“DOGGIE HAMLET”

This week for public radio 99.1 KBU and select websites, observed somewhat wide eyed and curious was a production of “Doggie Hamlet,” staged under a sunny southern California sky at Will Roger State Historic Park by UCLA’s Center for the Art of Performance.

Admittedly, I don’t know exactly how to describe the event conceived, choreographed and directed by Ann Carlson: Whether it was a dance concert, a dog show, or a happening?

Or perhaps even something more, as Carlson writes in the program, that Doggie Hamlet “dares the preposterous, the absurd, the simple, even silly “ asking us, literally, “to sit together at the edge of the mystery and sameness that joins all living things.”

However explained, the event was diverting and delightful, featuring milling sheep, trying as ever to snap up a few blades of green grass, several cavorting humans in and out of floppy sheep skins, and a very focused, no nonsense, beautiful herding Border Collie doing his thing, while two others impatiently looked on with their distinctive gaze.

A more coherent dance narrative would have been appreciated, whether the humans were trying to mimic or divert the principal herding dog. Whatever their intent, they were frankly awkward, purposely or not. Forget Shakespeare. I missed the connection.

And as someone who has witnessed these dogs actually herding sheep in New Zealand, I feel it would have added to the drama seeing them work in concert. It is impressive. I also have to confess that I was partial to the principal dog Monk, being a dedicated dog person, and not incidentally the master and admirer of a herding Corgi.

Our dog known as Bobby the Bad is very much a working dog who instead of corralling cattle for which he was bred must now be content herding other dogs and humans. For those curious, Bobby can be seen and heard at the Trancas Canyon Dog Park most days at 4 PM. doing his thing, despite the coarse gravel there that cuts his and his buddies’ feet. So much for the city’s promise of replacing it last year. We the persevering pet owners I guess should be just glad the park is occasionally maintained.

Back to a more pristine Will Roger’s Park, where seated on a hay bale overlooking the polo grounds, I was very much predisposed for Doggie Hamlet.

To be sure, in my enjoyable pursuit of arts and entertainment attractions to review, I have come to expect the unexpected from UCLA’s Center for the Art of Performance. Its main venue is the landmark campus centerpiece Royce Hall, but in recent years has branched out to the more intimate UCLA Freud Playhouse and Little theater, and downtown to the Theatre at Ace Hotel.

And now, of course, there is Will Roger’s Park. previously known for its polo matches and fabeled private rope twirling performance . But as its mission statement proclaims, the center is not a place, it’s “a state of mind that embraces experimentation, encourages a culture of the curious, champions disruptors and dreamers and supports the commitment and courage of artists.” I like that.

Just now · 7 neighborhoods in General

CANDIDE COMES TO TOWN

 

This week on public radio 99.1 KBU and select websites, some suggestions for theatre goers ever on the search for a unique experience that the live stage promises.

For me, it is no wonder that theatre as a human endeavor has been around ever since ancient Greece, surviving our capricious civilizations, with its periodic deranged autocrats.

If you read into that an allusion to our present times, it is. Excuse me, but as a patriotic American, to be sure first generation, I cannot pass up an opportunity to take a swipe at the unpresidential Trump and his complicit Republican entourage that I feel is damaging our frail democracy.

That said, my arts and entertainment observation for this week is to forget trying to get tickets to Hamilton. We have, resolving ourselves to wait with some trepidation for the movie version, or perhaps a revival by the show biz bound students at Malibu or Uni high schools.

For something that promises to soar as Hamilton, and because it is just here for a limited engagement, check out the production of Candide, being presented with all its trimmings by the L.A. Opera at the Music Center’s Dorothy Chandler.

I frankly haven’t seen a preview. It opens tomorrow and runs until the February 18th. But the advance hype of the revitalized production resonate a must see, and so I will be going, albeit near the end of the run.

But I did see it several decades ago, and remember the music by Leonard Bernstein to hit just the right tone, and the book based on Voltaire’s classic satire to be timely then, and I expect after several reported rewrites it will be again.

If you are into literature, you might recall that the philosopher Voltaire’s story is the naïve search of the character Pangloss for the best of all possible worlds, only to constantly fall victim to an avalanche of unfortunate events, but somehow to survive

Bringing it to life will be Emmy Award winner Kelsey Grammer known of course as TV’s Frasier, and two-time Tony Award winner Christine Ebersole. They and a large cast will be under the baton of conductor James Condon, in this send up of a Broadway show and Opera

For me the real star of the evening is Bernstein, whose score melds the popular and classic into something distinct. The revival of his Candide is indeed a fitting celebration of what happens this year to be his centennial birthday.

But again, get your tickets, now, for like Hamilton, this show, opera, call it what you will, has all the makings of a hit.

 

 

CELEBRATING CULTURE ABROAD AND HERE

Went away over the extended holiday season happily observing the music and museum scene in some historic and a few new cultural venues in a familiar Berlin and London, as I comment on public radio 99.1 KBU and in print on websites everywhere.

These included a memorable Beethoven’s Ninth in stately Berlin landmark, a holiday concert in a pitch perfect Philharmonic Hall there and a sublime offering of Bach Cantatas in Leipzig’s St. Thomas Church, where he had been the venerable choir master.

In London there were several concerts in the inviting Wegmore Hall and stage productions in the West End and beyond. Those were at night, and of course during the days there were the varied museums and galleries I haunt.

And, yes, they had great gift shops sporting post holiday sales. Even the winter weather cooperated, with no more than the usual threatening clouds.

It was a lovely vacation. if it was not for the embarrassing cloud of our deranged disaster of a president that shadows Europe as it does America. Everywhere we went and were identified as Americans we were offered sincere sympathy for us by foreign strangers who consider Trump an aberration, and worse.

But meanwhile back in Los Angeles I happily observe on my return that the cultural scene is flourishing, paced as it has for the last half year by a wealth of exhibitions and happenings under the banner of Pacific Standard Time.

Branded LA slash LA, it is an engaging, celebration of the rich artistic traditions and contributions of Latin American artists and Latin countries. Check out on the web: pacificstandardtime.org

The ambitious program sponsored principally by a generous Getty is coming to an end. But in its waning days there is things still to see and experience locally,

What should be particularly provocative this weekend are several performance pieces at varied venues downtown , including the Broad Museum and Redcat gallery Saturday night, and at MOCA’s Geffen Contemporary Sunday.

But do check them out first on the internet; the performances may not be everyone’s cup of tea, or shot of tequila.

With time running out for Pacific Standard Time, if you want something more conventional, and accessible there are several exhibits that will be lingering at the Getty for another week.

These include one exploring the luxury and legacy of the ancient Americas, entitled Golden Kingdoms. It is amazing to think that some of the jewelry displayed dates back thousands of years, hinting at a rich culture that persists today.

That, of course, was the purpose of Pacific Standard Time, and it succeeded

CELEBRATING THE RENAISSANCE AT THE GETTY

Thanksgiving is over, and a good time to push away from the table, get out of the house and go somewhere different, very different if you can.

I personally would like to go back to Italy, way, way back , to the Renaissance, though not as a lowly plebeian, as I comment in my weekly arts and entertainment observed on public radio KBU 99.1 and select websites everywhere.

No, I would want to be an artist. I’d leave being a cultural critic to others; it had its social and economic limitations, then, as it does now.

Prompting this time travel fantasy are several exhibits at the always engaging Getty, which being in nearby Brentwood I’ve come to regard as the local cultural center. And it’s free.

So if you are a skeptic and don’t believe in being whisked back in time and place, you, like me, also can go the Getty, and at least be beguiled by the exhibits radiating the Renaissance .

Most evocative are the landscapes of the Venice based Giovanni Bellini. Considered a leading exponent of the popular religious themes that dominated painting in the 15th century, Bellini filled his canvases with characters and scenes from familiar sacred stories..

And while his landscapes are highly metaphorical, they also accurately reflect the region’s topography and natural light. Indeed, if studied closely in they exude a reality that makes you see what it might have been like to be in Italy 500 years ago.

A companion exhibit focuses in on views of sacred landscapes depicted in Renaissance manuscripts, with the Getty noting that many people then looked to greenery for contemplating the perceived divine order of creation. The Getty notes:

“Manuscript illuminators were among those who carefully studied the raw elements of nature—such as rocks, trees, flowers, waterways, mountains, and even atmosphere—and incorporated these into luxurious objects of personal or communal devotion. “

Adding to this celebration of the Renaissance is a rare showing of three Caravaggio masterpieces, on loan from the Borghese Gallery in Rome.

Considered one of the true masters of Italian painting, Caravaggio is known for his bold, realistic style in which sacred subjects were shown as very real people, their emotions and physicality made dramatic by selective lighting, and dark shadowing. His works are mesmerizing.

Indeed, the three paining alone are worth a visit to the Getty. Be prepared for possible time travel.

 

UCLA HOSTS DANCE PERFORMANCE

 
If the arts and entertainment do anything for me, it engages, excites and expands the mind, be it the theater, film,, painting, sculpting, music or dance, as I comment this week on radio malibu, 99.1 KBU and select websites.
 
Note new and stronger signal, out to all of Malibu!
 
Dance in particular I’ve always found challenging, combining as it does music and movement, a feast for the ears, and eyes, and being an aging mesomorph, I am always amazed seeing what the body can do.
 
Prompting this thought was the premiere performance last weekend at the UCLA ‘s Royce Hall of “calling glenn,” a work by the ever-experimental dance company AteNine, and and supported by the ever-encouraging UCLA Center for the Art of Performance.
 
It was choreographed and directed by Israeli-trained and now L.A. based Danielle Agami, who not incidentally was one of the ten dancers who athletically and with grace cavorted on stage to the original music of Glenn Kotche.
 
While each talented dancers made distinct solo statements, none really stood out, not even when isolated by staging or costume, for the 70 minute piece was very much a collaboration, either as duos, a foursome, or a troop scrambling in concert.
 
What props there were you could have guessed: simple chairs the dancers on occasion sat in and dueled with. And microphone stands they grasped and fought over.
 
At times the choreography looked chaotic, but obviously wasn’t. The technique displayed was awesome, the unpredictable changes in rhythm challenging, and the multiple and simultaneous actions I felt celebrated a welcomed expressive freedom: what contemporary dance is all about.
 
And it was riveting.
Somehow the dancers kept pace to the percussionist punctuated music, or perhaps it was the music performed by an energetic Kotche that somehow kept pace with the dancers.
 
And then in the midst of a segment, there was silence, which had the effect of lending a sharp focus on the non-stop performers. Very legendary composer John Cage and dance choreographer Merce Cunningham inspired
 
At the abrupt end of the performance, the dancers appeared spent, and so was the audience. But not so much as not to give the dance company and Agami a standing , rousing ovation.
 
You left Royce elated, and looking forward to the next delight from UCLA’s Center for the Art of Performance.
 
 

CONCERT ANTIDOTE FOR WORLD SERIES

This week, something different for my arts and entertainment commentary on public radio 97.5 KBU and select websites everywhere. It is needed if only to edge out of mind the homer happy, wacky World Series that ended with a dud.

It’s needed too, if you want to keep abreast of what’s happening in the world of music, and get out of your caves and experience it.

That is what is promised this Saturday, at 8 PM, at UCLA’s Center for the Art of Performance at Royce Hall, where appearing will be the Grammy award winning pop rock band, “OK Go.”

The band is perhaps best know for its eye-catching, mind blowing videos. But instead of seeing the iconic videos on the small screen, expect to see them, in performance, in an immersive cinematic environment, being scored, live.

Don’t expect this to be the usual rock show, lots of amped up sound and flashing lights, but a blast from the bands past, and into the future. If this sounds a bit confusing, stay after the performance, when the band will take questions from the audience. And you can catch your breath.

I also look forward to it being antidote for me to the World Series, which frankly left me exhausted, and deserve some mention here.

After all, this commentary is entitled “arts and entertainment observed,” and indeed I have to confess that the unpredictability and drama of the series was for the most part entertaining.

Certainly for me as a critic it had elements of an ancient production, what with fallen heroes as in a Greek tragedy, and the screaming crowds mimicking Roman spectacles.

This despite the crass commercialism and the mind numbing television spots, though happily were long enough to allow breaks from the couch.

Of course I didn’t attend any of the games, what with the obscene ticket prices. If I wouldn’t pay $100 to see “Hamilton.” I certainly wouldn’t pay S1,000 for a questionable seat, and having to fight traffic to get there, and also pay for parking.

Long, long ago I came to realize that the Dodgers despite the smiling face of Magic Johnson had become just another greedy sports enterprise; I think it was about the time it was bought by Rupert Murdoch and then sold to a Boston parking lot owner.

Suffice it to say the Dodgers are not the team I loved with an uncommon passion, the team of Gil Hodges, Duke Snider and Jackie Robinson, when I was growing up in Brooklyn.

There I’d actually take the legendary trolley to the games at Ebbetts Field to see games, having been blessed with tickets scored for hawking copies of the newspaper Brooklyn Eagle .

