ALPHABET SOUP (16): FEATURING A RANDOM LETTER OF THE ALPHABET AND SOME SHOWS THAT BEGIN WITH THAT LETTER: "L"

ALPHABET SOUP (16):

FEATURING A RANDOM LETTER OF THE ALPHABET AND SOME SHOWS THAT BEGIN WITH THAT LETTER

L

A.R. Guerney's uber-popular play that has been done by, I suspect, practically every theatre company in the world; Eugene O'Neill's epic masterpiece performed by a cast the likes of which dreams are made of; a blissfully mindless, thoroughly entertaining musical that probably should have stayed off-Broadway where it started; an acclaimed musical that I couldn't warm up no matter how hard I tried; and finally one of the funniest musicals in existence, full stop. Let the "Ls" begin!

LOVE LETTERS – Chicago Theatre, Chicago

February, 1992. Not that it matters, but neither of the two Broadway productions of A.R. Gurney's Love Letters were smoking box office smashes. What it lacked in Broadway durability, however, it more than made up for in popularity and has resulted in the gift that keeps on giving…and giving…and giving to Mr. Gurney's estate. It literally is a money machine. And with good reason. There are only two actors. The set can be whatever you want. Limited rehearsal is required since the actors use scripts. The play itself is gentle and eager to please. No heavy-heavy-hangs-over-thy-head themes. World peace will not come out of a performance. And depending on your socioeconomic status, you may or may not relate to the antics of the two characters. In its favor, it's often funny, sometimes moving, and solidly authored, but there's just not much meat on Love Letters' bones. For this tour, which stopped off in Chicago for a brief seven-performance run, the producers hired everyone's favorite TV couple, Jennifer and Jonathan Hart. Oops. I meant Stefanie Powers and Robert Wagner. It didn't matter that the play seemed lost in the huge Chicago Theatre (3600 seats). The packed house came to see Jennifer and Jonathan in person, and that's exactly what they got. Sitting on two tall stools with backs and with music stands in front of them, Wagner and Powers, with the help of some great lighting, managed to make the theatre seem almost intimate. Surprisingly at ease on the stage, they delivered genuine star charisma. Powers was the better actor, able to handle both the comedy and drama with ease. Wagner was competent, handled the lighter stuff better than the heavier sections, and looked damn fine even from the reaches of the middle balcony, a million miles away from the stage. It was professional and polished, and we all had a great time. – at the Chicago Theatre, Chicago

Jon and Jen: Hart to Hart ran for five seasons, from 1979 to 1984. It was a favorite of Steve's and myself, and we would religiously tape and save the episodes. (Remember, these were the days before DVRs and streaming video.) Curiously, considering how much we loved the show, we never rewatched any of the episodes and the many VCR tapes languished on the shelves until I finally got rid of them prior to a move after Steve died. Jump ahead ten years or so. I'm a cabin hag for Comair. Hart to Hart had been released on DVD, available on Netflix. While on a layover, I eagerly popped in the Season 1, Disc 1 DVD and began the episode. Not even halfway through the episode, I stopped watching. What I thought was so clever, stylish, and glamorous in the early 80s, now seemed, well, none of the above. I guess I'd moved on from Jon and Jen. Ah, well.

LONG DAY'S JOURNEY INTO NIGHT – Plymouth Theatre, New York

August, 2003. On a layover in New York on a steamy Sunday in July, I stood in the cancellations line at the Plymouth Theatre in my synthetics-are-us-so-we-don't-breathe flight attendant uniform, and was the very last person called to purchase a ticket to the multi-Tony winning revival of Eugene O'Neill's masterpiece. To say I was in theatrical bliss for four hours would be a gross understatement. To say the cast of Vanessa Redgrave, Brian Dennehy, Philip Seymour Hoffman, and Robert Sean Leonard was perfection would be grossly inaccurate. They were so much more than that. It wasn't what they did that was so impressive; it was what they didn't do that was extraordinary. And what they didn't do was act. Oh, trust me, they were all acting up a storm, but damned if I could spot a single false move, a single dishonest emotion, a single dip into tricks, artifice, and "acting." They were the Tyrone family and we, the audience, were the proverbial flies on the wall witnessing as they railed at each other only to beseech forgiveness in the next moment, as they shrieked in anger, fueled by alcohol and drugs, to be followed soon after by a scene of unexpected warmth. In a cast of such accomplished actors, Vanessa Redgrave's Mary Tyrone was a revelation. The subtleties she brought to her role; the frailty, the strength, the despair, the dignity she gave that troubled, tragic character. Brilliant doesn't do her justice. She truly is in a class by herself. Robert Falls directed this with sensitivity and grace. I am still in awe of this production. – at the Plymouth Theatre, New York

FUN FACTS: Tonys were won by the production itself for Best Revival, Vanessa Redgrave for Leading Actress in a Play, and Brian Dennehy for Leading Actor in a Play. Robert Sean Leonard won a Featured Actor in a Play Tony in 2001 for his role in Tom Stoppard's The Invention of Love, which I found to be a fascinating, if extraordinarily dense afternoon of theatre. The late Philip Seymour Hoffman would win a 2005 Oscar for his portrayal of Truman Capote in Capote. Like I said…a class act.

LYSISTRATA JONES – Walter Kerr Theatre, New York

December, 2011. Preview. First off, let me say no one will ever confuse Lysistrata Jones with Follies. Not a bit of angst in sight in this light, breezy frolic of a show. A musical that uses as its basis Aristophanes' anti-war comedy in which the ladies of ancient Greece, in an attempt to end the Peloponnesian War, decide to withhold all sex from the menfolk until peace is declared? Indeed, only this time the locale is a D-List college where the cheerleaders decide to withhold sex from their basketball-playing boyfriends until the BFs lose their ennui and contentment at having never won a game in decades and start upping their game. Not quite as lofty a goal perhaps, but it somehow all worked. A pleasant, energetic score by Lewis Flinn with a sensational ballad to close Act One, sold-to-the-rafters by leading lady Patti Murin, kept everything enjoyably tuneful. Nifty choreography and direction courtesy of Dan Knechtges kept the show moving. Lots of boy eye candy in various states of dress and undress was an unexpected bonus, and the fine performances by the talented cast, led by Patti Murin, Josh Segarra, Jason Tam, Lindsay Nicole Chambers, and Liz Mikel, gave the musical a satisfying professional sheen. Douglas Carter Beane's book got the job done with heart, warmth, humor, and the occasional political jab. Plus he provided me with my 2nd most favorite line: "I'm moist like a snack cake!" A perhaps ill-advised transfer from a successful summer booking off-Broadway, Lysistrata Jones, though entertaining as all get-out, didn't seem comfortably at home in the modestly-sized Walter Kerr. It was, at heart, a little musical trying to make it in the big leagues, and, despite decent-enough reviews, including pretty much a rave from the all-important New York Times, it just couldn't draw an audience willing to pay Broadway prices for this unassuming delight. Perhaps it would have played better at the smaller Helen Hayes, former home of Xanadu; perhaps it should have just transferred to an open-ended engagement off-Broadway. Whatever the case, it didn't make it and closed after 34 previews and only 30 performances. Sad. – at the Walter Kerr Theatre, New York

Cast Tidbits: Liz Mikel's only Broadway appearance to date was in Lysistrata Jones. Jason Tam will be appearing in this season's (2018-2019) Be More Chill and was a recorded voice in Dear Evan Hansen. Lindsay Nicole Chambers won my heart as Gail in the fabulous web series Submissions Only. Josh Segarra, a cool drink of water if ever there was one, played a dumb-as-rocks cop in the sadly short-lived TV series Sirens, and won praise for his long stint as Emilio Estefan in Broadway's On Your Feet! Patti Murin, so, so good in Lysistrata Jones, would effortlessly steal the show as Anna from the showier, but less substantial, part of Elsa when we saw the musical Frozen during its Denver shakedown.

THE LIGHT IN THE PIAZZA – Vivian Beaumont Theater, New York

June, 2005. About ten days before we saw The Light in the Piazza, the musical had racked up six Tony Awards at the 2005 ceremonies, including Best Actress for Victoria Clark, Best Score for Adam Guettel, Richard Rodgers' grandson, Best Orchestrations, and swept the musical design categories. And indeed Piazza was lovely to look at. And Victoria Clark was, in a word, magnificent, and she had a slew of fine actors with her in the cast, including Kelli O'Hara and pre-Glee Matthew Morrison, but, frankly, her performance was just about the only thing that kept the show from becoming a ponderous slog that moved at a snail's pace. I found little joy in the show, and just could not get into Guettel's score. Was that a melody trying to get through? Wait. Nope. To my ears, it was unmelodic noise masquerading as an "important score." And since I couldn't get involved with the music, and since Piazza is, after all, a musical, I just couldn't become invested in the characters. It didn't help that our seats were on the far side of the Beaumont's wide thrust stage, making everything seem somewhat removed. I wasn't bored, and I didn't hate it, but I was disappointed. What didn't disappoint was the radiant Clark. She made the evening worthwhile. – at the Vivian Beaumont Theater, New York

LITTLE ME – Criterion Center Stage Right (Roundabout Theatre Company), New York

December, 1998. One of the funniest musicals ever written, Little Me is blessed with a hysterical, joke-laden book by Neil Simon, a sensational, tune-filled score by Cy Coleman and Carolyn Leigh, and based on the ridiculously funny book of the same title by Auntie Mame's Patrick Dennis. Ostensibly about the life and trials of poor-trailer-trash-turned-rich-celebrity Belle Poitrine, it's really about the opportunity to get a cast of inspired comic actors together and collectively make their audiences weak with laughter. Heading Roundabout's cast of zanies were Martin Short and Faith Prince, two actors whose comic skills are honed to a laser-like precision. Playing the men in Belle's life, Short spun the lightweight material to comic gold at every turn, almost turning the invaluable Prince into an afterthought. The operative word there was "almost." If the material didn't allow Prince the number of opportunities to shine, she made sure she made the most out of every appearance and was Short's equal in the scenery-chewing department. And look at this supporting cast: Brooks Ashmanskas, Peter Benson, Michael McGrath, Michael Park, Christine Pedi, and an especially droll and divine Ruth Williamson. The score, one snappy song after another, has one major pop hit, "I've Got Your Number," and a secondary one in "Real Live Girl." But there's also the poignant "Poor Hollywood Star," the effervescent title tune that gets things off to a grand start, the celebratory "Here's To Us," and, well, there's not a bad song in the lot. The show, newly revised, featured satiric nods to the film Titanic and the musical Chicago, and had a crisp, delightful staging by Rob Marshall. We enjoyed ourselves immensely. It's a shame Little Me isn't more well-known. – at the Criterion Center Stage Right, New York

Background Stuff: Little Me made its Broadway debut during the 1962-63 season and starred Sid Caesar (roles later played by Martin Short), Virginia Martin and Nancy Anderson (roles combined in 1998 and played by Faith Prince), and Sven Swenson, who made "I've Got Your Number" the show's true showstopper. It received mostly favorable reviews, with only one unfavorable review among four raves and two favorable ones according to Steven Suskin's Opening Night on Broadway. Yet despite the star power and the good notices, Little Me never caught on and closed after a mere 275 performances. A major revival twenty years later starring James Coco and Victor Garber, splitting the seven roles originally played by Caesar, was a critical miss and closed a few weeks after it opened. The Roundabout revival didn't exactly win over the critics, but it's reviews were good enough to ensure a healthy limited run at the 499-seat Criterion. Little Me would be the Criterion's penultimate show. It would close in 1999 to make room for the gigantic Times Square Toy R Us.

    

And on that note… Until later….

© 2019 Jeffrey Geddes

MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS – Part 16b THE TOP TEN – #3

MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS – Part 16b

THE TOP TEN – #3

Note: This is Part Two of Two

"Maybe there's something wrong with your bumper." – Mazeppa, Revoluntion in Dance. 
"I'm a strip woman, slob. I don't do no scenes. Now screw!" – Tessie Tura.

Gypsy … continued!

