40 Years of NYC & London Theater Paraphernalia on View for Free at NY Library for Performing Arts

CURTAIN UP is the curated exhibit at the NY Public Library for the Performing Arts.  It's located at Lincoln Center, tucked behind the arcade & the Henry Moore sculpture pond.  The exhibit was made in collaboration with the Society of London Theater.  The Great White Way & London's West End have been home to great theatrical productions.  This year marks the 40th anniversary of the Olivier Awards in London and 70 years for the Tonys in New York.  Some stage productions have gained success on both sides of the pond.  This exhibit, which is free to the public is on both floors of the Library and represents the last 40 years from both thespian towns.  As you walk in there are playbills strewn on the floor and hanging suspend midair.  It's not possible to discern all the playbills but it's fun trying to determine how many of the shows you may have seen.  The highlights of the collection for me were the costumes & the costume design sketches.  The Phantom's masque worn by Michael Crawford is in front of a magnificent (frightening) costume worn by the Phantom.  I also liked the vest worn by Rudolf Nureyev and the magnificent Lion King display.  There's a fun facts board listing top Tony & Olivier winners & productions.  I was surprised by which shows & actors received the most awards.  The reigning king of the Tony's is Harold Prince, an American theatrical producer.  He's received an astounding 21 Tonys.  Hamilton earned the most Tony nominations (16) but The Producers won the most awards; 12.  A Chorus Line is put in the spotlight as it was a groundbreaking show.  The longest running show on Broadway remains Phantom.  There are posters, set designs and notes but I found most these items jejune.  The costume from Wicked was positioned overhead peering down.  I would have preferred more costumes and seen more snippets from productions.  But the exhibition is free and a fun derivation found at Lincoln Center.

Richard Gere Stars in "Norman" as an Annoying, Delusional Deal Maker

"Norman" is character driven film whose protagonist, Norman (Richard Gere) drives almost everyone away.  Norman is a self-imposed wheeler dealer whose relentless haggling to negotiate a major is delusional, self-destructive and inappropriate.  This is the putz to keep at bay at all costs.  Yet, his indefatigable spirit is impressive.  Israeli dir/screenwriter Joseph Cedar, surrounds Gere with an int'l cast of stars which keeps his bothersome behaviors afloat.  Norman's "nephew" Peter Cohen, a successful atty. (a marvelous Michael Sheen) bears a guarded fondness for him that is endearing.  Peter offers Norman limited assistance and plenty of unheeded, good advice.  Peter tells Norman "You're a drowning man waving at an ocean liner."  Norman's irrepressible reply is "I'm a good swimmer."  Norman strives to ingratiate himself with others to be at the crux of a deal for financial & social status gains.  The extraordinary ensemble of actors include Steve Buscemi as the rabbi of a floundering synagogue, British/French actress Charlotte Gainsbourg as an atty. for the American/Israeli consulate,  British actor Dan Steven (Downton Abbey) is a high power business exec. Also in this talented cast:  Hank Azaria as a Norman doppelgänger and Israeli actor Liro Ashkenazi as Israel's Prime Minister.  The clever parallels between Norman's hubris, wind bagging & dealings and that of the Israeli Prime Minister are notable.  But, Norman sinks too such low levels of outrageous conduct, obsequious pandering and perpetual lies that he's too despicable to have on board.  Still, there are plentiful lifelines to keep this movie afloat.  The script is cunning & provocative.  The ensemble cast is pitch perfect and the beguiling, artistic camerawork adds allure.  Nonetheless, this movie did not float my boat.

An Artsy Argentinian Film "Hermia and Helena" Dir Matias Pineiro Puts a Shakespearean Spin on Love

"Hermia and Helena" is written & directed by Matias Pineiro (b Argentina 1982).  Here, Pineiro plays cagily with William Shakespeare's "Midsummer's Night Dream."  The clever screenplay & talented Argentinian & Int'l cast portray restless creatures whose roots do not permeate a single locale, nor does love run smoothly.  An Argentinian thespian, Camila (an enticing Augustine Munoz) is headed to NYC for an art fellowship.  Her friend Carmine returns from her year fellowship at the same NYC institute.  They exchange news & information of mutual friends & contacts made in the US.  And then it's adios to Camila's Latin lover and onto a romantic whirlwind with Lucas at the Institute.  The film seamlessly transitions from Buenos Aires to NYC by crossing bridge while hearing nostalgic ragtime piano by Scott Joplin.  Camila's intent was to translate "A Midsummer's Night Dream" to Spanish to stage in Buenos Aires.   Hence, the title Hermia and Helena, main characters from Shakespeare comedy of unrequited love.  "The course of true love never did run smooth." (WS)  The film cunningly plays with people attempting to pick up where they left off in relationships.  Camila is a contemporary Hermia.  Her love is torrid but fickle.  There are miscommunications, numerous rendezvous and resourceful tracking of past connections.   While some wish for things as they were, others look to the future.  The beautiful cinematography highlights the changing seasons in NYC. This is a clever film alight with life, art, literature, food and passion. "Hermia and Helena" is a contemporary twist on romance and the fleeting of time.   "A woman has to live her life or live to repent not having lived it..." (DH Lawrence)

The Ailey School Prof Div Spring Concert A Preview of the Talented Up and Coming Dancers

The Alvin Ailey American Dance Theater is one of the world's leading dance companies.  Ailey is also renowned for training & mentoring students (approximately 3,500) from ages 3 through 25. Many of the school's graduates go on to become dancers with the Ailey Co.  And, many go on to join other professional dance co., or find careers as choreographers, teachers and performers in multi-media entertainment arenas.  The chance to watch the Prof Div. of the Ailey School perform is a privileged preview of tomorrow's elite performers.  The school's curriculum is designed to develop versatile dancers & performance experiences.  The school offers jazz, West African, ballet, Horton, modern and the opportunities for the students to work with master teachers and acclaimed choreographers.   The delightfully varied program featured 4 contemporary works choreographed by Marcus Willis, an Ailey Co alum, Judine Somervile, a former Rocket & Broadway veteran, Bradley Shelver (b S Africa) an Ailey II alum & currently a dancer with the Met Opera Ballet, and Brice Moussett (b France), Founder/choreographer OUI DANSE.  The program's dances varied from whimsical theatrical "Thrift Shop" to folkloric "Where There are Tongues" to contemporary.  Mousset's dance the Travailler gave the dancers a very clever,  exacting & demanding challenge.  A lone dancer begins moving in slow motion with a brief case & is soon joined by an ensemble of dancers, all dressed identically in business suits toting papers/brief cases.  The dancers captured the feelings of isolation & monotony of traveling.  They also demonstrated their honed dancing skills.  At one point the dancers drop their papers on stage and were fearless dancing amidst strewn papers. The entire program was an exciting & entertaining event which showed the dedication these young performers put into dance.  It was a tribute to the outstanding teaching staff.  And, it was an exuberant celebration of the dancer's accomplishments.  

