For many movies, the mood is all in the music. For summer movies that seems especially true. Give me a good movie theme and I’m a happy popcorn-munching fan. With the exception of John Williams, no other composer instills more atmospheric music into the movies than Danny Elfman. He does most of Tim Burton’s movies, including the first two ‘Batman’ reboots. More than even Madonna and ‘Cherish’, this is the music that made the summer of 1989. Give it a listen and see if it brings you back.
June
2013
June
2013
The Pool
The day begins with promise, as most summer days do. The sun is already high overhead when I make my way out of the dim, cool recesses of the house and open the door to the backyard patio. Watchful of the robins who have made a nest in the nearby weeping cherry (and their brood of three squeaking babies), I pull out a lawn chair and position it beneath the sun. It seems such a silly thing to do – to just lie there in the heat – but there are sensual pleasures to be found in the stillness and the quiet. Besides, Tom Ford once said that tan lines are sexy, and if anyone knows sexy, it’s him. And so I work on my tan, book in hand, squinting at the pages in the bright unrelenting sun.
The day passes. In between dips in the pool, I water the garden. The robins hem and haw a bit, but they have not resorted to air attacks just yet, and I’m hopeful we may have reached a truce in this uneasy cohabitation in the backyard. A hawk circles high overhead, and I eye the cherry tree, wondering if the little ones will be safe. No one is safe in this world, not even in the summer.
Slowly making its arc in the sky, the sun shifts and settles low in the West. It’s almost time for dinner, and errands. One last lap in the water, and then I must retreat inside. It’s been a beautiful day, and the only thing better than a sunny summer day, is a super-moony summer night.
June
2013
Pool Day
Forgive the lack of meaningful posts of late, but that looks to continue tomorrow. It’s simply too nice out to stay inside typing away on a lap-top. Or typing away outside for that matter. So for now, and perhaps tomorrow, you’re going to have to deal with shameless re-hashes like this Summer Picture collection. You’ve seen it all before, but look at it again until I’m out of the pool.
June
2013
The Drugs Don’t Work
Some magazine once named this one of the saddest songs in the world. Or maybe it was the most depressing. Whatever it was, it wasn’t exactly an uplifting sentiment, but some days that’s what life deals you.
June
2013
The First Day of Summer
Here it is, the perennial promise I make every summer and holiday season: I’m going to take it easy, reel it back on the number of posts on this blog, slow down on the activities I do, and simply enjoy the lazy, hazy, crazy days of summer. It won’t happen, but I’m going to attempt it. And part of that means pictures are going to take the place of words – like this throwback vintage shot from a few years ago. For those of you who enjoy the pool shots, you’re about to get your wish – for those that don’t… see you in September.
June
2013
You May Mock Me
This simple and somewhat forgettable bloom is that of the mockorange, and it possesses one of the most deliciously sweet fragrances of the early summer garden. Aptly named due to its olfactorial proximity to the orange blossom, the mockorange is a hardy shrub, rather plain to look at in foliage and branch. In fact, we had two ancient mockorange shrubs on our property when we bought the house, but they were almost unidentifiable as they had been neglected and didn’t bloom for a year or two. I chopped them back and amended the soil, and they returned to former glory. That same year I planted two nursery-procured pots in the backyard, in spots that were, and remain, slightly too shady. They bloom now because they have grown tall enough to tower above the beginning of the roof, reaching the run and showering their sweet perfume from high above. Unfortunately, that’s a bit too high, and they’ve overreached their allotted space. As such, they will need to be cut back drastically this year once they finish their blooming period.
The time period immediately after flowering is usually the best time to prune spring blooming shrubs. Flowering cherries and dogwood and lilacs form next year’s flower buds during the summer, so if you wait until the middle of the season you run the risk of cutting off next year’s blooms. Of course, with the heavy pruning job I have planned for these monsters, there will likely not be any flowers next year. But the backyard needs to be cleaned up, and I’ve let this go long enough. It’s time to get brutal, just as soon as this season’s blooms cease emitting their delectable scent.
June
2013
The Madonna Timeline: Song #94 – ‘Crazy For You’ ~ 1985
{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}
There is cracked ice still lingering on the sidewalks. I am walking on his street, the street where he lives, not sure why I am being drawn here. The pull of a confusing longing, the push of a future unfolding, and the simple wish to be closer to him all play a part. The dirty mixture of mud and left-over snow and road salt leaves my sneakers a muddled mess, but I’m too young to care about such things. (Yes, there was such a time, when my outfits were picked out by my Mom, and my shoes were bought with the requisite struggle of getting a boy to sit still long enough for a new pair of shoes.)
Swaying room as the music starts
Strangers making the most of the dark
Two by two their bodies become one
I stood outside of his house for a moment, studying the gray stone, wondering at which bedroom he inhabited. Sheer curtains tantalized and teased, while the wrought-iron of a gate or a door – I can’t remember which now – guarded the home from strangers. I walked on, not wishing to be caught (though not exactly wishing against it). I’m sure some small part of me hoped he would come out, invite me in, talk to me, engage in some way, any way. Even as a kid I longed for connection. Even before I had my heart broken, I felt the ache.
After walking a few blocks, I was back home. My face was red from the cool wind, nose running and eyes watering. After kicking off my dirty sneakers at the door, I bounded upstairs, into the safe haven of a childhood bedroom. My stomach was churning, turning over itself it seemed, and my heart raced. It felt like I wanted to cry and laugh and throw-up at the same time. In the briefest of moments I went from giddy hopefulness to utter despair. I didn’t know what was happening. I didn’t know about love, or infatuation, or even simple crushes. I didn’t know about romance or obsession or desire. I only knew that I liked a boy, and I couldn’t even tell you why.
I must have been in fourth or fifth grade ~ strange that I can’t remember which now ~ and winter was slowly turning into spring. The ice was thawing, the ground was revealing itself through the snow, and drops of water encased the world. Suddenly, it seemed everything was melting. On the radio at night, Fly 92 played their ‘Top Ten at Ten.’ I would have it on softly in the background, as I was supposed to be asleep by that time. In those weeks, it was a showdown between the dirty blondes: Madonna versus Samantha Fox. Madonna was singing for love while Samantha sang for sex, as ‘Crazy For You’ battled ‘Touch Me’ for the top spot. They went back and forth for weeks before both songs got retired (those were the days when actual call-ins to radio stations held the most sway, and a single song could feasibly stay on top for months unless it was retired).
I see you through the smoky air
Can’t you feel the weight of my stare
You’re so close but still a world away
What I’m dying to say, is that I’m crazy for you
He was the new boy in class. He had moved in half-way during the year, I think, but even if he slipped in during summer break, his newness to our class would have been instantly noticeable. I didn’t exactly have a crush on him ~ he hadn’t even grown into himself, with his leftover baby-fat, old-fashioned thick glasses, and mop of ginger hair. I had a crush on his hurt ~ the gorgeous pain and exquisite suffering of being the new kid in school ~ each pang and assault deliberately, calculatingly, and wondrously inflicted by my own machinations. It was the supreme vulnerability of being a boy that so enraptured me ~ the delicate nature of being a man. Girls could hide everything inside ~ boys had to let it all hang out ~ and one was very much safer than the other, or so it seemed to me. Brute force and physical strength only go so far, and I saw then that the real power did not reside in the external protuberance of the almighty cock, but in the hidden reverse tomb of the womb.
I was not kind to him, even if our parents were colleagues. My cruelty was as unwarranted as it was childish, my actions as mean-spirited as they were baseless. If I couldn’t have him, if I couldn’t make sense of what I was feeling for him, I would make him suffer. I would make them all suffer. Of this I am not proud. It came from a place of hurt and desertion, but I do not think that justifies any of it.
Do not hold this against me, little boy, for you must know that all the pain I deliver unto you will not approach, will not even come remotely close to the atrocities I will inflict upon myself. You will be avenged, for I will avenge you. All that you do not know, I will learn, and all of your hurt I will one day claim as my own. I will make you, and you will be the ruin of me. There was never any other outcome, and if I stole my glory then, if I took my chance and pierced your heart before you had a chance to steal mine, well, who could have done otherwise? Who would have done differently?
Touch me once and you’ll know it’s true
I never wanted anyone like this
It’s all brand new, you’ll feel it in my kiss
I’m crazy for you, crazy for you
All the while, Madonna sang this song every night. One time, I managed to record most of it on a blank cassette tape. On an out-of-town ride to dinner a few days later, I made my parents rewind it over and over, as I sat in the backseat with my brother, watching raindrops collect on the windows. Again and again I asked them to press rewind, as it was the only way I had to subdue my burgeoning thoughts. What would I do with all this… feeling? What would I ever do? It frightened me, there was no containing it. And at the same time it thrilled. I would forego all sorts of safety for this madness, the giddy insanity of instant infatuation. If anyone had ever gone through this, how did they survive it? And what was the answer, the solution, the thing that ended it all in one way or another? I sought that then, as I would seek it forever after, and to this day I don’t know if it has an ending. For so many important things, there were no answers. I thought then that it was just me being a kid.
Trying hard to control my heart
I walk over to where you are
Eye to eye we need no words at all
I had no way of knowing if what I was feeling was normal. By then, I understood that boys were meant to be with girls, that men married women and had children and lived happily ever after. The stirrings that older neighborhood boys inspired in me when they took off their shirts and swam in our pool were nothing compared to this, and my only other reference was a strange spell cast upon me by a summer camp counselor. (I watched him play wiffle-ball in the gymnasium one rainy camp day, tracing the line of sweat that ran down the back of his t-shirt. His hands would idly lift that shirt up, expose a bit of his stomach, then lower it. He caught me looking, his blue eyes crinkling up in a friendly, if impersonal, smile. Looking right through me, for I was just a trifling of a wisp, not worth noting, not worth acknowledging with any sort of effort. I still remember him.)
But this boy knew me, and I sensed he might need a friend. The notion repulsed me as much as it endeared him to me. To be so alone in a new school, to be somewhat different and out of place ~ it served only to arm me against him. And I, to my eternal shame, did not extend a hand. I felt then, as I often do now, no need for a friend. It’s an awful way to think, and if I’ve learned anything in thirty-seven years it’s to remain open to new people, new experiences, new friends. Maybe that was his lesson for me, but I didn’t see it then. All I could feel was ache and want, a sickening mixture of conflicting emotions, and a rage founded on the impossibility of the person I was becoming.
Slowly now we begin to move
Every breath I’m deeper into you
Soon we two are standing still in time
If you read my mind, you’ll see I’m crazy for you…
I kept it all inside. No family or friends would hear my story, no one would listen as I unburdened my feelings. The only thing I had was Madonna, singing of the same sense of longing, of wanting to share something. But she had eyes in which to look, another person who might return the gaze; I had no one. And so I pined, and prayed, and hoped for resolution. I felt constantly on the verge of weeping, distraught and condemned and prone to the wildest fantasies. From that moment on, my heart would never be quiet. I knew it then. I was already ruined.
Touch me once and you’ll know it’s true
I never wanted anyone like this
It’s all brand new, you’ll feel it in my kiss
You’ll feel it in my kiss because I’m crazy for you
Eventually, the obsession faded, and the object of my focus grew up and out of his awkwardness. If I were any sort of sane person, that’s when a crush would have kicked in. Instead, I went the opposite direction. As he became more popular, I lost all interest in him. Over the years, we reached a sort of truce. He forgave me for my cruelty, and I left him alone. (Considering that he had also shot up to tower over me, this was a practical choice of safety too.) I don’t know if I’ve forgiven him for forgiving me. I suppose he wanted to forget it ever happened, and I’ll bet he already has. But not me. I can forget any random act of kindness I’ve chanced to commit, and all in a matter of a few hours, but my cruelty… my cruelty haunts me ever after.
Touch me once and you’ll know it’s true
I never wanted anyone like this
It’s all brand new, you’ll feel it in my kiss
You’ll feel it in my kiss because… I’m crazy for you
There are still spring nights when I hear this song, and the thrill of that first time comes flooding back. I’m a boy again, a strange little boy born differently from so many of the other boys, and I know they can sense I’m different when all I want to do is belong.
A sidewalk crackling with ice. A car window dotted with rain. A restless boy stained with tears.
On those nights, there is no comfort or succor, no peace or understanding. There is no way to quell the heart. I play this song, over and over and over, trying to find meaning, trying to uncover the secret that will bring it all into crystalline form, perfect resolution ~ definitive and implacable ~ and none of it ever comes. If anything, it fades further from focus, retreating into the distance, ever out of reach, teasing and taunting and leaving me behind. And alone.
I’m crazy for you.
Crazy for you…
Crazy for you.
Song #94: ‘Crazy For You’ ~ 1985
June
2013
You’ll Feel It In My Kiss
Tonight, at 8 PM, the Madonna Timeline returns with a song from 1985. Back then I was not even ten years old, and just about to begin to come into the later years of childhood. That’s a very tender time for a kid: the verge of turning ten. It’s the first step to adulthood, and it was the first step in realizing attraction. Yet what I felt for other boys wasn’t physical – it was more than that – far more, for it really wasn’t physical at all. While I got along better with girls, boys were the ones for whom I felt a deeper affection.
On the radio, a new Madonna ballad played on the ‘Top Ten at Ten’ on Fly 92.3 FM. I’d lie in bed, looking up at the shadows on the ceiling, listen to her siren’s call, and wonder if what I was feeling was what she was singing about. I wanted to stare at someone through the smoky air, to feel so close but still a world away. I never wanted anyone like this, it’s all brand new…
Tonight, I’m crazy for you.
June
2013
Epic Madonna
Fresh off her premiere of the filmed version of the MDNA Tour, Madonna inched her way back into the spotlight in stunning Marlene-Dietrich-like form. I am so digging the top hat and bow tie look here. No woman does androgyny better, and no one ever will. (Okay, that’s easily disputable, but it sounded good.) While I gear up for the next special installment of the Madonna Timeline (the song and memory of which actually inspired the whole Madonna Timeline itself, and at #94 it’s taken a while to come around on the iPod…) I’m giving a quick look at some summer highlights of previous entries that may have gone undetected by your radar. (By the way, if you scroll down to the bottom of the page and check out the ‘Search’ box, you can type in a Madonna song and see if it’s already been covered.)
Before the summer is the spring, and the spring of 1998 was marked by ‘Little Star’, and a residual melancholy from winter, and a decade and a half before. It still haunts me.
1990 marked the summer of ‘Dick Tracy’ and Madonna’s incendiary performance as Breathless Mahoney. That sexy chanteuse sang ‘Sooner or Later’ with the determination of a vixen hell-bent on getting her man. It was an inspiration.
The summer of 2009 was a high-flying good time, with some highlights in Boston and lowlights in Ithaca, and as the last summer of my official single-hood, it was a time of ‘Celebration’.
Last summer was capped by the deceptively upbeat and desperately escapist ‘Turn Up the Radio’ – one of the only times that a current Madonna single coincided with this relatively new Madonna Timeline. It’s one of my favorite entries, because it juxtaposes such a happy song with such a bummer of a summer.
The summer of 1998 was all about ‘Ray of Light’ – the album and the single – and this song dominated a turning point in my previously-angst-ridden existence. It marked Madonna’s ultimate comeback, and remains the best album of her career (thus far).
Memories of my father from 1986 came back with her ‘Papa Don’t Preach’ single from the summer of ‘True Blue‘. The follow-up to the scorching ‘Live To Tell’, it marked another familial milestone, the beginning of a long line of Madonna-related family moments.
For the next timeline (which goes all the way back to 1985, making it one of the earliest Madonna memories) we’ll return to the very earliest of spring, a time when the first pangs of adolescence began to prick my youthful heart, and things were about to go, well… Crazy.
June
2013
June
2013
Pitching the Perfect Tent – Review of ‘Pippin’
Is there anything more terrifying than the possibility of future regret? The battle of an artist to be extraordinary while maintaining some semblance of a functioning family life has always proven fertile ground for all art forms, and nowhere is that more apparent than in the current revival of ‘Pippin’.
The ambitious coming-of-age journey of a young prince goes deeper than its superficial circus-like atmosphere would have you believe, and therein lies its genius. Director Diane Paulus brings new life and magic to the Stephen Schwartz musical, touching on issues as deep as sibling rivalry, parental control, patricide, and hints of Oedipal conflict while dazzling with circus stunts. Choreographer Chet Walker retains Bob Fosse’s signature style, jazz hands and pelvic grinds intact, to aid in the seduction, and that sort of wink is necessary to draw the audience in, and give this revival the subtext that lends it greater depth. Yet it is the amazing aerials, stunning acrobatics, and visual pyrotechnics that make the story soar.
Each of the cast gets a shot in the spotlight, which affords some amazing moments. The only problem is that the evening sometimes runs the risk of feeling like a variety show, never less than entertaining, but occasionally not much more. Luckily, the performances and the actors investing in them ground it all, and keep the story together. It is, in fact, the strength of this company – where each member is an individual, unique and distinguishable at all times – that is the real winning hand of the evening. Broadway vets like Terrence Mann and Andrea Martin (the former voraciously eating up his scenes and the latter flying high above the stage with no wires or safety net) stand out while gleefully enjoining the ensemble.
Patina Miller, as the magnificent ringleader, is at turns enticing and erotic, menacing and ferocious, seductive and sensual, biting and brutal. She is the master of ceremonies, perfectly embodying the multi-faceted tension of finding oneself, while leading Pippin, and the audience, along the road of temptation. She deservedly won the Tony for her work here, culminating in a devastating last act of defiant desperation.
As Pippin, Matthew James Thomas brings a wide-eyed naiveté to his early scenes, gently adding shades of knowledge and wisdom as he progresses on his journey, flummoxed and confounded at one point, dazed but valiantly rebounding the next. He ultimately resigns himself to a real life, rejecting all the magic, and perhaps a bit of the search for being something exceptional. The story ends not there, but with the next generation, searching and seeking out the same giddy thrills, the same heights of fantasy, the same quest for something extraordinary.
The neat thing is that after witnessing such fantastic (and literal) flights of fancy, the thrilling visuals, and an evening of entertaining enchantment, the moment when the ringleader strikes the set and withdraws the magic is a compelling challenge to both Pippin and the audience. One wants to believe that the unamplified voices and costume-free starkness can match and hold up to all the colorful theatricality that came before, but the question lingers, and haunts, and it is here where the power of this revival is finally revealed. Is it worth the trade off? Or should we never give up, never settle? It is left in vague ambivalence, tottering on a high wire of hope, as astounding and challenging as the entire evening of theater has been.
June
2013
A Pre and Post Show Cocktail
Sandwiched between two Broadway shows and dinner was a small sliver of time when dusk was just starting to fall over New York. Into this time, and away from the throngs in the streets, we found our way into The Chatwal Hotel, and discovered relief in the cool dim art-deco recesses of the Lambs Club lounge. With a bar fit for four, but a variety of settees in the lobby, the space was a throwback to another era, a more glamorous time, an evening rife with possibility.
The cocktail list was varied and profound, but I kept it simple and settled for the Southside – gin, lime juice, sugar, and mint (and the bartender went easy on the sugar portion as requested). I’m a sucker for a mint leaf in a cocktail (unless it’s muddled). Mom had a Hemingway daiquiri, which, according to an article I read in Saveur, is making a comeback in more elegant form.
If all of New York could be like this, I wouldn’t mind visiting more.
June
2013
The Necessary Evil of Times Square
While I loathe Times Square (always have and always will), it is a necessary evil if you want to see a Broadway show. Back when I was younger, I was more amenable to the bright lights and meandering crowds, but today I avoid the space if at all possible. Since both of the shows we were seeing – ‘Kinky Boots‘ and ‘Pippin’ – were playing in theaters on W. 45th Street, there was no escaping the crazy scene. You can either fight the crowds and get upset and angry, or embrace it and go with the flow, following the swarms and masses that swirl and make their hapless way through the jam-packed streets. I did a little of both.
We fought it by trying to escape into lofty hotel lobbies, but embraced it by having an in-between-shows dinner at Sardi’s (early and old-school enough to be rather quiet). More about the shows that book-ended the day in other places (‘Kinky Boots’ here, and ‘Pippin’ to come), but let me just say that they were incredible. There’s something uniquely thrilling about seeing a hit Broadway show with its original cast, at the height of its post-Tony glory. And it’s worth every moment we had to spend in Times Square.
June
2013
A Day & Night with My Two Favorite Ladies
New York City is not my favorite place in the world, not by a long shot, but with two of my favorite people in the world, it suddenly becomes something quite wonderful. This past weekend, my Mom and I went into the city to see a couple of shows and take Suzie out for a belated birthday dinner. Staying at a hotel on the upper East side (not quite worth mentioning), we were a few long blocks from Bloomingdale’s, and though most of that is beyond my means, it’s always a thrill to look. (And given that I’d forgotten to pack pajamas and an outfit for the return trip, it was a thrill to buy too.) Fittingly, it was my Mom who first taught me how to shop – not just to buy, but to look and stroll, to enjoy the time alone, to be inspired and feel pretty and get lifted, if only for a moment, out of the mundane.
I spent some time at the fragrance counter, talking over the upcoming changes to Tom Ford’s Private Blends line (pssst, the recent quartet of florals, which never quite grabbed me, is being discontinued by three). Perusing the periphery of Louis Vuitton, Gucci, and Prada, I was able to resist looking too closely at the price tags (far too monumental given my last credit card bill), but almost gave in to temptation by the likes of Marc Jacobs and Ted Baker.
Fortunately, cooler heads prevailed and I escaped with the bare necessities before we had to get ready for dinner. I asked Suzie to pick the spot, and she has never let me down in that regard. This was no exception, in that it was nothing short of exceptional.
Park Avenue designs its menu based on the seasons, and since it is moving next year, they had a ‘best-of’ menu featuring the finest selections from the previous years’ menus. From the elegant atmosphere to the flawless service (a slightly wrinkled menu was immediately replaced with a crisp new one before I even noted the difference), it’s really the food that shines. And what impeccable food it was.
I chose the salmon, with a taro root salad, and I didn’t care or look to see what anyone else had because it was so good. (Actually, I did – both Mom and Suzie chose the scallops, for which they both offered excessive praise). The salmon was tender, almost-melt-in-your-mouth tender, flavored wonderfully, but not too much to detract from the excellent cuts. Its taro root salad accompaniment was a jolt of effervescent brightness and texture, dancing a delectable two-step with the fish and lending a freshness perfect for the summer season.
In the end, though, no matter how delicious the food, a good dinner depends on the company, and in that I was fortunate. There was none better.
June
2013
Let’s Get Kinky ~ Review of ‘Kinky Boots’
The most fun-filled factory in production right now is Price & Son at the Al Hirschfeld Theatre, and it’s not just fabulous shoes that are being made, but a transformative musical theater experience. That’s where ‘Kinky Boots’ is saucily strutting the boards, and, fueled by two powerhouse performances, it’s the best musical I’ve seen in a decade. (And I’ll qualify that by saying that I have yet to see ‘The Book of Mormon’ and ‘Once’.)
