Armistead Maupin's Blog, page 29

Olympia Dukakis to Host TALES OF THE CITY Benefit, 6/24

Wednesday, June 8, 2011; Posted: 06:06 PM - by BWW News Desk

Academy Award-winner Olympia Dukakis will be hosting a benefit performance of American Conservatory Theater's (A.C.T.) world-premiere musical, Armistead Maupin's Tales of the City on Friday, June 24, 2011, at 8 p.m. The evening is being hosted by San Francisco-based Jordan, Miller & Associates, which specializes in comprehensive financial planning for the LGBT community, as a benefit for A.C.T.'s education programs, and the Richmond Erhmet AIDS Foundation (REAF) of San Francisco. Attendees can choose to participate at different levels, all available at www.OlympiaHostsTales.Eventbrite.com:

"Olympia's Guest Tickets" ($1,500) include an intimate dinner with Dukakis and special guest "Top Chef: Just Desserts" winner Yigit Pura at celebrated San Francisco restaurant Fleur de Lyse, premium orchestra tickets to the show, and access to the VIP postshow party held at Clift Hotel.
"Barbary Lane VIP Passes" ($200-$235) include the best mezzanine or orchestra seats for the performance and the VIP postshow party at the Clift Hotel.

"Performance Only Tickets" ($55-$125) include seats at all seating levels for this once-in-a-lifetime performance.

Says, Dukakis: "I am thrilled that my first viewing of this momentous new musical is being made into a fundraising event for A.C.T., who so boldly took on the challenge of bringing Armistead's work to the stage, and the Richmond/Ermet AIDS Foundation, whose tireless fundraising for HIV/AIDS service organizations over the last 17 years has made a significant impact in my beloved city of San Francisco. It will be a weekend-long celebration, and I cannot wait to arrive in San Francisco to become Grand Celebrity Marshal of the Pride celebration."

Dukakis, who has appeared on the A.C.T. stage numerous times (most recently in last season's Vigil), has gained international recognition for her roles in television and film, including her turn as the iconic Anna Madrigal in the television miniseries versions of Tales of the City.

"We're excited about bringing this unique opportunity to fruition," says Brandon Miller and Joanne Jordan of organizing sponsor Jordan, Miller & Associates. "The June 24 event is a terrific way to celebrate Pride, support our local charities, and see this world premiere staging of San Francisco's most beloved story in a once-in-a-lifetime opportunity for fans of Armistead's work. Thank you, Olympia and Armistead, for making this night one we won't soon forget!"

The world premiere musical production of Armistead Maupin's Tales of the City features a book by Tony Award-winning writer Jeff Whitty (Avenue Q) and music and lyrics by Jake Shears and John Garden of the glam-rock band Scissor Sisters; is directed by Tony Award winner Jason Moore (Avenue Q and Shrek: The Musical); and is choreographed by Larry Keigwin. The world premiere production has been breaking sales records for the company and has just been extended again through July 24, 2011. For tickets and more information, please visit act-sf.org/tales or call 415.749.2228.

http://sanfrancisco.broadwayworld.com/article/Olympia-Dukakis-to-Host-TALES-OF-THE-CITY-Benefit-624-20110608

Opening Gala for ARMISTEAD MAUPIN'S TALES OF THE CITY Raises $950,000

Tuesday, June 7, 2011; Posted: 03:06 PM - by BWW News Desk

American Conservatory Theater (A.C.T.)'s Opening Night Gala celebrating the world premiere of Armistead Maupin's Tales of the City took place on Wednesday, June 1, 2011, and raised $950,000 to support the production and A.C.T.'s educational programs. The attendees, including many San Francisco philanthropic luminaries along with author Armistead Maupin, Laura Linney (who played Mary Ann Singleton in the television miniseries adaptation of Tales of the City on PBS), Jake Shears of the glam-rock band Scissor Sisters (who composed the music for the show), and Mayor Edwin Lee, walked down the red carpet for a cocktail reception and gala dinner at Union Square in a clear tent elegantly designed in deep purples and reds by Stanlee Gatti, followed by the performance at the theater and a dance party with the cast at Ruby Skye nightclub after the show (sponsored by ABSOLUT). The gala, chaired by A.C.T. Trustee Marilee K. Gardner and Barbary Lane Committee Co-Chairs JaMel Perkins and Roselyne C. Swig, was the culmination of A.C.T.'s two-year effort to bring Armistead Maupin's famous San Francisco stories to the stage as a new musical. The Opening Night Gala Honorary Chairs included Olympia Dukakis, Laura Linney, and author Armistead Maupin. The Revelers were entertained by members of the Sisters of Perpetual Indulgence and wildly dressed cast members from the Thrillpeddlers's production of Vice Palace during the cocktail reception. The presentations during the dinner included an exclusive, one-time performance of a Beach Blanket Babylon show created by BBB producer Jo Schuman Silver specifically to honor Tales of the City and Armistead Maupin, as well as Maupin's acceptance of a surprise gift-a framed copy of his first Tales of the City column in the San Francisco Chronicle-from Chronicle editor Ward Bushee.

