Dog Days--QuasiPUGo

Please click on the photo above to watch a new episode from the "Dog Days" series called "QuasiPUGo." In this episode, tension arises when Lenny and George get cast as Quasi-PUG-o and Es-FUR-elda in a local community dog production of "The Pugback of Notre Dame."

When Memory Manifestation Leads to Physical Ramifications

Did you ever have a sense memory that was so strong it could illicit a physical response from you just by thinking about it? For instance, when you hear the sound of a lawn mower, or the smell of freshly cut grass, does it suddenly harken you back to your youth when perhaps you were responsible for that family chore? Or does the smell of cinnamon cause your mouth to immediately start salivating? Perhaps a song comes on the radio that takes you back to a favorite time in your life, or a sad memory of someone no longer with us?

Actors are taught to become aware of these types of sensations so they can use them in their creative process. The more an actor can associate with a specific emotional response, the more credible their performance. That’s why some actors can cry at the drop of a hat—they’ve trained themselves to recall a specific memory in their lives that will always help them get that kind of reaction.

I have a very strong sense memory from my days playing a clarinet in band that still gives me the same kind of sensation today as when I originally experienced it. In fact, sometimes the sensation is even stronger than the original incident that inspired it. I’m speaking of the feeling you get if you’ve ever tried to play a clarinet with a dry reed. Not only does the instrument produce a loud high pitched shriek, but you also experience a physical reaction similar to what you might feel when someone drags their nails across a blackboard. Both the sound and the action combined are what set off your physical response. For me, my neck and shoulders scrunch up, and my face stretches out in a very pained expression as if I’d just bitten into a sour lemon. I also get some kind of tingly sensation which ripples down my back, as if my muscles were being individually repulsed by the experience.

(Side note: As I was trying to find the words to describe my physical reaction for you, I actually had to keep recalling the sense memory over and over again like some kind of masochist. And to be honest, right now my back and mouth are physically exhausted from the efforts---that’s how strong my sense memory of this silly little event is. I can physically make myself uncomfortable just by recalling it.)

And though not recommended, this type of skill might be useful if you ever wanted to get out of a social obligation or avoid a specific type of chore. All you have to do is try and recall how it felt to be so physically sick you couldn’t even get out of bed, and you’ll be surprised how your body will react to that kind of committed recollection. The more you concentrate and try to remember, the worse you’re going to feel, giving you an outward physical manifestation of your internal memory. The problem is, sense memory can sometimes be so strong and your abilities so effective, that you actually might start to trick yourself into believing you’re actually sick. In which case, I would counteract those feelings with sense memories of how good you felt once you recovered.

Anyway, I find it interesting that my body can retain a physical response from something that happened to me over thirty years ago, and repeat it verbatim any time I happen to recall the event. But then again, I have friends who will actually start to vomit just by mentioning the word “vomit,” so I guess I’m lucky my sense memory doesn’t include a weak stomach as well.

But that’s just me. Do you have a strong sense memory that gives you a physical reaction any time you think of it?

Celebrity Mystery in London--LOST FOOTAGE

Please click on the image above to watch a short sequence that was cut from Fritz Freewhenever's latest news report, "Reality Stars on a Rampage."

LuPone Triumphs as New Queen of the “Gypsy’s”

One of the most famous backstage musicals of all time, “Gypsy,” is back on Broadway again. After two relatively recent revivals starring Tyne Daly and Bernadette Peters (the latter only a few years ago), I wondered why anyone would want to bring it back so soon. Is there really anything about “Gypsy” we haven’t seen yet? What could possibly justify another “New” Broadway revival? Well, after seeing the show last night at the St. James Theater, I fully understand why.

Watching this production of “Gypsy” is like seeing the show with new glasses. Truth to tell, I’ve never actually seen a LIVE stage production of “Gypsy.” I’ve seen the movie many times, as well as the Bette Midler television adaptation in the 1990s, so I’m pretty familiar with the material. But this production seems infused with a new energy and life, particularly because of its two leading ladies, Patti LuPone and Laura Benanti.

The energetic powerhouse that is Patti LuPone is used to maximum effectiveness here. As the show’s central character, Mama Rose, she is loud, brassy, funny, playful, arrogant, desperate, pushy—yet always in control. Every time she is on stage, you can’t help but watch her. Even when she is only walking by in the background during a Baby June song, she nearly steals the scene. Miss LuPone inhabits this role like no one else before her. Not that other people haven’t played the part well, but there is something so natural and effortless in Miss LuPone’s performance, that you feel like you might be watching Mama Rose herself.

