ONE DAY TV Series-Grows on You as the Leads Grow-up

The 14 part mini-series airing on Netflix toys with your heartstrings as we get to know a young couple as they come together, drift apart and continually reunite.  July 15th, 1988, is the first day Emma (  ) and Dexter meet on the last day of their university terms at a campus wide graduation party. Filled with the exuberance of youth, the allure of uncharted waters and overflowing kegs of beer. Dexter is the consummate party boy; wealthy, popular and handsome played by (Leo Woodall, "White Lotus").  Emma (Ambika Mod, "This Is Going to HURT") is studious, artsy and has a few close friends. Though Emma had long admired Dexter from afar, he never noticed her until the night of graduation when his inebriated friend literally fell into Emma's lap. As Dexter pulls his pal from Emma's lap, their eyes lock and their mutual attraction is electrifying. Dexter asks her to join him for a celebratory drink. Dexter walks her home after a night of dancing and they fall into each other's arms and Emma's bed. Emma's inhibitions arise once undressed and diverts Dexter into somber pillow talk about his life ambitions. Dexter is indulgent and somewhat charmed, albeit sexually frustrated and the two companionably slumber.  At dawn, Dexter tries to leave without notice but awakens Emma. The two are waylaid into breakfast with Emma's roommate Tilly (an infectious Amber Grappy) and they all engage in good humor banter over bagels.  Emma and Dexter spend an idyllic day together on campus becoming better acquainted and part promising to stay in touch. The ensuing episodes speed by on the same day, July 15th, in the coming years. This simple premise of revisiting the couple as the years go by evolves into an affecting drama of young adulthood with its hard knocks and resiliency thanks in part to the people that factor into one's life. Dexter's parent's provide tough love along with plenty of money. Emma scrapes to pay the rent with odd jobs while trying to write her novel. Dexter finds success and celebrity as a TV gameshow host. He invites Emma to go  on a Greek vacation. The flames of romance flicker on the island but don't ignite as their sparks turn fractious and they part on cooler terms.  Stay tuned into this will they won't they flirtation that offers much in the way of worldly awareness and sophistication. The fantastic acting by both leads carries this rom/com into a long term relationship that espouses the mystifying and meaningful things that make certain people more important in one's life and what gives life its meaning. The clever writing and excellent ensemble including Elinor Tomlinson "Poldark" and Jonny Weldon who starred in "Peter Pan", elevate this series into a companionable and stirring series that is deeply satisfying with a radiance that lingers.  

EVERYBODY-A Left Edge Theater Production Recommend for NoBody

EVERYBODY was introduced by the stentorian voiced house usher who reveled in his thespian casting as, no other than, God. Before the play started (15 minutes late) despite the stark set, and the program stating it was a one act, 90 minute production, God (Khalid Shayota) informed us the play would run about two hours with a 15 minute intermission. Shayota also was cast as Understanding and went to great lengths to admonish an audience of 50, to turn off our phones and why vibrate mode doesn't suffice. He also instructed us to unwrap any sweets and pointed out the exits. I should've taken his cue and exited. The production was intended as a philosophical, absurdist contemplation of the simple topics such as the meaning of life and what life is there after life, i.e. when we die. Try as they might, and I applaud the courageous commitment of the cast who for the most part, were cast as Somebody, except for Death (Bonnie Jean Shelton) dressed all in black with a chic veil, and Love (Lulu Thompson) dressed all in red. Playwright Brandon Jacobs-Jenkins' EVERYBODY was a finalist for a Pulitzer Prize in Drama and his other plays have earned him an Obie and the Steinberg Playwright Award.  EVERYBODY is appropriated from the 15th C morality play EVERYMAN which is believed to be the first English language play to have been recorded. There were some clever ideas bantered about pertaining to the inevitability of our eventual demise and the solitariness or our passing. Specifically, our obsession and futility with obtaining material items. SOMEBODY confronted an anthropomorphism of "stuff" and engaged in a frustrating but very facetious dialogue. However the play was burdened in its very amateur production. LOVE told SOMEBODY "they" would not abandon SOMEBODY if SOMEBODY did exactly what LOVE instructed, which was to "get undressed and humiliate yourself." The actress portraying SOMEBODY didn't get naked, but did strip down to her sports bra and panties and ran several times through the audience. It was humiliating to behold. The pas de deux LOVE and SOMEBODY danced after the brief marathon was absurd, though I don't think that was the intent which only made it incredibly cringeworthy. GOD informed us before the play started it was going to be extended for another week. For those who haven't seen the show, count yourselves fortunate. For those who may consider seeing Left Edge Theater's EVERYBODY, don't be absurd. 

