Steven Dietz's Play "This Random World" is Ho Hum LBT in Santa Rosa

"This Random World" playing at the Luther Burbank Theater in Santa Rosa is a rigorous riff on the "wake up and smell the coffee" trope.  Oftentimes, a carpe diem theme resonates with the poignancy of having lived an unfulfilled life as in Miller's "Death of a Salesman," Chekov's "Uncle Vanya" or Wilder's "Our Town."  Steven Dietz (b Amer. 1958) is a prolific playwright whose many plays are currently been produced throughout the US.  "This Random World" fails to break new ground searching for missed opportunities.  The writing lacks depth and the actors were all shrill.  I won't fault the actors for shouting as they were trying to be overheard by Joe Winkler's sound design of continual sonorous rain.  Set designer Argo Thompson made better use of background inclement visuals and sparse sets that shifted fluidly from scenes in both the US & Japan.  The cast of characters includes 2 sibling sets whose familial connections are loosely tethered.  Both sets of siblings harp on "mother always liked you best."   The brother/sister siblings' quibbling revolves around their hermetically isolated mother, Scottie (Trish DeBaun).  The two have no clue their mom is up at dawn to view each unique, miraculous sunrise accompanied by a less than enthused caretaker, Bernadette (Rose Frater).  Scottie also has a penchant for clandestine travel abroad with Bernadette's help and her vow of secrecy from her adult children.  The families intertwine without connecting although they come close in circumstances that are incredulous.  Beth fails to meet up with her travel groups designated departures leaving her in precarious situations.  Furthermore, Beth's macabre obsession with arranging her own obituary & funeral prove her to be controlling and out of touch with savoring life precious moments.  Gary (Ariel Zuckerman) and Claire (Paige Picard) share the most engaging scene where Gary is ending their relationship much to Claire's bitter chagrin.   The play is neither sentimental or moralistic. But, neither is it savvy or funny.  Its construct grows wearisome and the rainfall of life's bounties prove shallow.  Don't wander far from home in order to see "This Random World."

Whitney Biennial - Two Works Worth the Tour From Nicole Eisenman and Brendon Fernandes

Brendan Fernandes' "The Master Form" is a large installation of 6 geometric sculptures of identical black coloring on linear, thin edged structures.  The central structure is a large configuration of open squares that remind me of jungle gyms on playgrounds meant for children's innovative climbing and exploration.  Fernandes (b. Kenya 1979 and raised in Canada) was a classically trained ballet dancer. His dancing career was sidelined due to injury.  His creative outlet merged into the visual arts.  "The Master Form" combines the ephemeral art of balletic performance with the sedentary art of sculpture.   Five ballet dancers, 2 women (1 in pointe) and 3 male dancers walk in sync to the gallery of Fernandes' solo work to syncopated snapping of their fingers.  All 5 are attired in black leotards that mesh with the sculptures.  Individualizing the dancers, they adhere to the smaller structures as they mirror or become an extension of the form itself.  There is no other audio and each dancers' movements embrace their inhabited sculpture and create a unique orchestrated measure.  Simultaneously, the dancers enter the "jungle gym" moving in rigid, sharp lines without ever making contact with each other.  This captivating installation brought kinetic energy to innate objects and a heightened sense of strength and composition to movement.
Nicole Eisenman's "Procession" takes up the entire 6th floor terrace, a highly coveted platform for presenting artworks.  Eisenman (b France 1965) is primarily known for her colorful figurative paintings that have an element of exaggeration and humor.  "Procession" is a panorama of massive mixed medium incorporating a video, numerous sculptures of varying sizes and figurations.  Taken collectively, the jaw dropping work is perplexing, engaging, whimsical and political.  The largest sculpture of a male figure on his hands and knees emits steams from his annus sporadically.  There's a  small all white eagle prostate in a too small box with wings folded and eyes shut.  A wooden abstract sculpture on a podium is both seductive and haunting.  There's movement with some of the works such as a fishing pole that bobs with multiple tuna cans.  You're invited to walk amongst the works and a ubiquitous staff member cheerfully "answers" any questions with mainly ambiguous responses.  This work needs no curation other than one's own interpretation but it requires a wandering eye and unflagging engagement.

