Elena's Maria

Last night, we saw the Paper Mill Playhouse production of the musical, The Sound of Music.  I went to see my dear teacher and friend, Elena Shaddow, who was cast in the role of Maria von Trapp.

photo credit: T. Charles Erickson

I was so excited to see her, simply because she is my friend, and because I've heard her sing and knew her voice would be wondrous.  But on the way to the theatre last night, my thoughts were buzzing with anticipation.  What would Elena's Maria be like?

I imagine most everyone adores Julie Andrews as Maria.  (I do!!!!!!)  Her voice, her mannerisms, her diction.  To many, she IS Maria.  But if you've read a bit from Maria von Trapp's autobiographies or interviews, you know that Julie Andrews was quite a "sweet" and "tame" portrayal of the woman's personality.*  So then, if you are cast as the leading lady, how do you choose to embody your character?  Does the director let you play or are you given specific direction?  Do you try and reflect at least a shadow of the screen legend, an echo of the standard?  The audience wants to see Julie. Give them Julie!  Or at least give them half of Julie!  Without meaning to, they will compare you to her, simply because she is the one engraved in their head and on their heartstrings.  But, to resemble her too much would be a risk!  Un-original!  You must find a way to re-invent the beloved role, but under a magnifying glass of scrutiny and judgey-judgement from any would-be critics.

Finally at the theatre, my buzzing thoughts have tripled into an orchestra of expectation.  Who would she be?  How would she do it?  I couldn't wait to find out.  Do you ever feel like you can't wait to be inspired?  Is that selfish?  Inspire me.  How can we place that kind of expectation on another human spirit?  Inspire me!!  And yet we do.  I do.  And boy can you feel it.  When the houselights dim before Act I, Scene I, when the orchestra begins the overture, you can feeeel the energy.  The abundant weight of expectation hanging in the cool air of the playhouse, in the seats of the over-worn velvet chairs, in the twittery, restless energy of the audience, when everyone patters away on their cell phones at the last moment, adjusting their coat, fidgeting in their seat, settling their kids, and successfully (or not) attempting to turn down the yammering of their own internal distractions, worries, and heartaches that still cling from the day's wear.  The lights dim.  We blink our eyes.  And hold our breath.

“Music acts like a magic key, to which the most tightly closed heart opens.”

― Maria von Trapp

"My day in the hills... 

has come to an end, I know....

 and deep in the dark green shadows

Are voices that urge me to stay

So I pause and I wait and I listen

For one more sound, for one more lovely thing

That the hills might say......."

photo credit: T. Charles Erickson

"The hills are aliiiive.... with the souund of muuuusiiic....."

From the moment she opens her mouth to sing, and tugs that black and white wimple off her head, Elena Shaddow Harrington is anything but a shadow.  With each note, "I know I shall hear, what I've heard befoooore....." the resonance of her voice came rushing through me... like water,... like wind,... sending chills and goose-bumps rippling up the back of my neck.  I marveled.  Lit from within by some secret flame, her perfect pitch and silken sound melted my heart and brightened every dark corner of the theatre.  Her phrasing and movements were sincere, relaxed, not trying to prove anything or force her way into our hearts.  From my seat in the audience, she looked so small and delicate in that mousey little nun costume, but she glowed through it like a bouquet of warm pink peonies, strong and sure and luminous.

I watched closely as she lovingly re-interpreted this role of Maria, as a more free-spirited, boisterous, yet utterly tender-hearted young girl.

