Diva 5+1: Ute Lemper

May 29, 2009

ute_lemper_2

 Ute Lemper has just released her new CD, Between Yesterday and Tomorrow.  New York audiences have two upcoming opportunities to see her: Monday June 8th she’ll be doing a sing-and-sign at Barnes and Noble and Tuesday June 9th she’ll be in concert at Le Poisson Rouge.  Well-heeled Washingtonians can catch her this weekend as one of the attactions Friday, June 5th at the Washington National Opera Ball.

I first encountered Lemper’s work more than 20 years ago when Fred Lee played the Westwind track from her first Kurt Weil CD.  I remember being struck by the fascinating combination of a very modern, idiosyncratic vocal against a traditional lush track.  In a completely different side of her work, I saw her on Broadway in Chicago, playing Velma against Karen Ziemba’s Roxie.  Lemper has become one of the most fascianting concert artists, conquering a wide range of materials, styles, and venues.  (Lemper’s official bio follows at the end of the interview.)

1. Please describe a “perfect” cabaret experience that you’ve had.
I would have to describe a venue, probably. I would probably say that Joe’s Pub down here in New York is one of the most original situations to perform in. … It’s the audience that makes a cabaret experience. You have to have an audience which is ready to play, ready to go crazy with you, ready to be provoked, ready to be teased. And the Downtown New York audience at Joe’s Pub and the Public Theater is absolutely ready to do that. More than any other audiences. They’re definitely not conservative, they’re not frightened. They’re intellectuals, gays, students… Actually they’re people of all ages, but they’re very loose, very open and interested in this repertoire I’m representing – the European songbook of cabaret. So I would say Joe’s Pub is really the best of the cabaret audiences. (later) Just the whole thing that they’re there planted on these couches in front of you and putting their feet up… And it’s just like “You’re relaxed down there; I’m relaxed on stage. Let’s go for it; let’s party.”
But it doesn’t mean that it is my favorite performance situation. I actually love to be on a big stage, on a symphony stage or a large theatrical stage with at least eight hundred to a thousand people in the audience, and actually present the music in a bit more official way than in a very small cabaret situation.

2. What is a recent song you’ve been struggling with? Have you won yet?
Struggling with? Well, if I would struggle with a song, I probably wouldn’t want to perform it, because only if you really master the song, if you own it and fall into it and lose yourself, are you ready to perform it.
I don’t know. Songs that I would struggle with are probably a lot of musicals songs. Anything where you would have to project the voice and sing beautifully. I don’t know; I can’t do that. All I can do is interpret and take people on an emotional ride, I guess. Yes, I do have a voice on top of it, but it doesn’t mean it’s all about the voice. That I never like, if it’s all about the voice. It’s about the soul of it.

3. The relationship between a singer and the musical director really is a “cabaret marriage.”  What are the keys to making the marriage work? And for the times you need to work with a somebody new, what are the steps you take to get quickly on the same page?

First of all, I don’t have a “musical director.” I am the “musical director.”
But I do have a very committed band around me with a lot of creative input, of course. It’s a very collective situation in our band. Or with my pianist. But really, at the end of the day… I am guiding through the musical vision.
To answer the other question, to change musician is a very terrible thing because so many details you’re used to and you worked on over the years and years. To start working with somebody else is a super-big change, but of course it is possible.
The hardest chair to replace is the pianist chair, and then I’m torn in between choosing a jazz pianist or a classical pianist. Because my repertoire is so diverse that some music I need an open improvisatory-crafted pianist; and on other stuff I need a pianist who can really sight-read and play (these) complicated chords and has a more classical approach. But then on top of all of it they need to accompany a singer. That means go with my breathing. I don’t want to go with their (breathing)… but go with my breathing. That is a complicated chair to fill. It takes time.
So, you know, I’ve gone to many pianists and I love very much the guy I have now, Vana Gierig. I’ve worked with him about five years now, and definitely it took us about a year, more than a year, to really grow together, and we’re having a fantastic ride. Hopefully he’ll stay with me.

