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The High Style Hijinx of "Fallen Angels" on Broadway

Rose Byrne and Kelli O'Hara in "Fallen Angels" (photos by Joan Marcus) 

     TD and I recently had the pleasure of seeing "Fallen Angels" starring Rose Byrne and Kelli O'Hara on Broadway. Ads for this play popped up on my social media and I thought a play by Noel Coward from the 1920s with direction by Scott Ellis and a set by David Rockwell starring these two fine actresses sounded right up my ally so we ordered some tickets. 

   The play is mounted by the Roundabout Theater Company at the Todd Haimes Theater on West 42nd Street. Modern day New York City imposed itself on the way to the theater as one has to run an obstacle course through ugly construction and scaffolding to get there. And the grand theater, built in 1918, has undergone a renovation that includes a little unattractive lobby and a tiny bar. Not a very glamorous arrival. But once inside the theater itself, with its elegant decoration and historic architecture, the stage was set for an escapist entertainment. 

     Noel Coward wrote "Fallen Angels" when he was 24 and it was initially censored by Lord Chamberlain in England for it's "discussion of pre-marital sex" and the "quite unnecessary frankness of expression among women."  Apparently, in England, in the 20s, women were not supposed to feel sexual desire. With a few changes, the play premiered in 1925 and has been produced only a couple of times since. 

     The story involves two upper class, married, society lady friends who find themselves fighting over a Frenchman they both knew in their single days. The plot starts off quite traditionally and a little slow but I think it was directed that way in order to contrast with the hijinx that is to come. As the polite friends Julia (O'Hara) and Jane (Byrne) drink more cocktails, they get increasingly argumentative and competitive with each other that culminates in laugh-out-loud lines and uproarious physical humor. 

     The very glamorous Art Deco set by Rockwell Group and gorgeous costumes by Jeff Mahshie are a delight to the eye and offer a traditional, polished framework as the mayhem ensues. Because within the sophisticated decor and while wearing beautiful clothes, the fun is watching two very proper actresses really go at it and completely lose it over a man. We first saw and admired Kelli O'Hara in the musical play "The Light in the Piazza" and she now stars in "The Gilded Age" on HBO. Rose Byrne was reserved but so funny in the movies "Bridesmaids" and "Spy." In this play she has a cool British aristocratic attitude which is especially amusing to watch disintegrate. O'Hara and Byrne are good sparing partners as they deliver their fast cutting lines. With gorgeous visuals to look at and a hilarious script, it was a fun, fizzy night at the theater that was thoroughly entertaining. 

     "Fallen Angels" is running through June 7th and tickets are available here.  

      

      

 

The Beauty of the Layered Home

Celebrating the book's publication with Ben. 

     My friend, talented magazine editor Ben Raynaert, has published a new decorating book called The Layered Home, and it's a pleasure to behold, filled with the colorful, exuberant homes of creative tastemakers plus lots of tips and inspiration. Ben favors interiors that are warm, personal and joyful, and the book features 17 homes in the United States and Europe that express his fondness for delightful decorating. 

     "My idea for the book was to focus on highlighting creatives in the industry - designers, artisans, antiques dealers, shop owners - who have really unique personalities and very unique spaces," reports Ben. "These interiors reflect who the person is. The subjects have their own distinctive taste that they have cultivated over years." 

    I was happy to see that the first chapter in the book features London-based garden designer Butter Wakefield who I had the pleasure of interviewing and writing about for Frederic magazine.

Butter Wakefield's charming bathroom. (All photos were shot exclusively for the book by Manuel Rodriguez) 

      You can read my story about Butter, which Ben produced, here.

      For Ben, mixing objects with meaning creates interiors that resonate. "I love layering different things together whether that's a salon-style wall with lots of different art I have collected or a coffee table with layers of objects and books and trinkets and treasures I have picked up over the years," he says. "I like having things around that feel really personal to me." His interest in interiors that are imbued with stories and memories reminds me of the books of my friend Mary Randolph Carter, who likewise advises that you "live with the things you love."

