STEPHANIE TRUDEAU BRINGS HER DOCU-CABARET MUSICAL,
"CHAVELA: THINK OF ME," TO DON'T TELL MAMA APRIL 12 AND MAY 17
Performance is an homage to Chavela Vargas, famed Mexican Ranchera singer
WHERE AND WHEN
Friday, April 12 and May 17, 2019 at 7:00 PM
Don't Tell Mama (Brick Room), 343 West 46th Street 10036
Tickets $20 plus $20 food/drink minimum (cash only)
Box office: (212) 757-0788, www.donttellmamanyc.com
Runs one hour. Reviewers are invited.
Show's website: www.chavelathinkofme.com
PHOTOS ARE AVAILABLE at: https://goo.gl/photos/5mYAGHFDXVUm5KQt5
REVIEWERS ARE INVITED.
NEW YORK, March 13 -- Actor/cabaret singer Stephanie Trudeau will perform an updated version of her docu-cabaret musical, "Chavela: Think Of Me," at Don't Tell Mama, 343 West 46th Street, April 12 and May 17. Written and performed by Ms. Trudeau, the piece is more than just a musical cabaret based on the songs of legendary Mexican singer Chavela Vargas. It is the first Ranchera musical. It’s also a documentary theater project of a trailblazer whose life story invokes issues of gender issues, gay rights, immigration and Mexican culture. It traces the famed ranchera singer's artistic evolution and the key relationships of her life, including those with her musical mentor, Jose Alfredo Jimenez (the world's greatest composer of ranchera songs), the painters Diego Rivera and Frida Kahlo, the great Cuban courtesan Macorina and the producers, notably Pedro Almodovar, who enabled her comeback at age 72 after a 15 year battle with alcoholism. Trudeau is accompanied by her arranger, David Lahm on piano and by Diego Cebollero on guitar. Direction is by Tanya Moberly.
"Chavela: Think Of Me" is characterized as a "docu-cabaret musical" because it combines spoken word and stories about the iconic singer Chavela Vargas with performances of key songs of her career. The piece not only dramatizes the singer's life, but also examines the culture of Latin America’s “golden age” from the 1930’s through the 1960’s. The narration and stories are in English, but Vargas’ ranchera songs and Latin American pop hits are sung in Spanish with some translated lyrics. The piece is illustrated in multimedia containing historical images of the principal characters, the art world and social and milieu of mid-century Mexico City when it was the cultural capital of Latin America. Mexican and Salsa dancing are used to establish place and time.
Explaining the inspiration for this show, Trudeau writes, "Three years ago, I developed a program of songs written by women. I added Spanish songs my Puerto Rican mother loved – songs written by Latina songwriters. I discovered many of the Latina songwriters were Mexican. Lots of these songs became American hits, often with terrible English translations. I went back to the sources and on the way discovered a great Mexican performer, Chavela Vargas and I decided to create a program of songs and stories about her life. My research into Latina songwriters awakened an interest in my cultural background and the desire and need to know more."
Initially, the show was partly developed under the eye of director Deborah Wright Houston, who is best known for her work as Artistic Director of the critically-acclaimed Kings County Shakespeare Company (1983-2010). It show debuted at Pangea in 2017, where it was invited back for a return engagement. An updated version was presented this February at Beyond Baroque in Los Angeles.
ABOUT STEPHANIE TRUDEAU
Stephanie Trudeau has been an actress and singer for over 40 years, performing in NYC cabaret, Off-Broadway and regional theater. Her other cabaret shows have included one on the body of work of June Christy, a noted jazz artist who sang in the late 40's, 50's and 60's and whom Trudeau studied as an archivist. This was followed by "Stephanie Trudeau Sings the American Songbook," a recurring attraction at Palmira's Restaurant in Brooklyn Heights and other venues. It was supported by grants from the Brooklyn Arts Council, The Puffin Foundation and NYC Councilman Ken Fisher. Her research into the Giglio Festival in Brooklyn led to her being selected for a nine-month residency in Italy as a Fulbright Scholar for cultural and musicological research connected to three saints' festivals. Her findings from that fellowship just might be reflected in her next show.
Trudeau was a founding member, actor and producer of New Directions Theatre Company (NYC). Her regional theater roles include Winnifred in "Once Upon a Mattress," Mrs. Webb in "Our Town," Amanda in "The Glass Menagerie" and Esther in "The Price." Her on-camera credits include "Law & Order" and various films.
Trudeau's varied experience as a performer, arts educator and scholar informs her cabaret works, in which she combines her warm, earthy alto singing voice with historical and musicological insights on the artists she explores. Her academic accomplishments include studies in Dramatic Arts at University of California Santa Barbara and a major academic paper on the American popular song movement and its canon, which she wrote under the tutelage of her mentor at CUNY, Jeffrey Taylor, Professor of Music at Brooklyn College.
ABOUT RANCHERA MUSIC
Ranchera is the vocal form of traditional Mariachi music. It's an art form that didn't entirely cross over and make it north but is distinguished in world music for its canon of potent torch songs of lust, longing, passion and despair. Its premiere composer was Jose Alfredo Jimenez (1926-1973), whose songs are considered an integral part of Mexico's musical heritage. His compositions comprise much of the show's song list. The evening also contains notable English adaptations of other popular Mexican songs, including “What A Difference A Day Makes” by Maria Grever and Lila Downs' English lyrics to Osvaldo Farres' "Quizas, Quizas, Quizas" (Perhaps, Perhaps, Perhaps), a Cuban song of longing and frustration.
