After the lights go up
Posted 04 August 2001 - 10:47 AM
“But despite the tepid reaction, Ferrara's "Macbeth" included the best single performance we saw on this trip: Francesca Patanè's Lady Macbeth, wild-eyed, dark-voiced, lithe (and sometimes naked). She was fabulous, and it was all we could do to stop ourselves from intruding on her postperformance supper around the corner from the opera house, where we also were dining, to tell her so.”
This has come up occasionally here in Motown and must also be the case wherever there are restaurants near performance venues—in other words, everywhere. For example, there is a lovely (and not inexpensive) restaurant close to the Detroit Opera House where we gather with a few friends, including members of the Michigan Opera Theatre chorus, after the last matinee of the spring and fall seasons.
It might seem that since the you are encountering the artist in such close proximity to the stage, and within a short time after you were giving her a standing ovation that she is still “in character.” However, unless you know that the person does not mind being approached by a fan under these circumstances discretion is almost always the better part of valor, especially when one has been really moved by a performance, whether in an opera, ballet or the spoken theater. The greater the sense of wonder and delight that the artist has created, the less articulate one would be—at least that has been my own experience. One exception was after “Samson and Delilah”—we recognized one of the principals in the restaurant and a chorus member we were with, who had studied with him, said that he enjoyed being recognized and signing programs, which seemed to be the case.
I wonder if others on the board agree, that artists encountered under these circumstances should be left alone, unless one has specific knowledge of their desires to the contrary.
This is different from running into someone away from the theater—Susan Jaffe in line at Barnes and Noble for example or Rene Fleming picking up her dry cleaning. Then a quick “You were wonderful in "-------" and sensational in "-------------" and we hope to see you again
in "-------------" might be appropriate.
[ 08-04-2001: Message edited by: Ed Waffle ]
Posted 04 August 2001 - 12:36 PM
This is different from running into someone away from the theater—Susan Jaffe in line at Barnes and Noble for example
Funny you should mention Susan Jaffe; after a performance of "Suzanne Farrell Stages Balanchine" at the Kennedy Center back in the Fall of '95, I was in line behind Jaffe waiting for a taxi (she had performed in the first ballet that evening) and we wound up sharing a cab. I waited until we reached her destination and she was getting out before I said anything.
Posted 04 August 2001 - 07:59 PM
Posted 04 August 2001 - 09:58 PM
Posted 09 August 2001 - 11:23 PM
Posted 10 August 2001 - 08:28 AM
Posted 10 August 2001 - 11:52 PM
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