Pedro Almodovar Presents the Doc. "The Silence of Others" Francos Hold On Spain

"The Silence of Others" is a documentary film, 6 years in the making that reveals what transpired under General Franco's 40 year dictatorship of Spain and the ongoing pain.  Dir/producer Almudena Carracedo's (b. Spain 1972) courageous & eye-opening doc. reveals the Parliamentary Amnesty granted in 1977 for both political prisoners who opposed Franco and government officials in Franco's regime.  Carracedo doesn't delve into the Spanish Civil War (1936-1939) nor portray to a large degree   life under Franco's 40 year dictatorship; 1939 until his death in 1975.   The substance of "The Silence of Others" is the orchestrated absence of knowledge of historic events incurred by Spain's "Amnesty Laws".  Both political prisoners opposed to Francos' fascist rule and Nationalist cabinet members empowered under Franco were absolved.  The majority of Nationalist cabinet members retained their political positions posthumously.  Franco rose to power in 1939 abetted by Hitler & Mussolini.  Franco's Nationalist forces overthrew the democratic elected  2nd Republic.  What's mainly equated with Spain's Civil War is Picasso's mural "Guernica" which hangs in Madrid and also speaks to crimes against humanity under Franco.  "Guernica" was momentarily spotted on screen.  Carracedo's award winning doc. is a minuscule history lesson of Spain from 1930s-1970s.  The film serves to enlighten the world on the acquiesced acceptance that disavows the genocide & torture of hundreds of thousands of people opposed to Francos oppressive rule.  Young people in Spain appeared unaware of "Amnesty Law" passed in 1977 or of brutal crimes & mass murders during Franco's rule.  Many felt it better not to speak of the witnessed horrors to their families, schools didn't address Spain's 20th C history and the perpetrators of crimes against humanity enabled themselves pardons.  The purported justification was not to open sore wounds in the best interest of healing & uniting the country.  Certainly, it was in the best interest of the Nationalists guilty of committing atrocities.  The "Pact of Forgetting" or untouchable justice is in fact, no justice.  It's shocking to learn of the infants stolen from their mothers for eugenics plodding taking place through the 80s.  Carracedo's doc. gets buried under the long-drawn-out legal proceedings to invoke justice.   Legal battles have been waged in Argentina for more than 8 years to extradite accused Nationalists who tortured, killed and stole infants since they are immune in Spain. The questions raised about white-washing history are prescient and omnipotent.  The ongoing proceedings to recover remains of loved ones feels remote & of lesser consequence. "The Silence of Others" would benefit from major editing and redirecting its lens on how, why and the implications of dismissing and rewriting history.  

Tony Winner Alice Ripley stars in THE PINK UNICORN Understanding and Transformation

Alice Ripley won a Tony for her performance in "Next to Normal."  Should "The Pink Unicorn" move to Broadway, she should win another Tony for her heartfelt performance of a mother's journey of love, understanding and support for her daughter's gender neutral identification.  Trisha Lee (Alice Ripley) lives in a small Christian TX town where most people attend Church regularly on Sundays and put out the American flag every 4th of July.  The town isn't known for its diversity or its open mindedness.  Trisha takes us into her confidence and trust sharing her befuddlement when her only child, Joeliene informs her mother she is gender neutral a.k.a. gender queer or pansexual.  She tells her mother she wants to be called Joe and the correct pronoun is they.  Joe tries to explain her to dazed mom that gender neutral means not identifying as either male or female.  Trisha's  acceptance for Joe's penchant for wearing all black and short, multi-colored hair style did not prepare her for the serious talk they had at the dining table over tea when Joe revealed the shame felt in concealing being gender queer.  Her classmate Elijah Breckinridge came out as gay and now Joe felt empowered and compelled to freely express how "they" feel.   Joe tells her mother to look it up which she does while at her housekeeping job at a hospital.  Trisha needs the work after her husband was killed by a drunk driver.  Trisha earnestness to understand & support her daughter are all very real and lead her to an epiphany of inner-strength and compassion.  The local priest, Father Dick "he really is a dick" preached the Episcopal Church's acceptance of gay priests as an abomination and heresy.  Trisha questions the priest's narrow minded religious rhetoric.  Joe & Elijah's attempt to form an LBGTQ and Straight Alliance Club at school but are banned by the blockheaded principal.  Ripley has this magical ripple effect that fills the stage with real characters and emotions spinning a one woman show into a transformative work of art that is quietly powerful and deeply penetrating.  Trisha wonders "if God didn't make people of diversity to make us better people."  Playwright Elise Forier Edie has written a smart, warm, funny and provocative play that mystify the soul inspiring empathy, tolerance and love.  We are us better for having experienced this miraculous production from Out of the Box Theatrics.  Out of the Box Theatrics is committed to hiring diverse actors, playwrights regardless of gender, race, creed, ethnicity, or disability.  

