Went to see Lynn Nottage's play Sweat at the Arena here in DC today. Nottage won the drama Pulitzer for a play called Ruined, which I have not seen. Sweat is a superb drama, which I hope makes it to New York. It was a co-production of Arena and the Oregon Shakespeare Company in Ashland, where the original production occurred last year.
The story is bleak: set in Reading, Pa., in 2000 and 2008, it shows how workers in a plant are squeezed by management intent on moving the plant to Mexico as facilitated by NAFTA. Within this context, one character earns a promotion from being on the line to a supervisory white-collar position. As the situation turns grimmer, the workers begin to fight among themselves and nothing turns out well for any of them.
Much of the play takes place in the local bar to which they all repair after work. The bartender is also an industrial casualty: he was injured in the plant and forced out on disability after many years spent working there.
Some of the ending is telegraphed in the opening scene but there remains plenty of anticipation and some suspense as to how the story reaches that conclusion. The writing is good and it captures the way workers in factories approach their situation. In one sense, their characters explain by their lines why this group of Americans feels they have been totally run over and ignored by the power structure and thus turn to candidates like Trump and Sanders whom they feel may just do something for the forgotten people.
Most of the cast is the same as appeared in the Oregon theater premiere last year. They are uniformly excellent and perhaps that is owed to Kate Whoriskey's direction. This play made me recall those dramas that tried to show how working people feel and behave, plays like Miller's Death of a Salesman and Mamet's Glengarry Glen Ross. This one is in a league with them--it may not be quite as overwhelming in impact but it is mighty powerful.
Saturday, February 20, 2016
Saturday, February 13, 2016
Chimes at Midnight
Chimes at Midnight was released in 1965 and filmed then and in the preceding year. It's just been re-released, in limited distribution, and we saw it yesterday at the Landmark E Street. As one might expect with anything put together and presented by Orson Welles, it just could be the best picture I'll see this year.
Welles adapted his script from Shakespeare's Henry IV, Parts One and Two; there's apparently not one line in it that isn't taken from the original. (He even credits Shakespeare's source: Raphael Holinshed's Chronicles.) He had played Falstaff on stage as a young man--for no one has had such an incredible career in theatre as Welles had, all before he reached the advanced age of 25.
Everything works. The tavern scenes are bawdy and blowzy and full of dancing and carrying-on of all sorts. The great battle scene of Shrewsbury, where Prince Hal proves his mettle by taking on the great Hotspur Percy, is long but perfectly shot. The rest of the cast is fantastic: from John Gielgud as old King Henry IV to Margaret Rutherford as Mistress Quickly, the "Hostess" to Jeanne Moreau as Doll, Falstaff's most intimate friend. A young Keith Baxter is fine as Prince Hal. Welles even found Alan Webb, a marvelous old English actor who played the father to Hal Holbrook's son in I Never Sang for My Father, to depict Justice Shallow, Shakespeare's greatest joke on the judiciary.
It all fits together perfectly. You come to appreciate Falstaff in all his glory and sleaze. He's his own greatest salesman and con man and celebrant, yet you see his quickness despite his huge size, his ability to recognize immediately what the situation is and how to confront it, even when Hal, crowned Henry V, disowns him. For it was with Hal as much as Justice Shallow, who gets to say the line, that Falstaff surely often heard the chimes at midnight. And yes, it's in black-and-white, which is absolutely smashing for this production.
As with all of Shakespeare, every so often a very famous line sort of jumps out and hits you in the face. But mostly, you are entranced by Welles' performance: his facial expressions, always his fabulous baritone voice, and his always knowing what his character would do under any and all circumstances. Falstaff thus is so much more than a Shakespearean clown or jester; though that is what Shakespeare was focused on when by popular demand he brought him back in The Merry Wives of Windsor. And even so, Verdi made a marvelous opera out of this play that Shakespeare clearly wrote to profit from his character Falstaff's popularity.
He had a view of how to live life to the fullest and you feel that even if Henry V has moved on from him, he will always carry some part of "sweet, wise, loving Jack" with him, when in Henry V he must turn to convincing a princess who doesn't understand English--Katherine of France--to marry him.
