KEANUE-Can You Believe the Comic Social Commentary?

Together, Keegan-Michael Key & Jordan Peele make a successful, cultural clash comedy couple.    The comedy duo are simultaneously silly & scathing.  Perhaps their humor is an acquired taste.  If so, it's parody is prescient.  Their farcical racial stereotyping is courageous, outrageous & spot on hilarious.  Key & Peele play cousins Rell & Clarence, mild mannered men who assume the gangster personnas Tectonic & Shark Tank to infiltrate a drug gang in order to retrieve Rell's kitten, Keanue, with whom he's totally smitten. (A silly set-up, but who doesn't like kittens?)  The movie lampoons a bastion of other movies.  The most blazon commentary is aimed at the black man viewed as gun wielding, drug dealing thug.  The homage to honky George Michael just might jump start his flatlined career.  The plot steals heavily from the "Jump Street" undercover buddy pictures.  The major difference is black & white.  Instead of a crime stopping combo of black & white partners, Key & Peele are both bi-racial.  Does this allow more leeway to lambast racial stereotyping?  We can all agree humor is a honed method for breaking down barriers & building communication.  KEANUE is entertaining & socially relevant.  Still, it needed serious slashing.  It would have been better served cut up into scathing comedy sketches.

Garry Marshall's MOTHER'S DAY-A Picture Not Even a Mother Could Love

Admittedly, I sneaked into "Mother's Day," after watching another movie at the AMC complex which I  had paid to see.  However, I wasted 15 minutes of my life that I would like to get refunded.  Dir Garry Marshall of T & movie fame (Happy Days, Valentine's Day) latest drivel,  "Mother's Day" is a pathetic picture with nothing likable.   Marshall is still able to corral plenty of celebrities to star in his picture despite knowing its a total disaster.  "Mother's Day" cast include stars Julia Robert, Jennifer Aniston & Kate Hudson who were willing to lend their winningest smiles.  Nevertheless, this is like putting earrings on a pig.  The truth is, the movie is a piece of crap.  Not even anyone's mother associated with this film would find it watchable.  Although, I will lie & deny having movie hopped.

French Film MY GOLDEN DAYS is Scintillating

The French film MY GOLDEN DAYS is tres sexy & crazy.  I liked everything about this steamy young lovers movie with its 2 very appealing leads but it foregoes logical story framing.  Mathieu Amairic (best known to Amer as a Bond villain) plays Paul.  Paul is apprehended at airport security in Russia and taken into interrogation.  Extensively establishing the flashbacks to his horrific childhood with an insane, dangerous & suicidal mother.  No sooner do we see him flee to the safety of his beloved, lesbian great aunt's apartment, We see him as a teen on a furtive mission in Russia with his best friend.  Next, we find him returning from Paris where he's studying anthropology to be with his sister, brother & depressed, mostly absent father.  Although this allows for endlessly partying & mayhem in their family home.  Paul spots the beautiful Claire and becomes infatuated & invites her to their party.  Once he wins her affection he's not sure she's stable, faithful or what he bargained for.  The sexual chemistry between Paul & Claire is magnifique and manic.  She can't bear for him to leave or bear to be alone.  They maintain a lengthy, torrid long distance romance albeit with infidelities (afterall this is France.)  The film is not a typical Amer young love film.  It is much more exotic, complex & confusing.  The closest comparison would be to Woody Allen's early movies where he obsesses over love & death.  MY GOLDEN DAYS has none of Allen's humor but it makes Allen's angst seem like child's play.

The documentary HOCKNEY-Colorful Look at Life

British award winning documentarian, Randall Wright, focuses his lens on arguably, Britian's most accomplished living artist.  Hockney's painting, photography, philosophy and personality make HOCKNEY a delightful & endlessly fascinating subject.  The artist's bio shares Hockney's" candid moments of creativity & personal emotional outpourings.  Hockney's exuberance is infectious as we see him embrace his friends, family & landscape. "Enjoyment of the landscape is a thrill." Hockney talks of his happy childhood despite contending with the blitz of WWII, strict rationings & austerity.   He took to heart his father encouragement to be himself & not to pay attention to what others thought.  We're given a view of Hockney's artistic & Bohemian sensibilities.  I found it enlivening to see Hockney at different stages & see the corresponding work of that era.  Now in his 80's, Hockney continuous curiosity & endless experimentation are inspiring.  The beautifully shot doc. splashes in & out of sequence & dives into interviews although it's not always clear whose speaking.  The film provides a new ways of looking & contemplating things which provides new ways of feeling.  As Hockney explains, "What an artist is trying to do for people is bring them closer to something because art is about sharing."              

SHUFFLE ALONG on Bwy-Overflowing with Talent but A Triffle Long

Actually, SHUFFLE ALONG, is more than a tad too long.  And, despite its incredibly talented cast, the historic story telling implodes as it straggles with convoluted intentions.   The trifecta of talent, singing, dancing & acting in the company was astounding.  The cast was comprised of 6 time Tony winner, Audra McDonald, Brandon Dixon in a brilliant performance of Eubie Blake, Brian Stokes Mitchell, Billy Porter and Joshua Henry.  Adrienne Warren played dual characters Gertrude Saunders & Florence Mills was sensational.  The entire ensemble was superb.  Jelly Roll once said "Get up from that piano you hurtin' its feelings."  My dilemma with the continuous show stopping numbers was, I wasn't sure what I was made to feel.  Learning about the legendary musical geniuses & the struggles to stage the 1st all black B'wy musical in the early 1920's  should make a compelling, contemporary production.  But, the show was too ambitious & far reaching to fully register the historic impact & the brilliance of the numerous musical numbers choreographed by the legendary Savion Glover.  Is it possible that this show suffered from too much of a good thing?  Eubie Blake wrote the compositions  "Troublesome Ivories" and "Memories of You."  There were snags with how the show moved along.  Most troubling of all was the meanspirited number where the only white cast member gleefully sang nobody is going to remember any of you groundbreaking musical giants.  The finale deflated the overall high energy with self-eulogies given by the stars.  I will remember with love the stellular singing & dancing but the show left me with an overall befuddlement.      

