By Dr. Tim Seelig–
Have you ever left a job and been invited back a year later to see how things are going in your absence? Well, that’s exactly what happened to me. Of course, I said, “Yes.” To put it in showtune speak, approximately five hundred twenty-five thousand, six hundred minutes after walking off the stage at Davies for the final time, I was back. But this time, I entered through the lobby, down the aisle, and into Orchestra Row C Seats 101 and 103. (Thanks, Chris.) I didn’t have on formal attire, was not carrying a baton, and my blood pressure was much lower than a year earlier. The last time I was invited to hear SFGMC (the San Francisco Gay Men’s Chorus) in concert was Christmas Eve, 2010, at the Castro Theatre. That night, I was introduced as the next Artistic Director beginning in January 2011.
Just before that, in 2009, I guest conducted SFGMC at Davies. I took an Uber to the concert. The driver, a dead ringer for Bob Marley, asked where I was going. I told him I was conducting the San Francisco Gay Men’s Chorus. He immediately proclaimed, “Oh, they are good!” He emphasized and elongated the “good” for maximum effect. I asked if he had heard them. He said, “No, but I know they are good.” That is brand awareness you can’t buy. Well, I can tell you that in 2023, they are good—emphasize and elongate that, please. They are not just good, but amazing!
It was awe-inspiring to experience SFGMC from the pews of the Davies church house for the first time ever. I now understand the visceral experience of entering that enormous hall, witnessing that huge stage just waiting to be filled with singers, instrumentalists, and a conductor (or two). Holy smoke. Anyone who is not bowled over seeing the San Francisco Gay Men’s Chorus has obviously lost their bowl somewhere along the way.
But let me back up before finding our seats. The chorus has had a tradition since the nineties of singing “Irish Blessing” to family members backstage before every performance. It began in the peak of the AIDS pandemic when having family members attend a rehearsal or performance was rare. It meant the world to the entire chorus—even if not their own family member. I am told it would often be one or two. Well, that has grown. You may have seen it in the documentary Gay Chorus Deep South. For more than a decade, I was up on some random chair or small ladder leading this beautiful, intimate family moment.
This time, I was the one invited to come backstage as a family member—no chair or ladder involved. There must have been more than 30 singers with family members backstage. Each is introduced (quickly). At that point, Jake introduced me as one of the folks being officially inducted! It was an incredibly special moment with singers’ arms around our shoulders surrounded by the gorgeous a cappella sound of the chorus. Magic.
From there, Bobby Jo and I literally ran to our seats. The full San Francisco Symphony Orchestra was already there just waiting to accompany the chorus. You gotta love that! The singers entered to thunderous applause. Jake entered to even more thunder! He looked as if he had been conducting top-tier, world-class symphony orchestras his whole life. Of course, it’s a collaboration, a dance. But someone must lead, and someone must follow. For this night, SFGMC was Gladys Knight and the orchestra the Pips! He was in the lead every step of that dance. Jake masterfully led the symphony through the overture—a teaser of what the evening would hold. It was arranged by the amazing Nick Perez, Principal Accompanist and Music Supervisor.
Then the chorus joined the orchestra in a rip-roarin’, fully choreographed “Saturday Night’s Alright (for Fighting).” There was no fighting going on. With that, I was finally able to calm my own nerves enough to sit back and revel in the experience. Everything was just fine at my old workplace! Throughout the years, I have heard this about SFGMC singers, “They sing with such passion and commitment. Their energy literally bursts from the stage.” They were right. I was taken aback by the discipline, the delivery, and the dynamism. Spectacular is a word that comes to mind.
The evening was a romp down all sorts of yellow brick roads for an audience filled with Friends of Dorothy and allies. How fun is that? We had some Wizard, some Wicked, and some Wiz.
I was happy Jake shared the podium with Mitch Galli, Associate Director of Music Education & Outreach. Mitch conducted the opening number at last year’s concert. That means he has conducted the symphony twice as many times as Jake or I have! The first half was filled with favorites including “Rocket Man” and “Popular.” It closed with the chorus defying gravity and soaring over the big gay rainbow. It was a crazy good and unexpected mash-up of those two big gay anthems and it was a big wow!
Intermission was much different, too. This time around, I got to have a drink! Prosecco. And, even more surprising, I got to bring it to my seat—in a plastic cup with a lid. Klassy with a K. I also got to see so many friends. A year before, I was nervously going over the music for the second half.
While I was getting my Prosecco on, the symphony departed the stage allowing room for SFGMC to display more of its signature fun with dancers, ensembles, and production numbers. The Lollipop Guild, now 45 years old and under the direction of Paul Saccone, opened their set singing, “We represent the Lollipop Guild.” It brought the house down (not on the witch). They brought out the evening’s 1st (certainly not last) drag extravaganza with Elton John’s “My Strongest Suit” from Aida. It was a kaleidoscope of beauty (in the eyes of this beholder). HomoPhonics wowed the audience with its amazing tight harmonies on “As Long as You’re Mine”from Wicked, arranged by their director Mitch, and kicked it up with “The Bitch Is Back.” (I thought for a moment this song was dedicated to me, but soon realized it was not!)
There were too many highlights to enumerate. The absolute joy of singing was evident on the faces of the singers. There is really nothing as exciting as hearing a couple hundred tenors and basses ring the rafters. The music selection was super fun and it was obvious to all that the chorus loved giving every one of its musical gifts to the audience. It was also wonderful to hear an update from CEO Chris Verdugo that the renovations are almost complete at 170 Valencia, the home of the San Francisco Gay Men’s Chorus and the Chan National Queer Arts Center. This is a dream come true. Please stay tuned for exciting things to come on this front.
Among the highlights was the tribute to Steve Valdez, SFGMC’s longtime choreographer and show producer, positions he has held for 29 years. This is an incredible run in any arts organization. He is moving to Palm Springs but will continue being on the SFGMC team remotely. His best friend, Michael Tate, shared the tribute that included a proclamation that July 19, 2023, would forever be known as Steve Valdez Day in San Francisco. It is impossible to put into words the impact Steve has had on the chorus. Not only has he choreographed every number, but he has also been intimately involved in creating the shows themselves, selecting repertoire, and helping craft shows that would wow the audience at every turn. All of this he’s done as a volunteer, despite our attempts to pay him. His talent is only eclipsed by his character. He is one of the kindest, most gentle people I have ever known. I am so happy to know he is staying involved.
The show came to a huge climax with the chorus and band performing “Goodbye Yellow Brick Road/I’m Still Standing.” This was also arranged by Nick Perez. It was bittersweet as it was announced he would be moving to New York City in the fall. He was a huge gift to SFGMC, helping us rise out of the pandemic. The medley was the perfect message and brought the audience to our feet.
So, how’s the old homestead? They’ve made some changes, of course, such as new curtains (wardrobe), new paint (wicked green brooches), and new shining faces in the chorus. But the place looks fantastic. It is impossible to really compare standing on the podium to sitting in the audience. They could not be more different. That said, I am so happy it is Jake standing up there and I am also happy it is Tim in the seat! Both things are the way they are supposed to be. I am certain we will both be in those very same places for many years to come. I can’t wait for more. My heart is full.
Dr. Tim Seelig is the Conductor Laureate of the San Francisco Gay Men’s Chorus. http://www.timseelig.com/
TLC: Tears, Laughs and Conversation
Published on August 10, 2023
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