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Film and the Arts
Theatre Review: Tennessee Williams' Milk Train
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 08 March 2011 22:43
- Written by Lucy Komisar
The Milk Train Doesn’t Stop Here Anymore
Written by Tennessee Williams
Directed by Michael Wilson
Sets by Jeff Cowie, Lighting by Rui Rita
Starring Olympia Dukakis, Maggie Lacey, Darren Pettie, Edward Hibbert, Elisa Bocanegra, Curtis Billings
The Milk Train Doesn’t Stop Here Anymore is Williams’ turgid Southern Gothic view of death
There’s a touch of the Southern Gothic in many of Tennessee Williams’ plays, and it is usually seasoning in a pungent stew about human relationships, desires, and failings. But The Milk Train Doesn’t Stop Here Anymore is overwhelmed by Southern Gothic until it becomes a potboiler, a parody of a melodrama. There are frequent sounds of sea gulls and a lot of turgid prose. Director Michael Wilson’s over-the-top staging seems to tell us it’s camp and not to take it seriously.
Flora Goforth (Olympia Dukakis), whom Williams burdens with a Dickensian name, was a showgirl whose first husband made her a millionaire. She proceeded to marry three others, but loved only the last, a young poet who, driving the red sports car she gave him, crashed and died on the Corniche from Monte Carlo.
Now in her sixties, still with her American southern accent, she lives near Naples in a villa atop a cliff on the Amalfi coast overlooking the sea. It’s 1962. She is dictating her memoirs, mostly about her lovers and social life among the international set, to Frances “Blackie” Black (Maggie Lacey), a rather prim and conventional young woman (from a good women’s college) whose husband recently died.
Flora spends a lot of time in a nightdress lolling on a round bed under a skylight, frequently buzzing to summon Blackie to take notes. She is a woman who expects people to jump to her orders. She refuses to face up to her own mortality, though she takes morphine for her “neuralgia.” In fact, she is a paean to life, glorying in her past.
She is visited by a gay friend (Edward Hibbert), known as the Witch of Capri, a fey blonde fellow who seems overdressed for the island. However, he fits into the weird mood, although I could not figure out why he could not pronounce Capri (accent on the first syllable), while Flora could. The full costumed kabuki dance she puts on for him is a show stopper.
Into that somewhat bizarre scene comes a strange man, Christopher Flanders (Darren Pettie), age 39, who makes mobiles and supports himself by attaching himself to rich elderly ladies. (The kindness of strangers?) Given their ages and conditions, the women all die, which has given him the name “angel of death.” Yes, this play is unsubtly about death.
Chris has climbed up a goat path and breached a fence to trespass on the grounds. Flora directs him to a cottage, and you wonder what each has in store for the other.
She is challenged by Chris. Attempting to maintain control, she refuses to let him eat. She declares, “I give away nothing, I sell and I buy.” In fact, they both want to use each other. He will wait her out.
This production is saved by the extraordinary performance of Olympia Dukakis, whose portrayal of the garish, bullying, self-centered Flora Goforth takes fire and pulls you in until you feel part of the conflagration.
Pettie as Chris and Lacey as Blackie do their best to bring their characters to life, though they seem uncomfortable in the setting, which gets more surreal as the play goes on. Hibbert simpers too much.
This play was finished in 1963, the year Williams’ long-time lover died. It is almost a satire of the writer’s best works of the 1940s and 1950s, and has only historical interest.
The Milk Train Doesn’t Stop Here Anymore
Roundabout Theatre Company
at Laura Pels Theatre
111 West 46th Street
New York City
(212) 719-1300
Opened January 30, 2011; closes April 10, 2011.
www.roundabouttheatre.org
For more by Lucy Komisar: http://thekomisarscoop.com.
Kevin's March '11 Digital Week I
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Tuesday, 08 March 2011 05:00
- Written by Kevin Filipski
Blu-rays of the Week
Bambi
(Disney)
One of Walt Disney’s most celebrated animated classics, Bambi was made in 1942, but in its new and sparkling Blu-ray transfer, it looks like it’s from 2011. At a mere 70 minutes, Bambi also demonstrates how masterly Disney was at the economy of its storytelling, a far cry from the padded characters and sequences of today’s overrated computer cartoons, especially the Pixar movies that everyone loves.
The breathtaking simplicity of the tale, the animation and the use of music and sound is still remarkable nearly 70 years later. Extras include an introduction by Diane Disney Miller (Walt’s daughter), two deleted scenes, the deleted song “Twitterpated” (which would obviously have a different meaning today), Inside Walt’s Story Meetings and bonus features from the original DVD release.
Burlesque
(Fox)
I hate to use the word “disappointing” about Burlesque, but I admit I was hoping for something like Showgirls, a “so bad it’s good” flick. The dance rivalries in Burlesque, by contrast, are deadly dull, with Cher rotely playing Cher, Christina Aguilera showing basic competence as a performer, and the big musical set pieces resembling Christina’s videos on a loop.
There’s scenery-chewing by Alan Cumming and Peter Gallagher, while Kristen Bell and Julianne Hough barely register as rival dancers. Writer-director Steven Antin has neither distinguished nor embarrassed himself. On Blu-ray, the movie has a sheen that has its appeal; extras include a director’s commentary, alternate opening, blooper reel, complete song performances and five making-of featurettes.
Genius Within: Glenn Gould
(Lorber)
This revealing documentary of the mercurial Canadian pianist shows a man more complex than the usual “tortured artist” stereotype: he was a warm individual whose eccentricities eventually overtook him. The movie humanizes Glenn Gould through vintage footage in which, relaxed and chatty, he discusses his art near his beloved Ontario lake house, a quiet oasis to which he’d escape after grueling tours.
Cornelia Foss — wife of composer Lukas Foss—talks about how she fell in love with Gould, left Foss and moved to Toronto with her kids. Illuminating insights into Gould’s artistry — explaining his unorthodox technique or Leonard Bernstein telling how, even though he didn’t agree with Gould’s interpretation of a Brahms concerto, he’d conduct it anyway — reinforce the impression of Gould as a singular artist and forceful personality. The Blu-ray image is first-rate; extras include several deleted scenes and interview snippets.
Love and Other Drugs
(Fox)
This unsatisfying romantic drama gets its schizophrenia from director Ed Zwick fusing two seemingly incompatible storylines: one based on a book about a Viagra salesman, the other about a young man’s relationship with a woman who has early-onset Parkinson’s. Although Anne Hathaway and Jake Gyllenhaal make a terrific twosome (and kudos to Hathaway for doing the unthinkable in a mainstream American movie: getting naked), their director hasn’t figured out the tone for his movie, veering from semi-slapstick (drug selling and early sex scenes) to near-tragedy.
There’s also the unfortunate presence of Josh Gadd in the Jack Black sidekick role; entirely out of place, Gadd seems another desperate move by Zwick to keep things “funny.” As always with Zwick, Love and Other Drugs has a slick look, which the Blu-ray transfer captures. Extras include deleted scenes, making-of footage and interviews with Zwick, Hathaway and Gyllenhaal.
Nausicaa of the Valley of the Wind
(Disney)
Beloved anime director Hayao Miyazaki, who made his considerable name with such masterpieces as Spirited Away, Ponyo and Princess Mononoke, made Nausicaa of the Valley of the Wind early in his career. Beautifully animated, as all his films are (and looking absolutely terrific on Blu-ray), Nausicaa also carries Miyazaki’s typically heartfelt environmental message inside of a strangely affecting tale about a post-nuclear war civilization.
There are many debts, both visually and story-wise, to Rene Laloux’s animated classic Fantastic Planet, a film that Miyazaki has said is among his biggest influences. Extras include the interactive featurette The World of Ghibli, original Japanese storyboards, the Behind the Microphone featurette and The Birth Story of Studio Ghibli featurette.
127 Hours
(Fox)
Overkill is the forte of Danny Boyle, Oscar-winning director of obnoxious Best Picture winner Slumdog Millionaire; he repeats his tricks telling hiker Aron Ralston’s incredible true story of amputating his own arm in a last-ditch effort to survive. Overdone split screens, grotesque close-ups, tilted camera angles, speeded-up motion, God’s-eye view shots, over-the-top sound effects and relentlessly swelling music underline Boyle’s misguided notion that this amazing tale needs goosing for its audience.
What saves it are the power of Ralston’s survival story and the intensely physical performance of James Franco, onscreen for nearly the entire movie, who makes Ralston a goofy, likable egoist to cheer on as he slices through his own nerves to save himself. The movie looks spectacular on Blu-ray, and extras include commentary by Boyle and others, deleted scenes and two futurities about Ralston’s story and Franco and Boyle on-set.
DVDs of the Week
Four Lions
(Magnolia)
A group of inept Jahidists based in London keeps failing at suicide-bomb martyrdom in this fitfully inspired but too often low-key satire. Reminiscent of In the Loop, which presented outrageous behavior among politicians deciding to go to war with Iraq as normal and hence worth our derisive laughter, Four Lions goes after terrorism with pointed humor that’s short-circuited by the story’s repetition and characters’ lack of differentiation. Director Chris Morris (who co-wrote the script with Jesse Armstrong and Sam Bain) uses the same semi-documentary detachment that served In the Loop well, but with diminishing returns: by the end, the movie simply peters out. Substantial extras include behind-the-scenes footage, deleted scenes, background material and interviews.
Napoleon & Love, The Norman Conquests
(Acorn Media)
These two excellent titles are the latest in Acorn Media’s valuable British TV catalog releases. Napoleon & Love is an entertaining 1974 mini-series starring Ian Holm as the legendary emperor and Billie Whitelaw as Josephine; for eight hours we are privy to Napoleon’s machinations away from the battlefields with which he gained infamy, instead concentrating on his bedroom conquests.
The Norman Conquests, one of playwright Alan Ayckbourn’s grandest creations, comprises three separate full-length plays about a wild weekend for three couples, each set in a different part of the house where it takes place. Although the TV version loses much of the specific settings that work so sublimely in the theater, Ayckbourn’s peerless wit and believably befuddled characters, along with a superlative sextet of Tom Conti (as Norman), Richard Briers, Penelope Keith, Penelope Wilton, David Troughton and Fiona Walker, make this an hilarious and thoughtful five-hour epic about the human comedy.
CD of the Week
Walton: Balthazar’s Feast, Symphony No. 1
(LSO Live)
These blistering live recordings showcase the London Symphony Orchestra under conductor Sir Colin Davis performing two of William Walton’s greatest works. Hearing Walton’s First Symphony, one of the most inventive and propulsive of any century, not just the 20th, is always a treat: this 2005 performance is one of the best I have ever heard.
The symphony has been coupled with an equally mesmerizing 2008 performance of Belshazzar’s Feast, one of the towering choral masterworks of the past 100 years, with powerful contributions by the London Symphony Chorus and baritone Peter Coleman-Wright. This hybrid SACD, with its brilliantly crystal clear surround sound, can also be played on regular CD players.
Music Review: Philadelphia Orchestra at Carnegie Hall
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Saturday, 05 March 2011 06:00
- Written by Jack Angstreich
The great Philadelphia Orchestra sounded superb under the direction of Charles Dutoit at a concert given at Carnegie Hall on the evening of Tuesday, March 1st, 2011. The program opened with an electric account of the exuberant Overture to Béatrice et Bénédict by Hector Berlioz.
Following this, soloist Vadim Repin joined the ensemble to give a bravura performance of the New York premiere of James MacMillan's somewhat rambling Violin Concerto. Characterized by brilliant orchestral writing throughout -- receiving full justice here by Dutoit and his musicians -- and with many thrilling passages -- especially in the faster, outer movements -- this work seemed, like innumerable post Classical-era concerti, more interesting as a potential symphony than as a concerto.
The supreme event of the evening was the magnificent performance -- indeed, the finest I have yet heard -- of the gorgeous, haunting Tchaikovsky Fifth Symphony, which closed the program. The ensemble played with inestimable transparency and Dutoit brought out all the soaring romanticism (and Romanticism) -- as well as all the breathless excitement -- of this achingly beautiful work -- it was a stunning experience.
Performers
The Philadelphia Orchestra
Charles Dutoit, Chief Conductor
Vadim Repin, Violin
Program
Overture to Béatrice et Bénédict by HECTOR BERLIOZ
Violin Concerto (NY Premiere)by JAMES MACMILLAN
Symphony No. 5 by PYOTR ILYICH TCHAIKOVSKY
Carnegie Hall
881 7th Avenue
New York, NY 10019
212-247-7800
Review: Paul Taylor Dance Company
- Details
- Parent Category: Film and the Arts
- Category: Reviews
- Published on Friday, 04 March 2011 05:00
- Written by Jack Angstreich
Paul Taylor Dance Company
Choreography by Paul Taylor
Music by Donald York, Arcangelo Corelli, Henry Cowell, Malloy Miller, John Herbert McDowell, Anonymous Renaissance Composers, Gaetano Donizetti, Francis Poulenc, J.S. Bach
City Center, New York City
The Paul Taylor Dance Company is in the midst of an exciting season at City Center. At the matinee on Sunday, February 27, 2011, the program began with Polaris, first performed in 1976, and set to a score, specially composed for the piece, by Donald York. What aesthetic distinction lies in this music -- which seemed to range across a variety of twentieth-century Western classical styles -- was difficult to discern in that, although it was written for a full orchestra, it was not played live and the sound system at City Center is, regrettably -- and surprisingly -- not state-of-the-art.
