Puppet Show at the Public Library was very Popular

What to do on a rainy day just after the holiday? I had the bright idea of going to see a puppet show at the Healdsburg Public Library; a free event open to the public. This bright idea on such a dreary day was not unique in any way.  Little did I think, so many other families would have the same idea. Believe it or not, this made for an especially fun, family outing. The large function room inside the entrance had umbrella stands for collecting sopping parasols, preventing the carpet floors from becoming sodden. There were plenty of chairs for adults positioned behind a large, marked off area for children to be seated on the carpet closer to the "castelet", a fancy French word for the theater structure where puppetry is performed.  A librarian kept the traffic flowing into chairs and floor spaces so the program was able to start promptly (a crucial factor in entertaining preschoolers.)  The show did began with a bang. Rusty the floppy dog was quite amusing. Rusty asked "Are you ready for the puppet show?"  He received a rousing yes to which he replied, "Okay, please bring your puppets up so we can begin.  This brought squeals of laughter.  "No one brought any puppets?  Oh no! Well, tell me what they look like?" responded Rusty while flopping upside down. The children who answered sincerely were listened to with rapt attention by Rusty who had one paw supporting his fluffy head.  "Okay, I think I may be able to find some of those down here. Give me a minute.'' Rusty hummed beautifully while the gold sequined curtain billowed on the "castelet".  A ring of Christmas lights graced the top.  "Okay, boys and girls, I think we're ready to begin today's puppet show 'Jack and the Beanstalk:.  Anyone know the story?"  Yes came the gleeful reply from a chorus of children.  Other puppets, all manipulated by hand from under the stage, included Jack, his mom, his kissing cow, the man who sold Jack the beans, a growing beanstalk, a giant and a golden egg laying chicken.  The kissing cow was particularly funny. The puppets came to life through the masterful manipulation and voicing of the friendly looking puppets (even the giant). Of course, the best effects of all  came from the laughter of the children. Furthermore, everyone in the audience was courteous and helpful.  Parents needed an extra hand, or a child needed a spot were forthcoming.  I guesstimate about a total attendance of 100.  I'm also giving this event a score of 100.  Be sure to go online or take a program listing events held that are free to the public and for all ages. I've been taking knitting and crocheting at the library in the evening and I've been enjoying the monthly book club held during the daytime. Your public library is where it's happening. 

SALTBURN-Sizzles with Steamy Sex but Only Simmers Overall/Barry Geogha/Jacob Elordi

The cinematic SALTBURN slowly simmers with wistful lustful longing by Oliver (Barry Keoghan) after Oxford classmate Felix (Jacob Elordi) through a school year until the end of the term.  With the onset of summer and supposedly no where else to go, Felix, offers his new friend Oliver an invite to come stay with him at his family's home, Saltburn.  Saltburn makes Downton Abbey look minuscule and shabby.  Still, for everyone (me included) who enjoys rambling through English manors and observing the elite's stifling  manner, this is the film for you. (And, me too.) The lady of the house, I mean the manor is Elsbeth Catton (the beautiful Rosamund Pike, played with an icy veneer) and the Lord of the manor is Sir James Canton (Richard Grant, "Game of Thrones"). The setting is stunning and the handsome actors are more than just pretty faces giving standout performances. Barry Keoghan who played a mentally challenged and abused son in "Banshees of Inisherin" has been nominated for an Acad. Award two Golden Globes and received a British Acad. Award is a talented actor and gives a beguiling portrayal of an obsequious outsider that soon makes himself at home in his opulent surroundings. Felix, born to wealth, accepts all the adoration bestowed because he feels himself as owed.  Classmate, cousin and charity case to Felix is Farleigh (a fierce Archie Madekwe) a nemesis to Oliver until he becomes won over by Oliver's sexual overtures.  The haunting cinematography, lush lifestyle portray a hedonistic hell that portends a comeuppance for all the luxuries and sensual pleasures partaken.  Felix ventures off the grounds of Saltburn on the morning of Oliver's birthday with a surprise drive for a family visit with Oliver's estranged widowed mother. Oliver doth protest too much on the road to turn around but it's too late and his deceitfulness is soon revealed. Felix agrees not to disclose Oliver's lies to his mummy and father who've planned a Greek Gods/Goddesses themed birthday celebration. In the shards of the party's carnage, the body of the prodigal son is discovered.  Stiff upper lip, there's still protocol and etiquette to be adhered. The numerous cringeworthy and salacious scenes in SALTBURN get under your skin.  It's the kind of film that you'll be hooked into finishing once you've started watching to its disconcerting ending. Not a holiday crowd pleasure but a scintillating voyeuristic escapade.

MAESTRO-Alas, No Master Class/Bradley Cooper Does Badly

MAESTRO, the biopic, musical movie about Leonard Bernstein's life stars acclaimed actor Bradley Cooper.  Cooper also co-wrote and directs this massive missed opportunity for a film depicting one of the most gifted and beloved musicians, composers, educators and conductors of the 20th C.  A prodigal pianist by age five, born to Russian immigrant parents in New York, Bernstein became a cause celebre' at 25 when he filled in to conduct the NY Philharmonic on short notice and got noticed by fans and musical muckety mucks, alike. Bernstein was hailed as a conductor who made classical music accessible to everyone, especially young people in his young people's concerts. These televised programs are emulated and used as teaching tools today.  One of the greatest musicals of all time to grace Broadway is "West Side Story".  Bernstein famously collaborated with renowned choreographer Jerome Robbins on "West Side Story," and also on the ballet "On the Town," one of NYC Ballet's iconic ballets.  My favorite scene was of Bernstein watching a rehearsal of "On the Town" with starry-eyed adulation. Was this for his music, dancing or for one of the male dancers.  This was not the first nod to Bernstein's homosexuality.  The morning he receives his life-changing call to conduct at Carnegie Hall, he hops onto his lover's back and plays the buttocks like bongos.  The main thrust of Bernstein's illustrious life centers around his intermittent flings with other men and while seeming to be flitting around his wife and family.  Filmed in black/white at the beginning of the film and in chroma color during his marriage to his wife Felicity (a compelling Carey Mulligan) and resuming black/white filming during his years as a widower  years as a living more openly gay was one of Cooper's artistic missteps as a director.  The cinematography was alluring but the artistic choices in mass were artifice devices which failed to suffice for a discordant story.  There were too many missing staccatos and missing beats needed for a resounding bio pick worth singing about. I wanted to hear about Bernstein's struggles as a composer or conductor.  What was his childhood like or his relationship with his parents (other dreaming of killing patricide). Symphonies contain several movements with pauses in between.  Oftentimes, novices mistakenly clap inappropriately and prematurely.  Cooper's directing felt as faux as his conducting Mahler's symphony and then showing Bernstein slobbering over Felicity after his less than faithful marriage which was at the core.  Overall I was left wanting to shout give us something much more than Leonard lusting for men again and again. 

The ETERNAL MEMORY-Doc.Too Personal for Mainstream Appeal

The very personal documentary film, "The Eternal Memory" covers a Chilean couple, Augusto and Paulina, both quite well-known in their home country.  Augusto, a former journalist who gained notoriety covering the political turmoil during Pinochet's dictatorship and Paulina, an accomplished actress and Cultural Minister. The footage spans their separate careers and their 25 years of marriage.  Augusto has been diagnosed with Alzheimer's disease which gives the film its center and surveys the bonds of love the two have sustained while adjusting to the strains of the disease. I found this film tried too hard to depict a poignant love story which is too often too personal, too intrusive and Augusto's benign personal and faulty memory, sadly pathetic.  A majority of time is filmed in the bedroom, with Augusto prone and Paulina providing him company.  The archival film of their earlier years shows a handsome couple, prominent in their careers and building their dream home. Sadly, their dream home is now, more or less, a confining castle in which Augusto is still able to navigate and be well-cared for. There's a scene of the couple taking a leisurely, hand-in-hand stroll which I found to feel staged. Paulina is still active in theatrical productions.  A very choreographed number shows Paulina rehearsing with the ensemble and the inclusion of Augusto dancing to his own-beat.  Some may find this sweet, I found it rather debasing.  True, Augusto appears happy and included.  But, let's not be deluded. Augusto's Alzheimer's disease has progressed to the point where he is no longer able to care for himself, and each morning is like ground-hog's day revisited. Paulina reintroduces herself and reminds him who he is, that they are married and that they' re in their shared bedroom.  The ETERNAL MEMORY is a self-indulgent exercise that doesn't fly in Peoria or outta Chile or the family's personal archive.  I wish Paulina and Augusto all the best. I  know this film was well intentioned but it misses the mark intended for mainstream viewing.    

Comedian Nimesh Pahtel-First Stand-up at LBT Hopefully not the Last

Last night in Santa Rosa's Luther Burbank Theater, Nimesh Patel graced the stage with his erudite, cutting edge humor that poked fun at political candidates, religions while maintaining a friendly, relaxed banter. The audience had an Indian cartel representation who let their adoring presence be known to Patel at the behest of the rest of us. Even so, Patel was delighted by those who showed up (which left the upper balcony totally vacant). Perhaps, a small venue is more conducive to his style of stand-up; smart and laid back with equanimous, humorous attacks.  Pahtel put down presidential candidate Ramaswarmy calling him "smarmy with a terrible hair style and a bone to grind.  The kind of guy I went to school with that tattled on everyone."  Patel cleverly poked fun at the folklore and symbolism in Hinduism. He turned the tables on Christianity, particularly the symbol of Jesus on the cross and "Jesus is in the Karan." The Muslim faith was also fodder for funny jabs. All told, Pahtel's capriciousness in moving from one topic to another was strategic and similar to Dave Chapel's circuitous comic routines.  I found Pahtel's irreverent bravado  charming. His engagement with audience members, totally disarming. Pahtel's exchange with Tim, a weed grower in the area for more than a decade, provided a solid groundwork for jokes.  Pahtel developed this kernel into comedic genius. His irreverence, no holds barred approach made Pahtel a comedian at the top of their game, whose name should alongside his favorite comediennes, "Chris Rock, Dave Chapelle and Wanda Sykes." Chris Rock spotted Pahtel performing early in his career and hired him to write jokes for him. From there Pahtel went on to be an Emmy nominated writer for SNL.  "What are the 3 careers that Indian parents expect their children to pursue?" he called out to the audience.  On cue, the Indian contingency shouted out, "Dr. lawyer, or engineer!" Admitting to disappointing his parents after graduating NYU with a degree in finance, he side-stepped into comedy writing. But, he said they've supported him all along and he spoke fondly of the familial ties in Indian families with its scores of aunties and cousins.  Pahtel brought up his therapy and had a funny and touching conversation with a patron of his therapy. Pahtel's easy command on stage allotted hot topics from the Palestinian/Israeli war,  to providing porn for his dying papa. While performing at Columbia Univ. (2018) Pahtel was kicked off-stage for a joke made about being born black and gay as not being a choice. (Personally, I find his joke funny). Regardless, I disagree with his being censored. Pahtel was doing his job as a comedian. Let's all lighten up a little. Hearing Pahtel perform live last night was a tonic for toxicity. I particularly liked  his welcoming Q&A's with the crowd. Asked for his favorite joke he's written. He shared a joke about having annal sex with Mike Pence.  Hence, Pahtel is a comic whose star is rising quickly. Catch him live at smaller auditoriums. He didn't fill LBT but he's heading to MSG and I bet it will be a packed garden party. 

