Mayita Dinos: The Garden Is My Stage

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Mayita Dinos

The Garden Is My Stage

June 10, 2020

Reviewed by Mary Bogue

Mayita Dinos is a bonafide songbird of paradise who in creating The Garden Is My Stage has sung into existence an organic classic, not felt or heard since Carole King’s 1971 Tapestry album. It’s an amalgamation of songs and styles that uplifts, transforms, and inspires.

It is a testimony to exquisiteness, made perfect with evocative vocal interpretations that transport the listener to a blissful experience where a jazzy “Ornithology” (Charlie Parker/Mayita Dinos) flows into “Come Back as a Flower” (Stevie Wonder/Syreeta Wright), and delivers a dream-like “Woodstock” (Joni Mitchell) with astonishing ease. Then, Dinos gifts us with her own melody in haunting Spanish in “La Lola” (lyrics by Federico Garcia Lorca).

With 13 cuts on this CD, we are commanded to hit “replay” again and again, just to delight in her version of “Spanish Harlem” (Jerry Leiber/Mike Stoller) or her spellbinding “Willow Weep for Me” (Ann Ronell).

Honestly, “The Garden Is My Stage” is a dream dance where tranquil shadows play and trumpet flowers blow. The musicians are impeccable, the arrangements are brilliant, and Mayita Dinos, we learn, is the shape shifter. Incredibly, this debut CD deserves its place in the sun.
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www.mayitadinosvocalist.com

Mary Bogue

Born to upstate New York parents Nelson Binner and Gladys Witt, Mary Bogue was the fourth of five children. Her love of acting was apparent early in her life, when she acted out imagined scenes in the second story hallway of their home on Division Street. Moving to California in 1959 only fueled the fire and soon she tried out and got the part in Beauty and the Beast, a children's production at The Old Globe Theatre in San Diego. The bug followed her into junior and high school productions, but when she struck out on her own in the early 70s, she found it wasn't as easy as sitting at the world famous Schwab's on Sunset. Her first audition stopped her dead in her tracks for years when the "casting director" expected nudity. It was only in 1990 that she returned to her first love, albeit slowly as she was a caregiver to 16 foster daughters. Only when she was cast in Antonio Bandera's directorial debut, Crazy in Alabama (1999)(which she was cut from) did she pursue this dream.