Film "Are You There God? It's Me, Margaret"-Stars Rachel McAdams/Kathy Bates

The beloved coming of age novel, "Are You There God? It's Me, Margaret?" was groundbreaking for its depiction of young girls discussing menses, contemplating religious convictions, and contending with bust development along with peer pressures and attraction to boys.  Judy Blume's novel from 1970 is about 6th grader, Margaret.  Margaret is at the fulcrum of the movie.  She's the only child of doting parents and a loving grandma.  Margaret's father is Jewish, her mother, Christian.  Margaret has been raised without any religious instruction.  This is a classic, coming-of-age story.  It had never been made into a film until now.  James L. Brooks bought the rights and produced the film.  Kelly Craig ("The Edge of Seventeen") directed and adapted the screenplay.  Brooks also bought and produced "Edge of Seventeen".  The film not only captures the angst and awkwardness of adolescences it does a magnificent job of bringing all the characters to life with tenderness and credibility. The movie starts with the  energetic zeal of girls enjoying the joys of friendships and summer camp activities.  Upon returning home, it's revealed, somewhat inadvertently by her grandmother, Sylvie (the incomparable Kathy Bates who deserves an Oscar nom. for her role) she'll be moving to NJ with her folks.  This is met with dread by Margaret whose happy living where she is in now.  Margaret maintains an ongoing, one-sided dialogues with God; not unlike Tevye in "Fiddler".  Her mom is played by the talented Rachel McAdams who also deserves an Oscar nom. for her performance.  Both mom and dad are loving, kind parents; almost too good to be true.   As Margaret wants to fit in with her new friends, she asks mom to take her bra shopping and also questions why she's never met her maternal grandparents.  Her mom is hesitant in her response.   She informs her daughter she was disowned by her parents for having married someone Jewish.  This startling revelation is hard for Margaret to fathom.  The film intelligently deals with somber issues but remains lighthearted throughout.  There are the first spin the bottle parties, revolving friendships and fun-times with grandma Sylvie in NYC.  The pride Sylvie takes when entering the synagogue with her granddaughter and Sylvie's running explanations to Margaret is a scene to cherish.  Margaret's dawning awareness and empathy of how her classmates perceive and treat each other hits its mark honestly.  Are you getting me?  This film is a "reel"  delight.  I highly recommend it to adolescents and adults alike.  It's me, Melinda.

Elliott Erwitt Retrospective at Musee Mailllol in Paris

Elliot Erwitt (b. French 1928) is a French/American documentary photographer known for his black/white photographs that capture humorous and arresting moments that are ironic, hypnotic, electrifying and sobering.  Erwitt's subjects range from the everyman to some of the most historic icons from royalty, heads of state and celebrities.  Erwitt's unforgettable photographs represent zeitgeists of the 20th and 21st centuries.  He captured Nixon's contentious visit with Khruschev to the Soviet Union in 1959, intimate photos of Mrs. Kennedy at JFK's funeral and the inaugurations of Pres. Obama.  The famous Marilyn Monroe photo holding down her billowing skirt was shot by Erwitt as were the photos of the cast from Clark Gable's last film "The Misfits" also starring Monroe and  scenes of the segregated south showing separate drinking fountains and entrances for black and whites in N. Carolina 1950.  Erwitt's Retrospective amasses solemn historic photos along with photos that are suffused with the hilarity and the  sublime.  Many of his beloved photographs are of dogs alongside their owners.  A very personal and touching photo is a black/white shot of his wife looking bemusedly at their infant lying on a bed infused with soft light from an overhead window.  Children are often his muse in photographs.  The photos of pre-adolescents dancing in partners shows the disparity in enjoyment among the pairs.  The most arresting  shot, is of a young black boy holding a pistol to his head with a beaming smile, daring the viewer to register this disturbing enigma.  There is a short video of Erwitt being interviewed and at work.  He tells the interviewing "This is my favorite photo," referring to the boy holding a gun to his temple while smiling.  Erwitt said there was no difference in taking photos of famous people v. ordinary people, "But, photos of famous people bring in more money."  The last scene in this video is a charming parody of his famous shot of a man wearing a beret riding a bicycle with a young boy in back on the bike, looking at the photographer and carrying a long baguette.  "Expo Prolongation Elliott Erwitt retrospective" is an enjoyable, reflective exhibit that will be recalled with fond memories.  Bien Sur - ci vous dan Paris - vous est' tres chance!

