How About Some Hot Music on a Cold Night?
Auditorium Theatre Presents 2019-2020 NATIONAL GEOGRAPHIC LIVE SERIES ON THE TRAIL OF BIG CATS Review – Living the Dream
What a great Sunday afternoon at the Auditorium Theater learning about “big cats” from NatGeoLive. Enjoy my review from PictureThisPost.com here. The photos are stunning.
Photo by Jack Winter
University of Chicago Presents DUO TAL & GROETHUYSEN Review – Two + Two = An Orchestra
A magical evening of piano music, enjoyed with my friend Sandra Burke. We were swept away.
Nuns4Fun Entertainment presents CHRISTMAS BINGO – Laughing With Our Lady of Good Fortune - Review
Ann Boland and Vicki Quade
Tracy and I enjoyed an evening of laughs with Vicki Quade. Click here for my review from PictureThis Post.com
"Cowboy Is a Verb: Notes from a Modern-day Rancher" by Richard C. Collins, University of Nevada Press 2019, Review
Most think of Arizona as the desert. Richard Collins takes you into the grasslands southeast of Tucson where it is higher and cooler. Streams thread the rock-filled pastures. Native grass grows waist-high. But this can easily be destroyed when cattle are left to graze in one area too long. The grass, and the wildflowers and many shrubs are eaten and the streams become fowled by manure and urine. The answer to this travesty is sustainable ranching. With supervision of the government, the number of cows allotted to graze is determined each year, and the herd is moved from pasture to pasture, allowing time for the area to regenerate.
If you are interested in how sustainable ranching really works both with and in spite of state and federal monitoring, this book is for you. Richard's writing style is easy with lots of stories that will make you feel like your are talking to a long-time friend.
Cowboy is a Verb is testament to the power of collaboration among the ranchers in the watershed. They educated their novice government supervisors, accepted rational intervention and built a strong community of cooperation.. This book should be a case study in the power of community involvement.
Full disclosure: Richard C. Collins in a client. Loved the book in spite of that!
Available on Amazon.
Chicago Opera Theater Presents Double Bill "EVEREST/ALEKO" Review – Because It’s There - Review by My Friend and Editor Amy Munice
Sunday, my modern opera friend Betsy and I went to the first production of the season from Chicago Opera Theater. Splendid is a modest description of Everest. The editor of PictureThisPost.com, Amy Munice, wrote a review that says everything and more about the performance.
Chicago Theater in October and November – Toad Kissing and Mosquitoes
Lindiwe, Produced by Steppenwolf Theater Company, Written and Co-Directed by Eric Simonson and Jonathan Berry, Music by Ladysmith Black Mambazo – Short Review
This is the same Eric Simonson who write Tony award-winning Song of Jacob Zulu, featuring the music of Ladysmith Black Mambazo. I felt Simonson got tagged with the credit for playwright because someone had to take the blame. The program notes clearly state that amid the desire for the two groups to work together again, they were both coming through rough patches due to mourning the passing of ensemble members. A year and a half ago they conceived a workable idea and began to develop it collaboratively. (Note to self: beware the word collaboratively when used with plot development.) So it’s likely that Simonson did no more that nip, tuck and tidy the uninspired story.
The music is wonderful. Ladysmith Black Mambazo sings in tight harmony, sometimes so low that it whispers. Their dance is joyous—high kicks that would be welcome in Radio City Music Hall. Nondumiso Tembe (Lindiwe) has a rich, vibrato free voice. When she joins Ladysmith, you would swear she is a company member, as her hushed voice sits just above the men before it breaks into its own soaring melody.
Recommendation: Worth the price of the ticket for the music, but don’t go expecting a “Steppenwolf” play.
Sombras Tango Cabaret, Produced by Tango 21 Dance Theater (T21DT),created by co-founders Jorge Niedas and Liz Sung - Short Review
DBH and I love a good tango especially danced by non-professionals who feel the music and glide effortlessly on the dance floor--no daring dips, no flipping feet, just ordinary people like us, except they can dance. So, the opportunity to see a tango cabaret presented by non-professionals promised just such an experience. And there was some excellent tango, singing, and a polished pianist/composer (Bob Solone.)
