Juillard's AXIOM Presents a Jacob Druckman Program with Pianist Derek Wang

Jacob Druckman (b Amer 1928-1996) has been declared the inheritor of the mantle of dean of American composers standing on the shoulders of one of his mentor's, Aaron Copeland.   I wasn't familiar with Druckman compositions, an oversight on my part.  This was rectified by the remarkable compositions performed by Julliard's AXIOM last evening at Alice Tully Hall.  Druckman is renown for "Horizons" music festivals he curated in the 1980s while composer in residence for NY Phil. Perhaps his achievements as a composer were overshadowed by his championing and programmer for the New Romanticism style; alternatives to the more dominate modernism aesthetic of the 20th C.  In Druckman's words "When I say romantic, everybody imagines effete late 19th C, Biedermeier, sentimental music.  That's not at all what I'm talking about.  It was leaning toward a trust of things intuitive, that things intuitive transcend things intellectual".    I sensed an avant garde approach in the 4 compositions performed.  The instrumentation & vocals for Bo (1979) consisted of bass clarinet, harp, 3 vocalists and percussionist.  The percussionist played a vibraphone with a resonating echo along with gongs, symbols and a drum.  Percussionist David Yoon's playing was central to the intriguing syncopation & tonal quality which was modern.  The harp added a romantic lure and the clarinet an underlying, alluring softness.  In juxtaposition, the 3 vocalist, whose backs were to the audience gave rise to unintelligible wording or discernible rhythm.  The effect was high pitched and screechy lending an eerie, ominous aura.  Overall, I was intrigued by the artistic choices and the surprising blending of sounds.  I admired all the pieces on the evening's program.  "String Quartet #3 (1981) was written in 3 movements with 7 variations.   The composition sounded like a bantering  dialogue amongst the 4 instruments.  I heard a boisterous exchange of aggression & felt a bold, physicality from the musicians.  Druckman's THE & DEADLY SINS (1955) written for piano was my favorite.  Derek Wang's piano solo was remarkable.  The music fiercely conveyed a broad range of emotions in his playing that intuited pride, anger and sexual desires.  COME ROUND (1992) was reminiscient to Bo but more layered & complex.  The instrumentation included violin, flutes, clarinets, cello, piano and a more elaborate percussion arrangement which did feature a xylophone.  The xylophone served as the central driving voice.  I discerned a mystifying & pleasing mixture of Brahms and Coltrane.  The concert was a luxurious compilation of sounds and styles.  It was an exhilarating performance.

The French Doc. The Paris Opera - Soap Opera Reality Look Behind the Curtains Art, Warts and All

The Paris Opera House was established by Louis XIV in 1669.  The Paris Opera House is home to both the Paris Opera & Paris Ballet.  This doc. was filmed in 2015, the 1st year under Artistic Director Benjamin Millipied who left his post after 2 years.  His pending departure is merely a smidgeon of the multifaceted perspectives this lengthy doc. shares.  Sadly, this was one of the more riveting interest stories we're given privy, more insight would have benefited the film.  The Opening Gala (2015) for the Paris Ballet was seen with all its glorious opulence and VIP's, including the President of France.  It was humorous to hear the problems & petulance regarding the seating arrangements.  The Dir. of the Paris Opera House, Stephane Lissner, didn't rate being seated with the Pres. or Natalie Portman much to his chagrin.   Lissner is a principal player followed discretely & incessantly.  The press release meeting prior to the Ballet Gala was met with some censorship.  Lissner referred to the Paris Ballet Co. as the best in the world and promptly told "We don't say that" among other things not to say.  There sered little censorship where the camera was allowed to go.  Most charming were the scenes of an orchestra for pre-teens receiving musical training. The camera favored a young baritone from Russia, Misha.  He possessed a beautiful singing voice and winning smile but didn't parley vous francais.  This doc. received the Moscow Film Prize for Best Doc. which wouldn't surprise me because it highlights this Russian artist.  I most enjoyed watching Millipied rehearse with the dancers and the opera rehearsals with its maestro conducting & containing his frustrations.   The Paris Opera House is located in the heart of Paris and the views from the executive office of the city were magnificent.  From there you witnessed the national strikes outside.  The managing staff also had to contend with strike threats, last minute replacements and contract negotiations.  The opera Moses & Aaron required a bull to be on stage which was absolute bullshit. Surprisingly, it didn't stir strikes from animal activists.  Some of the dramatic scenes felt staged and some of the minutia maintaining the building, costumes and tech effects was wearisome.  The terrorist attack in Paris at another concert venue was addressed and respects were paid.  Lessner, spoke to the significance of art in the face of tragedy.  The movie is meant to sustain & expand attendance for the ballet & opera.  The best way may be what was suggested, lower average ticket prices to eliminate elitism that persists.  This doc. will mainly appeal to the erudite elite.  And even then, it may loose its audience's attention.            

OFFICE HOUR by Julia Cho at the Public - Troubled Student Connects with Societal Disconnect

The Public Theater's staging of Julia Cho's (b Amer 1975) play OFFICE HOUR attacks the prevalent problem of social alienation combined with constant "Colombine" scenarios.  By constant, I refer to the ubiquitous, common place shootings on school campuses, concerts and workplaces.  Cho an awarded playwright & TV writer, does an admirable job addressing the mass shootings in our nation by breaking it down to an intimate conversation/confrontation between a college English Prof. and her male student whose extremely graphic & violent writings and misanthropic behaviors discharge  alarm bells to his classmates & teachers.  A conference is held with 3 English professors, two of which have had Dennis (Ki Hong Lee) a very disturbed & disconcerting student in their class.  David & Genevieve share the unnerving writings & alarming behaviors they've encountered from Dennis.  Dennis will not communicate orally with either teacher or classmates.  His graphic creative writings are read aloud in class.  The contents are so ghastly students have dropped the class and voiced their fears.  Dennis is a new student to Gina (an excellent Sue Jean Kim).  The other teachers are convinced Dennis fits the profile for someone likely to go on a shooting rampage.  He's a loner and obsessed with violence.  David & Genevieve spoke with the Dean & health services but were informed Dennis does not officially warrant restraint.  They're alerting Gina & appealing to her to try  somehow to get through to him or garner helpful information.  The majority of the play is set in Gina's office which coincides in actual time & corresponding sunlight.  She manages, with great patience, candor & empathy to break through Dennis' blockade.  He is laden with pain & alienation.  But, then who isn't?  And, who doesn't carry (with or without permits) loaded guns.  There are varying bloody crescendos portrayed.   All are shockingly credible.   The extent to which Gina reaches out to Dennis bearing her soul permits his carapace crack.  This is a tour de force performance.  Does this make the subject matter more palatable? No, but it does continue the discussion.  Cho's sharp writing and fine acting by its cast underline how frequently these tragedies occur.   Dennis evokes our sympathy.   But this only stresses our social disconnect,  addiction to compiling arsenals and how irascible & trigger ready many have become.      

Matthew Bourne's THE RED SHOES - BRAVO! I Didn't Want the Production to End

Matthew Bourne (b Britain 1960) has received numerous awards & distinctions in the world of dance, theater & ballet.  He is the only Brit to win Tonys for both choreography & direction SWAN LAKE.  He's received multiple Tony nominations and every illustrious artistic award bestowed in England, Oliver Awards & the Queen Elizabeth II Award for his contributions in ballet.  THE RED SHOES won this year's Olivier Award for Best Theater Choreography.   THE RED SHOES is Mr. Bourne's first new production in over 5 years.  The hiatus has been long but the much anticipated RED SHOES will knock your socks off.  The production was captivating & exhilarating from start to finish.  I didn't want to THE RED SHOES to end.  The setting is Long & the French Riviera in the 1940's.  The dancers & Bourne's choreography is sublime.  I thought every moment mattered and all the more elaborate choreography excellent.  The two pieces I most favored for their poignancy & inventiveness were the cemetery scene, only Victoria's ephemeral presence is tangible & the celebratory cast party in France with jubilant dancing on tables, jitterbugging, & Congo lines forming.  The creativity & ingenuity in staging and storytelling is astonishing.  Based on the fairy tale by Hans Christian Anderson Bourne brings this classic tale artistically & magically to life.  The lead dancers, Ashley Paige & Dominic North were extraordinary.  Their dancing & acting, continuously breathtaking and deeply stirring.  The sensational Boris Lermontov as the ballet impresario & demonic incubus cast an alluring spell.  The entire production was ingenious.  The lines were blurred  between the play within the production transformed into the drama of its featured performers.  The boundaries between audience & performance was surreal.  The expert ensemble enhanced this spectacular show.  Bourne and the entire supremely talented design team achieved miraculous enchantment.  The sound design, lighting, set, costumes projections collaborated to create a production of ultimate wonder and awe.  THE RED SHOES was so seductive I would have gladly adorn the ballet shoes in order to make this magical marvel carry on.  Accolades and awards will continue to bestowed on THE RED SHOES.  I will see Matthew Bourne's marvelous balletic production again.  I hope we don't have to wait an interminable 5 years for the next Matthew Bourne/New Adventures Production.

ABT Premiers Benjamin Millipied's I FEEL the EARTH MOVE Music by Philip Glass

Benjamin Millipied (b France 1977) has accomplished many things on the int'l dance world in its most esteemed echelons.  Millipied was a principal dancer for NYC Ballet and choreographer for the company.  He was the Director for the Paris Opera Ballet 2014-2016 and is the founder for the LA Dance Project 2011for which he currently oversees and choreographs.  I FEEL the EARTH MOVE made its world premiere for ABT on Oct. 25th, 2017.  Millipied's ballet stood apart from the other three works on todays program:  Jessica Lange's HER NOTES (2016), Liam Scarlett's ELEGY PAS de DEUX (2014) and Christopher Wheeldon's THIRTEEN DIVERSIONS; the oldest work (2011).  Wheeldon's genius stands on the shoulders of Balanchine from the late 20th C to the present.  THIRTEEN DIVERSIONS was a masterpiece in every sense.  The dancing was glorious, costumes stunning and the lighting extremely effective in enhancing the magnificence of the piece.  Scarlett's  ELEGY PAS DE DEUX was astonishing.  It took my breath away.  The dancers, Isabella Boyston & Thomas Forster were phenomenal.  Lang's HER NOTES was extraordinary, simply stunning.  Her use of space and incredible musicality in her choreography is miraculous.  The dance's ephemeral beauty had a lofty dreamlike quality that was heavenly.  Millipied's dance felt very different from these other 3 works.  His felt very contemporary.  The women did not dance on pointe shoes.  The staging gave us a behind the scenes vantage meant to be avant garde.  The street wear costumes were by Rag & Bones.  Glass' music with its percussive and repetitive loop underlined a vocal repetitive loop of a radio disc jockey who referred to Carol King, David Cassidy and DJ, Harry Harrison.  The piece was clever for cleverness' sake.  The dancers let loose with abandon & astounding athleticism.  The movements were powerful & fast paced except for prolonged prone, rippling interludes.  An ensemble cast, including young students paid homage to Jerome Robbin's GLASS PIECES.  The choreography was impressive but felt too aggressive & relentless.  While the other 3 works had a serenity & fluidity to the dancing, Millipied utilized vigor & prowess but was oftentimes combative & unsettling.  I felt the movement to Millipied's work but I was not stirred as I was by Lange, Scarlett or Wheeldon.  Wheeldon may stand atop Balanchine's genius but I think Lange may be on pointe to lead classical ballet into the 21st C.  My heart leaned towards HER NOTES.  Foolish heart, I've been wrong before and  Millipied may be leading the way forward in the world of ballet.    

Billy Crudup stars in the One Man Play HARRY CLARKE at the Vineyard

Harry Clarke (HC) is the acronym for Philip Bruggelstein. (HC) is the assumed name for the persona of a pretentious, fictitious British rake.  This one act, one actor play HARRY CLARKE by playwright David Cale, LILLIAN (Obie Award) is a character study of a feckless charlatan and grifter.  Harry Clarke is played with unctuous distaste by movie star & B'wy veteran Billy Crudup THE COAST OF UTOPIA (Tony Award).   Philip moves as young boy with his meek mother & harsh father to rural IN where he first begins to adopt a British accent.  Harry speaks directly to the audience to create an intimacy & attempt at empathy to makes us complicit with his loathsome behaviors.  Abused & humiliated by his brutish father who refers to him as a fag seems to justify why Philip morphs into the altar ego Harry Clarke.  As HC he's liberated to maintain sociopathic behaviors taking & doing as he wants without any sense of remorse.  Billy Crudup is the sole actor in this play although he personifies several characters.  In addition to his abusive, homophobic father, Harry portrays 3 members of a wealthy, Jewish family; the Schmidts.  Harry first ingratiates himself with the prodigal son Michael after stalking him and duping him into a friendship.  Their friendship changes into an intense sexual relationship aboard the family's yacht.  HC is not the only character to present a false front.  On board, Harry if first introduced to the mother & sister.  They are easily won over by stoking their egos through fraudulent means.  Later, Harry entices both mother & daughter into sexual dalliances while living with Michael as his lover.  The minimal set devoid clutter from the constant flux of characterizations.  The main obstacle is Clay's writing.  The play is a poorly written B film with a talented actor who didn''t bring his A game acting chops.  Crudup needed a prompting from offstage to regain his foothold.  However, the story never took hold of credibility or any sense of sympathy for its characters.  These are not reasons enough to dismiss the play.  Nor is it fair to disregard the play for its homophobic & anti-semitic sentiments.  HARRY CLARKE is simply a shallow facade.  It felt more like an exercise for acting class than an earnest play that bore depth.

OUR SOULS at NIGHT Stars Jane Fonda and Robert Based on Kent Haruf's Novel

OUR SOULS at NIGHT is based on the novel published posthumously by Kent Haruf (b Amer 1943-2014).  Haruf's novel PLAINSONG was a Finalist for the Nat'l Book Award.  His collective writing has earned him the Wallace Stegner Award.  Haruf's beautiful, clear writing depicts the expansive landscapes of his home state CO and characters graced with kindness.  Knowing OUR SOULS at NIGHT was to be his last work instill especially poignant content.  The movie's key niche will be with the senior sector.  The leading characters are an older widow & widower.  Louis (a perfectly cast Robert Redford) and Addie (an excellent Jane Fonda) have been neighbors for more than 40 years without having gotten to know each other.  Things are about to change dramatically when Addie stops by unexpectedly with a startling proposal.  Addie admits to Louis she's lonely and unable to sleep through the night.  She expects Louis may share her feelings of solitude.  She would like Louis to consider sharing her bed (not for sex) but for the comfort of companionship.  Louis is startled but gracious and asks if he could think about her request.  Louis mulls Addie's unusual proposal for a day before he accepts.  He too  has lacked for company if not intimacy.  Redford and Fonda bring incredible warmth & intelligence to their characters.  Louis asks "Why me? We hardly know each other."  "Well, let's start to know each other" suggests Addie.  Their awkwardness & tentativeness towards each other grows into a deeply caring relationship.  Their pillow talk unveils their honest feelings of regret, loss and love.  We learn of Addie's painful tragedy & Louis' affair.   Director, Ritesh Batra (b India 1979 THE LUNCHBOX) tenderly unfolds the necessity & capacity for forgiveness to others as well as to ourselves.  Louis and Addie discover the value to reaching out, to disregard how others may view us, to be gentler on ourselves and considerate of others.  "Good company in a journey make the way seem shorter". (I Walton)  OUR SOULS at NIGHT is a doleful dream that lifts our spirits.  

The French Film 120 BEATS PER MINUTE - Gay Activism, Gay Pride and Sorrow Set in Paris 1990s

Robin Campillo (b Morocco 1962) received the Cannes Grand Prix prize for his film 120 BEATS PER MINUTE.  Of course, the title refers to the beating of one's heart and this film about the AIDS epidemic and a group of AIDS activists in the 1990s aims straight for the heart.  ACT UP is an int'l direct action advocacy group founded in 1989 that works to impact people living with AIDS.  ACT UP's efforts are directed towards legislation, medical research & treatments to eradicate this fatal disease and draw attention to how it impacts lives.  This film set in Paris in the 1990s follows a militant group of ACT UP members.  The group gathers to debate their strategies, plan news worthy non-violent protests that are directed against pharmaceutical companies & geared to garner media attention.  They also pay tribute to those who've died from AIDS.   Some of the most compelling actions are less confrontational but all the more courageous for informing people, especially teenagers preventive safety measures.  The film focuses on a gay couple, Sean & Nathan who connect at ACT UP meetings.  Sean & Nathan's love story does not shy away from explicit sex, the fear of contracting AIDS and the realities of how AIDS ravages & kills people who are HIV positive.  The movie is bold, graphic, informative, painful & life-affirming.  There is plenty of arguing & dissension  within the ACT UP group and the gay community.  Of course homophobic reactions are noted. The movie is also a stirring love story and an acknowledgment of living life to its fullest and the support that comes from a knit community.  I highly recommend experiencing this rousing film.  This keenly made movie is an homage to the 35 million people who've died from AIDS, to the 40 million people now living with AIDS and to human compassion.  The slogan adopted for ACT UP which was bantered in the film is "Silence equals Death".   I fear the movie may fall on deaf ears and will only be sung to the choir.  I sing the praises of this effective film.  120 BEATS PER MINUTE captures an honest examination of living with AIDS, beat by beat by beat.

THE BAND'S VISIT - A Charming Musical Delight that Doesn't Overstay Its Welcome

The new musical THE BAND'S VISIT is by veteran composer/lyricist David Yazbek (b Amer 1961). His previous Tony nominated musicals include THE FULL MONTY, DIRTY ROTTEN SCOUNDRELS &  WOMEN on the VERGE of a NERVOUS BREAKDOWN.  THE BAND's VISIT is based the true, inadvertent but serendipitous stopover of an Egyptian Band in a small Israeli town.  The Band was invited in 1966 to come to Israel to perform at the Cultural Center in a nearby, similarly named village but the language barrier resulted in the band's bus arrival in the wrong village.  This village doesn't have a cultural center or much of anything else for the inhabitants to do but wait & put their lives on hold.  "Waiting" for what, no one knows.  Tewfiq, the band leader (the always stupendous Tony Shalhoub) entreats in broken English hospitality from Dina (a lovely Katrin Lenk) the owner of the local small cafe.  Dina and the locals sing "Welcome to Nowhere" and graciously open their doors to these strangers from Egypt, a longstanding foe nation to Israel.  The invite, which initially surprises the locals, is intended as a peace broaching effort.  It's no surprise (blah blah) with shared close quarters & the universal language of music, commonalities are drawn & mutual admiration grows.  There is a bountiful blending of musical styles, Arabic, Israeli, classical, jazz, lullabies and possibly hymns all performed by the actors/musicians onstage.  The multiple characters share their family histories, fallibilites and bestow simple acts of kindness.  A symbiotic symphony is conducted by Tewfiq, Dina who are followed by the likable, kindhearted townspeople and foreigners.  My favorite numbers were both love songs: "The Beat of Your Heart" & "Haled's Song About Love".   Haled (Ari'el Stachel in his B'wy debut) was a standout character in the fray.  Some of the storylines sunk but this charming musical never overstayed its upbeat welcome like guests who've stunk.  

Emerson String Quartet Plays Beethoven String Quartet in E-flat Major - I'm Wonderstruck It's Miraculous

The Emerson String Quartet performed in Lincoln Center's White Light Festival at Alice Tully Hall last evening.  The first piece was Beethoven's String Quartet in E-flat major, Op. 127.   I was wonderstruck by the miracle of Beethoven's genius, transported by the heavenly beauty of the music and humbled with gratitude to revel in its glorious performance.  The Emerson String Quarter has achieved an unparalleled level of honors.  The Quartet has been playing & recording for more than 40 years.  They've amassed 9 Grammys, including 2 for Best Classical album, three Gramophone Classical Music Awards and the accolades, along with collaborations with other fine artists is astounding.  My praise for the performance of the Emerson Quartet would not do it justice.  It's imperative to consider the extraordinary creative genius of Beethoven (b Germany 1770-1827).   Beethoven was completely deaf at the time he composed this string quartet (as well as many of his other preeminent compositions).  Earlier in the day I saw the film WONDERSTRUCK.  The film based on the book by Brian Selznick has two young protagonists, both of whom are deaf.  The movie explored a world without sound & music as experienced through these endearing characters.  The absence of music in their world was a void whose greatness was keenly noted.  Ben, one of the characters told his friend who was playing a record he was able to experience & enjoy the music through its vibrations.  Last night I became aware of the music for its marvelous audio qualities and as a richer sentient experience.  WONDERSTRUCK and the movie CHILDREN of a LESSER GOD do validate the significant loss of music granted the hearing enabled.   A gentlemen with his seeing eye dog were exiting the theater following the concert.  It was unfortunate the exit was situated such that the man was led into an obstruction.  The dog turned in the opposite direction inadvertently entangling the man's arm in the railing causing him to fall.  A woman seated on the aisle offered assistance to the flustered gentleman.  This was a memorable concert.  It served as a reminder to marvel at awe inspiring splendors and affirmed the appreciation for human kindness.  

WONDERSTRUCK Dir by Todd Haynes Will Strike Some with Awe and Others Struck Ho-Hum

The fantasy/adventure art film geared for young adults is mystical, beautiful, enigmatic and surreal.  This is not say it will have mass appeal with its languorous pacing and somewhat dissatisfying climatic culmination.  Nonetheless, this movie is an artful journey that is meant to be experienced on many levels and in various sentient measures.  Director Todd Hayes (b Amer 1961) whose previous films CAROL & I'M NOT THERE both starring Cate Blanchette are very different genres.  CAROL being an artful contemplative film about dawning sexual identity in the 1950s and I'M NOT THERE is a study of Bob Dylan portrayed by many different actors.  WONDERSTRUCK is a vastly unique and is an astonishing achievement in movie making that defies a simplified classification.   The film's two main characters are prepubescent youths.  Ben (Oakes Fegley "This is Where I Leave You") and Rose (a marvelous debut by deaf actress Millicent Simmonds).   Ben & Rose come from different eras & locales.  The two share a defiant will, immense curiosity, and independence.  Unfortunately, both are deaf.  Ben becomes deaf from a lightning bolt that came through electrical wires on his birthday.  They both flee on their own to NYC seeking severed family ties.  Rose's story begins in 1927 living with her stern father outside NYC.  Her life is seen as a silent picture show in black/white without voices.  This episodic silent film portray is most effective as a way into Rose's world devoid of sound & parental love.  Ben's story begins in 1977, a world filled with technology & a poignant 70s soundtrack that he is inaudible for him.  Ben's arrival in NYC is reminiscent of Dorothy emerging from her black/white existence into a world of vivid color, images & characters.   It's preeminent these 2 indomitable individuals will have their destinies drawn together; the pieces to the puzzle seem to figure in with the NY Museum of Natural History.  Fortunately, both find an entrusted friend or family member.   The artistic direction of the movie is a diorama for experiencing sounds, the absence of sound, vibrant colorful images juxtapose with the nonappearance of colors.  The silent ARTIST (mostly shot in black/white) won the Oscar for Best Picture in 2011.  WONDERSTRUCK's visuals are modeled somewhat like ARTIST.  However, the film captures the unexpected world seen through the eyes of young people in a world that is filled with miraculous things to discover.  I was struck with awe journeying through time & space seen through Ben & Rose's unjaded & undaunted eyes.

FACES PLACES a Collaborative French Film by Agnes Varda and JR Is Delightful Frame by Frame

Agnes Varda (b Belgium 1928) is a highly regarded famous French filmmaker, photographer, screenwriter.  JR (b France 1983) is a celebrated photographer known for his large art installations.  His his true identity remains a beguiling mystery.  JR is the nom de plume used by the artist and like the filmmaker Jean luc Godard he remains hidden behind dark sunglasses.  JR also dons a dapper chapeau everywhere he goes.  And, everywhere these two went together on this remarkable, magical, life-affirming adventure becomes a marvel to behold.  Through their incredible eyes, lens and charismatic personalities we gain new experiences & consider things in a more profound style.    This doc. film of the dynamic duo's road trip feels more like a serendipitous game of chance and luck.  How this seemingly odd couple comes together is irrelevant although they're both drawn towards each others work.  Their exuberance, curiosity and openness to people, places and things is infectious.  The capacities of a photographed image contain unlimited possibilities.  The power to capture a moment, a memory an image appear omnipotent.  Varda's & JR's developing camaraderie is a joy to behold.  The repetitive filming of overblown photos gets a little long in the tooth.  But, my two favorite oversized photos were of the goat with horns staring straight at the viewer & the lovely young woman, barefoot in summer dress holding a parasol.  This film is a treasure trove of imagination, experimentation, hope and emotion.  I urge everyone to go along for this joyous journey that casts a glossy light on fleeting ephemeral beauty and the indomitable human spirit.  

CHARLES WHITE LEONARDO DA VINCI Curated by David Hammons at MoMA - Staggering

There is a phenomenal exhibit at the MoMA CHARLES WHITE - LEONARDO DA VINCI curated by David Hammons in a gallery located on the 5th floor.  The entire gallery is painted a deep blue.  The gallery has only 2 paintings.  One is "Black Pope" (Sandwich Board Man) 1973 by Charles White and across from this painting is "The drapery of a keeling figure" 1491-1494 by Leonardo Da Vinci.  The wall that connects these two is covered by astrological charts which in & of themselves are not compelling.  But ask yourself, prior to reading Hammons' intriguing curation, what is Hammons' intent and what am I responding to with the vastly different paintings made more than 500 years apart.  And, what to make of all the astrological charts?  Charles White's (b Amer 1918-1979) large oil wash on board is of a black clergy in sunglasses wearing a sandwich board with the word NOW.  His hand is flashing the peace sign.  Atop the painting is the only other discernible word Chicago, the artist's birthplace.  Of course, Chicago today is a war zone of killings & shootings in a very underserved and impoverished sector.  White's work is sanctimonious with swagger.  Da Vinci's brush & black ink on blue prepared paper is a much smaller work.  The figure only shows the flowing robes of a religious cleric.  Da Vinci alludes to repressive religious norms. (This piece is on loan from the Royal Collection by Her Majesty Queen Elizabeth II.)  Kudos to Hammons for having the clout to bring this priceless piece to the MoMA.  What's imposing in the gallery is the erudite relationship Hammons summons from the 2 significant works and the astrological charts.  Both artists share the Aries sign but, on a higher plateau, the two diverse artists share similar concerns for the epoch in which they lived.  I don't believe the stars need to align to draw parrallels between these two artists but it is significant to consider their celestial omnipotence.   Sadly, the gallery seemed to be a mere pass through for most museum goers who didn't pause before either painting.  Pity, because the devotion by both artists for their craft & their influential legacies deserves contemplation and veneration.

