Sunday, February 13, 2022

PEOPLE, PLACES, & THINGS AT SPEAKEASY STAGE

PEOPLE, PLACES, & THINGS AT SpeakEasy Stage Company is one of the most challenging and one of the most important productions one can experience.
 
The incomparable Marianna Bassham is at her most vulnerable, demonstrating all sides and angles of a woman struggling with both addiction and her determined desire to feel better.

Director David R. Gammons is unafraid to showcase his talented cast and brilliant set design to invite the audience into the mind of a person suffering. 
 
It does not matter who we are; we can all relate to the main character on some level. 
 
This is because everything out of her mouth is the truth. 
 
Let us hope that Duncan Macmillan's outstanding script reminds us that people facing this healing process deserve patience and understanding and that they should never be reduced to a "noun." 
 
speakeasystage.com
 

 

Tuesday, February 01, 2022

REMEMBERING MICHAEL NESMITH

Michael Nesmith was taken away from us too soon, and here is a small sampling of his unique and creative music we can still enjoy.

 


       “Papa Gene’s Blues”

       (from The Monkees, 1966)

 

From the very beginning, Michael is proud of his musical background and is pleased to share songwriting credits among Gerry Goffin/Carole King, Tommy Boyce/Bobby Hart, and Neil Diamond. This contribution blends in well with the other soft pop/rock tunes for their debut, but his country influence stands out. His catchy lyrics are perfectly captured by his easy-going vocals and guitar licks.

 

I have no more than I did before
But now I've got all that I need
For I love you, and I know you love me

 

Words to live by, indeed! The song is so much fun, one wants to pick up a washboard and play along! Also from the start, Michael lets us know he will have fun naming songs whose titles are not anywhere to be found! Such is the case here. 

 

 


 "Tapioca Tundra"

(from The Birds, The Bees, & The Monkees, 1968)

 

Released as the B-side to the #3 hit "Vallerie," this song peaked on its own at #34. When Michael wasn't sharing his love of Country Rock, he was sharing his esoteric and thoughtful lyrics, as heard here.

 

Midnight looks right standing more at ease
Silhouettes and figures stay
Close to what he had to say
And one more time the faded dream
Is saddened by the news
It cannot be a part of me
For not it's a part of you

 

According to Micheal, "the song itself is about the moment when the performer realizes that the songs he/she sings belong to the people — the fans and the crowds — that love the song, and the performer is only there in service to that relationship. " (monkeeslivealmanac.com)

 

 


 

       “Circle Sky”

(from the HEAD Original Motion Picture Soundtrack, 1968)

 

At this point in his career, Michael is getting more comfortable with delivering darker, more experimental music and lyrics. The strength of this song ironically lies in the fact that his vocals are deliberately in the background with the aggressive guitar riffs almost overpowering him. Making it more an effort for the listener to grab the lyrics makes them more effective.

 

It’s a very extraordinary scene
To those who don't understand
But what you have seen you must believe
If you can
If you can

 

In the movie, scenes of the band are edited among shots of the war and fans screaming, and the viewer never quite knows if the fans are screaming in hysteria at the Monkees performing or screaming in horror at the images of the war. Both, perhaps? 

 

 

 

 


  

“Listen to the Band”

(from The Monkees Present Micky, Davy, Michael, 1969)

 

At this point for the Monkees, they have full control over their songs, both musically and lyrically, Michael is only too happy to bring country rock to the mainstream.  Michael’s easy-flowing voice is interspersed with “the band” – an equally enjoyable brass section.

 

Hey, hey, mercy woman plays a song, and no one listens,
I need help I'm falling again.

 

Regretfully, they were not many people listening to this song at the time, which was a shame. It was the first Monkees single penned by Michael, but the diversion from their previous material might have been a reason why it stalled it at #63 on the Billboard Hot 100. The boys would eventually include it in their live set pieces to, yes, introduce their back-up musicians. In the hands of lesser rock bands, this would have been obvious and trite, but the Monkees made it sincere and professional.

 

  

“Good Clean Fun”

(from The Monkees Present Micky, Davy, Michael, 1969)

 

Michael wants to write about good clean fun, and so he does, but he just doesn’t find it necessary to mention the title anywhere in the song! Listeners are treated to full-blown country enjoyment here, complete with banjo and his signature effortless voice. 

 

But now my path heads home
And your patient time alone
Has brought me even closer to you, dear

 

Abandoning any musical reference to pop music, Michel lets it be known he is now a country artist. Unfortunately, the song would peak at # 82 but would later be released in “Best Of” compilations.

 

 

Thank you, Michael, for sharing your multiple gifts with us and for letting it be an honor to

listen to the band.





Friday, June 04, 2021

When Did It Become Okay?

When did it become okay

To move out and move away?

When did “I remember you when”

Get replaced by “I haven’t seen you since”?

 

I saw you both smiling

And it broke my heart in half

It will be last time I see you together

The last time you both laugh

 

Birthdays and Graduations

First Houses and Apartments

Weddings and Divorces

First Jobs and Retirement

 

Those who move on are seldom sad

That is for those who are left behind

Trying to keep up and stay in touch

Desperately wishing for ways to rewind

 

The clock on the wall waits for nobody

Everyone feels like they are on their own

When they wake up and realize one day

That the life they’re living is unknown

 

Relationships can be difficult

Relationships can be hard

High School becomes Reunions

With our names reduced to a card

 

When did it become okay?

 

 

Copyright 2021 Scott C. Forrest-Allen

 

Sunday, April 25, 2021

Before

When I was young and all-too wise

I knew exactly what I would do

"I will grow up quickly and become a success

Like my parents have always wanted me to"

  

During middle school I threw away

All the toys from my childhood

I had no need for them anymore

They would never do me any good

 

I knew it was my time

My time “before”

Before graduation and college

I couldn’t wait anymore

 

So I ignored my friends and took every job

And every internship as well

So I could hit the ground running before everyone

And made money and worked like hell

 

And I loved every second of it

As I welcomed the “Daily Grind”

I worked and was the head of my class

As I left my friends behind

 

It was my time

My time “before”

Before spouses and settling down

I would never be poor

 

As I look at these Diplomas they make me proud

Of all of my success

And my self-determination and self-worth

And never settling for less

 

Now I look at these papers, and they make me sad

But I have no one to blame but myself

Because I look back at my childhood days

And all I see are empty shelves

 

This is my reward

My reward “before”

Before growing up and moving on

Loneliness and more

 

This is my success

My success “before”

But I have nothing

Before the “before.”

 

 

Copyright 2019 Scott C. Forrest-Allen


Saturday, April 24, 2021

Tuesday, December 15, 2020

Top Productions!

 

3.THE CHILDREN
(Speakeasy Stage Company)

Lucy Kirkwood's eerily prophetic text receives the royal treatment thanks to an all-star cast - Tyrees Allen, Karen MacDonald, and Paula Plum
 
Director Bryn Boice brings the Tony-nominated play to life in a haunting production that will stay in our minds.

The world around our main characters is in peril, and our main characters are in isolation. 
 
When an old friend visits, things get even more out of hand.
 
 
2. FIDDLER ON THE ROOF
(Broadway In Boston @ Emerson Colonial Theatre) 

This joyous Revival pays homage to productions of yore while remaining contemporary. 
 
The Tony-nominated Choreography by Christopher Evans is full of life and brings new energy and insight to our characters and their cultures.

The old-school (thank you!) sets and set changes are balanced by a new interpretation of Teyve portayed by Yehezkel Lazarov. 
 
He finds new levels and humor which make this story more relevant than ever.
 
 
1. PASS OVER
(Speakeasy Stage Company)

This Lortel Award-Winning play by Antoinette Nwandu redefines the power of language and culture. 
 
Out of the wrong mouths, certain words can make a person feel powerful. 
 
Out of the correct mouths, the same words can take back that power. 
 
And control.

Unfortunately more relevant than ever, this production re-examines how nothing has changed with respect to race, culture, society, and relationships. 
 
Under intense direction by Monica White Ndounou, Kadahj Bennett and Hubens "Bobby" Cius invite us into the lives of "Moses" and "Kitch." 
 
Their dialogues and exchanges are as realistic as they are unapologetic. 
 
Kudos to the credible friendship they have created for the stage.

Lewis D. Wheeler as Mister/Ossifer is the reminder of how society moves backwards. 
 
And continues to do so.

In a year already saturated with virus and violence, this production is a solemn reminder that things can come to pass.

We hope.
 
 
 
 
 

Tuesday, October 13, 2020

Home In The Mountains

Leaving is always difficult

With any luck it will be

It means we had fun

And enjoyed the company

 

Knowing is just as hard

The long wait in between visits

Wondering where we will be

And how much we miss it

 

Having is equally comforting

It is always there awaiting our returns

The refreshing constant in our lives

As life around us scorches and burns

 

Loving is so rewarding

Remembering to be thankful

Always something for exploring 

Remembering to be grateful.

 

 

Copyright Scott C. Forrest-Allen

 

 

Thursday, October 08, 2020

Twelve Things To Know About Fleetwood Mac's TIME

In 1995, Fleetwood Mac released their 16th studio album, Time featuring Mick Fleetwood, John McVie, Christine McVie, and Billy Burnette. New recruits Bekka Bramlett and Dave Mason competed the sextet.

 


 


Unfortunately, both critics and fans dismissed it upon arrival. As its 25th Anniversary arrives, let’s take a look at this overlooked gem. 

 

1. Christine McVie needed to be persuaded by Warner Brothers to record her vocal tracks for Time because she had left Fleetwood Mac in 1990. She did not wish to participate but recorded her vocals apart from the band with session guitarist Michael Thompson. Billy Burnette provided guitar leads for the album’s only single “I Do.” Even though she contributed this and four other songs to the album, Christine did not join the tour to support its release. 

 

2. Since 1975’s eponymous LP, this is the first and only Fleetwood Mac studio album not to include Stevie Nicks. She also left FM after 1990’s Behind the Mask to focus on her solo career. Her decision resulted in the eloquent and underrated Street Angel in 1994. A tour and two singles – “Maybe Love Will Change Your Mind” and “Blue Denim” -- followed.

 

3. “Nights In Estoril was co-written by Christine and her then husband Eddy Quintela about their vacation in Estoril, Portugal. Since 1987, he and Christine penned many hits for FM, including Tango in the Night’s “Little Lies” which had peaked at #4 in 1987. 

 

4. Fellow members Bekka Bramlett and Billy Burnette were also a part of Mick Fleetwood’s other band The Zoo. Billy had been a part of FM since the 1987 tour to support Tango in the Night. 

 

5. Dave Mason was recruited for Time and was a member of the rock group Traffic. As a successful solo artist, his biggest hits were “Only You Know and I Know” (1970) and “We Just Disagree” (1977). 

 

6. Dave Mason had toured with Bekka Bramlett’s mom, Bonnie Bramlett, who was part of the singing duo known as Delaney & Bonnie.

 

7. Dave Mason’s contribution “Blow by Blow” was performed during the album’s tour, but this was not its debut. The song was featured on the1994 album Gloryland World Cup USA 94.

 

8. This is only the second time Mick Fleetwood would be featured on lead vocals. The other song was the B-side to 1990’s “In The Back of My Mind.” That song is called “Lizard People” and was co-written by Mick and Peter Bardens. Peter was one of the founding members of the British group Camel and recorded eleven solo albums. In 2001, Mick and John McVie joined Peter for a concert in Los Angeles. 

 

9. Mick co-wrote and speaks/sings “These Strange Times” which pays tribute to former Fleetwood Mac members and founding member Peter Green. The song contains the lyrics “God is now here.” This phrase made its first appearance in 1983 on the inner sleeve of the I’m Not Me LP recorded by The Zoo.

 

10. Christine’s “All Over Again” needed to wait until 2018 before it made its first live appearance. Christine and Stevie shared the lead vocals during the An Evening With Fleetwood Mac tour, but it was eventually removed from the set list.

 

11. The album was released on 10/10, and advertisements for watches usually display the time 10:10. 

 

12. The album is not as bad as you expect or want it to be!

 

Fleetwood Mac has been good to Time, and Time has been good to Fleetwood Mac.

 

 

 

 

Tuesday, October 06, 2020

One Hell of a Year

We hate you for your virus

We hate you for your violence

We hate your constant sickness

We hate your social distance

 

You took away our hugs

You took away our handshakes

We cannot have reunions

We cannot have birthdays

 

Sharks and jellyfish

Closed all of our beaches

You removed all of the resources

You never gave to our teachers

 

We’re all wearing masks

We’re all moving away

When we’re burning your calendars

Will be our happy day

 

All of us are inside

All of us are stuck

Let me put it this way --

You suck

You suck.

 

 

Copyright Scott C. Forrest-Allen

 

 

Friday, July 10, 2020

"Swing Set"

    Swing Set and Pete were inseparable.