Welles adapted his script from Shakespeare's Henry IV, Parts One and Two; there's apparently not one line in it that isn't taken from the original. (He even credits Shakespeare's source: Raphael Holinshed's Chronicles.) He had played Falstaff on stage as a young man--for no one has had such an incredible career in theatre as Welles had, all before he reached the advanced age of 25.
Everything works. The tavern scenes are bawdy and blowzy and full of dancing and carrying-on of all sorts. The great battle scene of Shrewsbury, where Prince Hal proves his mettle by taking on the great Hotspur Percy, is long but perfectly shot. The rest of the cast is fantastic: from John Gielgud as old King Henry IV to Margaret Rutherford as Mistress Quickly, the "Hostess" to Jeanne Moreau as Doll, Falstaff's most intimate friend. A young Keith Baxter is fine as Prince Hal. Welles even found Alan Webb, a marvelous old English actor who played the father to Hal Holbrook's son in I Never Sang for My Father, to depict Justice Shallow, Shakespeare's greatest joke on the judiciary.
It all fits together perfectly. You come to appreciate Falstaff in all his glory and sleaze. He's his own greatest salesman and con man and celebrant, yet you see his quickness despite his huge size, his ability to recognize immediately what the situation is and how to confront it, even when Hal, crowned Henry V, disowns him. For it was with Hal as much as Justice Shallow, who gets to say the line, that Falstaff surely often heard the chimes at midnight. And yes, it's in black-and-white, which is absolutely smashing for this production.
As with all of Shakespeare, every so often a very famous line sort of jumps out and hits you in the face. But mostly, you are entranced by Welles' performance: his facial expressions, always his fabulous baritone voice, and his always knowing what his character would do under any and all circumstances. Falstaff thus is so much more than a Shakespearean clown or jester; though that is what Shakespeare was focused on when by popular demand he brought him back in The Merry Wives of Windsor. And even so, Verdi made a marvelous opera out of this play that Shakespeare clearly wrote to profit from his character Falstaff's popularity.
He had a view of how to live life to the fullest and you feel that even if Henry V has moved on from him, he will always carry some part of "sweet, wise, loving Jack" with him, when in Henry V he must turn to convincing a princess who doesn't understand English--Katherine of France--to marry him.
Saturday, February 6, 2016
The Days of Blacklisting
Tonight we saw the movie Trumbo, which is exceptionally good, especially for the performances of everyone, but Bryan Cranston as Dalton Trumbo stands out, even from the fine showings made by Diane Lane as his wife and many, many others, including John Goodman as a producer of junk pictures and Helen Mirren as the evil columnist, Hedda Hopper.
Some have said that when they had had the upper hand in the 30s, the Communists had behaved badly toward people in the industry who did not share their political views. But the picture makes clear how the blacklist ruined careers, families, and self-respect, in addition, of course, to the ultimate irony of the House Un-American Activities Committee chairman J. Parnell Thomas ending up in the same federal pen as Trumbo, but Thomas's crime was tax evasion.
My father worked for AFTRA when the red scare was raging and I remember how he tried to stay as far from it as he could. Mail from both sides would come to the house. He knew a good many people on both sides, both many leftists in the film, tv, and radio worlds as well as people on the right both in the unions, especially SAG, and some of his classmates from Fordham.
We forget now how few people stood up for civil liberties in terms of the right to free speech and association. Edward R. Murrow was probably the most famous and the Boston lawyer Joseph Welch who excoriated Sen. McCarthy at the famous Army-McCarthy hearings. It was ironic to see Otto Preminger, who had played the German prison camp guard in Stalag 17, as the independent producer who decided to put Dalton Trumbo's name on the screen as the writer of Exodus, along with Kirk Douglas, who gave Trumbo the screen writing credit for Spartacus, two notable steps that were the beginning of the end of the blacklist.
It's good to see this picture, now brought back to the Avalon theater, a community-run house here in DC, getting more exposure. Another irony was to see the then-head of the IATSE, the movie crafts union, always powerful and which had once sought to organize the actors, supporting the blacklist, when the IA itself was riven by mobsters and used this as an occasion to clean up its own tarnished image.
Some have said that when they had had the upper hand in the 30s, the Communists had behaved badly toward people in the industry who did not share their political views. But the picture makes clear how the blacklist ruined careers, families, and self-respect, in addition, of course, to the ultimate irony of the House Un-American Activities Committee chairman J. Parnell Thomas ending up in the same federal pen as Trumbo, but Thomas's crime was tax evasion.
My father worked for AFTRA when the red scare was raging and I remember how he tried to stay as far from it as he could. Mail from both sides would come to the house. He knew a good many people on both sides, both many leftists in the film, tv, and radio worlds as well as people on the right both in the unions, especially SAG, and some of his classmates from Fordham.
We forget now how few people stood up for civil liberties in terms of the right to free speech and association. Edward R. Murrow was probably the most famous and the Boston lawyer Joseph Welch who excoriated Sen. McCarthy at the famous Army-McCarthy hearings. It was ironic to see Otto Preminger, who had played the German prison camp guard in Stalag 17, as the independent producer who decided to put Dalton Trumbo's name on the screen as the writer of Exodus, along with Kirk Douglas, who gave Trumbo the screen writing credit for Spartacus, two notable steps that were the beginning of the end of the blacklist.
It's good to see this picture, now brought back to the Avalon theater, a community-run house here in DC, getting more exposure. Another irony was to see the then-head of the IATSE, the movie crafts union, always powerful and which had once sought to organize the actors, supporting the blacklist, when the IA itself was riven by mobsters and used this as an occasion to clean up its own tarnished image.
The Other Bernie
I watched the two-night TV series, each instalment two hours in length, on Bernie Madoff this week and found Richard Dreyfuss's portrayal to be superb. In fact, the whole cast and the writing were good and the story bears re-telling. ABC for once did a good job especially in following the second instalment with an hour spent speaking to those in the case who are still around to talk.
It confirmed to me my original feelings about how Bernie Madoff was so successful in inveigling people into investing with him. He understood the secret of never asking directly for money but making his funds hard to gain entry so that people craved to be let in on what they clearly regarded as a gold mine.
I think of the Sunday morning testimonial breakfasts that my dad would now and then feel compelled to attend and recall the kind of men who populated those occasions. I can just see him sidling up to someone who had been seeking him out and saying, with some reluctance, "Look, it's all taken for this year but next year I'll somehow get you in for a small amount."
The whole thing is a testament to human nature. It was both sad in its impact on many, many people who trusted him and were wiped out and even his family. Of course, they were living high on the hog while the fraud ran wild, but his sons resented him most in the years before the scandal broke for his refusing to let them in on "that part of the business." I don't think they ever realized that he was a total crook.
Also amusing was the high regard in which he seems to be held by his fellow inmates at Butner federal prison in North Carolina, likely because he stole so much more than any of them had. That made him someone they could respect: a guy who had taken a cool fifty billion.
It confirmed to me my original feelings about how Bernie Madoff was so successful in inveigling people into investing with him. He understood the secret of never asking directly for money but making his funds hard to gain entry so that people craved to be let in on what they clearly regarded as a gold mine.
I think of the Sunday morning testimonial breakfasts that my dad would now and then feel compelled to attend and recall the kind of men who populated those occasions. I can just see him sidling up to someone who had been seeking him out and saying, with some reluctance, "Look, it's all taken for this year but next year I'll somehow get you in for a small amount."
The whole thing is a testament to human nature. It was both sad in its impact on many, many people who trusted him and were wiped out and even his family. Of course, they were living high on the hog while the fraud ran wild, but his sons resented him most in the years before the scandal broke for his refusing to let them in on "that part of the business." I don't think they ever realized that he was a total crook.
Also amusing was the high regard in which he seems to be held by his fellow inmates at Butner federal prison in North Carolina, likely because he stole so much more than any of them had. That made him someone they could respect: a guy who had taken a cool fifty billion.
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