Category: Art/Culture/Movies

Mozart’s Don Giovanni is seriously out of step with our times. The producers at Boston Opera Collaborative realized this and posted a trigger warning on the door to the theater:

The original libretto, written without the benefit of the latest batch of Marvel female superhero movies, has Donna Anna’s honor defended (to the death) by her father. Mom is nowhere to be seen. In the modern B.O.C. version, it is a single mom who defends Anna at the cost of her own life, then comes back as a vengeful ghost to kill Don Giovanni.

The Boston Opera Collaborative’s update does not address one of the more problematic parts of the story for a modern audience, i.e., that nearly all of the women (2,000+) who had sex with Don Giovanni apparently did so voluntarily, attracted by his wealth and position or his fine words:

With blondes it is his habit
To praise their kindness;
In brunettes, their faithfulness;
In the white-haired, their sweetness.

As former Harvard Winthrop House dean Ronald Sullivan might be saying soon at Harvey Weinstein’s trial: “He had thousands of satisfied customers and just a handful of complaints.”

B.O.C. gives Don Giovanni (played convincingly by Junhan Choi) a modern way to reel in the females: he is a fashion photographer with a studio. He has a female enabler assistant (played silently, yet dramatically, by Felisha Trundle), just like a lot of the guys who’ve been #MeTooed. convincingly delivered the love/hate situation of Donna Elvira.

Sarah Cooper as Zerlina has some of the most troubling lyrics, delivered with an amazing voice and acting talent. In “Là ci darem la mano” she is considering abandoning her fiance for the just-met Don Giovanni because he is rich, has a fancy castle, and can raise her standard of living:

I would like to, and I wouldn’t,
My heart is trembling a little.
True, I could be happy,
But it could trick me again.

The only thing that she knows about this guy is that he is richer than the person she has promised to marry. Rich guy says “I will change your fate.” and she is coming around to the idea (“Soon…I won’t be strong anymore.” then “Let’s go!”), but Donna Elvira (Isabelle Zeledón; great), the spurned earlier lover, intervenes and proves Don G’s villainy by showing Zerlina evidence from a smartphone (texts?).

Her apology to Musetto (acted with appropriate frustration by John Bitsas) is what should generate a trigger warning. “Batti, batti, o bel Masetto”:

Batti, batti, o bel Masetto, Beat me, dear Masetto,
La tua povera Zerlina; beat your poor Zerlina.
Starò qui come agnellina I’ll stand here as meek as a lamb
Le tue botte ad aspettar. and bear the blows you lay on me.
Lascierò straziarmi il crine, You can tear my hair out,
Lascierò cavarmi gli occhi, put out my eyes,
E le care tue manine yet your dear hands
Lieta poi saprò baciar. gladly I’ll kiss.

The sets were spare, but reasonably effective. Quotes from men in modern headlines were projected during the overture. Big Harvey made the list and, of course, Donald Trump (full quote used: “And when you’re a star, they let you do it. You can do anything. Grab ’em by the pussy.”).

As with previous Boston Opera Collaborative productions, I enjoyed not being one of 3,800 (Metropolitan Opera House seating capacity). In the age of 4K video and good microphones, I would rather see the big productions electronically and get up close to rising stars.

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Boston Opera Collaborative, whose La Boheme I loved last year (review), is doing Don Giovanni March 28-April 6 (tickets). I’m planning to attend on April 5 and would love to meet readers at intermissions.

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The latest superhero movie gets a super bad review in New Yorker:

Captain Marvel” is like a political commercial—it packs a worthy message, but it hardly counts as an aesthetic experience. The message of the film is conveyed less through the story than through its casting: women and people of color need to have starring roles in major Hollywood productions …

Brie Larson plays Vers, a warrior from the Kree, a humanoid population from a distant galaxy, centered on the planet Hala, that is in age-old war with the shape-shifting Skrulls.

(A fierce warrior is played by an actress named after a cheese from the country most associated with military defeat?)

The movie sounds perfect for people my age:

The action, it’s soon revealed, is set in 1995, and the videotape-filled store (featuring a standing display for “True Lies,” among other contemporaneous titles) inaugurates a skein of nineties-nostalgia objects that figure in the plot, including a RadioShack, a quaint AltaVista search engine, the foot-tappingly fitful loading of a CD-rom, a pager,

I loved AltaVista!

