RIPCORD at MTC is Ripping Good Fun Starring Holland Taylor

Can people change?  Can people change their regard for others?  Sometimes people do surprise. And,  sometimes good theater can change our expectations with suprisingly delightful impact.  RIPCOR by playwright David Lindsay-Abaire (Pulitz Prize for Rabbit Hole) starts as play we begrudgingly find mildly amusing, then hilarious and finally, rips open an emotional fallout that packs a wallop.  Abby (Holland Taylor, Two & 1/2 Men) is a persnickity senior in an assisted living facility.  She has hereto for ruled the roost and managed to stave off all roommates from sharing her double room.  She is about to meet her rival in Marilyn, a vivacious, accommodating woman with a lot more steel under her sunny disposition than first appears. This is somewhat a female "SUNSHINE BOYS." But, there is a lot more emotional undertow & strength to these women who don't seem to know when to let go.  A high stakes no holds bet is set.  How far will each go to rouse anger & fear in the other.  The supporting cast add heft to a deceptively stirring comedy. Even if you see where this play is going to land, take a leap of faith and enjoy the fun free fall.

ABT World Premier Ballet AFTEREFFECT and A Few Dances of Yesteryear

Marcelo Gomes (b. Brazil 1979) is a principal dancer wtih ABT and the brilliant choreographer of AFTEREFFECT which premiered at Linc Ctr last night.  The piece called to mind Justin Peck's (NYC Ballet) ballet NEW BLOOD which premiered this season.  There was a similiar connect with their  vitality and resurrection theme.  The androgynous leotards could be interchangeable.   Both ballets are exciting and ingenious.  Gomes' ballet ventures into an after life whereas Peck's maintained a continuous surge of energy & life; albeit brief moments of recessitation.  Gomes' ballet contained sombre, adaggio movements.  I would have liked these ephemeral, transitions if not for the clumps of dancers causing a blockage of movement. The lighting at times was distracing, either too dark or too glaring.  Misty Copeland was lovely in her role although under utilized.  She was more fetching dancing than merely being lifted.  Most impressive was the allegretto footwork danced with animato particularly by the male pairings.  The daring leaps & catches were exhilarating.  AFTEREFFECT is an innovative effective work worth viewing repeatedly.  Paul Taylor's COMPANY B which 1st premiered in 1991 felt tame & dated in comparison. The last piece, THE GREEN TABLE which premiered in 1932 was also a curious selection on the program.  Both COMPANY B & THE GREEN TABLE are performed without pointe shoes; a modern foray into major ballet companies.  THE GREEN TABLE by Kurt Joos was first performed in 1932.  This is a very dark, macabre, militaristic ballet.  It is a powerful theatrical work that is chilling and commanding.  The opening & ending scenes felt like a Marx brothers parody of negotiating military officials.  Other scenes convey combat readiness and the carnages of war.  Interestingly, this work feels contemporary and compelling.  A bizarre & beguiling evening of dance.  The highlight was Gomes' new ballet, AFTEREFFECT.    

FOOL for LOVE Starring Sam Rockwell by Sam Sheperd

The heart wants what the heart wants whether it is unrequited love, obsessive love or illicit incestuous love.  Every love story has 2 sides (if not 3) and it's rare, if not impossible, for the parties involved to view the relationship with the same perspective.  Sam Sheperd (Pulitzer Prize/Inductee inthe the Theater Hall of Fame) is a volatile & explosive writer. The B'wy debut of the twisted drama FOOL for LOVE stars an unforgettable Sam Rockwell as Eddie and the formidable Nina Arianda as May.  These 2 fine actors capture the combustible heat of the couple.  Their passion is is tempestuous & torrid.  They are bound to each other as if lassoed like animals unable to free themselves.  May's benign date for the evening, Martin, becomes fodder for Eddie & May to vent their versions and convince him of their veracity.  The old man who sits off-set is the psychological voice that anchors the 15 year history of Eddie & May which may evoke some sympathy for their affair or perhaps make you grateful for your mundane (in comparison) romance.  Sherperd's 32 yr. old play is only now coming to B'wy.  I'm amazed it took so long to stage this powerful play as I am by its incredible grip on my emotions.  FOOL for LOVE has many splendid things to recommend, subtlety is not one of them.

KONGO: Power and Majesty at the MET

The incredible collection of woven cloths, sculptures and ivory carvings combine to make for a fascinating and simultaneously, cringe worthy exhibit.  Exhilirating for the intricate and beautiful woven cloths and arresting carved figures dating back to the 15th C and disparaging for impending colonialism and slave trade that will soon thread its hideousness into the region.  The carved elephant tusks, Oliphants, are exquisite for their intricate designs but cannot be viewed without concern for the impending extinction of these majestic animals.  More egregious is the suffering inflicted by the slave trade industry which took hold of the Kongo territories by the mid 17thC.  By the mid 19thC, 1/3 of the population were enslaved to the Americas.  Having stated the heinous past coerced onto Central Africa, there is much to be awed by in this show.  Again, the early woven cloths are to be admired for the skill, design & craftsmanship required.  Note the 12 paneled cloth that was stitched together that was created sometime between the 16th-17thC.  The show contains numerous wood carvings & sculptures of women breast feeding. This may represent fertility and aspirations for future generations.  The markings on the backs of the women are indicative of the lacerations made on the backs of females as seen in a neraby photo.  Powerful in form but futile for their intent are the 15 large wood sculptures embedded with numerous sharp objects known as "Mangaaka."  Their purpose was to thwart off invading enemies.  There are 15 on view out of the 20 known to exist.  The majesty of this show at the MET is not to be missed but it is not to be viewed without reflecting on the devastation inflicted on central Africa.  I suggest walking back through the exhibit for the many objects that may have been overlooked.      

