Show Information

Report for May 2012


Report for The Month of May 2012



Mayday! Mayday!

That Alert is a leftover from World-War-II

But there once was a Time when May-DayThe First of May—meant Long-Marches of the Dutiful-Proletariat, parading before their Designated-Leaders with Seas of Waving-Red-Flags & Hammer-&-Sickle-Devices held joyously aloft.

Large Photo-Posters of Karl Marx, Fred Engels, VI Lenin, & Stalin were almost obligatory, as well.

Fortunately, in the New-World, the May-Date most important may well be Cinco-de-Mayo, at least for Card-Carrying Latinos & Hispanics.

For WASP-Gentiles, the Big-Date is Mother’s-Day!

Speaking of Gentiles, there is even a Gentile’s-Market, up on Madison-Avenue, at East-79th-Street!

But they Do-Not-Discriminate

Thinking about the Attitudinal-Differences between Gentiles & Jews: Whatever became of Monica Lewinsky?

Was she, as the Question was phrased at the time of the Disclosures about Fun-&-Games in the Oval-Office: "Good for the Jews…”

Is Iran Good-for-the-Jews?

How many Nuclear-Warheads are really enough for National-Defense?

Toward the End-of-the-Month, Your Roving Arts-Reporter & his Critic-Colleague & Web-Editor, Scott Bennett, will be visiting the Crystal-Bridges-Museum, in Bentonville, Arkansas, where the Walton-Millions have created Wonders.

A Full-Report will be filed separately…

Something to Think-About: Facebook©™©™© is worth much, much more than The-New-York-Times, now not even valued at a Billion-Dollars.

So, is Print really Over?


Spring-Season Double-Header at the Jewish-Museum: 

Beyond Impressionism & Pointilisme: Edouard Vuillard—A Painter & His Muses, 1890-1940

Edouard Vuillard never Married. He lived long with his Maman.

She was one of his Muses, as the impressive new show at the Jewish-Museum colorfully demonstrates.

But Vuillard was also fortunate in attracting Rich-Jewish-Patrons, some of whose Wives also became Muses.

In the Paris of his day, Wealthy-Jews were among the major supporters of the Arts & Artists.

David David Weill—of Lazard-Frères—was one of Vuillard’s admirers & collectors…

But this Exhibition—although focused on his Collectors—is really about the amazing & colorful Paintings on-view.

Possibly Vuillard’s affinity for Lithographs—some of which are quite original—influenced the flat-use of Color in many of his canvases. Instead of seeming modeled to suggest Three-Dimensions, they are often flattened-out.

Sometimes the Colors seem applied in little Squares, beyond the Dots of Pointilisme.

In some of the paintings in this show, there is a hazy or misty Quality, somewhat like a slightly Out-of-Focus-Photograph.

Here are a few outstanding Vuillard-Canvases, so you can judge for yourself.

Even better, do go to the Jewish-Museum & see Vuillard’s work for yourself. The show is on-the-walls until 23 September 2012. There’s also a revelatory black-&-white film…

In Israel with Kehind Wiley: 

In a recent issue of New York, Kehind Wiley is shown in his new Studio in Beijing.

This remarkable Painter does get-around.

He has been shown at Documenta in Kassel.

One of his Heroic-Canvases hangs in the Lobby of the Brooklyn-Museum. There are even more Wileys upstairs!

He does not seem interested in painting Women.

All of the Paintings in this show were inspired by his Visit-to-Israel, where he selected interesting Men of various Shades-of-Color for his Subjects.

Invariably, the Men are gleamingly portrayed, against incredibly detailed & patterned Backgrounds.

You could not make a Photograph of one of Wiley’s Men—even with the most Artful-Lighting—that could show the Face in such remarkable Reality. Even Adobe-Photoshop cannot do this.

At MoMA: Words, Words, Words or Ecstatic-Alphabets/Heaps-of-Language…

A Touchstone of this new MoMA show—not the Character in As You Like It—is Robert Smithson’s Iconic & Seminal-Illustration of Words as Material: A Heap of Language

Some of the Heaps look like junk you might find in a Forgotten-Drawer.

Although a Strand-of-Poetry is said to run-through this show, some aspects are more of a Hotch-Potch, some of which actually relate to Letters-of-the-Alphabet, to Words, & to Phrase-Fragments.

There are some Famous-Photos in the show, including a selection of Eye-Photos made by such Greats as Berenice Abbott.

This is partly about Concrete-Language in Visual-Art, so Marcel Duchamp & FT Marinetti represent DaDa & Futurism.

But there’s also a Spoken-Language-Component, in Dial-a-Poem, with a Bank of Old-Fashioned Dial-Phones on which you can hear Poems by the likes of Philip Glass, William Burroughs, Laurie Anderson, John Ashbery, & Allen Ginsburg.

Ginsburg & Ashbery were Colleagues of Your Arts-Reporter when he was a Professor-of-Theatre at Brooklyn-College, many Moons ago…

For the Record, here are some Examples of Ecstatic-Alphabet-Letters & Words:

Now I Lay Me Down To Sleep, I Pray The Lord My Soul To Keep…

Here are Some-Numbers, as well:









Simon Says & Simon Selects Photographs Relating To A Living Man Declared Dead & &&&&&&…

Well, it’s like This: Taryn Simon has been spending Four-Long-Years All-Over-the-World, photographing Living-Ascendants & Living-Descendants of Single-Individuals.

This has resulted in an Optical-Numbing-Series of what look like Wall-Charts, studded with Tiny-Photos.

When Simon could not find a Living-Relative to Lens, he has left a Blank-Space in his odd Rogues-Gallery.

Among Simon’s Subjects are Bosnian-Genocide-Victims, the Living-Dead of India, & the First-Woman-to-Hijack-an-Airplane.

He has also included Australian-Test-Rabbits, infected with a Lethal-Disease, though one wonders if Rabbits are really Individuals, worthy of such Exhaustive-Photography?

The Supreme-Court insists that Corporations-Are-People, so why not Australian-Rabbits, as well?

In the Spirit of Simon’s Multiple-Image Photo-Collections, I’d like to offer my own Exploration of the Various-Moods of the Blessed-Virgin-Mary—as She Sails-Through-the-Heavens

At the Walter Kerr: Clybourne-Park is Raisin-in-the-Sun Territory, With Racial-Problems…

If you still remember Lorraine Hansbury’s Raisin in the Sun, you may be interested in what was happening back in 1959 & much later, in 2009.

Unconscious & Deliberate-Racism still dominates, even after a span of Fifty-Years.

Even if Well-Meaning-Liberals dance-around Issues & Questions

Bruce Norris sets his Domestic-Drama in the Living-Room of a Neighborhood-House that an Angry-White-Man is selling to a Family-of-Color. It is neat & conventional.

Fifty-Years-Later, it is a Graffiti-Smeared-Wreck.

Property-Values & "There goes the Neighborhood” are involved.

This was shown initially at Playwrights-Horizons, where Your Arts-Reporter was a bit put-off by the Over-the-Top Characterizations that invited the Audience to Feel-Superior to Racists of Whatever-Color.

Nonetheless, under Pam MacKinnon’s aggressive-direction, the Cast is excellent, especially Jeremy Shamos, as an irritating, insensitive White-Man.

Another Gloss on Barrie’s Peter & Wendy: Peter & The-Starcatcher at the Brooks-Atkinson.

OK! It’s like this: Christian Borle has to win all the Best-Actor/Farceur-Awards there are out there this Spring!

As the Swashbuckling-&-Piratical Black-Stache, Borle chews-up all the Scenery that’s in-sight on-stage at the Brooks-Atkinson.

He keeps the Audience in-stitches, hilariously guffawing

But he’s only part of this Fabulous-Production, which is Pure-Magic!

Peter & The Starcatcher is Story-Theatre raised to the 33rd-Degree!

Minimal-Means are used to create the Illusion of Wonders & Terrors.

Donyale Werle should win some Awards for the Ingenious-Scenic-Design, which is activated by the Resourceful-Cast.

In fact, Everyone in this remarkable Ensemble should win Awards, for the Directors Roger Rees & Alex Timbers have made sure that each Actor has several Very-Special-Moments!

Alex may be remembered for his work with Les Frères Corbusiér & that Broadway-Hit, Bloody, Bloody Andrew Jackson

Wendy’s Mother, Molly, is energetically played by Celia Keenan-Bolger, who holds-her-own against-all-odds. She’s the only Girl on-board…

Rick Elice’s Pre-Quel to James Barrie’s Peter Pan is based on the popular novel by Dave Barry & Ridley Pearson.

What was especially remarkable about the Performance I witnessed was how the Audience suddenly stopped its Tsunami of Hilarity & Thigh-Slapping-Laughter to go Deadly-Silent when the Play got Serious!

Peter & The Starcatcher should be settling-in for a Very-Long-Run!

It cannot hurt that it received Nine-Tony©-Nominations, including Best-Play!

Worth noting also is the fact that both Peter & Once began Production-Life Off-Off-Broadway at the New-York-Theatre-Workshop!

Once received Eleven-Nominations, including Best-Musical!

Jim Nicola & the NYTW-Crew down on East 4th Street must be doing something Right

Challenge to Blue-Man-Group: All-White Vocapeople Have Come from Outer-Space to West 50th!

If you remember the Swingle-Singers, you’ll have some idea of what Vocapeople can do to both Classic-Melodies & Modern-Songs.

A Visual-Challenge to Blue-Man-Group, they are all smeared with White-Face-Makeup & they wear White-Suits.

Five-Men & Three-Women, they say they have come from Outer-Space. Or maybe from a Planet a bit closer…

Actually, they’ve been On-Tour abroad.

Most of the time, they seem to be ready to devour the Black-Mikes they carry so close to their Lips.

Nonetheless, the Sound is very Good.

