Feburary 2016) by Douglas Messerli

Elmer Rice (USA)
The Adding Machine
"More Than Zero?" (on the musical version of Rice's The Adding Machine) by Douglas Messerli


Jack Richardson (USA)
"Locked Up" (on Richardson's Gallows Humor) by Douglas Messerli
Paul Robeson (USA)
Robeson singing "The House I Live In" (link)

Richard Rodgers and Oscar Hammerstein II (USA)
"Confused by Paradise" (on Rodgers' and Hammerstein's South Pacific) by Douglas Messerli
"Taming the Barbarians" (on Rodgers' and Hammerstein's The King and I and the film I Married a
     Witch) by Douglas Messerli
Jerry Ross (see Richard Adler)
Gioachino Rossini (Italy)
"Hidden in Plain Sight" (on Rossini's La donna del lago) by Douglas Messerli

Lugi Russolo (Italy)
The Art of Noises
"Shouts, Screams, Shrieks, Wails and Hoots" (on Lugi Russolo and The Orchestra of Futurist Noise Intoners) by Douglas Messerli
Kaija Saariaho (Finland)
"Love Across Space: The Hero as Poet" (on Saariaho's opera L'Amour de loin) by Douglas Messerli
Sean San Jose (USA)
 "Mixed Messages" (on San Jose's Presenting....the Monstress!) by Douglas Messerli

Aram Saroyan (USA)
Gertrude and Lew: A Double Bill
Steven Sater and Duncan Sheik [USA] [see Frank Wedekind]
Gene Scheer (see Jake Heggie)
Janet Schlapkohl (USA)
"The Same but Different" (on Schlapkohl's My Sister) by Douglas Messerli

Roland Schimmelpfennig (Germany)
"Telling the Story As It Is Being Told" (on Schimmelpfennig's The Arabian Night and Woman from the Past)

Arthur Schnitzler (Austria)
Hands Around or La Ronde
"An Endless Dance" (on Schnitzler's La Ronde) by Douglas Messerli
Robert Schenkkan (USA)
"A Bigger Wall Than Ever Imagined" (on Schenkkan's Building the Wall) by Douglas Messerli

Peter Sellars and John Adams (USA)
"A Body Transfixed by the Noonday Sun" (on Sellars' and Adams' The Gosepl According to the Other Mary) by Douglas Messerli
"Six Degrees of Insanity" (on Goodmans', Sellars' and Adams' Nixon in China) by Douglas Messerli
William Shakespeare (England)
"Even the Fool Is Hung" (on Shakespeare's King Lear) by Douglas Messerli

George Bernard Shaw (England)
Heartbreak House
"Keeping the Homefires Burning" (on Shaw's Heartbreak House) by Douglas Messerli

Wallace Shawn (USA)
"Even the Thought" (on Shawn's A Thought in Three Parts) by Douglas Messerli
"The Survivor" (on Shawn's The Designated Mourner) by Douglas Messerli
Martin Sherman (USA)
"Talking Sex" (on Sherman's Bent) by Douglas Messerli

Dmitri Shostakovich (USSR)
"Shrill Charm" (on Shostakovich's Nos (The Nose) by Douglas Messerli

Stephen Sondheim (USA)
"The Believers and Those Who Have Lost Faith" (on Furth's and Sondheim's Merrily We Roll    
     Along) by Douglas Messerli
"Convincing the Soloist to Join the Band" (on Furth's and Sondheim's Company) by Douglas Messerli
"Into the Woods" (on Lapine's and Sondheim's Into the Woods) by Douglas Messerli
"Sweating It: Three Mid-Century Tragic-Comedies" (on West Side Story, Waiting for Godot and Exit the King) by Douglas Messerli
"A Necessary Vacuum" (on Laurents' and Sondheim's Gypsy) by Douglas Messerli
 "Slightly Sour" (on Goldman's and Sondheim's Follies) by Douglas Messerli

Sam Shepard (USA)
"Unburying the Dead" (on Shepard's Buried Child) by Douglas Messerli

James Strah (USA)
"Shadowing the Shadows" (on Strah's and the Wooster Group's North Atlantic) by Douglas Messerli