The world premiere musical production of Armistead Maupin's Tales of the City features a book by Tony Award-winning writer Jeff Whitty (Avenue Q) and music and lyrics by Jake Shears and John Garden of the glam-rock band Scissor Sisters; is directed by Tony Award winner Jason Moore (Avenue Q and Shrek: The Musical); and is choreographed by Larry Keigwin. The world premiere production has been breaking sales records for the company and has just been extended again through July 24, 2011. For tickets and more information, please visit act-sf.org/tales or call 415.749.2228.

A.C.T.'s production of Armistead Maupin's Tales of the City is presented by AT&T. The world premiere musical is sponsored by American Airlines, The Fairmont San Francisco, Foggy Bridge Winery, the Koret Foundation, the National Endowment for the Arts, and the Kenneth Rainin Foundation, with additional support by Pillsbury Winthrop; The William and Flora Hewlett Foundation Fund for New Works, an endowed fund of The Next Generation Campaign; and ValueAct Capital. Armistead Maupin's Tales of the City is also made possible by commissioning sponsors Priscilla and Keith Geeslin, Ambassador James C. Hormel and Mr. Michael P. Nguyen, Nancy Livingston and Fred Levin, The Shenson Foundation, Kathleen Scutchfield, and Jeff and Laurie Ubben; production sponsors Ray and Dagmar Dolby, Burt and Deedee McMurtry, and Susan A. Van Wagner; music sponsors Lesley Clement, Michael G. Dovey, Ken Fulk, Nion McEvoy, Lorenzo Thione and David Palmer, Jack and Susy Wadsworth, and Carlie Wilmans; choreography sponsors Stephen Belford and Bobby Minkler, Carla Emil and Rich Silverstein, Marilee K. Gardner, Jo S. Hurley, David ibnAale and Mollie Ricker, Byron R. Meyer, Mr. Milton J. Mosk and Mr. Thomas E. Foutch, David and Carla Riemer, Anne and Rick Reiley, Laila Tarraf, Larry and Robyn Varellas, and Nola Yee; casting sponsors Anonymous, Paul Angelo, Lucia Brandon, David and Carla Crane, Carlotta and Robert Dathe, Jerome L. and Thao N. Dodson, Drs. Caroline Emmett and Russell Rydel, Kirke and Nancy Hasson, The Reverend and Mrs. Alan Jones, John Osterweis and Barbara Ravizza, Carey Perloff and Anthony Giles, Toby and Sally Rosenblatt, Gerald B. Rosenstein, Jeff and Maria Spears, Frank Stein and Paul May, Bert Steinberg, Jack Weeden and David Davies, and Beverly and Loring Wyllie; scenic sponsors Jacqueline and Christian Erdman, Robert Spoor, Brian and Ayn Thorne, Dr. Damon M. Walcott, and Tim M. Whalen; and supporters Anonymous, Lloyd and Janet Cluff, Julia and Kevin Hartz, Jason M. Surles, Mr. and Mrs. Bruce White. A.C.T. would also like to acknowledge its 2010-11 season company sponsors: Priscilla and Keith Geeslin; Ambassador James C. Hormel and Mr. Michael P. Nguyen; Nancy Livingston and Fred Levin, The Shenson Foundation; Burt and Deedee McMurtry; Patti and Rusty Rueff; Mary and Steven Swig; Jeff and Laurie Ubben; and Susan A. Van Wagner. Development of Armistead Maupin's Tales of the City was supported by the Eugene O'Neill Theater Center during a residency at the National Music Theater Conference of 2009.

http://sanfrancisco.broadwayworld.com/article/Opening-Gala-for-ARMISTEAD-MAUPINS-TALES-OF-THE-CITY-Raises-950000-20110607

Tales of the . . . Cast! Meet Manoel Felciano

Meet A.C.T. core acting company member Manoel Felciano, who plays Norman Neal Williams. Click here to read his official bio.