Author Jason Mott Discusses His Novel HELL of a BOOK

Actor Morgan Fairchild and world renown choreographer, Bill T. Jones share the view that Black History Month is divisive, dismissive and should be discarded. I share this view, also.  I argue Black History is American history and that dedicating a month is a divisive and insulting placation.  But, now I have a reason to be grateful as Jason Mott gave a virtual talk for northern CA libraries yesterday i/h/o Black History Month. Mott discussed his award winning novel HELL of a BOOK.  I've read this 2001, Nat'l Book Award Winning Novel and concur with its inference as being a unique and amazing read. The novel  depicts the complex African-American experiences, its fraught racial relationships and multi-faceted contributions to society and the arts. Mott was a disarming and delightful raconteur and shared surprising  stories as to the book's unforgettable title, its genesis stemming from the George Floyd murder and its beguiling segue into an encounter with Nicholas Cage. The title resulted from a dare by his editor with whom he has a close working relationship. Mott admitted his inability to title his own books. This was Mott's fourth novel. His previous novel, THE WONDER of ALL THINGS is magically realistic as it examines responses for protecting a child's power to provide healing or for destroying this gift for the greater good. HELL of a BOOK is a pastiche of absurdist and biting, social commentary. Mott tells his reader at the start this is above all, "a love story." There's much to love in Mott's writing and storytelling which is comedic, mystifying, heartwarming, gut wrenching and a harsh depiction of the reality that men of color are killed frequently at the hand's of law enforcement.  One of the questions asked of Mott pertained to his paradoxical 'love story' epitaph. His candor and cogent answers were satisfying and the difference between "open ended" and "unanswered questions" was clarified.  I urge readers to read not only Mott's novels which have garnered literary honors, but his award winning poetry collections as well. Mott described himself as a shy introvert and a loner; someone who requires plenty of downtime to recharge after being on his book tours. He was gracious and comfortable wearing a baseball cap, hooded sweatshirt and dazzling smile. The hour went by quickly with clever, pre-selected questions pertaining to his book and writing styles culled beforehand from the various library branches. I would have enjoyed spending more time with this engaging author's broadcast on a big screen in our welcoming local, Healdsburg library. Admission, of course, was free along with complimentary popcorn and flavored water drinks.  (Attached: my review of HELL of a BOOK on my blog:  Mindel's Kindle for the Rogue Reader)

https://www.blogger.com/blog/post/edit/4465356231317340474/4512484654088793738

THE IRON CLAW-Doesn't Grab Me with Zac Efron and Jeremy Allan White

THE IRON CLAW is a movie about a real family whose family business was tied to the ropes of professional wrestling. The Von Erich brothers garnered fame in the wrestling world in the 1980s under the Svengali leadership of their father, Fritz, played by square jawed, steely blue eyed Holt McCallamy. McCallamy never falters in his quest to raise the best wrestlers in the world regardless of the toll it exacts. Nor does Holt show signs of aging or emotion in his myopic mission to push his sons to be world class wrestlers. He started off with six sons until tragedies whittle his brood down to a last man standing. The sole surviving son is Kevin, (an almost unrecognizable Zac Efron on steroids). Efron is so pumped up for this role he appears freakish looking.  His outward appearance clashes with his inner tender and loving persona. Efron gives a poignant performance in this macabre, all too true story as the oldest brother who idolizes his dad and loves his brothers deeply. All the brothers have a profound connection with one another. Their relationships pack a K.O. that almost lands a winning decision for watching the movie now streaming on AppleTV.  The ensemble actors cast as brothers are all stirring in their roles.  Jeremy Allen White plays the brother Kerry. Kerry earned a place on the Olympic team as a discus thrower while a college student in 1980; the year Carter boycotted US athletes from competition. White is terrific as the son who might have broken out of his father's fatal grip if it weren't for Carter's lame decision that served no one and only punished US athletes who had dedicated years training.  Dad gets Kerry to join his brothers on the mat. It's not long after that brother David dies suddenly from injuries sustained from gut punches in the ring. Dad easily sways sons, Michael (an excellent Stanley Simons) and Chris to pick up the ropes and step into the ring. Between 1987 and 1993, Mike, Chris and Kerry all died by suicide. The film's relentless tragedies, compounded by suicide slams the viewer and holds them down for the count. Kevin seems the only immediate family member who fully mourns the loss of his brothers.  He is the only one who stands up to the father and blames him for not intervening.  Kevin was the only sibling who married and had kids.  The lovely and talented Lily James plays Kevin's brings much needed sensitivity and support for her husband and troubled family.  Within the brutal wrestling matches, the film provides heartwarming scenes of fraternal love. These moments are ingrained within a family odyssey of pain. Perhaps this film  can be viewed as a salute to the world of professional wrestling and a tribute to the Von Eric family who gained posthumous Wrestling Hall of Fame recognition.  For wrestling fans, this movie delivers plenty of wallops. Otherwise, the payoff feels as much a sham as the gilded, paper mache, heavyweight belt. 

