40 Years of NYC & London Theater Paraphernalia on View for Free at NY Library for Performing Arts

CURTAIN UP is the curated exhibit at the NY Public Library for the Performing Arts.  It's located at Lincoln Center, tucked behind the arcade & the Henry Moore sculpture pond.  The exhibit was made in collaboration with the Society of London Theater.  The Great White Way & London's West End have been home to great theatrical productions.  This year marks the 40th anniversary of the Olivier Awards in London and 70 years for the Tonys in New York.  Some stage productions have gained success on both sides of the pond.  This exhibit, which is free to the public is on both floors of the Library and represents the last 40 years from both thespian towns.  As you walk in there are playbills strewn on the floor and hanging suspend midair.  It's not possible to discern all the playbills but it's fun trying to determine how many of the shows you may have seen.  The highlights of the collection for me were the costumes & the costume design sketches.  The Phantom's masque worn by Michael Crawford is in front of a magnificent (frightening) costume worn by the Phantom.  I also liked the vest worn by Rudolf Nureyev and the magnificent Lion King display.  There's a fun facts board listing top Tony & Olivier winners & productions.  I was surprised by which shows & actors received the most awards.  The reigning king of the Tony's is Harold Prince, an American theatrical producer.  He's received an astounding 21 Tonys.  Hamilton earned the most Tony nominations (16) but The Producers won the most awards; 12.  A Chorus Line is put in the spotlight as it was a groundbreaking show.  The longest running show on Broadway remains Phantom.  There are posters, set designs and notes but I found most these items jejune.  The costume from Wicked was positioned overhead peering down.  I would have preferred more costumes and seen more snippets from productions.  But the exhibition is free and a fun derivation found at Lincoln Center.

Richard Gere Stars in "Norman" as an Annoying, Delusional Deal Maker

"Norman" is character driven film whose protagonist, Norman (Richard Gere) drives almost everyone away.  Norman is a self-imposed wheeler dealer whose relentless haggling to negotiate a major is delusional, self-destructive and inappropriate.  This is the putz to keep at bay at all costs.  Yet, his indefatigable spirit is impressive.  Israeli dir/screenwriter Joseph Cedar, surrounds Gere with an int'l cast of stars which keeps his bothersome behaviors afloat.  Norman's "nephew" Peter Cohen, a successful atty. (a marvelous Michael Sheen) bears a guarded fondness for him that is endearing.  Peter offers Norman limited assistance and plenty of unheeded, good advice.  Peter tells Norman "You're a drowning man waving at an ocean liner."  Norman's irrepressible reply is "I'm a good swimmer."  Norman strives to ingratiate himself with others to be at the crux of a deal for financial & social status gains.  The extraordinary ensemble of actors include Steve Buscemi as the rabbi of a floundering synagogue, British/French actress Charlotte Gainsbourg as an atty. for the American/Israeli consulate,  British actor Dan Steven (Downton Abbey) is a high power business exec. Also in this talented cast:  Hank Azaria as a Norman doppelgänger and Israeli actor Liro Ashkenazi as Israel's Prime Minister.  The clever parallels between Norman's hubris, wind bagging & dealings and that of the Israeli Prime Minister are notable.  But, Norman sinks too such low levels of outrageous conduct, obsequious pandering and perpetual lies that he's too despicable to have on board.  Still, there are plentiful lifelines to keep this movie afloat.  The script is cunning & provocative.  The ensemble cast is pitch perfect and the beguiling, artistic camerawork adds allure.  Nonetheless, this movie did not float my boat.

An Artsy Argentinian Film "Hermia and Helena" Dir Matias Pineiro Puts a Shakespearean Spin on Love

"Hermia and Helena" is written & directed by Matias Pineiro (b Argentina 1982).  Here, Pineiro plays cagily with William Shakespeare's "Midsummer's Night Dream."  The clever screenplay & talented Argentinian & Int'l cast portray restless creatures whose roots do not permeate a single locale, nor does love run smoothly.  An Argentinian thespian, Camila (an enticing Augustine Munoz) is headed to NYC for an art fellowship.  Her friend Carmine returns from her year fellowship at the same NYC institute.  They exchange news & information of mutual friends & contacts made in the US.  And then it's adios to Camila's Latin lover and onto a romantic whirlwind with Lucas at the Institute.  The film seamlessly transitions from Buenos Aires to NYC by crossing bridge while hearing nostalgic ragtime piano by Scott Joplin.  Camila's intent was to translate "A Midsummer's Night Dream" to Spanish to stage in Buenos Aires.   Hence, the title Hermia and Helena, main characters from Shakespeare comedy of unrequited love.  "The course of true love never did run smooth." (WS)  The film cunningly plays with people attempting to pick up where they left off in relationships.  Camila is a contemporary Hermia.  Her love is torrid but fickle.  There are miscommunications, numerous rendezvous and resourceful tracking of past connections.   While some wish for things as they were, others look to the future.  The beautiful cinematography highlights the changing seasons in NYC. This is a clever film alight with life, art, literature, food and passion. "Hermia and Helena" is a contemporary twist on romance and the fleeting of time.   "A woman has to live her life or live to repent not having lived it..." (DH Lawrence)

