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2014 BAM Blog Awards

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Best performance by a string of sausages in a supporting role: the red sausages in The Old Woman


2014 was a big year at BAM, not in the least in terms of numbers. The Next Wave Festival grew to 47 productions from 34, Matthew Barney's River of Fundament almost topped six hours, 11 pianists performed all 20 of Philip Glass' piano etudes, and Zvi Sahar's Salt of the Earth used 1,000 pounds of salt to conjure a stark Middle Eastern desert. But who are we kidding? It's the qualitative, not the quantitative, that truly floats the BAM boat. It's in that spirit, we present the BAM Blog Awards, our annual celebration of quizzical directorial choices, double-take-inducing performances, and scene-stealing quirks from a year's worth of BAM productions.


Best reunion of minimalist composers who used to drive taxi cabs:
Steve Reich and Philip Glass

Best singing into a piano to produce banshee-like effects: 
Dawn Upshaw

Best merging of cold war pathos and 1980s Hollywood:
Alan Smithee Directed This Play

Best ruminations on global warming-linked natural disasters:
Landfall(Runner Up: Birds With Skymirrors)

Best use of dubious charts and graphs to make a point about TED talks:
Paul Abacus in ABACUS

Best dramatic explication of praying mantis mating rituals:
Isabella Rossellini in Green Porno

Best performance by a disembodied mouth, suspended in the dark:
Lisa Dwan's mouth in Not I

Best use of David Bowie songs to convey an inadvisable sense of 1980s invincibility:
Angels in America

Best performance by an eyeball in a supporting role:
Gloucester's eyeball in King Lear

Best performance by a string of sausages in a supporting role:
The red sausages in The Old Woman 

Best Middle Eastern desert made from 1,000 pounds of salt:
Salt of the Earth

Best use of ice skates to chop a salad:
The Object Lesson(and Material Universe)

Best new bling hanging in the Opera House lobby:
National Medal of the Arts

Best bows/plummeting to the ground to end a show:
Batsheva Dance Company in Sadeh21

Best song referencing both modernist architecture and Die Hard
Gabriel Kahane's song "Villains (4616 Dundee Drive)" from The Ambassador

Best musical celebration by children of an experiment in utopian education:
Black Mountain Songs

Best dance inspired by the residual lakes created when a river changes course:
Oxbow

Best festival within a festival:
Nonesuch Records at BAM, part of the 2014 BAM Next Wave Festival

Best conversion of the BAM Howard Gilman Opera House into a powerful British Navy warship:
Billy Budd

Best ass-grabbing in evening wear:
Kontakthof (Very close runner up: BAM Publicity Department's Halloween rendition)

Best use of rope to conjure trees, paths, and rivers:
The Wanderer

Best performance by a group of people watching something while being watched:
The people in The Source

Best test of endurance involving Norman Mailer, fecal matter, and dead cows:
Matthew Barney's 5+ hour film River of Fundament

A heartfelt congratulations to all of our winners. Checks are in the mail. 


The Mariinsky Ballet—Pinnacle of Elegance

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Swan Lake. Photo: Valentin Baranovsky
By Susan Yung

The Mariinsky Ballet is revered as one of the world's top companies. Founded in imperial Russia in the mid-18th century, it was renamed the Kirov Ballet during the Soviet years. It reverted to its original name in recent years, after Leningrad once again was called St. Petersburg. It has been a crucible for many of classical ballet's most beloved and enduring full-length dances, including Swan Lake, The Sleeping Beauty, and The Nutcracker, and its ever-growing repertory includes dances by modern masters such as Balanchine and Robbins.

The foundation of the company, in a sense, is the resident Vaganova Ballet Academy, named after the renowned teacher Agrippina Vaganova, who led the school beginning in 1921. The academy—whose rigorous curriculum mixes ballet studies with academics—is notoriously competitive to enter. It forms technique and artistry, as well as populating the company's ranks; the school is a major source of Mariinsky Ballet dancers.

The style of the Mariinsky Ballet is elegant, elongated, regal, tasteful. The corps is almost magically in unison in ensemble sections. All elements of a dancer's body move in harmony, with special attention to nuances of the hands, arms, head, and their relation to one another, known as épaulement. Vaganova was also known to emphasize allegro work, or quick steps in combination that require technical precision, musicality, and mental deftness.
Ekaterina Kondaurova in Cinderella.
Photo: N. Razina

It can be helpful to contrast it with its Moscow counterpart, the Bolshoi, which flourished during the Soviet era. While there is currently some overlap of repertory between the companies, you're more likely to see Russian folk dances and depictions of farming collectives in Bolshoi productions, which tend to underscore the melodrama and athleticism in ballet.

The Mariinsky Ballet begins a 10-day residency at BAM starting on January 15 with three programs that are a prime sampling of the company's current artistic direction, which has been led by Artistic Director Valery Gergiev since 1988. (The Mariinsky Opera also performs The Enchanted Wanderer on January 14; the Mariinsky Orchestra accompanies all performances, with several conducted by Gergiev. Visit BAM.org for details.)

Swan Lake, which many consider to be the perfect combination of allegory, form, and music, represents much of the richness and depth of the company. Chopin: Dances for Piano covers a century of ballet history, and includes a dance from 1908 (Chopiniana, by Michel Fokine), 1970(In the Night, by Jerome Robbins), and 2011 (Without, by Benjamin Millepied). And Cinderella(2002) is a contemporary take by Alexei Ratmansky of a classic story ballet. It's a rare chance to see why the company garners so many superlatives.

The Mariinsky comes to BAM Jan 14—25.

Round-Up: Alex and Aaron Craig talk rodeos and Sufjan

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Filmmakers Alex and Aaron Craig of We Are Films. Photo by Noah Abe.


Sufjan Stevens’ upcoming piece Round-Up (Jan 20—25, BAM Harvey Theater) features a 1 hour 15 minute film of the Pendleton, OR, rodeo filmed in gorgeous slow-motion by brothers Aaron and Alex Craig of Brooklyn-based production company We Are Films. The brothers answered some of our questions about the collaboration and explained how a five-minute short evolved into a full-length film with a live score.

How did you initially link up with Sufjan Stevens on this project?

Our intro to Sufjan and Asthmatic Kitty Records began maybe four years ago. We had worked on videos for AKR artists My Brightest Diamond and The Welcome Wagon, and developed a really strong friendship with the label, so when Sufjan came out with the Christmas album Silver and Gold, he asked if we could direct his "I'll Be Home For Christmas" music video. The concept was almost impossible to accomplish given the limited resources we had, but we just put all we could into it as we do with every project we work on, and the end result turned out pretty great. We ended up getting a Vimeo Staff Pick and lots of articles written about it on tech and film sites because the entire video was done in a single take and was technically complex.




What did you know about the Pendleton Round-Up before you started shooting? How did your perceptions change once you were there?

We didn't know about the Pendleton Round-Up until about two weeks before we started shooting. We got an email from Sufjan in 2013 with just one sentence in it: "Have you ever filmed a rodeo before?" From there everything happened really quickly.

We are from Texas originally and have been to plenty of rodeos growing up, but had never been this close to the action. And by close, I mean that we were in the stalls with the cowboys. We had to jump out of the way of bulls kicking on multiple occasions. From afar, you look at the cowboys doing these events and think that they're invincible. But when you're right next to them, you can see that everyone is human just like everyone else and is scared out of their minds before the horse or bull gets released.



Did you go to Pendleton knowing exactly what you were going to shoot and how? Or did the footage come more organically once you were there?

When we went to Pendleton, we intended to make a five minute video for Vimeo. But while we were there, we quickly realized that we had something much bigger. By the time we left we had 60 hours of footage to sift through. We couldn't capture the essence of the rodeo in such a short time, so we all decided to make it long-form and increase the scope by a lot. Now here we are with a 1 hour 15 minute film with a live score. The footage really did come organically once we were there. The main thing we knew was that we wanted to get as close as possible without getting killed, in order to make the viewer feel like they were there, experiencing everything first-hand.

For the film nerds out there, what equipment did you use to shoot and edit?

We shot everything on both the Red Epic and Red Dragon at 300 frames per second. We edited everything in premiere in native R3D and then colored the film in DaVinci Resolve.



Where did you grow up? How did your upbringing influence your love of film?

We grew up in Dallas, right next to some railroad tracks. We spent most of our free time as kids making short films with our parents’ VHS camera on the tracks. Looking back, that was probably super dangerous... but no one ever got hurt. We just had the best time as brothers working together to make films. We never really sat down and said, "We're going to start a film production company and be filmmakers in NYC someday!" We just did it because we loved doing it and we didn't own a video game console or have cable. We simply kept at it and it naturally turned into a fulltime thing.


What is your working relationship? What is each of your roles at We Are Films?

We both have experience in all parts of the filmmaking process. We do whatever we need to do in order to get things done. But we both have a strong passion for cinematography and directing. Usually Alex will focus on cinematography and I'll focus on directing. But many times there are so many projects happening at the same time that we'll do things separately and work with separate crews. But for the most part we both have an understanding that we need to work really hard together to get things done. For example, sometimes Alex will be on set filming a commercial, while I'm at the office producing another project. Or maybe I'm in Colombia filming a documentary, while Alex is producing another project at the office. We prep for everything and work with a team of some of the best people in the industry.

What upcoming projects (that you can talk about publicly) are you excited about?

While 2014 was an amazing year, we are very excited about 2015. We're currently producing and filming two narrative feature films and we are also working on a documentary down in Colombia about coffee production. When it comes down to it, we just love making good art and work hard with every project we're a part of. I'm sure 2015 will have lots of surprises and we love that.

BAM Illustrated: The Origins of the Pendleton Round-Up

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Sufjan Stevens returns to BAM January 20—25 with Round-Up, a musical and cinematic meditation on the Pendleton Round-Up, an annual rodeo in Pendleton, Oregon. Illustrator Nathan Gelgud checked out the origins of the event (mostly via this documentary) for an illustrated look at the century-old tradition.






In Context: The Enchanted Wanderer

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The Enchanted Wanderer, part of the Mariinsky at BAM, comes to the BAM Howard Gilman Opera House on Wednesday, January 14. Context is everything, so get even closer to the show with this curated selection of articles, interviews, and videos related to the production. Once you've seen it, help us keep the conversation going by telling us what you thought below.

Program Notes


Read

Website
The Mariinsky Theatre
Take a virtual tour of the famous concert hall, read about the theater's history, and more.

Blog
The Mariinsky Label
Read about the the Mariinsky Theatre's USA tour on their blog.

Article
The Mariinsky at BAM (BAM Blog)
Read more about the other productions coming to BAM during the Mariinsky Theatre's two-week residency.

Interview
The Arts Desk Q&A: Rodion Shchedrin (TheArtsDesk.com)
Shchedrin reminisces over his relationship with Shostakovich, live under the Soviet regime, and more.

Article
Chekhov's Less Famous Master (The-TLS.co.uk)
Nikolai Leskov wrote the novella on which Shchedrin's opera is based.

Article
The Loyalist (The New York Times)
A rich profile exploring the intertwined political and musical roles of Artistic Director Valery Gergiev.


Look & Listen

Audio
Mariinsky in the USA (Spotify)
Sample excerpts from The Enchanted Wanderer, Swan Lake, Cinderella, works by Shostakovich, and more in this playlist featuring the Mariinsky Orchestra and Opera.

Video
Shchedrin the Pianist (YouTube)
Shchedrin performs his diabolical work for solo piano "Basso Ostinato."

Video
Maya Plisetskaya in Don Quixote(YouTube)
Shchedrin married the famous ballerina just a year before this video was shot.

Video
Backstage at the Mariinsky Theatre (The Telegraph)
Dancer Viktoria Tereshkina shows off her dressing room while Sarah Crompton explores where the backdrops are painted.

Video
Backlit Onyx interiors, 10 floors, and a perfect view from every seat: explore the Mariinsky's $750-million new home.


Now your turn...

So how did you enjoy the show? Likes? Dislikes? Surprises? Tell us what's on your mind in the comments below.

In Context: Swan Lake

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Swan Lake, part of the Mariinsky at BAM, comes to the BAM Howard Gilman Opera House from Jan 15—23. Context is everything, so get even closer to the show with this curated selection of articles, interviews, and videos related to the production. Once you've seen it, help us keep the conversation going by telling us what you thought below.

Program Notes

Swan Lake (PDF)


Read


Website
The Mariinsky Theatre
Take a virtual tour of the famous concert hall, read about the theater's history, and more.

Blog
The Mariinsky Label
Read about the the Mariinsky Theatre's USA tour on their blog.

Article
The Mariinsky Ballet: Pinnacle of Elegance (BAM Blog)
Susan Yung on what separates the famous St. Petersburg ballet from the rest.

Article
Of a Feather, but a Flock Apart (The New York Times)
Mariinsky Ballerinas talk about starring in Swan Lake.

Interview
Pas de Deux: Viktoria Tereshkina and Evgeny Ivanchenko Discuss Swan Lake (The Guardian)
Tereshkina, who performs in Swan Lake on January 15, was only seven when she first saw Tchaikovsky's famous ballet.

Interview
Ulyana Lopatkina (Ballet.co.uk)
The Mariinsky principle discusses the controversial "6 o'clock extension," being a mother, and more. 

Article
The Loyalist (The New York Times)
A rich profile exploring the intertwined political and musical roles of Artistic Director Valery Gergiev.


Look & Listen


Photos
Swan Lake: From the Bolshoi to Bourne and Beyond (The Guardian)
Tchaikovsky's ballet has had its share of innovative interpreters.

Video
Backstage at the Mariinsky Theatre (The Telegraph)
Dancer Viktoria Tereshkina shows off her dressing room while Sarah Crompton explores where the backdrops are painted.

Video
Backlit Onyx interiors, 10 floors, and a perfect view from every seat: explore the Mariinsky's $750-million new home.

Video
Interview with Xander Parish (YouTube)
The Mariinsky principle turned down his first invitation to join the famous ballet.

Video
Black Swan: Konstantin Sergeyev and Galina Ulanova (YouTube)
Sergeyev, who was the first choreographer to stage the Mariinsky's current version of Swan Lake in 1950, performs with Natalia Dudinskaya.

Audio
Mariinsky in the USA (Spotify) 
Sample excerpts from The Enchanted Wanderer, Swan Lake, Cinderella, works by Shostakovich, and more in this playlist featuring the Mariinsky Orchestra and Opera.


Now your turn...

So how did you enjoy the show? Likes? Dislikes? Surprises? Tell us what's on your mind in the comments below.

In Context: Cinderella

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Sergei Prokofiev's Cinderella, part of the Mariinsky at BAM, comes to the BAM Howard Gilman Opera House on January 17—20. Context is everything, so get even closer to the show with this curated selection of articles, interviews, and videos related to the production. Once you've seen it, help us keep the conversation going by telling us what you thought below.

Program Notes


Read

Article
The Mariinsky Ballet: Pinnacle of Elegance" (BAM Blog)
Susan Yung on what separates the famous St. Petersburg ballet from the rest.

Website
Diana Vishneva
Learn more about the Mariinsky dancer on her personal website.

Interview
Interview with Diana Vishneva (Bloomberg)
A prima ballerina with stiff ballet shoes? Nothing a hammer won't fix.

Website
Nadezhda Batoeva
Learn more about the Mariinsky dancer performing Cinderella on January 20.

Article
The Bewitching Yekaterina Kondaurova (PointeMagazine.com)
"She is a modern girl, which is a rarity among Russian dancers—she’s not a princess," says Alexei Ratmansky of the Mariinsky star.

Website
The Mariinsky Theater
Take a virtual tour of the famous concert hall, read about the theater's history, and more.


Look & Listen

Video
Backstage at the Mariinsky Theatre (The Telegraph)
Dancer Viktoria Tereshkina shows off her dressing room while Sarah Crompton explores where the backdrops are painted.

Video
Alexander Sergeyev and Viktoria Tereshkina (YouTube)
See a steamier side to the Mariinsky dancers in this work by Angelin Preljocaj, set to Mozart.

Video
Denis & Anastasia Matvienko (YouTube)
A gorgeous duet between married dancers Denis and Anastasia Matvienko (who dances Cinderella on January 18).

Video
The New Mariinsky Theatre (YouTube)
Backlit Onyx interiors, 10 floors, and a perfect view from every seat: explore the Mariinsky's $750-million new home.

Audio
Mariinsky in the USA (Spotify)
Sample excerpts from The Enchanted Wanderer, Swan Lake, Cinderella, works by Shostakovich, and more in this playlist featuring the Mariinsky Orchestra and Opera.  


Now your turn...

So how did you enjoy the show? Likes? Dislikes? Surprises? Tell us what's on your mind in the comments below.

Eight Reasons Why Swan Lake Endures

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by Susan Yung

Mariinsky's Swan Lake. Photo: V. Baranovsky


Swan Lake is the one ballet I could imagine seeing every week without tiring of it—and I’m not alone in that sentiment. The Mariinsky Ballet brings five performances of the classic—with choreography by Konstantin Sergeyev after Petipa/Ivanov—to BAM starting Jan 15, with four ravishing different Odette/Odiles. Of all the ballets in the classical canon, what makes Swan Lake so timeless, and so worthy of revisiting?

1. Swan = Ballerina. Basically, a swan is the perfect spirit animal for a ballerina. It’s obvious, but a dancer in a full white tutu looks like a swan. Alright, you might have to conflate her flowing arms for an S-curved neck, alternating with flapping wings, but it’s a ready-made parallel. And details, such as in the Act I pas de deux, when Odette does tiny battus (flutters her foot against her ankle) in the closing moment, add texture and emotion to an already rich portrayal.

2. The music IS the movement. The movement perfectly fits Tchaikovsky’s beautiful score. Yes, it’s played a lot on WQXR, but there’s a reason why. It’s sturdy, romantic, lush, at times spare, and full of propulsive, building passages. (Gia Kourlas discussed the musicality in The New York Times, and the four Mariinsky swans’ thoughts about dancing the role.)

Just listen to the first few minutes of the overture, when the haunting opening clarinet line grows into a symphonic maelstrom... I dare you to not be moved. And how about in the famous (and oft-spoofed) Swan Quartet—when four dancers hold hands and move rapidly and precisely—could the devilish choreography be any more illustrative of its music?

Uliana Lopatkina and Danila Korsuntsev of the Kirov Ballet in Swan Lake.


3. We’re Complicated. The light/dark dual characters of Odette/Odile embody every woman. We may think of ourselves as one or the other, but we’re all complicated humans with a range of emotions. These two faces give a healthy expression to this duality.

4. The swan corps. The way the “wedge” (the term of art for a bunch of swans) masses together—at times vulnerable, at others ferociously protective—never fails to be tremendously moving. It’s analogous to being part of a community, a tribe. And how about the moment when the Prince reaches out to touch them, and they all flinch in unison? The audience gasps. Always.

5. The parties. Tchaikovsky’s music positively waltzes by itself. In the Prince’s birthday celebration (sometimes featuring a real maypole with interweaving ribbons), in the international dances... this danciest of rhythms is the ideal underlayment for grand socializing, which frames the primary drama revolving around Odette/Odile.

Danila Korsuntsev (center) of The Kirov Ballet in Swan Lake.


6. Unrequited, or requited, love. We all want a happy ending, which sometimes we get with Swan Lake (as in the Mariinsky’s version). Or sometimes we want tragedy, the refusal to go on living in a world without love. Swan Lake offers both depending on the company. The opening phrases of the Act III pas—the violin following the harp line—are nothing less than heartbreaking, in a good way.

7. Each Swan to Her Own. Odette/Odile is perhaps the consummate role for a ballerina. It requires technical virtuosity, stamina, and great dramatic breadth. Each dancer portrays the dual role uniquely, giving it her own flair and drawing on her life’s experience. It’s the culmination of a lifetime’s worth of work and artistry. A ballerina's Superbowl, if you will.

8. The Black SwanThis helped bring the great ballet into pop culture. Darren Aronofsky’s creepy rendition of Natalie Portman growing quills realistically depicted something we all fear happens behind closed dressing rooms doors, under all that tulle.

Natalie Portman dancing Odette in 2010's Black Swan, directed by Darren Aronofsky.


Put It All Together: Music, choreography, costumes, story, technique, artistry, and the power of one of the world’s great companies to support it—it all adds up to a perfect work of art.

The Mariinsky Ballet's Swan Lake plays the BAM Howard Gilman Opera House from January 15–23.

In Context: Round-Up

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Sufjan Stevens'Round Up comes to the BAM Harvey Theater from Jan 20—25. Context is everything, so get even closer to the show with this curated selection of articles, interviews, and videos related to the production. Once you've seen it, help us keep the conversation going by telling us what you thought below.

Program Notes

Round Up (PDF)


Read

Illustration
Origins of the Pendleton Round-Up (BAM blog)
A look at the history behind the century-old rodeo that inspired Round-Up.

Interview
Alex and Aaron Craig talk rodeos and Sufjan (BAM blog)
The Round-Up filmmakers explain how an intended five-minute short evolved into a full-length film with a live score.

Website
Pendleton Round-Up
Founded in 1910, the rodeo featured in Round Up continues to thrive—Westward Ho parade, Happy Canyon Night Show, and all.

Interview
Sufjan Stevens (Pitchfork)
Stevens riffs on Michael Jackson videos, the movie Tron, schizophrenic outsider artist Royal Robertson, and making noise.

Article
History Lives at the Pendleton Round-Up" (Examiner.com)
How popular is the Pendleton Round Up? The rodeo's arena seats 17,000—more than the entire town's population.

Article
Queens of the West (Matter)
What it takes to be a rodeo queen—Pendleton royalty included.


Look & Listen


Video
Pendleton Round-Up: The Wild West Way(OPB.org)
How to attract people to a tiny Oregon town in 1910? Start a rodeo.

Video
Yarn/Wire Performs George Crumb (YouTube)
The new music ensemble featured in Round Up performs part of Crumb's "Music for a Summer Evening."

Video
Live on Soundcheck: "Pleasure Principle," Sufjan Stevens (YouTube)
Stevens is joined by Bryce Dessner and others for a live performance on WNYC.

Photos
Historical Photos of the Pendleton Round-Up (OregonLive.com)
Experience bucking broncs of old in these images. 


Now your turn...

So how did you enjoy the show? Likes? Dislikes? Surprises? Tell us what's on your mind in the comments below.