Gertrude Stein (USA)
Brewsie and Willie (see Marissa Chibis)
Do Let Us Go Away
a short documentary with original photographs of Stein's and Virgil Thomson's Four Saints in Three Acts
In Circles (music by Al Carmines)
a recording from the Santa Fe Opera of Stein's and Virgil Thomson's opera The Mother of Us All
(UBUweb link)
What Happened: A Five Act Play
Mexico

Joseph Stein (USA)
"Moving on Down" (on Stein and Stan Rice's Enter Laughing) by Douglas Messerli
"On the Side of the Angels" (on Stein, Jerry Bock, and Tom Bosley and their deaths) by Douglas Messerli

John Steppling (USA)
Sea of Cortez
"The Verge of Possibility" (on Steppling's Sea of Cortez) by Douglas Messerli


Richard Strauss (Germany)
"A Dance of Death" (on Strauss' Salome, MET Opera production)
"O Terrible Night" (on Strauss' Salome, LAOpera production)
"Taking Up the Axe" (on Strauss' Electra)
"Yes, Yes" (on Strauss' Der Rosenkavalier, MET Opera production) 

August Strindberg (Sweden)
Creditors
"Adam and Snake" (on Stridberg's Creditors) by Douglas Messerli 
Miss Julie
"The Crazy Lady" (on Strindberg's Miss Julie) by Douglas Messerli 
"Strindberg As Absurdist" (on Strindberg's The Ghost Sonata) by Douglas Messerli 

Elaine Stritch (USA)
"I'm Still Here: Two Valentines" (on performances by Stritch and Betty Garrett) by Douglas Messerli

Charles Strouse (USA) see Bob Martin
Meg Stuart (USA/lives Belgium)
"What Is Dance?" (on Stuart's Hunter) by Douglas Messerli

Jule Styne (USA) see Arthur Laurents or Stephen Sondheim
Jule Styne (USA) see Moose Charlap and others
Jo Swerling (USA) see Frank Loesser

John Millington Synge (Ireland)
Riders to the Sea
"The Songs of Synge" (on Synge's plays) by Djuna Barnes

Bill Talen and Savitri D (USA)
"Tigers Got to Hunt" (on Talen's and Savitri D's Reverend Bill and the Life After Shopping Gospel Choir: The Earth-a-Llujah Earth-a-Llujah Revival!) by Douglas Messerli

Booth Tarkington (USA)
Clarence
Nahum Tate  see Henry Purcell

Ronald Tavel (USA)
Andy Warhol's Horse
Lives and Loves of Hedy Lamar
Modest Tchaikovsky (see Peter Tchaikovsky)
Peter Tchaikovsky
"What's Love Got To Do with It?" (on Tchaikovsky's Iolanta) by Douglas Messerli

Fiona Templeton (b. Scotland/USA)
"The Poet's Theater of Fiona Templeton: An Enviornmental View" (on Templeton's You, the City) by James Sherry 

David Thompson, John Kander and Fred Ebb (USA)
"On the Cusp" (on Thompson's, Kander, and Ebb's The Scottsboro Boys) by Douglas Messerli

Virgil Thomson (USA) see Gertrude Stein
Luis Valdez (USA)
"Dreams Destroyed by Hate" (on Valdez' Zoot Suit) by Douglas Messerli

Aristides Vargas (Argentina)
"The Traveling Table" (on Vargas' La Razón Blindada (Armored Reason) by Douglas Messerli
Royce Vavrek (Canada) [see Missy Mazzoli]

Giuseppe Verdi (Italy)
"Buried Alive" (on AntonioGhislanzoni's and Giuseppe Verdi's Aida) by Douglas Messerli
"Hold My Hand" (on Joseph Méry's, Camille du Locle's and Verdi's Don Carlo)  by Douglas Meserli
"Count Down" (on Piave's and Verdi's La Traviata, based on Alexandre Dumas' La Dame aux  
   Camelias) by Douglas Messerli
"Everybody's Fooled) (on Bioto's and Verdi's  Falstaff, based on Shakespeare's The Merry Wives of
    Windsor and King Henry IV) by Douglas Messerli
"Living in a Glass House without Being Able to See In or Out" (on Bioto's and Verdi's Otello,
    based on the play by Shakespeare) by Douglas Messerli