The Ailey School Prof Div Spring Concert A Preview of the Talented Up and Coming Dancers

The Alvin Ailey American Dance Theater is one of the world's leading dance companies.  Ailey is also renowned for training & mentoring students (approximately 3,500) from ages 3 through 25. Many of the school's graduates go on to become dancers with the Ailey Co.  And, many go on to join other professional dance co., or find careers as choreographers, teachers and performers in multi-media entertainment arenas.  The chance to watch the Prof Div. of the Ailey School perform is a privileged preview of tomorrow's elite performers.  The school's curriculum is designed to develop versatile dancers & performance experiences.  The school offers jazz, West African, ballet, Horton, modern and the opportunities for the students to work with master teachers and acclaimed choreographers.   The delightfully varied program featured 4 contemporary works choreographed by Marcus Willis, an Ailey Co alum, Judine Somervile, a former Rocket & Broadway veteran, Bradley Shelver (b S Africa) an Ailey II alum & currently a dancer with the Met Opera Ballet, and Brice Moussett (b France), Founder/choreographer OUI DANSE.  The program's dances varied from whimsical theatrical "Thrift Shop" to folkloric "Where There are Tongues" to contemporary.  Mousset's dance the Travailler gave the dancers a very clever,  exacting & demanding challenge.  A lone dancer begins moving in slow motion with a brief case & is soon joined by an ensemble of dancers, all dressed identically in business suits toting papers/brief cases.  The dancers captured the feelings of isolation & monotony of traveling.  They also demonstrated their honed dancing skills.  At one point the dancers drop their papers on stage and were fearless dancing amidst strewn papers. The entire program was an exciting & entertaining event which showed the dedication these young performers put into dance.  It was a tribute to the outstanding teaching staff.  And, it was an exuberant celebration of the dancer's accomplishments.  

Last NYPhil Rehearsal Ends on a High. Note: Augustin Hadelich Plays Dvorak's Piano Concerto A Minor

The last open rehearsal for the NY Philharmonic featured violinist Augustin Hadelich performing Violin Concerto in A minor.  His playing was sublime and well worth venturing out in the rainstorm.  In fact, there was a packed house for the season's last rehearsal.  Maestro Alan Gilbert final role conducting the NY Philharmonic was last week.  He will be sorely missed & hopefully will be returning as a guest conductor.  Yesterday, young Czech conductor Jakub Hrusa (b 1981) led the orchestra.  He made for a very entertaining rehearsal.  The first half of the program was Dvorak's Three Slavonic Dances which are very lively; allegro vivace.  Attending the rehearsals allows the audience to experience how different conductors' styles & how they navigate with the orchestra.  Conductor Hrusa was particularly engaging when conferring his instructions to the orchestra.  Although seated in the very back, I could hear Hrusa singing the melodies he wanted reviewed with the musicians before they re-rehearsed.  He had a delightful singing voice and the members of the orchestra all seemed pleased with his modus operandi.  The front several rows are blocked off to keep the audience somewhat removed from the stage, partly to allow privacy for the conductors' corrections.  Hrusa rehearsal was audible & memorable.  When violinist Hadelich came on stage there was a warm embrace between him & Hrusa.  Hadelich (b Italy 84 and of German nationality) is a Julliard alum.  In 2006 Hadelich won a gold medal at an Int'l Violin competition and a Grammy in 2016.  The two men conferred over the score together in several places which lasted nearly 10 minutes.  Dvorak's Violin Concerto was played exquisitely & without interruption.  It ended in another warm embrace between the two talented musicians and a standing ovation.    