Last NYPhil Rehearsal Ends on a High. Note: Augustin Hadelich Plays Dvorak's Piano Concerto A Minor

The last open rehearsal for the NY Philharmonic featured violinist Augustin Hadelich performing Violin Concerto in A minor.  His playing was sublime and well worth venturing out in the rainstorm.  In fact, there was a packed house for the season's last rehearsal.  Maestro Alan Gilbert final role conducting the NY Philharmonic was last week.  He will be sorely missed & hopefully will be returning as a guest conductor.  Yesterday, young Czech conductor Jakub Hrusa (b 1981) led the orchestra.  He made for a very entertaining rehearsal.  The first half of the program was Dvorak's Three Slavonic Dances which are very lively; allegro vivace.  Attending the rehearsals allows the audience to experience how different conductors' styles & how they navigate with the orchestra.  Conductor Hrusa was particularly engaging when conferring his instructions to the orchestra.  Although seated in the very back, I could hear Hrusa singing the melodies he wanted reviewed with the musicians before they re-rehearsed.  He had a delightful singing voice and the members of the orchestra all seemed pleased with his modus operandi.  The front several rows are blocked off to keep the audience somewhat removed from the stage, partly to allow privacy for the conductors' corrections.  Hrusa rehearsal was audible & memorable.  When violinist Hadelich came on stage there was a warm embrace between him & Hrusa.  Hadelich (b Italy 84 and of German nationality) is a Julliard alum.  In 2006 Hadelich won a gold medal at an Int'l Violin competition and a Grammy in 2016.  The two men conferred over the score together in several places which lasted nearly 10 minutes.  Dvorak's Violin Concerto was played exquisitely & without interruption.  It ended in another warm embrace between the two talented musicians and a standing ovation.    

Wendy Whalen Doc. "Restless Creature" A Ballerina of Extraordinary Talent, Endurance and Character

"Restless Creature" is a documentary on a professional dancer's life like no other, because, Wendy Whalen, is a dancer whose talents & extraordinary career are unparalleled.  This fascinating portrait of a prima ballerina shares the dedication & glory Whelan has experienced performing for NYC Ballet; a world class company for 30 years.  What's most compelling are her candid feelings confronting life without dancing on a world stage.  The camera is up close & personal as she torments  considering life without the ability to dance.  She began ballet at 3 and devoted her life to the art form.  The realization that her dancing days would eventually end were never a reality she considered until faced with the fact her body could no longer do what was demanded.  No other ballerina in the history of NYC Ballet (NYCB) had as many works choreographed for them.  She joined the company where she danced a year for Balanchine, 10 for Robbins and the remainder of her career with Martins, artistic director for NYCB.  After dancing for almost 3 decades with NYCB, Martins began taking away her roles.  Whelan teary eyed recalled Martin's exact words, "You don't want people to see you in decline."  A shattering blow she didn't see coming.  "We were from a time when we didn't have babies.  Ballet was an all or nothing choice."  She never envisioned a future without performing.  Admittedly, a fantasy world she believed would last forever.  Her injury free career up until then was followed shortly thereafter by acute hip pain requiring surgery.  The camera follows Wendy throughout her surgery & indefatigable will to jete back to ballet.  We see her emotional & surgical scars. The emotional scars far overweigh the physical ones.  The film takes us into the beautiful world of dance & its arduous discipline.  The shared camaraderie among dancers & choreographers was enviable along with their talents.  Wendy's actual retirement from NYCB was drawn out, as is the film.  For those who are not ballet fans, you may find the film extends laboriously.  For those who love ballet, you'll find this doc. languorously made.  Either way, you'll be hard pressed to see a dancer with so much talent, tenacity, honesty and versatility.  Whelan continues to perform contemporary dance "...to focus on what I can do."  I think there's very little Wendy can't do when determined.  "Restless Creature" is an inspiring and intimate film of an extremely talented dancer and an incomparable woman.    

ABT's "Whipped Cream" Choreographed by Alexei Ratmansky Curdles

Ratmansky's full-length ballet "Whipped Cream" had its share of whirlwind of fanciful dancing.  But, it was laden in absurd scenic design & accoutrements that spoiled what could have been a sumptuous delight.  "Whipped Cream" was originally created as "Schlagobers" with choreography by Henrich Kroller.  It premiered at the Vienna State Opera on May 9, 1924.  Ratmansky's ballet premiered on March 15, 2017.   Comparisons are construed between "Whipped Cream" & "The Nutcracker" which  premiered in St. Petersburg in 1892.  Both ballets use anthropomorphic confectionary items in a fantasy world meant to delight children & adults alike.  The classical music score is by Richard Strauss (b Germany 1864-1949).  In Act I a young boy & his friends are celebrating their first communion at a confectioner's shop where they're rewarded with sweets.  The dancers in all white pinafores frolic with childlike glee for the splendid treats bestowed upon them.  This set is a delightful strewn of confectionary containers in warm hues of pink.  The store owner is a jolly figure with an oversized head (an affectation used repeatedly).  The dancing is crisp & playful and sets a sweet tone.  The boy overindulges in whipped cream.  The scene ends with him writhing on the floor & removed on a stretcher, by 2 oversized figureheads.  After the store is closed,  the canisters open & the magical confectionary characters reveal themselves:  Princess Praline, Princess Tea Flower, Prince Coffee & Prince Cocoa.  All were exemplary in their roles.   The Princesses was sprightly & elegant and the Princes were regal & exuberant.  The Princess Swirl Girls added a lyrical charm.  Act I added a tasty treat with Marzipan Men, Sugarplum Men & Gingerbread Men. The highlight of the ballet was the Whipped Cream dancers.  They were all in white with flowing gauzy capes & white peaked caps.  Their dance captured an airy, luscious feeling that was sensational.  Act 2 has a darker comedic tone in the hospital.  The dancing is diminished behind the overpowering scenic design & distracting puppetry.  The nurses are armed with enormous needles they struggled to navigate & the dancing didn't co-ordinate.   A nurse's veil fell off & needed to be retrieved and thrown off-stage. The Dr. & his liquor consumption & liquor bottle trio were toxic to the production.  There were several sloppy collisions in both Acts.  The celebratory finale had too many bizarre creatures they stole attention from the dancing.  Elements of Ratmansky's brilliance did rise to the top.  But too many distracting ingredients spoiled the broth of the production.   The Nutcracker will stand the test of time.  "Whipped Cream" will likely fade away.

