Wednesday, July 15, 2026

My Excellent European Adventure 60th Anniversary - Chapter 1: Welcome to London

 


                            All journeys have secret destinations of which the traveler is unaware.

                                                                                           -- Martin Buber

 


Groggy from our redeye flight across the Atlantic, we collected our luggage and found our hired transport – four classic London cabs (for 17 people).  Our gregarious driver introduced himself as Sir Roger DeCoverley, clad in a morning suit complete with top hat, tails, and striped pants.  It seemed weird for a cab driver, but, hey, we were in merry old England now, so . . . whatever!

Five years later in graduate school I learned that Sir Roger de Coverley was a fictional character in early 18th century British literature (in Addison and Steele’s The Spectator, 1711).  So our driver was actually in character.  How naïve we were – rubes from the Colonies! – but it was all in good fun, and he was delightful, with running commentary all the way into town.

We arrived at our first lodgings, the German YMCA Youth Hostel near Paddington Station -- now called the Kensington Gardens Hostel and still owned by the German YMCA organization. The exterior hasn't changed much in 60 years.


1966

2026


As we disembarked from our cabs, we heard a commotion a few yards down the narrow street and saw a Porsche engulfed in flames.  Yikes!  We never learned what caused the fire, but it was quickly extinguished somehow.  Welcome to London.

We ate lunch somewhere nearby, and everyone agreed we should all take a nap and reassemble later in the afternoon.  I don’t know about others, but I was running on adrenaline and too excited to sleep.  I don’t remember where or what we ate for dinner, but we took the Tube from Paddington in to Picadilly Circus and gawked at the lights.




A Word (or more) About Our Group

The total number of travelers from Oklahoma on this trip was 17, but once in Europe we traveled as two separate groups:  one group of 9 (ours), one group of 8 (the other), including a husband-and-wife couple leading each group and chaperoning hormone-infused teenagers.

Our group leaders – Tom and Kay – were from Oklahoma City.  Tom was an oral surgeon, Kay a housewife.  They had three children.  (I don’t know who took care of the kids while we were on this trip.)

Our group had three girls and four boys.  I think we were all rising high school seniors.  The girls were Judy (from McAlester), Susan (from Ada), and Annie (from . . . I don’t remember; maybe Ponca City or Enid).  The boys were me and my friend Bill (from Lawton) and Hank and Chris (from Chickasha).  In the photo below, from left to right . . .

Front Row: Chris, Judy, Annie, Susan, Hank

Back Row: Tom, me, Bill



 A Word (or more) About Trip Logistics

It’s worth noting that our trip was not part of a tour with a commercial tour operator.  The trip was organized under the auspices of the Oklahoma Methodist Campers Association – a department of the United Methodist Church in Oklahoma that managed all of the Church’s overnight camps in the state — and the Association took care of all the travel, lodging, and transportation arrangements for our trip.  (Perhaps it’s obvious from the foregoing, but all of us – students and chaperones/sponsors – were Methodists.)

Beyond the logistics, however, we travelers met as a group twice before the trip, beginning in February, to plan out every day of the trip between arriving and departing from London.  Arthur Frommer’s Europe on $5 a Day was our bible, but in the months before our trip we each did our own research and developed our own “must see” or “must do” lists, which we then presented and discussed in our group meetings.  Out of those discussions came a consensus itinerary that we submitted to the Campers Association, which then arranged the logistics.

In London we moved around the city on foot via the Tube, and for the rest of the trip in England and on the Continent we traveled in a Morris mini-van with right-hand drive – challenging for the driver (Tom) in both territories!


L to R: Chris, Judy, Hank, Annie, Susan, Tom



Saturday, July 11, 2026

My Excellent European Adventure 60th Anniversary - Preface


Sixty years ago, on the morning of July 4, 1966, I woke up after a restless (and mostly sleepless) night in a coach seat on the Santa Fe Chief enroute to Chicago from Oklahoma City, the first leg of one of the greatest adventures of my life.


