Anne Hamilton/Hamilton Dramaturgy


A Rave Review for George Marcy’s Cabaret Show

Broadwayworld.com published a wonderful review by Stephen Hanks of George Marcy’s I WISH I WERE TWINS. Read the article here: http://www.broadwayworld.com/cabaret/article/At-86-Broadway-Veteran-GEORGE-MARCY-Sings-and-Taps-His-Way-Into-Hearts-At-Dont-Tell-Mama-20131002

George Marcy -  I WISH I WERE TWINS

At 86, Broadway Veteran GEORGE MARCY Sings and Taps His Way Into Hearts At Don’t Tell Mama

by Stephen Hanks, October 2, 2013

Cabaret Reviews and Commentary by Stephen Hanks

Now that the legendary Elaine Stritch and Julie Wilson have retired from performing, the only celebrity 80-plusers who are still regulars on the cabaret circuit are the equally legendary Barbara Cook and Marilyn Maye. But now there’s another octogenarian on the scene and while he may not be a legend, George Marcy is an 86-year-old former Broadway musical theater actor/dancer who recently staged a totally charming and entertaining show at Don’t Tell Mama.

Marcy was the understudy to Ken LeRoy in the role of “Bernardo”–opposite Chita Rivera’s “Anita”–in the original Broadway production of West Side Story in 1957 and subsequently played in more than 850 performances between Broadway and various out-of-town productions. Marcy also appeared in the original Broadway productions of Damn Yankees (1955), Carnival! (1961), Billy (1969), and played Conrad Birdie in out-of-town productions of Bye, Bye, Birdie (1967).

Marcy certainly didn’t seem 86, let alone over 40, during the second night of his recent show I Wish I Were Twins at Don’t Tell Mama (September 23 and 29). Wonderfully and sensitively directed by his close friend Carol Lawrence, West Side Story’s original “Maria,” Marcy bounded onto the stage wearing a black vest and red hat and opened with the up-tempo Lee Adams/Charles Strouse song “Stick Around,” from the 1964 musical Golden Boy and set the tone for the evening: “Stick around, things are gonna happen . . . Fireworks, stick around and see . . .” Fireworks? This veteran hoofer performed as if he was shot out of a cannon, producing the energy and spirit of a man, well, 60 years younger. “I’m 86 and I don’t need a walker,” Marcy proudly proclaimed and then proceeded to prove it by tapping his way through Johnny Mercer and Harry Warren’s “I Wanna Be a Dancin’ Man.”

There probably isn’t a more honest and heartfelt reading of Herbert Kretzmer’s lyric of the Charles Aznavour ballad “Yesterday When I Was Young” then when it comes from someone with almost a century of life experience and Marcy’s take on the song was the ideal mix of emotion laced with tenderness. He then donned a black sequin jacket and black top hat and returned to Fred Astaire mode, showing off his still finely tuned rhythmic sense on Irving Berlin’s “Putting On The Ritz,” with a little bit of Cole Porter’s “Too Darn Hot” tacked on for good measure. Another hat change came–purple this time–for Leonard Cohen’s “I’m Your Man,” with Marcy’s Musical Director/Pianist Christine Sutin (who did a fine job throughout, as did Boots Maleson on bass and Aaron Russell on drums) leading him on a lounge lizardy arrangement that Marcy pulled off with a solid rendition of Cohen’s seductive lyrics.

It would be a total upset if someone of Marcy’s background didn’t nail Stephen Sondheim’s “Broadway Baby” and the old trooper came through, knocking it out of the park with energy to spare. Marcy and Lawrence made a savvy choice having the performer speak-sing the lyric to “I Understand,” turning it into a number of wistfulness and longing. But that was nothing compared to the emotional reaction Marcy engendered as he dramatically alternated from singing to talking on Charles Aznavour’s transgender soliloquy “What Makes a Man a Man.”

Marcy showed off remarkable endurance and resilience for a man his age with a finale on the up-tempo “Happy Ending,” the Danny Kaye number from the 1951 film On The Riviera. “Performing is what I have to do to feel alive,” Marcy told a supportive audience, before offering a heartfelt version of Peter Allen’s “Once Before I Go.” And what could be more self-revealing than an 86-year-old Broadway musical theater warhorse still spry enough to tap dance around a stage singing this lyric: Once before I go, I want you to know . . . That I would do it all again . . . I’m sure I’d make the same mistakes . . . But I could make it through, the pains and joys and aches . . . I knew back then, I’d do it all . . . I’d do it all again

Something tells me that before he goes, George Marcy will be doing it all again, not once but many times. Keep on tappin’, George.

© 2013 Copyright Wisdom Digital Media. All Rights reserved.



HowlRound Post – Peña and Pamatmat

My Parents Were Tiger People: christopher oscar peña chats about writing race with A. Rey Pamatmat

Excerpt:

A. Rey Pamatmat: In the lobby for a production of my play Edith Can Shoot Things and Hit Them I overheard a woman say, “This play would get done everywhere if the main characters weren’t Asian.” Discussing the same play, a young future theater professional asked, “Why are Kenny and Edith Filipino?” To which I replied, “Why are you white?” And in the year following my apparent need to justify putting Asian-American characters on stage, others did their best to keep Asian actors off stage by casting white actors in yellow-/brownface (The Nightingale, The Orphan of Zhao, and Pippin: A Bollywood Spectacular come to mind).