NY Philh World Premier of Franck Krawczyk's APRES

I attended the open rehearsal condcuted by Alan Gilbert for the world premier performance of APRES by Franck Krawczyk (b. France 1969.)  The piece was very percussive.  It felt both modern & classical simultaneously.   It was noted in the program an homage to Beethoven in the Reconstitution movement.   The instrumentation was laden with cymbals, drums, maracas, whip and wood blocks.  The wood blocks were over powering and diminished the majestic quality of the piece yet this also gave the piece a modern flair.  The entire piece which was short, had a high energy & rich tonal qualities.  I'd like to hear this piece again to listen for the distinctive classical & modern elements.      

U.S. Premier of The Irish Play A Girl is a Half-formed Thing

The Corn Exhange, a leading independent theater co. from Ireland, adapted Eimar McBride's award winning debut novel of the same name.  The 1 woman, a act play is performed courageously by Aoife Duffin who assumes multiple characters.   However, this ambitious production falls short of conveying the sensitive & damaged young girl.  Duffin's central character is that of the young girl born into a poor family.  She has an older brother & devoutly Catholic mother.  The father abandons the family before the girl is born & shortly after the older brother undergoes neurosurgery that renders him brain damaged.  Duffin plays the brother she adores, defends & at the same time feels embarrassed by him.  She also loves her mother who she portrays as fraught with hardships & lacking in tenderness towards   her.  The grandfather's harshness towards both her & her mother come across boldly.  Duffin also portrays her uncle who sexually abuses from adolescence through early adulthood.  Having read the powerful novel, I empathized with her vulnerability & innocence that were destoryed by her leacherous uncle.  The demands of the play requires Duffin to morph from 1 character to another instantaneously.  This was not always done successfully.  There's lot of hysterics & wailing that grab the audience.  The dual portrayal of girl & her uncle engaging in sex was not compelling.  The nuanced confusion & innocence  of her seduction was lacking.  A Girl is a Half-formed Thing was an oppressive production but it's missing empathy for the side of the girl's malleability turned self-desstructive from neglect & longing.  

The Irish Film SING STREET-A Sweet Coming of Age with a Great Beat

Did you ever wonder what it was like when Paul & John 1st met and started writing songs together?  Dir/screenwriter John Carney's (b. Ireland 1972 ,"Once") film SING STREET plays up the scenario of neighboring kids with kind spirits, surprising talents who miraculously find one another.  I adored this coming age movie.  Set in Ireland in 1985, amidst a turbulent, economic downfall with devastating repercussions.  Most were driven to  despair while others dared to risk ridicule & dreamed big.  This charming movie of a motley crew of teenage boys, led by Conor, form a band of brothers, a.k.a. Sing Street; their band name.  A happenstance, serendipitous meshing of boys who end up making beautiful music together.  Raphina is the gorgeous girl Conor is smitten & devises the ruse of rockgroup in order to impress.  Rafina is slowly won over by Conor's endearing infatuation & surprising talent.  The two actors radiate real warmth together.  Conor is also paired with a song writing partner who can play any/all instruments.  Together their fortuitious friendship & collaboration bestows Paul & John.   The movie has its cruelty as well as its warmth; the school bully, the vile priest and the painful disintigration of a marriage.  Conor though is irrepressible.  We watch him grow to his own beat.  The cast of  characters in the film are all fascinating, adding to the composition.  In particular, Conor's older, weary  brother whose disillusions don't deter from keeping Conor on an even keel.  I cannot laud this delightful film loud enough.  Also, I can't refrain from noting the similarities between Conor, his co-writer & the priest with Amer actors:  Alden Ehrenreich, Paul Dano & Michael Keaton.  This seems like a movie Richard Linklater would've made had he grown up in Ireland (minus the overblown ending.)          

At the MET Mozart's Opera Die Entführung aus dem Serail

Music lovers who are tepid about taking in the opera, you are likely not alone.  I suggest testing the waters with an opera by Mozart?  The MET's production of Mozart's Die Entfuhrung (which 1st premiered in Vienna 1782) was conducted by James Levine.  This 3 act production had 3 basic sets featuring the facade & courtyards of a Turkish palace.  Dissimilar from most operas, a running dialogue was frequently utilized.  The plot begins with Turkish pirates returning with their plunder including Spanish prisoners for the pasha.  A Spanish lady & her betrothed are taken prison along with their servants.  The pasha offers the lovely lady to his palace overseer whom she resoundly rebuffs.  Yadah, yadah after all four sing of their undying love for one another, they attempt a buffonish escape and are apprehended by the guards. Buzz kill alert-Ths pasha pardons them, allowing them to set sail for home having conceded to true love.  Okay, the story isn't the story.  It's the music, by Mozart that has endured for more than 3 centuries because true genius prevails.  And, if some of the singing gets in the way of the melodious music, there are some arias that astound with miraculous caliber.  My arias were sung by   the female servant, soprano Kathleen Kim (b. S. Korean.)   If opera is an acquired taste for some, the artform will thrive for centuries to come.

The French Film THE MEASURE of a MAN - Immeasurably Touching and Inspiring

THE MEASURE of a MAN is a French film with English sub-titles.  It is a voyeuristic, slice of life movie following an ordinary yet extraordinary man, that is nothing short of miraculous.  Stephane Brize's (b. France 1959) quiet film was seleted for the Palme d'Or at Cannes in 2015.  I felt I was looking over Thierry's shoulder throughout the film and my empathy and admiration for his humane behavior was visceral.  I can't think of more humble & decent character portrayed on film.  It starts with Thierry being part of a heated discussion with co-workers, all laid off from their jobs. An irate man argues vehemently for litigation against their former employer.  Thierry maintains calm & restraint.  There are many qualities to admire in Thierry's character.  He demonstrates measured reason, fairplay and a level head at all times.  Thierry is in dire need of work to provide for his wife and disabled son.  Soufine Guerrab who portrays the son with cerebral palsey gives a tour de force, heart rendering performance.  Thierry, though not a forceful figure, is neither easily intimidated or deterred from his keen sense of right & wrong.  Our compassion & concern for Thierry (an indomitable Vincent Lindon ) continuously grow as we clandestinely observe his interactions with others.  Thierry shows great tenderness with his family, an appreciation for joys in life, and an omnipresent respectful & responsible disposition.  I cringed at how insensitively he was treated by those in his interview building skills class.  This only fuels our respect for his composure and our empathy for him.  Thierry desperately needs his paycheck but this does not outweigh his tolerance of cruelty.  "The only thing necessary for the triumph of evil is that good men do nothing."  This remarkable & touching film embraces the best in humanity to be emulated.

