Andrew Budgell

Long time, no blog

It’s been ages since I’ve posted here! Let’s face it, is anyone really all that surprised? Anyway, I will be posting a HUGE update soon on the following: Britney, NYC, Jane Fonda in “33 Variations,” Geoffrey Rush and Susan Sarandon in “Exit the King,” Angela Lansbury in “Blithe Spirit,” a taping of “Martha,” and talks with Mary Tyler Moore and Diane Keaton. I’d also like to do some sort of a tribute to the late, great Bea Arthur who I got to see at her last performance of her one woman show. She was one of a kind and will be missed terribly.

I’m also on Twittter! I swore I’d NEVER join, but when I heard the news that the star of stars, Dame Elizabeth Taylor was tweeting, well, that went out the window. So check me out there, too: http://twitter.com/andybudgell

I just got two of the hottest tickets around: Beyonce’s “I Am… Tour” in Toronto and Dame Helen Mirren and Dominic Cooper (“Mamma Mia” and “The Duchess”) in “Phedre”. I’ll also be seeing the great Vanessa Redgrave this fall in a benefit performance of “The Year of Magical Thinking.” I can’t wait to see all of these incredible performers.

Concert review: Madonna

Disenchantment with Madonna?
Toronto, October 18, 2008

Photo courtesy of the NY Daily News.

I’ll never forget seeing Madonna live for the first time in 2004 on her Re-Invention Tour. There are certain things in your life that you never forget, and that evening was one of those experiences. When she emerged in a full on Yoga position, I was entranced: Just a few feet away from me was the Queen of Pop. I was in the presence of true royalty that night.

Since that evening I’ve seen Madonna again (in 2006 for the Confessions Tour) and since then I’ve been lucky to see many great performers on stage. When I bought my tickets for Madonna’s latest extravaganza, the Sticky and Sweet Tour, it was almost a non-event. Gone was the frantic excitement of trying to secure tickets I felt on the two previous tours. In 2004 I was worried that my parent’s were going to kill me after I put a $300 ticket on their credit card when I was told to spend no more than $150. In 2006 the ticketing system crashed due to demand and the Montreal show sold out leaving me without a ticket. I then bought a ticket for Chicago instead. I ended up selling that after I found a lone ticket for the Montreal show. I lost a great deal of money but I didn’t care. I was going to see Madonna again! This time I bought my ticket and that was that. Was I disenchanted with Madge?

Sure, this new show is gorgeous looking. The show began with a massive screen displaying a video of a Willy Wonka-eque candy manufacturing plant, which began separating into almost an accordion, revealing a smaller screen, which rotated to reveal the Queen of Pop herself. Sitting on her throne with one leg draped over one of the arms, she started with the infectious Candy Shop, from her latest release, Hard Candy. No, it wasn’t the grand entrance she made on the Confessions Tour, but it was still pretty good.

Next up was The Beat Goes On, a fairly forgettable track also from the new album. I’ll admit that while I didn’t care for Hard Candy overall, those tracks did sound much better live. In the first nod to her back catalogue, Madonna did a rock remix to one of my favourite songs, Human Nature. This new remix removed all the naughtiness of the original, and quite frankly, I was bored. I spent more time staring at the background video of Britney Spears being trapped in an elevator. I have always questioned why Madonna is often compelled to re-invent her songs to an almost unrecognizable level.

One instance where this actually works is Vogue. Setting her famous dance track to the music of Hard Candy’s first single, 4 Minutes, and employing Techtonik dance moves, it was perfection and easily the most memorable song of the evening. I think the fact that the song used a beat that the audience new well allowed the updated track to resonate with the audience. But as the track reverted back to the music of the original classic for the last few seconds of the song, it resonated even stronger with the audience. As fun as the remix was, we all loved the reminder of the original masterpiece—even if it was fleeting.

I’ve been harsh on Madonna for not doing enough oldies in her show. I was wrong; it’s a fairly good mixture of old and new. The problem I have is why she recycles  to keep songs like Music, La Isla Bonita, and Ray of Light on the set light. We’ve heard them countless times on previous tours, and it would be great to give other songs their time to shine. Even Hung Up, from her last album, should have been replaced with something unexpected. Yes, this is the point where someone will remind me that Janet Jackson does the same songs in all her shows, but with Janet she really gives you everything you could hope for. Madonna is very selective of what she performs, and to get the same few over and over is disappointing.

