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Mrs. GREEN APPLE - 「The ROOM TOUR」

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The ROOM TOUR

2019/06/28 (金) ～ 2019/09/17 (火)

[出演] Mrs. GREEN APPLE

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ライブレビュー(3件), 2019/07/03 (水) 19:00開演 @ nhkホール(東京都).

初、ミセス。 始まりから終わりまで、まるで映画とかお芝居を観ているような、不思議な、ステキな空間だった。 エンドロールって、カッコいい。

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Mrs. green appleは史上最もコンセプチュアルなツアー「the room」で何を伝えたのか？.

Mrs. GREEN APPLEが『ROCKIN'ON JAPAN』6月号（4/30発売）の表紙巻頭に登場！

【10リスト】私たちの心を揺らしたMrs. GREEN APPLEの名歌詞10

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三山凌輝、cut5月号に登場！be:firstとしてドーム公演、役者として朝ドラ出演を果たした今、次なる目標とは？, 本日発売cut5月号、表紙巻頭はateez！ yeosang×san×wooyoung×jonghoの座談会インタビューから、一部抜粋してご紹介します。, cut5月号で『僕のヒーローアカデミア』特集！ #山下大輝 × #内山昂輝 のオフショットとインタビューの抜粋をお届けします！, ateez表紙のcut5月号、本日発売！ 2本の座談会インタビューより、hongjoong×seonghwa×yunho×mingiの発言の一部を抜粋してお届けします！.

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CUTでやります、『ぼっち・ざ・ろっく！』表紙巻頭特集！ 結束バンドキャスト座談会から、初の野外フェス出演となる「JAPAN JAM」速報ロングレポまで、ここだけの見所満載の一冊は5月20日発売！

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女王蜂の結成十五周年記念単独公演「正正正（15）」を代々木競技場第一体育館で観た

ネタバレ禁止の「The ROOM TOUR」ついに全貌が明らかに…！！

Mrs. GREEN APPLE

ミセスLOCKS! 放送後記

ニュージーランド！韓国！秋田・佐賀！ミセス先生の今！！

新生活！新学期！みんなの今！！

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年内最後のミセスLOCKS!1年を振り返り

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最近のミセス先生はこんな感じ！僕達の今！

12月に突入！生徒みんなの”今”をチェック！！

君はどんな時に、どの楽曲を聴く？新授業『君とミセス』！！

初めてを大切に・・・！初書き込みのメッセージをチェック！

今日はゆっくりHR！“大人メンズ生徒”募集！

今夜はゆっくり、最近のミセス先生についての授業！

最後のプレイリスト完成！生徒みんなが選んだ”合唱で絶対に歌いたい曲”とは・・？！

プレイリスト第3弾作成開始！！

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祝・若井滉斗27歳！若井先生の歴史に迫ります！

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Thorne Miniature Rooms

Mrs. James Ward Thorne. French Salon of the Louis XVI Period , about 1780, about 1937. Gift of Mrs. James Ward Thorne

Let your imagination take over on this journey through the Thorne Rooms—miniature and, as generations of Art Institute visitors have found, wonderfully transporting.

Narcissa Niblack Thorne, the creator of the Thorne Rooms, herself had a vivid imagination. In the 1930s, she assembled a group of skilled artisans in Chicago to create a series of intricate rooms on the minute scale of 1:12. With these interiors, she wanted to present a visual history of interior design that was both accurate and inspiring. The result is two parts fantasy, one part history—each room a shoe box–sized stage set awaiting viewers’ characters and plots. 

The highlights below offer just a glimpse of the fascinating stories behind the much-loved Thorne Rooms—so unleash your imagination and step into these astonishingly tiny spaces.

Of the 68 rooms created by Thorne and her craftsmen, this is the only miniature of a sacred space. The Gothic-style church is built on an even smaller scale than the models of domestic spaces, emphasizing the grandeur of the space. Thorne did not set out to create a “typical” church space but rather one with specific character and exquisite details. She lavished attention on even the smallest elements of the space, specially commissioning the elaborate altarpiece, grille work, and crucifix from artists who generally worked in full scale. The Gothic style of the church would have been familiar to her Chicago viewers—after the Great Fire of 1871, the city embraced the Gothic Revival style for churches, universities, apartment buildings, hotels, and private clubs.

LINDSEY MICAN MORGAN: E-29: English Roman Catholic church in the Gothic style, late 13th century.

Mrs. Thorne’s Gothic church is the only room that is not one inch to one foot. It was reduced further in size because of the grand scale of the Gothic church. Things of note in the room are the triptych at the back of the church; this was designed by a famous artist, Hildreth Meière. She is mostly known for very large-scale pieces, so it’s quite charming to see her work in such a small scale. Another artist of note that Mrs. Thorne hired is Marie Zimmerman. She did the family crypt gates that are here in Chicago for the Thorne family, and Mrs. Thorne was so taken by her work she asked her to do the ironwork that can be seen here to the left by the anteroom. Miniaturist, Hank Kupjack:

HANK KUPJACK: Mrs. Thorne had a fascination for miniature, and she was on the board of the Art Institute during the time when full size period rooms were all the fashion in museums, and she realized that to have a comprehensive example you would need a building three times the size of the institute, and that was their original purpose: to educate and to give the public an idea of what full size period interiors look like.

