Miracle of Lights

Deep in the shadows of old Jerusalem, the ancient Jews fought against oppression. They joined together, rose up, and defeated the oppressors who had outlawed their faith and desecrated their holy temple.

In the ruins of their newly won city, the ancient Jews stood in the silence and agreed: they must cleanse and re-dedicate the temple. They would reignite the menorah—a beacon of light that would burn all day and all night—as a symbol of their fortitude, and, in every way, their faith.

According to the Talmud, olive oil was required to keep the menorah ablaze within the Temple. But when the Jews returned to their oil supply, they found that there was only enough oil to burn for a single day. Eight days would be required to prepare a new supply of oil. The light in the temple would be doused long before then.

But a miracle happened.

The oil in the temple lasted eight incredible days: exactly the time needed to prepare a fresh supply of oil for the menorah. Thus, Hanukkah, the Festival of Lights came to be.

Beyond all reason or logic, we too—like the light in the ancient Temple of Jerusalem—are inextinguishable. In the darkest and most desperate hours, when we mine ourselves for more than we ever could conceive was possible, the fuel is there. So that we may continue on.

Hope may be fragile, but it is there.

     Like light. . .

Sometimes blazing, sometimes merely a tender, trembling flicker that regardless, cannot be extinguished, that flame winking even in the darkest hours. So our ancient ancestors have taught us. So we continue to learn again and again as time churns ever onward.

Hope accompanies all new beginnings. . .

Happy Hanukkah everyone. May we all mine ourselves for more-- tonight and always. 

Backstage Madness: "His iPod Singing!!!"

Soo... yeah.
LOOK: Sometimes you are in a one woman musical about war crimes,
     and you share a dressing "area" with the girl who is doing the one woman musical about a girl raised in Kabul as a boy
          and the fun-loving ASM.

And sometimes, when Hunter Foster sings from his one-man musical about his brother dying in the Rocky Mountains, he sings this line -- this MAGICAL LINE about an iPod (that is so brilliant as to be ridiculous, or ridiculous as to be brilliant-- EITHER WAY!) -- and you all have to stop EVERYTHING YOU ARE DOING and lip sync to Hunter Foster or else the world will explode.

I love the theatre.

EVIDENCE:

Grandma

She took me upstairs to talk.

I now realize Edna merely wanted to calmly express her hurt: I didn’t mention anyone from his original nuclear family in the Eulogy. Not once. (You know what's awesome? Irony. People my age learned what it means from Alanis Morissette so our grasp is tenuous at best, but when it plays out over life-and-death situations it can get pretty trippy. Listen, I want to be sorry for it, even in the present. Yet, while I can see it as a grievous social error filled with pointed animosity and bluntness, I admit: I am not sorry I did it. Or perhaps, did not do it…) I was so done with them I simply could not see or honor the nature of her anguish (for even the cruel and selfish can be bruised).


Once, I drew a portrait of her— a crude pen and marker drawing completed by a seven-year-old, wrinkles and all. I gave it to her hoping she would like it. But she looked down and saw the way a child saw “wrinkles” and had drawn “age” and was hurt. I hadn’t intended to mar her vanity or break her heart in any way. Still, she took me aside,  “One day you will have wrinkles and be old too, and there is nothing wrong with that.”

I wanted to tell her that I knew that. I was just trying to draw a picture of my grandma. But I don’t know that she ever forgave me for it. I now see that I had challenged her greatest (and perhaps, in her psyche, her only) commodity.


Yet, I thought: this is the woman who, despite grave warnings from her overbearing husband, flew to San Francisco to talk to Deborah face-to-face after she came out (in a vitriolic letter that arrived one day in the mail), and tried to be enthusiastic about PFLAGG.

The woman who heard I loved an authentic 1930s cocktail dress from a vintage store and went out and bought it for me.

Who wanted me to discover the “thing” it was that I liked so she could actively look for things to help build a collection of (and how I sort of wish I could tell her now that it was owls). I always felt she forced this collection business on me— nutcrackers, spiders, lobsters, but in hindsight I think it was her way of keeping me in her mind, of her fragmented form of connecting.

