by Patrick Shannon, III
CrescentCityChronicles.net
NEW ORLEANS, LOUISIANA
Natasha O. Ramer 20 Years in America; Our Town’s own Le Petit Piaf du Nouvelle Orleans
"When you come to America, you have to forget who you were before. Who I was before was a director in Moscow and Lithuania, an artist... I had studied under the masters of my craft in Russian... These names opened doors for me back home. In this country they meant nothing... Twenty years ago I had to start over. I had to forget who I had been. Before." (Quote from Natasha O. Ramer, December, 2003)
Many weeks ago I was reviewing a show at the marvelous boite, Le Chat Noir, and during the intermission I was enchanted to meet a very charming lady.
I had never met her before. She was very petit, dark haired and seemed so delicate, vulnerable, and beautiful. Like an exotic fragile orchid from some far away unknown land. We chatted and I gave her my card so that she might be able to look at my web site www.crescentcitychronicles.net.
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When I returned home I thought about this lady and realized that her charm and apparent vulnerability reminded me of the Little Sparrow of France, Edit Piaf (born Edith Giovanna Gassion 1915 - 1963). Ms. Ramer had told me she was from Russia and had been an actress. I wondered if she meant that she had sung as well. There was something unforgettable about this petit woman. Something in those large dark eyes that spoke perhaps of a difficult past; or maybe she was just the kind of lady that draws ones heart out with her gamin looks, that soft spoken voice, and those eyes, seeming to hold some great secret about life and love, sorrow and joy.
Since then I have found out that this small woman with the delicate and sweet personality and those great expressive eyes was an actress and a singer, a very fine singer. And even very much in the style of Edith Piaf, The Little Sparrow of France.
Until I attended this show I did not realize that I had perhaps met our town’s own Little Sparrow! Non other than Natasha Ramer! And I was invited to see her cabaret act at Le Chat Noir, aptly titled: Natasha O. Ramer Twenty Years In America.
Natasha O. Ramer Twenty Years In America was a Moscow Night’s presentation of the Russian Winter Festival 2003. I had no idea that Ms. Ramer was one of our somewhat secret treasures. But I was delighted and so moved to witness her show of very ultra chic song and story. Ms. Ramer’s voice is wonderfully unique and very Marlena Dietrich but she not only can hit the correct note, she can hold it and make it soar throughout the room.
This Little Russian Sparrow sang with an intensity of feeling and phrasing that went right to the heart. She had written a script in conjunction with Katheryn Krotzer Laborde and Christopher Wecklein, that was delightful, fascinating, funny, and poignant; and which described her 20 years in American in a manner that gave a totally seamless and fine cohesion to her selection of songs.
Accompanied by the Harry Mayronne Trio, Faina Lushtak, Tony Green, Zaza Marjanishvili and a handsome duo of men from the men of The Komenka Dance Company, she opened her sweetly dazzling cabaret performance with an overture, "Farewell to Arkhangelsk" from the Russian musical, "Nord-Ost," and this exotically lovely composition set the mood for Ms. Ramer’s show which fit the stage of Le Chat Noir perfectly with a professional polish, dash, controlled energy, and that ever present large dollop of absolute charm.
She then sang her first song, "Happy To Make Your Acquaintance" from "The Most Happy Fella" and followed that with the wonderfully evocative "Alabama Song" from Bertolt Brecht and Kurt Weill’s opera, "The Rise and Fall of the City of Mahagonny." From this moment on we were astonished to hear such a large and unique voice come from such a petite singer. At one point, standing before the large black grand piano she said with the smile of a coquette, "Boys!" and instantly the two handsome male dancers from The Komenka Dance Company rushed onstage and picked her up and sat her upon the piano. She seemed to be as light as a feather, smiled at her audience, then rearranged herself abit and went into the teasing vocal style of a "torch singer." This simple little bit of stage business just endeared her more so to the already enchanted audience.