RM WOLFF: The relationship of one inch to one foot, that was her work that resulted in that being the now accepted way that miniatures are built.

LINDSEY MICAN MORGAN: Doctoral candidate and graduate of the School of the Art Institute of Chicago, RM Wolff.

RM WOLFF: Part of the reason that Mrs. Thorne’s rooms were able to be so successful is because they come on the heel of a larger interest in period rooms, a nostalgia that gets manifested as preservation.

Archive: "In the process of turning back the pages of history to colonial days, 458 structures were demolished and all evidence of modern life removed…"

RM WOLFF: Colonial Williamsburg, that restoration has begun in the 1920s led by the Rockefellers with this feeling of sort of making sure to preserve American history.

Archive: "Even the signs are in keeping with the restored city."

RM Wolff: So her project fits squarely within this moment of threat to these original spaces. Partially because of the war these objects are now available on the market, and absolutely this nostalgia for a simpler time, a less threatened time, is completely part of the period room trend on the whole and the Thorne Rooms in particular.

Thorne, like many of her generation, was generally not an admirer of Modernism, but she wanted her survey to at least touch on contemporary taste. She called this room a “modern art gallery,” and the focus is on striking (and tiny) paintings and sculptures, all commissioned from well-established artists including Fernand Léger , Amédée Ozenfant , and Léopold Survage . The Cubist painter Léger created the work hanging over the bright red sofa. Thorne strongly disliked what she called “packing box furniture,” adding “I shall never feel the urge to own chairs made of tortured plumbers’ pipe camouflaged with a wash of chromium and upholstered with slippery leather.”

LINDSAY MICAN MORGAN: A37. California hallway, circa 1940.

Set in Mrs. Thorne’s own time period. If you look out the balcony window you can see the skyline of San Francisco at nighttime all lit up.

Glancing around the room, you can’t but notice all the artwork and there’s something pretty significant about the artwork within this room. These were not made as duplicates of existing artworks; they were actually made specifically to go in this room.

Looking at the far back wall over the fireplace is an original work by the cubist painter Ozenfant. Then, if you look to the right, over the red sofa, there is an original work by Léger. And the pair of bronze sculptures are by John Storrs.

Mrs. Thorne supposedly wanted to commission Pablo Picasso for an original piece for this room, so she sent her sister over to Europe.

HANK KUPJACK: Her sister, Lydia Swift, was in Paris and had the job of trying to contact Picasso. This is before the war. So she went over to his studio four or five times and knocked on the door. And, finally, the last time she went over— Picasso’s studio was on the top floor and he opened the window and shouted out, “What?!” Mrs. Swift said, “I have a commission for you.” So she trotted up five floors and she showed Picasso what paintings Ozenfant, the rest of them, had done for Mrs. Thorne and he took one look at it and said, “That’s silly,” and slammed the door. Wouldn’t do it. But she tried. She tried.

LINDSAY MICAN MORGAN: So that’s the story. I think it’s pretty hilarious. Luckily, there were many artists who did not think it was silly and they’re just stunning pieces and specifically done to go in a miniature room.

RM WOLFF: The Thorne rooms are so compelling because they’re historical objects and artistic creations. They are both. They tell us history and they tell us history in very real ways that we have lots of evidence for. We know that these are how chairs and Marie-Antoinette’s anteroom looked. And we know that this is how dining rooms in Pennsylvania looked. We know that they’re telling us a very real history through their objects. And at the same time we know that they are creations of this woman in this particular moment.

MARIANNE MALONE: There’s her hand involved in these, her imagination, her desires, her wants, her direction.

ANNE THORNE WEAVER: I cannot emphasize what an incredible woman she was. A friend of a friend’s, a wonderful grandmother, she was just really— I don’t mean the “one of a kind,” but she was an exceptional woman.

Thorne particularly admired the refined classical style of 18th-century French and English interior, and the people of Chicago, many of whom were struggling to survive the devastating Depression of the 1930s, would have found the imagined perfection of this room especially captivating.

Thorne’s inspiration for this room was the Petit Trianon, a small but richly furnished classical retreat set in the gardens of the French royal palace of Versailles. She noted Marie Antoinette as a particular inspiration, infusing the room with mystery and drama by associating it with the doomed French queen who, before her execution, had been a leading patron of the arts. The room’s miniature furniture was purchased in Paris and is especially fine: the marquetry commode and marble-topped secretary can be actually opened and locked with tiny keys!

LINDSEY MICAN MORGAN: E-24: French Salon of the Louis XVI period c. 1780. Everything about the room screams of Marie Antoinette.

Mrs. Thorne wrote: "Nothing could be more chaste, more restrained; this was Marie Antoinette’s favorite retreat and it is here that I always feel her shadow." And I’m not sure I would describe this as restrained, a lot of gold up in this room. Marie Antoinette was a teenager given a royal coffer and she was irresponsible as most teenagers would be, and it has such lovely sensibilities. These are also the sensibilities that got Marie Antoinette beheaded.