Ethiopian film DIFRET-Fighting the Tribal Practice of Abducting Girls for Marriage

The Ethiopian film DIFRET depicts the tribal custom of kidnapping young girls and forcing them into marriage.  The story is based on Aberash Bekele's life was abducted by a group of men on horseback, beaten, raped and held prisoner to be forced to wed her rapist.  Aberash's was 14 at the time.  She seized a rifle and attempted to flee her captors.  They surrounded her and when they refused to retreat she fired & killed her tormentor in self-defense.  Aberash is represented in this English speaking film by a girl with the name Hirut.  Hirut's female defense atty was Meaza Ashenafi who founded the women's defense practice that took on this precedential case in 1998.  The courts found the defendant acted in self-defense and was freed.  The tribal council in the village demanded payment to the dead man's family & banished Aberash.  She was released but fled from her village for her own safety and that of her family.  This abominable practice & oppressive misogynistic culture was prevalent in the last decade of the 20th C in Ehtiopia and is being disbanded through the courts.  The clash between village customs & the court systems established in the urban centers proved courageous on the part of Ashenafi, Aberash and others.  Actress Angelina Jolie and artist Julie Mehretu executive producers on this powerful film that brings awareness to the ongoing sexual violence against women & children. It should be noted, Jolie was accused of by Aberash of exploiting her murder trial by releasing her story without her consent, without compensation originally & for putting her family at risk.            

W Marsilis Jazz Orch Plays Monk Featuring Piano Prodigy Joey Alexander

Wynton Marsalis & his Jazz Orch performed a concert of all Monk's music.  A legendary jazz pianist & composer, Monk's music is in the utmost echelon of signficiang jazz composers along with Ellington & Strayhorn. Monk is known for his innovative style & virtuoso techniques in his 70+ innovative jazz compositions.  Last night's fantastic performance was a special event that featured 12 yr old piano prodigy Joey Alexander (b. Bali 2003.)  At 6, Joey was able to play by ear, melodies on the piano from listening to his father's jazz collections.  At 11, he won the int'l improvisational prize in Odessa beating out hundreds of prof. jazz musicians from 17 countries.  An exuberant and delightful performer, Alexander took to the piano and played to the amazement of the audience & awe of his fellow musicians.  Dan Nimmer, pianist for the jazz orch. performed as did another remarkable guest pianist, Brad Mehldau.  This was a exceptional evening for jazz enthusiasts.   Three incredible generations of great pianists, Monk's ingenious music, and brilliant arrangements by various band members. Marsalis' banter welcomes us into sharing his passion for the artform.  Marsalis described Monk as having a really original sound which holds all of the past in it; the blues and the church.

SUFFRAGETTE-British Women Fight for Women's Rights

It's easy (& comfortable) to forget the suffering of those who paved the way for our established rights.  It's also understandable (though not excusable,) we often taken privileges for granted.  As shown in  SELMA, African Amer. were brutally beaten & arrested for their non-violent protests seeking civil & voting rights in the 1950's.  SUFFRAGETTE is a political/social drama that depicts that oppression & struggles of women in the early 20th C.  The film by British dir. Sarah Gavron ("Brick Lane") and British screenwriter Abi Morgan ("The Iron Lady") is about the battles wrought by impoverished,  working class women fueled on by women of aristocracy.  Peaceful means gave way to violent  protests.  Decades of non-violence proved futile in garnering equal rights for women.  Carey Mulligan is Joe, an industrial worker since childhood with a husband & young son.  She inadvertently gets caught up in the suffragette movement but becomes a prominent advocate.  She is made to suffer greatly by the police and her husband. He bars her from their home & their son for her affiliations.  Husband had the legal righ to give their son up for adoption; women had no authority.  This is not a Mary Poppins movie with only stylish suffragettes. The upper class women could afford to be staunch women's advocates without fear of reprisal.  This is a harsh (& at times melodramatic) film showing how mercilessly abused a class of women lived who were systematically disavowed their rights. Men  were granted omnipotence over their wives.  Women of aristocracy cheered on those who served prison time for the cause but were not subject to  the same repercussions.  The all star cast includes Helena Bonham Carter and the always imitable actor, Brendan Gleeson as the lead investigator.  He persecutes the women in the ranks with a dawning awareness of shameful injustice.  Meryl Streep's minuscule screen time doesn't merit promoting.  Although a commendable film of social justice, the film is not formidable.  The years voting rights for women were 1st established are credited at the end.  

Lebanese Arrtist Walid Raad-Scratching on things I could disavow at MoMA

Walid Raad (b. Lebanon 1967) an internationally acclaimed artist, has assembled an installation at MoMA that is astounding for its ambitious attempt to archive, authenticate and validate Middle Eastern Art.  Most striking is Raad's questioning of what remains and it's validity.  This is construed within a political construct that demands we ponder art within the context of war & mass destruction.  The large jagged white wall that bisects the exhibit on the 2nd floor is from an original remaining wall in Beirut.  This is next to an model replica of the 1st white cube art gallery.  The miniature art in the model is indistinguishable and homogoneous.  The only discernable piece is a colored non-audio video of the artist speaking.  The import of the work is to establish a sense for what remains from the vast destruction of works and an acknowledgement of those 100,000+ lives killed, wounded and the 1,000,000's of people displaced.  There are recurring themes of military tacticle maneuvers and of foreign powers that figured into the Lebanese Civil War 1975-90.  Architectural installations have an incoherent sense of disassembly and construction.  I felt a somber ambience of loss and a calming sense of continuity.  The artworks on the 3rd floor appears as morphed ancient relics.  These works are arresting and quite haunting.  There is a double entredre to what the items represent; ancient artifacts or modern compilations?  Perhaps this stems from the artists' rebukes to being asked to exhibit repeatedly in Lebanon until he accepted in 2008. Raad claims,"There's the problem wtih facts.  Once they fall apart, they are very difficult to put back."  "Scratching on things I could disavow: is a humpty dumpty historical & political response that felt beguiling, combatative and calming.

Selected Short Stories-Told by Jane Kaczmarke & Felix Solis at Symphony Space

Last night's performance of 4 selected short stories from "100 Years of the Best Amer. Short Stories," was a delightfully entertaining way to have stories brought to life.  It's a treat to listen to stories read aloud.  The short stories were read & enacted by Jane Kaczmarek (Malcom in the Middle) and Felix Solis (The Good Wife.)  The evening's introduction to storytelling & acting was by Laurie Moore ("Birds of America" & "Bark") whose gift for gab lent poetic praise for those who share her literary craft.  The 1st story was "Fiesta" by Pulitzer Prize winning author, Junot Diaz (b. Santo Domingo 1968.)  It was brought to life by Mr. Solis. His accents & body language gave life to the characters. The central character, a young boy in a recently immigrated household and the cast of relatives & neighbors recently transported from the Dominican Republic were brought to life.  His phrasing & body language evoked humor and warmth to the story of familial love & foibles.  Ms Kaczmarek enacted "Brothers" by Sherwood Anderson (b. Amer. 1876.)   The story was read with poetic phrasing that harkened the loneliness underlying the stilted conversations between the protagonist and his elderly, lonely neighbor.  The older man concocted an ongoing fabrication of his life as intended to bridge a friendship formed of fleeting conversations.  The kindness rendered of patient endulgence was as tender as the thirst for human connection.   Listening to the readings was as enticing as a fireside chat on a howling night.  As enthralled as I was, I did leave at intermission.  I was drawn away by the desire to watch the METS bring home the Pennant.  GO METS!

MIKE KELLEY at Hauser & WIrth-Step into Another Dimension

Mike Kellye's exhibit "Kelley's Kandors" refers to the planet where Superman was born.  As the comic legend portends, Superman was sent into orbit to escape the catacylsmic destruction of his planet &  landed safely on Earth.  Possessing omnipotence, forced Superman to live a double life & maintain a shroud of secrecy causing him to feel ostracized from mere mortals.  Being a fan of comics & super heroes is irrelevant in regards to experiencing the world created by Kelley.  People should run (or fly) to see this show before it implodes this weekend.  The 1st gallery is a darkened room with lit sculptures that resemble sic-fi fantasy lands.  They were all hauntingly beautiful.  One in particular reminded me of the Emerald City.  The room has a futuristic/fantasy aura that is magical & delightful.  The 2nd room features bold red/blue/yellow colors and large glass terrariums containing metropolis sculptures.  The direct reference is to Superman and the lore which credits him for sustaining his birth planet under glass.  He can neither connect with the people from his planet or liberate them; merely sustain them in a purgatory prison.  The 3rd and final room has a creepy & disturbing video with menacing clowns and corporal punishment.  (I found this video repugnant.)  But, I did marvel at the large cave like structure where visitors are required to cover their shoes before entering.  It is worth exploring the cave which is offers a treasure cove of jewels & a sense of insulated isolation. Born in 1954, Kelley took his own life in 2012 after completing the work in this installation.  His vexing body of works include critical writings, photography, performances & drawings.  Consider this work, by a creative, tormented artist as you respond to the splendor he captured along with a growing sense of disassociation from the world.  

