A Fresh Prince: Robert Icke’s Hamlet

Andrew Scott as Hamlet in Robert Icke's production of Hamlet. (Photo: Manuel Harlan)

Robert Icke’s new Hamlet, which began at London's Almeida Theatre (where he is artistic director) and moved to the West End in June, is elegiac, cerebral, mysterious. The designer Hildegard Bechtler’s palette is understated – blacks and whites and browns, silvers and grays. During the wedding party Claudius (Angus Wright) and Gertrude (Juliet Stevenson) dance among their guests beyond an upstage scrim that simultaneously reflects Hamlet (Andrew Scott) approaching Ophelia (Jessica Brown Findlay) downstage: as anyone who was lucky enough to see Icke’s 2015 Agamemnon (with Wright as Agamemnon) knows, he loves doubling and echoes, and throughout this production he juxtaposes the two couples, both passionate, in suggestive, surprising ways. Bob Dylan’s voice murmurs on the soundtrack, his deceptively monochromatic drone veiling delicate whorls of phrasing and depth of feeling. (The play begins and ends with “One More Cup of Coffee.”)  In this contemporary setting, Elsinore Castle is lined with video monitors; the motif of electronic visuals – the Ghost (David Rintoul) makes his first appearance on one, spotted by Horatio (Joshua Higgott) and the palace guards in the control room; Fortinbras (Nikesh Patel) communes with the king through an exterior video camera; Hamlet and Horatio shoot “The Mousetrap” so that they can review it afterwards for signs of Claudius’s guilt – is, of course, partly about the omnipresence of surveillance. Other twenty-first-century Hamlets have explored this theme (Michael Almereyda’s 2000 movie version with Ethan Hawke, to pick one particularly effective example) but Icke is more concerned with the ghostliness of digital imagery, which builds on the doubling motif to investigate the idea of meanings hidden beneath the surface of the everyday. It’s this supernal quality that especially distinguishes Icke’s from other modern approaches to the play: there are hints of surrealism and neo-romanticism.

Music to the Ears: Metal: A Headbanger's Journey (2005), The Devil and Daniel Johnston (2005), Festival Express (2003) and Be Here to Love Me (2004)

Metal: A Headbanger's Journey (2005)

Since it's summer, and the sound of live music is always in the air, my mind immediately turned to some music docs that might add some flavour to the outdoor festivities. Cutting through any preconceived notions of (or prejudices toward) heavy metal music, Metal: A Headbanger's Journey is a pretty informative and entertaining crash course in the genre. Co-director Sam Dunn, who first got his eardrums thundering when he was a high school student, took his passion for hard rock into an anthropological field study of the dark lords of mayhem. Along with co-directors Scot McFadyen and Jessica Joy Wise, Dunn lays out the roots of the music, which he connects to a series of influences: the theatrical and romantic bombast of grand opera, the blues, and the very insolent, nose-thumbing qualities of rock itself. The filmmakers travel through America and Europe, following tours and talking to metal heroes from Rob Zombie to Black Sabbath lead guitarist Tony Iommi. They also examine the darker metal bands in Europe that deliberately play into parents' worst nightmares of hard rock as the product of Satan. Metal: A Headbanger's Journey tries to go further and explore why heavy metal is held in such disrepute, but here it fails: the filmmakers are fans before they are critics. To bring more depth to the subject, they would have to call into question some of their own darker impulses and attractions. Nevertheless, Metal: A Headbanger's Journey is an intelligent historical study of rock's loudest spectacle. (In 2007, they followed up with the more ambitious Global Metal, which showed the impact globalization had on the heavy metal underground.)

Making Formula Work: Recent Disney Films

Maui (voiced by Dwayne Johnson) and Moana (voiced by Auli'i Cravalho) in Moana.

At one point in Moana, Disney’s animated offering for the holiday season of 2016, the title character, voiced by Auli’i Cravalho, reprimands the demigod Maui (Dwayne Johnson) for referring to her as a princess. Unimpressed, Maui – indicating her clothing and dim-witted pet chicken Hei Hei – retorts, “If you wear a dress and have an animal sidekick, you’re a princess.” It’s a telling line: screenwriter Jared Bush & company are having a laugh at the expense of the traditional Disney formula and surreptitiously congratulating a certain segment of the audience for getting the joke, but they’re also acknowledging that, mutatis mutandis, Moana still fundamentally adheres to that formula.

As a father and uncle to young children, my moviegoing habits have of necessity included a heavy dose of Disney in recent years. However, I’ve been continually surprised, especially when considering these movies in conjunction with their parent company’s juggernaut Marvel and Star Wars franchises, at how consistent they are in terms of quality and style. Films from Disney’s various subsidiaries have dominated at the box office in recent years, especially since its acquisition of Pixar, Lucasfilm, and Marvel Studios. That matters, not least because the company’s success contributes to a larger phenomenon whereby blockbusters increasingly crowd out the sort of mid-budget, creatively adventurous work that used to lend added variety and excitement to the cinematic scene. (Meanwhile, low-budget indie projects increasingly seem to find their outlet on small-screen platforms such as Netflix and its competitors.) Despite dire predictions from the likes of Steven Spielberg and George Lucas a few years back, this top-heavy reliance on blockbusters hasn’t destroyed the movie industry yet, nor has it caused audiences to abandon theaters in disgust. Part of the answer may lie in that same formula that movies like Moana – as well as more recent offerings such as the recent live-action remake of Beauty and the Beast and Cars 3 – both rely upon and wink at.

Podcast: Interview with Filmmaker Mira Nair (1988)

A scene from Mira Nair's Salaam Bombay! (1988).

From 1981 to 1989, I was assistant producer and co-host of the radio show On the Arts, at CJRT-FM (today Jazz 91.1) in Toronto. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. In 1988, one of those people was film director Mira Nair.