RM WOLFF: When we look at this miniature room the detail is just amazing. We get completely caught up in the idea that we know Marie Antoinette loved music and nature, and there’s a chair that has a harp-shaped back and there are roses everywhere, even on the small vases, and the tiny secretary desk that’s included in the room can actually be locked and unlocked with a very tiny set of keys. We’re delighted by these details, and don’t totally remember their context. This was a queen that just years after this room depicts suffered at the hands of a revolution that would see her as representative of taking advantage of this beauty and this wealth and pulling it all in for herself. So miniatures do this very funny thing where they pull us into their spaces, but sometimes we don’t always take our context with us, or their context with us. They depict moments in time. They do tell those other stories too. They do give us insight into those more complex historical moments also.

LINDSEY MICAN MORGAN: Almost all of these rooms are depicting households that indeed would have a staff, that’s because that’s stylistically of what’s note. If that’s who had the money to hire architects and have something put together in a way that was historically of note then that’s completely part of who she is and part of the reasoning of the rooms.

Thorne was entranced by the romantic idea that America’s colonial past was a simpler time, uncomplicated by industry, immigration, or urbanism. She wanted this interior, which she found warm and intimate, to evoke the lifestyle of seafaring families who, she thought “might occupy a one-story cottage, small and [as] compactly planned as the boats built by the same craftsmen.” It was Thorne’s genius to leave out human figures from all of her rooms, since they would inevitably be taken for dolls. Instead she wanted the viewer’s imagination to take over. Here, the child’s toys on a diminutive chair and a table set for tea suggest that the occupants might have just stepped out of the room.

LINDSAY MICAN MORGAN: A12. Cape Cod living room, circa 1750 to 1850.

HANK KUPJACK: Part of the joy of this art form is re-creating things that no longer exist. But by making a miniature of it you can experience the way it actually was, that you no longer can.

RM WOLFF: My favorite room is the Cape Cod living room. It’s sort of selfish. I used to go there when I was a kid and there’s just something about the light in that room that Mrs. Thorne gets so right. It feels like the ocean is right there. It feels like the afternoon sunlight is streaming in and that’s the magic of being with the rooms is that they take you back to moments and memories in your own life that mean something to you. I could stare at the sunlight from that room all day.

HANK KUPJACK: This is actually a saw that was used during the construction of the Thorne rooms because it was bought by my father in 1934. And we still use it. My name is Henry Kupjack and I’ve been doing miniature for my entire lifetime. My father, Eugene Kupjack, started working for Mrs. Thorne in 1934 when he was 23 years old. He worked for her on the American series of rooms that are presently housed in the Art Institute. Well, you didn’t really want to tell the kids on the playground that your father made dollhouses. So I never really talked about it with other kids. It was just sort of the thing we did. First of all, you have to know what to copy. If something full size is crap and you shrink it down, it’s still gonna look like crap no matter what you do. You have to have a reasonable amount of hand-eye coordination. You have to have a cinematographer’s sense because you have to light them without seeing the lights. There are a lot of people who do this and for the most part they look like what they are. What we try and do here— what Mrs. Thorne tried to do is make them look real. And that’s not so easy.

LINDSAY MICAN MORGAN: In Mrs. Thorne’s Cape Cod living room if you look by the little children’s chair there is a miniature doll tea set and it is placed atop a copper serving tray. This copper serving tray is actually a hand-hammered penny. If you flip the tray upside down, you can actually see the head of Lincoln.

HANK KUPJACK: The materials we use and the materials that you see are not what they actually are. We don’t use stone for marble. It’s painted wood. These are like the movies: It’s all illusion.

Thorne traveled widely in England and France and learned much about the history of interior design from those cultural journeys, as well as from books and publications supplied by antique dealers for collectors and designers. She wanted her rooms to serve as useful tools for teaching design history—as miniature versions of the full-sized “period rooms” which were popular across American and European museums at the time. She also hoped they would be inspiring examples of sophisticated taste, which she may have felt was lacking in Chicago at the time.

The furnishings in this room were made in England and inspired by designs published in 1791 by the successful cabinetmaker Thomas Sheraton. Thorne intended this drawing room to bring to mind 18th-century English country villages, “which were peopled with the hypersensitive women and overindulged and overestimated men whom Jane Austen immortalized.”

LINDSEY MICAN MORGAN: E-12: English Drawing Room of the Georgian period c.1800.

MARIANNE MALONE: I was an art teacher in an all girls middle school and we would always bring our students up to the Art Institute of Chicago and we always popped down to the Thorne Rooms to see them and I saw over and over again jaws drop and eyes pop. So I created Ruthie and Jack, who are best friends and they’re sixth graders who find a magical way to shrink and enter the room. My name is Marianne Malone. I’m the author of the book series "The Sixty-Eight Rooms", a series of books which is based on the Thorne Miniature Rooms. So the English Drawing Room of the Georgian period is a beautiful, very simple room compared to many of the other rooms, and there’s a little violin that sits in its case on the loveseat of a bay window that looks out onto a garden, and in the story it’s one of the very first rooms that Ruthie visits. Mrs. Thorne was very smart in that she set her rooms in complete settings, that is there are dioramas outside of the windows and doors as well as extra little rooms, so you have the sense that the rooms aren’t just simple boxes that are perfectly executed, and I think that that makes people want to peer out all the doors and windows and see into the little side rooms and hallways, and you can imagine somebody going in and out of those doors.

