A Note from Housekeeping

Finally finished unpacking my bag from my trip to Philadelphia. I found this note I kept that housekeeping had left on the desk in my hotel room at the Philadelphia Marriott Downtown. Even though I was tipping them for the good work they do, it was nice to know they appreciated the tip as well. It was another reason why I have say that Philadelphia is one the most friendliest cities I have ever visited. I'm actually a bit embarrassed that the Aloha Spirit of Hawaii of my home state may be challenged by the City of Brotherly Love in the hospitality department.

Where & Official Visitors Guide Philadelphia

(photo: TheHopefulTraveler)

If you don't have a guidebook these two magazines Where Philadelphia and Philadelphia Official Visitors Guide are the the perfect substitute. Best of all each offers up to date information of special and current events as well as all the basic information about visitor attractions and dining options. These two magazines were in my room at the Philadelphia Marriott Downtown.

Visit wheretraveler.com and philadelphiausa.travel for their online versions. Click HERE for the Philadelphia Official Visitors Guide iPad app. Where is also available for other cities in the U.S. and foreign destinations.

Philadelphia Marriott Downtown: Common Areas

Front Desk
(photos: TheHopefulTraveler)

This is one in a series of posts about the Philadelphia Marriott Downtown.

With the Reading Terminal Market nearby offering convenient and reasonable meals from multiple vendors, it appears that most of the guests staying at the Philadelphia Marriott Downtown take their meals outside of the hotel. Besides with the hotel's central location there are several restaurants in the area.

There are only two dining rooms: Circ, which is open only dinner offering cocktails and snacks, and the 13 Restaurant, which is open for breakfast, lunch and dinner and serves contemporary American cuisine. Although I didn't dine at either, I did relax in the Circ dining room which is open for guests to lounge in before the restaurant opens.

The lobby itself is very spacious with various corners with chairs and coffee tables for relaxing or to meet up with friends. The perquisite concierge desk is located just off the front desk in addition to a car rental counter and a few retailers. Always popular is the onsite Starbucks.

For guests attending a conference, the hotel does boast several floors of meeting rooms. The lobby of each meeting floor is flooded with light from a glass-enclosed atrium which offers a view of Market Street. Those with engagements at the Pennsylvania Convention Center are afforded access via a skywalk.

The skywalk also leads to Marriott's Headhouse Tower which holds the hotel's grand ballroom as well as additional meeting and hotel rooms.

Circ Restaurant dining room.

Circ Restaurant is elevated with views of the main lobby.

Circ Restaurant just steps of the main lobby is open for dinner.

Entrance to 13 Restaurant in the main lobby.

Floors of meeting rooms.

Glass atrium along Market Street lights up the floors or meeting rooms.

The skywalk leading from the Philadelphia Marriott Downtown main tower
to its Headhouse Tower and Pennsylvania Convention Center.

View from the skywalk to Market Street.

View from skywalk of the Reading Terminal Market.

After exiting the skywalk is entrance to the Pennsylvania Convention Center.

Main entrance to Headhouse Tower and Convention Center.

In Other Words, Do Not Disturb

(photo: TheHopefulTraveler)

This is one in a series of posts about the Philadelphia Marriott Downtown.

My small fascination with "do not disturb" signs that do not use those words continues at the Philadelphia Downtown Marriott. This hotel uses the wording: "Shhh. I'm listening intently for that pin." Unlike most signs which hang on the door handle or knob, this sign slides into the key card slot.

Philadelphia Marriott Downtown: Amenities & Wi-Fi

(photos: TheHopefulTraveler)

This is one in a series of posts about the Philadelphia Marriott Downtown.

It appears that Marriott has trademarked names for use on their in-room coffee service. This past summer when I stayed at the Renaissance, one of Marriott's family of brands, in New York City the coffee was called Urbanista. Here at the Philadelphia Marriott Downtown it is called Pure Elevation Pure Coffee. I'm not a coffee expert so I would be hard pressed to tell you the difference in taste between either brands though Pure Elevation is advertised as 100% Columbian Supreme and Urbanista is a Columbian, Nicaraguan and Sumatran blend. The service includes decaffeinated coffee.

I love these single serve coffee makers and disposable packets. If one read the horror stories about unclean coffee pots these machines seem safer. However the overall cleanliness of the machines is up for debate. It was disappointment that the cups did not include covers to make them portable.

The large bottle of water costs $3.50 but the two smaller bottles are complimentary and were only given on the second day of housekeeping.

