Two Singers: Nnenna Freelon and Elliott Yamin

Two singers I catch around town as often as I can just happened to be in the neighborhood (or close enough) in the last couple of weeks: Jazz artist Nnenna Freelon and American Idol alum (season five) Elliott Yamin. They don't have terribly much in common, except I like them both for their unique voices. You don't mistake them for anyone else.

(And you know that's why I like Clay Aiken, too, but while he is working on his surprise for my birthday next month--which I am guessing is going to be his plan to collaborate with David Foster on adapting my screenplay into a Broadway musical--I have to spend this time pursuing my other interesting interests. Pardon my daydream...)

Both Nnenna and Elliott played to less than packed houses at the Strathmore and the Birchmere, respectively. This is unfortunate, but it didn't affect their performances.

Nnenna goes into her own world in her dreamy interpretations, bringing the audience along into the experience. "Skylark" gave me chills, performed with simple bass accompaniment.

One difference between a Nnenna/Strathmore experience and an Elliott/Birchmere one is my level of inhibition in clack-gathering. It's just taboo in a concert hall like Strathmore, and an artist of Nnenna's elegance, well, it would just seem like a violation to try to video her performance. At the Birch, with a guy like Elliott joshing with his E-Train riders in the audience, the pictures and videos are almost expected.

So to give you Nnenna's "Skylark," I borrow from someone else's lack of inhibition. This is from a year ago:

And "God Bless the Child," which made me feel as though I never heard or understood it before:

Now, Elliott, on the other hand, I had no problems mustering courage to video, so these are mine. My only problem was the tall fellow directly in my line of sight. (Situation normal.)

Here he is previewing some new songs, and delivering a heartfelt version of an earlier hit.









Love, hosaa
hearing (really great) voices

Fahrenheit 21C

Back from Round House Theater's production of Ray Bradbury's futuristic classic, Fahrenheit 451, with special multimedia effects that really do make that future feel now.

The credit for that stunning stagecraft, as well as the directing (Sharon Ott) and two of the principal actors--David Bonham ("Montag") and Aurora Heimbach ("Clarisse")--goes to the Savannah College of Art and Design.

The story is well known enough: Firemen burn books because books contain ideas, which just confuse and upset people. In a culture that fears dissent, ideas are weapons of mass destruction. (H. G. Wells also foresaw a book- and thought-free future in The Time Machine.)

What makes this production so contemporary is not just the cool multimedia elements, but also its reflection of our relationship to multimedia itself. Look around at how many people are connected to their devices, hooked on media walls that aren't just on the walls anymore--they never leave our hands. And yes, in many ways, this does detract from our ability to focus, reflect, think, and question.

But for me the real foresight of Bradbury comes through in Montag and Clarisse's escape to the woods and in the preservation of books through oral storytelling.

Futurist William Crossman has long been forecasting the rise of voice-based computing and the lessening need for text. See VIVO [Voice In/Voice Out]: The Coming Age of Talking Computers.

Frankly, as much as I love Moby Dick, I can't imagine memorizing it. Nor do I necessarily buy into the idea of rote memorization as valuable for critical thinking. But Bradbury's point about conveying cultural knowledge through the medium of storytelling is valid, and Crossman's point about advanced societies relying less on text to do the conveying is becoming increasingly validated.

Bradbury's prescription for his hero, escaping to nature and away from the oppressively conforming and soul numbing city, is the same prescription we hear today from Richard Louv, author of Last Child in the Woods and The Nature Principle. Louv writes about his prescription for children hooked on technologies and suffering from nature-deficit order in the next issue of THE FUTURIST.

The Voice of a Master Twit

For my fellow Edward Duke fans, I've been trying to locate digital versions of the audiobooks he recorded for Buckingham Classics, which no longer seems to exist.

Best we can do commercially is the audiocassette compilation All About Jeeves, which repackaged Edward's two original Buckingham cassettes.

The stories are:

"Jeeves Takes Charge" and "Bertie Changes His Mind," which were Acts I and II, respectively, of Edward's stage production, plus "The Chump Cyril" and "Jeeves and the Hard-Boiled Egg," originally packaged as "Jeeves Comes to America."

(Incidentally, Act III of the Jeeves Takes Charge stage production--"Wooster in Wonderland"--was Edward's invention, pulling together all of the best characters and plot devices of the Wodehouse universe--including aunts, country fairs, newts, fiances, and the world's worst tap dance, performed by Bertie while singing "Look for the Silver Lining.")

Sadly, I had ordered my copy of "Jeeves Comes to America" right about the same time dear Edward died, in 1994. It was recorded in 1993, and I fear he was likely quite ill at the time. I tried only once to listen to this recording and just couldn't get through it. My heart couldn't bear it. It's about time I tried again, now, isn't it!

There is one more piece of Edward Duke audio in my collection (also on tape. It was a sad decade, the technologically transitional 1990s). It is the interview that he conducted with WETA TV and radio personality Robert Aubry Davis, for his show Desert Island Discs. I had the pleasure of meeting Mr. Davis in Edward's dressing room--and the audacity to ask for a copy of the interview.

I'll see what I can do about converting some of these tapes into digital audio, and will try to share as much as I can within the limits of fair use. I miss Edward's laugh, his wit, his mastery of the art of the twit.

Love, hosaa

looking for the silver lining (and tap dancing, very badly indeed)

Errant Heirs, Apparently

Back from last night's invited dress rehearsal for The Heir Apparent at Shakespeare Theatre's lovely Lansburgh venue on 7th Street.

The early 18th-century French farce by Jean-Francois Regnard (1655-1709) retained period costuming, while the text (all verse) had a complete 21st-century American makeover. Incongruous at first, but delivered with such energy and daffy deftness that it kept the audience roaring for just over two hours.

The brains of the operation (which was to extract a will from miserly Uncle Geronte that favored the Bertie Woosterish nephew Eraste) was the quick-thinking (and self-serving) valet Crispin, played with winking naughtiness by Carson Elrod.

The set design by Alexander Dodge was a character in itself. I hope it isn't too much of a spoiler to say that the big ugly clock--as noisy and elaborate in its machinery as it was fascinating in its ornate face design (Deco? Nouveau? Rococo-koo-koo?)--had personality that demanded its own plot point.

The play officially opens September 12 and runs through October 23. See it.

Credits as follows:

The Heir Apparent
Adapted by David Ives from the comedy by Jean-Francois Regnard
Directed by Michael Kahn

Crispin: Carson Elrod
Geronte: Floyd King
Eraste: Andrew Veenstra
Lisette: Kelly Hutchinson
Isabelle: Meg Chambers Steedle
Madame Argante: Nancy Robinette
Scruple: Clark Middleton

Set Designer: Alexander Dodge
Costume Designer: Murell Horton
Lighting Designer: Philip Rosenberg
Sound Designer: Christopher Blaine
Composer: Adam Wernick


Meet the cast event at Shakespeare Theatre: (left to right)
Playwright David Ives with the cast: Andrew Veenstra, Nancy Robinette, Carson Elrod, Meg Chambers Steedle, Floyd King, Kelly Hutchinson and Clark Middleton.

credit: Shakespeare Theatre

New Blog: Shakespeare Readers

I've started a new blog for the Shakespeare Readers group (formerly the Washington Shakespeare Reading Group), which meets one Sunday a month at American University Library.

Check out the new blog and the 2011-2012 reading schedule here.

"In Bard We Trust!"