Signing CDs

Terry got tickets to hear world class violinist, Joshua Bell, play with the Orlando Philharmonic Orchestra at the Bob Carr Theater. We were seated far back away from the stage so I didn't attempt a sketch. Terry pointed out that my name was in the program twice, probably because I had donated a sketch for a fundraiser. The house lights dimmed and I snuggled back into my seat. The music was soothing so I closed my eyes and drifted away. Periodically my head would bob forward and I would shake myself awake before drifting off again. The violinist performed after the intermission. He played admirably with bravado and flair. He stood the whole time shifting his weight often, swaying with the flow of the music.

For an encore he performed "Yankee Doodle" which he spiced up with so much intricate showmanship that it was always a surprise when the simple tune became recognizable. Christopher Wilkins the conductor let everyone know that the violinist would be signing CDs in the lobby after the performance. He joked that if you had your own sharpie, you might be allowed to sign the violin. Apparently the Stradivarius violin has a long colorful history.

I have been searching for lines to draw and there was a huge line of people waiting to get their CDs signed. As soon as I started sketching the line started to move. A handler hurried people along making sure they didn't speak to the musician for long. "Please keep it moving" he kept saying. As I sketched one of the ushers approached me and said I would have to leave the floor. There were hundreds of people in the lobby and I didn't understand why I was being asked to move, but I complied. I continued to work on the sketch from a vantage point on the stairwell to the lobby. When I saw the usher was gone, I returned to my original spot and continued to work. By this time I was in a foul mood. I wondered if the violinist's handler had considered me some sort of threat. Was my sketching causing a disruption? Honestly few people noticed what I was doing. This incident made me feel like sketching events at the Bob Carr is more of a hassle than it is worth.

Red Chair Affair -Stage Right

How amazing to be sitting stage right, next to American flag in front of several thousand people waiting for the red curtain to rise. I had given Terry a ticket but she went to the Tears for Fears concert in front of City Hall instead. Several friends kept texting me from the audience and I responded back. The two sign language interpreters came out and sat next to me. I introduced myself to them. Finally a video was projected on the movie screen high above the stage. From where I was seated the image was a thin sliver since the screen was right above me.
The announcer introduced the Bach Festival Choir who sang the "Star-Spangled Banner." I stood along with the interpreters and the entire audience faced the flag which was right beside me. The choir was amazing the song resonated in a way I have never felt it before. The signer in front of me was waving her hand like a flag and her hands sparked upwards and sprinkled down just like fireworks. Viewing the signing of this song was a new experience for me.
The next act is when I started to sketch. Jugglers from "La Nouba" by Cirque du Soleil came out and the balls were flying. I quickly caught the clownish character known as The Green Bird. According to the "La Nouba" website, "She has escaped her cage and desperately wants to fly. She can't fly away and join the circus. She is trapped in the urban world like a marionette with tangled strings." I was mesmerized by her quick angular movements.
As the next acts came on the stage I continued to work on this sketch. I loved a performance where Tod Caviness read poetry while Emotions Dance performed behind him. I recognized one of the dancers from having sketched several Emotions Dance rehearsals before. Sitting so close to them on the main stage was thrilling. Several times, a dancer would charge right at me diagonally across the stage and I had to move my feet to avoid a collision. As they ran off stage, they were panting audibly and I could see the sweat on their brows. These intimate details aren't always seen from the audience.
The Orlando Philharmonic Orchestra's Sovereign Brass performed a medley of tunes from "Chicago." Their lively performance had the audience laughing and clapping along. The trumpeter used a cup over his bell to create the raucous sounds of a jazzy tune. The audience loved it. When the last brass note silenced, the audience burst up in a standing ovation.

