Monday, January 3, 2011

A Cautionary Tale for 'Spider-Man'

January 2, 2011, 1:47 pm

In an Op-Ed piece in The New York Times on Sunday, Jennifer George, the daughter of the producer George W. George, writes about the debacle that was her parents’ musical “Via Galactica,” one of Broadway’s most famed flops.

(Clive Barnes, in his 1972 review in The New York Times, wrote, “It is a difficult show to care for.” The show’s poster is on view at Joe Allen’s interactive Flop Wall.)

Mindful of the long hours of rehearsal, technical glitches, injuries and critical drubbing that the show took, Ms. George offers advice to the creators of the troubled Broadway musical “Spider-Man: Turn Off the Dark”:

“I can well imagine the pressure the creators of ‘Spider-Man’ have been under. Right before opening night, when you’re running out of time, you can find yourself so close to the canvas that you can’t see the big picture. But I’d like to urge them, take a moment, now if you can. Step back and look at what you have. Put the play’s human moments front and center. There’s still time.”

The entire Op-Ed piece is here.

This entry passed through the Full-Text RSS service — if this is your content and you're reading it on someone else's site, please read our FAQ page at fivefilters.org/content-only/faq.php
Five Filters featured site: So, Why is Wikileaks a Good Thing Again?.


View the original article here

The Week in Culture Pictures, Dec. 31

ArtsBeat is a Web site devoted to culture news and reviews, and to the work and interests of the reporters and critics of the culture department of The New York Times. Come here for breaking stories about the arts, coverage of live events, interviews with leading cultural figures, critical reviews, multimedia extravaganzas and much more.

We welcome your input: Send your feedback and tips to artsbeat@nytimes.com and learn more about our commenting policy here.

Follow us: Twitter | RSS

This entry passed through the Full-Text RSS service — if this is your content and you're reading it on someone else's site, please read our FAQ page at fivefilters.org/content-only/faq.php
Five Filters featured site: So, Why is Wikileaks a Good Thing Again?.


View the original article here

The TV Watch: A No Cynicism Zone on Oprah's Network

Oprah Winfrey said that she wanted to create a cable network without a trace of “mean-spirited” programming, and she has wrung every drop of it from the Oprah Winfrey Network.

The unveiling of her 24-hour cable network, OWN, which began at noon on New Year’s Day, was most striking for what it lacked: nowhere in that opening gush of feel-good highlight reels, self-improvement plans, spiritual quests, aha! moments, celebrity master classes, and people finding their truths and living their own best lives was there a snicker of malice or a hint of raillery. At times, it seemed almost like a comical conceit, like those movies that pivot on the sudden disappearance of a basic pillar of life, “Death Takes a Holiday” or even “The Invention of Lying.”

OWN is a place where cynicism takes a holiday and mockery hasn’t yet been invented.

Ms. Winfrey has expertly marshaled all of her media resources, and especially the 25th and farewell season of her syndicated talk show, to promote her new venture. But OWN is a gamble not because it is the first cable network to be so tightly wrapped around the persona of its creator. OWN aims to be a 24-hour non-news network that inspires, entertains and educates viewers – with the back of the hand tied behind its back.

There is no Chelsea Handler baring her big, sharp teeth on OWN; there is no Kathy Griffin or Joan Rivers standing up to take a crack at other people’s appearances or ages. There isn’t even an Oprah Winfrey standing in the studio audience, raising a quizzical eyebrow at a guest’s self-deceptions. Ms. Winfrey has created a ridicule-free zone where people like Tatum O’Neal and her father, Ryan O’Neal, and Naomi Judd and her daughter Wynonna can explore their personal growth in public.

Sarah Ferguson, the Duchess of York, will also have her reality show, a quest for self-esteem and self-discovery called “Finding Sarah,” beginning later in the year. “Princess or not, duchess or not, titled or not, fat, thin, whatever you might be,” Ms. Ferguson explains in her promos, “we’re all the same, actually.”

And that may be the most distinctive feature in a network crammed with glossy programming and Oprah protégés like Dr. Phil and Gayle King. Lots of cable networks offer ordinary people the chance to become famous. On OWN, celebrities are allowed to pose as ordinary people.

