THE FAVOURITE Doesn't Sit Right as Ladies Court Queen Anne's Delight with Emma Stone, Rachel Weisz

THE FAVOURITE first appears in the Merchant Ivory genre; lavish period piece set in England featuring characters from both the aristocracy and proletariate classes whose entanglements are tattered with disillusionment and tragic outcomes.  THE FAVOURITE is directed by Yorgos Lanthinos (b. Greece 1973) and won the Grand Jury Prize.  (I think the jury must have been out to lunch.)  Lanthinos has worked with 2 of his leading ladies in THE LOBSTER.  The film is set in England in the early 18th C towards the waning years of Queen Anne's reign.  The lavish scenes are inside & outside Kensington Palace.  The magnificence of the Palace's charms & lifestyle of the noble class is both splendid and unrefined.  The cinematography is enchanting; especially scenes lit by candlelight.  The Queen (British actress Olivia Colman) gives a remarkable portrait of an inept and pathetic ruler of England, Scotland & Ireland.  The Queen is royally handled by Lady Sarah Marlborough (British actress Rachel Weisz) who orders the Queen to make rulings concerning the country's governing, taxation & maintaining warfare with France. The Queen also leans towards bestowing rewards or punishments at Lady Sarah's beckoning.  Lady Abigails (a miscast Emma Stone) has had her station in life drastically diminished.  She is cousin to Lady Sarah.  Abigail seeks the favor of employment at Kensington in any manner through her familial connection. Abigail is put to work as a scullery maid where she is tormented but not unhinged.  Abigail proves a resourceful & vindictive enemy.  Soon the talons come out between Lady Abigail and Lady Sarah, a formidable opponent.  As both Abigail & Sarah maneuver to win the Queen's favor their battles & vendettas seem to pale the fighting between Britain & France.  The resplendent looking film is its own worst enemy despite the fine acting by Colman & Weisz.  The film recklessly tosses in an anachronistic dancing scene (soul train during the Queen's reign?).   The bawdiness to garner the Queen's good graces is grotesque.  The movie isn't a distinguished time piece.  It's a sinister & lewd farce and a disastrous drudgery to endure.  The ridiculous captions between scenes would've been better served by a jester holding signs.  Lady Marlborough tells the Queen there are limits to love and "love is not having to lie."  Never seeing THE FAVOURITE  means not having to say you're sorry (or forewarned.)

Quick Movie Picks You May Have Missed and Winning Binging Series

Now's the time to check out a few films that may have missed your radar (now available on video) as well as Netflix series worth your while:

Films of 2018

1.  The Rider - Montana rodeo riders portraying their lives with dignity & compassion

2.  Searching - Single dad uses the internet to find his missing daughter

3.  Hotel Artemis - Quirky apocalyptic crime thriller with Jodi Foster & Jeff Goldblum

4.  The Children's Act - Based on Ian McEwan's court room drama with Emma Thompson

5. The Wife - Jonathan Pyrce's performance is priceless, Glenn Close overacts but it works


Netflix Series of 2018

1.  The Haunting of Hill House - Not for the faint of heart, horror mixed with familial love

2.  Better Things - Brilliant comedy of a single mom raising 3 girls in LA

3.  The Marvelous Mrs. Mazel - Artistic direction is perfection as is this amazing show

4.  Grace & Frankie - Odd couple pairing of Lily Tomlin & Jane Fonda heartwarming & funny

5. The Kaminsky Method - Michael Douglas & Alan Arkin as an aging actor & talent agent duo

Melinda's Top Ten Cultural Selections Around the Big Apple since July

This past fall has brought so many wonderful events to my most beloved city that this list doesn't do justice to the cornucopia of choices.  I'd love to hear what you think should make the list.  This cultural extravaganza is in alphabetical order:



1.  Alvin Ailey's World Premier of Rennie Harris' Lazarus Act I and Act II

2.  American Son - On Broadway starring Kelly Washington who deserves a Tony nomination

3.  Ballet Hispanico and panel discussion at the 92ndY

4.  Delacroix Exhibit at the MET

5.  Giacometti - A major retrospective at the Guggenheim

6.  Hilma af Klint' Paintings and drawings at the Guggenheim

7.  My Fair Lady by Lerner & Loewe at Lincoln Center

8.   Paul Simon's Farewell concert at MSG

9,  The Girl from the North Country at the Public with all Bob Dylan's music

10.  Jack Whitten's sculptures "Odyssey" at the Met Breuer - many works never before shown

Melinda's Top Ten Movie Picks Since July for 2018

The following films are in alphabetical order by title:


1.  BlackKKlansmen directed by Spike Lee

2.  Eighth Grade directed by Bo Burnham - 13 year old teenage girl will melt your heart

3.  Juliet Naked - Stars Ethan Hawke, Chris O'Dowd and Rose Byrne -A quirky love story

4.  Leave No Trace - Ben Foster deserves the Oscar

5.  ROMA - Mexican director/screenwriter Alfonso Cuaron

6.  Shoplifters - Japanese director Hirokazu Kore-edu

7.  The Green Book directed by Peter Farrelly - An etude overriding the Jim Crow South

9.  The Price of Everything - A documentary on art & the art market

10. Won't You Be My Neighbor - An inspiring documentary of Mr. Fred Rogers

Nothing Works in NETWORK on Broadway - Even Walter White Can't Save this Mess

One would hypothesize NETWORK, based on Paddy Chayefsky’s screenplay starring Bryan Cranston and directed by Ivo Van Hove would be a formula for success.  Unfortunately, this production has so many flawed elements the result is a disastrous debacle.  Chayefsky, the Acad. Award, Golden Globe and Tony winning playwright, screenwriter & director laid a solid  foundation with his scathing & groundbreaking screenplay.  Bryan Cranston, one of the most gifted and versatile actors working in film, TV and stage was not able to save this hodgepodge of a mess.  Frankly, I’m mad as hell.  This should have been a surefire hit.  I’ll place the blame on the indiscernible adaption by British screenwriter Lee Hall (“War Horse” and “Billy Elliot).  And his co-conspirator guilty of poor choices director Ivo Van Hove (“A View From the Bridge” and “The Crucible”.)  While the award winning film NETWORK was a tightly wound drama with a raging pulse, NETWORK at the Belasco is a major fiasco.  The stage is overburdened with too many fractious moving parts.  While center stage is the foreground for Howard Beale (Bryan Cranston) the control room, the audience on stage, the elevated platform and action off stage (especially Cranston sitting amongst the audience) are all at war over the integrity of the play.  The relevance of social media infiltrating our lives was prescient in the 1976 film but it is all but distilled to a disjointed melodrama and sophomoric philosophizing.  Cranston was heroic in his valiant efforts but was weighted down like wet cement. His character was misdirected to rapidly transform from having a mental breakdown to a competent TV personality.  The pre-gameshow antics prior to the Howard Beale show were idiotic. Tatiana Maslany (“Orphan Black”) as the overly ambitious & unsentimental Diana Christensen was incredulous and the bankable Tony Goldwyn as Max Schumacher was at odds with his character.  The salacious & detached sex scene between Diana & Max was a misfire.  Even more odious was the scene between Max and his wife when their marriage comes apart; so poignant in the film felt forced and unnecessary.  You don’t need to see NETWORK.  The play is in shambles.  Bryan Cranston doesn’t solve for all the troubles with this production but he is the sole surviving reason to put NETWORK on your radar.

"Throw Me on the Burnpile and Light Me Up" Written and Performed by Lucy Alibar at LCT3

Playwright, screenwriter & novelist Lucy Alibar (b Florida 1983) is wrote & performs in her one woman show at the Claire Tow Lincoln Center Theater. Alibar co-wrote the Acad. Award winning film "The Beasts of the Southern Wild" which received multiple Oscar nominations including Best Picture and Best Screenplay.  Alibar appropriates her southern roots & family history.  Her father was a criminal defense attorney & her mother taught painting to inmates.  These facts are incorporated into "Throw Me on the Burnpile..."  Alibar gave a preamble to the audience for her "work in progress" asking us to please bear with her as she figures what form her story writing will take.  Alibar performs her own writing in her solo, one act play.  Alibar's storytelling is masterful.  The main character is a young girl referred to as "Boss" by her dad.  Dad is a criminal defense attorney that represents clients charged with murder.  Boss is an adolescent schoolgirl who is constantly  thwarted by teachers, classmates & neighbors alike.  She is told she is "stupid" by her teacher and bullied by classmate who use her as a punching bag. Her younger brother fits the description  of an overweight dimwit.  Neither parent is overly concerned about her brother.  He is given an egg to hold onto as a cryptic source of comfort.  The attention Boss gets is mainly from her father who tries valiantly to mentor her in valuable life lessons.  The weekly show & tell in the classroom is an opportunity to shine in front of the class or more often than not, receive dismal notice.  Boss is at a loss of how to fit in & is constantly dejected.  Her saving grace are the times she runs wild with her father through fields of feral cats while being given strategic lessons from him.  Alibar paints colorful characters that are cruel & pathetic.  The "burnpile" refers to a mounting pyre of boxes with the jetsam left to her father from prisoners executed.  Most of the items were purchased by Boss & her dad for the inmates at their requests.  The inmate on death row for whom her father is fighting for a stay of execution has asked for art supplies.  He continues to paint pictures and sends them to her family.  Her father has run out of appeals for his client.  The day of the execution garners a jubilant gathering around Denny's for the promised free fries.  Boss gains deep respect for her father as she understands his heroism & the high expectations he holds for her.  Together father & daughter ignite the burnpile that has accumulated emblazoning & emboldening Boss for a life to be well lived.  Alibar's writing is masterful.  She writes with melancholy & grace. Her acting doesn't give justice to her play.  There is brilliant material here to building upon for a screenplay or novel that would better capture the poignancy of this potent "work in progress."  