Her version of "I Want To Be Evil" (Judson and Taylor) was wonderfully wicked. "Kalina Krasnaia," a sad Russian love song, was performed with guest artist, Faina Lushtak, at the piano. But of all the ten songs Ms. Ramer sang, my favorite was "Non, Je Ne Reprette Rien" by Dumont and Vaucaire. This song, with "La Vie En Rose" (which Ms. Ramer unfortunately did not sing that night) was one of the big, big hits of The Little Sparrow of France, Edith Piaf.
Ms. Ramer’s heart rending performance of this song was as good as it gets. That so much vocal power and feeling can come from such a petit little sparrow was awesome.
Natasha O. Ramer Twenty Years In America was a truly class act in a perfect venue, Le Chat Noir. I can only hope that we will see and hear more from our town’s own Little Russian Sparrow, cabaret singer, actress, and director. And soon! Natasha O. Ramer is a hugh talent in so petite a person!
Yellowman
"...cause you ain’t nuttin’ but a big fat ugly black nigga what ain’t gon git enny bettah..." (paraphrased from Yellowman by Dael Orlandersmith, circa 2003 - 4)
"...yas, ‘n effen ya doan pass dat brown papah bag tess, den you is jist anotha black niggah, ‘n sho not some high yellah Creole lady..." (Thresa Smith to her daughter, Roma, a great beauty with golden brown skin, natives conversing on the St. Charles Street Car, New Orleans, 1981,)
Southern Rep at 365 Canal Street recently produced a remarkable play about race relations among people of color or in this case the African Americans neighborhood of South Carolina. The author, Dael Orlandersmith, with raw and realistic language engages the audience in the lives of two young African Americans, one a golden skinned boy and one a darker chocolate girl. They grow up together and eventually fall in love. But the color barrier presents all the social problems that we, as native New Orleanians, are familiar with since childhood. The similarity of this racial categorization of high yellow, bright skinned, eggplant black, and dark brother are the same references to prejudice and racial discord based upon color that we find in every community of the world.
In no uncertain terms the faultless performances of the actors in this play present us with a knowledge about this subject that everyone should all know more about and the tragic circumstances that such prejudicial attitudes always result in: misunderstandings, deaths, destructions, and despair, drunken or drugged scape from reality.
The two principals, Karen Kaia-Livers as Alma (the darker lady) and Lance Nichols as Eugene (the "yellowman") illuminated the stage with the heat and energy of their superb acting abilities. These were performances of strength, technique, and memorable intensity.
Mr. Kaia-Livers and Mr. Lance Nichols were privileged to perform their stunning work on a set that was as Zen in its beautiful simplicity of concept. It was a remarkable piece of work consisting of little more than a sloped wooden ramp and two chairs, showing how the old adage that less is more does work. This wonderful set was designed by Takeshi Kata. Minimalist and beautiful, it established the mood of the South Carolina neighborhood setting without intrusion and with great beauty in its minimalist approach.
Patti West added a great deal to the success of this brilliant show with her choice of background colors for the various speeches and moods of the actors. Her overall lighting design was very imaginative but kept to the simplicity of the set. More so to illuminate the deep dark message of the tragic play.
Simple and honest costumes were designed with taste and understanding of the characters by Tony French. J. Daniel Stanley added all the right sounds necessary to move the show along with taste and auditory interest.
The faultless and mesmerizing direction of this show was done by Valerie Curtis-Newton with an apparent deep understanding of her craft and the play. Ms. Curtis-Newton was ably assisted by Tony Molina.
The entire company of this production deserves only the highest of praise for a show as good as anything done in the professional theatres of New York City, Chicago, Los Angeles and San Francisco if we must name a few cities of worth.
Artistic Director Ryan Rilette seems to have his hand on the right contacts and his work and knowledge of contemporary as well as classical theatre is consistently making The Southern Rep of New Orleans a theatrical company that can be compared with the best of little theaters anywhere.
The Magic Flute
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This top notch production was decidedly a standing room only event and when we were seated the auditorium was full. Some students were even seated on the steps and standing near the exit doors. A hush fell upon the audience, then a big wave of well deserved applause rolled across the large hall as Carol Rausch, Musical Director, took the podium and lifted up her hand to begin this opera’s magical overture. Ms. Rausch conducted with verve and a joyful understanding of the difficult score. She is really one of out town’s great artistic treasures.
The Magic Flute can be a great temptation to set designers and I’ve seem some very elaborate and beautiful stage settings, but this production allowed no distraction form Mozart’s sparkling composition. Scenic designer, Keith Christopher used the barest of stage elements, mostly a large pyramid shape as a center focal point and a few flats from the wings, all decorated with the mystical symbols that always suggest the wonder of ancient Egypt and the secret Order of the Masonic Temples. Mr. Christopher’s clean cut design concept worked wonderfully in conjunction with David Morelock’s stage direction and Dan Zimmers lighting design to evoke all the magical moments of Mozart’s marvelous music. Mr. Zimmer’s Lighting design was able to add to the mysteries of this operatic delight, even creating the illusion of smoke and water at the appropriate moments in the production. With simplicity of mutual concept these three members of the technical staff were able to transport all of us into the dreamy realms of fantasy and mystery that Mozart’s music always seems to suggest. Once again, less was proven to be more.
Roles in this opera are among the most challenging ever written for the human voice; but the students of Loyola were more than up to that task. Most roles of the chorus were sung by Loyola students, and they were able to create a wonderful blend of vocal sounds, at times seeming to be a much greater number of singers than appeared on stage.
Some of the principal roles were double cast and a different group of students sang such roles on the Friday and Sunday presentations. I was able to hear the Friday night’s offering and was thereby a part of the standing ovation offered at the opera’s finish.
In the Friday performance, Vernon Di Carlo’s Tamino established the role with a handsome stage presence and fine singing. All opera lovers know that The Queen of the Night’s "angry" aria is among one of the most difficult ever written, however Kate Fleming sang all those notes up and down the musical scale with great poise and a clear and beautiful voice. Pamina’s role sung by Melanie Russell was an unbending tough-love interpretation liberally brightened with a sweetness and charm. In concert with her lovely voice, she was a delight to see and hear. Her three ladies-in-waiting were sung with a wickedly delicious cavalier attitude sprinkled with a comedic flair by Alex Beaudry, LaTasha Dorsey and Brandy Hawkins.
Justin Hopkins was an elegant and demanding figure as Sarastro with a beautifully resonant voice. The role of The Speaker was well sung and performed by William Banks. Dramatically equal to their task were his fellow priests, Brad Benoit and Brian Witkowski. A solemn and mysterious presence was projected by Oscar Nieves as Monostatos.
A very bright light in the cast was Nick Missios as Papageno. His acting was a finely tuned comic bit of stage business, and his youthfully clear and soaring voice added to the charm and amusement of his interpretation of the bird catcher. His performance was one of the delights of the evening. In the role of his promised wife, Sarah Spooner as Papagena was up to the same level of joyful comic delight, especially when she sang the love duet with her adoring Papagano.
Skylar Cibulski, Willliam Alber and Jody Hinkley portrayed the three young spirits of the forest kingdom with an innocent and heartwarming charm and professionalism.
Jerry Stroup and Taylor Miller as first and second men in armor were excellent in their parts as they sang of the trials and dangers the lovers of the plot must endure in order to live and then, perhaps, to love.
Conducting with a vigorous and joyful understanding of the demanding score of this great opera, Carol Rausch led the Loyola Orchestra and members of the Louisiana Philharmonic Orchestra with a magical touch that filled the auditorium with beautiful sounds.
The staging of David Morlock was imaginative and lovely to watch. His thoughtful placement of the performers lent a solemn and mysterious dignity to the suggestions of sacred and secret rites of passage. His work with Papageno and Papagana was sweetly comic yet not overwrought enough to confuse these two delightful character roles, both of whom sang and performed in such a manner as to earn an explosion of applause from the appreciative audience.