The Aspen New York Book Series "The Art of World Building"

Last night 3 prominent novelist of fantasy fiction gave us their insights to how they comprise their worlds of magic & mysticism.  The featured authors were Lev Grossman ("Magicians Trilogy"), Hannah Tinti ("The Good Thief") and Mark Tompkins ("The Last Days of Magic".)  The event was moderated by Carole DeSanti, Exec Editor, Viking Penquin.  DeSanti wisely gave a short intro to each of the 3 writers and permitted them to discuss without interruption, their methods & motivations for creating a credible, mystifying  other worldly, world.  Tinti was quite candid and cogent.  "I have a recipie of 3 things I need for creating."   Tinti explained she 1st decides on the setting, then she considers what utensils are needed, what the characters would do and then considers"what would be the weirdest thing that could happen."  Interestingly, she sited that her best ideas stemmed out of boredom when writing which would lead to her to come up with "the weirdest things that could happen."  Lev Grossman's fascination with Harry Potter & Narnia was abject adoration.  I enjoyed the banter between the authors as they were curious with each other's tools of their trades & their shared passion for imaginative settings and stories.  I took away an appreciation for the powerful magic of imagination and the liberating freshness it inspires.

A New Look at Ancient Jan Van Eyck's Paintings

After a visit to the just opened installation on the MET's rooftop, I went into the gallery housing works by Jan van Eyck (b. Netherlands 1390-1441.)  The ancient diptych of "The Crucification" and "Judgement" is both ghastly & fascinating.  While the "Psycho House" installation drew a crowd on the roof, I had the entire gallery to myself. Van Eyck's depiction of Hades is horrifying & incredibly detailed.  The more you look (and there are magnifying glasses on hand) the more you can discern in the "Judgement."  It is a where's Waldo of where to find heinous torments.  The elevated, celestial beings above are haloed and feasting around a banquet table.  See if you can find the figures below wearing the same religious headgear as those on the higher plane.  Between the chaos underground and the figures being towed below, this painting is a gruesome nightmare.  The "Crucifixion"  painting is not as ghoulish.  Most people & horses are facing towards the Crucifixions, away from the viewer except for a huddle of grieving women in the forefront.  The use of x-radiography recently revealed text beneath the gold paint on the frame text in Flemish in Gothic minuscule script.  These works are more than 600 years old.  It is exciting to examine these works as an archeologist or art historian.  These Van Eycks paintings from the 15th C are far more intriguing than the new installation of an appropriated movie prop on the roof.  Sadly, far fewer are taking the time to discover something new in a very old work by the most significant Northern Renaissance artist of the 15th C.

The FRICK's Current Collection of Van Dyk's Art is a Treasure Trove Not to be Missed

The Frick Museum is one of the world's most beautiful art museums.  Originally the residence of Amer industrialist Henry Frick (1849-1919) the elegant mansion houses artifacts and old masters' paintings amassed by Frick.  The inner atrium is a haven of tranquility.  The current exhibit of works by Anthony van Dyck (b. Belgium 1599-1641) is an expansive array of his drawings, prints & paintings that are extremely pleasing to the eye.  Dyck studied under Rubens and Titian.  On an interesting note, several of the works have been rectified as Dyck's works which had heretofore been attributed to his mentors.  The downstairs galleries contain his pencil drawings & sketches.  The deceptively simple pencil or chalk drawings convey his subjects with a definite sense of character.  Van Dyck's self-portraits at an early age evoke an impish & inquisitive personality.  The older, self-portraits emit an elegance & mischievousness.  Because of his renown skills and social connections, van Dyck was commissioned by many of the most elite & influential people of the 17th C.  He made portraitures of high ranking military personnel, royalty, religious leaders and fellow artists.  I was delighted by his sketches of his beloved greyhound (reportedly to have saved his life) & the few equestrian drawings.  There seemed to be a fascination with depicting hands.  The collection contains numerous studies made solely of hands.  His oil paintings show prominently graceful & slender fingers & hands.  The large scale portraits are in the upstairs gallery including the seminole portrait of Charles I.  The Van Dyck exhibition is a thrilling collection of masterful works well worth a visit to the Frick.  

PSYCHO BARN Atop MET's Roof Garden is Gloomy Kitsch

For those who seek out the back stairwell on the 2nd floor of the MET to climb several flights to its roof, they're rewarded with a glorious view of Central Park.  A favorite respite from the frenzy of the city, the rooftop has become a palette from which various artists are awarded the opportunity to create an immersive installation.  Yesterday marked the opening of Cornelia Parker's (b. Britain 1956) "Psycho Barn;" a replica of Norman Bate's home from Hitchcock's horror film "Psycho" (1960.)  Parker is a celebrated conceptual installation artists; elected to the Royal Acad of the Arts & named an Officer of the British Empire.  She's been nominated for the prestigious Turner prize.  All these accolades are puzzling as her PSYCHO BARN appears a witless choice geared for the benefit of tourists and selfie shots.  I gleam the reference to clandestine enigmas on NYC rooftops.  Still, I think Parker's piece falls far below the provacative & stimulating installations that have been bestowed upon the MET's crest in the past.  Last year, the minimalistic but thoughtful installation was a clever convergence of archeological and biological ideas that mirror what is found inside the MET.  In 2014, the politcally volatile commentary by Pakistanian artist Qureshi was deceptively beautiful while delivering a blood chilling reminder of warfare.  Qureshi painted white floral arrangements amidst a bloody red splattered background.  Furthermore, her work did not obstruct the surrounding views.  Parker's Transitional Object "Psycho Barn" is a demented use of prime artistic real estate.  