The electronic safe is placed in the closet and is simply programmed with a unique security code of your choice. The digital clock includes a cord to plug into your MP3 player, iPhone or iPad should you want to pump up the volume on your personal playlist. The lamps on the nightstands include outlets so that you can charge your phone bedside.

In today's world of being wired, Wi-Fi is still not complimentary in many hotels including this one. For $12.95 per day the wired-for-business package includes standard high-speed internet, unlimited local and domestic long-distance. For $16.95 the premium package includes internet speeds that is 4x faster. In lieu of purchasing either package, the 3G access on my iPhone and iPad was perfect for the purposes of my trip to check emails and browse the internet for info about attractions.

Philadelphia Marriott Downtown: The View

(photos: TheHopefulTraveler)

This is one in a series of posts about the Philadelphia Marriott Downtown.

Although my room on the 14th floor of the Philadelphia Marriott Downtown was located along the inner perimeter of the U-shaped hotels floors, I sort of had a view. Directly across and to the left were hotel room windows but to the right was view of the neighboring buildings. At least the view was not of the back wall of another building or a service street down below. Obviously during the evening it's best to use the sheer shades or black-out curtains to avoid neighboring guests from seeing into your room.

The roof of the conference rooms could be seen below decorative with a graphic design. Below is a photo as viewed through a window from a 14th floor hallway at the southeast corner of the building. Down below is the Hard Rock Cafe and its huge neon guitar sign located across the street.

Philadelphia Marriott Downtown: The Bathroom

(photos: TheHopefulTraveler)

This is one in a series of posts about the Philadelphia Marriott Downtown.

The square-shape of the bathroom in this room at the Philadelphia Marriott Downtown made it feel spacious. I'm starting to expect that hotels begin upgrading their tub/showers with glass rather than a shower curtain. But this hotel room had the latter and and in the end it really was a non-issue. The large rain-like shower head was a plus but it lacked an intensity control.

The counter had ample space for your personal needs while the energy conscious times limits the bathroom to what is becoming a standard to three of each kind of towel (bath, hand and washcloth). The bath toiletries are provided by Bath & Body Works. The set includes citrus aloe bath soap and hand soap; mint mouthwash; and orange ginger conditioner, shampoo and body lotion.

Philadelphia Marriott Downtown: The Room

(photos: TheHopefulTraveler)

This is one in a series of posts about the Philadelphia Marriott Downtown.

Standard rooms at the Philadelphia Marriott Downtown are 208-384 square feet (19-35 square meters). This room number 1491 included a king bed, sitting area with ottoman and small side table, spacious desk with ergonomic chair, two night stands with drawers and television stand which held the coffee bar and three drawers.

Light is always an issue in hotel rooms since their is no ceiling light fixture. But four lamps (two on the nightstands, one floor lamp and one desk lamp) gave ample light to the room in the evening. During the day the large window provided added light. The spacious desk is an attraction for those having to work in the room or if one has to enjoy some in-room dining.

The bed itself was fitted with a firm mattress and soft bedding. Black-and-white photographic art decorated the walls next to the bathroom and above the desk. In all the room was clean, comfortable and served the purpose for my three-night visit to Philadelphia.

Philadelphia Marriott Downtown: Overview

The corner of Market Street and 13th Street.

The main entrance on Filbert Street. 

The north side of the hotel shows the U-shape hotel floors.
(photos: TheHopefulTraveler)

This is one in a series of posts about the Philadelphia Marriott Downtown.

The next few posts will be about the Philadelphia Marriott Downtown where I stayed during my three-night visit to the city. Like other properties in the area, the hotel is located walking distance to shopping, the convention center, museums, theaters and restaurants (the Reading Terminal Market is adjacent to the hotel) and eight block west of Independence Hall and the Liberty Bell.

If you are a member of the Marriott Rewards program, three other hotels in its family of brands are located within three blocks: Courtyard Philadelphia Downtown, Residence Inn Philadelphia Center and the Ritz-Carlton Philadelphia. Ultimately I chose the Marriott because of room availability and price. The Courtyard and Residence Inn had no rooms available during my stay and the Ritz-Carlton cost more than I was willing to pay for a room. Although I chose a $179 advance purchase rate for three nights, the hotel did not charge my credit card until I checked out. Added to this cost was a 8.2% hotel room tax or $14.68 to the room rate and a 7% sales tax or $12.53 added to the room rate.