But those were days past. The present is now, and the future is a concert at UCLA. Life does move on.

 

 

HEAT WAVE ABATES, LA/CA EXHIBITS DO NOT

The heat wave in Malibu has abated, we hope, and It is time once again for Pacific Standard Time’s LA/LA. an unprecedented and welcomed exploration of Latin American and Latino art, sponsored in large part by the Getty.

Indeed, it seems it is always time for LA/LA since it was launched several months ago at the LA County Museum and is continuing there, and, of course, at the Getty, and seemingly everywhere across Southern California., as I comment this week on public radio 97.5 KBU and select websites.

With some 100 concurrent exhibitions, programs and events scheduled over four months at no less than 70 cultural institutions, selecting what to see and then finding time to visit the venues can be a real challenge for those with real lives,.

For me recently it was finding an hour plus downtown to duck into Union Station, to see a here-to-fore hidden, mesmerizing mural, a 43 panel chronological history of Los Angeles, from the founding of the city in 1781 to 1981.

That is when the mural painted by Barbara Carraco was to be displayed as part of L.A.’s bicentennial on, of all things, a McDonald’s exterior downtown, but was censored. It seems 14 of the images were considered offensive, depicting past discriminatory events involving the city’s black, Mexican and Japanese minorities. Nothing like displaying the truth to worry the powers-that-be.

So into storage it went, appearing briefly at Union Station in 1990. And now it is at Union Station again, properly hailed and labeled an “un-censoring” as part of an exhibition co-curated for LA/LA by the LA Cultural and Arts Plaza and the California Historical Society.

I would have liked to seen more of the display on rebel art, but since I was downtown I also wanted to see the Pacific Standard Time’s exhibit at the Central Library, “Oaxaca in L.A”, the city being the home to the largest population of indigenous Oaxacans outside Mexico.

I unfortunately missed the program, as I frankly have some others. There are just too many.

I’m sure it is also daunting for the Getty overseers, museum curators and ardent academics to make time, even though salaried, or just even having their travel expenses covered.

But what of the committed, causal or just curious aesthete, the public, for whom these offering are ostensibly directed? And also what about many of my old media acquaintances, who keep showing up while their publications sadly continue to wilt and no longer pay?

Then of course, there is the constant attraction of what is being presented. It’s like taking an art appreciation course, and loving it.

GETTY CELEBRATES LATIN AMERICAN ART

The engrossing perspectives of Latin American and Latino Art continue to be unveiled in the ambitious cultural endeavor Pacific Standard Time, LA/LA., as I comment on public radio 97.5 KBU and websites everywhere
 
Underwritten in large part by the Getty Foundation, the exhibits in some 70 cultural institutions are singular curatorial events exploring the traditions of Latin American art and their contributions to art in all the Americas.
 
So much for walls between nations, repressive immigration policies, and the xenophobic views of our embarrassing President Trump, and his gutless and greedy supporters.
 
The sorry situation in the nation’s capitol, I feel, makes it all that important the we celebrate our diversity, particularly in the rich traditions of art. And that is what LA/LA does.
 
Most recently this happily meant touring yet another LA/LA extravaganza, this one to the Pacific Standard Time’s mother ship, the Getty’s Brentwood hilltop museum, Featured there at present are four distinct and strikingly different exhibits.
 
All are noteworthy, but most arresting to me was the exhibit entitled Golden Kingdoms; Luxury and Legacy in the Ancient Americas.
 
With exquisite art works dating back 3,000 years, revealed are a succession of civilizations that obviously valued creativity and enjoyed flaunting it.
 
Of particular interest to me was that metals were used to craft objects of ritual and ornament, not as in most other civilizations, for weaponry, tools or coinage.
 
So we have for example ancient jewel encrusted hoop earrings that would be quite stylish today, and body ornaments that would distinguish a Venice Beach hipster.
 
Displayed in addition to objects in gold and silver are art works made from shell, textiles, and most notably jade. Indeed, jade appears to have been valued more than gold, though the early Europeans did not differentiate.
 
They just plundered everything they could get their greedy hands on while conquering the heathen Golden Kingdoms in the name of Christianity. Millions died, and with them the crafts that had distinguished their civilizations.
 
As for the other LA/LA exhibits at the Getty, they also were fascinating as they were different, but these broadcasts being brief I will have to review the in the weeks and months ahead.
 
However, with the exhibits running into next year, I just might have enough time to see and comment on them all. You should try.
 
 

LATIN AMERICAN ART EXHIBITS CONTINUE

The gift of the Getty’s Pacific Standard Time labeled LA/LA continues, most recently for me at the Hammer Museum for an understated but powerful exhibit entitled “Radical Women: Latin American Art, 1960 -1985.

Both dense and fragmented, sweeping but also absorbingly specific, strong but also subtle, the artworks that include photography and video installations, is compelling, as I comment this week on public radio 97.5 KBU and select websites everywhere.

The exhibit is, I feel,a must –see for thinking and feeling women, and consciousness raising for men. If you can, try also to catch a related gallery talk or film.

And a welcome reminder: the Hammer is free, as I think all museums should be. And let me add must be, to counter the dumbing down of America coming out of Washington these depressing days.

For those too young to remember, or for women who don’t care to remember, the 1960 through the 80s was a challenging time for women almost everywhere, asserting their identity as the veil of the feminine mystique was being lifted,.

Or so I remember it in the public world of art world in the United States..

In Latin America it was a much, much tougher battle, for women, who suffered there under stifling harsh political and social conditions. This included a tradition of virulent machismo, repressive political regimes, and an unsympathetic, impervious predominate religion.

But as evidenced by the Hammer exhibit, these courageous women artists, most unknown, produced an impressive body of work. In particular, most absorbing to me were the films and video, that lend a sense of the raw presence.

On a completely different note for a different arts venue, I also want to plug the upcoming Dorrance Dance concert at the always engaging Wallis Cultural Center in Beverly Hills.

The Dorrance company is different indeed, extending the always entertaining but most times limited tap dance tradition   into the present, more experimental street and club forms.

Because they are only at the Wallis for a few days, next Thursday through Saturday, the 12, 13th and 14th, a review at my scheduled times would not allow those interested time to make plans and get tickets.

And therefore I offer this advance plug, Hoping the performances are as exciting as they have been promoted.

 

A BERKSHIRE RAMBLE

It’s back on air on public radio KBU 97.5 and in print after several weeks on the east coast that included returning to my cultural roots in western Massachusetts.

There, I am happily to report the Berkshire Mountain is still joyfully flourishing, as a wellspring of dance, music and the visual and performing arts, in an accessible historic cluster.

For us that meant locating in the pleasant village of Lenox, and making daily forays to the surrounding attractions.

First and foremost was nearby Tanglewood. The Koussevitsky Music Shed was inviting as ever, though to be sure I no longer sat on the lawn for concerts, but in a chair under cover and closer. And the summer resident Boston Symphony Orchestra was as crisp and refreshing as expected, in a program of Mozart’s youthful violin concerto number 3.

The soloist was Daniel Lozakovich, a 15-year-old European phenom, making his American debut. He performed faultlessly, and was cheered enthusiastically, especially by his mother, who sat near us.

He joined her after intermission for the program’s second feature, Mahler’s fourth symphony, and arguably his most genial. This performance also had a family touch, the orchestra being conducted by Andris Nelsons, and the last movement’s vocal centerpiece, delivered by his wife, Kristime Opolais.

In the evening, it was the Ozawa Hall, and a tribute to Ella Fitzgerald and the American Songbook, batted out enthusiastically by Tanglewood’s vocal troupe accompanied by members of the Boston Pops. I just loved Stephanie Blythe, who echoed Ella Fitzgerald.

The next day Tanglewood’s own orchestra performed, with the addition of world renown trumpeter Hakan Hardenberger, in a program that included some several modern scores. Ever engaging was Prokofiev’s Symphony No. 1, less so Mark-Anthony’s Turnage’s From the Wreckage.

To be sure, the humid weather and thunderstorms were not as climate perfect as Southern California’s, but the festivals and museums forays were sublime, notably also Jacob’s Pillow for dance and a forever expanding and engaging Massachusetts Museum of Art in North Adams.

My Berkshire ramble prompted the thought of Los Angeles, and how the region’s emerging and engaging cultural gazpacho might be better organized and orchestrated to serve Southern California’s expanding and diverse population, fractured and institutionalized as it is.

Ah, if some of those selected self aggrandizing arts efforts were only less insular and more attuned to audiences and artists, how refreshing and energizing our cultural scene could be; if only our vain patrons and pandering politicians were less ego involved, indeed, if only pigs could fly.