The Japanese Film "Shoplifters" Will Steal Your Heart - Directed by Hirokazu Kore-eda

"Shoplifters" is a film that has you going in one direction and then swiftly jolts ripping open your heart like a bandage being yanked off a scar.  The Japanese film directed by Hirokazu Kore-eda (b Japan 1962) is crafty filmmaking with impact that washes over you until you're completely immersed in this family drama.  It's about love and the love that forms a meaningful family.  The haphazard household appears to consist of a husband Osamu (Lily Frank "Like Father Like Son') and wife Noboyu (Sakura Ando), their beautiful older daughter Aki (Mayu Matsuoka), a rapscallion son Shota (Kairi Jyo) and an eccentric grandmother.  Shota has been mentored by Osamu in the art of prestidigitation a.k.a. shoplifting.  Osamu works construction but his mainstay for money comes from lifting loot to sell.  Osamu is a contemporary Fagin who mentors with a warped morality by proferring encouragement & kindness.  Everyone contributes to the family fund by both legit and nefarious means.  Aki works in a semi-pornographic peep house.  Grandma adds her pension & unquestioned yens to help pay rent on their squalid, cramped quarters.  On the way back to their apartment after a propitious shoplifting venture, Osamu & Shota spot a young waif (Miyu Sasaki) outside in the cold.  They feel sympathy for her & lure her home with some hot food & little enticement.  Noboyu argues this is kidnapping & they should return her where they found her.  Nonetheless, they feed her and discover multiple scars & burns on her body.  The family takes to this 5 year old who steals your heart & the film.  The acting by the cast is cunningly convincing.  The two young leads are exceptional.  The cinematography is crisp & captivating.  The family decide to keep the young girl.  They cut her hair & rename her Lin.  They're determined to keep her in their brood.  The film is duplicitious; nothing is as it would seem.  The veracity of tenderness, love & concern the formulated family of 6 demonstrates is apparent & unmistakable.  There are precious scenes that score big time.  Shota is tutoring Lin to shoplift when the elderly proprietor stops Shota.  He offers him treats for both in exchange for not showing his sister how to steal. The loving embraces Aki gives Lin are affecting. And, a day at the beach with the entire clan is a refreshing break from the everyday drudgery. It  provides surges of love that wash over the group & molds them together.  When the house of cards comes crashing down it stems from an inner turmoil & profound love.  The startling revelations of the true relationships & histories of the characters become detected.  This truly exquisite & soulful film is filled with hidden treasures that unlock the human heart.  

Andy Warhol-From A to B and Back Again at the Whitney - Back to Back Iconic Images - Ask WHY?

The Whitney is presenting an exhibition of Andy Warhol's (b 1928-1987) works that include many of his iconic portraits & images produced from the 1960s-1980s.  The first floor gallery contains floor to ceiling silkscreen portraits of famous artists, athletes, fashion designers, writers, musicians, socialites and rulers such as the Shah of Iran.  Many of these are easy & fun to identify such as Capote, Ali, Jagger, Halston and Basquiat,   But the vast majority of portraits in the room drew a blank (even given the names).  The inner circle social Warhol world of notoriety has lost luster from his lifetime.  Nonetheless, assembled together with their vivid colors and varying adornments including acrylic, diamond dust and urine makes an arresting visual affect.  The urine was only found on Basquiat's portrait, a peer & collaborative artist with whom Warhol had a fractious falling-out.  In the upstairs gallery you'll find 2 large paintings (1984 & 85)  done in collaboration represent more fully Basquiat's hand.  Perhaps the urine tossed on Basquiat's portrait is an affronting comment on Warhol's former friend.  There is a large painting across from these two works "Oxidation Painting" "(1978) that is a remarkable abstract work that utilizes gold metal pigment & urine.  Two gentlemen touring the galleries made the comment that Warahol's work is "too easily digested, it is what you see."  I partially agree but would point out that Warhol wanted us to look at mundane items with more intensity.  His iconic poppie images are replicated in numerous ways that make them appear basic and more elaborate.  The many silkscreens that show a repetitive image (such as Monroe, or fiscal bills) poses a hypnotic serendipitous coloration stemming from the silkscreening process.  I overheard a curator ask a group of young students why they thought Warhol painted colors over Mao Tse Tung's portrait.  A young student answered, "It makes him look like he's wearing make-up and it emasculate him."  Hmmm...   A curator asked another school group about the enlarged silkscreen of "The Last Supper" which was distorted and painted over with large black paint strokes.  "Maybe Warhol was expressing some ambivalent feelings toward his faith" replied a student.  Warhol became famous appropriating images.  In the early 80s Warhol chose to select images to work from such as the human skull.  The skull figure has been infamously appropriated in many ways by other artists such as Hirst.  It's too simple to dismiss Warhol's work as merely pop art or reproductions.  Warhol was first to shed a new light on everyday images.  Go see From A to B and Back Again and try listening while looking to comments from other patrons.  

Tom Stoppard's "The Hard Problem" Is Loquacious, Sagacious & Hard to Resolve at Lincoln Center

Tom Stoppard (b Czech Republic 1937) is amongst the most elite contemporary playwrights & screenwriters.  Stoppard's style is erudite and loquacious; non-stop dialogue that is profound & perplexing. He's received an Acad. Award ("Shakespeare in Love" and 4 Tonys "The Coast of Utopia").  "The Hard Problem" is Stoppard's most recent play.  This erudite play poses theological & ethical points of view without providing definitive resolutions for enigmatic ideologies.  The "hard problems" are multi-pronged and the list is long: the prisoner's dilemma, survivalist strategies, altruism v. self-interest, cost v. benefits, nature v. nurture, artificial intelligence v. consciousness and not least of all, does God exist and does prayer provide merit.  Consideration is also given to coincidence.  Does coincidence have credibility or is it artificially construed?  Hilary (Adelaide Clemens) is the central character.  Hilary believes in prayer or perhaps relies on it to bring her comfort & peace of mind for the daughter Catherine she gave up at birth for adoption.  We meet her as a grad student bantering with her tutor turned lover Spencer (Chris O'Shea) about philosophy.  Spencer a.k.a. Spike defines the "hard problem" as the prisoner's dilemma; a survivalist mentality over integrity where one prisoner will turn on the other to save themselves rather than place trust in their cohort.  Perhaps, this is the mainstay take away "save your own ass" is the most sagacious modus operandi.  Alas, there are plenty more conundrums Stoppard's esoteric writing presents.  After getting her degree, Hilary is hired by a hedge fund co. that also dabbles in neurological studies with the intent of gaining an edge in investing thru insider information.  The convoluted plot and frenzied staging are combative to cogent storytelling.  A lot of the plot does not compute but confounds the consciousness of what is being assessed.  The capacities of the human mind are inconceivable.  So too are many of the lofty queries Stoppard puts forth with rapid fire. Regardless, Stoppard's erudite writing does makes its way into the cerebellum some of the time with intrigue & clarity.  For example, the stock market is irrational and so too is love.  The juxtaposition of both is a calculated construct that resonates.  The leading coincidence of Hilary's daughter being adopted by the affluent,  ruthless owner of the highly successful company for whom she works, doesn't work.  Still, his compassion to Hilary for opening a doorway to his adoptive daughter makes him a surprising & affecting outlier. The overriding essence from "The Hard Problem" is a healthy pastiche of skepticism & faith.  

Peter Farrelly's "The Green Book" A Black Pianist and His White Driver Navigate through the Color Divide

Peter Farrelly the director/screenwriter who gave us "Something about Mary" and "Dumb and Dumber," comes the film "The Green Book" based on the events of Dr. Don Shirley's life, a black pianist prodigy while touring the Jim Crow south during the early 60s with his driver & protector Tony "Lip" Vallelonga,  a white bouncer.  This is not your silly slapstick comedy that Farrelly is well known for, nor is it a sermonizing film about the brutal & ridiculous racist regulations during the segregated south.  The main messaging came from Don "You never win with violence." The shift of the movie is geared in the burgeoning friendship between 2 very different men who come to respect, admire and empathize with the social constraints they both must cope.  At the start of the tour, Don admonishes Tony who chose to remain outside shooting craps with the other black drivers. "These men had no choice but you did."  Prof. Shirley chose to tour the Deep South to confront with dignity the absurdity & abhorrent treatment of blacks.  Tony harbors racial prejudice although he bullshits Don that working for a black wouldn't pose a problem because his biggest problem is earning money for his family.  The credible & entertaining film is co-written by Farrelly and Tony's son Nick Vallelonga.  The title The Green Book" is derived from "The Negro Motorist Green Book" which indicated establishments that permitted blacks to stay or dine.  The genres bridge a buddy road trip with social epiphanies of an expansive world that offers immense beauty and harsh realities.  The two outstanding leads Don (Acad. Award winner Mahershala Ali "Moonlight") and Tony (Viggo Mortenson "Lord of the Rings") continuously drive this movie with high energy and strong sentiments.  Stereotypes and generalizations are seen through several lenses and a rear view mirror. Tony's laughable disbelief that Tony had never heard "his people's" music (Franklin, Cooke & Lil Richie) or ever eaten fried chicken are disproportionately offset by the humiliations (separate bathrooms, lodgings & oppressive restrictions) Don endures on a daily basis.  Music is another major aspect in the film that's inspiring as it represents the indomitable human spirit. (Did anyone notice the Carnegie Hall billboard for Bob Dylan & Pete Seeger?)  The silent scene where black sharecroppers stopped and stare at Don in his finery driven by a white man and Don's registering of their disparity spoke volumes.  The injustice & degradation of Don as a black man is keenly felt as well as Tony's awakening righteous indignation.  Neither is Don blind or uncaring of Tony's limited education & world view.  The symbiotic relationship between these two strong characters is magnificent to behold as each curves compassionately in the direction of the other.

The Flea Theater Premiere of HYPE MAN a Break Beat Play with a Lot of Political Sway

"Hype Man" at the Flea Theater is a powerhouse 1 act, 3 character in your face breakbeat play.  The audience is seated on stage which heightens the drama, hip hop & political rage.   Breakbeat incorporates a broad style of dance oriented music utilizing electronic keyboards and synthesizers to lay a rhythmic base.  The beat maker, Peep One (Tay Bass) is the odd female out in the trio with two guys who've been friends from the hood since childhood. Peep One is adopted and of mixed race who doesn't permit that to define her place. She identifies & empathizes with multi-races.  She also acts as a peacemaker between Pinnacle (Matt Stango) and Verb (Shakur Tolliver).  Pinnacle is numero uno.  He's white & the front man/writer for the group.  Verb is black & constantly in action.  His job is to hype the crowd.   The overall energy is loud & proud.  Here's a breakbeat {At the risk of sounding racist I just got to say this, Shakur Tolliver sure looks like Don Cheadle.  His dark eyes shine.}  Verb has evolved from his halcyon days of drugs & partying.  The play asserts forcefully racism remains pervasive.  People of color are continuously being persecuted.  The trio are on the brink of making it big with a shot on the Tonight Show.  Verb & Pinnacle were waiting for Peep One to rehearse.  She comes in late & apologetic.  She was held up by a car chase on the freeway.  They get a notification on their phones the driver, a 17 year old black youth, Jerard, was fatally shot 18 times by cops.  Verb argues to use their spotlight to protest the killing.  Pinnacle & Peep One don't want to misuse their opportunity for political purposes.  At the end of the set Verb flashes his t-shirt "Justice for Jerard."  Verb has a professional parting of the ways with Pinnacle & Peep One but their ongoing barrage of "words creep in like second hand smoke."  Playwright Idris Goodwin has written a poetical protest set to music by Wendell Hanes about love, loyalties, joy & justice; none of which are promised.  Cultural appropriation is also addressed.  A recollection of a pool party the two were invited while in high school by a white girl from an affluent area that didn't end well was especially affecting.   Verb dons an "I am a Man" pin & opines officers get away with murder. "If they knew us, they wouldn't kill us.  They can't kill us all!"  "Hype Man" a break beat play beams light on the memes of racism in the past, present and probable future.  Get up offa that thing!  "Hype Man" is a must see at The Flea.  White, black we gotta have each other's back.  