When Maria confesses to the Mother Abbess that she has been singing without permission, Elena's Maria is so enchanting, so lovable, so vulnerable-- who does she remind me of??-- who IS this girl??

photo credit: T. Charles Erickson

Then to the scene in the Von Trapp home where she meets the captain and the children for the first time... more than once her spunky, spontaneous outbursts catch me off guard and I literally laugh OUT LOUD.

photo credit: T. Charles Erickson

And despite potential for "Do Re Mi" or "Lonely Goatherd" to get monotonous or cheesy, Elena breathes life into the song-- not only in her interpretation, not only in her dreamy lyric soprano voice, but most beautifully in the way she interacts with the children.  The way she speaks with them, dances with them, embraces them, engages them....   In her autobiography, the real Maria said she "fell in love with the children at first sight, not their father."*   Watching Elena be. so. present. on stage with those children--- this is no Mary Poppins governess.  This is a mother's love.

photo credit: T. Charles Erickson

I could go on about the production, the other actors and actresses, the sets, the costumes, the nuns' singing (holy mother they were amazeballs (can I say that about nuns? amazeballs?)).... and yes, there were some characters and elements that could have been improved (isn't there always?).  But there were also some characters and elements that were superb.

photo credit: T. Charles Erickson

But my dear Elena. How did she dare so greatly? How did she endure the iconic role of Maria?  Quite unexpectedly--- with the wide-eyed whimsy and playfulness of Audrey Hepburn, the warmth and motherly-love of Susan Sarandon as Marmee in Little Women, the rambunctious spirit of Doris Day, and with her Whole Heart out on that stage.

Scene by scene, song by song, I found myself forgetting all about Ms. Andrews, and feeling as if I might be watching a more honest portrait of the Lady von Trapp than I had ever seen before.  For a few glorious hours, Elena's Maria did more than inspire, she uplifted us to think higher and feel deeper.

Brava, my darling friend.  Brava.

photo credit: me

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Video from the show:
http://www.playbill.com/multimedia/video/5273/Highlights-From-The-Sound-of-Music-at-Paper-Mill-Playhouse

Pictures from the show:
http://broadwayworld.com/article/Photo-Flash-First-Look-at-Elena-Shaddow-Ben-Davis-and-More-in-Paper-Mills-THE-SOUND-OF-MUSIC-20121123

*Note:  Movie vs. Reality: The Real Story of the Von Trapp Family
By Joan Gearin, an archivist at the National Archives and Records Administration
http://www.archives.gov/publications/prologue/2005/winter/von-trapps.html

Heather Renee - A Tale of Two Musicians

Meet my friend, Heather Renee.  A brilliant singer/songwriter who lives in D.C. and performs all over the east coast.  She is also married, has a full time job, and a beautiful little daughter.

I've been watching a new video series she has created.  And for some reason I can't get them out of my head.  Maybe it's because some of her thoughts echo my own.  Even though, in comparison, I have done so little with my dream compared to the work she has put into hers.  But that doesn't discourage me.

What IS encouraging is to hear someone else speak about it.....  The dream.  The sense of loss.  The subtle pain.  And the quest for survival in tandem with day-to-day life.

Why is it so hard to keep your dream alive?

Episode 1 :  "A Tale of Two Musicians"

"Why is it so hard to keep your dream alive...

after you get married,

buy a house,

have a kid...

I don't know

it's like something happens

to the mind

maybe it's to the soul...

something inside you

just starts to die."
-Heather Renee

Spend Time with Your Passion (aka, KEEP PRACTICING)

"Sometimes aspiring writers ask me if they should get a degree in writing, or go to a lot of writer’s conferences.  A writing degree and a conference will help us make valuable professional connections.  They might inspire (or require) us to write.  Which is a good thing.  

But we don’t need either of these experiences to find and use our voice.  

Our voice will be better developed if we spend time with our passions.  

Learn the difference between a tangerine and a tangelo.  

Consider the variation in their blooms, and the place where their nectar beads."

-L.L. Barkat, Rumors of Water

source

Thank you, Barbara Cook

"If you can get to the point 

where you are ready to use 

every joy,

every death, 

every lover who left you.... 

If you're willing to explore that within the song-- 

you cannot be wrong."

"The very place where safety lies for us,

is the thing that seems most dangerous:

and that is having the courage 

to let people really, really into--

what life has done to us."

-Barbara Cook

The Kennedy Center Honors 2011 - Tribute to Barbara Cook 
(fast-forward to 2:00 to see the film montage)