LOVE and DEATH-A True Crime and Trial Stars Elizabeth Olsen

There's plenty to love about the mini series on HBO MAX, "LOVE and DEATH." The seven part series is based on a true case of a clandestine affair within a close church community that resulted in a killing and a thrilling courtroom drama. Candace Montgomery (portrayed by a feral Elizabeth Olsen) was charged with the murder of Betty Gore (Lily Rabe) which occurred on June 13, 1980. Gore's husband, Allan (played by a pitch perfect Jesse Plemmons) and Candace were having an extramarital affair. The Montgomery family and the Gore family had daughters the same age who were best friends and both families were closely tied to their local Methodist Church. This case received a great deal of media attention at the time, both for its salacious underpinnings and the ensuing trial's verdict which was vilified  in the community where the gruesome killing took place.  This easily watchable series is deftly written for television by Television Hall of Fame inductee, David E. Kelly (BOSTON LEGAL, LA LAW).  Olsen as Candace is mesmerizing in her portrayal of a fearless narcissist who expects adoration from everyone and is restless in her role as a suburban housewife. Candace can manage her husband, household and church commitments but is left craving more stimulation. She thinks Allan may be the answer to her daily doldrums.  It doesn't require much convincing on Candace's part to persuade Allan they should be lovers. Plemmons has starred in "Killers of the Flower Moon" and "The Power of the Dog". He is ingratiating as the pushover husband and willing participant in afternoon motel delights. Betty Gore is played by Lily Rabe ("Shrinking", "The Undoing"). Rabe is wonderful as the gullible friend and wife always bordering on hysteria. The seven episodes all work as a mystery, chilling character study and a riveting courtroom thriller. The supporting cast including Candace's husband, her defense lawyer and best girlfriend are excellent in their roles and all manage to bring out Candace's cunning and charm. The facts presented closely compare to the real people and circumstances. The fascination with Candace Montgomery case spawned a book titled "Evidence of Love," a TV film and a Hulu series starring Jessica Biel. The LOVE AND DEATH series screening on HBO Max is not so much a "who did it crime." It's a can you believe this is all true and believe you me, you do want in on it.  

CHIMICHANGAS and ZOLOFT-LGBTQIA/Comedy/Drama by Fernanda Coppel at RAVEN Playhouse

Fernanda Coppel is an American/Mexican playwright and screenwriter. Her plays have been staged in New York City at The Second Stage and the Geffen Playhouse in Los Angeles. Coppel was a co-writer of "No One Gets Out Alive" which can be screened on Netflix. The one-act, five character play "Chimichangas and Zoloft" has a number of good ideas floating around but most get lost amidst the dizzying love twists, somewhat flat comedic spins and plot holes that go unanswered. Set in present day Los Angeles the show opens with a bang with the unmistakable sounds of flatulence. Sonia Martinez (an admirable Norma Stevens) explains in her soliloquy a sly disclaimer owing to one too many chimichangas consumed alongside margaritas last night for her 40th birthday celebration.  Sonia's stalwart attitude loses some bravado as she admits feeling less than felicitous and frankly, depressed. Thus the play's namesake is introduced at the start.  Scene 2 is far more jovial.  Two teenage girls are slathering themselves in suntan lotion while slithering into salacious innuendos regarding their purported sex lives. Penelope Lopez (a likable Andrea Lizbeth Chavez) insists she and her boyfriend had sex although she's not quite sure how it was. Her best friend, Jackie Martinez (a captivating Alexx Killian Valdez) presses her for details.  Penelope wants to know from Alexx if she hooked up with the girl she's infatuated with.  Penelope bemoans Jackie's mother, Sonia, being away as she felt comfortable confiding in her. Penelope's mother is MIA without any explanation of why and or for how long. We learn Jackie's mom has been away for two weeks and Jackie is uncertain when she's returning. Penelope's father shares carpool duties with Sonia and he's put out he's been left to the job alone.  Jackie's dad, Ricardo, is too busy working to drive for the girl's carpool. There's some rancor apparent between the girl's dads when Ricardo comes to bring Jackie home. What's revealed behind locked doors is the dads are in a tryst unbeknownst to the girls but Jackie's dad's homosexuality was all too familiar to Sonia.  Secrets begin to fray between parents and their progenies. No apologies are offered nor reasonings for what is and isn't acceptable. The play is not laugh-out-loud funny but then it's never dull. The girls' friendship is engaging and filled with youthful exuberance.  I couldn't decipher any meaningful message but I appreciated the absence of any proselytizing.  CHIMICHANGAS and ZOLOFT is best digested as a lightweight diversion with a side of fart-joke humor. 

Italian Saxophone Quartet Perform Eclectic Program at 222

Who knew that a sax quartet was a set chamber musical group? Not me. But, not only is the Italian Saxophone Quartet (ISQ) the longest contemporary performing group of more than four decades, ISQ is highly honored in the world of chamber music having won numerous awards including first place at the prestigious Premio Ancona Competition. My expectations for unique sounding classical compositions and I was not disappointed. In fact, my favorite pieces for the evening of this sold out performance were Bach's "G String from Orchestral Suite 3" and Rossini's "Allegro from Sonata 4 #3". The harmonies were lush offering a rich orchestral sound that also contained a percussive ornamentation coming from the alto and tenor saxophones. The soprano and baritone sax were clearly distinguished layered above and within the deeper stentorian levels. I had anticipated some jazz compositions having an all sax quartet would lend itself to jazz. The only somewhat jazzy composition led off the night with a fun number by Scott Joplin played by the four musicians strolling through the nightclub seating arrangements. This lent a festive Mardi Gras feel.  The program continued with more surprises including a medley of cinematic  scores that were arranged by Michele Paolino on baritone sax. While most of the scores were unfamiliar, the theme from "The Good, the Bad and the Ugly" struck a very haunting chord. Federico Mondelci on soprano sax was the senior member of the group and the jovial spokesperson for the group albeit his thick Italian accent made him difficult to understand at times. Julian Brodski on alto sax was the youngest member and described by Mondelci as "being loved by all the women."  Brodski had wavy auburn hair jauntily covering one eye and donned hot pink socks that stood out amongst the otherwise similarly clad members. Silvio Rossomando on tenor sax was the only one not to perform a solo but he was the only member to perform on every composition on the program. The second half of the evening contained works by classical, 20th C composers: Giovani, Piazolla and Rota.  Mondelci announced that the group was going to perform two works that they'd never perform.  This required music to be read on stands set up with iPads and foot controlled mouses.  First were selections from Gershwin's "Porgy and Bess" and the other selection was an unnamed surprise Mondelci was sure we'd recognize.  Indeed, Queen's "Bohemian Rhapsody" was a delightful number.  The four musician's left the stage the way they entered by playing their way through the crowd who sent them off to a rousing standing ovation.

