vip in the city

Things We Want

December 7, 2007. Yes, long overdue post, but this ties in with The New Group’s second show of the season (Mike Leigh’s Two Thousand Years) which I saw this week:

We were at The Acorn, front row center, for The New Group’s season kick-off production of Things We Want, Jonathan Marc Sherman’s bitterly funny new comedy. The play revolves around the plight of three very different adult brothers living together in their family’s 10th floor apartment, out of whose living room window both parents jumped to their deaths, in two separate incidents. (Granted, the real estate market can be notoriously tough, but you’d think they’d move. To a lower floor, at least.)

Ethan Hawke, about whom I have a lot of ambivalent feelings — loving him, in say, Richard Linklater’s Sunrise/Sunset movies, loathing his pretentious boorish tendencies in just about every other context — directs.

The cast is stellar: frequent Hawke and Sherman collaborator Josh Hamilton is eldest brother Teddy, who begins the play as a hyper-responsible devotee of self-help guru “Dr. Miracle” and his theories about the power of primes to impart life meaning. (Seven chakras, five senses, three words, one goal. Am I the only geek who wanted to point out that, technically, “1” is not a prime number? All right then.) In the year that elapses between acts one and two, during which (surprise, surprise) Dr. Miracle is exposed as a con artist, Teddy’s sanctimoniousness degenerates into a pool of selfish amorality and debauchery. Middle brother Sty, played by the consistently terrific Peter Dinklage (The Station Agent), takes the reverse trajectory: beginning the play as an awesome raging drunk, and maturing into a paragon of responsibility and compassion by way of Alcoholics Anonymous. Paul Dano (best known as the mostly mute brother in Little Miss Sunshine) plays the sensitive, youngest brother Charlie, in the process of recovering from the “heartbreakdown” brought on by being dumped by his culinary school girlfriend. And in the middle of everything — in almost every conceivable sense — is their coquettish downstairs neighbor/fellow-AAer Stella played by rising star Zoe Kazan, granddaughter of renowned On the Waterfront director, Elia Kazan. (Zoe made her Broadway debut in the current revival of William Inge’s 1950 melodrama, Come Back, Little Sheba, reviewed rhapsodically by The Wall Street Journal.)

Things We Want is former wunderkind Sherman’s first new play in nearly a decade, and since he has made no secret of his own troubled history with alcoholism and parental suicide, it is safe to assume that elements of this play are heavily autobiographical. The playwright has a definite knack for sharp comic dialogue, but here the occasional witty turn of phrase (and there are several) do not necessarily add up to fully developed characters, or plausible situations. The Times observed that “[f]or a certain breed of male New Yorker — a type often found at the Tribeca Film Festival or smoking between drinks on sidewalks near Lower East Side hot spots — Things We Want has to have the highest cool quotient of any show in town” and compared it “[i]n plot and sensibility…[to] a high-testosterone equivalent of Crimes of the Heart.”

The Voice critic was less charitable, calling the sight of Hamilton and Kazan in their underwear “the undoubted highlight of Sherman’s play.” (Well… it ain’t bad. Did I mention we had great seats?)

Tags: Jonathan Marc Sherman, plays, Things We Want

Norma

Back at the Met Opera tonight for the last performance of my winter season, before resuming with Tristan und Isolde in March.

We were there tonight for Vincenzo Bellini’s Norma, an opera I’d not yet seen, despite its semi-regular rotation in the operatic repertoire. The eponymous lead soprano role in this 19th century Italian work is considered one of the greatest (and most difficult) in the bel canto canon — rife with the passion and melodrama for which opera is known. Norma tells the tragic story of a love triangle: the Druid high priestess has broken her vows of celibacy and borne two children with Pollione, the ruler of the opposing Roman army. After urging her Druid people not to war against the Romans, Norma learns that her lover has been unfaithful with Adalgisa, a young novice priestess — a betrayal which unleashes a torrent of emotions from revenge and despair to love and honor, all of which plays out against a background of war.

But somehow, we weren’t feeling it tonight. And after Norma sang her ”Casta Diva,” there seemed little reason to stick it out for the remainder of the evening.

Later that week, as I was puttering around in the kitchen, I once again heard the familiar strains of that beautiful aria coming from the television. I dashed into the living room just in time to catch the last seconds of a Jean Paul Gaultier Parfums commercial for “Le Male,” featuring the singular voice of La Callas, the most famous Norma of the 20th century.

No telling in what form the Bellini opera will return to New York: Renee Fleming recently abandoned plans to perform her Norma in a new Robert Wilson production for the Metropolitan Opera’s 2011-12 season.

Tags: Casta Diva, Maria Callas, Met Opera, Norma, Renee Fleming

New Museum opening

Technically, the first snow of the season arrived on November 19, but that ephemeral dusting was so slight as to hardly register. The snowfall on Sunday morning December 2 was more substantial, and seemed to inaugurate the true start of winter.

Since its founding by the late Marcia Tucker in 1977, The New Museum has demonstrated a commitment to showing visionary, daring work by living artists. Over the next three decades, the museum would be housed in a series of roving spaces: a staff of three began with an office in the TriBeCa Fine Arts Building on Hudson Street, hosting exhibitions offsite at donated galleries at the New School, later working out of spaces on Broadway, and more recently occupying temporary quarters at the Chelsea Art Museum.

For its first permanent home, the museum commissioned a building with a relatively modest budget of $50 million by Kazuyo Sejima and Ryue Nishizawa of Tokyo-based firm SANAA (an acronym for Sejima and Nishizawa and Associates). Prior to their hiring in 2002, SANAA had not yet built outside of Japan, which made the firm an unusual choice in this era of starchitects.

The results have been well-received: a seven-story stack of shimmering two-ply silvery grey boxes each teetering slightly off center, with three floors of exhibition space, levels for educational and administrative purposes, and a top floor offering open, spectacular views of downtown.

To commemorate the grand reopening of the New Museum, beginning at midnight on December 1, the museum was open to the public for 30 consecutive hours. We registered for tickets on Sunday morning, and at 10:00AM, we made our way through the falling snow to the Bowery to tour the new space.

The museum’s inaugural exhibition concentrates on works that are purposefully Unmonumental, the kick-off to a three part, five month long exhibition that explores sculpture, audio, and collage by some of the most prolific and relevant international artists today. Not particularly my taste: sculptures made from a bundled pillar of old clothes and stuffed animals (“Bale Variant Number 001”) by New Yorker Shinique Smith, a plywood box through which was threaded flea market belts (“Split Endz (wig mix)“) by Glasgow-based Jim Lambie, an arched sculptural stack of broken wooden chairs (“Myth Monolith (Liberation Movement)”) by Marc André Robinson… well, actually I did think that last one pretty cool, if precarious-looking.

The stark white galleries, hallways, skylights, and hidden stairways were a destination unto themselves, though: a marvel to be contained within the museum’s 71’ by 112’ footprint.

The view out through the metal mesh:

New Museum staircase:

For those who missed the grand opening in December (and who wish to bypass the usual $12 admission fee), the New Museum still offers free hours on Thursdays from 7:00-10:00PM.

Tags: museums, New Museum, snow