Gore Vidal (USA)
"The Compromise" (on Vidal's The Best Man) by Douglas Messerli

Richard Wagner (Germany)
"The Devil Meets His Angel" (on Wagner's The Flying Dutchman) by Douglas Messerli
"The Sacred and the Profane" (on Wagner's Parsifal) by Douglas Messerli
"The Sublime and the Ridiculous" (on Wagner's Tristan und Isolde) by Douglas Messerli
"Casting Out the Self" (on Wagner's Die Walküre) by Douglas Messerli

Enda Walsh (England)
"Keeping to the Script" (on Walsh's The Walworth Farce) by Douglas Messerli
"Pool of Survivors" (on Walsh's Penelope) by Douglas Messerli
Ethel Waters (USA)
"Stormy Weather" sung by Ethel Waters (1933) [link]
The Weavers (US singing group)
"If I Had a Hammer" [link]
Frank Wedekind (Germany) [see also Steven Sater and Duncan Shiek (USA)]
"An Audience of the Deaf and Blind" (on Spring Awakening, the musical)
Kurt Weill (Germany/USA)
Recording of Die Dreigroschenoper (The Threepenny Opera) Berlin, 1930 [link]

Arnold Weinstein (USA)
Red Eye of Love
"Eye to Eye" (on Weinstein's Red Eye of Love and Jack Gelber's Square in the Eye) by Douglas Messerli

Mac Wellman (USA)
Bad Penny
The Hidden Part of the US Constitution
The Offending Gesture
"Apropos of The Offending Gesture"
"Tails/Tales" (on Wellman's Bad Penny) by Douglas Messerli
"What American Abandons Abandons America" (on Wellman's Two September) by Douglas
     Messerli
"Harm's Other Way: Some Notes on Mac Wellman's Theater" by Marjorie Perloff
"A Linguistic Fantasia" (on Wellman's A Murder of Crows) by Douglas Messerli
"Music from Another World" (on Wellman's The Hyacinth Macaw) by Douglas Messerli
"You Can't Go Home Again" (on Wellman's Second-Hand Smoke) by Douglas Messerli
"There Are No Such Things as Crows" (on Wellman's The Lesser Magoo) by Douglas Messerli
"Mac Wellman" (interview) by Linda Yablonsky [link]
Arnold Wesker (England)
"Work, Eat, and Die" (on Wesker's Roots) by Douglas Messerli

Oscar Wilde (Ireland)
The Importance of Being Earnest
"Nothing But the Truth" (on Wilde's The Importance of Being Earnest) by Douglas Messerli

Thornton Wilder (USA)
"Archetypal America" (on Thornton Wilder's Our Town) by Douglas Messerli

Tennessee Williams (USA)
"Dependent Independents" (on Williams' A Streetcar Named Desire) by Douglas Messerli
"Rise and Shine" (on Williams' The Glass Menagerie) by Douglas Messerli
"Bow Down and Be Dim" (on Williams' Vieux Carre) by Douglas Messerli
"End of the Road" (on Williams' Camino Real) by Douglas Messerli
"Left in the Lurch" (on Williams' play version of Baby Doll) by Douglas Messerli
"Medea's Last Dance" (on Williams' In Masks Outrageous and Austere) by Douglas Messerli
"The Making of Blanche DuBois (on Williams' The Eccentricities of a Nightingale) by Douglas
Messerli

Robert Wilson (USA)
"Nothing on a Lecture (on Robert Wilson's performance of Cage's Lecture on Nothing) by Douglas Messerli

Ermano Wolf-Ferrari (composter) and Enrico Goslisciani (libretto) (Italy)
"Bad Manners" (on Wolf-Ferrari's Il segreto di susanna (Susanna's Secret) by Douglas Messerli

The Wooster Group (USA)

Elizabeth Wray (USA)

Doug Wright (USA)
"Winter in a Summer Town" (on Wright's, Scott Frankel's and Michael Korie's Grey Gardens) by Douglas Messerli 

Grzegorz Wróblewski (Poland/Denmark)
Turning Point
Miwa Yanagi (Japan)
"Can You Hear My Voice?" (on Miwa Yanagi's Zero Hour: Tokyo Rose's Last Tape) by Douglas Messerli
Ozaki Yutata (Japan)
尾崎豊 僕が僕であるために(87年 有明コロシアム song by Ozaki Yutata [link]
Ozaki Yutata song by the Japanese pop-singer [link]

