Stoppard’s occasionally engaging and frequently frustrating play puts two minor characters from ‘Hamlet’ in a universe where physical laws don’t apply, free will is an illusion, insanity is the norm, and a hideous fate inevitable. Sounds eerily familiar.
COVID ravages the world. America bails out Boeing, Wall Street, and if all goes to plan, assorted chunks of 45’s cancerous financial empire. Meanwhile, Germany rolls out support to its artists and musicians, a nod to what that nation holds dear and what it finds worth defending.
In honor of a plague-affected World Piano Day, the German record label Deutsche Grammophon virtually brings together a number of celebrated pianists to help us remember that our mostly corrupt, degraded, and base species nevertheless has had moments of glory.
The CDC and WHO are giving us good advice on what do in this Plague Year. The Research Collaboratory for Structural Bioinformatics (RCSB) is showing us the molecule causing the havoc. Check out the structures of the various flavors of Coronavirus at The Protein Database (PDB). Click on the images, most of which will go to detailed pages including 3D models that can be spun in the browser. Knowledge will be power in dealing with this beast and let’s offer thanks to the research groups who took the lead in characterizing it which must have come at considerable risk to themselves. When it mutates, and it will, they and others will undoubtedly don their capes and do the measurements again.
It is damnably, horrifyingly beautiful in David Goodsell’s artistic rendering of it infecting a lung:
The web’s archive of older industrial films is a recurring delight. Jam Handy, Coronet, and other firms crafted these with an attention to detail, calm explanation, and rigorous science that is harder(*) to find today when most equivalents are about sales rather than fundamentals. Jeff Quitney has uploaded a wonderful 1954 cleaned-up film to his Vimeo page on color theory and practice by the Interchemical Corporation. It begins with the importance of color to society – especially in packaging goods and people – and then gives a marvelous account of the optics involved. I’ve worked in the field for years but I learned to see things (pun intended) differently thanks to it.
The second film from 2016 looks at color in packaging through its emotional impact and its influence on design and designers. ‘Color In Sight’ resembles like Hustwit’s ‘Helvetica.’ A number of prominent designers talk about how they use and think about color in order to evoke a response, surface a memory, or reveal a part of the spectrum to the color-blind. I have no idea what I’d say to a nail-polish maker but Suzi Weiss-Fischmann (8m18s in) comes off as a fun seatmate on a long plane trip. I had a similar feeling about Helvetica’s Paula Scher. Interestingly, it is produced by TeaLeaves, a Canadian company specializing in very high-end teas for hotels. Judging by their Youtube page, they must spend a fortune on short films – many of which have little outward bearing on their products. I’ve never understood the appeal of tea but the videos are well worth a look.
Since 2005, the LA Times has published the micturitions of one Charles McNulty as its ‘theatre critic.’ Since then he has striven to be the Niles Crane of stage criticism; uncheckable pomposity in tedious academic argot focusing squarely on getting himself back to NYC. Now Artsjournal reports of his assessment of Los Angeles theatre. He finds it wanting because the Center Theater Group and the oily Michael Ritchie aren’t leading the charge. A couple of the smaller outfits get a passing mention but this putz no doubt looks to GM for automotive innovation and Nokia for the latest in phones. He’s reviewed very few of the very many companies around, preferring the edgy climes of Costa Mesa and La Jolla when he isn’t reporting back from the East Coast. Apparently the Brooklyn sewers now empty into Hollywood writer’s rooms and thereby hangs the salvation of the form. Joy to the world.
The Times’s theatre coverage has gone from mediocre to nonexistent on his watch while his relentless pandering to Broadway runs counter to the non-arguments of the present piece. At least the actress Glenda Jackson had the good sense to give him the eminently deserved kick to the yodelayheehos when he went to “worship her.” With all of the changes Dr. Soon-Shiong is making at the LAT it is mind-boggling that he hasn’t sent this dingleberry packing. It will be a better city when he’s out of it.
Move over Igudesman, make way Joo. And roll over Beethoven while we’re at it. He’s hampered by a broken hand at the moment but before he fell to a mechanical bull, Lord Vinheteiro had some fun with a rubber chicken. Maybe more than is strictly legal. Always great to see opera get it in the chops.