Here’s the big BUT—Niedas and Sung tried to tie the performances together with a hackneyed plot of talented gay son mimicking the Cabaret Emcee (Trent Oldham with a great baritone voice) , estranged mother who reconciles, and a cast of dancer/musicians performing a corny script about a group of non-professional dancer/musicians who perform in a Tango Cabaret. And no one can act.
Recommendation: Not worth the price of admission, though some performances were lovely.
Julia Siple as Jennie
Mosquitoes, Produced by Steep Theatre, written by Lucy Kirkwood, Directed by Jaclynn Jutting – Short Review
Can one play encompass the cosmic macro and micro reality of our relationships with each other and with our world? In Mosquitoes, Lucy Kirkwood knocks it out of the park with the micro family relationship—not so much with the macro universe and our place in it.
While scientists are reveling in the validation of the existence of Higgs Boson particles in 2008, the nuclear family of Alice (Cindy Marker), one of the scientific team, is falling apart. Her sister, Jenny (Julia Siple,) embodies the inflexible will of the anti-science crowd. Informed by the internet, she refuses to have scans of her womb while pregnant, fearful it will harm the fetus. Later, when her healthy child needs to be vaccinated, she again refuses, butting against the objections of her scientist mother and sister.
Twined into this conflict is that of Alice with her teenage son, Luke (Alexander Stuart), hungry for a relationship with his estranged scientist father. Luke is sufficiently klutzy with his first girlfriend, Natalie (Upasna Barath) that he finds comfort from his needy Aunt Jenny. She and her irascible and incontinent mother, Karen (Meg Thalken in a wickedly sharp role) have moved in with Alice. Everything about the conflicted family is rich with angst and uncensored retorts. Julia Siple resounds in the role of Jennie; maddening, conniving, a prime manipulator—an award-winning performance.
And then there is the cosmic world intersticed in three or four plot-fogging video segments of nebular particles and planets rushing at the camera. The performers, clad in lab coats and goggles, stand in ranks while The Boson (Richard Costes) recites lines meaningless to me. Perhaps a student of cosmology would understand/engage, but in my humble opinion, this play would be “stellar” without the cosmos.
Highly recommended; use the cosmic breaks to rest your eyes.
The Buried: An Archaeology of the Egyptian Revolution, Written by Peter Hessler, Penguin Press, 2018 Press,
Hessler at Abydos where you can clearly see the narrow Nile Valley and the abrupt change to desert.
Excavating at Abydos
Beautiful two daughters in from of the apartment entry.
Looking up the elevator shaft with the spider web iron work.
Dive into this engrossing book of creative non-fiction about Egypt, mostly since the overthrow of Mubarak. The focus is on the Arab Spring, beginning in 2010, through 2016. Hessler, his Chinese wife and identical twin toddler daughters, arrived in Cairo in 2011. On the strength of his three previous books about his experiences in China, he travels with an idea, but no contract for this book. He had just received a MacArthur Foundation Fellowship that enabled the venture.
In a unique way, the Hesslers immerses themselves into Egyptian culture. He and his wife study Egyptian Arabic, the street colloquial spoken and written in Egypt. It differs significantly from al-fusha, Classical Arabic, which is the bridging language among the 26 or 27 colloquial versions used through the Arab world. They hire a unique tutor who uses words and situations from their immediate experiences to teach. Thus, the weekly vocabulary he shares with us is a springboard for what is happening around Cairo.
Portraits of the people who live and work with the Hesslers, for them, and around them populate the book. The garbage man and his family are front and center representatives of the role reserved for Coptic Christians and the illiterate lower classes. An Egyptian reporter becomes a fast friend. He is a homosexual in a country that still executes men and women who are caught in this “sin”. The site manager at The Buried, the oldest of Egyptian ancient burial sites and located in Upper Egypt at Abydos, exemplifies how ingenuity wins over bureaucratic stupidity and rapacious looters. Chinese retailers come to Egypt with nothing and succeed selling sexy lingerie in a country where most women are covered from head to toe in public.
Hessler’s picture of Egypt the country is not flattering. Egyptians lack the basic skills of organization. Their sense of time does not work with the Western world. Theirs seems influenced by the eternal time of their history rather than impetus of the present. Education is a muddle; better schools are taught in English, French, German—there are no significant schools based in the Egyptian language and culture. Yet, with Hessler, you will cheer for the small successes—which like everything else in Egypt can easily be buried by the immense desert sands that line the ten-mile wide oasis of the Nile River that is this country.
Highly recommended for all readers of history, the Middle East muddle, and travel books.
When you read this book, you learn that the Hesslers live in a Cairo apartment building adorned with ironwork spiderwebs. There are no photos in the book, but Peter Hessler was kind enough to send me some. He and his family now live back in China.
“The Only Woman in the Room” by Marie Benedict, published by Sourcebooks Landmark, 2019 – a Short Book Review
For a woman who had such a fascinating life, The Only Woman in the Room seemed like Hedy Lamarr “light.” It’s a short book, a quick read. It’s hard to keep in mind that it is a novel since it’s written in the first person.
There is so much of Hedy Lamarr’s history that deserves expansion: her childhood in Vienna, the only child of successful Jewish parents; her immediate success on Austrian stage and screen; her marriage at 19 to an Austrian arms dealer to the fascists; her escape from her overbearing husband to the U.S., and subsequent success at MGM. Perhaps most important is how she developed a patented scientific discovery involving shifting radio frequencies and torpedoes/missiles. Last, but not least, what led her to six more marriages?
Subsequent to reading The Only Woman in the Room, I did look at her first movie, Ecstasy, which runs about 75 minutes with no more than 20 lines of dialogue. It is referred to as an “art” movie, and the blocking and cinematography does seem advanced. But the movie is dull, even the few nude scenes of Hedy as a nubile teen-ager. Then I realized this was way too much time to spend on a subject of so little relevance to me, especially when there is so little information about how she and George Antheil, an avant-garde composer, developed their frequency hopping guidance system, adopted by the U.S. military three years after the Lamarr-Antheil patent expired.
Recommended for a light read about an interesting woman.
“Sundown, Yellow Moon” produced by The Raven Theater – a Short Review
Jordan Dell Harris, Liz Chidester/Photo: Michael Brosilow
By the end of this 90-minute one act play, I was invested in the characters and did not want to the story to end. The father Tom, played to a tee by Will Casey, shouldered his self-inflicted emotional wounds nobly. The twins who return home to support their father, Ray, played by Liz Chidester and Joey, played by Diana Coates, were suitable fraternal opposites, caring for each other as their lives approach separate crises, but not too much. Jordan Dell Harris as Carver, Tom’s counselor, is also Ray’s potential love interest, but one with a dubious past. Bobby and Jean (Rob Frankel and Jeanne T. Arrigo), are a sympathetic neighbor couple who echo the family’s own fears. The plot is not complex—it deals mostly with fear of change and how that affects the family. Playwright Rachel Bonds provides us with just enough information and action to pique curiosity.
Though there is music, Sundown, Yellow Moon is not billed as a musical as the music is not integral to the production. It’s used to provide pauses for reflection in what is already a slow reveal. In two instances, Carver sits stage front and listens to recordings of songs he sang in a high school group. The reason for the recordings is questionable—and interminable for me. It turns out in a subsequent duet with Ray/Chidester that Carver/Harris has a great voice. Since the names of all the songs, written by The Bengsons, are not mentioned in the program notes, I can’t identify the beautiful duet with Ray and Carver, the best take-away from the show.
It’s a tribute to the cast that they were able to stir emotional connection with the audience from a play with such a limited dramatic arc.
Recommended for theater fans who appreciate a slow-paced family drama.
Sundown, Yellow Moon
Raven Theatre East Stage, 6157 N. Clark St. (at Granville)
Thurs-Sat at 7:30; Sun at 3
ends on November 17, 2019
for tickets, call 773.338.2177 or visit Raven Theatre
“Big Sky” by Kate Atkinson, published by Little, Brown & Company, 2019
Atkinson is a writer of exceptional detective procedural and historical novels. Big Sky is the latest featuring her slightly muddled protagonist, Jackson Brodie. A retired police Detective Chief Inspector in a major city, he is now a humble private detective who followed a former lover to the seaside of Yorkshire to be with his teen age son, Nathan, and an aging black lab, Dido.
True to this type of plot, Brodie is hired to identify some baddies by the wife of a covert operator in human trafficking. The plot is interesting as Atkinson weaves the relationships among types of friends. According to Vince, one of the friends who recently lost his job and his wife, there are golf friends, work friends, old school friends—then there are friend friends, harder to come by. And, as we have experienced, when you are with a group of golf friends that contains several friend friends, it’s hard not to feel on the outside. But when friends are engaged in human trafficking, it’s good to be a bit on the outside.
This is a story told in the details. So savor the slow build and the rather predictable denouement. Recommended for a fun read of the Brit detective genre. Great fodder for a BBC-like series.
Rough House Theater Company presents THE SILENCE IN HARROW HOUSE Review – Obsession, Terror, Puppets
“The Snakes” by Sadie Jones, published by Harper, 2019 – Short Book Review
Like a snake shedding its skin, The Snakes turns from a modern story on the effects of the acquisition and spending of infinite money on families into a murder thriller. Various feelings and suppressed concerns of the characters, Dan and Bea, lower middle-class young marrieds, Alex, brother of Bea and damaged family goods who manages a run-down hotel in France, Griff and Liv, parents escaping the unintended consequences of their lives. Bea shed her skin of privilege by leaving her family, happily working as a certified therapist among the undeserved and marrying Dan, a mixed-race artist scraping together a living as an estate broker.
Bea and Dan shed the humdrum of their lives by taking a three-month holiday touring the Continent. They stop to visit Alex. Clearly the hotel and his life are in shambles. His death/murder brings Griff and Liv to France and the plot takes off—but it’s about half-way through the book.
Enjoyable reading if you don’t mind a bit of gore and a realistic end. Good, facile writing.
“O My America! Six Women and Their Second Acts in a New World” by Sara Wheeler, Farrar, Straus and Giroux, 2013
The premise is fascinating. Six women who traveled to the new United States of America from England in the 19th century—none of them connected save that each wrote a memoir of the experience. They did not stay in the safe confines of New York and New England. They went to the interior via steam and sailboat, railroad, horseback and on foot. Each was or became financially independent, mostly because of their writing, and all eventually returned to England. I was familiar with two of them: Fanny Trollope, mother of Anthony Trollope, my favorite late 19th century British novelist, and Isabella Bird, a traveling Scots woman who “wintered” in Estes Park, Colorado with William Nugent, aka Comanche Bill, a renowned mountain man.
With an Introduction and six chapters, Wheeler tells the stories of these brave women, integrating them with her personal story as she approaches middle age. She follows the trails of her heroines’ journeys, not attempting to recreate the impossible, but gathering the shared images of the mountains, rivers and plains. Wheeler is also British and had an early awakening experience when she resettled in the U.S. and learned firsthand the value of our somewhat classless hospitality.
These are wonderful stories of extreme hardship that each give prismatic insight into our undeveloped country in the 19th century. Most of it is not pretty. But the take-away is that these women came unaided, for the most part worked unaided and turned their lives around. As a reader I found Wheeler’s intersticed thoughts on her own situation intrusive. Perhaps if I was turning 50, they would hold more meaning.
Recommended for readers who seek unique insights into U.S. history.
“At the Wake of a Dead Drag Queen” a New Play by Terry Guest Produced by The Story Theatre
Terry Guest and Paul Michael Thomson
Terry Guest wrote this play and is the lead role, Courtney/Anthony, a dead African American drag queen performing in Athens, GA. The story is told in flashbacks, beginning with Courtney in her prime -- long red wig, sexy dress, gloves, heels, cape, and smile. When Courtney smiles, the audience melts with a sigh. Terry Guest is a provocative drag queen with a little lipstick and huge eyelashes.
Courtney’s protagonist/lover, Vickie/Hunter, is strongly played by Paul Michael Thomson. They perform in a sleezy club and fall into love/lust. As anathema as homosexuality is to the black community, it is equally deplored by Hunter’s family of Georgia crackers. Both young men are HIV positive.
The one-act play takes place mostly in a dressing room upstage, backed with mirrors, wigs, and a long line of flamboyant costume dresses and jackets stage right. Much of the dialogue faces the mirrors, away from the audience, but reflected, providing the aura of privacy. The drag performance stage is center left, large when compared with the dressing area. But Courtney is not limited by the stage, she is immediately flirting with us, dazzling with that smile and chatting us up. Often Vickie/Hunter directly address the audience.
“At the Wake of a Dead Drag Queen” works on many levels. The two men are strong and beautiful in costume and performance. They are vulnerable and sad dressed for the world outside the stage door. They are both living with AIDS; Courtney/Anthony unsuccessfully, seeming to shun assistance. Vickie/Hunter appears to be on medication, maintaining his spirit as Courtney/Anthony withers.
Both actors are strong. The writing is direct and left me wanting to read the play to see how many layers Guest weaves into his dialogues and monologues. As an audience member who has never been to a drag show, that environment was fascinating. As a theater fan, the story was engrossing. On a human level, this is a wake, and I felt loss.
Highly recommended for fans of small, edgy theater.
Terry Guest
Terry Guest will premier another play with The Story Theatre, “Marie Antoinette and the Magical Negroes”. Just the title assures that I’ll be there. Sign up at their website for future production information.
“The Great Leap” produced by Steppenwolf, written by Lauren Yee
If only basketball really could move the needle toward positive trade relations with the Chinese. But this play looks back in history to the 70s and 80s when China was emerging from the Mao re-education programs, through Tiananmen Square in 1989. Multi award-winning Playwriter Lauren Yee bases the story on her father’s return to China to play exhibition games in the 80s. He was a San Francisco Chinatown street player good enough to make the U.S. exhibition team, which was sounded defeated by the “tall tree” Chinese teams.
The story features the street ball player, Manford (Glenn Obrero), a legend at 17. But the protagonists are the coaches, Saul (Keith Kupferer) for the U.S. and Wen Chang (James Seol) for the Chinese. When they meet for the big exhibition game in 1989, they reflect on their original meeting in the 70s when Saul visited China to teach U.S. techniques to Chinese coaches. Since this meeting, Saul’s career and his life have peaked; he is on the downside. Wen Chang has reached the top of his career, sacrificing family and personal life for the team and his Communist ideals. Saul is earthy, gruf, an East Coast Jew in a sweat suit. Wen Chang is controlled, almost humorless, a straight-laced Chinese in a black business suit.
In a stretch of the imagination, we learn the back story of Manford and Coach Wen Chang. Telling more would be a plot spoiler, but the pieces fit, if a bit forced. Bringing together Manford’s story is Connie (Deanna Myers) his “cousin” from the U.S. who helps temper his emotional outbursts.
The Great Leap is staged in the Steppenwolf Upstairs space, set in the profile style, which most closely resembles a basketball court—baskets at both ends, risers along the sides. A compressed court is drawn on the stage. Combined with pinpoint lights and Obrero’s athleticism, Manford easily demonstrates his skill with the ball. Shots are completed with a resounding “swish” for scores or a metallic “clank” for misses. Set pieces are few—folding chairs, basketball rack, small tables, smoothly brought on and off the stage by the actors. Video boards sit at the top of each bank of seats, projecting scores, expanding the sets, and illustrating history with news flashes. All together they produced maximum effect in a small theater.