Kenneth Whyte Discusses His Book HOOVER at Roosevelt House-Walter Isaacson's Discusses Da Vinci Bio

Yesterday, Charlie Rose hosted Walter Isaacson on his PBS show.  Isaacson is promoting his latest biography about Leonardo Da Vinci.  Isaacson has written numerous best selling bios on prominent figures such as Steve Jobs, Benjamin Franklin and Albert Einstein.  For the entire hour discussion with Rose, Isaacson was illuminating with his insights into the life of this artistic genius and innovator.  Da Vinci's relentless curiosity was the prominent characteristic credited to this remarkably creative genius.  I'm looking forward to the 92nd Y Talk in Nov. to hear Rose interview Isaacson again on his discoveries about Da Vinci.  I'm also interesting in reading Isaacson's book.  Last night, Kenneth Whyte, editor-in-chief of numerous publications "National Post," "Saturday Night Magazine" and author of a bio on Randolph Hearst, spoke about his new bio HOOVER: An Extraordinary Life in Extraordinary Times.  Amity Shlaes, presidential scholar at King's College and author of a bio on Pres. Coolidge facilitated the discussion.  Her first question to Whyte was "Why Hoover" which brought a hesitant response.  Whyte said he was reluctant to write another presidential bio.  It was at the urging of his editor. Writing about Hoover, "The failed president" he became fascinated by the man & his unjustly aligned legacy.  Whyte visit his childhood home in IA.  It was a one room shack that housed his parents & 4 siblings.  Hoover was orphaned at age 9 and lived a very impoverished life moving frequently to live with different relatives.  But, his drive to succeed lead him to Stanford where he studied engineering.  After college Hoover moved to Australia where he became the owner of a gold miner which made him wealthy.  Hoover & Trump are the only two tycoon presidents.  Whyte defended Hoover for not being credited enough for helping to turn the economy around while in office during the Great Depression.  In fact, Whyte argued that once Pres. Roosevelt was elected, Congress stalled on Hoover's initiatives that may have helped to wait for Roosevelt to be inaugurated.  An interesting fact, Hoover is the first person to have be seen on television.  After his presidency, Hoover served in the Truman & Eisenhower administration in the commerce sector.  Whyte informed us Truman helped to rewrite the Versailles Treaty in 1931 but failed to explain how or for what reason.  There was not enough to compel my curiosity to read Whyte's bio on Hoover to learn more about the Pres. Hoover credited with building the Hoover damn and for so much of the country living in poverty & ramshackle shanty towns known as Hoovervilles.

Ai Weiwei Sculpture "Fences Make Good Neighbors" SE Corner of Central Park

I watched the interview with Ai Weiwei on CBS Sunday morning discussing his art installation in Central Park "Fences Make Good Neighbors", I went in search of his sculpture which I determined was located in mid, Central Park South by the landmarks seen in the report.  I was impressed, but not surprised by Weiwei's straightforward political comment that the sculpture is in reference to the mass immigration issues plaguing the world.  Weiwei said that his sculpture was in response to the influx of Afghanistan asylum seekers and meant to encourage tolerance to accept refugees.  "The tolerance to accept refugees has dropped to less than 1/2 than {the} previous administration but, it's not the numbers.  It's how we look at ourselves?  Do we still have the self-confidence to defend human rights to help somebody who is in a desperate situation?  We have become selfish."  I feel it necessary to quote the artist.  He was imprisoned in his native China, beaten by police and his father publicly humiliated during the Cultural Revolution.  He spoke poignantly chastising us for our intolerance or maybe more so for our indifference.  Nonetheless, experiencing his 40' cage, painted in yellow with subway turnstiles this was not the message I perceived.  The birdcage sculpture feels playful, more like something found in a public playground designed for climbing.  The cheery yellow color is lighthearted, the pigeon droppings irreverent and the nonstop selfies mitigates the political statement Weiwei wishes to convey.  There is a large opening for easy entrance/exit. The turnstiles are not accessible accept by hand for spinning.   Given his prestigious status as an artist & political activist, Weiwei has been direct regarding his intent for this installation only a short distance from Trump Tower.  But, without giving voice to Weiwei's comments regarding his "Fences Make Good Neighbors" (a humorous witticism) his sculpture feels fanciful & fun rather than a social conscience register of the plight of immigrants.  

THE MEYEROWITZ Stories Stars Dustin Hoffman, Adam Sandler, Ben Stiller - Still, It Lacks Luster

THE MEYEROWITZ Stories is now in select theaters & available on Netflix.  The star studded cast includes Dustin Hoffman, Emma Thompson, Ben Stiller and Adam Sandler.  Sandler, surprisingly is  very affective as Danny the demeaned son of Harold (Hoffman) and underdog to the successful, prodigal son Matthew (Stiller).   In fact, surrounded by such extraordinary talent, Sandler garners likability & captures our empathy.  The stories revolve around Harold, a narcissistic, charismatic, irritating sculptor whose work eludes the fame he's convinced he's due.  Harold is married to his 4th wife (or 3rd since his 1st was annulled) Maureen (the indomitable Emma Thompson).  Thompson as Maureen plays an alcoholic, bohemian nihilist who manages to make the most of every moment on screen.  The movie is mostly takes place in NYC where Harold & Maureen live in an old brown stone that is up for sale which is supposedly up for family consensus.  The general feel of the film is a good natured comedic family drama.  The hilarious family dysfunction ranges from the mundane to the absurd.  Harold's indignant, inappropriate behaviors are brazenly hysterical.  The scene at the restaurant with Matthew is priceless.  Where Danny is Harold's lackey we cringe with wretchedness.  The stellar supporting cast include Candace Bergen as Harold's ex & Ben's mom, Grace Van Patten as  Danny & Matthew' under appreciated sister, Adam Driver as a spendthrift rock star & Judd Hirsch as a celebrated artist & colleague of Harold's.  Bergen's rehearsed, apology reads of years of therapy.  It's as disingenuous as it is hilarious.  Danny & Matthew each have a child and both are separating from their spouses.  They bond over their kids, commiserate over their failed marriages and pull together to care for Harold when he's hospitalized in a coma.   They also push & shove each other outside the hospital. Their tussling & antics are comedic genius.  In hindsight, THE MEYEROWITS Stories dir/written by Noah Baumbach (WHILE WE'RE YOUNG) the movie has more to savor than disclaim for its discomfort.  Nonetheless, you win by tuning into Netflix rather than paying to see it in the theaters.

JUNK by Pulitz Prize Playwright Ayad Akhtar - Traders Making Millions off Murky Junk Debt Dealings

JUNK is a play set in the mid 1980s in NYC/LA  about a high rolling trader Robert Merkins making millions by manipulating stocks, bonds & people regardless of rules or scruples.  The end justifies the means and the end means is money.  "A man is defined by what he has", according to billionaire Les Tresler (a wonderful Michael Siberry).  Tresler is not the leading character in this fine ensemble cast & fast paced play.  Robert Merkin (a charismatic & convincing Steven Pasquale) is the young, alpha male whose credo is making money by any means be they illicit or complicit in bending the laws.  "If you can see what no one else can see, misdirect debt ..." or intent you are the king and the more capital you have, the more power.   Ayad Akhtar (b Amer 1970) is a Pakistani/American playwriter & author.  His play DISGRACED earned him the Pulitzer & a Tony nomination.  DISGACED deals with Islamophobia and Muslim Americans self-identifying struggles.  Akhtar is a brilliant & powerful playwright.  JUNK takes on the sharks of the stock exchange who play by their own rules; fearless, without remorse for whomever gets dumped on in their greedy ply for financial killings.  Akhtar also attacks the anti-semitic, 2nd class status of Jewish Americans, which are the key figures in large scale fraudulent stock exchange trading.  Robert Merkin is a fictitious amalgamation of callous & deceitful known convicts: Michael Milken, Bernie Madoff and New York's father/son Robert & Sean Stewart.  Sean (who uncannily resembles the Robert Merkin character) was recorded by Feds saying to his father "I can't believe I handed you this on a silver platter and you didn't invest in it." The characters in the play all copped plea deals resulting in minimal fines & prison time.  The wheelers & dealers turn squealers to pass the blame & minimize their culpability.  The play has an excellent ensemble cast, a sleek pace verbose dialogue and a haunting black/white palette all contribute to an intense & complex analysis of corruption that flies overhead much of the time.  "It's like Chinese.  A different language people don't understand".  JUNK catches the money players playing dirty with their hands caught in the cookie jar.  I found Akhtar's JUNK an alarming thunk to the head.  The war on Wall Street is relentless machine that will continue to feed on people's greed with disregard for the working class & those with integrity.  

Chihuly's ROSE CRYSTAL TOWER installation in Union Square is Uninspiring

Dale Chihuly (b Amer 1941) is known for his elaborate, large scale glass sculptors that adorn lobbies, yachts and other ostentatious spaces.  ROSE CRYSTAL TOWER is a NYC Public Arts installation located on a fragment of land on Union Square Park's southeast corner.  The 31' sculptor is made of plastic fragments in a uni-glow rose color and assembled in a vertical happenstance matter.  It sits atop a black steel platform.  The sculptor looks both industrial and puerile.  The monotone color does give off different hues due to shadowing and sunlight.  I have never favored Chihuly's frilly & frothy flourishes on his glass sculptors.  Although, it would be intriguing to see the creative process.  ROSE CRYSTAL TOWER did not cause a spark of interest from not did it manage to make New Yorkers stop in their tracks to notice.  The sculptor looked like a large rock candy ring youngsters like to suck on or an elongated torch.  Either way, the work didn't stir a glimmer of excitement.  The sculptor will be on view until Oct of '18.  I'm going to look for Ai Weiwei's sculptor in Central Park "Good Fences Make Good Neighbors".

BASEMENT at the Gene Frankel Theater -Tuskagee Flyer is Harbored by a French Woman in WWII

Michael Hagins is an Amer playwright & director & founder of C.A.G.E. which presents classics and contemporary plays ("Hit and Miss" & "Hamlet").  BASEMENT now playing at the Gene Frankel in SoHO is a WWII melodrama, love story between a Tuskagee Airman, Lt. Michael Crawler (Anthony Goss)  and a French woman, Katrine (Alexandra Cohler) who rescues him when his plane crashes near her rural home in Nazi occupied Normandy June 1944.   Katrine & Michael maneuver in spotty English & French to communicate during Michael's extended convalescence from his injuries under her auspicious care.  The One Act play runs over 1 1/2 hours is staged in the basement of Katrine's home.  The set & lighting manage to convey Michael's confinement.  Matthew White (Ian Campbell) is a war correspondent for the radio who is staged above and behind the audience.  White gives an encouraging update on the allied advances from June-Aug 1944.  Hagins ambitious play tackles the horrors of war, the discrimination blacks face in the states and a blossoming romance between the Amer soldier & his French female savior. The admirable intent of Hagins plays of overcoming bigotry & evil somehow gets lost in translation.  The charming language barrier they both work to overcome loses its charm along the way and the amour that develops doesn't strike with fervor le coeur.  Despite the clever staging and earnest performances by Cohler & Goss the plays structure becomes cliched and the production cloying.