NAME Manoel Felciano.

CHARACTER Norman Neal Williams.

HOMETOWN San Francisco.

FIRST THEATER EXPERIENCE Playing Micaela's gypsy guide in the San Francisco Opera production of Carmen with Placido Domingo.

FAVORITE THEATER EXPERIENCE Playing George in Sunday in the Park with George.

FIRST EXPERIENCE WITH TALES Being cast in the production.

HOW ARE YOU LIKE NORMAN? Hopefully very little! Though I've been known to rock the clip-on tie.

FAVORITE MUSICAL Ooh, tough one . . . right now, Floyd Collins.

FAVORITE SONG TO SING "Use Me," by Bill Withers.

EDUCATION B.A., Yale University; M.F.A., NYU; and lots of informal teachers along the way.

PERFORMANCE RITUAL Pre-: vocal, physical warm-ups. Post-: walk the bat-pig, aka our dog.

FAVORITE '70s WARDROBE ITEM Probably a giant corduroy goose down–lined winter coat from my dad.

http://blog.act-sf.org/2011/06/tales-of-cast-meet-manoel-felciano.html

Tales of the . . . Cast! Meet Mary Birdsong

NAME Mary Birdsong.

CHARACTER Mona Ramsey.

HOMETOWN Long Beach Island, New Jersey.

FIRST THEATER EXPERIENCE Doing "the bump" while dressed as a turkey leg in a Thanksgiving recital in grade school because Mia Michenzi chickened out.

FAVORITE THEATER EXPERIENCE Accidentally peeing onstage during the tech for my last solo show. I'd love to say I was five years old at the time. I wasn't.

FIRST EXPERIENCE WITH TALES Being asked to do a cold reading at 10 a.m. at [director] Jason Moore's house two years ago on my one day off, and saying no because I thought it was for a musical version of A Tale of Two Cities. I hate Dickens. Okay, I don't really hate Dickens. But still . . . the idea of doing anything involving bonnets just did not appeal to me at the time. Sleep appealed to me.

HOW ARE YOU LIKE MONA? I'm all bark and no bite—a real softie. But hell if I'll let you see that just so you can use it against me later. ☺

FAVORITE MUSICAL This one. Godspell is a close second.

FAVORITE SONG TO SING In this show: "Seeds and Stems." Other than that? Probably "Hallelujah," by Leonard Cohen, or any gut-bucket gospel-type stuff.

EDUCATION It's overrated. Okay, for reals? Ethel Jacobsen Elementary School. Long Beach Island Grade School. Southern Regional Middle School and Southern Regional High School. Then NYU's Tisch School of the Arts, where I got to study with the great Stella Adler. And Gotham City Improv for sketch comedy and improv.

PERFORMANCE RITUAL Pre-: big cup of hot tea with lots of skim milk and two Sweet'N Lows. One chocolate mint Zone protein bar. Lots of quiet time to get focused. I also try to walk a good distance or run before the show, to get everything moving. Post-: I use my long walk home to sort of act like a martini—to calm me down and help me go to sleep.

FAVORITE '70s WARDROBE ITEM Bell-bottom pants are awesome, especially for chicks like me with big booties—they're very flattering. Big platform heels are also awesome, because I'm short. Oh, and I love those handkerchief shirts. I think that's what they were called.

http://blog.act-sf.org/2011/06/tales-of-cast-meet-mary-birdsong.html

announcing . . . the Tales of the City readalong!!!

From "The Olive Reader" - A Harper Perennial Weblog

EB

I'm not a big series reader, but there is one series to which I have always been faithfully devoted . . . even though it's been about twelve or thirteen years since I read the first book!

I first heard about Armistead Maupin's Tales of the City series way back in the late 90s when the miniseries of More Tales of the City, the second book in the series, aired on Showtime. At the time, my family didn't have cable, so I never actually watched the series, but the publicity surrounding it was enough to make me want to read the books. If you've never dipped into Tales of the City before, all you have to know is that it's about the residents of an apartment building, 28 Barbary Lane, in San Francisco in the 70s. Though there are many characters, our entry into the series is Mary Ann Singleton, a young, naive woman just arrived in the city whose life changes once she moves into 28 Barbary Lane.

