As the liner notes to this intriguing release tell, Faithfull had a long-simmering interest in German cabaret, particularly the work of Kurt Weill. It came fully to life via her role as Pirate Jenny in a staging of The Threepenny Opera in Dublin as translated by Frank McGuinness and her attendance at a workshop organized by Allen Ginsburg. After a series of initial performances with pianist Paul Trueblood, Faithfull took her revue of many classic songs from the mid-century, titled "An Evening in the Weimar Republic," to the road. This particular recording is from a performance in Paris in 1996, showcasing both a smart selection of songs to work with and Faithfull's own dramatic, interpretive skills with them. Kicking off with the aggressive-then-smooth bite of the Brecht/Weill standard "Alabama Song," Faithfull and Trueblood show they make a great team -- her distinct vocals seem almost born for the material, while Trueblood is a sure hand on the keys, both playful and polished. Weill remains the centerpiece of the show, in both his various collaborations with Brecht -- standout tracks include withering versions of "Pirate Jenny," "Salomon Song," and "Surabaya Johnny" -- and with other partners, including "Complainte de la Seine" and "Mon Ami, My Friend." Friedrich Hollaender gets the nod twice, with a take on the eternal classic "Falling in Love Again" almost rivaling Marlene Dietrich's original interpretation. The title track, a noted Noel Coward number, gets a fine performance, as does the one nod to more contemporary times, a rendition of Harry Nilsson's "Don't Forget Me." One nod to Faithfull's previous recording past appears via a new version of "Boulevard of Broken Dreams," originally covered by her on Strange Weather. Faithfull throughout introduces songs with humor and reflection, a perfect MC for her own performance.
20th Century Blues
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A week after the opening of Sarah DeLappe's The Wolves comes 20th Century Blues, a new play by Susan Miller that could easily be considered its sequel. The Wolves looks at nine teenagers on the cusp of womanhood; 20th Century Blues follows four sixtysomething friends as they confront the downsides of being an adult, primarily aging and ageism. Where the former is an exciting, kinetic portrait of life on the verge of change, the latter tells its story in a way that feels more akin to a ticking-off of important subjects.
20th Century Blues is a warm play, but one that cares more about stating big ideas than theatricalizing them. It's a stage version of a think piece: Rather than find dramatic ways of explicating issues facing contemporary women in their 60s, Miller presents them as bullet points in dialogue. "How could we ever claim to be postracial or postfeminist? We aren't post anything," Danny says to her pals before a pregnant pause. "Except truth." Mac, a high-powered journalist who's just been bought out of her contract, replies, "November 8, 2016," to knowing sighs onstage and off.
Despite a realistic-looking artsy loft set by Beowulf Boritt and costumes by Jennifer von Mayrhauser that define the inner lives of each character (Grody, for instance, wears the exact kind of outfit you'd expect to see on the daffy, pot-smoking aging hippie Gabby), 20th Century Blues is directed by Emily Mann with too leisurely a hand. The gentleness of the pacing, combined with the overall lack of discernible conflict in Miller's genial script, creates an evening that isn't particularly engaging. There's virtue in exploring how the boomer generation reacts when the world outpaces it, but this play gives us the blues when we realize all of its missed opportunities.
Vladimir and Estragon wait on a deserted country road to meet a person named Godot. Killing time with hat tricks and half-remembered stories, they dawdle through one of the greatest dramas of the 20th century. In Beckett's absurd, anarchic world, life is a vaudeville and tragedy, philosophy and confusion, all seamlessly woven together with the playwright's masterful blend of poetry and humor.
20th Century Blues is focused on the music of Kurt Weill and Bertolt Brecht as well as Noël Coward, and was followed in 1998 by a recording of The Seven Deadly Sins, with the Vienna Radio Symphony Orchestra, conducted by Dennis Russell Davies.
In 1933 two legendary personalities of the German theatre and the musical landscape of the 20th century; Kurt Weill (responsible for the music), and Bertolt Brecht (who wrote the lyrics), collaborated with leading ballet master George Balanchine to create a series of art songs as a ballet.