Irreverence

standup 

FREMONT-Not for the Masses but for Discerning Asses with Jeremy Allen White/Anaita Wali Zada

All joking aside, this black/white, blistering film is for anyone whose experienced isolation or torment. And, especially for pompous asses who clamor for this type of turgid drama drawn out at a snail's pace. For those whose interests I've piqued, it's now available on Apple.  You may grapple with why Jeremy Allen White agreed to be in this picture, albeit a fleeting few minutes. Someone with his star power has the power to pick and choose with little to lose and lots to gain.  Directed by Iranian born Babak Jalali who received a BAFTA Award for his short film "Heyday" and "Radio Dreams" which won the Hivos Tiger Award. The film focuses on Donya, played with great strength and nuance by Anaita Wali Zada, an  Afghan refugee herself, in the role of a recent immigrant who fled Afghan after serving as a translater for US intelligence.  Donya plays a haunted refugee struggling in a lonely purgatory. working a numb minding job in a Chinese cookie factory in Fremont.  She lives alone in a tiny walkup apartment amidst other recent Afghan immigrants battling their own ghosts.  Some ex-Afghans offer solace, the wizened waiter for one who keeps her company as she eats dinner from a slight distance and a weary Afghan closer in age who offers wisdom between long drags on his fags late at night on their adjoining walkway.  And, there are immigrants who shun Donya believing her a traitor. While working her tedious, fortune cookie stuffing and wrapping job, she's befriended by an overweight, body-pierced co-worker, Joanna. Joanna is on a mission to find a mate.  Their friendship appears the only respite staving feelings of total alienation.  With little to do outside work and a myriad of thoughts running through her mind. Donya suffers from insomnia. She's desperate to obtain a prescription for sleeping pills. Her cunning and resolute attitude manages to usurp a bureaucracy swarting all her efforts to obtain help.  Help comes in the way of a bizarre shrink (a dead-pan Gregg Turkington) as Dr. Anthony.  Dr. Anthony thinks the answers to life all stem from Jack London's novel, "White Fang." Donya devises a scheme to insert her tel. # advertising for a date on fortune cookie slips.  One cookie lands in the hands of the stingy, resentful wife who is a co-owner with her husband of the factory. The husband is kind and well-meaning. He refuses to fire Donya as his wife demands.  However, the wife constructs a cruel ploy luring Donya on a road trip to do a fool's errand. "How wise are they that are but fools in love?"* The car ride leads Zada to cross paths with a lonely auto-mechanic. They talk over lunch across separate booths inside an empty diner.  Don't miss out, take a chance on seeing this out-of-the-way, artsy film. It's a melancholy joyride, beautifully shot with superb acting.  Of course, this is a must see for the asses even if they aren't able to articulate what makes this unassuming movie so appealing.       

*Unknown-fortune cookie slip

KILLERS of the FLOWER MOON-Flows Slow with Leo and DeNiro

KILLERS of the FLOWER MOON ("KFM") is a cinematic feature broadly based on David Grann's historic book.  KFM conveys the heinous murders of scores of people of the Osage nation. These rampant killings went uncontested by law enforcement in the 1920s. A shameful note: the OK massacre of the African Amer. population and businesses also took place in 1921.  A scene in K FM is in theater and a newsreel is depicting the Tulsa Race Massacre.  Both melees in OK have mostly gone unheralded as the mass murders were committed by resentful, white people with the intent to raze both races and confiscate their lands and fortunes. The film also shows the Klan marching proudly and unobstructed down the town's main streets. Dir. Scorsese is to be commended for the historic significance he's canonizing on film. The conveyance of under represented blights on humanity must not be ignored.  There's much to admire in this epic feature, beautifully filmed and acted.  Scorscese tapped into his reliable/bankable A listers.  The  brilliant ensemble cast include DiCaprio as Ernest Burkhart, Robert DeNiro as (Ernest's uncle, William Hale), Jessie Plemmons (FBI investigator, Tom White) and a bravado performance by Lily Gladstone (Ernest's wife Mollie Burkhart of the Osage nation).  The film is a demanding 4 hour saga difficult to sit through in its entirety. The events and people are factual but this murderous/crime thriller fails to rouse above a tepid tempo of intrigue.  The duplicitous killers are known to the viewer. Nevertheless, the plot needlessly  meanders at a plodding pace lacking suspense.  The impact of the premeditated intermarrying in order to siege Osage's oil land rights and then assassinating spouses and family members didn't register strong enough shock or repugnance. Ernest courts and marries Mollie as instructed by his svengali uncle, William and then slowly tries poisoning her while coddling her as she writhes in pain. These scenes were agonizing to watch. However, DiCaprio with a Gomer Pyle pout and blank expression was pitifully malleable without seeming credible.  DeNiro's narcissism and justifications for destroying the Osage to enrich himself fared better in his cringeworthy role. Plemmons, as an FBI investigator Tom White was summoned to OK after Mollie ventured to D.C., met with the Pres. Harding to plead for protection for her people being slain.  Plemmons was intriguing in his portrayal as an unassuming and stalwart investigator.  Ultimately, Scorsese's fact based storytelling unveiled a domestic intimacy that didn't feel  immediate or despondent enough to evoke terror or pathos. Ernest gushed, "I love money, I surely do," at the poker table but don't bet on him convincing a sagacious Mollie he's a devoted, selfless husband. FKM does justice to events long brushed aside.  Yet, it doesn't fully broker the horror or abhorrence committed against the Osage nation.       

Matteo Bocelli Makes Beautiful Music at LBT

Italian rising star, Matteo Bocelli (son of opera legend, Andrea Bocelli) is taking aim at fame on the pop star track in the United States. Already a well known artist in Europe, Matteo hopes to grow his fan base here. Last night's performance portends the likelihood Matteo will likely gain popularity rapidly for his tenor recordings which have garnered several Grammy Awards and for his ingratiating appeal.  Yes, I was smitten with the offspring of the great Andrea Bocelli who has also been named one of PEOPLE"s 50 Most Beautiful People.  Matteo's inherited talent and good from his famous father.  Fans in the theater waved their iPhones inside Luther Burbank Theater in appreciation of last evening's one night show.  It's fair to say Matteo does not possess the full richness of Andrea's resounding vocal (at least yet).  There is a similarity that reverberated in his ballads.  Matteo came onstage without fanfare and sat at the concert sized Steinway accompanying his first song.  He told the crowd this was his first US tour then introduced us to the musicians performing with him.  His musical entourage included keyboard, acoustic guitar, violin, viola, cello and electric cello.  The cellist doubled up playing a neon lit electric cell and the keyboard player performed on guitar and piano.  Colorful lighting in crimson red and midnight blue added to the high-spirited concert.  The smoky haze emitted was more of a distraction.  Matteo came down in the aisle and flirted jovially with female fans while her husband raised his arms in resignation.  Matteo encouraged audience members to dance. There were several takers along with a bodacious woman in a form fitting jumpsuit that made a more salacious sideshow than Matteo may have intended.  After a few songs, Matteo's voice smoothed out and built-up fuller sounding.  I preferred hearing the love ballads  that were sung in Italian and best emulated his father's style.  Tony Bennett was a mentor and close friend whom Matteo spoke of lovingly.  While Matteo's vocal range was limited, his sex appeal was not.  Towards the later part of the program, standing ovations were given after each number.  When he announced the last number, audible bellows of "No!  Uno mass!" were heard.   Having left after the first encore, I could detect roars of applause way out in the parking lot leading to a second encore.  We'll be hearing and seeing more of this dynamic artist who is a chip off his father's shoulder and someone who holds his own on stage.  Bravo Matteo!

Open Poetry Reading at 222

Poetry is an art dish best served up spoken aloud.  "Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen," as best described by Leonardo da Vinci. The free poetry program welcoming orators of their poems was held last evening at the 222 in Healdsburg.  The evening was hosted by Rev. Sally Hubbell of the Rector of St. Paul's Church.  Rev. Sally is also the Community  Prog. Dir. for the 222. She began the evening on a somber note. She said poetry exacts something from her in ways that many things don't do and then quoted Emily Dickinson, "It is difficult to get the news from poems yet men die miserably every day for lack of what is found there."  The Rev. said what many of us are feeling from the news today is oppressive and requires her to step away at times.  I concurred and considered listening to poetry recited as a means to elevate my spirit on a rather cold Sunday evening.  Rev. Sally encouraged those reciting to offer an explanation as to what inspired their poems.  The disparate participants ranged in ages from 15-85. Both men and women were equally represented. The Rev. sought unifying themes in subject matter of the poems which really didn't matter.  What mattered most for me was the gift of sharing proffered by the poets.  As Dylan Thomas wrote, "A good poem is a contribution to reality. The world is never the same once a good poem has been added to it.  A good poem helps to change the shape of the universe, helps to extend everyone's knowledge of himself and the world around him." A few poems read actually took my breath away. One lovely woman with long blonde hair and knee high black boots said this was her first time reading her poetry in front of an audience. I surmised her to be an aspiring actress. She urged us, "feel for a pulse in the stars around you. Do things that don't cost money. Read poetry, write anything." This reminded me of Kurt Vonnegut's quote, "Sing in the shower. Dance to the radio. Tell stories. Write a poem to a friend, even a lousy poem. Do it as well as you possibly can. You will get an enormous reward. You will have created something." An 84 year old aspiring poet told us she had suppressed her creativity and is now feeling "surprise and courage again".  Her poem was entitled "Leap of faith." My favorite poem was by Jacquelyn Wells, a gifted playwright who was "taking a stab at poetry". Her poem she named "November" struck a chord in me. She called the month, "Nasty as a bear roused from slumber".  I was hypnotized by her personification of Nov.  I am paraphrasing from her verse, ."..Nov. has shards of strong fingers and dances on the moon. Nov.is a solitary guy searching for secrets in the rocks."  A 15 year old male eagerly shared his poetry. He explained it was from a school assignment.  A male reader donning a Santa hat read his rhyming poems which were eulogies for his mom, dad and cousin drunken toasts heralded at wakes.  Another gentleman wrote a poem after the Israeli/Hamas war and hearing the repeated chant, "I stand with Israel". His poem resounded with proselytizing. "I stand with dignity...pleading with humanity," but his  line, "buried by the same earth" resonated.  The next reader was a young woman whose poetry came from the conflicts between her and her mother. "I'm going to forgive you until my heart has a shiner." Her poetry would've won a slam poetry contest.  A very clever and biting poem talked about pretentious diners, "I pick cilantro from my teeth to the annoyance of manicured man."   I applaud all the participants for their creativity and generosity.  "Only those who will risk going too far can possibly find how far one can go."  T.S. Elliott  There will be a Prose Reading Event at The 222 on Feb. 25th and I will be there to listen and perhaps to share. 

