IF I DON'T MAKE IT, I LOVE YOU-Words of School Shooting Survivors

The play IF I DON'T MAKE IT, I LOVE YOU is an adaption of a book of the same title which is taken from transcripts of family members and survivors of school shootings.  This is a grueling play of grief and and horror, terror and guilt experienced by innocent children and adults whose loved ones were shot while attending school.  This resounding production is persistent in my mind.  It lingers still, long past the minutes in which I watch the aftermath on the news.  These assassinations have become for frequent as to become mundane.   Many (myself included) are becoming inured to these atrocities.  Perhaps, in part, it's a means for survival because to really acknowledge these tragedies portends suffering.   It does mean assuming accountability for taking action towards gun violence protection and for laws restricting gun access.  It's easier to pray for the victims and their families, leave flowers or shed a tear and then return to our lives in a bubble of ignorant bliss for having dodged another bullet.  Seeing the play last night at the Raven Performance Theater left a searing impact that has tattooed the pain felt directly by thousands by the perpetual slaughter of young people and mentors upon my chest?  One mother said, "I am now a member of a club no one wants to be a member of;  the initiation is the slaying of my child.''  What of the students who closed doors on their classmates fleeing the massacre?  What of the siblings who ran for their lives and their siblings didn't make it out?  What of the parents waiting anxiously for their child to emerge who never will appear to them again? What of the survivors with shrapnel permanently embedded in their bodies?  What of our first responders and their families? What of the acceptance of lockdown drills now incorporated in schools?  The exponential ripple from mass shootings has become a tsunami razing the naive notion parents dropping their children at school will be coming at the end of the day. What of the loved ones who received texts saying, "If I don't survive, I love you?"   None of us have dodged a bullet.  There are no innocent survivors.

Woody Harrelson Stars in CHAMPIONS-A Disappointing Debacle

CHAMPIONS is the latest variation on the tried and true formula of beloved underdogs with a scruffy coach has been enjoyed in the past in film series such as the "Mighty Ducks" and "Bad News Bears".   It is  badly rehashed in CHAMPIONS.  No one can root for this mashed up version of a down and out drunk, Marcus, played with unwitting charm by Woody Harrelson, court ordered to coach a mentally challenged group of basketball players.  Marcus' ignorable career as a former NBA  coach has taken a drastic downturn spiral due to his out of control drinking and hot temper.  After being fired from his asst. coaching job for shoving the head coach,  Marcus goes on a binge that leads to him crash his car into the back of a cop car, no less.  He's given a choice between 18 months in prison or 90 days of community service coaching a special needs basketball team.  Begrudgingly, he takes the lesser of the two evils, coaching, while counting down his 90 days of service.   The team, called Friends, consists of players with down syndrome or autism and actors playing mentally challenged adults.  Despite intending to be endearing, it's terribly indignant to watch the ignoramus and incredulous portrayals on screen.   Still, there are sections to cheer for in this film.  Harrelson's patience, tenderness and support for his players is genuine and heartwarming.  Most of the supporting cast could come off the bench as starters with their winning performances including Kaitling Olson as Harrelson's love interest and sister to one of the players, Cheech Marin, Matt Cook and Ernie Hudson who are in Harrelson's corner are terrific.  The biggest shout outs go to actors Madison Tevlin, Kevin Iannucci and Matthew Von De Ahe  who are all delightful and funny.  Thanks goes to the special assistance from Scott Van Pelt and Jalen Rose playing themselves, valiantly trying to lend credibility to the ficitious sports franchise.   And, praise is awarded for taking a serious stance against drunk driving.  Unfortunately, the handicapping of sending actors in to  unrealistically represent people with disabilities is unfortunate and prevents CHAMPIONS from garnering a bracket in any competition.   

Jazz Singer Mary Stallings with Pianist David Udolf

The sold out performance of cool jazz singer Mary Stallings last night at The 222 was a relaxing an enjoyable evening with Mary Stallings interpretative innovations on pleasant love songs with her rich tenor voice.  Her voice not as sturdy in the mezzo soprano range, sounded most vibrant between countertenor and contralto-alto reach.   Singing since the 1950s performing early in her career with Dizzy Gillespie, Billy Eckstein and the Count Basie Orchestra.  In the 80s and 90s Stallings' recordings on Concord Jazz gained national jazz audiences with Gene Harris's quartet.  In 2007 sang with Wyton Marsalis' Jazz Orchestra at Lincoln Center for "The Birth of Cool."  Stallings appeared in an elegant, slender silk dress with multiple bracelets and rings that she informed us were all gifts.  Her sleek bob, high cheekbones and disarming smile exuded elegance and warmth.  Performing mostly easy listening bossanova melodies to the accompaniment of pianist David Udolf.  UDolf has played with legendary R&B artist Bo Diddfley.  Udoff's accompaniment paired nicely with Stallings vocals without overpowering her lyrical interpretations.  Udoff was allotted ample time on each song for a solo that enhancing each selection's ambience.  The program consisted mostly of little known love songs except for a bluesy Billy Holidays selection, "Me, Myself, and I"  and the final upbeat number, a Duke Ellington favorite, "It Don't Mean A Thing:"  Doo-ah, doo-ah, doo-ah!   Ms. Stallings alluring voice and innovative tempo made for a delightful evening of jazz.