OUTLANDER series on STARZ is Outlandishly Good

Blimey, the sci-fi, time traveling series that transports a British woman in 1945 back to Scotland in 1743 is transfixing and addicting.  Season 1 (of 2 with episodes each) begins on the day WWII ended.  Claire, our bonnie lass is a trained nurse who spent 5 years at the front caring for the countless wounded in the war.  Claire is seen awashed in blood tending to a severed arterie.  She steps outside the surgery hospital & is met by revellers jubilant with news war has finally ended.  She's passed a bottle of champagne which she promptly quaffs in one long chug.  Even for a young woman of mid 20thC, Claire is formidable, self-reliant, sexually liberated.  She's a woman ahead of her times. Her husband, Frank, from whom she's been apart during the entire war, are reunited.  They head off on a 2nd honeymoon to Scotland as Frank puts it.  Or, as Claire puts it, to get reacquainted.  Frank is a history prof. and eager to learn of his Scottish lineage.  They explore catacombs and walk through cemeteries covered in ancient headstones.  It is the historic hence stones that pique Claire's interest.  She returns on her own to gather medicinal plants & is drawn towards a large hence stone.  She leans against the stone and is catapulted back in time (same place) to the mid 17thC.  This sumptuous series has something for everyone: sex, violence, history and intrigue.  At the heart is a most  compelling mystery that drives forward the story.  Will she or won't she make it back to Inverness Scotland where the henge stones stand which hold the possibility of returning her to the life & husband she knows in the 20th C?  Will she or won't she find love with the handsome Scottish lad?  Will she survive in the harsh but beautiful Highlands?  Will her nursing skills & foreknowledge help or put her in danger?  And, what exactly is uder those kilts?  Are you kidding me?  I'm totally enraptured by life in Scotland in the 17thC & the skirmishes & malcontent brewing between Scotts & the British regime. I'm intrigued with the flashbacks (or are they flash forwards to her "real" life) she led in England.  I guarantee this series will sweep you away & make you weep for more episodes.  

The FIRST MONDAY in MAY-Doc of MET's Costume Gala/Anna Wintour/China Through the Glass-All Adds up to Crass

First, I am disappointed with the doc The FIRST MONDAY in MAY.  It chronicles the manic process leading up to the MET's Fashion Instit Gala premiering the CHINA THROUGH the LOOKING GLASS exhibit.  The film follows Anna Wintour, Voge Editor & MET curators.  (The Costume Instit was renamed The Anna Wintour Costume Center in 2014.)  The deemed dilemma,  does fashion equate as art and worthy of space in the MET?  The answer to both are a resounding yes but it was puerile to pontificate the evocative parallels between art & fashion.  (Interestingly, Lagerfeld and Gaultier gave cogent arguements that clothes do not constitute art.)  Having seen & enjoyed numerous exhibits at the Costume Instit I appreciate the creativity, refined technique and transcendence of the shows.  I view the clothing designs as sculptures & creative masterpieces (especially McQueen's.)  Adding historic artifacts, lighting, accessories, sound & video installations, fashion exhibitions registers as a mesmerizing & awe inspiring art form.  The doc. should have been stimulating observing the industrious processes leading up to the MET Costume Gala; the pinnacle of red carpet fashion & social standing.  Instead, I was put off by the frivolity of catering to celebrity & abject adoration bestowed on Anna, au rigueur accessory coffee in hand.  There were legitimate concerns (though too few) that the Asian artifacts were going to be "diminished" and the "intellectual level decreased with the elevated hype."  The movie has elevated moments of haute couture commingling with Chinese culture.  But seating charts, diva demands and timeline deadlines buried the best of behind the scenes constructive sensibilities.   If you want an insipid peek at celebrity chic, The FIRST MONDAY in MAY might meet your expectations.  I found the film maddening and quite agree "seeing too much is seeing nothing."  And, Anna Wintour let the MET be closed to the public the Sunday before the Gala in addition to the 1st Monday, is arrogance that shoudn't be accommodated or tolerated.        

David Claerbout: Light/Work-Worth Looking Into at SEANKELLY Gallery

David Claerbout (b. Belgium 1969) is an artist working in photography, videos, drawings & digital installations.  Best known for his large installations, I found his digital, virtual landscape most compelling.  The film is eerily vacant of human/animal forms or any sense of movement within the lush, green landscape.  Deceptively peaceful, there was an ominous, forbidding sense as you are drawn into the video & carried into the foreground.   The film travels from an expansive, sunlit landscape to shaded areas atop cliffs creating a feeling of vertigo.  The tall, black/white video installation of shots of a large brick structure and landscape is also intriguing sans the sense of foreboding.  This video installation would be companionable to the black/white Ellsworth Kelly photos on display in Chelsea at the Matthew Marks gallery.  This installation has a powerful pull with its architectural forms, strong shadowing & an absence of life or movement.  In sharp contrast, the enormous, colorful video work of a group of male workers in Africa huddled together after taking refuge from a storm under a bridge is vibrant & full of energy.  Their repose from moving & benign demeanor cause the subtle movement within the video to be surprising and arresting.  The drawings/photos of Elvis Presley were unremarkable.  I was fascinated with the diptych lightboxes of 2 birds perched on a sill.  One bird was inside the glass peering out & the perspective is shown in reverse; outside looking inside.  Take the time to view this interesting, innovative multi-media exhibit of David Claerbout's works.

Ellsworth Kelly Photographs in Chelsea

The minimalist painter, printer, sculptor Ellsworth Kelly died in December leaving behind a prolific body of  innovative works. Kelly is associated with a new style of minimalist painting (1940's) inspired from nature & serendipitous compositions.  Kelly was not particularily noted for his photographs & this seems an oversight having seen his black/white gelatin prints at the Matthew Marks gallery in Chelsea. Furthermore, there is a strong sense of composition & intent with these photos taken between 1950-1982.  Obviously, photography played a prominent role in his work as a tool, a source of inspiration & as a record of visions that piqued his interest.  The arresting photos of barns, shadows and stark landscapes look to be the works of a gifted, dedicated photographer.  I would have liked to take home any number of the prints.  In particular, I was struck by the simple but haunting photo of barren tree limbs.  (How would you like it if someone picked an apple off of you?)  And, I was taken by the geometric shapes and black/white shadowing in the photos of architectural forms, open doorways & mere shadows.  Kelly photos demonstrate an artistic eye for composition & the construct of shapes.   "Photography is for me a way of seeing things from another angle."  Seeing Kelly's engaging photos lends another aspect to Kelly's oeuvre that is worth seeing both as a curiosity and as an artform.    

Jazz at Lincoln Center with Wynton's Orch: Swinging Songs of Broadway

Wynton Marsalis' jazz orchestra turned to Broadway tunes; beloved, familiar songs.  These show standards were infused with a jazzy, surprising syncopation.  The numbers all came from musicals staged between 1933-1973 (except the Lion King.)  Musical dir/arranger & alto sax player, Sherman Irby, made the tunes go round & round. "I blow thru here - The music goes round & around.  The music goes down around below.  Listen to the jazz come out." (E Fitzgerald)  I've never heard such jazzy, bluesy riffs on B'wy tunes by legendary artists such as Richard Rogers, Jerome Kern, Leonard Bernstein, Irving Berlin, Cole Porter & Mel Brooks.  Mel Brooks' Broadway smash "The Producers"(2001) won a record breaking 12 Tonys.  Still, the peculiar pick of the irreverant "Springtime for Hilter in Germany" number was an odd choice.  Yet, it was my favorite of the evening.  Unrecognizable without it's laughable lyrics, this jazzy rendition was a beautiful musical number.  Brooks could use this music to soothe the savage beast in his "Young Frankenstein" film.  Jerry Bock's "Tradition" from Fiddler was anything but traditional allowing for the bookend familiar framing with a bold, brassy, sassy middle that was brilliant. "Grasslands Chant" from the Lion King offered an authentic, African tribal arrangement far more stirring & colorful than Elton John's score.  I also enjoyed Irby's arrangement of Sondheim's "You Could Drive a Pereson Crazy" which had a richer, bluesy interpretation than the number in Company.  The orch brought in vocalist Kate Davis on several songs which is where the concert went wrong.  Davis' worby singing was reminiscient of Bernadette Peters & Edith Piaf (though not meant as a compliment.)  Davis sang Berlin's "Moonshine Lullably" from Annie Get Your Gun and Rodgers' & Hammerstein's "Happy Talk from South Pacific.  Neither rendition charmed me.  Nor did I like Davis' singing of Cole Porter's "So in Love," from Kiss Me, Kate.  However, I enjoyed the concert for the ingenious arrangements by Irby & bandmates which put a sparkling spin on familiar Broadway tunes.  "And it comes out here" in a most delightful way.  

Jerry Seinfeld at the Beacon-"Got to Get Out of the House and I'm Back for Laughs"

Jerry Seinfeld  (the beloved SEINFELD show) is back to doing what he started out doing, stand-up comedy.  The first season of the show (1989-1998) began with Jerry doing stand-up in a club.  Last night, Seinfeld's club was the Beacon Theater on the UWS which fit into his hilarious, LOL gig about absolutely nothing; astutely observed banalities in our daily lives magnified through Seinfeld's sharp eyes.  He doesn't miss a thing & takes us along for a fun romp.   After all, Jerry's life mirrors ours  viewed through thwarted mirrors in an amusement park.  He ran out onto stage to loud applause and commended us for all making it out last night.   "You may know, I have money.  I don't have to do anything.  So when I was approached to get out of my house to perform at the Beacon, I jumped at the chance."  His opening routine about the stress of actually "getting out" and then "getting back home" was achingly funny from laughing.  Jerry shared his personal life; now 61, he's married 16 years, has 3 children and is constantly befuddled with his sub-hierachy in the household.  His self-effacing candor was riotously relatable.  Seinfeld humor is honed on the hilarity found in family dynamics & daily life.  The roller coaster ride of laughter left a visceral feeling of lightness and well-being.  To end the evening, Jerry shared the never ending ritual of putting his privileged progenies to bed.  Growing up, bedtime was lights out, darkness, period! Growing up in the dark ages, LOL, meant Lights Out Losers (my acronym.)  Jerry spoke of the silliness of golf.  He said the acronym for golf can only mean Get Out, Leave Family.

FULLY COMMITTED starring Jesse Tyler Ferguson at the Lyceum Theater

FULLY COMMITTED is frothy fun starring Jesse Tyler Ferguson in a 1 man show playing multiple  roles.  Sam (Ferguson, "Modern Family) is the main character, a lackey employee of a molecular gastronomy hoity toity working the restaurant reservation lines.   Sam also plays a slew of self-entitled hot heads who won't tolerate being put on hold or being put off from getting a prime table on short notice.  Ferguson is uproarius in his multiple impersonations that run the gamut from his pompous boss; the fashionable chef of the moment to the cast of characters who work at the restaurant, those working to get into the restaurant, family members, and his arch frenemie.  Sam is actually an aspiring actor still stuck in his shitty job while going on auditions.  Ultimately, he becomes fed up and decides to turn the tide at work to his advantage.  The range & rapidity with which Ferguson becomes someone else is electifrying.  His impersonation of Gwyneth Paltrow's asst & an insufferable bitch are hilarious.  He also captures with poignancy his recently widowed father whose passive aggressive nature stirs sympathy.  Ferguson had a few faux pas in the mix but charmed his way out by tossing "preview" in the meltdowns.  FULLY COMMITTED is a tasty soufflé; sweet but airy.  I enjoyed the show but don't feel it's fully worth the substantial price of a Broadway ticket.