William Butler Yeats (Ireland)
Love and Death (manuscript version)

Stefan Zeromski Theatre (Poland)
"Men in the Streets" (on the Zeromski Theatre's production of In the Solitude of Cotton Fields) by Douglas Messerli







Pablo Capra | "Theater in the Merry-Go-Round" (on James Harris's An Illegal Start)


theater in the merry-go-round
by Pablo Capra

James Harris (author), Paul Sand (director) An Illegal Start / Santa Monica Public Theatre, in the Santa Monica Pier Merry-Go-Round / The performance I saw was on Friday, May 19, 2017

Pete (Cameron Tagge) and Robbie (Irish Giron)

Watching a play in the 1920s merry-go-round of the Santa Monica Pier has to be one of the most uniquely wonderful theater experiences in Los Angeles. The painted horses and carnival architecture immediately inspire viewers to be transported to another world.

In the case of An Illegal Start by James Harris, that other world is a small town in 1980s Colorado, where two high school boys are beginning an unlikely friendship.

Pete Wilson lives a life of good fortune. He has just survived a serious car accident with only minor injuries, an inexpensive ticket, and no censure from his middle-class parents. He dreams of moving to Los Angeles to become an actor and writer.

Robbie Zamora is less fortunate. He was knocked out in the accident (and would have died if he hadn’t been wearing an army helmet), resulting in a concussion that causes him to hear the voice of his dead grandmother. He lives in an impoverished minority neighborhood in a floodplain, and crudely describes what his parents would have done to him if he’d been driving. His only aspiration is to stay in his hometown and become a fireman.

Several years pass between each scene, visualized by the spinning of the merry-go-round, and possibly reminding us of the philosopher Boethius, who cautioned not to trust the fickle wheel of fortune. At first, the difference in the two boys’ fortunes only seems to increase. By the middle of the play, Pete is accepted at UCLA, while Robbie enlists in the Air Force and may have to go to war. But while writer James Harris has us worrying about Robbie, he cleverly distracts us from the signs that Pete is really the one in trouble.

Pete’s minor injuries from the accident linger as a ringing in his ears. He becomes increasingly dependent on alcohol. His date with his high school crush goes nowhere. In contrast, Robbie’s injuries heal quickly. He outgrows his youthful drinking. He becomes so popular with the girls that he takes three dates to the prom.

By the end of the play, their reversals of fortune are obvious. Robbie returns from the Air Force unharmed. He has traveled. He has married. He has his own business as a contractor (while also indulging his childhood dream by becoming a volunteer fireman). Meanwhile, Pete works at the same bar he’s been at forever, with no career or romantic prospects. His alcoholism leads him to a point of crisis where he almost dies in the hometown he was determined to escape.

What happened?

Finally the play reveals what it’s really about: having the courage to follow your dreams. Pete began as a dreamer but took no meaningful action (perhaps that was “the illegal start” that led to his downfall). Instead he waited at his bar for a customer to give him a part in a movie.

Robbie’s dream may not have been to go into the Air Force, but it was a way forward, and he took it. Pete is confounded by Robbie’s decision until it is finally explained. Robbie confesses that he joined the Air Force to not betray the dreamer that Pete was, making Pete aware of how he has betrayed himself.

"I thought you really had it together, Pete. You spoke as though you had all wisdom, and I bought every word of it. You had the guts to leave everything behind. To do things your own way." 

By going into the Air Force, Robbie demonstrated that he had the guts to fight for the life he wanted.

Irish Giron as Robbie is full of energy, quick to laugh, and extroverted, filling the room with his assertive presence. Cameron Tagge as Pete is understated and brooding. He simmers throughout, then delivers an explosive release of emotions. Both actors show off athletic talents, leaping over railings and performing handstands.

James Harris’s lean descriptions effortlessly conjure up the various time periods of his play: the ‘80s Reagan Depression, the ‘90s Gulf War, and the optimistic turn-of-the-century. During this long span, he creatively makes drama out of letter writing and journal entries to maintain the characters’ connection.

