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December in NYC: Holiday Music (and more) at Carnegie, Guggenheim, Met Museum
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Friday, 14 December 2012 10:00
- Written by Kevin Filipski
Orpheus
December 1, 2012
Carnegie Hall, New York, NY
New York Philharmonic
December 21 & 22, 2012
Metropolitan Museum of Art & Symphony Space, New York, NY
Metropolitan Museum of Art Holiday Concerts
Performances through December 23, 2012
Met Museum, New York, NY
Works and Process: Peter and the Wolf
Performances through December 16, 2012
Rotunda Holiday Concert
December 16 & 17, 2012
Guggenheim Museum, New York, NY
December on New York City stages means much—but not exclusively—holiday music. And the month began with an Orpheus concert at Carnegie Hall (December 1) in which the conductor- less chamber ensemble played joyful but decidedly secular works.
The concert opened with a snazzy version of Prokofiev’s skillful Haydn pastiche, the Classical Symphony (his first) and closed with Mozart’s monumental Jupiter Symphony (his last). In between was the main reason I was there: hearing the amazing Anne Akiko Meyers as soloist in Samuel Barber’s masterly Violin Concerto. The concerto, a treacherous piece to navigate, packs a lot into the space of a mere 20 minutes, but Meyers hit everything thrown at her, brilliantly building to the crescendo Barber wanted. Orpheus’ next Carnegie concert features the Wayne Shorter Quartet playing several of the jazz saxophone master’s works—including the world premiere of Lotus—on February 1.
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| Jack Quartet at Met Museum |
Although annual New York Philharmonic seasonal concerts are on tap at Avery Fisher Hall—Holiday Brass (December 16) and Handel’s Messiah (December 18-22)—new music is on the docket December 21 at the Metropolitan Museum of Art and the next night at Symphony Space. With compositions that would never find be heard on a subscription Philharmonic program, the concert—conducted by Jayce Ogren—comprises world premieres by Jude Vaclavik and Andy Ahiko, a New York premiere by Andrew Norman, and the ensemble version of 1994’s Counterpoise, the last major work by Jacob Druckman, who died in 1999. Counterpoise will be sung by the exquisite soprano Elizabeth Futral, an artist who moves easily from baroque to modern music with a bit of Broadway thrown in, as witness her luminous Marian the Librarian in The Music Man at Glimmerglass Opera in Cooperstown last summer.
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| Peter drawing (Will Cotton) |
The Metropolitan Museum of Art, in the midst of its holiday concerts in the Medieval Sculpture Hall in front of its annual Christmas Tree and Neapolitan Baroque Crèche, winds up its series with performances by the Jack Quartet, whose Modern Medieval is a selection of holiday music ranging from the Middle Ages to today (December 16); The Vienna Boys Choir, always a popular treat, singing Christmas in Vienna (December 18); and the choir ensemble The Crossing, doing David Lang’s Little Match Girl Passion and other contemporary works (December 23).
Finally, there’s the Guggenheim Museum, which hosts as part of its ongoing Works & Process series Sergei Prokofiev’s delightful Peter and the Wolf, staged by Will Cotton in a gingerbread chalet that houses the characters of this beguiling fairy tale, narrated by Isaac Mizrahi. Conductor George Manahan leads the Juilliard Ensemble. After the performances (which continue through December 16), audience members are invited to view the onstage sets up close.
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| Holiday concert in Guggenheim Museum Rotunda |
On the evenings of December 16 and 17, the Guggenheim’s famed Frank Lloyd Wright rotunda is the scene for concerts of holiday music by the VOX Vocal Ensemble, conducted by George Steel. This is one performance, in a singular setting, that is fast becoming another New York holiday perennial.
Orpheus
New York Philharmonic
Met Museum Holiday Concerts
Works and Process: Peter and the Wolf
Rotunda Holiday Concert
Guggenheim Museum, New York, NY
December '12 Digital Week II
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Sunday, 09 December 2012 05:00
- Written by Kevin Filipski
Blu-rays of the Week
Ai Weiwei—Never Sorry
(Sundance Selects)
Chinese artist Ai Weiwei—the compelling subject of Alison Klayman’s smart, incisive documentary—is not placed on a pedestal but shown as an actual person (with a family) who causes consternation among Chinese officials. There’s an enormous amount of revealing footage of him both in and out of China: when he disappears for awhile at the hands of the authorities, real life usurps art.