SRJC'S A CHRISTMAS CAROL the Musical

Charles Dickens' A CHRISTMAS CAROL is a Christmas classic that has been performed in numerous iterations with a broad array of Ebenezer Scrooges.  Some iconic stars who've graced the role are Tom Hanks, Albert Finney, Michael Caine, Mr. MaGoo and of course, Scrooge McDuck. This beloved holiday story of redemption was given a musical adaptation by Alan Menken.  It was performed in MSG from 1994 to 2003.  Menken is the musical genius who composed many scores for Disney's including A LITTLE MERMAID and BEAUTY and the BEAST.  The SRJC's ambitious production adapted Mencken's music.  A live orchestra performed under the musical direction of Nate Riebli winner of the SFBATCC Award for "Excellent Achievement in Music Direction (2018).  A full cast accompanied by Mencken's music pumped vitality and enchantment into Dickens' beloved tale. The delightful and dynamic cast included top vocal performances by Alana Weatherby as the Host of Christmas Past (a current SRJC student) and a very convincing Ebenezer, played with umbrage and later with compassion by Justin Smith.  Smith has appeared in roles in films such as "The Right Stuff" and the TV series "General Hospital".  The cast also included young performers who added warmth especially in the full ensemble musical numbers, "Hear the Bells" and "Abundance and Charity".  Several minor missteps in choreography added an inimitable charm.  Choreographed by Tamara Grose, choreographer for NYC Dance Congress & the Nat'l Thespian Society. Her steps and staging shined brightly in the "Annual Christmas Ball" and set the tones beautifully for bustling, wintry London streets.  The elaborate costumes from topcoats and tails to ragamuffin garbs looked authentic. The lighting shifted in colors and tones, enhancing the Victorian era.  Special shout outs for the two signers who provided signing throughout the show.  Bravo!  For humbugs who are unfamiliar with the plot, Scrooge is a miserly, mean curmudgeon. Scrooge hoards his wealth and  rebukes acts of generosity oe kindness.  But, he's given a miraculous opportunity to reckon with his life and perhaps change his heartfelt ways after being led on a magical journey by spirits into the past, present and future.  One of the reasons this story has such staying power is its alluring storytelling that encompases empathy, hope and forgiveness.  Today is the last day for this first rate production priced incredibly low starting at $15 for 12 and under, $20 for students and $25 regular price.  A CHRISTMAS CAROL makes for a lovely holiday tradition for the entire family.  Hurry it's not to late.  Don't be a Scrooge, have a heart and do your part to support your local theater and God bless us, everone! 

BYE BYE BARRY-Why Did Sanders Flee from the Game and Fame

BYE BYE BARRY is the compelling sports documentary screening on Prime about Barry Sanders, a Heisman Trophy winner and NFL Hall-of-Fame honoree.  This football centric film covers the career of Sanders as a star running back for OK State and then for the Detroit Lions (1989-1999) is captivating regardless of one's interest in football.  The biopic features clips of an incredibly gifted athlete with remarkable accomplishments on the field and who proves endlessly fascinating off the field. Sports writers, famous Detroit celebs, NFL players and coaches marvel at his abilities and achievements.  Watching footage of Sanders maneuver past the defensemen you can't help but agree. Football sportscaster and former NFL player Dan Dierdorf said while watching Sanders elude tacklers, "There aren't enough adjectives to describe what Sanders does on the field.  Even God didn't know what he created when he made Barry Sanders."  Sanders smarts and agility on the football lead him within breaking all-time rushing records in h.s., college and the NFL.  The drive to play the game and win as a team was his motivation. Individual stats or honors were not his end-game.  When his h.s./college coaches gave him the opportunity for playtime to enhance his stats, he declined asking his teammates be allotted game-time.  This seemed to Detroit celebrities like Jeff Daniels and Time Allen.  Eminem said "He had to know how great he was but he never showed it."  Being labeled diffident was something Sanders disagreed with. In the few reluctant interviews Sanders gave, he objected to being labeled shy, "I'm not shy.  I prefer not to be put in the spotlight and want to be respected as the individual I am."  Lauded by his teammates for refusing special attention and credited for coalescing them, Sanders helped bring the Lions within a game of a Super Bowl spot.  He was unique and humble as a  player who always handed the football off to the refs and never engaged in showy moves in the end zone.  His character was made even more notable for having a father always clamoring for the limelight.  The contrasting of two such diametrically opposed  parent and child made Sanders' stoicism all the more beguiling.  The enigma of why Sanders would walk away still in the prime of his career seemed clear to me.  His passion for playing was waning and the team he helped gel was quelled by management's disruptive decision makings.  The paradox for me is why so many are puzzled by Barry's choice to leave an arena they perceive as the ultimate pinnacle of success.  I came away not merely astonished at how he performed in the NFL, but also enthralled by the paragon of authenticity and level headedness he portrayed. Sanders left incredible NFL stats and an indelible imprint on Detroit fans.  BYE BYE BARRY provides plenty to ponder whether or not football is your end all of pastimes.  Say, aye aye to watching BYE BYE BARRY. 

The Magic of FLAMENCO-Maria Bermudez's "Sonidos Gitanos" LA's Disney Music Hall

My first time at the Disney Music Hall was this past Saturday for the one night performance of "The Magic of Flamenco".  I know, it's hard to believe it took me that long to get there and equally strange that it would be to see a program of flamenco rather than "Classico" conducted by Gustav Dudamel.  Oh well, it was both a fabulous and regrettable evening's entertainment.  I expected an entire program of flamenco dancing.  Regrettably, this was not to be.  Yes, there was torrid, passionate and intoxicating dancing by international star Jose Maya.  Maya has performed with such illustrious performers as March Anthony, Beyonce and fellow flamenco stars Antonio Canales and Juan Ramirez.  Maya partnered for one interlude with Ana de Los Reyes.  She's performed with Sara Baras and was a soloist at the Palacio Villavicencio.  The two renown flamenco dancers demonstrated with pizazz all the fervor, energy and artistry required to instill the intensity and excitement of this romantic art-form.  Flamenco culture originated in southern Spain and shaped by dancers and musicians from the Caribbean, Latin America and Europe.  Today, it's considered a consummate icon of artistry in Spanish culture.  The shawl dance performed by de Los Reyes was sensual and hypnotic.  The solos danced by Maya were tantalizing, and left me wanting more dancing from him.  The program was too heavy handed with singing performances which sounded more like caterwauling; the sounds you'd throw a shoe to force the yowling stop.  This criticism is harsh (it wasn't all screeching) but more than I had the patience or preference for, furthermore, my fury was stirred by the pounding of fleet footwork and exotic bravado from the steamy choreography.  The pianist, guitar players and percussionist enhanced the experience of flamenco culture was by the musicians' virtuoso playing.  The percussionist sat upon his "boxed" instrument playing it like a bongo and used drum sticks on a conventional drum and cymbal alongside him.  The musical number played by the two acoustic guitarists was a welcomed, harmonious respite for the evening.  Pianist and composer, Diego Amador, has collaborated with jazz artists Charlie Haden and Chick Corea.  Although referred to as "El Ray Charle Gitano" (the gypsy Ray Charles) I find that a stretch but his compositions and style should be credited with contemporizing flamenco aesthetic with a jazzy Latin sound.  Next time round (which won't be another 20 years) I'll pass on a "Magical Flamenco Program" and opt for a dance program or the LA Symphony instead.  

ALBERT BROOKS: DEFENDING MY LIFE-Hilarious Doc on an Endlessly Talented Entertainer

Albert Brooks is an actual genius.  Actually, he's Albert Einstein.  Albert Brook was born Albert Einstein in 1947 to show business parents in Beverly Hills.  Brooks changed his last surname from Einstein to Brooks after graduating from high school.  Former classmates include Richard Dreyfuss and Rob Reiner.  Since then, Rob and Albert have remained "best friends".  Their friendship and mutual admiration is apparent without being indulgent in this ongoing interviews with interludes of past comic skits, movie roles and adulations from A list show biz people who have their own sharp take on what it takes to make it in this business.  Among those paying tribute are Chris Rock, Ben Stiller, Judd Appatow, Jon Stewart, James Brooks, Steven Spielberg and Larry David to name a few who put Brooks at the very precipice of comedy, acting, directing and movie making.  The one celeb who stood out as out of his league  amongst this prestigious group was TV reporter Brian Williams (and whose credibility has already been tarnished).  I advise editing him out of the picture.  Otherwise, this comprehensive retrospective which bestows respect from elite entertainers is endless fun for die hard fans and for those soon to become fans for his pioneering career which further entails writing, editing, voice overs, stand-up and dramatic and comedic acting. The deep bond between Albert and Rob exudes a palpable warmth that makes this biopic a delightful sojourn through memory lane and iconic movie moments.  There are older comic bits that are so absurdist or outrageous they have to be seen to be believed for his courageous humor.  His bit as a nitwit ventriloquist is hilarious not to mention courageous.  All the major stars heaping praise on Brooks in the film already consider him at the forefront in a field laden with major talents.  David Letterman said "I'd trade my career for Alberts".  ALBERT BROOKS: DEFENDING MY LIFE further assures his legacy as a leading pioneer in movies, comedy and TV.  

