This Floral Fantasy fractal pretty much screams 60s. That's why I chose it for my review of Hair. Hmm--that was remarkably simple... Ah well--on with the review!
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I've been fascinated by Hair (the musical not the stuff that grows on heads and other places) since my early teens: I had become aware of the musical through movies like The Music Man, West Side Story and Gypsy which used to play pretty regularly on Thursday Night at the Movies. (Does anyone remember those?) Still, Broadway was a long way away from the sleepy little desert town where I grew up--and there was no way I was going to go. Still, my next door neighbor Donald Ray Hale had an 8-Track tape of the show (dunno how he got it or why) but it seemed to be playing almost every time I was over there--hence I got pretty familiar with the show. Then Hair came to Los Angeles for an extended run (like two years) at the Aquarius Theater. Turned out my sister Syn Dee lived not too far from that storied venue (yeah right!) and we'd drive by it several times whenever we went to visit. For the first time there was the possibility I could see a real, live Broadway Show!
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But sadly, that dream was never to be: my sisters (with the possible exception of Tanya--who I never asked) weren't interested in seeing the show and I doubt my parents would have wanted me to see anything that glorified sex, drugs and rock 'n' roll (and lets not forget the NUDITY!!!) Soon enough the 60s faded and Hair, the Tribal-Love Rock Musical (as it was called back then) faded with them. There was an ill-conceived movie version in the early 80s but it was nothing short of horrible. Eventually though, like everything else, the endless recycling of pop culture brought back to the Broadway stage in 2009--a generation after it first premiered.
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I was surprised to see how many people attended the Saturday matinee (and even more surprised to see how many people were my age or older: guess they saw it the it the first time around). The new production gets the American Idol treatment with bigger voices, higher notes, more complex runs and generally amped-up production values. The plot is barely sketched in and the characters are little more than stick (some might say schtick) figures but the songs we remember and all the irreverence that made the original so controversial back in the day are still there in spades. The second act is completely confusing (and much of it is pretty forgettable) and the show ends on an ambiguous (yet equally effective and disturbing) image that gives you a lot to ponder.
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You can't fault the cast for their singing or acting (or their general willingness to "go there"). Everyone has good "rock-anthem" voices and nice lithe bodies for the dancing. We had seats in the Orchestra section so the cast spent some time in the aisles interacting with the audience. The costumes hearken back to a bygone day and the 11 piece on-stage band is first rate. There is a lot of irreverence (the nude scene is preserved although it's not featured nearly as prominently as the original--but maybe that was just because the show was in Orange County). The set was minimal but effective and the lighting was effective as any rock show.
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Watching the show was a strange, bittersweet experience for me. (I was almost there back in the day.) The "Hippie" movement eventually helped end the Viet Nam War and gave rise to Women's Lib and Gay Liberation (good things in my book). Sadly, their children were the Yuppies (who gave rise to the ultimate in "me"-driven crass consumerism). It was an odd experience for me to look back on the good--and--bad--times back then. (The reality is that everything wasn't all "peace/love/joy")
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Still, if you were "there" in the 60s (and want to remember) or even if, like me, you just wish you were, Hair is a fun trip down memory lane. Right-Wingers won't like it because of the anti-Establishment message not to mention the "disrespect" to the American Flag but if you can get past that I suggest you catch the show while you can.
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FINAL GRADE: A
I chose Peppermint Star as today's fractal cookie mainly because the show I'll be reviewing is a stellar effort and a sweet experience for all concerned. (But, then again, y'all pretty much had to guess that from the title of the review--right?)
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Frankly, I was dreading Performance Riverside's production of The Sound of Music. The day was cold and an early rain was dripping out of a leaden sky. Worse--the first two shows I'd seen them do had their share of problems. Still, we had the tickets so I was going to use them. Still, a Rogers and Hammerstein show is hard to screw up so I hoped for the best.
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And, really, The Sound of Music has it all--memorable (yet very singable) songs, a sweet, brave story (suitable for the entire family) a passle of cute kiddies and an easy-to-follow plot. What more could you ask from a show? Yes, you have to have skilled singers on stage and a good pit orchestra to send the show to the stratosphere (but luckily this show has that in spades). From start to finish your ears are in for a real treat.
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Cassandra Murphy as Maria brings back fond memories of Julie Andrews in the same role. She's a pretty girl with a big smile and has the strong voice and winsome charm that couldn't fail to entrance even the hardest-hearted old curmudgeon. John LaLonde as Baron von Trapp has a fine tenor voice but I found his characterizatiosn maybe a bit too extreme. (Still the script requires him to go from grump to mushy love in a matter of pages and he carries it off.) As the Mother Abbess, Renee Jensen brings a kiler soprano and a gentle sternness to her role. She leads a "nun chorus" of 20 (not counting the three Sisters with speaking roles). The chorus (which shows up several times in the show) gives a performance that is nothing short of spectacular. (Six part classical music perfectly sung acapella--in the aisles no less! is a truly wonderous sight to behold.) The remaineder of the cast serves their roles adequately to very well.
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As for the children, Kristina Brown (as Liesel) is a delightful inginue although I found Michael Milligan's Rolf rather less than believeable. (Still, he's far and away the best dancer in the cast and he gets a brief chance to shine in one number.) As Friedrich, Jordan Gomez seems a bit old for the part but he sings well enough in the ensemble. Berlynn Milliken brings the right mix of pluck and sweetness to the part of Brigitta but Taylor Snow (Marta) and Tayler Lynch (Louisa) get a bit lost in the crowd. Young Tyler Jenkins forgot his words in one solo but he kept right on going in character and never let it phase him or the audience. (God job, boyo!) Last, but certainly not least, youngest child Gretl (Rena M. Madura) is cute as a bug.
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Yes, there are a few problems with this production: some accents are frankly less than perfect (and one or two actors don't even bother trying for an accent). The pacing of the show is fine but scenes are a bit jerky (the fault of the script not the production). Several minutes (and at least one song reprise) have been cut from the original script (to bring it more in line with the movie version) but I didn't find it at all troubling. The sets were minimal but not minimalist and of a much higher quality than what I've seen in past shows here. Still, considering the problems with sound mixing (among other issues) this show has really raised the quality-bar for Performance Riverside. Robyn and I thoroughly enjoyed the show but our friend Mary Lou Andrews had more problems with the production than we did. (Still, you'll have to find a review she wrote to see what she thoughtt.) As for me, (like I said in the title) this is pretty close to a perfect musical for the entire family. GO SEE IT!
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FINAL GRADE: A
Almost any Christianity-related post gets a "Stained Glass" fractal so it should be no surprise that something related to Islam should get an "Arabesque" fractal cookie. I chose Arabesque 56 for this rant mainly because I don't think I've used this before. ANYway--enjoy the post (unless you have other plans) and here's hoping I don't get in trouble with the Concerned American Citizens group.
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Recently a proposed Mosque in the lovely city of Temecula got my attention when a group calling itself Concerned American Citizens raised opposition to the building. Why? First, you go with the obvious (adding traffic to a residential area, parking problems, flooding) then then they add in concerns for "public safety"--whatever that may be. I get that there just MIGHT be some validity to the claim (having attended a church in a residential area I get that neighbors might have some legitimate concerns about parking). Still, where I start taking objection is the issue of public safety.
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What got me was a comment by one unidentified woman saying the Mosque's leadership "refused to disavow Hammas". (The leadership of the Mosque says it's not ABOUT Hammas--it's about whether or not the city has a legal right to prevent construction.) About all they could really bring to the table was that some Islamic Centers support "insurrection and jihad". (Mind you--there's NO INDICATION that the Mosque in Temecula supported this other than the leadership being unwilling to engage in a political debate). We know that Timothy McVeigh (who was responsible for the Oklahoma City bombing) was a Christian Fundamentalist: does that mean all Christian Churches should be restricted? Obviously not: the same goes for Mosques or any other form of worship center--for ANY denomination!
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Here is the commentary from Concerned American Citizens on the Temecula issue. http://concernedamericancitizens.wordpress.com/
It's both interesting and frightening: check out the first reply. (I love how things get bent and featured disproportionally.) Here's their companion site that comments on the entire religion of Islam. http://actforamerica.wordpress.com/ . On one level--I completely get it but then I realize the guy is talking about a VERY extreme version of Islam. We SHOULD be concerned about folks like this (and a foreign policy that encourage Islamic Extremists). But we shouldn't be any more concerned about them than we should be about Christian Extremists. American citizens--you DO have a right to be concerned! Maybe you're just not concerned about the right things...
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Think about it.