Never Sorry aptly illuminates how our wired 21st century world is helping to buckle the last remaining Communist regime. The Blu-ray image shimmers beautifully; extras are a commentary, deleted scenes and interviews.
Brazil
(The Criterion Collection)
Terry Gilliam’s dystopian vision was made in 1985, but its bleak look at a society crushed by an oppressive government is as relevant today. Despite its subject matter—our hero is literally crushed like the bug at the beginning that sets everything in motion—the movie is awash with the brilliantly original visuals that made Gilliam one of our premier cinematic stylists.
The hi-def image is superlative looking, and the three-disc Criterion Collection Blu-ray ported over numerous extras from the 1999 DVD set: Gilliam’s sparkling commentary; on-set documentary What Is Brazil?; The Battle of Brazil, a one-hour documentary about the friction between Gilliam and Universal Studios; and Universal’s 94-minute, mercilessly butchered “Love Conquers All” version of the film.
Butter
(Anchor Bay)
Like the classic Smile and frivolous American Dreamz, Butter shows America in microcosm: here, it’s a small town butter-carving contest. Too bad the satire’s obvious with characters not drawn sharply enough to draw blood—just a few nicks.
A game cast (Jennifer Garner, Rob Corddry, Ty Burrell, Alicia Silverstone) trails two wonderfully drawn portraits: Yara Shahidi’s 10-year-old butter-carving prodigy symbolically named Destiny, and Olivia Wilde’s stripper wanting $600 a cheating husband owes her. The Blu-ray image looks decent; extras include deleted scenes, extended scenes and a gag reel.
The Dark Knight Rises
(Warners)
In his third overstuffed but underwhelming Batman film, Christopher Nolan again tries to raise a comic book movie to art but ends up with a 165-minute farrago littered with yawn-inducing action sequences, flimsy characterizations and a sense of humor that, when not simply juvenile, becomes infantile.
Christian Bale is a blanker slate than Michael Keaton or George Clooney, Anne Hathaway—as Catwoman—is no Michelle Pfeiffer, and Michael Caine, Matthew Modine, Gary Oldman and Marion Cotillard look embarrassed. The Blu-ray image is first-rate; an extra disc has on-set featurettes.
Godzilla vs. Biollante
(Echo Bridge)
This 1992 sci-fi entry—pitting the terrifying giant lizard against, of all things, a massive but peaceful plant created from Godzilla cells (don’t ask)—is as silly as the series’ other films, so your mileage may vary depending on your tolerance for cheap-looking Japanese monster movies.
Too often, it comes off like outtakes from Woody Allen’s satirical What’s Up Tiger Lily, and far less entertaining. The movie looks equally cheesy in hi-def, which might be a good thing here; extras are two making-of featurettes.
Hope Springs
(Sony)
This familiar but likable comedy about a long-term couple perking up their marriage through counseling works, thanks to Tommy Lee Jones and Meryl Streep, both slumming but enjoying themselves.
Less good is Steve Carell in the rather bland role of their “genius” counselor. But since it’s Meryl and Tommy’s show, Carell’s dullness doesn’t hurt. The Blu-ray image looks excellent; extras include director David Frankel’s commentary, featurette and gag reel.
Lady Antebellum—Own the Night World Tour
(Eagle Vision)
America’s hottest country band not only has top-charting hits and albums and a handful of Grammy Awards but also sells out arenas worldwide.
This 90-minute performance—of the final show of its 2011 tour in Little Rock, Arkansas—shows the trio on top of its game, as well as offstage glimpses of the members’ humble demeanor with fans and the concept of mega-fame. The hi-def footage is top-notch; extras include bonus song selections and offstage/backstage footage.
Watchmen
(Warner Bros)
The ultimate edition of Zach Snyder’s 2009 adaptation of the famous graphic novel, on special edition Blu-ray, should please the movie’s fans: Malin Akerman and Carla Gugino’s appearances should please others too.
The set comprises the directors’ cut on Blu-ray (215 minutes), an hour of extra features on Blu-ray, and theatrical cut on DVD. There’s also a stunning hardcover of the original graphic novel by Alan Moore and David Gibbons. The Blu-ray image seamlessly combines live-action and animated footage.