Looking back on my initial obsession with Tales, it seems somewhat strange. I was an 18-year-old girl living in Brooklyn who was endlessly fascinated by the comings and goings of a group of people of various ages (though most, except for the landlady Mrs. Madrigal, are in their mid to late 20s at the start of the series if I remember correctly) in 70s San Francisco. But that's what Armistead Maupin's writing does—it sucks you in. Tales was originally written as a series of newspaper serials, and it shows. The chapters are short and leave you dying to know what comes next. It's like a soap opera, and anyone who reads this blog regularly knows that I consider that a high compliment.

After Tales of the City, Armistead wrote five more books in the initial series—More Tales of the City, Further Tales of the City, Babycakes, Significant Others, and Sure of You—and then returned to the world of Barbary Lane years later with Michael Tolliver Lives and, just this past fall, Mary Ann in Autumn. I've ALWAYS wanted to re-read these books—partly because I loved them so much and want to see if they hold up for me, and partly because they're so fun and quick to read that I know it won't take up a ton of time—and I've decided that the upcoming paperback publication of Mary Ann is the perfect time. And (obviously) I want as many of you as possible to join me!

Here's the schedule I've come up with:

6/3 – Today! Announcement!
6/30 – Discussion of Tales of the City
7/28 – Discussion of More Tales of the City
8/11 – Discussion of Further Tales of the City
8/25 – Discussion of Babycakes
9/8 – Discussion of Significant Others
9/22 – Discussion of Sure of You
10/6 – Discussion of Michael Tolliver Lives
10/20 – Discussion of Mary Ann in Autumn

Of course, when I say "discussion," I mean that we'll talk about it very informally in the comments. No pressure! And the books are all spaced two weeks apart, but we won't start until the end of this month, so feel free to skip ahead.

To entice you to join me in this, I'm giving away TEN copies of Tales of the City! The first 10 people to sign up below will get one. Just write a post saying you're signing up and then link to your post using the Mr. Linky below. (If you don't have a blog, announce it on your Facebook and link to your status update). While you're reading, tweet using the hashtag #talesofthecity.

And for more on Armistead, including the Tales of the City musical, check out his website, facebook, and twitter.

http://olivereader.com/perennial/article/announcing_._._._the_tales_of_the_city_readalong/

Theater Review: 'Tales of the City' – It was worth the wait

This is a wonderfully edgy, quintessential San Francisco experience, embracing its eccentricity with a singular charm and an irrepressible, incandescent spirit.

by Gregory M. Alonzo
06.05.11

I'm happy to report that Tales of the City: A New Musical, the long anticipated musical adaptation of Armistead Maupin's serio-comic, albeit occasionally bittersweet, love letter to San Francisco was worth the wait. It's a triumph in virtually all facets of its production, marred only by a glaring narrative misstep in the second act and a less than satisfying dénouement.

Based upon the first two installments of the popular eight novel series, the inter-woven stories of its many characters remain, for the most part, faithful to the source material. And while librettist Jeff Whitty does dilute or even excise certain elements in an attempt to simplify the intricate plotting, with over twenty songs and six connected story lines it would benefit from some more trimming.

Set in 1976, the scenario involves 25 year old Mary Ann Singleton (Betsy Wolfe), who after a brief visit falls in love with the City and decides to leave her life in Cleveland behind. She winds up in a Russian Hill apartment located on the fictitious Barbary Lane with occupants of assorted genders and sexual proclivities, all of whom with a past they're desperately trying to escape. Anna Madrigal (Judy Kaye) is the enigmatic, cannabis-loving landlady who oversees her surrogate family with an earth mother's wisdom and devotion.

Ms. Wolfe is perfectly cast as the wide-eyed, straight Midwesterner whose impaired judgment about men is almost tragic – and strains credulity. Her ability to deliver a line with the just the right note of comical naïveté is utterly charming, and she can belt-out a tune with a clarion voice that nearly brings the house down with her dramatic rendition of the poignant "Paper Faces."

Her superb performance is short-changed, however, by a script that goes astray in the final act by hastily pairing her with a superfluous suitor, Norman Neal Williams (Manoel Felciano), and a story line that leaves Mary Ann's fate with too many lose ends. She's left literally standing around in the final sequence with little to do! A potential relationship with her womanizing neighbor, Brian Hawkins (Matthew Saldivar), is suggested – and would make sense – but is never explored

This flaw may be due to Mr. Whitty's apparent reluctance to deviate far enough from the original story to allow for an ending that doesn't anticipate a continuing saga. Otherwise, with a little ingenuity the devilishly wicked Beauchamp Day (Andrew Somonsky), with whom Mary Ann has an affair early on, could readily subsume the role of the gratuitously evil Norman.