ANATOMY of a FALL-Breaks Apart a Marriage and Tears at the Heart

The French film ANATOMY of a FALL is a haunting thriller and courtroom drama that lands the widow on trial for her spouse's murder. The pieces don't all add up leaving questions to her guilt, beseeching answers as to how and why. What's clear is a troubled marriage whose problems get shredded before a packed courtroom that includes their eleven-year-old son Daniel (Milo Machado in a heartbreaking performance).  The married couple is composed of acclaimed German novelist Sandra (a stellar Sandra Huller) and Samuel (Samuel Theis) whom we glimpse only in flashbacks. The movie's nebulous, troubled beginning is of young woman attempting to interview Sandra in their rustic home amidst the sparsely inhabited French Alps.  It's early afternoon and Sandra is imbibing in a glass of wine. Sandra's bumptious banter is interrupted by ruckus music rendering conversation futile.  Sandra asks to reschedule without having asked her husband to lower the volume.  Not long after the woman's departure which plays into the trial, we witness a man falling from the third floor balcony to his death. Their son and his seeing-eye dog are the first to discover the body.  Daniel yells for his mother's help. These scenes are scrutinized by the police and an investigation leads to Sandra being charged with murder.  The film melts into a fascinating analysis of grief, resentment and guilt. Daniel mourns the loss of his father.  The loss of his vision caused by an accident years before doesn't blur his keen insight into his parents' tumultuous relationship. The playing of a concealed audio tape taken by Samuel of a verbal/physical altercation with Sandra is played in court to frame her motive and character.  The depiction of French court proceedings varies strikingly from our legal systems. The cross-questioning of a witness may be simultaneous and the combative nature of questioning is given huge leeways.  It's surprising what's considered hearsay when testifying.  And, it's contentious what constitutes subjective v. objective interpretations.  Expert witnesses present opposing conclusions casting doubt on the validity of expert witnesses.  Sandra has steadfastly retained her innocence. We're driven with faulty cracks from our observations and courtroom testimony.  In fact, why would an embittered woman push her husband to his death rather than push for a divorce.  Without being struck over the head, we experience bruising in logic arrived from various angles. The most potent pangs come from the final testimony proffered from Daniel.  While his shattering testimony is not exculpatory proof of his mother's innocence, it is culpable of creating anguish. ANATOMY of a FALL is flawlessly acted and proves a faultless film.        

FOREVER YOUNG-Asked if Given the Chance to be Young Again Is a No Brainer Like the Film

FOREVER YOUNG now screening on Prime Video begs the question, given the ultimate gift of eternal youth and eternity would you take it.  My take is what imbecile would opt out?  In this staid and steely paced film, set in the present, the far-fetched potion for removing wrinkles along with all signs of aging and disease has miraculously been concocted. This cockamamy and retreaded plot had its aesthetic and acting appeal from its lead actresses portraying Robin Smith, who is incredulously transformed from frumpy and arthritic (Diana Quick) back to her original ravishing beauty and health (Amy Tyger).  The elderly Robin is an established writer.  She's approached at a poorly attended book signing by an old acquaintance Jim ( Mark Jackson ).  Jim implores her, as he's apparently done before, to write his biography.  This is met with a resolute rejection.  Robin returns home to her sprawling country manor and her loving husband, Oscar (Bernard Hill).  Robin and Oscar have been in a devoted, passionate marriage for over 50 years.  (Note: Science has solved for ED with viagra but has yet to alleviate crippling arthritis).  Oscar tells Robin he doesn't regret one moment of their lives together.  What he doesn't tell her is that he has pancreatic cancer and little time left.  Robin doesn't tell Oscar she aborted his child early in their marriage. She does tell her longtime friend Jane, (a bewitching Stephane Beacham) she regrets not having a child.  Shortly after the dismal book signing, an unfamiliar young man arrives at Robin and Oscar's estate. Robin's befuddled by the dashing caller who claims to be her old friend James. This is incredulous since this man is in his 20s, not his 70s.  Nevertheless, it takes little for James to convince Robin it's him and that he's solved for the "disease of aging".  James brandishes a vile containing an iridescent liquid and asks Robin to reconsider writing his life-story.  Robin assuredly agrees but not before Oscar intervenes not believing the intruder is who he claims.  James takes a sadistic pleasure in revealing salacious tidbits that attest to his identity for his longtime rival.  James easily persuades Robin to try his formula.  She's then swiftly transformed back into the stunning woman of her youth.  While the patented formula for finding a fountain of youth possesses an enticing premise, this film  doesn't prove convincing or captivating.  The jejune plot dissolved into distasteful storylines that include James' daughter a homeless heroin addict, Oscar's refusal to partake in this age defying experiment, James' claims of risk and subterfuge from the drug company and his hapless ploy to win Robin's affections.  The central conflict is the most aberrant. Given the incredible chance to relive her life as a glamorous ingenue Robin's sole desires are to be with the octogenarian Oscar and bear his child.  The only side character that added some spark to the droll  drama was Jane whose vanity was etched in reality.  She was haunted by the loss of her looks; obsessed by  plastic surgery. Jane uncovers Robin's transformation and is driven by jealousy and rage that cuts ones' nerves. Otherwise this fantasy feels faux and fails to muster the sense of wonder you'd expect given the elixir for staying youthful.  FOREVER YOUNG was A frivolous waste of time.  I should've taken a beauty nap instead.    

Natalie Portman Julianne Moore Star in MAY DECEMBER May Get Oscars Come March

MAY DECEMBER is a drama derived from the notorious sex scandal surrounding schoolteacher, Mary Kay Letourneau, 34 at the time and her student Vili Fualaauwho was 12.  This tawdry case landed Mary Kay in prison for raping a minor while maintaining it was consensual between them.  Complicating this contemptible, illicit liaison were the children born to the couple while she was serving prison time and Vili just a teen.  On the big screen, Nathalie Portman plays Elizabeth, a movie star who will be portraying Grace (Julianne Moore) whose life mirrors Mary Kay's.  Grace was 36 at the time she engaged in a sexual affair with 16 year old Joe (Charles Melton).  Grace also served time in prison for having sex with a minor and gave birth to Joe's children before he's 18.  Grace and Joe marry after her release and raise a family together in an inexplicably, affluent manner.  Regardless, the matter of their financial lifestyle is irrelevant. What's pertinent is how the couple sustained their marriage and raised children into young adulthood amidst continuous outrage and public condemnation.  Elizabeth inhabits a method used in a character study with plenty of material to uncover. Elizabeth injects herself into Grace's psyche and mannerism.  Grace and Elizabeth present a steely facade.  Joe appears rather hapless. He's malleable; uncertain of what he wants for himself.  A friend of Grace's is leery of Elizabeth and warns her of "...those movie star types." The friend describes Grace to Elizabeth as "unapologetic, she knows what she wants."  Grace's sexual relationship with Joe cost her years behind bars.  Joe doubts how steadfast their love is and contemplates the price he's paid.  Cool, cunning and seductive Elizabeth initiates sex with a very willing Joe.  After she tells him not to make it a big deal, "It's just what adults do."  At the high school Grace's daughter attends, Elizabeth goes to speak with her drama class. She's questioned by a student about doing sex scenes.  She explains the line of pretending and expressing pleasure can get blurred to the chagrin of both the teacher and Grace's daughter.  MAY DECEMBER appropriates torrid tabloid stories from a real rape case which morphed into a family while sharply scrutinizing traits in people that cause them to cross a line of propriety and broaches grey areas of morality.  Added to this is a fascinating look at an actor taking on the persona of someone else.  This peek behind the curtain in the lives of Joe, Grace and Elizabeth is provocative and disturbing.  MAY DECEMBER is not for the naive or faint of heart.  It's a complex film to break apart, digest and regurgitate.  

Alex Edelman's One Man Show JUST FOR US is for EVERYONE and a New Family Tradition

You don't have to be Jewish to love Alex Edelman's play JUST FOR US. But then, you don't have to be a white supremacist to attend and blend into their meetings. However, it can help with both.  Edelman wrote and stars in this hilarious and timely play which serves up empathy dosed with schmaltz (the good kind) and embedded with the true meanings of Christmas; a time of love, joy, healing and renewed strength.  Edelman engages the audience for the swiftly paced 90 minutes with a bravado, solo performance which is nothing short of miraculous and a cause for rejoicing.  Edelman turned his participation in a white supremacist meeting, where "I was finally told I don't belong and told to leave" into comedic genius.  Victor Borge wrote, "Laughter is the closest distance between two people." Alex put it another way, "It's harder to hate those up close." It's true, shared laughter often signals shared views, but it also enlightens and garners understanding.  In his UWS apartment, Alex read a notice for recruiting Neo-Nazi sympathizers to a meeting.  He thought it sounded like a good idea at the time for him attend "in order to learn something." Perhaps he considered the meeting as fodder for new material. As it turns out, it proves both prescient and relevant.  While laughter has the ability to ease tensions and breed tolerance, empathy has the power for healing.  Rapport is established with curiosity and validation for opposing views which may then foster understanding and mutual respect.  Alex infiltrated the gathering of 12 men and 5 women where these individuals spoke of their anger towards the interracial marriage of Harry and Meghan, the demise of Confederate statues, political correctness and the slow genocide of the white race which got blamed on the Jews. Oh boy! How is this funny? How did he get out without being hit? Alex did leave after being outed but he didn't leave empty handed. * Besides a free muffin, Alex left with sympathetic feelings towards those he met.  He did however question, "To what degree should empathies be extended?" Throughout, Alex craftily weaves levity from physical comedy, jokes, and stories of his family and his Yeshiva upbringing.  He muses about his Jewish identity without any sense of victimhood.  It's apparent empathy was instilled at an early age from loving parents. The first and only night his family celebrated Christmas and Santa was unforgettably funny.  Edelman termed his show "non-political and benign silliness."  He presented a cunning style for social scrutiny and clever storytelling that came full-circle. With an abundance of heart wrapped around every anecdote and adorned with a yarmulke wearing teddybear - what's not to love?  Can you believe one can find common ground with polar enemies?  Yes Virginia, there's always opportunities for dispensing with enmity and making miracles.  You never know, the world keeps changing.  JUST FOR US should be seen by everyone and become an annual, holiday tradition for families.   *Alex also left with a piece of the 1,200 word puzzle in hand, pinched from an elderly, anti-semite who just might smite him. Or, can you believe it... might just like him.  