GOOD NIGHT OSCAR-Stars Tony Winner Sean Hayes in a Bio Play on Oscar Levant

Sean Hayes is best known for his Emmy & SAG winning role on TV in the long running comedy "Will and Grace".  His Tony winning performance in this year's "Good Night Oscar" is a dramatic turn demonstrating his diverse acting talent.  Hayes is a Broadway veteran having starred in the musical "Promises Promise" earning a Tony nomination and the drama, "An Act of God."  Hayes portrays pianist /composer/conductor/actor and radio personality, Oscar Levant (b. Amer. 1906-1972).  Levant appeared in movie classics like "An American in Paris" with Gene Kelly.   As a composer for more than 20 movies his compositions were highly regarded by Aaron Copland and Arnold Schoenberg.  However, little is garnered of the man in "Good Night Oscar" other than his admiration for Gershwin and his creative suffocation resulting from their association.  This biopic drama portrays a seriously unhinged individual still able to pull it together for a TV audience, with irreverence and a brilliant performance on the piano of "Rhapsody in Blue."  Hayes is playing the piano himself, with an over scored accompaniment.  This fortunate critic admits to knowing Hayes personally and having had the pleasure of him entertaining us at the the piano.  The play is written by Pulitzer and Tony winning playwright Doug Wright ("I am My Own Wife" (2004).  Wright has also wrote the books to Broadway musicals "Little Mermaid" (2007) and "Grey Gardens" (2006).   The plot is constrained to one evening within the confines of the NBC studio for the "Jack Parr Tonight Show" in 1958.  Levant is a favored talk show guest for his quick wit and skills at the piano.  The night Levant is to appear on the show, the network executives have yet to hear from Levant and showtime is approaching.  With the deadline reaching its final two hours till showtime,  NBC Pres.  Sarnoff is about to sign off on Levant when June, Levant's wife (an excellent Emily Wise) arrives in Parr's office.  Parr (Ben Rapport, B'wy "Fiddler" and "Picnic") has a momentary reprieve hearing June assure him her spouse will be here.   But, Parr is shocked to learn Levant has been in a mental hospital for the past several months and is required to return immediately following his appearance.  Hayes tour-de-force performance is undercut by watching how precarious is Levant's manic state and his obsessive demand for obtaining medication.  The show is a credible examination of neurosis made all the more unpleasant for a convincing version of a person's shaky grasp on sanity.  While Hayes and the entire cast are all outstanding, I didn't find the play entertaining or substantive in regards to understanding mental illness.  Furthermore, there was a missed opportunity to learn more about an interesting individual who was one of the great pianists and fearless commentators from the 20th C.   

PRIMA FACIE Stars Tony Winner Jody Comer as a Magistrate Who Charges Date with Rape

I was fortunate to see Jody Comer's powerhouse performance in this one woman, one act play that sheds light on the complex shades of doubt called into question with rape allegations.  The week before I was in the audience, I was in NYC when the smoke from the apocalyptic fires in Canada enveloped the city.  All outdoor activities for public schools were cancelled, public beaches were closed and the Yankees postponed their game because of the toxicity in the atmosphere.  Masks were being handed out for free. Most people were using masks or clothing to cover their noses and mouths.  People were warned to avoid being outside and remain indoors as much as possible.  I felt my eyes and throat burn within moments being outside.  The discomfort lingered long after going inside.  Also this on day, Jody Comer while on stage in her matinee performance required help getting off stage due to difficulty breathing.  "I can't breathe in this air," she stated after stopping shortly into her performance.  The understudy went on with the show although both "Hamilton and "Camelot" cancelled their performances hours before curtain call for the evening shows.  The air quality has since improved and Jody Comer came back into her Tony winning role of Tessa, a feisty barrister whose fearless in the courtroom the following day.  The play is written by Susie Miller (b. Australia).  Miller received her law degree from the Univ. of New S. Wales while also studying drama at the Nat'l Institute.  The play's heroine Tessa, is a young woman from the lower strata of England's snobbish social hierarchy.  Tessa worked her way up from her working class origins in a household that didn't hold her back or help but has since come to depend on her earnings.  A brilliant student who doesn't intimidate easily freely although she's forever aware of the disparity between herself and that of her elite classmates.  Winning drives Tessa in life and in the courts.  When her handsome, aristocratic former classmate and formidable barrister shows an interest in her, Tessa is excited to engage in a relationship.  However, Tessa must draw on all her inner strength when the relationship takes a sexually abusive turn.  Her testimony and the burden of proof take an emotional toll.  Comers tour-de-force performance is a master class in acting as she fills the stage with characters and a panoply of emotions.  Comer (b. UK 1993) gained popularity for her starring role as the sexy, sociopathic assassin in "Killing Eve".  She's garnered two BARTA TV Awards, a Primetime Emmy, Laurence Olivier, Screen Actors Guild Awards and two Golden Globe Awards.  Don't miss one of our most versatile actresses in this intense and thought provoking play.  PRIMA FACIE is a primal experience that resonates with prescient social issues.  The play is primary dramatic theater at its best.  

KIMBERLY AKIMBO-Tony Winner for Best Musical Will Win Your Hearts

The new musical on Broadway, "Kimberly Akimbo"(KA) won more Tony Awards than any other show this year including the Tony for Best Musical and Best Leading Actress; Victoria Clark in the starring role.  Kimberly, Kim for short, is your typical teenage girl living in NJ except except for the fact sheis a 72 year old woman trapped inside an 17 year old body.  Kim has the rare genetic disease, progeria.  Progeria is a progressive disorder causing children to age rapidly.  The disease leads to premature death, causes crippling arthritis, disfiguring of the face and body and fatal degeneration to the heart.  Our irrepressible and immensely likable main character, Kim, appears on stage as herself, a 63 year old woman without the aid of prosthetics or makeup to portray a person with progeria.  The contrast between herself and the young actors on stage playing high school classmates makes the age disparity apparent without arousing sympathy.  Kim is accepted by likable nerdy outcasts as her school aware of their substellar social standings.  The classmates all terrific performers with amazing voices and dancing skills.  I was dismayed when I  learned the understudies for Seven Boyer (Tony winner for "Hand to God" and Justin Cooley (Tony nominee for KA) would be performing.  However, both understudies were exceptional in their roles while marking their Broadway debuts.). The play is set in 1999 and noted in the program, a time before kids had cell phones.  The play and lyrics are by David Lindsay-Abaire; Tony winner for KA and Pulitzer Prize winner for Drama in 2007 for "Rabbit Hole".   Lindsay-Abaire is a gifted playwright, screenwriter and lyricist, adroit in both comedy and drama.  This comedic play is very entertaining and covers the underlying pain of a young woman dealing with her debilitating, disfiguring disease while surviving in a highly dysfunctional family.  The mom's a chronic hypochondriac, father a flailing entrepreneur and an Aunt (a deliciously devious Bonnie Milligan) a shady grifter who enlists Kim and her friends as cohorts in a lucrative plot involving activities of felonious fraud.  Milligan received this years Tony for Best Actress in a Musical for her role.  The show's music is by composer Jeanine Tesori who received a nomination for her work on KA and received the Tony Award for Best musical for "Fun Home" (2006).  All the fabulous talent that went into making KA combine for a an unforgettable show.  The students are assigned to report on a disease of their choosing in pairs.  Kim agrees to pair with Seth who thinks choosing progeria is a great choice,  The messaging that comes through clearly without being didactic is to see each other for who we truly are and to enjoy each moment we're given.  I would choose this warm hearted show that takes us on a total joy through laughter and pathos in high gear. 

A Beautiful Noise-Neil Diamond's Musical Bio on B'wy-A Must Go!

