CFQ Black Hole Ultra Lounge: Confirmed Film Genius & Video on D-Box

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Parent Category: Film and the Arts

Category: Reviews

Published on Sunday, 24 April 2011 20:48

Written by Daniel Persons

It's time for another trip into the depths of the Black Hole -- the Black Hole Ultra Lounge Podcast, that is, this time brought to you with all the excitement of D-Box motion simulation. So strap yourself in and get ready for a bumpy ride as Dan Persons, Lawrence French, and Steve Biodrowski ruminate on the philosophical questions plaguing sophisticated aficionados of horror, fantasy, and science fiction cinema.

To wit: How high a batting average does a genre filmmaker need to maintain in order to be considered a power hitter? Are the twin titanic terrors of of type-casting and sequels to blame for career slumps of otherwise stellar talents?

Is the D-Box motion-simulator chair the only way to truly enjoy Inception? Does the premise of J.J. Abrams' Super 8 (kids filming a movie encounter real-life monsters) suggest a pint-sized version of George A. Romero's Diary of the Dead?

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Theater Review: "The Divine Sister" is vintage Busch satire, a critical delight

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Parent Category: Film and the Arts

Category: Reviews

Published on Sunday, 24 April 2011 05:00

Written by Lucy Komisar

The Divine Sister
Written by Charles Busch
Directed by Carl Andress
Starring Charles Busch, Marcy McGuigan, Julie Halston, Amy Rutberg, Jennifer Van Dyck, Jonathan Walker

Charles Busch’s very funny campy satire of Catholic nuns hits all the bases, extending to a stereotypical Jewish philanthropist, a Da Vinci Code-style mystery with a German faux-nun and a brown-robed monk, and even a detour back to 1930s movies about diligent good-guy reporters.

You know when you see most Busch oeuvres that they will be over the top. (The Allergist‛s Wife was an exception.) So suspend disbelief here, don’t look for high art, and you will enjoy every minute -- thanks in equal measure to director Carl Andress, who knows how to play with fantasy.

A school run by Mother Superior (Charles Busch) is in financial troubles. Who else to turn to but Margaret Levinson (Jennifer Van Dyck), a philanthropic Philadelphia Jew? But she is an atheist! She thinks God is a fairy tale.

Van Dyck is rigidly "upper," snatched from the new Wall Street Journal society pages which would appreciate her love of designer clothes. On safari in Crete, she wore a Bill Blass jacket. When there are remarks about her being born in a stetl, she retorts that her father was presented at the British court.

In the background are goings-on involving Sister Walburga (Alison Fraser) and Brother Venerius (Jonathan Walker), another mysterious German. (Aren’t they always?)

And there is also the young postulate Agnes (Amy Rutberg), who lays on hands and makes medical miracles, and also belts out a pretty good soprano. She has visions inspired by the urine on a pair of underpants she has obtained, and her hands bleed from stigmata, although that turns out to be the juice of crushed cherries.

Into this weird collection comes Jeremy Walker (who steps out of the era), a former reporter now working for a film company that wants to sign young miracle-making Agnes.

But the plot thickens. It seems that Sister Acacius (Jule Halston), a Brooklyn-accented nun, and Jeremy were once reporters together. Mother Superior will deal with that.

I loved this wonderful over-the-top camp, with lines like, "We are living in a time of great social change. We have to stop it!" Of course, the Messiah was a woman, and the ensemble cast presides elegantly over such tongue-in-cheek revelations.

This play joins the canon of Charles Busch’s hysterically funny satires. Definitely worth a trip to Soho.

The Divine Sister
Soho Playhouse
15 Vandam Street
New York City
212-352-3101
Opened Sept 22, 2010; closes May 1, 2011

For more by Lucy Komisar, visit thekomisarscoop.com.

Music Review: Dave Brubeck Quartet

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Parent Category: Film and the Arts

Category: Reviews

Published on Friday, 22 April 2011 05:00

Written by Jack Angstreich

Two weeks after the inimitable Michel Legrand strolled into town to deliver a fabulous set at The Blue Note, where he paid tribute to jazz legend Dave Brubeck, the master himself appeared with the other members of his excellent quartet to give a terrific concert at the 92nd Street Y.

Looking great with his beautiful, shiny white hair, Brubeck opened with a splendid version of Arthur Johnston's lovely standard, "Pennies from Heaven".

After an original blues number, the first half reached its apotheosis with a sublime account of Frank Churchill's "Some Day My Prince Will Come" from Walt Disney's Snow White. Brubeck began with a haunting piano introduction that recalled Sergei Rachmaninov and the number concluded with a gorgeous duet between the pianist and his abundantly talented alto saxophonist -- and flautist! -- Bobby Militello.

After one further piece, the first half closed thrillingly with "Stormy Weather" by one of the greatest composers of American popular songs, Harold Arlen; here it featured another exquisite solo piano introduction.

The second half of the program moved from strength to strength, opening with "I Want to Be Happy" by another outstanding composer, Vincent Youmans, from his popular 1920s musical, No, No, Nanette. Brubeck commented that he had played the song 55 years before for the album, Jazz at Oberlin.

Another highlight was Brubeck's original composition, "All My Love", which he wrote over a dozen years ago for his wife in celebration of their 55th wedding anniversary. Here, too, it began with another sublime solo piano introduction which led into a extraordinary, lyrical alto saxophone solo.

It was another original composition -- the melodious signature number, "Take Five" -- which concluded the program on a dazzling, exultant note.