Good stuff online: interview with the director of DICK: A DOCUMENTARY

January 24, 2015

When I met Brian Fender many years ago, he had completed one short film about LGBT youth (xyQ), and he was just beginning the process of making a documentary about men talking about their penises. I heard from him occasionally over the years and knew that he’d been diagnosed with ALS, a seriously debilitating illness. So I was pleased to read this EdgeMedia article online by my friend Killian Melloy to learn that a) Brian has completed his new film, DICK: A Documentary and that b) he is hanging in there, despite all the difficulties of living with ALS. In this interview, you can see a trailer for film, read about the making of it, watch xyQ in its entirety, and learn about the nonprofit organization Brian is funneling his energy into called Artists Lend Support.

brian fender


Quote of the day: GENIUS

January 22, 2015

GENIUS

The way Wayne Shorter works is the difference between a genius and a talent. The talent will come in, a great player. He’ll listen to my music, he’ll write out the chord changes, he’ll notice how weird they are and he’ll go, “Oh, this is deceptively simple.” Then he’ll figure out a part. He’ll play it. The first time, it’ll be a little rough. The second time, it’ll be better. The third time, he’s not gonna deviate. You’ll get up to take four, and I’ll ask him for take five, thinking maybe he’ll put a variation on it, but he won’t. He’s got his part, he’s done it, and he’s giving you a dirty look like, “Don’t you have it already?”

A talent is pretty good to work with.

A genius like Wayne is always exploring, so he’s gonna be more inconsistent. He’s gonna be all over the place. Because he’s going into new territory. The great things nearly always come on the edge of an error. What comes after the error is spectacular. So if you are hung up on the error, you missed the magic.

Joni Mitchell In Her Own Words (interviewed by Malka Marom)

joni mitchell wayne shorter


Food for the Joybody: cultivating self-compassion

January 20, 2015

Last week my teacher at the Iyengar Institute mentioned a concept new to me: the eight limbs of yoga. Buddhist practice has so many numbered constructs – the four thises, the five thats – it’s hard to keep track of all of them. When he named the eight limbs that Patanjali outlined in the Yoga Sutras, I recognized many of them by name. I’d just never heard them organized this way. Apparently there is a particular hierarchical order, similar to Abraham Maslow’s pyramid of human needs.

The eight limbs of yoga begins with the lower branches, the yamas and the niyamas, which guide moral behavior. The five yamas refer to conduct toward others and counsel doing no harm through stealing, lying, sexual misconduct, or taking what is not freely given. The five niyamas refer to self-discipline and advocate for cleanliness, contentment, tapas, self-study, and surrender to God – or, for people who are allergic to the concept of God, celebration of the spiritual. Buddhism is not a religion but a philosophy, therefore there’s no dogma, no insistence on faith or belief. That’s why Buddhism has no commandments but rather guidelines for ethical behavior.

(A word about tapas. Tapas is an important concept – the word is translated variously as austerity, discipline, and “zeal for yoga.” I like this explanation: “Tapas can mean cultivating a sense of self-discipline, passion and courage in order to burn away ‘impurities’ physically, mentally and emotionally, and paving the way to our true greatness.” In tantric practice, tapas is associated with “sitting in the fire” and expanding your tolerance for impatience, frustration, imperfection, and all the other obstacles that inevitably occur on the path to serenity.)

After the yamas and the niyamas, higher on the tree of yoga you find asana and pranayama, which are the practices we associate with yoga classes – postures and breathing practices. Positioned above them are three limbs related to meditation: pratyahara (withdrawal of the senses), dharana (focus), and dhyana (state of meditation). Finally, at the top of the tree is Samadhi, bliss, union with the divine. 8-limbs-of-yogathe-eight-limbs-of-yoga---yog-sundari-ulkup29dMy teacher brought up the eight limbs of yoga to introduce the theme of grounding oneself in the basics. Before you get to bliss, you have to learn to focus. In order to learn to focus, you have to practice the asanas and the breathing. In order to ground the physical practice, it helps to be grounded in ethical behavior and self-discipline. That’s easier said than done. For the contemporary urban person, it’s pretty easy to find a class or a structure within which to study yoga postures, breathwork, and various forms of meditation. But where do you get instruction, guidance, and support for ethical behavior and self-discipline? Throughout much of time and throughout much of the world, organized religion provides those services – that’s the strong appeal of membership in a church, a synagogue, a mosque, to have consistent access to a community and to teachers who have spiritual authority. Organized religion can offer comfort by providing answers to the timeless questions of what to do, how to behave, what to believe. The shadow side of organized religion is the potential for rigidity, fundamentalism, and intolerance of difference or questioning. Most people in my world live outside the culture of organized religion, even those who are deeply committed to spiritual practice.

I know from personal experience and from my therapy practice how valuable and yet how elusive the Buddhist concepts of svadyaya and santosha can be – self-study and contentment. Cultivating a spiritual practice requires a considerable amount of initiative, self-awareness, and willingness to take an honest and compassionate look at yourself. I like the phrase that comes from the recovery movement’s 12 Steps: “taking a searching moral inventory.” The dilemma that comes up when conducting such an inventory is that inevitably you bump into all your imperfections, your failings, your mistakes. It’s all too easy to get stuck there, identified only with your deficits, and to live with a constant barrage of harsh self-judgments and the feeling of never being _______ enough. Good enough, thin enough, successful enough…fill in the blank. Arriving at a place of contentment and self-acceptance is the central spiritual challenge for most people: finding a way to hold one’s full humanity – all of who you are, your ups and downs, your triumphs and challenges, your joys and your sorrows, your assets and your imperfections – with kindness and compassion. Everyone struggles with this. It’s not easy for anyone.

I remember reading that when the Dalai Lama first started teaching in the United States, he was astonished and sad to learn how many Americans he encountered on the spiritual path live with a crippling self-hatred. Among the most beautiful Buddhist teachings is the notion that compassion begins with oneself: “You can search throughout the entire universe for someone who is more deserving of your love and affection than you are yourself, and that person is not to be found anywhere. You, yourself, as much as anybody in the entire universe, deserve your love and affection.” The kicker is that if you live with a huge amount of self-judgment, being unable to summon self-acceptance or self-compassion can be one more thing to be down on yourself about.

Three things have helped me grow compassion for myself. Daily meditation practice has been an important foundation in my life for 25 years now, but something major shifted the first time I did a 10-day vipassana retreat at Insight Meditation Society in western Massachusetts. Sitting in silence hour after hour, day after day, I was forced to pay attention to the harsh critical judge in my head constantly blasting his criticisms through a loudspeaker, loudly announcing everything that was wrong with me and everyone around me. It was so painful that I had to realize that this voice came only from inside me (though traces of it sounded very familiar from my hyper-critical father) and it motivated me to learn the skills it takes to turn down the volume on that cruel broadcast and to replace the messages with more soul-nourishing words. Mindfulness retreats generally include instruction in metta, where one practices prayers of lovingkindness and compassion for yourself and others: “May I be peaceful. May I be healthy. May I be happy.” Self-compassion can be learned. It takes practice.

Years of therapy also helped me come to terms with myself, my resources, my limitations, my family heritage, my cultural imprints, my hopes, and my fears. In my training to become a therapist, nothing was more effective and revelatory than the hard long work I did on myself in individual and group therapy, along with clinical supervision from my teachers and colleagues.

I’m also a reader, so in addition to meditation and psychotherapy my svadyaya, my self-study, has always included books by spiritual teachers and seekers and thinkers. Many books have had a profound impact on me, but five of them resonate so strongly that I share them with therapy clients all the time. They have practically become the textbooks that accompany the careful, compassionate inner work that I do with people.

Taming Your Gremlin by Richard Carson came to me from the realm of life coaching. Carson introduces the extremely useful concept of the gremlin, that voice inside you that knows you so well and knows how to speak to you so persuasively and protectively and is absolutely expert at spoiling your fun. It’s a short, breezy, light-hearted but smart book that offers guidance on identifying and dealing with gremlins, mostly by not engaging or arguing with them but by taking some breaths and doing something different.

Radical Acceptance by Tara Brach directly addresses the struggle to win free of the harsh internal voices insisting that you’re not good enough. I met Brach when she co-facilitated that life-changing vipassana retreat with Jack Kornfield (another important teacher of mine), and I appreciate how much she draws from her own personal experience in humorous, honest, and self-forgiving ways. Often when I need to summon the voice of self-compassion, it’s her soothing voice that I hear (largely thanks to the CD, Embracing Difficult Emotions, that came with Radical Acceptance).