NYC Knicks Clipped the Milwaukee Bucks in OT

 The Knicks shot down the Bucks in OT with a score of 136-134.   It felt as if Bucks were in charge of the game with Giannis Antetokounmpo (try saying that 3 times fast) leading the pack.  The Bucks had a 14 point lead during the 2 period and ended the half with the Bucks up by 5.  The Knicks stayed on the Bucks' tail edging them out 32-31 in the 3rd.  The 4th period had messy play on both ends and missed free throws by the Bucks with 2 seconds on the clock allowed the Knicks to hold the score tied heading to overtime.  Overtime play was an exciting back & forth battle.  The Knicks finally bagged the Bucks 136-134 again with missed free throws with seconds on the clock allowing the Knicks to hold onto their lead.  And at this game, I was finally able to hold onto a tossed T-shirt after the last game when the rude dude behind me nabbed it from my hands.

Alvin Ailey's World Premier of Rennie Harris' "Lazarus Act I and ACT II" a Miraculous Work of Driving Force

Alvin Ailey American Dance Theater had its world premier of Rennie Harris' "Lazarus Act I and Act II."  Mr. Harris is Ailey's artist-in-residence for 2018-19.  At the request of Ailey's Artistic Dir. Mr. Robert Battle, Mr. Harris was asked to create a work commemorating Alvin Ailey's legacy for this year's 60th Anniversary celebration.   Lazarus is a term used in science & popular culture meaning the restoration to life.  Harris' ingenious & potent "Lazarus" in 2 acts is nothing short of miraculous.  Act I creates a nightmarish aesthetic that pays homage to African American history built on the barbarity of slavery, lynching and persecution.  The omnipotent Ailey dancers moved in long-drawn-out movements that suspended the natural order of time.  "Lazarus Act I" confronts us with unflinching & traumatic images of lynchings.  It was agonizing to watch slowly twirling corpses being carried down.  The pain of grieving mourners was visceral.  Towards the end of Act I dancers laid prone while arms flaggingly waved upwards.  A lone dancer trudged over their bodies gazing forward.  At intermission the audience was left stunned by the forthright depiction of the brutal legacy of slavery & oppression.  "Lazarus Act II" was a major turn about with vivacious energy & an effervescent vibe.  The dancers wore modern African inspired costumes.  The hip hop choreography, the dancers' incredulous movements & musicality was uplifting and life affirming. The brilliant music & sound by Darrin Ross formed the underlying backbone to Harris' composition.  Although the audience was moved to clapping & cheering in "Lazarus Act II" there was the looped refrain "I'm a black man in a white man's world."  It was the joy & beauty inherent in life in Act II accompanying the ruination of past generations poignantly portrayed in Act I that rendered tears of acknowledgement and tugged heartstrings.  To live in a society where racist rhetoric & brutality is normalized is intolerable.  This phenomenal collaborative creative work blends music, Harris' choreography, Ailey dancers and historic & social storytelling in a momentous tribute & plea for humanity.  The Pulitzer Prize awarded in drama, music and poetry should be bestowed on Mr. Harris & Mr. Battle for inspiring the best within ourselves and for uniting us in harmony.   At 60, the Ailey Dance Co. has continued to stand & flourish on Alvin's gargantuan shoulders. "Dance is for everybody.  I believe that dance came from the people and that it should always be delivered back to the people."  "I am trying to show the world that we are all human beings and that color is not important."  (AA)

Mexican Dir. Alfonso Cuaron's ROMA is a Masterpiece - A Must See on the Big Screen

ROMA is a quiet yet turbulent film set in a city in Mexico 1970s.  It's subdued & without having a plot.  It's a voyeuristic look at the lives of a wealthy, white family & their Mexican housekeeper, care giver, Cleo (an inimitable debut performance by Yalitza Aparicio).  Aparcicio miraculously inhabits her role.  Every emotion registers with poised restraint or dogged tenderness & sorrow.  The film's tumultuous poignancy emanates from Aparicio's tour-de-force portrait of Cleo an indentured servant.  The brilliant director, cinematographer, writer & producer is Alfonso Cuaron (b Mexico 1961).  ROMA won the Golden Lion and the NY Film Critics Circle Awards for Best Picture ('18).  Cuaron's film "Gravity" ('13) starring Sandra Bullock earned him an Acad. Award as Best Director.  The black & white cinematography is so stunning the film could be viewed without sound or subtitles and still resonate magnificently.  Cuaron utilizes recurring leitmotifs.  Water, the sustenance of life, cleansing, purity and taker of life is pervasive throughout.  Other recurring motifs are dogs, airplanes and shit.  The household for whom Cleo works arduously without complaint consists of a father, mother, grandmother, 4 children & a dog.  The dog is never permitted inside the house or outside the gates and defecates tremendous turds that Cleo perpetually removes.  The film is laden with comparisons between Cleo and the family dog.  Although the children & the mother profess their love for Cleo it's   that of a beloved & coddled pet kept at bay, restrained at all times and confined to the whims of its master.  The family watches a movie together while Cleo is seated on the floor, her head being stroked.  The political unrest and social hierarchy is ubiquitous but it's the plight of Cleo's downtrodden life that is stirring.  When rushed to the hospital in labor, the grandmother is unable to provide any personal information regarding Cleo whose lived with them for years.  Sofi presses Cleo to come with her & the children on a vacation to the seaside.  This coerced invite is with expectations she'll heed to caring for the family.  Sofi leaves her youngest children under Cleo's watch as they frolic in the waves despite knowing Cleo doesn't swim.  When they're pulled out to sea Cleo does what a faithful dog would do. She goes in after them regardless for her own safety.  The word Roma means the most gorgeous girl inside & out; an amazing loyal friend.  This is synonymous with a dog.  Cleo devotes herself selflessly to this family & demonstrates super hero strength but she'll never be elevated onto the same plane as a family member.  She'll always be relegated to cleaning up other people's shit.  ROMA is often grueling but it's also defined as a beautiful flower that reveals its exquisite color to its surroundings and carries pure innocence.

Bob Dylan Performs at the Beacon A Musical Genius Delivers a Substellar Show

Bob Dylan is a musical genius and icon.  He has won more awards than any other recording artist.  His unique blend of rock, folk and blues with profound lyrics has earned him 11 Grammys, a Golden Globe, Acad. Award, the Presidential Medal of Freedom ('08 from Pres. Obama) and a Nobel Prize in Literature; the first ever bestowed a composer/lyricist.  The Special Citation of the Nobel Prize was awarded in ('08) "for his profound impact on popular music and American Culture marked by lyrical composition of extraordinary power."   Why would anyone who hasn't been living under a rock, or a rolling stone, not want the opportunity to hear this astounding artist, now 77, perform live.  I couldn't pass up this opportunity.  It was a thrill to be seated in the Beacon Theater when the curtain rose and there was Bob Dylan singing and playing the piano.  The thrill was gone somewhere by the 5th song.  Partly because, all the songs sounded interchangeable and much of his lyrics were indecipherable.  Though Dylan's unique raspy pitch and melancholic tone were identifiable and appealing, Dylan used a similar cadence in all his phrasing.  Dylan brought new arrangements to his older, most famous ballads. The aesthetic was bluesy rock; gone was any link to folk music.  He played the harmonica intermittently but not with the clarity and beauty of his early recordings.  Dylan didn't bother to banter, at all.  He did play non-stop for close to 2 hours.  The warning of no photography/filming came with the threat of ejection.  This proved to be true.  Honestly though, Dylan's performing made for a less than thrilling show.  I now have bragging rights to have attended a Dylan concert (without buying a T-shirt) but I wouldn't urge fans who haven't purchased a ticket to his sold-out performances through Dec. 1, to bother paying scalper prices.  (Most expensive seats were $169.)  I'm glad to have been in the audience.  I just wasn't overly elated by his show.  I do advise seeing the musical "The Girl of the North Country" playing at the Public (see attached link). The show features compositions all by Dylan arranged and adapted to tell a story of a family living in Duluth, MN in the late 1930s; the birthplace of Robert Zimmerman, a.k.a. Bob Dylan



https://melindasmalarky.blogspot.com/2018/11/girl-from-north-country-at-public-is.html

Dir. Steve McQueen's WIDOWS Women Take Charge in a Crime Caper with Viola Davis and Liam Neeson

 WIDOWS has a short prequel from the film's screenwriter, producer & director Steve McQueen (with outtakes).  He claims making this film was a life ambition & hopes we enjoy the film.  Does the artist & director of Acad. Award winning film "12 Years a Slave" need to hawk his own film?  This was biggest paradox of this action, crime caper.  Perhaps McQueen felt unsure outside his social realism genre and plead his case for expanding his style.   McQueen has been named Commander of the Order for the British Empire.  Regardless, he's quite at home in American storytelling.  WIDOWS takes place in Chicago amidst a political race.  Jack Mulligan (a miscast Colin Farrell) of a white family political dynasty is vying for the district against a local black minster.  Both make deals with the devil to garner self-serving avarice.  Neither candidate gets their own hands dirty but have their  villainous henchmen to carry out their onerous deeds.  Jack Mulligan is the prodigal son of Chicago's political dynasty.  Jack's father (Robert Duval) is a loathsome racist tyrant.  Duval's character is a buffoonish bully stolen from gangster typecasting.  Jalemme (Daniel Kaluya, "Get Out") fares better as the preacher's pit bull. His menacing glare instills real terror.  McQueen's social commentary harkens on dirty politics & racial oppression.  This is subjugated to the crime caper fueled by women widow worriers.  The foxy posse is led by Veronica (the unsurpassable Viola Davis).  Veronica is married to Harry (Liam Neeson) the ring leader for a group of thugs who have long carried out crimes together.  The wives had turned a blind (or bruised eye) to their spouses nefarious dealings and were unbeknownst to each other.  Their spouses' last heist goes fatally wrong.  This leaves Veronica owing millions to the mob, or else!   She assembles 2 of the 3 widows with an offer they can't refuse with little to lose & much to gain by pulling off a major con job.  They have going for them is "No one would suspect they have the balls to do it."  McQueen doesn't pull off a persuasive crime action thriller.  What McQueen does with queenly elegance is present a stirring portrayal of women empowering themselves. The women ruled the men were fools.   Casting Viola Davis was the saving grace.  She was assisted by an exceptional crew including Michelle Rodrigues {"The Fast & Furios),  Cynthia Rodriguez (Tony Award "The Color Purple") and award winning actress Elizabeth Debicki.  Sparks flew when the women formed a crew.  The chemistry between Davis & Debicki was formidable.   No doubt, McQueen's final scene sets up a sequel with Davis and Debicki.  I would order McQueen to detour from crime/action movies and command he write & director another film co-starring these two daunting dames.