SUPER HEROES in GOTHAM at the NY Historic Soc-Comics Blast from the Past

If comics and superheroes are your thing, then make your way to NY Historic Soc. exhibit SUPER HEROES in GOTHAM because you're sure to be WOWED!  Comic con has come a long way since its 1st convention in 1969 with a few hundred young people in preppy dress (check out the photo.)  Zowie, yes!  In fact, this rather small exhibit which highlights original sketches & drawings 1938-41 and the early 60's should knock out a lot of people.  Perhaps, 1 of the 3 original batmobiles from the campy TV series might be all it takes to floor you.  But, if superheroes & comics do not immobilize you like kryptonite than it's not worth leaping tall buildings to view the art, artifacts and character storyboards that I found rather boring.  Comics have become a pop culture phenomena which seems to be growing faster than a speeding locomotive.   I'll admit to a fondness for Archie & Snoopy comics but the superheroes never gave me a thrill.  Still, it was fun to see (anonymous) photos of youngsters sitting on curbs or at newstands reading comics in the early 60's.  I remember Julie Newmar as catwoman. I was disappointed in her lackluster leotards/gloves & kitten ears which seemed so provocative at the time and even more deflated by the Penguin's flimsy umbrella.  Some of the original sketches, drawings & covers packed a punch.  The 12 cent price on the comics underglass would probably draw a jawdropping figure.  I'm curious to attend a comic to experience the spectacle.  SUPER HEROES in GOTHAM was less than spectacular.    

BRIDGE of SPIES with Tom Hanks and Mark Rylance Is Worth Seeing

Dir Steven Spielberg colloborates with his male muse, Tom Hanks, to tell a historic, patriotic, biopic, spy thriller.  Hanks is as a phenomenal actor.  He combines the all American good guy qualities & talents of James Stewart, Gary Cooper, Gregory Peck, and George Clooney.  I have high praise for the noble and indomitable credibility Hanks brings to his role as James Donovan, an insurance atty. who is recruited by the C.I.A. to act as a liaison. Donovan is asked, in an unofficial capacity, to negotiate the release of a US pilot shot down over Russia on a reconnaissance mission and sentenced to 10 years in a  Gulag.  Prior, to this "civilian," clandestine & risky assignment, Donovan was tapped to represent Russian spy, Rudolf Abel in our court of law.  Despite his minimal criminal representation or because of it, Donovan is given the thankless task of providing Abel a defense as guaranteed by our Constitution, "the rights of our system of government are the greatest weapon we have to uphold in the world."  Abel is found quilty & given a lengthy sentence but spared the electric chair; thanks to Donovan's defense.  Donovan argues presciently for keeping Abel alive as it may prove useful should our country need to bargain for the return of our citizens.  The screenplay is by Nathan & Joel Coen who add their dark brilliance to this convulted but compelling cat & mouse game of espionage.  Rudolf Abel is played to perfection by Mark Rylance, another actor of exceptional skill.  This movie connects due to fine acting, historic storytelling and its sense of patriotic pride.  As a spy thriller it never quite heats up, but this is a glorious movie worthy of distinction.  

Julliard Composers Concert-Original Compositions Performed by Fellow Students

The Julliard Composers Concerts are the highlight of all the extraordinary performances to be enjoyed by the public; for free.  I'm staggered by the talented young artists' original compositions performed by their fellow students.  I urge everyone to attend these free concerts that are creative outlets for displaying the talents of young composers & young musicians working together.  There were 6 compositions on tonights' program.  Each composure introduced their piece explaining their inspirations.  All the performances demonstrated budding geniuses.  I will highlight 3 of the 6 works.  Nicky Sohn composed The Real Princes inspired by Hans Christian Anderson story, the Princess & the Pea.  She composed for the following instruments:  violin, viola, cello, bass, flute clarinet, piano, percussion and tenor, for whom she wrote lyrics.  The composition was conucted by fellow student Robert Garza III.  The music underscored the vocalist and established the fairy tell whimsy invoked by the story.  Sohn showed mulitple skills in composition, arranging & storytelling.  My personal favorite was Will Healy's "Do You Live on a Star Too?"  Healy explained he was drawn to a photo taken from outer space looking back at our planet which "appears as a beautiful blue dot of light among the stars."  The piece was for a piano & marimba duo.  The music evoked a walk in space; free floating and dazzling.  Joseph Yungen gave a virtuoso performance on the marimba.  The final piece on the program was Will Stackpole's 2 Miles from Here, influence by Miles Davis' "method for creating small ensemble jazz music."  He featured 2 trumpets, french horn and 2 trombones.  The reference to Davis was ambigious but he improvised the brass quintet into interesting melodies and harmonies.  The Composers Concerts is the most thrillling of the school's performances, highlighting original  compositions performed by Julliard's students.  The next concert is in Nov.  No tickets required.  

The Taiwanese Film THE ASSASIN Dir by Hou Hsiao-Hsien

THE ASSASIN is a Taiwanese film with English subtitles.  Dir. Hsiao-Hsien (b. China 1947) was taken by his family to Taiwan fleeing the Chinese Civil War.  The Hsiao-Hsien was awarded The Golden Lion Award at this year's Cannes Film Festival for the stunning shot film, THE ASSASIN, which is set in 9th C China.  The plot is a pastiche of myth, martial arts, loyalty and love story.  The choreography for the sword fighting scenes are remarkable and reminiscient of "Crouching Tiger Hidden Dragon."  The heroine is played by the breathtakingly beautiful Taiwanese actress Shu Qi.  Qi plays the martial arts master assigned by her mentor to kill her former fiancee.  The plot is plodding with minimal dialogue but these factors don't deter from the allure of the lush landscapes, period costumes, choreography & battle scenes and the exquisite Shu Qi.  THE ASSASIN is not as visually impressive as "Crouching Tiger" but it falls within a similar martial arts genre with its own mystique and majesty.  The film could be viewed without sub-titles and not diminish its impact or aesthetic powers.