Imagine my surprise when—upon The Flea’s announcement of my friend christopher oscar peña’s gorgeous play a cautionary tail—I felt compelled to ask why his main characters are Chinese-American. chris is Latino, and his plays feature characters of his own ethnicity in Icarus Burns or of other Latino descent in TINY PEOPLE. All three plays deal with bicultural identity, but in a world that doesn’t seem to want Asians onstage, why would a Latino playwright compose a play with two Chinese-American leads?

christopher oscar peña: Like you, my initial response is: why not? This is America right?



New App Helps Actors Learn Lines

Here’s what’s new on the digital scene, straight from www.samuelfrench.com.

Samuel French has teamed up with MyTheaterApps.com, the developer of Scene Partner, an award-winning App that helps actors learn their lines using their own scripts or by choosing from a growing collection of Publisher e-Scripts—the authorized Acting Editions designed specifically for use with Scene Partner. The first wave of select Samuel French titles are available in the Scene Partner webstore for iOS devices (iPhone, iPad, and iPod Touch). Apps for other Smartphones and Android devices coming soon. For more information, click HERE.

What is Scene Partner?:

Scene Partner is an app for Apple devices that allows actors to listen to their lines, their cues, or a whole scene to help them learn their lines faster. Actors can listen to a variety of prerecorded voices – available in different dialects as well – or they can record themselves and their cast mates! Each role can be isolated, so every actor can follow their track through the show or they can customize their track by making their own French Scene Breakdown. Everyone stays on the same page, with real time syncing of any cuts or edits to the script!



Now Playing – Podcast with Kate Valk

Hamilton Dramaturgy’s TheatreNow! is a podcast series featuring some of the most exciting women artists working in the theatre today.  Anne Hamilton is the producer and host.  You may listen to the podcasts and read the transcripts at http://hamiltondramaturgystheatrenow.com

 Kate Valk in HOUSE/LIGHTS, Photo by Paula Court

Kate Valk in The Wooster Group’s HOUSE/LIGHTS

Photo by Paula Court

Hamilton Dramaturgy’s TheatreNow!

Interview with Kate Valk, Actress

(Season 3, Episode 1, Recorded February 18, 2012)

Hamilton Dramaturgy’s TheatreNow! Podcast with Kate Valk

Ms. Valk has been a driving force in The Wooster Group since 1979, appearing in all of its productions, including ROUTE 1 & 9, LSD […JUST THE HIGH POINTS…], THE TEMPTATION OF ST. ANTHONY, THE EMPEROR JONES, BRACE UP!, THE HAIRY APE, and HOUSE/LIGHTS. EARLY PLAYS,  opened in February at St. Ann’s Warehouse. I had the opportunity to interview her there just before a performance.

You may read the interview here: HamiltonDramaturgy’s TheatreNow! Interview with Kate Valk

This episode is dedicated to Nicholas F. Matterese, AIA.

Hamilton Dramaturgy’s TheatreNow! is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of Hamilton Dramaturgy’s TheatreNow! must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.

And please read the AMERICAN THEATRE magazine article on TheatreNow! here: AMERICAN THEATRE article on TheatreNow! by Margot Melcon (October 2012)



TheatreNow! Intervew with Kate Valk

Season Three of Hamilton Dramaturgy’s TheatreNow! launches today with an interview with Kate Valk, Actress with The Wooster Group, on our brand new website http://hamiltondramaturgystheatrenow.com.

An original company member, Ms. Valk has been a driving force in The Wooster Group since 1979, appearing in all of its productions, including ROUTE 1 & 9, LSD [….JUST THE HIGH POINTS…], THE TEMPTATION OF ST. ANTHONY, THE EMPEROR JONES, BRACE UP!, THE HAIRY APE, and HOUSE/LIGHTS. EARLY PLAYS, the group’s newest show, opened in February, 2012 at St. Ann’s Warehouse. I had the opportunity to interview her there just before a performance. The podcast is in post-production and will be posted shortly.

You may download the transcript here: HamiltonDramaturgy’s TheatreNow! Interview with Kate Valk

TheatreNow! is now available on Soundcloud. Many thanks to our Archivist, Helaine Gawlica, who created our new website. Please follow us by subscribing to our website.

Hamilton Dramaturgy’s TheatreNow! is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the purposes of Hamilton Dramaturgy’s TheatreNow! must be made payable to Fractured Atlas and are tax-deductible to the extent permitted by law.



Welcome to TheatreNow! Interview with Actress Claire Lautier

Welcome to Hamilton Dramaturgy’s site.

This audio interview with Claire Lautier is the second in my TheatreNow! podcast series of important contemporary female theatre artists.

Hamilton Dramaturgy’s TheatreNow! Interview with Claire Lautier

You can learn more about Claire’s career at on the Internet Movie Data Base – http://www.imdb.com/name/nm0491621/

— Anne Hamilton, Dramaturg and Playwright.  http://www.hamiltonlit.com  hamiltonlit@hotmail.com

TheatreNow! Staff:  Producer and Host – Anne Hamilton;  Editor – Linsey Bostwick