Thursday, January 23, 2020

The Moral Arc of the Universe Bends Toward Compassion: So Long, My Son

Yong Mei and Wang Jingchun in So Long, My Son (Dijiutianchang / 地久天长, 2019)

Chinese New Year is almost upon us, a time for family and reflection – the perfect context in which to see Chinese director Wang Xiaoshuai’s So Long, My Son (Dijiutianchang / 地久天长, 2019). The Chinese title is also the title of the Chinese translation of "Auld Lang Syne," and the two feel similar. And this is film whose (Taiwanese) trailer accurately reflects its feeling as well. It was my best theatrical experience of 2019.

Monday, January 20, 2020

Big and Little Spaces: Judgment Day, Is This a Room, The Thin Place

Judgement Day, at the Park Avenue Armory in New York City. (Photo: Stephanie Berger)

The British director Richard Jones has directed all over London, the continent and New York, but he must take special pleasure in working at the Park Avenue Armory, where he brought his production of Eugene O’Neill’s The Hairy Ape (which premiered at the Old Vic), and where I recently saw his Judgment Day, a most rare revival of a 1937 play by the German expressionist Ödön von Horváth. Bobby Cannavale was splendid as Yank in the first, and Luke Kirby gives a potent, focused performance as the doomed small-town stationmaster, Thomas Hudetz, in the second, though in both cases the real star of the show is Jones’s masterful use of the massive Armory space. Jones’s staging of Judgment Day evokes comparisons to both choreography and painting: he manipulates his ensemble of seventeen like a corps de ballet while approaching the visual elements – including Paul Steinberg’s production design, Mimi Jordan Sherin’s lighting and Antony McDonald’s costumes – as if they were tools in the painting of an enormous canvas. The show, which comes in at a compact ninety minutes, is thrilling to look at.