A BALLERINA'S TALE-ABT's Misty Copeland

Misty Copeland is renowned for being the 1st African-Amer. to be the 1st soloist with ABT one of the world's major ballet companies.  Admittedly, I didn't appreciate the magnitude of what Misty accomplished or consider fully the barrier that had been in place for far too long.  Nevertheless, the movie is most engaging by Misty's performances. The pride Misty garnered for women of color is discussed in the film as well as acknowledgement of the systemic "white supremacy" that had reigned in the  ballet world.  The film begins with charming footage of Misty dancing as a young teen.  It's remarkable that she came to ballet at 13 and at 15, she was awarded the top honor in a major ballet competition.  Ms Copeland joined ABT Corps de Ballet in 2001.  I relished her exuberance in her early travels to China with the company & her delight in making friends & living in NYC.  However, it wasn't long until Ms Copeland admitted to feeling "alone & sinking in a world that had become home.  I had very mixed feelings and feelings of shame with my body."  The highlights of the film were excerpts of Misty's rehearsals & of her performing Thunder Bird.  She danced her a solo role despite suffering from stress fractures which required surgery.  Following her Dr and chiropracter visits felt voyeuristic and intrusive. Her return to ABT as a soloist after her surgery is nothing short of miraculous.  Credit was given Misty for changing the demographics of the ballet audience.  I am looking forward to attending ABT with Ms. Copeland dancing next week.  I regard Ms. Copeland's talent and dedication with the highest esteem.  I feel this biopic film will have limited appeal apart from  ballet fans.  I hope in this 21st C, we will have shattered any remaining glass ceilings and the tagline of firsts will become an obsolete nomenclature.

EMPANADA LOCA at Labyrinth is a CUTUP of SWEENY TODD

The gruesome play about a woman whose life spirals downward with strewn corpses cooked into empanadas fails to deliver a palataple play.  The 1 act dark drama is 1 long, drawn out monologue starring Daphne Rubin-Vega as Delores.  Rubin-Vegas has a fierce & vulnerable presence.  She was at the helm to regale us with her life story from her make-shift lodgings several levels beneath NYC's subway tunnels.  Unfortunately, there were too many rats fleeing from this stinking ship. Dolores was  orphaned as a child.  Her mother was a cop who was sho & her doorman dad drowns himself in drink.  Still, she managed to get 2 years of college under belt before she meets & falls heedlessly for Dominic, a dope dealer.  She takes the wrap for a drug bust.  She messed up & refuses to rat him out; cause that's what you do. After serving 13 years & never hearing from him, she returns to their old neighborhood.  Playwright Aaron Mark appropriates the remaining plot from Sweeny Todd with a sordid, story twist.  Trouble is, EMPANADA LOCA becomes butchered & monotonous.  Delores' tale of woe feels like purgatory and I couldn't wait for EMPANADA to end.

Iranian Film TAXI Takes on Censorship & Social Commentary

Iranian filmmaker Jafar Panahi benevolent character in this, his 3rd feature, TAXI belies a bonafide bravery & determination to defy the constraints of Iranian mandates.  Despite political pressure & an  order against Panahi in 2010 to make films, Panahi released "This Is Not a Film" in 2011 by a circuitious route into Paris.  Again, in 2014, Panahi conceived "Closed Curtain," a film which bends the rules on filmmaking as though going through the looking glass allowing Panahi to have the last laugh.  TAXI tackles censhorship issues in part, by blurring the lines between doc. film making.  He cunningly utilizes the vehicle of his niece to outline the absurd restrictions she must adhere to in order to make a film for a school project.  Hana, Panahi's niece, prattles away how she must manuever and at the same time bemoans the laws impinging liberties on everyday life in Iran.  Add to the journey a motley mixture of characters who ramble on about arrests, executions, social hierachy, sexism & bootleg music & videos.  Throughout, Mr. Panahi maintains a patience and warmth that transcends all the detirus that filter through his cab.  The jab in riding in Jafur Panahi's cab is - can he possibly be risking serious legal repercussions?  Because, for some reason, someone has their foot off the brakes.  Panahi is making a clean get away with heresy.