I chose Queen Bee as today's fractal cookie mainly because Sarah Palin is the uncroowned Queen of the Mamma Grizzlies. This post concerns her (at least tangentially) and, really, there just isn't a better fractal image to choose. So--on with the rant!
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What can I say sabout the Saturday (January 8) shooting that severely wounded Representative Gabrielle Giffords and killed six others--including a Federal Judge, a nine year-old girl and two senior citizens? Really--nothing that hasn't already been said other places (and probably better). Still, a wrinkle in the story has got my back up a bit and inspired me to write. Several month ago Sarah Palin put up an image on her Facebook page showing nine congressional districts (including Giffords') covered with crosshairs. Palin is also famous for her repeated comment "don't retreat--re-load!"
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In fariness to Sarah Palin--she wasn't the only one to use this imagery and she quickly took the "offending" image down after scathing criticism (even from staunch Republicans). Now the only question that remains--did these images have anything to do with fueling the insanity of Jared Lee Loughner? I haven't heard one way or another but media speculation is running rampant. I do know the Palin camp was quick to announce that the images were in no way intended to inspire violence. So far there has been no indication whether this factored into the decision to shoot the Congresswoman.
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I do know this thugh: blaming Sarah Palin (for the facts are in) is just plain WRONG! True, she's not one of my favorite Politicians but I have to give her the benefit of the doubt on this one. That being said--providing fuel to crazies (however unintentionally) is NEVER a good idea. There's no beating crazy but, really, there's no benefit in giving them fuel for their crazy fire. Ads featuring violent imagery do nothing to foster civility, reasoned debate and respectful disagreement in our society--qualities that are in short supply these days.
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Yes, I hear the arguement--most people know the difference between violent images and real violence. Believe me--I get it: I watched my share of Bugs Bunny and Roadrunner cartoons back in the day and I don't feel the knew to hand my enemies an exploding carrot or drop an anvil on their head. I KNOW the difference between fantasy and reality. But we're not talking about the reasonable, intelligent folk (like the good people who read my blog) we're talking about nutbags. Don't you think it's better to err on the side of caution? I know I certainly do...
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Think about it.
I chose Waterdeep as today's fractal cookie mainly because the movie because it takes place mostly at sea. What is today's review? Why, Chronicles of Narnia: Voyage of the Dawn Treader, of course. (As if you couldn't tell from the title of tthis poost!) So--on with the review!
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The "Narnia" franchise has run a twisty course: after a spectacular first movie (The Lion, The Witch and the Wardrobe), the second outing (Prince Caspian) was a critical and Box Office disaster. Disney dropped the franchise after taaking a major bath with the movie but 20th Centruy Fox (for reasons unknown and perhaps unknowable) took up the franchise. What they produced was a pretty good "quest" movie although purists won't care for it much: this "Voyage" often veers away from the C.S. Lewis story.
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Peter and Susan (the two older children from the first two movies) have gone off to America with their parents leaving Edmund and Lucy (the younger kids--now well into their teens) in the care of cousins. For this trip to Narnia they are joined by cousin Eustace (played to priggish perfection by Will Poulter). Like Edmund before him, Eustace is transfromed by his visit to Narnia (literally and figuratively) and he comes out better for it. Prince Caspian (Ben Barnes) is back and Liam Neeson gives voice to Aslan the animated lion. Even Tilda Swinton's White Witch shows up briefly. Simon Pegg gives voice to Reepicheep, the impossibly brave and ceaselessly cheerful mouse (and he actually turns the little guy into an admirable character you want to root for).
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Plot-wise, this is a standard "quest" movie. You can't fail to know how everything is going to turn out even before the movie starts. There are several "huh?" moments (where elements are introduced in a major way--then completely dropped). The costuming and sets are suitaly fantastic and the FX are first rate. I do have one major quibble however: Robyn and I saw this in 3D (paying $4.00 a piece extra for the "privelage"). 3D adds NOTHING (but a lot of extra expense) to this movie! In fact, the effects are rarely even noticeable--but maybe that's just me. Still, I found the extra expense rather hampered my enjoyment of the movie.
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Purists are sure to be annoyed by the serious working-over the writers gave the plot but IMHO this was a good thing. (The book was awfuly "talky" and didn't have a lot of action to hold my interest.) Don't bother with the extra expense of a 3D showing unless you are seriously rich or seriously into 3D. Otherwise go and enjoy the movie.