When I sat down with Nair, her debut feature film Salaam Bombay! was winning her praise worldwide. (In 2011, the film was included in The New York Times' s list of "The Best 1,000 Movies Ever Made.") She would go one to direct many more popular and acclaimed films, including Mississippi Masala (1991), Monsoon Wedding (2001), and most recently Queen of Katwe (2016).

– Kevin Courrier.

Here is the full interview with Mira Nair as it aired on CJRT-FM in 1988.

 

Love Craft: The Big Sick

Kumail Nanjiani and Zoe Kazan in The Big Sick.

The Big Sick, which chronicles a barely fictionalized version of the real-life romance between comedian Kumail Nanjiani (playing himself) and therapist/writer Emily V. Gordon (played by Zoe Kazan), has to be one of the best romantic comedies I’ve ever seen. Applying the label of that genre, and all the baggage that comes with it, feels wrong in this case, because part of what makes The Big Sick so brilliant are the ways in which it subverts and elevates the genre it belongs to. It’s a romantic comedy in the sense that it’s hopelessly romantic and ruthlessly funny, but it’s also much more than those surface-level elements, so I’m not sure what else to call it. I guess it’s enough to say that it’s one of the more finely crafted films, full stop, that I’ve seen all year.

Tomorrow Never Knows: The Private Music of Paul McCartney

Be prepared to be shocked. Paul McCartney considered as an avant-garde musician? As usual, truth is stranger than fiction, and certainly more interesting than myth. Thrillington, recorded in 1971, was merely the second of several secret identities that McCartney cleverly used to further his creative ambitions while still delivering the bright and shiny pop goods we have all come to identify with his illustrious name. The first persona was the world famous Sergeant Pepper, the second was Percy Thrillington, the third was the relatively unknown and more recent Fireman: all are reflections of the complicated artistic world of this highly innovative and experimental musician. Yes, that’s right, Paul is experimental. Even Thrillington, an orchestral concurrent rendition of his complete 1971 Ram album under a completely fictional composer’s name, is, in its own quirky way, a totally avant-garde experiment in anti-pop.

In a Groove: Revisiting High Fidelity (2000)

John Cusack as vinyl collector Rob Gordon in High Fidelity 

Chances are, if you've ever spent a great deal of time in a used record store (in the days when there were used record stores), you will probably recognize the crackpot characters that populate Stephen Frears's frisky comedy, High Fidelity. I would also venture to guess that you might see something of yourself in the adolescent obsessions on display – especially if you are a music enthusiast. Based on Nick Hornby's delightfully funny novel, High Fidelity is about how pop music might sow the seeds of love but can't bear the fruit to nourish and sustain our relationships.

Didacticism and Virtue at the Shaw Festival

Shawn Wright and Jeff Irving with the cast of Androcles and the Lion at the Shaw Festival. (Photo: David Cooper)

At every performance of the Shaw Festival’s production of Androcles and the Lion, George Bernard Shaw’s 1913 dramatization of the Aesop fable, a member of the audience is picked to play the lion. Other theatregoers who have been handed colored balls before the play begins are invited to throw them onto the stage at will, interrupting the dramatic action and prompting a variety of responses from the actors, who have to tell an anecdote or recite a section of Shaw’s preface to the play or share any thought that pops into their heads. This process is in the service of what Tim Carroll, the Shaw’s new artistic director, calls “two-way theatre,” which is intended to break down the barrier between the actors and the audience. Carroll directed Androcles, but his mission is visible in the productions he didn’t stage, too. In Wilde Tales, the lunchtime show, adapted by Kate Hennig from four Oscar Wilde fairy tales and directed by Christine Brubaker, children from the audience sit along the sides of the Court House stage with signs and other props; their participation is encouraged at certain points in the action. In Alan Bennett’s The Madness of King George, directed by Kevin Bennett (who trained with Carroll during his tenure as associate director at Shakespeare’s Globe in London), the house lights remain on during the performance and the cast interacts with members of the audience – especially those who are sitting right on the stage of the Royal George – just as actors at the Globe play up to those groundlings who have found standing room right below the thrust, within easy reach of the performers. Five of the six plays I saw at the Shaw began with a member of the staff – an assistant stage manager or head dresser or what have you – addressing the audience and providing some tidbits of information about his or her job.

Living Spaces: The Family Camera at Toronto's Royal Ontario Museum

The Dewan family visiting Niagara Fall, August 1980. (Photo courtesy of Deepali Dewan)

There is a fascinating photography exhibition at the Royal Ontario Museum (ROM) this summer with a partner site at the Art Gallery of Mississauga (AGM). The Family Camera is based on the premise that family snapshots play a key role in defining, celebrating and memorializing the idea of family, even if some of those photographs are missing. Many of them record the migration process to Canada of a wide variety of families, and the photographs have been taken not only in Canada but in countries from which the families have migrated. This is an exhibition that is rich in storytelling and history, large and small.

Nothing To Be Afraid of Here: Ben H. Winters’ Underground Airlines

The recent furor over HBO’s announcement of a proposed TV series to be called Confederate that imagines a world where the South seceded from the Union and has kept slavery as an institution to the present day is puzzling for any number of reasons. The objections seem to be to the very concept of the show, created by David Benioff and D.B. Weiss (Game of Thrones), that it would be offensive to black viewers and exploitative of the subject of slavery. (Black writer Roxane Gay labelled it "slavery fan fiction" in a New York Times op-ed.) But that argument ignores the obvious fact that the idea is not exactly a novel one in fiction. Science-fiction writer Harry Turtledove wrote an epic ten-book series on this very subject in his Southern Victory series (1998-2007). Kevin Willmot’s CSA: The Confederate States of America was a 2004 film mockumentary which posited a British-made documentary examining the present-day CSA, an empire that spans Cuba, Mexico and Central America, and the realities of its racist culture, complete with a revised history of America. (In the film's imagined history Mark Twain, Ralph Waldo Emerson and others left to go live in a free Canada and President Abraham Lincoln also ended up there after being free from imprisonment by the Confederacy.) And last July saw the release of Ben H. Winters’ similarly themed novel Underground Airlines (Mulholland Books). So why the fuss about an idea that is hardly a radical departure from the literary or visual norm? The answer might be because it hits too close to home.