There is a Lot of Interaction with the Audience, many of whom seem to enjoy being involved.

For me, these interludes were Time-Wasters. I’d much rather have had more Swingle-Singing

Acres of Post-War & Contemporary-Art at Christie’s: Press-Preview with Muffins & Coffee!

Millions-of-Americans are no-longer doing-as-well as they once did: perhaps the Middle-Class is really Over?

No-Matter… There is still that One-Per-Cent that can afford-to-bid on Post-War & Contemporary-Art at Christie’s.

Recently, Christie’s hosted a Press-Preview for a Host of Modern Paintings, Prints, Sculptures, & Constructions.

But why anyone would want to buy a glowing White-Fluorescent-Tube, suspended horizontally, is still a Puzzlement. Of course, if you tack Dan Flavin’s Name onto or near the Tube, you may have a Winner!

Among the Important-Collections on-offer at Christie’s is Property from the Pincus-Collection, whose Founders are described as Passionate-Patrons & Philanthropists.

David Pincus is quoted as saying of Art that: "You only have it for a Lifetime. It doesn’t belong to you.”

So he’s not going to be buried in a Tumulus, surrounded by Pollocks, Rothkos, Keifers, & De Koonings…

Some Treasures from the Collection of Evelyn D. Haas, when sold-at-auction, will be San-Francisco’s-Loss.

Think Levi-Strauss, of which Hubby Walter Hass was longtime-CEO.

Among the Paintings to go on the Block are Richard Diebenkorn’s Berkeley #59 & Wayne Thiebaud’s Study for Freeway, both of them Bay-Area-Oriented.

Mrs. Haas made a fractional-gift of the Diebenkorn to SFMoMA, so its sale at Christie’s will enable SFMoMA to buy some New-Stuff for its Walls.

Christie’s is hoping proceeds from the Haas-Sale will top $9-Million!

But that’s not all from Private-Collections: How about those two Sandy-Calder-Mobiles from the Landmark-Home of Eliot Noyes? One is White; the other, Red.


Just the Evening-Sale totaled $388.5 Million!

That’s the Most-Valuable Post-War & Contemporary-Art Auction ever…

Fourteen new World-Auction-Records were set.

Forty-One Artworks sold for more than $1 Million, with Nine going for over $10 Million!

As for the Pincus-Collection—mentioned above—if David Pincus is not going to be buried with his Art-Treasures intact, he can at least have a Very-Expensive-Funeral.

The Pincus-Hoard went for $174.9 Million, the Biggest-Total for Post-War & Contemporary-Art ever sold!

Christie’s Morning & Afternoon Auction-Sessions of Post-War & Contemporary-Art achieved $76,827,300 Million!

Taken altogether, Morning, Afternoon, & Evening, the total was $465 Million!

Twenty-One new World-Auction-Records were set.

Mark Rothko’s Orange, Red, Yellow won the Highest-Bid-Ever: $86.9 Million!

On Broadway, his Bio-Show, Red, didn’t come anywhere near that in Box-Office-Receipts…

Talk about World-Records:

Yves Klein’s FC 1 won $36,482,500!

Jackson Pollock’s Number 28 went on the Auction-Block for $23,042,500!

Barnett Newman’s Onement V fetched $22,482,500!

Gerhard Richter’s Abstrakes Bild won $21,810,500!

Richter’s Seestück (Liecht bewölkt) wasn’t far-behind, winning $19,346,500

One of those Calder-Mobiles, Lily of Force, set a Calder-Record: $18,562, 500!

Calder’s other Mobile in the Sale, Snow Flurry, was purchased for a mere $10,386,500…

Who says America Is Broke?

With Sales like that, the One-Percenters must be doing Very-Well?

Actually, a Lot of Buying-Power now comes from Overseas

Lily Safra’s Jewels-for-Hope Fetch $37.9-Million for 32-Charities: Diamonds Are Best-Friends!

If you are worried about your Deposits in the Safra-Bank, it must be OK, for Mrs. Safra’s Gems proved to be worth a lot at the Christie’s-Sale in Geneva.

Her Burmese-Ruby-&-Diamond-Ring was sold for $6,742,440. That could buy a lot of School-Lunches for Ugandan-Orphans.

This is a new World-Record for Rubies sold at Auction. This 32.8-Carat-Ruby is now called "The-Hope-Ruby.”

It once belonged to Luz Mila Patiño, known to High-Society as the Countess du Boisruvray.

Mrs. Safra’s 18 Jewels-by-JAR all sold, for a total of almost $11.5-Million!

A Ruby-Camellia-Brooch by JAR set a World-Record for Jewels-by-JAR: $4,323,240.

This does not mean that Mrs. Safra kept those Jewels in Jars

Van Cliburn Collected Silver, not Jars-of-Jewels: Sale Wins $4.4-Million for Van’s Foundation.

After winning the Tchaikovsky-Piano-Competition, Texas’ own Van Cliburn began collecting Russian-Silver & other Antiquities.

Top-of-Sales, however, were two George II Giltwood-Mirrors, at nearly $500,000

Don’t Downgrade American Artists! Over $27-Million for American Paintings & Sculptures.

Mary Cassat’s Sara Holding a Cat was bought for more than $2.5-Million in Christie’s 16 May NYC-Sale.

Norman Rockwell’s Dreams of Long Ago sold for $2,322,500, even though Rockwell, for many years, was regarded by Art-Critics as merely an "Illustrator.”

Georgia O’Keeffe’s Deer Horns brought almost $2-Million: Ante-Up for Antlers!

Maxfield Parrish’s charming Puss-in-Boots won almost $1.5-Million: Another Art-Deco-Illustrator

Latin-American-Artists Amaze at Christie’s May-Sale: Matta’s La Révolte Brings $5-Million!

There won’t be any more Mattas, as the Chilean-Painter died in 2002.

So his New-World-Record of $5-Million for La Révolte des Contraires should delight those who already own a Matta or two.

My Good-Friend & Fellow-Artist-Photographer, Carol Miller de Gonzales—who lives in the elite Pedregal-Enclave of México-City—owns at least one Matta.

So I’ve just sent her Christie’s Report-of-Sale: Three New-World-Records were set: for Carlos Cruz-Diez & Emilio Pettoruti, as well as Matta.

Totals were almost $28-Million!

Fernando Botero’s Street went for almost $1.5-Million, while his amusing-cartoonish Arnolfini (after Van Dyke) came in at only $842,500.

If Botero’s Fat-Latinos were sold By-Weight, he’d be the Richest-Hispanic-Painter.

Edith Wharton’s Backward-Glance at the New-York Society-Library…

With Edith Wharton’s dramatization—with Clyde Fitch—of her Best-Selling-Novel, The House of Mirth, on-view in May, a visit to the New-York Society-Library may be worthwhile.

This small-scale show of Vintage-Photos, Letters, & Memorabilia is titled A Backward Glance, borrowing Mrs. Wharton’s title for her Autobiography.

It’s little-known that Edith Wharton wanted also to be known as a Playwright, as well as a Chronicler of New York’s 400.

That didn’t Work-Out. The Play of The House of Mirth lasted three-nights on Broadway…

Your Roving Arts-Reporter discovered the Unpublished & Un-copyrighted Playscript, in the process of writing a Stanford-University-Dissertation on Dramatizations of American Popular-Novels.

So I have a kind of Vested-Interest in Wharton-Projects.

In addition to seeing the Play & this Exhibition, you could also visit Mrs. Wharton’s Lenox-Estate, The Mount, this summer! Try:

More Art-from-China: Print-Making from the 8th to the 21st Centuries, Including Mao’s Thoughts!

Chinese-Art, then & now, is in the Spotlight, both at the Met & at the Asia-Society.

The Focus of the new show at the Met is Print-Making, in which some celebrated examples of Traditional-Brush-Painting were refashioned so that they could be printed from Negative-Blocks.

A variety of Popular-Chinese-Images are on-view, but especially interesting are Agitprop-Posters that feature The-Thought-of-Chairman-Mao, such as it was.

Eager Platoons of Farm-Workers are cheered-on by a Portrait of Chairman Mao out in the fields!

How many Millions had to die to make possible Mao’s Perfection-of-Socialism?

No-Matter. Chinese-Millionaires are Moving-Forward!

They can even afford to buy precious 8th-Century Brush-Paintings of Bamboos & Birdies. But even 8th-Century-Prints of these images now cost a lot.

See them Almost-Free at the Met-Museum! But only until 29 July 2012

Sue Coe Is "Mad as Hell” As-Usual at the Galerie St. Etienne: Animal-Exploitation Is Not Good!

You may well wonder at the Sensibilities of some well-meaning Liberals who are agonizing over the Brutal-Methods used in Slaughter-Houses to kill the Living-Animals that soon will become Their-Sunday-Dinners.

"Isn’t there some Humane, Painless Way to kill these Unfortunate-Sheep, Cows, Pigs, & Goats?”

Why Worry, when their Body-Parts are still going to end-up in Human-Stomachs?

Sue Cole has been savagely-documenting the Horrors of Slaughter-Houses for most of her Career. But she’s also angered by any kind of Mistreatment-of-Animals.

Some of Cole’s images are indeed hard to look at for long. The longer you look, the more tiny details of
Human-Savagery you will detect.

A visit to the Galerie St. Etienne to see Cole’s Unusual-Artworks may make a Vegan out of you!

The Galerie is also urging friends to see Portrait of Wally, opening May at the Quad-Cinema.

Thanks to Documentation by the Galerie’s Founder, Otto Kallir, it was possible to establish the Ownership of a famed Egon Schiele Painting that the Nazis had stolen.

They are calling Andrew Shea’s Documentary, Portrait of Wally, "The Face that launched a Thousand-Lawsuits.”