The FATHER by French Playwright Florian Zeller on Stage in the West End

Zorian Zeller (b. Paris 1979) is a brilliant young playwright.  His encompassing grasp of dementia and the painful pratfuls of caring for a parent no longer able to fend for themselve, explores and evokes the confusion and complexities with piercing clarity.  Anne is a caring & loving daughter to her aged father, Andre.  Andre's weakening facilities & increasing foibles are making life Hell for both father & daughter.  Grappling with solutions to an ever worsening situation is exasperating and confining.  The clever, sparse staging of an aptmt. is laden with ambiguities as to whose aptmt. it is and who is the actual daughter, her love interest & caretaker.  We not only empathize with the pangs of senility we become emeshed in the experiences.  And, how much is a child obligated to forfeit from their life to care for an ailing parent?  The blackouts with dissonant loud music (soothing when played as originally written) make for jarring & intentionally confusing lapses.  The sets are slightly altered each time.  There is a componding befuddlement of place & characters which  excelerates the sense of losing one's grasp of reality.  The actors are all convincing in their roles which makes the issues of elderly abuse and familial responsibility odious & discomforting.  This is not a happy, feel good play. The FATHER is a meaningful and serious consideration of what we all will confront; sooner than we expect.

FARANELLI and the KING Starring Mark Rylance in London

The London production of the historic/operatic drama FARANELLI and the KING stars theater royalty, Mark Rylance.  Rylance, arguably one of the world's greatest stage actors was born in England but moved to the U.S. with his family as a child.  His father was a prof. at UW-Milwaukee where Mark studied theater.  Last year, Rylance starred on B'wy in Twelfth Night which was a colossal success. Due in large part to his performance & to the authenticity of the period costumes & set including burning candles.  The actors were seen as their dressers put them into their garb, authentic musical instruments were played.  The London stage and seating area are on a much more intimate scale.  This enhanced the richness of the tight but lush set.  The center aisle was a pathway for actors to enter & exit  adding a layer of excitement and immediacy.  The playwright,  Claire Van Kampen, is Rylance's wife.  Van Kampen has taken artistic liberties with the historical reign of King Philip V of Spain (Rylance) who despite bearing the crown, was a melancholy insomniac who cared little for ruling his kingdom.  An opera prodigy, Faranelli was just gaining fame for his remarkable singing voice.  Faranelli performed for King Philip which brought the King out of his duldrums but ensnared Faranelli into a dungeon like existence and was never relinquished til the King's death.  This infatuating period piece is an operatic drama (performed by 2 alternating singers.)  They sing standing behind the actor performing the role.  FARANELLIE and the KING is theater at its most magical majesty. Plato describes the powers of music, "It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything."  This is how I left felt deparing the theater.

PHOTOGRAPH 51-Across the Pond with Nicole Kidman

The London production of the play PHOTOGRAPH 51 is written by Amer poet/playwright Anna Ziegler.  The play centers around Dr. Rosalind Franklin (Nicole Kidman) the only female working in an a sexist, scientific field with the goal to unlock the mystery to life.  The play takes place in the early 1950's in a subterranean bomb shelter which is dark, dismal, depressing and whose purpose was to protect the Londeners during bomb attacks.  Ironically, the life saving caverns where scientists are spending the majority of their time sealed off from the very things that make life worth living.  Crick & Watson who developed the double helix model to represent DNA & so doing received the Nobel Prize,  built their discovery on subterfuge.  They appropriated the x-ray studies of DNA molecules from reports & photos of DNA molecules that were the life's work of Dr Franklin.  Franklin is portrayed as a relentless scientist not known for her collaborative efforts.  Kidman gives a brilliant performance as a woman whose life is cut short by cancer and whose life is rendered lonely and riddled with regrets.  The scene between Kidman & a "co-worker" from Yale, having dinner together over a white linen cloth covering the lab table is molded by desires expressed in a dialogue not spoken aloud is the eureka moment of what could have been.  So too with her British counterpart, if only one had conferred with the other for work or for pleasure…what might have been.  The intelligent writing, Shakespearean oeuvre set, and leading acting result in a stirring historic/scientific play.  We're enlightened by scientific discovery and the make-up for life: Doing, Needing and Not Always being Alone.  Anna Ziegler should be awarded the Nobel Prize in Literature.

THE MARTIAN starring Mattr Damon-The Indomitable Human Spirit Tethered with Duct Tape

Andy Weir turns his Sci Fi award winning novel into a stellar script with an all star cast.  Matt Damon plays the resourceful, indefatigable hero who is (understandably) left for dead on Mars.  Much like other great survivalist stories, i.e. Robinson Crusoe, Mark (Damon) must fend for himself against insurmountable, life-threatening problems and the pangs of solitude.  Mark, the botanist on a crew that includes an aerodynamic team of 1st rate stars (Jessica Chastain & Kate Mara) who converge to create the pinnacle in ingeniuty & tenacity mixed with gravity defying humor.   The story orbits between the space shuttle and earth.  The ground crew at Nasa also combusts with incredible talent: Chitwetel Eljior & Kristin Wig.  The only dud on the team is Jeff Daniels as Teddy the head of Nasa who phones in his flat, over trodden role. This one miscast does not steer this endearing & entertaining film off course.  Having read the Weir's brilliant novel, I hadn't planned on seeing the film.  This would have been a gross misjudgement of astronimical proportions.  THE MARTIN speaks to the human spirit and the strength that comes from working together.  Whose the genius who invented duct tape?  BRAVO to him/her and to the team that put together an extraordinary film where anything is possible.

UGLY LIES the BONE with Mamie Gummer at the ROUNDABOUT

Written by Linsey Ferrentino, UGLY LIES the BONE shows the fallouts of war through a female Afghanistan vet, Jess, (Mamie Gummer.)  Jess returns from battle badly disfigured and in constant pain.  Gummer, Meryl Streeps' daughter, recently played her mentally unstable daughter on the big screen in Ricki and the Flash.  Jess is suffering from PTS.  She recently returned to live at home in FL with caring sister Kacie.  The scenes shifts abruptly from their shared, run down family room to a health care facility where Jess is being treated for pain by an unseen individual.  She is given a surreal world created from her spruce, snow covered images.  A sliding bedsheet divides the set & serves to show this virtual winter wonderland provided Jess to help her move forward & set aside her pain.  The writing suffers from mawkish drama & grating humor in the guise of Kacie's loser boyfriend.  There is one  poignant scene between Jess & her former lover Stevie, a married simpleton who desires very little from life.  Jess asks Stevie to describe for her what she looked like before she left.  Stevie played by Chris Stack was convincing in his feeble character who brought damaging hope into Jess' life.  The play speaks of 2nd chances.  The unseen voice spews out vapid wisdom:  move forward & let it go.  There's little worth sinking your teeth into with UGLY LIES the BONE.

NYC Ballet Premiers New Works that Shimmer & Delight-21st C Choreographers

The premier of new, exceptional choreography by Myels Thatcher, Robert Binet & particularily Justin Peck's NEW BLOOD succed in making your pulse race.   A new infusion of brilliant works will become part of the repetoire for the world class company who dazzled on stage with their versatile skills & elegance.  Peck, a soloist for the NYC Ballet (NYCB) & reisdent choreographer since '14 has come into his own with NEW BLOOD.  Peck worked with Amer composer Steve Reich's minimalist pulsating rhythms with maximum results.  The dancing is electrifying.  The movements flow with dynamic rapidity.  Despite the recessitation being gimmicky, the fluid connection between the dancers was magnificient.  NEW BLOOD pumps sparkling vitality into NYCB.  Marc Happel did the androgynous body stockings that enhanced the intricate & seamless partnering.  Happel also did the costumes for COMMON GROUND, a new ballet by Troy Schumacher.  Here both the costumes & dancing seemed forced and uneven.  The multi-colored ragtag garments with dangling threads were intended to create a kaleidoscope of color & whimsy.  There were light moments of grand jetes that lifted the piece but for the most part, this ballet felt laden & disjointed.  I was delighted by Myles Thatcher's POLARIS. It was an elegant piece with a lovely contemporary spin on a classically beautiful ballet aesthetic.  There was a lush, loftiness to the dancing.  The glittery, ephemeral costumes by Zuhair Murad were magical.  Finally, THE BLUE of DISTANCE by Robert Binet was exciting and innovative.   Here too Happel's costumes added a flourish of fantasy.  The men's homogenous blue ensemble helped shine the spotlight on the ladies.  The evening's dancing was nearly flawless except for 2 major gaffs by a male dancer & slight slip-up by a principal ballerina in THE BLUE of DISTANCE.  Still, this exceptional company is leading the way into the 21st C with phenomenal new works.    

The Honorable Congressman John Lewis Spoke at the New Yorker Festival

It was a great honor to hear Cong Lewis in discussion today at the Dir Guild.  Cong Lewis was in conversation with David Remnick as part of the New Yorker Festival.  The program began with documentary footage of Cong Lewis speaking at the march on Washington with Dr King and in Selma during the Civil Rights Movement.  It is painful to see the brutality inflicted on passive protestors marching for justice.  Cong Lewis was also shown speaking at the 50th Annv of the March on Selma and being honored with the Pres Medal of Freedom by Pres Obama.  Remnick is the editor of NEW YORKER Mag since 1988 & is a Pulitz Prize winning author.  I give Remnick credit for asking very cogent & prescient questions of Cong Lewis & for eliciting his personal history & convictions.  Raised in rural AL to "dirt poor" parents who never went to high school along with 6 brothers & 3 sisters, Lewis was the 1st of his family to graduate college.  His parents warned "don't get in trouble, keep quiet."  Early aspirations were to become a minister.  He practiced sermonizing to the chickens he reared & honed his skills and respect for animals.  (His 1st non-violent protest was abstaining from eating one of his charges.)  Cong Lewis spoke of his love for MLK whom he wrote asking for aid in going to univ.  He met Dr King and became the youth liasion for Students Nonviolent Coord Com (SNCC.)  His fervor and dedication to justice through nonviolent actions is a beacon of righteousness today as it was in the mid 1960's.  Setbacks in civil rights were discussed.  "To loose hope is to give up.  We're human, with setbacks and leaps forward. We will get there. Press on, struggle is a process.  It is a different America with immigration.  We are not to be afraid."  "Make noise, get in good trouble.  Get in the way."

