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.