Look Where It Comes Again! Mannes Offers Another Don-Giovanni, After the Met & Juilliard.

The Good-News is that the Mannes-New-School-of-Music Spring-Opera-Production of Mozart’s Don Giovanni—while not as dazzling as the New-Giovanni at the Met or the recent Juilliard-School staging—was very well realized.

It proved a good Showcase for the Young-Talents at the Mannes, now facing an Ever-Shrinking-Market for their Demonstrable-Abilities.

Suchan Kim made an exotic Don, with Dongkyu Oh as his resourceful Man-of-All-Labors, Leporello.

The not-so-good-news is that the Mannes still doesn’t have its own Opera-Theatre.

It has to use Hunter-College’s Sylvia & Danny Kaye Theatre, where its Two-Performances-Only Policy prevent it from mounting Visually-Strong-Productions.

The Mannes Don was performed in what seemed to be a Courtyard-of-Columns, illuminated from Stage-Right by flames from a Volcanic-Eruption.

Joseph Colaneri briskly conducted.

At the Marian Goodman Gallery: Italy’s Giuseppe Penone, Also Due at Documenta & Mad-Park!

Yes, there are slabs of Marble & sheets of Metal.

But, best of all, Giuseppe Penone knows how to get Inside the Heart of a Tree!

One standing-tall Squared-Beam of Raw-Wood has been carved-away at its Center to reveal a slim sleek Wooden-Sapling, with thin Branches stretching-out to the Margins of the Beam.

Penone has been commissioned to create a New-Work for Documenta in Kassel, Deutschland.

His visual-ingenuity will also be seen next-year down in Madison-Square-Park!

Filming Villa Diodati During On-Stage-Action at the York-Theatre…

Villa Deodati—A Chamber-Opera was performed only twice at the York-Theatre. These performances were recorded by Bank-Street-Films.

A Summer-Rental, the Villa-Deodati—sited above the Shores of Lake-Geneva—is remembered mainly because of that summer in which its Occupants were the Club-Footed George Gordon, Lord Byron; his Mistress, Claire; Percy Shelley, & his young Wife, Mary Shelley.

Even that Cast-of-Characters would not be so memorable were it not for the fact that Mary used the Rainy-Weather to write her Masterpiece: Frankenstein.

The Problem with this Chamber-Opera is that it does not have a Clear-Narrative-Arc. What is actually going-on? Why should we, in the Audience, care?

Unfortunately—even though they are now known to Literary-History—in this re-enactment, neither Shelley nor Lord Byron is especially Charismatic

Maybe it’s all that incessant Rain?

Some of the Songs are charming. Others seemed unnecessary to Advancing-the-Plot, such as it was; Revealing-Character, or Establishing-Mood.

Setting three Poems by Byron, three by Shelley, & one by Alfred, Lord Tennyson—who was not included in this Summer-Retreat—was not especially productive.

But Byron’s We’ll Go No More a’ Roving seemed entirely out-of-key here…

The young Mary Shelley seemed to be writing Frankenstein with a long Black Ostrich-Feather Quill-Pen.

Was this a Production-Flourish, where a simple Goose-Quill-Pen would have done?

Percy Shelley died—as, in fact, he did—but then he got-up & sang again…

Going Down To Sidcup To Get Me Papers: Pinter’s The Caretaker at BAM.

Years & Years Ago, the new & unknown playwright, Harold Pinter, bowed on Broadway with The Caretaker.

It was notably chiefly for the presence of Donald Pleasance as Davies, the Titular-Caretaker.

A Fellow-Critic snarled as he left early: "This is a Load of Rubbish!”

He was referring to the odd drama, but he could also have been describing the Setting: what seemed to be an Attic full of Cast-Offs.

The Revival that has come to BAM from the Theatre-Royal, Bath, also has a Stage-Full-of-Rubbish, but it’s not the same stuff that we saw on Broadway all those years ago.

Now, the Caretaker is Jonathan Pryce, a long way off from Miss Saigon

The Two-Odd-Brothers who occupy this Attic are Mick & Aston, played by Alex Hassell & Alan Cox.

As a Paranoid-Homeless, Pryce tries to drive a Wedge between the brothers. He’s also always threatening to Go Down to Sidcup to get me Papers…

[If you have ever been to Sidcup, you might appreciate the oddity of this remark.]

Christopher Morahan staged for Bath; then the show moved on to the Liverpool-Everyman & onward.

Harold Pinter began his Life-in-the-Theatre as an Actor called David Baron. He & his wife, Vivian Merchant, were an admired young duo.

But he tired of Touring-the-Provinces. Playwriting seemed a way out.

The Astonishment for London-Critics, however, was that his Initial-Plays were, indeed, Way-Out

They also introduced what became known at Pinterian-Pauses.

Fortunately, they are not much in evidence in The Caretaker.

When the even-more-puzzling The Homecoming arrived in Manhattan, Pinter & the Cast were invited to the Drama-Desk to discuss the Meaning of the Play:

Was Ruth really a Whore?

What about Teddy? Had he come home, only to be rid of her?

Put on-the-spot, Pinter tried to explain the Curious-Relationships in the play.

This was the Last-Time he ever did that.

He told me later: "Let them figure it out for themselves…”

The Last-Time I saw Pinter was when he was given the European-Theatre-Prize in Turin.

At the Dublin-Airport enroute, he’d fallen, injuring his Forehead.

So my close-up Photo shows him with a bandaged Dome.

Pace, Pinter!

The Met-Museum’s Annual Costume-Show: Not Alex McQueen but Prada & Schiaparelli!

The Most-Important-Thing I learned at the Met-Museum’s New Costume-Show is about Very-Rich-Women’s-Fashions below-the-waist in the Era of Art-Deco!

Designers did not think it important to make a fuss about Skirts, as Rich-Women, Trophy-Wives, & Elegant-Mistresses would be seen only from the Waist-Up, sitting in fashionable Banquettes at Copa, 21, & other fashionable Night-Spots.

Italian-born Elsa Schiaparelli changed all that.

Setting-up-shop in Paris, she was influenced by Salvador Dali & Surrealism, creating some astonishing Skirts, to match her dazzling Blouses & Jackets. Not to overlook such Accessories as bizarre Hats  & Shoes

Some interesting Examples are now on-view at the Met in Schiaparelli & Prada: Impossible Conversations.

These Conversations—often projected behind some of the Frocks & Skirts—are, indeed, impossible as Elsa closed-up-shop in 1954 & definitively Died in 1973.

But Baz Luhrmann, that Aussie-Director—who once gave Broadway a very special La Bohème—has cast Judy Davis as Elsa & has her talking to the Real Miuccia Prada on film or tape.

It was suggested—at the Crowded-Press-Preview—that this was somewhat inspired by that Avant-Garde Cult-Film, My Dinner with André.

This was that Gem in which Wallace Shawn chatted with the then-famous André Gregory, now only a Filmic-Memory

Frankly, I think it would have been more fun had Baz dressed-up Wally in a Schiaparelli-Outfit to interview André, costumed by Prada!

Heavily-Subsidized by Amazon—with help from Condé-Nast—the Elsa & Miuccia Show had Red-Carpets everywhere for the Met’s Costume-Institute Fund-Raising-Gala.

For the First-Time-Ever, Red-Carpet-Arrivals were live-streamed for Fashion-Starved-Middle-Americans in the Middle-West & elsewhere.

But Not on Fox! Nor NBC

No, you could watch the One-Percenters strut their stuff on or

Not surprisingly, Vogue’s Anna Wintour & Miuccia Prada were Co-Chairs. All that was needed was Meryl Streep, to remind us that The Devil Wears Prada!

Amazon’s very own Jeff Bezos was Honorary-Chair. But not one you could actually sit in…

Much more interesting than seeing the Obtusely-Rich arriving on the Acres of Red-Carpet would have been watching Live-Streaming of the Multitudes trying to make their Ways through the Maze of Mirrors & Reflected-Glass-Cases of often Bizarre-Designs.

You mean Rich-People actually Pay-Real-Money to buy stuff like this & actually wear it?

The Design-Areas are really not so expansive. The Mirrors only make them seem so, but they also increase the danger of Walking-into-Your-Own-Reflection.

Last Year’s Alexander McQueen show was Something-Else. Unrepeatable

But then he committed Suicide.

That’s not a good Career-Move for Miuccia Prada.

She has to make enough money to pay for all those Prop-Crammed Show-Windows on Fifth-Avenue & Madison-Avenue. Not to mention World-Wide

Last week, it was Fake-Gas-Pumps & Auto-Parts.

This week it’s Models with their Heads engulfed in what looks like Ejaculations of Shaving-Cream from the Loins of Barbasol.

Or, maybe, Baz Luhrmann…

Meet the Drama-Desk’s Award-Nominees: 

Something very Fishy about this year’s Drama-Desk Awards-Nominees’ Cocktail-Reception & Meet-the-Media-Event!

On arrival at Oceana, both Talents & Critics—with a few PR-People, busy pushing their Shows—were not just Confronted, but also Offered, huge chunks of Fish, chopped from the Steaming-Bodies of very large Marine-Life.

I hate Fish, so this was a Non-Starter for me as a Free-Lunch.

Shrimp are OK by me, but none appeared, even when I stationed myself Close to the Kitchen

Greeting Winning-Nominees & their Press-Agents were Isa Goldberg, Drama-Desk-President, & Gretchen Shugart, CEO of—not to be confused with

Here’s the List of Nominees

Reviving Ragtime at the Manhattan-School-of-Music: Watch-Out, Colehouse-Walker!

Even though the recent Revival of Ragtime at the MSM was Scenically-Bare-Bones, it was so Brilliantly-Performed that it seemed almost Ready-for-Broadway!

I had forgotten how ingenious is the inter-relating of Upper-Class-Whites with Shabby but Determined-Immigrants & Abused but Tuneful-Blacks in the original E.L. Doctorow novel.