British Playwright James Graham's INK - Rupert Murdoch's Rising Claim in the Media Game

Stop the presses for the sensational West End import INK, a biopic play about Aussie Rupert Murdoch's initial emergence as an international media mogul.  Playwright James Graham's (b UK 1982) INK received an Olivier & Tony nomination for this exceptional production of an indelible portrayal of a ruthless & brilliant business operator.  The script follows the year 1969-70 in which Murdoch took over the fledgling SUN paper in London and transformed into a best selling tabloid.  Murdoch is mercilessly played by Brit Bertie Carvel nominated for a Tony in this role.  INK is a David v Goliath story in which its anti-hero Murdoch maneuvers to beat down the competition with steadfast cunning and has you rooting for his success.  Already a newspaper king in his homeland, Murdoch aims to get conquer the media game abroad appealing to the everyman by selling them what they want. Murdoch pulls the wool over the eyes of its major competitor the "Mirror" starting by luring away Larry Lamb (Johnny Lee Miller in a pitch perfect performance) as editor for the "Sun".   Murdoch agrees to allow Lamb free range over the paper.  Under Lamb's no holds barred modus operandi, rag tag team  of unconventional journalists & photographers, and Murdoch's omnipresent oversight without overstepping, the paper transforms into a sensationalized tabloid outselling the competitors. Major breakthroughs came with exclusive reporting on Murdoch's Deputy's wife kidnapping for ransom. Lamb ran 1st hand privileged information which may have compromised her rescue.  Lamb was the first to post female nudes and to use the telly to advertise the SUN.  Both moves garnered massive readership.  The entire cast is first rate.  Rana Roy (Stephanie Rahn) is outstanding as the infamous first female nude. The sleek scenic design by Bunny Christy provides the fast paced underpinnings to putting together a paper and keeps the tempo pulsing.  Murdoch explains the 5 W's requisite for writing a news story with a wry take on the WHY.  "Once you give the why - the story is over."  Murdoch's business acumen kept his eye on the ever changing future in media to remain relevant and expanding.   INK makes you think whether the media feeds the people what they want or are we now being dictated by the media what it is we want.   Graham's thrilling writing, Rupert Goold's tight direction and great acting make INK a formidable production that you'll want to see.  

Iranian/Amer.Siah Armajani's First Major US Retrospective at Met Breuer: Follow this Line

It's surprising that Siah Armajani (b Tehran 1939) immigrated to the US in the 1960sis only now having his first major retrospective at the Met Breuer given he's numerous large public installations both nationally & internationally including New York's 65' "Lighthouse" at the St. George's Ferry Terminal in Staten Island ('96).  This beacon of community gathering offers the public an incredible view of the NY Harbor.  "Follow this Line" is an extensive retrospective which shows the artist serendipitously blurring the lines between architecture & sculpture.  Many of Armajani's work in this exhibit call out violence towards minorities and censorship.  Armajani is an artist and architect.  I'll focus on his miniature architectural structures in the front gallery that are delightful, surprising, magical, childlike and sophisticated.  The nonsensical "Hogwarth" stairs, off kilter roofs and dollhouse size items that appear in unexpected places defy logic and kindle the imagination.  The inviting large grouping of diminutive houses and facades spill over with jest.  Do watch the video slides highlighting scores of his public installations which include bridges, outdoor & indoor public constructions located in many small US cities and overseas.  A bright orange railroad car sits atop an elongated bridge.  The small houses are constructed mainly of cardboard and the sturdy public structures of metal and wood are intended to draw the individual in and communities together.  Armajani was  transfixed with the gravity defying lunar landing in July '1969.   The NYT's paper of this historic event is splayed out with Armajani's wry wit. He writes as Eve to Adam, "We could fly to the moon if you'd only invent the balloon" and on another page "We broke Newton's law and the world saw with awe - the face of the man on the moon."  This well curated exhibit does expound Armajani's political and philosophical artworks.  There are opposing tensions in the "reading rooms" in the back gallery that invite you to enter and read from the papers and texts provided.  An ominous feeling of captivity pervades compelling some to steer clear.  And, the multitude of pencils embedded into wood evoke the perils of censorship.   Armajani referred to the German philosopher Martin Heidegger who said, "We still by no means think decisively enough about the essence of action." "Follow this Line" a Retrospective of Siah Armajani's structures and art leads the viewer towards concrete pragmatic undertakings and also draws you through the looking glass.