Wendy Whalen Doc. "Restless Creature" A Ballerina of Extraordinary Talent, Endurance and Character

"Restless Creature" is a documentary on a professional dancer's life like no other, because, Wendy Whalen, is a dancer whose talents & extraordinary career are unparalleled.  This fascinating portrait of a prima ballerina shares the dedication & glory Whelan has experienced performing for NYC Ballet; a world class company for 30 years.  What's most compelling are her candid feelings confronting life without dancing on a world stage.  The camera is up close & personal as she torments  considering life without the ability to dance.  She began ballet at 3 and devoted her life to the art form.  The realization that her dancing days would eventually end were never a reality she considered until faced with the fact her body could no longer do what was demanded.  No other ballerina in the history of NYC Ballet (NYCB) had as many works choreographed for them.  She joined the company where she danced a year for Balanchine, 10 for Robbins and the remainder of her career with Martins, artistic director for NYCB.  After dancing for almost 3 decades with NYCB, Martins began taking away her roles.  Whelan teary eyed recalled Martin's exact words, "You don't want people to see you in decline."  A shattering blow she didn't see coming.  "We were from a time when we didn't have babies.  Ballet was an all or nothing choice."  She never envisioned a future without performing.  Admittedly, a fantasy world she believed would last forever.  Her injury free career up until then was followed shortly thereafter by acute hip pain requiring surgery.  The camera follows Wendy throughout her surgery & indefatigable will to jete back to ballet.  We see her emotional & surgical scars. The emotional scars far overweigh the physical ones.  The film takes us into the beautiful world of dance & its arduous discipline.  The shared camaraderie among dancers & choreographers was enviable along with their talents.  Wendy's actual retirement from NYCB was drawn out, as is the film.  For those who are not ballet fans, you may find the film extends laboriously.  For those who love ballet, you'll find this doc. languorously made.  Either way, you'll be hard pressed to see a dancer with so much talent, tenacity, honesty and versatility.  Whelan continues to perform contemporary dance "...to focus on what I can do."  I think there's very little Wendy can't do when determined.  "Restless Creature" is an inspiring and intimate film of an extremely talented dancer and an incomparable woman.    

ABT's "Whipped Cream" Choreographed by Alexei Ratmansky Curdles

Ratmansky's full-length ballet "Whipped Cream" had its share of whirlwind of fanciful dancing.  But, it was laden in absurd scenic design & accoutrements that spoiled what could have been a sumptuous delight.  "Whipped Cream" was originally created as "Schlagobers" with choreography by Henrich Kroller.  It premiered at the Vienna State Opera on May 9, 1924.  Ratmansky's ballet premiered on March 15, 2017.   Comparisons are construed between "Whipped Cream" & "The Nutcracker" which  premiered in St. Petersburg in 1892.  Both ballets use anthropomorphic confectionary items in a fantasy world meant to delight children & adults alike.  The classical music score is by Richard Strauss (b Germany 1864-1949).  In Act I a young boy & his friends are celebrating their first communion at a confectioner's shop where they're rewarded with sweets.  The dancers in all white pinafores frolic with childlike glee for the splendid treats bestowed upon them.  This set is a delightful strewn of confectionary containers in warm hues of pink.  The store owner is a jolly figure with an oversized head (an affectation used repeatedly).  The dancing is crisp & playful and sets a sweet tone.  The boy overindulges in whipped cream.  The scene ends with him writhing on the floor & removed on a stretcher, by 2 oversized figureheads.  After the store is closed,  the canisters open & the magical confectionary characters reveal themselves:  Princess Praline, Princess Tea Flower, Prince Coffee & Prince Cocoa.  All were exemplary in their roles.   The Princesses was sprightly & elegant and the Princes were regal & exuberant.  The Princess Swirl Girls added a lyrical charm.  Act I added a tasty treat with Marzipan Men, Sugarplum Men & Gingerbread Men. The highlight of the ballet was the Whipped Cream dancers.  They were all in white with flowing gauzy capes & white peaked caps.  Their dance captured an airy, luscious feeling that was sensational.  Act 2 has a darker comedic tone in the hospital.  The dancing is diminished behind the overpowering scenic design & distracting puppetry.  The nurses are armed with enormous needles they struggled to navigate & the dancing didn't co-ordinate.   A nurse's veil fell off & needed to be retrieved and thrown off-stage. The Dr. & his liquor consumption & liquor bottle trio were toxic to the production.  There were several sloppy collisions in both Acts.  The celebratory finale had too many bizarre creatures they stole attention from the dancing.  Elements of Ratmansky's brilliance did rise to the top.  But too many distracting ingredients spoiled the broth of the production.   The Nutcracker will stand the test of time.  "Whipped Cream" will likely fade away.

Robert Rauschenberg: Among Friends at MoMA Artistic Collaboration & Exploration

The remarkable & expansive show at MoMA "Robert Rauschenberg: Among Friends" compiles Rauschenberg's artworks over 6 decades.  The exhibit is a combination of his work, that of his peers and collaborative pieces.  The most impressive takeaway from this fascinating collection is the collaborative sharing & exchanging of ideas.  Rauschenberg worked with musicians, choreographers, photographers, etc.  The dance collaborations between Merce Cunningham & Trish Brown resulted in exhilarating performances.  There are photos of Rauschenberg dancing and photos he took of dancers that are sensational.  The dance videos are well worth spending time watching.  Scores were composed by John Cage & Morton Feldman.  Feldman's music can be heard in the 2nd gallery.  Feldman stated "My intention was to think of melody & motivic fragments somewhat the way Robert Rauschenberg uses photography in his painting."  Other artists with whom Rauschenberg worked jointly were Johns, Rothko, Albers, Twombly, Susan Weil, Niki Saint Phalle and Duchamp.  Many of these artists' works are on display.   Rauschenberg created "An Homage to Jean Tinguely's Homage to New York."  Both pieces are situated next to each other.  Rauschenberg's red paintings were my favorites.  It's remarkable how these great artists fed off each other's ideas & techniques.  Rather than a competitive, isolated working environment, these artists were able to experiment, evolve and create something richer from having combined their talents.  Furthermore, this exhibit illustrates art as an interdisciplinary milieu of expression.   To end the relentless debate of whether some of Rauschenberg's works were paintings or sculptures he coined the term "Combines."  Rauschenberg was aware of the unobserved beauty found in the mundane.  The structures made from cardboard boxes are extraordinary.  In later years, Rauschenberg became fascinated with technology & design and merged these elements into his art.  I was taken by the gauzy work "Glacier" (Hoarfrost 1974) with its translucent radiance.  Hoarfrost refers to the phenomena of dew freezing & forming ice crystals.  The works have a transformative power and a "quietness in the ordinary."  Johns & Rauschenberg shared a very intense relationship.  "Jasper & I literally traded ideas. He'd say I've got a terrific idea for you and then I'd have to find one for him."  (RR)

Lots of Reason to Love "I Love Dick" Including a Sizzling Kevin Bacon Screening on Amazon

"I Love Dick" is a new episodic extraordinaire series on Amazon.  Creator, writer Jill Soloway (b Amer 1965) is also the creator for the Emmy winning show Transparent.   The "I Love Dick" series is based on the cult novel written by Chris Kraus.   Kevin Bacon is Dick, the smoldering, enigmatic  artist who runs a prestigious art institute in Marfa, TX.  The actual artist colony town of Marfa plays a major role.  Kathryn Hahn plays Chris, the female protagonist.  Chris drives with her husband, Sylvere (Griffin Dunne) to Marfa where he's been accepted into a writing seminar.  Sylvere is writing about the Holocaust & Chris get's referred to as the Holocaust's wife.  She was planning to leave for Venice for a film festival featuring her work.  She's eager to hightail out of this remote town & dilapidated house her husband was assigned.  Chris is a brassy, loud mouth New Yorker; a total fish out of water in this dried up, hick town.  But no one can put Chris in a corner.  She receives a text that her film has been pulled because she neglected to obtain music rights.  Nothing sits right in her world, including her floundering marriage to her pseudo intellectual windbag husband.  Stuck for the night, Chris reluctantly agrees to attend a cocktail reception with her husband.  It's there Chris first lays eyes on Dick.   There is instant attraction, fascination & obsession on Chris's end.   She decides to stay & informs both Sylvere & Dick she's sticking around & plans to take his seminar.  Dick hasn't the patience for Chris's bumptious flirtation which only flame the fires of her carnal desires.  The twisted love triangle is not the only angle that makes this cunning & erotic social parody, must see TV.  The 3 key characters are exacerbating, outlandish, brazen & endlessly fascinating.  The mix of local cowboys & blue collar workers with the bourgeois social milieu set provide an expansive canvas for provocative insights that extend the boundaries of art & behavioral acceptabilities.   The episodes are framed by affecting love letters written (& voiced over) by Chris addressed to Dear Dick which were irretrievably sent followed by regret.  Instead of hiding in humiliation she splays the letters everywhere for everyone to read which puts conflicts & artistic inspiration into a gallop.  The writing is exceptional, the storylines are fresh,  perceptive & often touching.  Furthermore, the art world is exposed under an open & arid light.  "I Love Dick" makes for lascivious viewing balanced by erudite insights into human nature.  I loved watching.

The Rerelease of "The Stalker" ( 1982) by Soviet Director Andrei Tarkovsky

"The Stalker" was first released I 1982 by Soviet born director/screenwriter Andrei Tarkovsky (b 1938).  This is an oppressive, apocalyptic nightmare.  It is also a pastiche thriller, sci-fi film,  road warrior film mixed with a fantastical pursuit.  The cinematography is aesthetically shot in sepia tones that give the film a dense aura of despair.  This is a phantasmic film for those with a discerning taste. Alas, it is not a taste I've acquired.  I didn't stay to watch the entire film.  "The Stalker" timelessness speaks to a never ending malaise.