Once More, with "Feeling"–Prokofiev's Cinderella Through the Ages

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by Chris Tyler

Nadezhda Batoeva in the Mariinsky Theater's Cinderella. Batoeva dances the role at BAM on January 20. 
Photo: N. Razina


Move over, Queen Elsa—there’s a new classic back in town. Cinderella and her glass slipper are everywhere, and the Mariinsky Theater’s production of Prokofiev’s fairy tale ballet—running January 17—20 in the Howard Gilman Opera House–is just the tip of the folkloric iceberg. Take, for instance, Rob Marshall’s cinematic rendition of Sondheim’s Into the Woods, featuring a blithe Anna Kendrick in the role of princess-to-be. Or Kenneth Branagh’s upcoming live-action version of Disney’s animated treasure, starring Downton Abbey’s Lily James as Ella and Cate Blanchett as her stepmother Lady Tremaine. And don’t forget Douglas Carter Beane’s take on Rodgers & Hammerstein’s musical fable–which just closed on Broadway after a nearly two-year run. Indeed, much like the timeless rags-to-riches story at its core, Prokofiev’s jubilant score has similarly inspired countless interpretations since its debut in 1945.

This premiere production at Moscow's Bolshoi Theater, with direction and choreography by Rostislav Zakharov, was preserved on film in 1961 and is now available to stream in its entirety online:



In the opening sequence, Cinderella (a charming Raisa Struchkova) cleans as her wretched stepsisters argue over a shawl they’re constructing for the Prince’s Spring Ball, tearing it in two. Their dastardly mother, however, blames innocent Cinderella. Punctuated by Prokofiev’s swirling, staccato score, the sequence comically highlights the abuse Cinderella suffers, amplifying the protagonist’s timely escape to the palace in Act 2. Zakharov’s staging also features lush scenery, stellar acting, and, most notably, the introduction of seasonal fairies to the narrative–Spring, Summer, Autumn, and Winter–as magical accomplices to Cinderella’s fairy godmother.

Later stagings of Prokofiev’s score diverge significantly from this original production, but its comedy and romance always resonate. Frederick Ashton’s version for the Royal Ballet in 1948, for instance, exaggerates the piece's humor to a delightful end. Excising the story of its matronly antagonist, we find Cinderella living with a feeble father and two ugly step-sisters (portrayed by Robert Helpmann and Ashton himself in "travesty," or drag—a long-running pantomime tradition). The piece is interwoven with numerous dream sequences for each of the characters, indulging deeply in the fantastic escapism at the story’s heart.



On the other hand, Rudolf Nureyev’s imaginative, Busby Berkeley-fied rendition for the Paris Opera Ballet in 1986 finds our heroine dreaming of fame and fortune in Hollywood. Her prince is a movie star, her fairy godfather, a producer, and her ball, a screen-test. Zakharov’s shawl debacle and Ashton’s campy casting remain, as seen in this recording of a 2008 staging:



Alexei Ratmansky’s Cinderella, however (commissioned by the Mariinsky in 2002 and playing BAM from January 17—20), most sleekly unifies the shimmering romanticism and angular modernism of Prokofiev’s score. Of particular note, again, is his rendering of the wicked step-family. Sporting a symmetrical, orange bob and evoking neon notes of both Fosse and Balanchine, Cinderella's stepmother drunkenly leaps across the stage in service of her doltish daughters—extending her limbs to extraordinary lengths and pointed comedic effect. The rapturous, lyrical movement of Ratmansky's Cinderella, in turn, contrasts sharply with that of her angular stepmother, magnified within the towering but spare scenic design reminiscent of an industrious 1920s. Ratmansky's production gorgeously embodies Prokofiev’s original intention to depict Cinderella “not only as a fairy-tale character but also as a real person, feeling, experiencing, and moving among us.”

So let it go, Elsa—because Cinderella was never really gone to begin with.

The Mariinsky Theater's Cinderella plays the BAM Howard Gilman Opera House January 17—20. Diana Vishneva dances the title role on January 17, Anastasia Matvienko on January 18, and Nadezhda Batoeva (pictured above) on January 20.

State of Emergence: On Youth, Authority, and Collaboration

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by Lucie Hecht

BAM Arts & Justice students performing State of Emergence. Photo: Beowulf Sheehan


After three months of critical thinking, analysis, research, and distance-learning engagement with a school in Ferguson, Missouri, the students of BAM’s 2014 Arts & Justice after-school program presented their culminating piece: State of Emergence. The theatrical work was first performed last December 19, with a reprisal on Monday, January 19 as part of the Brooklyn Tribute to Dr. Martin Luther King, Jr. 2015. I was lucky enough to see the dress rehearsal, and in the month that has gone by I still can’t shake the images from this powerful performance.

The theme of this year’s Arts & Justice curriculum was Youth and Authority. Exercises and activities, coordinated and led by BAM Teaching Artists and Staff, prompted written works from all 15 students that explored both the positive and negative relationships between youths and their authority figures. Those works became the 100% student-written performance that is State of Emergence.

The piece opens with a shout of “Get off me! I didn’t do anything!” A boy in a red hooded sweatshirt falls to the floor into a white body outline. References to the victims of police brutality that have been on our minds and in the media this past year are strong throughout the piece, yet they're only a part of the story of the complicated relationship between youth and authority explored in State of Emergence. The themes that resonated so loudly conjure certain words: Misrepresentation. Abuse of authority. Equality. Accountability. Respect. State of Emergence presents a sophisticated proposal, from the kids, to remedy skewed perceptions. The students in Arts & Justice unapologetically challenge the audience–and the world–to acknowledge them, give them respect, and see them for who they are, not just for what they look like. The chance to explore and express feelings is a unique benefit that participation in Arts & Justice affords the youth in BAM’s community, not to mention the opportunity to display their considerable artistic talents on a world-class stage. 

“Arts & Justice is not about the knowledge [the participants] come in with, but how the classes open them up to being more aware of the world around them.”–Verushka Wray, program manager

“Everyone wants to hear what they want to hear, but we’re talking about the truth.”–Destiny Sorrentini, Arts & Justice participant

State of Emergence was performed Monday, January 19 as part of the Annual Tribute to Dr. Martin Luther King, Jr. For more information on BAM Education programming, visit our website.

Round-Up in motion

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Round-Up, Sufjan Stevens' new work inspired by the Pendleton Round-Up, premieres tonight at the Harvey, and we've distilled some of the roping, wrestling, riding, and racing in these gorgeous cinemagraphs.

Let 'er buck!













Learn more about the history of the event here.

Round-Upis at the BAM Harvey Theater through Jan 25.

In Context: Chopin: Dances for Piano

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Chopin: Dances for Piano, part of the Mariinsky at BAM, comes to the BAM Howard Gilman Opera House January 24—25. Context is everything, so get even closer to the show with this curated selection of articles, interviews, and videos related to the production. Once you've seen it, help us keep the conversation going by telling us what you thought below.

Program Notes


Read

Article
The Mariinsky Ballet: Pinnacle of Elegance (BAM Blog)
Susan Yung on what separates the famous St. Petersburg ballet from the rest.

Article
The Mariinsky Label
Read about the the Mariinsky Theatre's USA tour on their blog.

Website
The Mariinsky Theater
Take a virtual tour of the famous concert hall, read about the theater's history, and more.

Interview
Ulyana Lopatkina (Ballet.co.uk)
The Mariinsky principle discusses the controversial "6 o'clock extension," being a mother, and more.


Look & Listen

Video
A Talk with Benjamin Millepied and Deborah Jowitt (BAM)
Millepied talks with the dance critic about his newly founded artist collective L.A. Dance Project on the occasion of its New York debut at BAM.

Video
Ballet, Sweat, and Tears (YouTube)
Dancers Oxana Skorik and Diana Vishneva are featured in this documentary on the Mariinsky Ballet.

Video
Interview with Xander Parish (YouTube)
The Mariinsky principle turned down his first invitation to join the famous ballet.

Audio
"Uncovering the Heart of Chopin—Literally" (NPR)
A clandestine group of archbishops and scientists recently dug up the composer's ticker.

Video
Backstage at the Mariinsky Theatre (The Telegraph)
Dancer Viktoria Tereshkina shows off her dressing room while Sarah Crompton explores where the backdrops are painted.

Video
Backlit Onyx interiors, 10 floors, and a perfect view from every seat: explore the Mariinsky's $750-million new home.

Audio
Mariinsky in the USA (Spotify) 
Sample excerpts from The Enchanted Wanderer, Swan Lake, Cinderella, works by Shostakovich, and more in this playlist featuring the Mariinsky Orchestra and Opera.  


Now your turn...

So how did you enjoy the show? Likes? Dislikes? Surprises? Tell us what's on your mind in the comments below.

In Context: The Iceman Cometh

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The Goodman Theatre's production of The Iceman Cometh runs at the BAM Harvey Theater February 5—March 15. Context is everything, so get even closer to the show with this curated selection of articles, interviews, and videos related to the production. Once you've seen it, help us keep the conversation going by telling us what you thought below.

Program Notes


Read

Article
"There's Something Funny In This Saloon" (The New York Times)
After doing The Addams Family on Broadway, Nathan Lane needed a change. So he wrote an email.

Glossary
“The Family Circle of Inmates” (BAM blog)
Get to know Harry Hope, Larry Slade, Theodore “Hickey” Hickman, and the other Iceman Cometh saloon dwellers.

Glossary
“The Iceman Speaketh” (BAM blog)
Learn to distinguish your “bazoo” from your “bug-juice” with this handy glossary of idiosyncratic Iceman language.

Article
“The Iceman Cometh Again” (Chicago Tribune)
Brian Dennehy and director Robert Falls first worked on the Goodman Theatre’s The Iceman Cometh 25 years ago.

Review
Brooks Atkinson’s 1946 Review of The Iceman Cometh
Eugene O'Neill has "plunged again into the black quagmire of men's illusions and composed a rigadoon of death as strange and elemental as his first works."

Bio
Eugene O’Neill’s Biography (EOneill.com)
Before entering the theater, the Iceman Cometh playwright wasn’t unlike some of the play’s disillusioned characters.

Speech
Eugene O’Neill’s Nobel Prize Acceptance Speech (NobelPrize.org)
O'Neill had already won the Nobel Prize by the time he wrote The Iceman Cometh, Long Day’s Journey Into Night, and other classic plays. 


Look & Listen

Video
Excerpt from The Iceman Cometh(The New York Times)
Nathan Lane and Brian Dennehy in action.

Video
Eugene O’Neill: His Life, Work, and Legacy (National Theatre)
It was at a tuberculosis sanitarium that O’Neill decided to dedicate his life to the theater. 


Now your turn...

So how did you enjoy the show? Likes? Dislikes? Surprises? Tell us what's on your mind in the comments below.

The Iceman Speaketh

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By Neena Arndt

The Iceman cometh, and he’s bringing the language of 1912 with him.

The Iceman Cometh was written in 1939, but it takes place in that (quasi-fictional) flophouse in 1912, and as an authentic period piece, the play’s dialogue pops with the colorful slang of the early twentieth century. Some of these phrases and terms have retired from the English language entirely, so to help you decipher them, the Goodman Theatre compiled a glossary of Icemanisms, which we've condensed below. We encourage you to peruse the original posts (divided into bar terms, insults, and extras) on their blog.




BALL
A drink of whiskey. Perhaps derived from “ball of fire,” referring to the fiery taste of alcohol.

BAZOO
Late nineteenth, early twentieth century slang for “mouth.” Derived from the Dutch word for trumpet, bazuin.

BUGHOUSE
Can be used as an adjective meaning crazy (“he’s bughouse!”), or to a hospital for the insane (“He belongs in the bughouse!”). Combination of “bug” (in the sense of “obsessive person”) and “house.” It dates from the late nineteenth century.

BUG-JUICE
An alcoholic beverage of an inferior quality. This phrase appears in print from 1865 onward.

BUNCO STEERER
A “bunco” is a swindling game or scheme; a “bunco steerer” is the person who runs the game or scheme. Dates from the late nineteenth century.

CORKER
Slang for a particularly excellent or astonishing thing, usually referring to an anecdote or performance (“That story was a corker!”). When applied to a person, it suggests a bright, buoyant or lively personality.

DRUMMER
A traveling salesman, defined by John Bartlett, in his Dictionary of Americanisms (1848) as "a person employed by city houses to solicit the custom of country merchants." Drummer generally referred to a salesman who solicits customers for a wholesale house (as distinct from canvassers, who worked door-to-door selling individual goods). The word was, if not a derogatory term, at least not reflective of the image that merchants wanted to create for their traveling salesmen, as it referred to the energetic and frequently abrasive sales techniques they used to “drum up sales.”

FANTODS
The willies; nervousness. Dates back to the mid-nineteenth century.

OREY-EYED
To have bleary or wild-looking eyes, especially as a result of drunkenness. More generally used to describe someone who is drunk, enraged or both.

PIE-EYED
Drunk or intoxicated. The etymology is unclear, but the term "pie" was slang among printers to refer a page that turned out a blurry mess, and so many guess that "pie-eyed" refers to the blurred vision of a drunk.

RATHSKELLER
A restaurant or tavern, usually below street level, which serves beer. From the German “rath” (town hall) and “keller” (cellar). First appears in English around 1865.

REDEYE
Slang for inferior whiskey.

ROT-GUT
Slang for inferior alcohol.

SHAVER
A derivative of “shaveling,” an old term for a boy or youth. The term refers to the fact that many boys need to start shaving during adolescence, but are not yet fully-grown men.

SHERRY FLIP
A sweet cocktail made with sherry, cream, powdered sugar and an egg, with nutmeg sprinkled on top. It is typically considered a ladies’ drink.

SLUG
Slang for a strong drink, recorded from 1756.

SOAK
Slang for a drunkard.

STEW BUM
A vagabond who is habitually drunk.

STINKO
Slang for intoxicated or drunk.


Neena Arndt is the The Iceman Cometh Dramaturg. This post is a consolidated version of the Goodman Theatre's three-part series The Iceman Speaketh, originally published on their blog in 2012.

“The Family Circle of Inmates"

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The Goodman Theatre's revival of Eugene O'Neill's The Iceman Comethopens at BAM this Thursday, February 5. To help you keep track of this talented cast of 18, we're reposting this helpful character guide originally compiled by the Goodman Theatre's Literary team back in April 2012.

The cast of The Iceman Cometh.


By Marianne Cassidy

Harry Hope’s Saloon and Rooming House, the fictional setting of Eugene O’Neill’s The Iceman Cometh, is based on a number of real saloons and dive bars that O’Neill frequented in his early 20s in Greenwich Village in the 1910s, such as Jimmy-The-Priest’s and The Golden Swan (better known as The Hell Hole). Saloons such as these were notorious for their clientele, a sordid mish-mash of drunks, petty criminals, struggling artists, political dissidents and prostitutes. O’Neill found a community within these walls and true friends among those who were “drowned at the bottom of a bottle,” and nowhere is the affection and sympathy the playwright had for this community more profoundly felt than in The Iceman Cometh. The gang at Harry Hope’s have all known each other for years and all ages, professions, nationalities and creeds are welcome under Harry’s roof. Since the cast is so large and the characters so varied, we’ve compiled an intro to these colorfully drawn characters, each with a history and a pipe dream that is uniquely their own.

Harry Hope
Harry Hope (Stephen Ouimette)
An Irish immigrant, the proprietor of the saloon and (crucially) the primary source of free booze, Harry is a good-natured curmudgeon, constantly threatening his wayward boarders with eviction and calling a moratorium on house drinks. To date, it appears that an eviction threat has never been carried out and, in his own words, he has “never refused a drink to anyone needed it bad” in his life. Harry was once a prominent member of his local community; he knew “every man, women and child” in his ward and had friends in high places at Tammany Hall (a major political institution that played a key role in running New York City and helping immigrants, most notably the Irish, rise up in American politics). However, just before he was to be nominated for the position of Alderman of the 9th Ward, his wife Bessie passed away and Harry has not left his establishment since. His once reputable business has declined and his community has shrunk to the floating population of boarders and regulars who occupy the back room of his bar.

Larry Slade
Larry Slade (Brian Dennehy)
Nicknamed “The Old Wise Guy,” Larry is the resident philosopher (or “foolosopher” as they say) at Harry Hope’s. He is a former anarchist who has denounced the Movement “after 30 years devotion to the Cause.” He claims to be content to be a drunken bum while he waits impatiently for death, although alcohol has in no way dulled his shrewd wit, keen observations and tendency to wax poetic about humanity. While the gang mock him for his philosophizing and his preoccupation with death, they also look to him for advice and validation and the three ladies of the pavement, in particular, adore him. Despite his gruff exterior, Larry has deep compassion for all of his “fellow inmates” and indulges their pipe dreams of yesterday and tomorrow, telling them what they want to hear to comfort them and bolster their illusions.

Ed Mosher
Bessie’s brother and Harry’s brother-in-law, Ed Mosher once worked for a circus in the ticket wagon. In the 20 years since the passing of his beloved sister, he has made a living as Harry’s “lifetime guest.” At the turn of the century, ticket wagon men were notorious grifters as a matter of course, legendary for their skill and dexterity and never leaving their clamoring patron with the correct change. Ed claims he used to be to able to “short change the Keeper of the Mint” and dreams of one day reliving his glory days with The Greatest Show on Earth. However, none of the other inmates seem to think he would be welcomed back to the circus lot with open arms. It is implied that Ed was dismissed when took his con game too far, even by circus standards. As Harry gleefully quips, “you even borrowed fish from the trained seals and peanuts from every elephant that remembered you!”

Piet Wetjoen (John Judd), Ed Mosher (Larry Neumann, Jr.), Joe Mott (John Douglas Thompson), and Cecil Lewis (John Reeger)
Piet Wetjoen (“The General”) and Cecil Lewis (“The Captain”)
Growing up as a farmer in veldt (plains) of South Africa, Piet was one of many civilian farmers turned soldiers who was forced to take up arms during the Boer Wars. Even the generals were farmers with no military training, appointed by political leaders to lead their army. Faced with the superior might of the British, the Boers relied on largely guerilla warfare. In 1900, the world was stunned and Britain was mortified by the fact that their professional military minds had been repeatedly forced into retreat by inexperienced and untrained “farmer generals.” However, Piet’s courage and honor on the battlefield was called into question and he fled to America. He made a living for a time in the Anglo-Boer War Spectacle in the St. Louis World’s Fair, where he first met Cecil “The Captain” Lewis, and has since washed up at Harry Hope’s with no job, limited English and his proclaimed great physical strength gone to seed through alcohol abuse.

Cecil was a captain in the British infantry, but now he mostly whiles away the hours with Piet, “in happy dispute over the brave days in South Africa.” It is implied that Cecil comes from a wealthy family with a considerable estate, although he no longer has access to this money. As a proper English gentleman who still holds fast to the trapping of propriety and breeding, he delights in mocking Piet for his rural upbringing. Piet, in turn, brags that he shot Limey officers “by the dozen,” but regrets not shooting Cecil—though, of course, the two men never met until long after the war. Despite their contempt for each other, Cecil and Piet are firm friends and share the dream of returning to their respective home countries one day.

Joe Mott
As the one-time proprietor of a colored gambling house and the only African American regular at the saloon, the general consensus is that Joe Mott was “a hell of a sport” back in the day. He frequented Harry Hope’s when it was a high-class saloon, buying rounds of expensive whiskey for the whole gang without a second thought. Indicative of the implicit racism of the early twentieth century, Joe’s good fortune and generosity meant he was often complimented on being “white” and he boasts about the fact that he used be the only colored man allowed in white gambling houses. However, the days of his roaring success are long past and now he earns his keep at Harry’s by doing odd jobs around the bar, dreaming of winning big money again and opening a new gambling house.

Willie Oban
Jimmy Tomorrow (James Harms)
Willie Oban (John Hoogenakker)
“Prince Willie” is one of the younger residents of Harry Hope’s and also one of the most severely alcoholic, to the point that the rest of the gang regards him with pity. When deprived of booze, he suffers violently from delirium tremens (“the shakes”) and night terrors. He is consumed by his relationship with his now-deceased father, who made a fortune in the bucket shop game (an illegal establishment for betting on the stock market) but was eventually exposed and died in prison. Willie was once a brilliant student at Harvard and later at law school, under his father’s dictatorial guidance, but now has no practice except occasionally holding court in Harry’s back room. His grandiose humor and impoverished appearance often make him the subject of ridicule, but he is a member of the family nonetheless.

James Cameron (“Jimmy Tomorrow”)
Gentle Scotsman Jimmy Tomorrow is affectionately known as the “Leader of the Tomorrow Movement” at Harry Hope’s. He truly believes that he is going to spruce up and put up a good front and get his old job in the newspaper’s publicity department back—tomorrow. In his heyday, Jimmy was a journalist for an English paper and a correspondent in the Boer War. Jimmy remembers his travels and his time in Britain with a fond sentimentality, and often chides Cecil and Piet for discussing the more savage points of the conflict. Jimmy also fondly recalls his ex-wife Marjorie, who had a “beautiful voice and played the piano beautifully,” but whose infidelities, he claims, set him on a path to drunkenness.

Hugo Kalmar
Hugo Kalmar (Lee Wilkof)
Even in 1912, a time in the United States when the Anarchist Movement was a hub for serious political dissidence and a threat to public safety, it is hard to believe that Hugo was ever a “dangerous terrorist” or “demon bomb-tosser.” A one-time editor of anarchist periodicals, Hugo spent 10 years in prison in his home country for his beliefs and is half-blind from so much time spent in solitary confinement. Nowadays, he spends most of his time passed out at a table in Harry Hope’s, occasionally waking up to condemn his fellow inmates as traitors and bourgeois capitalists, to quote revolutionary poetry or to demand a drink. His outbursts reveal a certain amount of confusion about his position as an anarchist; his love for the proletariat is tempered by a desire to rule them, his hatred of bourgeois values tainted with hifalutin opinions on wine. As Larry Slade sadly notes, “No one takes him seriously. That’s his epitaph. Not even his comrades anymore.”

Margie (Lee Stark), Rocky Pioggi (Salvatore Inzerillo), and Pearl (Tara Sissom)
Rocky Pioggi
As Harry’s night bartender, Rocky is responsible for keeping order among the bums and supervising the flow of alcohol. Harry seems to perceive him as a petty criminal who is constantly skimming the cash register, but it is unclear whether Rocky is actually a crook or if these accusations are part of Harry’s general tendency to grouch. Rocky makes his real money from his two tarts, Margie and Pearl, who turn in their profits to him at the end of a hard night’s work. Rocky insists fervently that he is not a pimp, as he treats his girls well, never beats them up and doesn’t live off the money they bring in. Unlike most of the other denizens of Harry Hope’s, Rocky has no particular fondness for booze and will more often indulge in a cigar if someone else is buying.

Margie and Pearl
In a time when the average day for a working girl was 12 to 14 hours and factories had no regulations with regards to fire safety and decent working conditions, many women turned to the oldest profession in the world as a safer, easier and more lucrative way to make a living. Margie and Pearl are two such girls, although they insist that they are not whores; they are merely tarts. Whereas “whore” always meant a person who has sex for money, “tart” might simply imply a woman who dresses provocatively or is sexually promiscuous. In 1912, prostitution had just become effectively illegal under the White-Slave Traffic Act (Mann Act) of 1910, and so the girls are dependent on Rocky to pay off the police so “they can hustle without getting pinched.”

Chuck Morello and Cora
Don Parritt (Patrick Andrews) &
Larry Slade (Brian Dennehy)
Chuck Morello (Marc Grapey) &
Cora (Kate Arrington)
Chuck is the day bartender at Harry Hope’s. Cora is his long-term girlfriend and they room together in the saloon. Cora works as a street walker and she has considerably more experience than Margie and Pearl. They dream of giving up city life, getting married and buying a farm together, despite the fact that according to Rocky, “bot’ of ‘em was dragged up in dis ward and ain’t never been nearer a farm dan Coney Island!” At the time, there was a certain amount of romanticization around the idea of farm life and simple rural living. Chuck has a habit of going on “periodical drunks” (long stints of binge drinking) and getting in fights, but frequently goes “on the wagon for life” to appease Cora.

Don Parritt
When Don arrives at Harry Hope’s looking for Larry, his fancy clothes and stingy attitude to buying drinks immediately mark him as an outsider. He was raised in the Movement, the only son of Rosa Parritt, a prominent anarchist and a former lover of Larry’s. Rosa was recently arrested with a group of other anarchists in connection with a bombing on the West Coast that killed several people. Don has fond memories of living with Larry and has travelled all the way to New York to seek him out in this time of crisis.

Theodore “Hickey” Hickman
Hickey, a traveling salesman and an effervescent charmer, only comes to Harry Hope’s occasionally, but when he does, he buys drinks for everyone. He also throws a rip-roaring birthday party for Harry each year, an event the other men eagerly await. Raised in a “hick burg” in Indiana, Hickey married his childhood sweetheart, Evelyn. A devoted, loyal wife, Evelyn has always forgiven Hickey’s drunkenness and infidelities. When he’s in the saloon, Hickey frequently jokes that Evelyn is “in the hay with the iceman,” but as far as we can tell, she has never been unfaithful to him.

Nathan Lane as Theodore “Hickey” Hickman, the quintessential purveyor and slayer of pipe dreams.
Marianne Cassidy served as the Goodman Theatre's Literary Intern in the spring of 2012. This post was originally published on the Goodman's blog in 2012.

Life in Hell, Before The Simpsons

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By Susan Yung

Many isotopian half-lives before Matt Groening concocted The Simpsons and Futurama, he was well-known for his weird, affable characters in Life in Hell, which ran in print over the course of 35 years. Life in Hell features a pair of jaded rabbits (Binky and Sheba), a one-eared bunny (Bongo), and a fez-wearing gay couple of an indeterminate bipedal species, Akbar & Jeff. Groening usually played with the structure of a square, often breaking it into 16 or 9 panels, or treated it as one large frame in which an individual figure would be lost either in a crowd or in space.

Groening broached topics from banal to existential. The futility of jobs, pop culture, politics, family, love, life—no matter how small or vast, it all came across in philosophical, spare prose and crisply drawn frames. And just when you thought a strip would end in terrible sadness or uplift, he often found a way to pull back from the cliff, or add a wry note to a saccharine picture.

The strip’s success in newspapers brought Groening the opportunity to air his work on the very popular The Tracy Ullman Show. He planned to show his Life in Hell characters at a meeting, but when he found out he might lose control over them, he quickly drafted a family modeled loosely on his own, which became the Simpsons. (In life, his father is named Homer, his mom Margaret, and his son Abe, among other crossovers.) So in 1989, they began animated life as jittery, roughly-drawn characters in very short segments—bumpers—to lead into and out of commercials.

Despite the incredible success of The Simpsons, and eventually Futurama, Groening continued to draw Life in Hell, reasoning that it was something he had complete control over from start to finish. With the demise of print publications, and decreasing syndicates, he finally ended Life in Hell in 2012.

An Evening with Matt Groening and Lynda Barrywill feature the pair in dialogue on Feb 12 at the Howard Gilman Opera House. They met at Evergreen State College in Oregon where they both worked on the student newspaper, and have remained friends and peers over the years.

Zhang Huan's Notes on Semele

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The Canadian Opera Company's production of Semele, directed by Zhang Huan, will be at the Howard Gilman Opera House from March 4—10. A note from the director follows.

The Canadian Opera Company's Semele. Photo: Gary Beechey
By Zhang Huan

Directing a film, or designing a piece of architecture or the set for a stage production would seem to be a smooth and natural composition for an artist, but to ask an artist to design the set for an opera is a different story altogether, quite extraordinary indeed. The reason is simple: there are very few people who understand opera, and even fewer artists who understand it. In all honesty, I too do not understand opera, but I like doing things out of the ordinary. That is why I have continued to make art to this day. Frankly speaking, I never imagined I would have the chance to be director and set designer for a Western opera, particularly because the original opera was so foreign and distant to me. Even though I have done performance art for many years, it is a completely different category of performance. Looking back on my predestined affinity with theater, at times it may seem absurd but all at once it is still part of my destiny.

My roots in theater date back to the early 1990s in Beijing, those days when I struggled for art and for my very existence. There was one time when I worked on the production of Three Sisters for the great Chinese theatrical director Lin Zhaohua. Yi Liming was set and lighting designer and I was his temporary assistant. At that time, I wasn’t a designer—I didn’t even do set painting. I was a temporary worker with an interest in and curiosity about theater, who needed to make a living. I was responsible for the stage irrigation system. I also worked on the set of Chen Shizheng’s Kunming Opera Peony Pavilion. Even though at that time I was nobody and understood nothing, the magic of the stage was definitely clear to me and it stirred me. Later, after I moved to New York, I received an invitation from Robert Wilson to contribute to one his experimental works. I think it was these dim, sleepy experiences in theater, and many years of practice as a performance and visual artist that just might have given me the guts today to stand on the stage and show people what I know about opera, what I know about the story of Semele.

These years of working in the theater have been a creative experience I will never forget. I have deeply felt how authentic and gorgeous opera is. It is all so real and slowly unfolds right before your eyes. At the same time, it is so unpredictable and so unimaginably peculiar. Even if you are the director, you still can’t completely control it, just as in the opera when Jupiter is unable to save Semele. And just as Jesus could not save the temple dweller, Mr. Fang.

That is theater; that is life.

Zhang Huan.
Mr. Fang lived in this ancestral temple with his family in Quzhou, at the border region between the Zhejiang and Annhui provinces in China. When we were dismantling the structure, we collected the personal items that Mr. Fang and his family had left behind; among these articles was a diary written by the late Mr. Fang before he was executed for murdering his wife’s lover. A majority of this diary is written about his love and hate for his wife, and his sense of responsibility and helplessness towards his family. After reading through this diary, I suddenly came upon an inspiration for the main set of Semele.

I am someone who has never designed a set before. I know that all of the sets and props are fake. This seems to be the natural and obvious way to do things on stage. But I am certain that the feelings elicited by a performer singing on the Great Wall and one singing in front of an artificial background of the Great Wall would be worlds apart. This time around, I am very excited to have the luck and opportunity to be able to take an ancestral family temple with over 450 years of history and use it on the stage of a new opera house. My goal is to allow the opera singers to reenact this classical Western opera on an Eastern stage latent with the tragic emotions of Semele—while at the same time allowing the audience to experience the dramatic beauty and pain common to all human beings. Love and hate, life and death are the topics that will forever hang over the human race. The fact that the roots of pain introduced thousands of years ago in a Western opera can reappear in the East in the fate of a single peasant family in the countryside, makes us continually ponder the redemptive qualities of humanity.

So this old temple is the chapel where Semele is to get married, the heaven where she creates love, the crematory where she is destroyed, and the holy land that she is reborn in. She is the homeland where human kind has suffered the four great miseries of birth, aging, sickness, and death.

"Yin" and "guo" (cause and effect), desire and animalism are the central problems in Semele. Because man himself is a monster, god is also a monster. Humanity also contains an animalistic aspect, an inner beast. Desire, lust, and the thirst to control and possess are things that we cannot change. The human race has to continuously and eternally develop as it regresses. Moving in circles, we return to a primitive state.

Carpenter Craft

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This month, BAMcinématek pays tribute to legendary director John Carpenter with a full-career film retrospective and a selection of his favorite film scores.

Jamie Lee Curtis in The Fog. Photo courtesy AVCO Embassy Pictures/Photofest
By R. Emmet Sweeney

He came of age in film school at the same time as the Steven Spielberg/George Lucas “movie brats,” but John Carpenter is generally excluded from triumphal histories of 1970s New Hollywood cinema. Yet Carpenter’s genre reinventions have become as equally influential as those of his cinéaste brethren. While Lucas and Spielberg tried to supersize the 1930s adventure serial, Carpenter took the professionals-on-a-mission films of Howard Hawks and fractured them for the Reagan era. He developed a style of slow-burn—precisely choreographed widescreen features that were irresistible tension-and-release machines. But while Jaws and Star Wars appealed to all audiences, Carpenter’s subversive streak led to films deeply suspicious of the American dream, creating entertainments that stick in your throat.

John Carpenter was born into an artistic family on January 16, 1948 in Carthage, NY. His father Warren was a musician and teacher who moved the family to Bowling Green in 1953 after accepting a position teaching music history and theory at Western Kentucky University. After a few years of college at Western Kentucky, John transferred to USC to study filmmaking, where he co-wrote the Oscar-winning short The Resurrection of Broncho Billy (1970).

Carpenter would drop out of USC to complete production of his first feature, the absurdist space-madness comedy Dark Star(1974), written with future Alien scribe Dan O’Bannon. Shot on a shoestring with blinking cardboard sets and an alien made out of a beach ball, it skewers self-important space opera three years before Star Wars. His first fully-funded production was Assault on Precinct 13 (1976), a siege film loosely based on Hawks’ Rio Bravo in which a black cop, a white convict, and a no bullshit secretary hole up in an isolated prison to fight off a gang attack. Carpenter shows a mastery of the wide Panavision frame, making it a film of constricting horizontals: of shotgun barrels and gang members strung along a street like holes in a belt.

Halloween. Photo: Compass International Pictures/Photofest
Then came the depth charge of Halloween(1978), conceived with Assault’s assistant editor Debra Hill (a producer through Escape From New York), which was well funded enough for Carpenter and DP Dean Cundey to play with a Panaglide Steadicam rig, which patiently tours the well-appointed bourgeois interiors soon to be sullied by Michael Myers.

Carpenter and Cundey then made a string of creeping-dread classics dependent on groups dissolving from within—collapsing the Hawksian ideal of creating a family out of the professional unit. The Fog (1980) pitted a collection of outcasts against leprous ghost pirates, out for vengeance for past colonialist sins. Escape from New York (1981) forces apolitical nihilist Snake Plisskin (Kurt Russell) to play nice with the authoritarian US government as well as the crazies on Manhattan island prison. (In the jokey, underrated 1996 sequel Escape from L.A., Plisskin turns into something of an accidental revolutionary). In Carpenter’s The Thing (1982, adapted from the same novella as the Hawks classic), an Arctic research team discovers a shape-shifting alien, and paranoia destroys them. It’s the first part of a loose “Apocalypse” trilogy that also includes Prince of Darkness (1987; Satan will end the world) and In the Mouth of Madness (1994; HP Lovecraft-inspired bestsellers will end the world).

The box office failure of The Thing led Carpenter to take assignment jobs, including the efficient if impersonal Stephen King killer car movie Christine(1983), and the beautiful alien road movie romance Starman(1984), in which the NSA is the villain. They Live(1988) provides his most explicit political statement, with aliens turning the Me Generation populace into literal consumerist zombies. It is urgent, blunt force pulp commentary that has Rowdy Roddy Piper slugging complacency in the face.

A narrative of decline has emerged around his post-1980s work, but that is why retrospectives like this are so necessary. The gonzo super-natural Western Vampires (1998) and Ghosts of Mars (2001) are gloriously scuzzy throwbacks to his Assault days, while The Ward(2010) is an elegantly composed haunted psych ward movie that entraps its inmates inside low-angle tracking shots.

Carpenter has retained his subversive vitality, taking archetypally American weird tales and investing them with a destabilizing dread.

R. Emmet Sweeney writes a weekly column for Movie Morlocks, the official blog of Turner Classic Movies, and is a regular contributor to Film Comment.

John Carpenter: Master of Fear runs from Feb 6—22.

Reprinted from Jan 2015 BAMbill.

Goodman’s Greatest Hits

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Amy Goodman. Photo: David Belisle
Amy Goodman, the investigative journalist, syndicated columnist, and the host of the daily independent global news hour, Democracy Now!, has said “The only ground rule for good reporting I know is that you don’t trade your principles for access. We call it the access of evil.” Sticking to this principal, Goodman has been able to tackle some very interesting and often tough issues and get very candid responses from her subjects. She has written five New York Times bestselling books and has received some of the highest awards in journalism. According to Noam Chomsky, "Amy Goodman has taken investigative journalism to new heights of exciting, informative, and probing analysis." And Cornel West has called her “a towering progressive freedom fighter in the media and the world.”

On February 11, she speaks at BAM with Cecile Richards, the president of Planned Parenthood. As Goodman is well-known for not shying away from the most difficult questions with some of the world’s most powerful people, for not being afraid to get into probing discussions with some complicated public figures of our time, this conversation promises to be challenging and perhaps even revelatory. In preparation for her appearance at BAM, here are a few of Goodman’s greatest-hit interviews from the arts and culture realm:

Willie Nelson discusses his Tex-Mex influence and the intermingling with country music and “Outlaw country.” He plays a version of “Mama Don’t Let Your Babies Grow Up to Be Cowboys”:




Pete Seeger talks about singing old-time music for Alan Lomax and activism:




Russell Brandbreaks down the War on Drugs, Robin Williams, and addiction:




Selma director Ava DuVernay on Hollywood's lack of diversity, her Oscar snub, and the #OscarsSoWhite hashtag:




Roseanne Barr reflects on her career as a working-class domestic goddess:




Bill Clinton confronts a number of hot-button issues at the end of his term in office (and famously loses his cool, calling Goodman "hostile and combative"):

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