Archives for September 2, 2005

It’s Friday, time again for my weekly Wall Street Journal drama-column teaser. I reviewed two musicals this week, one out of town (Goodspeed Musicals’ revival of The Boy Friend, directed by Julie Andrews) and one not (the Public Theater’s Shakespeare-in-the-Park revival of
Two Gentlemen of Verona). The first was good, the second wasn’t:

Ms. Andrews, who no longer performs, made her Broadway debut in “The Boy Friend” 51 years ago (sorry to be ungallant, but it’s no secret). Now she’s elected to pass on a half-century of accumulated stage wisdom to her youthful charges, and it shows, not least in the singing of Jessica Grov

It’s Friday, time again for my weekly Wall Street Journal drama-column teaser. I reviewed two musicals this week, one out of town (Goodspeed Musicals’ revival of The Boy Friend, directed by Julie Andrews) and one not (the Public Theater’s Shakespeare-in-the-Park revival of
Two Gentlemen of Verona). The first was good, the second wasn’t:

Ms. Andrews, who no longer performs, made her Broadway debut in “The Boy Friend” 51 years ago (sorry to be ungallant, but it’s no secret). Now she’s elected to pass on a half-century of accumulated stage wisdom to her youthful charges, and it shows, not least in the singing of Jessica Grov

My Wall Street Journal colleague Eric Gibson reviews Hilary Spurling’s Matisse the Master, the second volume of her masterly biography of Henri Matisse, in today’s paper:

Ms. Spurling’s second volume is a worthy successor to her first, “The Unknown Matisse.” That earlier book revealed an artist impelled toward modernism almost in spite of himself. It also raised the bar for artist-biographies, so splendid were Ms. Spurling’s gifts as an interpreter and chronicler….

Ms. Spurling’s book–like Matisse’s art, in fact–is poised and measured, though charged with intense emotion. Her narrative gifts, combined with her extensive quotations from the family’s correspondence, give the book an immediacy that makes us silent witnesses to a long drama of creativity and ordeal. When the last page is turned, we are likely to feel as emotionally drained as the artist did when he finished a painting. And then we are left to weigh it all up, on one side the surpassing artistic achievement and on the other its terrible price.

Read the whole thing here.

My Wall Street Journal colleague Eric Gibson reviews Hilary Spurling’s Matisse the Master, the second volume of her masterly biography of Henri Matisse, in today’s paper:

Ms. Spurling’s second volume is a worthy successor to her first, “The Unknown Matisse.” That earlier book revealed an artist impelled toward modernism almost in spite of himself. It also raised the bar for artist-biographies, so splendid were Ms. Spurling’s gifts as an interpreter and chronicler….

Ms. Spurling’s book–like Matisse’s art, in fact–is poised and measured, though charged with intense emotion. Her narrative gifts, combined with her extensive quotations from the family’s correspondence, give the book an immediacy that makes us silent witnesses to a long drama of creativity and ordeal. When the last page is turned, we are likely to feel as emotionally drained as the artist did when he finished a painting. And then we are left to weigh it all up, on one side the surpassing artistic achievement and on the other its terrible price.

Read the whole thing here.

September 2003:

If we think a house or painting or photograph or ballet is beautiful, we want it with us always. But the catch is that the more pieces of the past we succeed in preserving, the less space and time we have in which to display and contemplate the present. Too many lovers of art live exclusively in the past. I understand the temptation–I feel it myself–but it strikes me that we have an obligation to keep one eye fixed in the moment, and that becomes a lot harder to do when you’re pulling a long, long train of classics of which the new is merely the caboose. Needless to say, this is a problem without a solution. The only thing you can do is fiddle with the proportions and try to get them right, or at least righter….

(If it’s new to you, read the whole thing here.)

September 2003:

If we think a house or painting or photograph or ballet is beautiful, we want it with us always. But the catch is that the more pieces of the past we succeed in preserving, the less space and time we have in which to display and contemplate the present. Too many lovers of art live exclusively in the past. I understand the temptation–I feel it myself–but it strikes me that we have an obligation to keep one eye fixed in the moment, and that becomes a lot harder to do when you’re pulling a long, long train of classics of which the new is merely the caboose. Needless to say, this is a problem without a solution. The only thing you can do is fiddle with the proportions and try to get them right, or at least righter….

(If it’s new to you, read the whole thing here.)

– Samuel Clemens’ average net share of the box-office take for one of his 1884-85 lectures: $155.34

– The same amount in today’s dollars, courtesy of Inflation Calculator: $3,073.59

(Source: Ron Powers, Mark Twain: A Life)

– Samuel Clemens’ average net share of the box-office take for one of his 1884-85 lectures: $155.34

– The same amount in today’s dollars, courtesy of Inflation Calculator: $3,073.59

(Source: Ron Powers, Mark Twain: A Life)