The HOLDOVERS-Paul Giacometti Is No Pushover but I'm a Sucker for this Film

The film HOLDOVERS starring Paul Giacometti as the cantankerous teacher, Paul Dunham, at an elite, eastern boys school tolerates no tomfoolery from the hooligans in his charge. Over Christmas break, supervision at this pristine, scenic winter-land, Paul (Paul Giamatti) is assigned (for punitive purposes) to supervise the few students left behind.  The Dean, tells Paul, "It's not as if you had anywhere to go, anyways."   Before the majority of students depart with their families, the Priest wishes all "a Merry Christmas, or for those, for whom the case may be, a Happy Hanukkah" which is met with a spattering of laughter from the assembly.  Despite several Black and Asian students, the notion the academy embraces those of the Jewish faith remains far fetched. THE HOLDOVERS is an exceptionally entertaining drama that exams the entitlements endowed wealthy, white students situated atop our social hierarchy.  Set in the early 70s, director, Alexander Payne ("The Descendants") gets the fashion and hairstyles pitch perfect.  Nestled within the cozy comforts allotted students are ample opportunities for placements in Ivy League Universities and fortune to circumvent the draft.  The movie's opening frame is of a memoriam in the school's halls for its fallen alum who served in WWI and WII.  Notably, there's only one former student killed in Viet Nam, Pvt. Lamb.  Lamb had been admitted gratis to the school because his mother, Mary Lamb (Da'Vine Joy Randolph) managed the school's kitchen.  Mary couldn't afford college tuition for her son and he was drafted after his graduation.  Mary offers a perfect blend of sorrow, wisdom and heart.  She's the linchpin for bridging a connection between Paul and Angus (Dominic Sessa in a star making debut). Angus becomes the sole student left behind after one of the boy's dad swoops in on a chopper taking the others boys on a ski vacation. Angus received a last minute call from his mother saying she wouldn't be getting him as planned and couldn't be reached later for permission to leave campus. Paul's relentless penchant for reviling both students and faculty is daunting.  There's no love lost between the Paul and Angus forced to cohabitate over the two week hiatus. Angus' angst and antics are those of an awkward, unpopular teen from a dysfunctional family. Over the grueling drudgery of enforced homework with little holiday cheer, truths are slowly revealed, resentments thawed and trust earned. The three left behind, Paul, Mary and Angus learned they're not as alone as they feared. Veracity in general is called into question and receives a failing grade. "Entres nous" I assign this sensitive, stirring film to the honor roll along with its three leads. "When you arise in the morning think of what a privilege it is to be alive, to think, to enjoy, to love..."  (M Aurelius)    

The ENGAGEMENT PARTY at the Geffen Theater in LA

The clever one act, eight actor play THE ENGAGEMENT PARTY by Samuel Baum is in its final weekend at the Geffen Playhouse in LA.  It's a contemporary drama set in a NYC, Park Avenue penthouse apartment.  A beautiful, wealthy couple who can't keep their hands off each other are about to celebrate their betrothal with an intimate dinner party.  The select set include the bride's wealthy, Wasp parents, the couple's college chums and the groom's childhood bro from Carnasie.  The verisimilitude of drawing truth from fiction is established within minutes; the Harvard alums confirm their illustrious educational pedigree despite its pompous redundancy.  The cast of characters are painted with broad strokes; the beautiful blond "shiksa" Katherine engaged to the lucky "schmuck" Josh, her posh parents Conrad and Gail, Josh's Jewish classmate Alan, a Columbia professor who shuns wealth and Tony who tells it like it is having stayed true to his humble upbringing.  Cocktail banter crackles with cunning between Conrad and Alan on the pratfalls of prosperity.  This serves as an appetizer for the main event which begins brewing between Josh and Kai in the kitchen.  Kai reports to Josh at work.  His wife Hayley is Katherine's friend and college roommate.  Kai asks Josh to put in a good word with his well-connected, future father-in-law to help Hayley secure a coveted career position.  Understandably, Hayley had forbade him from doing so.  Kai shares Hayley's recent struggles with addiction and depression.  What's surprising is Josh's curt refusal to get involved.  Meanwhile, much ado is being made of the $300K bauble Josh put on Kat's finger as it's being passed around for inspection.  Red wine is flowing and gets spilt upon the table in a heavy handed metaphor. After the cleanup, the sparkly trinket is found to be missing.  Josh suspects Kai of having sticky fingers. Kat is taken aback that Josh could contemplate such contemptible behavior of his friend only to find herself culpable of thinking Hayley as complicit. To say the dinner party was not a festive jubilee is a major understatement.  The guilty party scenarios were enticing but the play's payoff falls short like a flattened soufflé with too many treacly ingredients in the mix.  The dialogue felt stilted and the acting felt somewhat stiff.  Although, Bella Heathcote as Kat and Mark Jacobson as Alan both provided smooth performances.  Too bad Wendie Malick in her role as Kat's mom was undercooked.  However, there were tasty tidbits to savor in this diverting drama.  I favor THE ENGAGEMENT PARTY as a pleasant palette cleanser.  But, overall it was underserved as a biting social satire having missed ample opportunities to stain with scathing, indelible commentaries.  

LBT Presents PARSONS DANCE-Appropriated Choreography

The Luther Burbank Theater presented the PARSONS DANCE company Monday night.  Unfortunately, the theater was sparsely attended despite reasonably priced tickets ranging from $15-$60 maximum in the orchestra.  For those few up in the nosebleeds, they were able to come down to higher priced tickets and those in the orchestra seats were able to shift seats for unobstructed views.   Regrettably, this dance aficionado found several of the works copied choreography of other artists' works. All the choreography on the night's program was by David Parsons, the company's founder and artistic director except for the most recent piece; Penny Saunders' "Thick as Thieves" (2023). Parsons came on stage and paid tribute to his mentor, Rita Blitt.   Blitt (b. 1931 Kansas, MO) is an established sculptor.  As a young boy, Parsons told us he was raised by a single mother who didn't know how to contain his energy.  She put him in an art camp in MO run by Blitt where he first learned and fell in love with dance.  Parsons said with hubris, "She was the first person to tell me, 'you're going to be famous one day."  He asked Ms. Blitt who was in attendance to please stand."  He said that they collaborated on "Finding Center" and dedicated the performance to her.  But, you won't find any credit on the program for BIitt on the work.  In fact, no mention of any artist's influence was mentioned by Parsons on his choreographic style.  I found this a grave omission.  Art is not created in a vacuum. But, for an artist to appropriate from other artists' works without tribute is an aberration to the intent of creating art.  The first piece on the program SWING SHIFT relied heavily on Lester Horton's aesthetic which Alvin Ailey incorporated into his American Dance Co.  Horton mentored Ailey who became artistic dir. for Horton's company following his death.  Ailey always credited Horton's techniques in his choreography.  The sharp, bird arms and group formations mirrored Ailey's iconic works, so too were Parsons' same choice of amber shaded costumes.  Ironically, "Thick as Thieves" (2023) on the program was a blatant imitation of Azure Barton choreography "Busk" (2009).  The same black cloaked dancers in "Thick as Thieves" with haunted faces, moved about frenetically, coming together and separating.  These formations, movements and aesthetics found in Barton's earlier, "Busk".  On a positive note, "Finding Center" was a lovely, balletic composition that stood out on the program for its romantic, leisurely pas de deux.  The work highlighted the lovely lines of dancer Zoey Anderson who was also featured in "Caught".  "Caught" is a visually stunning and demanding work that required precise timing and agility.  Parson's signature "Caught" has been brought into numerous dance companies repertoires including the Alvin Ailey Dance. Co. 

The Play MY NAME IS ASHER LEV from Chaim Potok's Novel

The final performance of the three actor, one act, single set play, "My Name is Asher Lev" was held at the 222 in Healdsburg on Sunday.  The play's based on the novel by Chaim Potok about a Hasidic youth whose affinity for drawing and painting is considered an aberration within his family, community and faith.  This contentious premise may seem trifling.  I finding it a lot to embrace or be concerned with.  However, a vital analogy was illustrated in this illuminating play.  What must an artist endure and overcome to ensure the expression of their truths remain sovereign?  This self-motivating drive to create art of value must surpass all obligations without compromise or censorship.  Maintaining a conviction of an innate gift for music, art or athleticism having being endowed by God is a conceit I eschew.  It's not relevant or important for this play to spew theology to resonate profundity.  The play's director, Amy Kossow, included her own beliefs in the program notes regarding the existence of God.  I found her views irrelevant and self-indulgent.  Blasphemous bantering aside, there's plenty to be said about this exceptionally affecting production.  Foremost, credit fine acting from its three actors, Jeremy Kahn in the tile role played Lev as a boy, an adolescent and an adult.  Danielle Levin was Asher's mom and other minor roles.  David Sinaiko was especially winning as Asher's father, and  as artist, Jacob Kahn who mentors Asher and is himself a lapsed Jew. The minimal staging not only sufficed it allowed the characters to be fully flushed out.  Minimal changes were all that was required to signify shifts in time spans, locations and characters.  Furthermore, Aaron Posner's adaption from Potok's novel, originally published in 1972, was a cogent adaptation which served to emphasize the essence of Asher's turmoil; whether to forgo what he's been lovingly raised to accept without question or question his faith and family as it confronts his passion.  His relentless quest for answers frustrated his beloved mother, "Enough with all the questions, Asher," she lovingly admonishes.  However, his mother acquiesces and brings him to an art museum against her husband's wishes.  This sensitive and stirring interpretation of Potok's book dealt with  affirming one's identity.  It did not negate the Hasidic community or Asher's parents despite they're being vehemently opposed to Asher's choices.  Asher's parents sought hard to understand Asher's behaviors which were so foreign to their way of life.  For Asher, the pursuit for meaning in his existence shook the foundations of his Hasidic upbringing which was only unshakeable when left unquestioned.  Despite the perceived threat Asher's artwork posed to his Hasidic community, it was the revered Rebbe who arranged for Asher to meet Jeremy Kahn.  In this moving production we're given to consider that which makes life meaningful for us and how able or flexible we can be to hold true to ourselves.   Jeremy Kahn as Asher's mentor taught him skills, discipline and elucidated the toll pursing his art would exact in suffering and loss.  Kahn left no question what signifies being means for an artist. "The responsibility of an artist is to no one but the truth of his art.  It takes great courage to tell the truth of one's existence and only great art can justify the pain it will cause."   Resounding applause due for the play MY NAME IS ASHER LEV.