<reads> "The room appeared smaller with a lower ceiling and the walls were painted white. Straight ahead of Ruthie was a bay window with a gold silk covered window seat that looked out into a sunny spring garden. On her left was a marble fireplace with tiny blue and white china pieces on the mantel. Just past the fire place was a harpsichord, and on the window seat a delicate violin sat in its case. Ruthie was about to take another step when she heard voices. She quickly ducked out of the room and waited again. ‘This would be so much better if the museum were empty’ she thought. At last the viewers passed by. This time she made a beeline for the harpsichord. She placed a finger on one of the keys softly. The key was stiff, but she managed to push it down all the way. It played. It sounded tinny and out of tune, but it was a real harpsichord all right. She tried a chord, ‘Wow, who could possibly have built this so small?’ She had to work fast; more people would be coming by. She took two steps over to the window seat and picked up the violin. She made a pass. It squeaked! She made it two more – not bad, but then she heard voices coming again, ‘Not enough time to put this back. Run!’ She sped across the room and out of the door, just as two elderly women came into view. ‘Mary, did you hear something?" one of the women asked, ‘Sounded like a mouse’ the other answered.

Now wasn’t that fun?

In the 1920s and ’30s, American museums were committed to displaying their collections in inspiring architectural settings. Many, including the Art Institute of Chicago, purchased the wall paneling of rooms that had been removed from their original sites in Europe and Asia. Thorne chose to represent one Chinese and one Japanese interior in her suite of 68 vignettes, a reflection of the broad influence of non-Western design on American Modernism. Though she had a group of highly skilled artisans contributing to the making of the rooms, she recognized the need to engage specialist skills for this room and commissioned Chinese carvers to produce the screens and fretwork.

LINDSEY MICAN MORGAN: E30. Chinese interior traditional.

TAO WANG: Traditional Chinese households there was little sound. Something we don’t see here is bird cages, because in Northern China, particularly older people like to keep birds. So you can hear the birds in the morning. But here we don’t see the bird cage.

LINDSEY MICAN MORGAN: This is one of the few interiors that Mrs. Thorne never visited the location, but she did go to the extent of having a craftsman from Hong Kong carve all of the fretwork within this scene. Lindsay Mican Morgan: Pritzker Chair of Asian Art at the Art Institute of Chicago, Tao Wang.

TAO WANG: When you look at this room you can imagine yourself standing in the middle of the courtyard. It’s usually walled. Usually would have the bamboos and the sometimes with the plum tree. Clearly, it’s not for ordinary people. It is for a very rich family. So if you look at the design, it’s actually have three levels, the front, the middle and the back. On your left it’s reception and on the right hand it’s the bedroom. Usually that bedroom is reserved for the eldest member of the family— should be the grandpa or grandma.

TAO WANG: Most important thing you can see here is that room at the end, you can see ancestral portrait is hanging on the wall. At the front of the portrait there are incense burner, there are candlestick; for many families they have to come together every morning to pay their respects to the ancestor.

LINDSEY MICAN MORGAN: It’s of note that Mrs. Thorne felt that Chinese and Japanese design needed to be represented within her collection of interior depictions. If you view any number of the Thorne miniature rooms, you will be able to spot the influence of Asian design on the rooms. You can see jade carvings, wall papers with paintings done in the style of Asian artwork.

TAO WANG: But, to me, I think it’s very much kind of feel at home— I do kind of recognize all the elements in this design. In that way I think it’s— it is quite accurate and it’s so balanced, it’s so perfect, I think here it does kind of represent this idealized China in the mind of a society lady.

This interior complete with a large fireplace and a charming braided rug is meant to represent a cozy Massachusetts room from the late 17th century, about 50 years after the Pilgrims had established themselves at Plymouth. The tiny miniature ship on the mantel over the fireplace is a model of the Mayflower—a reminder of the Pilgrims’ journey. In the 80 years since this room was made, however, our notion of the settlers’ life and the impact they had on the Indigenous people and their way of life has shifted. We can readily see that the brightly waxed floors and uniform display of pewter on the cupboard more accurately reflect a Depression-era longing for an idealized American past. Like the Cape Cod Living Room, it is a perfect example of Colonial Revival taste.

LINDSAY MICAN MORGAN: A1. Massachusetts living room and kitchen. Circa 1675 to 1700.

Most rooms have to be cleaned about every three to four months. There are some rooms that are mysterious and love to be dusty almost immediately. So I’m going to clean the Massachusetts living room and I’m going to open it up now. And here’s one of our magical keys.

One of the main parts that gets a bit of dust is actually where the keyhole is. So <laughs> we have people gratefully coming in by the masses right off the street, so they bring in a fair amount of dust from the outside. We’ll start removing the objects from the room. Now I’m going to pick up this largest piece of furniture, this cabinet from the back of the room. This has quite a few pieces of pewter. I try never to be in any kind of a rush. And I won’t deal with the fireplace, because Mrs. Thorne would actually gather the ash trays from her workers and save the ashes to put in the fireplaces. Of course, I’ll clean off the dust on the stones and everything, but we don’t want to dust in the fireplace really all that much, ‘cause we don’t want to lose the little ashy bits in there.