Maudie: A Window on the World

Ethan Hawke and Sally Hawkins in Maudie

The unassuming bio Maudie by the Irish director Aisling Walsh is a small-scale beauty about the Nova Scotia folk artist Maud Lewis (Sally Hawkins) and her relationship with her husband Everett (Ethan Hawke). Maud, crippled by juvenile rheumatoid arthritis, goes to live with her grim, puritanical Aunt Ida (Gabrielle Rose, in a finely sketched performance) in Digby after her brother Charles (Zachary Bennett) sells the house they grew up in. (In the Depression-era Canadian Maritimes, the son gets the inheritance.) Finding her new environment unendurable, Maud answers Everett’s ad for a live-in housekeeper and, though he’s an ornery loner and sometimes a brute, they become lovers and finally – at Maud’s insistence – they marry. It’s an uphill odd-couple romance in which her spirit and humor and common sense slowly bring out unexpected sensitivities in him. And her whimsical nature-inspired art, with which she decorates his ramshackle house – a single room with a sleeping loft – becomes an additional means of income for them (he makes a meager living peddling fish) after an American, Sandra (Kari Matchett), who summers in the area starts to purchase her little homemade cards and then commissions her to make paintings. Over time Sandra becomes her best friend.

Inventory Management, Vol II: The Splattening

Splatoon 2 was released by Nintendo, for Nintendo Switch, on July 21.

"Inventory Management" is the period of rest and thoughtfulness that occurs during breaks in the action, in which we organize and clear out all the unnecessary clutter we've accumulated during our adventures. This column, like its sister column Critic's Notes & Frames, embraces this spirit of enjoyable tidying up by acting as a receptacle for all the reviews, thoughts, and musings about games and gaming culture that wouldn't fit anywhere else. – Justin Cummings

Splatoon 2 – which, if we lived in a just and proper world, would be called “Spla2n” – is Nintendo’s second swing at one of its first new IPs in decades, building on the promising but undercooked foundation of squooshy, gooshy fun from the first Splatoon (2015) for WiiU. I tried the original when it came out, but never owned it; it was a game I appreciated more for philosophical and aesthetic reasons than as an actual experience. I loved that Nintendo had taken a chance on a new and unproven brand – something that the company’s risk-averse executives had avoided for years. I loved that they created a sort of development incubator for younger talent, and that the ingenuity and flair of those voices was allowed to come through in their first product. And I loved many of the things the game itself achieved, with its weird, unique, family-friendly shooter gameplay.

But I didn’t love it enough to buy it.

Come from the Heart – Without Getting Killed or Caught: The Life and Music of Guy Clark by Tamara Saviano

(l.to r. Townes Van Zandt, Susanna Clark, and Guy Clark.)

Guy Clark (1941-2016) may not be a household name, but in many circles he is considered one of the greatest songwriters in American music. Author Tamara Saviano goes to great lengths to tell us so in her important biography of the singer-songwriter, Without Getting Killed or Caught: The Life and Music of Guy Clark, recently published by Texas A&M University Press. Saviano is the perfect choice to tell Clark’s story because she’s been writing about him for several years at Country Music Magazine. She's also interviewed him several times. One of her best essays about Clark appeared in the 2014 issue of The Oxford American featuring the music of Texas. Her sentimental memoir about Clark’s 1975 release Ole No. 1 provided fresh insights about the album. So I was genuinely enthused about this biography and its author. Unfortunately, due to an overuse of facts and anecdotes, Clark’s story gets a little lost in the narrative.

Podcast: Interview with Novelist Martin Amis (1981)

Martin Amis, in 1981.(Photo: Martin Lawrence)

From 1981 to 1989, I was assistant producer and co-host of the radio show On the Arts, at CJRT-FM (today Jazz 91.1) in Toronto. With the late Tom Fulton, who was the show's prime host and producer, we did a half-hour interview program where we talked to artists from all fields. In 1981, one of those people was British novelist Martin Amis.

When I sat down with Amis, his fourth novel, Other People: A Mystery Story, had just been published, with his best-known books – Money (1984), London Fields (1989), and Time's Arrow (1991). the last short-listed for the Booker Prize – still to come. Other People was Amis's first published novel after he had made his transition to becoming a full-time writer.

– Kevin Courrier.

Here is the full interview with Martin Amis as it aired on CJRT-FM in 1981.

George Bernard Shaw, Lillian Hellman and Paula Vogel: Issues

Andrew Lawrie, Sara Topham and Jim Mezon in the Shaw Festival's production of Saint Joan. (Photo: David Cooper)

This article contains reviews of Saint Joan, The Little Foxes, and Indecent.

George Bernard Shaw lays out the argument of Saint Joan with unerring precision. Joan is a French peasant, a teenager, unwavering in her Catholic devotion yet possessed of a country girl’s common sense; when she hears the voices of saints in the church bells, urging her to lead an army to throw the English out of France, she accepts them without doubt or hesitation and her no-nonsense certainty that she is doing the right thing convinces one man after another, right up to the Dauphin, whom she dreams of helping to crown King Charles VII. But as soon as she wins the war for him she finds herself mired in political turmoil that she doesn’t understand and that will end inevitably with her being burned at the stake. She has run afoul not only of the English (obviously) but of the church, represented by the Archbishop of Rheims and the Inquisition, who find in her intimate relationship with God a threat to the Catholic hierarchy. Even the Dauphin, now the monarch, is put off by her arrogance, which earlier he, like the officers she kicked into battle, found inspiring and sensible. The more she insists on being true to the simple faith that got her there in the first place, the more she damns herself in the eyes of the church, which forms an unholy alliance with its secular arm (and the English) to execute her.