Carol discovers that the Kree’s longtime battles were based on a false premise. The Skrulls, far from being evildoers (or, as one character calls them, terrorists), have been displaced from their homelands by the Kree; they describe themselves as “refugees” and are merely seeking a home. Carol comes to doubt the presumptive virtue of her own nation and to recognize the legitimate claims of its enemies; she decides to return to battle, not to win but to “end it”—to end “the wars, the lies.” In this thread of themes, the Marvel overlords make the political positioning of the movie clear. The marker is made all the plainer when Lawson tells her that the Kree are fighting to defend their “borders.” “Captain Marvel” wants to make clear that it is a Democratic movie.

If it is anti-Trump, New Yorker should love it! Except that they don’t…

The directors Anna Boden and Ryan Fleck (who are also among the film’s co-writers) display as little style here as they do in their lower-budget and live-action films. The inert direction is amped up by a rapid pace of editing, resulting in a jumpy mosaic … The idea packs great dramatic potential, which makes its facile execution all the more disappointing.

Readers: What do you think? Is the movie as bad as the Official Magazine of Trump Hatred says?

Related:

• https://philip.greenspun.com/blog/2018/02/20/who-has-seen-the-black-panther-movie/
• https://philip.greenspun.com/blog/2018/03/02/black-panther-question-why-couldnt-the-queen-take-over-after-the-king-died/

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We escaped the suburbs recently for a concert by the Du Bois Orchestra:

Founded in 2015, the Du Bois Orchestra offers the opportunity to listen to and perform both the standard and historically neglected repertoire of the classical canon. Inspired by the work of Harvard alumnus and civil rights icon W.E.B. Du Bois, our mission is to raise awareness about issues of social exclusion in classical music. We in the Du Bois community see music-making and listening not only as a means by which to break down aesthetic stereotypes but as a model for constructive societal dialogue. The Du Bois Orchestra engages in community outreach and educational programming.

The concert featured one work by Samuel Coleridge-Taylor, a composer whose biological father was a physician from Africa and whose mother was an English woman who ultimately married a “railway worker”. It is unclear how he was an example of race-based “social exclusion,” though, since the program notes describe one of the most brilliant musical careers in history. He was admitted to the Royal College of Music at age 15. He become a professor of music, principal conductor of the Handel Society of London, was received at the White House by President Teddy Roosevelt, and enjoyed gushing reviews from critics around the world, e.g., “I have long been looking for a new English composer of real genius and I believe I have found him.” (Auguste J. Jaeger)

The overture to Hiawatha’s Wedding Feast (1898) was about 50 years ahead of its time. Coleridge-Taylor would have made good money as a Hollywood composer if he hadn’t died of pneumonia in 1912, aged 37. [The piece is not about a wedding among Elizabeth Warren’s ancestors, but rather is derived from Longfellow’s poem.] Listen to a version on YouTube.

A new piece by Sachiko Murata, Sorrow Songs, was well-received and easy on the ears due to incorporating a lot of folk tunes (not your usual painful dissonant “modern classical” work). She says that she was inspired by W.E.B. Du Bois’s The Souls of Black Folk. From the program: “I am from Japan and came to the United States as an immigrant. … Du Bois used his whole life to promote equality and fight against racism. His message is still so strong and appropriate in this time.”

Tchaikovsky’s Romeo and Juliet was played. without a disclaimer that one or both principals would be considered criminals in most U.S. states (Juliet was 13-turning-14 and Romeo may also have been under the age of consent).

Thomas Cooper was the soloist for the Chausson Poème, which was beautifully played with perfect intonation and expression.

Apparently contradicting the “social exclusion” hypothesis, the program notes say that Ernest Chausson, who was from a wealthy white family, had a much tougher time with the critics and audiences than did Samuel Coleridge-Taylor. But maybe people today are more racist than folks were circa 1900 when Coleridge-Taylor was most popular? On the third hand, Kanye West does not identify as white (as far as I know) and he has achieved #1 status. So if classical music listeners have become more racist then there is no inconsistency? On the fourth hand, most classical music listeners will soon die of old age, so the problem will resolve itself.

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… and their parents too.

Most of the newer Broadway musicals seem to be targeted at 12-year-old girls (e.g., Wicked). In order to guarantee that at least one member of the Greenspun 2019 business trip theater expedition had a good time, I augmented my inner 12-year-old girl with an actual 12-year-old girl (she’ll be 13 soon) for a night at Dear Evan Hansen. We had a tough time getting into the theater because there was a huge herd of 12-year-old girls being ushered in by their adult (female) chaperones. My companion: “This is the hottest show on Broadway right now.”