Or just pose. On “Oprah Presents Master Class,” celebrities like Maya Angelou, Condoleezza Rice and Simon Cowell are given a chance to present the best versions of themselves, the ones that rarely make the editorial pages or tabloid spreads. An Oprah master class is not actually a how-to course; it’s more like a video version of self-publishing: celebrities talk about their careers to the camera without a visible interviewer and without interruption or contradiction.

On Sunday, when the news anchor Diane Sawyer talks about her days as a weather girl in Kentucky, she describes herself not as a gorgeous blond former pageant winner but as a poetry-spouting “geeky weirdo.” Ms. Sawyer, who says the secret to success is “curiosity,” explains her rise without ever using words like “drive” or “ambition.”

The master class of the hip-hop artist and businessman Jay-Z was shown as a sneak preview over the weekend, and in it he posits that “hip-hop has done more for racial relations than most cultural icons save Martin Luther King Jr.” There was no one in the room to counter that jazz, R&B, Motown, or even just Oprah Winfrey might also have played a significant crossover role.

Many of the OWN programs are Oprah-fied versions of existing cable programs, without the freak shows or histrionics. The sex problems couples describe on “In the Bedroom with Dr. Laura Berman,” which had a sneak preview on Saturday but will be shown regularly on Mondays, can get a little blunt (one woman uses a laundry basket to achieve orgasm with her husband) but not at all salacious.

The competitors on “Your Own Show: Oprah’s Search for the Next TV Star,” which begins on Friday, don’t talk smack about one another. Workaholics are taught to spend more time with their families on “Kidnapped by the Kids.” Even the desperate souls who require the intervention of an organizational expert, Peter Walsh, host of “Enough Already with Peter Walsh,” aren’t described as hoarders like those crazed Collyer brother types on the A&E reality show “Hoarders.” Instead they are people with “clutter issues.”

Faith healers, miracle-workers, self-promoters and crackpots are treated with dignity, but a few of the less dignified guests of “The Oprah Winfrey Show” are not part of the new venture. When Ms. Winfrey invited Suzanne Somers to share her controversial views about bio-identical hormone treatment on her syndicated show in 2009, it won Ms. Winfrey a rare dollop of unflattering press, including a Newsweek cover story titled “Crazy Talk: Oprah, Wacky Cures & You.” Ms. Somers was very visible on OWN over the weekend, but only in paid ads for her Web site, SexyForever.com.

Not all of the shows are humorless, of course, because Oprah loves to laugh. But most of all she likes to make people cry with joy.

OWN isn’t for everyone, and it certainly isn’t for viewers who like Oscar Wilde or can’t read of the death of Little Nell without laughing. But it lives up to the Oprah Winfrey ethos — a “meaningful, mindful” cable network that seeks its own truth and tries to be its own best self.


This post has been revised to reflect the following correction:

Correction: January 2, 2011

An earlier version of this post misspelled Wynonna Judd's given name as Wynona.

This entry passed through the Full-Text RSS service — if this is your content and you're reading it on someone else's site, please read our FAQ page at fivefilters.org/content-only/faq.php
Five Filters featured site: So, Why is Wikileaks a Good Thing Again?.


View the original article here

Friday, December 24, 2010

Los Angeles Museum to Oversee Watts Towers

December 23, 2010, 4:13 pm

The Los Angeles County Museum of Art said on Thursday that it had completed an agreement with the City of Los Angeles that puts the museum in charge of efforts to repair and preserve the Watts Towers, the cathedral-like spires and crockery-encrusted forms built by the self-taught artist Simon Rodia in his spare time over more than three decades. The towers, which were once almost demolished by the city and then later designated a national landmark, were damaged slightly in the 1994 earthquake and again during a 2008 windstorm.

The museum, with $150,000 supplied by the city’s department of cultural affairs, will collaborate with other art institutions and with community groups in the Watts neighborhood to assess the site’s condition and make a plan for repairs and conservation. The hope is that the effort will lead to greater philanthropic attention and a source of long-term financing to maintain the towers, two of which soar more than 90 feet and have become symbols of Los Angeles’s cultural history.

Rodia, an immigrant from Italy who died in 1965, used basic tools and found or donated materials (scrap iron, mesh, shells, broken glass and tile) to build the massive artwork, which he described as a monument to America and to the human spirit. “I had it in mind to do something big,” he once said, “and I did it.”

This entry passed through the Full-Text RSS service — if this is your content and you're reading it on someone else's site, please read our FAQ page at fivefilters.org/content-only/faq.php
Five Filters featured site: So, Why is Wikileaks a Good Thing Again?.