Dark Mirrors: Get Out and Race in America

Daniel Kaluuya in Jordan Peele's Get Out (2017).

“The truth is, they don’t surround us. We surround them. This is our country."

– Glenn Beck, Fox News Channel, March 13, 2009.

Jordan Peele’s gripping film, Get Out, which explores contemporary race relations on a micro-level through the prism of horror comedy, has received considerable attention from critics, including this site’s Justin Cummings and Kevin Courrier. Among other films, they have rightly pointed out its cultural markers as Invasion of the Body Snatchers, Guess Who’s Coming to Dinner and The Stepford Wives. In both versions of the latter, wives are reprogrammed into robotic doppelgängers, and Get Out can be viewed as a sinister version of Dinner. But Sidney Poitier’s other 1967 film, In the Heat of the Night, also comes to mind. His role as the urbane cop who encounters southern redneck racists finds its mirror image fifty years later in Get Out, in the black photographer Chris’s unease with the seemingly polite but cringe-inducing patronizing of white liberals, a veneer that covers their malevolent and dangerous presence. I would add two fictional progenitors to Get Out: H. G. Wells’s early science-fiction novella, The Island of Doctor Moreau, about a physician who experiments on animals to turn them into human-like hybrids, and Stephen King’s End of Watch, which posits the idea that the consciousness of a comatose psychopath can be transferred to the minds of others who become the agents of his nefarious plans.

Voices from the Grave: George Saunders’s Lincoln in the Bardo

Author George Saunders (photo by Alex Garcia / Chicago Tribune 2013)

Tibetan theology and the private grief of Abraham Lincoln might not seem like two subjects that naturally go together, but George Saunders masterfully interweaves them in his stunning novel Lincoln in the Bardo. The sixteenth president of the United States has fascinated writers and artists ever since his emergence on the national stage, leading most recently to films such as Steven Spielberg’s Lincoln, best-selling nonfiction such as Doris Kearns Goodwin’s Team of Rivals, and shlock like the “mashup novel” Abraham Lincoln: Vampire Hunter and its movie adaptation. However, in this case the titular Lincoln is not Abraham, but rather his son Willie, who died in February of 1862, when the Civil War had been raging for less than a year. Interred in his grave, Willie finds himself in bardo, a liminal state between life and death that features in some Buddhist interpretations of the afterlife. Here, he encounters a panoply of strange new neighbors, such as the naked Hans Vollman and the youthful Roger Bevins III, who sprouts a multitude of eyes and arms whenever he begins rhapsodizing about the beauty of the world that he’s left behind, as if trying to adequately appreciate the entirety of creation. Willie and his companions don’t know that they’re dead, and in large part their ignorance propels the plot of the novel. They’re joined by a wide cast of characters that peoples (or haunts) the graveyard, ranging across every conceivable social, racial, and moral division within their society and often replicating those same hierarchies in death as in life.

High Stakes: Netflix’s Castlevania

Trevor Belmont (voiced by Richard Armitage) in Netflix's Castlevania.

That video game adaptations are generally awful is pretty much a matter of public record. The bad – your Resident Evils, your Tomb Raiders, your Max Paynes – are too numerous to count, and the good – your Wreck-It Ralphs, your Scott Pilgrims, or even The Wizards – usually earn that distinction by not actually being adaptations of a specific game at all. I don’t need all the digits on a single hand to list the adaptations I genuinely like, and they all come with an asterisk anyway.

So the bar is, and has been, set very low for decades now. We’ve all been waiting for something to come along and raise it, demonstrating to a disbelieving non-gamer public that there’s rich fiction to be culled from these sources and reimagined in a cinematic context. I’m not saying that Netflix’s new Castlevania series, written by Warren Ellis, is that adaptation – but it’s damn close.

Sometimes The Remake Is Better: Panique vs. Monsieur Hire

Michel Simon in Panique (1946).

Note: The following contains spoilers for Panique (1946) and Monsieur Hire (1989).

TIFF Bell Lightbox, the Toronto International Film Festival’s year-round screening centre, is presenting French classic cinema this summer in Toronto, as it often does during the warm months. One highlight -- or, at least, they think it is --  in their series Panique: French Crime Classics, is the revival of Julien Duvivier’s 1946 Panique (Panic), a dramatic film starring Michel Simon as Monsieur Hire, an unpopular man who is suspected of murdering an elderly woman and whose presumed innocence is quickly thrown by the wayside as his neighbours hound him to a tragic fate. Usually these neglected films, revived for audiences who may not know of them, turn out to be worth your time but Panique, though not entirely devoid of interest, isn’t one of them. It’s a movie whose lofty ambitions aren’t quite reached. But you can catch a variation on the same film in Patrice Leconte’s 1989 Monsieur Hire, also based on Georges Simenon’s 1933 short novel Les Fiançailles de M. Hire (Monsieur Hire's Engagement), a movie that is Panique’s superior in virtually every way. (Any number of other films in the French crime series, including The Wages of Fear [1953], Rififi [1955] and Touchez pas au grisbi (Don't Touch the Loot, 1954] as well as in the related film series centered on filmmaker Jean-Pierre Melville [Army of Shadows, 1969] can make that claim, too.)

When We Dead Awaken: George Romero (1940-2017)

Filmmaker George A. Romero died this past Sunday, July 16, at the age of 77.

Everyone who has had a nodding acquaintance with the popular culture of the past quarter-century or so knows what zombies are. Zombies, which are often called “walkers” or “the infected” or just anything but “zombies,” are people who have died only to be resurrected as inarticulate, humanoid beasts. Decaying but still animate, they are ferociously hungry, and they feast, cannibalistically, on those still living. If they kill someone and leave enough of the corpse intact to rise and stagger about, that person too becomes a hungry zombie. Once a zombie plague has begun, either because of a new fast-spreading virus or a scientific experiment gone wrong or for no detectable reason at all, the countdown to apocalypse is well under way; as the Lord of the Underworld puts it in one of William Messmer-Loebs’s graphic novels about the Greek philosopher Epicurus, when the dead and the living go to war, the living always lose. Once transformed, zombies may make a beeline for those they loved in their former lives, either because of some innate tracking system or just because of their close proximity, but they cannot be reasoned with and have no sentimental feelings, or any feelings of any kind except hunger; the living are nothing but a food source to them. And they can be deterred only through complete physical annihilation – the destruction of their brains, along with as much else of them as possible – which can make for some pretty gory filmmaking. We know all this thanks to Night of the Living Dead, a 1968 horror movie made in Pittsburgh by the director George A. Romero and his screenwriting partner, John Russo, on a budget of $144,000.

Elephant in the Room: The Mystery of Jack White

“Nothing is improbable until it moves into the past tense . . . ” – George Ade

As a member of The White Stripes, The Raconteurs, The Dead Weather and the Rome project (with Danger Mouse, Norah Jones and Daniele Luppi), Jack White III has certainly proven himself as a songwriter, singer, performer and musician. But it's also an impressive list when you add up White’s own production work with his bands, as well as producing other stellar artists like Loretta Lynn, Wanda Jackson, The Greenhornes, Dexter Romweber Duo, his wife Karen Elson and even his pal Conan O'Brien.

White also oversees the record label he founded, Third Man Records, where his productions are released and where occasional live concerts are captured on analog tape in the back room. But the real action has always been taking place on 8-track, 2-inch tape in his self-designed, private studio in Nashville, where he's been busy at work since September 2009 on many diverse projects, including Wanda Jackson's excellent album, The Party Ain't Over, and the launch of his publishing enterprise, Third Man Books.

Berkshire Report: Where Storms Are Born and Baskerville

LeRoy McClain and Myra Lucretia Taylor in Harrison David Rivers’ Where Storms Are Born. (Photo: Daniel Rader)

There aren’t any startling surprises in Harrison David Rivers’ Where Storms Are Born on Williamstown’s Nikos Stage, but it has a dramatic arc and it was written with actors in mind – Rivers has given the ensemble of six plenty to play. And it has patches of sharp, lyrical writing; I think Rivers has talent. (This is his fifth play but the first I’ve encountered.) Its high point is the climactic monologue by Myles (Leroy McClain), whose death at thirty-one in prison, where he was serving a life sentence for murder, is the starting point of the play. Myles appears in flashback at different points but this speech is a dramatization of the letter he wrote his kid brother Gideon (Christopher Livingston), the protagonist of the piece, revealing the truth about the murder. It’s his way of reconciling with Gideon, who has refused to visit him in jail, and of giving him something to hold onto, and as both a descriptive piece and a confessional one, it’s vivifying and affecting. (McClain reads it with brio.)

Who Watches the Watchers: Sepinwall and Seitz's TV (The Book)

A scene from The Sopranos, one of more than 100 shows discussed in Alan Sepinwall and Matt Zoller Seitz's TV (The Book).

“When you hear the words The Dick Van Dyke Show, imagine the gears of a Swiss watch ticking.”

– Alan Sepinwall and Matt Zoller Seitz, TV (The Book).

The best criticism, whether it is of the written word or flickering images on a screen, isn't tempered by love – it is fuelled by it. TV (The Book) (Grand Central Publishing, 2016), by television critics Alan Sepinwall and Matt Zoller Seitz, has the stated ambition to present an established TV canon, to boil down decades of television and take a first crack at providing readers with an "essential viewing list." Substantial television criticism is as new as TV's still-recent surge in ambition and quality, and popular book-length studies of any comprehensive nature are rare (Sepinwall's own 2012 The Revolution Was Televised and David Bianculli's 2016 The Platinum Age of Television are among the few). Sepinwall and Seitz shared a TV column in New Jersey's Star-Ledger in the late 90's and, though this is their first collaboration in two decades, the dialectical spirit of that relationship marks the text as a whole. With TV (The Book), Sepinwall and Seitz offer an appropriately down-to-earth reflection on an art form that is populist par excellence, a book that is more conversation than classroom.

Unstitched: Sofia Coppola's The Beguiled

Note: There are spoilers in this review.

In Don Siegel's 1971 Southern Gothic melodrama, The Beguiled, which is set in rural Mississippi in 1863, the middle of the American Civil War, an injured Union soldier named John McBurney (Clint Eastwood) is rescued by 12-year-old Amy (Pamelyn Ferdin), a student at an all-girls' boarding school run by Miss Martha Farnsworth (Geraldine Page). The headmistress is initially reluctant to board the wounded McBurney but she finally agrees to take him in until he heals, at which point she can turn him over to the Confederates. But during the time that he's convalescing, in a locked music room and consistently under watch, he begins to cultivate intimate relations with the young women in the house who have not previously experienced the presence of a man. They include the independent-minded but emotionally scarred schoolteacher, Edwina (Elizabeth Hartman), and a sultry teenage student, Carol (Jo Ann Harris), who teases and flirts with McBurney. The soldier has also stirred feelings in Miss Farnsworth, who keeps her emotions locked up like her girls; it's implied that her stifled demeanor hides the incestuous relationship she once had with her late brother. McBurney spurns her sexual attentions while encouraging relations with Edwina and acting on his lust for Carol. When Edwina catches him in bed with Carol, her fury over his betrayal results in her knocking a pleading McBurney down the stairs and severely breaking his already wounded leg. In order to keep him alive, Miss Farnsworth instructs the girls to preparing him for the amputation of his broken limb, which draws the wrath of the desperate soldier towards the women who have taken him in.

Musicals Round-up Part II: New York

Corey Cott and Laura Osnes star in Bandstand. (Photo: Nathan Johnson)

This article contains reviews of Bandstand (Bernard B. Jacobs Theatre), War Paint (Nederlander Theatre), and Pacific Overtures (Classic Stage Company).

Ben Platt’s Tony Award for his portrayal of the anxiety-ridden teen hero of Dear Evan Hansen was no surprise, and he deserves all the recognition he’s received. But the fact that Corey Cott didn’t even receive a nomination for Bandstand constitutes highway robbery. Cott played the Louis Jourdan role in the Broadway retread of Gigi two seasons ago, and he was so callow and insipid that the character barely made sense. But when you see him as Danny Novitski, Bandstand’s haunted hero, who returns from WW2 and puts together a jazz band made up of fellow vets – responding to a competition for the best song honoring the contributions of the military, the prize for which is an appearance in a new M-G-M musical – you can hardly believe it’s the same performer. He brings the role a late-forties, early-fifties-style hard-edged sensitivity – part Dana Andrews, part Frank Sinatra. He gets you by the throat and the heart in his first, self-defining number (called “Donny Novitski”) and you’re right there with him for the next two and a half hours.

Friendly Neighbourhood – Spider-Man: Homecoming

Tom Holland as Spider-Man in Spider-Man: Homecoming.

Spider-Man: Homecoming’s title is pretty apt, considering it’s not only a high-school drama, but the return of Marvel’s primary poster boy to the warm embrace of their Cinematic Universe. Since Sam Raimi’s original run at the series, which culminated with 2007’s confused, schizophrenic Spider-Man 3, we’ve been subjected to attempted reboot films in 2012 and 2014 that failed to inspire either critical praise or box-office dollars. In more than just the comic-book sphere, Sony Pictures has been desperate for a hit, and everyone’s favourite wall-crawler just wasn’t cutting it. So – in a shocking display of foresight, creative integrity, and financial savvy – Sony execs inked a deal with Marvel Studios to allow Spider-Man to be recast and featured in the Marvel Cinematic Universe, with a first appearance in 2016’s Captain America: Civil War. As it stands now, the MCU is officially Spidey’s home, and Sony will take home all the profit from his appearances (save merchandising rights, which Marvel was smart to grab in the deal).

This works to our benefit as moviegoers in a few ways, not the least of which is that a beloved character is finally in the hands of creators who know what the hell to do with him. That Peter Parker (Tom Holland) will be allowed to participate in the ongoing shenanigans of the MCU is another plus, given that franchise’s monster success and its proven ability to deliver smart, emotionally driven superhero stories. With Civil War, Spidey already felt at home – and with Homecoming, he truly settles in.

Prog-Americana: Crack-Up by Fleet Foxes

Fleet Foxes' new album, Crack-Up, was released on June 16th by Nonesuch Records. (Photo: Sean Pecknold)

Seattle’s Fleet Foxes have continued to nurture their own course in music without bucking to popular trends or the pressures of commercial necessity. Their new album, Crack-Up (Nonesuch), six years in the making and only their third full-length album, is a grand affair with sweeping musical dynamics and tales about Greek nymphs, personal doubt and the fragility of life. It was recorded in six different studios in six different cities in the United States and clocks in at 55 minutes. I mention these facts because Crack-Up is best heard in one sitting. It's symphonic-like in structure; most of the tracks segue from one to the other, joining the individual parts of the whole work. As with many of the prog-rock albums of the seventies, the music, tales and their structure suggest a concept album, but Fleet Foxes are known as contemporary folk band in most circles, so Crack-Up is a roots hybrid; grand in scope but without the spectacle and technical self-indulgence of progressive rock.

Bridge Over Troubled Water: The Fiftieth Anniversary of Bobby Gentry's "Ode to Billie Joe"

Throughout the early sixties, tragic teen ballads – beguiling and haunting mini-operas cured in the melodrama of adolescent angst – dominated the charts. Most were extravagant tales of woe and heartbreak like The Shangri-Las' "Leader of the Pack," where the rejected biker/lover dies proudly on his wheels, while others included Frank J. Wilson's "Last Kiss," where Frank's girl dies not-so-proudly because of her boyfriend's faulty wheels. Other earlier sagas of loss were downright perverse. Mark Dinning's 1960 hit "Teen Angel" got the sixties off to a fiendishly grim start. His bizarre story concerns the singer's girlfriend, who gets leveled by a train after she rushes back to her stalled car to rescue her high school ring. (Perhaps today you'd have to substitute a cell phone for the prized jewelry.) And if "Teen Angel" weren't already more than enough, Johnny "Mr. Bass Man" Cymbal came along that same year with "The Water is Red," where the singer's girl gets torn apart by a shark while swimming at the beach. The boyfriend, with chivalry as his shield, bravely wades through the bloodied waters, not to just gather up her torn remains, but to take on (with his pocketknife, no less) this early relative of Jaws. By the jaded seventies, then, it was no surprise that Randy Newman parodied, with expert precision, this strangely popular genre in "Lucinda." Drawing from the slow blues style of Ray Charles, he tells us of a woman who accidentally gets chewed up by a beach-cleaning machine. Lying in the sand in her graduation gown with some boy she just met that night, Lucinda seems to have fallen asleep just as the mechanical contraption started chugging along. Her companion tries vainly to wake her up, but it's to no avail: Lucinda is doomed to lie under the sand. (Given her fate, and the style of the song, Newman may also be parodying murder blues ballads such as "Sleeping in the Ground.") Later in the decade, Warren Zevon went Newman's macabre tale one better with his hilarious satire "Excitable Boy," revisiting the song as if the narrator might be Ted Bundy (and he's backed with affirmative "ooh-wah-ooh's" by Linda Ronstadt and Jennifer Warnes in the manner of gregarious high school cheerleaders ). 

