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Toasting a Theatrical Mash-Up: Sherlock Holmes and the Adventure of the Suicide Club

Sherlock Holmes and the Adventure of the Suicide Club

Sprung from the mind of Jeffrey Hatcher, the writer behind the underrated play-turned-film Stage Beauty, the Arizona Theatre Company's 45th-anniversary season opener Sherlock Holmes and the Adventure of the Suicide Club is a fun theatrical mash-up that drops the characters from Sir Arthur Conan Doyle's Sherlock Holmes realm into an adaptation of Robert Louis Stevenson's The Suicide Club. I caught this world premiere helmed by ATC's artistic director David Ira Goldstein at the Temple of Music and Art, the company's cozy home base and a civilized oasis in the heart of downtown Tucson. There isn't a bad seat in the roomy house, and you can peruse the upstairs art gallery or take your time enjoying gourmet food, a glass of wine, or a cup of locally roasted coffee from the adjoining Temple Lounge before the show, then grab a refill and take it into the theater with you—a far cry from the tourist cattle call-feel of leisure-lacking Broadway these days. Continue Reading »




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Human Rights Watch Film Festival 2011: This Is My Land…Hebron

This Is My Land Hebron

"We killed Jesus—we're proud of it!" a yarmulke-wearing teenager taunts a Christian peacemaker in Giulia Amati and Stephen Natanson's This Is My Land…Hebron, a startling glimpse into life at ground zero of the Israeli occupation. The doc begins with a pace-setting, arresting opening that swiftly crosscuts between images of daily life, from soldiers to street markets, while anonymous voiceovers stubbornly insist on the right of Jews to settle in Hebron. This contested territory is home to 160,000 resentful Palestinians, 600 hardcore Israelis who've plopped themselves down in the city center, and 2,000 Israeli soldiers, many not too keen on having to defend fellow Jews who order them around as if they were their own private security force. One Ha'aretz journalist says he hates going to Hebron above every other occupied city since it's the most brutal. Indeed, but even the physical violence pales in comparison to the psychological torture inflicted on the city's residents every day. The stones young Jewish kids throw at their Arab neighbors while their approving parents watch might not always make it through the wire fences the Palestinians are forced to live behind for their own safety, but the emotional blows delivered are as heavy as a boulder. Both sides live in a city in which hate is nurtured right along with the olive trees. Continue Reading »




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Human Rights Watch Film Festival 2011: Familia

Familia

Like Lixin Fan's Last Train Home, Mikael Wiström and Alberto Herskovits's Familia manages to make a universal issue—the plight of the many immigrants who leave behind their loved ones to make a living far from home—personal by focusing on one family in particular: an older Peruvian couple, their grown son and daughter, and young school-age son. The filmmakers follow both the matriarch, Nati, as she begins her new life as a maid in Spain, and those forced to fill her void back in Lima. What's most remarkable, however, is the intimate access the Swedish co-directors get, a result of their having known Nati and her kin for over 35 years. This allows not only for the family to be completely open and at ease in front of the lens, but also for black-and-white flashbacks that aren't recreations but real-life footage, giving us a contextual glimpse into the couple's hardscrabble past as pickers at a massive landfill. Continue Reading »




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Human Rights Watch Film Festival 2011: The Green Wave

The Green Wave

Ali Samadi Ahadi's The Green Wave was one of the more buzzed-about films I regretted not having seen at last year's International Documentary Film Festival Amsterdam, so I made sure to catch it at this year's Human Rights Watch Film Festival. Now I'm just wondering what all the fuss was about. Partially similar in style to Ari Folman's Waltz with Bashir, the doc combines animation based on blog posts, video footage of street protests and rallies in Tehran, and talking-head interviews with the usual suspects (Iranian journalists, lawyers, a Nobel Peace Prize winner, a former UN prosecutor, a cleric, and so on) to create a less than satisfying picture of the recent pro-democracy uprising in Iran. Continue Reading »




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DocPoint NYC 2011

Reindeerspotting: Escape from Santaland

Though I've spent the past year raving about the art-doc tsunami currently sweeping Denmark, I confess I've seen little of the nonfiction cinema coming out of nearby Finland. Enter DocPoint NYC to remedy the situation. The Helsinki-based festival has chosen to celebrate its 10th anniversary by partnering with MoMA, Scandinavia House, UnionDocs, Tribeca Film Institute, and the 92YTribeca to present close to 50 films from the Nordic land. While I was only able to catch a handful of the docs on the slate, two in particular (both screening at MoMA) made me wonder if there's filmmaking fairy dust being sprinkled on the Arctic ice these days. Continue Reading »




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Faking Arizona at Old Tucson Studios