Robert Rauschenberg: Among Friends at MoMA Artistic Collaboration & Exploration

The remarkable & expansive show at MoMA "Robert Rauschenberg: Among Friends" compiles Rauschenberg's artworks over 6 decades.  The exhibit is a combination of his work, that of his peers and collaborative pieces.  The most impressive takeaway from this fascinating collection is the collaborative sharing & exchanging of ideas.  Rauschenberg worked with musicians, choreographers, photographers, etc.  The dance collaborations between Merce Cunningham & Trish Brown resulted in exhilarating performances.  There are photos of Rauschenberg dancing and photos he took of dancers that are sensational.  The dance videos are well worth spending time watching.  Scores were composed by John Cage & Morton Feldman.  Feldman's music can be heard in the 2nd gallery.  Feldman stated "My intention was to think of melody & motivic fragments somewhat the way Robert Rauschenberg uses photography in his painting."  Other artists with whom Rauschenberg worked jointly were Johns, Rothko, Albers, Twombly, Susan Weil, Niki Saint Phalle and Duchamp.  Many of these artists' works are on display.   Rauschenberg created "An Homage to Jean Tinguely's Homage to New York."  Both pieces are situated next to each other.  Rauschenberg's red paintings were my favorites.  It's remarkable how these great artists fed off each other's ideas & techniques.  Rather than a competitive, isolated working environment, these artists were able to experiment, evolve and create something richer from having combined their talents.  Furthermore, this exhibit illustrates art as an interdisciplinary milieu of expression.   To end the relentless debate of whether some of Rauschenberg's works were paintings or sculptures he coined the term "Combines."  Rauschenberg was aware of the unobserved beauty found in the mundane.  The structures made from cardboard boxes are extraordinary.  In later years, Rauschenberg became fascinated with technology & design and merged these elements into his art.  I was taken by the gauzy work "Glacier" (Hoarfrost 1974) with its translucent radiance.  Hoarfrost refers to the phenomena of dew freezing & forming ice crystals.  The works have a transformative power and a "quietness in the ordinary."  Johns & Rauschenberg shared a very intense relationship.  "Jasper & I literally traded ideas. He'd say I've got a terrific idea for you and then I'd have to find one for him."  (RR)

Lots of Reason to Love "I Love Dick" Including a Sizzling Kevin Bacon Screening on Amazon

"I Love Dick" is a new episodic extraordinaire series on Amazon.  Creator, writer Jill Soloway (b Amer 1965) is also the creator for the Emmy winning show Transparent.   The "I Love Dick" series is based on the cult novel written by Chris Kraus.   Kevin Bacon is Dick, the smoldering, enigmatic  artist who runs a prestigious art institute in Marfa, TX.  The actual artist colony town of Marfa plays a major role.  Kathryn Hahn plays Chris, the female protagonist.  Chris drives with her husband, Sylvere (Griffin Dunne) to Marfa where he's been accepted into a writing seminar.  Sylvere is writing about the Holocaust & Chris get's referred to as the Holocaust's wife.  She was planning to leave for Venice for a film festival featuring her work.  She's eager to hightail out of this remote town & dilapidated house her husband was assigned.  Chris is a brassy, loud mouth New Yorker; a total fish out of water in this dried up, hick town.  But no one can put Chris in a corner.  She receives a text that her film has been pulled because she neglected to obtain music rights.  Nothing sits right in her world, including her floundering marriage to her pseudo intellectual windbag husband.  Stuck for the night, Chris reluctantly agrees to attend a cocktail reception with her husband.  It's there Chris first lays eyes on Dick.   There is instant attraction, fascination & obsession on Chris's end.   She decides to stay & informs both Sylvere & Dick she's sticking around & plans to take his seminar.  Dick hasn't the patience for Chris's bumptious flirtation which only flame the fires of her carnal desires.  The twisted love triangle is not the only angle that makes this cunning & erotic social parody, must see TV.  The 3 key characters are exacerbating, outlandish, brazen & endlessly fascinating.  The mix of local cowboys & blue collar workers with the bourgeois social milieu set provide an expansive canvas for provocative insights that extend the boundaries of art & behavioral acceptabilities.   The episodes are framed by affecting love letters written (& voiced over) by Chris addressed to Dear Dick which were irretrievably sent followed by regret.  Instead of hiding in humiliation she splays the letters everywhere for everyone to read which puts conflicts & artistic inspiration into a gallop.  The writing is exceptional, the storylines are fresh,  perceptive & often touching.  Furthermore, the art world is exposed under an open & arid light.  "I Love Dick" makes for lascivious viewing balanced by erudite insights into human nature.  I loved watching.

The Rerelease of "The Stalker" ( 1982) by Soviet Director Andrei Tarkovsky

"The Stalker" was first released I 1982 by Soviet born director/screenwriter Andrei Tarkovsky (b 1938).  This is an oppressive, apocalyptic nightmare.  It is also a pastiche thriller, sci-fi film,  road warrior film mixed with a fantastical pursuit.  The cinematography is aesthetically shot in sepia tones that give the film a dense aura of despair.  This is a phantasmic film for those with a discerning taste. Alas, it is not a taste I've acquired.  I didn't stay to watch the entire film.  "The Stalker" timelessness speaks to a never ending malaise.

Philippine Drama "The Woman Who Left" Directed by Lav Diaz

This year's Golden Lion Award at the Venice film festival went to "The Woman Who Left."  I found this drawn out narrative so excruciating slow, I had to escape.  I left after an hour into this English subtitled drama.  The heroine, Horacio, was framed for murder & imprisoned for 30 years.   The artful cinematography in black & white was captivating.  The film is written/directed by Lav Diaz (b Phillipines 1958).  The somber tonal quality was not enough to entice my interest.  The film starts in a woman's prison labor camp under armed guards. The living conditions do not seem horrific.  The women gather for prayer meetings and educational lessons taught by Horacio, a former teacher.  Horacio is called into the warden's office and told she is free to go.  The warden apologizes for her long & unjust incarceration.  After her release, we watch in silence as Horacio transports from one long bus ride to another, to ferry rides, and along dark roadways.  Her 1st stop is the home she shared with her husband.  Horacio gives her property to the family who cared for her deceased husband.  She travels next to reunite with her daughter whom she last saw when she was 7.  Their reunion was heartfelt and moving.  Still, everything moved at a snail's pace.  Horacio declines her daughter's request to live with them.  She wants to find her son.  Horacio explains to her daughter her ex-boyfriend set her up on false charges out of revenge for not marrying him.  The film is about revenge.   Revenge is a dish best served cold but not painstakingly slow.  The lack of mounting tension never took hold.      

SWEAT The Pulitzer Prize Winning Play on Broadway is Brilliant, Brutal & Heartbreaking

Lynn Nottage (b Amer 64) is a highly honored playwright.  She's bestowed the Pulitzer Prize for "Running" ('09) and this year's Pulitzer for Prize.  "Sweat" takes place in a dying industrial town in PA between 2000-2008.  Her writing is forceful, fearless and indelible.  The cast of characters centers around 3 female friends & co-workers in an industrial plant; Cynthia, Tracey and Jessie.  The central meeting place is the neighborhood pub where the 3 women meet regularly to celebrate & commiserate.  The clever staging & timeline portend the steadying downturn resulting from the town's plant cutbacks & layoffs that builds to a violent climax.  The misdirected aggression is abhorrent although discernible with mounting resentments brewing from financial strains & perceived injustices.  The play begins with 2 young men being interrogated by their parole officer.  The reason for their incarceration is ambiguous but this adds to the mounting intrigue & intensity.  The 2 young men, one black & the other a white supremacist, were longtime friends who had worked together & whose mothers were close friends.  The local pub & plant holds a history that melded firm friendships & provided a sustainable wage.  The company has an opening for a supervisor.   The women all vie  for this elevated, higher paying position.  Friction amongst friends arises when Cynthia, the black woman is given the job.  Cynthia is proud to be amongst management although she considers her race  may have been why she was chosen.  She tries to convey to her friends & former assembly workers, she maintains their best interests.  Nonetheless, wage cuts are asked by management.  The cuts are unacceptable & the union votes to strike.  Cynthia advises her friends to make concessions or face losing their jobs.  Oscar has a menial job working at the bar run by Stan. Stan was a former factory worker until he sustained a debilitating leg injury on the job. Oscar, born in America of Hispanic heritage seizes the opportunity to gain work at the factory for better pay and crosses the picket lines. The animosity & resentment amongst the strikers is palatable & disturbing.  Stan is the voice of reason amidst rising hostilities.  Regardless, misdirected feelings of anger boil over with calamitous results.  "Sweat" is a poignant social commentary.  The ensemble cast is perfect.  The playwright  knowingly dissects issues of social polarization, economic crisis, addiction, incarceration, racism and decency with calculated, cutting precision.  All points of views are understandable, even unforgivable acts.  SWEAT is sweltering work of genius.

Tiffany Lamps at the NYHistorical Soc A Dazzling Display that Just Opened Don't Miss It

The 4th floor of the NY Historic Soc just opened this past April with several new exciting galleries including the Tiffany Lamps exhibit.  (Work is still being done on this show.)  The Tiffany Lamps owned by the NYHistoric Soc constitutes one of the most extensive & exclusive collections.  There are 100 lamps on display and dramatically lit which enhances the fixtures' splendid illumination.  The  room offers a magical, warm glow.  There are various lamp styles: desk, standing, chandeliers and artifacts.  Louis Tiffany (b Amer 1848-1933) is the innovative creator & designer.  But, he was not the sole designer.  Clara Driscoll (b Amer 1861-1944) was responsible for designing many of the lamps that were made.  The lamps were first created at the end of the 19th C up until 1928.  Driscoll's role was kept clandestine but Tiffany recognized her talents & contributions.  She was remunerated on par with her male co-workers.  The distinctive art nouveau designs contain a kalaidascope of bejeweled colors.  The designs reflect elements of nature, particularly floral arrangements, fruits and dragonflies.  The base or leg of the lamps are works of arts themselves.  Many have intricate glassworks imbedded or form unique shapes that adds beauty.  The glass shades come in a wide variety of shapes: domes, conical, uneven lace like borders and some have webbed lattice work on top.  I thought the lamps with the dripping, uneven bottoms were exquisite.  And, I was drawn to the designs with floral poppies & Japanese influenced landscapes.  There is a floating glass staircase in the center of the room which takes you to a 2nd level housing more of the collection.  There are only 3 lamps (2 standing & 1 desk lamp) that are not kept encased.  They are presented as you walk into the gallery.  There are interactive displays and interesting curatorial information.  "There were so many imitations made that it is often difficult to ascertain the real Tiffany lamps from fakes."  Perhaps, Antiques Roadshow would know.  I do know the Tiffany Lamps on display at the NYHistoric Soc is a lovely example of American artistry and a beacon to augur the exciting new 4th floor galleries.  