If these tragic pop dramas of the past were always bathed in tears (linking them in a significant way to the romantic heartbreak heard in fifties doo-wop), there was one popular tragic song in the summer of 1967 that drew from different sources, avoiding melodrama altogether and casting a spell on listeners for decades. Bobbie Gentry's "Ode to Billie Joe" was a quiet Southern Gothic ballad about suicide and other mundane matters of the day which get shared over the dinner table with the biscuits and peas. Where "Leader of the Pack," "Teen Angel" and "Last Kiss" could have been ripped from the headlines of city tabloids, "Ode to Billie Joe" was as cryptic and mysterious as an old Appalachian murder ballad. What made it even more curious was that the summer of 1967 was hardly a quiet one. Some were celebrating a Summer of Love with the Monterey Pop Festival, but in his book, The Old, Weird America, Greil Marcus (in discussing "Ode to Billie Joe") reminds readers that a number of calamitous events were taking place that summer besides growing flowers in your hair and heading west. Fifty years ago today, the day after Gentry recorded her single, twenty-six black citizens were killed in protests in Newark, New Jersey. Detroit almost doubled that number two weeks later. Arthur Penn started a revolution in American movies with the premiere of Bonnie and Clyde, a picture about two Depression-era bank robbers that implicated us in the murders we watched on screen.

Musicals Round-up Part I: Niagara-on-the-Lake and London

Kristi Frank and Michael Therriault in the Shaw Festival production of Me and My Girl. (Photo: David Cooper)

This article contains reviews of Me and My Girl (Shaw Festival), Dreamgirls (West End), and On the Town (Regent’s Park).

Michael Therriault is so thoroughly winning and energetic in Me and My Girl at the Shaw Festival that you feel he could carry the production on his back if he had to. The musical is built as a vehicle for the performer who plays Bill Snibson, the Lambeth Cockney who discovers he has inherited an earl’s title and is expected to relocate to Mayfair, and the diminutive Therriault, with his pop-eyed charm and apparently elastic body, claims squatter’s rights to every scene he’s in. Therriault is a well-known Canadian musical-theatre actor (he played Gollum in the musical of Lord of the Rings both in Toronto and in the West End), but the only time I’d seen him before this summer was in Studio 180’s production (in Toronto) of Parade, as the Jewish factory owner Leo Frank, framed for the rape and murder of one of his employees in pre-World War One Atlanta. He was superb, but the role was so downbeat that I didn’t immediately make the connection to the song-and-dance man who plays the lovable, insouciant Bill. Therriault’s peculiar gift is for balancing charisma with modesty – like Dick Van Dyke, though his musical-comedy gifts are more extensive than Van Dyke’s and he’s more believable as a Cockney than Van Dyke was in Mary Poppins.

Changing the Narrative in Canadian History: Three Recent Canadian Studies

The Scream by Kent Monkman. (2017, Acrylic on Canvas)

If you are a Canadian, you will undoubtedly know that Aboriginals have not joined in the joyful acknowledgement of Canada’s sesquicentennial. Several native men and women have articulated that this occasion that celebrates Confederation, itself a product of a colonial mentality, is shameful because the framers regarded Aboriginals with contempt. One commentator argued that the Canadian historical narrative had to change. On the evidence of two of the books under review – Canada’s Odyssey: A Country Based on Incomplete Conquests (University of Toronto Press, 2017) by Peter H. Russell and The Promise of Canada: 150 Years – People and Ideas That Have Shaped Our Country (Simon & Schuster Canada, 2016) by Charlotte Gray – the narrative about the relationship between the British and later Canadian governments and the Aboriginal peoples is changing. Russell (full disclosure: I personally know this distinguished political scientist) fully understands Aboriginal disenchantment with the 1867 Constitution Act – it offered them nothing – and based on the evidence in The Promise I suspect that Gray would also appreciate their refusal to participate in this event. Although Tim Cook’s Vimy: The Battle and the Legend (Allen Lane, 2017) does not address the Aboriginal issue, he does challenge a dominant narrative about Canadian identity that has emerged since the celebration of the country’s centennial in 1967.

Ad Hominem: Battles Over Broadway and the Role of Personal Identity in Criticism

 Max Gordon Moore and Adina Verson in Paula Vogel's Indecent. (Photo: Carol Rosegg)

Let’s start by accepting the premise that white men (a group which includes yours truly) have managed to make quite a hash of things over the last few centuries. One need only glance at today’s headlines to see the ways in which blithely privileged males have negatively affected our politics and culture. There’s been a strong, necessary, and long-past-due movement in the last few decades to remedy this state of affairs in the arts. However, a recent controversy in the world of theatre criticism has pointed to some concerning issues that arise when we apply this attitude to the question of whether and how the identities of critics and artists should affect the former’s responses to the latter. It stems from a series of statements on social media from playwright Paula Vogel, followed by “A Collective Call Against Critical Bias” on the theatre website HowlRound, in response to the early closings of Vogel’s Indecent and fellow playwright Lynn Nottage’s Sweat on Broadway.

Vogel and Nottage are two of the most prominent and respected playwrights in the United States at present, and yet they none of their works had ever made it to Broadway before, so it was disappointing when their respective plays announced that they would close early (although, in a surprising and virtually unprecedented development, Indecent subsequently extended its run at the last minute). In both cases, lukewarm reviews from The New York Times likely played at least some role in limiting their runs. Vogel took to Twitter to comment, “Brantley&Green, 2-0. Nottage&Vogel 0-2. Lynn, they help close us down,&gifted stra8 white guys run: ourplayswill last. B&G#footnotesinhistory.” Nottage added, “The patriarchy flexing their muscles to prove their power.” Vogel subsequently qualified her initial statements: “Btw I like well written pans of my plays (John Simon!) NYT was not a pan. Is there a manipulation of marketplace that dismisses women&POC?” and “I respect Ben Brantley. I served on a pulitzer jury w/him. He is not the enemy. hope to have more thoughtful dialogue. We need a better way.” She also took pains to emphasize that she was not disparaging Lucas Hnath or J.T. Rogers, the aforementioned “gifted [straight] white guys” whose A Doll’s House, Part 2 and Oslo continue to run on Broadway.

