Sunday, December 9, 2012


Friday night on the uptown 1 after seeing Volpone at the Lucille Lortel,* I rode with musician-actors from the play.

Even though the musical numbers could have been more lush (read: with more instruments), the very fact of their presence was welcome. So many period plays feature music in a way that comes off as clunky, unnatural, distracting. The music here contributed; it did not detract.

Alex Sovronsky I knew from seeing him work a stringed instrument in Shakespeare in the Park's production of Romeo and Juliet, and ran into last week at a performance of The Inner House at the Society Library. His friends Jen Eden and Pearl Rhein I'd never met.

Each one can play umpteen instruments. While listing the instruments she plays, Jen included the bari sax--"baritone sax," Alex added.

This kind of slang reminds me of the way musicians refer to the New York Philharmonic as the NY Phil. I never get over that, the Phil. I hear Phil as a man's name.

Bari, Italy

[ * My friend and I admire Stephen Spinella but would have preferred him cast as Mosca. To me Christina Pumariega, playing the Merchant's wife, and Gregory Wooddell, playing Bonario, delivered the only truly overblown Types, hermetically sealed, players upon a stage.]

No comments: