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Saturday, December 19, 2020

The Augusteia Characters




Youngster body undeveloped by regimented sports.


Glasses, long hair, shapely body which she cares for without shaving or perfuming.


The only child brat grown up to take over his father's business, his father's father a shoemaker before him.


The only child brat, until his parents gave birth to two more.


All the charm and insecurity of the town assemblyman without hope (empathy) of ever becoming the town assemblyman, and frustrated by this.


Quiet as a ghost.


An old spinster next door, who will play granny when given the chance.


Scampers, scurries, smells.








The Augusteia Outline



THE AUGUSTEIA, by Peter Dizozza


ACT I, FADING COLORS (the first day of September)

Scene 1

The Sentiments of Lisa

Kin's Dead!

The Sentiments of Augee

Atmospheric Stillness

Scene 2

Securing a Job

Dance of the Dolls

Scene 3

The Best of Intentions


The Passion of Matthew

Scene 4

The Police Station (Dialogue introducing Mrs. Crawdles)

Scene 5

The Police Station (Dialogue and Musical Conclusion)

ACT II, THE CRAWDLES (Friday, two months later)

Scene 1

Out of the Grave

Scene 2

Enterprise Theme

Lisa Plans a Party

Scene 3

Augee and His Orphan Friends

Where's My Dearest (Augee Plans a Party)

Scene 4

Baby Crawdles. Mrs. Crawdles Gives Birth on the Floor

The Creeping Smell

Scene 5

Two Levels, Two Parties

Two Parties in the Basement


ACT III, ALMOST EVEN (the following morning).

Lisa Victimized and Victorious.


Malicious Answers to Leading Questions

Scene 1

News Bulletin: "Brother and Sister, Seventy-eight and


Scene 2

Dividing the Estate, Separating

Almost Even

Scene 3

Sabotaging Lisa's Departure

Lisa Gone

I Lost the date on this essay that I am sharing now... it may be March, 2020.  It may be June because as I look to the right I see, "Published on June 29, 2020 1:03PM," which makes no sense as it is not until now published...

Fatalism Essay

I easily go off on tangents, then doubt whether my mind-labyrinth is worthy of your time.  On the one hand, the communication of information is indirect, on the other hand there is integrity in notating the thought process. 

The sad thing on my end that I don't realize I have repeated this path many times here; and here it is again. 

I'm wondering about expressing my thoughts of fatalism since they activate when facing respectable public health concerns, the most important currently being to wear a face mask in public. 

Simply stated, our fates are sealed.  There may have been a time, pre-Zeus, where we lived our lives by rising from the ground to return there in time as a seed, but here we are, post-Zeus.   Death is still the latter bookend to our lives.  Our awareness of it guides us to act, and to live!  Attacks upon us by variant mutating viruses is a given.  We assimilate them and either live or die and no one says much except, say Pneumonia. 
He died of pneumonia. 
That seems to simply answer the complicated question, of what did he die?  Or maybe he died of the flu.  What killed him?   Well there were many terminal conditions, starting with life itself.   We grow old and die.   The reason we die is we've lived out our life to the extent that we can.

Look, I need all the time I can get.   There is no reason to accelerate the inevitable.   However, we're part of nature, and our ability to cope with scourges and plagues is part of nature as well.  I've made this blanket statement before and the idea for the reader is that I provide examples instead of speaking from yon high.  "The imposition of our will upon nature's will is part of nature's will.   We dig!"  (a lyric from Bulb)

I got sick when I first went to the gym but I got sick less often thereafter.
Yes I have herpes and understand it never goes away.   I had chicken pox so now I'll get shingles.   I've managed to create a cycle of bleeding from what is apparently hemerhoids although I feel some difficulty passing certain food from beginning to end, but still don't know what not to eat

I am reticent to avail myself of the invasive wonders of the medical profession.  (no surgery, no medication)   My personal health observations are self-monitored with the help of a doctor discussing my blood test results. 

I lived with the awareness that there was surgical remediation for my heart palpitations, along with the fact that I was choosing to forgo them. 

Thirty years ago I thought I was too old to undergo the strain of an external surgical invasion.

The recommendation was to burn out the ablution...  There was talk of myocardial infarctions which I haven't heard of in the years of past EKG tests.  All I have is the legend of the condition since it stopped affecting me, since I stopped taking medication. 

I had a medication experience recently because of a finding of pre-diabetes which I have since resolved through diet.  The medication, for cholesterol and sugar, was creating a discomfort that affected me when I went for a colonoscopy to examine for internal bleeding since I continually have bleeding hemorrhoids.  That bleeding cycle continues somewhat unvaried to today.  It seems there is swelling and then it drains and it's as if there is no inflammation for a time and then it returns.
Anyway, the colonoscopy was last done (2014) without anesthesia.  I am almost completely against anesthesia because of a silly experience I had with removal of wisdom teeth.   The anesthetized area became infected because my body was unable to address what was happening at the time, leaving it exposed and susceptible.  The infection traveled back down my throat into the lungs to sit for a year as a walking pneumonia cloud in the lung.    So the experiences thereafter up to the present day suggest that my body will address the illnesses I'm confronting and I have to allow that, to allow for continual body/mind awareness.

My recent aborted partial colonoscopy found topical internal hemorrhoid bleeding but the serpentine camera couldn't examine the upper large intestine because its head couldn't negotiate the amazing upper rectangular curve that exists in us.

The pain was abdominal and was also existing independent of the test.   I stopped taking the diabetes/cholesterol medication and the abdominal pain has mostly disappeared.

Augusteia Description

 Dear All, I present for you my 1976 opera;  

"Augusteia" Description

The Augusteia is an opera named after Augee, one of its two main characters. I began writing it in April of 1976 after completing a piano score for "Hasty Recovery," a performance piece for a male and a female vocalist. Because I was comfortable with the approach in "Hasty Recovery," in which two voices represent shades of one person, I invented two closely related characters, Augee and Lisa, brother and sister, to feature in the main roles for a three-act opera.

Act One:

The opera begins with Lisa, an intense young lady, exclaiming, "Kin's dead! Money's gone! Kin's dead. We must go on." She and Augee, her even younger, autistic brother, are left to care for themselves. While Augee, who is tense and disturbed, lays upon Lisa's lap, Lisa calms him. Once sure he's asleep, she reveals her own insecurity, asking,

How can I bear such an earthquake of change,

An alteration of all that I hold so dear?

So like a dress that I'm expected to knit,

It is I it must fit;

It is I who must change.

Rather than fight circumstance, she adjusts to it, on one condition concerning Augee:

That young boy, he won't be lost

What e'er the pain, what e'er the cost.

For him the future will unpage the same

Despite these several lines of change!

After declaring her uncompromising stand on her brother's future well-being, she falls asleep. Augee awakens.

Augee applies creative analysis to his condition. So, too, did Lisa, but unlike her, Augee sees his life as ruled by fate (which includes magic).

He sings, "Someday when the clouds rub up against the moon, several charms will shower upon this life of gloom."

Augee's words invoke tensions which he hopes will snap. He can not stand "Atmospheric Stillness," -- the subtitle of the song. What he denies, and what the audience will not know until the climax of this act, is that a tense situation has snapped and, at this point, both he and Lisa are its leftovers.

By contemplating suicide, Augee expects to bring to world attention the confusing life of a boy unsure of whether he is a dominant or passive (sub-dominant) personality (I wrote an essay which considers this phenomenon as a choice between being an outlet and a socket, called "Horse and Man".). In Augee's longings he has:

Seen some lovely boys

And heard them make soundless noises.

As the pendulum swings. It wrecks their


Quite frankly they really don't know

If they want to be on

Top or on bottom,

Poke or be poked at.

In conclusion, he decides that, unlike anyone, masculine, feminine or otherwise, his preference is "to walk through life like a Frankenstein." He sees himself as an adolescent monster, befriending whoever will tolerate him.

Lisa, her sleep disturbed by the increasing noise of Augee's soliloquy, yells, "That's quite right. You can't help but be stupidly insulting." She announces a real course of action. In order to support them, she is willing to get a job.

In scene 2, "... Lisa secures herself a job." The pride she takes in having a skill (she makes dolls) is expressed as follows: "Give me stuffin', socks and buttons. The results are rather nice."

She visits the town shoemaker and offers to set up shop with him. He is reluctant but, with the assistance of a small chorus of customers, she persuades him. He employs her as a cleaning lady who, if she has time, can make all the dolls she wants.

A ballet sequence parallels Lisa's outing with her family's outings of the past.

Having accomplished the day's purpose, Lisa retreats home. Scene 3 opens with her return. She is bushed, and she treats this unique day not as a first, but rather as though it is part of an already intolerable routine. However, Augee makes it all worthwhile because, through her efforts, he will become her "professional dear," i.e., a doctor or a lawyer.

Augee is silently enraged. To upset Lisa's plans, he mentions their father and their elder brother, Matthew. Lisa cries out and a flashback begins. Matthew appears as an invalid resting in a giant easy chair.

The flashback answers the following:

1) How did Augee and Lisa come to live in a hole?

It is the burnt out cellar of their parents home,

2) How did they become orphans?

Their brother burned down the house the night before,


3) Why did they survive?

Matthew ordered them to leave before he torched the living room.

An elderly next door neighbor, Mrs. Crawdles, hears commotion and reports it to the police. The police visit the ruins and find Augee and Lisa. At the police station Mrs. Crawdles offers them her home while they await adoption.

End of Act One

Act Two:

Mrs. Crawdles is bursting with love for Augee and Lisa, because she is bursting from within with a child which she has carried for 20 years and to which she refuses to give birth. When Mrs. Crawdles finally does gives birth (Augee falls on her.) she loves her offspring and snarls at Augee and Lisa.

Meanwhile, Augee and Lisa plan concurrent parties at Mrs. Crawdles house, Lisa, to return the invitations of her many scholarship friends, Augee, to exclude one of his many orphan friends, the one who never returned his call.

Their friends intermingle like oil and vinegar, so they occupy separate levels of the house -- Lisa uses the living room; Augee, the basement -- but the friends are forced to mix when the smell from Mrs. Crawdles "nursery" drives Lisa's friends downstairs, and one by one, drives everyone from the house. Augee and Lisa do damage to their reputations by guiltily refusing to acknowledge any problem in the house.

Lisa leads Augee to the shoe store. They enter using her keys and sleep till morning when the shoemaker arrives.

Act Three:

The shoe maker advises Augee and Lisa to think for themselves, settle their estate and depart. He is teaching them a lesson and, at the same time, doing them the favor of denying them his company, because he likes them and fears the horror in store for them as a result of his liking them. Augee loves the shoemaker (He loves anyone with the patience to instruct him) and grows dependent. Lisa wants to leave and asks Augee to join her. He supports her plan but says no to joining her. Sensing her anticipation of a free, unhindered life, he easily persuades the shoemaker to help cripple her upon the moment of her departure. Augee continues his actions, i.e., tripping and kicking Lisa, even after they achieve his purpose and soon they strengthen her. She sprouts jet engines and fins and departs on schedule.

The shoemaker warned that he was a bad influence, and that Augee and Lisa must leave for their own good. Augee, lazy and weakened by his desire to break Lisa, stays.

At the end of the first two acts, external forces uprooted the growth of Augee and Lisa. In Act Three, Lisa grows and Augee is uprooted.

Monday, March 23, 2020

Ordered Mind - Illnesses Past

Engaging in luxurious brain dumps, I support the natural order of our universe.

Beyond saying I want order I am at work to achieve it in our micro-world. 

As usual I address this need for order when I am in the process of looking for something that I cannot find.

Oh yes, I'll get those.   I know exactly where they are.   Oh, I moved them.

In this case I have tossed my collection of Briarwood Smoking Pipes... Who needs them, other than as props?  I've had some since childhood, some thirty years ago, some fifty years ago.  Lost.  So what?

In my pipe search, which would have taken a second had I left them where I knew them to be, I embark upon a lengthy and otherwise un-taken path of discovery.  Through this minute concern I accidentally chance upon other forgotten items in my catalog of massive and greater neglect.  The "as yet undone" is impossibly pervasive in my life since I have taken on way more than I can ever accomplish.   I am a speck in the universe?  I am The Speck.

We, here at the apartment, address this ordering of the universe as a family.

Through discussion I confront my deference to the church of the unknown,which becomes synonymous with religion and magic, and to chance, which translates into fate.

There is the rational world, restricted by natural laws.  Somewhere in there I discover serendipity.  My memory of events, a precious few of them may be noteworthy, are my examples to prove the results of serendipity at play.  (I give no such examples here.   None come to mind.)

I'm connecting one prepositional phrase to the other here.  Everything is nebulous and inexplicable, and I live with this.

Since we're currently concerned about curbing the spread of a Corona Virus (#19) I begin here to offer my history of illness.  I will promptly become discouraged from doing so.

It's basically that I have been exposed to illness and have become ill for an extended time thereafter.  I began having a flu shot when our daughter was born, which means twice in my lifetime.   I became very sick in 2011 after I visited a friend who was dying of cancer.  We had a fantastic time together but he was very sick and nobody stopped us from sitting with him in his cramped and inexplicably sealed and stuffy intensive care room.

Influenza is a viral infection that attacks your respiratory system.  We can't visit people who have it because their influenza becomes ours.  We become lost in three months of influenza, and then forget about it.  Three months disappear.

I'm writing this essay to apply my general feeling that we are always exposed to illness and our conditions are terminal, but why shall I discourage this opportunity for us to work together as a planet to address a natural occurrence?   We are preparing to collectively prevent climate change.  This is a momentous occasion in our collective development.  As I lose my illusive savings I confront opportunity, inspired by others confronting it more rapidly, more productively.

Anyway, my periods of illness, specifically respiratory, used to extend for months, and I suppose they will happen again.  If at some point it gets too impossible to breath I will die but though I have felt the webbing in the lungs and I've coughed up a storm, it appears that the coughing is a way of opening the breathing and my otherwise shallow breathing habit is forced out of practice.

As I child I would have palpitations, mostly alone after it became obvious no one else could do anything about them.  They would extend for  hours, perhaps days.  I would lose consciousness regularly when I changed altitudes by, say, standing, and the more I addressed the problem the more I prolonged it.  Being inconsolable, I confronted death alone.  At some point my heart would just give out.  I imagined the irreparable damage to the heart walls.

At some point I discovered that deep breathing simply forced the heart into a normal full-cycle pump pattern.  I pulled in a deep breath which was the ultimate opposite of what it felt like I could do while palpitating.  It broke the tachycardia.

What has happened since I turned 46 is that the whole thing stopped.

The medication I took up to that point both caused and controlled my palpitations and apparently reduced my libido, which was probably just as well.

I'm currently of the opinion that we just have to get through this.   I don't want to discourage preventative measures as it is an opportunity to forge new ways of connecting with another, in addition to realizing the possibility of connection.

We are experiencing such a wide range of events in our single lifetimes!

There's so much to do and not doing requires the same amount of effort as doing so...

(Update:  I was concerned about finding those pipes and found them by looking deeper into a drawer I had already checked.)

Saturday, March 21, 2020

Getting Lost in the career of, while growing up with ... Stephen Sondheim.

I just saw Lonnie Price's documentary on the 1981 Merrily production..The George Kaufman, Moss Hart play, Merrily We Roll Along, reversed chronological order of its scenes in 1934. 

Pinter's reverse chronology play, Betrayal came to Broadway in 1980. 
Also an addendum here... William Remmers Utopia Opera group presented a transcendent version of Passion.  What a moving production!

I first heard of Stephen Sondheim when a compilation show called Side by Side by Sondheim opened (1976).
I don't know who told me but because I was a songwriter he was someone I should experience.  (A standard opinion at the time was that his lyrics always shine.  However, you won't leave the theater humming his songs.)

Perhaps I even saw the Side by Side revue. I remember learning of his wisdom and understanding of marriages and relationships while he himself had never married.

Perhaps the first album I got was Follies, or Company.

Friends of our family had prepared the lithographs for Pacific Overtures posters so the design of that Sondheim show was indelible and mysterious.  I learned history from that album and found it entertaining.   I liked the Someone in a Tree song especially and thought the tea song served the necessity of assassination gruesomely.  I knew nothing of the history of Nippon until I followed the album.  It's a pageant musical for a world exposition.

My favorite Sondheim album was the Smiles of a Summer Night musical, A Little Night Music.  It was immediately accessible to me and I loved following the Now/Soon/Later interactions.  I may have also followed with the piano vocal score which made the music more accessible, although it would be years later that I would have played through the score.

(That is the album we are listening to now;  A Little Night Music.  Is it true Ingmar Bergman would never allow another of his films adapted after that?   The difference between hearing the album and seeing A Little Night Music in its staged entirety is radical.  Many Broadway musicals have a soundtrack album as the best experience.  I haven't seen Hamilton, only heard the album.  I may be mistaken to think the album is the way to go.)

These were concept albums with songs connected without dialogue, and as a continuous sequence they did not disappoint.   (Company, Follies, A Little Night Music, Pacific Overtures are great concept albums from beginning to end)

 Hearing the characters come to life through dialogue opened another dimension, connecting with someone else's skills, the bookwriter, the director, the actor....

The book to each of these pieces is a big part and remains somewhat obscure.  I still have no idea what connects the Follies songs.  I suppose that album had the strongest impression on me because of the happy fellow breakdown that occurs on side one and more completely on side two.  It was a great relief to return to the girls upstairs.  I suppose the first hearing of the Waiting for the Girls was a complete visual emotional experience as well.  With that ensemble song Sondheim was tapping into the meditative brain, allowing for space to fill in the world he was creating as though it was unfolding free form.

Seeing his scores addressed the total lack of free form in the compositions.

They exist on a number of levels, words, music, character development, because they have perfectly figured accompaniment.

There is a colorist foundation through the distinctive vamp that can be found in many or most of his pieces.

Andrew Lloyd Weber seemed to be purely chordal and melodic in his entertaining compositions; Stephen Schwartz was somewhere in between with his own examinations on pop songs, or is it just his overview of music in general?  Each songwriter delivers something personal.  I'm reminded that Weber, though, does not write his own words.

Sondheim's work is vamp based.  His unique coloristic harmonies often mask traditional progressions, revealed slowly, barely revised from their sources, barely unique at times.

He seemed very much a composer of necessity.  He had to write something and somehow his personality would need to take shape, almost of necessity.

He wouldn't have discovered his personality if he wasn't forced to write songs.

SWEENEY TODD and Beyond - this show's original production was easy to see at the time.

We get into some difficult issues because of the collaborative nature of musical theater.  It is arguable that Sweeney Todd captures an auteur's vision but its story is too solid (book by Hugh Wheeler, who adapted Smiles of a Summer Night, but really it derives from a play by Christopher Bond).  It works too well in its inevitable progression forward.  It achieves perfect anger, perfect rage.

If you felt terrible at the beginning you will feel great by the end.   There are pieces that take you as they find you, and the worse you are feeling at the beginning of Sweeney Todd, the better you'll feel by the end.

With Sunday in the Park there was a distance from the artist and his purpose.   His support from the supporting cast was so great that he (George) only seemed self-indulgent. The painting that is the product of the first act speaks for itself, but not for the musical.

On another occasion though, watching Sunday in the Park with an openness to the possibility that you can be consoled.   What I'm saying is I'm mostly inconsolable, but let's say, if I could be consoled, then Sondheim's Sunday in the Park would make me feel better. I feel support for the possibility of a better self expression.

For what Bernadette Peters went through in Sunday in the Park she returns with a vengeance in Into the Woods.

Into the Woods was closer to a song musical yet it was also, after its long journey, cumulative.  By the end we receive the direct instruction, Children Will Listen.  I was moved by that warning as well as the idea that we are not alone even when we are alone, yes, all that made perfect sense, but I was not happy by the third time I heard that.

His structural compositions are working so well by this time that he is truly a Hollywood Songwriter.

What struck me from Into the Woods was the perfection of its production in its televised form (1980?  No, it was a 1991 PBS Broadcast.).  Everyone was basically too good.

The pairing of baker Chip Zein and the zany Cinderella seemed conveniently miraculous, although the baker lost his alter ego, his performance equal (Joanna Gleason, the baker's wife).

The young folk presented fresh behaviors, suggestive of the child of the modern day upper West Side. 

We are the children of the Woods.  Each song is a meditation on stories from childhood.

I didn't realize our show in Forest Hills, The Great Enchanted Forest and its revival, Out of the Forest, were meant to be echoes of Into the Woods since a mash-up is a necessary exercise for any fairy tale adaptation.   (Ours was originally of Mother Goose stories.).

Combine the various stories of fairy tales.  It seems only fitting they would connect with a Disney audience (of which I am one.  A Disney audience is an undefined term I'm using here as though already established.)

James Lapine entwines the stories of the Brother's Grimm.

The meeting of Dick Tracy with Sondheim seemed to follow after Jersey Kosinski appeared in Reds.  (Sondheim also wrote the music for Warren Beaty's Reds.)

Dick Tracy's basic songs are also perfectly prepared.   Mandy Patinkin returned after playing George Seurat.  (What Can You Lose is the simple duet he plays with Ms. Madonna)

Sondheim was becoming a Hollywood songwriter, which is what he had to be.  The direct bigness of songs of the cinema already appeared in Follies.  My favorite song in Follies, Who's That Woman, is easily a Busby Berkley number.

Just briefly I feel that Follies only has one soundtrack recording worth hearing and that is its original one.  Why couldn't they get a better recording engineer?

Assassins (of the OO ES AH) also contains derivative material masterfully assembled and notated.  It is arguably someone's book that makes it so ghoulish and hilarious and accurate.  In a way it establishes the condition you need to be in before entering the world of Sweeny Todd in order to feel great by the end.   There's a nihilism that is invigorating and uniquely American.  We all want to get on the America bandwagon, which is to say we're of the United States.

Meanwhile we are in a unique position now to see the nation tumbling after everyone had been saying it must tumble for other reasons.

The first Sondheim show I saw on stage was Sweeney Todd.  It was a fairly quiet audience experience when Len Cariou and Angela Lansbury led the cast.  The last performance with George Hearn and Dorothy Laudan brought down the house.  The audience loved it.

I stood for Sunday in the Park's original production.  It was then I learned how something can work first time, every other time.

I'm remembering that Donna Murphy was in Passion and after seeing her in Song of Singapore I could not forgive Sondheim for giving her this role.

I rejected Passion with such passion that it obviously touched a nerve and I will look back upon it as one of the greatest things of all time.

Here are the Sondheim shows listed in Wikipedia:

Saturday Night (1954, produced 1997): Book by Julius and Philip Epstein
I have no idea.

What follows is why Sondheim was already beyond legendary... West Side Story and Gypsy.

West Side Story (1957): Music by Leonard Bernstein, book by Arthur Laurents, directed by Jerome Robbins
There is a movie version that can be overwhelmingly compelling.  Ultimately it is less likely I can imagine going through it again.  The music combines well with the visuals.  We get a view of old New York before being torn down to build Lincoln Center and all those other densely clustered blocks of apartments.
The song Cool takes place in a low ceiling garage, and the movie is in a widescreen format so it's perfect.

 As to Sondheim's lyrics, they capture the unrest to the point where you think he is in a state of unrest.  It's the ultimate act of teenage unrest with Natalie Wood being the only girl in town, coming direct from James Dean in Rebel Without a Cause to Gypsy Rose Lee, the daughter who escaped the stage mother to become a star.

Horror film director Robert Wise returns to the musical after directing Sound of Music.

Gypsy (1959): Music by Jule Styne, book by Arthur Laurents, directed by Jerome Robbins
Gypsy seems more radical in that it connected the actual creativity of Gypsy Rose Lee, the writer, to everyone's mother issues. 

Two Universal Blockbusters in a Row!

Mervyn LeRoy's Rosalind Russell sequel is the Broadway play adaptation, A Majority of One.

A Funny Thing Happened on the Way to the Forum (1962): Book by Burt Shevelove and Larry Gelbart, directed by George Abbott
Crazy fun music.  An incredible compositional accomplishment.  The music is outrageous.  The unfortunate segments like the music hall songs everybody ought to have a maid show up in Sweeney Todd, too, I suppose, with the extended shaving competition.

There's a Richard Lester movie.  Does it use the score?

Anyone Can Whistle (1964): Book and direction by Arthur Laurents.  Anyone can turn their town into a tourist attraction...?
Kind of an in joke like Billy Wilder through Kirk Douglas exploiting the boy trapped in a mine.  I enjoyed a revival of it.  Another similarly toned piece I think is Carl Reiner's Cold Turkey.  I don't know.   It explores the character of a person who would sing Anyone Can Whistle.  I actually wrote a song facing a similar concern but it was just flatly stating, "Why are the easiest things so hard to do?"

Do I Hear a Waltz? (1965): Music by Richard Rodgers, book by Arthur Laurents, directed by John Dexter
Sondheim must keep working.  Is there an Italian singer involved, Sergio Franchi?

