French Oscar Nominated Animated Film "My Life as a Zucchini" A Must See for Mature Audiences

This captivating & emotionally sitrring "My Life as a Zucchini" is an animated movie that broaches horrific subjects such as child abuse & abandonment with an artful tenderness mostly due to the artful, stop motion cartoon handicraft and alluring design.  The wide eyed innocence of the children softens painful & taboo topics.  The film first shows colorful, childlike artwork.  These are drawings made by the 9 year old protagonist, Icare.  Icare prefers to be called "Zucchini."  His mother called him Zucchini when she wasn't in a drunken rage or stupor.  After spanning the colorful drawings the camera zooms in on Zucchini coloring on his homemade kite.   He gleefully flies the kite from his bedroom window.  This joyous abandon is short-lived.  His mother becomes enraged by the clamour of beer cans tumbling down the stairs from a toppled structure Zucchini built to amuse himself.  He apologizes but his mother storms the stairs to his attic room threatening him with a severe spanking.  In a panic, Zucchini releases the latch to the opening & we hear heavy thuds.  Next, the scene shifts to Zucchini sitting before an officer asking him questions.  The officer gently explaining it's not possible for him to be returned to his mother.  It is this policeman that drives Zucchini to a group home in the countryside.  The children living here have been beaten, abused, neglected.  Some have witnessed dreadful atrocities. The officer promises to return to visit & he is true to his word.  He grows protective of Zucchini & his newfound friends. The home is a haven of kindly adults and welcoming kids.  Simon, an older & wiser boy is at times a bully but he proves himself a leader with the other's best interests at heart.  The film is directed by Claude Barras (b France 1973) based on the book by Gilles Paris (b Switzerland 1959.)  the film is a visual delight and it's reigning message is one of hope, kindness & love.  There is a visually magical snow trip the for the kids.  Humor is found in Simon's sexual education to the younger boys.  And, the growing affection between Zucchini, Camille and the policeman will melt even the coldest heart.  "My Life as a Zucchini" is a life affirming animated  work of art filled with depth & charm.  At the end, the children at the home press their teacher about her newborn.  Would she abandon him if …?  The film ask many hard questions and provides shimmering glimpses of the beauty found in humanity.

Melinda's Mind on the Oscar Prize Goes To...

My vote goes to

Best Picture      Best Actor            Best Actress       Best Supporting Actor        Best Supporting Actress
Moonlight         Casey Affleck      Ruth Negga       Jeff Bridges                         Viola Davis

Best Director     Original Screenplay     Best Adapted Screenplay                      Best Foreign Film
Barry Jenkins    The Lobster                  Arrival                                                   The Salesman

Best Documentary
I am Not Your Negro

I don't expect my choices to right and the reason is because I am so right and so without any incentive other than to give praise where it is due
And, on that note Hell or High Water with Jeff Bridges Chris Pines & Ben Foster is the underdog which deserves more notice    Ruth Negga in Loving gave a graceful & stirring portrayal of an ordinary woman in extraordinary circumstances with great power & dignity   Tthe documentary "I am Not Your Negro" should win for best documentary and should be seen by everyone and James Baldwin's books should be on all high school curriculums

British Playwright Penelope Skinner's "Linda" at MTC Sees Foibles for Aging Females

British playwright Penelope Skinner (b 1978) previous play last season at MTC:  "The Ruins of Civilization" was a dark, thriller.  "Linda" is lighter drama but brutal black comedy that puts all the pitfalls facing women past their prime.  Skinner creates a clever, modern career woman whose an ad executive for a cosmetics company.  Linda (Olivier Award winner, Janie Dee) is married with two precocious daughters and a demanding career based on maintaining women's youthful beauty.  One daughter is an aspiring actress still in high school.  (She posts a Medea billboard above her bed.)  The older daughter is a college drop out who dresses in a skunk bodysuit since being exposed on the internet in sexual embarrassing images by her ex-boyfriend.   These minor characters add enriching layers to what is essentially a dissection of women as having a shelf-life with an expiration date in a man's world.  There are many sharp & astute observations made by Skinner who fully flushes Linda's character with multiple dimensions, strengths & foibles.  The audience empathizes with the anguish women feel as they age in a world that puts a premium on youth & beauty.  The smart, revolving set swiftly shifts from home to work to the sister's bedroom without skipping a beat.  Enter the new ingenue, Amy (a talented Molly Griggs "Ultimate Beaity Bible") ready & willing to push Linda aside & claim the corner office.  While I liked the 1st ACT, Act II pushed the play into a farce incongruous with striking a nerve regarding women and the aged old proverb that when the bloom is of the rose - so goes the glory.  Skinner's clever writing went awry in Act II.  The acting was strong all round but I'm only recommending you stay at the play for Act I.  In other words - once the show has 50% past, it goes downhill fast.

Dev Patel Stars in "Lion" Nominated for 6 Oscars including Best Picture (2017)

The movie "Lion"directed by Austrialian filmmaker/tv director Garth Davis is making a huge roar amongst audiences.  I'm at a loss as to what the uproar is about this long drawn out movie.  Rooney Mara is miscast as Saroo Brieley's (Dev Patel "Slum Dog Millionaire") love interest. Dev Patel received a Best Supporting Oscar nom. for his leading role as Saroo Brieley, a young Indian boy who gets separated from his mother/siblings and is raised by his adoptive parents in Australia.  Nicole Kidman (Sue Brierley) also received an Oscar nom. for her role as Saroo's adoptive mother.  Both Patel & Kidman give strong performances.  I fault other issues for this maudlin and meandering film based on a true story (with the real people pictured at the end of the film.)  Lucy, (Rooney Mara) is an insipid character who moons over Saroo and feels so sorry for the lost man he has become having developed  yearnings to find his birth mother & much beloved older brother.  Mara's acting comes from sporting a  dimple in her cheek and a doing a silly peek-a-boo behind a light pole.  Moving on - the movie's cinematography is stunning.  However, this at times does a disservice by minimzing the impoverished & brutal conditions.  The hordes of people in the train stations swirling around Saroo were very effective.  And, the scenes with a young Saroo & his older brother are touching.  Saroo's terror is tangible realizing he's entrapped on a train.   He ends up lost, vulnerable & placed in an abusive, horrifying orphanage.  Saroo is one of the fortunate ones chosen to be adopted & is welcomed into a loving home with affluence & limitless opportunities.  However, the adoptive parents aren't flushed out characters and the 2nd child they bring into their family suffers emotional trauma & illness.  His storyline should have been further examined.  Saroos search on the internet for his mother/hometown using vectors/graphs & maps drags on too long and becomes dull & disingenuous.  At the end of "Lion" there was a lot of cryin - I'd be lying if I told you I was amongst those deeply moved.  I'm puzzled as to the strong response gathered by this movie.    

Julliard Jazz The Music of Oliver Nelson with Conductor Etienne Charles

Guest conductor Etienne Charles oozes cool & jazz.   The evening of Oliver Nelson's music under his direction was dazzling.  Charles, prof of jazz at MI State, was born in Trinidad.  His myriad of rhythms bring elements from the Carribean, France, & Spain.  The stage was filled with swagger, style & swing and the audience couldn't get enough of the rich blends of great jazz standards composed by Oliver Nelson.  Nelson (b Amer 1932-1975) was a brilliant composer/arranger & master saxophone & clarinet player.  Nelson's styles combined jazz fusion & be-bop.  The Julliard Jazz Orch played Nelson's most famous works "Stolen Moments" and "Blues and the Abstract Truth."  Charles came out in dapper dress; donning a grey derby, electric blue glasses and handsome check blazer with pocket chief.  His former student, Endea Owens performed on bass & there was a nice moment of recognition.  Andrea Domenici was phenomenal on piano and was featured with several solos.  Julis Rodrigues stood out on drums.  The orchestra had 3 female musicians (the most I've encountered) performing on bass, sax & trombone.  I always want to call out Gabriel Schnider on guitar.  Tragically, Nelson suffered a fatal heart attack at the age of 43.  His music lives on and it was a privilege to be part of a such a cool, cultivated jazz evening.   Thank you Julliard students.  Your tribute to the audience in your performance & program was stirring.  "Art that goes into the world changes those who experience it.  When you attend a Julliard performance, you become part of a transformative experience.  To give your attention as an audience member is true generosity.  Thank you for being a champion of our students. We, Juilliard."  Our gratitude goes out to all you young talented musicians and visiting guest artists who offer their time & mentoring.  Keep on playing - we'll keep on attending.

"Significant Others" on Broadway is Borscht Belt Material for Millennials & Jewish Grandparents

"Significant Others" by playwright Joshua Harmon (b Amer 1971) also wrote "Bad Jews" (2015.)  Both play seek humor in millenials behaving badly with Jewish schmaltz added to the brew, hah. Hardly funny or clever, "Significant Others" was simply annoying.  Jordan Berman is the gay protagonist, the odd-man out of a foursome of friends from college all self-absorbed with Peter Pan syndrome.  Jordan Berman (a not too subtle nom de plume for Joshua Harmon.  Gideon Glick (Broadway: "Spring Awakening" & "Spider Man,") role was absurdist in an annoying & cloying frenzy.  His 3 gal pals are all getting married and moving into adulthood leaving him in no man's land without every having found love.   Jordan is at times, both kindhearted & cruel; especially when he undermine's other's happiness.  There are several long supercillious soliquies which sent me over the edge with irritation.  Jordan's best attributes are seen in his connection with his widowed grandma, Helen (the imperial Tony/Emmy winning Barbara Barrie.)  Barrie's brief vignettes were welcome relief from the self-indulgent grief of Jordan & his friends.  The other convincing & touching moments were of the friends as they watched their other friend's have their bridal.  This play has its niche in millennial's old age grandparents.  Seniors in the audience saw the best there was, they were lifted up at times.   For the truth is I couldn't see the love or humor in this cliched, overplayed "Significant Others."  The play is meant to be seen by others; especially Jewish grandmothers.

"An Evening with Bob Woodward" at NY HIstoric Soc-Prescient Discussion on Press & Politics

Bob Woodward (b Amer 1943) is an investigative journalist, reporter for The Washington Post and author.  He & Carl Bernstein will forever be associated with uncovering Nixon's involvement in what has become known as the Watergate Scandal ("All the President's Men") which lead to Nixon's resignation.  Woodward was in discussion with Akhil Amar, Prof os Law at Yale, albeit to promote his most recent book "The Last of the President's Men" (2015) a retread of the Nixon tapes and Alexander Battlefield's role in revealing them.  Stop the presses - yesterday's news, more topical & combustible are  concerns for Pres Trump's view "The press as the enemy of the people."  Woodward said the most important tactic for a resourceful journalist is  "showing up."  He did say it would be "fun to interview Trump on sodium pentothal."  Prof Amar pointed out Woodward having written biographies on the last 8 presidents.  It appeared evident Woodward was being political.  He never took a critical stance against Trump so as not to hinder his chance for  a coup interview.  The 45 minute talk & 15 minute Q& A was rather tame at a time of Trump's trope the media is totally corrupt.  Asked, what he would consider "off limits" in reporting he was replied Baron & children in the White House, unless they're actively involved in official roles and anything posing a danger to national security.  Woodward shared parts of his Obama.  "Obama's biggest worry was nuclear weapons going off in an American city."  Woodward stated "world leaders were not afraid of Obama," and, "Trump was handed a mess."  (Again, groundwork for a path to a presidential interview in my view.)  Woodward felt Pres Ford was the most corrupt for pardoning Nixon.  This, in my opinion,  is a grandiose promo for his investiagive journalist reporting of Watergate.  Woodward did question Ford why he granted Nixon a pardon.  Ford replied, "{I} needed to take Nixon off the front page.  The country couldnt stand it.  (Who doesn't think he got the job with this proviso?)   Woodward quoted Trump saying "I bring out rage in people.  Power is fear."  The hour with Bob Woodward was engaging but not enlightening.  Trump's war with the media is extremely disturbing.  My take away was Woodward is playing with an ace up his sleeve to sweep the pot with another presidential interview to add to his lot.

"Tattooed New York" at NYHistorical Soc-An Exhibit that Thankfully Disappears

I was anticipating the "Tattooed New York" exhibit at the NYHistorical Soc but was disappointed by a dull compilation of artifacts, photos & "significant" diatribe that didn't suffice to drill interest.  I won't  waste much ink on this show.  I think it failed to hit its mark for several reasons.  First, the mission of the NYHistoric Soc was poorly met.  There was very little tie(dye) in NY history.  I surmised that native American tribes were the 1st to inscribe their bodies with markings using sharp implements (branches, bones) & pigments made from plants & soils.  There were documents showing Native American insignias on documents "signed" by the Iroquois matching body "tattoos" identifying  their tribe.  The insignia was noted with minimal explanations as to the content of the "agreements." Fur trade deals with the Iroquois had the tribe's insignia - the fairness of the fur trade business was not mentioned.  These did date back to the late 17th C.  "Good Peter" was an Iroquois Chieftan who aligned with the Americans in the Revolutionary War.  After the War, "Good Peter" fought federal laws trying to protect lands belonging to his people.   Sailing ahead, sailors coming into NY ports in the 1700's often got tattooed with markings of their travels, talismans, personal names/portraits.   Tattoos were also a safety measure preventing the British from encrypting men into their militia.  "Supposedly" Theodore Roosevelt had his family coat of arms tattooed on his chest.  That would be interesting if it were corroboratted rather than conjectured.  Tattoos were chic among the British aristocracy but no mention was made of the Nazi's branding tattoos. The 1st electric pen invented in 1890 was on display.  What was unnecessary was the inclusion of live tatoo  demos.  One of the few who financially benefitted from the business of tattoos, early 20th C was "Lew the Jew."  There were arresting photos of individual whose bodies were colorful canvases.  I was most taken with photos of women with masectomies who tattooed their chests.  Tattooing was outlawed in NY in 1961 in a clean-up operation pre 1964 World's Fair.  The legal ban remained until 1997.  Like prohibition, it didn't inhibit the illicit market.  The summation of the curation, "In short, the story of tattooing in the US is complex, fascinating & still evolving."  It's a relief this exhibit is temporary & not permanent.  It's fleeting & frivolous folly.

Aspen Instit "Culture in a Changing America" a Daylong Series of Discussions & Performances at NYC Armory

"Culture in a Changing America," an expansive topic, was the focus for a daylong panel of discussions & performances held at the NYC Armory in collaboration with the Aspent Instit Arts Program.  The venue offered a platform for a range of artists, academics & performers to convene & share their thoughts, art & objectives with regard to the current social/political climate.  The day was broken into 3 sessions; each with varied guests, topics & performances.  I will list a sampling of the prestigious & accomplished participants: writer Ta-Neshi Coates, poet Sonia Sanches, jazz pianist Jason Moran, singer/composer Toshi Reagon, author/curator/Harvard Prof Sarah Lewis, works by artist/photographer filmmaker Carrie Mae Weems were presented, dancer, Jookin innovator, Lil Buck, Pres of Black Filmmaker Fdtn Warrington Hudlin and award-winning dir/filmmaker Mira Nair ("Queen of Katwe, Monsoon Wedding.")  I attended session 2 and was fortunate to hear opera singer Davone Tines bellow out "We Shall Overcome" accompanied by pianist Jason Moran.  Tines walked slowly through the audience and filled the room with his transcendent rendition.  The panel discussion that followed included (in addition to Moran & Tines,) singer/composer Toshie Reagon & soprano, Camille Zamora.  Tines said she was reinvigorated as an artist/social activist to address in her music, the denial in our country of the repressive & brutal treatment of "my people" {people of color} who have never be included in our democracy but tormented & used by a "white male" population.  Art as activism was the focus of the performances/discussions and there was a pervasive message of "white supremacy" & systemic racism in our country.  Moran talked about his commitment to a jazz program for high school students in Chicago.  He spoke of the symbiotic needs & results of mentoring in the arts.  Another prevailing message was art as an authentic representation of emotional power and as an indelible means with which to connect with ourselves & others.  An interesting discussion between Mira Niar & Warrington Hudling broached the impairments & rewards of representing real life for various races/cultures & nationalities. Niar (rightly so) called out American schools for their omission of teaching geography & current social issues outside the US.  The series of 45 minute panels were interspersed with dance, art & poetry readings.  I was most impressed by a young woman from Chicago who did a poetry reading of her work that resonated with poignancy, bitterness and hope.  "I, TOO AM AMERICA."  (L Hughes, 1926)

Jack Whitten's Work at Hauser & Wirth in Chelsea Not Worth Checking Out

As a fan of Whitten's work (b Amer 1939) and owner of one of his densely layered oil paintings in 4 sectors, I eagerly awaited his 1st exhibit & solo show at the expansive Hauser & Wirth gallery in Chelsea.  I was disappointed that the show featured a minimal display of works; extensively recent creations.  There were prints, sculptures & his paintings on view.  His iconic oil paintings combine a mixture of tiles & thick slabs of acrylic paints.  These were large scale works with a homogenous dark palette scheme.  Whitten is a recipient of the Nat'l Medal of Arts and is a prominent civil rights activist.  The exhibition features paintings in homage of prominent civil rights heroes:  "Black Monolith X" and "Birth of Muhammad Ali" (both 2016.)  Known for his cerebral, conceptual work his esoteric exhibit did not score a hit with this nitwit.

Legedary Bwy Musical Composer John Kander's "Kid Victory" is a Debacle at Vineyard Theater

John Kander is one of America's greatest musical composers (b 1927.)  He' received Tonys, an Emmy & several Acad Award nominations.  To name but a few of Kander's brilliant B'wy musicals: Chicago, Cabaret, Woman of the Year & The Scottsboro Boys (which should have won the Pulitzer.)  "Kid Victory" is major misfire, mixing distressing drama (an upducted teen is held captive & brutally abused; sexually, physically & mentally with B'wy song/dance numbers.  Kander's musical genius made Cabaret, Chicago & Scottsboro Boys sensational & intelligent shows by blending serious subject matter with music & choreography.  With "Kid Victory" it's a major mishap & missed opportunity to develop the gravitas of several significant themes.  Luke (Brandon Flynn) is the kindhearted teen troubled by his family's religious fanaticism while coming to terms with his homosexuality.  Parental disconnect from their children is a major issue in Luke's home along with devout, unquestioning faith.  Luke's controlling & emotionally unavailable parents are contrasted with parental disconnect stemming from an overly permissive & disengaged mother, Emily.  Luke finds solace working for Emily after returning home after nearly a year missing.  We learn Luke fell prey to a sexual deviant & deranged older man via the internet.  (A wise warning to both teens & adults regarding inherent dangers with the internet.)  The play runs 1 hr & 40 min. without interruption so as not to disrupt the taught drama of Luke's imprisonment & abuse and his difficult re-entry with his parents, peers & his previous life.  The musical numbers demolish the credibility of Luke's struggles. Kander wrote more than a dozen musical numbers  that were inane in context & jolting to the story.  It was a shame to waste the talented musicians & in depth instrumentation: keyboards, strings, reeds, bass, percussion & even a French horn.  The only Bwy veteran in the cast, Karen Ziemba who played Luke's mom was given a stereotypical part as a woman of faith who neglects her son's emotional needs.  Laura Darrell plays Luke's former high school girlfriend although she's way too old for the role.  The single set was adroitly used to shift time/location.  But keeping Luke's abductor/tormentor on stage long after he blew his brains out was lunacy.  Flynn is credited with a convincing performance trying to navigate troubled waters & finding his way.  There wasn't a safe port in any storm for him until the very end, when his father finally initiates a honest & heartfelt dialogue.  "Kid Victory" might have managed clear sailing as a drama.  Unfortunately, John Kander's musical genius dropped anchor & sunk the play.

Hungarian doc KEEP QUIET-Anti-Semite Csanad Szegedi Jewish Identity Revealed Leads to Redemption ??