     Every summer as soon as school let out, Pete’s father would be in the backyard putting together Swing Set for Pete and his friends. His father made sure everything was safe and secure in the ground.
     There were two single swings, and a swing in which two or more could sit facing each other and rock back and forth.
     And the big slide!
     As soon as Swing Set was ready, Pete’s father would call, “Okay, son, it’s ready!”
to Pete and his friends who were waiting impatiently inside.
     Pete’s father could barely get the announcement out when Pete and his friends would charge out of the house and dash to Swing Set where they took turns swinging, sliding, laughing, and joking.
     It would make Pete’s mother nervous to see Pete swinging so high, but Pete never had any fear. The higher he swung, the more he believed Swing Set would protect him.
     “Don’t swing so high,” she would warn.
     “I love this swing set,” Pete shared with his friends one day. “I'm already looking forward to us returning in the morning, but I’ll be sad when we go back to school because we won’t be able to enjoy it as much.”
     “You’re the only person we know that can live in the past, present, and future all at the same time,” one of his friends remarked, starting laughter among the gang, including Pete, even though this comment was at his expense. He laughed because it was true.
     It was true for Swing Set too. He would feel sad once school started again because Pete and his friends would play on him less and less. It would be occasional afternoons, and then eventually the weekends only.
     Then that awful day would come when the weather would start getting cold, and Pete’s father would be forced to take apart Swing Set and store him in the garage until the next summer.
     But, Swing Set didn’t mind. Like Pete, he looked forward to school letting out again, so he could be taken out of the garage, put together, and give Pete and his friends joy again.
     This went on for some time. One summer after another.
     After every play session, Pete would make it a point to look at Swing Set and whisper, “thank you.”

     Then came the day when Swing Set thought Pete’s father would arrive in the garage to take him out and put him together in the yard again.
     But one day turned into another, and Swing Set became confused and concerned as to what was taking so long.
     One year turned into another, and Swing Set realized something.
     Pete’s father was not putting him together again.
     What have I done wrong? Swing Set cried.
     The more Swing Set cried, the more he rusted.
     The more Swing Set rusted, the more he cried.
     Finally, he heard Pete’s father come into the garage.
     Oh boy! They haven’t forgotten about me!
     “Now, where did I leave my lucky hammer?” Pete’s father asked aloud, as if the stuff in the garage could answer him. “Well, I’ll be. Pete’s old swing set. Oh, how I loved putting it together and seeing Pete enjoying it with his friends. Well, too bad they all outgrew it. Not sure what to do with it now. I’ll think of something someday. Maybe I’ll shine it up and sell it a yard sale. Or give it away. Oh! There’s my hammer.”
     Pete’s father exited the garage and closed the door.
     Swing Set realized what was going on.
     He didn’t want to face it.
     The more he cried, the more he rusted.
     The more he rusted, the more he cried.

     After a long, long time came another day when Swing Set heard Pete’s father’s voice again.
     “Well, just look at you, you rusty old thing. I know exactly what to do with you."
     This is it. This is how it ends. Nothing ever lasts forever. I will remember the great times we shared together, Pete. He’s going to shine me and get rid of me. 
     Swing Set could feel Pete’s father putting him back together again. He felt the familiar parts being assembled to one another like so long, long ago.
     He could feel himself being painted and polished. He could feel new attachments and plastic things being secured in several places.
     Eventually, he saw Pete’s father stand in front of him. He looked much, much older, but Swing Set recognized that face anywhere.
     “Oh, Pete!” his father called.
     To his surprise and delight, Swing Set saw Pete leave the house and enter the backyard. He, too, looked much, much older, but Swing Set recognized that face anywhere.
     “Wow!” Pete exclaimed. “Just look at it! I can’t believe you kept it all these years! How can I thank you?”
     “You and Pete Jr. stay for dinner, okay?”
     “Okay!”
     Pete Jr.?
     Just then, Pete turned to the house and called, “Okay, son, it’s ready!” to his son and his friends who were waiting impatiently inside.
     Pete could barely get the announcement out when his son and his friends charged out of the house and dashed to Swing Set where they took turns swinging, sliding, laughing, and joking.
     It made Pete nervous to see Pete Jr. swinging so high, but Pete Jr. never had any fear. The higher he swung, the more he believed Swing Set would protect him.
    “Don’t swing so high son,” warned Pete.
     At that, Pete’s father roared with laughter.
     “What’s so funny?”
     “You sound just like your mother when you were a kid!”
     Pete joined in on the laughter even though the comment was at his expense. He laughed because it was true.
     Pete Jr. witnessed his father and grandfather laughing, and even though he hadn’t heard what was said, he joined in on the laughter.
     Father and son.
     Father and son.
     And Swing Set.
     Eventually, it was time for dinner, and Pete announced that his son and his friends could come back in the morning to play on the swing set.
     Pete Jr.’s friends expressed their gratitude and promised to return.
     “Ready for dinner, Pete?”
     “Yes, dad. I’ll be there in just a minute.”
     “Okay.”
     As soon as everyone was in the house, Pete turned to Swing Set.
     He whispered, “thank you.”


Copyright Scott C. Forrest-Allen