Company (1970): Book by George Furth, directed by Hal Prince
Sondheim's perfectly structured songs force the performers to become emotionally involved... to the detriment of Dean Jones.   They unbalance the work of anyone else, and yet they probably arose from the book.   George Furth is a familiar face in the world of comedy.

Follies (1971): Book by James Goldman, directed by Hal Prince
I don't know.  The album copy I have has no information whatsoever, since it is probably a reissue without the gatefold.  I saw Fred Astaire with Jane Powell.   He could have been singing the Gotta Run Now Blues.  (The Royal Wedding score is pretty great and well played by its orchestra.)
Oh, Goldman wrote the script for the Paul Newman movie production, They Might Be Giants.

A Little Night Music (1973): Book by Hugh Wheeler, directed by Hal Prince

The Frogs (1974): Book by Burt Shevelove (2004 version book by Nathan Lane)[114]
This takes place in a swimming pool?

Pacific Overtures (1976): Book by John Weidman, directed by Hal Prince

Sweeney Todd (1979): Book by Hugh Wheeler, directed by Hal Prince
A big word piece.

Merrily We Roll Along (1981): Book by George Furth, directed by Hal Prince
The second time I saw it the scenes followed chronologically rather than in reverse, which was a Pinter Betrayal idea applied to the original broadway production.   The scenes followed in reverse order.  When they were sequentially moving forward the show worked well.  Again we feel like we're in the territory of Burt Bacharach.

Sunday in the Park with George (1984): Book and direction by James Lapine

Into the Woods (1987): Book and direction by James Lapine

Assassins (1990): Book by John Weidman, directed by Jerry Zaks
I love the Czolgoz song.  I am so American.

Passion (1994): Book and direction by James Lapine
I don't know.

Road Show (2008): Book by John Weidman, directed by John Doyle (formerly titled Wise Guys, Gold!, and Bounce)
I really don't know.

I remember seeing a fun Sondheim revue that took place in a beach sand box???

Evening Primrose (1966)  has I remember snow, etc.

The Last of Sheila (1973): is fairly nasty.  Is Anthony Perkins in it, too, in addition to writing it?

As hero artists I group Stephen Sondheim with Woody Allen in that there is consistent quality in their work and they are well trained in the craft of writing.  I suppose one might connect with Stanley Kubrick, too.  The choice of subject matter is fascinating and its execution is always sustainable, repeatable.  If you don't like it the first time, try again.  There's something there to fulfill us as an Audience.

The mystery name for me in connecting with Sondheim as a composer is that he studied with Milton Babbit.

I eventually played through the score of Sweeney Todd and was amazed how decipherable it all was.   The piano score completely captured the sound of the orchestra.  My understanding was that this was the product he delivered to the orchestrator.

Sondheim songs work well as written.

I'm trying to think of what I like to sing other than the Czolgosh (his Ballad of Leon Czolgosz -- Head of the Line) song from Assassins.   I guess the "I Am Nothing" exchange between Hinkley and Squeeky Fromm?  I sang it once with Meghan Burns who was playing Cementeria at the time.  It always reminds me of an Ellis Regina song. (elis "Só Deus É quem Sabe," not much to that.  Late Seventies pop makes its way into the Hamilton score, too.)

The recordings go hand in hand with the compositions.

(here's a sample of an entirety of one of my own pieces

ah, the disordered mind...