"A Beautiful Noise" like the Broadway predecessor, "Beautiful" are both biopic, jukebox musicals based on the lives and music of contemporary singer/ songwriters.   These musicals which are the soundtracks to our lives, give us what we most want from musicals; great songs and choreography, top talent, superb story-telling and a feel good show that leaves you feeling happy and humming its tunes.  "Beautiful" was the musical about Carole King which ends its run this fall.  "A Beautiful Noise" is a new show about Neil Diamond who is far more prolific and profitable than previously regarded by this cynic critic (130 million records worldwide).  Truth be told, "A Beautiful Noise" titled for Diamond's 1976 album* of the same name, was not my first or second pick for my brief but remarkable return to my beloved city.  Sophisticated palette be damned, I laud the clever staging, choreography and applaud the entire cast especially Will Swenson who rotates the lead role of Neil and share my frustration at his Tony snub.  Swenson is a doppelgänger for the Neil Diamond in looks and sound performing at major, sold out venues with his "gravely, rich sounding voice."  Diamond never intended to be a performer.  His goal was to make a living writing songs for others to release.  The show is bookended by Diamond today at age 82, a curmudgeon who begrudgingly meets with a psychiatrist at his wife and daughter's urgings.  The two are intermittently on stage conversing in their private sessions.  The Dr. refers to a hefty songbook on her lap of Diamond's lyrics to draw out his thoughts.  This seemingly forced (and farfetched) gimmick actually works. Diamond's life story is mirrored on stage from  his songwriting.  The final scene has a grateful and reinvigorated Diamond thanking the good Doc and taking stock of his accomplishments and blessings.  This framework works beautifully within this jewel of a jukebox musical and everything in between is so good, so good!  Anthony McCarten, a four-time Academy Award nominated screenwriter wrote the book.  Steven Hoggett did the choreographer.  Previous credits on Broadway include  "Sweeney Todd and Harry Potter and the Cursed Child both running on Broadway.  And scenic design is by David Rockwell, Tony winner for "Into the Woods, Take Me Out" and "Kiss Me Kate."  This cynic is recommending you put this musical on the top of your to go see in NYC.  I find fault with anything except I can't get some of these songs out of my head. 

* In 1976, Neil Diamond was at a low point in his life and career when he wrote "Sweet Caroline" which as he put it, "changed my life and that of my children and their children forever."

Fun Fact:

Diamond's first success at songwriting came with the songs made popular by the Monkees; "I'm a Believer." 

Karl Lagerfeld at the MET-Try This Game on for a Prize

Karl Lagerfeld (b. Germany 1933-2019) was a famous fashion designer whose illustrious career begin  in the 1950s at Fashion Houses Balmain, Patou and Chloe before joining and residing with Channel in 1983.  Lagerfeld and Chanel became synonymous with each other and haute couture.  Lagerfeld, known for his haughty look donning dark sunglasses, pony tail, gloves and his ubiquitous fan, was also known for his detest for the mundane and the ways minions dress.  The jet setters, royalty and fashion connoisseurs crave his creations.  Lagerfeld deigns have garnered numerous prestigious awards.  Prior to his death in 2015, Lagerfeld was honored with the Outstanding Achievement Award at the British Fashion Awards  presented by the snobbish, fashion elitist, Anna Wintour, Editor in Chief of American Vogue.  Wintour's look, like Lagerfeld, hasn't wavered over the years.  Wintour is known for wearing omnipresent sunglasses and the same coif; a chin length bob with bangs.  The MET gala, a major money maker for the museum has been lorded over by Wintour since 1995.  The biggest annual fashion event is always held on the first Tuesday in May; the only day the museum is closed to the public so it can prepare to host a cadre of celebrities showing off their finery.  These cosseted beautiful people are the first to view the Fashion Institute's Show for the year.  After the opening, the general public gets their chance to peruse the showcases of clothes.  Most outfits cost more than the monthly paychecks of the proletarians.  However, Lagerfeld's show is so popular to the masses, timed admittance to the exhibit is enforced to make the viewing more assessable.  I concede I bypassed the general que as I was with my girlfriend who is a docent at the MET.  This enabled us to whisk straight into the exhibit after my estimable companion flashed her badge of honor.  Still, the throngs made a leisurely ramble through the show impossible.  The rooms were smaller, the entire exhibit smaller and the crowd more contemptuous than previous shows.  In each room a loud recording could be heard admonishing the bumptious louts to step back.  This was only a temporary solution for the looky-looes who kept getting too close to the clothes.  I designed a game to allow for interactive fun.  First, attend with a good friend.  Then, in each room select the outfit you would pick for yourself and the outfit you think you friend would choose for themselves.  My erudite friend found this to be quite amusing.  She also excelled in choosing what I would select for myself.  The winner gets to pick one item from the exhibit they would most like to take home.  The loser (me) has to snare the selected prize ensemble after hours.  This must played at another time after hours which may result in time spent wearing pin-stripes or orange jumpsuits.  Enjoy!  