I was on that train with a dozen other Oklahoma high school students heading to Europe for a six-week itinerary that we had planned ourselves, accompanied by two adult couples who served as group leaders and chaperones.  From Chicago we took a Canadian National Railway train to Montreal, then flew to London on a BOAC VC-10 -- my first flight on a jet, and my first trip off the North American continent.  I was 16.


After arriving in London, we split into two groups and followed slightly different itineraries until returning to London, then flew back together to Montreal and returned by train to Oklahoma City.


Over the next six weeks, I’ll post some photos and stories from the trip.  For today, here’s our group of seven kids and the husband of the adult couple who shepherded us on the trip.  (His wife took this photo.)  I’m the tall guy with glasses in the back.  And for comparison, I'm including a photo of me 58 years later at the same OKC railroad station from which we departed.


All aboard!







Tuesday, June 23, 2026

A Tale of Two Aidas



In the 12 years I have been photographing dress rehearsals for Opera Southwest (29 of them so far), there's never been a repeat production . . . until last February, when OSW presented a new production of Verdi's Aida.


The first Aida I photographed for OSW was in October 2015.  You can read my blog post about it (with images) here.  This time, however, I thought it might be fun/interesting to compare some aspects of the two productions.  A lot of things changed in the intervening years -- many obvious (like the set, the costumes, and the cast), some not so obvious (e.g., the stage direction and lighting choices).


Let's start with the set.  Both productions used a combination of 3-dimensional elements in front of a rear-screen projection of background elements.  But clearly the technology and graphics capabilities have progressed significantly in the ensuing decade:


2015



















2026




Here's what the actual physical elements of the 2026 set look like without the lighting and rear-screen projection:



The topography of the sets differs significantly, too, which makes the use of the stage, lighting, and the spatial relationships of the characters different.


2015




2026




2015








2026









Then, of course, the casts are different.


Aida 2015



Shana Blake Hill


Aida 2026



Michelle Johnson



Amneris 2015


Kirstin Chávez



Amneris 2026



Olivia Vote



Radames 2015



Clay Hilley


Radames 2026



Dane Suarez


Amonasro 2015


Tim Mix


Amonasro 2026



Matthew Hanscom


A side note:  Amonasro is an Ethiopian prisoner of war that Radames has brought back to Egypt.  He's also the king of the Ethiopians, and the father of Aida, but at this point in the opera, his identity is not known to any of the Egyptians (except Aida).  So, to me, his costume in 2015 seems entirely wrong for an incognito king/prisoner, whereas his costume in 2026 makes sense.


Although the story, relationships, and libretto are the same, different directors will inevitably make different decisions about actions, gestures, movements of the singers, lighting, and other elements that bring the story to life.  Here are two examples.


In Act IV, Ramades is put on trial for treason.  The trial takes place offstage, but the priests who will judge him file past Amneris as they enter and return from the court.  In both productions, Amneris watches them file in, but from different vantage points and with different lighting:


2015




2026




After the trial, where Radames offers no defense and is convicted, the priests file out, again past Amneris.


In the 2015 production, Amneris physically confronts the priests, begging them for mercy . . .





















In the 2026 production, Amneris confronts the High Priest, at first from a distance . . .




. . . then she comes closer, grabs the High Priest's knife . . .




. . . and threatens him with it . . .




. . . but to no avail:



Another example:  at the end of the opera, Radames and Aida are entombed and left to die; Amneris, above the tomb, mourns her loss.  Notice not only the difference in poses, but also difference in the lighting.


2015
























2026




























At the same time, of course, many actions of the singers are motivated (if not actually dictated) by the words of the libretto, and look very similar in the two productions.  Here are a couple of examples.


Amneris arguing with Aida:


2015


2026





Amonasro throws Aida to the ground while arguing (I didn't get a good shot either time, because it happened so fast):


2015





2016




Overall, the 2026 production's staging and lighting were more photography-friendly.  Here are some additional images from that production.



























If you would like to see these images (and many more) in a larger format, please visit my photography website, Todos Juntos Photography, by clicking here.


Enjoy!