Terrence McNally wonderfully condensed the Novel-of-the-Same-Name into a concise & compelling Libretto that takes flight with the Lyrics of Lynn Ahrens & the Ragtimey-Music of Stephen Flaherty.

One of the more charming aspects of this Musical-Treatment of Upper-Class-Snobbery & Rampant-Racism is the Development of Motion-Pictures by a fiercely-determined Emigrant-Jew.

But Coalhouse’s taking JP Morgan’s Library Hostage—the Dramatic-High-Point—was, both in the Novel & the Musical, a constant Cause-for-Concern by the Staff down at the Morgan-Library.

When I first reported on Ragtime as a New-Musical-on-Broadway, one of the Morgan’s Curator-Librarians—a Personal-Friend—begged me, in the Name of the Morgan’s Director, not to mention the Doctorow-Incident at all.

They were afraid that even this Fictional-Invasion—with the added Threat of Blowing-Up the Morgan—might inspire some future Angry-Dissident to turn Fiction into Fact.

Not only has Stage-Director Carolyn Marlow sensitively-probed the Deeper-Needs & Desperate-Designs of the Major-Characters, but Choreographer Colleen Durham has deftly-orchestrated the Cast into some amazingly Fluid & Evocative-Explosions of Group-Solidarity.

Too bad this Spring-Production of MSM’s American-Musical-Theatre-Ensemble could only play One-Week!

Oskar Eustis should invite MSM to let him run it All-Summer down at the Public-Theatre!

More New-Yorkers & Summer-Visitors should have the chance to see & hear Darnell Abraham as Coalhouse Walker, Jr.

Not to overlook Bethany Ammon as Emma Goldman, Matthew Montana as Harry Houdini, & Danielle Good as The-Girl-in-the-Red-Velvet-Swing, Evelyn Nesbit.

Three-Cheers for the Entire-Cast!

Bernard-Shaw’s Man & Superman at Irish-Rep: Don Juan in Hell? Also at the Met, This Season.

Let me say it, Loud & Clear, I’ve never seen a Bad-Production at Charlotte Moore’s Irish-Repertory-Theatre.

Usually, the Standard is Good-to-Excellent, but the current mounting of Man & Superman is beyond that: It Is SUPERB!

Director David Staller is to be both admired & praised for his reworking of Bernard-Shaw’s Philosophical-Masterpiece, dealing, as it does, with the Nietzschean-Concept of the Superman.

But he also deserves Kudos for the Brilliant-Cast he has assembled: Everyone is Very-Good; Some are Outstanding, & the On-Stage-Chemistry is Electric!

This is the Gingold-Theatrical-Group, which holds-forth on Mondays on the stage of Edwin Booth’s Players, down on Gramercy-Park-South.

[For the Record, although the Players began as a Men’s-Club for Actors, Directors, & Producers, it never bore the appellation of Club…]

The Gingolds are engaged in The-Shaw-Project, working their way through the Shaw-Canon.

Shaw’s Free-Thinking-Hero, Jack Tanner [Max Gordon Moore], vows never to be entrapped by a Scheming-Woman.

Jack may himself be an Avatar of both Shaw & Don-Juan-Tenorio, of Seville, but he doesn’t understand the Power of a Woman’s Will & Wiles.

He’s been chosen by Ann Whitefield [the lovely & intriguing Janie Brookshire] from their Childhood, never realizing he was her Targeted-Bulls-eye

Among the marvelous Pros in this altogether Remarkable-Cast are Broadway-Vet Brian Murray & such other Talents as Laurie Kennedy, Jonathan Hammond, & Margaret Loesser Robinson.

The Far-Flung-Action of Shaw’s Drama includes Scenes in London, the Sierra-Nevada, Granada, & Hell.

James Noone has created a wonderful Neo-Baroque-Plaster-Chamber that easily contains All.

The Costumes of Theresa Squire have a fine Period-Flavor, but they are Handsomely-Executed, so they don’t look like Museum-Pieces: easy-on-the-eye & obviously comfortable to wear.

Or at least the Cast makes them look so…

They also speak Shaw’s Lines & Thoughts with such Clarity-of-Diction, Forceful-Emphasis, Wit, & Passion, that Oldsters don’t need Hearing-Aids.

Because these consummate Players so convincingly Inhabit their various Characters, Youngsters could be forgiven for believing that this Shavian-Think-Piece is currently Topical!

But, for Shaw, the Time was The Present, which he saw as 1905.

The More Things Change, The More They Remain The Same…

As originally-conceived by GBS, Man & Superman is a very-long-play. Its Third-Act, Don Juan in Hell, is often omitted from Revivals.

In fact, at one time, Director Paul Gregory formed the First-Drama-Quartet, performing Don Juan in Hell separately as a kind of Readers’-Theatre-Piece. With such Talents as Agnes Moorehead & Celeste Holm, as I recall…

What Don Juan discovers—after the Stone-Statue of the Commendatore he murdered has pulled him down to Hell in a massive Burst-of-Flames—is that Hell is where all the Interesting-People go, whereas Heaven is only sparsely-populated with really Good-Souls

Doña Ana thus regrets that she didn’t enjoy Life-on-Earth to the Fullest, instead of trying to be Moral.

But you won’t regret seeing this production of Man & Superman at the Irish-Rep.

If you missed it, why not demand that it be moved Off-Broadway for a Commercial-Run?

A History of The-Theatre-for-the-New-City, From Pieter Stuyvesant Onward…

Down at The-Theatre-for-the-New-City, they are celebrating some kind of Anniversary, with a kind of Music-Drama that mysteriously Echoes the recent production of The Ghosts of Versailles at the Manhattan-School-of-Music.

But the Ghosts onstage at 155 First Avenue are not Marie-Antoinette & King Louis XVI

No indeed! Instead, they are the Ghosts of Pieter Stuyvesant—whose New-Amsterdam-Farm once included the current Site of Theatre-for-the-New-City, Molly Picon—Star of the Yiddish-Theatre on Second-Avenue, Caroline Astor—linked with Astor-Place, & Walt Whitman, Poet & Lover.

As Aaron Burr had his Stable on what’s now East 9th Street, perhaps he should also have joined this Eclectic-Cast-of-Characters?

The Cast was very good at the Assignments given it, but the plodding-recounting of all the Disasters & Misfortunes that led Founder Crystal Field to 155 First Avenue made one wish, instead, for a Lively-Sampling of some of the Outstanding-Productions Crystal has mounted in what once was a City-Market.

In fact, some Props from the Bread-&-Puppet-Theatre were briefly glimpsed.

It would surely have been much more interesting to have a B&P scene of St. Joan’s Horse Going-to-Heaven…

The Hills Are on Fire, But Not With the Sound-of-Music: David Rabe Gets-Out-of-Town…

The New-Group Program for David Rabe’s An Early History of Fire has two Paste-Ins, for Titles & Cast

Did Something-Go-Wrong, even before Opening-Night?

This Overwrought but nonetheless Amateurish Drama of Boring-Small-Town-Life in the Late 1960s is a Long-Way-Off from Rabe’s Boom-Boom-Room.

And an even Longer-Way-Off from Our Town

The Fuss Over Wally: The Face That Launched a Thousand Lawsuits: Now a Documentary!

Even if you are not a Great-Admirer of Egon Schiele—who had what once might have been regarded as an Unhealthy-Interest in Girls’ & Women’s-Vaginas, now regarded as High-Art—you may be interested in the Epic-Squabble over the Ownership of his Portrait of Wally.

In 1939, shortly after Adolf Hitler’s Anschluss of Germany with Austria—to form Grosses-Deutschland—the Nazis seized almost everything that belonged to Austrian-Jews.

Among the Booty were the Entire-Contents of an Art-Gallery that belonged to Lea Bondi, a Jewess who had been able to escape to London.

But they also seized the Portrait of Wally, a painting Egon Schiele had made of his beloved Mistress.

This was the Personal-Property of Lea Bondi, not Gallery-Inventory

After World-War-II, the Allies set up a Commission to attempt to return to the Rightful-Owners all the Artworks that Reichs-Marschall Hermann Goering & Adolf Hitler had amassed.

Some Masterpieces had found their way into German & Austrian-Museums, which were not about to send them off to Jewish-Heirs in Hollywood

When the Wally-Portrait was lent to MoMA for a special-exhibition, Heirs tried to stop its return to the Ludwig-Collection in Vienna.

What the Heirs actually received & how Wally came back to Vienna are among the Topics of a fascinating new Documentary by Andrew Shea, now at the Quad-Theatre on 13th Street.

MoMA’s Glenn Lowry & the Met Museum’s Ronald Lauder don’t look so good in the Film-Clips used by Shea…

Willy Pogany’s Fairytale-Murals Complement Telemann’s Orpheus at El-Museo-del-Barrio.

The Auditorium of what was once the Hecksher-Children’s-Theatre at Boys-Harbor—now part of El-Museo-del-Barrio—is playfully-decorated with immense Willy-Pogany-Murals of Major-Fairytales.

Such as Snow-White, Cinderella, Little Red-Riding-Hood, Jack-in-the-Beanstalk, & Hansel & Gretel.

But they were all shrouded-in-darkness for the Visually & Emotionally-Shattering-Tale of Orpheus, who descends into Hades to bring back his Beloved-Eurydice, Snake-Bitten through the Evil-Offices of a Vain-Queen who loves this Ode-Singing Lyre-Bearer to Murderous-Distraction.

The engaging Daniel Teadt was an affecting & sexy Brad-Pitt-Orpheus, yearning almost hopelessly for his Lost-Love, an ethereal Joélle Harvey.

Jennifer Rowley was in Excellent-Voice & Passionate-Power as the Spurned-Queen, Orasia.

