The sound that says love. Applause, applause, applause!’

by  Dr. Jeffrey Lant
Author’s program note. This article is long overdue. It will be read with avidity, total agreement, and a rain of kudos for me from anyone who writes, sings, plays, paints, acts, mimes, speaks, or does deeds of daring- do on the flying trapeze. All of us, every single one of us, not only relishes the recognition of applause, not only craves it right down to the last clap, but lives for it… as the one essential element we must have to induce us to give of our best, time after time.
For the incidental music to today’s article I have selected the opera “Paride e Elena” (1770) of Christof Willibald von Gluck, particularly the aria “O del mio dolce ardor”. Here’s why: Gluck was the music teacher of Marie Antoinette, before she became queen of France (1774) and a figure of controversy and tragedy. Of all the musicians she might have studied with, she loved Gluck — and this aria — the best.
And so, when queen of France and of Navarre, she wanted to give him and his audacious works the benefit of her patronage. Towards this end, she introduced him to the disapproving, uncomprehending, unbending, and obdurate members of the Court. Per protocol, they listened, got what benefit they might, but could not, likely would not put hands together and clap their acknowledgement, their approval, their enthusiasm, their bliss for Gluck and his soaring brilliance.
Such a mark of approbation was unprecedented, even by the king himself. And so when Marie Antoinette rose and in an act of temerity, began to clap, she clapped alone… … but only for a moment…  for her sovereign lord and master (who understood the power of wives) soon clapped too… and what a king of France did, the world did… thus was the concept of applause born at Versailles, a tradition to this very day.
Go, then, to any search engine and find this masterpiece by Gluck. Listen carefully; you can just hear the enthusiastic applause of the queen from the days when she was young and anxious to use her power for the good of the Master and his dulcet sound., the sound that goes straight to your heart.
“Nothing I know brings on the glow/Like sweet applause.”
The absolute necessity for applause was made in big, brassy Broadway fashion with the title song from Betty Comden and Adolph Green’s Tony Award -winning 1970 musical “Applause.” It provided the title of this article and the heading above.
In it a group of aspiring actors sing their hearts out in the number that explains why they do so much, give so much, and are satisfied with so little. This is the reason: “You’ve had a taste of/The sound that says love/Applause, applause, applause.”
Now, the most important question. Do you give these folks what they need, or are you niggardly with praise, stingy with compliments, asking for everything, giving little, perhaps nothing in return? If this has been your modus operandi to date it is long past time to change. These recommendations will help.
1) Always find something to compliment in every live production of any kind. No matter how poor the production, how amateur, how imperfect, heart, soul, energies, imagination and ardor have gone into its creation. The oeuvre may be in need of any number of ameliorations… but you should focus less on those than on the (even infinitesimal) good that is delivered.
2) Have you seen brilliance in the work at hand? First, applaud strenuously. Think as you must how much time, treasure, imagination, practice, rewriting, rethinking, recasting, more practice have transpired to achieve this result. Respond accordingly.
3) Jump up when the word “bravissimo” is called for. Remember, when you enter into the world of the creative artist, you enter into a partnership. The artist gives of his talent, showing you his soul, ensuring that you have his very best. Then it is your turn…. your response should be nicely calibrated to ensure that what you say and do is as good as what you have experienced.
4) Whenever possible meet the performer and render your homage graciously and in person. For a good illustration of how this works, consider this. When I was in graduate school at Harvard, my roommate was mad for the theatre, particularly the Broadway theatre… And so in 1971 when “70, Girls, 70″ came to Boston for its pre-Broadway shake-down cruise, I took him. He was so enthusiastic about it, I wrote to Tommy Breslin, the youngest member of the cast, and invited him to dinner any night after the production. He responded promptly and we arranged to have him arrive at the bistro after my roommate and I were seated; Breslin astonishing him by greeting him as an old friend and sitting down to dinner…. Thus commenced a memorable evening that made Breslin feel like god and provided more evidence (if any were necessary) that I was Mephisto. Anyone might have done it… but,  hey presto, I did.
You can also do this.
During the time I lived in London working on my first book, my mother came to visit.  I held a party at the Women’s City Club for her and invited all my friends, including someone I didn’t know but knew she wanted to meet, the great actor Sir John Gielgud. He was starring in a West End play and I explained in my invitation my mother was his most fervent fan. There was no response…
… until the day of the party. Then, the event in full swing, an ancient footman walked up the great staircase, silver salver in gloved hand. In time honored tradition he bellowed her name… and handed her a letter… a letter from Sir John saying how sorry he was he could not attend, had a matinee, but wanted to let her know how honored he was by her good opinion and loyalty. This letter, still amongst my voluminous papers, was met with disbelief… joy… and deep gratitude. It was, after all, the right thing to do…
Begin today.
Each of us possesses an unlimited ability to applaud others. The question is not whether you can do it, whether you should do it, but whether you will do it. Thus, it all rests upon you, your good heart, kindness, and willingness to do the little that will give so much well earned happiness to so many.
“You’re thinking your through/That nobody cares/Then su