Monday, December 8, 2014
Sunday, December 7, 2014
Saturday, November 1, 2014
Wednesday, October 29, 2014
David Lindsay-Abaire was a student in The Juilliard School’s Lila Acheson Wallace American Playwrights Program when co-director Marsha Norman urged him, “write about the thing that frightens you most.” Recalling this advice years later as a new father, he sat down and wrote Rabbit Hole. This deeply affecting play about a couple grappling with the loss of their young child is suffused with empathy and, surprisingly, with humor. Winner of the 2007 Pulitzer Prize for Drama and Tony nominee for Best Play.
Friday, August 15, 2014
Starring: Denis Levant
(From web site: http://filmforum.org/film/mauvais-sang-carax-film)
1986) Did Michel Piccoli and Hans Meyer's partner jump or was he pushed? Either way, the American Lady wants her money in two weeks. To pull a new job, they'll need partner's son Denis Lavant, busy now dumping Julie Delpy and reinventing alienation - and then he meets Piccoli's 30-years-younger girlfriend Juliette Binoche. Carax's deliriously intense mix of New Wave style with full-blown French Romanticism, its dazzling colors keyed to a retina-searing red. Approx. 105 min. DCP.
For more detailed synopsis: http://www.rottentomatoes.com/mobile/m/mauvais_sang/
ALLISON BERG, FRANK KERAUDREN, 2013
USA | FORMAT: DCP | 101 MINUTES
On August 22, 1972, John Wojtowicz attempted to hold up a Chase Manhattan branch in Brooklyn. He went in with two accomplices, one of whom lost his nerve and walked away. Wojtowicz's objective was to pay for a sex change for his wife, a transvestite named Ernie. The robbery devolved into a 14-hour standoff that magnetized the attention of the neighborhood and then of the entire city, ended tragically for Wojtowicz's remaining cohort, and landed him in prison for six years. Sound familiar? It should if you're a movie fan. But if you thought that the events depicted in Dog Day Afternoon were crazy, wait until you see Allison Berg and Frank Keraudren's portrait of the real motor-mouthed, uncorked Wojtowicz. Every side of the story behind the real robbery is about four times crazier, and the larger story of Wojtowicz's life is hilarious, hair-raising, and giddily profane, all at once. A Drafthouse Films release.
Thursday, August 14, 2014
In the end, you want to say "but that's not what life is really like; people make choices and can always change their life path." But the common thread for both young and old is an addiction: to the gamble of becoming famous, to the stupor of avoiding the pain in one's own body, to avoidance of meaningful attachments to a wife and child. This story is about more than winning and losing: it is about those deep and meaningful elements of being human that become lost, regardless of the outcome of the match. The boxer eventually recognizes the damage that they are capable of, to both themselves and their opponent.
Monday, July 28, 2014
Will you remember this film? Probably forever.
The main characters are warmly treated and beautifully acted; the cinematography is intense and exciting. It is the story of an Israeli police spy and a Palestinian boy who are both friends and enemies.
The final film credits are fully detailed in both Hebrew and Arabic -- suggesting the delicate balance which the film successfully strikes in telling an intimate story of friendship and conflict between political foes.
Thursday, July 24, 2014
Description found online:
Hi Hitler, the title of this one-woman play is misleading. It’s not really about Hitler, the Holocaust or any of that. Instead, it’s an autobiographical work of a young German woman who is born into a “circus” and tries to run away to suburban respectability. She doesn’t really succeed, and winds up starting a circus of her own. And it’s hilarious.
Lucie Pohl (pronounced Lutzee Pole) was born in Hamburg, Germany, into a family of German artists and intellectuals. Her father, Klaus Pohl, is a German playwright, actor and director. Her mother, Sanda Weigla, is Romanian with Jewish roots and is the niece of Berthold Brecht as well as a professional singer. She has aunts, uncles and cousins who are also artists of one sort or another.
(continued at http://nytheatreguide.com/2013/10/theatre-review-hi-hitler-at-stage-left-studio/)
The description below was found online: http://www.southflorida.com/theater-and-arts/your-gay-boyfriend-blog/sf-fringe-festival-edinburgh-new-york-theater,0,7796050.story
Sunday, June 15, 2014
(photos above are from the NYTimes review: http://www.nytimes.com/2014/04/22/theater/the-mysteries-retells-the-bible-at-the-flea-theater.html?_r=0
Kent and I were thrilled to see this 4.5 hours of theater (adding another 1 hour for intermissions) at the Flea Theater yesterday. It is rambunctious, loud, in-your-face, epic scale drama and action. Written by 48 playwrights, the show is performed by a cast of 48 with a choir of another 20 - all packed into a little red box of a stage surrounding the audience 360 degrees. It was entirely thrilling and exhilarating.
