Thursday, September 15, 2016

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)
"Nell's Death" (on Beckett's Endgame) by Douglas Messerli
"Talking the Tears Away" (on Beckett's Happy Days) by Douglas Messerli
"Be Again" (on Beckett's Krapp's Last Tape)
"Sweating It: Three Mid-Century Tragi-Comedies) (on Beckett's Waiting for Godot) by Douglas Messerli (New York Production)
"Living in the Details" (on Beckett's Waiting for Godot) by Douglas Messerli (Los Angeles Production)
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)
"Three Bernstein New Yorks" (on Bernstein's On the Town, Wonderful Town, and West Side Story) by Douglas Messerli
"Spiritual Uplift" (on Bernstein's Trouble in Tahiti)

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

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
Claude Debussy (France)
"The Outsiders" (on Debussy's Pelléas et Mélisande) by Douglas Messerli 

Shelagh Delaney (England)
"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
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

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

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

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)
"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

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
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

Richard Rodgers and Oscar Hammerstein II (USA)
"Confused by Paradise" (on Rodgers' and Hammerstein's South Pacific) 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
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

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
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)
"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)
"Taking Up the Axe" (on Strauss' Electra)

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

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

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
"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








Douglas Messerli | "Tearing Down Bridges" (on Arthur Miller's A View from the Bridge)


tearing down bridges
by Douglas Messerli

Arthur Miller A View from the Bridge / Los Angeles, Ahmanson Theatre, the performance I saw was opening night, September 14, 2016
 

Image result for A View from the BridgeI have to admit that Arthur Miller’s A View from the Bridge, with its hyperventilated incestuous urges, its homosexual slurs, and even a hint of homoerotic desire, all circling round the well-meaning but not so bright longshoreman Eddie, has never been one of my favorite plays. 
      At least in the production I saw last night at Los Angeles’ Ahmanson Theatre, famed Dutch director Ivo Van Hove tossed out the family’s dowdy little apartment stuffed with fussy and falling-apart furniture. The original, in which five people are pushed into a single flat makes for a kind of claustrophobia which, a moments, if it generates some body heat, also takes all the air out the drama. 
     Van Hove, perceiving the play as a kind of Greek drama, has created instead a open rectangular space which serves as living room, bed room, lawyers’ offices and any other space that might be necessary. By creating two side panels of audience seats on the stage itself, the director has further created the sensation of a Greek amphitheater, while simultaneously diminishing the vast space of the stage and allowing for more theater seats. A single central opening, backed in black further creates a sense of dramatic entry as the characters come and go. As in the original, Van Hove uses the family lawyer as the chorus (the metaphorical “bridge” of the play’s title), commenting on and helping to explain the inner feelings of a man who cannot himself express them.
      All of this opens up the play, allowing, as the director as argued, the playwright’s words to speak out their poetry. But, alas, Miller’s language has always been rather pedestrian, most of his figures being everyday blokes; and even though it’s given special privilege here, the character’s utterances feel as dowdy and diminished, at times, as the overstuffed furniture that one encounters in most productions of this play.

Image result for A View from the Bridge     What exacerbates this feeling is that the play has been cast with very young talents. And while all are appealingly fresh thespians, few of them have heft of supposedly Sicilian middle-age figures of whom Miller writes. This is important, in the original, because, except for the two youngest of this household, all others feel worn out and used (just like their now missing furniture), with few choices left. Marco (Alex Esola) may intend, after a few years of working in the US, to return back to Italy and his wife, but we know he will have lost their best years together and will never recover that hole in his life.

       Eddie (Frederick Weller) is so attracted to his growing-up niece because, like a daughter, she has lit up his otherwise drab working-man’s life. His feelings for her, moreover, have a great deal to do with middle-age angst. Like many a hard worker who suddenly discover themselves in their late 40s, he is terrified of what’s ahead. If the new interloper, Rudolpho (Dave Register) does succeed in carrying her off, Eddie will have little joy left.
      Like so many wives of men like Eddie, Beatrice (Andrus Nichols), although loving, feel as if they have been cast off, and in emotional response, find it harder and harder to demonstrate that love.

Image result for A View from the Bridge       This younger cast simply does not have the heft and weight to give these feelings their due. Indeed, the handsome and lean Weller, throughout much of the play, seemed simply too slight and frail to convey the range of emotions raging through his character; at moments we simply couldn’t hear him. At first I feared that my somewhat elderly ears were playing tricks; but as rose to leave at the end of the play, the gentlemen on my left spoke to each other of having the same problem in simply hearing him. It was not that Weller was not a good actor, he simply didn’t yet possess the “gravitas” of the character.
       As Catherine, moreover, Catherine Combs seemed more like a mini-skirted pre-teen than an eighteen-year-old high school graduate set on becoming a stenographer and secretary. I am sure Van Hove made this a conscious decision in order to establish the girlish attitude that innocently crossed sexual lines in her relationship with her uncle. But when the handsome and charming Rodolpho comes into her life, it is a bit difficult to even comprehend his attraction to a being who seems to be still a child. The tall and somewhat lanky Register, moreover, seemed at odds with the diminutive Combs.
     But, finally, it is simply the oppressive obviousness of Miller’s script that dooms his dark drama. We know, almost from the beginning, where this drama is going to take us: in tragedy for male lead, Eddie, and disaster for the two illegal immigrants. The same scenario is being played out in our daily newspapers even today. 
     The only surprise in Miller’s rendering of this tale is Eddie’s confusion over his own sexuality. It is almost as if, since he cannot sexually “have” Catherine, he will convert the handsome Rodolfo into someone whom he might love. In his confused macho thinking the very fact that the young Italian man sings, is easy-going, can quick-design a dress, and dance means that he must be “odd,” code word for gay. In his mind, he may justify his long kiss on the lips with Rodolfo as “outing” the man before Catherine in order to save her; but we know that there’s definitely something else going on there. And it is the only time when Eddie transforms his ever-present anger into some sort of passion; and, accordingly, Miller’s sudden revelation still startles even today. 
      Of course, after such an unthinkable act, he must destroy everyone around him, particularly himself, using his own kind of macho—very much present in the Italian Marco—as a tool of his death. The only hope Miller leaves his audience is that Rodolfo and Catherine may be spared and will go on to create a more fluid familial life. But since Rodolfo, as Marco’s brother, may be implicated in the murder, we cannot even be sure of that.

Los Angeles, September 15, 2016