The Doc. Film JOAN DIDION: The CENTER WILL NOT HOLD Directed by Her Nephew Actor Griffin Dunne

Joan Didion's amazing life and uncanny reporting, essays and literary style are the subject of this gripping documentary directed by her nephew, actor Griffin Dunne.  Dunne is especially adroit at drawing out his aunt's autobiographical raconteur.  As the diminutive Ms Didion sits to converse with her nephew, she is as much in command as a maestro of an orchestra.  Her arms are majestic in their continual movements and her candor is eloquent & fascinating.  As a young girl, her mother gave her notebooks for her to fill so she would amuse herself.   As a teen, her mother gave her Vogue & showed her the writing contests which she assured Joan she would win.  And assuredly, Joan not only won one of the contests and a job writing for Vogue,  she became one of the leading reporters of social movements and events of the 20th C.  This was an aberration for the mag. then and extremely rare today.   Joan honed her craft swiftly to maintain her job.  She went on from Vogue to write essays & cover topics that piqued interest.  She speaks freely of her lifelong marriage & partnership with writer John Dunne, her "protector" with a "hot head."  Each was the other's editor on everything the other wrote.  For the projects they worked on together their writing merged.  Home went from NYC to Malibu and back.  Griffin Dunne recalls the idyllic setting along the ocean where Joan & John worked & lived.  Their home became a mecca for family, friends & colleagues.  A young Harrison Ford was their contractor turned friend always consider himself the least intelligent person in the room.  The Malibu home was a haven for the connected couple.  Together they brought adopted daughter, Quintana, home from the hospital the day she was born.   "I remember bonding with her on the San Diego Freeway."  Joan talked about writing what became of interest to her: Haight/Ashbury in the 60's, rock & roll figures (Jim Morrison) and Linda Kasabian (Mason family member).  She also took the courageous stance to question the railroading of the 7 youths convicted in the Central Park rape case.  The archival footage of the 60's & 70's epoch in the doc. is vast and rivet Joan to the times.  But, it is Joan's transformative writing & eloquence that makes this extraordinary film so ardent and emotionally stirring.  In 2012 Obama presented Ms Didion with the Nat'l Medal of Art & Nat' Humanities Medal questioning why she hadn't received it sooner.  Dunne's biopic doc. of his much admired aunt allows us to comprehend Didion's intent "writing to figure out things." The essence of her writings empowers us to explore the depths of our own sorrows and what is meaningful in our lives.  Joan Didion is a remarkable woman & writer.  I'm moved by her transformative clarifications illuminating life's bountiful & ephemeral gifts.  

Knicks End Preseason with a Perfect Losing Record 0-5 Zapped by the Wizards in the 4th Period

The final 5th game in preseason play for the Knicks left them without winning a single game.  Last night's game at The Garden started out rosy with a head to head match-up against the Wizards (4-1) in the first three periods.   Perhaps, the Wizards were waiting to conjure up their magic till the 4th period when the team went on a 13 -1 run ending the game with a 110-103 victory over our NY Knicks.  Notably absent was Spike Lee and the NY Knicks City Dancers only performed one number for the evening.  Half-time entertainment was pee-wee basketball which did not enthrall.  Let's hope the poor preseason belies a winning year.  There is one major thing to cheer, noted on the team's bench is former UW-Madison superstar Nigel Hayes.  Hooray, let the guy play

Juilliard Jazz Och The Music of the Big Bands - Guest Conductor Vince Giordano and Vocalist Hilary Gardner

The Juilliard Jazz Orchestra continues to flourish and amaze.  This is of course due to the talented young musicians who train very hard with the benefit of dedicated gifted teachers & the support of Wynton Marsalis.  Last night, grammy-winning conductor & multi-instrumentalist Vince Giordano returned to conduct & mentor the students in the jazz orch. & to enlighten and engage us with his vast knowledge & passion for jazz's legacy & for its foray in the future.  Giordano's infectious enthusiasm carries over to both the musicians and the audience alike.  The program was comprised of the music of Fletcher Henderson, Eddie Durham and Bill Challis.  Giordano spoke about what arrangers bring to musical compositions.  The jazz students receive training in arranging as well as instrumental performance.  The horn section utilized large plugs; some large enough to double as bowler hats which the section donned with dapper style.  Other horn plugs gave the whaling wah wah sounds of the big band era & the muted accents to jazz riffs.  The bass player slapped the strings with a flat hand which was popular in the 1920s & '30s.  Three guest violinists played in the first set adding a classical texture that enriched the musical arrangements.  In the 2nd set, Giordano brought in vocalist Hilary Gardner who sang WHAM by taps Miller/Eddie Durham.  Gardner is a veteran B'wy performer & recording artist.  Her singing was incredible.  The Juilliard school brings in top talent to mentor & inspire the young artists; next generation's prof. performers.  I have to call out Julius Rodrigues on piano for his mastery of tinkling the ivories and trumpet player Given Gelin for his masterful performance.  The numbers I particularly enjoyed were BOLERO the classical piece by Ravel arr. by Fletcher Henderson which was surprising, RUMBA NEGRO by Count Bessie; reminiscent of Ellington's THE MOOCHE and EVERY TUB also by Count Bessie & arr. by Eddie Durham.   Giordano told the audience & the orch. improvisation was a major part of jazz & they were going to be spontaneous and do some improvising on EVERY TUB.  The term is a code for most band members getting a solo.  This brought on quick conferrals onstage amongst the musicians and a slight faux pas when both a trombonist & saxophone player both stood simultaneously for a solo.  The sax player sat (he got a solo later) and Giordano said that's what happens sometimes in jazz and what keeps it fresh, fun and alive.  Giordano was also right in encouraging everyone to bring their friends, family, even youngsters to live performances and keep jazz thriving.

Estonian Conductor Paavo Rehearses NYPhil and Russian Pianist Andsnes with Starts/Stops and Exegeses

Sergei Rachmaninoff (b Russian 1873-1943) completed his Piano Concerto #4  in 1926.  It premiered with the Philadelphia Orch with Rachmaninoff playing the piano.  That was a remarkable debut.  Today's rehearsal conducted  Estonian conductor Paavo Jarvi (b 1962) with pianist Leif Ove Andsnes (b Norway 1970) was notable for its apparent unsureness.  Perhaps something was getting lost in its interpretation.  Andsnes along with several other lead violinists in the orchestra had questions for the conductor.   There were numerous stops & starts and plenty of conferring between the soloist & the maestro, the soloist and the orchestra and violinists & the conductor.  The estimated 25 minute estimated duration of Rachmaninoff's concerto lasted nearly an hour with frequent halts to confer directly over the musical score.  Andsnes oftentimes straddled the piano bench to face the orchestra head on to semi-conduct.  It was clear conductor Jarvi had uncertainties or wasn't achieving what he sought.  With the repeated phrasing in the Largo movement, I was able to discern variances.  What wasn't clear, but curious, was how influential was the pianist at the rehearsal.  The first movement, the Allegro vivace was played without hesitation at a fast tempo.  But, with the Largo and the Allegro vivace, there were repeated phrasings.   From the back of the theater it was notable the numerous  collaborative conferrals & hesitations.   The discussions weren't bombastic but I sensed uncertainties amongst the musicians.  At times the conductor deferred to Andsnes' playing to instruct the members of the orchestra.  The woman seated next to me commented "he {conductor Paavo Jarvi} was struggling with the composition in a number of places.  But I've seen this sometimes happens during rehearsals".   I was transfixed by the exegesis between conductor & soloist.   I've never witnessed musicians from the string section approach the conductor.  The rehearsal of Rachmaninoff's Piano Concerto #4 ended after a few minutes of Andsnes & Paavo conferring on the podium and a hearty handshake between the two artists.

British Brothers Alex/Andrew Smith Direct WALKING OUT an Elegiac Tribute to Fathers and Sons

British born (1967) twin brothers, Alex & Andrew Smith's stunning feature film is breathless in scope and an irrepressible homage to the love between father & son. This majestic film is shot in the wintry Montana landscape.  David (an outstanding Josh Wiggins "Hellion") is visiting his father for winter holiday break.  David's father, Cal (an excellent Matt Bomer "Amer Horrow") is a skilled  countryman.  Cal is an accomplished hunter & leads a solitary existence.  Growing up, Cal and his father (played winningly by veteran TV/film star Bill Pullman) had a very strong & tender bond.  Their relationship viewed in flashbacks is told to David or seen in Cal's fond memories.  David who is 14 is given the rifle Dad received from his beloved father at that age.   A gilded hue enfolds Cal's recollections of him & father together hunting and fishing.   Reluctantly, David yields to his father's aim to hunt for moose with his dad out of intimidation & wanting to please him.  The movie succeeds as a suspenseful survivor story in the wild.  Moreover, it's a coming of age tale that is a paean to fatherhood and its mentoring, loving legacy.   Cal is a capable woodsman who imparts vital skills to David.  The father/son run afoul on the frozen rotunda when David gets attached by a bear.  The two must rely on each another to make it back safely.  Todd McMullen's breathtaking cinematography captures the natural beauty of the harsh, frozen landscape and indigenous wildlife.  There's a difference between killing and hunting and a vast difference between living and surviving.  This captivating film is based on the short story by American nature & travel writer David Quammen.  The lovely classical score to the film undermines its natural feel & credibility.  The film falters between being an art film & an immersive adventure film.  Still, WALKING OUT is a landmark achievement in filmmaking and well worth seeking.

Jenny Erpenbeck and Nicole Krauss Read from their New Books at the 92ndY

From now on, when I read 92ndY READING SERIES I will know not to expect a discourse but a literal reading by the authors from their recent works.  I was disappointed when 1) the room was changed from the large, assigned seating in Kaufman Hall to the smaller, open seating room upstairs, and 2) when I noticed only a center podium indicating only one speaker (or reader) at a time.  Jenny Erpenbeck (b East Berlin) recipient of the Int'l Foreign Prize for THE END of DAYS, read a portion from her new novel GO, WENT, GONE.  Her intro came from an aspiring writer whose intro by her "friend" was written with a flourish meant to highlight her own writing skills & less about Ms Erpenbeck.  Nonetheless, Erpenbeck's reading with a German accent was captivating.  I was absorbed in her reading.  She writes with a humanizing lens of African migrants of war seeking refuge in Germany.  Nicole Krauss' (b Amer) GREAT HOUSE was a finalist for the Nat'l Book Award read from her novel FOREST DARK which I'm currently reading.  Her introduction was much shorter & directed to Krauss' achievements.  I found it interesting Krauss selected to read two sections that had stood out for me in the book.  There are 2 main voices, an Amer female author, wife and mother (semi-autobiographical) & an older, wealthy Amer man, recently divorced father of 3 in the midst of purging himself of his earthly possessions.  Their connection is their past/present history at the Hilton Hotel in Tel Aviv.  I enjoyed hearing Ms Krauss bring her own characters to life.   I plan to finish her novel & then read Erpenbeck's newest novel GO, WENT, GONE.  The days of my coming to further READING SERIES, however, have come & gone.

M. Butterfly on Broadway Starring Clive Owen Directed by Julie Taylor

The revival of M. Butterfly is now in previews.  I was privy to the 2nd performance.  The good news is the show is still in previews allowing for time to address the technical glitches & adjust the scenic designs.  The play by David Henry Hwang, a Tony winner & two time Pulitzer Prize nominee for drama is a brilliant play is a pastiche of an enigmatic love story,  an epoch of historic upheaval during China's Cultural Revolution set against Puccini's Madame Butterfly Opera.   The playwright offers plenty to absorb from his richly nuanced writing; contrasts between east & west culture as well as the role of savior &sheltered in a loving relationship.  M. Butterfly should resonate with the oppressive direction our country is headed.  First Amendment Rights, freedom of speech & freedom without stigma or persecution to love whom we love are all facing with our president's imperialism.  Unfortunately, the staging & scenic designs were a colossal mess.  Lead actor Clive Owen performed multiple roles also performing as a stagehand.  Owen bravely, but disruptively moved props & walls that were snagged or out of place.  And the stagehands were unintentionally seen onstage behind screens & to the sides.  Can all this be rectified?  Certainly, if ego is put aside and Julie Taymor (The Lion King) permits the play's power to be center stage and makes some of the theatrical magic disappear.   The delightful choreography by Ma Cong was key within the Chinese operas within the play.  And, the choreographed propaganda tributes to Mao played a major role in setting a chilling tone of China under Mao's reign.  Overall, M. Butterly was overladen with scenic backdrops & faulty staging.  The play did not float like a butterfly, nor did it sting like a bee with commanding poignancy.  

THE FLORIDA PROJECT is an Unforgettable Film about Childhood without Boundaries by Sean Baker

THE FLORIDA PROJECT is movie about a young girl Moonee (a potent Brooklyn Prince) who lives in a rundown FL motel with her single mother, Halley (Bria Vinaite).  This is Vinaite's debut feature and her performance as a childlike, not so innocent and far from perfect mother is a miraculous achievement.  The film follows Moonee who is left to fend for herself and whose domineering personality makes fearless and the leader of kids her age who are also living with a single parent in transient motels; struggling to pay for room and board.  Moonee is resourceful & fearless when it comes to finding fun.  Her disregard for consequences & disrespect for adults is both astonishing & appalling keeping her under a ubiquitous cloud of danger.  We both admire & ache for Moonee; the  apple didn't fall far from the tree.  Her doting mostly absentee young mother is loving when she's not toking or hooking.  We sympathize for both mother & daughter.  The motel is managed by Bobby (William Dafoe) who also manages to keep a watchful out for Moonee & the other rapscallions.  Alexis Zabe's brilliant cinematography paints a fantasyland with vibrant, technicolor.  We see the world through the steely eyed, rosy glasses of a resilient & tenacious little girl.  When the world Moonee knew & found comfort finally cracks, we're shaken as her bravado gives ways to a torrent of tears.  She and her friend run away to Disneyworld, the world whose shadow they've lived under.  We wish them days filled with rainbows & nights aglow with fireworks.   The movie shares some of the themes and qualities as the film MOONLIGHT; also shot in FL.  Moonee is a child making the best of dire circumstances not of her making.   Our compassion turns towards the mother, a deeply flawed person whose poor choices are excruciating to watch and shame us for failing her and so many others. THE FLORIDA PROJET is a poignant and beautiful looking film that's a facade for the struggles & suffering we've chosen not to see up close.

Sara Driver's Doc. BOOM FOR REAL The Late Teenage Years of Jean-Michel Basquiat at NY Film Festival

Amer indept. filmmaker, Sara Driver (b 1955) is known for both documentaries (Uncle Howard) and featured films (Broken Flowers, starring Bill Murray).  BOOM FOR REAL is a doc. about artist Jean-Michel Basquiat's life (b Amer 196-1988) during his late teens in late 1970s & early '80s. The film hovers around Basquiat and we observe him at a distance while focusing on NYC's dilapidated lower east side.  It was a haven for heroin addicts and a Mecca for the insurgent epoch of graffiti gestural painting, hip hop, performance art and partying/drug scene.  The foundation sprung from the urban squalor & abandonment of buildings & businesses gestating a nihilistic, self-destructive and numerous forms of rebellious expression. The photos, videos and glimpses we get of Basquiat are intriguing.  So too, are the interviews from people he knew juxtaposed with photos of them during from the past.  During his late teens Basquiat was the Bansky of his day.  His writings were poignant, cryptic & poetic and tagged with the acronym SAMO.* Bansky was also a clarinet player in a jazz/rock band.   The footage from this era in NYC, particularly of the young emerging artists and nightclub scenes and barren streets lay the groundwork for a Phoenix rising from the ashes.  Interviews from his peers paint a rambunctious, restless & ambitious young man, rootless but determined to become not only an accomplished artist but gain notoriety.  There are common threads from those who knew him labeling him as a self-promoter, opportunist, charismatic unpredictable and a "gadfly".  This movement of young artists were basically ignored by galleries & art dealers.  They began to hold their own shows in abandoned buildings & public spaces.  The Village Voice picked up on the Times Square Art Show in June 1980 and the floodgates opened garnering mass attention.  This intelligent & enlightening doc. is exceptional.  The construct frames Basquiat within an era which helped foster his emerging genius.  As NYC was crumbling, Basquiat was developing his voice & his art.  His work puts him alongside artists DeKooning and Pollack.   From the decaying streets where Basquiat lived during his late teens, he soared above the ruination.  We never hear the voice of Basquiat in the film but this remarkable doc. gives voice to his omnipotent artistic expressions.  

2017 FALL FOR DANCE FESTIVAL Featuring Dancers from Ailey and ABT and More Bats 3 out of 4

FALL FOR DANCE FESTIVAL at NY City Center offers the gift of experiencing a plethora of world class dance companies in a vast array of forms for an unbelievably low price of $15 for every seat.  This means the lines are around the block when tickets first go on sale.   Last night's program featured a motley mix of dance companies that made for a mostly exciting and enjoyable evening celebrating the art of dance.  Of the 4 extremely different dance companies, only one performance by the IceCraft Dance Co from India was wearying.  It was the most exotic but too laborious.  "Kin-Incede" made its world premiere.  It was interesting until it felt interminable.  The soloist dancer tried to enlist the audience to clap for timing but failed to garner enthusiasm from the waning crowd.  American Ballet Theater performed a work by Alexei Ratmansky "Souvenir d'un lie cher" to Tchaiskovsky's composition.  The work was absolutely stunning.  The lovely balletic piece featured 4 extremely talented dancers.  Ron Brown's "Open Door" was performed by the sublime Alvin Ailey dancers.  Brown choreographed to the Latin jazz music of Arturo O'Farrill & Tito Puente.  The Ailey dancers reverberated every ounce of Cuban syncopation with supple intoxicating movements.  It was a joyous celebration of dance.  The final piece "Paquita" by Marius Petipa for Les Ballets Trockadero de Monte Carlo was a hilarious, irreverent & impressive take on classical ballet.  The entire male company dresses in ballerina finery from tiaras to the tips of their pointe shoes.  The clever choreography with a wink was totally delightful.  Batting 3 out of 4 isn't a bad score.  Take advantage of City Center's Fall for Dance and hope the Yankees can hang on for one more.  

Prince of Broadway - Best Hit Collection from Hal Prince Shows and More I Didn't Know

Spoiler alert - If you do not want to know the answer to the following interesting questions, don't read the bottom: *1. What is Hal Prince's favorite show?  2. What does he consider the best American musical?  3. What's essential for success?  4. What's the secret for a long running show?

Prince of Broadway is an expansive medley of some of the most famous musical numbers culled from his most successful Broadway productions and a few from the slew of flops.  If you think thought Prince only had the Midas touch, you're wrong.   Prince had 8 consecutive misses.  The titles of which were recited.  IT'S A BIRD...IT'S A PLANE...IT'S SUPERMAN (1966) was a hit with the critics but closed just after opening.  (Maybe with the Super Hero Craze the days for its revival may  be near).  I thought the OVERTURE was going to overshadow the show.  But, no, my cynicism was pushed aside by the marvelous musical renditions & transitional storytelling by Hal Prince.  Prince was portrayed by males young & old, women and color blindness.  The unifying feature were ubiquitous specks atop the head. The ensemble cast in multiple roles was outstanding.  Special mention must be made for Chuck Cooper's incredible singing & acting.  Cooper is a veteran of 14 B'wy shows and it shows.  He was especially moving as Tevye "IF I WERE A RICH MAN" & as Joe "OL ' MAN RIVER".  Understudy Eric Santagata dazzled with his rhythm tap choreographed number  "THE RIGHT GIRL".  The transition into FIDDLER was tipsy and some of the props were flops.  But there were many more highs than lows.  Prince of Broadway is a sure bet for musical theater buffs with enough charm for curmudgeonly critics.  Mr. Prince's contributions the Great White Way  are monumental.  He's collaborated with an enormous list of the utmost echelons of  artists.  Prince credited many collaborators:  dir. George Abbott, composers Stephen Sondheim, Leonard Bernstein & Andrew Lloyd Webber and lyricist Time Rice.   Intelligent & poignant lyrics are a common thread throughout his numerous shows. Prince worked with the finest choreographers: Bob Fosse, Jerome Robbins, & Michael Bennett.  I recommend this jewel of a biopic Broadway musical and crowning tribute to his colleagues.

*The answers: 1. FOLLIES 2, SHOW BOAT 3. Working with talented people and lots of luck! 4. If he knew, he'd do it every time.

Juilliard Jazz Ensemble Plays the Music of Thelonious Monk

Last night, in a packed Paul Hall at Juilliard, the Juilliard Jazz Artist Diploma Ensemble performed an evening of outstanding program of Monk's music.  The incredibly talented ensemble was an int'l blend of artists, the drummer from Italy, the trombonist from the Netherlands, the sax/clarinet from Spain and the saxophonist & bass player from London and the exceptional jazz pianist from the US.  The ensemble was internationally represented but I'm hoping that soon more women will take up jazz instruments and infiltrate a mainly male student body at Juilliard.  The music performed does remind us of our interconnections to music, to the artists and to one another.  Monk's jazz compositions are legendary and always exciting for their originality.  Each member did original arrangements for the group.  The jazz concerts are joyous events.  The ensemble having as much, if not more enjoyment than the audience from their playing which is infectious.  My favorites on the program were both Monk's ballads, Boo Boo's Birthday (written for his daughter) & Ruby.  I also enjoyed the piano, bass & drum trio rendition of Skippy which is played with thrilling & intoxicating timing.  The next concert will be in Peter Jay Sharp Theater featuring the music of Fletcher Henderson on Thursday Oct. 12th.

The Vietnam War 1945-1975 at the NY Historical Society - Why? Because of a litany of lies.

There were far too many of you dying, You see war is not the answer.
Take the time, so you can see how distorted is our history. What was really going on? Yeah, what was really going on:
There were nearly 70,000 US soldiers who died to cover foolish nationalistic pride.  You know Nixon lied, LBJ tried.  But LBJ with McNamara at his side, caused way too many soldiers & civilians  to die.  US Troops were sent without Congressional consent. And, the hawks in office hoodwinked our naivety.   There was pushback but the war took so many lives & destroyed whole countrysides.
The Ken Burns Viet Nam doc. is a compelling, informative & interesting look from multiple perspectives by interviewing those who experienced the war 1st hand either on the battle front or the home front.  Interviews were poignantly made by US Vietnam vets, North & South Korean soldiers during the war, Amer. families who lost loved ones and Amer. war protestors.  This doc. is essential watching to remember, honor, respect those who served and to be reminded of how senseless and insanely cruel our involvement proved.
The Vietnam War exhibit at the NY Historic Soc. 1945-1975, details the timeline of event that got us embroiled in this country's civil war that we should never have entered.  Truman who dropped two Atomic bombs on Japan, had formed a carapace against humanity and a proclivity for promulgating military attacks. At the end of WWII, the US was positioned as the world's leading power.  The French were colonizing Vietnam 1946-54.  North Vietnam had come under Communist ruler Ho Chi Minh who planned on uniting Vietnam under his rule.  In 1954, the Geneva negotiations construed the 17th parallel dividing the country. The French wanted US assistance to assure a democratic south. Truman sent in the first troops in 1950.  The US was responsible for financing 80% of the French Indochina War.  The French bailed out (wisely) in 1954.  It was agreed during the Geneva negotiations that in 1956 Vietnam would hold a nat'l election for the country to determine its own government.  An election that Pres. Eisenhower surreptitiously blocked fearing a win by Ho Chi Minh.  JFK took up the reigns of war.  Both he & Ho Chi Ming were assassinated in Nov. 1963.   LBJ advised by Westmoreland & McNamara kept peace at bay.  
Read the inscriptions soldiers put on the zippo lighters carried into Vietnam. "Please don't tell me about Vietnam.  I've been there". "Probably 80% of the people couldn't find Vietnam on a map and I was one."
When did the nomenclature "Vietnam Conflict" get renamed for what is was, a War?    

The Genius of Monteverdi Juilliard 415 - A Historic Journey Back in Time Blending Music Opera and Dance

Claudio Monteverdi (b Italy 1567-1643) was a major composer credited with developing opera.  His compositions bridged the transition between Renaissance and Baroque music.  Monteverdi was a gifted string musician and noted choir master.  Many of his operas are religious reflections dwelling on demons, damnation & battles.  Last night's historical performance by Juilliard 415 was a magnificent tribute to Monteverdi's operas "Altri cant di Marte" and "Il ball Delle ingrate".  There were also musical compositions by his Italian contemporary composers Carlo Farina (1600-39) and Dario Castello (b 1590-1658).  The three composers works flowed seamlessly while transporting us back in time.   Authenticated instruments of the epoch were played.  It was interesting to see the two elongated harpsichord and organ along and the theorbo/guitar, viola da gamba, madrigals and violone.  There was a strong string section of violins, violas & cellos.  Interesting to note that the violinists all stood while playing perhaps as was the custom in the mid 16th C and early 17th C.  The talented opera singers & choir were a mix of int'l artists all studying at Juilliard.  The sopranos were from Serbia, Jerusalem, Canada, Republic of Georgia and various cities in the US.  The tenors came  from South Korea and the UK.  The two men singing bass were both exceptional haling from the US Andrew Munn and Alex Rosen.   Music is a healing art form that brings people together.  Listening to compositions from 500 years ago and seeing the diverse group of performers on stage was more than a joyous celebration of music, it was a tribute to humanity.  Added to this historical & moving evening was contemporary choreography by Peter Farrow.  Farrow's choreography and the accomplished dancers added an enriching layer that added impact.  The performance was a cherished respite from today's turmoils & an unforgettable evening of majestic music.

NYC Ballet Premier NOT OUR FATE is 1st Rate and Something to Rave About

"Not Our Fate" is a new ballet choreographed by NYC Ballet principal dancer Lauren Lovette.  "Not Our Fate" had its world premiere last week and while new to NYC Ballet's repertoire, it is an exceptional ballet.  I found it a hybrid of the talents of both Balanchine & Robbins with added elegance & an artistic flair that should ensure a place of prominence within NYC Ballet's illustrious legacy.   Ms. Lovette is still new to choreographing on a major world stage.   Her first work for NYC Ballet was "For Clara" which premiered at the 2016 Fall Gala.  Lovette's "Not Our Fate" is choreographed to music by Michael Nyman (b UK 1944).  Nyman was a recipient of the Commander of the Order of the British Empire (2008).  Going to the ballet one always anticipates a beautiful escape while enjoying this consummate art form.  One always hopes to experience a ballet that is viscerally moving and transcending.  "Not Our Fate" took my breath away.  The musicality of the dancing, the lighting, the costume design and the exquisite dancers created an astonishingly accomplished work of art.  I highly commend Ms. Lovette's lyrical phrasing & exciting creation.   Other pieces on the program were Peter Martins "The Chairman Dances (1988).  It felt flat and dated.  The other three contemporary ballets also had their world premiers last week.  Troy Schumancher's "The Wind Still Brings" was also an excellent & exhilarating ballet.  Giana Reisen debuted her choreography for the company, "Composer's Holiday".  It only came alive in the 3rd movement.  Resident Choreographer for NYC Ballet, Justin Peck's new piece,  "Pulcinella Variations" was laden with frippery, distracting & inhibiting costumes and unimaginative dancing.  So, I will return again to "Not Our Fate" and sing the praises of Ms. Lauren Lovette for creating a ballet I believe is fated to become a classic.

92ndY Talk Public Art with Cathie Behrend -Much of the Art is Behind Buildings and in Other Boroughs

Today's art talk at the 92ndY was given by Cathie Behrend.  Ms. Behrend was the former Deputy Dir. of the Percentage for Art Prog. in NYC Dept. of Cultural Affairs.  She is also the founder of Ventures in Vision which provides art tours in the boroughs.  Ms. Behrend began the talk with a photo & discussion of a Richard Serra's controversial site specific installation "Tilted Arc' '1981.  Serra (b Amer 1938) is a world renown minimalist sculptor of large scale metal works.  The commissioned "Titled Arc" was so controversial & disruptive to workers & occupants around the Federal Plaza it was removed in 1989.  The major complaints were that the 12'X112' (2 1'2 inches thick) divided the public space making the plaza less accessible.  I found this fascinating.  Public art, which Ms. Behrend so cogently answered the flippant question "What is public art's purpose?" by answering it's art, there is no other purpose.  Of course, commissioned public art is meant to benefit the public.  I found it gratifying to know the public can & does have an impact on whether an installation in their area should stay.  What I had hoped to garner from Ms Behrend, whom I found intelligent & very prepared were accessible sites for existing examples.   I cringed when she asked our group to name an example of their favorite public art anywhere.  A woman chose Robert Indiana's (b Amer 1928) LOVE sculpture on 6th Ave.  Really?  The examples of public art which I had thought were an oversight on my part, turned out to be more hidden.  Most of the examples given are found inside public parks, buildings, schools, libraries, transit stations in most of the outer boroughs.  As founder of Ventures in Vision, Ms. Behrend repeatedly pointed out the schedule of tours she provides to see them.  Perhaps, the $25/hour class was geared to gain additional remuneration.  However, besides learning of Serra's Art removed by public outcry, I learned of the statue illegally erected by "guerrilla artists" to honor Edward Snowden a hero as a whistle blower.  I don't credit Snowden as a hero, come home & face charges if you're so heroic Mr. Snowden.  But, again, it's interesting to note the statue "Prison Ship Marty's Monument 2.0' erected April 6, 2015 was taken down later the same day.  And, in its place, other artists erected a light hologram a tribute to free artistic expression if not an homage to Snowden.  This can be found in Ft. Green Park, Brooklyn and this is something I want to see for myself.

Bob Schieffer in Conversation with Charlie Rose at the 92ndY A Cornucopia of Charisma and Intelligence

Last night 92ndY talk was a sizzling conversation with 2 of America's preeminent TV journalists & veteran news reporters.  It's hard to fathom where Bob Schieffer & Charlie Rose find time to do everything they do, but they do! They're both so debonaire, charismatic, energetic and erudite.  Mr. Rose as everyone knows, is the Emmy winning anchor for PBS' Charlie & co-anchor for the CBS Morning News & contributing editor for 60 Minutes.  Mr. Rose was supposed to be the facilitator but the banter between Rose & Bob Schieffer, former host of CBS' Face the Nation was a warm, free-flowing conversation.  It encompassed the tragedy in Las Vegas & the foibles of factual reporting & perception with 21st C technology.  The exhilarating talk examined the advantages & disturbing trends resulting from today's technology.  Mr Schieffer  compared the invention of the Gutenberg printing press with today's 7/24 media access including Facebook & Google. He said our iPhones as revolutionary as the Gutenberg press in the mid 15th C.  The ability to mass process information to the public was revelatory & also a catalysis for religious warfare.  Today's access is so penetrating & pervassive it's miraculous in its ability to connect people and information.  The drastic & cataclysmic catastrophe of this saturation is the susceptibility to "fake news," uncorroborated info, "alternate facts," hacking & gullibility to what comes across multi-media.  Mr Rose posed the question what can be done and Mr Schieffer answered, he didn't know.  This is more than alarming.  Both gentlemen mentioned that Facebook and Google are taking steps to insure their sights are not being manipulated by political powers or false propaganda.  This week Facebook announced it's putting a stop to so-called dark posts.  Ads that appear in the timelines of select users chosen by the advertisers.   Advertisers will be required to disclose who is sponsoring the ad & to whom the ad is directed.  In today's news, Trump called out NBC for their "fake news" reporting of Sec. of State Rex Tillerson threatening to quit.  Schieffer, a veteran political reporter said he's never seen an outlandish campaign like Trump's.  He said Trump gleaned early how to gain media coverage, overwhelming the public & overshadowing news stories he wanted on the back burners.  He believed early on Trump would gain the party's nomination because he honed in on the message coming from the Rust Belt; these people are not getting a fair deal.  He believes running for high office has become onerous to strong candidates.   Where once grandmothers all thought their grandchildren could run for president, now family members 'advice is to run from political office.  Both distinguished & delightful reporters were endlessly fascinating.  "News loops are now every 15 minutes".  I wouldn't mind that coming from either Mr. Schieffer or Mr. Rose.  

"The Death of the Moon" A One Act One Woman Musical that is Easily Eclipsed

"The Death of the Moon" is a new Off-Broadway musical written & directed by Arnold L. Cohen at the Theater Center.  Cohen who wrote the play, music & lyrics for this dark, one note trope.  He wrote in the program notes, "This is my 2nd venture Off-Broadway.  My 1st Venture was Come Light My Cigarette.  It is a learning & exciting experience, and hopefully, I am on the trail of truth." I mention this because the 45 minute one act, one woman show is 35 minutes too long.  But, I don't wish to cast a shadow over what glimmering musical talent Mr. Cohen is honing.  His true talent comes through in his clever lyrics.  Danielle (a courageous Chloe Tucker) is a tough broad who boasts of her thick skin while harking on her self-loathing.  Danielle is a drug addicted, alcoholic prostitute a couple blocks off from Broadway where her dreams of being a star landed her on the dark side of the moon.  Still, several of Cohen's songs rise above the all too similar numbers to shine.  "The Way it Is, Try my Romance and Ivory Songs" would stand out in a slam poetry reading.  Tucker, tries valiantly to portray the victimless vixen who packs heat to insure she gets paid for her troubles.  Sadly, her singing voice is unappealing, she's got a limited range and little nuance.  The attempts at choreography are abysmal but the accompanying pianist, cellist & violist kept the musical score soaring.  The simple back alley scenic design was cleverly staged and the blue lighting helped with the melancholy, indigo mood.  Maybe the third production by Arnold Cohen will prove to be the charm.  "The Death of the Moon" is going to fade out like the old man sleeping in the front row.  Hopefully, a new moon will rise next time.

Melinda's Rating for TV Series Viewing

My choices for TV series viewing: comedy/crime/drama/documentary  in alphabetical order:

Show                                       Genre                                        Rating

Better Things                           Comedy                                    8    co-written by Louis C K

Broadchurch                            Crime/mystery                          8

Catastrophe                              Comedy                                    9    co-stars the Late Carrie Fisher

Game of Thrones                      Fantasy                                    4  

House of Cards                         Political drama                        4

I'm Sorry                                   Comedy                                   8

Odd Mom Out                           Comedy                                   7

Outlander                                  Historical romance                  10  

Ozarks                                       Crime/drama/thriller                7

Poldark                                      Historical romance                   10

Stranger Things                         Sci-Fi-/horror                            8

The 5                                         Crime/mystery                           4

The Tunnel                                Crime/drama                             10

Viet Nam (Ken Burns)               Documentary                            10   A MUST SEE
                    

German Dir Valeska Grisebach "Western" Made its US.Premier at NYFF It is Relentlessly Dull

Valeska Grisebach (b Germany 1968) released "Western" a Bulgarian language film which is her first film in a decade.  Her last film "Longing" was a German language film.  "Western" has been honored with multiple Prizes of un Certain Regard; a section of the Cannes Film Festival which runs parallel to the Palme d'Or.  Valeska was present to introduce her film along with one of its Bulgarian stars.  She described her film as a modern take on the American western genre.  Valeska told the large audience at Alice Tully Hall it was also a take on various masculine identities.  She claimed to have made her film in a documentary & poetic style.  The film feels voyeuristic. It captures the mundane lives in a small Bulgarian village.  Nonetheless, this is a particularly sluggish & boorish picture.    A crew of German male construction workers are assigned to build (what is not exactly clear) alongside a small rural village.  The villagers are an eccentric mix of aging men & women with a few young women & teens.  The locals all know each other.  Their main source of entertainment seems to be drinking & playing cards.  Many townspeople have left their fledgling homes for Greece to find work.  There is a dynamic, alpha male amongst the villagers, Adrian.  The boss of the Germans, Vincent, is a menacing bully. Vincent gets too rough with a young woman from the village.  His teasing turns vicious.  He gets rough & pushes her menacingly under water too long.  Even his co-workers tell him he crossed the line.  Vincent is a shady character.  He takes what's he wants, causes havoc and leaves others to clean his messes.  Meinhard is a "Marlborough"man, a German worker amongst the crew.  He claims to have been a Legionnaire soldier and speaks passable Bulgarian.  Meinhard manages to ingratiate himself with the villagers & forges a bond with Vincent.  Meinhard straddles both communities both his construction crew and the Bulgarian townspeople.  There are 2 women in the village with whom Meinhard makes duo inroads.  The reality style filmmaking fails to strike a poetic style, nor does it build any compelling interest.  This movie was drudgery not poetry.  It drilled on with a dull, lugubrious pace without a satisfying pay-off.