Well Liberace, flame of my heart, if there’s one thing that can absolutely be said about our relationship at this point, it’s that you know how to spell my name correctly.
You block me for an offense equivalent to a friendly panty raid…?
Ecoute: I know you’ve known about my blog for a few months now although you haven’t really read any of it, opting instead to let your friends/fans/acquaintances describe it to you in an offhanded way as thoughtfully or not as they care to, giving you all something to genteelly snigger at on a Sunday…and that’s cool by me, I can’t stop you. You’ve got your mates. (Know what my mates call you? “Some English guy who does that thing over there.”)
Anyway, for a few weeks after I fell in love with you, this would have been until July of last year, I had been quite content to simply go on slavering after you adolescently but unobtrusively in that old Tiger Beat way—you know, “Win a Dream Date With Conductor John Wilson!!!” etc etc—but when I finally caught up with your 2017 video clips all that changed, because you put Mamoulian back in my head, thank you very much.
Don’t get me wrong, I was always intending to talk about The Old Man one of these days, in my own time. But you kind of forced my hand when in interviews you started to blather a lot of malarkey about the original 1943 production of Oklahoma!. Now, there were productions of his Mamoulian liked to talk about, Carousel…Porgy and Bess…The Song of Songs…Queen Christina—but the one he talked about the most to me personally was Oklahoma!. We’ll go into that in an upcoming post, which I think I will call “John Wilson Conducts Oklahoma! at the 2017 BBC Proms, Rouben Mamoulian Howls In Protest from His Grave, Part 2“. (Part 1 here.)