KEEP QUIET is a documentary biopic about Csanad Szegedi (b Hungary 1982) noted for hating Jews until he knew - his grandparents & mother were Jews; making him a member of the Hebraic Tribe.  Szegedi is a notorious founder for the fascist, far left Jobbik political party with a strong anti-Semitic platform.  The Jobbik party formed during the turbulent political climate of the early 21st C.  The Jobbik party rose to popularity quickly with their comparative neo-nazi vitriol & intimidating, militaristic rituals mirroring the Nazi regime.  KEEP QUIET is anything but subtle.  It's a film about identity, shame, political upheaval, the Holocaust, religious convictions & redemption. Szegedi is given plenty of rope to tell his own story & hang himself with in hypocrisy.  Szegedi is most candid recalling his feelings of self-importance garnered as a leader of the Jobbik party which propelled him into a seat in the European Parliament.   This I believed.  His ideology formed as a teen when he launched his diatribe of hatred towards the Jews.  The civil unrest in Hungary was due to high unemployment & dangerous living conditions.  The Hungarian Guard formed in 2007 made Jews easy scapegoats for the malaise & unrest.  Blatant anti-Semitic propaganda, a growing clamor for an organized guard replete with uniforms & symbols emboldened a large population to support the Hungarian Guard & the Jobbik party.  This ushered in a reign of terror to many; especially Jews.  Skinheads, neo-nazi's, radicals were all welcomed to join.  Having survived Auschwitz & feeling unsafe as Jews, Szededi's grandmother kept quiet about her Jewish heritage, her Holacaust experiences and her life from her beloved grandson.  Szededi's mother's marriage outside the faith was a welcomed safe hold according to Csanad's grandmother when queried about her background that was kept buried.  Csanad was outed by a nemesis as a Jew with proof of his lineage.  Confronted with the truth, Csanad was now an outcast amongst an organization whose mission included debasing & destroying the Jews.  This upsetting & compelling documentary is a triptych of the Holacaust & persecution, Csanad's self-discovery & exploration and the opportunity for redemption.  The discussion between Csanad & a Holocaust survivor while visiting Auschwitz is remarkably unnerving and lends credence to Csanad's family's secrecy.  Most stirring was the Orthodox Rabbi who meets with Csanad at his request & offers guidance & support for Csanad's redemption & acceptance.  Many Jews are vocally opposed & adamant against Csanad feigned pleas for forgiveness.  I believed Csanad to be a charlatan & his  desire to change & redeem himself incredulous.  When asked at the end of the film if he will always be for the Jews he tells the camera "I honestly don't know what I will do."  Csanad should have kept quiet and the rabbi needs to pray fervently Csanad doesn't harbor hatred or do harm in the future.

Jazz at Linc Ctr Orch, Chris Crenshaw's Compositions/Arrangements with Wynton on Trumpet

Chris Crenshaw (b Amer 1982) has been a tombonist for Jazz @ Linc Ctr since 2006.  Wynton Marsalis, world renown trumpet player, composer & arranger extraordinaire and founder of the Jazz @ Linc Ctr Orch has been delegating members within the orch to assume directing/arranging responsibilities.  These talented musicians given the opportunities to stretch their artistic gifts have broadened the scope of programs performed & encouraged artistic growth.  Last night was Crenshaw's time to shine in the spotlight.  It's apparent to all who fotunate to attend jazz programs at Linc Ctr, the orchestra is a joyous collaboration & camaraderie.  Marsalis' playing is arguably foremost in the world.  We were treated to the majesty of his trumpet playing on several short solos.  Nonetheless, Crenshaw was the ringmaster who led us through the 1st set dedicated to music composed by Gershwin, Coleman & Mulligan.  The 2nd set was all Christopher Crenshaw's music: "The Fifties: A Prism."  Crenshaw shared his insights to the jazz epoch of the 50's "a time when big bands were dispersing & legendary artists like Davis, Coltrane & Monk taking root."  The 1st set had a homogenous vibe of structured, sophisticated cool jazz compositions.  In the 2nd Set, Crenshaw's warmth & passion came through his diffidence with words.  "I got on A in school on this arrangement {Just A-Slidin'}and I think it still holds up."  (This elicited a chuckle from Wynton & the audience.)  He explained his composition  "Unorthodox Sketches" stretched beyond instrumentation & I had {bandmates} playing wind instruments they don't often play in our jazz arrangements."  Instruments introduced included 2 flutes, piccolo & bass clarinet and featured the oboe.  "I think the band enjoyed mixing things up as much as I did with the arrangements."  Featured guest artist was saxophonist Stantawn Kendrick; "2nd cousin" to Crenshaw.  My favorite piece to the exceptional evening was Crenshaw's "Cha-Cha Toda la Noche."  Wynton had this to say in our programs "Crenshaw is sprinkled with magic dust.  He can write an unbelievable arrangement in one night.  His arrangements and compositions are always so intelligent, pointed and so well-crafted."  

M Night Shyamalan's "Split" is a Psycho/Thriller Hit Starring James McAvoy

Amer dir/screenwriter M Night Shyamalan (b India 1970) has had major screen hits ("The Sixth Sense" & "Signs") and numerous flops that earned him several razzie awards for major movie misses.  "Split" which stars James McAvoy as a schizophrenic killer who dons multiple personnas, all convincingly.  McAvoy (b Scotland 79) is best known for his "X-Men" film series & "Atonement" opposite Kiera Knightly plays Dennis/Kevin & at least 20 more characters in a role(s) that should earn him acting accolades.  The film is a taut psychological drama that handles mental illness & abuse with gravitas and compassion.  Still, "Split" is intended to be as disturbing in similar ways as "Room" with 3 young teens being abducted & held in captivity.  And, it is also a cunning movie about resourcefulness, resiliency and EERIE!  Shyamalan is known for sci-fi, mystifying & horrifying filmmaking.  When successful, as in "Split," Shyamalan creates convincing characters in scary scenarios that are credible.  McAvoy, a veteran & talented actor is pitted against a troubled ingenue, Casey, (Anya Taylor-Joy) in a powerful & star making performance. Taylor-Joy (b Amer 1996) is an Amer/British/Argentine actress we'll be seeing a lot more of in the future.  Casey was raised by an abusive uncle.  Her beloved father who died when she was young taught to hunt & to figure out how to stay alive by utilizing patience & her senses.  The flashbacks of Casey as a young girl are as troubling as the terrifying imprisonment & torture she and 2 classmates fall victim.  Casey was viewed as a troubled outsider by her peers. She proves cunning, resourceful & determined to free herself & the others.  The 2 other teens are also formidable.   Their alliance is steadfast against their mentally deranged captor.  Dr Fletcher (Betty Buckley "Carrie" & "Cats" on Bwy) is memorable in her role as the psychiatrist treating Dennis for his multi-personality disorder.  Dr Fletcher believes people suffering from psychosis may be hybrids "having unloked the potential of the brain, opening the doorway to all things unknown & supernatural."  Her theory is debunked by her peers but unfortunately proves fatally true.  I'm recommending "Split" in large part due to the strong performances by McAvoy & Taylor-Joy.  It's also a smart thriller which delivers chills and insights.  Shyamalan could've edited a little more & his "wink" of an ending diminishes the gravitas of the film.  However, "Split" fits into his hit category & puts him back on top of the horror/thriller genre.

French Aritst Georges Seurat's "Circus Sideshow" at the MET

French artist Georges Seurat (b 1859-1891) is most famous for his large scale pointilism paintings.  The MET owns one of the 6 major works "Parade de Cirque" (1887-88) is the featured work in this thematical oriented exhibit of French works in the mid 19thC - to early 20th C pertaining the circus.  The collection of more than 100 paintings, drawings & posters illustrate the lives of circus performers and the audience they drew.  "Circus Sideshow" is aptly named & portrayed in this exhibit in which Seurat's paintings & crayon drawings are not necessarily featured centered ring.  Yet, this exhibit is fascinating for displaying Seurat's pre-occupation for capturing light in his works in what he termed "chromo-luminism;" an effectual sense of warmth or coolness invoked by contrasting or complimentary colors.  Many of Seurat's works (and they constitute about 50% of the show) were unfamiliar.  They demonstrate both a luminescence and shadowy casts.  The dingy shade of his crayon drawings have an eerie, mystical sensibility.  The works with more vibrant light radiate warmth & luminosity.  The subject matter in all Seurat circus themed works are both captivating and unsettling.  The life of the circus performer is not seen as glamorous but rather often times dismal.  In the crowds that flock to the shows it is fascinating to observe where their attention lies.  Most intriguing are the works (mostly posters) which draw the viewer into the event.  Many of Seurat's French contemporary artists are represented.  The surplus of cirque artworks is due in part to their marketability & the popularity of the traveling shows.  Other artists who shared a penchant for capturing harlequins, strongmen, freaks & dancing girls in the exhibit include Picasso, Henri Gabriel, George Rouault, Bonnard and Rembrandt.  The painting that steals the spotlight is Fernad Pelez's oil painting in 5 sections "Grimaces & Mercy."  The lifesize figures depict the aging, battle weary troupe and young, overworked circus children.   The "Circus Sideshow" is a curious look at life behind the scenes & in front of audiences of circus performers. Seurat's studies of characters & lighting are an interesting sidebar to Seurat's main events:  his 6 most important, large scale pointilism paintings such as "A Sunday on La Grande Jatte."  This famous painting is captured in part in one of Seurat's paintings shown inside the dressing room of female entertainers.  

Italian Artist Marisa Merz's 1st US Retrospective: "The Sky is a Great Space"

Marisa Merz (b Italy 1926) is associated with the arte povera movement throughout major Italian cities (late 1960's-early 1970's) which was mainly an all male collective.  The thrust of arte povera was to be provocative & questioning of the established political, cultural & social norms of this epoch.  The major industrial expansion of the time with governmental support was represented in unconventional works made from construction materials: aluminum, copper, clay, wire, paraffin, & the detritus found in the home as a means to call attention to rapid construction.  It was also a means for experimentation with new mediums & radical forms.  Merz iconic works are her oversized sculptures mostly made of aluminum.  She also produced a preponderance of madonna & mother/child imagery and smaller unbaked clay sculptures.  When you first enter the exhibit you are struck by the humongous aluminum sculptures resembling a futuristic spacecrafts & the other a type of underwater aquatic life.  The floral painting on the sculpture with long, cylindrical forms has a rather soft, ambling aesthetic.  The large horizontal & erratically shaped sculpture next to it has a more ominous feeling, especially if you stand directly underneath.  Note: there is a whimsical constructed aluminum chair situated just beneath.  It appears to beckon you to sit & expect to be beamed aboard.  (But, please, don't touch or sit on this chair or any of her other sculptures.)  This admonishment may seem obvious, however, her unbaked clay abstract figures are hard to resist.  In the last gallery, there are a number of small figureheads that seem to implore you to release them from their confinement in a paraffin lake.  This gallery also contains one of her largest scale paintings which features a Madonna imagery.  In front of this colorful and joyous painting are 2 long beams calling to mind the crucifixion.  On top of one beam sits a colorful blue orb that is mystifying & fanciful.  Also note the sculptures made from copper wire.  I was drawn to the wall sculpture with 4 by 4 rows of same sized woven copper wire shapes.  The overall effect is shimmery & magical.  Merz used her home as her studio and the placement of her works are limited & site specific.  Beatrica "Bea' her daughter born 1960 marks a turning point ot maternal & delightful wonder in her prolific body of work that would entice a young child.  This expansive exhibit displays her many paintings, sculptures, drawings that showcase an imaginative & unique artist whose creations are overflowing with splendor.

Pulitizer Prize Playwright Donald Marguilies' "Sight Unseen" Performed by Julliard's Drama Students

Donald Marguilies (b Amer 1954) is a Pulitzer Prize winning playwright ("Dinner with Friends") 2000 and professor at Yale.  His plays "Sight Unseen" & "Collected Stories" were both finalists for the Pulitizer Prize.  "Sight Unseen" first produced on stage in 1991, deals with many of the themes Marguilies includes in his work:  identity (especially Jewish identity,) artistic achievement & angst, regrets and "if only" reflections.  Marguilies is one of the best living playwrights but his earlier play "Sight Unseen" is sophomoric.  Johnathan Waxman (John Bamberry) is a a hot commodity in the art world so much so art dealers are willing to pay outrageous prices to purchase works before they're even painted.  Patricia (an admirable performance by Lauren Donahue) was his college "shicksa" sweetheart whom he dumped unceremoniously during his mother's shiva.  The time sequence & staging are clever; the story moves forwards & backwards in time & hops back/forth over the pond.  Eight years after their breakup, Patricia is now archeologist married to a British archeologist, Nick, (a totally miscast Eric Harper) living in Norfolk.  Jonathan contacts "Patti" while in London to promote a show of his latest works.  It's decided that Jonathan will come to visit Patti & Nick for a night despite neither having been in contact since his heartless "I don't love you," breakup in his childhood room following his mother's funeral.  Patti's attempts at engaging Jonathan in sex & disparaging talk of his mother's disdain for her solely for not being born of the same tribe are brusquely pushed aside.  The reunion in Norfolk 8 years later pits Jonathan against a hostile Nick who has always felt 2nd best to the "great artist" and reminded daily by the nude portrait of his wife he painted while in college.  It is a constant reminder & thorn in his thigh hanging high over the mantel.  You can see tell the bitterness & regrets build.   The archeological metaphors are antiquated, "artifacts are proof of existence." The narcissitic characteristics of Jonathan are muddled.  The acting was mostly disappointing.  Harper's accent comes & goes as he plays his part with buffoonery.  Bamberry is incredulous as the self-absorbed artist & egomaniac.  Donahue had a glimmer of spark as she painted her character with a tepid hue of affrontery & regret.  I regret the 2nd act remained sight unseen as I didn't deem it worth seeing.

"Life, Animated" Doc Film--Disney's Animated Characters Connect Autistic Youth to Communicate His Feelings

"Life Animated" is a documentary that touches the heart in unconventional & unforseeable ways.  Owen Suskind is the unique hero of this remarkable film.  We follow him & his family on his emotional journey of discovery & development for a year in which he graduates school & moves from his family home into his own aptmt within a group home.   The film is directed with candor & compassion by Oscar winner Roger Williams (b US 1973.)  Williams received his Acad Award for the short doc film "Music by Prudence" (2010.)  "Life, Animated" earned Williams a best dir award at Sundance (2016.)  Owen is the son of Ron Suskind, a Pulitzer Prize winning journalist.  The film is as much about Owen as it is about his loving & devoted family; mother Cordelia and older brother, Walter.  Each member share raw emotional profundities into anguish, love, pride & determination.  Walter is an amazing young man who cares deeply for his brother; always on hand to help Owen navigate his world which is often frightening, confusing & isolating.  It's apparent this family has great love & support for one another. We see a home movie of Owen at age 3 which according to his dad, "is not be remarkable showing a father & son playing together except that shortly thereafter, Owen began to disappear."  Owen's vocabulary turned to gibberish, his physical agility regressed & he withdraw into himself.  The family's anguish at losing their hold on their son was met with an indefatigable effort to breakthrough into Owen's world.  The family discovered Owen navigated the world through Disney animated characters.  The film draws us into Owen's magnetic presence and his abilities to reconnect to his family & his emotions which open his world - to a world of possibilites.  There are many mystifying & misty eyed moments in the life of Owen; his relationship & break-up with Emily, his job interview, his deeply moving talk before hundreds in Paris on autism, sorrowful moments & prideful accomplishments.  "Life, Animated" has animated sequences of Owen as well as numerous Disney characters which mirror his emotional roller coaster ride through life.  Williams sensitive touch with Owen & the many wonderful people in his life provide an empathetic understanding of individuals with autism.  It's also an inspirational film of the human spirit & kindheartedness.  "People with autism don't want to be apart from others.  We very much want to be accepted."  (Owen Suskind)  

David Oyelow in "A United Kingdom" Dir by Amma Assant-Biopic Film on Batswana's King Seretse Khama

The biopic film "A United Kingdom" is based on the life of Seretse Khama, born as the rightful king of Batswana.  This historic film portrays British Imperialism & the indefatigable leadership/determination of Khama to uphold his nation's independence.  Khama (b Botswana 1921-1980,) was studying at Oxford for a law degree just post WWII when he met Ruth Williams; a white woman who drove  ambulances during the war.  The movie depicts a charming courtship & endearing proposal scene in which Williams accepts unwaveringly.  Their union leads to major inter-racial issues of hatred, discrimination & persecution including the denial of Khama's birthright as Chieftan of the people of Botswana.  The hideous racial bigotry in England is countered with a milder, albeit reluctance to accept  Khama's wife.  The biggest obstacle came from his beloved uncle who raised him & his sister since he was orphaned at age 3.  His uncle demands an annulled marriage or Khama's abdication.  An unfamiliar term, apartheid, was being enforced in S Africa, Batswana's southern neighbor.  Britian acted in complicity with S Africa's conspiracy to strip Khama of his leadership, citizenship & Batswana's of its valuable miniming products (uranium, copper, gold & diamonds) just being unearthed. This biopic is of a extraordinary man.  Khama steadfast, level headed negotiations outmaneuvered the circumspect, deceitful & self-serving British Consulate.  The facts of this remarkable man, his devotion to both his country & his wife and their enduring love make for an interesting & significant historic film.  Nonetheless, the film feels choppy, overly staged and cloying with sinister Brits & sympathetic African characters.  Director Amma Assant (b UK 1968) made her debut with "Belle" (2013.)  Belle was a biopic film dealing with interracial struggles & love stories resulting in seismic shifts in racial equalities.  Khama (played by the phenomenal David Oyelow) and Ruth Williams (a convincing & lovely Rosamund Pike) do heavy lifting to endow the film with appeal & gravitas.  Ruth's sister is played by Laura Carmichael (Edith - sister to Mary "Dowtown Abbey.)  The movie was sluggish in parts pertaining to extended periods of enforced exile and laborious legal proceedings.  Still, it's worth seeing or renting.  Other biopic films of racial integrations  imperative to see are "Loving" and the doc "I'm Not Your Negro."  The hypocrisy of US Jim Crow laws & bigotry in the US & UK are mitigated sidebars as are the major legacies of Sir Sereste Khama:  maintaining mining rights for his country propelling the prosperity & well being of Batswanians, helping end the Rhodesian Civil War, preventing his country from being used by other nations as a military post and he led his country into an independent, democracy.  "No man is free who is not master of his own life."

The Defender How the Legendary Black Newspaper Changed America" Ethan Michaeli and Brent Staples

Ethan Michaeli a former reporter for "The Defender" (1991-96) just released his book "The Defender: How the Legendary Black Newspaper Changed America."  Michaeli was interviewed by Brent Staples, an editorial writer for the NYT for over 30 years.  Staples' memoir "Parallel Times" received the Anisfeld Wolf Literary Award.  His editorials for the NYT feature articles on politics & social issues.  Michaeli, an author & journalist first worked as an investigative reporter just out of college.  He  left the paper in 1996 and founded the "Residents' Journal,"  written & edited by tenants of Chicago public housing.  The "Residents' Journal" has received national literary honors for journalism & awards for providing training for young journalists. The discussion between Staples & Michaeli was both enlightening & engaging.   "The Defender Newspaper," was founded in 1905 by Robert Abbott.  Its  missions were to employ Black journalists & focus on relevant social issues of the Black American experience.  The impact of "The Defender" was to expose & relentlessly report on heinous, vigilante lynchings, daily life under the Jim Crow south, false accusations against blacks and to influence political leaders for social justice.  The paper applied pressure to integrate the reluctant & racist US Army.  This was not fully implemented until 1949 under Truman.  The Great Migration was to a large extent incurred by the reporting in the paper of job opportunities in the north without sugarcoating the racial hostilities that persisted.  The paper served to register the populace & logistics during the migratory years  (1940's-1970's.)  Michaeli mentioned that a black reporter was first permitted in the white house press conference under FDR. The reporter was John Sengstake who took over "The Defender" in 1940.  Atty Gen Biddle was adamant to blocade blacks from access to the press core but yielded under pressure from FDR who acknowledge the power of the black vote & the readership garnered by "The Defender."  The paper also served to expose segration & restrictions placed upon blacks in America.  I learned that Sec of State, Gen Colin Powell who served with distinction in the military was denied restaurant service in the south in the early 1960's.  The chain of command in the integrated stirred hatred & dissention among white army personnel who fell below black officers in rank.  The Q&A was surprisingly astute for a change.  Michaeli was asked if "The Defender" was ever called before the McCarthy hearings; an interesting question Michaeli was not equipped to answer.  Another audience participant questioned what attributed to the longevity (more than 100 years) of the paper. "Prudence & devoted planning ahead," was Michaeli response.  I was also struck by Staples comment that "history is the only educator - everything else is training."

Israeli Doc Film on Dancer/Choreographer Ohad Naharin-You Don't Have to Like Dance to Love This

If you're a dance officiando you will love this beautiful, thoughtful & remarkable doc film on Ohad Naharin (b Israel 1952); his life, his work and the power of dance.  If you've never been to a dance performance, you cannot help but be moved by this stirring & remarkable combination of the art form of dance & choreography that is made with incredible sensitivity and thoughtfulness.  I am gaga over this documentary which provides glimpses of the ingenious works by Naharin, the combined energy of choreographer & dancer and an insight into a fascinating man with amazing talent & charisma.  "Gaga" is not a Hebrew word.  It is the nomenclature Naharin discerned for his dance vocabulary.  The film is mostly English & in Hebrew with English subtitles.  The language of dance is not only universal but visceral, powerful & healing.  Naharin encourages his dances to "find a way to let go-let go of everthing in your body at once."  He is a master storyteller through dance, direction & manipulation.  The movie begins with his early life on a kibbutz which he loved.  He was bereft when his family "tore him away" from the collective lifestyle he loved.  Naharin tells us he never thought of a career in dance or choreography but as something he loved doing.  He shares having an austic twin brother who could be connected with through dance.  Dancing for his brother was what he & his beloved grandmother did to reach his twin.  By the end of the film (which does elicit both cheers & tears) we can only grin at Naharin's admittance to concocting the story when being interviewed while on tour.  The adjectives that apply to Naharin's choreographric style are: absurdist, ingenious, physically demanding, provocative, innovative, powerful, unique, distressing, shocking & beautiful to list be a few. The accolades I would heap on his body of work are innumerable.  I urge you not only to see this insightful & exciting dance film but to seek out works by this brilliant choreographer.  Naharin's personal life seems an open book of endless fascination.  He migrated to the US from Israel with the Martha Graham Co but found himself at odds in the dance world.  Regardless, he auditioned for both Julliard & ABT schools of dance, was accepted by both and attended both simultaneously.  It's unheard of that he 1st studied ballet in his early 20's with classmates Peter Martins & Rudolph Nureyev.  He credits his animalistic instinctiveness in dance resulting from not being exposed to the rigorous & structured ballet training til late in life.  Naharin fell in love watching his soon to be wife, Mari Kajiwara (b US 1961-2001) performing with the Alvin Ailey Co (1970-1984.)  Naharin believes dance has the power to heal. "Everyone has a connection with physical sensation and capable of understanding the connection between effort and pleasure."  "Mr Gaga" a true story of love and dance is truly not to be missed.

August Wilson's Jitney on Bwy-Make it Your Business to See this Play by a Master Playwright

August Wilson (b Pittsburg 1945-2005) is argueably one of America's finest playwrights of the 20th C.  I contend Wilson to be amongst the most brilliant playwrights - of any era - although his plays all focused on the African-Amer experience & perspective.  Best known for his Pittsburg Cycle of 10 plays which garnered him 2 Pulitzer Prizes ("Fences" & "The Piano Lesson,") "Jitney" is the 1st (1979)  of Wilson's significant 10-play series.  "Jitney"captures both the 70's epoch expressing the frustrations, obstacles and outlooks on life from the African-American lens.  There are overriding memes in Wilson's plays:  strained relationships between fathers/sons, males/females, limited opportunities, war, impoverishment, incarceration & stereotyped, unflattering black male characters.  "Fences" one of Wilson's masterpieces begs comparison to "Jitney."  Both focus on failed father/son relationships & the universal theme of wanting a better life for one's child but Wilson maintains a pragmatic pessimism.  "Fences" focuses on a turbulent, long term marriage with the all enduring wife; forever the rock of sacrifice & unqualified loved for her offspring. The mothers in "Jitney" are saintly figures fighting for their children while trying to maintain peace.  Religious tropes are interspersed in Wilson's eloquent writing.  It's imperative to note the dialect & jargon of African-American captures a realistic  representation of the black dialect. (The term black has become edited into Wilson's vocabulary & nigger intentionally retained.)   "Jitney" is set in a ramshackle car service in an improverished section of Pittsburg being torn down by the city.  The play covers a broad cast of characters & issues.  Becker (a dogmatic John Thompson) is the owner of the business.  Becker is the voice of reason, encouragement & compassion except when it comes to his own son, Booster (Brandon Dirden.)   Booster has just been released after having served 20 years for killing a white woman who falsely accused him of rape.  Booster looks for his father's support while spouting his disillusionment of him.  Booster rightly claims he's paid his debt to society but does not find forgiveness or help from his father.  The riff between father/son is never mended.  Yet, their impassioned discourse to one another does shift the other's gears into motion.  The love story is disarming between Youngblood (Andre Hollan "The Whipping Man") and the mother of his son, Rena (Carra Patterson, "Wit.")  Although Rena reasons "love can only go so farThe plays unflattering portrayals of black men as drunkards, shiftless, womanizers & gamblers all resonate and at times with humor which makes "Jitney" a poignant & jaunty journey into the lives Wilson drew upon from within his world.  I recommend this eloquent & troubling play that leaves tread marks in our American anthology.

The Doc "I am Not Your Negro" Based on James Baldwin's Writings, Dir by Raoul Peck

Raoul Peck (b Haiti 1953) moved with his family to the Dem Republic of the Congo (DRC) when he was 8 to flee Duvalier's dictatorship rule.  Peck is an award winning documentarian/filmmaker & political activist.  His film "I am Not Your Negro" based on the writings of James Baldwin's "Remember This House" & Baldwin's commentaries is nominated for this year's Oscars for Best Documentary.  Peck brilliantly & correctly credits Baldwin as the writer for the film and does not add any other written text.  The film is based on the Baldwin's submitted drafts to his editor on the lives on Malcom X, Medgar Evers & Martin Luther King (MLK).  Baldwin befriended all 3 civil rights leaders & activists (after a contentious initial relationship with Malcom X.)  He never completed his writings.  He notes all 3 men were killed before age 40.  The opposing philosophies & actions of MLK & Malcom X are noted.  And, their having merged closer in their beliefs & pontifications.  The doc specifically deals with the issue of how white America "doesn't know what to do with the black population."  Baldwin left the US for France out of frustration & fear of being persecuted as a black man.  Known for his literary achievements in fiction, essays, playwrighting & eloquent & direct commentating, Baldwin's assertions of the brutalities & dehumanization of blacks in our nation speak loudly.  There's footage of police violence aimed at blacks during the 50's civil rights movement are paired with news reels of riots & killings of blacks from the 1960's-2014 and horrifying images of lynchings.  Baldwin addresses the high school students who were spat on & humiliated when 1st integrating schools in the south.  He admits being shamed into returning to the US for not having supported these young people; not any sense of homesickness or attachment to the US except for the people of Harlem.  The prediction of Robert Kennedy of a black president in 40 years time exacerbates the lack of real progress that has not evolved in terms of social equality or even an honest addressing of racial issues confronting our nation from its inception.   Baldwin maintains apathy has led the white majority to become moral monsters by considering people of color as inhuman. "Apathy is ignorance which is segregation."  Baldwin's pronouncement "America does not know what to do with the Negro" is accurate & prophetic.  "Buried corpses are now beginning to speak.  The story of the Negro is the story of America.  It is not a pretty story."  The film corroborates Baldwin's contentions & still contains an optimistic vantage for the future.  "Not everything faced can be changed.  But nothing can be changed unless it is faced.  We are our history."

NYPhil Rehearses Tchaikovsky "Manfred Symphony after Byron, Op 58"

The tribute to Tchaikovsky continues at the NYPhil.  Today's bill fared the Manfred Symphony & Piano Concerto #1 Op 23.  I was disappointed the Piano Concerto wasn't 1st on the rehearsal.  It's more often that the featured guest artist rehearses first - as indicated on the evening's program.  Guest pianist, Kirill Gerstein is the guest pianist.  Gerstein (b Russian 1979) received the 2010 Gilmore Atist award & won the Arthur Rubinstein Piano competition in 2001.  I'm sorry not to have stayed to hear Gerstein's brilliant piano playing of Tchaikovsky's stirring piano concerto.  The Manfred Symphony was rehearsed under Maestro Semyon Bychkov (b Russian 1952.)  Bychkov conducted last week's Tchaikovsky program.  There were notable differences between the two rehearsals.  Bychkov rehearsed Tchaikovsky's Symph #5 by playing through the 1st 2 movements & then halting with a prolonged discussion after which the musicians replayed the movements.  The accentuations that varied were apparent.  The same was true with the the last movements of the symphony.  I found that rehearsal fascinating.  For today's program, conductor Bychov rehearsed the last 2 movements with frequent starts & stops which made the complex composition difficult to fully appreciate.  The historic background of "Manfred Symph" is tied in with both Lord Byron's poem & Russian composer Mily Balakirev (b 1837-1910.)  Balakirev had greatly influenced Tchaikovsky's composition of the "Romeo & Juliet Fantasy Overture.)  Balakirev is known more for directing other composers (Tchaikovsky & Berlioz) than for his own compositions.  Tchaikovsky was reluctant to use Byron's incestuous & mystic poem as a muse for his work.  He did aquaesce but did not submit to all of Balakirev's ministratiaons.  It believed Byron (b England 1837-1910) wrote Manfred as a semi-autobiographical admission to an incestuous relationship with his sister.  The Symphony is at times dynamic & defiant sounding.  It also contains softer/concilitory movements.   The Symphony, like many of Tchaikovsky's works has a storytelling aesthetic.  In the poem, Manfred confesses his sins to dark spirits who in turn demand of him his soul.  The orchestration has a lot of crashing symbols and strong drumming lending a bombastic  tone.  Then, the vivace con spirito interspersed saccharine orchestrations of harps & strings.  Perhaps, the frequent halting, or the macabre backstory or not hearing  the piano concerto contributed to fault finding with today's rehearsal.

"The Great Comet of 1812" Starring Josh Groban - Not so Great

I'm an ardent support of liteary plays (I was never going to read War & Peace anyways.)  I find nothing sacrosanct with turning a classic into a musical.   Casting multi-platinum recording artist Josh Groban was cast in the lead was a brilliant coupe.  Nevertheless, the production was a mess.  Pierre (Josh Groban) plays the kind hearted dullard whose enebriated & miserable til the end of this flashy, trashy & discordant adaption of Tolstoy's classic.   The staging is an emersion theater; i.e. small center stage surrounded by seating, an ensemble continuously running up & down the aisle & jumping on raised platforms & comedic interaction with audience members.  The cabaret set complete with functioning  bar has worked in "Cabaret," "Billie Holiday"and "Once."  Only this time the gimmick made a mockery of the story.   In the "Great Comet" the staging was all smoke & mirrors, blinding lights & thunderous singing.   Marya D (Grace McClean in her Bwy debut) performed at piercing pitch.  This may mark her 1st & only Bwy role.  Natasha (Denee Benton) made a memorable Bwy debut.  Benton's singing was beautiful and her performance bequiling.  The problem with this production was it's frenzy & thunderous musical numbers that were mind numbing.  The ensemble pranced & gyrated in goth like costuming proved a distraction.  The convuluted & literary context got watered down to an insipid love triangle.  Anatole (Lucas Steele) whose starred with Alan Cumming on Bwy was electric as the loathsome lothario although his stentorian singing became grating.  The one respite from the mayhem came from Sonya (Brittain Ashford) who performed the only solo with nuance & ethos.  "The Great Comet of 1812" was a cataclysmic eruption that was an excruciating flash.

Julliard Jazz Ensemble Perform the Extended Works of Wynton Marsalis

Wynton Marsalis is the dir of the Julliard Jazz dept & a leading composer & conductor of the Jazz Orch @ Lincoln Center.  His legacy of genius in the arts of both classical & jazz are ensured through his mentorships towards young people pursuing careers as jazz musicians and by the works he's creating. Last night the Julliard Jazz Ensemble "C" played an entire Marsalis program:  "Blue Interlude" (1992) ("The Bittersweet Sage of Sugar Cane and Sweetie Pie.")  Andy Farber, award winning jazz composer, arranger & saxophonist was the guest coach & Elio Villafranca, ensemble coach.  The Julliard Jazz Ensemble "C" consisted of a tenor sax, alto sax, trump, trombone, piano, bass & drums.  Immanuel Wilkins did triple duty playing alto sax, clarinet & student soprano sac "Allora series."  He segued between the 3 instruments with seamless cool flair.  Trumpet player, David Adewumi, was sensational on the trumpet, blaring in mind that Marsalis' composition was geared to feature the trumpet.  "Blue Interlude" was a sexy, storytelling piece.  I could sense female/male voices and mood swings.  There was a section that embodied a couple embraced in a sensual dance designed for romance.  The trombonist & trumpet player used plugs simultaneous at various points which lent a conversational banter to the music.  The piece was somewhat reminiscient of "Slaughter on 10th Avenue" with its heated, sexual tension.  There was also a lot of cool, vibrant sounds in this enticing work.  Each member got their solos.  It's interesting to note how the students stand aside allowing the soloist his/her due.  The evening was a joyous coming together of refreshing jazz and a respite from the today's tensive times. Bravo to Ensemble "C."  I encourage everyone to come out & enjoy & support Julliard's fine young performers.  The evening was exceptional.