The three Hard Candy songs that shone the brightest live were She’s Not Me, Devil Wouldn’t Recognize You and Miles Away. Madonna was joined by the ghosts of her past for She’s Not Me. Dancers dressed as Madonnas as the Marilyn inspired Madonna from the Material Girl video are roughed up by the real Madge as she rips pieces of their costumes off, symbolically telling the audience that those relics belong in the past. This, like her desire to remix her old songs, proves yet again to her audience that she’s of the present. She’ll never be like Cher, who takes her fans back through her music and fashion of the 1960s, 1970s, and 1980s. Cher has no problem dusting off her old fur vest and boots from the 60s, or the naughty Turn Back Time outfit from the 80s. People waiting for Madonna to don her cone bra again someday will be disappointed. It just ain’t gonna happen folks.

For Devil Madonna was atop a piano, trapped inside a circular video screen at the end of the catwalk. It was very theatrical and perfectly executed—even if Justin Timberlake used similar staging for his FutureSex/LoveShow. My other favourite, Miles Away, was dedicated to “the emotionally retarded,” again sounded great live.

The smash hit, 4 Minutes didn’t translate to a great live performance. The show closed with Give It 2 Me. This song, Madonna’s second single off the new disc, fared much better, and actually turned out to be a good finish.

I was prepared to write a negative review for this show. No, Sticky and Sweet wasn’t as good as her last two shows, and yes, I was disappointed that some of the oldies were reworked to a point were they were almost unrecognizable. But you’ve got to hand it to Madonna. Unlike so many other artists, she is constantly re-inventing her image and her sound—even if it is a tad contrived at times.

The Affair of the Necklaces (and a Dress!)

Last Thursday I had the opportunity to visit the Royal Ontario Museum. It was my first visit to the museum in since I was a kid. I remember my parents taking me nearly ten years ago because there was an exhibit of Egyptian artifacts on display. This visit was just exciting and lavish: lots of diamonds, and even a dress owned and worn by the infamous last Queen of France: Marie Antoinette.

I wandered around the museum for a little while before heading to the two exhibits that were of most interest to me. In truth I wanted to head straight to the diamonds and Marie’s dress, but I decided to hold off on that for a minute. Instead I headed to the third floor, which is primarily filled up with furniture from various eras, from English Regency to Art Deco. There were so many pieces I love, including the most stunning antique chandelier I’ve ever seen. Then it was time for diamonds.

The exhibit was called The Nature of Diamonds. Apparently this exhibit has toured all around the world, and is just now getting to Toronto. The exhibit included “digging into its geologic origins, how it is mined, its cultural significance in art, literature, and ornamentation, and its numerous uses in modern science and technology.” Frankly, I could care less about any of that, so I headed straight for the Gem Vault.

The Gem Vault was just that—a giant freestanding vault plopped down in the middle of the hall. As you bypass the strict looking security guards you can walk into the vault from either of the two entrances, and immediately make eye contact with the Incomparable Diamond—a 407.48 carat diamond. It was sort of displayed like a Faberge egg. I hate to say it, but it really didn’t impress me. Sure, I wouldn’t turn it down if someone offered to give it to me, but it just looked like a huge rock. Nothing special, even though it is extremely valuable.

What did impress me, and took my breath away, was the jewelry. Such pieces as the Cartier shoulder brooch (fashioned in 1928 and previously owned by Elton John), the Princess Mathilde Corsage ornament (made with 2,600+ diamonds), the Question Mark necklace (made by Boucheron in 1890), and the Bandeau. The latter piece was one of my favourites. I was really intrigued by it, and wasn’t exactly sure how it was worn. Apparently it was designed in 1920 by Cartier Paris to compliment the short hair that was en vogue and worn by the flappers. It was stunning.

1. Incomparable Diamond  2. Cartier shoulder brooch  3. Bandeau

My one disappointment was that hidden inside a vault, these pieces never really got the chance to shine. I’ll never forget seeing Dame Elizabeth Taylor in person for the first time. I immediately noticed the big rock on her finger. Even in a darkened ballroom the ring cast a glow that shone like a spotlight on her hand. Even knowing her jewelry collection inside and out, I had no clue which piece she was wearing. I had to wait until I returned home and was able to see the press photos from the event to discover that it was the 33 1/3 carat Krupp Diamond.

As I said, these pieces need to be worn in public where they can really shine. Under such limited lighting the pieces aren’t at their best—they need to be able to reflect the light and really show their brilliance. Next it was finally it was off to see what I really came for: Marie Antoinette’s dress!