Director Paul Sand has the actors constantly interact with the merry-go-round. They push it, ride it, run on it, and count the horses—while pointing out that there’s also a pig and a goat! He transforms the challenges of the non-theatrical space into the most memorable parts of the staging. An encounter with a police officer is imagined through an open window, and a support column becomes an indispensable prop for the actors. It’s clear that he’s getting the most fun out of directing a play in a merry-go-round.

Sunday, May 21, 2017

Douglas Messerli | "Dance of Surprises" (on Matthew Bourne's Early Adventures)


dance of surprises
by Douglas Messerli


Matthew Bourne (choreographer) Early Adventures / performed at Beverly Hill’s Wallis Annenberg Center for the Performing Arts, May 17-21, 2017 / I attended with Thérèse Bachand the matinee on May 20, 2017.

 

Although Matthew Bourne has choreographed plenty of traditional musicals and balletic events, including My Fair Lady, South Pacific, Oliver! and The Red Shoes, he is perhaps best known for his notoriously gay-themed productions, particularly his Swan Lake and his proposed male-male production of Romeo and Juliet.

       The three ballets of Early Adventures, reconceived works from the late 1980 and early 1990s, often toy with some of the same gestures, surprising and sexualizing sequences which might otherwise have been “cute” or simply “sweet.” Yes, there are dazzling heterosexual couples spinning through the three pieces, but the marvel of his works is that at any moment the proper British characters might slip into bawdy and outright randy behavior, like the bad boys and girls of the first work here performed, “Watch with Mother” from 1991, based on Joyce Grenfell’s “Nursery School Sketches” (probably forgotten by most Americans, Grenfell, who died in 1979, is still a well-loved monologist and performer in Britain).

       The children of this piece begin simply enough by playing a kind of version of ring-round-the rosy, but the boy at the center of their ring, Paris Fitzpatrick, is clearly an outsider to this community of little brutes, and quickly finds himself the subject of torture to the children who leap upon each other’s backs, riding their peers like horses, rolling like tops toward one another, and generally displaying other elements of quite sadistic behavior, accompanied by music by British composer Percy Grainger, Bach and Fauré.

      Bourne’s 1991 masterpiece, “Town and Country” followed. This multi-segmented piece includes nearly everything, including satiric views of wealthy British couples, two of whom (João Carolino and Mari Kamata) take somewhat  strip-tease-like balletic baths attended—or we might say, “overattended”—by a valet and maid. Two British dandies (Fitzpatrick and Edwin Ray) lovingly restrain themselves while satisfying each other’s sexual needs during an outdoor picnic.

      In another scene, Bourne duplicates the famed railway restaurant scene from David Lean’s Brief Encounter, playfully satirizing the long and languid stares of the couple(s) that can never result in more than a good-bye kiss.

     The music of the period by Elgar, Coward, Coates, and, again, Grainger moves us to the country for a good old-fashioned clog dance, and another romp through country lanes by male-male, female-female, and mixed couples ends in the death of one of the several stuffed animals peeking out from the greenery. All dancers suddenly go wild on children’s scooters, and a kind of funeral performance of Pomp and Circumstance is performed on ukulele. One might summarize the piece by suggesting that Bourne’s Brits, despite their polished behaviors in town, go absolutely wild in the country!

     The raunchiest pieces of Bourne’s repertoire, however, are saved for the last French-based series of dances, The Infernal Galop: A French Dance with English Subtitles. Here the rather up-tight British can go whole hog in their imaginations of French lowlife behavior.

     To the strains of Edith Piaf, Charles Trenet, Tino Rossi, and Mistinguett, streetwalkers prowl the Paris wharves, a merman is serenaded by three sailors, and after an adventurous quartet of toughs converge at a street pissoir, two of the group proceed to engage in rough sex that keeps getting interrupted a band of street carolers. The piece ends, how else?, in a kind of satirical version of Offenbach’s can-can. In short, Paris is presented as rough and tough, alluring and gay as any Baedeker guide might wish to imagine it.

     Bourne is a great narrativist, who can convey character, class, and sex in just a few bends and rolls of the body, and his dancers in this production represent a wide range of personal eccentricities. No one in Bourne’s dances, he suggests, is precisely what they seem, as men and women wind through each other’s arms and legs as if they were performing a kind of Schnitzler-like ballet of “hands around.” The very energy of it is a lovely thing to watch.

 

Los Angeles, May 21, 2017