YOU PEOPLE-Spoofs Most People Starring Jonah Hill, Julia Louis-Dreyfus and Eddie Murphy

YOU PEOPLE takes aim at spoofing racial acceptance, appropriation and arrogance generating grimaces and laughs.  The number of interracial marriages in the US has climbed more than 20% since 2000.  However, this is a significant drop from the 65% increase from 1990-2000.  What this may indicate is a two steps forward, one step backwards in terms of racial harmony.  YOU PEOPLE is a comedic look at overreaching and self-congratulatory smugness when it comes to perceiving accepting of racial or sexual differences.  Actor, screenwriter and director Jonah Hill stars in and YOU PEOPLE which he co-wrote with Kenya Barnes ("Blackish") who also stars in the film.  Hill plays Ezra, a Jewish finance executive who falls in love with Amira (Lauren London) a Muslim clothes designer.  The two plan to marry but their plans become marred by both sets of parents.  Ezra parents, Shelly (Julia Louis-Dreyfus) and Arnold (David Duchovny).  The doting parents offer over zealous enthusiasm for having a Black Muslim daughter-in-law.  Their antics are chagrin inducing, insulting and hilarious.  Amira's parents Akbar (Eddie Murphy) and Fatima (Nia Long) are not happy in the least with their daughter's choice of a spouse and  their resentment is made clear to both Ezra and his folks.  Shelly's attempts at rallying in defense of perceived racism and her unctuous fawning over Amira and her family satirize racial generalizations.  Louis-Dreyfus is riotiously funny in her role.  Murphy as a Farrakhan fanatic and antagonist of Ezra is neither credible or humorous.  Unfortunately, he does a disservice to the fathers of brides who have legitimate concerns for their daughters when choosing a spouse of different ethnicity or faith.  The affections and altercations between Ezra an Amira are disarming and you can't help but root for their love story to succeed.  No surprise that Shelly and Akbar are awakened to the error in their ways and offer genuine contrition to their son and daughter.  The ending is tied up in a bow that feels hackneyed.  However, there are some nice surprises along the way including star cameos by Elliott Gould, Rhea Pearlman, Deon Cole, Anthony Anderson and others.   Molly Gordon as Ezra's sister, Liza and Taco as Amira's brother are delightful as they attempt to undercut their parent's blunders.  Best of all is comedian and SNL writer, Sam Jay as Mo who plays Ezra's best friend and podcast partner in a broadcast that analyzes racial views.  Most people will find YOU PEOPLE mildly entertaining but I think a podcast with Jonah Hill and Sam Jay would be far more to everyone's liking.   

Branford Marsalis Quartet at the Green Music Center

Branford Marsalis is the oldest of four siblings in the infamous musical Marsalis dynasty.  Branford is best known for his contributions to jazz compositions and arranging.  He is also acclaimed for his contributions to classical music, and conducting the Tonight Show orchestra in the 90s.  Marsalis is a three time Grammy winner, Drama Desk winner and Tony and Emmy nominated composer.  Performing for more than four decades, Marsalis is known for numerous styles and innovations as an instrumentalist, arranger and educator.  He's been a music professor at numerous universities including Michigan State and San Francisco State.  Last night Marsalis brought his his world renown quartet to perform an evening of lively jazz to the Green Center at Sonoma State.  Marsalis switched seamlessly from tenor to alto sax.  Joey Calderazzo played on piano, Eric Revis on bass on Justin Faulkner on drums.  Marsalis gracefully and welcomingly stepped aside to let each artist shine on their instrument.  Calderzzo and Faulkner played tightly with syncopated forte, Revis kept the bass flowing connecting the strings and winds allowing Marsalis' sax to glide ebulliently above the assault of the percussive rhythm.  Marsalis and his band brought us all welcomingly into the music.  Walking jauntily on stage, Marsalis adjusted his microphone's cord, "I'm too old for trippin," he joked.   Realizing his unintended pun he chuckled, "On both counts."  The rapport on stage was warm and jovial.  Faulkner, whose swift tempos created blurred circles with his sticks.  He was stuck as the butt of jokes being the youngest member of the group.   Two of Keith Jarret's compositions were performed demonstrating an admiration for the artist and his Jarrett's classical jazz aesthetic.  The first piece sounded like a jazzy Debussy arrangement.  The other piece, "I Fall in Love Too Easily" was one of my favorites; romantic with unexpected flourishes.  Revis' composition "Love Song" was not a soothing or yearning melody, rather a showy and blowsy piece that was very new age and intense.  Afterwards Marsalis joked, "That was more an axiom for a love song."  I quite agreed.  The evening of great jazz concluded with the sole piece of New Orleans jazz and ended all too soon. 