2006 – 2018

LuPone/Rose…A Tale of Show Biz in Three Parts

Part One: The Tryout

– Ravinia Pavilion, Ravinia, IL

August, 2006. Not a script in sight. Actual scenery. Not a lot, but more than your typical staged concert version. Costumes. Lights. Come to think of it, this wasn't a staged concert version at all. This was a fully-staged, fully-choreographed production of the 1959 classic. With an honest-to-god Broadway STAR. Icing on the cake? The famed Chicago Symphony Orchestra as the pit band. Some pit band, right? The cheering going on throughout the evening from the capacity crowd inside the Pavilion and the crowd on the lawn outside probably was heard in nearby Highland Park. Hearing Gypsy's famed overture played by the CSO is a treat not to be missed. Director Lonny Price didn't offer any new insights in this production, but he did offer us a nicely-paced, efficient staging cast with skilled actors. Bonnie Walker recreated the original Jerome Robbins' choreography. Everything looked and sounded good. The Tribune critic didn't much care for either Jack Willis' Herbie or Jessica Boevers' Act Two Gypsy Rose Lee, though he loved her Act One Louise. Truthfully, I don't remember Willis at all, and I found Boevers charming. But above all, this was LuPone's show. Although she'd done Ravinia gigs before in other Sondheim vehicles, Rose was the role everyone wanted to see her tackle. And tackle it she did. Again, not a blazing new interpretation of Rose, but a solidly acted, charismatic, take-no-prisoners characterization that served her well and sent her audience into frequent rapturous applause. And the famed voice? Well, Jule Styne's score never sounded so good. Little did we realize at the time, though I think we all hoped, that this was just the first step on a journey that would end up at Broadway's St. James Theatre. – at the Ravinia Pavilion, Ravinia, IL

"I Like Men Without Hair…" After the disastrous 1998 Marriott production of Gypsy, I was surprised that we were able to convince our friends to come with us to Ravinia, but we did. As luck, or good timing, would have it, I was able to switch our seats from the back of the Pavilion to the front row, so we were able to see everything really up close and personal. One of our friends is pretty bald. During Louise's strip, one of her lines in the Minsky's segment is "I like men without hair." Apparently she spotted Michael, came down front, leaned over and pointed at him and said the line. Perfect. Just perfect. And for the record, our friends loved this production.

Part Two: The Dress Rehearsal

– New York City Center, New York

Possibly the best logo for the show...ever! Seriously. Is a first name necessary?

July, 2007. Prior to the Ravinia outing, there was a legendary feud between Patti LuPone and librettist/director Arthur Laurents, with Laurents famously stating that he would veto casting LuPone as Rose in any New York production of Gypsy. Fortunately for the theatre world, Ravinia is nearly 800 miles from New York, and equally fortunately, Lonny Price could not have cared less about a feud and cast Patti LuPone as Rose. Word apparently reached Laurents about LuPone's performance, peace overtures were made, and the feud ended. (For more about the feud and an extensive recounting of this production as well as the 2008 Broadway production, I highly recommend reading Laurents' Mainly on Directing: Gypsy, West Side Story, and Other Musicals. Fascinating, detailed read.) If Ravinia was the tryout, City Center was the dress rehearsal for the Broadway productions a few months down the road. Already in command of the role, LuPone added more subtlety and nuances, began to discard the "standard" Rose portrayal to make it her own. She purred, she charmed, she yelled, she terrified, she sang her songs to the rafters. With no disrespect to her Ravinia castmates, the folks Arthur Laurents assembled for this outing were superior in every role, especially in the pivotal roles of Herbie, Louise, June, and Tulsa (Boyd Gaines, Laura Benanti, Leigh Ann Larkin, and Tony Yazbek, respectively). A limited three-week run at the massive City Center, this was as good as they get. From a close-up seat in the orchestra, we were in musical theatre heaven. – at the New York City Center, New York

Part Three: Broadway

– St. James Theatre, New York

October, 2008. LuPone on Broadway and Bob's 60th birthday, one day late, two memorable events! Patti LuPone's journey as Rose to Broadway took three productions, from a slimmed-down version in an outdoor venue to a limited-run production in a massive Midtown barn to, finally, a fully-mounted, mouth-watering Broadway production that had critics praising production, Arthur Laurents' direction, the cast, and, especially, leading lady LuPone. Gone were any suggestions of tentativeness. Gone were any nods to any other Rose. What LuPone gave us was a Rose as portrayed by an actor of uncommon skill, who just happens to have a singular singing voice that can thrill and enchant at the same time. With invaluable support by co-stars Boyd Gaines, Laura Benanti, Leigh Ann Larkin, and Tony Yazbek, this was a Gypsy to revel in, rich in subtlety, depth and nuance, yet never once did it forget that the show also has a great deal of fun and humor, most especially on display when Marilyn Caskey (Electra), Lenora Nemetz (Mazeppa), and Alison Fraser (Tessie Tura) tore up the stage in "You Gotta Get a Gimmick." Lest anyone question LuPone's iconic position as one of the great Broadway stars, the ovations she received upon her entrance, and the conclusions of "Everything's Coming Up Roses," and "Rose's Turn, and when she took her bow, would put anyone's doubts to rest. Thrilling. Spectacular. Breathtaking. – at the St. James Theatre, New York

