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ABOUT "ABOUT LAST NIGHT" AND ITS AUTHORS 
This is a blog about the arts in New York City and the rest of America, written by Terry Teachout, Laura Demanski (otherwise known as Our Girl in Chicago, or "OGIC" for short), and Carrie Frye (who signs her postings "CAAF"). Terry, who lives in New York, is the drama critic of The Wall Street Journal and the music critic of Commentary. more

ABOUT TERRY'S BOOKS 
Terry recently finished writing A Cluster of Sunlight: The Life of Louis Armstrong, which will be published by Harcourt in the fall of 2009. He contributed an essay to Coudal Partners' newly published Field-Tested Books (as did OGIC) and wrote the introductions to William Bailey on Canvas and the paperback edition of Elaine Dundy's The Dud Avocado. One of his essays will be included in Robert Gottlieb's Reading Dance, out in November from Pantheon. more

ABOUT TERRY'S OPERA 
Terry is collaborating with Paul Moravec on The Letter, an operatic version of Somerset Maugham's 1927 play. It was commissioned by the Santa Fe Opera and will open there on July 25, 2009. Here is an ongoing series of progress reports on the writing and production of The Letter.
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Lend me your ears (and eyes)
Men at work
Men at work (II)
Men at work (III)
Men at work (IV)
For better and worse
Men at work (V)
Men (and women) at work (VI)
Notes from an unkept diary
The case for lower-case opera
The envelope, please
Right turn at Albuquerque
Moment's notice
Men at work (VII)
Scene stealing (I)
Scene stealing (II)
Becoming an artist
In one piece

SEE TERRY TALK 
To watch Terry's wsj.com review of All My Sons, go here.

Archive  5350 entries and counting

CONTACT
tteachout@artsjournal.com
ogic@artsjournal.com
caaf@artsjournal.com

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TOP FIVE

A list of new things we've liked (subject to unexpected and wildly capricious updating).

MUSEUM 
Giorgio Morandi, 1890-1964 (Metropolitan Museum, 1000 Fifth Ave., up through Dec. 14). It's too crowded, too noisy, and poorly hung, but the Met's Morandi exhibition, the first ever to come to the United States, is still a major event, a retrospective of one hundred and ten paintings and works on paper by one of the greatest and least sufficiently appreciated still-life painters of the twentieth century. Unless you take the trouble to go to Bologna's Museo Morandi, it's unlikely that you'll ever get another chance to see this many Morandis at one time, so pick an off hour, pack a set of earplugs, and dive in (TT).

BOOK 
Joseph Epstein, Fred Astaire (Yale, $22). The latest addition to Yale's "Icons of America" series is a 198-page tribute to America's greatest dancer by one of America's best essayists. Witty, thoughtful, concentrated, and astute, Fred Astaire goes a long way toward conveying the essential quality of an intensely private man who only seems to have come fully to life in the studio. Unlike most commentators, Epstein also pays proper attention to Astaire's singing, but most of the book is devoted to his dancing--and, no less interestingly, the persona he projected in his films and TV appearances. After Arlene Croce's indispensable 1974 monograph on the Astaire-Rogers films, this is the Fred Astaire book to have if you're only having two (TT).

BOOK 
David Sheward, Rage and Glory: The Volatile Life and Career of George C. Scott (Applause, $29.95). The first full-scale biography of the actor who turned down an Oscar for Patton, Rage and Glory serves as a useful reminder that there was far more to George C. Scott than his legendary temper. Detailed and decently written, it devotes as much attention to his stage career as to the films--most of them, alas, awful--for which he is now best remembered. As for the films, take a look at Anatomy of a Murder, Dr. Strangelove, The Hustler, and The Hospital if you haven't done so lately. Along with Patton, they're the only worthy movies that Scott made, but they're good enough to ensure that he won't be forgotten (TT).

PLAY 
Equus (Broadhurst, 235 W. 44, closes Feb. 8). A masterpiece it's not, but Peter Shaffer's 1973 play about a mentally disturbed stableboy and the psychatrist who has second thoughts about curing him is a spectacular piece of theater-for-its-own-sake, impressive enough that it's easy to overlook the creakiness of the play's intellectual underpinnings. This is the first Broadway revival of Equus, for which Daniel Radcliffe presumably deserves credit. Not surprisingly, the presence of Harry Potter in the cast has captured the imagination of the mass media--especially since he strips to the buff and runs around the stage in the next-to-last scene--but Radcliffe turns out to be a damned fine actor, while Richard Griffiths, lately of The History Boys, is as good as it gets (TT).

CD 
The Soprano Summit in 1975 and More (Arbors). No, not that kind of soprano. This two-CD set contains fifteen previously unissued concert recordings by Soprano Summit, the celebrated jazz combo that featured Kenny Davern and Bob Wilber on soprano saxophone and clarinet. Soprano Summit was one of the finest traditional jazz groups of the Seventies--maybe ever--and these piping-hot performances show why it made so lasting an impression. (Marty Grosz's wonderfully old-fashioned rhythm guitar is especially prominent in the mix.) If this CD doesn't make you smile, get your face fixed. Also included are nine additional live tracks separately featuring Davern and Wilber in the company of Dick Wellstood and Ruby Braff (TT).

Out of the Past

Not new, but still worth a look or listen (and no less subject to change without notice).

BOOK 
Karen Wilkin, Giorgio Morandi (Rizzoli, $35). If you want to get up to speed on Morandi, this lavishly illustrated monograph, published in 1998, is the place to start. The most lucid and sensible of present-day art critics, Wilkin explains with perfect clarity why the Italian painter's soft-spoken, deceptively repetitive tabletop microcosms rank among the greatest achievements of twentieth-century art. Look first, then read--then look again (TT).

CD 
Louis Jordan and His Tympani Five (JSP, five CDs). After Fats Waller, Louis Jordan was the great exponent of good-time small-group jazz whose entertainment value cunningly concealed its musical sophistication. A superb alto saxophonist who had a knack for singing (and picking) comic songs, Jordan put together a "jump band" so appealing that it was successfully marketed to blacks and whites alike, in the process leaving an indelible stamp on both R&B and early white rock and roll. This budget-priced, gorgeously remastered five-CD box set contains all 131 of the recordings Jordan and his combo cut for Decca between 1938 and 1950, not a few of which topped the charts. Like Waller's recordings, they never fail to hit the spot--especially after a long, tiring day at the office. Listen to them in tandem with John Chilton's excellent 1994 biography of Jordan (TT).

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