I'm Totally on Board with "I'm Totally Fine" Sci-Fi Comedy Starring Natalie Morales

"I’m Totally Fine" is a comedy duo pairing an alien and human.  Its conceit is not nouveau; the beauty of our banal existence on earth is observed with the innocent vantage of a benign ET, who like Dr. Spock is bewildered and somewhat envious.  The trodden exploration of a mere mortal with an interstellar but unworldly alien visiting earth through enigmatic and appreciative eyes needs to explore new territory with some major superpower to cause liftoff.   “I’m Totally Fine” succeeds with help from its two incredibly talented actors whose innovative styles takes us into uncharted territory to reveal rare profundities worth cherishing.  Vanessa (a terrific Jillian Bell) was about to celebrate the successful launch of a beverage company with her partner and life-long, best friend Jennifer (an enchanting Natalie Morales) when Jennifer unexpectedly dies.  Bereft, Vanessa heads to the rental home where she and Jennifer had planned a celebratory bash to process her grief alone.  Soon after she arrives, the caterer appears to set out the food ordered which Jennifer forgot to cancel.  The caterer and Jennifer bicker over the late cancellation giving us a peek at the clever, dark comedy about to unfold.  Jennifer seeks solace by drinking herself into a stupor.  She wakes up with a massive hangover to Vanessa nonchalantly offering her a cup of coffee.  Jennifer has a doubting, double-take convinced she’s lost her mind from grief.  But the doppelgänger for Jennifer talks to her in a stilted, robotic voice and convinces Vanessa she’s not Jennifer but an alien inhabiting her friend's likeness to conduct a study on earthlings.  She assures Vanessa she will not be harmed in any way and adds that participation is completely voluntary.  Vanessa wants to know if this study is to determine whether to take over Earth, to which the alien replies straight faced, “That hasn’t been determined yet.”  Yielding to her apparent breakdown, Vanessa submits to becoming a subject.  Observational humor takes precedence as it's being noted and recorded by the alien who genially agrees to being called Jen.  Boundaries become crossed and absurdities abound as Jen is ubiquitous and forever curious.  Vanessa get's frustrated, confused and finally convinced that “Jen” is not her lifelong best friend but in fact, an alien.  This epiphany is as confounding as it is distressing for Vanessa now having to accept the reality of her friend’s death for a second time.  Jen has access to all memories belonging to Vanessa friend.  Their shared experiences reveal the depth of their friendship and its irrevocable loss.  The relationship between Vanessa, her friend Jennifer and the alien, Jen, is endearing without being overly sentimental.  But, what wouldn't we all give to have some extra time to spend with a loved one who has passed.  I cannot tell a lie, unless I'm trying to be kind.  This premise of white lies, a total foreign concept for aliens, along with crying, causes the biggest conundrum and heartfelt moment in the film.  The honest truth is “I’m Totally Fine” is intelligent, entertaining and a credible sci-if comedy that trails a blazing spin around human emotions for thought provoking and delightful fun. 

