“It’s a dangerous business—going out your door,” someone once said to me. But maybe that person didn’t have a ukulele like I do.
I named my uke “Strad” (diminutive of Stradivarius), thanks to a totally unscripted interaction in Vienna when I insisted upon its gentle handling while declaring that I had an appointment with the Vienna Philharmonic that evening. Strad has gotten me through doors in countries as diverse as Kenya, Tajikistan, the Republic of Georgia, and so many others.
It’s hard to state just how catastrophic 2020 was for the performing arts, and it’s hard to imagine the shape of the post-pandemic world. Nobody knows when theatres will reopen, or under what conditions; nobody knows when rehearsals will be able to take place or when audiences will be able to gather. In short, nobody knows what, or when, the new normal will be.