Terry Teachout's Blog, page 186

TT: Almanac

"I have discovered that most people have no one to talk to, no one, that is, who really wants to listen. When it does at last dawn on a man that you really want to hear about his business, the look that comes over his face is something to see."

Walker Percy, The Moviegoer

TT: Almanac

"There's Hawkeye and Trapper John back in Korea. I never did like those guys. They fancied themselves super-decent and super-tolerant, but actually had no use for anyone who was not exactly like them. What they were was super-pleased with themselves. In truth, they were the real bigots, and phony at that. I always preferred Frank Burns, the stuffy, unpopular doc, a sincere bigot."

Walker Percy, The Thanatos Syndrome

TT: Going nowhere

Mrs. T and I are holed up on Sanibel Island, off the coast of south Florida. I'm getting over a lingering cold, so we did as little as possible last week. I did contrive to see and review a play on the mainland, but mostly we slept late, walked on the beach, read books, and watched movies, taking time out each evening to see the sun set. I spent several blissful hours revisiting two beloved novels by William Maxwell, They Came Like Swallows and The Folded Leaf. Mrs. T cooked, I shopped and did the dishes, and a good time was had by all.

It wasn't until a few years ago that I started taking vacations for the first time in my life. I suspect it's no coincidence that I'd never seen the sun set until then. Like so many things discovered in adulthood, sunsets remain a novelty to me, one that is permanently fresh and self-renewing. Each one is different, sometimes subtly and sometimes outrageously, and I never tire of standing beside Mrs. T and watching the golden ball slide out of sight, thinking as its brilliant light dies away of the lovely little poem by Charles Cotton that Benjamin Britten set in his Serenade for Tenor, Horn, and Strings: The day's grown old; the fainting sun/Has but a little way to run,/And yet his steeds, with all his skill,/Scarce lug the chariot down the hill.

I have quite a bit more on my plate this week than last. In addition to Friday's Wall Street Journal drama column, I'll be writing essays about Louis Jordan and Morten Lauridsen, a juxtaposition that promises to keep me hopping. But at least I'll be doing my hopping here, which makes all the difference. We can see the Gulf of Mexico from the living room of our little cottage, and both of us regard that view as the purest of luxuries. Rain or shine, it's the most beautiful sight and sound imaginable. Yes, I have to sing for my supper, for this is, after all, a working vacation (I rarely take any other kind). Still, I don't know when I've been happier, nor can I imagine a time that will be better than this.

* * *

Philip Langridge sings the "Pastoral" from Britten's Serenade for Tenor, Horn, and Strings, accompanied by Frank Lloyd, Steuart Bedford, and the English Chamber Orchestra:

TT: Just because

Charles Laughton and Deanna Durbin do the conga in It Started With Eve:



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

TT: Almanac

"All America lies at the end of the wilderness road, and our past is not a dead past, but still lives in us. Our forefathers had civilization inside themselves, the wild outside. We live in the civilization they created, but within us the wilderness still lingers. What they dreamed, we live, and what they lived, we dream."

T.K. Whipple, Study Out the Land

PLAY

Dividing the Estate (Old Globe, 1363 Old Globe Way, Balboa Park, San Diego, Calif., closes Feb. 12). Another great New York show has come to California. Director Michael Wilson worked wonders with Horton Foote's grimly funny portrait of a houseful of Texans who've been sponging off their mother for so long that they've forgotten how to earn an honest buck, and several members of his original cast--including Elizabeth Ashley and Hallie Foote, the playwright's daughter--are on hand to repeat their indelible performances (TT).

TT: Porgy for prigs

In today's Wall Street Journal drama column I report on the Broadway revival of Porgy and Bess and a Florida production of God of Carnage . Here's an excerpt.

* * *

It ought to be good news that "Porgy and Bess" is back on Broadway for the first time in 35 years. Sad to say, the new version, which is billed by express order of the Gershwin brothers' estates as "The Gershwins' Porgy and Bess," is a sanitized, heavily cut rewrite that strips away the show's essence so as to render it suitable for consumption by 21st-century prigs. If you've never seen or heard "Porgy," you might well find this version blandly pleasing. Otherwise, you'll be appalled.