View the original article here

'Spider-Man' Musical Will Resume Performances

December 23, 2010, 5:40 pm

The Broadway musical “Spider-Man: Turn Off the Dark” is a go to resume performances at 8 p.m. Thursday, a spokesman said three hours before curtain — the first show since a stunt actor was seriously injured mid-performance on Monday night.

The producers canceled the musical’s two shows on Wednesday, at a cost of roughly $400,000 in ticket sales, to put a new safety plan in place for the 38 aerial and stage maneuvers in “Spider-Man” that involve actors hoisted and tethered in harnesses. State safety inspectors visited the Foxwoods Theater on Thursday afternoon and gave final approval to the new safety measures, which involve two stagehands securing each actor in a harness and then telling a stage manager that the maneuver is ready to begin, as opposed to the past practice of a single stagehand simply rigging each actor.

“All of the safety redundancies are in place,” Leo Rosales, the spokesman for the inspectors with the New York State Department of Labor, said on Thursday afternoon. Two understudies have been training and rehearsing for the last two days to step into the stunts and roles previously performed by the injured actor, Christopher Tierney, who remains hospitalized with broken ribs.

The understudies have had weeks of training on the stunts, yet Mr. Tierney has been the one performing them, including some of the $65 million show’s most elaborate sequences where characters fly over the heads of audience members.

This entry passed through the Full-Text RSS service — if this is your content and you're reading it on someone else's site, please read our FAQ page at fivefilters.org/content-only/faq.php
Five Filters featured site: So, Why is Wikileaks a Good Thing Again?.


View the original article here

'Spider-Man' Musical Safely Swings Through Performance

“Spider-Man: Turn Off the Dark” went off without injury or any major technical hitch on Thursday night in its first performance back on Broadway since a stunt actor was badly injured after falling more than 20 feet during a scene in Monday night’s show.

There appeared to be no problems with a new safety plan that involved two stagehands, not one, rigging actors into their flying and acrobatic harnesses for the 38 maneuvers that involve aerial sequences or potentially risky choreography. At one point near the end of the show, one stagehand came out onstage to rig the actor Reeve Carney into a harness for a sequence where he scampers across an enormous net and jumps from it; no second stagehand was visible, though crew members might have started rigging up Mr. Carney before the scene began. The stunts went fine in that scene for Mr. Carney, who plays Peter Parker and is one of the actors playing Spider-Man.

Before Thursday night’s performance began, the lead producer of “Spider-Man,” Michael Cohl, took the stage and told the packed house at the Foxwoods Theater that the injured performer, Christopher Tierney, had undergone surgery and would begin rehabilitation on Monday. The audience applauded loudly at the mention of Mr. Tierney, whose accident has drawn wide news media coverage and led state and federal workplace safety officials to insist on the new plan to help protect the actors.

Several audience members said on Thursday night that they had purchased tickets to the musical — the most expensive ever on Broadway, at $65 million, and the most technically ambitious — in part because of the news media coverage this week. These theater-goers said they had been curious about the stunt work in the show and its mix of artistry and technical elements. The production itself, however, drew mixed responses.

“There is a reason for having out-of-town tryouts for a major new musical before coming to Broadway, and while I know it’s expensive, ‘Spider-Man’ would have been helped a whole lot by one,” said Kenny Solms, a longtime comedy writer who helped create “The Carol Burnett Show” on television and whose play “It Must Be Him” ran in September at Off Broadway’s Playwrights Horizons. “And based on the seven minutes or so of flying in a three-hour show tonight, I have to see that if I’d wanted to see flying, it’s more magical and memorable in ‘Peter Pan.’”

But David Ravikoff, a tourist from Washington, who said that the recent media hubbub was one reason he wanted to see the show, said that he was dazzled by the creativity and the special effects.

“I was sort of expecting it to be ‘Spider-Man’ as we’ve all come to know the comic-book story, but the show had these wild, mythological, psychosexual dramatic layers that I loved, that I thought were so Julie Taymor,” said Mr. Ravikoff, referring to the “Spider-Man” director, who also directed “The Lion King” musical and the films “Across the Universe” and “The Tempest,” among others. He added, “I’m not really sure what was going on in parts, but I was totally impressed.”

