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

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

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

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

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

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

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

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

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

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

AMAZING GRACE - Aretha's Gospel Recording from 1972 Released as a Doc.

Arguably the greatest singer of the 20th & 21st C is Aretha Franklin who passed away last year.  Her musical legacy is nothing short of miraculous.  The just released film "Amazing Grace" is footage from a 2 day concert of Aretha Franklin's gospel album in January of 1972.  The recording was held in a Baptist Church in Watts. Sydney Pollack was the young director who went onto to highly successful career in the movie industry.  However, he notoriously flopped with this film when he failed to utilize the technology necessary to sync sound.  This did not stop Franklin's recording of the album that has become the best selling gospel album of all time.  (It also didn't derail Pollack's career.)  Technology has now restored the film to be presented as intended.  There's no mistaking the incredible gift Franklin possessed to sing and arrange music that is otherworldly and touches the soul.  Still, it's questionable why the film has only just been released after her death.  The answer may be found by observing Ms. Frankel and the seemingly strained interaction between her father, the Rev. C. L Franklin.  Not to take give too much attention to her egotistical father who took to the podium not only to sermonize but to subjugate his daughter's talents outside the realm of the Church.  At the time Franklin had 11 top singles and 5 Grammy Awards.  One can feel for Ms. Franklin and sense her incomparable grace & restraint while listening to her father preach.  When Franklin is singing, heaven and earth are swayed by the voluminous richness in her voice and her stirring renditions.  There are sublime shots of Franklin in her white glittered gown as sweat glistens down her face rejoicing while singing with abandon. The concert is held in the Baptist Church with the aid of Rev. James Cleveland and the S. CA Community Choir led by Alexander Hamilton.  The raw footage shows Pollack and film crew coming in and out of view.  The congregants oftentimes were moved to join in and the audience is carried along by their candid and intimate responsiveness.  The religious fervor is stirred to an ultimate pitch.  This film is testament to the miraculous talents Ms. Franklin possessed and the celestial aura surrounding her singing.  Whenever Aretha Franklin sings, she sings with the voice of an angel setting us free.

HOME at the Berkeley Rep - Has Moments of Magic But Not Worth Leaving Home For

HOME created and starring Geoff Sobelle known for his absurdist works is an immersive absurdist production with many moving parts, literally.  This production at the Berkeley Rep appeared promising from the start with magical moments of ephemeral intrigue and musical performance by composer Elvis Perkins (Anthony Perkins' son.). Perkins musical compositions and performances were reminiscent of a young Bob Dylan's folks music and clever lyrics though difficult to decipher.  Thankfully, his lyrics are printed in the program and it's probably only a matter of time before he gains notoriety for his musical talents.  Perkins bookends the overly long One Act  which is packed with magic & ephemeral grace to start.  David Neumann's majestic choreography echoes Maya Angelou's sentiment "Everything in the universe has rhythm.  Everything dances."  Unfortunately the production unfolds into an annoying supercilious absurdist theater that throws in everybody and everything plus the kitchen sink and an overflowing crapper.  The overstuffed immersive structure with minimalistic dialogue implodes into disaster.  This dubious bifurcation is deeply disappointing after marvelous choreographic staging & lighting that casts a shine on the beauty found in the mundane. Overlapping lives simultaneously pass through unbeknownst to one another under the same roof.  Perkins live music gets plastered over by a recorded mixed bag of musical scores.  Bringing the audience onto the congested stage weighs down the production.  The actors misstep going into the audience to enlist people to elevate strung lightbulbs.  HOME really jumps the shark once separated trajectories connect within the framework of the house on stage and audience house members.  The grim reaper makes his rounds towards the end but by then the magic has vanished.   The saving grace comes from 2 eloquent interjecting prose that evokes nostalgia for one's own childhood home.  There is no place like home and nothing quite like HOME.  But after the mystifying foundation is set, the additional construct should be laid to rest.

SOCRATES at the Public by Tim Blake Nelson - An Intellectual Powerhouse Production

Tim Blake Nelson is a character actor known for his roles in Coen Brothers films including "The Ballad of Buster Scruggs" and "Brother Where art Thou."  He is also a director, filmmaker and playwright.  Nelson's brilliant & provocative play "Socrates" at the Public Theater will establish him  as a seasoned playwright.  The intoxicating historic biopic swiftly runs over 3 hours and stars the unconquerable Michael Stuhlbarg ("Call Me by Your Name) as Socrates.  This intense & well acted performance is saturated in sagacious pretext.  Historians have difficulties in accurately depicting Socrates life or teaching as he left nothing in writing and there is rare documentation of his life.  Nonetheless, Nelson has created a credible and deeply moving portrait of one of the most widely known & enduring figures of western philosophy.  The drama embodies elenchus thinking which is to question everything and offer logical refutation.  This impressive & explosive production is a master class of discerning how to think.  The ancient philosopher's wisdom is very prescient in today's political climate where our democracy is being tested.  The first-rate cast surrounding Stuhlbarg and clever staging make this a must see powerhouse production.  SOCRATES leaves a lingering cerebral impact.  "To find yourself, think for yourself."

