365 photo challenge: invite

This is a fun challenge, although it’s not always easy to come up with the perfect photo for the “word-du-jour.” But it’s great trying. So if you’d like to join the fun, check out the details on the blog, my life in photos: 365 challenge. She’s always got great stories to go with her pictures.

Teatro Zinzannia blend of Cirque du Soleil and Broadway, fulfills its promise of a night to remember. The fast-paced spectacle caters to adults because of its bawdy humor, but I find it no more objectionable than films that are rated PG-13. When we’ve gone, the master-of-ceremonies, different each time, has embarked on a classy, but definitely gay, modus operandi. God help the men in the audience! They’re easy pickings for some good, old-fashioned, tongue-in-cheek humor. Throughout the show those who have involuntarily “volunteered,” find themselves the center of attention. Women needn’t hold their breaths nor keep their eyes averted, for they’re rarely called upon to make a special appearance. While I’ve relaxed completely, my husband has tried to appear invisible, sitting back into the shadows of our booth. But it’s all in good fun, and nobody is maimed in the delivery of a great show.

Duffy Bishop belts out the music in "Radio Free Starlight" at Teatro ZinZanni. The costumes are gorgeous, colorful, whimsical, over-the-top! Audience members are welcome to dress up as well. In fact, the gift shop is equipped to accessorize those who want feather boas to drape around their necks, or glittering masks behind which to take refuge, or stylized hats to add the finishing touch to a woman’s “crowning glory.” Baubles glitter within glass cases, perhaps a ring for each finger, or bangles that swath the length of one’s forearm, or a tie awash in crystals to accent a simple, black dress.

The minute I step inside the front door of Teatro Zinzanni, I find myself whisked back to a time when an evening out included dark, velvet curtains, a glass of bubbly, an underlying excitement barely contained, eyes darting everywhere soaking up the circus-like atmosphere, women dressed for the occasion, men minding their p’s and q’s, performers mingling, heightening everyone’s expectations of a fantastic evening.

And by the way, a wonderful dinner of several courses is part of the act. The night’s entertainment unfolds around the appetizer, the soup, the salad, the entree and the dessert. What an imaginative way to help the digestive process. I’ve heard that laughter is good for the waistline. Believe me you’ll be skinnier at the end of the evening, what with all your belly-laughing.

So for an uproarious good time………………………………………..you’re invited      

and tell them………………………………………………………..hugmamma sent you!!! 

“witch doctors,” do you believe?

With Halloween just around the corner, I’m reminded of something that raised the hairs on the back of my neck. I’m in the midst of reading Orson Welles-A Biography” by Barbara Leaming. Written with his complete cooperation, it really is “a dazzling, intimate portrait of a legend.” Never one of my favorite actors, I must admit that I’ve altered my opinion after reading 396 pages of the 630 page book. Welles was really the genius he was touted to be! Unfortunately his diverse talents overextended him physically and mentally, so that his failures were as huge as his successes, both personally and professionally. But I’ll leave that for another post.

Through a series of fortuitous events, 20-year-old, recently married Orson Welles made his New York directorial debut in the midst of this country’s Great Depression. In 1935, Hallie Flanagan, head of Vassar College’s Experimental Theatre Workshop, was appointed as national director of the Federal Theatre  project. As part of FDR’s Works Progress Administration, the FT was charged with providing work for the nation’s unemployed theatrical professionals. Because Flanagan “was not a member of the Broadway commercial establishment, but an academic with a taste for experimental and regional theater,” and because, by rule, 10% of actors, musicians, playwrights and technicians “could consist of theater people who had not been receiving relief, thereby ensuring the presence of expert professional talent to counterbalance the inevitable amateurs who found working in the theater more appealing than a government construction project,” Orson found himself among this elite class of professionals.

Charged with mounting a classical production, Welles, upon his wife Virginia’s suggestion, chose to stage   “an all-black Macbeth by transposing its action from Scotland to Haiti, a startlingly new setting with important artistic advantages, not the least of them the rich possibilities for music and decor. … Preferring not to anchor the action too firmly in Haiti he had in mind a mythic island more like the fantasy setting of The Tempest than any actual place. But as Orson saw it, there was a significant gain in realism as well: by alluding to Haitian voodooism the production could make credible the role of the witches that modern audiences of Macbeth often have trouble accepting.”

At Harlem’s Lafayette Theatre,  Orson’s Macbeth opened to a mixture of  gang members, respectable black bourgeoisie, and Manhattan’s chic downtown crowd. When the curtain rose on “the intricate jungle settings, piquant costumes, and sensuous lighting,” the audience broke into “wild applause and gasps of pleasure.” And the critics’ reviews were just as ebullient. Brooks Atkinson of The New York Times wrote with enthusiasm  ” ‘As an experiment in Afro-American showmanship the Macbeth fairly rocked the Lafayette Theatre, …If it is witches you want, Harlem knows how to overwhelm you with their fury and phantom splendor.’ ” The New York Daily News’ Burns Mantle hailed Macbeth as ” ‘a spectacular theatre experience. …the most colorful, certainly the most startling, of any performance that gory tragedy has ever been given on this continent.’ ”

In contrast, Percy Hammond of the Herald Tribune wrote ” ‘What surprised me last night was the inability of so melodious a race to sing the music of Shakespeare,…The actors sounded the notes with a muffled timidity that was often unintelligible. They seemed to be afraid of the Bard, though they were playing him on their home grounds.’ ” One of the African drummers, who accompanied the ranting of the three witches, made a voodoo doll in the critic’s likeness, hanging it in effigy and sticking it with pins. When told by the lighting director that Hammond was entitled to his opinion, the African replied ” ‘He’s bad man.’ ” Humoring the man over beer and pretzels at a local bar, Orson agreed to his drinking companion’s decision to put a curse on the critic.

“The African made one stipulation: the responsibility for Hammond’s death would be Orson’s alone. As a pretzel disappeared into his mouth, Orson nodded agreement. The rest of the company, Orson among them, watched with amusement as the voodoo practitioners blessed their drums before pounding on them backstage for several days. He barely gave it another thought until, shortly thereafter, he gasped to learn that Percy Hammond had just died.”

One of these times I’ll tell you about my “big-aunt,” who was a “Kahuna,” a Hawaiian witch doctor.

makes you wonder…hugmamma.