Terry Teachout's Blog, page 204

TT: Don't call it art

In today's Wall Street Journal I empty both barrels into the PBS Arts Fall Festival , which kicks off tonight. Here's an excerpt.

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Paula Kerger, the president and CEO of PBS, gave a speech a year and a half ago in which she more or less admitted what everybody already knew, which is that public-TV arts programming--what there is of it--is barely worth watching. "To be candid, over the last year, we haven't done as good a job as we could," she said. "I think we can do more....We plan to significantly expand the presence of the arts in our prime-time lineup."

Now comes the payoff. This week the network launches its new arts initiative with a "festival" of nine arts-related programs that are scheduled to run on Friday nights through mid-December on those PBS affiliates that care to carry them. And what does Ms. Kerger have in store for her art-starved viewers?

In chronological order, here's the lineup:

• The Guthrie Theater's new production of "H.M.S. Pinafore," in which the classic Gilbert and Sullivan operetta, according to the press release, is "infused with fresh musical arrangements ranging from big-band swing to classic pop."

• A Cameron Crowe-directed "American Masters" documentary about Pearl Jam, the Seattle rock band.

• A "Great Performances" telecast in which George Balanchine's "Square Dance" and "Western Symphony" and Twyla Tharp's "The Golden Section" are danced by Edward Villella's Miami City Ballet.

• "Give Me the Banjo," a Steve Martin-narrated documentary about the role of the banjo in American music.

• Another "American Masters" episode, this one about the making of "Fondly Do We Hope...Fervently Do We Pray," a "dance-theater piece" about Abraham Lincoln that was created in 2009 by Bill T. Jones, the black modern-dance choreographer.

• "Women Who Rock," a "performance documentary" made in collaboration with Cleveland's Rock and Roll Hall of Fame and Museum.

• Los Angeles Opera's 2010 production of Daniel Catán's Spanish-language stage version of the popular Italian film "Il Postino," starring Plácido Domingo.

• An outdoor concert given last month in Central Park by Andrea Bocelli, the Italian crossover tenor, and the New York Philharmonic, featuring a guest appearance by pop diva Celine Dion.

• The San Francisco Ballet's dance version of "The Little Mermaid."

I have just one question: Who's kidding whom?

These shows don't add up to an arts festival, or anything remotely like it. What PBS is giving us instead is a stiff dose of the usual safety-first pledge-week fare, only spread out over two months. Except for Miami City Ballet's Balanchine-Tharp bill, all nine programs are carefully designed to please those members of the gray-ponytail set who prefer politically correct popular culture to high art. Straight plays? Who needs 'em? Jazz? Bor-ing. As for the visual arts, they don't even exist in the unserious, unchallenging world of the PBS Arts Fall Festival. Instead we get recycled Puccini, goosed-up Gilbert and Sullivan and yesterday's grunge rock....

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Read the whole thing here .

TT: Here comes Dr. King

In today's Wall Street Journal drama column I review two New York premieres, The Mountaintop and We Live Here . Here's an excerpt.

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Most Americans regard Martin Luther King, Jr. as something of a saint, and don't care to suppose that he might actually have been a great but flawed man. When it became known that Jackie Kennedy, of all people, called him "phony" and "tricky" in an interview recorded in 1964 but not released until last month, the result was a mass fit of cognitive dissonance, followed by...silence. Nobody likes to talk about his extramarital philandering, which was amply documented in FBI reports shared with Mrs. Kennedy by her gossipy husband, himself a serial adulterer. Yet Americans long ago faced the facts about John Kennedy and (mostly) continue to admire him. What makes Dr. King different? Why are we so reluctant to see him as he was?

For the first few minutes of "The Mountaintop," the new play about the last hours of Dr. King's life that opened last night on Broadway, it appears as though Katori Hall is prepared to portray the civil-rights leader (played by Samuel L. Jackson) not as a wax dummy but as a creature of flesh, blood and smelly feet who smokes and drinks on the sly and views himself with the wry detachment of a man who knows better than to take his own reputation too seriously. The arrival on the scene of a sassy maid (Angela Bassett) bodes no less well, for it is clear that "Preacher King," as she calls him, would very much like to coax her into bed. At that point "The Mountaintop" turns into a Tracy-Hepburn comedy rewritten for the chitlin circuit, but the laughs are honest ones and you don't feel cheated--yet. Alas, Ms. Hall pulls an even bigger switch halfway through the play, about which critical etiquette precludes me from saying more than that she appears to have seen "Here Comes Mr. Jordan" more than once....

Anyone who doubts that life is unfair need only buy a ticket to Zoe Kazan's "We Live Here" in order to have his nose rubbed in the inescapable truth of human inequality. Ms. Kazan, lately of "Angels in America" and "A Behanding in Spokane" and the most gifted stage actress of her generation, also writes plays on the side. This one, her first to be produced in New York, is an impressively self-assured domestic drama about Dinah and Althea (Betty Gilpin and Jessica Collins), two sisters who have a man (Oscar Isaac) in common. It complicates matters further that the 19-year-old Dinah is much younger than the man in question, or that Althea is a flaming neurotic who is about to marry a different man (Jeremy Shamos), a very nice guy who clearly didn't know what he was getting into when he popped the question.

