Archive for October, 2010

In this week’s New Yorker…

October 15, 2010

A lot of good stuff, including Calvin Tompkins’ typically engrossing profile of L.A.-based artist John Baldessari and a suitably entertaining (and long) piece about Nick Denton and Gawker. The most important (and depressing) read, though, is Sean Wilentz’s well-reported if disheartening piece about Glenn Beck, the Tea Party, and their willingness to embrace the insane, paranoiac political philosophy of the John Birch Society, which I thought had been discredited long ago. My mind is reeling from this passage:

“In June, the congressman Bob Inglis, of South Carolina, a tough conservative who nonetheless backed Bush’s financial bailout, lost a vicious primary fight with a right-wing insurgent named Trey Gowdy. Tohis amazement, I…nglis was confronted on the campaign trail by voters whowere convinced that numbers on their Social Security cards indicatedthat a secret bank had bought them at birth.”

I did have a good laugh at least once reading the piece. Talking about Barry Goldwater’s run for president in 1964, it says:

“In the general election, though, Goldwater suffered a crushing loss to Lyndon Johnson, partly because Democrats succeeded in making him look like a captive of the loony right. (To the Goldwater slogan “In Your Heart, You Know He’s Right,” the Democrats shot back, “In Your Guts, You Know He’s Nuts.”)”

Balancing out the grim political news are a bunch of funny cartoons and an adorable cover by Roz Chast, entitled “Shelved.”

 

Theater review: A LIFE IN THE THEATRE

October 15, 2010


My review of the new Broadway revival of David Mamet’s A Life in the Theatre starring Patrick Stewart (above) and T.R. Knight has just been published online by CultureVulture.net.  It says, in part:

“The best thing can be said about it is that it supplies an opportunity for [Stewart’s] legion of fans to worship him in person. And boy do they! At the matinee I attended, the audience hung on his every word, prepared to greet every tiny piece of stage business with loud appreciation. When he came out in tights and purple leggings for a scene in which he and his fellow actor do their stretches at a ballet barre, you would have thought that no funnier sight gag had ever been performed on a Broadway stage. OMG, Captain Picard in tights and purple leggings!!! Not being a Trekkie myself, I was expecting a more nuanced performance, but no, it’s pretty much of a personal appearance for the fans.”

You can read the whole review online here.

The play is not one of Mamet’s best, but I have fond memories of the original New York production, beautifully directed by Gerald Gutierrez and starring the late great Ellis Rabb and the dearly departed Peter Evans (above). I saw the show at the intimate Lucille Lortel Theatre (then called the Theatre de Lys) with my friend Ed Townley, who knew one of the actors, so we went backstage and met them. I kinda fell in love with Peter, had a big crush on him for years, got to be friends with him, and was very very very sad when he died in 1989 (a casualty of AIDS).

Photo diary: 10-10-10

October 11, 2010

Andy has sung at every major venue in NYC and was happy to check Radio City Music Hall off the list, after being with the orchestra and chorus providing the live soundtrack for "The Two Towers"

we repaired to Randolph's, the lovely lounge in the lobby of the Warwick Hotel, for cocktails with sci-fi novelist Maggie Ronald

don't give me that look!

what have you done to me? I've gone all trippy

Andy and Eric in the afterglow of Movie Night

Theater review: TIME STANDS STILL

October 8, 2010

My review of Donald Margulies’s Time Stands Still has just been published on CultureVulture.net. I felt very differently about the play than did, say, Charles Isherwood in the New York Times.

“Margulies, who won a Pulitzer Prize for the 1998 yuppie drama Dinner with Friends, is a neat-and-tidy playwright. So, given the rough outline of the play, you can pretty much imagine the neat-and-tidy conflicts he invents for every combination of characters, the reversals, the outbursts, the rapprochements. It’s efficient, generic playwriting-by-numbers.”

You can read the whole review online here.

Quote of the day: STORYTELLING

October 8, 2010

STORYTELLING

The gods bring disaster down on mortals so that they will tell about it; but mortals tell about it to stop the catastrophe ever actually happening, so that its fulfilment is evaded in words that are far removed from it, where they will finally meet their end, even if they wish to remain silent. The point where speech begins is marked by immeasurable suffering, the clamorous gift of the gods: but for speech, or rather in speech, the frontier of death opens up an infinite space. The prospect of death makes speech move hastily onward, but also begins over again, tells about itself, discovers the story in the story and the possibility that no end may ever come to this envelopment. On the line dividing us from death, language reflects itself, encountering a mirror there; and if language wishes to stop the death that calls a halt to speech, it has only one single power by which it can do so: by letting its own image arise within itself, in a game of mirrors that has no bounds.

— Michel Foucault