Neglected Gem #104: Girl with Green Eyes (1964)

Rita Tushingham and Peter Finch in The Girl with the Green Eyes

Considering how prolific the Irish writer Edna O’Brien is – and how inherently dramatic her books are – it’s surprising that so few of them have been made into movies. (She’s also the author of a marvelous play, Virginia, neglected since its original productions at the Stratford Shakespeare Festival in Ontario with Maggie Smith in 1980 – which I saw and have never forgotten – and the New York premiere with Kate Nelligan in 1985.) There are TV movies of her breakthrough novel The Country Girls and Wild Decembers (she wrote the teleplays for both), but only twice has her work reached the big screen: in 1964, when she adapted the middle book in the Country Girls trilogy, The Lonely Girl, as Girl with Green Eyes, and in 1972, when she turned Zee and Company into X, Y and Zee, and which starred Elizabeth Taylor in one of her best performances, opposite Michael Caine and Susannah York. Neither film is remembered today.

Inventory Management, Vol. I.

A scene from Yoko Taro’s Nier: Automata.

"Inventory Management" is the period of rest and thoughtfulness that occurs during breaks in the action, in which we organize and clear out all the unnecessary clutter we've accumulated during our adventures. This column, like its sister column Critic's Notes & Frames, embraces this spirit of enjoyable tidying up by acting as a receptacle for all the reviews, thoughts, and musings about games and gaming culture that wouldn't fit anywhere else. -- Justin Cummings

I jumped into director Yoko Taro’s Nier: Automata without ever having played the original 2010 title Nier. I didn’t think I’d have any trouble, given the seemingly hyperbolic reaction the game had received by that point, with critics and fans often citing it as their favourite game of the year so far. I raised an single eyebrow at this – I mean, Breath of the Wild came out this year – but it was enough to warrant giving it a shot, anyway.

No East or West in Dreams: Yoko Ono, Buddhism and the Avant-Garde

Fly (1971) was Yoko Ono's second album.

Welcome to the world of transformation and transcendental art. The art in multiple media produced by the 1960’s neo-dadaist movement known as Fluxus in general, and the art of Yoko Ono in particular, in addition to being challenging and thought-provoking, is also an exceptionally suitable vehicle for the subtle transmission of sophisticated Buddhist principles which can be found in both Zen and Dzogchen teachings. In many cases the artworks themselves are embodied meanings, crystallized manifestations of certain Buddhist perspectives on the interactive nature of reality.

Inspired profoundly by the brilliant breakthroughs of two twentieth-century conceptual masters, Marcel Duchamp and John Cage, the art produced by Ono and this mere decade-long assembly of experimental mixed media artists and musicians is also an ideal pivot with which to appreciate the more pronounced (and more revealing) affinity which has long existed between Buddhist philosophy (especially as transmitted to the west by D.T. Suzuki in the post-war period) and the west’s most adventurous avant-garde (especially that practiced by visionary artists and musicians such as Duchamp, Maciunas, Cage, and the Fluxus group). And Yoko Ono. Perhaps especially Yoko Ono.

Off the Shelf: John Fawcett's Ginger Snaps (2000)

Katharine Isabelle and Emily Perkins in Ginger Snaps

John Fawcett's horror comedy Ginger Snaps has the good sense not to take itself too seriously. This low-budget Canadian feature, with a clever screenplay by Karen Walton, is essentially a prankish menstrual joke much like Brian De Palma's Carrie. Fifteen-year-old Brigitte Fitzgerald (Emily Perkins) and her sixteen-year-old sister, Ginger (Katharine Isabelle), are both outcasts who are preoccupied by death. Their self-styled Goth lifestyle is so gloomy that the only joy they experience is collaborating on a school project where they photograph a number of mock-suicide attempts. Brigitte and Ginger are not only sisters; they're spiritual twins who loathe their placid suburban environment. Yet they are both so tied to their deep blue forebodings that neither has had her period yet. They take refuge in life's shadows as a way of hiding from the light of their own femininity. The night Ginger finally gets "the curse" she also has the misfortune of being bitten by a werewolf. This horrific attack slowly transforms her into a lycanthrope herself. The joke, of course, is that puberty has not only turned her into a hot babe who draws all this attention from the guys; it's also transformed her into a voracious beast who is out for blood. "I've got this ache," she tells Brigitte, "and I thought it was for sex, but it's to tear everything to pieces." With the help of Sam (Kris Lemche), a local pot dealer and amateur botanist, Brigitte tries to bring her demon sister back from the brink.

Williamstown Theatre Season Openers: The Model American and The Roommate

Hiram Delgado and Han Jonghoon in The Model American at the Williamstown Theatre Festival. (Photo: Daniel Rader)

Mandy Greenfield’s tenure as artistic director at the Williamstown Theatre Festival has been marked by a turn away from revivals of classic American (and European) plays to a focus on new work: this year, like last, Greenfield has reserved only one slot for an established play, and it’s Sarah Ruhl’s The Clean House, from 2004. (Last season it was Tennessee Williams’ The Rose Tattoo.) The attention to up-and-coming playwrights is theoretically exciting, but the choices for season openers in both spaces, the mainstage and the intimate Nikos Stage, are questionable, to say the least.

Je Suis Zombie: On the Third Season of iZombie

David Anders, Rose McIver, and Jason Dohring in iZombie.

 This piece contains spoilers for the third season of The CW's iZombie.

This past Tuesday, the third season of The CW's iZombie concluded with a world-shaking bang. Though the 13-episode season of Rob Thomas' zombie crime procedural also came with a significant drop in its ratings (continuing the steady decline from the heights of its freshman season), the series showed up for its third outing with all guns blazing and held that energy all the way through. If you tuned in you were treated to a more ambitious story that, while never straying from the wit and charm of its first two seasons, carefully and confidently expanded the show's themes, more than earning the right to shift the ground beneath its feet.