CA Poet Laureate Dana Gioia Shares His Poems at Reading in Healdsburg

Last night, longtime Santa Rosa resident Dana Gioia, shared poems from his latest collection "Meet Me at the Lighthouse."  The event was free and open to the public and held at the Healdsburg Community Center.  The torrential rains had stopped which encouraged an enthused, well attended audience.  Mr. Gioia's has the distinction of CA's Poet Laureate 2015-19.  He's the recipient of the Presidential Citizen's Medal and Walt Whitman Champion of Literary. Award   I was pleased by the tribute his poems directed to our state and specifically to my former home, Los Angeles.  Gioia himself born and raised in LA prefaced his first  poem saying, "It might not be favored by those here."  Hmmm....It did brace me to take umbrage but my rancor was assuaged by the melodic reading which had a jazzy flair and by Gioia's overall dynamic recitations.  Gioia shared his love for jazz and having attending clubs in the LA area while a studying at USC.  The Lighthouse refers to his favorite nightclub he often attended thanks to not being carded.  The poem exudes a youthful energy with a melancholy sheen for his glory days.  All the readings were done by rote.  He stumbled over his second reading and referred back to his book.  Gioia discussed the value for memorizing poetry and reciting aloud.  He said he "tries working in the air, not just on the page."  The second of the 10 and 1/8th poem he recited was entitled "Pity the Beautiful," an homage to LA.  A huge fan of Yeats, Gioia compared the fleetingness of beauty, "...bloated, not noticed gods anymore."  Gioia was no less flattering upon self-reflection as in "Moth" questioning the "ludicrous imposter in the mirror."   In all the poems shared an irrepressible spirit prevailed "...fragrant with memories."  Gioia shared the background and reading of "Tinsel, Frankincense and Fir" about his mother's affection for the dime store ornaments she cherished.  "Nothing too little to be loved.  Death brings gifts we can't reciprocate."  My favorite poem of the night, "Praise of LA" was prefaced by Gioia painting a picture of viewing the city from a bird's eye view of the Hollywood Hills.  "Pulsing anger of traffic in a city of Angels, silent, shimmering in the trajectories' ecstasy cohabitating with despair.  We're all immortal shinning with lies tonight.  Where else can you become a star?"   I was most touched by Gioia explaining the private, fragile language shared with his wife.  He said "a marriage of many years happens beyond words - an intimate language which will disappear with us; a tribe of two in a sovereign secrecy."    Gioia  stressed poems are meant to invite the reader in.  I was entranced throughout the evening.  The 1/8th poem:  "Here lies Dana Gioia, A poet who can say.  He didn't even have an MFA. "

Oscar Nominated Documentary "How Do You Measure a Year?" Here HereI

The five short documentary films that received this year's Oscar nominations deserve their recognitions.  The modest, disarming entry, "How Do You Measure a Year?" is a home-movie compiled over 17 years following the the filmmaker's daughter on her birthday being asked annually, identical questions.  This low budget offering flows with warmth thanks to the delightful nature of the film's focus, Ella.  We first meet cherubic faced Ella on her second birthday.  Ella is only too glad to be doted on by her dad.  Dad is Jay Rosenblatt, an award winning filmmaker who features in experimental documentary and collage films has earned him a second Oscar nomination for best documentary.  Last year Rosenblatt was nominated for his film, "When We Were Bullies."  This year's entry hits very close to home.  Rosenblatt's commitment for filming his daughter morphs into a beloved father/daughter tradition.  The delightful results are admirable for their tenacity, ingenuity and for the film's engaging subject, Ella.  Noting the passage of time is an elusive and intoxicating metric of change.   When fleeting images and ideas are aligned clearly, our breath is swept away by their scope.   Very little changes in the frame,  yet monumental change occur as if by magic right before our eyes.  Ella is queries vary little regarding her favorite things, dreams, aspirations and trepidations.  Her answers and physique evolve in maturation as time goes by.   I assure you, there was not a dry eye in the house at the end of this charming and profound subject study.  Universal coming of age experiences and emotions experienced by Ella are magnanimously shared and memorialized in loving tribute to familial bonds and human connections.  I'm invested in learning what the future portends for Ella.   Prior to viewing "How Do You Measure a Year," I would've been cynical of a documentary of such simple conceit being placed in position to compete for an Academy Award.  However, Jay Rosenblatt's personal tribute to his daughter Ella, will be remembered long after awards are handed out.  