The material seems to fit the musical format better than most. Most of the show is one-to-one conversation in which it doesn’t seem crazy that one actor would sing to another.

In addition to the challenge of navigating the teenage years, the show dwells on the challenges and limits of parenting, especially of parenting teenagers who are not thriving. Thus, this musical has much broader appeal than the typical new show.

One group that might not love the show is LGBTQIA. “This must be the only new Broadway show without an LGBTQIA theme or character,” I remarked. My companion, a regular at the theater, agreed, but that might be because her LGBTQIA teacher typically chooses LGBTQIA-themed shows for the public middle school crowd. The only reference to LGBTQIA issues is when teenage boys are anxious to avoid being perceived as gay (“that’s how it is in my school, too,” said the 12-year-old next to me).

Stop reading and buy a ticket if you are afraid of spoilers…

The title character is a casualty of the American no-fault divorce revolution. Dad wanted to have sex full-time with a “cocktail waitress,” so he abandoned Mom when Evan was 7 years old. Evan is marooned in an unnamed suburb in an unspecified state while biological dad has moved to Colorado and has two new kids with the new sex partner. It sounds as though Evan hasn’t seen the dad for years. Mom doesn’t seem to be getting any child support cash from dad so she is constantly working as a nurse’s aide and taking classes to become a paralegal. Mom-of-suburban-teenager (Lisa Brescia) is Manhattan/Paris slender with fantastic posture.

[While heroic involuntarily single mom makes for good theater, the father who leaves the wife and kid is a statistical rarity in the U.S. Most commonly it is the mom who wants out and sues the dad (3:1 ratio here in Middlesex County, Massachusetts). Larger statistical studies have shown that in states where a woman can expect to win custody of children and associated lucrative child support, the majority of divorces and divorce lawsuits are initiated by women. Also, Wife #1 has first claim on the man’s income in nearly all U.S. states, so it doesn’t make real world sense for Evan’s mom to be financially struggling if this guy has enough money to support the cocktail waitress and two new kids.]

Perhaps as a consequence of being fatherless, Evan (25-year-old Michael Lee Brown on the Tuesday night that we attended; usually a 16-year-old(!) plays the role) is a psychological wreck and his therapist instructs him to write letters to himself, staring with “Dear Evan Hansen.” An even more distressed teenager at the school (Alex Boniello as Connor) grabs one of these notes out of the printer and commits suicide with the letter in his pocket. The parents assume that these are their son’s final words and that Evan Hansen and Connor were close friends. Evan is in love with Connor’s sister so he is anxious to insinuate himself in this grieving family’s life. A web of lies ensues. This is probably the funniest show about suicide ever created.

The family devastated by suicide was an intact 1950s-style family in which the lawyer dad wears a suit and tie to work every day and mom doesn’t work. Dad (Michael Park, a lot more slender than the law partners I meet with in conference rooms!) has no function with the kids other than to pay the bills. He was not sensitive or sympathetic to his son’s troubles. The mom (Jennifer Laura Thompson) was heavily invested in her son and infinitely forgiving, but she couldn’t reach him either. The teenage daughter (Mallory Bechtel) is the only one who could see her brother rationally.

One funny part of the musical that we experienced is that a Jewish teenager, originally played by a white actor, is now played by a non-white actor (during the performance we watched: Roman Banks, who was fantastic). So we saw an African-American youth talk about his Bar Mitzvah, etc. (Of course, in real life a black convert to or adoptee into Judaism would be most welcome, but the situation is unusual enough to entertain the audience.)

I like works that don’t take the easy way out and Dear Evan Hansen is one of them. Nobody does anything that is radically implausible. There is not a neat happy ending. (See also The Weather Man.) As a provincial, I was awed as usual by the depth of talent in Manhattan, including the orchestra.

Final verdict from the local 12-year-old critic: “This is my favorite show so far, except for Hamilton because it’s Hamilton.”

(I said that I would see Hamilton when it could be accomplished for $15 or less at the movie theater. This prompted my retired fund manager friend to respond that he was waiting for it to be available for free on a Chinese file-sharing site.)

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I was fortunate to be among the first 600 people to enjoy a fully staged opera on the Outer Banks of North Carolina: La Traviata.