The actors were uniformly excellent. Glenn Obrero plays the manic Manford to the edge of belief with athleticism that makes his story real. The coaches, Keith Kupferer and James Seol play off each other like a Federer/Nadal match. Deanna Myers is the voice of reason in an otherwise edgy script. If only the actors would remember that a profile set means you play in “profile”, because when you face one way or the other, your voice does not carry.
Recommended for an enjoyable evening of interesting theater.
“The Soul of an Octopus: A Surprising Exploration into the Wonder of Consciousness” by Sy Montgomery – Published by Atria 2015 – Review
The Soul of an Octopus is a trip to the other side of animals – invertebrates. Some invertebrates, such as clams don’t even have brains. So how did the octopus develop consciousness? Why are they able to carry on separate activities with their eight arms, processing different sensory input from each sucker or all? How are they able to give and receive affection?
My only previous knowledge of octopuses was eating them—delicious basking in olive oil and grilled with little bits of crust on the skin. And I will continue to do that. But, after delving into their hidden world with naturalist Sy Montgomery, they will receive more respect. We know so little about octopuses because theirs is a life of stealth and mystery. They live alone, compressed safely into tiny spaces in the briny deep, venturing out only to kill and eat. Eventually, near the end of the lives (usually five to eight years) they mate and die. Not likely candidates for a best-selling book.
Montgomery mostly experiences octopuses (pluralized with “es” not “I” because it is a Greek derivative, not Latin) at major aquariums, like the Cold Marine tank of the New England Aquarium in Boston. Here they are exposed to the visitors, but mostly to the employees and volunteers who see this wild life through different eyes. Employees and volunteers have relationships with fish and invertebrates; with tortoises and snakes; with all the aquarium inhabitants.
The Soul of an Octopus touches on all their stories both human and animal. My most memorable take-away is Montgomery’s statement that Jane Goodall and her researchers did not reveal the most important findings of their work until 20 years after the first publications. Though they found significant evidence of consciousness among apes and chimps , they did not reveal it for fear of their research being minimized as anthropomorphic. Montgomery found it the same with the workers at the aquariums. They rarely mention to outsiders the bonds they develop with their charges—not the bonds of an owner for a pet, but the bonds with other creatures capable of reciprocal feelings.
Recommended for readers who enjoy quasi-scientific information combined with human interest stories.
"Staying On" by Paul Scott - A Brief Review, Published by Heinemann, 1977
A beautiful book about the end of things: The Raj in India, a volunteer’s joyful task of preparing the church for services, an old hotel that will be torn down and with it the home of the protagonists, and a life. Paul Scott is the author of The Raj Quartet, the seminal set of novels about the end of the Raj in India. In Staying On, he writes about two expats, husband and wife, who chose not to return home in 1947.
As the book opens, Tusker and Lucy Smalley (such Dickensian names) are barely keeping up appearances as the only British in a small Indian hill town in the north. Though they have friends among the Indians, both middle and servant class, the Smalleys are not willing to completely drop the color bar drawn by the British. They will never afford to return to England, so they make do, nursing feelings of rage for each other and their circumstances. In spite of that, the book is charming, often funny. Staying On won the Booker Prize in 1977.
Scott is a masterful story teller and Staying On is the coda for his Raj Quartet. Available at your library or used book store.
Highly recommended for readers of British/Indian historical fiction.
Opera Saratoga 2019 Summer Festival - Two Stunning Operas in Two Days
Ed and I traveled to Saratoga Springs NY in early July, following Manual Cinema, the Chicago-based shadow puppet troupe. Our first visit to the NY State Park at Saratoga Springs, summer home to many NYC artistic groups and performers. We plan to return.
Click here my review of Hansel and Gretel on PictureThisPost.com.
Click here for my review of Ellen West on PictureThisPost.com.