Ms. Kazan, who is 28, has given us the kind of solidly constructed play that today's young authors tend not to favor, and her wide-ranging stage experience has taught her how to make the pieces fit together tightly. It's salted with comic repartee that is quick but not glib, and she also knows how to write scenes that imply more than they say....

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Read the whole thing here .

TT: Almanac

"Like all things human, the sight was far more bearable than he had imagined."

Scott Turow, The Burden of Proof

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)

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

• Man and Boy (drama, PG-13, closes Nov. 27, most performances sold out last week, 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 GLENCOE, ILLINOIS:

• The Real Thing (serious comedy, PG-13, closes Nov. 20, reviewed here)

CLOSING SOON IN ASHLAND, OREGON:

• August: Osage County (drama, PG-13/R, closes Nov. 5, reviewed here)

• Julius Caesar (Shakespeare, PG-13, closes Nov. 6, reviewed here)

• Measure for Measure (Shakespeare, PG-13, closes Nov. 6, reviewed here)

CLOSING NEXT WEEK OFF BROADWAY:

• Lemon Sky (drama, PG-13/R, adult subject matter, closes Oct. 22, reviewed here)

CLOSING SUNDAY IN NEW HAVEN, CONNECTICUT:

• Molly Sweeney (drama, G, too serious for children, New Haven remounting of off-Broadway production, original run reviewed here)

CLOSING SUNDAY IN WASHINGTON, D.C.:

• The Habit of Art (serious comedy, R, adult subject matter, reviewed here)

TT: Almanac

"There was no place for brutal honesty with a child. Everyone felt that. It was taken in the Western countries as a rule of nature. So we raise our children with love and comfort for a future they can only find disappointing."

Scott Turow, The Burden of Proof

TT: Snapshot

Tony Bennett and Bill Evans perform "When in Rome" on The Tonight Show in 1975:



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

TT: Daddy dearest

The New York theater season is now rolling, and The Wall Street Journal has given me an extra column this week so that I can hold forth at greater length on the Broadway revival of Terence Rattigan's Man and Boy . Here's an excerpt.

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In England Terence Rattigan is a growth stock, a purveyor of immaculately crafted plays who was immensely popular in the '40s and '50s, went out of fashion in the '60s and is now popular once more. Not so in America, where the once-beloved author of "The Browning Version" and "The Winslow Boy" remains largely unknown to under-50 theatergoers. It's been at least a decade since a Rattigan play received a high- or medium-profile professional production anywhere in this country, and the Roundabout Theatre Company's production of "Man and Boy," written in 1963, marks the first time that any of his plays has been seen on Broadway since 1998. This being the centenary of his birth, it makes sense that the Roundabout has revived one of his plays as a vehicle for Frank Langella, and it's no surprise whatsoever that Mr. Langella, one of our greatest stage actors, makes the most of the opportunity. The surprise is that "Man and Boy," which flopped hard in 1963 and sank without trace, turns out to be a tautly effective melodrama whose subject--the villainy of a financial "wizard" who is unmasked as a big-time swindler--is as timely as tomorrow's tweets....

Mr. Langella, who was so fabulous in "Frost/Nixon," is a crook of a different color in "Man and Boy," courtly and exquisitely well mannered, a man whose whole life has been an act and who is determined to keep it up all the way to the final curtain. Yes, his performance is stagey, but deliberately so, and by playing the first half of "Man and Boy" in the silken tones of high comedy, he sets the audience up for the crash that everyone knows is just around the corner.

The trouble with actors like Mr. Langella is that they have a way of washing their colleagues off the stage, and that's what happens here. Adam Driver and Virginia Kull, who plays his flapperish girlfriend, seem all but weightless by comparison. It doesn't help that Maria Aitken, the director, seems to have nudged her cast in the direction of broad-brush caricature. Mr. Langella is supposed to be stagey--that's the point--but his regal carriage would make better theatrical sense were it framed by more conventionally realistic supporting performances....

Rattigan wrote stronger plays than "Man and Boy," "The Deep Blue Sea" and "Separate Tables" in particular, and he would have been even better served had the Roundabout revived one of them instead. Nor does this production, save for Mr. Langella's ennobling presence and Ms. Aitken's shrewd cuts, make the best possible case for "Man and Boy." But it's still what the Brits call a rattling good show...

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Read the whole thing here .

TT: Almanac

"As life had repeatedly shown him, there was usually something to other people's pleasures."

Scott Turow, The Burden of Proof

TT: Escape

[image error]Mrs. T and I had a horrendously busy time of it this summer, and we didn't get to take a vacation because our plate was piled high with business- and family-related travel. As a result, we're both bushed, so we've carved three nights out of our schedules and will depart tomorrow afternoon for Ecce Bed and Breakfast , the superlatively tranquil Southern Catskills retreat where we spent our honeymoon four years ago and to which we have since returned as often as possible.

In order to bring off this feat of leisure, I saw four shows and wrote five pieces in the past four days. That's quite enough work to hold me for the moment, so please forgive me if I don't post anything more than the usual almanac entries, videos, and theater-related stuff between now and next Monday.

Don't write. Don't call. It could get ugly.

TT: Just because

Tony Bennett sings "Who Can I Turn To?" in 1978: