What good is sitting alone in your room? Go do a cabaret!

This past Friday night, I performed my first solo cabaret since moving here in 2013. I have done three joint cabaret shows: LoveSICK, with Dyana Neal, Steven Lampredi and Jim Knost, for Valentine’s Day 2016 and 2017, and an end of summer show in August 2014, but this was my first solo outing.

In 2006, I produced a cabaret show for 5 of my students, Ryan Cappleman, Maureen Smith, Elyse Wojciechowski, Nate Lewellyn, and Kyle Fowler. After picking out music, and finding that the songs were all about wanting to go somewhere and be not here, we decided to call the program the Not Here Cabaret.

When Fuzz Roark at Spotlighters Theatre asked me a year ago to do a solo cabaret, I decided to resurrect the title, if not the same repertoire, and do something with it. Initially, it was a travel-themed show – about wanting to go out and explore, and not be “here.” But it evolved.

The show I wound up doing, with Michael Tan at the piano, was about our shared roots in the Midwest and how we found our homes here in Baltimore. We made a few stops along the way in other places, for entertainment purposes (neither of us have ever, in fact, done a tango with an Eskimo nor have we taken a ride on the Chattanooga Choo-Choo), but in the second half, we did make it a bit more personal. I explored how difficult it was to make the break from my first marriage to move up to Baltimore for grad school (“Leaving on a jet plane” – which sounds more romantic than “driving up 95N”), why going to Europe after grad school would have threatened my new relationship with Bill (“When in Rome”), and ultimately, realizing that “It’s not where you start, it’s where you finish.”

I find the cabaret format to be the most authentic thing I’ve ever done – except, perhaps, directing a show, which I recently did for the first time and will write about another time.

I was also lucky enough to hit upon an open mic at Germano’s this past Wednesday and try out a couple of pieces there, and have been offered the opportunity to reprise “Not Here” and/or one of the shows I did as part of MezzoPiano. Hopefully, this will give me some more opportunities. And perhaps I can pursue doing some things down towards DC?

Life begins at … however the hell old I am at this moment. 

Published by Mezzoid Voice Studio

Christine Thomas-O'Meally, a mezzo soprano and voice teacher currently based in the Baltimore-DC area, has performed everything from the motets of J.S. Bach to the melodies of Irving Berlin to the minimalism of Philip Glass. As an opera singer and actress, she has appeared with companies such as Charm City Players, Spotlighters Theatre, Chicago Opera Theater, Opera Theater of Northern Virginia, Opera North, the Washington Savoyards, In Tandem Theatre, Windfall Theater, The Young Victorian Theater of Baltimore, and Skylight Opera Theatre. She created the role of The Woman in Red in Dominick Argento’s Dream of Valentino in its world premiere with the Washington Opera and Mary Pickersgill in O'er the Ramparts at its world premiere during the Bicentennial of Battle of Baltimore at the Community College of Baltimore County. Other roles include Mrs. Paroo in Music Man, Mother Abbess in Sound of Music, Dorabella in Cosi Fan Tutte, Marcellina in Le Nozze di Figaro, both Hansel and the Witch in Hansel & Gretel, and many roles in Gilbert & Sullivan operettas. Her performance as the Housekeeper in Man of La Mancha was honored with a WATCH award nomination. Ms. Thomas-O'Meally received an M.M. in vocal performance from the Peabody Conservatory in Baltimore. She regularly attends master classes and workshops in both performance and vocal pedagogy, and is certified in all three Levels of Somatic Voicework™ The LoVetri Method. Her students have performed on national and international tours of Broadway productions, at prestigious conservatories, and in regional theater throughout the country.

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