These are all interesting subjects, but playwright Susan Miller never goes deep enough into exploring them. It's all too superficial to have any dramatic impact. What emotional and psychological scars would Gabby have from losing one of her breasts? We never find out. How has Mac's sexuality impacted her family and her career? We never find out.How will Danny's son react when he learns he's adopted? That is also completely glossed over.The women reflect on all the historic events they have witnessed in their lives: The John F. Kennedy assassination, September 11, the 2016 Presidential election. Great, except we never get to learn how these events impacted them on a personal level. There's one truly brilliant line of dialogue, spoken by Gabby, in reference to the non-stop insanity we're living through today: "There used to be more space between the strangeness."The Players have assembled a superb cast for this production.Schlink is tremendously charismatic and likable as Danny, a woman with a lot on her plate. Another gem of a performance is by Sharon Carpentier, who gets many of the funniest lines in the show as Gabby. "Why do women live longer than men? So they can finish their conversations."Sophia and Talento-Ley also create fully realized characters. The actresses are all wonderful, but are ultimately let down by Miller's writing.Instead of true reflection, we get to watch the women dance to a Sister Sledge song, "We Are Family." Miller also throws in a shamelessly contrived moment near the end of the show. No spoilers here, but it's clearly intended as a tearjerker. To me it seemed hollow because there was no build-up. If you're going to bring serious subjects into your show, then why not explore how they affect your characters? "20th Century Blues" is not a bad show, just a misguided one. There are a few moments of genuine wit and truth. It's a shame Miller chooses manipulative pathos instead of giving a greater insight into these women's lives. It's a missed opportunity and sometimes frustrating to watch.20th Century Blues runs through October 23. The Players at Barker Playhouse. 400 Benefit Street, Providence, RI. For tickets, visit theplayers.org.
Perhaps no play could better memorialize the exciting grand opening of Benson Theatre. In 20th Century Blues Playwright Susan Miller successfully writes characters who veer directly into the depths of women and time, but she also takes direct jabs at the forces of ageism, racism and tragedy. For seven dates this month, performers will bring 20th Century Blues to life on stage with heart. And the 100-year-old building with a vaudeville past, too, will start anew.
Stevie Ray Vaughan was an American musician. Stevie achieved so much in his mainstream career, that spanned only seven years, that he is widely regarded as one of the greatest guitarists ever and one of the most influential and iconic musicians in the blues music history. He is credited with reviving blues-rock and his work continues to influence several artists.
Singer and guitarist Robert Johnson is remembered as a Delta blues legend. Lack of proper documentation of his early life led to various legends surrounding him, such as one that claimed he had made a deal with the Devil to excel in music. He also inspired an award-winning biography.
Bessie Smith was an American singer who gained popularity during the Jazz Age. Dubbed the Empress of the Blues, Smith was one of the most famous blues singers of the 1920s and 1930s. Counted among the greatest singers of her generation, Bessie Smith was a major influence on several other singers. Her life and work inspired the TV film Bessie.
Known for his powerful blues rock performances, Irish guitarist Rory Gallagher was part of the band Taste. Though The Rolling Stones offered him an opportunity to replace guitarist Mick Taylor, he rejected it. A heavy drinker, he died of complications after a liver transplant surgery at age 47.
Eric Clapton, the rock and blues guitarist, singer and songwriter, is considered one of the most influential guitarists of all time. In the 1970s, he recorded a number of successful solo albums and continued to do so over the next several decades and is one of the best-selling musicians of all time. He has had issues with alcohol and drugs.
Recorded in the early months of 1969 at Art Snider's Sound Canada studios in Toronto and pressed up in very limited quantities, Royal American 20th Century Blues is an impossibly rare psych-rock curios that has sold for close to $2000.
Voice Duet Voice - Digital DownloadComposed by David Warin Solomons (1953-). 20th Century, Contemporary. 2 pages. David Warin Solomons #20951. Published by David Warin Solomons (A0.576406).
Voice Duet Voice - Level 3 - Digital DownloadComposed by David Warin Solomons (1953-). 20th Century, World. 3 pages. David Warin Solomons #2025971. Published by David Warin Solomons (A0.575546). 2ff7e9595c
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