Although I would have preferred a more intimate property, my choice to continue earning points in the Marriott Rewards program limited my choices. The hotel does have 1,332 rooms including 76 suites on 23 floors. In addition the hotel boasts 72 meeting room that total 92,000 square feet that occupy the first few floors of the building above the lobby. It's location adjacent to the Pennsylvania Convention Center make it popular with business travelers.

The hotel floors are in a U-shape and after checking-in guests must know which bank of elevators are closest to their rooms. The elevators are not located next to the front desk which is located on the north side of the lobby. The elevators are located on the southwest and southeast corners. The front desk associate was very friendly and quickly checked me in and I was off to room 1491.

The hotel occupies an entire city block surrounded by Filbert Street on the north (where the main entrance to the lobby is located), Market Street on the south, 12th Street on its east side and 13th street on its west side.

End of a Visit to Phildelphia, Pennsylvania

The line begins before before the American Airlines check-in
counter opens.
(photo: TheHopefulTraveler).

As is usual with flying to Honolulu, Hawaii from the East Coast is the very early departure times. My flight on American Airlines from Philadelphia (PHL) left at 6:10am and then a connection at Dallas-Ft. Worth (10:50am) and arrival in Honolulu (HNL) 2pm. Again I really didn't get much sleep knowing I had to leave my hotel by at least 4am.

Since the airport just opened and several flight ready to depart, the line to pass through security was rather long. But the security agents pulled passengers with airline elite levels like myself and fortunately we were sent to a much shorter line.

The flight from Philly was oversold so with luck the gate agent upgraded my economy ticket to first class which afforded me a larger seat allowing me to get some rest and a second breakfast. I had already eaten in the terminal since I knew there was no meal service in economy class. I wasn't about to pass the opportunity since I knew I would likely want to eat something again upon arriving at DFW.

The flight from DFW from HNL was uneventful. I am so happy with the invention of the iPad. It's my all-in-one entertainment center to help pass the time on the long flight. Combined with my exit row on this 767 jet, I had enough leg room to stretch in my seat. The only downside is the tray table in the armrest. This table is smaller and opens closer to the seat than those that unfold from the seat backs.

This would be my second and final trip this year. It is the least number of trips I've taken since 2005 when I only traveled to New York and Orlando during one trip. This does not include the fifteen trips I make a year traveling to the neighbor islands of Maui, Kauai and the Big Island from Oahu for business. I would normally plan a third trip but ultimately the purpose for such a trip did not present itself and as readers of this blog know, the purpose is the goal of any trip. Traveling is not for the sake of just traveling.

Breakfast at Philadelphia International Airport.

A Final Visit to 'Aspects of Love' at the Walnut

Paul Schoeffler (George), Danielle G. Herbert (Giulietta), Jennifer Hope Wills (Rose)
 and Charles Hagerty (Alex).

Paul Schoeffler and Arin Edelstein (who alternates in the role of Young Jenny)

Charles Hagerty, Laurent Giroux (Marcel), Jennifer Hope Wills.
(production photos: Mark Garvin)

At the cost of $35 dollars for a seat at the end of the row in the left section of the front mezzanine, I picked up a last-minute ticket to view ‘Aspects of Love’ at the Walnut Street Theatre once again. After seeing it twice in the last two days, I knew I wanted to see this a rarely performed musical by Andrew Lloyd Webber. Although I had small concerns detailed in my review of the show I enjoyed it for the most part and the opportunity presented itself to see this musical performed live once more. This urgency is likely due to the fact that I had no idea when I would have the experience to see the show again.

Charles Hagerty and Claire Norden (who
alternate in the role of Young Jenny)

Since I already posted a review on Thursday and yesterday explained my fondness for the material, this third post about the Walnut Street Theatre production of ‘Aspects of Love’ goes over some of the differences compared to the Original London Cast Recording that for most part is the only version of the show many know. I was among this group until I was able to see a superb production at the Menier Chocolate Factory in London last year. (Note: Spoiler Alert – this article reveals major plot points of ‘Aspects of Love.’)

The most obvious difference is the delivery of the song “Love Changes Everything” which bookends the show. In my review I indicated that turning the song into an ensemble number at the start of act one robs the Alex character of his one big song. Even at the end of act two when part of the song is reprised, the song is once again shared between Alex and his Uncle George. Because later it is divulged that the funeral is George’s, was it the intention that he should be singing from his grave? The song should have been retained as a solo for Alex. There could have been more creative ways to acknowledge the show’s main characters.