World Without End
(Sony)
Director Michael Caton-Jones’ six-hour sequel to the successful The Pillar of the Earth, based on another massive Ken Follett novel, is less involving only because of the truism that sequels are inferior to the original.
The cast—Cynthia Nixon, Miranda Richardson, Ben Chaplin and Charlotte Riley—is fine, as are the set design and costumes; all are shown to their best advantage on Blu-ray. The lone extra is a making-of featurette.
DVDs of the Week
Alps
(Kino Lorber)
Greek director Yorgos Yanthimos, who garnered undeserved praise for his attitudinizing Dogtooth in 2009, returns with another pretentious drama about people who help grieving family members by assuming the personalities of their dead loved ones.
The intriguing premise, as in Dogtooth, is ruined by a horribly inconsistent technique, stiffly inept acting and a willful obscurantism that ill-serves the plot’s allegorical aspects.
Beasts of the Southern Wild
(Fox)
Novice director Benh Zeitlin—who wrote the script with the original play’s author, Lucy Alibar—has his heart in the right place, but his fantasy about a spirited young girl living in the bayou with her sickly but domineering father is ruined by his condescension and sledgehammer directing.
Still, Zeitlin deserves praise for casting five-year-old Quvenzhané Wallis in the lead: she responds with a natural, winning portrayal that towers over the movie. The lone extra is a making-of featurette.
Unforgivable
(Strand)
Another Andre Téchiné film of interlocking stories dramatizing life’s unavoidable messiness, this drama convincingly dissects a middle-aged couple’s seemingly perfect relationship. Téchiné, exploring society’s moral compass through a cross-section of characters, has a technique that—as in his best films My Favorite Season and Strayed—subtly serves his complex, involving characterizations.
His masterly direction—subtly elliptical editing compressing long periods of time, camerawork evocatively fading to white during moments of emotional intensity, and effectively sparing use of Max Richter’s chamber music—makes the script’s symbolic coincidence organic.
CDs of the Week
Carter and Elgar Cello Concertos
(Decca)
Composed 82 years apart in vastly different musical eras and cultures, these masterly concertos are, as played by the remarkably talented cellist Alisa Weilerstein, undeniably powerful and even emotionally gripping.
Although the Elgar concerto is an overplayed warhorse, its haunting themes resonate in Weilerstein’s hands (and bow); Carter wrote his concerto at age 92 in 2001, and its technical difficulties are smoothed out by Weilerstein and the Berlin Staatskapelle, conducted by Daniel Barenboim.
Hitchcock—Original Soundtrack
(Sony Classical)
Danny Elfman’s score for Sacha Gervasi’s biopic of the great director is a patchwork quilt resembling the music that propelled the Master of Suspense’s classic films.
The pastiche of Elfman tunes on the soundtrack nicks the sounds of Bernard Herrmann, Hitch’s most formidable composer. Overall, this brief CD is neither here nor there: it’s pleasant enough, but you’re better off listening to—and watching—the real thing.
NYC Theater Roundup: 'Dead Accounts,' 'Anarchist' on Bway; 'Good Mother,' 'Civil War' off-Bway
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Thursday, 06 December 2012 10:00
- Written by Kevin Filipski
Dead Accounts
Written by Theresa Rebeck; directed by Jack O’Brien
Performances through February 24, 2013
The Anarchist
Written and directed by David Mamet
Performances through December 16, 2012
The Good Mother
Written by Francine Volpe; directed by Scott Elliott
Performances through December 22, 2012
A Civil War Christmas
Written by Paula Vogel; directed by Tina Landau
Performances through December 30, 2012
The fall theater season in full swing on and off Broadway includes superstars like Al Pacino (selling out nightly in Glengarry Glen Ross), along with several “name” actresses and even a dead president.
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| Butz and Holmes in Dead Accounts (photo: Joan Marcus) |
When Katie Holmes signed on for Theresa Rebeck’s Dead Accounts, it was seen as a move by the former Mrs. Tom Cruise to return to the limelight on her own terms. She made a decent Broadway debut in 2008 in All My Sons; but here, playing Lorna, spinster sister of Jack, who returns to his boyhood home in Cincinnati while on the run from his wealthy wife, spiteful in-laws and federal investigators for his financial shenanigans, Holmes is little more than window dressing in a shrill comedy that thinks broadsides aimed at Midwesterners and Manhattanites are hilarious revelations at this late date.