Our favorite writers and most memorable sections:
ACT I - THE FALL
Dael Orlandersmith Song of the Trimorph (Lucifer’s Lament)
Liz Duffy Adams Falling for You
Johnna Adams God’s Rules
Jordan Harrison The Annunciation
Chris Dimond The Slaughter of the Innocents
ACT II - THE SACRIFICE
Max Posner The Woman Taken in Adultery
Amy Freed The Raising of Lazarus
ACT III - THE KINGDOM
Don Nguyen The Death of Christ
Billy Porter/Kirsten Greenidge Ascension
Meghan Kennedy The Gospel According to Mary Magdalene
Lillian Groag The Death of Mary
Najla Said The Assumption of Mary
Michael Mitnick The Last Judgment
José Rivera Sermon of The Senses
The program: http://www.theflea.org/files/uploads/1402693355.pdf
Friday, June 13, 2014
Soho Theatre, London and nabokov present presents
Designed By HANNAH CLARK
The play, part of the Brits Off Broadway festival at the 59E59 Theaters, introduces Jonah and Sophie through direct address to the audience. Jonah describes being raised on a farm in central England that was a religious commune, with his father in charge. His mother, he says, died when he was 15 but left him the means to escape and a letter encouraging him to do so.
And thus the awkward country boy ended up in London, renting a room from Sophie. She too tells of losing a parent, her beloved father, who had raised her after her mother left when she was 2. And she too is an odd duck. How odd? She anonymously sends Jonah a video monitor. When he turns it on, he can see her, though he does not realize that she is his landlord (the rental having been arranged through an agency) and that she lives upstairs. -By NEIL GENZLINGER
From the web:
GIANFRANCO ROSI, 2013
ITALY | ITALIAN WITH ENGLISH SUBTITLES | FORMAT: DCP | 93 MINUTES
The first documentary to win the Golden Lion for Best Film at the Venice Film Festival, the latest from Gianfranco Rosi (El Sicario, Room 164 and Below Sea Level), reveals the sheer diversity of life bubbling around the margins of Rome’s Grande Raccordo Anulare, the 43.5-mile highway that encircles the city, the longest in all of Italy. The absorbing and often moving individual portraits that emerge—an ambulance driver caring for his ailing mother, a scientist studying palm trees ravaged by beetles, an eel fisherman nostalgic for old traditions—give visibility and a human face to the places Sacro GRA drivers pass through but never see, while exposing the city’s striking contradictions. Inspired in part by Italo Calvino’s novelInvisible Cities, Rosi’s captivating chorale plunges the viewer into this paradoxical reality, allowing us a more direct, even sensorial experience of life in the shadow of progress.
From the web:
IN GRAZIA DI DIO | EDOARDO WINSPEARE, 2014
ITALY | ITALIAN WITH ENGLISH SUBTITLES | FORMAT: DCP | 127 MINUTES
Three generations of women seek refuge in their family’s Salento olive grove after their small textile business collapses in Winspeare’s warm and vibrant drama. Against the backdrop of a radiant southern Italian landscape, Winspeare’s characters—serene Salvatrice (Anna Boccadamo), hardened Adele (Celeste Casciaro), loudmouthed Ina (Laura Licchetta), and aspiring thespian Maria Conchetta (Barbara De Matteis)—revive their lives in the wake of economic catastrophe. Turning to a back-to-basics existence as a means of healing the wounds wrought by the recession, they undergo transformations that the director renders with equal parts pathos, insight, and humor.
From the web:
THE FIFTH WHEEL
L’ULTIMA RUOTA DEL CARRO | GIOVANNI VERONESI, 2013
ITALY | ITALIAN WITH ENGLISH SUBTITLES | FORMAT: DCP | 113 MINUTES
Veronesi’s irresistible romantic comedy takes a journey through pivotal events in four decades of recent Italian history, as seen through the lens of Ernesto Fioretti’s unexceptional life. Played with charm and a disarming sense of humor by Elio Germano, Ernesto is a good-hearted, honest middle-class guy who struggles to keep up with changes and is always a step behind. His father disparaged Ernesto by likening him to the “fifth wheel of the wagon,” and his aspirations and involvement through the rise and fall of Socialism and the Berlusconi era are accordingly modest. But his protagonist’s apparent simplicity is precisely one of the strengths of this Tuscan director’s fifteenth feature, which opened the Rome Film Festival last year to great acclaim. Rich in emotions, its ups and downs coinciding with those of the country, Ernesto’s life serves as the perfect platform for abundant laughter and tears.