Lerner and Loewe's MY FAIR LADY at Lincoln Center The Fairest Musical of them All with Laura Benanti

Pull out the stopper, just get yourselves to "My Fair Lady" at Lincoln Center.  The endearing & memorial musical brings to life Shaw's "Pygmalion" with the genius of legendary musical team of lyricist Alan Lerner & composer Frederick Loewe.  Lerner and Loewe are renowned for many great musicals including "Camelot" and "Brigadoon."  They were bestowed the Kennedy Center Honor in 1984.   "My Fair Lady" first opened on Broadway in 1956 to critical acclaim and was made into an iconic film starring Audrey Hepburn as Eliza Doolittle.  This production stars Laura Benanti (Tony winner for "Gypsy" & "She Loves Me").   Ding, dong, ding Ms. Benanti can really sing and plays the perfect waif with a Cockney accent and chameleon persona.   Benanti hits all the right notes in playing Ms. Doolittle.  She transforms herself into a refined lady while maintaining her inner strength & dignity in tact.  Prof. Higgins (Harry Hadden-Paton) the seemingly heartless dialect teacher & relentless tormenter is enacted with perfect pitch and temperament.  The part of Mrs. Higgins is played by Broadway royalty Rosemary Harris.  She adds luster to this first rate ensemble cast.  Allan Corduner as the crusty Col. Corduner is a class act.  Linda Mugleston brings depth & warmth to the character of Mrs. Pearce as the head of Higgins' household.  And, Jordan Donica elevates the love smitten Freddy to new heights.  This is a marvelous production with lots of treats and lots of heat.  You can't leave the theater without humming any one of the marvelous musical numbers.  It's impossible not to be teary eyed at the magical transformations occurring on stage.  Barlett Sher's flawless direction gives the ideal balance of music & emotional heart.  Ted Sperling's music direction is perfection.  The set designs by Michael Yeargan and costume designs by Catherine Zuber were superb.  "My Fair Lady" is all you can ask for in a show anywhere.  It's oh so loverly.  Kick up a rompas cause you won't want to miss this.  You couldn't beg for more.

MET's JEWELRY Exhibition is so Expansive in Scope, Time, Place and Design the Purpose is Displaced

The bedazzled JEWELRY exhibition at the MET "The Body Transformed" is an overly ambitious collection drawn from the MET's collection that spans from the ancient Egyptian period 3000 BC and vast continents & cultures to the 20th & 21st C ;"Resplendent and Avant Garde Pieces".  The most ancient artifacts were adornments made of gold linked with deities & rulers.  The curatorial comments attributed the ancient precious trinkets with the spiritual & miraculous; so we were told.  Alas, the collection traversed continent to continent, century to century but soon grew old and tiresome.  Perhaps, the most auspicious pieces were from Benin with necklaces adorning figurative sculptures.  The most arresting piece is a large golden crown from the UK 18th C inset with precious gems.  Of course, this is also the most off-putting knowing the spoils go few while minions toil.  The galleries are darkened to offset the glistening jewels.  This felt too gimmicky & tawdry.  Searching for a commonality amongst the multitudinous regions, relics & epochs one can attribute intricate craftsmanship & the understanding the jewelry was not availed by underlings.   I traversed in a somnambulant state through the darkened galleries until jolted in the final galleries containing the most recent exquisite jewelry.  This gallery was entitled "Redefining Resplendency".  Here you'll find jaw dropping creations from Alexander McQueen's collection.  The diamond & ruby hooded body armor is a magnificent combination of design elements emblazoned with bling.  The Tiffany necklace with moonstones (1837) is resplendent and the ephemeral Tiffany necklace (1904) looks to be worn by fairies from "A Midsummer's Night Dream.  The diadem with agate & pearls designed by the Italian House of Castellani 19th C is another arresting piece.  My favorite item from the entire show was the evening dress by Karl Lagerfeld for the House of Chanel (2015) that combines haute couture evening gown with built-in jewelry at the neck, waist and cuffs. (This was no little black dress.)  I came away feeling shallow from this JEWELRY exhibition.  The show in its entirety was not transformative.  I cherry picked favored pieces from the most current era and felt the broad continuum deflated the currency of earlier antiquities.  As Coco Chanel famously said, "Before you leave the house, look in the mirror and take at least one thing off."  JEWELRY "The Body Transformed" would've been more effective had it been done with less fanfare.

"Wildlife" Paul Dano's Directorial Debut Stars Carey Mulligan and Jake Gyllenhaal

The exquisitely shot film "Wildlife" marks actor Paul Dano's directorial debut.  Paul Dano & Zoe Kazan wrote the screenplay based on Pulitzer Prize winning author William Ford's novel.  Carey Mulligan stars as the beleaguered wife Jeanette married to quixotic husband Jerry (Jake Gyllenhaal).  Their son Joe (Austrian actor Ed Oxenbould) is a good natured & kind hearted teen who becomes an innocent pawn pitted between his fiery mom and fair-weathered dad.  The family has moved countless times as Jerry seems unable to maintain a steady job.  His overblown ego continually causes friction with his employers.  "Wildlife" is a coming of age film set in a small MT town.  Fires are raging out of control in the surrounding woodlands.  Jerry gets fired yet again from his new job at the local country club for crossing inappropriate lines between guest & employee protocol,  Jerry asks his son "What's a man entitled."  The coming of age tale forces Joe to contend with his parent's adult problems that shouldn't be shouldered onto him.  When Jerry is offered his job back, he won't  relinquish his foolish pride & return to work despite the much needed income.  Instead, Jerry signs on as a fire fighter against his wife's vehement protestations that it's far too dangerous.  Joe's angelic face is the blank backdrop that registers all the emotions seething within.  Joe is consumed by his mother's outlandish & shameful behavior, his father's foolhardiness and his loving devotion to both.  Jerry's volatile rage drags Joe into a combustible confrontation that might have proven lethal.  Throughout all the hazardous, inappropriate & venomous situations in which Joe's unhinged parents put him through, he maintains an admirable grace & inner strength.  Sophie Darlington's cinematography is breathtaking and feeds into the story.  Oxenbould's performance captures the loss of innocence.  Mulligan offers up a fiery portrayal.  Dano's directorial debut is impressive.  But for all the sparkling elements the movie falls short of igniting charred moments of profound intensity.  The film sputters with several explosive scenes but mostly it smolders along at a slowly contained pace.

Art doc. “The Price of Everything” Koons, Loons and Baboons

“The Price of Everything” is a behind the scenes art doc. that paints a caustic picture of a Ponzi like scheme that envelopes frenzied contemporary art sales; buy low sell high.  Director Nathaniel Kahn (“My Archictect”) uses a multi-colored pallette.  He blends artists, art dealers, collectors, curators & critics to create a glossy & engaging film that is flippant at the expense of art sellers and collectors.  Jeffrey Koons doesn’t see he’s being lampooned but he’s laughing all the way to the bank.  Amy Cappellazzo is Sotheby’s Fine Arts Chair.  She is the canvas on which Kahn layers on the art, artists and the good, bad & ugly of the business commodity the contemporary art market has morphed into.  Cappelozzo is captured at Sotheby’s, in her limo and within wealthy client’s condo conversing like a wolf on Wall Street.  She said there are 3 types of people “Those who see, those who only see when they’re shown and those who will never see.”  She’s pompous & hypocritical, “People know greatness when they see it.”   Cappelozzo drives the narrative at the speed of a Sotheby’s auctioneer.  The artistic integrity inherent in the doc. is derived from the painter Larry Poons.  “People thought he was dead but that wasn’t his fault.”  Poons gained fame early for his “ minimalist dot paintings”.  Poon’s years of obscurity can be attributed to his commitment to creativity not the gimmick of repitivity.  Poons wry wisdom brings both humor & gravitas to the preponderance of art and its intrinsic rather than monetary value.  Painter Marilyn Minter’s candor was hilarious.  Gerhard Richter is befuddled by the exorbitant prices his paintings bring in, “They’re nice, but they’re not a house.”  Collector Stefan Ellis’ epitimozies the capricious self-indulgence of the wealthy 1% for whom the 99% will find ridiculous & repugnant.  And,  art critic Jerry Saltz brings some sanity to the scarcity driven art world.  “The Price of Everything” is coated in shellac that reflects a shameless lack of passion for art but rather a passion for the art of the deal.  That’s not to say the film documentary is not worth watching.  Delving into this elitist & exclusive art world is priceless.

Viola Davis Speaking with NPR's Audie Cornish at 92ndY Tells Exactly What She Thinks - Holy Moly WOW!

Last night Viola Davis was in conversation with Audie Cornish.  Cornish is a co-host of ALL THINGS CONSIDERED and NPR Presents, a live interview series.  Cornish did a remarkable engaging the inimitable Davis and encouraging her to give eye-opening, electrifying remarks on her illustrious career, life and obstacles to achieving success.  It was pointed out in the program that Viola Davis is the first black actress to win Tonys (Fences and King Hedley II), Oscar (Fences) and Emmy awards (How to Get Away with Murder).  There are only 22 who've received this triple crow of achievement.  Whoopie Goldberg has garnered all 3 accolades but her Tony was for producing not acting.  Regardless, it's an outstanding achievement.  An honor I bemoaned having the nomenclature of "first black actress".  After listening to Davis I came away with eye-opening perspectives & a better understanding of the ongoing obstacles that actors of color (particularly women) have to contend.  First, Davis shared how she tackles getting into character for a role & the toll it takes.  In assuming a role Davis admitted it's hard for her to compartmentalize work and relinquish all the angst of her character.  "Each character takes a chunk out of your soul".  Davis fell in love with acting as she feel in love with her husband, wanting to make a commitment to becoming better at both her craft and as a wife & mother.  As an artist Davis says her job is to be an observer, a thief of others' emotions so as to create a fully formed human being so people will not feel so alone and develop empathy.   Davis marked the demarcation that she is working to change the narrative of "my people, people of color."   And, she thoughtfully and cogently outlined the stumbling blocks at every segment in the entertainment business to obtaining jobs and opportunities.  Davis praised working with director Steve McQueen (12 Years a Slave and Widows).   McQueen transcends the ordinary to the extraordinary and translates humanity by bringing out the rawness in one's self.  Cornish asked Davis to define success.  Davis responded, "Many people have the goal of climbing to Mt. Everest and then asking themselves, now what?  Success is what you do with your experience in the short period of time we have and leaving a legacy on earth; having a purpose.  My authenticity is rebellion. My fuck you."   Viola was thoroughly authentic, dynamic, delightful and enlightening.  I encourage everyone to check out her segment/link on NPR with Audie Cornish.  Davis & Cornish opened doors towards discourse, appreciation & empathy.  The one hour program was far too brief.   NPR segments are continually edited down.  This evening could have continued for hours.

