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SEQUENZA21/
340 W. 57th Street, 12B, New York, NY 10019

Zookeeper:   
Jerry Bowles
(212) 582-3791

Managing Editor:
David Salvage

Contributing Editors:

Galen H. Brown
Evan Johnson
Ian Moss
Lanier Sammons
Deborah Kravetz
(Philadelphia)
Eric C. Reda
(Chicago)
Christian Hertzog
(San Diego)
Jerry Zinser
(Los Angeles)

Web & Wiki Master:
Jeff Harrington


Latest Posts

Fumio Yasuda's sensual 'Flower Songs'
To the Ramparts
Technobile
Music From Other Minds
Philadelphia Sounds: Radiance and Reflection
Babies and All That Jazz
Copland and Eisler
Like Wow
How Strange is the Change from Major to Minor
David Hockney's 'Private Passions'


 

Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019


Tuesday, November 22, 2005
How I Love You, My Dear Old Mammy

There's bad news for those of us who think there's never been anything more ridiculous or unintentionally funny on stage than white singers or actors with painted black faces, big grotesque red tongues and bulging white eyes. Olivier's Othello was an accidental comic masterpiece and the only funny thing the old stiff ever did. But, alas, the forces of political correctness have struck again. Stephanie Blythe was "blacked up" during rehearsals of Un Ballo in Maschera, but when the production opened at Covent Garden last Thursday her skin was its own pale self. The Italian director, Mario Martone, who found out about the policy change after the fact, was not amused but everybody knows all Italians are insensitive and probably members of the Mafia anyway.

 



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