The "Porgy" "problem," if you want to call it that, is twofold. "Porgy and Bess" is a full-scale opera, not a musical--an uncut performance runs for three and a half hours--and it is written in dialect, which makes some modern-day listeners squirm. Hence this nannyish adaptation, in which Suzan-Lori Parks has neutered DuBose Heyward's book to make the characters seem more dignified. (Old version: "Crown dead, ain't he?" New version: "Crown is dead. Or do you know different?") Among other ludicrously euphemistic touches, the grievously crippled Porgy, who in the opera must ride around on a goat-drawn cart, now walks on his own with what Ms. Parks calls "a modest cane," suggesting that there's nothing wrong with the poor fellow that couldn't be fixed up by a visit to his friendly neighborhood chiropractor. Diedre R. Murray has done comparable damage to the score, tarting up some numbers, "I Got Plenty o' Nuttin'" (pardon me, "I Got Plenty of Nothing") in particular, almost beyond recognition. Her musical tampering is tasteless, condescending and, above all, unnecessary: Anyone who thinks that George Gershwin's great score needs to be "modernized" in order to make it palatable to Broadway audiences is by definition unqualified to touch a note of it.

Diane Paulus and Ronald K. Brown, the director and choreographer, have given this Disney-style "Porgy" an emotionally null staging that is utterly devoid of any sense of place....

"God of Carnage," whose film version was released a couple of weeks ago, had already been making the regional-theater rounds for the past year and a half. Small wonder: Yasmina Reza's four-character stage farce, which tells the tale of two well-heeled married couples who come to blows after their children get into a playground scrap, is a lightweight, deftly wrought comedy of bad manners that can be mounted without breaking the bank (it requires a single set). Having reveled in Matthew Warchus' star-studded 2009 Broadway production, I was curious to see how "God of Carnage" would hold up when played by less familiar faces, so I flew down to Fort Myers to check out the Florida Repertory Theatre's production.

I'm delighted to report that Florida Rep's staging, directed with hair-trigger precision by Dennis Lee Delaney, is at least as good as the Broadway version, and better in one respect: The casting is less predictable. On Broadway, the presence of James Gandolfini and Jeff Daniels signaled from the start that the husbands weren't as nice as they looked. Not so Craig Bockhorn and Chris Clavelli, whose transformation into beasts of prey is a well-kept surprise....

* * *

Read the whole thing here .

TT: Almanac

"People always try to find base motives behind every good action. We are afraid of pure goodness and of pure evil."

Eugène Ionesco, Paris Review interview (Fall 1984)

TT: So you want to see a show?

Here's my list of recommended Broadway, off-Broadway, and out-of-town shows, updated weekly. In all cases, I gave these shows favorable reviews (if sometimes qualifiedly so) in The Wall Street Journal when they opened. For more information, click on the title.

BROADWAY:

• Anything Goes (musical, G/PG-13, mildly adult subject matter that will be unintelligible to children, closes Apr. 29, most performances sold out last week, reviewed here)

• Chinglish (comedy, PG-13, adult subject matter, closes Apr. 29, reviewed here)

• Godspell (musical, G, suitable for children, most performances sold out last week, reviewed here)

• How to Succeed in Business Without Really Trying (musical, G/PG-13, perfectly fine for children whose parents aren't actively prudish, most performances sold out last week, reviewed here)

• Other Desert Cities (drama, PG-13, adult subject matter, most performances sold out last week, reviewed here)

• Seminar (serious comedy, PG-13, closes Mar. 4, reviewed here)

• Stick Fly (serious comedy, PG-13, reviewed here)

OFF BROADWAY:

• Avenue Q (musical, R, adult subject matter and one show-stopping scene of puppet-on-puppet sex, reviewed here)

• The Fantasticks (musical, G, suitable for children capable of enjoying a love story, reviewed here)

• Million Dollar Quartet (jukebox musical, G, off-Broadway remounting of Broadway production, original run reviewed here)

IN SANTA MONICA, CA.:

• Our Town (drama, G, remounting of off-Broadway production, suitable for mature children, closes Feb. 12, original run reviewed here)

CLOSING SOON OFF BROADWAY:

• Dancing at Lughnasa (drama, G/PG-13, closes Jan. 29, reviewed here)

CLOSING SOON ON BROADWAY:

• Follies (musical, PG-13, adult subject matter, closes Jan. 22, reviewed here)

CLOSING SUNDAY IN BRISTOL, PA.:

• Gypsy (musical, PG-13, adult subject matter, reviewed here)

TT: Almanac

"Perhaps I abandoned criticism because I am full of contradictions, and when you write an essay you are not supposed to contradict yourself. But in the theater, by inventing various characters, you can. My characters are contradictory not only in their language, but in their behavior as well."

Eugène Ionesco, Paris Review interview (Fall 1984)