Architectures, by Richard Copans and Stan Neumann, beautifully surveys iconic buildings of the nineteenth and twentieth centuries. Produced by Arte tv in France, the DVDs are tough to purchase in the U.S. without going to the evil that is Amazon. Here is a low-res playlist while the hunt continues:
The highs and lows average to solid in ISC’s Richard III on until the 24th July at Griffith Park. Impresario David Melville assumes the mantle and a couple of other positions surrounded by an often amazing cast and disturbing electrification. Director Melissa Chalsma codistills the original and Colley Cibber‘s once-popular adaptation amplifying the action but wisely restoring some of Cibber’s deletions. Melville forgoes the hump for a limp, is convincing when raging and scheming, and less-so when sweet-talking and seducing. Amid the new faces is the welcome return of company veteran Lorenzo Gonzalez whose own Richard dazzled at Barnsdall Park in 2005.
There’s a lot of ground to cover in the first half, mostly with corpses. Not short by any means, it feels rushed and it is often a strain to figure out who is doing what to whom and why. With so much real and implied gore, we wonder if nibs of the Merrie Olde were bound by any laws at all. Post intermission fares better especially in a superb scene redolent of the Trojan Women in which exhausted ladies of war-ravaged houses contemplate a grisly future. Bernadette Sullivan, Mary Goodchild, Aisha Kabia, and Kalean Ung swim this 4×100-m hatred relay brilliantly and it is a good job that it was part of the restoration. That anchor leg is a pipterino and further marks Ung as one to watch.
ISC is rightly proud of the number of people it reaches through the summer fest. But, pursuing and serving that metric isn’t free. The kit grows every season. 2016 features a large lighting rig courtesy of a foundation grant, more microphones, more speakers, a NASA-sized mixing board, ever fancier costumes, and stage fog. Some of the tech does afford the leeway to cast actors with differing levels of vocal preparation but it grows farther from the no-frills aesthetic the company brought to LA back in 2002 and preserved until the past few seasons. Most intrusive is the addition of a loud rock band that strikes up to crush the magic the moment a scene ends. The Duke of Buckingham pleads with King Richard, “Give me some little breath, some pause, dear lord.” We know where he’s coming from but we too aren’t requited. There’s no time to savor the words because a quartet of the play’s supporting cast occasionally supplemented by Melville shred the air with guitar and drum. To be fair, most of the crowd ate it up.
ISC takes care to survey its audiences and perhaps this is what it has to do to keep people coming to the Old Zoo. The festival audience could be of the growing belief that silence of any kind is not to be trusted. Maybe we’ll see two distinct sets of offerings in the future: Old school ISC indoors at its studio and a flash-bang summer season for the Internet generation at Griffith Park.
The Tempest begins July 30th.
Adapted by Independent Shakespeare Co. based on the work of Colley Cibber
Begins Saturday, June 25 and Sunday, June 26 Then plays Wednesday – Sunday until July 24
Performances at 7:00 pm at The Old Zoo, Griffith Park
FREE (donations gratefully accepted)
“Honesty. That’s the thing in the theater today. Honesty … and just as soon as I can learn to fake that, I’ll have it made.”
Grab the speedometer and move it, the car does not speed up. Mock up an airport, planes will not come. We are conditioned to causality and that the mere appearance or measure of a thing is not (usually) a handle into the thing itself. We smile when happy, cry when sad, and believe that we can tell when emotions are genuine or contrived. It comes as some surprise that this may not be entirely true. There is evidence that outward expressions, real or fake, may drive physiological processes instead of merely being driven by them. This two-way street is at once interesting and lucrative. Demagogues and marketeers profit by inventing stimuli to induce specific responses. A big part of culture and its preservation is in the transmitting feelings and emotions through performance. Authenticity – whatever its definition – is considered essential.