PIANOFORTE-Doc Chopin Piano Competition-Compelling with a Soft Touch

The Int'l Chopin Piano Competition which is held only once every five years. This is held in Poland, the birthplace of Chopin and it is the pinnacle conquest for young, aspiring pianists.  The PIANOFORTE doc. is a delightful and exciting peek behind the scenes which captures the pressures, practice routines and passions that consume a field of talented artists all vying for top honors in this competition for talented  piano virtuosos. There's a visceral sense of the intense stress these artists experience while preparing and waiting to perform. The camera follows six competitors from six different nationalities who've been selected for this prestigious competition.  This international competition has only been held 18 times over the last 100 years.  Overflowing with beautiful classical music which sounds imperious and flawless to the untrained ear, the refining instructions give us a clue to what's honed in an exclusive master class.  For the competitors and their mentors, there is always more to perfect. The film contains a treasure trove of great music but what makes this an exceptionally captivating film is the camera's focus on a handful of pianists for whom we develop an intimate attachment and empathize with.  We are as much in awe of their talent as we are of their sheer devotion to the seemingly all consuming focus that is required.  Although, to my pleasant surprise, several of the artists we follow seemed to maintain a healthy perspective in regards to wanting a well rounded life that encompasses pursuits outside the realm of becoming a concert pianist.  The Japanese piano teacher who accompanied her student to Plant explained in her youth she was not willing to give everything demanded of her to take performing to the highest echelon.  Her mentorship style with her student contained a gentle touch and a great deal of pride.  One of the contestants fell ill from the pressures and bowed out despite having passed the first few levels in the 21 day competition.   Another contestant's tears at not finishing in the top spots was heartbreaking to behold.  There's much to embrace as you watch students get a feel for the various pianos they have to select from, as you witness the audience's emotional responses despite hidden behind COVID required masks and above all the camaraderie  evident amongst the competitors.  PIANOFORTE is winning not just for the splendor of brilliant classical compositions but also for the soft human touches highlighted, the rare insight of the tolls exacted and the rousing passions stirred through the allure of music. 

FEUD: CAPOTE vs. the SWANS-Swanky Hanky Panky and Swishy Fishy Capote

Fact, Capote was a literary genius. Fact, Capote captivated the elite echelon of NYC's high and mighty social set in the 60s and 70s.  Also true are the thinly veiled characters in Capote's chapters installed in an ESQUIRE issue '1975 which led to his social demise. Upon publication he was swiftly jettisoned and ostracized from their bejeweled mitts. Capote, one of only a handful of openly gay celebrities, was a witty raconteur and salacious gossip.  His unctuous, unthreatening demeanor secured him a spot as confidante to the comely likes of women such as Babe Paley, Slim Keith, Lee Radziwill. This ended abruptly when he bit the hand that fed him. Big mistake by the pint-sized Capote with a gargantuan mouth and high-pitched voice.  Tom Hollander cast as Capote is pitch perfect as the smarmy snob who was befriended by a bevy of belles headed by Babe Paley as the leader of the pack. Paley is portrayed by a steely Naomi Campbell.  The other ladies who lunch at La Cote Basque where most of the scurrilous conversations convene. The click includes Diane Lane as Paley's steadfast friend, an indignant Calista Flockhart as Radziwill peace-maker Chloe Sevigny who knows best whose side her bread is buttered. Demi Moore has little more to do than look drop dead gorgeous as Ann Woodward, Molly Ringwold as Joanne Carson, Johnny's ex and Treat Williams in his final swan song role as Bill Paley. Jessica Lange has a lurid role as Capote's mother who tries to entice him into suicide during one of his drunken stupors. No one comes off swimmingly which is precisely the point. The lives of this coddled, coiffed and manicured brigade have little in touch with the working class except for their doting maids and abject chauffeurs. This zeitgeist voyeuristic look at the chic set is enticing for just this reason. It's fascinating to see how the filthy rich fill their days and spend their millions. There's plenty to savor here along with mouth watering meals, imbued with alcohol, cigarettes and fleeting regrets. The eight part series airing on Hulu plays fast and furious with time-lines jumping between Capote's glory days with the grand dames and his obsequios squirming to regain a seat at the table. I enjoyed this frivolous foray into the original bravo housewives of NYC who seem to have nothing better to do than behave like sullen, mean girls and get dressed to the nines. I'll stay tuned at least until the infamous black and white party hosted by Capote i/h/o Katherine Graham at the Waldorf. For devotees of Downton Abbey looking for a new diversion, look no further than your own backyard for the upscale drama FEUD: Capote vs. the SWANS based on facts masked as glamorous glee.