Polaris is constructed around a structuralist (or conceptualist) conceit whereby the choreography of the first half is repeated in the second identically, save only for a change in cast, music, and lighting. The unfolding of this architectonic has a cumulative power and, indeed, the two moments where the casts exchange are stunning coups de theâtre. Although the visual conception here is minimalist, and characteristic of the period in which it was created, the choreography is by no means austerely bereft of sensuality and liveliness.
The next work, Phantasmagoria, a New York City premiere, reveals Taylor's postmodern streak -- where historical time is collapsed into an endless now in which all styles can be infinitely recombined -- as well as a playfulness and wit which seem to owe something to the example of Jerome Robbins -- but, the generosity of Taylor's imagination is such that irony does not overwhelm affirmation of, and reverence for, his chosen material. Phantasmagoria is set to wonderful music by anonymous Renaissance composers although, again, the effect was diminished by hearing it in a pre-recorded format; however, due to the relative smallness of the instrumental ensembles in these pieces, the artistic compromise here was not as profound as in Polaris. If Phantasmagoria as a whole feels slight, it was not without its pleasures. The amusing costumes were designed by Santo Loquasto.
The most rewarding and enjoyable work on the program, however, was the last, the delightful Cloven Kingdom, also from 1976, set to music by Arcangelo Corelli, Henry Cowell, and Malloy Miller, cleverly spliced together by John Herbert McDowell. Taylor's deployment of the great Baroque composer Corelli here contrasts significantly with that of George Balanchine's in his magisterial, neoclassical Square Dance -- the clash with the sounds of Indonesian gamelan in Cloven Kingdom is an index of the choreographer's exuberant fondness for parody and pastiche and this ballet is often most beautiful in its daring embrace, at moments, of an inspired silliness.
The evening program of the same day opened with the frothy comedy, the 2009 Also Playing -- set to charming instrumental music from two Donizetti operas and with humorous costumes by Loquasto -- where Taylor sends up classical ballet, nineteenth-century opera, flamenco, the waltz, and American patriotism -- it all amounts to a splendid romp.
The 1977 Dust, set to some striking music by Francis Poulenc, finds Taylor working in a more avant-garde, if still jocular, mode. I found this ballet difficult to synthesize on a first viewing but it had some arresting moments.
The day's apotheosis came with the final work on the program, Taylor's signature opus, the exhilarating Esplanade from 1975, set to glorious music from two outstanding concertos by Johann Sebastian Bach. This magnificent ballet shows Taylor's creative powers at their peak.
Polaris, Opus Number: 64
Music: Donald York (commissioned score)
Set and Costumes: Alex Katz
Lighting: Jennifer Tipton
Date First Performed: August 26, 1976
Phantasmagoria, Opus Number: 132
Music: Anonymous Renaissance Composers
Costumes: Santo Loquasto
Lighting: Jennifer Tipton
Date First Performed: July 15, 2010
Cloven Kingdom, Opus Number: 63
Music: Arcangelo Corelli, Henry Cowell, and Malloy Miller
Costumes: Women's Costumes by Scott Barrie, Headpieces by John Rawlings
Lighting: Jennifer Tipton
Date First Performed: June 9, 1976
Also Playing, Opus Number: 130
Music: Gaetano Donizetti
Costumes: Santo Loquasto
Lighting: Jennifer Tipton
Date First Performed: April 8, 2009
Dust, Opus Number: 66
Music: Francis Poulenc
Set and Costumes: Gene Moore
Lighting: Jennifer Tipton
Date First Performed: June 1, 1977
Esplanade, Opus Number: 61
Music: Johann Sebastian Bach
Costumes: John Rawlings
Lighting: Jennifer Tipton
Date First Performed: March 1, 1975
For more information, visit www.ptdc.org.
New York City Center
130 W. 56th St.
New York, NY 10019
(212) 581-1212
www.nycitycenter.org
Opened: February 22, 2011; closes March 6, 2011