"The Lovers" Stars Debra Winger & Tracy Letts A Dismal Film on the Disillusionment of Lasting Love

The movie titled "The Lovers" is a parody of monogamy.  A middle-aged couple are both having extra-marital affairs & neither partner seems to care.  Mary (Debra Winger) and Michael (Tracy Letts) play the married couple on the brink of uncoupling, or so they tell their respective lovers.  Both claim they'll end their loveless marriage after their college age son's visit home with his girlfriend.  Winger is a 3 time Acad Award nominee & Letts is an accomplished actor & Pulitzer & Tony winning playwright.  They both bring a believability to their farcical roles as a married couple who rekindle a romantic spark for each other on the brink of terminating their marriage.  However, watching an overweight Michael and an over-the-hill Mary having tepid sex together is unappealing.   Their resurgent lust for one another is an enigma.  Also puzzling is their commitment & attraction to the people they're having their trysts.  Their lovers are neurotic, demanding & annoying.   The continual deceptions were depressing & exhausting.  The audience found humor in the shenanigans which I thought wearisome.  The film picks up some steam towards the end when their resentful son Joel comes home with his girlfriend Erin and a huge chip on his shoulder.  Joel forewarns Erin of his parents loathing of each other & is befuddled by their newfound sexual healing.  The dysfunctional family dynamics & Joel's meltdown add some spice to a dismal film.  The predictable ending is insipid.  You can't always get what you want, but you always seem to want what is illicit.  "You have to make a choice," Michael's lover tells him.  Mary's lover gives her an ultimatum.  The smart choice is to pass on this morass film of middle-aged love that never holds fast.

Venture Out to See the Statue of Liberty and Visit Ellis Island

Taking the ferryboat from the tip of Manhattan to visit Lady Liberty & Ellis Island is a celebration.  As I was passing through the ritualistic security screenings to which we've become inured prior to  boarding, I was made to think of the millions who immigrated to the US passing by the Statue of Liberty & then weaning through the portals & obstacles on Ellis Island.  The Statue of Liberty was a gift to our nation from France in 1876 in honor of the 100th anniversary of the American Revolution.  It made me ponder, what if any monuments has the US given to other countries.  The answer is nada, zilch, nothing.  It can't be said that our country has not been philanthropic through our government and private donors.  But, there has never been any reciprocal monumental recognition given by the US outside our borders.  Which brings up an interesting subject during these gripping times we are living.  The Statue is a beacon of beauty and jingoistic pride.  Touring Ellis Island is a powerful experience. This is where so many immigrants & so many of our ancestors first made their way into our country.  It opened its doors in 1892 and by 1954, when Ellis Island stopped functioning as an immigration building, 12,000,000 people have passed through its gateways.  There is an exhibition of anti-immigration propaganda that glooms in the shadows of Lady Liberty's gleaming torch and the mounting xenophobic pall that persists.  

Screening HBO's THE WIZARD OF LIES: Panel with DeNiro, Pfeiffer, Azaria, Dir Levinson and Author

THE WIZARD of LIES is an HBO film about Bernie Madoff the largest financial fraud in US history.  It will debut on May 20th.  Last night the 92ndY held a screening followed by a panel discussion with the films stars: Robert DeNiro, Michelle Pfeiffer, Hank Azaria, Alessandro Nivola.  Also present were the author of the book THE WIZARD of LIES, Diana Henriques, who played herself interviewing Merdoff.  Dir/producerBarry Levinson & exec producer Jane Rosenthal were also part of the post screening conversation.   Henriques has been a NYTimes financial journalist who interviewed Merdoff prior to his arrest/conviction & the only reporter granted an in-depth interview while incarcerated.  His Ponzi scheme which was reported to the FBI by his sons in Dec. 2008.   Merdoff pled guilty on all charges & sentenced to serve 150 years.  This has garnered massive media attention & prior TV adaption.  Needless, this historic representation is a compelling family drama & intriguing psychological examination that is extremely engrossing despite its repugnant narcissistic subject who destroyed thousands of lives; including those of his family.  Rosenthal chose to adapt Henriques' book "because she was the only who had direct contact with Merdoff."  The film has an intense credibility, cogent storytelling, and fascinating family dynamics.  The entire cast is phenomenal.  Pfeiffer's portrayal of Ruth Merdoff enlists sympathy as a naive & untethered  wife/mother & victim at the center.  The sons Mark (Alessandro Nivola) and Andy (Nathan Darrow) seemed innocent of all conspiratorial criminal activity & elicited compassion amidst the havoc.   Both bothers turned their father's activities to the FBI as advised by their atty or face charges of complicity.  Mark hung himself 2 years later & Andrew died of lymphoma in Sept '14.  Levinson's brilliant directing made this a fascinating real life drama depicting the enormous calamitous fallouts. The brothers appeared besieged by shame, resentment and guilt. They distanced themselves from each other & their mother.  Mark's descent into suicidal depression is painful & intelligible.  Andrew's defiance & character felt meritous.  And, Ruth's ostracism & disillusionment was penetrating.  DeNiro gave a masterful performance.  He captured the narcissism & delusional omnipotence of a sociopath. Henriques says to Merdoff that either his sons were complicit in the Ponzi operation or upon inheriting the business, they would inherit the responsibility for his guilt.  Merdoff refuses to acknowledge either scenario, continuously places blame on other's greed & irate at being compared to Ted Bundy by the media.  The last scene in the prison, Merdoff turns the tide on the journalist asking her if she thinks he's a sociopath.   The illustrious panel gave an intuitive & entertaining insight into their artistic collaboration making this evening unforgettable.    

Artist Francesco Clemente with Sir Norman Rosenthal at 92ndY-Clemente was Poetic and Profound

Artist Francesco Clemente (b Italy 1962) is an internationally acclaimed artist.  He's lived for extended periods in Italy, India, China but claims New York City as home.  During the hour discussion photos  of Clemente's works were flashed on screen.  He was introduced to an excited audience by Sir Norman Rosenthal, exhibitions sec. of the Royal Acad of Arts (1977-2007.)  Sir Norman in his self-indulgent introduction of Clemente, described him as a close friend of Boetti & a leading figure of the Italian Transavanguardia movement of the 1980's.  The Transavanguardia movement refers to the resurgence of figurative symbolic works.  Sir Norman came across as an a erudite blowhard whose fawning was deflated by Clemente's eloquence & dismissive responses to his posturing.   Clemente, a charming & charismatic speaker, affirmed Boetti as his friend & mentor but rebuffed being classified within any art movement.  Clemente's stimulating talk was passionate & poetic.  When asked what he learned from Boetti, Clemente said he learned how to think as an artist.  Clemente is an autodidatic artist.  His philosophical conversation was stirring & thought provoking.  Though Sir Norman posed questions Clemente's responses were often tangental, negating or enigmatic.  Clemente's comments shared an enlightening introspective into the thought process within his creative mind:
"To be an artist, you ground yourself in a battle of which cruelty collaborates."
"Nothing is more powerful than making someone feel seen."
"Break boundaries of what you do which is also your limits."
"Artist is an artificial notion.  Art comes alive in the eyes of another person."
"Mastery comes within painting & meditation.  You become completely present, a state where
   doors open."
"Art can't solve problems but from art, the world is perfect."
"Look at the gaps & spaces and find comfort there."
Sir Norman called Clemente and art angel.  "I like that" Clemente said.

"Bandstand" the New Musical on B'wy Gets a B Flat Major Disappointment

Bandstand missed its mark.  The premise of Bandstand is about a band of brothers just returning home from the battlefields of WWII trying to pick-up their lives & musical careers "just like it was before."  The hero of the play, Donny Nova was a prodigal pianist & songwriter now struggling to find pay to play gigs.  He's been replaced by younger performers while he was serving our country.  Donny (an uninspiring Corey Cott) does not always hit the right notes with his singing voice.  But, he comes up with the idea to form a band of veterans which leads to one guy who knows another guy... and a shared brotherhood of veterans become bandmates.  The cast for the band can all act, sing, dance & play musical instruments.  Unfortunately, they aren't armed with striking musical ammunition.  The songs are either uninspiring "First Steps First" or overly dramatic as in "Welcome Home."  Julia Trojan (Laura Osnes, brings some gusto with her lovely voice) is a Gold Star Widow whose husband Michael was best friends with Donny during the war.  Donny promised Michael he'd check on Julia should he not make it back alive.  When he works up the courage to contact Julia, he discovers Julia can sing & Donny enlists her to join the band.  Julia agrees but continually pleas Donny for details on her husband death.  The vets are dealing with PTS disorder which is poorly underscored and the plot is mired in cliched trenches.  Boy gets girl, boy loses girl (when he tells her of his role in Michael's death) and then boy gets girl.  There's also the ragtag troop determined to put on a show that will win them a trip to NYC to be on TV and on the road to glory.  Dir/choreographer Andy Blankenbuehler is the Tony winning choreographer for Hamilton & In the Heights.  His aim here was far too ambitious in both directing & choreographing.  He missed connecting any emotional impact with the characters or the story.   "Bandstand" was a mildly diverting musical that doesn't make the grade for Broadway musicals.  Though I have a theory, it may be a hit in Cleveland on Lake Erie.      

The Doc Obit - A Doc Film about NYTimes Obit Writers that is Entertaining & Enlightening

The doc. film "Obit" is ironically entertaining & life-affirming.  The film streaming on AppleTV follows the NYTimes' editor, several obit writers & a solitary, seemingly outmoded chronicler of news articles.  The occupation of writing obituaries for the NYTimes has come down to a handful of journalists.  These writers are extremely eloquent both on screen & on paper.  They don't consider their occupation macabre or depressing.  They justifiably offer a significant tribute to life, history & accomplishments, "90% of what we write has to do with life, not death."  This insightful journalistic expose presents a clear look at the entire (time constraining) process of fact checking, researching and creating a cogent capsule of an individual whose life bore a historical impact.  The evolutionary style of writing an obit has morphed from a stoic, reverent eulogy to enjoyable tidbits of informative reflections on the person & their unique contributions.  The goal of the obit writer is to enchant the reader & do justice to the individual's life.  I found the entire process fascinating, from the clerical person in the archaic dungeon of files to the pensive writers who take their responsibilities to heart (and worries to bed at night.)   The journalists question how best to capture the person who has become legendary for their impact that changed the world.   "Art makes you immortal and not susceptible to death."  The editor/writers owned having obits pre-imminently outlined on celebrities advanced in age or known to be in flailing health.  (Yes, several celebrities were named.)  I found all the journalists' introspections to be profound.  The universality of death connects all of humanity.  I fully endorse this engaging doc.  It gave me pause to reflect on mortality, life's defining moments and what constitutes meaningful  accomplishments.

S Korean Artist Anicka Yi "Life is Cheap" at the Guggenheim-Decay, Destruction & Dysfunction

Anicka Yi (b S Korea 1971) was the recipient of the prestigious 2016 Hugo Boss Prize for her experimental body of work.  Her show "Life is Cheap" at the Guggenheim is either an enigmatic contrast to the major exhibit running simultaneously "Visionaries, Creating a Modern Guggenheim" or it's a fortuitous harbinger of the Museum's cunning, cutting edge direction.  You pass through a gated entrance to the 1st of 3 installations, "Immigrant Caucus."  This consists of 3 canisters with attached hoses used in spraying to destroy noxious vermin.  Yi claims the canisters emit a discernible scent intended "...to manipulate perception, ... to experience the installation with a new hybridized perspective."  I was unable to detect any aroma surrounding but the message of extinguishing pre-determined threats by immigrants resonates harshly.  Inside the gallery are 2 large opposing biospheres.  One of the contained dioramas is swathed in a fabric covered in various blotches of mold & decay.  The decay is ongoing (although I won't be revisiting to confirm for myself.)  There is an enticing aesthetic from the multi-colored stains which thankfully don't emit any order through the thick glass panel.  The opposing biosphere is a futuristic installation that resembles a futuristic, data gathering center.  Look closely & you will see live ants (& plenty that are dead) traversing through constructed pathways.   Yi worked in collaboration with molecular biologists & forensics chemists, although to what ends, I'm not sure.  There was no ambiguity to Yi's messaging or profound insights.  I think "Life is Cheap" was a self-indulgent & distasteful display.  Although, who am I to say?    

Guggenheim Visionary Collectors Modern Collections of Modern Masters-The Best of the Best

The Guggenheim houses an elite & priceless collection of art by the most influential & creative artists from the late 19th to the mid 20th C.  The current show "Visionaries Creating a Modern Guggenheim" represents the highlights of art donated to the Guggenheim by 4 industrious & groundbreaking collectors:  Peggy Guggenheim, Solomon Guggenheim, Hills Rebay (also an art advisor to Solomon) and Justin Thannhauser.  The artworks are splendiferous; a bounty of treasures miraculous to behold altogether in one place.  While its a feast for the eye, it is interesting to note the commonalities amongst the collectors & their collections.  They all more or less possessed works by the same elite artists: Picasso, Kandinsky, Cezanne, Calder, Monet, Mondrian, Van Gogh, Brancusi, de Koonig and Pollack to name but a smattering.  This is a consummate show highlighting the creme de la creme from the Guggenheim's permanent collection.  I was dizzy with awe as I spiraled my way through the Museum.  Still, I discerned some similarities between the artists.   The influences they made on each other's work is fascinating.  In particular, the collection illustrated a pronounced & surprising connection between the paintings of  Cezanne & Van Gogh,  Picasso & Toulouse-Lautrec, Seurat & Manet.  There was a plethora of Kandinsky & Picasso paintings.  Parallels maybe drawn between works by Calder, Kandinsky & Mondrian.  Picasso's evolving styles were exciting to assess.  Note Picasso's "Profile of woman with Chignon" (1904) with the iconic "Woman with Yellow Hair" (1931.)   A gallery containing Brancusi's sculptures included large, carved totemic figures & smooth, elegant marble forms.  Man Ray's photos in this gallery show the artist & his studio.  I was especially taken by the nylon filaments sculptures by Naum Gabo which have an elusive, kinetic energy.  The exhibit winds up with Duchamp's "Sad Young Man on a Train," and culminates fittingly with Pollacks' "Alchemy," (1947.)  The 4 major collectors' from whom the works are culled shared a propensity for donating the majority of their works posthumously.  Needless, the collectors preserved a largess of significant works during tumultuous decades and are generously & gratefully available to a vast public.

"Venus" by Pulitzer Nominated Playwright Suzan-Lori Parks-Historic Fictionalized Biopic "Venus Hottentot"

Suzan-Lori Parks doesn't shy away from disturbing topics regarding slavery, exploitation and oppression.  Her play "Father Comes Home from the Wars" portraying slavery during the Civil War was a Pulitzer Prize finalist.  Her play "In the Blood," appropriated Hawthorne's "The Scarlett Letter" to depict an oppressed heroine.  "Venus" is a fictional account of Sarah Baartman, a S African woman brought to Britain in 1810 (3 years after the country abolished slavery) a fact reiterated countless times.  Despite the emancipation of slavery (decades before the US) abuse, debasement and racial discrimination persisted.  Parks, a brilliant playwright and social activist, gives us a heroine brought from her native S Africa to Britain and placed on display in a freakshow to pose practically nude & brandish her protruding buttock.  The play is relentless in its debasement of Sarah Baarman, a.k.a. "Hottentot Venus."  However, Venus doesn't come across as a hapless victim, rather as a woman willing to gravitate towards financial gain.  There's plenty of pain felt for the humiliation Baarman endured but there wasn't a layered character development beyond a hapless, but willing participatant in her own debasement.  The minstrel narrator, a devise used to great effect in the musical "Scottsboro Boys" was disruptive here.   The British courtroom, vaudville antics were buffoonish.  The bewigged judges were to determine whether "Venus'" deplorable behavior was a crime or whether she was victimized.  The bewigged judges failed to find her or anyone guilty.  Watching, I felt ashamed for being a complicit gawker & for failing to registar signifigant empathy.  I did leave at intermission, missing any opportunity for the play's redemption.  

MET's Rooftop "The Theater of Disappearances"-Argentinian Artist Adrian Villar Rojas' Installation

Adrian Villar Rojas (b Argentina 1980) makes incredible use of the MET's rooftop space with his installation "The Theater of Disappearances."  Rojas references numerous sculptures & antiquities in  the MET's collection and morphs them into large sculptures that appear mystifying & grotesque.  When you first step out onto the rooftop, you'll notice a fetching fantasy cast by the all white banquet tables & chairs.  You'll observe large black & grey sculptures interspersed.  It's all quite beguiling until you approach the tables and see smattered ancient sculptures that are morphing & decaying. Upclose, the large dark sculptures are bizarre & morbid hybrid of ancient sculptures with distorted creatures & puzzling anachronisms.  The massive installation loses its benign aesthetic and changes into a dystopian, Mad Hatter Party.  It becomes more sinister & perverse as you scrutinize the figures.  Today's threatening clouds & chilly mist added a macabre aura.  Rojas fraudulent representation of ancient artifacts is quite masterful.  How often do visitors to the MET walk through its permanent collections with a blind eye moving towards recent exhibitions?  I'm culpable of dismissing the bounty of treasures housed under the roof of the MET.  Rojas' haunting installation captured my fascination.  Furthermore, I'm nudged into being more cognizant of my surroundings while moving throughout the MET.  "The Theater of Disappearances" prods us from our nonchalance as we promenade through the museum and perhaps, through life.

Rei Kawakubo "Comme des Garcons" at the MET Fashion Instit-Incredible Creativity & Construction

Rei Kawakubo (b Japan 1940) is a designer whose couture defies constraints.  The jaw-dropping exhibit of Kawakuo's creations are visionary, thought provoking, sublime, bizarre, otherworldly, and altogether astounding.  The imaginative genius of Kawakubo's designs is dumbfounding.  This is the most arresting and unconventional display of fashion I've yet to experience.  The construction & combination of materials is curious & profound.  There is a visceral & emotional impact to this show that is arresting & thought provoking.  There was a lot of finger pointing & laughter from the crowd. The exhibit is curated into 9 groupings with enigmatic & dichotomous titles such as:  form/function,  design/not design, war/peace, beautiful/grotesque and then/now.  These groupings, along with all the other nomenclatures enhanced my interaction/reaction.  I was staggered by every outfit, wig/headgear, costume and statement which was opened to reflection & fanciful interpretation.   The high/low group:  elite culture/popular culture had outfits with tartan plaids that recalled the phenomenal Alexander McQueen Show at the MET.  Like McQueen, Kawakubo incorporated extraordinary materials, craftsmanship and configurations with with exemplary inventive genius. However, further comparisons to other great designers of "fashion/antifashion" are fallible.  I'm unable to encompass the unique inventiveness in the draping, stitching, materials, fashion epochs, expressions of transitions, muted & bold palettes, etc. that embolden Kawakubo's expansive visions.  Note the formidable architectural layout.  There are circular, cylindrical, rectangular and arched structures in which the clothes are displayed.  Some cases are easily viewed, some have hindered viewing and some are seen on elevated  spaces.  One such showcase "Then/Now Past/Present/Future is enclosed in glass lending a prestigious vantage.  Neon lights angle across the ceiling & there is no audio; an unrequired and welcomed change.  The only videos were 2 small screens on the platform for "Clothes/Not Clothes."  The videos are of Cunningham's dancers performing.wearing the costumes in this showcase.  A father asked his young daughter "How do their clothes change the dancers movements?" "They all move differently, dad, and they're all making their own dances."  Wow.  Despite the constrictions imposed on the body by fashion, it doesn't need to conform or limit how the the body chooses to respond & express itself.

NYC Ballet Co Performs "Ten in Seven" Choreographed by Peter Walker- I Give it a Perfect 10

"Ten in Seven" had its premiere at NYC Ballet's Falla Gala.  I had the opportunity to see it for the first time today.  This is NYCB dancer Peter Walker's first work for the company and it most defintely should lead to further commissions.  Walker's ballet features the music of Thomas Kikta, a classical guitarist & composer.  Kikta performed on guitar on stage along with a musical quartet.  "Ten in Seven" is a ballet comprised of vii short dances all connected by a jazzy, Latin flair.  "Bullage Aleatoire" i - was reminiscient of a musical number from West Side Story.  Most of the dance movements were packed with high energy & sensual tension.  This marks the first time I've seen a NYC ballerina perform without being on pointe.  I liked the blurring lines between modern & ballet in this piece.  The vii movements were broken up by short blackouts.  The jazzy, Latin sound & unifying costumes by Jason Wu tied the choreography together despite the disparities in the vii movements.  "Le son de deux" was a slower, sizzling pas de deux and ""Rapide Furieux" was incredibly fast & arousing.   Walker's inventive style and clever choreography was a winning combination.   Walker demonstrated an amazing debut with "Ten in Seven."  I'd give both the dancers and the choreographer a perfect 10.

Alex Ratmansky Premiers "Odessa" with NYC Ballet-Ukranian Folklore with Contemporary Flair

Choreographer Alex Ratmansky was born in St Petersburg '1968.  He trained with the Bolshoi Ballet & was a principal dancer with the Ukranian Nat'l Ballet.  His new ballet "Odessa' had its NYC premier this week at the Koch theater with the NYC Ballet.  Ratmansky's creative talent as a choreographer continuous to flourish.  He possesses a strong folk dancing vocabulary and an emotional exuberance in his works.  "Odessa" embodies the lives of the Ukranian people.  The dancers dazzle us with high  kicking steps from the male dancers & enchanting female footwork.  The dancers emoted both a strong bravado & romantic lyricism.  The music is by Leonid Desyatnikov (b Ukraine 1955) "Sketches to Sunset."  Ratmansky choreography has a visceral magnetic connection between the dancers & the music.  The electrifying pull with the pas des deux is further enhanced by the silkiness of the ballet corp downstage.  Ratmansky has an alluring architectural aesthetic that propels the dancers to lofty heights.  There was a sense of mid-air, suspended movements.  The ensemble performed a deceptively simple rotating port de bras with tondus & reverence that was elegant & powerful.  The costumes by Keso Dekker added a rustic contemporary flair.  Ratmansky is an imposing & accessible choreographer whose work I gravitate towards with ease.  I am looking forward to his new full length ballet "Whipped Cream" which will be premiering with ABT this May.

"The Lost City of Z" British Col Fawcett's Fascinating with Finding a Lost Civilization in the Amazon Jungle

The lush & captivating film "The Lost City of Z" is based on the Non-F book by David Grann (2009.) Col Fawcett ( Charlie Hunman, a handsome & winning actor) is a military surveyor given the assignment for mapping territories along the Amazon.  The inferred goal by the British Geoglogical Soc at the turn of the 20thC was to define the borders between Bolivia & Brazil.  Regardless, the ultimate goal was to advance headway with British Imperialism.  The 1st excursion launched in 1906 was a lush & languorous journey down the Amazon.  The crew included Robert Pattinson in a refined role as Henry Costin.  The explorers were meet with various perils; spear throwing attacks by indigenous natives, limited rations & diseases.  Still, the film is not explicitly an exploration film fraught with dangers.  It's strengths came from the unflagging quest to uncover the mysteries of hidden ancient civilizations in unchartered jungles.  Fawcett's challenges also came from his many sceptics in Britain.  The pompous British aristocracy couldn't conceive of a civilized society in the jungle that predated their history.  Sienna Miller plays Fawcett's wife; a woman ahead of her time.  She argued to accompany her husband on his lengthy & arduous explorations but was forbidden.  They had an unmitigated love for each other.  Miller was self-sacrificing & supportive but deflated by the refusal to be included for her own safety & to care for the children.  This ambitious film traveled through uncharted territories, showing the natural beauty of the land, the river, the indigenous people and the numerous hazardous plights of the crew on their makeshift rafts.   Upon Fawcett's 1st return he & his companions were called to serve in WWI.  The unflailing courage of Col Fawcett & his troops on the battlefields was admirable amidst the barbarity of warfare.  The "civilized" scenes within the British Geological Soc (BGS) show the British gentlemen to be contemptuous.  James Murray, a member of the (BGS) & former explorer of the antarctic coerced Fawcett to include him on his 2nd venture.  Murray's selfishness almost derailed the rest of the crew.  He was disbanded for his safety & that of the crew but  sought vengeance upon Fawcett's return.  The 3rd attempt, Fawcett brought along his grown son.  The storyline of the resentful son for leaving his family who then becomes a devout ally of his father was the only cliched contrivance in a very enrapturing film.   It's at its most magnificient on the plodding sojourn down the Amazon & traipsing through the jungle.  The movie directed by James Gray "The Immigrant" ('13) is an engrossing geographical film & anthropological scrutiny of cultivated & tribal societies.  The cinematography is exceptional.  This cerebral film questions the unavoidable  destruction resulting from "discovery."