Three charitable foundations got together to make a professional production possible in the swank community auditorium that was built in 2004 as part of the First Flight High School, adjacent to the Kitty Hawk Monument/Airport.

Local hero Tshombe Selby was a powerful Alfredo. It’s easy to see why he was picked up for the Metropolitan Opera chorus. Wayne Line brought a truly huge baritone to the role of Alfredo’s dad.

The women were equally good: Sarah Joyce Cooper in the title role of Violetta and Caroline Tye as her good-time girlfriend Flora.

One of the fun parts of the program was finding that the conductor’s name is also “Violetta”: Violetta Zabbi. Her parents back in Communist Odessa watched Teresa Stratas in the Zeffirelli movie and were inspired.

As with a recent La Boheme (see below), it was nice to see opera in a smaller venue, bringing the form back to its roots in 17th century Italy. The 3,800-seat Metropolitan Opera House would be great if not for the existence of video cameras. Given the existence of video, however, why would anyone want to see a live opera from seats that are so far away that binoculars are required?

The smaller venues give younger performers a chance to grow and develop. Cole Tornberg, Gennaidi Vystoskiy, and Erik Tofte were able to shine as Gastone, Doctor Grenvil, and the Marquis D’Obigny. Debra Kasten was appropriately discreet as the courtesan’s maid Annina. John Adams, in black tie with cane, was convincing as “Baron Douphol, the man who has been supporting Violetta.”

Sets were simple, but effective. The audience was never in doubt as to where the characters were.

Related:

• https://philip.greenspun.com/blog/2017/03/17/metropolitan-opera-la-traviata-at-the-movie-theater/
• https://philip.greenspun.com/blog/2018/04/25/boston-opera-collaborative-la-boheme-should-opera-be-presented-in-smaller-venues/

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The life of a software expert witness involves quite a bit of “hurry up and wait.” Thus did I recently find myself in Easton, Pennsylvania waiting for things to move in the Federal Courthouse. After roaming the strip mall to find treasures for the kids, I spent an evening watching Mid90s.

Rotten Tomatoes doesn’t rate movies for wokeness, so maybe I can add that this movie should get a 40/100 on the wokeness scale. Positive: the only intelligent, wise, and ambitious youth in the movie happens to be African American. Negative: A 13-year-old enagages in sex acts with a woman of 17 or 18. The older sex partner is the initiator and therefore it is unclear if the encounter can truly be described as “consensual.” Certainly the 13-year-old does not explicitly say “yes.” Unlike the kids who’ve had sex with teachers recently, he is not damaged to the tune of $millions by this experience and, in fact, seems proud of it and happy to have had it. Definitely not in sync with our modern (enlightened/woke) thinking about youth sex.

The movie is primarily about this 13-year-old who is curiously undamaged by his sexual encounter. He is not loving life at home. The 36-year-old Mom started having sex with a long list of random guys beginning in the mid-70s. Two of the sexual encounters resulted in pregnancy and childbirth so the 13-year-old has a violent 18-year-old half brother. The mom’s sexual encounters with strangers have been reduced in frequency recently, but the 18-year-old reports that noise from these events would often disturb his sleep when he was young.

(Mom has enough money to sustain a middle-class LA lifestyle, but it is unclear if this is due to wages from work or child support from the biological fathers of the two boys. Her boys were born prior to the formulaic child support guideline system (history) so it may be the case that she didn’t get a lot of money out of them and/or that she didn’t have sex with men with sufficiently high income (California provides for unlimited child support revenue for single mothers who select high-income defendants; see this calculation of what Ellen Pao could have made by having sex with her boss).)

The 13-year-old escapes the half-brother and the mom by hanging out with older skateboarders, all of whom are burnouts except for the African American (see above). The stunts are pretty awesome and, I think, done by the actors themselves (but maybe Hollywood magic is hard to detect?). The movie is strong on teenage life before the helicopter parenting age. Adults don’t interfere too much with tribal activities and are seldom even seen.

There is a dramatic car crash in the movie, which makes me like it less. It is a cheap way to generate drama. One thing that I love about Sideways, for example, is that nothing unusual occurs. The filmmakers have to work harder to make the audience care. At the opposite end of the spectrum are movies where a main character becomes paralyzed or is diagnosed with a terminal illness. Mid90s is closer to Sideways, but not as pure in its rejection of the easy way to audience hearts.

Recommended.

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