MET's CAMP Notes on Fashion - A Show of Extravagance that Underwhelms

The Fashion Institute's newest exhibit coincides with the MET Gala, "The Oscars of Fashion" is CAMP.   CAMP is a subjective term in style but unambiguous for its flamboyance, exaggeration, artifice, extravagance, whimsy, irreverence, decadence and more rather than less.  I would add an androgynous aesthetic that has also become associated with camp.  Oscar Wilde, one of London's most famous playwrights in the late 19th C was infamous for his effeminate flamboyance.  Wilde received requisite homage in the show.  There were replicas of his "dandy" fashion choices alongside photos of him wearing the reproduced outfits.  In being earnest, this show which should have dazzled, fizzled.  There's such a broad spectrum of fashions and icons to single out I thought I would've been wowed.  There were several problems with the curation.   The writings on the showcases were  illegible.  The pepto bismol pink walls were abysmal.  And, the narrow spacing leading to the finale galley was uncomfortable to maneuver. The loop of Judy Garland singing the phrase "Somewhere Over the Rainbow" was irritating.  The last gallery contained 2 levels of fashion showcases that captured some of the excitement and hype from this year's MET Gala.   Billy Porter got it right on the pink carpet with his outlandish & show-stopping get-up at the Gala.  The series POSE starring Billy Porter oozes with camp and is well worth watching.   The audio in the last gallery had a compelling rundown on camp and worth listening to.  The phrase that encapsulates camp best was "Absurdity that becomes desirable."  There were guilty pleasures to be found but note most of the modern fashions with an irreverent wink were by contemporary haute couture fashion houses:  Chanel, Jacobs, Mugler, Moschino, Balenciaga, and Vogue.  Also note these designers are major corporate sponsors of the MET's Costume Institute and benefactors of commercial items sold as you exit.  I did find a few favorite outfits: Moschino's deep purple taffeta dress splayed with vibrant, multi-colored butterflies and Theirry Mugler's "Venus" previously seen on Cardi B at this year's Grammys.  Bob Mackie's dresses were prominent as his style is a prototype of camp fashion.  But there were gross oversights from this show:  Liberace, Elton John and even Madonna in many of her incarnations.  Integral to the oeuvre of camp is the energy & attitude conveyed by the person behind the clothes.  Mannequins lack the capacity to exude the joie de vivre essential to carry off camp.  Pay no attention to this tongue in cheek cynic as a critic.  Go and have fun with "CAMP Notes on Fashion" meant to be savored like rainbow colored cotton candy.  

The Play HURRICANE SLEEP at iati Is a Time ill Spent-An Odd Twist on the Wizard of Oz

"Hurricane Sleep" is a One Act play with an interesting premise. The program portends a "disaster that brings us closer together and true intimacy."  Unfortunately, it delivers only a disaster set in NYC during Hurricane Sandy inside a flooded bodega.  NYC bodegas are polyglots of transitory people. Should strangers be stranded together by happenstance during a disaster, perhaps kismet or Kumbaya connections would flourish.  Sal (Rachel Schmeling) traipses into a  literally leaking shelter with sparse supplies strewn around.  Shedding her water soaked coat Sal begins to ply her bag with items.  Sal is startled by another girl, Ome (Neysa Lozano) whose inside watching her.  Hurricane winds are howling with no place to go so they make the best of matters by making pickle & potato chip sandwiches, playing truth or dare and holding a seance.  Look what the storm drags in - spirits of people from their past.  One ghost played fetchingly by Heaven Stephens appears as a Ome's mother and Sal's shrink/Svengali.  There's also beer pong boy and Señor, an elderly Latin singer.  Both only add more detritus to this soggy mess.   Playwright Andrea Goldman borrows from both "The Wizard of Oz" and the poetry of John Donne but mottles the play meant to be have an ephemeral dreamlike quality and theoretical gravitas.   The writing lacks brains and courage.  The magic word was "kindness" so  I will praise the clever set and props design by Mike Mroch, Heaven Stephens performance and Neysa Lozano singing.  Red Alert: there's no play like this.  It liquifies into a waste of time unless you're attending wasted on peyote or boxed wine,

Doc. FOSTER on HBO-Foster Care System Seen from Inside the System is a MUST SEE

The documentary film FOSTER available on HBO on demand is an extraordinary look into the Foster Care System.  The film uncovers the impact the foster care system has on a child.  Dir/writer Mark Jonathan Harris and producer Deborah Oppenheimer have made an unforgettable film of compelling stories within the LA Dept. of Child and Family Services; the largest county welfare agency in the US.   To say Mrs. Beavers, a foster parent is remarkable is a gross understatement.  She has taken in more than 1,000 foster kids, has 4 adopted children living with her now, one girl with autism and a young man with cerebral palsy.  She's become legal guardian for many others & constantly being contacted to take in more children.  Her unremitting patience, compassion and love for children is deeply moving and inspiring.  She'll tell you "When a child is taken from the parent, if they didn't have an issue before, they have one now."  The Dept. of Children and Family Services (DCFS) in LA has 18,000 children in the 'system'.  Their main goal is to reunify families & provide safe & loving homes.  Sadly, that's not often feasible.  The children will tell you "I didn't know I could be loved again." "You just bounce from place to place."  "I spent most of my youth in social welfare and I hated social welfare workers."  The doc. will highlight the dedication & compassion of foster parents, social workers, lawyers & judges & the turmoils of children placed in foster care.  The film focuses on 4 young people caught up in DCFS.  Raeanne, a young mother has her baby girl taken away at birth after traces of cocaine were found in the infant.  Raeanne's anguish is heartbreaking.  The custody of her daughter is given to the baby's father, Chris, an admirable hard working parent residing with his grandfather.  We see social welfare workers check-in on Chris and on supervised visits with Chris, Reanne & their infant daughter.  The goal for reunification is supported by social workers, the court system and Reanne's determination to care for her daughter.  The lens allows us to view the court system, the meetings between legal & social welfare advocates for the child and judges who are stringent but also supportive.  The mounds of paperwork in the courts and DCFS are overwhelming.  There are almost 1/2 million children in foster care in the country and the numbers continue to climb.  This documentary should be mandated viewing.  It reveals the inner workings of everyone involved DCFS; the strengths and endless frailties.   Essential changes argued here are the need to raise when children are cast off from social services to at least 21, more affordable housing, continued counseling and more foster parents like Mrs. Beavers.   Underlying issues of poverty, racism, mental health and addiction need to be addressed.  Nonetheless, FOSTER will strike a major chord for empathy, admiration and a clarion call for supporting the needs of foster children.    

Doc. On Tour with Asperger's Are Us-4 Comic Friends with Aspergers on Tour Airing on HBO

The HBO documentary series "On Tour with Aspergers Are Us" is comedy road trip with 4 childhood friends, now in their late 20s or early 30s, who all just happen to have Aspergers.  The 6 part docuseries follows Nathan Britton, Ethan Finlan, Jack Hanke and New Michael Ingemi as they take their comedy act on the road to 6 major cities in a broken down RV.  The friends met at camp for those on the spectrum and connected immediately and retained their friendship over the years.  Nathan, the unofficial leader says "When I found these guys I found my people.  I hadn't met anyone like me before."  I've never seen anything like this documentary made by the Duplass brothers, Mark and Jay.  The Duplass brothers followed the comedy troupe on their 6 city tour from Boston, NYC to SF & LA and several cities in-between.  Their original comedy material is absurdist, dead pan, self-deprecating and sometimes funnier than others. They experience a show that bombs and New Michael implodes, a show where the audience appear dazed and shows with genuine guffaws that generates joy for them.  Their routine (which gets repetitious) is besides the point.  So too is the fact that they have Aspergers according to Nathan.  Nonetheless, their unique personalities and quirky characteristics are met with compassion, understanding & support amongst each other.   Kindness imparted by strangers along the way is heartfelt.  Jack who favors hats, especially sombreros knows his worst habit is being late which aggravates the others.  Ethan expresses his self-awareness, his desire for more friends and to be more at ease socially.  Nathan doesn't want to be told how  inspiring or be patronized. The troupe sells T-shirts after shows and one spouts "Don't Pity Me."  Nathan wants to be recognized for their comedic talents.  The take-away from these reality shows is their uniqueness, their personal & interpersonal struggles and their unending capacity to care for one another.  At the end of show, the group may take Q&A from the audience.  Oftentimes this comes from parents with a child diagnosed on the spectrum.   Nathan draws a laugh from the audience when he congratulates the child for being "Aspe, that's great!"  And he offers sagacious insight "Try not to take anything personally.  They're working really hard to satisfy you and your needs while also making sure their lives are okay."  "On Tour with Aspergers" shows 4 guys who annoy each other but no matter what always accept and love each other.  Watching this endlessly fascinating series instills empathy whether intended to inspire or not.  You won't come away without wanting to be kinder and more accepting towards one another.