Best-of-all was the Voiceless but Superbly-Sinuous Serpent of Catherine Miller!

In the Libretto, she’s identified as Thanatos. That’s the God-of-Death

But Pluto [the splendid Nicholas Pallesen] rules over Hades & he is the God who is so moved by Orpheus’ Plaintive-Lute that he permits Eurydice to return from Hell!

He also gives all the Chained-Slave-Sinners a Day-Off, so moved is he…

But, in Your Arts-Reporter’s case, it was No-Rest-for-the Wicked, as I was taken down into Hell twice in the same week. Earlier, I’d seen Don Juan in Hell at the Irish-Rep.

Georg Phililpp Telemannn’s Score for Orpheus—to a German-Text—is superbly Baroque.

What it lacks is a Transcendent-Aria for Orpheus that really would seem to enchant Pluto. Or, at least, to Transport Modern-Day-Listeners to the Realms-of-the-Blessed

But—tell-a-man or tell-a-woman—Telemann wasn’t composing for Us.

David Zinn designed the handsome but spare Settings, as well as the Costumes.

Rebecca Taichman deftly staged.

Why did I have the odd-sensation that I’d already seen this Physical-Production? At the Salzburg-Festival? At ENO?

Am I now dreaming Opera-Stagings, before I actually see them…

Dreaming the Future with NYCO!

After the Disaster of inviting Gérard Mortier to be Artistic-Director of the NYCO—he is now in charge of Madrid’s Teatro-Reál, which, like the rest of Spain, has Money-Problems—the City-Opera is rising, like the Legendary-Phoenix, from the Ashes

Instead of roving around Manhattan to find Alternative-Spaces, its 2013 Spring-Season—there will be no Fall for NYCO—is scheduled for the Howard Gilman Opera-House at BAM.

This Noble-Venue was, after all, constructed specifically as an Opera-House!

But it costs BAM a lot to import Unusual & Trend-Setting-Productions from Abroad, so Director Joe Melillo may well welcome Home-Brewed-Opera.

Projected Productions include Thomas Ades’ Powder Her Face, Ben Britten’s Turn of the Screw, Jacques Offenbach’s La Périchole, & Gioachino Rossini’s Moses in Egypt.

If you are still Mourning for Victims of the Holocaust, you may get some Relief watching the First-Born-Sons of Wicked-Egyptians be Killed by the Angel-of-Death.

There are, after all, All-Those-Plagues!

This bel-canto opera closes with the Parting of the Red-Sea

Latino-Artworks Soon-To-Be On-View in the Galeria of El-Museo-del-Barrio:

When the Renovations to the Galeria are completed, Voces Y Visiones: Gran Caribe will open at the Museo-del-Barrio, standing-in-place until 8 January 2013.

Although the Arts & Culture of Puerto-Ricans has been central to the Museum’s Concerns—there are, after all, a lot of Puerto-Riqueños in Nueva-York!—it does not neglect the Artistic-Expressions of Haiti or other Caribbean-Basin-Cultures.

As Guatemala has the Caribbean on one side & the Pacific-Ocean on the other, it also Qualifies.

Wait for It!

Mrs. Wharton Writes a Best-Selling-Novel & Adapts It with Clyde Fitch: Not Many Laughs…

The justly-celebrated American-Novelist, Edith Wharton, was a Puzzle to her Socialite-Friends in Manhattan’s-400.

Why would Anyone, born to Wealth & Privilege, want to write Books?

Nonetheless, Mrs. Wharton wrote early every morning, seven-days-a-week, reserving the Remains-of-the-Day for Social-Functions, Duties, & Obligations

Her witty-dissection of the Frauds & Foibles of High-Society, The House of Mirth, was a Best-Seller in 1904 & again in 1905.

Broadway was then, as now, always Hungry for New-Plays, so it was that in 1906, Producer Charles Frohman induced Mrs. Wharton & the Neil-Simon-of-his-Day, Clyde Fitch, to dramatize what was essentially an American-Tragedy.

It rapidly Flopped, the NY Times Critic warning that it didn’t have Many Laughs.

The Fool dwells in the House of Mirth was Edith Wharton’s sardonic Title-Source.

Her Society-Friends were appalled to see themselves cynically-pilloried on-stage…

I include this Prelude only because I was the Researcher who finally found Mrs. Wharton’s Play-text of this Un-Copyrighted & Un-Published-Drama.

So it was a Great-Satisfaction to me recently to see a stunning-revival of The House of Mirth down at the Metropolitan-Playhouse, between Avenue A & Avenue B!

In a very tiny space & with Minimal-Means, Artistic-Director Alex Roe has deftly-directed an Excellent-Cast in a Handsome-Production that could do Broadway Proud, were it to be transferred, with Sets & Costumes appropriate to the Original-Conception!

As Lily Bart, the Doomed-Heroine, Amanda Jones was sensitive & touching.

But the Entire-Cast played with a Professionalism that would do credit to the Great-State-Theatres of Europe, where Socialist-Governments subsidize the Performing-Arts handsomely…

If you missed this Staging & want to know more about the play, there are still Copies available. Google for The House of Mirth: The Play of the Novel.

The Author isn’t entirely Edith Wharton: you’ll find Glenn Loney on the Cover…

What’s More, Michael Feingold recognized Your-Arts-Reporter in his Village-Voice Review of House-of-Mirth: "The Wharton-Fitch script, published in 1981 in an edition by theatre-scholar Glenn Loney…”

Instead of Living on the Moon with Newt Gingrich, How About Cloud-City on the Met-Roof?

If you want to see Central-Park from a Different-Perspective, clamber up to the Met-Museum’s Roof-

Garden to see Tomás Saraceno’s Cloud-City.

Met-Curators believe that this is a "Bold Vision for Aerial-Urban-Living.”

Good-Luck: Hold-That-Thought!

If you cannot find a Rentable-Apartment, you might just want to stand-up in one of Saraceno’s Glassed-&-Stressed Pods. There are 16 of these Interconnected-Modules

Weather-Permitting, you can climb the Saraceno-Stairs to a kind of Mini-Heaven until 4 November, by which time you should be thinking of Voting & Thanksgiving-Turkey

Saraceno insists this Site-Specific-Construction was inspired by Clouds, Bubbles, Bacteria, Foam, & Universes, as well as Social-&-Neural-Communications-Networks.

And Why Not?

Americans have been living in a Bubble for some time…

Last Year in Bergamo: You could have seen Titian without having to Go to the Met!

Not many Culture-Tourists make their Collective-Ways to North-Italian-Bergamo.

They do very well to make it to Mantua & the Duke’s Palazzo-Té, where you can see fabulous Giulio-Romano-Murals that have been defaced by North-Italian-Vandals.

Do not bother to visit Bergamo this coming summer as its Accademia-Carrara is closed for Renovations.

So the Italian-Government has made it possible for some of the Bergamese-Masterpieces to have a Summer-at-the-Met!

The Exhibition is crammed into just one-small-room: But what Infinite-Riches in a Small-Space!

How about Lorenzo Lotto’s Three Predella-Panels, painted for Santo-Stefano’s Altar?

There’s also Lotto’s Portrait of Lucina Brembati!

From Giovanni Bellininot the Composer of Norma!—Bergamo has loaned the impressive Pietà with the Virgin & Saint John.

Then there are those Titians from Bergamo!

What would Renaissance-Painters have done—aside from Portraits-of-Patrons such as the Medici, the Borgias, the Colonnas, the Borghese, the Estense, the Sforzas, & the Gonzagas—had they not had the Consolations-of-the-Christian-Religion, which not only provided them with Rich-Subject-Matter but also with Clerical-Subsidies?

New at the 2nd-Stage: Lonely, I’m Not, which Provides a Titular-Grammatic-Switch…

Paul Weitz could have titled this BiPolar-Drama I’m Not Lonely.

But he chose That, Not To Do…

The bland Stage-Scene—with a seeming-beige-Backwall—has the Pad of Porter [Topher Grace] at Stage-Left, with the Apartment or Office of Heather [Olivia Thrilby] at Stage-Right.

Porter seems Terminaly-Afflicted with what used to be called Acute-Fatigue-Syndrome.

Whatever happened to that Term?

He hasn’t worked in Two-Years; he’s terrible at Job-Interviews; he has No-Significant-Other; he has No-Center to his Life

Porter then has a Blind-Date with a Blind-Date.

That is, she’s actually Blind, but Looking-for-Love, with a Mother who does not want her Hurt-Again.

Porter has a lying, cheating Dad—who was Never-There-for-Him—who borrows Money Porter really doesn’t have to Lend or Invest & ends-up in the Clink, in an Orange-Jumpsuit.

This is the Second-Play this Season about Physical-Afflictions. With Tribes, it was being Deaf

There are said to be Five-Senses. The Sixth we have already had, with Ghosts!

With Hearing & Seeing checked-off, how about a Play exploring what it’s like when You-Cannot-Smell?

Some Plays you can Smell-a-Mile-Off, but Lonely isn’t one of them.

Porter & Heather end-up Bi-Coastal—not entirely BiPolar—but clearly still Lonely

The most amazing thing about this Production is the way Giant-Alphabet-Letters—suddenly Illuminated through that Grayish-Backwall-Scrim—transform the Ambiance.

If you have No-Clue to what’s going to happen in the Next-Scene, Nouns, Adjectives, & Adverbs—indeed, Entire-PhrasesLight-Up from behind, to Characterilze the Action.

Mark Wendland designed the Set, but others also deserve Credit for all that Electric-Signage!

It recalled that old play, Light Up the Sky!

Trip Cullman staged.

Not Bertolt Brecht’s Caucasian-Chalk-Circle: The Chinese-Original at Theatre-for-the-New-City.