Helen Sung Quartet in Performant with Friction Quartet at 222

Helen Sung Quartet in Performant with Friction Quartet at 222

Helen Sung is a gift pianist, prolific composer who balances and broaches both the classical and jazz genres and morphs them into a fluid, hybrid conversant art form.  Having been reared in structured classical violin and piano, Sung's venture into jazz has been elliptical and magical.  Last night, at the intimate 222 cabaret, Sung performed with her talented quartet.  Then together with her quartet and the Friction Quartet.  Our introduction to the program was Sung's composition "Convergence" performed with her Quartet.  The piece reflected the blending and then separating of both classical and jazz forms.  Starting out with drums and a jazzy upbeat tempo on drums which was joined by piano and then bass and sax.  Despite the disparity, it was more apparent the how relationships between the two forms were asserted.  I enjoyed the riffs and solos of each of the talented musicians.  The bassist maintained a rich underscore for the classical piano and alto sax.  Sung asked for assistance in redistributing the microphone systems on the individual instruments which somehow lead to an open and unwelcome outpouring of input from audience members.  One woman informed her the piano was too loud to which Sung replied "I respectfully disagree."  Perhaps the intimate space gave too much leeway from feedback which I'm glad received push back from the artist.  The program went into a few compositions that were funded by a grant Sung received which was provided to women composers during the pandemic.  "Long Yellow Rose" was a work that was created from the grant.  It began sounding like a royal procession in a Baroque style that synthesized into a luxurious jazz solo on sax.  I was transfixed by the seamlessness of segue ways from one style to the another and how they balanced the compositions.  Sung brought the Friction Quartet on stage to perform two works by the esteemed Mary Lou Williams.  The friction Quartet had a cellist, violinist and two violas.  The sax player performed on flute which floated above the strings and the drums.  The final piece of the set was an avante garde piece composed by Carla Bley, the jazz legend who passed away just weeks ago and was a mentor to Sung.  "Wrong Key Donkey" was cacophonous with cymbals ringing against the plucking of all string instruments.  It sounded somewhat like animals braying.   Sung plucked the piano strings, the cellist ran his fingers flatly down the neck of his instrument, while strumming and the violinist wobbled his bow against his G string.  This was an unusual work and an odd selection to close out the set.  But, this was a unique performance which got off to a shaky start.  The concert utilized accepted forms of music, melded them into something surprising to churn over and contemplate.  This alone is something to celebrate.  

TAYLOR SWIFT the ERAS TOUR FILM is SIMPLY IRRESISTIBLE

What is this "Taylor Swift phenomenon" that has surpassed all other concert films and has audiences singing along and dancing in the aisles?  How would this non-savvy, non-Swifty fan fare for a three hour film of the tour?  I went to a performance on Friday (during regular school hours) and had more fun than a teen playing hooky without getting caught.  Swift has a gift for showmanship extraordinaire.  The concert spanned her 17 year career and ten albums.  The staging was spectacular.  Beware the snake that takes on a chilling 3D formation.  The choreography was sensational.  If you want to fault Taylor for not being a first rate dancer, keep in mind she's singing and the dancers are not (but they're all really hot).  The dancers are strategically selected in different body shapes which is not new, but still something not to eschew.  Swift has the moves and the bravado to maneuver daring heights and frenetic staging.  For those who are cynical and seeking to sort out Swift lip synching, note she performs on acoustic guitar and solo piano where her musical skill sets are fully apparent along with her lovely singing voice.  Some have taken aim at what they consider lame teenage lyrics.  Now having listened to her album collection, I found wisdom, wit and a profound ethos that resonates with a younger crowd but also has me singing aloud.  As for style, Taylor's wardrobe and her miraculous changes were all bewitching.  I was struck by her diving under the stage and "swimming" underneath to the other end then dazzling us once again moments later in sequins, glitter and pizzazz.  Taylor is a dynamo.  Don't fault her for being drop dead gorgeous.  She possesses pure talent, disarming charm and cunning she delivers with grace and poise.  No matter what you may think you know of her, Taylor Swift is the real deal.  She surpasses all the hype.  She's the type of role model you can cheer young people on to celebrate.   I admit to being a prior nitwit when it came to appreciating this multitalented, alluring diva.  Since I didn't realize it before, allow me to clarify, I say Taylor is simply irresistible.  I enjoyed everything about this delightful, entertaining movie that put me in the stadium, on stage and in the camp of Swifty fans.  The price of the movie ticket was inexpensive and easily accessible.  For those who value a live performance from the elite echelons of artists, she is arugably worth seeing live in concert.  But, without a doubt, don't miss out on catching her ERAS Tour on the big screen.  

Neil DeGrasse Tyson "Search for Life In Universe" at Luther Burbank Theater

Last night Astrophysicist Neil DeGrasse Tyson (NDT) spoke to a packed house at the Luther Burbank Theater in Santa Rosa.  "Let's get this straight"  said as he walked on stage to a cheering crowd, "You're all here on a Wednesday night to listen to me talk for two hours?"  NDT seemed delighted but incredulous to receive such a warm welcome from the crowd.  I was surprised by the number of children under ten in attendance along with numerous high school students.  NDT, a familiar face on PBS hosting science shows on the universe is known for being engaging, entertaining and enlightening.  He's garnered a large fan base, myself included.  The subject for the night was chosen from several topics offered by NDT.  I  was happy with the topic but curious as to the other choices. "To Infinity and Beyond," was shown on the visual screen, NDT's newest book he promoted and highlighted it on the NYT's bestseller list.  The size of the screen was that of a classroom's pulldown screen.   A much larger screen was warranted.  There was a lot of info circulated for the time allotted.  Only two weeks ago, more than 730 planets were confirmed by artificial intelligence (A/I), a long time, major tool used by the scientific community.  The reason there's push back now according to NDT is A/I can write term papers.  However, he maintains an ideal solution is to make all exams, orals.   It was ingenious identifying a "Goldilocks" range for sustaining life; "not too hot, not too cold," where water could flourish.  The slides showing channels and tributaries on Mars and Jupiter's moon were fascinating.  Early images suggesting a face and perhaps a human figure were exciting and dispelled when shown in higher resolution.  The disarming bent to NDT's method of communicating began to garner more propulsion than geared towards instructional substance. He showed us his "bad ass" persona in Marvel comics alongside superman.  A diatribe of foibles on "War of Worlds"starring Tom Cruise along with misconceptions of "Armageddon" and "Contact" movies were faulted for disregarding laws of physics.  It's a hard line to navigate, trying to relate or ingratiate an audience and still depart factual knowledge bearing scientific gravitas.  The discussion late in the program delved into aliens and the absurdities of what millions daily have reported as "Unknown Arial Phenomenons," as they're now called.  NDT is to be lauded for getting old and young people alike, not just "fellow nerds" engaged to learn more about our universe.  Perhaps, maintaining avid interest wanes when held captive for two plus hours.  "And, don't get me started on Pluto.  Although, claiming Pluto the 9th planet may have saved our solar system from alien invasion according to the cryptic message sent into outer space to relay our location in the galaxy."

Santa Rosa POPS Symphony. Plays Great American Songs-Guest Vocalist Julia

"UNFORGETTABLE," a program of classic selections by America's finest songwriters was performed with the Santa Rosa Pops Orch. led by guest conductor Sean O'Lauglin on Sunday.  Guest vocalists, Julia Goodwin, a finalist in the 9th season of NBC's "America's Got Talent and Nick Ziobro, nat'l winner of the 2012 Michael Feinstein Vocal Competition.  The orchestra opened with a medley of Gershwin tunes evoking the scores of Turner Classic romantic/comedies, setting a jovial and relaxed ambiance for the concert.  Members of the orchestra had a relaxed dress code or no apparent dress code other than black pants/skirts with anything else goes.  Goodwin sauntered on stage in a satiny, emerald gown, sparkling heels and dangling earrings.  Nick joined the stage wearing tuxedo pants, patent shoes, donning a thin tie calling to mind crooners like Sinatra.  The first duet, "L-O-V-E" (which was also the encore) sounded LOVEly as their voices blended well together.  Maestro told the audience the program was going to stay true to all the classic song's original arrangements, which was true except for the one arrangement he made for "Come Rain or Shine."  Selections were mainly recognizable standards, sung with pizzaz. I love a Gershwin tune, how about you?  One of my favorites, "S Wonderful" was song beautifully by Julia following a heartfelt rendition of "Over the Rainbow" despite Julia drowning her partner at the start.  Nick faired better on his own, especially with "Come Fly With Me" and "Ain't That a Kick in the Head."  His rich baritone and phrasing sounded very similar to Harry Connick, Jr.  Nick's singing was a hit but he should turn more towards the audience and less time facing the band. Did you know the iconic "Somewhere Over the Rainbow" was nearly cut from the movie? (Me neither.)  Julia  shared Ella Fitzgerald as the singer she most admired and tried to emulate.  While Goodwin had a pure, pleasing tone and artful interpretation, I didn't make any connection between her soprano range or style with her idol.  Ira Gershwin said, "I never knew how good our songs were until I heard Ella sing them."  One of two ballads on the program, "Someone to Watch Over Me" was first written as un uptempo. Hard to imagine, although I'm curious how that would sound.  "At Last" the other ballad has been recorded many times but Etta James' version remains paramount.  Being the concert was named "Unforgettable," there were Nat King Cole picks.  My least favorite though a very successful recording for Cole was "Nature Boy." based on the trite, overrated poem.  "Unforgettable" now a memorable duet with the spliced Nat and Natalie recording, was the piece de resistance and the final score prior to an encore of  "L-O-V-E".  Yes, we had heard that before.  

Goodwin sauntered on stage in an emerald green, satin gown and 

LESSONS in CHEMISTRY-Apple Series Earns an A-Stars Brie Larson/Lewis Pullman

The first two episodes LESSONS in CHEMISTRY ensure the viewers they won't want to drop out over the course of its eight chapters.  Based on the best selling novel by Bonnie Gamus, fans of the book (myself included) will find the series true to Gamus' clever and surprising novel.  However, any variables in the TV series that deviate cause some contamination to its purity.  For example, Calvin (a pitch perfect Lewis Pullman) now lives in a mostly black neighborhood that the city of LA wants to dissolve and erect a highway.  This inorganic plot line is construed to parallel the prejudices that are working against our heroine, Elizabeth Zott (played by an incomparable Brie Larson).  This dilutes rather than adds drama that would've sufficed with the original neighbor who befriends Elizabeth and provides a sensible voice of reason.  The other element sorely missing is the voice of the dog named 6:30PM for the time he came into Elizabeth's life.  The dog is written as a fascinating character with an incredible understanding of language and social situations that add a comical and sensitive seasoning in the book.  These fallibilities noted, the depiction of Southern CA in the 1960s is captured to a Tee beautifully.  Moreover, the struggles of Elizabeth as she tries to achieve her goals in a misogynistic, scientific field are evident.  And, the brewing romance between Elizabeth and Calvin has chemistry and heart.  Fans of "Mad Men" or "Mrs. Maisel" will observe similarities in the shows' attractive aesthetics of the era and a very likable woman who consistently demonstrates integrity, intelligence and resilience.  The flashbacks of the first episode portend Elizabeth as a cooking show host.  How this transcends is uncertain but her penchant for culinary skills mirror her experimental mindset.  The formula for LESSONS in CHEMISTRY spill over from Elizabeth's unflappability and logical planning.  Gamus must have had hypothesized Larson in the lead role when writing her character.  Knowing some of the outcomes from "LESSONS" doesn't deter me from watching.  On the contrary, I will measure my expectations of outcomes against pleasurable results to be discovered.  LESSONS in CHEMISTRY goes to the head of the class and receive a solid A rating.