As I approached the Gallery of Textiles & Costumes, located on the fourth floor, I immediately noticed a very small, yet elaborate dress enclosed in Plexiglas (or something similar) in a dimly lit room. Surely that couldn’t be it? As I got closer, I told myself it wasn’t. Yes, it was elaborate, painstakingly embroidered by a seamstress long ago, but it was so tiny. It looked like a gown created for a child. Above it read “Antoinette”. No, that must be a mistake I thought. I had previously seen the podcast which outlined all of the painstaking work that went into keeping the dress looking its best, but I couldn’t remember if this was the same dress from the video. As I walked around the enclosure, I noticed a screen that played the podcast. Sure enough, after viewing the podcast again, it was confirmed that this was indeed the dress.

1. Marie Antoinette’s dress

I don’t mean to say that I was underwhelmed by the dress—it was simply stunning (especially the train)—but it was just so small. Being a fan of Marie Antoinette, I had seen both the 1938 and 2006 films, both equally lavish depictions of one of the history’s most intriguing women. Perhaps it was larger-than-life portrayals by Norma Shearer and Kirsten Dunst, or maybe it was the massive snow white wigs—but on screen Marie Antoinette in both films seemed to tower over the men. It was so petite. I think we all believe these legends must be giants or something.

From a friend I learned how lucky we are that this dress survived the Revolution. Apparently nearly all her clothing was burned at Versailles. What a shame that we don’t have more artifacts like this dress to remember her by.

I felt so privileged to see these fascinating diamonds and Marie’s dress in person. All were reminders of bygone eras (France in the 1700s, the flappers of the 1920s) that will sadly never be duplicated. However thanks to the Royal Ontario Museum they were able to come alive again—even if just for a fleeting moment.

Links
The Nature of Diamonds: http://www.rom.on.ca/exhibitions/special/diamonds.php
Marie Antoinette’s Dress (podcast): http://www.rom.on.ca/media/podcasts/display.php?id=73

Concert review: Janet Jackson

Miss Jackson’s Still Nasty
Toronto, September 28, 2008

Alright, I’m going to say it flat out before it becomes very apparent: This is going to be an extremely biased concert review.

I’ve been a fan of Janet Jackson since I was 11 or 12 years old and first heard the infectious “Together Again”—written for a friend who died of AIDS. Ever since then I’ve followed her career more closely with each subsequent album she’s released.

Janet hadn’t toured in seven years. She came close for Damita Jo and 20 YO, but neither panned out. So when the Rock Witchu Tour was finally announced last May, I was ecstatic. A Janet concert was so close I could actually taste it.

When Janet tours, she doesn’t disappoint. She pulls out all the stops and truly gives her fans what they want. The Rock Witchu Tour was no different. Janet actually set up a phone line for her fans to call in with suggestions for the tour.

From the beginning of the show it was apparent Janet took her fans suggestions to heart. As two giant “J’s” glided across the stage, smoke began enveloping the stage and fireworks were set off. As the smoke became less dense, the petite figure of one of the most influential artists of the last three decades was revealed.

As Janet began The Pleasure Principal, fans new and old alike knew they were in for a treat. Janet next tore into two other songs from Control, the album that put her on the map in 1986: the title track and What Have You Done For Me Lately. All three songs used their original choreography. Some have criticized Janet for this. For me, I would have felt cheated if she had used new choreography for these songs. Unlike Madonna, Janet’s choreography is as iconic as the songs themselves. To switch it up would be disappointing.

Next up was Feedback. This was the first single off of Janet’s latest release, Discipline. The song was a modest hit, and the crowd all erupted into applause as it begin.

After removing the outer-galactic ensemble she wore for the first set (I believe all the costumes were designed by Versace), Janet changed into a sailor’s outfit for snippet of You Want This (a fan favourite never before performed in concert), as well as Alright, and Miss You Much. From what I understand, Janet’s previous concerts were all variations of the her famous janet. tour. Alright, saw Janet ditching the Zoot suit she usually wears for this number—which exemplified just how different this tour was from the others.

The next set was Janet’s ballads—which saw Janet wearing a ruby sequined gown (which, surprisingly, worked well with her hair which was piled high atop her head and teased out into a Mohawk). This is one of the only times during the show where Janet did no choreography. A well deserved “break”. The songs were terrific live. Sure, we’ve all heard Come Back to Me, Let’s Wait a While, and Again a million times—but somehow, hearing them in concert brought an entirely new and very emotional dynamic to them. We were all reminded that Janet can take some cliche subjects and really elevate them to pure pop perfection.

Next was one of my favourite parts of the show. Recent dance tracks like So Excited, So Much Betta, All Nite (Don’t Stop), and Rock With U stood tall alongside one of Janet’s signature dance songs, Nasty. Janet then tore into Together Again, which surprised everyone. Usually the song that finishes the show, Together Again gave Janet a standing ovation that lasted several minutes. Not even Madonna got a reaction like that during her Sticky and Sweet show. In fact Janet’s show trumped Madonna’s in all aspects except for Madonna’s sleek and sophisticated background videos (read background videos, not to be confused with music videos) and massive, moving screens. I’ll admit, those made Janet’s look amateurish in comparison.