Tony Time: Although Gypsy would be overshadowed by the stunning revival of South Pacific at Lincoln Center, it picked up three Tonys for acting: Boyd Gaines (Supporting Actor in a Musical), Laura Benanti (Supporting Actress in a Musical), and Patti LuPone (Best Actress in a Musical). This would be LuPone's second Tony Award, long overdue, and the third Tony awarded to leading ladies playing Rose, the other two being Angela Lansbury and Tyne Daly. As mentioned in Part One, the original Rose, Ethel Merman, was snubbed in favor of Mary Martin in The Sound of Music.

– Chicago Shakespeare Theater, Chicago

February, 2014. Someone really needs to give Gary Griffin a director's handbook since the poor dear doesn't seem to grasp the difference between a proscenium stage and a thrust stage. The main stage at Chicago Shakes is thrust. Don't direct the show as though you're at the Shubert. He also could use a mentor since his direction was pedestrian and lackluster. This production didn't really hit its stride until late in the first act when Louise and June sang a sensational version of "If Momma Was Married." The song gave what was, up until that point, a sporadically entertaining show, the shot in the arm it needed. Jessica Rush as Louise was a marvel. I loved, loved, LOVED her. Kudos to the delicious trio of strippers - Rengin Altay, Molly Callinan and Barbara E Robertson - who chewed the scenery with abandon and stopped the show with "Gimmick." Keith Kupferer's Herbie was competent, if unmemorable. But Gypsy, for all its glories, needs a dynamic Rose to send it soaring. Louise Pitre got there at the end with a full-stop terrific "Rose's Turn" and her acting was solid throughout, but her singing wasn't strong. It was almost as if she was saving her voice for the two big act-closing numbers and she nailed both of them, but the other numbers felt tentative, even uncomfortably lackluster. (In fact, Bob and I thought she may have been ailing and that accounted for the weak voice. She wasn't.) Don't get me wrong... Pitre ended strong, but getting there, vocally at least, was a challenge. Overall, fine production values with a big (for the Shakes), brassy orchestra. The house was curiously small. We enjoyed it, but not my favorite production of this true musical theatre classic. - at Chicago Shakespeare Theatre, Chicago

– Connecticut Repertory Theatre (Harriet Jorgenson Theatre), Storrs, CT

Those eyes say everything.

(edited from an earlier post)

July, 2014. Michael James Leslie must have one helluva agent to get that kind of billing for that small of a role. He did a fine job, mind you, but still. The staging needed polishing and tightening, the costumes and hair were ghastly and the sets varied between good and we-ran-out-of-time, but the lighting was excellent, the small orchestra crisp, and the cast generally up to their tasks. (The strippers were far, FAR too young and had the misfortune to wear the show's worst costumes, but were energetic and exceedingly funny and delivered these wonderful parts with great glee.) As Rose, Leslie Uggams sang the crap out of the iconic score and delivered a strong, vibrant performance that would have been improved with stronger direction and some more rehearsal. (Bob wanted to spend some one-on-one time with her.) Ms. Uggams can do more with her eyes than many actors can do with a much-rehearsed speech…warm and loving one second, fierce and scary the next. Her "Rose's Turn" was just plain fabulous. The theatre was very small and from our second row seats, we got Madame Rose and pals up close and personal. Summer stock, even a bit cheesy at times, but glad we saw it. A terrific show with a true star. – at Connecticut Repertory Theatre (Harriet Jorgenson Theatre), Storrs, CT

– Savoy Theatre, London

May, 2015. A fresh, vibrant production that proved once again that Gypsy may be the best musical ever written. Although director Jonathan Kent's production egregiously billed star Imelda Staunton as "Momma Rose" in the program, oh, the horror, the horror!, that was just about the only thing in this production one could find fault with. The actor playing Herbie was, frankly, too old, but did a solidly professional job. Lara Pulver's Louise was simply excellent. And what about Imelda Staunton, you might ask? Did she live up to the breathless hype? The answer is an unequivocal "yes." She was that good. Kent offered some unique directorial touches throughout that added nuance to the show, especially in the final scene between Louise and Rose. After her fiery and desparate "Rose's Turn," the final slow, resigned, if not defeated, walk offstage behind her daughter at the show's conclusion, gave Rose a frailty not seen before. Her Rose was unique, thrilling, unforgettable. And the audience ate it up. Great production values, sparkling orchestra, packed house. Worth the trip to London. — at the Savoy Theatre, London

– The Muny (Municipal Opera), St. Louis

 Free seats way, way up there!

The massive stage of the Muny.

 

July, 2018. The 11,000 seat outdoor Muny is a tough house to play. It's just so massive, but director Rob Ruggiero kept a laser focus on what was happening on that enormous stage, making the 11,000 seat house seem almost intimate. That, my friends, is talent. Ann Harada's entrance as Electra was one of the funniest bits I've seen in ages. In less accomplished hands, it could have been too much, but Harada's timing was comic flawlessness. It's been said time and again, but Gypsy's success depends on its Rose, and Beth Leavel's Rose was nothing less than phenomenal. Truly, this was one of the best portrayals of this complex role that I've seen, full of love, rage, fierceness, tenderness, and full-on selfishness. Her "Rose's Turn" was a powerful explosion of talent, and the audience greeted it with a full-on ovation. This was a first-rate, first-class production from start to finish. And all of it performed in beautiful Forest Park with majestic, giant trees framing the stage. Magical. – at The Muny, St. Louis

– Porchlight Music Theatre (Ruth Page Center for the Arts), Chicago

November, 2018. Sadly, saving the worst for last… In the cold, uninviting environs of its new home, the star of Porchlight's production of Gypsy, E. Faye Butler, displayed three qualities: loud, yelling, and inaudible. What she didn't display was any subtlety or interpretation. But then, neither did her production. It looked cheap. It looked under-rehearsed. There was absolutely no warmth or chemistry among the cast. The staging was lots of wandering around. And what was with that idiotic decision to combine "Goldstone" and "Little Lamb," robbing Louise of her own applause? Leave the damn material alone. This was, to my distress, a production rampant with misses. Overall, it played like a not-very-good community theatre production. I liked the orchestra. "If Momma Was Married" was good. "You Gotta Get a Gimmick" stopped the show as usual. The actress playing Louise was quite good until she became Gypsy Rose Lee, then she inexplicably became bland. I've never been a fan of Porchlight, and this did nothing to change my opinion. Their slogan is "American Musicals, Chicago Style." If this is an example of "Chicago Style," the city should sue for defamation of character. The critics absolutely fainted over this, and for the life of me, I can't imagine why. I suspect the cast gave a different performance at the start of the run, but, by this time, had gotten bored, lazy, tired, whatever. Or it could just be Porchlight's critic-proof status in Chicago. A major and sad disappointment, especially since I've long been a fan of Ms. Butler and thought she would be an exciting Rose. Guess not. After a thrilling production of Downstate at Steppenwolf the previous week, this was truly a letdown on the local theatre front. Sad, just sad. – at Porchlight Music Theatre (Ruth Page Center for the Arts), Chicago

********************

And with that, I'm up to date with Gypsy. So, who was my favorite Rose, you ask? Hands down…Tyne Daly. Surprised? Arthur Laurents claimed LuPone was his favorite, and without a doubt her performance was jaw-dropping. But, and this is a big "but," despite all the praise lavished on her performance by myself and the critics, I was still aware I was watching Patti LuPone. Good as she is as an actor, and believe me, she is mighty good, she cannot completely shake off the LuPone aura, charisma, whatever you want to call it. That voice is just too damn good and too damn distinctive. Tyne Daly, however, became Rose. She was Rose from her "Sing out, Louise" and never once became Tyne Daly. And to be honest, there were times, like at the end of "Everything's Coming Up Roses," where she scared the crap out of me. She may not have had the LuPone voice, but Daly was magnificent,  truly unforgettable. In my book, the definitive Rose.

"Something wrong with stripping?" See ya!

© 2019 Jeffrey Geddes