Julliard Jazz Ensemble Perform Their Compositions

I am in awe of the creative talents of the Julliard students.  Last night, each memeber of the Julliard Jazz Ensemble performed their original compositions.  They also wrote & arranged for each of the instruments in their ensemble.  I attribute true genius to each of these gifted musicians.  The 6 member ensemble comprised a pianist, drummer, 2 trumpet players & a tenor sax.  Each spoke a little about their composition with candor, humor & brilliance.  Guest coach, prolific trumpeter, composer and twice  Grammy nom. recording artist, Dave Douglas played the 1st piece, his own composition "Hawaiian Punch."  Gabriel Medd on trumpet followed.  Medd introduced his piece "Terms" after paying homage to Douglas by saying his recording was the 1st ever he purchased and he thanked Douglas for his mentorship.  Medd asked the audience to consider his description for the most delicious tasting cheeseburger.  He admitted his imagery fell short of everyone's conception and he explained "the inability of words to convey" thoughts sufficiently often fall flat.  So, he named his piece "Terms" which he hoped would convey his feelings through music.  The incredible jazz music for the evening were all poetic expressions that resonated on many levels.  The tenor saxophone player named his piece "Costa del Cortisol."  "I have never been to Costa del Cortisol but I named this piece with irony over the break at home with my family.  I find there is always tension at family gatherings & I meant to capture this feeling in my music."  I discerned tension, multiple-conversations, and a sense of not being heard.  I  also heard from this jazzy piece built up emotion and energy.  Trumpet player  J.Q. Whitcomb called his bluesy piece "Geographic Lull" which he said represented "changes and missed opportunities."  My favorite composition came from the drummer, Andrew Wangemann's  "Virtue." His solo for the trumpet was extraordinary. I was entralled with the music and I'm totally blown by these fine muscians & composers.  Dave Douglas closed out the set by thanking these remarkable artists.

French Film STANDING TALL stars Catherine Deneuve

Dir Emannuelle Bercot (b. France 1967) is also a highly acclaimed screenwriter/actress.  STANDING TALL is her latest French film with English sub-titles and stars the always luminescent Catherine Deneuve.  Perhaps, Deneuve is Bercot's muse having cast her in several previous films ("On My Way" '13.)  Deneuve gives an exceptional performance as a judicious magistrate with profuse compassion & patience.  Malony 1st appears before her at age 6 with his distraught young mother coping with a flailing infant. The actor who portrays Malony at 6 appears stoic & accpeting of his abandonment, resigned to his appointed care.  Malony is next seen at 16 doing wheelies with a young woman & toddler in tow.  It turns out the woman egging him on is mom & baby bro.  Appearing before Deneuve again, now on multiple charges including auto theft, she asks if he recalls meeting her.  Time & again a similar scenario is ridden.  Malony has no regard for the law, others or himself & sabotages all  opportunities presented.  Malony is repeatedly sent back to juvenile detention facilities.  The magistrate admonishes Malony for his behavior & reprimands his mother's parental shortcomings.  Deneuve develops a proprietary role allotting for leniency until her patience is exempted and sentences Malony to prison.  His feckless mother flits in & out of his life; at times slobbering with tears & kisses & other times clobbering him.  There is also a steadfast counselor who mentors Malony & offers guidance but Malony does not "take the hand that's offered." In turn, he becomes a dad at 17 assuring the cycle of dysfunction will continue.  There are grueling scenes within each detention center depicting volatile and unwanted lost boys.  If you're a fan of Catherine Deneuve (who isn't) you will appreciate her measured demeanor throughout the film.  However, STANDING TALL feels endless and is arduous to endure.

DEAR EVAN HANSEN at 2ST Is a Poignant Play for any Age

DEAR EVAN HANSEN  the new off B'wy musical that packs a powerful emotional response touching on socially significant issues of our times.  Evan (played with empathy by Ben Platt "Pitch Perfect") is a h.s. senior who suffers from anxiety and alienation from his peers.  His only friend is Jess who makes it clear their "famly friends only."  Jess becomes complicit in a social media mess along with Alana, an overachiever on overdrive.  Evan lives alone with his loving but harried working mother and P/T student.  Evan's concerned mom seeks how best to help her son.  Perhaps her prodding only exacerbates his discomfort.  The play starts on the 1st day of Evan's senior year in h.s.  He desperately wants to be positive and try to fit in at school.   Evans' mom is not alone in seeking guidance for their troubled teen.  Connor Murphy is also a senior at Evan's school who has alienated his father, sister and classmates with his churlish, anti-social behaviors.  The 1st musical number "Anybody Have a Map" song by both mothers shows their love, pain & helplessness not knowing how to help.  The music/lyrics by Ben Pasek & Justin Paul ("Dogfight" @ 2ST & "A Christmas Story" on B'wy) have composed heart rendering lyrics and stirring music performed by an orch above stage.  "Waving Through a Window" is the 2nd number & song by Evan.  The poignant song expresses his feelings of being on the outside looking in at all times. It's impossible not to feel Evan's pathos & loneliness.  Evan & Connor collide, literally the 1st day of school which tragically is the day Connor commits suicide.  A self-help letter written by Evan is found on Connor & miconstrued by his parents as vestige of friendship and they grasp onto Evan as a lifeline & link to their son.  "Requiem" is a mournful ballad song by Connor's parents & sister Zoe that resonates pain & perseverance.  The play confronts the invasiveness of social media.  The double edged sword of technology/social media & its ubiquitousness in our lives does lead to deception & isolation.  I was moved by DEAR EVAN HANSEN and by thoughtfulness it brings to the pressures placed upon today's teens & their families.  The clever staging provides a visceral feel of over stimuli.  Many of the musical numbers add to the omniprescence of noise to which we may have become innured.  DEAR EVAN HANSEN is an engrossing, talented production that arouses compassion & a helpful understanding of other's torment.

SHE LOVES ME-I Like it NOT with Jane Krakowski-Better to Bank on "You've Got Mail" with Tom Hanks

SHE LOVES ME is a musical revival from 1964 which was adapted from the movie "The Shop Around the Corner," starring James Stewart in 1940.   Nora Ephron adapted her film "You've Got Mail," starring Tom Hanks (in Stewart's role) in 1998.   If you're not familiar with the original movie, Ephron's movie or the current B'wy revival SHE LOVES ME, the plodding plot is boy gets girl by writing letters, anonymously & freely.   Of course, everything is appropriated from the 17th C playwright Cyrano de Bergerac who famously wooed & won love through his prose despite his ungainly nose.  In other words, the pen is mighty but alas, the art of writing letters is obsolete.  Email, is perhaps a paltry replacement for wrriten correspondence.  The play is set in a store in 1934 where 2 clerks work the floor.  Unbeknownst, these 2 have been swapping lovelorn letters to each other as "Dear Friend." Ephron was able to elicit charm (thanks to Hanks) from the solace & blooming friendship stemming from swapping emails.  Here, the musical numbers feel dated. The overlap of singing worked well in "Guys & Dolls," but then so did the story & the music.  I don't fault the cast for failing to elevate this tired material.  You can't beat a dead horse.  However, Jane Krakowski and Zachery Levi were winning in their roles.  But, if there were a dream team cast that could bring life to this musical they would need Peter Gallagher as the lithario, Wallace Shawn as the maitre d, & Stubby Kaye as the chubby wingman.  Wait, Kaye is dead & SHE LOVES ME can't be reprised. "Tell this to all the world - say very softly that…She loves you not." (C  de Bergerac)

