Archives for July 2018

From 2008:

My friend Ethan Iverson, who plays piano with the Bad Plus, read my recent Wall Street Journal column about modern music, in which I mentioned in passing that “I don’t go in for crunch-and-thump music, nor do I care for the over-and-over-and-over-again minimalism of John Adams and Philip Glass, which puts me to sleep.” He promptly issued the following challenge on his blog: “Here’s an open invitation to Terry–who, after all, is a current collaborator with modernist composer Paul Moravec: what about a list of classical music since 1950 that he finds interesting? It should be a list of music that is neither twelve-tone or minimalist, nor particularly ‘crunch and thump.’”

Here goes, straight off the top of my head….

Read the whole thing here.

“A person is smart. People are dumb, panicky dangerous animals, and you know it.”

Ed Solomon, screenplay for Men in Black

I wrote a piece for the Weekend Journal edition of The Wall Street Journal about the pleasures and perils of attending outdoor performances. It ran on Saturday. Here’s an excerpt:

From Tanglewood to the Hollywood Bowl, summertime means outdoor performances of every kind, including classical concerts, opera, dance and, most often, theater. I’ve reviewed them all, and some of my happiest memories are of the countless shows I’ve seen under the stars. On the other hand, I also remember a few that I would have paid not to see, usually because Mother Nature chose not to cooperate. Yes, it’s festive and fun to eat a picnic dinner, then stroll to Shakespeare in the Park. But if the sky falls, the show stops—unless the performers are protected by a tent or canopy, in which case it may simply be paused, leaving the audience soaked to the skin by evening’s end. Not only is mere skull-busting heat rarely considered sufficient reason to send a paying crowd home, but I’ve covered plenty of performances where gnats were out in force, flying in funnel-cloud formation with orders to kill….

Read the whole thing here.

The final London performance of Beyond the Fringe, a revue written by and starring Alan Bennett, Peter Cook, Jonathan Miller, and Dudley Moore. It was first performed in 1960, then transferred to Broadway in 1962 and ran there for 667 performances. This live performance was taped by the BBC and was originally telecast on December 12, 1964:

(This is the latest in a series of arts- and history-related videos that appear in this space each Monday, Wednesday, and Friday)

“By calling him humourless I mean to impugn his seriousness, categorically: such a man must rig up his probity ex nihilo.”

Martin Amis, Experience

In today’s Wall Street Journal I review two Broadway premieres, Straight White Men and Head Over Heels. Here’s an excerpt.

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Progressive identity politics has now made it to Broadway with—literally—a vengeance. The occasion is Second Stage Theater’s new production of “Straight White Men,” a 2014 satire about straight white men and their discontents written by Young Jean Lee, who now becomes the first Asian-American woman to have a play produced on the Great White Way. Not only has it already had successful runs at the Public Theater and Chicago’s Steppenwolf Theatre Company, but the cast includes a movie star-in-the-making, Armie Hammer (“Call Me by Your Name”). Whether “Straight White Men” would have reached Broadway without Mr. Hammer is a moot point, but it’s there now, and the box office is doing brisk business. Unfortunately, the play isn’t any good, though that won’t matter, since it fulfills the first condition of success on Broadway: It tells the members of the audience what they want to hear, and nothing else….

Ms. Lee may not have heard, but liberal New Yorkers who go to the theater like nothing more than to be flagellated therein for their sins. “Straight White Men” endeavors to sock it to them, presenting us with a baby boomer (Stephen Payne) and his three impeccably progressive sons (Josh Charles, Mr. Hammer and Paul Schneider), all of whom sincerely believe they’re doing their best to check their collective privilege (“Matt got the drama teacher fired for only casting white people in ‘Oklahoma!’”). Not so: It becomes clear no more than 30 seconds into the play that they are still clinging by their fingernails to the immature manners and mores of their benighted class….

“Straight White Men” plays like a 10-minute “Saturday Night Live” sketch blown out to an hour and a half: The jokes have no bite, and once Ms. Lee finishes shooting the fish in her tiny barrel, she has nothing left to do but shoot them again….

Yet another comic exercise in applied identity politics is playing one block east of “Straight White Men”: “Head Over Heels” is a jukebox musical whose score consists of songs recorded by the Go-Go’s, an all-female new-wave power-pop group that had a brief vogue in the Eighties. Very freely adapted by Jeff Whitty from “The Arcadia,” Philip Sidney’s 16th-century pastoral romance about mistaken gender identity, it’s been extensively reworked by James Magruder since its original 2015 Oregon Shakespeare Festival run, to no more than modest effect. The book is still a sophomoric mess, and the 17 songs, which are mostly either fast or rather less so, are lively but unvaried….

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Read the whole thing here.

The trailer for Straight White Men:

The trailer for Head Over Heels:

The sixteenth episode of Three on the Aisle, the twice-monthly podcast in which Peter Marks, Elisabeth Vincentelli, and I talk about theater in America, is now available on line for listening or downloading. In this episode, Peter, Elisabeth, and I take calls from and respond to e-mail from our listeners.

Here’s an excerpt from American Theatre’s “official” summary of the proceedings:

The critics are back after a busy July…to discuss the recent layoffs at the New York Daily News that cut 93 employees, including theatre critic and colleague Joe Dziemianowicz. His dismissal is just the most recent in a troubling series of critical layoffs at major publications, including Kris Vire from Time Out Chicago, leading to a discussion on the future of arts criticism and what can be done to save it.

Then, on a lighter note, the critics read your emails and take your calls; answering questions on everything from what they believe the role of politics in criticism should be, to whether they actually enjoy sitting on the aisle for shows….

As usual, we wrap things up with a discussion of recent productions, in New York and elsewhere, that we’ve seen and liked—or not.

To listen, download the latest episode, read more about it, or subscribe to Three on the Aisle, go here.

In case you missed any previous episodes, you’ll find them all here.

The original Playhouse 90 TV version of J.P. Miller’s Days of Wine and Roses, directed by John Frankenheimer and starring Cliff Robertson, Piper Laurie, and Charles Bickford. This performance was telecast live (with videotaped inserts) by CBS on October 2, 1958:

(This is the latest in a series of arts- and history-related videos that appear in this space each Monday, Wednesday, and Friday)