Jennifer Hope Wills and
Danielle G. Herbert

A bonus scene that is not on the cast recording nor was in the Menier production is one inserted after Rose leaves Alex where they have spent the weekend in George’s villa and George briefly visits to confront them breaking into his house. The scene features Rose and her manager Marcel at a train station. The number is fully sung using a melody heard later in the show. It does reveal Rose’s remorse about leaving Alex for a personal purpose. It softens the character. But this is quickly undone later in act one when Alex finds Rose in George’s Paris flat.

Musical director Douglass G. Lutz does not lose any the lush vitality of the music except for one small point. The final note of “Seeing Is Believing” is cut short. It’s one of the most show’s most romantic melodies and I’m not sure what was the purpose for this change. It’s a number that should soar into its last note.

Charles Hagerty

One of the best features of the production design by John Farrell is the use of a revolve stage and sheer curtains. The use of the two kept a fluidity to the musical’s storytelling as it transitioned to each of its over thirty scenes. It reveals the musical can be told, like the Menier production, in a much more intimate setting compared to the sprawling designs of London and Broadway by Maria Bjornson. Amazingly the use of actors to slide the curtains into place does not distract from the story and dressing them in non-descript white clothing was a good idea. When called for the use of projections opens up the setting used to glorious effect such as at the open of act two when Rose, now a famous actress, takes her bow at a theatre in Paris.

One usual interpretation by director Bruce Lumpkin was the transition of young Jenny into teenage Jenny. Two actresses play the role of Rose and George’s daughter at different ages. In a scene where Alex and young Jenny are enjoying a day of fun the fifteen year-old Jenny appears on stage and meets face to face with her younger self. The two actresses then briefly touch hands and do a short slow dance after which they switch places and the young Jenny exits the stage. Already knowing the story, I’m not sure if those unfamiliar with the story know what was happening at that moment. But it is nevertheless and interesting transition.

Danielle G. Herbert

Paul Schoeffler and Jennifer Hope Wills

One common cut in this production and in the Menier version but appears on the London recording is the scene where a wall has just been built at George’s villa. It’s a scene that lasts one-minute on the recording and without it neither production suffers as nothing important to the plot is revealed.

Later in act two the hayloft scene that does appear on the London recording and retained in the Menier production is cut in the Walnut version. It reveals Alex taking up with Giulietta after George’s funeral. The cut works against both the Alex and Giulietta characters. Giulietta appears very little in act two and this cut removes any sympathy for the character. Although briefly alluded to before George’s death, in this scene Alex does realize he must seriously confront Jenny about her feelings for him.

Since the production design of London and Broadway is unlikely to be duplicated and the fact that the Broadway production closed at a loss and the London production, although a hit, failed to live up Lloyd Webber’s previous piece ‘The Phantom of the Opera,’ it appears ‘Aspects of Love’ is up to for interpretation and changes.

Paul Schoeffler and Jennifer Hope Wills

Charles Hagerty and Jennifer Hope Wills

Even in 1991 when the production embarked on a North American tour with a new design team and new direction by Robin Phillips some liberties were taken to make the piece more cohesive such as changes in the lyrics to “Love Changes Everything”: ”Love Changes Everything, Hands and Faces, Earth and Sky” became “Love Changes Everything, Each beginning, each goodbye”. This change can be heard in some of the many recordings of the song.

One would hope that these versions of ‘Aspects of Love’ here at the Walnut Street Theatre and at the Menier Chocolate Factory serves as template for other theatre companies to produce the show. The music is some of Lloyd Webber’s best and it should be enjoyed live in the context of productions both intimate and grand.

Aspects of Love' is presented on the main stage of the Walnut Street Theatre in Philadelphia. Performances run September 6, 2011 to October 23, 2011; 8pm Tues-Sat, 7pm Sun; 2pm Wed & Sat. Tickets: $10-$95; Limited premium seats available which include a $65 donation. Visit walnutstreettheatre.org for more information and to purchase tickets online. Click HERE for premium seats.

The production stars Jennifer Hope Wills (Rose Vibert) Charles Hagerty (Alex Dillingham), Paul Schoeffler (Geroge Dillingham), Danielle G. Herbert (Giulietta Trapani), Laurent Giroux (Marcel Richard); Jenna Brooke Scannelli (Jenny Dillingham) and Arin Edelstein and Claire Norden (alternating the role of Young Jenny).  The director is Bruce Lumpkin.

The ensemble

Jennifer Hope Wills and Charles Hagerty