Jazz at Linc Ctr, Bill Charlap Jazz Pianist and Vocalist Extraordinaire Cecile McLorin Salvant

Bill Charlap is one of the world's premier jazz pianist.  Charlap received a Grammy ('16) for the "The Silver Lining" featuring vocalist Tony Bennett.  Bennett was sitting in the audience and stood for an arrousing applaud.  Charlaps' trio:  bass player Peter Washington & drummer, Kenny Washington formed 20 years ago,  "You can't invent chemistry," says Bill Charlap.  "The 1st time Kenny & Peter & I played together…. We had 1 rehearsal, maybe 2 and we sounded like a band right away."  The tight trio were a delight.  Drummer Kenny Washington played his set with a stylish arrangement making himself sound as much the star soloist as Charlap on the piano.  Tinkling the ivories, Charlap used all 77 keys on the piano with a flourish & timing that had the startling syncopation reminiscent of Monk's playing.  The program:  Broadway to Harlem was an ambitious spectrum that successfully took us along for a cool, rhythmic ride;  Ellington greats, big band sounds and classic jazz ballads by Porter & Kern.  Two vocalists joined the trio:  Freddy Cole & Cecile McLorin Salvant.  Salvant was the highlight of a great evening of jazz.  Salvant's artistic phrasing and incredible vocal range where phenomenal.  I will seek out her performances in the future.  Ken Peplowski played clarinet on the big band jazz numbers & Houston Person played alto sax on the Ellington pieces.  Person & Cole are seasoned seniors who added an old time jazzy, blues appeal although their wind & their voices were flailing.  The evening was an exceptional jazz concert.  Charlaps' playing was remarkable.  I'm grateful  for having brought Ms Salvant onto the stage.  Salvant's singing was sublime.

BOY a New Play about Nature v. Nature Based on a Real Case

The debate over what takes credence, genetics v. environmental conditioning have long intrigued the scientific & pscychological worlds.  BOY is a brilliant & compassionate new play by Anna Ziegler (Photograph 51) that addresses this debate.  As in Photograph 51 starring Nicole Kidman in London, Ziegler writes about real individuals whose lives have significantly impacted scientific knowledge.  More importantly, her intelligent & poignant plays are reminders to register joy & beauty in our lives.  BOY is performed with flashbacks (dates/names are clarified.)  The story focuses on Adam/Samantha, born as a boy with an identical twin in the 1960's.  A botched circumcision eviscerates the penis of one twin.  The distraught parents turn to a renown psychiatrist for guidance.  He advises them to raise the disfigured child as a girl with follow-up surgeries & hormone treatments.  The Dr warns them to withhold the truth of the boy's birth gender.  He convinces the parents to permit him to continuously consult with the child (gratis.)   Adam/  Samantha is played by  B'wy veteran Bobby Steggert (Mothers & Sons.)  Steggert portrays the male/female role at different ages with stealth, credibility & heart.  The play begins on Halloween when Adam is 23.  He is wearing a Frankenstein mask while flirting with an attractive female dressed as a playboy.  "Everyone has to dress as someone," she tells Adam.  Ziegler writes eloquently.  Her literary references to Shelly's novel & Milton's poem speak volumes.  "We are unfashioned creatures, but 1/2 made up."  (M Shelly)  The Dr may is self-serving ingratiating himself with Samantha but his attentive ear prove invaluable.  BOY arouses deep empathy & compassion for the struggles of transgender individuals.  I was moved and inspired by this illuminating show seen on  Theater Row.  "My heart was fashioned to be susceptible of love and sympathy." (Milton)

AILEY II Performs BREAKTHROUGH with Power & Poignancy

Born in France, Manuel Vignoulle is an Int'l dancer/choreographer whose works & performances have been performed throughout the world on stage & film.  Currently working in NYC, Vignoulle created BREAKTHROUGH as a commissioned work for the acclaimed AILEY II Dance Co ('14.)  This powerful work grabs the viewer and elicits strong visceral/emotional response.  Though ominously cast in dim, smokey light, Vignoulle intersperses graceful elements of classical music and ballet.  The contemporary score has a driving, frenetic feel composed by Mikael Karrison (b. Sweden 1975.)  There is a hurried, combative aesthetic to the dancers pairings.  This is a high energy performance which incorporates much running.  The running gives a nightmarish quality of fleeing & trying to reach an elusive safe haven.  All the dancers except for 1 female fade away as she continues to run and yells "wait" with urgency.  A male dancer stealthly approaches and covers her head with a stretchy fabric and lifts her off the ground.  The startling & disturbing imagery is of a woman fighting for her life.  talented dancers were all adept at a speedy clip of contemporary, jazz & ballet expression.  BREAKTHROUGH gets your heart pounding.  It is a brilliant work that will not go quietly into the night.  "Dance, an art without borders uses the human body as raw material moving through space, generates feelings that touch people's hearts and lead them to reconnect with their own humanity." (M Vignoulle)

British Dir R Budreau's BORN to be BLUE-A Biopic Chet Baker Film Starring Ethan Hawke

British dir/screenwriter of "Born to be Blue," Robert Budreau made a previous biopic film on Baker "The Deaths of Chet Baker" ('09.)  The title "Born to be Blue" was a major record for Baker (b. Amer 1929-88.)  The double entrendre title refers to his penchant for self-destruction.  "Love fear.  Hello death. Fuck you."  Baker says in the film before shooting heroin.  Highly regarded for his influence on west coast swing, Baker was a successful performer/recording star for his vocals & trumpet playing.  The film shows Baker playing in NYC under the watchful eyes of Miles Davis & Dizzy Gillispie.  Gillispie was partly responsible for getting Baker an opportunity to redeem his career by getting him a gig at Birdland.  The movie begins with Baker in a jail cell in Italy convicted on drug charges.  He's released early to a Hollywood exec. who brings Baker back to film a story about his life.  The film within the film is never completed stemming from problems with his drug addiction.  Ethan Hawke plays Baker with convincing charm and repugnance.  Carmen Ejogo (Selma) is illuminated as Baker's love interest although it's unclear why she is besotted. The scene in which Baker is brutally beaten by drug thugs is cringeworthy.  The actual beating knocked out Baker's teeth destroying his embouchure   rendering him unable to blow suffficiently into his horn.  The movie is told mostly in linear fashion.  The glossy cinematography is shot in both black/white & color.  While trying to be an art house film about a down & out jazz artist who can't/won't kick his addiction, it comes off too slick, too scripted, to register much sympathy or credibility.  (Gatsby's green flashing light in his dressing room landed flat.)  Out now is MILES AHEAD which tuned into Miles Davis 5 years in the '70's in a drug infused stupor.  "I can't play without it {heroin.} says Baker before his "career determining" set at Birdland in the '70's.   Having seen both films MILES AHEAD comes out in front but neither is a major hit.

SPACES by W Marsalis with Jazz Orch and Dancers Jared Grimes and Lil Buck-SPECTACULAR

Last night Wynton Marsalis and the Jazz at Linc Ctr Orch performed SPACES, a copilation of compositions by Marsalis that personify animal's sounds & characteristics.  The extraordinary dancers/

choreographers Jared Grimes (Bwy "After Midnight") and Lil Buck ("The Swan" with Yo Yo Ma) became the animals with their mesmerizing moves and fleet footwork.  Marsalis is one of today's most influential jazz composer/arranger & musician.  Listening to Marsalis music (and his witty, informative banter with the audience & his band) is always enjoyable.  He is carries the genius of prior jazz legends into the future.  The lobby outside Rose Theater has an illustrious display which pays homage to these legendary jazz artists.  Marsalis' described SPACES as "an animal ballet."  The 10 named animal pieces were jazzy renditions that captured the sounds and syncopations associated with: frogs, chickens, bees, snakes and other diminutive & humongous animals alike.   The concert was an exhilirating & exciting anthropomorphic performance; the music combined with the incredibly talented dancers embodied the essence of each animal.  I would have gladly stayed longer into the evening.   Alas, the physical demands on the dancers rendered it impossible for them to dance all night.  I encourage everyone to hear Marsalis & the Jazz Orch at Linc Ctr.  And, run to any dance performance by either Jared Grimes or Lil Buck.  SPACES was a thrilling  evening of jazz, tap, hip-hop and improvisation.  SPACES will be at the top of list for my favorite list for 2016 and that's no April fools joke.    

MILES AHEAD-Love Mile's Music Not this Movie

MILES AHEAD is a biopic film on the legendary jazz trumpeter, composer, bandleader Miles Davis.  Davis, was a musical genius & 1 of the most influential musicians of the 20th C.  His jazz music incorporated bebop, 3rd stream, modal and jazz fusion.  Davis said in the movie he didn't want his music labled as jazz "Call my music social music."  The most affecting & factual aspects aside from the musical playing (which was too little) were the social issues of racism and spousal abuse.  The abhorrent beating by white officers & his arrest sharing a smoke with a white woman in NYC outside the club is painful & prescient.  Although charges were dropped, the repercussion of systemic racism still resonate.  Davis was not without his own demons & abusive behaviors.  The film depicts Davis beating his wife Frances (beautifully played by the lovely Emayatzy Corinealdi.)  In a NYT interview Frances Davis said "I actually left running for my life, more than once."  In Davis' memoir he admits  to beating his wives (he was married to Cicely Tyson) and his coke addiction.  Don Cheadle is the dir/screenwriter & star of this artsy/biopic picture.  It hones in on the years 1975-79 when Davis was a recluse.  During this time he stopped performing & recording.  Although there are flashbacks to his successful, brilliant career & happier times with Frances, the movie is frenetic & drug infused.  Cheadle did a brilliant job of acting but not directing. The gun fights & car chases delude the film's powerful rhythm.  The major miscast is Ewan McGregor who falls flat.  He poses as a Rolling Stones reporter ingratiating himself into Davis' life.  McGregor is looped into a farcical battle with record executives and armed thugs.  McGregor is too old for the role & comes of looking ridiculous.  The Rolling Stone mag. did a story on Miles in 1979 reporting his impending death to to drug abuse.  The role of Jr., a young, talented trumpeter with a drug habit was masterfully portrayed by Keith Stanfield (Selma.)  "Sometimes you have to play a long time to be able to play like yourself." (M Davis)  MILES AHEAD was too focused on the unproductive, self-destructive period seen in a muddled haze.    

Everybody Will Want to See Linklater's Film EVERYBODY WANTS SOMETHING

Dir/screenwriter Richard Linklater took film making to another plane with BOYHOOD ('14.)  The film tracked the life of an 8 yr old boy & his family over 10 years when he heads off to college into a seamless & endlessly fascinating movie.  EVERYBODY WANTS SOMETHING is a time capsule of campus life in 1980.  We observe freshman, baseball player (Jake) & his motley mix of teammates, co-eds & life's marvelous moments. Linklater demonstrates a magical touch for capturing ephermeral experiences floating by and encases them in ember.  Jake (Blake Jenner, a young looking Matt Dillon) is the wide eyed, likable guy who takes things in stride.  We happily go on this joy ride with Jake & his teammates/housemates as they party, hit on girls, hit each other and take hits from bodacious bongs.  The film unfolds languorously.  Linklater does a masterful job of capturing the venture of trying on different personnas & styles.   The early 80's epoch is enshrined with clothes, dance moves,  electronics (or lack of) and youthful innocence.  Watching senior teammate (Glen Powell) take Jake under his wing was major league.  The actors swung for the fences & kept hitting it out of the park.  The melding of immature bravado and coming of age wisdome was especially touching from the entire team.  EVERYBODY WANTS SOMETHING is a dream of a movie and a sweet reminder of being in college and making things up as you went long. The movie made me wish for a do over to savor the fun of being young.  "Grooving loose, or heart to heart, We put in motion every single part." (Peaches & Herb)