Tuesday, May 20, 2014
‘Playing With Grown Ups’ by Hannah Patterson at 59E59, May 2014
Reviewed in the NYTimes: http://www.nytimes.com/2014/05/08/theater/playing-with-grown-ups-by-hannah-patterson-at-59e59.html?_r=0
What happens when a career-minded married woman approaching age 40 has a child even though she's still not ready? Joanna is suffering in her personal way, but it raises the question whether any successful career-oriented person can adapt well or easily to the waning of their career as they make the shift to having children.
Beautifully written and acted.
Sunday, May 11, 2014
(from the web site: http://www.classicstage.org/season/productions/heirapparent/)
By DAVID IVES
Adapted from the play by JEAN-FRANÇOIS REGNARD
Directed by JOHN RANDO
Actors: Paxton Whitehead, Claire Karpen, Carson Elrod, Dave Quay, and Amelia Pedlow
Saturday, May 10, 2014
The Lunchbox (Dabba)
Director: Ritesh Batra - Cast: Irrfan Khan, Nimrat Kaur, Denzil Smith, Bharati Achrekar,Nawazuddin Siddiqui
Presented with generous support from the Joan S. Constantiner Fund for Jewish and Holocaust Film.
In Polish with English subtitles • Music Box Films
Tuesday, May 6, 2014
From the web site: http://cufilmfest.com/?p=858
For the review in the NYTimes:
This description is from the Film Forum web site (http://www.filmforum.org/movies/more/bicycling_with_moliere):
WRITTEN AND DIRECTED BY PHILIPPE LE GUAY
A warm, funny, literate comedy in which two French actors portray two French actors, friends at odds with one another in every possible way, except their love of Molière’s The Misanthrope.
Lambert Wilson (OF GODS AND MEN) plays Gauthier, tall, handsome, and the beneficiary of a leading role in a ridiculous soap opera as a beloved cosmetic surgeon who “saves lives.” Fabrice Luchini (who previously worked with Le Guay in WOMEN ON THE 6TH FLOOR) as Serge has met with much less success, becoming a middle-aged curmudgeon who has renounced the stage to live on the glorious île de Ré, off France’s Atlantic coast. Gauthier arrives on Serge’s turf to try to convince his pal (Luchini, in real life, a Molière expert) to return to Paris to play opposite him in a new production. When not arguing or rehearsing scenes while biking, they consider their options as personified by a local porn actress and an attractive Italian divorcée, as well as the lure of island real estate.
FRANCE • 2013 • 104 MINS. • IN FRENCH WITH ENGLISH SUBTITLES • STRAND RELEASING
Wednesday, April 30, 2014
A young man has left his mother and his home to try to make money in the forest.
Is he liberated from his childhood life?
Has he forfeited his liberty by becoming a manual laborer, cutting trees in the forest from morning til night?
Or perhaps the title "La Libertad" does not refer to the young man at all?
I think that the title refers to the wild, unexpected, excitingly disruptive 60 seconds in the middle of the film when the camera operator takes a walk. His subject has gone inside the tent to rest during his mid-day break. Without a subject, the camera is liberated and becomes a character in the movie, walking briskly through the lush foliage, looking about freely. After that moment, the remainder of the movie has an invisible main character: the camera. The movie changes from being a "documentary" to being a film about the viewer's awareness of the camera in any movie making endeavor. -dp
From the web site: Lincoln Film Society, Art of the Real series, 2014
LISANDRO ALONSO, 2001
ARGENTINA | FORMAT: 35MM | 73 MINUTES
The Traverse Theatre Company, Edinburgh, presented a double bill: A Respectable Widow Takes to Vulgarity by Douglas Maxwell; and Clean by Sabrina Mahfouz. Directed by Orla O'Loughlin. April 2-27, 2014 at 59E59, NYC.
Reviewed in the NYTimes:
Written and directed by Steve Cosson
Performed by The Civilians
Humans are hard to organize and they resist changing their collective behavior. The play "The Great Immensity" asks us to imagine if countries and people could galvanize and mobilize around the world's climate summits if it was understood that the consequence of unchecked climate change was the extinction of the most "charismatic megafauna" on earth.
Ingeniously written and executed, with elaborate visual media, powerful voices and lightning quick costume changes. The cast was fabulous! And the play hit its heart-wrenching target. -dp
Read the review in the NYTimes: