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    Opera talk

    If you hear "Toi, toi, toi" at tonight's Houston Grand Opera performance, don'tbe surprised

    Leslie Loddeke
    Apr 16, 2010 | 9:00 am

    If you’re sophisticated enough to know that you should say, "Toi, toi, toi!" to a performer before a performance of Houston Grand Opera's production of Queen of Spades, are you wise enough to know whether you’re uttering “you” three times in French, banishing the devil in German or spitting?

    I’m a longtime opera lover, but I must admit I never even heard of this opera expression until recentl, during a local The Met: Live in HD presentation. Diva Renee Fleming said something that sounded exactly like “Toy, toy, toy!” to a singer who was about to go onstage. Since this opera didn’t involve any toys, I figured Renee was saying something in opera code — probably Chinese — that meant well, as she sported a dazzling smile. I don’t know any Chinese writing symbols, though, so I was worried about my chances of finding that on the Internet with any luck.

    Apart from discovering that this expression has nothing to do with China, I couldn’t find a commonly accepted, bottom-line explanation of its origin online. I started with The Metropolitan Opera Guild’s “Ask The Diva," who said, in response to another opera lover’s question, that Renee Fleming’s “Toi, toi, toi” is an expression that’s used on an opera stage, “chiefly in Germany,” to wish a singer good luck.

    All the Internet sources agree that this is the operatic equivalent of the theater’s “Break a leg!” But all offer differing explanations of its roots, if they go any further. One source cites a German dictionary as saying this superstitious expression imitates the sound of spitting, to banish demons, and suggests the word might ultimately be traced to a Yiddish word meaning “good.” Most Internet sources I’ve found say “Toi, toi, toi” is either a corruption of the German word for devil, “Teufel” (pronounced TOY-fell), or a modern-day refinement of the ancient ritual of embracing someone and spitting three times over their shoulder to wish them good luck.

    Frustrated by these ongoing uncertainties, I became obsessed with finding a local informed source. What with my German DNA, my experience of having seen an entire Wagnerian opera, and all the homework I’d done on this topic, I felt I was ready to turn to the German Consulate in Houston. What are we doing, calling out the devil or spitting? I asked consulate staffer Gertrud Schroeder, a seasoned opera-goer.

    “It could be either way,” Schroeder said diplomatically.

    Pressed further, she noted that in her experience, people in Germany traditionally have said, and still say, “Toi, toi, toi!” to one another before all kinds of challenges.

    “In order to ward off evil, they cited the Teufel,” said Schroeder. “It’s not restricted to opera.”

    For example, she said, a German might say “Toi, toi, toi!” to wish a student good luck before an exam, or if Schroeder wanted to wish me luck before writing a big report. Danke, Frau Schroeder! That’s gut for me. I can hardly wait to “Toi, toi, toi” at my next opera.

    unspecified
    news/entertainment

    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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