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FINAL GRADE: B
I chose Opposites Flower because this post has two reviews. Both star Jeff Bridges and the movies are both quite similar and yet quite different. So--on with the reviews!
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This past weekend I caught two movies, True Grit and Tron. As I said in the previous paragraph--both star Jeff Bridges and there are both big similarities and big differences. First I'll deal with True Grit.
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I had seen the first True Grit way back in 1969 and, although not a big Western OR John Wayne fan, I really enjoyed the movie. This new version has been completely re-concieved and it is just as good as the original. This True Grit is frankly grittier than the first version. The older movie was bathed in bright colors altogether cleaner. The new version was washed in sepia tones (rather like a faded color photograph. The cowboys aren't nearly as handsome (although both Rooster Cogburns have clearly seen better days). The new version sticks closer to the book in plot and language but there is plenty of quirkiness as you'd expect in any Coen brothers film.
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Jeff Bridges is morally ambiguous as Rooster but he still makes you root for him. The single-biggest standout in the cast though is relative newcommer Hailee Steinfeld: her Maddy Ross is stubborn and single-minded and she too is entirely believeable. Matt Damon has some of his good looks toned down but his texas accent is flawless. Josh Brolin is hardly recognizable as Tom Chaney but he is creepy and does "bad guy" to perfection. The rest of the cast handles the difficult script with aplomb: they never distract from the tone and character of the movie.
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If there is any justice in the world True Grit will nominated for multiiple Oscars. A "Best Picture" nod is certain (but with ten slots to fill how could it not? Still--this is a highly worthy contender.) Best Actor/Actress nominations are also a lock for Bridges and Steinmetz and I expect a Directorial nod for the Coen brothers. There should also be a slew of other awards for writing, set and costume design, cinematography and other categories. True Grit is well worth the trip to your local cineplex (just leave the kiddies at home).
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FINAL GRADE: A+
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Tron was a critical and financial flop way back in 1982 although it spawned a large and deeply-devoted cult following. (I wasn't quite a "Tron" Cultist but I really enjoyed it.) When I heard they were making a sequel I had high hopes. Sadly, I went to see the movie...
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I so wanted Tron Legacy to work: if it wasn't for the script I'd really have enjoyed the movie. The "light cycle" "I.D. Disk" Gladiator battles are back and the visual effects have been ramped out so they are truly a thing of beauty to behold. Male lead Garrett Hedlund needs a thorough ass kicking (at least his character does). He gives it the old college try but it would take an actor of more talent and experience to rise above the drek that is this script. Jeff Bridges' character from the original has discovered (in the words of my young friend Eris Young) "Zen and shit" but it just doesn't work here. His philosophising just drags an already weighty movie into the toilet.
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I could spent literally hours cataloging the faults of this movie but why prolog the pain? Suffice it to say this movie is just, plain, BAD. It is a pretty movie but, like a dumb, blonde, there's nothing inside. It's nice to look at but ultimately unengaging. If you MUST see Tron Legacy park your brain (and any higher expectattions) at the door. Sneak in after watching a better movie or, better yet, wait to this comes out and rent it. Even waiting for the network TV debut wouldn't be a bad idea.
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FINAL GRADE: C- (and that's being kind)
It's that time of year--the time where I talk about the latest additons to my ever-growing Christmas Album collection. Thus I chose Christmas Bells as today's fractal cookie. Now that's out of the way--lets get on with the review!
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Faithful readers of this blog will know I really like my Christmas music. (I know, you're still surprised--deal with it.) Once upon I said I'd have one Christmas Album for each year I'm alive--but that ship sailed long ago. (Of course, I have been weeding out my collection--but I'm not going to talk about that.) This year I found myself going toward popular artists. The results were--interesting (to say the least!) So, here are the reviews...
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A Christmas Corncucopia by Annie Lennox
Annie Lennox, the female half of the Eurythmics, has released an album of mostly traditional material. There is a decided Eurythmics "vibe" to the music and arrangements (although Dave Stewart is nowhere in evidence). She's never had the world's best voice and the years haven't been kind to her vocal cords and a lot of the songs seem more shouted than sung. Still, somehow she manages to make it work: combining techno and world music elements with these familiar (and a few not-so-familiar) old carols makes for an excellent listen. There's nary a mention of Santa or anything else secular--and I found that rather refreshing. The one original song, Universal Child, isn't holiday-themed at all--but rather talks about suffering children. All the procedes of this song are going to charity so I can't really knock (even though the sentiment has been expressed many times before--and better). If you were a fan of the Eurythmics, "synth-pop" or even just holiday music that isn't a carbon copy of evertyhing else you've heard done to death A Christmas Cornucopia is a worthy choice.