Absent on Thursday night was one of the lead actresses, Natalie Mendoza, who had been out of the show for a couple of weeks early this month with a concussion; though she and the rest of the cast had not performed since Monday night, she was ordered on vocal rest by her doctor, according to a “Spider-Man” spokesman. An understudy played the role of the spider villainess Arachne.

The actors Ari Loeb and Kyle Post divvied up the roles and stunt work usually shouldered by Mr. Tierney, meanwhile.

The producers had canceled the musical’s two shows on Wednesday, at a cost of roughly $400,000 in ticket sales, to put a new safety plan in place for the 38 aerial and stage maneuvers that involve actors hoisted and tethered in harnesses. State safety inspectors visited the Foxwoods Theater on Thursday afternoon and gave final approval to the new safety measures, which involve two stagehands securing each actor in a harness and then telling a stage manager that the maneuver is ready to begin, as opposed to the past practice of a single stagehand simply rigging each actor.

“All of the safety redundancies are in place,” Leo Rosales, the spokesman for the inspectors with the New York State Department of Labor, said on Thursday afternoon.

“Spider-Man,” with music and lyrics by U2’s Bono and the Edge in their Broadway debut, has pushed back its opening night to give more time to Ms. Taymor and the rest of the creative team to continue working on the show. Previously set for Jan. 11, 2011, the new opening night is Feb. 7.

This entry passed through the Full-Text RSS service — if this is your content and you're reading it on someone else's site, please read our FAQ page at fivefilters.org/content-only/faq.php
Five Filters featured site: So, Why is Wikileaks a Good Thing Again?.


View the original article here

Wednesday, December 22, 2010

The Nutcracker Chronicles: A Slice of San Francisco

SAN FRANCISCO — The lobby of the War Memorial Opera House is already intensely theatrical in “Nutcracker” season, with a perfect tree not only beautifully decorated but also spotlighted. In the afterglow that follows the matinee, children and their parents linger a long time, and many photographs are taken. This, with Houston, is one of the two best-dressed “Nutcracker” audiences of my travels – and, if the attire is less spectacular than Houston, it’s more elegant.

It’s in this opera house that America’s first complete “Nutcracker” had its premiere, in 1944: the same version, choreographed by Willam Christensen, that I saw danced by Ballet West two weeks ago. One look at the dancers and I’m reminded that San Francisco Ballet is among the best companies in the world: finesse, elegance, polish, line, technique, ease. One look at the cast list and I’m aware that this is an exceptional matinee, with Sarah Van Patten and Tiit Helimets as the Queen and King of the Snow, Vanessa Zahorian and Taras Domitro as the Sugar Plum Fairy and her consort, and Elana Altman, Ricardo Bustamante, Val Caniparoli, Frances Chung and Pascal Molat in supporting roles.

Unfortunately, travel delays meant my flight to San Francisco was three hours late, and so I arrived only in time for the last few dances of Act 2. I regret this not just as a dancegoer but as a tourist: Helgi Tomasson’s production is set in the 1915 San Francisco World Fair.<

There is plenty to say even about the little I see. Martin West does some of the best conducting I have heard from him, and the company’s orchestra is a match for its dancers. This is neither the first nor second production in my recent experience to feature a dancing bear, but I hope it is the only one where the bear emerges from the skirts of Mother Ginger (here called Madame Du Cirque). Ms. Zahorian and Mr. Domitro are outstanding in the grand pas de deux, which features some prominent references to both the 1892 Ivanov and 1954 Balanchine versions.

But there and in the Waltz of the Flowers, Mr. Tomasson lets appealing dance ideas flounder blandly without building them into an architectural and musical array that would make them poetic or memorable. It’s confusing to have a Sugar Plum Fairy who dances none of the music that Tchaikovsky designated for her. Instead she leads the Waltz of the Flowers. Then young Clara steps through a Narnia-type door that transforms her into a ballerina (Ms. Zahorian). This alter ego device is set to a passage from the Sugar Plum adagio that’s taken out of context, right before the adagio then occurs. It’s a jarringly unmusical effect of structure.

I’m told 85 children appear in each performance here. Is this – surpassing Boston Ballet’s 83, Ballet West’s 65 and New York City Ballet’s 55 – a present-day “Nutcracker” record?

This entry passed through the Full-Text RSS service — if this is your content and you're reading it on someone else's site, please read our FAQ page at fivefilters.org/content-only/faq.php
Five Filters featured site: So, Why is Wikileaks a Good Thing Again?.


View the original article here