The Central-Test-of-Truth in The Chalk-Circle—a 13th-Century Yuan-Dynasty-Drama by Li Qian Fu—is as old as Solomon. Indeed, it’s all about a Baby & who is the Rightful-Mother

When Two-Women came before him, each claiming Parentage of a small Babe, Solomon proposed Chopping-the-Child-in-Half, so each could have Her-Share.

In Chalk-Circle, the Ingenious-Judge has a Chalk-Circle drawn on the Courtroom-Floor.

The Real-Mother cannot bear to hurt her Child—now five-years-old—by tugging on his arm to pull him out of the Circle, as the False-Mother is doing.

Bertolt Brecht adapted this tale as The Caucasian-Chalk-Circle, but that’s not been seen in Manhattan for a long time either.

Down at Theatre-for-a-New-City, Joanna Chan—former Artistic-Director of the Hong-Kong-Repertory—has mounted an interesting mélange of Cantonese-Opera, with Lyrics sung in Cantonese, but half the Dialogue rendered in English.

Denver Chiu, of Hong-Kong, performs the Female-Role of the cruelly-wronged Begonia Zhang.

Men did not play Women’s-Roles under Chairman-Mao.

But then, former-actress Chiang-ChingMadame-Mao—didn’t even permit Traditional-Beijing-Operas such as Lady Precious-Stream. She favored Red-Detachment-of-Women

In Modern-Times—Pre-Mao—Mei Lan-Feng was the most-famed Female-Impersonator on the Chinese-Opera-Stage.

Bert Brecht had seen Mei perform & was deeply impressed. As he also was, in general, with Chinese-Theatre: hence his Good Woman of Sezchuan.

The Audience—on the evening Your Arts-Reporter was present—seemed to contain a number of Gay-Asians, also in Great-Admiration of Denver’s Begonia. There was a Great-Waving of Programs, in the absence of Real-Chinese-Fans. Or Air-Conditioning

Having seen Peking-Opera in Beijing, as well as in Manhattan’s Chinatown & twice-yearly at the Fashion-Institute-of-Technology—or FIT—where my Brooklyn-College-Colleague, Kija Kim, supervised the Special-Mask-Makeup that tells Traditional-Audiences all about the Individual-Characters—I was fascinated to see such Facial-Masks & elaborately-embroidered Kimono-Costumes once again.

The Chalk-Circle is a production of the Yangtze-Repertory-Theatre.

After you get off the Ship that takes you up-&-over the Three-Gorges-Dam of the Yangtze-River, you can get-off on-shore to make a visit to GuangZhou, but that’s not quite the same as seeing Guangdong, which is the Real-Canton.

Morning-at-the Morgan: Drawings & Sketches from Renaisance-Venice Drawn from the Archives!

Fewer Blockbusters… More Raids on the Museum-Vaults

The Terrorist-Risks that Major-Loan-Exhibitions pose for Museums—from the Met to the Morgan—are now making Insurance almost Prohibitive.

So why not show the Public what’s down in the Basement-Storage?

The Problem with the new Morgan-Show of Drawings from Renaissance-Venice is that some of these Images are not really very impressive.

But there are indeed some fascinating Illuminated-Manuscripts & Books.

As well as Drawings by Titian, Tintoretto, Lotto, Veronese, Bordone, & Carpaccio

This Show should be seen in-tandem with the Treasures of the Accademia-Carrara of Bergamo, now at the Met-Museum. Bergamo was once part of the Maritime-Republic-of-Venice!

My Distant Relative-by-Marriage, Winston Churchill, Now at the Morgan: Or His Words, At Least…

Yes, Winston Had-a-way-with-Words!

Until 23 September 2012, some Examples of Churchill’s Writing-Skills will be on-view at the Morgan, on-loan from the Churchill-Archives-Centre, in Cambridge [England, not Mass.]

When an Aide corrected one of Churchill’s Split-Infinitives in a Speech-Draft, he wrote on the Manuscript: This is the kind of arrant-pedantry up with which I will not put…


My Grandma Alice’s First-Cousin was George Cornwallis-West: "The Handsomest-Man in Europe,” according to Ralph Martin, in his Biography of Lady Randolph, Jenny Jerome Churchill.

When Randolph died, Jenny married George, making him Step-father to Winston, who was already ten-years-older than his new Step-Dad, whom he despised

Next Question?

Photos-Galore! Plus Vintage-Images of Jeff Davis Fleeing the Boys-in-Blue, Dressed in Drag!

The North didn’t win the Civil-War by humiliating Confederate-President Jefferson Davis with Doctored-Photos.

But—as Documented in a new show at the International-Center-of-Photography—it certainly tried to Enhance the Efforts of Our-Boys-in-Blue on the Battlefields of Gettysburg & wherever.

Matthew Brady’s Portrait-Photo of Jeff Davis was Montaged for Comical-Effect—showing him fleeing Union-Soldiers, dressed as a Woman!

The Shame of It!

But even the Leader of the MensheviksThe White-Guard—fled the Bolsheviks, dressed as a Woman, only to end-up at UC/Berkeley as a Professor-of-Russian-Studies.

Centuries ago, even the Pope fled Rome & the Invading-Huns in Female-Drag. But then, that’s always been the Pope’s Working-Clothes, hasn’t it?

This intriguing Exhibition is on-view through 2 September 2012, with the handsomely-mounted Weegee: Murder Is My Business also closing on that date.

That’s also the Closure-Date for A Short History of Photography, with some Old-Photographic-Image-Friends on-view.

If you are fascinated by Photos of Parisian-Ladies-of-the-Night, you may want to see the shots of Christer Ströhmer, who aimed his Lens at Les Amies de Place Blanche. Also ending on 2 Sept.

But Gordon Parks: 100 Years will be outside in the North-Facing-Windows of ICP until 6 January 2013.

The Problem here is that the best images are shown on two Flat-Screens, which catch the Sunlight, making Viewing Problematic

At the Grolier: Burr! Burr! What Have You Done? You’ve Shot Great General-Hamilton!

That bit of Doggerel was written by Stephen Vincent Benet—Brother of the Avant-Garde Poetess, Edna St. Vincent Benet—for a Collection of Poetic-American-Portraits.

Aaron Burr was once Vice-President of the United-States. But he made the Big-Mistake of Duelling with Alexander Hamilton.

This was also a Mistake for Hamilton, as Burr killed him…

Hamilton did not recover, nor did Burr’s Reputation. He was tried for both Murder & Treason.

Burr’s Stable was down in Greenwich-Village, above that Underground-River that runs across Manhattan-Island.

But he loved Madame Jumel, whose Mansion—still-standing & Open-to-the-Public—was then located in what were Forests & Farmlands in Upper-Manhattan.

The comprehensive Aaron Burr Returns to New York Exhibition at the Grolier-Club will fill-in many of the Blanks in Our-Knowledge about the Third-Vice-President of the United-States.

It’s on-view until 28 July 2012…

Make Your Own Paper & Make Your Own Art: Dieu-Donné at the Grolier…

How about Painting-in-Paper-Pulp?

Until 8 June 2012, you can see how it’s done, upstairs at the Grolier, where Bookmaker Susan Gosin’s Collection is on-view.

Among Gosin’s Treasures are works by Chuck Close & William Kentridge, as well as by those Polish-Poets, Wislawa Symborska & Czeslaw Milosz.

If you admire what you see, there’s Info on-hand about Hand-Papermaking, so you can get-started as soon as you’ve laid-in Supplies.

As for making real Works-of-Art out of Pulp, you could begin by Pulping Pulp-Fiction & making an Image of John Travolta

At The Public-Theatre: February-House in Mid-May—Famed-Bohemians Sing!

When I lived in Brooklyn-Heights, on a clear day, you could see Norman Mailer & his Townhouse on the Promenade.

Also, down on Pineapple-Street, you might catch Truman Capote outside Oliver Smith’s Townhouse.

Over on Remsen-Street, you could, perhaps, follow Jim French up the street on his way with Fabulous-Male-Models, to make some Photos for Lüger & later, Colt.

But—way back in the early 1940s—you could have glimpsed Carson McCullers, Erica Mann, Gypsy Rose Lee, Peter Pears, Ben Britten, WH Auden, & Chester Kallman coming & going on Middagh-Street.

They were the Tenants of the Artists’-Muse, George Davis, the Proprietor of February-House. So named because so many of them had Februrary-Birthdays.

At this time, I was just beginning High-School, in Grass-Valley, California.

Only many years later, would I come to know Wystan Hugh Auden & his Officious-Companion, Chester. But in their Capacity as Opera-Librettists.

But not in Brooklyn-Heights, nor on St.-Marks-Place, in the East-Village, where WH would spend the Winter, apart from Chester. He was famous for not-wearing-socks

No, I visited the Team in Kirschstettin, outside Vienna, in their summer-home: to talk about making Librettos for Hans Werner Henze.

As for Britten & Pears, at Intervals in their Aldeburgh-Festival-Concerts, we’d all go up on the Maltings-Stage & enjoy Strawberries & Cream

Oskar Eustis, Headman at the Public-Theatre, has commissioned Gabriel Kahane to create a kind of Musik-Theater-Stück involving the Characters who lived & loved in February-House.

It is Immensely-Clever, both in Lyrics & LinesBook by Seth Bockley—but it goes-on-too-long.

Having Lost-a-Year-of-My-Life to a Bedbug-Invasion, I was less-than-charmed by A Certain Itch, or the Bedbug-Song.

All the Performers are Excellent, even, at times, Sexy.

What was Great-German-Novelist Thomas Mann’s Problem?

Both his Son, Klaus Mann, & his Daughter, Erica, turned-out Gay, although there was no such term then. [In Hitler’s Third-Reich, they were Asocial-Elemente, doomed to Dachau.]

Davis McCallum staged, with a Bric-a-Brac-Crammed-Stage, orchestrated by Riccardo Hernandez.