4. What is a particular image that you can rely on to be an effective sense memory when you’re performing?

I would say that one is lucky to be a performer with music, because the music transports you right away into it.  I think it’s harder to do it like an actor where you have to really create it out of nothing, inside yourself.  But the music is the launching pad.  You know, the chords, the glory of the melodic journey just takes you into it and helps you.  No way, it’s not a struggle at all.  You start a song and the first chord goes down and you’re already into this magical universe. 

Just forget about the technical singing, too.  You just gotta go for it. That’s why in my heart I feel I’m more a musician than I want to be an actor.  You know I did both, and I combine both, but really it’s the music that takes all the restrictions off my chest and I totally let loose through the music. 

5. What is the most pressing need the world of cabaret has today?

I would say to be a little more political and daring.  I mean it shouldn’t be just an entertainment dessert factory to sing to the people in the old-style dame/diva way.  But I think it should definitely have an edge to it, and comment and bring in what’s happening today.  Not in a specific way but in an open, political way.  It can be provocative and it can be criticizing and it can be outrageous, but yet it has to stay truthful.  I don’t like it too much if it becomes more… if it becomes a parody, farce.  For me it’s the fine line, really, between truth and play. 

(Speaking of her new CD) I’m trying to go that fine line, because it’s more a contemporary CD, but with that combination of entertainment and truth and a little bit political and at the same time open about life and love.  It’s the fine line between the seriousness and the play. Yeah.

+1 As an artist, you seem to be constantly growing and tackling new challenges. How do you decide what’s next?

Oh, I just let things come to me.  I can’t make it up myself…. There are so many things happening in my life.  It depends on the people I work with.  … I am suddenly inspired. 

Or here, I suddenly have a challenge that I have to perform in a poetry festival, you know, and that makes me study the entire poetry of Charles Bukowski and then I start.  OK, I read the books and then I suddenly feel that there could be wonderful songs made out of this.  And then I work with my partner, other musicians.  It’s the collaborations, the other people, the inspirations, the day-to-day work that opens new doors and you start to walk into new places and you catch fire.  And you want to make it great. 

I don’t really have my future much planned out, but it’s the things I’m working on right now and those I want to do over the next year, two years, and a couple of new projects possible and dreams I want to follow up.  But basically I’m living my dream, and I’m trying to stay open for… I know very well what I don’t want to do. … I don’t necessarily want to go back into a musical, a Broadway show like this.  I really want to take on the more difficult projects (and it can be very difficult to be on Broadway, I don’t want to say that).  But what I do want to say is the more uncommercial projects. 

Ute Lemper’s Bio

 Ute Lemper’s career is vast and varied. She has made her mark on the stage, in films, in concert and as a unique recording artist. She has been universally praised for her interpretations of Berlin Cabaret Songs, the works of Kurt Weill and French chanson and for her portrayals on Broadway, in Paris and in London’s West End. She will release her new album Ute Lemper: Between Yesterday and Tomorrow, May 5, 2009. The album is unique to Ute’s body of work as she composed all of the songs on the album.  She was born in Munster, Germany and completed her studies at The Dance Academy in Cologne and the Max Reinhardt Seminary Drama School in Vienna.
 Her professional debut on the musical stage was in the original Vienna production of Cats in the roles of Grizabella and Bombalurina. She went on to play Peter Pan in Peter Pan (Berlin) and Sally Bowles in Jerome Savary’s Cabaret (Paris) for which she received the Moliere Award for Best Actress in a Musical. She played Lola in The Blue Angel (Berlin) and Maurice Bejart created a ballet for her, La Mort Subite (Paris). Ute also appeared in many Weill Revues with the Pina Bausch Tanztheater, and she created the part of Velma Kelly in London’s production of CHICAGO in the West End, for which she was honored with the Laurence Olivier Award, and moved to the Broadway production after one year.
 Ute Lemper’s solo concerts, which include Kurt Weill’s Recital, Illusions, City of Strangers and Berlin Cabaret Evening have been produced in prestigious venues throughout the world. Her symphony concerts include The Seven Deadly Sins, Songs from Kurt Weill, Songbook (Michael Nyman) and Songs from Piaf and Dietrich with the symphony orchestras of London, Israel, Boston, Hollywood, San Francisco, Berlin The Paris Radio Symphony Orchestra, The Illusions Orchestra (Bruno Fontaine) and the Michael Nyman Band (Michael Nyman). She also appeared in Folksongs with the Luciano Berio Orchestra (Luciano Berio) and with The Matrix Ensemble (Robert Ziegler) performing Berlin Cabaret Songs.
 Her celebrated recordings for DECCA include Ute Lemper Sings Kurt Weill (Vols. I and II),Three Penny Opera, The Seven Deadly Sins, Mahogonny Songspiel, Prospero’s Books (Michael Nyman), Songbook (Michael Nyman/Paul Celan), Illusions (Piaf/Dietrich), City of Strangers (Prever/Sondheim) and Berlin Cabaret Songs (German and English versions). She was named Billboard Magazine’s Crossover Artist of the Year for 1993-1994. Her latest release on Decca are But One Day, (March, 2003), which features new arrangements of Weill, Brel, Piazolla, Heymann and Eisler songs, as well as the first recordings of her own compositions, for which she wrote both lyrics and music.
 In early 2000 Decca/Universal Music released Punishing Kiss, featuring new songs composed for her by Elvis Costello, Tom Waits, Philip Glass, and Nick Cave. She has also recorded Crimes of the Heart, Life is a Cabaret and Ute Lemper Live for CBS Records and for POLYDOR, Espace Indecent, Nuits Etranges and She Has a Heart.Recently she recorded a Live album and a Live DVD at the Carlyle, one of New York’s hottest Cabaret stages. It was released worldwide on DRG/ Koch records and EDEL\records in Europe.
 All That Jazz/The Best of Ute Lemper, which features highlights from her illustrious career to date was released in 1998. It accompanied her playing Velma Kelly in the London production of Kander and Ebb’s Chicago for which she received the 1998 Olivier Award for Best Actress in a Musical. After nine months in London’s West End Ms. Lemper made her Broadway debut in September 1998. A major highlight of her eight months American engagement in Chicago was starring with Chita Rivera in the Las Vegas premiere in March 1999.
 In film, her many credits include L’Autrichienne (Pierre Granier-Deferre), Prospero’s Books (Peter Greenaway), Moscow Parade (Ivan Dikhovichni), Pret a Porter (Robert Altman), Bogus (Norman Jewison) and the most recent releases, Combat de Fauves (Benoit Lamy), A River Made to Drown In (James Merendino) and Appetite (George Milton). She has appeared on television in Rage/Outrage, The Dreyfus Affair (Arte), Tales from the Crypt (HBO), Ute Lemper Sings Kurt Weill (Bravo), Illusions (Granada), Songbook (Volker Scholendorff), The Wall (Rogers Waters) and The Look of Love (Gillina Lynn).
Ms. Lemper currently lives in New York with her three children, Max, Stella and Julian.

Cabaret Heaven at Artomatic

May 29, 2009

Cabaret Heaven performs the next two Sundays at Artomatic, Washington, DC’s month long arts festival. Cabaret Heaven performs on the Cabaret Stage at 5 PM this Sunday, and 5:30 PM on Sunday, June 7.

Cabaret Heaven features Terri Allen, Ron Squeri, Maris Wicker, Kathy Reilly, Andrea Klores, Christy Trapp, Justin Ritchie and Beverly Cosham. Musical direction is by Reenie Codelka.

Artomatic is free to the public and features nine floors of visual and installation art, as well as musical and theatrical performances. Last year, 52,000 attended Artomatic over the month; this year, they expect 72,000 people. This year, Artomatic is located at 55 M Street, SE — just next to the Nationals Ballpark. For details, go to: www.artomatic.org.


Stephen Holden on Claire Martin

May 28, 2009

The NYTimes reviews Claire Martin and (Sir) Richard Rodney Bennett doing their Cy Coleman show at the Algonquin: “The show concentrates on Coleman’s early work, in which his elaborately syncopated melodies (“Witchcraft” and “The Best Is Yet to Come” are the most famous) and the sly, insinuating lyrics by Ms. Leigh and others constitute high-style songwriting repartee. And Ms. Martin’s subtle, beautifully acted interpretations give them their due.”


Three Faces of Ute

May 28, 2009

While doing research for the Diva 5+1 feature, I did some YouTube-ing.  I think these 3 videos explain the breadth of the performances Lemper gives.


Mother Courage Previews Now Begin Friday

May 28, 2009

The theater is complicated.  So is this show.  Somehow, on paper, you would think that a show where about the only set piece is a cart wouldn’t be a technical nightmare.  Oh, but that is not the way of the theater.

Our Thursday preview has become a dress rehearsal.  So for those of you agog (as you should be) to see the great Nancy Robinette tackle the Everest of 20th Century female roles, you’ll have to wait for Friday for our first preview.

As a reminder, we’re doing pay-what-you-can previews Friday and Saturday at 8pm and Sunday at 3pm. Additional info.


The Best of Andrea Marcovicci

May 27, 2009

ANDREA MARCOVICCI: As Time Goes By: The Best of Andrea MarcovicciAndrea Marcovicci has released a “greatest hits” CD, As Time Goes By: The Best of Andrea Marcovicci, featuring songs from her many albums that have been released in the last 21 years.  The recording includes tracks from a number of CDs that have gone out of print.

I am happy to report that my three all-time favorite Marcovicci tracks have made their way onto the collection:  On Such a Night As This (the track that really hooked me on her first LP), The Sweetest of Nights (the perfect “occasion” song), and These Foolish Things (three verses of pure bliss).  The CD is also encouraging me to go back and listen to her Berlin and Kern recordings, having forgotten how good the tracks from those were.

And clever cabaret diva that Marcovicci is, she throws two new tracks onto this recording forcing her fans who already have the original CDs to buy the new one.  But her renditions of The Lies of Handsome Men and Young at Heart (not to mention the amazing Shelly Markham arrangements) are well worth the price of admission.

At this point in the review it is de rigeur for a critic to show how well he knows an artist repertoire by bemoaning cuts left off the CD.  I won’t disappoint.  I really miss her amazing version of Did You Ever Cross Over to Sneeden’s, the fabulously late-night One For My Baby, the intense negotiation in The Kind of Love You Never Recover From, and and the gossamer flight of It Happens Very Softly (from her shuttered-on-the-road starring role in Nefertiti).

Marcovicci recently had a triumphant 60th birthday concert at Town Hall — here’s a write-up.

1 As Time Goes By
2 On Such a Night as This
3 Two For the Road
4 The Folks Who Live on the Hill
5 After You, Who?
6 These Foolish Things
7 You Were Never Lovelier/The Way You Look Tonight
8 The Touch of Your Hand/Smoke Gets in Your Eyes
9 Say It Isn’t So/What’ll I Do?/Remember/Suppertime
10 Beyond Compare
11 Looking at You
12 What More Can I Say?
13 Say It (Over and Over)/Heart and Soul
14 Sweetest of Nights and the Finest of Days
15 New Words
16 Lies of Handsome Men
17 Young at Heart

Photos from Germano’s

May 26, 2009

Thanks to Debbie Barber-Eaton for sending the photos taken during Ron’s show at Germano’s. 

I think the photo of me proves that I’ve inherited my father’s hairline (he’s the one sitting next to me).