THE INTERN Starring Robert DeNiro & Anne Hathaway-Chick Flick Fun

It doesn't take an Ivy league grad to figure out what's in store in Nancy Meyers' THE INTERN featuring Oscar winners Anne Hathaway & Robert DeNiro.  Hathaway (Jules) is a wife & mother of a precocious but adorable daughter, Paige, who builds an internet clothing line business sensation from home.  The stay at home dad, played with nauseating mamby pamby duplicity, steps up & stays home but surprisingly (or not) strays.  DeNiro (Ben) is a 70 yr old retired widower who is tired of being retired & tried all there is to try and wants more than his solitary, provincial life.  He finds an ad for a senior internship where Jules is the cool (if not always collected) CEO who may or may not be in over her head.  Cooler heads prevail and try as you might, you can't help but soak up the goodwill Ben brings to everyone & everything he does.  (Well, maybe not as far as Golden Globe/Tony winning actress Linda Lavin is concerned.)  She proves there are no small parts and her albeit brief screen time is priceless.  The generational divide, working mommy fission (is that fictional?) and beaten to death theme of can a woman have it all (makes me want to puke) are basic plot points.  But, built upon such adroit casting, sit back & enjoy this guilty pleasure geared to a feminine demographic.  On a dreary, rainy day, don't confine yourself to your apartment.  Take your BFF to this slick chick flick.  Girls we just want to have fun.

NEW YORKER FESTIVAL Talk with TONI MORRISON

The New Yorker Festival; a 3 day celebration of arts & ideas started with the beloved Toni Morrison. She is a distinguished writer and has been duly honored with a Pulitzer, Nobel and Pres Medal of Freedom Award.  There are insufficient laurels to bestow on this gifted author of BELOVED and TAR BABY. The rainy night did not deter a sold out crowd with hopeful individuals waiting in the rain for the opportunity to hear Ms. Morrison in person.  The mismanaged interview was done by Hilton Als, critic for the New Yorker Mag.  Morrison now 84, needed assistance climbing onto the improvised stage where it was difficult to gain a good vantage in the audience.  Her voice, nonetheless, was clear, melodious and rich.  Unfortunately, Als discussion with Ms. Morrison was arcane and abject;  referencing individual characters from her novels leaving the audience nodding off in the dark. Als's erudite references were smug and self-congratulatory.  Al's conversation was off-puting rather than an engaging discussion with the world renown author.  Als did not frame the talk with any social focus or  literary insight.  I was absorbed in Morrison's experiences in the Jim Crow south.  She spoke of them not with harshness but with an eloquence and strength.  She recounted the supportive "colored" community that readily provided support to her & fellow Howard students while travelling throughout  the south.  Morrison mentioned her father having witnessed the lynchings of 2 men from his block before moving with his family to CA. I gathered a unifying theme in all her works containing a forward progression of the protagonist.  According to Morrison, "All my characters are driven towards knowledge and end with having learned & grown."  I felt priviledged to have been present and disappointed by the missed opportunities a more adroit interviewer would have garnered.    

Julliard Jazz Orch with Guest Conductor Vince Giordano

The 1st Julliard Jazz Orch concert was last night with guest conductor Vince Giordano, starring the 18 member orch. featuring jazz compositions from the 1920's & 30's arranged by Chalis, Durham & Redman.  Special attention is being directed towards the art of arranging; a vital & versatile skill that hones adaptability, creativity and camaraderie.  Grammy winning conductor & instrumentalist Victor Giordano entertained both the audience & the students regaling humorous anecdotes from his performing days where spontaneous arrangings saved the gig & the day.  He praised the student's for their musical arrangements based on famous recordings by Count Basie, George Gershwin & Rodgers & Hart.  The musical numbers were all upbeat, high energy & varied in style from ragtime to big band sounds.  The fun apparent on stage in playing was infectious.  I expected bubbles to flow on stage.  Two students lent their vocals to "Gee Baby, Ain't I Good to You and "Tain't So, Honey, Tain't So." The students playing wind instruments, performed on multiple horns.  The pianist Joel Wenhardt and trumpet player Enrique Sanchez were exceptionally good.  The concert was a pleasing night that portends an exciting year ahead.

Julliard Jazz Ensemble-Music of Chick Corea, Herbie Hancock & Joe Henderson

Julliard's Jazz Artist Diploma Ensemble performed a program by legendary jazz composers:  Corea, Hancock, Shorter & Henderson.  The ensemble of talented young artists featured David Meder on piano and Samuel Dillon on tenor sax of whom I to call out for their incredible playing & arranging.  The Julliard Jazz student's focus, according to chair & assoc. dir., Aaron Flagg, is being placed on arranging.  The students receive expert musical training, and performance skills & coaching in arranging compositions.  The students develop their abilities to adjust arrangements for their instrumental ensembles and create a variation that is unique in its interpretation.  The versatile & impressive arranging by both students, Dillon & Meder was astounding.  The arrangements were streamlined to adjust to a 6 member ensemble that included players on the trumpet, trombone, drums and bass.  The jazz reflected the cool & turbulent 60's.  Joe Henderson's "Black Narcissus" and Herbie Hancock's "Speak Like a Child" were 2 of the standout numbers from the evening.  As individual students talked about the pieces we were about to hear, they told of how they listened to different recordings and what they attempted to emulate in their renditions.  The 1st program for the Julliard Jazz season was a joyous celebration of great jazz and an affirmation of the thriving art form.