This is coming to you live from New York, where I’m hanging out for the month of March. I decided I wanted to live like a New Yorker and take in as much arts and culture as I could in a relaxed way. I’m staying in a tiny but comfy apartment in midtown, near the theater district. It’s a neighborhood I know and public transportation is really convenient here. I’ll report on some of my arts adventures rom time to time.
The Shadow of a Gunman at Irish Rep
My first theater review was posted today on Third Coast Review, where I regularly write about theater and art. At Irish Repertory Theatre, a theater company I have admired over the years, I reviewed the first in their O’Casey Cycle, celebrating the work of Sean O’Casey. He was a nationalist and a socialist and an Irish freedom fighter–and one of Ireland’s finest playwrights. My first review is of The Shadow of a Gunman, set in 1920 Dublin, where the war for independence rages outside a tenement building. There’s a bit of comedy throughout, but as the play proceeds, reality sets in. And the opposing forces, the vicious Black and Tans, invade the neighborhood–and then the house. A valise left in the room in act one becomes a Chekhovian gun in act two. The acting and direction are excellent, as is always the case with Irish Rep.
I’ll be seeing the second O’Casey play, the more familiar Juno and the Paycock, next week. Watch for my review.
I have plays scheduled throughout the month but I have plenty of room for other activities. When nothing else demands my attention, I’ll go to the Film Society of Lincoln Center, which offers a regular schedule of new films, both international and American, retrospectives, filmmaker talks and discussions. There are two FSLC buildings on opposite sides of 65th Street near Columbus Avenue. Their screening model is similar to that of the Gene Siskel Film Center, but on a larger scale.
Cold War, a love story over the decades
The first film I saw at the Film Society was Cold War, which screened recently in Chicago. It’s the latest film from Polish filmmaker Pawel Pawlikowski, whose film Ida won the 2015 Oscar for Best Foreign Language Film. Cold War is a love story told across two decades in post-WW2 Poland and in several European cities. The film is told mostly from the viewpoint of Wiktor (Tomasz Kot), an instructor and band leader, whose lover is Zula (Joanna Kulig), an engaging and ambitious singer and performer. (I felt the film overplayed Wiktor’s viewpoint and underplayed Zula’s.) They are both members of a national musical touring company that presents Polish peasant-style works. While the company is in East Berlin for a concert, the two lovers plot to leave for the west. But only Wiktor actually escapes and thus the journey of longing begins. The film is notable for its gorgeous cinematography, shot in high contrast black and white with some glorious imagery, lighting and scenes. The story is elliptical, as Pawlikowski skims over the 20-year period in 88 minutes. Steve Prokopy reviewed Cold War recently.
In an interview screened before the film, Pawlikowski said, “The definition of art is what you leave out.” And he left out a lot, but nothing was missing. The ending is particularly beautiful—finished off with an interlude from Bach’s Goldberg Variations, “Aria.”
The Band’s Visit
I also saw this lovely play with music this week on Broadway. It’s been reviewed everywhere, so I won’t review it here. It’s called a musical but it doesn’t have egregious singing and dancing–that is, the dialogue is spoken, not sung, and dancing is done when it fits the plot. The music is performed by the musicians from the Egyptian band that visits the Israeli village and by a small pit orchestra. The play is directed by David Cromer, a Chicago theater luminary who has been highly successful in New York, both as director and actor. The Band’s Visit goes on tour this year and will be in Chicago at the Cadillac Palace in September. If you’d like to know more about the story, get a DVD of the excellent 2007 Israeli film of the same name.
And more ….
Today I’m seeing the Andy Warhol exhibit at the Whitney (Andy Warhol—From A to B and Back Again). My next article will cover that comprehensive exhibit. “Mr. Paradox, who never left, is back,” as Holland Cotter said in his New York Times review.
New York was fascinating as always, despite being beastly hot. My favorite thing about New York is always tramping uptown and downtown, east side and west side. Unfortunately, since temps were in the high 90s, my tramping was focused on finding cool buildings for respite or walk-thrus. In my next tale, I visited friends in Connecticut and I finished up with a family wedding in Brooklyn in the neighborhood known as DUMBO (Down Under the Manhattan Bridge Overpass).
First we’ll take Manhattan, as Leonard Cohen sang (or sort of sang). The highlight was my visit to the Metropolitan Museum of Art and its special exhibit on Punk: Chaos to Couture, which runs until August 14. I also saw two very good plays – one at Irish Repertory in Chelsea, my regular favorite New York theater, and the other a Richard Greenberg drama on Broadway.
Punk: Chaos to Couture was the Met’s 2013 Costume Institute exhibition and it celebrates both the look that punk musicians adopted in the 1970s in the UK and the US and the impact it had on couture (meaning clothes-not-going-to-be-worn-by-the-average-woman). Original punk clothing was shown, especially that worn by some performers and some designed by Vivienne Westwood for her London punk boutique. Couture by name designers of that period and later decades is also shown. The exhibit was visually and aurally appropriate with period music and videos.
The DIY (do-it-yourself) nature of the punk scene was celebrated in the organization of the exhibit. The section DIY Hardware displayed the use of safety pins and metal ball chains in both punk and couture looks. DIY Bricolage used trash materials in costuming. Here we had the use of bottle tops, plate shards, plastic shopping bags and Tyvek envelopes to create wearable garments. Best of all, black trash bags were shredded or chopped to make glamorous gowns. Really. They were couture and I would wear one of them.
Most of the couture seemed fakey to me, especially that from the last two decades. The use of safety pins or other metal and shredded and torn fabric doesn’t make sense outside of its musical context.
Gibraltar. At Irish Rep, the two-character play Gibraltar, “an adaptation after James Joyce’s Ulysses,” was being presented in its tiny basement studio. I felt like I was at home in a Chicago storefront venue. The play was written and performed by Patrick Fitzgerald, along with Cara Seymour as Molly Bloom, and directed by Terry Kinney, one of the Steppenwolf founders. It’s beautifully done, retaining Joyce’s language, and leading us through many of Leopold Bloom’s errands and encounters on Bloomsday. (I was a month or so late for Bloomsday.) It ends with Molly’s monologue, usually called the Eight Beatitudes. Beautiful lighting and sound design make this scene magical.
The Assembled Parties by Richard Greenberg is a family affair set in a large old Central Park West apartment in two acts on two Christmas Days, 1980 and 2000. Judith Light and Jessica Hecht give fine performances as sisters-in-law in a family in decline. The dialogue is charming, funny and vivid and we glory in their lives in act one and grieve for them in act two. It’s a terrific play. (Greenberg also wrote Take Me Out, The Violet Hour and Three Days of Rain.) The revolving set displays five rooms of the apartment, designed as only Santo LoQuasto can furnish a room.
Stamford was a short visit, punctuated by shopping (I learned that Stew Leonard’s is a destination, not a supermarket), eating, visiting, exploring Stamford and Greenwich, and going to a movie. We saw The Way Way Back with Steve Carell and Toni Collette. Carell is Collette’s obnoxious boyfriend, a character you love to hate. The movie is funny and sweet, one of those coming-of-age stories about the Collette character’s 14-year-old son. Sam Rockwell (remember him in Seven Psychopaths?), a very talented actor, manages to give it an edge and keep it from lapsing over into sentimentality. His performance is the treat of the movie.
Short story. Family wedding at a lovely old temple with a lively reception in DUMBO. The bride and groom were darling and it was nice to see friends and relatives. Just before we reached the reception, we passed an intersection that offered a fabulous view of the bridges (Brooklyn and Manhattan) and we walked back to take lots of photos. I took this one with the Empire State Building playing a cameo in the distance.