But aside from Norbert Leo Butz—who plays Jack with a manic energy reined in enough to avoid suggesting he’s a straightjacket candidate—none of the able performers does much with Rebeck’s sitcom-flimsy dialogue and characterizations. Judy Greer (Jack’s estranged wife Jenny) cannot overcome a one-note role with her goofy charm, Josh Hamilton (Jack’s childhood friend Phil) has a thankless part that has him awkwardly wooing Lorna in a misconceived rom-com subplot, and Jayne Houdyshell can’t make Barbara, Jack and Lorna’s loving, religious mother, less cardboard.
Holmes’s essential sweetness serves her well, but the entire supporting cast is forced to watch Butz chew scenery (and assorted Cincinnati foods) on David Rockwell’s serviceably bland suburban kitchen set. Director Jack O’Brien tries to spiff things up with between-scene blackouts and Mark Bennett’s moody, out-of-place music which would work better in a tense thriller, not this slight comedy that evaporates as soon as it ends.
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| Lupone and Winger in The Anarchist (photo: Joan Marcus) |
Evaporating even faster is The Anarchist, David Mamet’s new two-hander that is closing on Broadway barely a week after opening, which may be a quick-disappearance record for the veteran playwright. Unfortunately, this 70-minute non-play—devoid of tension, depth and feeling, and wasting powerhouse actresses Patti Lupone and, in her belated Broadway debut, Debra Winger, struggling mightily to create characters out of thin air—fully deserves its fate.
Lupone plays Ann, in prison for 35 years for her role in a Weather Underground-type group’s bloody bank robbery; Winger is Cathy, a prison officer deciding whether Ann will be paroled. The women’s abstruse discussion comprises topics such as Reason, Revenge, Forgiveness, and the Foolishness of Being Young and Ignorant. The Mametian language they speak includes no profanity but much needless repetition. (If the repeated dialogue was excised, the show would end in a half-hour.) Inadvertently, The Anarchist—a play of ideas whose writer-director has no idea how to explicate them—gives its audience a good idea of what it’s like to be trapped in prison for three-plus decades.
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| Mol in The Good Mother (photo: Monique Carboni) |
Gretchen Mol never became the big-screen star some predicted in the late ‘90s in films like Rounders and Donnie Brasco. But she proved an able stage actress in Neil Labute’s The Shape of Things with Paul Rudd and Rachel Weisz, and singing and dancing in Chicago. However, in Francine Volpe’s thuddingly obvious thriller The Good Mother, even the resourceful Mol as Larissa, a single mother of an autistic four-year-old daughter who may have been abused by Angus, a gay, goth, teen babysitter, can’t overcome pedestrian writing.
This is the kind of play where the heroine has her precious girl watched by a relative stranger because she wants to hook up with truck driver Jonathan, whom she brings home, fools around and smokes with even though the girl’s condition is serious, and leaves Jonathan’s loaded gun in a nearby drawer even though she’s shocked when she first sees it. Subplots involving Angus and his father Joel—a psychiatrist who may have taken sexual advantage of high-school age patients, Larissa among them—are awkwardly integrated as Volpe piles on mysterious behavior for sheer effect without cause.
Scott Elliott directs with his usual briskness which fatally backfires here. The lovely and talented Mol and a cast comprising good actors like Mark Blum as Joel simply bang their heads against a proverbial wall for 90 minutes.
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| Stillman in A Civil War Christmas (photo: Carol Rosegg) |
With Steven Spielberg’s Lincoln the serious movie of the moment, it’s unsurprising that Abe would also center a stage play. But the ungainly hybrid A Civil War Christmas by Paula Vogel—Pulitzer Prize winner for How I Learned to Drive—not only has Abe but holiday and period songs and sentimental story threads more appropriate for a Lifetime Channel movie than this sketchy effort by Vogel and her inventive director Tina Landau.
The show has the feel of a high school basement pageant, with a nearly bare stage that stands in for the White House and locales along the Potomac, a lone piano off stage to the left of the audience and an energetic cast of 11 that plays a mix of actual and non-factual folks from Generals Lee and Grant to nameless soldiers, free and slave blacks. Abe and wife Mary Todd are enacted by Bob Stillman and Alice Ripley, both of whom look and sound right, but whose portrayals are continuously diluted by them playing other roles.
