The October edition of D Magazine is now available online, and per usual, there are some interesting arts-related stories worth checking out.
It was unfettered by cover charges, dour doormen, and wristbands—excepting one regrettable attempt. Show dates and times spread by word of mouth, aided by online networking, and the popularity of the venue grew as the social circle widened. (I discovered the place as most did, through a friend.) Annex House ran on populist principles. If you had found the house, you were welcome.
2. Willard Spiegelman wonders why Dallas audiences are such enthusiastic clappers:
And then there are the people who think that all of the above can be forgiven and transcended by screaming vigorously at the very end. They are congratulating themselves, not thanking the performers. They are relishing their good taste for having foregone other pleasures—watching television, going to a sports event, having a long supper, tucking the kids into bed—in order to support the arts. They deserve a pat on the back. And, by golly, they give themselves one.
3. And the good professor also visits bari-hunk Paulo Szot at his midtown Manhattan penthouse to talk about his recent success and his upcoming performance in the Dallas Opera’s production of Don Giovanni:
What he hates most is when a director has no ideas, but tells the singer “to show him what I have.” He likes being directed; he likes working with a team, especially onstage where the drama can change slightly in every performance, keeping everything and everyone fresh and new. He also said he keeps whatever prima donna tendencies he may have (I didn’t see any) in check and tries to maintain a normal routine.
Photos: The Annex House (left) and the O’s performing (right) (Photography by Sara Kerens for D Magazine)