I saw the repressed artistic soul— the musician with a flair for jewelry, the best sculptor I have ever met, unable to fulfill her longings, possibly envious that I was afforded every freedom to do so.

The woman who tried to teach me to play the piano, and failed. I still have the books from the 1940s that she used to teach all those children on the block in Detroit. I wish I had been less intimidated by both her and her piano.

The woman who tried to reach out by taking me to the Fisher to see the tour of Jekyll and Hyde when I was fourteen. We had a wonderful day, a matinee and dinner after the show. I see now that she wanted to connect with me on a level that she knew I would appreciate. No more forced collections or wading through false histories, just the two of us in a theatre. It felt like home. That was probably the best day I ever had with her. We actually spoke, like people. She told me stories about the family, revealed some of the darker corners of her true feelings about everything and everyone, spoke to me more and more like a woman as the day progressed and I have to say I think the connection she longed for with me as a child actually sparked that day. I think it was the best couple of hours we ever spent together.

The woman who taught me how to play “another form of solitaire” called Thirteen (where you match all of the double cards that make up thirteen), and would patiently watch me assemble and disassemble the pyramid over and over again. It wasn’t until today, as I am sitting here writing this that I realize her whole life was another form of solitaire.


All these stories aside, I would never be able to forget how profoundly she screamed at Rabbi Syme on Tuesday, even as her unvisited son’s body lay upstairs. How ferociously she protested that I “didn’t even know him.” How her small, weak, once beautiful face transformed before my eyes to the face of a demon; maggots crawling from the crevices, rot at every corner like a frantic, desperate, ghoul, before returning to the world again.


It wasn’t that I didn’t know him.
It was that they didn’t know me.
And that was more threatening than anything.


    “You know what Grandma? Let’s just say it.”

It was okay that she didn’t like me. It was alright that this was true— because first, I didn’t think much of dishonesty and she was rife with it, and second and more crucially, I wasn’t very likeable. Not to her.

    “Let’s just get it out in the open—none of you have ever really liked me.”

She looked at me, thunderstruck.
Her hands lay over her face impaled with horror.
That was when I saw it:
    Her hands.


Back then, when my extended family was still speaking to me, people were always coming up to me and remarking upon how greatly I resembled Edna. I suppose I’m aware now that that is no small compliment.
But I don’t see it.
Perhaps because I don’t want to, perhaps because I can’t see the beauty in myself that others do (demons that have nothing whatsoever to do with Edna), or perhaps because I never really knew her so cannot see her face in mine.

But we have the same hands.

There they were, covering her horror-struck, once beautiful face, completely in awe of the fact that her granddaughter had just taken it there.

Small, with large palms and fingers prone to swelling, nail beds like a child’s, dry cuticles, skin baby soft, and subtly expressive. They looked as if they were created to work hard, to milk cows, to cook, freeze, and scrub. They were not long and lean, they were not what you see in magazines. They were the hands of a feminine warrior— the kind of hands jewelry looks out of place on, rings laugh, bracelets scoff, the hands too humble, too common looking to support the grandiosity of adornment. When I look down at my hands now it is undeniable— I see her clumsily cutting onions, I see her coaxing immaculate, expressive birds out of marble, I see her wrinkles and age and know that “there is nothing wrong with that.”

Oh Edna, I did not know you, and there are terrorist cells more nurturing than you.
But I have your hands.

       And that is the possibility of something.

The World Rejoices as Richard Schiff Releases Alexandra Silber's "The West Wing Song"

Richard Schiff puts a knife to "The West Wing Song"

The final update. Over and out.

By David Gordon • New York City

After a truly nail-biting two weeks, Glengarry Glen Ross star Richard Schiff, perhaps best known as Toby Ziegler on the hit NBC drama The West Wing, has released his hostage.
Broadway and West End veteran Alexandra Silber's "The West Wing Song," with lyrics set to W.G. Snuffy Walden's Emmy-winning West Wing theme, found its way back into society on Sunday, November 11, shortly before 11:30am.
Over the past two weeks of the hostage situation, Silber and Schiff's Twitter followers and famous friends lobbied for the song's safe return. West End stage actress Emma Williams submitted this poem , written in iambic pentameter and rhyming couplets. Tony Award-nominee Manoel Felciano (Tobias in John Doyle's Sweeney Todd revival) submitted this acrostic sonnet . And, as TheaterMania reported, even Aaron Sorkin, the allegedly internet hating, Oscar and Emmy-winning creator of The West Wing, joined the good fight.