New-Vic Up-in-the-Air: 8cho-Aerial-Tango—Smoke, But No-Mirrors!

There’s nothing so wonderful in Latin-Dancing than the ferociously-executed Downward-Leg-Thrusts—which could Permanently-Maim the Unpracticed & Unprepared—of an Argentine-Tango.

Flamenco is fine, but Tangos are Tops!

The Problem with 8cho-Aerial-Tango is that too much of the Action takes place in a Cloud-of-
Smoke, with Minimal-Lighting.

For most of the Sequences, the Females are suspended, with the Males pulling them this way & that from the floor. One of these Sessions wouldn’t be out-of-place in the Guantanamo-Regimen.

A Novelty is having two Tango-Couples suspended in the air sideways, so they seem to be dancing on the Theatre’s Backwall

The Orchestra is good & Alejandro Guyet is OK as the Singer. Fortunately, this show doesn’t require a Flamenco-Shouter.

But soon the Airborne-Women began to be boring…

Third-Time-Viewing for  Spiderman: Turn Off the Dark

How about Spiderman: Turn Off Your Cell-phones

All around me, Ticket-Buyers were busily making Photos of the Intriguing-Front-Curtain with their Cell-Phones, iPhones, & Whatever.

Some were also busily Texting, or reading urgent e-Mails that could not wait until they returned home to New-Jersey or Wherever

This was my Third-Time at Spiderman. The Thrill is still there!

My First-Time, I bought the Ticket, as it seemed that this Accident-Prone Monster-Production would Never-Open!

No-one was hurt on that night.

But, just when The Green Goblin & Spiderman were mid-air over the Audience, the Flying-Machinery-Controls malfunctioned, leaving them, for ten-minutes or so, frozen in-place.

Goblin Patrick Page & Spiderman cracked Jokes, to pass the time…

When the Show was Officially-Opened-to-the-Press, Julie Taymor’s name was gone as Director.

I was invited to see Spiderman a Third-Time for it had been Nominated for some Awards.

In fact, I’d nominated Scenic-Designer George Tsypin for his remarkably Surreal-Visions of Manhattan-under-Siege.

He Won! He Won! He Won! 

The Protracted-Love-Story of Peter & Mary-Jane is still a Bore & it goes-on-too-long.

But the Thrusting, Revolving, Shuffling, Shooting, Diving Settings! The Chrysler-Building Unfolding-Toward-the-Audience…

Julie Taymor still has justified Credit for Mask-Design & Original-Direction—although Costs ran out-of-control & into-the-Millions

Philip William McKinley now has Directorial-Credit.

You may remember what happened to the Original-William-McKinley?

Last Chance To Visit Salzburg’s Barok-Museum in Mirabel-Garden-House…

At one side of the fabulous Baroque-Gardens of Salzburg’s Schloss-Mirabel, there is a small Garden-House that for years has presented Treasures of Baroque-Architecture & Design in Mozart’s Home-Town.

In September, its Collections are to be swallowed-up by the Salzburg-Museum.

Austerity, even in Austria!

Now on-view is an unusual Doll-House-Substitute from the 1780s: the Klebealbum.

The First-Sheet, engraved & hand-colored, expands a meter-long, featuring all the rooms in the House of Proper-Burghers.

Other Cut-Out-Sheets provide Furniture, Decorations, Household-Supplies: All that a Young-Girl needs to learn how to Housekeep for her Forthcoming-Marriage.

Actually, this is an Augsburger-Klebealbum, on-loan to Salzburg: It is titled Die Kunst zu wohnen…or The Art of Living.

Are You Ready for a Jack-Cole-Musical?

When I was researching the Life & Career of Jack Cole, Bill KenlyPR-Man for Paramount-Pictures & Big-Jack-Cole-Choreography-Fan—showed me all the Dance-Sequences Jack had choreographed for Major-Motion-Picture-Musicals.

I was so astonished—even though I’d seen all of the films over the years—at the Impact of seeing them almost as a Single-Show, that I had Bill project them for Gwen Verdon, Cole’s longtime Muse & Four-Time Tony-Winner.

Wouldn’t this make a Great-Movie, on the order of That’s Entertainment—a Collage of Movie-Sequences—with, maybe, Bob Fosse to provide a kind of Jack Cole Biographical-Linkage?

Gwen thought that was a Great-Idea. But nothing came of it…

Now, from Jacob’s Pillow, America’s Dance-Nirvana, comes Chet Walker with Heat Wave: The Jack Cole Project.

Walker has chosen some of Jack Cole’s Greatest Film-Choreographies & Replicated them on-stage, rather than making them into a Major-Movie.

This was shown recently in Flushing-Meadows-Park, at the Queens-Theatre.

Replicating Cole’s-Distinctive-Costumes must have Cost-a-Fortune.

None of Cole’s Broadway-Choreographies or his Club-Act-Dazzlements are included.

They cannot be replicated now, for no Filmed-Records were ever made. Nor are there detailed Dance-Notations of these Choreographies.

It was—for me & for most of the aged-audience—a Wonderful-Experience.

But Walker has put Too-Much on-stage

There are, by my count, 29-Numbers. Less Is More!

There were Three-Musical-Numbers from Kismet alone. Oddly, Baubles, Bangles, & Beads was missing…

The mise-en-scène—which features Racks of old Film-Cans & Video-Projections—could easily be omitted, making this Show Ready-for-the-Road.

Jack’s innovative & astonishing Choreographies don’t need anything more than Great-Dancers, Stunning-Costumes, & Ingenious-Lighting.

Dance Against Black-Drapes: Save Money on Tour!

Yes! I’m Ready for My Jack-Cole-Documentary Close-Up!

Many, many years ago, Bill Como, the dynamic Editor of Dance Magazine, asked me to write a Report on the Career of Jack Cole, a name by that time almost forgotten.

Jack Cole was the Dancer, Director, Choreographer-Genius who devised Jazz-Dance, later to be renamed Theatre-Dance by some Cole-Acolytes.

When I finished reading all the Reviews; talking to all of Jack’s most famous Dancers, including, of course, Gwen Verdon; studying all those old Broadway & San-Francisco Theatre-Programs, & looking at all those Movie-Choreographic-Sequences, I had a Manuscript of 150-Pages.

Not a Short-Report

It’s a Long-Story, but ultimately all my research became a Book: Unsung Genius: The Passion of Dancer-Choreographer Jack Cole.

Now, I believe My-Dream about a Movie of Jack Cole’s Choreographies is about to become a Reality!

The day after we’d seen Heat Wave out at Queens—where the weather wasn’t so hot—the Timeline-Films Filming-Team came to the Upper-East-Side-Apartment of the Author of the definitive Jack-Cole-Biography.

Andi Hicks—the Producer/Director/Editor of the Jack Cole Documentary-Film-Project—asked me, on-camera, about my Memories of Cole-Choreographies I’d seen long-ago. Including some in which Andi had danced

Andi & Mary Ann Kellog—also a Producer/Director/Editor—wanted to know what I’d discovered, digging-away in Forgotten-Archives, about Jack’s Miserable-Childhood, when he was J. Ewing Richter, as well as his Later-Tantrums, Triumphs & Tragedies.

Well, I’m now 83-Years-Old & I have a hard time, early in the morning, even to form Whole-Sentences.

So I’m hoping Hugh Neely—Producer/Editor—got some Good-Footage for the Project.

Although their Varied-Projects move-forward under the Banner of the Mary Pickford Institute for Film-Education, the Cole-Project is funded with an NEA-Matching-Grant of $20,000

So Andi, Mary Ann, & Hugh would just-love-it if anyone who remembers Jack Cole & the Time when there were Really Good Movie-Musicals could send a Check to help Match-the-Grant.


The World-Monuments-Fund Presents Dalai-Lama-Friend Pico Iyer at CUNY-Grad-Center.

Pico Iyer talks almost as fast as he seems to Travel: into Dubai-Airport & out in Singapore-Baggage-Claim in the proverbial Twinkling-of-an-Eye.

The World-Monuments-Fund Invitation to the H. Peter Stern Lecture bore a handsome photo of some of those Mysterious Easter-Island-Heads, so I expected a dazzling show of Lantern-Slides.

No Such Luck.

Pico Iyer informed the large audience in the Harold M. Proshansky Auditorium of the CUNY Grad Center that he would not be able to do even a Power-Point-Presentation.

He insists he doesn’t even own a Cell-Phone!

Yet this famed Novelist, Essayist, & Travel-Writer—also Confidant of the XIVth-Dalai-Lama—seems to be constantly on-the-move.

Without a Cell-Phone?

The Man must be a Genius

Pico Iyer titled his talk: In Journeys Begin Responsibilities.

So, when you take your next Trip upstream to the Three-Gorges-Dam—after climbing all those stairs to the Mountain-top-Tomb of Dr. Sun Yat-Sen—be Responsible!

Do not throw your empty Coke-Cans into the Yangtze-River!

Properly stated, this Informative-Talk was the Inaugural H. Peter Stern Lecture for the World-Monuments-Fund.

But several spoke of it as the "First Annual Stern Lecture.”

Way back at UC/Berkeley, in 1947, we were taught never to refer to anything as a "First Annual” Whatever.

Whatever the Good-Intentions, who can accurately-forecast that there will be a Second one?

Nonetheless, the Handsome-Annual-Report of the World-Monuments-Fund for 2011 was filled with stunning photos of the various Restoration-Projects being conducted Around-the-World.

Most baroquely-amazing is the photo of the Sala-Terena, the Grand-Staircase in Vienna’s Upper-Belvedere-Palace.

The Culture-Proud City-of-Vienna can well-afford to Preserve & Maintain its Many-Monuments.

But, even in such Metropolitan-Capitals, some times a bit of prodding from the World-Monuments-Fund is needed to set Things-in-Motion.