 

The cheerful kitchen of London art dealer Julia Collins.

     Ben grew up in suburban Detroit in Bloomfield Hills, Michigan, and then studied fine arts and architecture at the Rhode Island School of Design. A job in Italy working for a book binder and print maker lead to a position in New York at the Morgan Library & Museum as an assistant to the book conservator. A gig at Martha Stewart Living magazine then blossomed into a career as a magazine editor at a number of design titles including Architectural Digest, Domino, House Beautiful and Traditional Home. Besides being an author, multi-hyphenate Ben is the Market Director at Elle Decor magazine, an interior stylist, and a co-founder with PR guru Christina Juarez of the popular shopping event The Ticking Tent. 

The Litchfield, Connecticut, home of designer Schuyler Samperton. 

   In the midst of a range of digital and social media, Ben remains passionate about print magazines. "I love paper and I've studied paper making," he says. "I've always been really drawn to the cadence in a print magazine that showcases spaces in a series of photographs. Especially for interiors, you want to see them big." Beyond print, he embraces digital technology and indeed has a popular Instagram account at @spoonfulofbenjamin. "But at the end of the day its nice to hold something and read in your favorite chair on the weekend by the window," says Ben. "Print is now more of a luxury than it ever has been and it's increasingly more important to luxury advertisers so I do think we can have both." 

  

Anjiri Aki's Parisian home. 

     The layered home provides a comfortable place to retreat and relax though one down side of interiors based on collecting and mixing can be overdoing it with too much stuff. "You can really become a hoarder without borders in no time flat," warns Ben. "So it's important to have an in and out process. You have to be able to let things go as much as you let things in." Ultimately, it's determining what you like and what you don't like. "For me, its not about creating rules for decorating," says Ben. "It's more about giving permission to define and refine your own taste."

High Fashion at the Frick

     The rich fineries of the eighteenth century are on sumptous display now at The Frick Collection in a new exhibition entitled "Gainsborough The Fashion of Portraiture," which features 25 paintings by the English painter Thomas Gainsborough, who lived from 1727 to 1788. 

     Gainsborough was one of the great portrait painters of his time, along with Joshua Reynolds, and this is the first exhibition of his portraits to be mounted in New York City. The show is housed in the new exhibition space at The Frick Collection, made possible by the recent expansion of the museum. You can read my story for Frederic magazine about how this great New York institution started as the home of the Frick family. 

     Henry Clay Frick himself was a great admirer of Gainsborough's paintings, stated Aimee Ng, the Peter Jay Sharp chief curator at The Frick Collection and organizer of the exhibition, at the preview. "In fact he collected them most avidly," she said. Three paintings on display are from the museum's permanent collection and the rest are on loan in this one-of-kind gathering of portraits. 

    The focus of the show is on fashion and how clothing expressed the identity of the sitter. Gainsborough's painting style has been described as a "gossamer web of sheer paint'" and his approach perfectly captured the textures and colors of eighteenth century fabrics including silks, brocades, velvets and laces. Gainsborough's painting expressed the fashionable, contemporary styles of the day, and the artist's loose, feathery brushstrokes brought movement and life to his paintings. The moody and atmospheric portraits have a lot of personality and romance. I was entranced. The show is a treat.   

     Above is the lovely Grace Elliott. She was a controversial character for having scandalous affairs with prominent men and she reportedly gave birth to a child fathered by the Prince of Wales, later King George IV. What a face! Here she looks directly at the viewer, her languid eyes framed by graceful eyebrows. A black ribbon at her chin falls seductively to meet a blue jewel and pink bow at her shapely bosom.

     Here above is another, earlier, more conservative, less provocative painting of Grace Elliott by Gainsborough. Her statuesque height is accentuated by a towering powdered hairstyle a la Marie Antointette and the high empire waist of the shimmering gold silk gown that falls in long folds and shines as she moves. A white silk petticoat rustles underneath. 

     The above painting of Mrs. Samuel Moody tells a sad story. Gainsborough originally had painted Elizabeth Moody alone. After she died at age 26 of tuberculosis, her widower asked Gainsborough to repaint it to add their two children, creating an imaginary reunion. This painting displays so well the artist's mastery of rendering the essence of fashion including the pale gown tied with a light green sash and the blue jacket wrapped in a gossamer violet shawl, a delicate and beautiful combination of colors and textures. 

     Captain Augustus John Hervey's authoritative naval uniform reflects his status and achievements. The captain is shown leaning on a gigantic anchor, as one does. His tailored navy blue wool coat is edged in glinting gold braid and his cream colored waistcoat of silk or satin fastens with gold buttons that catch the light. Peaking out from the tailored jacket sleeves are soft ruffled lace cuffs. Navy blue plus gold and neutrals is a handsome combination that never goes out of style. 

     The end of the exhibition finds the last self-portrait that Gainsborough painted in 1787 when he was 60 and one year before he died. It features the loose, sketchy brushwork that was his signature. He is dressed dandily in a green tailored jacket and a buff-colored waist coat that are softened by a flowing cravat tied at the neck. Most prominent though are Gainsborough's knowing eyes, which saw so well the fashion of the time and how his subjects wanted to be portrayed in this delicious exhibition. 

A Trip to the Winter Show

I always enjoy a trip to The Winter Show (previously called The Winter Antique Show) at the Park Avenue Armory during the cold, dark days of January to see some beautiful things and escape the state of current affairs. This was the 72nd year of the show, with over 70 international dealers presenting art, antiques, jewelry and furniture -- truly a cornucopia of treasures. And it supports a good cause too. Proceeds from the ticket sales and benefit events go to the East Side Settlement House, the community organization that which provides education, development and resources for residents of the Bronx. 

     A favorite dealer off the bat was Robert Young Antiques from London, which sells wonderful folk art. The booth was light and cheerful with a wood plank floor and delicately stenciled walls. I love folk art, which has a simplicity and humbleness but also can be refined and graceful.

 

This charming diorama of a butcher's shop had the delightful, child-like whimsy of a doll house. Inside the wooden box, the waving butcher is surrounded by hanging carcasses and joints of handcarved, painted wood. It was made in England circa 1884 and had already been sold by the time I viewed it. 

 

The colorful wedding chest was made in Norway in 1832. The handpainting inside the lid features a happy landscape and the exterior is covered in decorative swirls. The bride must have been delighted to use such a chest! In the gallery, above it was hung an eighteenth century equestrian portrait, the colors of which perfectly complemented the chest . 

 

These six humorous metal penguins squatted happily on a wood trestle table. Made of painted and weathered sheet metal in France in the late twentieth century, they looked like they were ready to waddle away. Hanging above them was an English private road sign that listed toll road charges and was dated September 1898.

     I chatted a bit with the proprietor Robert Young about the appeal of folk art. We both lamented the destruction of the wonderful Folk Art Museum building on West 53rd Street which was designed by architects Tod Williams and Billie Tsien in 2001 and then demolished by the Museum of Modern Art in 2014 to make way for its own expansion. 

 

When I was an art history major in college, I wrote a paper about elegant Greek lekythos vases and so I was delighted to see this lovely specimen featured in the Hixenbaugh Ancient Art gallery. The lekythos vase was used to hold oil and had a signature tall, graceful shape that was decorated with delicate line painting that perfectly fit the vase's profile. The gallery founder Randall Hixenbaugh told me that this vase was created in Athens, Greece, circa 480 BC by one of the finest vase painters who is called the Berlin Painter. This one features Eros, the god of love, flying away but looking back at the work he has done so in one gesture it tells a little story. 

 

At the Thomsen Gallery, I admired these small, exquisite Japanese tea caddies. Erik Thomsen explained to me that they were gold lacquer on wood. The fine decoration and gleaming surfaces made them look like pieces of jewelry. These tea caddies reminded me of Jayne Wrightsman's collection of small, gorgeous snuff boxes that I wrote about for Cottages and Gardens magazine –

 

In contrast to these fanciful decorations was this simple pine chair in the striking, dark gallery of prominent English designer Rose Uniacke, who is debuting this year at The Winter Show. One of a set of eight, the Swedish chair made circa 1932 by furniture designer Axel Einar Hjorth features a handsome, smooth wood grain and blackened iron rivets paired with a soft velvet cushion for a striking mix of natural and elegant, the best combination. 

The Serenity of Agnes Martin

    Last weekend, I walked up to the newish Pace Gallery on West 25th Street in Chelsea housed in a big eight-story building that's as large as a museum you'd find in a mid-size American city. On the first floor, I found my destination - an exhibition of 13 paintings by Agnes Martin called "Innocent Love" done towards the end of the artist's life and up until Dec. 20th. I motored into the gallery and was stopped in my tracks by how serene and quiet the paintings were. Shockingly, I was completely alone in the galleries. I was stunned by the stillness and moved by the peacefulness of the paintings. It was like being in a church. 

    I was not extremely familiar with the work of Agnes Martin, but my curiosity was piqued by an interesting article on Vogue.com by Grace Edquist. The paintings are very simple - horizontal bands of blue, pink and yellow rendered in a thin imperfect wash, but the effect was powerful, like standing in front of a Rothko, which similarly evokes an emotional response through its plain clouds of color.  

      Because the paintings are simple, photographs can't really convey their effect or impact. It reminded me of an observation by the fashion historian Caroline Milbank when she was talking about the simplicity of American style and noted, "It's hard to look at something simple or plain and realize how radical it was at the time." 

 

     Agnes Martin was born in Saskatchewan, Canada, in 1912. She studied art and made her way to New York City in 1957 when she lived on the now renowned Coenties Slip in lower Manhattan with other young unknowns including Robert Indiana, Jasper Johns, Ellsworth Kelly and Robert Rauschenberg who took up residence in abandoned lofts. Later, Martin left New York City for the solitude of New Mexico where she lived and worked until her death in 2024. At the Pace, there is a long video interview with Martin playing in which she talks about her work. She notes that her emotions are recorded in the paintings.  "I use the horizontal line to get to meaning," she says. "A lot of painters paint about painting but I paint about meaning. It took me 20 years to paint what I wanted." 

     Martin offers some wisdom: "Worry about your own mistakes and not the mistakes of others," she advises. "Your own will be enough."  

    As for her work, she tries to illustrate the positive, not the negative. "Say, 'What can I do?' and then you wait for inspiration," she says. "Beauty is the mystery of life. Beauty illustrates happiness." 

     

The Man Who Designed the Gilded Age

    When TD and I were in Newport, we visited a very interesting exhibit at the Rosecliff mansion sponsored by the Preservation Society of Newport about Richard Morris Hunt, the great architect who built many of the Vanderbilt mansions and came to define the Gilded Age. Hunt was a fascinating character who was more than an architect - he was passionate about promoting art and culture in the United States.

    Hunt was born into a prominent New England family and was the first young American architect to study in Paris at the prestigious École des Beaux-Arts, which was dedicated to teaching a lavish, opulent French national style that was based on classical ancient Greece and Rome blended with French and Italian Renaissance and Baroque.

    After the Civil War in the United States, newly made wealth flourished and the rich sought a lifestyle that expressed their success. Titans like the Vanderbilts wanted to live like European royalty and hired Hunt to create colossal mansions in New York, Newport and beyond. He dipped into his Beaux Arts bag of tricks to create grandiose, aristocratic style houses with colonnades, arches, dramatic entrances, sweeping staircases, carved ornamentation, and gold gilded decoration. 

The Breakers in Newport. 

   In Newport, Hunt designed the colossal Breakers for Cornelius Vanderbilt II and extravagant Marble House for William K. Vanderbilt and his wife Alva. In HBO's "The Gilded Age," George and Bertha Russell are based on William and Alva Vanderbilt, and indeed some scenes are actually shot at Marble House and the Breakers. In Ashville, North Carolina, Hunt designed for George Vanderbilt the Biltmore estate, which is still the largest house in America. 

The Biltmore in North Carolina. 

Hunt's workroom in Newport. 

     Besides his architecture work, Hunt strongly promoted the arts and culture after the Civil War, and was one of the founders of the Metropolitan Museum of Art. He also co-founded the American Institute of Architects to improve the status of architects, who up until that time had been treated like tradespeople. His final commission before his death was the entrance hall of the Metropolitan Museum of Art, which still offers a magnificent, monumental portal into one of the world's great art museums.  

My picture of the Great Hall at the Met. 

 

   Later, architectural taste began to change and shift away from extravagant, aristocratic French style with its rich flourishes. New York architects like Delano & Aldrich, who worked for the Rockefellers, favored a cleaner, simpler, more conservative style based on Federal architecture that eschewed European influence and reflected the independent American democracy. But Hunt will be remembered for creating the style of the Gilded Age and for his relentless promotion of the arts after the Civil War. "It has been represented to me that America was not ready for the Fine Arts, but I think they are mistaken," he wrote. "There is no place in the world where they are more needed, or where they should be more encouraged."

 

 

A Day Trip to Newport, Rhode Island

Rosecliff

The view from Rosecliff

     To celebrate our 40th (!!) anniversary, TD and I recently spent a week at the beautiful beach home of my great friend Abby in Little Compton, Rhode Island, which is a lovely small town with green hills that roll down to the scenic coast line. TD and I enjoyed visiting different beaches there and swimming in the Atlantic Ocean in September. We went to the local fish markets and stopped at the farm stands for fresh corn and tomatoes and lettuce. One day we drove about 50 minutes for a day trip to Newport, Rhode Island, where the millionaires of the Gilded Age built palatial summer "cottages," as they were called, by the sea. 

     Our first stop was Rosecliff, pictured at the top of this post. Rosecliff was built in 1899 by architect Stanford White for Nevada silver heiress Theresa Fair Oelrichs, and based upon the Petit Trianon at Versailles. On the top floor of the building was a fascinating exhibition about architect Richard Morris Hunt, who built colossal homes for the Vanderbilt family in New York City, Newport, and Ashville, North Carolina. 

     As a student, Hunt was the first American to attend the prestigious Ecole des Beaux-Arts in Paris. Back in New York, Gilded Age millionaires newly awash in money wanted to live like European royalty and Hunt knew how to deliver the French splendor; he was the man who designed the Gilded Age. 

    Our second stop was at Marble House, which was built by Hunt in 1888 for William K Vanderbilt and his wife Alva. On HBO's popular show "The Gilded Age," George and Bertha Russell are based on William and Alva, and indeed some scenes have been shot at the grandly opulent Marble House. 

The dining room at the Vanderbilt's Marble House

The staircase at Marble House 

     Besides his work as an architect, Richard Morris Hunt was passionate about bringing European and world art and culture to the United States, and was one of the founders of the Metropolitan Museum of Art in New York City, for which he designed the still majestic Great Hall. In order to improve the status of architects, who were thought of as tradesmen, he founded the American Institute of Architects. Hunt was a fascinating figure who shaped the design of his time and was devoted to elevating the culture of the United States after the Civil War.  

    Hungry after our house touring, we had a wonderful lunch at Belle's, which is located on the dock of the Newport marina. Along the dock, big boats and tall sailboat masts soared overhead. 

 

Belle's

 

    And then we stumbled unknowingly into the picturesque Newport Historic District with its 18th century Colonial houses. There we found the charming Cottage & Garden antique shop offering vintage furniture and accessories. 

 

    I really enjoyed our day trip to Newport and would gladly return - there is so much American history and culture and design to be a savored there. I was delighted by everything I saw. Newport is a rich resource for those who love beautiful things. 

A Trip Upstate for a High School Reunion

 

    I recently had a trip upstate to New Hartford, New York, where I grew up, for a high school reunion. Shortly after I graduated with high school, my family moved away so I had not been back up to New Hartford in a very long time. I had never been to a reunion so I didn't know what to expect. But my great friend Suzy was pushing me to go and TD thought it would be a good idea too. I figured, "Well, now are never!"

     So one morning I took the train from Grand Central up to Beacon, New York, where I met Suzy and her husband John who drove us up to New Hartford, outside of Utica, about a three hour drive. Suzy had our yearbook and we went through it in the car to refresh our memories. Up in New Hartford, I rented a car and drove to the home of my cousin Celeste on my father's side, who had invited me to stay, and it was great fun to catch up with her and her husband Kevin. That night Suzy and I had dinner with the two Nancys at an Italian restaurant in the village of New Hartford and then stopped into a bar down the street that used to be Wanamaker's Furniture store. 

     The next day, I had some time to drive around New Hartford and Utica to some favorite place. First was the two houses my family lived in. I have sweet memories of our little Cape Cod house on Morris Circle but it was now overgrown with vegetation in front and it looked like the roof was damaged. Across the street is a ravine where my brother Thom and I literally spent four seasons a year outdoors roaming around. Now many years later it had eroded further so it was deeper than it used to be and the side was too steep to go down. On the other side of the ravine where beautiful wild fields that had now been turned into a residential development. 

   On I drove through town and went into the big modernist Catholic church St. John's the Evangelist where we went as a family every Sunday for mass, the six of us lined up in a pew. I spent a lot of time in that church. The next stop was up Wills Drive where our second home is located. It was bigger - five bedrooms. We moved there when I was in seventh grade so I spent my junior high and high school years in that house. 

    Then I headed over the hill past the Valley View Country Club golf course to downtown Utica to two favorite spots. The first is the Utica Public Library housed in a beautiful Neoclassical building designed in 1904 by the renowned New York City architecture firm Carrere and Hastings, who in fact built the New York Public Library, one of the finest examples of Beaux Arts architecture in the United States. The interior of the Utica library has five floors of elegant metal stacks with glass floors. In high school, I loved studying and doing research and reading there. 

Old views of the the exterior and interior of the library.

    Alas, the library was not as I remembered it. The refined interior has been mucked with clashing displays and signage and a video screen. I asked the librarian if there was an elevator to the upper stacks and he replied that it was broken. But I still have fond memories of reading and studying in the stacks, and perusing the Conde Nast magazines from New York City in the Periodicals Room. 

    Then I headed right across Genesee Street to the Munson Williams Proctor Art Institute, which is now simply called Munson, like the New York Historical Society is now called New York Historical. Shortening a name is the new thing, I guess. This art museum was designed by prominent architect Philip Johnson in the modern International style and opened in 1960. It's quite a contrast to the Neoclassical library across the street. 

    I took a lot of art class at the adjoining art school and always loved visiting this museum. The museum interior felt vast and was very quiet and cool. It has a good collection of modern paintings and its treasure is "The Voyage of Life" series of four oversized paintings by American artist Thomas Cole. There was a lending library where members could borrow art works to take home, and my mother let me help her pick them out. This place really was a sanctuary for me. My cousin Celeste met me at the museum for a tour through a current exhibition and then we had a tasty lunch next door at the Terrace Cafe at the Fountain Elms house museum. 

    When I graduated from high school, I went to McGill University in Montreal and studied art as an art history major. And it's largely due to these two places in Utica facing each other on Genesee Street -- the library and the museum. They were the beginning of me. 