To be honest, I’m a little jaded. Anyone who grew up in the 80’s has some sort of affinity with Cyndi Lauper, the woman behind the music here. It’s her first time writing the music and lyrics for a Broadway show, but she handles it with her trademark perky aplomb, and an insinuating score that references her 80’s disco roots, while standing on its own melodic structure. Ms. Lauper has been lucky enough to be coupled with one of Broadway’s legends, Harvey Fierstein, who wrote the book of the musical. Anyone who knows me knows that I’ve been a fan of the brilliant Mr. Fierstein ever since I first heard his unmistakably gravelly voice many moons ago (and interviewed him for a story on his children’s book, ‘The Sissy Duckling’.) Rounding out the talented trio behind the show is director and choreographer Jerry Mitchell, who makes inventive use of every square foot of factory, with multi-leveled set pieces and some portable conveyor belts for the exhilarating Act One closer ‘Everybody Say Yeah’.
Ms. Lauper’s music and Mr. Fierstein’s book give ‘Kinky Boots’ its driving power and emotional heft, but it’s the performances of Billy Porter and Stark Sands that put the show into the stratosphere of musical theater magnificence. They join the pantheon of Broadway duos like Roxie Hart and Velma Kelly (‘Chicago’) or Max Bialystock and Leo Bloom (‘The Producers’) or even Glinda and Elphaba (‘Wicked’) – teams that depend on one another for strength and survival- story-wise, and performance-wise. It is especially vital here, because at its heart, this is a show about two unlikely friends coming together and seeing that they’re not all that different. Charlie Price and Lola may well be the dynamic duo of this decade, and Sands and Porter are not to be missed.
As the heir to the struggling Price & Son shoe factory, Sands is perfectly cast as Charlie, a young man unsure of where his future lies, whether he should jump into the unknown future of ambition as impelled by his girlfriend Nicola, or make a choice to honor his legacy and fight for his past to be his future. Sands is given the difficult, and less-showy, role of straight-man to Lola. As such he is the anchor of the factory and the show, and comes through with the necessary blend of earnestness, hesitancy, and, ultimately, evolution. His big moment – the rousing, self-indicting ‘Soul of a Man’ – is an epiphany, and his performance, one of careful and complex transformation, is surpassed only by his counterpart, Billy Porter.
As Lola (Simon), Porter simply shines. He is a force of nature, a revelation in a world where that term is used far too often for far too less. He defines it here, with a Tony-winning performance that is sweeping in ferociousness and fiery in intensity. Porter manages to go from hilarious to sorrowful in a matter of moments, portraying the varying degrees of rage, drive, hope, humility, glamour, and giddiness needed to convey the inner-workings and outer-fabulousness that comprise the ‘Land of Lola’. A larger-than-life drag queen will always be a role that runs the danger of veering into campy caricature, but Porter never loses his way, guiding Lola through her journey with every bit of grace and dignity and honor that Charlie finds so difficult to find.
It is the study of the friendship between men, but also the story of what it takes to be a man, and what makes a man great. It’s a story of forgiveness, love, and how much of each other’s lives we miss by shutting ourselves off from openness and acceptance. The simplest scene in the show (spoiler alert) is when Lola performs for her father, at last in a nursing home. She sings an 11th-hour show-stopper that will have drag queens gagging with giddiness for years, and in it both exonerates herself from feeling unloved while refusing to take anything less.
That acceptance – of a parent to a child, a friend to a friend, and a stranger to a stranger- forms the emotional core of the show, and, strangely enough, it wasn’t just the tear-jerker moments (‘Not My Father’s Son’ and ‘Soul of a Man’) that moved me, but the fantastic finale of the ‘We-Are-Family’-esque ‘Raise You Up/Just Be’ that elicited the thrills of just how powerful musical theater can be.
It comes to glorious life when the previously-close-minded Don belts out, “You change the world when you change your mind” while donning some kinky boots of his own. If you let that seemingly-simple sentiment sink in, it’s miraculous, life-affirming, and dazzling. Just like ‘Kinky Boots’.







