Janet continued to delve into her back catalogue, including a medley of songs from her overlooked first two albums, Janet Jackson and Dream Street, as well as all-time favourites such as Escapade, All For You, Got ‘Til It’s Gone, and That’s the Way Love Goes.

The most controversial part of the show came when Janet walks out onto the catwalk, surveys the audience, selects a willing participant, and then proceeds to strap him into an S&M contraption and “discipline” him. This portion of the show was eliminated from the Detroit tour stop as the state does not allow sex acts to be simulated on stage. Believe it or not, but when Janet was selecting her guy, she stopped right in front of me and stared me up and down for a good thirty seconds. A wave of shyness came over me so I didn’t jump up and down. I have a feeling I’m going to regret that for the rest of my life…

Janet wasn’t finished after getting her freak on. She came back with fierce performances of Black Cat, If, and Rhythm Nation. For an encore Janet performed a potential hit single called Luv off her latest album—an album that had it been backed properly could have had more longevity.

The last song of the night was Runaway. The song is about traveling all around the world and coming back to the one you love. It was the perfect ending to the most perfect concert I had ever been to. The past few years have been a roller coaster in many ways for Janet, but no matter what, she can return to a public that can’t get enough of her—and as the song goes, we just know we’ll have a good time.

Book review: "Home" by Julie Andrews

Home Sweet Home (April 3, 2008)

When it was announced that Home, Julie Andrews’ much anticipated memoir would only cover until she began Mary Poppins, I was initially disappointed. But as I began delving into Home, I realized the detail she was able to afford her early years by doing so allowed a story to unravel that was absolutely absorbing; something that likely been comprised had Home chronicled her entire illustrious career. I was very ignorant of Julie’s early career, thinking it essentially began with My Fair Lady on Broadway. What I didn’t know was the dark lonely childhood lived in poverty during the war. Unlike Elizabeth Taylor, Julia (as she was originally named) did not have the luxury of seeking refuge elsewhere, and was forced to remain in a very bleak and dark London; many nights spent huddled in one of the city’s Underground stations with her mother and her new stepfather who she despised. Weekends spent with her father in the countryside provided fleeting moments of happiness for the young girl.

As she grew a little older, her stepfather discovered that she had an extremely powerful singing voice, and she was quickly enrolled in lessons. In no time she was shoved onstage to entertain crowds alongside her parents in dusty old music halls across England. Julie, known as the “pigtail prodigy,” became the centerpiece of the act, much to the frustration of her jealous stepfather, who was an alcoholic. In Home, Julie intimately remembers her early days spent touring around England during the dying days of vaudeville. As interest in the family act begins to dissipate, Julie appears in Christmas pantomimes and on the radio, and catches the eye of producers who are mounting the Broadway production of The Boy Friend, a recent musical hit there on the West End. By the end of Home, Julie is the toast of Broadway, originating the lead roles in My Fair Lady and Camelot, and is to begin work on the film that made her an icon, Mary Poppins.

In Home, the story of Julie Andrews’ early career tumbles out a rapid pace, all the while displaying grace, wit, humour, and surprising honesty. It was quite clear to me just how meticulously researched Home actually was. As this book took ten years to complete, I doubt we’ll see another so soon—although I pray I’m wrong. I’d love a follow-up just to know what happened in the lives of Dad, Mum, Pop, Aunt Joan, etc. after the book’s completion. The characters are that endearing. Home is one of the greatest memoirs I have ever had the pleasure of reading. It’s not hard to know why Julie Andrews and her films have become such an important part of our lives. Bravo, Julie. Bravo.

My first blog entry. Sort of.

I signed up for a Tumblr blog a few months ago after becoming a fan of my friend Blayr’s blog here. I think they are simple, and a lot more fun than the others out there. However when I tried to log into my account this evening, it didn’t recognize my e-mail address. I have two e-mails, and neither of them worked when I tried to retrieve my password. Hmm…not sure what happened there!

At any rate, I hadn’t blogged since the end of August, and at that point I’d only made two entries, so I guess it’s okay that I start over. Here you will find book, concert and film reviews, as well as opines on anything I feel like.

Here’s hoping it’s not another two and a half months before I blog again. I’m going to start off with a review I “penned” for Julie Andrews’ memoir, Home, as well as my three latest concert experiences: Janet Jackson, Madonna, and Tina Turner.

Enjoy! I’m not sure how this place we’ll evolve, but I hope you’ll stick with me and find out.