Baseballs are one-and-done, discarded after even the merest nick or scrape. Cricket balls are used continuously and degrade progressively after countless bounces off the pitch and strokes of the bat. Fast bowlers start off with the new ball giving way to medium pacers and finally the slow bowlers take over when the damage has been done and make the ball dance. Crafting the classic red balls for Test Matches is a fascinating blend of art and manufacture – Dilip Jajodia explains.
MilliGrus – the origami swan part of audience participation
Mil Grus does double duty as the name of “Los Angeles’s Premier Bouffon Troupe” and their eponymous show at the 2019 Hollywood Fringe Festival. Ostensibly based on Pliny the Elder’s story of a Thousand Cranes, a five member ensemble in heavy padding, tights, and grotesque makeup do various skits and improvisational bits taken from (if not exactly inspired by) extensive crowd work and audience participation. The closest hooks to cranes are the elegant little origami handed to a few of us in the front row (right) with the totality of the hour being a mystery. The young and young-at-heart in the packed McCadden Place Theatre roared and ohmyGODded with every twitch, tic, and bit of shtick. Being neither, I was tossed into my recurring nightmare of the final exam in a class I never knew I was taking. If there were references I didn’t get them and if there was a through line, it escaped me. The performers do show talent in physical theatre and this may have been an intentionally loosely-formatted bit of nonsense for a festival audience. Perhaps their other offerings have at least some structure for those of us that need it.
The swan-like Bird of Prey from the Klingon Tamburlaine Photo courtesy School of Night Theatre Company
Summertime is usually Shakespeare season but one festival company has taken on on the daunting task of mounting rival Marlowe. This is no easy task as there are probably very good reasons why Shakespeare (or Bacon or DeVere or whomever) has dropkicked contemporaries to the curb over the past few hundred years. Let’s blindly extrapolate from one or two encounters with the rest and assert that their language isn’t as smooth, their characters as fleshed, or their plots as nuanced. Nevertheless, School of Night Theatre‘s adaptation of “Tamburlaine the Great Parts 1 and 2” into the Star Trek milieu is galactic in scope, brazen in ambition, and a stone cold marvel. Historical Timur/Tamerlane/Tamburlaine was such a brutal and unrepentant conqueror that transplanting him into a Klingon makes eminent sense. It is easier to recognize savagery in the other than to acknowledge it in the self. The uncredited adapter also cleverly remaps various tribes and city-states involved in an endless series of wars into Vulcan, Romulan, and Starfleet counterparts. Played straight, Tamburlaine’s unremitting and unpunished transition from shepherd to despot would wear thin quickly but Director Christopher Johnson deftly leavens the grim proceedings with wry humor, sight gags, posturing, and plenty of tongue.
Klingon Tamburlaine program
This production would be a tight fit in an outdoor venue and it is the height of q’hutzpagh to put a fully costumed beak-over-tailfeathers cast of 13 and a percussionist/Foley artist into the 360 square feet offered by the Complex Theatres. The action is non-stop, full-tilt, loud, and a tad too long with commedia head snaps and full throated oration from start to finish. Neither is this a land-bound adaptation. The large design team puts together epic space battles with supernumeraries, starship models, and clever lighting although the bulk of the fighting is incongruously hand-to-hand combat with pointy objects and blades.
There is no comeuppance, no divine retribution, and no great moral to the story other than lying, cheating, nepotistic, usurping sleazeballs can and do get away with it. Some things don’t change over the centuries. If there is a criticism of the production it is that it might have reached out to LA’s vibrant Klingon community to cast parts currently played by human actors in prostheses and makeup. The theatre world has taken steps toward inclusivity but there is always room to grow.
Mil Grus by Mil Grus Theatre Closed at the Hollywood Fringe Festival 2019
McCadden Place Theatre
So why are funders so keen to request data from the [arts] sector, while apparently being so careless with their own? The answer may be in the symbolic role of data. The academic Eleonora Belfiore believes that “the taking part in the auditing process itself becomes a performative act: it is the very fact of gathering data and publishing, more than the concern for what the data tell you, or the rigour (or lack thereof) of their collection that becomes paramount… The situation is convenient for funders, as it reinforces their power while making it harder to hold their own performance to account. It also provides useful work for consultants and researchers. For arts organisations themselves, however, the advantages are less obvious.”
Like everything that has been baptised in the fire of Big Data, connoisseurship has been replaced by “intel” – what we know is what we can count. When it comes to the data-driven art market, to pinpoint value is to minimise risk, and without risk—well, then faith is obsolete anyway.