FAIR PLAY-Hedge Your Bets of Corporate Romance Running Smoothly

The steamy romantic thriller, FAIR PLAY now airing on Netflix, is a combustible water cooler topic starring Alden Ehrenreich and Phoebe Dynevor.  First, there's plenty of dissension in the boardroom as to the the main power point this debut film by writer/director Chloe Domont.  Some will argue it's a sexy spin on a woman gaining eminence in the workplace and how its power play dynamics affect a relationship.  Some will maintain its a sleek, phantasmal farce on the high paced world of high finance.  I say these analyses sell the movie short.  This equally captivating and cringeworthy, cinematic zeitgeist is mainly a character study of shameless people whose individual objectives are paramount.  And, lord help the mister who comes between the sister with her dreams and schemes.  Luke (an exceptional Ehrenreich) and Emily (a mesmerizing Dynevor) work at the same New York City hedge fund preparing financial reports on companies to sell/buy or hold.  What holds this sleek looking and duplicitous drama on track are the prime performances from both talented actors.  They play well off the other, drawing us in as their lives spiral out of control.  We meet Emily cooly dragging on a fag when Luke pulls her inside to meet people at a family wedding.  The two steal off to the restroom for some salacious sex.  Luke goes down. onto one knee to purpose while both are smirched in menstrual blood.  (Note: not the last sex scene in the public stalls.)  The next day at work, a top executive who was fired goes ballistic with a golf club on his computer as the staff gawk and salivate over the new vacancy.  Emily overhears a rumor the promotion is going to Luke.  The couple celebrate their engagement and Luke's promotion with some bubbly in the shower.  They're celebrating is premature. It's actually Emily whose given the promotion after being summoned at 2 AM in a bar from her boss.  We buy in on various scenarios which should be viewed with skepticism.  As Emily's star rises, their relationship implodes.  Enthralled by their waning love fest, we worry whether either will confess to their relationship or be found out at work.  It's unethical and grounds for termination having Luke report to Emily while being romantically involved.  There's a surplus of unscrupulous people behaving badly driven by selfishness, greed and power.  Luke's demise and groveling are painful to watch.  The harshness of this film cuts like a knife.  FAIR PLAY is an uncomfortable, contemporary exposition with many topics to debate including sexism, rape and rules of conduct.  Don't reject the film because it's dark or because some people who appear to have it all, throw it all away. Appreciate this tense thriller for its absorbing and incisive look at aberrant behaviors that may prove more prescient in today's narcissistic society than surmised.        

The FALL of the HOUSE of USHER-Rehash of Other Horror Thrillers

The latest series set to add to the Halloween season, The FALL of the HOUSE of USHER, fails to raise any new luster to the chills and thrilsl that have fallen before.  In fact, this NETFLIX series feels like a dead ringer for "The Haunting of Hill House" and takes from the pages of several of Stephen King's novels.  There's even a repeat of several actors in "House of Usher" who were in "Hill House."  The story focuses on twin siblings Madeline and Roderick Usher who grow up with a single mother.  The twins grow deeply attached to one another but apart from everyone else.  Their mother worked for the town's wealthy brute as his assistant for decades. The mom refuses medical attention which is against her religious beliefs.  When their mother dies at home they agree to abide to her wishes and bury her in the yard without notifying authorities.  The night they buried their mother, Roderick is awoken by a storm.  When they look outside they discover their mother's plot has been dug hip and empty.  It's not a shocking surprise she's standing in their kitchen dripping wet, looking half-dead and totally upset. Can't say as I blame her or for heading straight to the home of her former boss to strangle him to death while her teen twins watch. The story shifts a couple more decades to the combined funeral of three of Roderick's grown children with only a few people besides Roderick and his sister attending the service.  Although there's a demonic presence which appears in the church whom only Roderick is able to see.  Roderick and his sister Madeline built a hugely successful drug empire that dispensed opioids.  This is the same as the Sackler family that built a house of pain and to the popular series SUCCESSION.  The first episode highlights headlines of the deaths of all six of Roderick's children and the strange circumstances of their deaths.  There's a lot to unwind here and the series flashbacks to the beginning as Roderick provides the full account of the sordid events of how each one actually died and all his corrupt actions to the rapt attention of the US Atty. Gen. whose pursued him for years.  The full confession is being offered by Roderick in his dilapidated childhood home in front of a fire on a stormy night wrapped in his silk robe with a snifter of cognac.  Furthermore, the literary references to Edgar Allen Poe like the tired and true plots within, harken to the same ole reuse of other's works that have come before and nothing more.   

The Korean Netflix Series EXTRADORINAIY ATTORNEY WOO

EXTRAORDINARY ATTORNEY WOO is the South Korean Netflix series about a young attorney with autism and a genius IQ with a fascination for the law and whales.  Woo Young-woo (a delightfully engaging Park Fun-bin) is raised by her widowed father.  Woo's incredible abilities to memorize and scrutinize information supported her through one of South Korea's top law schools and gaining employment at a prestigious law firm.  The show's successful appeals stem from Woo's uncanny strengths paired with her social disabilities.  Woo was viewed skeptically by her colleagues because of her awkwardness.  But, her diligence and affability soon demonstrated how valuable her skill sets are their team.   Woo's functioning in the world has numerous obstacles that make her daily life difficult.  Walking through a revolving door, commuting among the bustling crowd, meeting new people, physical contact or carrying on a social conversation are likely to be beyond her grasp.  The show conveys Woo's mindset as she grapples with new and trying situations and it smartly displays how people respond to her strangeness.  There's several ways in which some people are portrayed be more or less tolerant and helpful.  It a thoughtful cross examination of patience and understanding and how differences can be appreciated and beneficial.   For this legal drama to prevail it's essential for Woo to be credible, sympathetic and intriguing.  Woo exhibits traits associated with autism but she plays her with her own interpretation.  The added artistry of Woo's fascination with whales shows how comforting this is for someone with autism and also how it can be obsessive.  Nevertheless, despite characteristics of autism, she continues to amaze us with her growth as she learns to gage social constraints and expectations.  Thankfully, she's not on her own.  She has those who accept her  and support her.  She's counseled by a loving father and two young friends outside the firm.  And, while being helpful, they are not overbearing.  Her co-counsel become swayed by her insight and they advocate for her.  Putting Woo into the workplace illustrates how individuals with autism can be integrated into the mainstream.  The supporting cast of attorneys and acquaintances of Woo's are exceptional.  As for the trials themselves, they've exhibited unique and clever cases that are entertaining and not easily determined. There may be a romance blossoming for Woo and an associate and there are some other curious relationships for cross examinations.  In summation, The verdict for EXTRAORDINARY ATTORNEY WOO is in. This is a winning series based on the facts of a great cast, fabulous acting, smart and sensitive writing, and a very compelling central character capable of proving herself competent in a confusing and ever-changing world.      

SPECIAL FORCES Season 2- C if C+ Celebrities Survive Survival Training

Catch the reality show SPECIAL FORCES which puts quasi celebrities through the most grueling physical rigors is in season 2 on FOX TV.  I missed season 1 but I'm not going to miss 1 episode also airing on HULU.  I've got 2 friends who surprised me by joining the show which gives viewing an added blast.   What's fun for all is to see how this cast will last.  It makes me wonder, as I'm sure some of you, too, is how you would do.  These tests are not for the faint of heart.  In fact, they're enough to take down some super stars from the NBA and NFL.  The directing "staff"agents, former special force task members make the participants' daily lives hell.  In the assembled troop for season 2 there's Tara Reid, whose a has been and never should a been on the show but then she's the 1st to go.  (Thankfully, and no surprise.)  Then there's pugnacious, self-assured Blac Chyna whose every shade of annoying.  Her false facade of bravado is nothing but ego and she's next to go.  She wouldn't have lasted for long anyway without her hair or make-up crew.   Next comes the surprising departure of one of physically strongest contestants, former NFL player Dez Bryant.  With an opportunity to redeem himself for having "failed" a task, he had to wait hanging upside down.  This turned him into such a hot head he quit in a rage but showed a much meeker side in approaching staff to take him back.  Despite listening without rancor, there was no second chance for the recalcitrant, expectant athlete.  Overall, the show's appeal deals with both mental as well as physical strength.  The least obvious competitor may somehow score more.  It's fun to find someone to cheer for and someone to see grovel.  So far, the terrifying and demanding drills involved high wire crossings from death defying heights, submerging in below freezing waters and excruciating obstacle courses weighted down with equipment.  Those who may be fun to jeer include realty TV's Tom Sandoval ("Vanderpump Rules") and perhaps a more humble former Olympian Bode Miller.  There's some women competitors who may throw off bettors' odds like Kelly Rizzo Saget and the youngest, JoJo Siwa.  This reality show has me intrigued to see how the group works together as a unit, what they're expected to do and who will be the last one standing.   Tune in to see what it means for these somehow celebrities strive to be the best they can be.  And, why they chose to be there in the first.  