LINDSAY MICAN MORGAN: You know, some people love to joke about— if they see me during the day, they’re like, “Oh, where’s your mini-vacuum?” And we actually do have vacuums, but they’re not miniature at all.

The major tools that I use are a couple of different brushes. The fun part is getting your— you can actually get your whole head inside a room to be able to see around a corner or something.

Now let’s go ahead and get back in here. Okay. This chair goes over here and that one goes in the back.

MALE VISITOR: You’re setting up a room.

CHILD VISITOR: You’re setting up a room.

LINDSAY MICAN MORGAN: Yeah, we’re just inspecting everything and making sure everything is—

MALE VISITOR: I bet you they dusted it just like we dust our room at home.

LINDSAY MICAN MORGAN: We just did!

All right. And there we go. I’ll probably go back over that way, because I was a little rushed.

MALE VISITOR: Okay, should we keep looking?

LINDSAY MICAN MORGAN: Have fun, guys!

MALE VISITOR: Well, when you’re five this is cool.

LINDSAY MICAN MORGAN: This is cool when you’re fif—

I was like, “I don’t know what you’re talking about.” This is pretty cool at <inaudible>

I have to be very careful every time I’m within these rooms that these are such precious objects. It’s pretty— you know, quite an honor to be able to work with them.

Thorne drew inspiration for this lavish parlor from the elaborate antebellum plantation interiors depicted in the popular 1939 film Gone with the Wind , as well as from a study of furnishings from the period. She acknowledged that in representing these spaces, she was not interested in “wars and famines” but instead focused on style and taste. Here, like others of her generation, she celebrated the grandeur and prosperity of a Southern estate, but chose not to address cotton plantations and the uncomfortable source of that wealth.

LINDSAY MICAN MORGAN: A30. Georgia double parlor, circa 1850.

The Georgian double parlor is one of the few rooms that’s partially based on fiction, but it’s a fiction that was also based on some fact. A “Gone with the Wind” room.

RM WOLFF: In Mrs. Thorne’s personal effects, there was a copy of “House and Garden,” which is still a magazine that exists, but an American magazine about interior decorating that had still images from the film in it, including still images of the parlor, that were in Mrs. Thorne’s folder on the Georgie double parlor. So we know that this is what she was looking at while she was building the rooms.

LINDSAY MICAN MORGAN: There’s exact replicas, you know, of some of the objects seen within the movie that then Mrs. Thorne added to her Georgian double parlor. The most easily identifiable objects are the large gold, ornate mirror over the fireplace mantel as well as the detailing over the windows above the drapery.

RM WOLFF: Why she would chose, in this one instance, to go to something that had been in such a popular way depicted— yeah, it is a little bit of a curiosity. I mean, imagine the delight at visiting the Thorne rooms. You know, “Gone with the Wind” has just won Best Director, Best Picture and Best Actress— to go to the Thorne rooms, which have finally arrived in your town and to see Scarlet O’Hara’s parlor. That’s being very invested in your audience at the time.

SCARLET: I’ll go home. And I’ll think of some way to get in there. After all, tomorrow is another day!

LINDSAY MICAN MORGAN: Mrs. Thorne re-created such a scene as Scarlet O’Hara would be comfortable in.

Explore Further

• E-10: English Dining Room of the Georgian Period, 1770-90, c. 1937 Narcissa Niblack Thorne
• A31: Tennessee Entrance Hall, 1835, c. 1940 Narcissa Niblack Thorne
• A18: Shaker Living Room, c. 1800, c. 1940 Narcissa Niblack Thorne
• A37: California Hallway, c. 1940, c. 1940 Narcissa Niblack Thorne
• E-9: English Drawing Room of the Georgian period, 1770-1800, c. 1937 Narcissa Niblack Thorne
• A10: Massachusetts Dining Room, 1795, c. 1940 Narcissa Niblack Thorne
• E-1: English Great Room of the Late Tudor Period, 1550-1603, c. 1937 Narcissa Niblack Thorne
• E-31: Japanese Traditional Interior, c. 1937 Narcissa Niblack Thorne
• A35: California Living Room, c. 1935-1940, c. 1940 Narcissa Niblack Thorne
• E-15: English Drawing Room of the Modern Period, 1930s, c. 1937 Narcissa Niblack Thorne
• E-21: French Boudoir of the Louis XV Period, 1740-60, c. 1937 Narcissa Niblack Thorne
• E-25: French Bathroom and Boudoir of the Revolutionary Period, 1793-1804, c. 1937 Narcissa Niblack Thorne
• A11: Rhode Island Parlor, c. 1820, c. 1940 Narcissa Niblack Thorne

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Mrs. Higgins’ Room Tour

Oh goodness, it’s only one week until Christmas! I can’t believe it! We still don’t have snow here in Indy but there is a rumor going around that we are expected to have some this weekend. It has been so warm here which has made the holidays a little sad to me.

For this week I have been trying new recipes. I have been bringing my own salads to work this week for lunch and making my own dressing. It has been delicious! I have also been adding apples with roasted chicken (my chicken from home) and that has been a wonderful combination. I wanted to try and make Nicolas Fairford’s cranberry sauce . Seeing that on those turkey tea sandwiches that he made had my glands salivating. Oh yum!