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FINAL GRADE: A
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A Cherry Cherry Christmas by Neil Diamond
In a lot of ways this album is the polar opposite of the one reviewed above: with two exceptions (Joy To The World and Amazing Grace) this is a decidedly secular outing. A lot of the songs are lushly orchestrated and you have deal with Diamond's often cheesey (which sometimes seems to veery way too close to self parody) that send some of the songs that threaten to send the album into the land of Utter Crapdom. (His version of White Christmas needs to be taken out in the alley and shot and Jingle Bell Rock couldn't be saved by Jesus Christ himself.) The three new songs included here are nice but nothing special: there are no new Christmas Classics here Still, there are a few songs that save the album from the toilet. The self-referential title track is chock-full of shout outs to Neil Diamond songs and albums: it's pure fun (but, like, any novelty song might grow tiresome after a few hearings) His gospel-drenched Joy To The World harkens back to Brother Love's Traveling Salvation Show and there seems to be some real emotion and sentiment here. The strangest song on the closer--The Chanukah Song (yes, the one by Adam Sandler!). I didn't think he could pull it off but somehow he makes it work (and it's one of the better cuts on the whole album). Neil Diamond fans will eat this up like candy and fans of mainstream music will probablhy enjoy it more than I did. This is one of those times I really wanted to cherry pick the best cuts on i-Tunes and ignore the rest.
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FINAL GRADE: B-
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Joy by Jim Brickman
New Age Pianist Jim Brickman is back with his third Christmas Album featuring more gooey goodness for the holidays. This has a nice mix of traditional carols and one or two new pieces done mostly with solo piano (with the occasional instrumental or vocal added in for spice). Unless you are a serious piano fan you don't actually need to listen to anything on here--but it makes for great background music. (This is perfect music for a holiday party or to read a book by the fire.) The original songs are more forgetable than those on the previous two albums but that's OK. All in all, this album isn't bad for what it is--if you don't expect a lot.
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Final Grade: C+
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Christmas Wishes by Aureole
Technically, this isn't a "new" Christmas album at all (although it is new to me). It was released back in 2004 but I didn't know of its existance until a few days ago while listening to Holiday Pops on satelite radio. That got me curious enough to search my usual musical haunts: I found it only at Amazon.com but it was cheap so I bought a copy. Three hot babes playing flute, viola and harp travel through mostly traditional, and quite familiar, music: some of the arrangements a very traditional and some have a decidely jazzy, very modern-day vibe. The mix makes for an interesting combination you can actually listen to or simply put on as background music for a holiday party. There aren't any "oh my gawd that song is awesome!" moments on the album--but neither are there any "Jeez--that song sucks major!" moments either. For those who like their holiday music out of the mainstream this album is well worth tracking down.
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FINAL GRADE: A-
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Holly Happy Days by the Indigo Girls
And now for something completely different--starting with the packaging! This album doesn't ship in the usual plastic "jewel case" but instead comes with inside a cardboard "present" along with three free-standing "ornaments" (so they could include the liner notes). This is a fairly low-fi, folksy album with a decidely country flair. Unlike the other albums I've reviewed today, seven of the eleven tunes are originals (that vary from the pretty darn good to merely OK). Songs like the rollicking I Feel The Christmas Spirit and the joyful Your Holiday Song are the stand-outs in the bunch although there's much to recommend the hauting lullaby Peace Child. The traditonal songs are where the album falls down a bit: their version of O Holy Night isn't quite a howler but their bawling version doesn't do justice to one of the most beautiful Christmas songs ever written and there cheesed-up version of I'll Be Home For Christmas is a total groaner. In The Bleak Midwinter is entirely too spritely for my taste but the harmonies and instrumentation at least make it interesting to listen to. Not sure why they felt the need to include Happy Joyous Hanukah but their version is loaded with fun and good cheer and fits right in with the tone of the other songs. It is an altogether worthy additon to the collection. At least they follow it up and end the album with a pretty good Angels We Have Heard On High. Again, this is an album out of the mainstream but this is something more than just background music. Holly Happy Days has its flaws but the highs well outnumber the lows: all in all it is well worth the listen.
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FINAL GRADE: A-