JULES-An "ET" for the Septuagenarian SET with Ben Kingsley and Jane Curtain

JULES is a sci-fi appropriation of Spielberg's "ET".  That's not to say it's a cheap copy.  On the contrary, instead of being a lighter representation, JULES is an homage to its beloved predecessor with a vivid imprint on human frailties, strengths and compassion.  Milton (the phenomenal Ben Kingsley) is an elderly widow living in a small, rural PA town.  We first meet him at a local town hall meeting where he dodders on about renaming their town slogan "a good place to call home" because the semantics are confusing,  Make no mistake, this is the first of many fond winks to "ET".   Milton's dogged persistence are met with respectful indulgences from the town's official and locals.  Two other senior citizens who are regular attendees with their own agendas are Joyce (a terrific Jane Curtin) and Sandy (Broadway and TV veteran Harriet Sansom Harris).  Milton's mundane life is interrupted in the middle of the night by a spaceship crash landing in his yard desecrating his azaleas.  Milton, rightly alarmed calls 911 where he's told crank calls are a felony,  At the next town hall, Milton adds to his grievances the alien spaceship that slammed into his garden.  The members of city council are nonplussed but both Joyce and Sandy take notice.  Soon all three seniors share in the care and nurturing of this benevolent being that fell to earth.  Harking back to the original "ET" the bond between caregiver and mentor flourishes and a strong, symbiotic relationship ensues with some unique surprises and touching twists.  Jules is the name Sandy bestows the alien though Joyce prefers Gary.  Names yield significance.  Milton, selected for the epic poem "Paradise Lost," Joyce for the epic classic "Ulysses," Jules for science fiction writer Jules Verne and Sandy stands for man's defender.  The four form a quartet that is uplifting as long as they can fly under the radar.  Of course, the government is aware of the alien sighting but they're still scrambling to determine its landing.  (Go figure!)  Meanwhile our elderly earthlings share their vulnerabilities with "Jules" and each other while finding solace in companionship and validation from being heard.  Kingsley, Curtain and Harris give stellar performances.  The alien emotes tenderness belying the stealth and power he possesses.   JULES the film Exudes Tenderness, humor and Empathy Throughout.  The film will woo mature audiences and will play to the kid in all of us.  I beckon viewers on board for a delightful journey.  

CHANGELING series-Seriously, What is This?

The new series THE CHANGELING now streaming on Apple+ is categorized as a drama.  Of course, this ambiguous genre does little to direct one's expectations.  After having viewed only the first of its eight episodes I'm at a loss for what it's actually about, where it's going and whether to commit more time to watching.  The opening scene is a tempest at sea in the 19th C with a sailboat headed into a tsunami which should assuredly destroy the ship and its passengers.  Miraculously, the ship makes it safely over the gargantuan wave while we watch from underneath the vessel and told it was given help.  Thus we're given to anticipate a supernatural element to the tale.  The story quickly shifts to the 20th C in New York City where parallel love storylines commingle with two comely couples; one being Apollo (Lakeith Stanfield) and Emma (Clark Backo)..  Apollo is the biracial son of handsome pair, Lillian and Brian in 1977.   The persistent appeals from Apollo and his father to get the women they're smitten with on a date mirror each other in charm and tenacity.  Both Emma and Lillian share a resoluteness in refusing their suitors. But, when succumbing to the charms of being wooed, both couples are happily wed.  Apollo's father abandon's the family when he's only four.  We're left not knowing why or where he went but Apollo has repeated nightmares of his father returning to kidnap him.  Emma goes on her long planned trip to Brazil after falling for Apollo and ventures into a forest despite warnings to the contrary.  There she encounters an elderly, unearthly woman.  The woman beckons Emma to her and bestows her three wishes to be granted providing she doesn't cut the string she ties around her wrist.  When she returns Emma shares this with Apollo who assures her that he will make all her wishes come true and cuts the string from her wrist.  There's several eerie twists in this time jumping love saga besides the unresolved, unsinkable ship.  Apollo's nightmare's of his father may be frightening recollections.  Emma's enigmatic encounter in the Amazon  felt menacing.  And, the birth of Emma & Apollo's son occurs au natural (as Emma wanted) aboard a NYC subway when the power turns off.  Delayed metro trains are not rare phenomenons in the city but the timing of their son's arrival is certainly circumspect.  The city and its allure are captured beautifully and the acting is all excellent.  CHANGELING appears to be constantly changing shape reminiscent of Churchill when describing Russia as "a riddle wrapped in a mystery inside an enigma."  Given the show's title and its hints at horror, one better buckle up for the series because it looks like it's going to be a bumpy ride.

CLUE the Play at Santa Rosa Junior College

The Parker Brothers board game CLUE is a game that unsurprisingly has become a mainstay in pop culture with its deductive reasoning and cheesy characters.  It's elementary that both a movie and a play have been derived from its broad appeal.   CLUE the play is being performed at Santa Rosa Junior College to the delight of student, faculty and fans of mystery, mayhem and comedy.  Comedy you say?  You heard right.  The play is played for camp and silly fun.  You don't have to be a Sherlock to deduce the theatrical pratfalls and zaniness that make the one act, 90 minute show fly by in a wink.  The overtop antics strike like a lead pipe to the head.  This is not your suspenseful who done but it does slay with deadpan humor.  The cast of six guests invited to the mansion for dinner are all being blackmailed by the same Mr. Body whose body turns stiffly in a jiffy when the lights suddenly go out.  Before everyone's fingers start pointing the cook's corpse becomes flambé stitng the mood for murderous shenanigans to congeal.  The butler is often the one one did it.  Here, he was completely guilty of stealing the show.   Some antics in the show are performed in slow motion or rewinded to replay alternate crime scene scenarios.  Every guest gets their few minutes of fame in the blame game for the guilty party.  Here the party got a little tiring as  corroborated by Colonel Mustard in the library. The crafty staging involves a lot of shifting props adding to the already frenetic zest of this old-school farce.  Speaking of school...the theater at SRJC enable its student body to participate in acting, staging, lighting and all the aspects inherent in theatrical productions.  The shamelessly low price of $15/ticket makes it irrefutable that you get a lot of BANG for you buck.  Shout out to the ensemble cast, all of whom performed their overtop characters with aplomb.  It's obvious, CLUE is vibrant and entertaining production.  Don't get caught missing out!

HIPPEST TRIP the Soul Train Musical World Premier in San Francisco

'"Soul Train"' the African-American focused music/dance show first premiered on Saturday mornings in Oct. '1971.  The groundbreaking show brought the dance styles, music and fashion of the African-American community to the forefront.  The show was created by Don Cornelius with the intent to present a positive image of black culture as cool and vibrant.  The popularity of the show drew in  audiences of mixed races and ethnicities while contributing to the growing prestige of Black culture and Black artists.  The world premier for the musical based on Don Cornelius and the hip, hit show "Soul Train"  was in Sept. of this year with designs of moving it to Broadway.  All the makings for a major musical hit would seem on board with a winning soundtracks of the 70s from which to leave your worries behind, funky styles to express yourself and the world's "greatest dancers."  Helping recreate the dances the way they were and the way we like it, uh huh, is three time Tony nominated choreographer Camille Brown.  The Oscar and Emmy nominated Brown received the 2020 Obie for Sustained Excellence in Choreography.  HIPPEST TRIP is relying heavily upon the dancing for giving us GOOD TIMES and A NIGHT to REMEMBER.  The dancin keeps  on groven thanks to Brown's choreography that captures the look and feel of the original SOUL TRAIN dancers.   Original show footage mirrors the live staging providing a  fun comparison and authenticity.  Smart use of musical numbers moved the storyline along with lyrics as in "Smiling Faces" and "I'm so Tired of Being Alone."  The high energy of the first act falters in the second.  The show's playwright, Dominique Morris is a Tony nominated and two time Obie winner.  Unfortunately, the second act runs off track as Cornelius' vision for the show runs against a mighty BRICK HOUSE of shifting trends in music and dance.   Although he fights the power of current influences Don yields begrudgingly as you gotta move on with the times.  The conflicts in the drama only  smolder.  Don and his steadfast assistant plow through problems without major resistance. The dancers' squabbles felt mostly frivolous. The climatic confrontation between Don and his youngest son felt construed.   Don Cornelius (Quentin Darrington) had a spectacular singing voice but delivered all his lines in a singularly, stentorian registered as cliche.  For HIPPEST TRIP to make the trip to Broadway, Morris will need to tighten up the drama.  The muddled second act gets a rousing finale with SOUL TRAIN's iconic line dancing and dancing in the aisles. It get's introduced as a footnote by Don Cornelius returning posthumously for an encore. The show is worth resesitating.  It needs some polishing before being presented for a broad audience.  I wish for peace, love and Soul Train to ride again.  

Wynton Marsalis and the Lincoln Center Jazz Orchestra at Sonoma State

Friday night Wynton Marsalis and the Lincoln Center Jazz Orchestra performed some of his original compositions along with some classic jazz standards for the great pleasure of the guests at Sonoma State Univ. The opening score was an original work by Marsalis entitled "The Struggle to Become Aware."  I enjoyed the composition which had a big band swing sound and a cheerful, upbeat rhythm.  It didn't bring to mind struggles or conflict. The piece had a flute solo performed by the only woman to grace the orchestra.  It may be the flutist was a substitute for the evening.  She wasn't photographed or listed listed in the program.  Delightful to see gender integration but the soloist struck too many shrill notes.  Her warbling on the flute was the only suggestion of a struggle and solo down beat of the evening.  Wynton introduced the next piece by Ellington, "Concert to Coolie" and the soloist Ryan Kaiser on trumpet.  Kaiser has long been with the Orchestra. His playing the trumpet with a plug made the instrument speak, "wha wha wha" from the 40s/50s epoch.   Ellington's music is the epitome of sophisticated jazz.  One pictures women in evening gloves, scarlet lips and cigarette holders amid swanky nightclubs. A second Elligton number was a movement from his "Far East Suite." I was intoxicated by the mystical, Arabian arrangement and will listen to the work in its entirety.  Cushioned in a musical mood indigo, I was jarred by the next, suprisingly discordant shift.  An original work by Marsalis written for the Chinese Ballet Co. entitled "Gold Story."  It's a testimony to his versatility, originality and scope,  although the first movement was arhythmic.  I strained to envision it to accompany ballet dancers.   Pianist, Dan Nimmer, performed solo on the two highest octaves giving a chiming, Asian aesthetic.  The piece merged east and west sounds into a lofty arrangement from which grand-jete's would soar.  The final work on the program was Marsalis' work to choreograph for the Alvin Ailey Dance Theater.  This was the consummation of the world's best dance theater and jazz orchestra.  The only way this could've been better would've been with Ailey Dancers on stage.  Still, it was easy to visualize Ailey dancers sinewy moves and jazzy flair in long,  slinky strides.  As I listened, watched and grasped the music, I noted musicians' and audience's  moving in harmony; emulating the visceral reverberations involuntarily.  Wynton was garrulous between numbers sharing amusing anecdotes.  He performed three lengthy solos from Ellington, Brubeck and his own music demonstrating his triumphant, jubilant virtuosity.  Marsalis is already an established jazz legend.  His regret to date - missing Duke perform when he was nine opting instead to play ball.