Oscar Nominated Doc. Shorts-My Pick is Russia's Submission, HAULOT

The five nominated documentary shorts for this 2023 Oscar race, all deserve their place on the ballot.  My pick is the sullen, and deeply stirring film HAULOUT, filmed in the desolate expanse of the Serbian Arctic coast.  There's minimal dialogue in the film which focuses on a solitary figure living in a squalid  cabin by the shore.  The man is identified in the epilogue as Maxim Chakilev.  I was intrigued from the start.  Was this a film of a stoic figure who chose a life outside civilization?  Was this a nature or  anthropological study being done by this burly, chain smoker seen reading about the land's indigenous people?  This was a cinematographic marvel, slow to reveal what's its sleeve.  Our unbeknownst hero opens his wooden shutter to a startling panorama of walruses strewn from his cabin and into the sea.  This  doesn't startle our bloke who looks in need of a warm shower and clean clothes.  Maxim remains oblivious to the out of sight camera and speaks for the first time into a recorder in his native Russian,  He's reporting his estimate on the number of walruses that have come ashore.  These mammoth sea animals are imposing figures with long tusks, huge bulk and small heads.  These vocal and active creatures are intent to inspect  the insides of the cabin upon their turf.  Several try to access the hut by flailing their bodies through the door only to get stuck in the passage.  It requires a little physical prodding from Maxim who seems unperturbed or somewhat annoyed at most.  Shortly after, the great migration of walruses disperse.   Maxim walks amongst the carcasses of walruses caressed by the ebb and flow of the waves.  The morning fog palette enhances a deep sense of loss.  Maxim is noting the age and sex of the dead animals.   He comes upon a mother and her calf whom he first reports as both deceased.  But, the calf slowly raises its snout in a beseeching look for help.  Maxim turns away from the calf who rambles into the water leaving behind hope for its survival.  The ending captions identify Maxim as a marine biologist whose been studying the walruses' migratory paths for the last decade.  We're informed these majestic creatures have been coming to these shores to rest during mating season due to climate change melting the ice that had provided them essential ground for survival.   Each of the past ten years have shown increases in walrus deaths.   They are killed from being trampled and smothered on what limited haulout remains available.  This powerful and haunting documentary should win the Oscar.   More importantly, it should serve to motivate us to take-up arms to combat climate change while there's still time. 

LIVING-Starring Bill Nighy is a Comatose Film

The film LIVING starring the always entertaining Bill Nighy, is a sleepy drama that asks the viewer to wake up and smell the coffee.  I suggest drinking coffee before watching or risk sleeping through this somnambulant story that offers a moral meant to be inspiring.  Unfortunately, the movie never lives up to its intent and offers little to endorse other than a superb cast.  Nighy (Mr. Williams) is a distinguished English gentleman, soft-spoken and revered by his small office staff.  The lovely cinematography paints a monotonous pan quotidian of the comings and goings of office workers in London that flows like clockwork.  It feels like minutes, if not hours pass before there's any spark of life to light up the doldrums.  Williams informs his staff he will be leaving work early (a rare anomaly).  The reason being, he has a Dr.'s appointment.  His physician informs him his cancer has returned.  The Dr, regrets to inform him he has less than a year to live.  This information is received with the grace and decorum that befits Williams.  Williams returns to the home he shares with his son and daughter-in-law.  While waiting in the darkening parlor, Williams has a few pleasing flashbacks of his childhood and his deceased wife.  When his son and his wife return, they're startled to find him seated in the dark.  Williams asks to speak to his son before he retires with his wife.  But, the two seem to be stuck in a pattern of unspoken, missed opportunities for connection.  The first person Williams shares his fatal prognosis is a complete stranger whom he overhears talking of his passion for theatre.  Williams beseeches the young writer to accompany him for a lively evening of entertainment.  The evening turns into a night of pub drinking culminating in a bawdy burlesque show.  Despite the pulsating energy from young crowds, the night is shrouded in melancholy.  The moroseness of loneliness, regrets and longings is palpable.  The following morning, Williams is spotted in a park by the young woman who works for him, Margaret (a luminous Aimee Lou Wood).  Williams impulsively invites her to lunch.  Margaret becomes the second person he confides his fate and his unfilled yearnings for embracing a richer life.  In his last few months at work, Williams makes it a mission to ensure a small playground is built for his constituents that have been given the round around.  The screenplay is by the Nobel Prize winner for literature, Kazoo Ishiguro ("Remains of the Day").  Ishiguro's signature trope for living outside the scope of one's best life are imprinted upon LIVING.  I suggest doing something more fulfilling than watching LIVING; carpi diem.