Notwithstanding those limited concerns, the entire company of players is uniformly excellent. And the tunes, while not always memorable, are often quite fun and successfully capture the period and the mood of their respective scenes.

The performing highlights are simply too numerous to mention, but one must recognize the contribution of the inimitable Judy Kaye, who exudes a vulnerability and pathos of someone who's born a heavy secret for most of her life. Her heartfelt vocal interpretation of "The Next Time you see me" provides a genuine show-stopping ending to the first act. And Wesley Taylor, as Michael "Moose" Tolliver, scores as a sweet young man who comes out to his parents in a heartbreaking and inspirational missive written to his mother ("Dear Mama").

And all are well served by an ingenious multi-leveled set (Douglas W. Schmidt) that magically transforms before our very eyes. The overall effect is beautifully enhanced by exquisite lighting (Robert Wirzel) and top-notch sound (John Shivers) design.

Together, the entire design team creates a setting that evokes the ambiance and energy of San Francisco and gay culture in the '70s, providing a fitting backdrop to the many whimsical and impeccably produced song and dance numbers by choreographer Larry Keigwin and musical director Cian McCarthy. And the splendid, colorful costume design by Beaver Bauer completes the stylized artistic tableau.

This is a wonderfully edgy, quintessential San Francisco experience, embracing its eccentricity with a singular charm and an irrepressible, incandescent spirit. The American Conservatory Theatre and director Jason Moore must be congratulated for bringing to the stage a highly entertaining show that does justice to the city in which it is set. Bravo!

http://www.starkinsider.com/2011/06/theater-review-tales-of-the-city-it-was-worth-the-wait.html

Tales of the City: Scissors, sex and sideburns

Tales of the City, Armistead Maupin's love letter to gay San Francisco, is now a musical – with songs by Scissor Sister Jake Shears. Hadley Freeman watches it come together at rehearsals

Hadley Freeman
guardian.co.uk, Sunday 5 June 2011 21.30 BST

One day in 1991, when Jake Shears was 13 years old and so far from being "Jake Shears of the Scissor Sisters" that he was Jason Sellards and as yet unaware he was gay, he was hanging out with a gay couple, who had taken the youngster under their wing. "I think they knew I was gay before I did," he recalls. "So, you know, they would turn me on to cool music." One of them handed him a book, saying: "I think you'll like this."

It was Tales of the City, Armistead Maupin's much-loved saga set in 1970s San Francisco, involving a hugely diverse group of characters who are all (often unknowingly) linked, and many of whom live in a large guesthouse run by the mysterious Mrs Madrigal. The book is full of stories of bath houses and break-ups, all told in Maupin's genial tone. "It was the first thing I'd ever read that had a positive gay perspective," says Shears, "and two years later, I came out. Make of that what you will."

Twenty years later, Shears is repaying his debt to Tales. As he relates this story, backstage at American Conservatory Theater in San Francisco, rehearsals are going on across the hall for the musical version of Tales of the City, for which he and fellow Scissor Sister John Garden have written the music and lyrics. The libretto is by Jeff Whitty, who won a Tony for Avenue Q, and it's directed by Jason Moore, who also worked on the coming-of-age puppet parable. "Yes, your name has to begin with J to work here," the press officer dryly confirms.

The four Js make a charmingly symmetrical double double act, with the bright-eyed and loquacious Shears and the quieter Garden in one corner; and the adorably excited Whitty and the calmer Moore in the other.

"It's been extraordinary to see the books come to life on stage," says Maupin, "but the really moving thing has been to see how well they all get along – they are 28 Barbary Lane." This was the address of Madrigal's house, where the characters meet, fall in love and form lifelong friendships.

In fact, the genesis of the musical could have come from the pages of Tales itself. Whitty came up with the idea five years ago on a flight to London. He called Moore who instantly said yes. "Jeff was passionate about it, and that's all I needed." Whitty then made a mixtape of songs that sounded like the kind of music he and Moore wanted; the only contemporary piece was by the Scissor Sisters, so he called up Shears. How did he get his number so quickly? "Oh, we met about 11 years ago when we were both go-go dancers," Shears recalls airily. "He enjoyed pulling his clothes off and dancing on bar tops. The first time we met in New York, I was probably off my face and we both had half our clothes off."