ABOUT CHAVELA VARGAS (adapted from the playscript by Stephanie Trudeau)
Chavela Vargas was born in 1919 in a small village just outside Costa Rica's capital city. Her mother ran off with a lover when Chavela was seven. Her father never believed she was his, so he kept his other children but sent her to live with an uncle and twelve cousins on a farm. She ran away to Mexico City when she was 14. This was the early 1930's, 15 years after the Mexican revolution, when Mexico City was emerging as the cultural capital of Latin America. She did odd jobs and found a room in the "Zona Roja" the red-light district, where she said, "I lived with prostitutes, bohemians, women who drank tequila and machos with big hearts."
She absorbed the culture and music, relating, "The first time I heard Mariachi music I almost fainted from emotion." She began singing on the streets and in bars and cantinas and the great ranchera songwriter/singer Jose Alfredo Jiménez was convinced to check her out. Traditionally, only men sang rancheras and Chavela was constantly booed for daring to sing these "men's songs." However, Jimenez took her under his wing and let her sing with him and even began writing songs for her. The petite "chica" from Costa Rica, a pretty teen-ager with long raven hair, was becoming the greatest interpreter of rancheras.
She was gay, but not openly. Many years later, when she was a world star, Chavela was hailed as the "Magnificent Lesbian Chanteuse," but not in Mexico of the 1930's and 40's. Chavela took on a Mexican costume -- the jorongo. She ditched the heels and put on huaraches -- peasant sandals. The transformation was to an "otherness." The other very different thing about Chavela was that she didn't sing rancheras with a typical Mariachi band. She pared down the accompaniment to just guitar, centering the performance on the lyrics and the stories.
Chavela fell into the social circle of the leading painters of her time, including the muralists Rivera, Orozco and Siqueiros, who painted the revolution and revealed to Mexican people who they had been and what they could be. Now in her late teens, she went to a Christmas party at "La Casa Azul," the home of Diego Rivera and Frida Kahlo. Chavela said, "It was a wild party -- mariachi bands playing, women dancing the tango and Frida came in, carried on a stretcher" The party lasted all night but Chavela didn't go home in the morning. She ended up living with Rivera and Kahlo for a year and met their circle of poets, writers, artists, performers an even Leon Trotsky. During that year, Diego Rivera became her mentor and teacher and Frida Kahlo became her protector and dearest friend. Chavela said, "Frida painted her bitterness and pain and I sang it. She taught me how to live; how to be an artist." Clearly Chavela loved her, Frida was also smitten. In a letter to the poet Carlos Pellicer, Frida said, "Hoy conoscos a Chavela Vargas. Today I met Chavela Vargas. She is an extraordinary lesbian. I felt erotically attracted to her. I would not hesitate one second in undressing for her. Maybe she is a gift sent from heaven."
Kahlo died in 1954. Chavela was devastated, said her goodbyes to Frida -- "the love of her life" --and fled to Cuba. In Havana, Chavela was introduced to the famed Macorina, who was then an older woman who had been a very beautiful and famous courtesan. She was also something of a trailblazer -- the first woman to drive a car in Havana. And like Frida, she made an impact on Chavela's life. Chavela composed music to the words of a poem written to La Macorina, and "Ponme la Mano Aqui, Macorina" (“Put your hand here, Macorina”) became her signature song.
About two years later, Chavela returned to Mexico, where she was still hugely popular, and became the darling of all Hollywood stars who went to Mexico for fun and divorces. She sang at Liz Taylor's wedding to Mike Todd -- a bang-up party that lasted three days with mariachi bands, hundreds of musicians playing and lots of tequila. Eventually, the high life caught up with Chavela and in the mid 1970's she disappeared for 15 years, from the mid 1970's to the late 1980's, battling severe alcoholism. But she didn't just survive; she triumphed in her Second Act.
Chavela made a successful comeback at age 72, singing sober for the first time. Werner Herzog cast her in a movie and Spanish director Pedro Almodóvar introduced her to audiences in Spain and France. (Almodóvar said there were two things he wanted to be known for: making films and introducing Chavela Vargas to Spanish audiences. He adored Chavela and called her his "muse.") She continued singing into her eighties, with her love songs taking on deeper meanings and becoming more powerful as she sang of love remembered, a life lived, and the memories of a woman who said, "I never did anything halfway and I was always unlucky in love." She was called the "rough voice of tenderness." Chavela headlined concerts in Spain and France and performed throughout South America. For the first time she was singing in theaters, not bars. In 2002, she appeared and sang in "Frida," Julie Taymor's biopic on Frida Kahlo which starred Selma Hayek. She made her Carnegie Hall debut in 2003 at the age of 83 and was honored with a Latin Grammy in 2007 for lifetime achievement in music. She died in 2012 at age 93. Today, in Mexico there is a word coined for Chavela Vargas -- "chavelaza" -- which means to be consumed by emotion.
REVIEWS OF PAST PERFORMANCES
"Vargas, who was new to me, came vividly to life thanks to Trudeau’s carefully researched narration (all in English) and her spirited singing of passionate highlights from the extensive Vargas songbook (mostly in Spanish, with some lyric translations into English)." -- Robert Windeler, Bistro Awards
"a delightful presentation and a pleasure from start to finish....Trudeau's warmth, charm, and love of her subject reached out into the audience, and I understand that she has already been invited back for a reprise June 26. Pangea obviously knows a good thing when they see it!" -- Paul Berss (NY Theatre Wire)
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REVIEWERS ARE INVITED to both performances.
PHOTOS ARE AVAILABLE at: https://goo.gl/photos/5mYAGHFDXVUm5KQt5