To me, the most incredible moment comes near the very end of the show. Gypsy has already established herself as the Queen of Burlesque, and Rose no longer feels wanted or needed. The result is one of the most brilliant swan songs ever written, “Rose’s Turn,” in which she basically laments her life. This song is a favorite among musical theater lovers and has been sung by nearly every female Diva in the world at some point in their careers. It is tour de force musical tirade, which Miss LuPone infuses with every fiber of her being. The song is electrifying to watch, as goosebumps trail up and down your arm. You know you are witnessing something very special—the perfect melding of star and song. Several audience members spontaneously stood up at the end and gave her an ovation, and I can see why. It was truly remarkable.

But that wasn’t even the “incredible moment” I was referring to. My favorite “moment” comes shortly after the aforementioned show-stopping "Rose's Turn" number. Gypsy finds her mother onstage, and asks her why she worked and pushed so hard for all those years---who was she really doing it for? Rose always claimed she was doing it for her kids, to give them a better life. But in one overwhelming and painfully raw moment of insight, she finally realizes her drive was motivated by her own desires rather than her children's welfare. Her realization and subsequent breakdown is a moment I will never forget. It was so human and real. Absolutely incredible!

The evening also had a feeling of heightened electricity because the audience was filled with other Broadway actors, who spent their Monday night off watching someone else’s show. David Hyde Pierce (of “Curtains”) and his partner were sitting right across the aisle from me, and the lobby was filled with many other famous faces from the New York theater scene. During the show, you could hear a pin drop; that’s how riveting it was. And though I’ve had the opportunity many times over the years to see “Gypsy” LIVE, I’m glad I waited until this production to actually take the plunge.

For anyone who loves theater, this “Gypsy” is definitely worth the trip!

The Brilliance of the Broadway Bound “Billy Elliot”

Just got back from London for a quick trip with my friend Celia. While we were there, I decided to take in the British smash hit musical, “Billy Elliot” which is based on the critically acclaimed movie of the same name. It was my second time seeing the Elton John/Lee Hall musical, and I was equally impressed upon a second viewing. The brilliance of the book and score, which intermingles the tragic plight of poor mineworkers in a Northern England town with the artistic awakening of a young boy, makes for a very exciting and moving theatrical experience.

But what makes the experience even more fascinating is the unique casting process for the main character. For there is not just one “Billy Elliot” playing the role at any given time, but rather five different boys. So depending on what night you see the show, you might be seeing a slightly different performance. Because while each “Billy” is equally talented, his choreography and individual dance numbers are catered to that particular boy’s strengths, giving the audience a rare glimpse into the life of that particular boy. It also makes each performance unique and exciting, as the rest of the ensemble always has a new interpretation of the character to play off.

On the night I saw it, a black actor was playing Billy. There have also been Asian “Billys” and perhaps even Hispanic, but it matters not. The essence of Billy is in everyone, and by casting talent over authenticity, the producers are wisely capitalizing on the mass appeal this character has.

I believe the training process for the character is pretty long and fairly extensive as well. Potential “Billys” must go through a year or more of dance, vocal and acting lessons before they can even attempt to do the role. (Or some such rigorous timeframe.) And once you see the show, you can understand why. The role is demanding, both physically and emotionally, and the show would not succeed if the performer did not have incredibly strong acting, singing and dancing chops. And for someone so young to be able to perform such a feat is truly amazing. By the end of the show, you have fallen in love with Billy, his family, his dancing coach, and indeed the town itself, and you also leave the theater feeling energized by hope. The juxtaposition of this long-suffering town of mineworkers with Billy’s emergence as a naturally-gifted talent is an incredible piece of theater to experience, and there are moments in the play that will simply take your breath away.

So with that being said, I am both anxious and nervous for “Billy Elliot” to make its debut on Broadway this Fall. I have heard they may change it to appease the American sensibility, perhaps even moving the local from a British town to one in Pennsylvania. To me, this would be a mistake. The charm of the show is that we are viewing a way of life that is foreign to many of us anyway, and by Americanizing it, I think they change the story. I would hope that American theatergoers are not so superficial as to require major rewrites or different accents to make the show more accessible. It is what it is, and I wouldn’t change a thing.

So here’s hoping the Broadway Bound “Billy Elliot” brings as much joy to American audiences as it has to the London theater crowd for over two years now. It is simply Brilliant!
But that’s just me. What did you think of London’s “Billy Elliot”?

Ode to the Writer's Strike

(Sung to the tune of "Close to You" by the Carpenters.)

Without words, you would never hear,
Dialogue that is clear,
Actors need,
Writers to feed,
Words to you.

When a script has a juicy plot,
And suspense, there’s a lot,
It just shows,
Some writer knows,
What words to use.

Writers say ideas are born from their imagination,
They conceive a story that the world will view,
But for work that they’ve created,
They’re not fairly compensated,
It’s the truth.

That is why all the scribes in town,
Are on strike, look around,
No more prose,
Till someone shows,
The dough they're due.


Let's hope this gets resolved quickly. I don't know how many more reality shows I can take!