Red Chair Affair - Back Stage

I got to the Bob Car Performing Arts Centre at 5:30 and entered the performers' door. Inside, a small room was packed full of actors and there was an amazing spread of food. I was sorry I had eaten at home. I wandered through the maze of backstage hallways past all the dressing rooms, in one a guitarist was lightly strumming his guitar. I then found myself on the main stage. The curtains were down and there were row after row of tables set up with red chairs on them. I knew that my goal with this first sketch was to catch Brian Feldman, who was going to be dressed all in red and seated in one of the tiny IKEA red chairs in a performance piece called "I Am a Red Chair."
I found the empty chair Brian was to sit in by reading all of the silent auction sheets until I found the one with his name on it. Unfortunately, his chair was sort of isolated and off on its own. I had hoped to sketch Brian in the foreground with a line of red chairs marching off into the distance. After walking around his chair and viewing from all angles, I finally decided to sit with my back against the giant main stage curtain and use the chairs on a table next to me as a foreground element in the sketch. The emotional impact of the sketch is much different than originally envisioned, but I like that he seems distant and small, isolated as the party swirls around him. VIPs had paid $225 for the privilege of viewing and bidding on the red chairs as well as sampling food from some of Orlando's finer restaurants. A gorgeous woman in a tight red dress stood at the table in front of Brian for the longest time. I imagined she must have been arm candy for a rich young bachelor.
Margot Knight walked over to me and asked if I found it difficult to sketch in my suit. I actually did have a problem, since I placed a pen in my fake breast pocket only to find it disappeared inside the suit's lining. I had to force it out by cutting a hole in the inside lining of my jacket. I also had placed an open pen in my shirt breast pocket and it had bled out into the fabric. Luckily my jacket covered this black wound all night. Director John DiDonna approached me when I was done with my sketch and said he had a place for me to sit on stage right. The tables full of chairs were quickly wheeled off the stage and I kept stepping out of the way of stagehands carrying chairs and tables. John walked past with a couple of chairs saying, "This is my life."
Brian, however, was still seated. His auction item was twofold - to be a Red Chair, as pictured in this sketch, for two hours at the location of the highest bidder's choosing, and to work with them, or whoever they named of their behalf in the marketing and creation of their very own performance piece. He said one artist kept coming up to him to see the latest bid. The artist was a bit upset that people were bidding on Brian and not bidding on his art. When the auction ended, Brian had been sold for $80.
John DiDonna pulled me aside and told me I would be in front of the main stage curtain, sitting beside the American flag. I walked on stage and stared out at the several thousand people as they were busy taking their seats. I desperately wanted to face the audience and start sketching, but I decided I should stay on task and get a sketch of the performers. I folded my hands and waited...

Red Chair Affair - Rehearsal

On the evening before the Red Chair Affair, I went in to the Bob Carr to watch and sketch the rehearsal. John DiDonna, the director of this production, welcomed me warmly and showed me around backstage. The very first person he introduced me to was Boomer Bardo who is in charge of all the sound for the show. Finding a spot backstage to set up was a challenge. I sat down and discovered I was blocking a doorway. Then I scooted over to find myself next to boxes and boxes of programs. The rehearsal was absolute pandemonium at the start. Homer would call out sound cues in his headset and then walk on stage probably to signal to the folks up in the booth at the back of the theater.
The Red Chair Project is a community service designed to increase participation in Central Florida’s arts and culture. As a collaborative campaign involving more than 300 arts and cultural organizations, it promotes and grows the arts in the region through RedChairProject.com , a website with arts and cultural events, discounted tickets, classes/workshops, and getaways. The 6th annual Red Chair Affair would kick off the 2010-2011 Central Florida arts and cultural season.
As I sketched Boomer, a large group of Orlando Repertory Theater Power Chords youth singers stood in line in front of me. They each had stunningly bright colored outfits on. They waited for their coordinator to shout out their number and then they slipped the waistband mini-microphone into a hanging shoe holder. Several of the exuberant youths bumped into me and apologized. Their performance had been high energy and spectacular. They had performed a hip upbeat version of "Lean On Me" that was a joy to listen to. Boomer asked one of the soloists from the group to stand next to him at the soundboard and he adjusted the dials as she sang.
I had one other concert I wanted to sketch this night so once I finished sketching Boomer, I packed up and headed out the stage door hoping to get to "A Time Warp" up at the Unity Church. I was running late. As I was leaving, Tod Caviness said to me, "I don't know how you keep your hands from cramping up with all the sketching you are doing."

Norah Jones

Terry joined me when I went to sketch the Norah Jones concert at the Bob Carr Performing Arts Centre. We met near the courthouse where we found free parking and then walked over to Orange Avenue to get some dinner before the concert. We settled on New York Pizzeria Delicatessen (373 North Orange Avenue). I got a 10 inch cheese pizza and she got a decent looking pasta dish. My pie had a nice light crust just like pizzas I had enjoyed in NYC.
When we got to the Bob Carr there were just a few people waiting outside and it was easy to pick up the tickets from the Will Call window.
My ticket stub read: Beaver presents Norah Jones (No cameras/no recorders). I knew it was safe to draw. We sat up in the nosebleed section. I like the God's eye view and the sound was fine. When the house lights went out I pulled out a book light which I had dimmed by wrapping the bulb with paper and tape. I really didn't need to be so concerned. People all around me had their cell phones out all during the concert and at one point they waved them like lighters. I did ask the guy sitting right next to me if he minded my drawing and he rather liked what I was doing and asked me all about my work. A woman behind me did lean forward once not to complain but to compliment. All my concerns were in my nervous head.
The leading act was Elvis Perkins. He got a few boos from the anxious crowd, but he bravely went on singing his mix of American Folk rock songs. He sat alone with his guitar. One of his songs, "Doomsday Love Song," had the audience singing along with the chorus and at that point he had the audience in the palm of his hand. When he sang his last song, "123Goodbye" the audience clapped loudly perhaps in part because they enjoyed his songs and in part they were about to see Norah!
When Norah Jones and her brigade got on stage the crowd was wild and ready. Most of the early songs I did not recognize, but from the first song I was entranced. Norah joked between songs about being in Orlando where it is always hot, then cold, hot, cold. In NYC, she said it is hot all summer because if you visit a friend, chances are their air conditioner would be broken. One song about "Back to Manhattan" had me yearning to return to the place where I first discovered my art. My heart ached. I yearned to return.
She sang a silly song about her dog and all the lyrics point out how much better the dog is to any of her boyfriends. I thought back to friends who could only find unconditional love from a dog as boyfriends became fickle and impossible to communicate with. Terry told me that if she had bought our pet Cockatoo before she had met me, then we probably wouldn't be married.
When she finally sang her signature song "Don't Know Why", the rest of the brigade left the stage leaving Norah alone at the piano with a lone spotlight illuminating her. This song filled me with regrets. It is beautiful and full of longing and haunts me still.
Leaving the concert after a thunderous encore, I felt elated. Then on the dive home alone in my truck I found myself humming "Come Away with Me." When I hummed the low notes, my entire chest vibrated deeply leaving me feeling like an empty vessel. Norah's smooth, silky and sultry voice kept running through my head and it still does. I found myself humming the same song on the way to work yesterday. I melt every time I hear the words, "Come away with me...".

My Fair Lady

The Orlando Philharmonic along with Mad Cow Theater is presenting "My Fair Lady" at the Bob Carr Performing Arts Center (401 West Livingston Street). I went to a rehearsal of this limited staged production and was shocked at the care taken with the set. The whole living room section rolled forward towards the audience. I thought I was going to sketch back stage, but the whole orchestra was elevated making that a challenge. Instead I sat in the front row looking up at the action.
I loved this production it was funny endearing and the singing was great. The sound techs were still working out the kinks on the sound dials for the actors mics. This caused actors to occasionally go mute but I'm sure it will all be worked out by show time. Caroline Blice a french horn player came down to say hello during the intermission. She explained that every instrument in the orchestra had a separate mic.
I loved every second of this production. The performance features Michelle Knight as Eliza Doolittle and Philip Nolan as Henry Higgins. Performances are today at 2PM and 8PM. You will be sorry if you miss this production.

WPRK 91.5FM - Out and About

Via Facebook Mark Baratelli contacted me and asked if he could borrow my printer so he could print photos for an upcoming show. Every third Thursday of each month Mark puts on a "Mobile Art Show" in a U-Haul truck parked outside City Arts Factory. This month he plans to showcase all the photos that have been take for thedailycity.com. We bounced ideas back and forth on where we could meet and we decided to meet at WPRK a radio station located on the Rollins College campus. Mark would be there to showcase upcoming arts and culture events as listed on thedailycity.com. I arrived early so I would have a full hour to sketch. Jeremy Seghers, the Out and About host, greeted me and then got his guest situated for his on air interview. Seated in the guest chair was Jesse Nager who is now appearing in Xanadu at the Bob Carr Theater. Jesse also discussed a cabaret show he organized with friends of his. An album is being released called "The Broadway Boys" that features hits from this group of talented singers. He wanted to stress that that even people who don't usually listen to show tunes would like these performances. He expressed how fun it was to collaborate with so many of his friends.
Jesse and Jeremy discussed the plot line of Xanadu at some length and now I am really curious to see this Broadway musical. It seems the play pokes fun at itself and it's 1970's culture and should be very campy and fun. The music to this show I have heard many times many times on the radio, not realizing it was from a Broadway show.
Zac Alfson was also on hand to promote the Cabaret House Party at Mad Cow Theater featuring K. T. Sullivan. I will be going to this Cabaret performance tonight and I hope to get a good sketch of K.T. Zac pointed out that there will be cabaret performances every night through May 16th. The Mad Cow offers an intimate setting in which to experience these one of a kind acts.