The play CHAPATTI by Irish Playwright Christian O'Reilly

Last night was the premiere of the play CHAPATTI by Christian O'Reilly which also marked the inaugural  theatrical production at The 222.  O'Reilly is an Irish playwright and screenwriter works known for the play, "The Good Father" and "The Doctors" series on the BBC.  CHAPATTI ran at the Galway Arts Festival (2014) starring John Mahoney (of "Frasier" Fame).  The introduction marking this illustrious occasion was made by Aldo Barrington, the 222's new theater director in his resplendent, stentorian voice.  Aldo's auspicious welcome portends promising future productions.  We were informed the play was a two character, one act with no intermission.  The two actors, Michael Elich (Dan) and Robin Noodle (Betty) are members of the prestigious Oregon Shakespeare Company.  The play is a take on Thorton Wilder's classic, "Our Town" which spouts its major life affirming motif "to wake up and smell the coffee" while utilizing a sparse set and predominant pantomiming.  Dan and Betty are two middle-aged individuals living alone; Dan with his dog Chapatti, a.k.a. Chap and Betty with a slew of cats including a litter of kittens.  The lonely essence and kindhearted nature of both Dan and Betty are established at the onset of the play endearing us to them.  Dan maintains an ongoing jovial banter with Chap.  Dan walks Chap to the local vet where he's known for frequenting, more for social connection than legitimate canine concern. Betty starts her days caring for the cranky, elderly woman living next door despite her constant berating.  As Dan heads out of the vet's office, after being slightly admonished by the doctor, Dan collides with Betty causing slight mayhem as the kittens escape the box in which Betty brought them.   Both formidable actors generate convincing scenes bustling with activity and other people.  Being skillful at their craft helps to bring zest to the play that turns mawkish and over sentimental.  Dan and Betty's paths cross again due to a macabre and sheepish shenanigans involving the beloved, dead cat that belonged to Betty's nasty neighbor.  Dan and Betty both yearn for human companionship.  Dan has decided to end his life once he finds a home for Chap.  Betty, now that she's met Dan, is not going along with that.  I quibble with the incredulous storyline that Dan has spent 30 years loving Martha despite the fact she never left her husband for him.  I suggest Dan's character is better suited as a widower.  Dan bemoans Martha's passing that he intends to join her - wherever it is she's at now.  The charm exuded by Dan and Betty carry this light hearted and life-affirming play despite its pithy pandering.  I enjoyed the show but you know - it won't fly in Peoria or land on Broadway anytime soon.  Nevertheless, I'm very much looking forward to what The 222 will have to offer our local thespians.  

AIR-Michael Jordan Saves Nike at the Buzzer with Afleck and Damon

The Oscar buzz around AIR, the film about how the yet unbeknownst to most, basketball legend Michael Jordan, saved Nike from impending bankruptcy while scoring a staggering compensation deal, hits the rim but doesn't quite go in.  Not to say that AIR, based on true events, isn't a pleasant diversion worth watching from home. There is plenty to root for despite its languid pace as a feel good movie about tenacity, teamwork and trust.  In 1984, Nike was trailing in the sneaker war behind Adidas and Converse and desperate for a celebrity endorsement that would ascend the trailing company back to a top tier contender.  Affleck and Damon reunite with their winning combination of likable story and characters.  Damon portrays Sonny Vaccaro, a basketball aficionado with a penchant for gambling on sports.  Vaccaro is hot on the trail for the next player to dominate the league to recruit for Nike's ads.  Affleck directs and stars as Phil Knight, the founder and CEO of the floundering company.  Knight is responsible for hiring Vaccaro but skeptical of Vaccaro's full-on press to recruit Jordan, especially with the entire allocated budged riding on him.  Affleck exudes charm without creating a cocky CEO who knows best.  Lest, we forget Jordan, the apex of the film but barely has any screen time.  As director, Affleck makes some shrewd calls.  Keeping Jordan at bay was smart as the camera aligns with Vaccaro's relentless pursuit of Jordan.  Interjecting typed, pithy work ethic mottos was an airball.  The ensemble cast brought their A games from the bench.  The always reliable Viola Davis plays Jordan's mother.  Jason Bateman is terrific as Nike executive Rob Strasser and Chris Messina as Jordan's irascible sports agent, David Falk, runs interference on Vaccaro for some needed comic relief. Although, not intended as a serious business flick or comedy pick, AIR manages to soar by skillfully combining the two genres.  Vaccaro's all in modus operandi grows on you as his co-workers become convinced of his plan and a collaborative crew and strategy develop.  This trust is especially moving knowing Vaccaro is putting everyone's futures at risk.  There are no big surprises or emotional payoffs.  Still, AIR foots the bill as a disarming movie that doesn't hit greatness.