Old Tucson Studios

It was good to get out of my element and visit a world I never even knew existed. And actually, it no longer exists and never did except in magical frames that flash across a big screen. Old Tucson Studios is to the American western what Cinecittà is to Italian cinema. Built in 1939 for the William Holden and Jean Arthur vehicle Arizona, the studio is now more a tourist attraction than a buzzing hive of filmmaking (though it still hosts productions, mainly for TV and cable). But in its heyday, under the guidance of the still energetic octogenarian Bob Shelton, who married into the business via his wife Jane Lowe (of the theater chain), Old Tucson Studios was home to around 400 productions, setting the stage for every last giant of the boots-and-saddle genre. Continue Reading »




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Suspended Cirque's Subterranea: An Urban Fairytale at the Connelly Theater

Subterranea: An Urban Fairytale

Developed from their earlier Urbanopolis, which ran at Galapagos Art Space in DUMBO, Subterranea: An Urban Fairytale is the latest production from underappreciated aerial troupe extraordinaire Suspended Cirque. Opening with Joshua Dean's futuristic hobo Pan making small, uh, "talk" (Pan uses nonsense-speak) with the incoming audience, Subterranea can best be described as Dr. Seuss gone cyber. As a synthesized voice welcomes us to our visit to this strange land, Pan helpfully pantomimes the consequences of cell phone use and photography during the performance before the curtains part to reveal three amorphous bundles dangling in midair. Bathed in red lighting against the blackness of the stage, chandeliers crafted from empty, upside-down water bottles hanging from hoops come into focus. As the purple fabric begins to writhe, the cocoons conjure up an Alien creepiness. After slowly unfolding from their aerial wombs, which morph into sturdy strips, a trio of gothic female extraterrestrials (the troupe's tall blonds Angela Jones and Kristin Olness as Prima and Hecate, and its petite brunette Michelle Dortignac as Echo) perform an alluring modern dance in midair. They're trying to entice our protagonist, The Man, played by Suspended Cirque's lanky vaudevillian straight man Ben Franklin, who has just descended—via a white fabric strip—into their dark underworld. Continue Reading »




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The Little Chaos Is a Charming Brechtian Mashup

The Little Chaos

Though The Little Chaos takes its title from Rainer Werner Fassbinder's 1966 short, it's primarily a deconstruction of the director's first feature, the deconstructionist Love Is Colder Than Death. Using text not only from Fassbinder's films, but also from Jim Jarmusch's Stranger Than Paradise, even a postmodernist novel called The Dead Father by Donald Barthelme, the play is a heady Brechtian mashup that surprisingly charms rather than ironically alienates. Continue Reading »




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Iranian Theater Festival: Something Something Über Alles

Something Something Über Alles

Though Iranian cinema has been all the rage among cinephiles for as long as the Khomeini regime has been cracking down on its filmmakers, the country's vibrant ex-pat theater practitioners across the U.S. have gone virtually unnoticed. Enter the Brick Theater in Williamsburg to remedy the discrepancy. From now until March 26th you can catch a vast array of productions that reflect the diversity of Persian culture itself: political protests and surreal comedies, live actors and shadow puppets, dance and video (and yes, even a couple of films) are all represented at this year's Iranian Theater Festival. Continue Reading »




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Cinekink Film Festival 2011: Kink Crusaders

Kink Crusaders

"I am a role model simply because I'm here," Mr. Leather Ottawa announces from his wheelchair in Michael Skiff's Kink Crusaders, a documentary shot during the 2008 edition of the International Mr. Leather contest, held annually in Chicago for the past 30 years. Moving back and forth from archival footage and talking-head interviews with IML founder Chuck Renslow, past winners, and current hopefuls, to the contest itself, Skiff's rote filmmaking is fortunately topped by his eye-opening subject matter. Within the LGBT community, leather men (and women) have always been marginalized—which, ironically, has allowed IML to slowly expand even as the gay community itself has narrowed its focus to chasing once exclusively hetero dreams. "We are inclusive. That's one of the things that made us grow," Renslow emphasizes, recalling the first black man to be named International Mr. Leather. Indeed, the latest incarnation of IML is a microcosm of true diversity, with a skinny WWII vet (returning soldiers were the fathers of the leather scene), a pierced German with a voice like Werner Herzog, an Asian top skilled in the rope bondage used on prisoners brought before Japanese emperors, and even guys from unlikely locales such as Iowa and Oklahoma, all duking it out with the cosmopolitan, gay white male base. When you've got straight guys proudly competing in a contest that started in the back of a frequently raided bar (Renslow reminisces about the early days of paying off local policemen during the earliest days of Mayor Richard M. Daley's reign), this is progress. Continue Reading »




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Imitation of Life: The Interminable Suicide of Gregory Church

The Interminable Suicide of Gregory Church

"What are you writing there? Are you reviewing? You're a bit late!" Daniel Kitson teased a young man seated in the audience scribbling away at the January 16th matinee of The Interminable Suicide of Gregory Church, Kitson's one-man show that opened at St. Ann's Warehouse in DUMBO 10 days earlier as part of the Public Theater's Under the Radar Festival. (For the record, this mile-a-minute monologue that made audiences swoon at the 2009 Edinburgh Fringe Festival plays through the end of the month, having outrun the UTR festival. And also for the record, this critic has a good excuse for tardiness, having just arrived back in NYC from Europe.) "You review away," the bearded and bubbly, disarmingly charming standup comedian and actor continued. "But the critics have spoken. And it's a hit!" Continue Reading »




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Abel Ferrara's Napoli Napoli Napoli

Napoli Napoli Napoli

Abel Ferrara's Napoli Napoli Napoli is as rambling and all over the place as his previous foray into documentary filmmaking, Chelsea on the Rocks. This time his approach is the same: talking-head interviews haphazardly mixed with staged reenactments, with some archival images thrown in at random. But compared to a rebel director like Werner Herzog, who weds his similar restlessness to an amazingly diverse appetite, Ferrara seems just an addict-jumpy auteur with a frustratingly immature and narrow vision; sex and violence, drugs, and the arts are pretty much all he's interested in. Which is why after about 15 minutes into Napoli Napoli Napoli, you find yourself wondering why he doesn't just stick to fiction instead. Continue Reading »




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Toneelgroep Amsterdam's La Voix Humaine

La Voix Humaine

'Tis the season for surreal culture shock. First it was the fried balls. Forget popcorn and potato chips; from bitterballen to oliebollen, unless it's round and fried, it ain't a snack here in Holland. Then it was Sinterklaas—or, more precisely, his helper Zwarte Piet (best explained by David Sedaris in an essay for Esquire a few years back). Suffice to say, the sight of towheaded tots trotting down the street in blackface can make even a seen-it-all New Yorker like me gawk. And now: Toneelgroep Amsterdam's production of Jean Cocteau's La Voix Humaine, a French play performed in Dutch with English surtitles projected perfectly center-stage above the action. (Interestingly, five days before I attended the show at the spectacular, castle-like Stadsschouwburg, Spike Lee held a discussion/book promotion at the theater. Alas, I heard he didn't have much to say about Zwarte Piet.)

But I have quite a bit to say about La Voix Humaine, a one-woman show starring the luminous Halina Reijn (who also stars in the company's Children of the Sun as the invalid Lisa) as an alternately determined and desperate mistress who is trying to break up once and for all with her lover over the phone. While Michael Shannon and his headset may have New York audiences in stitches in Mistakes Were Made, Ms. Reijn and her regular old receiver (or "terrible weapon" as she refers to it at one point) drag Amsterdam theatergoers through a nonstop, emotional tight-wire act for nearly an hour. Continue Reading »




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Toneelgroep Amsterdam's Children of the Sun

Children of the Sun

Belgian theater and opera director Ivo van Hove—a familiar name to those who get their off-Broadway fix at BAM and New York Theatre Workshop—has been the artistic director of Toneelgroep Amsterdam, the Netherlands's largest rep company, for close to a decade, and it shows in his latest self-assured production, Kinderen van de Zon. For those of you who don't speak Dutch (and I don't so I had to catch a performance that included English "surtitles" projected a tad too high above centerstage), the title translates to Children of the Sun, Maxim Gorki's timeless classic about the intelligentsia's doomed disconnect—and retreat from—the realities of the common man. (Yup, I am now going to review in English a Russian play done in Dutch. Take that, NYC theater critics back home!) Continue Reading »




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Falling in Love at PornFilmFestival Berlin

Modern Love Is Automatic

I first heard about writer/director/producer/editor Zach Clark's Modern Love Is Automatic from fellow Houser Steve Boone, who emailed to ask if I'd seen the SXSW 2009 hit about a nurse who becomes a dominatrix. I hadn't—though I've seen the real life version of medical professionals moonlighting as pro doms more times than I care to count. So I made a mental note to see it, then promptly missed its theatrical release at the reRun Gastropub Theater. And like so many other flicks that sadly fall off my radar, this breath-of-fresh-air gem likely would have been confined to my dusty must-see list had it not been that Modern Love Is Automatic is opening this year's Pornfilmfestival Berlin, where my own short, The Story of Ramb O, is having its world premiere. Thank heaven for kinky accidents. Continue Reading »




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