Silber believes her confessional video is required watching before you view the original "The West Wing Song" in all its glory below.

The Gentleman's Daughter

On some days Shura was ordered to clear the courtyards, other times she was made to haul logs, draw water, or to hew wood for kindling and stack them uniform as soldiers; and if the logs were not hearty, the water not clear enough, the wood not placed sufficiently in tight, symmetrical piles, she was ordered (in a tone colder than the temperatures she endured) to do it again.

Shura worked. Slogged. Waited.
Waiting was another hell of the convict.
It had its many depths.

Recently, however, Shura had been turning in her hard labor and working many a late night in The Gentleman’s office.

*

Shura knelt scrubbing mold from the lavatory basins when The Gentleman approached her from behind.
    “Hello” he said, in his distinctive, quiet voice.
    "Good day, Sir."
He was holding a pamphlet he shook lightly as he declared,
    “The guards say your Russian has become quite impressive, Shura.”
    “I have always had a talent for language, Sir.”
Shura saw language like a puzzle to be put together, her instincts always leading her to the absolutely correct next piece as it locked into place.     
    “—And that you do not merely speak, but read and write. Is that so?”
    “I do not think that my husband," she smiled, "would have it any other way.”
It was true, Mikhail made certain Shura could speak, read and write Russian, not merely for her own good, but because he could not have quelled her insatiable questioning if he tried.
The Gentleman stepped closer and handed her the pamphlet,
    “Would you care to demonstrate?”    
   

*

She would work while moths, beetles, snow and wind all beat against the November-colored windows as she transcribed, scribbled and translated. The hours were long and loathe at passing, but despite that she was of course quite comfortable in comparison to her prior tasks of drudgery. Besides, The Gentleman always provided her with hot tea, a fire, and, though modest in appearance, a cushioned chair. Yet even as she finished and put away each paper, there always seemed to be something else — just one more task in need of completion.


She shared the tasks with another girl whose name she understood to be called Sarangerel (she learned to be the Mongolian for 'moon-light,') though was always known to everyone simply as, Ana.

Ana always sat beside The Gentleman’s desk at a squat little table of her own; posture determinedly upright as she wrote endlessly on page after page of import and export, entry and discharge documents in handwriting as precise as religion and just as scrupulous. She was small, body rigid, relentless in its productivity, with a manner so reserved she seldom spoke.

Ana was in fact none other than The Gentleman’s daughter.

Perhaps it was due to his overly protective stance that she remained so silent — he kept her close and unvisited, forbidding anyone to speak to her; not only the prisoners but to fellow sentries, guards and keepers; and soon she had managed to learn a life of silence so effective she scarcely seemed fussed by the conversation kept from her by a imperceptible paternal boundary.

Shura had heard whispers that Ana was a mix of local races, and she did indeed possess a composition of features Shura had never seen before in her life, had never known possible! So unusual were her qualities that at times she could not help but stare upon her workmates’ tawny skin tone, her small, flat nose, the height of her cheeks, the prominence and beauty of her bones. Her face was shaped like a heart and clothed in a light headscarf—not as Shura would have worn secured beneath the nape of her neck, but wrapped under and below her chin in what the Russians called the babushka (or "grandmother") style.

The night was dark as tar. And quiet, still as anything. Shura thought she could hear her heart beating beneath her shawl when all at once Ana looked up and nodded silently toward her, unsmiling.

A scrap of blackest hair was swept across her forehead resting like a perfect leaf, as her lean brows framed her completely foreign eyes — not only foreign, but ferocious: articulating a universe of strength and intelligence, and so piercing a blue they betrayed in every way the blood connection to her father...

Oh judicious blood, thought Shura, to select so striking a quality…

"Glengarry's Richard Schiff is Holding Broadway's Alexandra Silber Hostage?"