"That," Whitty says, "pretty much describes it. And we've turned it into art! No regrets ever!"

The other person Whitty had to convince was his literary idol, Maupin. "I read Tales when I was 21, when I first moved to New York," he smiles. "I was so lonely. Those characters were my company." So, nervously, he flew to San Francisco, where the writer lives. But instead of the "big box of crazy" he was worried about finding, "Armistead was so welcoming. We just got stoned within the first five minutes and that was it."

Maupin puts it somewhat more euphemistically: "Oh, we instantly clicked and spent about five hours gabbing." Maupin took to Shears right away, "although it took a while to get past the eyes". Had he been a Scissors fan? "Well, I'd heard Filthy/Gorgeous before, which I thought was grabby and fun."

On the day we meet, Shears happens to be wearing a loose vest top featuring a design by Tom of Finland, inventor of the macho gay image; he looks more like a Tales characters than the currently dressed-down actors do. "It's always been my ambition to make a musical," he says. "When Jeff said Tales, my heart started racing, and I thought, 'I don't know what I'm doing but let's do it.'" He then grabbed his bandmate Garden and said: "Get your keyboard – we're writing a musical!' They sat down and, in one day, wrote a song that's still in the show.

Later, we go to the rehearsal room to watch the opening of the second act. Here's Mary Ann fighting with creepy Norman; there's Mrs Madrigal and Edgar enjoying a romantic moment. The songs are excellent: melodic, emotional and catchy; the only one that sounded recognisably Scissor Sisters-esque is the one from the disco scene. The four Js watch carefully, and Shears even puts down his iPhone for Mrs Madrigal and Edgar, visibly moved.

Even though it's their first musical, as they chat over a snack, Garden politely eating a salad, Shears chomping on a chicken burrito as big as his thigh, the two men come across like a modern-day Rodgers and Hammerstein, talking about "making use of the 'real estate' of a song to tell the story" and "sacrificing top-drawer ballads for the rhythm of the show".

Shears is, characteristically, devoid of self-doubt. No nerves about taking on a book with which he has such an emotional connection? Never. Is he worried how San Franciscans will react, since it is the unofficial book of the city? Of course not. "But then, maybe I'm too confident," he muses, making Garden splutter with laughter.

One need only look to the SpiderMan musical in New York to know that it's not enough just to take a popular story and a successful pop group and assume it will all work out. And this project presented very specific difficulties: there are as many plotlines as there are characters – and there are a lot of characters. What's more, Whitty didn't make things easier by mashing together Tales of the City and its sequel More Tales of the City. "There were some things I just couldn't leave out," he says.

'The show queens out MAJORLY'

Maupin originally wrote the books as newspaper articles, so the books have an episodic feel, rather than the flowing rhythm that musicals need; and, even though it's set in the 70s and is full of gay characters, they didn't want to make a camp pastiche. "That said," Whitty adds, "at times, the show does queen out MAJORLY."

And how much do sex and drugs feature in the musical? "About 38%," says Garden.

If the show goes well, the plan is to bring it, not to New York, but to London. At the opening last week, according to the San Francisco Examiner, the "audience went wild. After all, they were privy to plenty of inside jokes as well as captivated by the broad and witty characterisations." It added: "This love letter to countercultural San Francisco is neither deeply emotionally engaging, nor nuanced – it's just out-and-out good, rousing fun, with some poignant moments, such as Mouse's affecting coming-out song, Dear Mama."

Whitty and Moore remember how audiences in London took to Avenue Q, and there's a big Scissor Sisters fanbase there. Maupin, too, feels "the books were really discovered in England", thanks to Patrick Janson-Smith, the British editor who was a champion of Tales. Plus, Whitty points out, "It took Channel 4 to make a TV show out of Tales. American networks wouldn't take a chance on it. London audiences are much less shockable than American ones, they're less prudey-sue. We had to make the sex scenes in Avenue Q filthier for the London audiences. That could be fun with Tales."

http://www.guardian.co.uk/stage/2011/jun/05/tales-city-musical-shears-maupin

Armistead Maupin reads from 'Mary Ann in Autumn' at The Seattle Public Library June 25

The Seattle Public Library and PrideFest welcome author Armistead Maupin for a reading of his latest book, "Mary Ann in Autumn," and a conversation on the world of "Tales of the City" from 3 p.m. to 4:30 p.m. Saturday, June 25 at the Central Library, 1000 Fourth Ave., Level 1, Microsoft Auditorium.