Playwright David Bridel takes on the latter in ‘Lunatics and Actors’ mounted through the end of May by The Four Clowns at Shakespeare Center LA. Scientist Guillaume Duchenne de Boulogne (Thaddeus Shafer) asserts that he can evoke performances from his trio of patient/inmates (Tyler Bremer, Andrew Eldredge, and Alexis Jones) that surpass in intensity and authenticity those by conventionally trained actors. His electrochemical method will find gleeful interest from results-oriented directors tired of having Stanislavski flung back at them. The intriguing premise draws from nineteenth century events. The historical Duchenne performed early research in connecting human physiological and physiognomical reactions to electrical stimuli. He applied shocks to patients, photographed their faces, and in time could evoke specific expressions from them at will. Much of this work would be frowned upon today for ethical reasons but it came with other results in different areas that persist. Duchenne laid the foundations for modern neuroscience. The bidirectionality of emotion has since been intensively and controversially studied by Ekman, Zajonc, and others.
The setup requires actors in the audience to volunteer for light onstage duty. This being Los Angeles, it isn’t a problem. Duchenne runs through an interview followed by exercises and a compare/contrast. Meisner, Linklater, and Alexander may help the aspiring actor but a healthy zap from the glowing Volta pile invokes a style of its own. The inmate trio, all experienced clowns, win the intensity fight in a walk. Director Jeremy Aluma has to take his time churning the cream and the laughs hide a somewhat lengthy introduction. It snaps into butter when the contest shifts to ‘Hamlet’ and its endless opportunities to test authenticity (or anything else of interest to artists). Convention holds its own for subtlety but not for pain, fear, or terror. A change from funny to harrowing occurs in a tight, disturbing vignette to rival ‘Clockwork Orange’ or ‘1984’. A final distillation of ‘Hamlet’ to a delicate touch of ‘Pagliacci’ is a marvel. Focussing on the terrifying, it is entirely different from the troupe’s recent reimagining. Give substantial credit to the large design team. Their coherent efforts drive a fanciful story which might fall flat in less skilled hands. The Clowns don’t skimp on production and one wonders how they balance the books against a batguano-crazy $15 ticket price.
There are inside jokes aplenty within the world of the play. Theatre in Los Angeles is considered the domain of the insane. Are the three inmates victims of an unscrupulous workshop-monger? Bridel is the incoming Dean of Theatre at USC. Does this foreshadow his plans for the school? Perhaps only artists can or will get the full scope of it. But, the promise and threat of machines has been a staple of storytelling from ‘Frankenstein’ to ‘Blade Runner’ and beyond. Can we controlled by electrodes? Yes but we’re attached enough to our screens to make such a physical connection unnecessary. A more unnerving question is what form the next evolutionary step will take once we or our algorithms figure out what makes us tick. The reductionist approach claims that once we find the root of the structure that everything will follow. Others argue for multiple processes that compete with and against one another in a sort-of roshambo. Either way, the tacit assumption is that machines would then emulate us, only much much faster. Why stop there? The Melancholy Dane may have been overly optimistic about the Godlikedness of man – we are most likely just another step along the path. That’s what make these clowns the ones of nightmares. Go see them but leave the kids at home.
Four Clowns presents
Lunatics & Actors
by David Bridel
directed by Jeremy Aluma
A WORLD PREMIERE
April 29 – May 28, 2016
at The Shakespeare Center of Los Angeles
1238 W 1st Street
Los Angeles, CA 90026
Performances start at 8pm
Street parking in the neighborhood
Stage Manager Ashley Jo Navarro
Assistant Director Amaka Izuchi
Set Designer Fred Kinney
Lighting Designer Azra King-Abadi
Costume Designer Elena Flores
Sound Designer Kate Fechtig
Propsmaster Niki Mercs
Technical Director Matt MacCready
Producers Jeremy Aluma and David Anthony Anis
Associate Producers Jennifer Carroll and Julianna Stephanie Ojeda
Lee Blessing could not have forecast in 1988 that the Cold War would take an abrupt turn for the weird just two years later. ‘A Walk in the Woods’ at ICT through 22 May has nevertheless enjoyed a successful life despite drastic shifts in superpower status and the methods of war. It isn’t surprising. It is easy to look back wistfully at Mutually Assured Destruction as nation states veer on collapse and real power is concentrated in a few hidden hands.
The play’s setup is simple and historically informed – two arms negotiators, veteran Botvinnik and newcomer Honeyman, try to achieve in the Swiss woods what they can’t over the bargaining table. The amiable Russian tries to engineer a friendship, the formal American worries that he’s being worked. That can happen when one’s opponent is the namesake of a legendary Russian grandmaster. The four evenly timed acts alternate between Pythonesque rhetorical posturing (“I came here for an agreement! No you didn’t!”) and moments of genuine connection when it looks like our heroes may have given their masters a face-saving way back from the brink.
This, however, isn’t a documentary or even intrinsically theatrical. Blessing strives for a duet of ideas, some more compelling than others. ‘Walk’ shines when the younger American slowly realizes what his older counterpart has learned: Neither side wants an agreement – MAD is too good for business on both sides of the curtain. The corrosive stalemate on the large scale is recapitulated on the small and all levels in between. The interwoven buddy comedy lives well with Tony Abatemarco (Botvinnik) and David Nevell (Honeyman) under John Henry Davis’s direction on a stark set (Christopher Scott Murillo) and subtle lighting (Donna Ruzika). But, cynics have the advantage in these situations and Blessing’s asymmetrical characterization keeps Honeyman on the back foot until the very end when he figures out that what’s real and what’s virtual in the world of diplomacy.
The monsters in ‘Walk’ are less frightening today than the one in Blessing’s equally popular ‘Going to St. Ives.’ Nations may treat one another poorly but they reserve true brutality for their own. Both have characters doubling as ideologies (and vice versa) reminiscent of Shaw’s theatrical polemics. Although the premise and the balanced characterizations give ‘Ives’ the edge as a play, ‘Walk’ is an evening of theatre worth the trip.
A Walk in the Woods
by Lee Blessing
at International City Theatre
27 April to 22 May 2016
Thu. – Sat. at 8pm
Sun. at 2pm
Long Beach Performing Arts Center
330 East Seaside Way
Long Beach, CA 90802
Tickets: Online and at the Box Office 562-436-4610 (M-F 9am – 5pm)
The San Francisco Symphony set a high standard for musical education with ‘Keeping Score,’ an interactive immersion into great music and composers. Each episode features performance excerpts, scrolling score with annotations, and a wealth of historical context. There’s also a lot of MTT. All done with the technology and bandwidth available in 2006 and still unequaled. Click the image and dive headlong into the Eroica.
Southern Methodist University lays down the science: Creativity good.
In the Large Community Division:
- Washington-Arlington-Alexandria, VA
- Nashville-Davidson-Murfreesboro, TN
- NY-Jersey City-White Plains, NY/NJ
- San Francisco-Redwood City-South San Francisco, CA
- Los Angeles-Long Beach-Glendale, CA
Read all about it in:
Opera… so much great music and then the furshlugginer singers show up. Maybe the local purveyors could organize one night every run where people can come to hear the orchestra without all the other flapdoodle.
There are also the occasional links and pointers that make it worth a wade through the muck.
Today’s find is a piano trio masterclass given by Menahem Pressler in 2008 [Click to go to Slippedisc]. It’s in an unlisted, unindexed corner of Youtube where the link has to be transmitted by someone who knows it is there. Dig into it and we find that the Chamber Music Society of Lincoln Center has a webpage full of them along with lectures, interviews and performances (look to the left).
Here’s a playlist from the Society’s Youtube Channel:
Kaleidoscope Chamber Orchestra’s Brahms Fourth in Santa Monica’s First Presbyterian Church showed off the group’s journey with democratic approaches to a hierarchical performance practice. There’s no need to reanalyze this staple of the repertoire – its overall arc of tragedy still contains some wonderful melody and gives each section ample opprtunity to shine. Excellent winds and horns set and held the stage with the ensemble growing tighter and more confident with phrasing as the piece developed. This specific mix of the orchestra’s large roster got accustomed to the space and one another in short order. Conductorless playing has to be difficult and must be doubly so when the music calls for soft and shimmering strings. The Brahms starts off this way and the Ives Unanswered Question is a few ethereal minutes of nothing but. Kaleidoscope upped the ante with strings in the sanctuary lobby, woodwinds in a balcony, and the horns offstage behind the altar. Execution fell just short of ambition but acknowledge the effort to add this to the degree of difficulty. The real Unanswered Question was, as is often the case, “Where’s the audience?” The Friday night turnout was reminiscent of Los Angeles theatre with performers outnumbering audience and that’s a shame. One hopes the Sunday matinee in Glendale fared better.
This group looks quite capable of handling Ives, broadly speaking. It would be great to hear those gonzo horns and winds in the rollicking finale of the Second Symphony with its invocations of Reveille, Columbia Gem of the Ocean, and the Camptown Races. Oh doo-dah-day.
Next up: Weinberg, Mozart, and Schoenberg on 23 January (LA Theatre Center) and 24 January (Santa Monica, First Presbyterian Church)
[Updated 28 September 2015]
24th Street Theatre does exceptional work in arts education, outreach, and after school programs with a special focus on its underserved neighborhood next to USC. It has also produced plays over the years with mixed results. Since 2012, it’s production arm deliberately shifted to “Theatre for Young Audiences” (TYA) and things have frankly gone downhill. ‘Roma al final de la via’ landed with a thud, ‘Nearly Lear’ was passable but far short of the hype. I did skip the Dead Grandma show that ran for months and toured to good reviews. The program purports despite its name to bring sophistimacated work to all ages. This is strange since there are plays from antiquity to the modern day that do exactly that and in front of broad demographics. Rather, TYA seems to be a newish industry with international conferences, showcases, and a substantial caste of arts MBAs overseeing hookups between a cadre of authors and producers. There’s even a white paper on the topic aggressively titled, “Does Youth Theater Really Have to Be So Pandering and Simple-Minded?” It’s an interesting read but only for the subtext.
‘Man Covets Bird’ by Finegan Kruckemeyer, a prolific 34 year old Irish Australian, is a wan rehash of the Up With People, Free to be You and Me swill some of us were fed in the ’70s and ’80s. Live your heart, open your dreams, follow your laugh, dance your dissertation, live in an ice cream van down by the river. Two beardy emerging artists from from your locally-owned, fair-trade, carbon-neutral coffeeshop’s open mic night perpetrate the text to projected animations. One of the two is responsible for the alleged music. This after school special is as specific as a horoscope, as flavorful as tofu, and open to any interpretation one might wish to hang on it. It’s a piece calculated to leave talking opportunities for adults and any associated kids – the term ‘conversation’ is popular these days. This usually means the person in power frames the discussion and defines the boundaries. It is a common enough gimmick in the manager-employee relationship. It is also around in the arts world where critics try to justify their marginal value as dialogue mediators. In both cases there’s hell to pay if the employee or reader calls b.s. and chooses to have his own view of things. ‘Bird’ and TYA may be good vocational preparation but the artistic claims are overstated.
It is unfortunate that the company has gone down this route. The curtain speech explains that 24th Street spends most of its money on two pillars of education and outreach, producing theatre only when needed and when funds permit. Here’s to hoping they focus on the nobler work, abandon the production arm, and occasionally rent the attractive performance space to other organizations.
Aside: The marketing materials for ‘Bird’ all say, “Because it’s a liberating thing to talk publicly about things you’re only supposed to think privately.”