PLAY IT LOUD: INSTRUMENTS of ROCK and ROLL at the MET -Yes, the MET!

PLAY IT LOUD: INSTRUMENTS of ROCK and ROLL is the first major exhibit at a leading art museum consisting of musical instruments spanning the era of early rock & roll in the 50s & 60s through the 20th C.  The MET's musical instrument curator Jayson Dobney organized this show over 5 years along with Rock and Roll Hall of Fame Museum.   One may approach this exhibit with  skepticism of its significance alongside the halls of MET.  But there is plenty of awe to be found with regard to the iconic instruments and the legendary artists who performed them.   Starting with Chuck Berry's  guitar he first played "Johnny Be Good," the Everly Brothers guitar they recorded "Wake up Little Susie," Elvis Presley's original acoustic guitar, Jimi Hendrix's Flying V guitar used to record "All Along the Watch Tower," and Ringo Starr's drum set used on the Ed Sullivan Show.  Innovative instruments include John Lennon's 12 string guitar, Don Feldor's double neck guitar and early innovative synthesizers.  I found it interesting the exchange of instruments between the artists and whom the iconic musicians paid reverence.   The decimation of the guitars that was a destructive trend seems especially onerous; a wasteful use of instruments for showmanship.   Pete Townsend's smashed guitar from a pictorial spread by Annie Leibowitz lead to copies of this rebellious act just as Rock and Roll itself was one considered a revolutionary form of expression belonging to "a young generation."  More contemporary items include Prince's love guitar and images of Lady Gaga atop her piano.  This lady found the show subdued.  Row upon row of silent guitars gently wept.  And, without live performances this lady was not gaga for the stoic display of instruments which come alive only when being played.

Lucas Hnath's HILLARY and CLINTON Starring Laurie Metcalf and John Lithgow

Playwright Lucas Hnath uncovers a universe with an unbeknownst conversation between Hillary and Bill Clinton during the presidential primaries in 2008.  The voyeuristic look into the couple's marital & political tribulations is riveting.  Many have wondered about the banter between Bill in his tumultuous term as President and during Hillary's run for the White in 2008.  Hnath's brilliant play "A Doll's House, Part 2" earned him the Tony for Best Play and a Tony for Best Actress for Laurie Metcalf who stars as the invincible Hillary.  Hillary's impenetrable persona revealed an unexpected crack in her carapace when confronted by a women during an informal Q&A in NH days before the state's primary.  The woman asked Clinton "How do you do it?" A softball question that elicited an uncharacteristic emotional response.  A teary eyed Clinton answered, "It's not easy - you know?"  Showing a softer more vulnerable side may have transformed her into a stronger candidate.  Hillary  won the NH primary despite polls predicting otherwise.  The simple but loaded question is volleyed about.  Why did Hill stay with Bill after his ignominious affair?  What motivated Hillary to run for the highest office and pursue public service?  What makes Hill and Bill tick as a team?  Was Hillary being strategic in staying by her husband's side?  Is Hillary power hungry or an altruistic patriot?  In Hnath's skillful hands, Hillary is seen as a relatable & complex individual with an omnipotent drive to be elected and a wife with ambivalent feelings for Bill (Tony & Emmy winner John Lithgow) whose indiscretions brought embarrassment and impeachment.  Hill's campaign manager Mark (Zak Orth) is adamant in keeping Bill out of the picture.  Still, she turns to Bill for support and when he arrives in the sparse hotel room, recriminations and frustrations soar.  Hillary wants to be out from under Bill's shadow.  Lithgow's Bill is a petulant egomaniac who doesn't want to be delegated to the sidelines or left alone.  Barack (Peter Francis James) makes an appearance in a cordial chess match with Hillary vying for position.  The acting is first rate and the sorry, not sorry repertoire is smart & humorous.  The universe where "Hillary and Clinton" co-exist is one with betrayals and reasonable actions.  The repercussions of what may have been and what actually transpired could fill a vortex.  What matters most in this amusing and exceptionally well acted play are the reverse images of the Hill & Bill we think we know.