The program is free and open to the public. Free advance tickets are required. Limit of two tickets per person. Tickets are available beginning Wednesday, June 1 at http://www.brownpapertickets.com/. Limited parking is available in the Central Library garage at the $6 weekend rate. Seating is not guaranteed after 2:45 p.m.

"Mary Ann in Autumn" is the eighth book in the "Tales of the City" series.

Three television miniseries starring Olympia Dukakis and Laura Linney were made from the first three "Tales" books. Maupin has also written "Maybe the Moon," "The Night Listener" and "Michael Tolliver Lives."  He lives in San Francisco with his husband.

This event is supported by The Seattle Public Library Foundation and Seattle PrideFest and presented in partnership with The Elliott Bay Book Co. Books will be available for purchase and signing.

For more information, call The Seattle Public Library at 206-386-4636 or Ask a Librarian.

For more information contact:

Andra Addison, communications director
206-386-4103

http://www.spl.lib.wa.us/about-the-library/library-news-releases/armistead-maupin-625

Armistead Maupin Feted @ ACT "Tales" Premiere

Miss Beglow's Social City

Photo by Catherine BigelowThe many, colorful tales of one beloved city starred as a heartfelt love letter to San Francisco Wednesday during the opening-night gala and world premiere of Armistead Maupin's "Tales of the City" at the American Conservatory Theater.

Prior to curtains-up, some 700 gala guests (a joyful sartorial mash-up of black-tie, face-paint and peacock feathers) arrived at Union Square Park where Tales Gala chairwoman Marilee Gardner (with able assists from Barbary Lane Committee co-chairs Cissie Swig and JaMel Perkins, and Tales honorary gala co-chairs Laura Linney and Maupin), guaranteed a good time for ACT stalwarts, super supporters, city swells and diehard "Tales" fans.

"This is like an Armistead story come to life," observed composer Jake Heggie, with a joking aside. "It's the kind of parties he used to write about and make fun of!"

Inside joke or not, the gala's unbridled merriment was shared by all. Which also raised a hefty $950K in support of ACT's education programs. And was deeply appreciated by those who labored on this work of love.

"This has been hard. We"ve been working 18 hour days for weeks now," admitted ACT Artistic Director Carey Perloff. "But director Jason Moore and choreographer Larry Keigwin have been delicious -- they're intrepid, sexy, talented. Armistead has been to every preview and is over the moon about the production."

Cocktails and canapes were served beneath a clear Classic Party Rentals tent tricked-out by designer Stanlee Gatti with swags of theatrical purple curtains framing red and purple linen-draped tables atop which was served a masterful McCall Associates, '70s-era inspired meal: Crab Louis salad with Green Goddess dressing, filet mignon with potatoes Diana, and a nostalgic slice of McCall's to-die-for version of the old Blum's Coffee Crunch cake.

"Now this is what we call a San Francisco treat," enthused ACT Board President Rusty Rueff, prior to the post-dinner presentation. "Tonight is an historic celebration, adapted from Armistead's 'Tales,' of this magical place we call home."

And with that, cast members from Steve Silver's Beach Blanket Babylon trooped onstage to present a signature song, created by BBB producer Jo Schuman Silver, which honored Maupin (in a fabulous BBB-created "Tales" book hat) and thanked key ACT supporters, sponsors and ACT Producing Director James Haire, who after 40 years, just retired from the stage.

One such clever stanza, set to the Beatle's "Penny Lane," paid homage to Maupin's beloved "Tales" characters:

28 Barbary Lane is where the action is/ When Mary Ann arrives from Cleveland/ Quite the lass/ Meets Mrs. Madrigal, who's smoking grass/ It will kick your ass.

Chronicle Editor Ward Bushee then presented Maupin with a framed copy of the author's very first "Tales" column which debuted in The Chronicle on May 24, 1976.

"What a journey it's been for all of us. Tonight, a lifelong dream of mine is now realized," toasted Maupin. "If I die and go to heaven, I know it won't look like this."

http://www.sfgate.com/cgi-bin/blogs/missbigelow/detail?entry_id=90315

CBS San Francisco Review

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