The Velvet Rage by Alan Downs is the best psychology book I know of that speaks directly to gay men. Downs charts three stages of gay men’s emotional development: working through toxic shame around being gay; working through toxic shame around imperfection; and arriving at authenticity. The key concept that made sense to me is how Downs describes the second stage as revolving around seeking validation from others, which is something we all do. The ultimate goal of authenticity arrives when the validation comes from within. But that can be a long journey. And when you’re seeking external validation, Downs points out, if you’re not being actively validated, it can feel like you’re being actively invalidated – which is simultaneously enraging and, you know, not nice, so it has to be hidden: thus, the Velvet Rage. How to identify these phenomena as they occur in your life and to manage them compassionately is the gist and the gift of his book.

A therapy client turned me on to David Richo’s How To Be an Adult. At first I was put off by the title of this slim volume because it sounded so Mickey Mouse, so simplistic to the point of being insulting. But it lives up to its subtitle: “A Handbook for Psychological and Spiritual Integration.” Richo addresses core issues such as fear, anger, guilt, and intimacy with remarkable succinctness and tremendous wisdom. He organizes his brief chapters often around lists and charts. The one that distinguishes anger from drama is so simple and clear yet surprisingly true that you have to laugh.

Daring Greatly by Brené Brown grew out of her social research on the subject of vulnerability (the subject of her famous TED talk). Her writing contains all the warmth and humor and self-revealing genuineness of her speaking voice. And she’s especially good at addressing the issue of shame, describing what it is, and sharing a pathway to acquiring what she calls “shame resilience,” a way to greet harsh self-judgments sensibly and effectively.

I don’t consider any of these books to be sacred texts to swear by or that require you to read and believe every word of. Nor are they the only books that deeply resonate with me; I could just as easily talk about Jack Kornfield’s A Path with Heart, Byron Katie’s Loving What Is, or Pema Chodron’s teaching tape Getting Unstuck. To me the value of these books and these teachings is that they offer a vocabulary for identifying and understanding the emotional, spiritual, and psychological challenges that we all face as human beings, and they provide a valuable, non-dogmatic road map for the journey to self-knowledge, self-forgiveness, self-compassion, and self-acceptance. Svadyaya and santosha.

For some people, reading books provides fantastic spiritual nourishment all by itself. For others, it helps to share books with other people, individually or in groups. As I mentioned, key concepts from these various books have provided fuel for many fruitful sessions with me and my therapy clients. If any of these topics resonate with you or sound like something you would like support to address and understand, please know that I am available as a resource to you.


Quote of the day: JONI

January 20, 2015

JONI

Miles Davis taught me how to sing. More and more I’m beginning to show what he taught me – pure straight tones holding straight lines. The feeling when you sing and you open up your heart. If you just try to remember to keep your heart open, it produces a warmer tone than if you really think you’re hot shit, because the tone is going to get cold then. That’s the thing. You can be so flashy and incredible, there’s a certain beauty that comes out of that too, but not out of arrogance…warmth is not gonna come out of it, you know. I always kept Miles and his music, especially at a certain period, a lyrical period, in the area of music that I would play for myself but never thought of it as attainable. And now I’m playing with most of the players who made up that music.

–Joni Mitchell in 1978

miles by joni


Performance Diary: GHOST QUARTET, ANCIENT LIVES, and INTO THE WOODS

January 18, 2015

1.11.15 Ghost Quartet is a beautiful little show written by writer-composer-lyricist Dave Malloy, the creator of the immersive musical gem Natasha, Pierre, and the Great Comet of 1812. It began life last year at the Bushwick Starr in Brooklyn, where it earned rave reviews and made many “Best of 2014” lists. Now it’s installed for a very limited run at the McKittrick Hotel, home of Sleep No More, where it’s been playing Sunday and Monday nights in the space occupied other nights of the week by the restaurant, The Heath. The audience sits on chairs, at tables, and on cushions on the floor around a bunch of well-worn Persian rugs in a circle along with Malloy at his piano, Brent Arnold on cello, guitar, and other stringed instruments, and two singers, Brittain Ashford and Gelsey Bell (both Natasha veterans), who mostly occupy the space’s small stage. The setting is super-cozy, like a concert in someone’s living room.

GhostQuartet3(Ryan Jensen)
The show is both extremely modest and extremely ambitious. Modest in that it’s staged (by Annie Tippe) simply as a concert of 23 songs from a concept album, each one introduced as such: “Side One, Track One, ‘I Don’t Know.’” (The musical equivalent of Brechtian scene titles.) Ambitious in that the songs are really smart, somewhat dense, extremely tuneful, spinning out a deceptively folksy non-linear narrative that weaves together several strands of story derived from two dozen different sources listed in the program. The most immediately recognizable include Arabian Nights, Edgar Allen Poe’s The Fall of the House of Usher, and Grimm’s Fairy Tales, with a tip of the hat to Into the Woods. But Malloy also cites influences as varied as Neil Gaiman’s Sandman, Ken Wilbur’s A Brief History of Everything, The Twilight Zone, English murder ballads, Ziggy Stardust, Stephen King, and the Disney movie Frozen. Characters appear and reappear in different time periods, and I suppose not unlike Sleep No More, the show invites you to pick a character or theme and follow it all the way through – could be Rose, could be Pearl, could be sisters, astronomy, storytelling, photography….

Malloy belongs to the cohort of composers whose work straddles theater music and singer-songwriter pop (cf. Adam Guettel and Gabriel Kahane, to name a couple). The combo of plangent, country-folk female voices and bowed strings reminded me at times of the lovely pop band Hem. Thelonious Monk gets name-checked, and a few of his most familiar tunes get stirred into the pot. As a lyricist, he mixes things up and enjoys strategies, structures, and puzzles. “Any Kind of Dead Person” revolves around a series of party-game questions (“If you were a part of breakfast, what part of breakfast would you be?”); “The Photograph” also employs questions, more of an existential interrogation (“How did Rose lose her camera? How did her belief system break down with the appearance of the ghost?”). “Four Friends” pays tribute to several brand-name whiskeys. (Do you get that this guy relishes his drink?) Some songs traffic in frisky dialogue; others are melancholy monologues the likes of which you might hear on a Gillian Welch album. On “Tango Dancer,” Bell sings a simple sad refrain, solo the first time, then joined by the others: “I was empty then/And I’m empty now/But it’s not the same at all.”

For all its modesty, the show delivers a bunch of theatrical surprises – a long stretch of several songs takes place with the lights out, the audience is enlisted to play some simple instruments, bottles of good whiskey are passed around, and you’re never able to guess what’s going to happen next. The show speeds by, and I’m glad I bought the original cast recording, because so many of the songs reward repeated listens. (You can buy it online here. The website generously lets you listen to the whole album, download individual tracks, AND read the lyrics — very cool!) The initial handful of performances sold out, so they’ve added six more at the end of February and early March. I encourage you to treat yourself.

1.14.15 Founded in 2008, writer-director Tina Satter’s Half Straddle ranks among the newer downtown theater companies getting a lot of attention in the last couple of years. It won an Obie Award in 2013; Satter’s Chekhov remix Seagull (Thinking of you) is also listed among Dave Malloy’s sources for Ghost Quartet (not surprisingly, given the teeny-tiny overlapping worlds of New York theater, he’s also married to Eliza Bent, a founding member and performer with Half Straddle). So the recent run of Ancient Lives at the Kitchen gave me a chance to catch up with this crew. I love that it’s essentially an all-female company. This play concerns a sort of charismatic schoolteacher named Paula (played with, I think, an intentional lack of charisma by Lucy Taylor of Elevator Repair Service) who takes three of her female students to live out in the woods away from society. One them becomes her bride (Emily Davis); the other two fall into the roles of happy camper (Bent) and grumpy camper (Julia Sirna-Frest). They encounter a male witch (warlock? played by Jess Barbagallo) who disturbs their communal equilibrium. All of them collaborate on various forms of alternative performance ranging from radio broadcasts to cheerleading to acting out scenes from Arthur Miller’s The Crucible.

ancient lives
One thing I loved about the show was how the cult of Paula distinguishes itself by wearing sort of frumpy wigs and eyeglasses (this is never explained or referenced in the text). I dug Chris Giarmo’s live score (and the way Giarmo and Jess Barbagallo managed to write gender-neutral bios). But mostly this was so so so not my cup of tea. You don’t even have to study her bio to know that Satter studied playwriting with Mac Wellman – 90 minutes of one non sequitur after another, alternately arch and mundane, spoken and acted by game performers as if it all made perfect sense. I see the lineage (Gertrude Stein to Richard Foreman to Mac Wellman and his students) and I appreciate the experimental spirit but I lose interest when there turns out to be no substance, or the substance is encoded in thrice-refracted pop-cultural references that I just don’t get. All the most interesting post-Wooster Group downtown ensembles play constantly with vacillating along the edge of smart and dumb. It’s a tricky balance and I guess entirely a matter of personal taste. ERS and Les Freres Corbusier do it for me. Young Jean Lee and Richard Maxwell – I go in and out with them. Radiohole and Half Straddle…um, sorry, ehhh.

I did treat myself afterwards to a delicious meal of Basque tapas at Txikito on Ninth Avenue.

1.17.15 Fiasco Theater consists of a group of actors who met as students in Brown University/Trinity Rep’s MFA program and stayed together afterwards. They made their name doing scaled-down small-cast adaptations of Shakespeare (Twelfth Night, Measure for Measure, and most notably Cymbeline). Now they’ve applied their house style to Stephen Sondheim and James Lapine’s Into the Woods in a production that started at Princeton’s McCarter Theater, traveled to the Old Globe in San Diego, and now has landed in New York at what the Playbill clumsily calls “Roundabout at Laura Pels Theatre/Harold and Miriam Steinberg Center for Theatre.” (Veteran New York theatergoers will probably always just think of it as the American Place Theater.) This show is vastly different from the original Broadway production staged by James Lapine, and from the punky British production that showed up at the Delacorte in Central Park a couple of summers ago and from the new movie version. It is very much an ensemble piece, co-directed by two of Fiasco’s three co-artistic directors: Ben Steinfeld, who plays the Baker, and Noah Brody, who plays the Wolf, Cinderella’s Prince, and one of the wicked stepsisters. (With his pornstache and buff body, Brody radiated gay vibes to both Andy and me at first sight — see below with Emily Young as Little Red Riding Hood — but it turns out he’s married to the other co-artistic director, Jessie Austrian, who plays the Baker’s Wife. So much for gaydar, or should I say wishful thinking?)

into the woods noah broady emily young

The set is highly conceptual – instead of a fairy-tale forest, it takes place inside a piano (and if the design reminds you of I Am My Own Wife, good connection – they’re both the work of Derek McLane). The performance style borrows something from Shakespeare’s Globe (as we saw last year when Mark Rylance brought Twelfth Night and Richard III in rep) and something from Story Theater. Everybody’s onstage the whole time, everybody sings and acts and plays musical instruments and moves the furniture.

roundabout into the woods
The level of theatrical inventiveness is very high minute by minute. Having seen several other productions of Into the Woods already, I enjoyed the clever ways they found to play various moments and to solve the problems that arise when you have actors playing multiple roles (what happens when Brody’s Prince tries Cinderella’s slipper on Lucinda, the stepsister that he plays?). The downside is that musical values take a beating. The orchestra mostly consists of an upright piano at center stage, joined occasionally by lovely pockets of ingenious additional instruments (cello, guitar, autoharp – the same down-homey sound and costumes seen in Ghost Quartet, come to think of it). But this is definitely a cast of actors who sing, rather than singers who act. Some of the better singers are non-Fiasco members, especially Patrick Mulryan’s Jack and Jennifer Mudge’s Witch. (Andy pointed out that when Mudge transformed out of her ugly-witch garb, for a moment it suddenly looked like Nina Arianda had stormed in from Venus in Fur). Sondheim enthusiasts might be delighted to note the inclusion of “Our Little World,” the mother-daughter duet for Rapunzel and the Witch that was added for the first London production and frequently interpolated since then, and they will either be pleased or displeased at the removal of the Narrator character, one aspect of James Lapine’s original book that has always been a bit of postmodern prank, not easy to pull off. I mostly liked the show. I was less bothered by the less-than-perfect singing than Andy was. We went home and listened to the complete 2-CD movie soundtrack with Jonathan Tunick’s orchestrations conducted by Paul Gemignani, which definitely satisfied the last bits of nagging hunger left over from Fiasco’s stage production.