Conspirators: Babani, Schiff and Silber

So.... things have gotten a liiiiiiittttle out of control. But man: is it fun. So, as readers, you have all heard me kvell about my "West Wing Song" over the years-- some of you have witnessed the performance of it live. 

But the other night? The other night I met Richard Schiff (and, after a delightful and truly lovely evening discussing everything) our mutual friend "outed" me-- and the SONG WAS SUNG. And perhaps... juuuuust perhaps it was video taped... the rest? The rest is "Twistery..."

JOIN THE MOVEMENT! 

* * *

From TheaterMania.com

By Editorial Staff • Oct 26, 2012 • New York City

Glengarry, Glen Ross star Richard Schiff has gone mad with power...on Twitter.The award-winning actor, perhaps best known for his performance as Toby Ziegler on The West Wing, reportedly has a video of Broadway and West End veteran Alexandra Silber singing the hit TV series' theme song, with lyrics she composed herself.
(The original "The West Wing Song," used during the series' opening credits, was a word-less W.G. Snuffy Walden overture.)
Silber recently attended the Glengarry revival and, following the performance, sang the song for Schiff, who documented it on film. Schiff has said he will release the video, but not until an appropriately belligerent amount of demand for it appears on Twitter.

"I will play #TWW song (recorded it) but only after intense tweet demand," Schiff Tweeted.

She wrote the song as a college student in Glasgow, Scotland, watching the series on DVD with her then-boyfriend. "We basically developed The West Wing Song, the one of such glory and more, with harmonies, with different versions for each season, and we would look forward to the first 30 seconds of each episode to sing it." (The lyrics, she notes, "are basically the names of the actors sung in alphabetical order," with the music.)
Since Schiff and Silber first posted about it, demand has skyrocketed, and Silber's Broadway comrades are also getting into the act:

"Dear @richard_schiff, We have never met but I feel confident we will be besties 4ever if you just post @alsilbs singin dat West Wing song," wrote Julia Murney.

"He has all the power," Silber added, "and he's clearly enjoying his power."

So we're sending out a call to arms and demanding a release of the video. Tweet them @richard_schiff and @alsilbs with the hashtag #TWWSong.
Next move is on you, Schiff.

* * *

Sorkin's Ransom shot

UPDATE:

The Hollywood Reporter reports, THIS JUST IN:

"The Newsroom" creator tweets twice, posting a photo and asking for actress Alexandra Silber's rendition of "The West Wing" theme song.

We're now waiting for reports of pigs flying.

In what can only be described as the biggest "You cannot be serious" moment the Twittersphere has experienced in a long time, Oscar-winning screenwriter and The Newsroom creator, Aaron Sorkin has finally joined Twitter.

Sorkin has repeatedly scoffed at joining social networks in the past, even though he briefly had a Facebook page during the writing process of the The Social Network.
"I have a lot of opinions on social media that make me sound like a grumpy old man sitting on the porch yelling at kids," Sorkin said at the Cannes Lions International Festival of Creativity in June 2011.

The unexpected move was confirmed on Twitter by former The West Wing actor Richard Schiff.
Schiff tweeted: "It's out. Yes, Aaron sent me word that it is indeed him. On to demand #TWWSong  // @leenie909  @aaronsorkin  @lawrence  @joshmalina  @dulehill."

Sorkin has only tweeted twice since joining the social networking service, posting his first tweet on October 26.

His first tweet featured a photograph of himself holding The New York Times from that day standing in front of posters of The West Wing and Studio 60 on the Sunset Strip. The photo is posted below.

Sorkin's second tweet was to Schiff, who played Tobey Ziegler on The West Wing and who's currently on Broadway in the revival of David Mamet's Glengarry Glen Ross.

Sorkin tweeted: "@richard_schiff: Other than 18 hrs/day for 7 years I've never asked for anything. I want the A. Silber cover. #TWWSong @alsilbs."

According the TheaterMania, the tweet is in reference to Schiff's recording of actress Alexandra Silber's rendition of The West Wing theme song, complete with lyrics she composed herself. Schiff recorded Silber performing the song and is claiming to only release it after there's enough Twitter demand for it.