There’s a kernel of an idea here: that Christmas 1864 was the last in which the Civil War still raged: peace is around the corner. But it can’t sustain a 2-1/2 hour show, despite Landau’s clever staging and an energetic cast. Of course, the Christmas carols sound beautiful—notably Ripley’s heartrending “Silent Night” as Mary Todd serenades a dying Union soldier in a D.C. hospital—but this dubious pageant shows off Vogel’s historical research at the expense of engaging audiences.
Dead Accounts
Music Box Theatre, 249 West 45thStreet, New York, NY
The Anarchist
Golden Theatre, 252 West 45thStreet, New York, NY
The Good Mother
The New Group, 410 West 42ndStreet, New York, NY
A Civil War Christmas
New York Theater Workshop, 79 East 4thStreet, New York, NY
DVD Review: My Time in the Thick Brick Cult
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Thursday, 06 December 2012 05:00
- Written by Renzo Adler
A mention of Troma Entertainment elicits one of two reactions: quizzical looks, or rampant enthusiasm. Troma is best known as the house that gave birth to The Toxic Avenger, a gory and raunchy series of films that filled video stores, and for a brief period in the early 90’s was also a poorly conceived children’s cartoon. Troma is also where I used to work.
When I started out there as a wee intern, I was approached by Justin Martell and Travis Campbell to help out on a movie. Not the new Toxie, or a sequel to Surf Nazis Must Die, but something called Mr. Bricks: A Heavy Metal Murder Musical. Oh yeah, and they also had to make the movie on the side while juggling a full time job (more on that later).
Mr. Bricks as a film really doesn’t fit in with the majority of low/no budget shock flicks you see these days. No slasher clichés drenched with winks and nods to validate their inadequacies. No nouveau-gothic abandoned hospitals or asylums. Just stark, barren, industrial grey Queens and Long Island City provide the backdrop of this sordid tale.
Eugene 'Mr. Bricks' Hicks (Tim Dax) tries to re-call the events of a previous night after he wakes up in a hovel with a woman’s shoe in his hands, a bullet lodged in his head, and two men trying to dispose of him. He crosses paths with Officer Dukes (Vito Trigo) and Officer Scarlett Morretti (kinda-scream queen Nicola Fiore) as he spirals further down searching for the truth.
Bricks is played by tattooed muscle man, dancer, and fixture of many music videos, Tim Dax.
If I had to describe Dax’s performance in a single word, it would be “enthusiastic.” Dax doesn’t just brood or stand and look tough, he jumps, he swaggers, he screams, he cries, he’s all over the place! Dax’s flare is a little comic-booky, but it keeps the character interesting.
Mr. Bricks is a difficult film to categorize. Simply calling it a musical would be gross over-simplification, while calling it a horror flick doesn’t fit either since the horror is more about inner turmoil rather than dead bodies (don’t get me wrong though, there are still plenty of dead bodies in this movie).
The songs, while not exactly created by Meatloaf maestro Jim Steinman, are a melodic version of metal with some clearly enunciated lyrics so you can actually get an impression of what the characters are singing about. The lyrics are what you would expect in metal fare, but there is enough humor and flare in them to keep them interesting. Besides, who can’t agree that “love is murder”?
You could call it an exploitation film, but thankfully, Mr. Bricks doesn’t indulge in obnoxious faux-1980’s flares that you see in movies that use the moniker “exploitation” these days. And while Mr. Bricks is not the most polished film you will see, it is a truly earnest effort by filmmakers that embodies Troma’s history of films that defy categorization.
The earnestness of this production can be seen in the making of documentary on the DVD, Brick By Brick, where we see how Travis Campbell (Writer and Director) and Justin Martell (Producer) created this film with a shoe-string budget while also working full time jobs at Troma, drenching the production in espionage. I’m also in Brick by Brick, since I was working at Troma when Bricks was being made, so I won’t lie when I say there is a personal tie that I have with this film and the tortures and triumphs the people working on it went through.
At the end of the day, Mr. Bricks is simply a film unlike any other. It might be a little rough around the edges, but it bravely traverses territory few have done before by making a gritty musical.
Mr. Bricks A Heavy Metal Murder Musical is out on DVD December 11, 2012.
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