Rangers Take Down 1st Place Vancouver Canucks but Veterans were 1st and Foremost Honored

The Ranger v Canuck hockey game at MSG last night was a big win for the Rangers.  The NY Rangers checked the Canucks with a 2-1 victory over the 1st place Vancouver team.  First and foremost, tribute was made to our valiant service women & men.  The West Point Cadette Choir sang both the Canadian & American anthems beautifully.  The Rangers along with Budweiser proudly honored and recognized the brave men & women in our trig-state area who've served or currently serving in the US Armed Forces and will continue to pay tribute throughout the season.  The game last night got off to a slow, scoreless 1st period  but with one take-down punch out fight sending both players into a 5 minute penalty.  The 2nd period the Canucks got off to a quick start scoring on a power play.  The Rangers came back and tied the game with their power play goal against Vancouver's giant of a goalie; Jacob Markstrom at 6'6".   There was a double review on a shot to the goal by Vancouver that was ruled correctly as no score (evident on the Jumbotron).  The 3rd period the Rangers offense picked up the pace and scored the 2nd and winning goal.  The Canucks pulled their goalie with more than 2 minutes on the clock but then the Rangers had a penalty making the final seconds tense.  Keen Thompson, SNL alum and "Mighty Duck"  was there to see the Rangers ice the Canucks 2-1.

GIRL from the NORTH COUNTRY at the Public is Bound for Broadway - Music and Lyrics by Bob Dylan SEE IT!

GIRL from the NORTH COUNTRY is the quintessence of great theater.  It's an ingenious production written & directed by Conor McPherson incorporating the music & lyrics of legendary recording artist Bob Dylan with a stirring 30s epoch drama & electrifying entertainment.   Dylan received the Nobel Prize for Literature in 2016.  For those who questioned Dylan receiving the Nobel Prize, this will quell all doubts.  Every musical number is comprised by Dylan's songs creating a miraculous theatrical experience that will leave you thunder struck with awe.  The story is set in Duluth, MN in 1939.  The country is going through the Great Depression & headed towards another world war.  The people living in this frozen tundra along Lake Superior are all scraping and hustling to maintain a roof over their heads & food on the table.  Nick & Elizabeth Laine (Mare Winningham) run a boarding house that is floundering with the help of their feckless son Gene and devoted daughter Marianne (Kimber Sprawl).  Marianne was found left abandoned as an infant in one of the rooms.  No sooner does Nick takes the baby to an orphanage than Elizabeth rushes back and bring her home.  She grows up beloved & cared for by Elizabeth, Nick & Gene.  Regardless, the community's hateful racist attitudes force Elizabeth to homeschool their daughter & keep her close at hand.  The play doesn't shy away from the town's recent lynchings, the nation's racial injustice & detestable bigotry.  Still, this production has a unifying colorblindness that blends peaceful harmony in song & dance.  The universal themes of pain, loneliness and unrequited love transcends the era.  Musical numbers such as "True Love Tends to Forget" & "Is Your Love in Vain" capture the play's heart wrenching angst.  Lucy Hind's movement direction transitions the play with artistic skill.  Hardships accumulate with the growing snowdrifts outside & the motley mix of drifters & locals who venture inside the boarding house.  The storyline moves seamlessly & poignantly to Dylan's lyrics and Simon Hale's inventive orchestration & arranging.  The stage is bursting with talent.  Brilliant actors that can all sing, dance & play musical instruments.  Mare Winningham gives a tour-de-force performance & sings beautifully.  Sydney James as Joe and Kimber Sprawl as Marianne were phenomenal.   The impassioned & remarkable "GIRL from the NOTH COUNTRY" is bound uptown to Broadway.  

THE HIDDEN ONES - WWII Immersive Theater at War with Itself yet Impactful

THE HIDDE ONES is an immersive theatrical experience that resonates with deafening power.  The play created & directed by Anthony Logan Cole embarks with a few audience members into a cramped hiding place for 2 families during the Holocaust.  The location for the play was only revealed 2 days prior to its performance by a cryptic email that evokes confidentiality and caution.  Patrons are queried before entering and stripped of their outer garments & bags by a large man who is brusque and distrustful.  The power of the play created & directed by Anthony Logan Cole lies in the trust the audience surrenders and the families' trust & reliance for one another while trying to remain undiscovered and alive.  The cast of the families in hiding consist of mother/father & daughter and a mother/father & son.  The boy's mother Monica Blaze Leavitt and the girl Rakel Aroyo were mesmerizing.  Before entering the set, you are ordered to wait & then led by hand behind hanging curtains, shushed and gently seated in varying spots just off the main area where the families gather to eat and fraternize while remaining mute. Braden Hooter's scenic design felt authentic & confining.  I was moved by the families tenderness with each other under these horrifying times & the vicariousness of their safety sequestered from the Nazis.  The requisite for remaining silent & still was terrifying.  I complied fully & willing with the actors positioning me & pantomiming instructions.  It was somewhat paradoxical that music was played throughout.  The score included popular songs in the 40s by Nat King Cole, Bing Crosby and the German born Beethoven's "Moonlight Sonata."  Given all that was stripped & taken from the Jews during WWII, those still in hiding were left only to imagine & envision an outside world of beauty & humanity.  The repeated shrilling of a locomotive was a jarring reminder of the millions being carted off to the camps.  The choreography by Whitney Sprayberry was stirring, especially the slow motion toasts and Shabbat rituals.  I was only spoken to once by the boy's father.  He spoke of those hiding in sewers and the loss of his wife, baby and a brother who was a homosexual.  He thought he'd be spared since he only married a Jewess.  A short narrative tying in the families given for the participating audience may have better served to anchor the reality in which we were submerged.  The father's war story conflicted with his role in the cast and fought with a full immersion as a human being trying to survive these heinous times.  Yet, when the bashing of the doors finally arrived, the utter fear & selfless heroic acts left me with a visceral response of terror and persevering empathy.  

THE WAVERLY GALLERY at Golden Theater - Golden Years are hell with Elaine May and Lucas Hedges

THE WAVERLY GALLERY is the name of a defunct art gallery run for almost 30 years by Gladys Green (the incomparable Elaine May) in Greenwich Village.  She's an eccentric octogenarian teetering on senility.  The play begins with Gladys having lunch with her grandson Daniel (Lucas Hedges "Manchester by the Sea").  Gladys is garrulous, charming and ultimately exasperating.  She talks non-stop about herself and the glamorous social life she led with her previous husband; both deceased.  Gladys asks Daniel questions repeatedly.  His contained vexation with his grandma is admirable & hilarious.  Gladys tells Daniel about his paternal grandma who was, well "nuts" at the end of her life.  ACT I is set in 1989 and Gladys' non-stop prattle is maddening but tolerable by her daughter Ellen (Joan Allen), Ellen's husband Howard (David Cromer) and Ellen's son Daniel.   Gladys' loquaciousness at the family dinner table is a comedic masterpiece.  May began as a comedy duo with Mike Nichols & she's a showbiz legend.  May as well hand her the TONY for this remarkable performance.  Her comedic timing is uncanny & her dramatic turn extremely poignant.  ACT II set 2 years later paints a drastic change in Gladys.  Her dementia has deteriorated to the point where she can no longer manage on her own.  Her mind has been smashed to pieces a blank canvas.  The full-time care required is excruciatingly draining on her family.  Ellen's  anger & frustration is understandable and the situation painful for everyone.  Ellen wishes her mom would have a "peaceful death" and tells Daniel to "just shoot me when I get like this."  The running gag with hearing aids is bittersweet.  Don (Michael Cera) is a pathetic flailing painter who hangs his art & his hat in the vacant Waverly Gallery.  Don keeps insisting the family needs to adjust Gladys' hearing aids.  The owner of the gallery evicts Gladys despite the families pleas for more time.  The owner has his own plans for the space although it remains empty for the next 2 years.  Most people don't have the strength or unwilling to commit to someone whose life is fading.   Kenneth Lonergan's brilliant play was a Pulitzer Prize finalist (2001).  The play is cleverly staged.  The brick wall curtain serves as a screen between scenes showing how things have changed over the years in Greenwich Village from the 1960s to 1980s.  Daniel speaking directly to the audience is very affecting.  Allen & Hedges are excellent in their roles.  May gives a powerhouse performance.  Lonergan's brilliant play is a potent reminder to listen to each other, to remember the details and to fully embrace life.   THE WAVERLY GALLERY is a masterpiece and May is a miraculous force of nature.  

BEAUTIFUL BOY A Family's Struggle with Drug Addiction Stars Steve Carell and Timothy Chalamet

BEAUTIFUL BOY is film about a teen's battle with drug addiction and the ugly impact it has on an entire family.  The film is based on the autobiography by David Sheff "A Father's Journey Through His Son's Addiction" about his son Nic's drug addicted teen years and the painful saga that overtakes Nic's life and that of his family.  David is an author & journalist.  He has focused much of his writing on the modern day crisis of drug addiction.  The film is directed by Belgian born Felix Van Groeningen, Acad. Award nominated filmmaker ("The Broken Circle).  Nic's vicious cycle with addiction & rehabilitation is an arduous journey that is oppressive not only for himself but for his bewildered & overwhelmed father.  The film is shown in flashbacks between Nic as a young boy and as a teen who totters between being an addict and attempts at getting clean.  Nothing is on an easy clear course.  The pain registers on David (Steve Carell) and the shame Nic (Timothy Chalamet) knows he's inflicting but unable to overcome resonates with impact that is heart stopping.  Amy Ryan as David's ex and Nic's mother and Maura Tierney as his step-mom are excellent in their roles as is the entire cast.  The film is relentless & purposeful in revealing the torment or addiction, relapse and recovery.  "You can't cure them {addicts} but you can be there for them."  BEAUTIFUL BOY is an agonizing & inspiring film that depicts the rampant drug epidemic, the struggle for recovery and the toll it exacts on the addict and their loved ones.

mid90s a Film Written & Directed by Jonah Hill - Young Skate Boarders that Never Takes Flight

Jonah Hill wrote & directed the film mid90s about a 13 year Stevie (Sunny Sujic) who looks for acceptance & excitement amongst a group of older skateboarders to escape his turbulent or dull life at home.  He lives with his single mother and abusive older brother Ian (Lucas Hedges).  Ian doesn't miss an opportunity to physical brutalize his young brother.  Stevie when left on his own seeks acceptance from an older group of skateboarder who smoke and hang-out in places they shouldn't.  Stevie submits easily to peer pressure especially from Ruben (Gio Galicia) who is closest in age.  Ruben entices him to smoke cigarettes & weed.  Stevie's reckless daredevil stunts to impress the older boys nearly gets him killed (it's a miracle he wasn't) and this earns him the acceptance into the group. Stevie's acceptance causes a growing resentment from Ruben.  The film itself is a daily grind of boredom fraught with risk taking skateboard tricks that failed to grip interest.  There is one stunning shot of the group of skateboarders gracefully curving down the middle of traffic at twilight.  This is the only moment the film takes flight.

AMERICAN SON on Broadway with Kerry Washington and Steven Pasquale

Playwright Christopher Demos-Brown's AMERICAN SON at the Booth Theater on Broadway has a potent social message of racial divides that repeatedly occur in the shootings of unarmed men of color by police.  "The Talk" is the conversation parents are now required to have with their children, especially children of color, on how to respond to any interaction with a police officer.   In this one act intensive play we experience the frustration & anguish of Kendra (Kerry Washington) the mother of Jamal, her 18 yr. old son who has not returned home or her numerous phone messages.  A tempest is brewing outside a police station where Kendra's mounting fears & frustration escalate as she seeks information & help from officer Paul Larkin (Jeremy Jordan) whose about to go off duty.  The white officer tries to placate Kendra who persists in seeking answers.  Her impatience and ire are met with threats of withholding information.  However, when Kendra's estranged husband Scott (Steven Pasquale) a white FBI agent enters he notifies the officer Larkin his is Jamal's father officer Larkin sings a different tune. Paul becomes fawning & more forthcoming with information.  Larkin can only confirm that Jamal's car was pulled over with 2 other black men in the vehicle and that the vehicle had a bumper sticker that taunts the shooting of police.  Tempers flare with mounting fears and Scott lashes out at officer Larkin in the presence of Lt. John Stokes (Eugene Lee).  Scott is swiftly cuffed and charged for an assaulting an officer.  More information is becomes released to the parents as it becomes available indicating an ominous outcome.  Kendra predicts the world is closing in on her son.  There are several strong messages driven home in the play.  There is no routine traffic stop for men of color and the world is not the same for whites and blacks.  There are many subtle & overt racist comments spewed from all parties that strike like a lightening rod.  The officer who pulled Jamal's car over is black as is Lt. Stokes. When the facts are read to Kendra & Scott by Lt. Stokes the pain is piercing yet it leaves lingering doubts as to the culpability of the officer involved.  The play is stirring drama with a superb cast.  The thrust of AMERICAN SON reverberates yet these racial injustices persist.  "I said that this could have been my son.  It's important to recognize that the African American community is looking at this issue through a set of experiences and a history that doesn't go away."  (Pres. Obama)

Harry Potter: A History of Magic at the NY Historical Society is a Magical Experience for All Ages

Before entering the Harry Potter exhibition it's easy to be caught up in a caldron of excitement brewing by large groups of teens.  There is a a photo opportunity which was being used by many to pose within the facade of the book cover of the first Harry Potter book astride a broomstick.  The phenomenum that enveloped a whole generation that grew up alongside the characters brought young readers into a magical realm and nurtured a love for reading.  "Because that's what Hermione does.  When in doubt she goes to the library."  However, J. K. Rowlings first novel was turned down by 8 publishers.  Credit 8 year old Alice whose wise father, the CEO of Bloomsbury Publishing, gave his daughter the book to read.  Alice wrote her father a review claiming this was the best book she ever read and that every child should read it.  Her note to her father is found next to portions of J. K. Rowlings handwritten stories & her own remarkable illustrations. J. K. Rowlings ink drawings and rough sketches for the structures at Hogwarts are dispersed throughout the darkened galleries.  Be sure to look up, around and down for there are discoveries revealed in every nook, corner & archway.   Books hang from the ceiling and fleeting images appear out of the corner of your eye.  Under glass show cases are real treasures of ancient books & artifacts on loan fro the British Library of rare books containing information on magic, witchcraft, botany and herbalism.  The NY Historic Soc. also provides rare items from their collection of early studies into astronomy, astrology & cosmology.  These centuries old treasures enhance the literary world created by J. K. Rowlings.  Enjoy the memorabilia, exquisite artwork by renown Harry Potter illustrator Jim Kay and all the potpourri of paraphernalia in an exciting and educational show that dazzles & enlightens.  And, note the symbiotic relationship between imagination and progressive comprehension.

Jean Valentine's Poem MY WORDS to YOU Posted on MTA Poetry in Motion

You take the subway to get someplace quickly (& cheaply).  Spotted yesterday in the subway car was a short & sweet poem by Jean Valentine (b Chicago 1934) but a lifelong New Yorker.  Valentine has received the Nat'l Book Award for Poetry and been nominated for the Pulitzer Prize in Poetry.  Ms. Valentine taught at NYU up until 2004.  Why is it that just a few words strung together in a lyrical fashion can possess such majesty?  MY WORDS to YOU is so tender and magical it warms your heart & transports your soul.

                            MY WORDS to YOU by Jean Valentine

My words to you are the stitches in a scarf
I don't want to finish.
Maybe it will come to be a blanket
to hold you here.

Love not gone anywhere.


Along the thread of human connection from other poems by Jean Valentine:

"Blessed are those who break off from separateness."  (Little Boat)

"Who gave me this wool sweater?
So it pleases you life, we won't go alone."  (Poem from the Russian)
         

EMMA and MAX by Todd Solondz - A Racially Explosive Black Comedy that Turns Extremely Dark

Todd Solondz is an independent film screenwriter and director ("Wiener Dog" 'starring Tracy Letts, Greta Gerwig & Danny Devito).  EMMA and MAX marks Solondz playwriting debut premiering at the FLEA Theater.  The play is a black comedy and social satire blazing with wit aimed at reckless self-indulgent white privilege.  Brooke (Ilana Becker) and Jay (Matt Servito) are an affluent white couple and parents to toddlers Emma and Max.  The play begins with a tense & comical scene in which the couple are firing the current black caregiver, Brittany (a  tour-de-force performance by Zonya Love).  Brooke & Jay fire Brittany while praising her and shelling out 3 months severance in a loaded envelope.  Brittany painstakingly counts out the bills with comic effect.  Despite pleading for her job & offering to switch deodorants, the couple have already hired a young, white au pair from Europe.  The stress of dismissing Brittany is so upsetting for Brooke it requires the couple take a vacation.  Their destination is Barbados the Island from which Brittany was born.  Brooke & Jay bask in the sun and are blinded by their delusional justifications as to their liberal open-mindedness.  Solondz skillful satirical edginess is brilliant.  Brooke calls Brittany and asks her to guess where she is - "someplace with a B" -  Bergdorf's answers a bewildered Brittany.  During their stay, Jay dreams he's speaking to Brittany recounting his noble act while toiling at a McDonalds as the sole white employee.  He's gloating over getting a middle-aged employee arrested for presumed sexual deviance.  Brooke & Jay's preposterous behaviors are hilarious, cringeworthy uncovering the detritus of their insular daily lives.  The set changes are plodding and all manned by Brittany.  The clever scenic design adds depth and fluidity.  The final act takes a drastic & deeply disturbing turn.  Brittany is lying on a prison cot being interviewed by an opportunist reporter. Brittany speaks of her love for white children but her hatred for the cruel & stupid adults they'll become.  She tells of being raped & impregnated by a former white employer.  Brittany employer's entitled white privilege is comparable to a plantation owner's mentality.  Her horrendous treatment &  profound sufferings purportedly lead to the heinous crimes she commits.  The acting by the cast is first rate especially by Ms. Love.  Playwright Solondz's EMMA and MAX fathoms provocative social satire.  We're drawn in with wry observational humor but left drowning by the pernicious & systemic undertow of white affluent privilege.

LOVE, LINDA The Life of Mrs. Cole Porter - An Interesting Musical Biopic Being Married to Genius

LOVE, LINDA is a charming & poignant cabaret show at the Triad Theater that offers an intimate ruminating of life as Mrs. Cole Porter married to the celebrated & legendary composer, songwriter/lyricist Cole Porter.  Cole Porter is regarded as one of the most significant songwriters of the 20th C.  He married the beautiful, wealthy socially connected Linda Lee Thomas of Louisville (Stevie Holland) whom he met while living in Paris.  Linda and Cole shared a deep love for travel, music and socializing.  The two became each other's loyal companion and confidant.  Between musical selections all composed by Porter, Linda looks back with fond & bittersweet memories of their lives together.  She lets us know up front she was aware of Porter's homosexuality going into the marriage.  Although this understanding came with acceptance & discretion, it also came with anguish & setbacks.  The book by Stevie Holland and Gary Friedman strikes the right note between storytelling and song.  Holland is adroit at taking us into her confidence.  She attains both ebullience at their whirlwind lives of lavish entertaining and elicits sympathy with her feelings of loss for her youth & their popularity.  Porter's successes and set-backs are galvanizing and anguished.  His unrequited love for a young male dancer is painful for both.  Linda went into their marriage with eyes open but this doesn't shield the heart from hurt.   Holland's lovely voice is accompanied by a talented trio consisting of a pianist, drummer & bass who do justice to Porter's music.  No one knows the true relationship in a marriage but LOVE, LINDA gives an entertaining window into Linda & Cole's collaborative co-habitation in a cabaret fashion.

ODYSSEY: Jack Whitten Sculptures at MET Breuer - Unseen Sculptures & Iconic Works

The extraordinary exhibition of the works by one of the most innovative artists of the 20th & 21st C Jack Whitten is a collection of 40 sculptures he created from 1963-2017 which have never been made available to the public are on view at the MET Breuer.   The sculptures are carved from wood, both smooth and charred.  Locally found materials are used in these works which reference influences of African, Ancient Mediterranean and Southern American States.  The works are graceful, powerful, playful, mystical & inspiring.  The exhibition includes a large collection of his iconic Black Monolith Series that pay tribute to prominent figures in the arenas of art, politics, music, sports and literature.  This too is the first time so many works from the Black Monolith Series have been compiled & shown together.  The MET draws from its collection of African art, American art and Greek antiquities. Their relevance with Whitten's own work make these pieces feel redundant.  It is crucial to see ODYSSEY. This is a rare & massive collection of Jack Whitten's art that attest to his profound genius as an artist and social advocate.  I will be revisiting this magnificent treasure trove of Mr. Whitten's bounty of art only now being presented on this collective scale to the public.

The FERRYMAN - Domestic Unrest in the Early 1981 Ireland Amidst IRA Dissension

The FERRYMAN playing on Broadway is a recent transport from the London stage.  The British collaboration of playwright Jez Betterworth ("Jerusalem) and director Sam Mendes ("American Beauty") is an ambitious production set in the home of a large Irish family set in rural N. Ireland 1981.  The prologue & setting reference Republican inmates on a hunger strike protesting they be recognized as political prisoners denied by Prime Minister Thatcher.  The violent revolts by the IRA serve merely as an undertow to a domestic play of a huge farming family headed by Quinn Carney.  Quinn & his wife Mary have 7 children.  Adding to this overflowing household are an uncle, aunts, nephews, field hand and  Quinn's sister-in-law, Caitlin & her son. Caitlin & her son had moved in after her husband went missing a decade ago.  Stopping into the household at all odd hours is the feeble priest, Father Horrigan and a menacing Muldoon; the presumed leader of the resistance and the town itself.  Quinn's brother's corpse has just been discovered in the bawg with a bullet in his skull.  Muldoon coerces the Father to communicate this discovery to Quinn without indicating the death was a murder.  There's a cornucopia of drama, drinking, secrets, shenanigans and resentments that carry on within the Carney clan.  The lengthy 3 hour play is convoluted and a complex mixture of components.  The Carney family works hard, drinks heavily and celebrates joyously.  The dancing following the harvest uplifts an otherwise sombre play.  Quinn's wife Mary feigns illness which is caused by a broken heart realizing her husband's affections lie with Caitlin.  Aunt Maggie Far Away is mostly comatose until she rouses and reveals bloody battles and lascivious longings for an unrequited love much to the entertainment of the 4 sisters.  Uncle Patrick is in the background except when he reads aloud from Virgil.  Muldoon appears as an ominous thug who threatens and provides for those in the parish while the Priest remains hapless.  Tom Kettle, a dimwitted field hand has an identical storyline to Steinbeck's  Lenny from "Of Mice and Men".   Somehow strewn altogether the combined elements in "The Ferryman" creates an intoxicating brew but one that casts confusion like a lingering hangover.  "The gates of hell are open night or day; smooth the descent, and easy is the way. But to return, and view the cheerful skies, In this task the mighty labor lies."  (Virgil)

The Hate U Give - Provides a Powerful Understanding of Racial Divides & Injustices

The film "The Hate U Give" is based on the young adult novel by Angie Thomas.  This powerful & racially charged film addresses pervasive battles along color lines & economic strata.  The central character Starr Carter (in a star turning performance by Amanda Stenberg) is a black h.s. student.  Her parents have enrolled her & her older 1/2 brother in a prestigious school outside their community to provide the best opportunities for their futures.  Starr is aware of the dichotomy of living in two separate (but far from equal) worlds.  The disparities are glaringly apparent. This sets Starr apart from immersing fully in either world.  A fatal encounter leads to epiphanies of how tenuous safety is for herself & people of color and how vicarious empathy is in the world of white privilege. Director George Tilman, Jr., covers many serious topics that continue to plague our nation & perpetuate injustice along color lines.  The film queries the lack of accountability for the mass shootings of unarmed black men by white officers who mostly aren't indicted. The emotional potency felt is from the perspectives of both black & white teens.  Starr's uncle is an officer.  He gives Starr an honest & eye opening account of the likelihood race may elicit different responses from him. He also explains what's going through officers' minds when faced with split second harrowing choices.  Social appropriation by whites of black culture is rampant and viewed as foolish & hypocritical by Starr.  Of more consequence is Starr's dismay at her friend's allegiance to the white officer & the failure in his being indicted following her courageous testimony to a Grand Jury. Starr's family is nurtured by two hard working, loving parents (an astounding Lisa Carter & Russell Hornsby).  They instill essential values & life lessons for their children.  Starr's dad adjusts his bigotry when discovering her boyfriend is white. The film begins with "the talk" by Starr's father to all 3 siblings.  "The talk"about deescalating a confrontation with police officers. "Hands spread on the dashboard where they can be seen at all times and do exactly as instructed and respond respectfully."  This scenario is played out shortly thereafter when Starr & her friend Khalil are pulled over by a white officer after fleeing a party in their hood after shots were fired.  Despite Starr's urgent plea for Khalil to co-operate fully his actions are construed as a threat.  He's fatally shot as Starr is handcuffed, agonized alongside him.  "The Hate U Give" provides a clarion voice for discussing hard issues of persistent barriers in our complicated world with the hope for healing, dignity and justice. "I believe that everything you do bad comes back to you." "I want to grow.  I want to be better.  You grow.  We're made to grow.  You either evolve or you disappear."  (Tupac)

A STAR IS BORN is a Bore but Bradley Cooper Can Sing, Lady Gaga Can Do Anything

The latest remake of "A Star is Born" is a sappy love story of couple coping with the rise in career of  one & the demise of the other.  New singer/songwriter Ally (Lady Gage) is discovered by country singing sensation Jackson (Bradley Cooper) while performing in a drag queen bar.  The film fails to twinkle despite its mega star power.  The incomparable Lady Gaga lights up the screen with her phenomenal voice and solid acting chops in a tour-de-force performance.  Meanwhile, Bradley Cooper as country singing legend Jackson is not too shabby at holding a tune.  His singing is surprisingly appealing & convincing as a country crooner.  However, Cooper in his directorial debut may have taken on too many cowboy hats. The chemistry works between Gaga & Cooper but the movie doesn't flow.  It has a very disjointed feeling that doesn't gel.  The story is too washed down in Jackson as a sloppy, self-destructive drunk.  Sam Elliott is type cast and phones in his role as Jackson's older brother & thankless caretaker.  An interesting casting choice is Andrew Dice Clay as Ally's doting & self-promoting father.  Nevertheless, for all its blazing star power, A STAR IS BORN fails to promote sparks.  Like the punches thrown, the film never quite strikes its intended mark.  

Hilma af Klint: Paintings for the Future at the Guggenheim - An Artist for the Ages & Sages

The paintings by Hilma af Klint show an artist whose creativity spun from a ceaseless curiosity & spirituality.  Klint (b Sweden 1862-1944) was a maverick; an artist both ahead of her time.   Her abstract paintings predated Kandinsky.  Klint's work has a captivating kookiness stemming from her endless fascination with innovative breakthroughs in science, mathematics and an open-mindedness towards the occult & spiritualness.  Klint was one of the first women to be accepted into Stockholm's prestigious Royal Academy and graduated with top honors.  A collection of her figurative paintings, mainly portraits & botanical figures attests to her technical proficiency.  However, it is her abstract paintings she gravitated towards that are so remarkable.  The first gallery contains her "10 Largest Paintings".  These share a commonality of color palette, geometric shapes and forms seemingly  aquatic or microscopic images recently identified through scientific discoveries.  This gallery is sufficient reason to view this expansive & exciting collections by a gifted artist.  Her paintings show a fascination with what is indiscernible by the human eye but perceivable through scientific evidence & a spiritual awareness.  Perhaps the death of her 17 year old sister sparked Klint's known participation with seances.  Klint's works reflect her beliefs relating to theosophy; intuition leading to a connection to spiritual divinity & rosicrucianism; metaphysical & mystical mysteries.  This exhibit is both esoteric and engaging calling into question both the artist's intent and your interpretations.  My favorite collection were The "Swan" series explores opposing dualities in nature while sharing their intrinsic connections.  Klint's beautiful "Evolution" paintings show her interest & conceit of the female reproductive anatomy and the recent identification of the atom.  Look closely at her celestial, planetary paintings and you will discover 2 diminutive human figures at the center of planetary forms.  Klint agreed with Darwin's theory of evolution.  Klint also kept an eye to the future of extra-terrestrial discoveries.  The exhibit "Paintings for the Future" is aptly named as Klint's work is expansive, inquisitive, fascinating & timeless.  Klint asked that her abstract works not be shown until 20 years after her death (1944).  Her incredible lasting legacy is ironically an imaginative cumulative abstract body of works that can be realized with an appreciation for the ephemeral, indiscernible,  & yet to be discovered.  

The MET's Delacroix Exhibit is the First Comprehensive N. American Retrospective - Not to be Missed

Eugene Delacroix (b France 1798-1863) is one the most prominent painters of the French Romantic era of the 19th C.  The Met's comprehensive exhibit of this master's work contains many of his large murals and spans his work over 4 decades.  Above the MET's entry curation is a quote from the Dutch painter Vincent Van Gogh (b. 1853-1890).  "Delacroix reveals the liveliness of things and the expression of movement, that he is utterly beyond the paint." I found this esteemed praise from this reticent master baffling.  Delacroix took his inspirations from historic battles, Greek mythology, literature, martyrdom and exotic locations.  There are numerous portraits and paintings of the human form and ferocious animals.  I was vexed by Van Gogh's descriptive praise.   I didn't readily grasp an awareness of movement & liveliness alluded to.  Going through the galleries, I began to note the softness of forms and a shift towards kinetic surges of power as portrayed in many battle scenes and crucification depictions.  I was struck by the large painting of a tiger and her cub. You sense the mother posed  to pounce on a threat of which her playful pup is unaware.  The expressive figurations of horses depicted in massacres and crusades whose agitation & fear emote starkly the chaos & impending destruction.  Delacroix favored a dark palette with hazy, brown & tepid blues in the background.  I found his portraitures, mostly of friends & family, very distinct and expressive.  Delacroix's first self-portrait is barely discernible.  The large self-portrait next to it is very striking.  However, it was not accepted by the Institute de France.  It took 6 more portraits and 20 years before he gained acceptance.  I was interested to see several of these self-portraits not included in this show.   I favored the paintings in the next to last gallery showing Christ amid ships being pitched in a tempest.  Here the rough waters and hazardous skies elicit violent turbulence & pending doom.  Delacroix magnificent paintings reflect influences by Rubens, Rembrandt and Goya.  I felt the retrospective held a sombre aura.  It would seem Van Gogh's use of vivid arbitrary colors and broken brush strokes are at odds with Delacroix's aesthetics.  Grasping the concept of Delacroix being in Van Gogh's words "...beyond the paint" is perplexing but worth considering when seeing this expansive & glorious retrospective of Delacroix's masterpieces.

"The Evolution of Mann" A New Musical Progresses Slowly for a Single Man Seeking Companion

 "The Evolution of Mann" a new musical is based on a time old scenario of men & women seeking a significant lasting relationship.  Henry Mann (an affecting Max Crumm) is 32 and bereft by his single state.  He's seeking a mate while pining 5 years over his previous girlfriend Sheila.  This elongated grieving period is far too long and a hinderance to Henry's perpetual pursuit for finding the right woman to purpose marriage.  The treads to this play move as furtively as an amoeba.  Mann's evolution from a self-pitying mess, to a heartless cretin, to a humble and considerate human being is uninspiring.  Nonetheless, the talented collaborative musical score & lyrics by Douglas Cohen & Dan Elish offer some uplifting numbers that elevate the overall production.  "It's Only a First Date" (which is reprised) and "Low Expectations" succeed in creating an emotional angst for hopefulness & loneliness.  Henry's best friend Gwen (Leslie Hiatt) is currently living with him since her wife as thrown her out for cheating.  Gwen is constantly advising Henry to date while trying to reconcile her own marriage.  All the other women in Henry's life include Sheila, his mom and 2 women he's dated; Christine & Tamar are played in head spinning & convincing fashion by (Allie Trimm).  Trimm's impressive singing voice & versatility is notable.  Still, much of the musical numbers tend to blend and the story overly sentimental.   Where timing is everything "The Evolution of Mann" needs modifications.

Access Theater's "R & J" A Romeo & Juliet Adaptation and Experimentation in Gender Distillation

Playwright Molly Houlahan's "R & &" at the Access Theater is an artistic interpretation of Shakespeare & the English language devoid of gender specified terms.  The play is set in the not too distant future with extermination of the male species.  The Montagues & the Capulets & Shakespeare's writing in unrhymed iambic pentameter & prose remained in tact.  As for the delivery of  Shakespeare's poetic ye olde English lines and re-enactment of star crossed lovers, the play manages successfully.  The all female cast aptly captures the melodic phrasing, romanticism and emotional angst.  The staging upon raised platforms between seated audience members posed a distraction from its fluidity.  I was not aware of the intended "Quick Tips" on the gender-neutral language incorporated into Molly Houlahan's play were insightful, regardless, it was not apparent in the play.  Gender is far more complex than a binary assignment and referencing plural pronouns for the singular pronoun is confusing.   I applaud the play's mission towards open-mindedness in respect to non-binary vernacular.  The use of an all female cast in "R & J" is in opposition to the all male casting in Shakespeare's original productions.  However, I'm currently grappling with the terminology to encompass actors noting there's a distinction between male actors & female actresses.

"The Music of Duke Ellington" at 92ndY was a Cabaret Extravaganza Celebration

Yesterday at the 92ndY there was a wonderful discussion, musical salute and live entertainment honoring the legendary Duke Ellington.  Harvey Granat, a cabaret and Broadway performer was the host.  Mr Granat crooned several of the Duke's composition accompanied by David Lahm on piano.  Mr. Lahm is a recording jazz pianist and arranger.  Ms. Mercedes Ellington, the granddaughter of Duke Ellington is a Broadway veteran, dancer (original June Taylor dancer) and choreographer . She shared intimate memories of her beloved grandfather.  Another special performance came from Daryl Sherman who sang & performed on the piano.  Mercedes shared her experience traveling to Russia in 1971 with her grandfather & his orchestra to entertain and their plane landed amidst thousands rushing to greet and meet Mr. Ellington.  It was astounding the reception from the Russians.  The people were so enamored of his music despite the cultural blockade.  Mercedes recalled bringing her grandfather sheet music while he was in the hospital just before he passed.  He had a piano in his room and continued to compose and play.  Mr. Ellington received the Presidential Medal of Honor in 1969.  "Sophisticated Lady" comprised of all Duke's music opened on Broadway in 1981.  Mercedes performed in the production.  Mr. Ellington remains one of the most prolific and innovative American jazz musicians & composers of all time. He compiled more than 3,000 compositions & arrangements.  The Cotton Club became renown from Duke & his orchestra & the famous singers who performed for them including Billy Holiday.  This was an incredibly fortuitous event which included a number of songs performed including:  "In My Solitude" "I Got it Bad" "Azalia" and "All too Soon."  The dazzling array of entertainment ended far too soon.

POP PUNK HIGH a Musical Extravaganza a Parody and Plethora of Music Styles and Ethos of Early 2000s

POP PUNK HIGH is an original musical comedy that travels back to senior year in high school in 2003.  Before reaching this entertaining musical parody looking back to when Avril Lavigne reigned as the post grunge Pop Punk Princess, the prelude entertainment came from a punk rock band "Fat Heaven."  "Fat Heaven" was loud & proud with 2 male guitarists and a fabulous female drummer.  Their lyrics (except for "my head, my, head, my head") were undecipherable under their stentorian sounds.  Before exiting the stage a guitarist asked the audience "Do you think we suck?  We can take criticism."  I thought this was hilarious but I believe he was serious.  My head needed a break between "Fat Heaven" and the main event; the new musical comedy POP PUNK HIGH.  The clever & witty lyrics were something to really give a fuck about - big shout out to the composer & lyricist.  My favorite number was "My Life Sucks" sung by Derrick who pines for the hottest girl in the school who rules.  The choreographer did a fantastic job with an ensemble cast that was a total blast from the past.  The high school seniors, class of 2003 were styling in their skinny jeans, band t-shirts, knit hats and converse sneakers.  The plot needed some revamping. A doppelgänger for Avril Lavigne appears as an aberration & appeals to Derrick to solve her murder.  Someone murdered her to assume her identity and if Derrick helps solve the mystery she'll grant him 3 wishes.  Derrick a.k.a. pencil dick wishes to be an expert on skate board and guitar player all to impress Amanda who doesn't know he exists.  His 3rd wish is for a huge shlong.  The dick jokes went on too long and needed to be axed.  Tim, Derrick's best (& only friend) asks him why he didn't wish to stop global warming.  Touche'!  Tim is winning as the loyal friend & valedictorian who ends up with the handsome school jock and aspiring poet.  The musical gleefully captures the carefree high school years in the early 2000s.  It  drew the aesthetic of this epoch as expertly as Avril's eye-liner.  There were some smudges that needed to be rubbed off including a soft shoe number by Derricks parents who tended to peek in on him when privacy was crucial.  For all the high jinx and high energy (a cast on speed washed down with Red Bull) POP PUNK HIGH delivers an amusing look back at the era, a decent sound track and a rollicking good time.    Too bad Tim wasn't granted her wish for Green Days but this parody had plenty of American Idiots.

"Notes on Longing"a Poem by Brooklyn Poet Laureate Tina Chang Noted on MTA Today

During hell week in NYC with the president & the UN in session, the subway is the best mode of transportation.  Getting around the town is thwarted by an oppressive ugly gridlock.  I was in luck to spot Tina Chang's bittersweet & enchanting poem "Notes on Longing."  Chang (b NYC 1969) has been named Brooklyn's Poet Laureate (2010) and has been a finalist for the Asian-American Literary Award.  NYC claims with pride Ms. Chang as our hometown Poet Laureate.  The title of the poem speaks to burgeoning aspirations.  The poem permits a voyeuristic look in on Asian-American families, perhaps with first generation youngsters, gathered round the dinner table.  These often over-looked everyday lives are being nurtured to sprout and claim their futures yet unfurled.                                    
                                                     
                                                   "Notes on Longing"

It smells of after-rain tonight.
Duck bones, a wounded egg on rice.
On the corner, there is a shop
that makes keys, keys that open
human doors, doors that lead to rooms that hold families
of four or seven who sit at a table.
There is a mother who brings
sizzling flounder on a wide platter
for the family whose ordinary
mouths have been made to sing.

Leading Neuroscientist Dr Eric Kandel in Conversation at 92nd Y with Journalist Claudia Dreifus

It was a pleasant surprise walking into the 92ndY as I found myself standing next to the renown Nobel Prize winning physiologist Dr Kandel known for his studies on the brain; particularly the processes in which memories are made and stored.  He was very charming & gracious.  Dr Kandel has written numerous books & articles pertaining to studies on the brain.  He is currently a Prof. at Columbia Univ. and a frequent presence on the media discussing the fascinating & elusive understanding of brain functions.  Dr Kandel has just published his latest book "The Disordered Mind:  What Unusual Brains Tell Us About Ourselves."  I was interested in hearing him elucidate on this topic. The interview was led by Claudia Dreifus the NYT columnist in the Science Times .  Dr Kandel was engaging & his stentorian laugh infectious.  Unfortunately, the conversation led by Dreifus didn't elicit information on the topic of Dr Kandel's new book pertaining to how diseases like autism, depression & addiction can be invaluable in gaining further understanding on the processes of the brain.  Nor was the subject of scientific understanding of the brain as it pertains to thought and emotions discussed.  Dreifus questioned Dr Kandel if he would choose to eviscerate any painful memories if it possible.  His resounding no was as he stated memories are what makes us who we are.  The loss of memory and dementia that's associated with aging or Alzheimers is due to the loss of nerve cells which do not regenerate.  There is medication to slow the progression of demential.  Early detection would benefit from medical treatment.  I recall hearing Dr Kandel discussing synapses in the brain which enables cognitive learning & the ability to create memories and conversely blocked synapses lead to deterioration in the brain.  Dr Kandel would like to see more cognitive therapy outcome studies to measure effectiveness of psychoanalysis.  He believes that psycho therapy in combination with prescription drugs has shown to be the most beneficial to patients.  I had more questions than new insights into Dr Kandel's discoveries.  I'm curious what a scientific outcome study might entail with results that show objective metrics - or would the studies rely on subjective interpretations?  What are the most interesting pursuits pertaining to understanding the brain being pursued?  Dreifus praised Dr Kandel's writing.  He responded "I know what I think after I read it."  I know now we were lured into this science talk to promote the sales of his new book.  I agree with Dr Kandel, the study of the brain is most compelling & mysterious.  However, the short talk was short on sparking new discoveries, ideas, new areas of study or bridging new synapses of knowledge.    

COLETTE A Renaissance Women - The Film Stars Keira Knightly in a Crowning Role

Colette (b France 1873-1964) was a country girl with humble beginnings that belie the revolutionary, artistic genius and free spirit that lies ahead.  COLETTE directed by Wash Westmoreland (b UK 1966) captures the fascinating irrepressible & independent spirit possessed by the acclaimed author, actress & journalist.  Keira Knightly is captivating as Colette, a woman whose talent & thirst for life could not be suppressed by her deceitful & domineering husband Henry (Dominic West.)  Henry, a sophisticated boorish Parisian deigns to marry Colette & move her to Paris with him.  Early on Colette shows her disdain for pretentious airs & unflappable character when thrust upon Parisian snobbish society.  Still Colette married "Willy" for love and she willingly (at first) becomes a ghost writer under Henry's nom-de-plum Willy.  The "Claudine" novels fly off the bookshelves garnering fame & financial success for Willy.  The first of the "Claudine" novels written by Colette became best sellers due to Colette literary prose & titillating lesbian innuendos.  Success only leads Willy to become more of a reckless spendthrift keeping them in debt and demanding Colette proliferate her writings holding her captive.  This arrangement doesn't sit well or last long with Colette.  She finds her own voice, lovers and embarks on an emancipated & exotic life-style. Knightly luxuriates in daylight, candlelight and electric lights.  The epoch at the turn of the 19th C in France was feverish for avant-garde artistic circles and bohemian attitudes.  British cinematographer Giles Nuttgens captures an authentic Parisian aesthetic and is flush with intimate sensuality.  The enticing British & Irish cast includes Fiona Shaw as Colette's strong willed mother, Denise Gough as Missy, Colette's androgynous female lover and Eleanor Tomlinson as the American lover to both Colette & her husband.  This movie revels firmly on Knightly's strident portrayal of a woman for the ages who found her own voice and lived her life without constraints. "What a wonderful life I've had!  I only wish I'd realized it sooner." COLETTE is an art house film without pretense that paints an exquisite portrait of a complex, confident & truly remarkable maverick on the big screen.  I suggest seeing the life of this Renaissance woman up on the screen sooner rather than later.