In today’s post I wanted to talk about the Mrs. Higgins home in My Fair Lady . 

photo via Pinterest

I adore this room. Whenever I watch this movie I replay this part over and over so that I can get a glimpse of the details. I learned that the room was decorated by Cecil Beaton. I believe he was inspired by C.F.A Voysey. I also believe that there is a little bit of William Morris inspiration as well. 

I love the chairs, table, just everything about this setting. I still can’t believe that people actually lived this way…. 

I paused the movie at this point and tried to take in all the details. I looked at the wallpaper, the blue and white dishes at the top of the cabinetry. Just look at the cabinetry! It’s timeless. I see cabinets in homes on Pinterest like this now. Oh and did you get a peek at the chandelier? It’s blue and white!

I tried to take up-close photos of the movie. There are so many wonderful details in this room. How about that beautiful brown wood floor? 

Oh, I did notice this section in the room as well. This beautiful white secretary desk with a stunning blue and white chair! I couldn’t find any information on this furniture. I think the lamp might be Wedgewood. It sure does look like it. 

Let me know in the comment section below if you know anything about Mrs. Higgins’s room. I would love to know what you love about the room or dislike. I hope you all have a wonderful Wednesday. 

Good morning Mrs. Shockley,

For me, I adore every part of Mrs. Higgin’s room. The blue and white covered chairs, oh my! My kitchen cabinets are about the same color and I have been slowly adding blue and white peices. I’m inspired by the plates on top her cabinets to try that. The secretary desk is so beautiful with the blue lamp shade. I appreciate this type of decor over the modern decor. Lastly, what’s there to not like about this room? Thanks for sharing!

I love the plates above the cabinets. I think the mix between the modern decor and the vintage decor was done so well! And I agree with you, what’s not to like!

I haven’t seen My Fair Lady in such a long time. I might try to stream it over the holidays. I saw it many years ago. I must have been in high school. I’ll watch it again with new eyes. So much has changed in my life, I’m also older so I’m sure that I will appreciate viewing it now. They did certainly know how to live well in decades past. A blue and white chandelier 💙Your home and appearance mattered. Nowadays not so much. Even in the office when I went in for training, I was asked why I was so dressed up. I really wasn’t Mrs Shockley. Since I’ve been motivated by you, Nikki, Jennifer and others to take more pride in that, it’s showing outwardly and I’m too fancy now for some. Well fancy be I. I’ll continue to live in my dresses and pretty things. A return to true femininity I think is paramount in this utterly confused world of today. I just want to be myself. It was you all that reminded me of my authenticity 💕🌺🌷🤗

Aww, thank you so much Ms. Tracey! I have always dressed up. I must admit there were a few times that I was going to quit because I just got tired of the stares but then I heard my inner man. Be bold and courageous. The Lord would want me to be that way. I hope that you continue being “fancy” let them stare. You are making them second guess themselves.

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Theater | Matthew J. Palm: Young Orlando actor comes home…

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Subscriber only, theater | young orlando actor comes home in ‘mrs. doubtfire’ tour.

There’s a scene in the musical “Mrs. Doubtfire” in which things go comedically awry for young Christopher Hillard at his birthday party. But everything’s going right for Orlando actor Axel Bernard Rimmele, who plays Chris in the national tour of the Broadway musical.

“I actually got to celebrate my birthday onstage,” says Axel, who turned 12 on a day he performed in the touring production, which stops at Orlando’s Dr. Phillips Center for the Performing Arts from April 23-28. “It was really cool.”

“Cool” seems like an understatement for the career trajectory of the sixth-grader, who already made a mark on the Central Florida theater scene before heading out on the road with “Mrs. Doubtfire,” the musical comedy based on the hit Robin Williams-Sally Field film.

You may have caught him cheerfully picking a pocket or two as the Artful Dodger in the musical “Oliver” at St. Luke’s United Methodist Church in southwest Orlando. Or at Orlando Family Stage, playing a boy with sensory-spectrum issues determined to keep his family together in the world-premiere Christmas musical “True North.” Or maybe as petulant, bedridden Colin Craven in Central Florida Vocal Arts’ production of “The Secret Garden.”

Like many before him, Axel was inspired to try performing by the magic of Walt Disney World. At age 6, he was pulled onstage by Captain Jack Sparrow himself in a Magic Kingdom show. A pirate, and then a star, was born.

“My parents like to tell me I’ve always been a performer,” he says.

“We always knew he was very comfortable in front of people,” says dad Zack Rimmele, who uses words like “a whirlwind” and “incredible” to describe his son’s success. “We never thought it would get to this point, but the arts scene in Orlando was so beneficial to him.”

His big break came with “Oliver.” Theatre at St. Luke’s director Steve MacKinnon was wowed from the first time he saw Axel perform.

“I was like, ‘Where did you come from?'” MacKinnon recalls of Axel’s audition. “He is precocious, brave, unique and just an amazingly gifted and natural performer. He was pretty new to the theater scene, but was so brave, committed and willing to make the iconic Artful Dodger character uniquely and authentically his own.”

“He was the nicest director I’ve ever worked with,” Axel says of MacKinnon. “He knew I was a kid, but he treated me like a professional.”

He also enjoyed “Oliver,” with its large ensemble of orphans in Fagin’s gang, because it offered a chance to meet folks his own age.

“It was really nice to be able to hang out with more kids,” Axel says.

The “Mrs. Doubtfire” cast has three other child actors: Axel shares the role of Christopher with another young man, and two actresses share the role of his sister, Natalie.

It’s bittersweet that some of his fellow child actors will be leaving the tour right before it arrives in Orlando. But he can’t wait to see his Central Florida friends.

So far, Axel has visited more than 20 cities. Washington, D.C., stands out because he was able to visit the White House and the Library of Congress.

So does Fort Myers because he stayed “five minutes away from the beach.”

Even though he was born in Pennsylvania, Axel’s obviously a true Florida boy.

The family moved to Orlando three years ago when Zack Rimmele took a job here. Axel saw other benefits: “Pools in backyards; you don’t see a lot of that in Pennsylvania.”

He attended Annunciation Catholic Academy in Altamonte Springs before switching to Florida Virtual School while on tour. Active in sports, he enjoys swimming and flag football in particular but also has played volleyball and soccer and run track in addition to his performing.

“I like to joke I have the most busy schedule,” he says.

Dad, his mom, Sarah and his sister are on tour with him, and the family eats dinner together nightly.

“It makes this sort of feel a little more normal,” he says. Plus, those dinners fuel his performances.

“I always think it’s good to have a home-cooked meal for the energy,” he says.

Landing the tour was cause for big celebrations: Another visit to Disney’s Magic Kingdom, where his love of performing was kindled. And a visit to MacKinnon, as well.

Axel came with a gift.

“I opened it,” MacKinnon says, “and it was a ‘Mrs. Doubtfire’ cookie — and that’s how he told me he booked the show. I started bawling from behind the piano out of pure pride and joy for him. He’s just really special.”

Axel’s favorite scene in “Mrs. Doubtfire” is the uplifting finale with its rousing “As Long As There Is Love” number.

“It’s the lighthearted part of the show; it’s what everything has led up to,” he says. “It’s really special to me.”

Oh, and there’s another more childlike reason that scene stands out: “There are all these monkey puppets, and I just really like that.”

He has about six more months to spend on the tour. It’s a role he’s bound to age out of eventually. In fact, it’s happening already — based on his costume, which includes a sweater worn by the original Broadway actor.

“At the start of the tour, it was huge on me, and now I’m starting to grow into it,” Axel says.

SAK Comedy Lab’s (almost) ready to start laughing in new downtown theater

Zack Rimmele says the family will support Axel in whatever the future brings.

“We’re happy he has this opportunity,” he says, “and happy to see what comes next.”

For his part, Axel offers words to live by, whatever your age or profession.

“My advice would be to get up onstage whenever you can,” he says. “Have fun. And give your best show every time.”

Follow me at facebook.com/matthew.j.palm or email me at [email protected]. Find more arts news at  OrlandoSentinel.com/entertainment .

‘Mrs. Doubtfire’

• What: Touring production of the Broadway musical based on the hit comedy film
• Where: Walt Disney Theater at the Dr. Phillips Center for the Performing Arts, 445 S. Magnolia Ave. in Orlando
• When: April 23-28
• Cost: $45 and up
• Info: drphillipscenter.org

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Country Star Tim McGraw Paid Cool Tribute to Caitlin Clark During Concert in Indianapolis

• Author: Tim Capurso

In this story:

Caitlin Clark is Indiana's newest star after the Fever selected the Iowa guard with the first overall pick in the WNBA draft on Monday night. Country music star Tim McGraw, who is currently on tour for his 16th studio album, Standing Room Only , has clearly been paying attention to the news in sports, as he found a cool way to both pay tribute to Clark and further endear himself to his fans at Gainbridge Fieldhouse.

In addition to his usual choice of hat and a pair of jeans, McGraw donned a No. 22 Clark Fever jersey on stage during the concert. (He had previously worn a Clark Iowa jersey in Des Moines in March.)

Tim McGraw sporting his new Caitlin Clark jersey at @GainbridgeFH tonight pic.twitter.com/1ROMUXB6ao — Andy VonDielingen (@AVOND76) April 19, 2024

McGraw turned and showed fans the back of the jersey as the sold-out crowd roared its approval. The Fever later sent a tribute right back to McGraw in their reaction to the video, captioning lyrics from one of McGraw's hit songs I Like it, I Love It in a post onto X, formerly Twitter.

we like it, we love it. @TheTimMcGraw came out on stage at @GainbridgeFH wearing a Caitlin Clark jersey 🔥 pic.twitter.com/wlp8G5YR8V — Indiana Fever (@IndianaFever) April 19, 2024

Clark is scheduled to make her WNBA debut on May 14 when the Fever take on the Connecticut Sun.

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Tim McGraw keeps it breezy, with a touch of soul-searching, at Milwaukee concert

Tim McGraw may be the country music A-list’s most devoted gym rat.

Strolling out on stage in Milwaukee Friday night sporting quite possibly the tightest shirt and jeans ever worn (seriously, his belt buckle must have been holding on for dear life), the 56-year-old McGraw put his impressive fitness regimen to full effect with a high-energy, hour-and-37-minute set.

But by the time he performed his 20th and final number of the night at Fiserv Forum, another distinctive, and even more engaging, attribute emerged: among country music superstars, McGraw may be the chief philosopher.

Not that McGraw’s “Standing Room Only” tour stop ever felt that heavy. He was light on his feet Friday — literally and figuratively — bouncing off the stage, tongue dropping out like Michael Jordan, as he cruised the runway for "Felt Good On My Lips." Screaming at one point “I love my job” with the giddiness of a lottery ticket winner that just quit his 9 to 5, McGraw’s elation heightened the joy of songs like "Something Like That," which sweetly reminisced about a first love, and "Where The Green Grass Grows," where he vividly imagines an idyllic future.

The night was light, but McGraw's stage presence kept it from feeling forgettable. The same goes for the stage production — one of the slickest setups coming out of Music Row — with lasers, crisp animations and effects, and dramatic video walls. McGraw's eight-piece band also made a memorable impression, from Dean Brown's grinning fiddle on "Just to See You Smile," to Billy Nobel's beautiful piano runs for a cover of Elton John's "Tiny Dancer."

But what stood out most at the "Standing Room Only" tour stop were three songs that gently preached, without pretentious self-righteousness, the value of being good to others, of making this world a better place — simple messages, but messages that have become more important as our country seemingly continues to be more divided.

Set closer "Live Like You Were Dying" felt more potent than it did when McGraw made it a hit 20 years ago, as he sang about loving deeper, speaking sweeter, offering forgiveness, and becoming a better husband and friend, in front of footage of heavenly clouds awash in sunset orange.

The tour title track (and title track of his 16th studio album released last year) saw McGraw, over Nobel's gorgeous piano work, poignantly singing about letting go of old regrets, of not letting macho arrogance get in the way of a good laugh or shedding tears. "Stop judging life by my possessions," McGraw sang softly Friday. "Start thinking 'bout how many headlights will be at my procession."

Then there was the song that may go down as the signature in McGraw's highly decorated catalogue, the Lori McKenna-penned "Humble and Kind," with McGraw's be grateful and good message spreading through the arena as fans loudly sang the outro.

"Don't take for granted the love this life gives you/When you get where you're going, don't forget turn back around/And help the next one in line."

And as the music paused, and a beaming McGraw took in the applause with appreciative nods and a tap of his chest, he was as humble as a country superstar impressively rocking an ultra-tight shirt could possibly be.

5 takeaways from Tim McGraw's Milwaukee concert, including openers Carly Pearce and Randall King

• Anyone who thought Milwaukee had its fill of big country shows for a while clearly don’t know Milwaukee country music fans. It's been less than a week since Luke Combs performed for more than 80,000 people across two nights at American Family Field for his "Growin' Up and Gettin' Old" tour kickoff, but Fiserv Forum was still filled to capacity for McGraw Friday.
• If you have a Taylor Swift card, you play it. McGraw certainly played his, incorporating his 2013 Swift collaboration "Highway Don't Care" into the setlist, complete with her piped-in vocals and appearance from the music video on the stage's giant screens. After it ended, McGraw smartly encouraged the crowd to cheer for our pop culture overlord.
• "Yellowstone" spinoff "1883," which stars McGraw, also got a special shout-out via a 90-second sizzle reel on the show's screens that preceded encore kickoff "The Cowboy in Me." Pretty much every McGraw appearance in the clip drew a cheer — especially a scene of him kissing his real-life wife, fellow country star and "1883" co-star Faith Hill in a bathtub. (Hill and McGraw's romance was also documented on the screens as he sang "One Bad Habit" Friday.)
• Primary opener Carly Pearce's voice was a hair shaky as she belted out "Diamondback" at the start of her set. But she had a whole lot going for her to make up for the initial shortcoming, from smart and strong been-done-wrong songs like "Next Girl" to a polished band and slick lighting that were arena-headline ready — like Pearce herself, eventually. Compensating for some initial struggles with larger-than-life sass, Pearce's voice found its bearings by third song "Easy Going" when she peppered her delivery of "Prince Charming" with a delicious, drawn-out growl.
• Randall King had an ultra-sparse set-up for his 15-minute night-opening set — no drums, although he made sure there was lap steel. His set started earlier than scheduled, too. Despite these possible setbacks, however, King made a strong impression, especially for twangy and tender original "I Could Be That Rain."

Tim McGraw's Fiserv Forum setlist

• "Truck Yeah"
• "Southern Voice"
• "All I Want is a Life"
• "Tiny Dancer" (Elton John cover)
• "Just To See You Smile"
• "Over and Over"
• "Shotgun Rider"
• "One Bad Habit"
• "Watch The Wind Blow By"
• "Something Like That"
• "Where The Green Grass Grows"
• "Standing Room Only"
• "Red Ragtop"
• "Highway Don't Care"
• "I Like It, I Love It"
• "Felt Good on My Lips"
• "Real Good Man"
• "The Cowboy in Me"
• "Humble and Kind"
• "Live Like You Were Dying"

Contact Piet at (414) 223-5162 or  [email protected] . Follow him on X at  @pietlevy  or Facebook at  facebook.com/PietLevyMJS .