This production of Mozart’s The Magic Flute was an evening of golden moments assisted by a sterling silver crew. The beauty, mystery, and magic of this work was one to remember and hold dear to the heart. The Loyola School of Music once again proved the great talents of their staff and pupils in a stunning night of high class classical entertainment.
The Merry Widow; A 24K Gold Production!!
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The Merry Widow
Suffice to say that among the many excellent, charming, and beautiful elements of this most wonderful show were the clear, strong voices of all the singers, from the chorus to the principals. Among the stand outs of even such a perfectly fine group of singers we spot light Nancy Ross in the principal role of the merry widow, Hanna, who sang with a rapturous joy and demonstrated quite a bit of physical fortitude in some of the athletic and delightful choreography of Lynne Lawrence.
The Merry Widow is a sweetly sentimental operetta set a the turn of the century and concerns the fate of the bankrupt status of a small imaginary kingdom who needs the newly widowed and now very wealthy, Hanna, to marry its prince, Count Danilo Danilovitch, elegantly sung and acted by the handsome Christian Elser. Hanna has been living in Paris and fell in love with Count Danilovitch, but her status as a commoner allegedly forbade such an alliance. So she ups and married a senile old millionaire who promptly dies, leaving her young beautiful, and very rich. She returns to the kingdom where she hopes to entrap her first love, Count Danilovitch. The whole kingdom of bachelors follow her around like money-hungry aristocrats, and there is much to do with the whole kingdoms married and unmarried populous, none of which are adverse to a little romantic dalliance with or without their wives. This is where the updating of the script was in evidence with a bit of butt patting here and some innocent verbal sexual innuendos in the lyrics and the stage business of the show. This production was the New York City Opera Versiton cleverly created by Robert Johason. And it all worked with charm and a bit of spice unimaginable when the operetta was first produced in Vienna in 1905.
The rest of the cast sang and danced with a professionalism seldom seen on the local stages and we must mention Wes Garrison as the Baron Mirko Zeta, Jaqueline Thompson as the beautiful and married Valencienne, who was more than willing to have a little fling with the handsome bachelor from France, Camille de Rosillion, played by Roderick George who had one of the most beautiful, strong, moving tenor voices among this cast of very good singers. He was a real knockout in his role singing with an unforgettable beauty, his arias and duets. Another scene stealer was Bryce Bermingham as Njegus, who provided many old fashioned burlesque comic moments as he sang and danced with flair and managed to almost steal every scene in which he appeared.
Stephen Rushing was another handsome cast member as he played the role of Vicomte Cascada. John Giraud played the role of Raoul de St. Brioche, Peter Campbell performed Bogdanovich, Meredith Lee was Sylvanie, Colman Reaboi was Kromov and Robin Noel was Olga. Each of the singers worked as an ensemble of perfection and adds their own golden moments to the evenings great success.
The beautiful set pieces included a grand staircase and three large arched sections, a great chandelier, a charming country garden set with a flower garlanded bridge and a little enclosed garden gazebo (used for certain important romantic intrigues) and a giant and very clever fan for the famous can-can dance scene set in the renown Parisian boite, Maxims, all of which were done by Stephen G. Thurber who also did the well conceived lighting.
Lynne Lawrence did the very fine and rather athletic choreography, with an updated touch of sexual innuendo here and there. The great can-can dancers were wonderful but those splits could not have been too easy for an operatic singer who also had to do an aria or two right after all that exercise. Even though The Merry Widow is most remembered for its wonder waltzes, there are a few dance routines that require the stamina of a real trouper. And they all had more than enough of that to make The Merry Widow a terpsichorean as well as a vocal triumph.
Trish McLain filled the large stage with beautiful and femininely elegant gowns for the ladies and black tuxedoes for the men.
Our own handsome and extra-talented Dennis G. Assaf conducted the well tuned orchestra with his usual vigor and verve, without which we could hardly give this show its 24K gold rating. One of the best of the seasons offerings without a doubt.
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