Last Sunday, I went to see the Gay Men's Chorus of Los Angeles perform their final concert of the season. It was entitled "Broadway!" (please note the exclamation mark--it's vitally important) and featured Tony and Grammy award-winner Jennifer Holliday (that's how she was billed). I always enjoy the chorus. They have impeccable taste when it comes to choosing songs to sing, and Sunday's concert featured some of my favorites.
The show started with "The Bitch of Living" from Spring Awakening, a show I saw last year at the Ahmanson, followed by "Life Is" from Zorba, which I have never seen. The third song of the day is one I have always loved: "We Kiss in a Shadow" from The King and I. They had a lovely arrangement of the song, and listening to all of those beautiful male voices blending together just made it even more joyous for me. If I recall correctly, Jennifer came out next and did a solo number, "Blues in the Night." All of her trademark "sounds" were a part of the performance, and I knew we were in for a real treat.
"My Junk" from Spring Awakening was next, followed by a medley of songs from South Pacific. Of course, "There Is Nothing Like a Dame" got big laughs, and "I'm Gonna Wash That Man Right Out of My Hair"--complete with shower stalls and well-built boys in towels--got a lot of sighs. "He Vas My Boyfriend" from Young Frankenstein was done with boys in leather, a rather inspired and somewhat inspiring touch for quite a few in the audience. I loved that they sang "(Not) Getting Married Today" from Company; it was a perfect political statement in this post-Prop. 8 world of California. After "Loving You" from Passion, a show I need to watch again soon, they ended the first act by dueting with Jennifer on "One Night Only" from Dreamgirls.
It was during the intermission that I had my twink problem. I purchased my tickets online the day before the performance, so I was in the balcony. I still had a great view, but one of these days I'm going to think ahead and get tickets closer to the action, so to speak. I was sitting behind a row of six or seven friends, all of them in their twenties (isn't almost everyone these days?). Two or three of them decided to stay behind during the intermission, and they were talking about how much they liked the show so far.
I was trying to read a book I had brought with me. You should always have a book handy; it helps to keep you from getting bothered too often. Still, I couldn't help overhearing the conversation. Twinks are notorious for being loud; it must be from all of those years talking on cell phones. One of them asked, "Now why is Jennifer Holliday here?" I almost tore my book in half. When his friend answered that she didn't know either, I decided to butt in and share that Jennifer was the original Effie White on Broadway when Dreamgirls opened. That's right, dear. Long, long before Jennifer Hudson wowed you in the movie theater, Jennifer Holliday was wowing them on the stage. In fact, anyone who's see both performances will tell you that Hudson borrowed deeply from Holliday's performance.
See for yourself. I'm not responsible for the picture quality, by the way. First up is Holliday's performance from the Tony Awards broadcast for 1982.
Now it's Hudson's turn. Tell me you can't see any difference between these two.
Sigh. The younger generation has no sense of history. And it doesn't seem to bother them at all, either. You might recall that I had a similar encounter at the Hollywood Bowl when Rufus Wainwright performed his tribute concert of Judy Garland music. When he introduced Lorna Luft, some twink sitting near me asked aloud, "Who is Lorna Luft?" Mine was not the only head that jerked around in shock and disgust.
Thankfully, the intermission on Sunday was short, and I could go back to enjoying the chorus. Act 2 began with "THe Circle of Life" from The Lion King, and we had chorus members throughout the audience, even in the balcony, dressed in what approximates African costume these days. The second song of the second act was quite a stunner: a medley of "Written in the Stars/The Gods of Nubia" from Aida, the musical, not the opera. The soloists were Jessay Martin and Richard Rocha, and Martin was particularly outstanding. His singing of "The Gods of Nubia" brought the house to its feet. I was almost in tears. He's that good. Why have we never heard of him before? Why doesn't someone sign him up for a recording contract?
Jennifer returned to do her big number, "And I Am Telling You I'm Not Going" from Dreamgirls. I think she sounds even better now than she did in the 1980s. She's lost none of her power, and she deservedly received another standing ovation. Another of my favorites came next, "Could I Leave You?" from Follies, a comic gem of a song done with great timing by the chorus. "Let's Not Waste a Moment" from Milk and Honey, a show I've never even heard of, featured a solo by Bill Bowersock, a man closer to my own age if not a bit older, and I was delighted by both the song (which they merged gently with "It Only Takes a Moment" from Hello, Dolly) and the performance.
The chorus finished the show with "First You Dream" from Steel Pier, another lovely number for which they had a fantastic arrangement. Jennifer joined them on stage for bows, and then they did an encore. And what a choice: "We Are a Family" from Dreamgirls. A perfect song to end the concert, and we were almost all standing by its finish.
I took my program and left the theater, passing a lot of men "of a certain age." There are some twinks who go to these events, but more and more I see guys my age and older at them. I suppose choral music isn't for everyone, and the younger generation doesn't seem to be all that interested in older music anyway. The advertisement for Sunday's concert read: "Gay Men Sing Showtunes. Imagine That." However, if my twink neighbors during the show are any indication, it's only when those showtunes are later performed in movies that they'll pay any attention.
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