The Journey Home from Malcolm Getz

May 26, 2009

malcolm getzMy left brain really, really admires The Journey Home, the new CD from Malcolm Getz.  It is a balanced collection of songs with familiar yet not-overdone standards (Look to the Rainbow, Long Before I Knew You), current theater writing (Anytime, Wait, The Journey Home), and the occasional quirky choice and charm number (Huggin’ and Chalkin’, Truly Scrumptuous).  Getz is a gifted vocalist.  He sings with great intelligence and really nails the character of each song.  The arrangements by the great John McDaniel are well crafted and are a great showcase for Getz’s talents.  And the CD even features the shimmering Melissa Errico guesting on an Irving Berlin sequence.

Confusingly, my right brain isn’t connecting with this disc.  Usually, the answer in this situation is that the artist is not connecting with the material; but I think that would be an unfair characterization of Getz’s work. 

So we’ll leave it to the mysteries of the universe as to why I’m not head over heels with this disc.  And perhaps one of my always-lucid readers will either let me know that I’m out of my mind or will be able to come up with a rational explanation.

Tracks and audio samples


A Great CD from Stephanie J. Block !

May 26, 2009

Stephanie BlockStephanie J. Block has a very savvy concept for her debut CD, This Place I Know.  Not only is she performing the material of current theater-based songwriters, but she is also having them participate in the recordings of their work, either as vocalists or musicians.  And since Block has starred in 9 to 5, Wicked, and The Pirate Queen, she has access to some major talent.

The highlight of the CD is an intimate arrangement of I Will Always Love You as a duet with Dolly Parton.  Other terrific moments include One Day, a song that is destined to be sung at numerous same-sex weddings; Never Neverland (Fly Away) a bravura ballad of longing by Scott Alan; and Invention, a great comic patter number. 

Fans of various songwriters will want this CD for: Goldrich and Heisler singing backup on 15 pounds; Stephen Schwartz’s Making Good, a song that would seem to have been cut from Wicked (Block was Elpheba in the original workshop); and the debut recording of the Ahrens and Flaherty song Something Beautiful.  And despite the disparate influences, the CD has a cohesive feel. 

Block is an amazing performer who is adept at a multitude of styles.  She has obvious connection with the material and packs an emotional wallop on each track.  In a Zen way, her greatest strength  is her greatest weakness: her enormous talent, range, and ability give her a sound that I don’t find immediately identifiable.  Let’s hope that she has enough success and output that I need to add “yet” to the last sentence.

BTW, let me go on record, that so far I think this is the best cabaret CD of the year.

More info and song samples.


Every Little Step

May 26, 2009

So what do I do on my day off from Mother Courage rehearsals?  I see a movie about the theater.

Every Little Step is a documentary about the casting of the recent revival of A Chorus Line.  It goes from showing the open call with thousands of dancers to the final casting session eight months later.

I have long said that as a stage actor, you have to hope that a theater is doing a production that has a role for you, you come to the attention of the casting director at the right time, that schedules work out, and that there isn’t another performer that everyone wants for the role.  In other words, I’m amazed that anyone ever works. 

And seeing that even a theater star of the level of Charlotte D’Amboise starts the process from the basic open-call stage increases my admiration for the intrepid performers who stick it through.  My favorite moment in the movie was the quote from the casting director in the movie who says that the bewst way to get a role is to go into the audition and give an opening night performance.

In a general way, the cleverest part of the movie is the concept of following the casting of a show about the casting of the show.  Having read the 3 books documenting various aspects of the original production and having various clips of the original on video (and now on YouTube), I can’t say I learned very much from the film.  And already knowing who played Cassie, Val and Sheila in the revival ruined a bit of the suspense. However, if one enjoys watching performers at various stages of the performance process, you’ll find the movie entertaining.  And the fans that Natascha Diaz made in her recent appearances in DC theater will also enjoy watching her quest to play Cassie. If not, the piece may seem like so much “inside baseball.”