Philharmonic Concert

My wife had tickets to the Tribute to Leonard Bernstein concert at the Bob Carr performing arts center. We were seated back in row N. I felt quite claustrophobic, unable to move my arms without bumping the person seated next to me. Terry also acknowledged that these seats were a tighter fit than usual. I knew what to expect with the first half of the concert since I had sketched the rehearsal the night before. When the intermission rolled around I was glad for the chance to stretch my legs and arms. Terry lead the way up to the patrons lounge where people were lined up for champagne and wine. When we returned to the theater, we sat in the front row so I could do a quick sketch of this historic performance.
This was the last performance by conductor Andrew Lane at the Bob Carr. He was resigning from the Orlando Philharmonic which he had helped foster and grow for the last 17 years. For this reason the concert had a bitter sweet feel to it. When Andrew waved and walked off the stage it was for the last time. The orchestra and audience gave him a long standing ovation. Toasts were offered in his honor at the back stage gathering after the concert. There were plenty of rumors circulating about reasons for his departure, but the bottom line remains the same, Orlando has just lost a great conductor who helped inspire the orchestra to push themselves to new heights. I for one will miss him.

Philharmonic rehearsal

I went to the Bob Carr Performing Arts Center to watch a rehearsal for "A Tribute to Lenny" conducted by Andrew Lane. In the lounge there was a younger crowd than usual having sandwiches and drinks prior to the rehearsal. I thought I was going to an event that is usually attended by board members, where the board members are invited to sit on stage right next to the performers. I quickly made my way onstage. I was surprised to find none of the other patrons back stage. I got a chair but when I sat down, I couldn't see over the whole orchestra. I decided I had to sketch standing up.
This concert was a tribute to Leonard Bernstein, with selections from Candide, On the Town, and West Side Story. I love the overture to Candide and it helped me relax as I blocked in the sketch.
Soprano Angela Mortellaro was standing right behind me as I worked. I started feeling self conscious thinking I might get kicked out of the wings when Union stage hands realized I was in the way. I even thought Angela might ask me what I was doing and ask me to leave. When she walked onstage to sing Glitter and be Gay from Candide, she turned to me and smiled as she walked by. I realized she had much more important things on her mind. Her performance was stunning she has a range that the music fully put to the test. The song left me felling joy and excitement mixed with a deep sadness.
As is typical in a rehearsal there were many stops and starts. The harp player didn't play for the longest time. I had planned to sketch her playing but instead she sat through most of the rehearsal reading a magazine. I patiently waited to catch her performing and then I sketched frantically thinking she might stop before I finished. The same was true for the string players who would remove the instruments from their chins and hide it in their laps. I was just about finished with my sketch when half the program had been performed. The orchestra went on a break and I put down my final washes and packed up. I decided this sketch was enough for one night. I planned to see the concert the following evening with my wife.

Sweeney Todd

The Orlando Philharmonic and Mad Cow Theater joined forces to bring Sweeney Todd to the Bob Carr Performing Arts Center. Davis Gaines performed the title roll and Faith Prince performed as, Mrs. Lovett. This production far exceeded my expectations. Gaines voice resonated with loathing and impatience. Faith also had a magnificent performance. Having seem Tim Burton's movie last year, in which a girl with a thin mouse of a voice sang as her window, I cringed at the thought of listening to Christina's song again. However, Shelly Cooper performed with a warmth that mesmerized. The whole cast deserved the standing ovation that they got. The hall was as full as I have ever seem it.
I quickly sketched the stage before the play started and when the lights went down, I had to stop since I could no longer see the sketchbook. I tried lifting the book off my lap up to my chest to catch some ambient light off the stage, but the man seated in front of me was tall and had a huge head. His head eclipsed all available light. The lady seated beside me seemed amused with my contortions. During intermission she asked "Are you a stage designer?" I replied "No I am a blogger". She pulled out her iPhone to show me the picture she had taken of the stage. Although I might complain, I prefer the challenge and personal view point of a sketch. Besides before the play starts they always announce that there is to be no photography. They never say no sketching.