Schiff is using the hashtag #TWWSong to monitor the Twitter requests.
Whether we'll hear or see anything from Sorkin again on Twitter is yet to be seen. Sorkin could not be reached for comment.

Needless to say, does anyone know the temperature of Hell these days?

"Love Means..." A Two-Show Day With Love Story, the Musical Stars Will Reynolds and Alexandra Silber

"Spend a day at Philly's Walnut Street Theatre with Alexandra Silber and Will Reynolds, who star in the American premiere of Love Story, the Musical. Follow them en route to the theatre and learn the various methods and exercises required to bring Jenny Cavilleri and Oliver Barrett IV to life."

"Well hello Playbill. Alexandra ('Al') Silber and Will Reynolds here, straight from Philadelphia's historic Walnut Street Theatre," said the pair in a joint statement. "For us, playing Jenny 'snotty Radcliffe bitch' Cavilleri and Oliver 'preppy Harvard bastard' Barrett IV-- lovers of such notoriety-- has been a tall order, but also nothing short of a joy."
"That said:

• 1. Interestingly, it is in fact, *not* always sunny in Philadelphia.
• 2. It HAS been 'hot as hell-- in Philadel-PHIA.'
• 3. This show isn't about 'brotherly love...'
• 4. Love DOES mean having to say you're sorry. All. The. Time."

The full Playbill article is here.

I've Been...

JULY

visiting the oboe doctor with Lilly

driving to Philadelphia

seeing Max kill it as Che in Evita

turning 29

socializing my FACE off

going La Ronde "again"

going to the circus...


hearing lots of live music
       and performance art (like Orchestra 360 from the NY Phil)

spending quality time with true friends
and skyping with far away ones

opening up

AUGUST
falling in love with my f'usband Will Reynolds
and Philadelphia

Making friends and doing stuff

Seeing Newsies ...in the second row. Like a fangirl. 

falling in looooooove (with an actual clown...)

SEPTEMBER
North American Premier of Love Story

Really gettin' into the City of Brotherly Love
Cheese-steak showdown

    
Reading  like a crazy library lady

•      The Marriage Plot
•      The Tipping Point
•      Assassination Vacation
•      Cloud Atlas

Things that are Free: A List

borrowed 
     books 
     and movies 
     and clothing... yay!

Hand holding

long meaningful talks

wildflowers

smiling

speech

samples: WORD.

walks by the water 

the library

Kisses
 
star-gazing

kick-ass museums, parks and beautiful buildings

taking joy in simple things. Joy is free.

the scenic route. 

the mint with the check
     and the mint on the pillow

Love Story - Production Highlights

Performance highlights from the production at Walnut Street Theatre. Please join us!

"Walnut Street Theatre opens its landmark 204th season with the American premiere of Erich Segal’s LOVE STORY, the musical. With direction and musical staging by Annabel Bolton, this emotionally charged production is a delicate story of life and love and is currening runningns through October 21st on the WST Mainstage. BroadwayWorld has a first look at the production below. Inspired by Erich Segal's best-selling iconic novel of the same name, and one of the most romantic films of all time, this life-affirming musical will have audiences remembering the first time they fell in love. When Oliver Barrett IV wanders into a library in search of a book, he discovers Jenny Cavilleri. They came from different worlds. He was a Harvard man, she was Radcliffe. He was rich, she was poor. But they fell in love. This is their story. Love Story, the musical originally premiered at Chichester's Minerva Theatre in June, 2010. In December of 2012, following a sell-out season at the Chichester Festival, the production transferred to the Duchess Theatre in London’s West End. The show features music by Howard Goodall, book by Stephen Clark and lyrics by Clark and Goodall."

Read more: here!

Jenny Triptych

"Love isn't what you say it's what you do..."

Behind the Scenes: Interview with Howard Goodall

British composer (of musicals, choral music and televisual music) Howard Goodall (who also presents music-based programming for television and radio, and in May 2009 he was named "Composer of the Year" at the Classical BRIT Awards) takes us through the exciting process of creating the music for LOVE STORY, the musical, and shares his inspirations, as well as a favorite moment from the show (*which makes me very very happy*).

Also some sneaky little video clips!

Enjoy.