Friday, September 13, 2019

Here in 60 Centre Library where my father worked. Yesterday I was at the Jefferson Market library seeing an Emily Bronte presentation; it began at 10PM. It ran through three main rooms, the downstairs catacomb-like reading room and the upstairs reading room and theater room. Wild patterns are on the high hung stage curtains. They're a challenge to remember, like a hotel carpet design of rich greens and gold, maybe some blue. Thereafter I was reading about a light sensitive artist, Olufson? Thanks to my NY review of books subscription. It presented a horrifying streetlamp monotone to Tate Gallery plastered sun. The sun at any time is anything but monotone.
Ah colors.
The young girl playing Catherine Bradshaw began young and aged before our eyes. Her abilities and willingness to display them were so wide-ranged.
She began silently offering words for the audiience to read. When she began speaking she had a lot to ask and say, very introverted in her outgoing engagement. Ultimately, no, don't call her, she is Emily Bronte. However, she began as Catherine, who loves her homeland, and can walk the moors at night.
The mysteries of English landscape come to light, as mysteries despite my being there, in Dartmoor. I was traveling with US students through William and Mary. We explored the countryside. I must have photos of the odd shapes that have grown from the barren landscape. I remember them being a porous rock. I would connect it with the rock on a beach in Ischia. Do they arise, well I'm going to research my own essay here.
So the woman playing Catherine had her own piano accompaniment, which was surprisingly beautiful despite the annoyance of the built in distortion. The material, perhaps improvised, came out so well that she lives with its crispy recording quality. She's using a Casio, she eventually comes to it as a piano playing songwriter, she performs live her own settings of the secret poetry of Emily Bronte. These were all quite beautiful and whatever her character annoyances, is it the self-indulgence she or the characters? She came off very well accompanying herself.
I'm actualy thinking, yes, I'd like to follow this format. Pantomime, audience engagement, dance solo (hers was to a modified Kate Bush recording), then a lot of chatting with overlaps of other interview recordings to supplement the new ones from the audience.
I was here because I resolved the theater group's misfits trademark dispute. This group of Rafaeli Fontini? Is called the Misfits Theatre, which is ok if the word theater always follows. The misfits are also a 70''s horror rock group... and the title of an arthur miller screenplay as welll as a word in common usage encompassing the reasons for its use in of all the above.

Ok, the Wuthering Heights story came to me in hiighschool with great clarity. The opening visit to the window is indelible and it acosts the lives of the milquetoast descendents. I'm remembering the watered down blood of the boiling passings of Heathcliffe and Catherine, that no children, nor visitors to the home on the moors can match it,

So Othello has nothing to do with this? There is an overlap in the English usage of the word Moor?
We're in the south western region of England, ending at Plymouth (Penzance) – Cornwall, moving East word to Exeter (St. Peters Cathedral and University Location for the William and Mary summer program) down to Exmoouth... Biloxi, Paynton, Dartmoor, Salisbury and its Stnoehenge (Devon?), to London. And where is redding in relation to London?
I guess if we went up North along this line we'd come to Bristol and Bath.

The moors also contain the adventure in The Hound of the Baskervilles.

So I'd do Thomas Hardy as Jude the Obscure on the Egden Heath.

I'm going to the internet now. The kingdom of Wessex encompasses Devon, ? Well, it ends at Exeter... wherein lies Dartmoor and the Hay Tor.

Cathy Earnshaw, performed and composed by Sara Page
Written and directed by Callie Nestleroth
Raphael Picciarelli, Misfits Theater Artistic Director, colleague of Paige, daughter of Barbara Weltsek

The term "Moors" refers primarily to the Muslim inhabitants of the Maghreb, the Iberian Peninsula, Sicily, and Malta during the Middle Ages. The Moors initially were the indigenous Maghrebine Berbers.[1] The name was later also applied to Arabs.[2][3]
The dartmoor granite rock is called Hay Tor

The granite which forms the uplands dates from the Carboniferous Period of geological history. The landscape consists of moorland capped with many exposed granite hilltops known as tors, providing habitats for Dartmoor wildlife. The highest point is High Willhays, 621 m (2,037 ft) above sea level. The entire area is rich in antiquities and archaeology.

Haytor, also known as Haytor Rocks,[1] Hay Tor, or occasionally Hey Tor,[2] is a granite tor on the eastern edge of Dartmoor in the English county of Devon. It is at grid reference SX757770, near the village of Haytor Vale in the parish of Ilsington. There is an electoral ward with the same name. The population at the 2011 census is 2,862.[3]

Moorland or moor is a type of habitat found in upland areas in temperate grasslands, savannas, and shrublands and montane grasslands and shrublands biomes, characterised by low-growing vegetation on acidic soils. Moorland nowadays generally means uncultivated hill land (such as Dartmoor in South West England), but includes low-lying wetlands (such as Sedgemoor, also South West England). It is closely related to heath although experts disagree on precisely what distinguishes the types of vegetation. Generally, moor refers to highland, high rainfall zones, whereas heath refers to lowland zones which are more likely to be the result of human activity.[1]

Emily Bronte lived in Yorkshire.