    Then it was back to Celeste's house and onto the main event - the high school reunion at the Yahundasis Country Club! I met my great friend Nannette in the parking lot and we walked in together - just as we had gone to the Senior Prom together. From the moment I stepped inside, the event was a blast. It was so much fun to see people again after 50 years! Some looked exactly the same. It was a pleasure to be with everyone after such a long gap. High school is an intense time. At least it was for me. And it wasn't always a picnic. As a tall, thin, bookish, creative kid who ran in the opposite direction from a ball, I did not fit into the athletic focus of New Hartford High School. But everyone was so happy to be at the reunion and glad to see each other again. There was a buffet dinner when we were briefly sitting down, but otherwise we were on our feet talking and catching up and reminiscing. I was there for five hours. It felt very restorative and when I got back to Celeste's house that night, my head with spinning with conversations and snippets. I wanted to remember it all and everything everyone said. 

    The next morning was a tour through New Hartford High School, which felt oddly smaller than I remember but also larger as several big additions have been made. Then it was on to a friend's house for a brunch. For lunch, I met my cousin Ginny Border at a restaurant in the village. Ginny is actually my second cousin as she is the daughter of my mother's cousin Katie Border. Along with Ginny's sisters Mary and Patty, we have the most wonderful memories of being at 611 in Herkimer with our great aunts. Ginny is our family historian and it's always intriguing to talk with her. 

    Then I drove out of New Hartford! It was a whirlwind 48 hour visit. 

   I drove on to Saratoga Springs to visit my uncle Brian and his wife Susan for two nights. My great grandfather Dan O'Donnell was a railroad engineer and Brian loves trains so we drove together to the Saratoga train station to pick up TD, who came up from New York. Brian and Susan have a wonderful pool and deck that is a treat to lounge around. He is the last surviving sibling on my mother's side and I love to hear his wonderful family stories that go way back in time; he recalls when I was an infant and he was my babysitter. Then TD and I spent a night with my cousin Bob (on my father's side) and his wife Nancy who live nearby. Bob took us in the car to Ballston Spa, a charming nineteenth century town, which had some big antique stores to explore, and then to visit their daughter Louisa and some of her kids. 

    The next day, TD and I took the train home along the wide, unblemished Hudson River which has to be one of the most beautiful train rides in the US. We arrived back in New York at the quiet and civilized Moynihan Train Hall. 

    It was a trip back into my youth, back into my past. I'm so grateful that I got to do so much and see so many places and people -- family and friends. The reunion was such an unexpected pleasure. I'm glad that I went and I thought of my parents - they would be happy that I did that too. To drive around the streets of New Hartford and Utica and see my friends and classmates again was fulfilling and warmed my heart. It was one of life's full circle moments. 

"Oh, Mary!"

      At last! "Oh Mary"! Everyone has loved this Broadway show and some of our friends have seen it more than once so expectations were high but it did not disappoint. The fictional, wacky story about Mary Todd Lincoln written by and starring Cole Escola is running at the Lyceum Theater, which was built in 1903 and is like a great ancient vaudeville theater. We had good seats in the first row of the mezzanine so a wonderful view of everything including the ornate ceiling, walls decorated with molded plaster swags and sculptures of three muses high overhead at the very top of the proscenium arch. It was the perfect setting for the old school madcap hijinks that followed.  

     Escola has said that this play is about a woman with a dream that no one around her understands and also what if Abraham Lincoln's assassination wasn't such a bad thing for Mary? The result is hysterical. One gag, one funny bit after another, and it felt good to laugh, along with the entire theater, for 90 minutes straight. Escola throws themself into the role with the most extreme facial expressions and body contortions. Also, I found Conrad Ricamora as Mary's tortured husband Abraham Lincoln to be just as funny. The entire small cast was excellent. At one point I was laughing so hard doubled over that I was afraid I was distracting the guy sitting next to me so I tried to rein it in. It's such a gift to be able to write a piece that creates joy like that. This play was a finalist for the Pulitzer Prize and has been nominated for numerous Tonys. I hope it wins. And I want to see it again immediately.