It was pleasing to see how many Worthy-Projects were in-hand for 2011, moving forward into 2012 & onward.

On my own account—for my Nearing-One-Million-Images Photo-Archive, Trademarked as INFOTOGRAPHY™—I have, over the years, photographed many of the Sites in which the World-Monuments-Fund was involved.

Not to overlook the Projects in Cambodia, at Angkor

But, although I am a Dues-Paying-Member of the World-Monuments-Fund, no one has ever asked me to Show-My-Photos.

Mike Bartlett’s Cock at the Duke: Show & Tell or Go To Hell…

Ready for a Cockfight?

The intimate-space of the Duke-Theatre—in the New-42-Studio-Building—has been filled with a raw-wooden O.

But it’s not a Globe-Theatre-Mockup. No! It purports to be a Cockfighting-Ring.

Not to be confused with a Cock-Ring, which is what two of the Participants in Mike Bartlett’s Cock might want to wear when they cannot Get-It-Up

The nominal-scene is London, for all the Players seem to be English, even if impersonated by American-Performers.

John is identified as a Broker.

His confused Partner, called M—for Man or Male?—thinks that, maybe, he’s not really a Homosexual & should, instead, Bed & Marry the charming, but needy Woman he’s just met. She is called W, for Woman?

This, understandably, provokes a Crisis.

So M proposes bringing W to dinner at John’s Flat.

But John also invites his own Father, who is called F.

[Not to be confused with Fuck, which seems to be at the Very-Center of this Problem-Play…]

The Playwright seems to have been heavily-influenced by Play-Strindberg of many seasons gone-by, in which each Round in the Battle-of-the-Sexes was fought in a real Boxing-Ring, the Rounds announced by the Ringing-of-a-Gong!

But, in this odd-drama, the Beats don’t really work as Rounds-in-a-Metaphoric-Cockfight.

John Lahr—writing in The New Yorker—has raved & raved about this play, which comes to Benighted-New-Yorkers from the English-Stage-Company at the Royal-Court-Theatre in Sloane-Square.

John lives largely in London, so he must know something about such Scenes as this?

After all, he wrote the Definitive-Joe-Orton-Biography, Prick Up Your Ears!

This Bio, however, was informed by the Letters that Joe Orton had written, over some years, to his New-York-Chum, who just happens to be Your Roving Arts-Reporter.

I couldn’t understand, in Bartlett’s Cock, why John was so Needy.

As played, he had energy enough for Two or Three Lovers.

There must be Gay-Clubs in London now?

Even years ago, he could have dropped-by the Salisbury-Pub, when Homosexuality was Against-the-Law.

Or he could have ducked-into the Loo at Victoria-Station, being careful to avoid Police-Officers in Plain-Clothes, waiting to Entrap Deviants!

James Macdonald directed the excellent cast, consisting of Jason Butler Harner, Amanda Quaid, Cory Michael Smith, & Cotter Smith. Let’s hear it for the Smiths!

Gustav Klimt Anniversary at the Neue-Galerie: See Die Schöne & Goldene Adele in All Her Glory!

Had he lived, Gustav Klimt would be 150-years-old on 14 July: Bastille-Day!

In Klimit’s Native-Vienna, they are already ahead-of-the-curve on Birthday-Celebrations.

Not only are the Belvedere, the Albertina, the Leopold, the Kunsthistorisches, & the Wien Museums having special shows, but also MAK—the Museum für Angewandte-Kunst.

In fact, MAK recently sent Your Roving Arts-Reporter its CD-Press-Kit for its Klimt-Exhibition: ERWARTUNG UND ERFÜLLUNG—Entwürfe sum Mosaikfries im Palais Stoclet.

I’ll report on this potentially-fascinating show from Vienna in Late-August…

[Incidentally, Palais-Stoclet is not in Vienna, but in Bruxelles!]

In the meantime, anyone interested in this Genius of Wiener-Jugendstil & Secessionist-Meister, should visit the Neue-Galerie up on Fifth-Avenue at East-86th-Street, on-view until 27 August 2012.

Here you will see Die Goldene Adele, Klimt’s shimmering Portrait of Adele Bloch-Bauer.

When Ronald Lauder acquired this Famed-Image for his Collection of Austrian & German-Expressionists, he paid what was then Top-Dollar for a Klimt.

But there are other interesting Klimts on Upper-Fifth: Pale Face, The Black-Feather-Hat, The 

Dancer, The Park of Schloss-Kammer, Forester-House in Wiessenbach on the Attersee, & Forest-Slope on the Attersee.

The shining Attersee is still The-Place for Fashionable-Viennese to Summer. It was also where HitlerGoering stored their Stolen-Artworks in Salt-Mine-Caves

Also on-view at the Neue-Galerie will be Klimt’s Sketches for two Important-Projects that were never executed: A Suite of Three-Paintings for the Main-Hall of the University-of-Vienna & the Beethoven-Frieze for the 1902 Vienna-Secession-Exhibition.

The Vienna-Establishment was High-Catholic & it did not need Fresh-Ideas from Upstart-Jews.

Klimt’s striking-visions of the Faculties of Medicine, Jurisprudence, & Philosophy were not in-accordance with Received-Ideas

As I write, I’m looking at a lovely reproduction of the Face of Madia Primavesi, painted by Klimt when she was a young girl.

It is now in the Met-Museum, but when I first saw it in the Presence of Mme. Primavesi, it was over the Mantel of the Austrian-Ambassador to the UN.

Having made a Study of Lost or Pillaged Art-Works in World War II, I exclaimed: "But this painting was Lost! There was no record of it as War-Booty!”

Madame explained: "We were able to get it out of Austria when we left, before the Nazis came. Since then, it has been over my own mantel in Toronto.”

The Primavesi’s did not report its Survival & Location: "The Insurance-Costs would have been immense…”

No More Breakfast-at-Sardi’s: Din-Din for the Outer-Critics-Circle-Awards!

Decades ago, across the Nation, Ordinary-People in every Village & Farm could have a brief sensation of being part of Manhattan’s Exciting-Social-&-Cultural-Life.

This was made possible by such Radio-Programs as Breakfast-at-Sardi’s, with Don McNeill. Also by the Texaco-Metropolitan-Opera-Broadcasts

As a humble & ignorant California-Farm-Boy, I longed to see Traviata at the Met. Also, to have Breakfast or Lunch or Dinner at Sardi’s, with or without Don McNeill.

Done All That…

But my favorite Visit to Sardi’s is the Annual-Outer-Critics-Circle-Awards, held in the Star-Studded-Caricature-Haven that is the Eugenia-Room, named for the late & beloved Actress, Eugenia Rawls.

This Year was the Best-Ever because both Your-Arts-Reporter & his Colleague & Web-Master, Scott Bennett got to talk with many of the OCC-Winners.

Among the Stars giving—rather than receiving—Awards were Jerry Stiller & Anne Meara, who won the OCC’s prestigious John-Gassner-Award some seasons ago.

Also on-hand was popular Josh Gad, from The Book of Mormon!

John Robin Baitz—who won already for Other-Desert-Cities—was on the Giving-End this time, but it is More-Blessed-To Give-Than-To-Receive, isn’t it?

He was carrying a Shoulder-Bag labeled simply BERLIN.

I asked him whether the Berlin-in-Question was Sir Isaiah Berlin, or Irving?

He opted for Irving Berlin, but the bag, in fact, advertised the German-Capital… 

Below, Scott Bennett shares some of the Celebrity-Photos he made during the Awards. Winners are also noted:

[Insert Pix & Lists…]

Potted-Potter at the Little-Shubert: 

How about all of the Harry-Potter-Books in Seventy-Minutes?

Dan & Jeff do this—plus all those Harry-Potter-Movies!—in more than the Promised-Seventy because, winging-it with the Enthusiastic-Audience, they sometimes get-in-over-their-Heads.

You do not have to have actually read all Seven of Joanna Rowlng’s Potter-Tomes to enjoy this show. 

As with all Good-Parodies, there is enough Idle-Fun to amuse All-Sizes.

Daniel Clarkson & Jefferson Turner have concocted this Harry-Stew, which they also perform.

With Zest & also Funny-Wigs, Props, & Masks

There’s even a Great-Wardrobe—although the Program makes no mention of this Debt to that Brit who wrote The Lion, The Witch, & The Wardrobe—that doubles as a Projection-Screen & a Hidden-Dressing-Room.

Potted-Potter & its Twin-Spooner-Outers of the Roiling, Rolling, Rowling-Contents is just the kind of show that the New-Victory often schedules just up West-42nd-Street two blocks or so.

But its Season has just ended, so we wish for an Open-Ended-Run for Dan & Jeff at the Little-Shubert—which seldom has a Hit


This Month’s Rational-Ratings—

Bruce Norris’ CLYBOURNE PARK  [★★★★]

Rick Elice’s PETER & THE STARCATCHER  [★★★★★]

Harold Pinter’s THE CARETAKER  [★★★★]

Ahrens & Flaherty’s RAGTIME  [★★★★★]

Bernard-Shaw’s MAN & SUPERMAN  [★★★★★]

Toby Armour’s 155 FIRST AVENUE  [★★]


Georg Philip Telemann’s ORPHEUS  [★★★★]

Edith Wharton & Clyde Fitch’s THE HOUSE OF MIRTH  [★★★★★]

Paul Weitz’s LONELY, I’M NOT  [★★★★]

Li Quianfu’s CIRCLE OF CHALK [★★★★]

Kahane & Bockley’s FEBRUARY HOUSE [★★★★]

Look-Where-It-Comes-Again—SPIDERMAN  [★★★★]

Mike Bartlett’s COCK  [★★★]

Clarkson & Turner’s POTTED POTTER  [★★★★]

<- Back