Archive for September 2010 – Page 2

Brutal and poignant – Ruined at the Geffen

Ruined -      Photo by Chris Bennion

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Vividly set against the backdrop of war-torn Democratic Republic of Congo, Lynn Nottage”™s Pulitzer Prize-winning drama Ruined is a potent portrayal of unspeakable tragedy and the prevailing triumph of the human spirit.

Mama Nadi (Portia) runs a bar and brothel in a small, rural outpost in the Ituri Rainforest somewhere in the Congo.  When one of her suppliers Christian (Russel G. Jones) brings a new girl over, he begs Mama to also take in his sullen yet beautiful niece Sophie (Condola Rashard), a victim of ghastly abuse at the hands of the militia. Christian explains that Sophie is “˜ruined,”™ which we learn means she has been abused so savagely while in captivity, she is incapable of working as a prostitute. But Christian assures Mama that Sophie sings beautifully which, indeed, she does.

Not that much happens during Act I while not-so-distant gunfire punctuates the discourse. Nottage”™s play is more of a colorful character study and a glimpse into a foreign, exotic and dangerous world than anything. It”™s not until Act II that some plot development emerges from the bickering hookers and the arrogant and menacing of the local militia and the rebel factions who seem to frequent Mama”™s joint at different times of the day or week.

Ruined was commissioned by the Goodman Theatre in Chicago, Illinois and first staged there in 2008. Almost the entire cast who originated these roles appears in the Geffen”™s faithfully transplanted production.

Ruined -     Photo by Chris Bennion

Most thrilling are the songs that erupt from time to time, composed by Dominic Kanza and performed live by guitarist Simon Shabantu Kashama and drummer Ron McBee.  When Rashard (and later Mama herself) starts to sing to the swaying, lyrical music, the audience swoons.

Indeed, Ruined is such an engrossing story there were many times when it seemed as if the audience was holding its collective breath, hanging on every word.  The play”™s final scene offers an optimistic conclusion, a breath of hope after so much grief.

Geffen Playhouse

10866 Le Conte Ave., Westwood.

Runs until Sunday, Oct 17th 2010.

Tue.-Fri, 8 p.m.;

Sat., 3pm and 8 p.m.;

Sun., 2pm and 7 p.m.

Tickets are $45.00–70.00, plus booking charges or call the box office on (310) 208-5454

Review by Pauline Adamek

Disappointing -Wall Street: Money Never Sleeps

Wall Street trio - Photo: Twentieth Century Fox Film Corporation

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Wall Street:  Money Never Sleeps is Oliver Stone”™s sequel to his brilliant drama and morality tale Wall Street that offered audiences a glimpse into the mysterious and nefarious world of stock broking and insider-trading back in 1987. The first film also articulated the zeitgeist of the decadent “™80s, distilling the ethos of the “˜Me”™ generation with the catch-phrase “Greed is good.”

Wall Street:  Money Never Sleeps, however, is a disappointment.

Basically a re-tread of the first movie, the plot follows almost every note and scene with substitutions. Gekko”™s infamous “greed is good” speech he made to the stockbrokers becomes a sales pitch delivered to college students for his new self-help book, Is Greed Good? Charlie Sheen”™s impressionable Bud Fox is replaced by Shia LaBeouf”™s driven young stockbroker. (Sheen does have a fun cameo appearance, though.) Having served time, Gekko is a now broken man and his replacement is the utterly ruthless Bretton (Josh Brolin).  You get the picture.

Once again the movie references the recent economic crisis. Admittedly, this time the story is driven by revenge, betrayal. ItӪs also about GekkoӪs attempts to reconcile with his estranged daughter Winnie, played by the newest ing̩nue Carey Mulligan (star of An Education and Never Let Me Go) who inexplicably (and implausibly) is dating Jake.

Herein lies the main problem:  there”™s no way this character, Winnie, would have fallen in love with such a Wall Street guy who stood for every thing she loathed. Dating Jake was way too much of a compromise of her “˜green”™ principles, not to forget a constant reminder of her hated father. Still, my main complaint is the barely two-dimensional rendering of this character.

The lovely and talented Mulligan cries prettily but unfortunately her character was little more than a paper doll, created to react to events and to further the plot with cooked-up devices.  Almost every crucial turning point hinged on some contrivance involving her, yet true psychological motivation was nowhere to be found..

This movie had no conviction and/or doesn”™t understand women.

SPOILER:

The swift and happy resolution (a huge chunk of money fixes everything) was so utterly fake. Winnie should have walked away from the betrayal from both men in her life.

END SPOILER.

The scene when she tells her Dad why she”™s so mad at him is pure nonsense – none of it made sense when she uttered it – and this scene totally undermines her rage and her sense of betrayal.

Then the scene becomes all about Gekko and his recriminations about the death of her brother and thus Douglas cries his way to his next Oscar.

Wall Street 2 poster - Photo: Twentieth Century Fox Film Corporation

Douglas is great as the slimy Gekko, but it”™s tough watching him puff away on fat cigars now that we know he”™s undergoing treatment for throat cancer.

Then there”™s the also inexplicable decision to insert several folksy songs by David Byrne and Brian Eno. Yes, I know one of these songs featured in the first movie, but this movie is set in 2008, and so these songs are jarring, dated and distracting.

While some of the visuals were great, such as using the New York skyline to represent the stock charts and red stock ticker images running down the city streets, the use of random visuals of toppling dominoes and bursting bubbles was painfully obvious.

I guess there”™s no way Wall Street:  Money Never Sleeps could ever have been as great a movie as the original, but it never came close.

What a shame.

Review by Pauline Adamek

A flabby romantic battle of wills — Elizabeth Shakespeare and the Astute Detective

Elizabeth Shakespeare - photo credit: Cydney Moore

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Thanks to its intriguing premise, Abraham Alan Ross”™ romantic comedy Elizabeth Shakespeare and The Astute Detective is a play with a promising start. A scruffy private investigator returns to his homey office and clues in the audience by addressing us directly in the expected hard-boiled fashion. Paunchy and grey-bearded, our P.I. Tad Maxwell (Chris DeCarlo) recalls an encounter with a prospective client, a slim, black satin-clad femme fatale Elizabeth (Pia Pownall) who claims she is a direct descendant of the Bard himself, William Shakespeare. Elizabeth says needs is a willing envoy to travel to England to retrieve the Will”™s original will. Or is there more to this client than she is revealing?

Although Tad”™s peril radar goes off (“She was a vision of danger, cloaked in loveliness,”) he agrees to take the case. But no one actually leaves for jolly old England.  Instead, a barrage of witty repartée ensues between the prickly pair. Ross”™ play devotes most of its time to an enthusiastic debate about the veracity of the origins of Shakespeare”™s famous works.

Thanks to some nifty sci-fi special effects, we flash back in time to converse with the Bard himself, as well as Edward deVere, the 17th Earl of Oxford (both parts amusingly played by James Schendel) who many scholars believe is the true author of Shakespeare”™s canon.

Elizabeth Shakespeare - photo credit: Cydney Moore

Unfortunately this promising idea soon collapses into a jumbled, incoherent mess. Tad”™s tendency for theatrics meshes well with Elizabeth”™s high-flown language, but it would be great if the two main actors didn”™t fluff their lines so frequently. Elizabeth”™s character demonstrates an odd vacillation between wanting to murder Tad and romance him. The tentative swordplay doesn”™t work all that well on such a small stage, but it”™s a valiant effort and still mildly entertaining.

Somewhere within this rambling yet witty duel of wills and Wills is a clever play. Some rigorous re-working is required.

Elizabeth Shakespeare and The Astute Detective

The Main Stage at Santa Monica Playhouse

1211 4th  Street

(between Arizona and Wilshire)

Santa  Monica, CA 90401-1391

Performances:

Runs until  Sunday, October 24th, 2010
Fridays and Saturdays at 8:00pm

Sundays at 6:00pm

Tickets $25.00, purchase here or call  310-394-9779 x 1

Review by Pauline Adamek

My newest LA Weekly theatre review

MYSTERIOUS SKIN  - photo by Michael Lamont.

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Gentle readers, click on the link below to read my latest theatre review for the LA Weekly:

Mysterious Skin

Happy reading!

Review by Pauline Adamek

Last days! Suffragette exhibition at Heritage Square Museum

Heritage Square Museum - photograph by Ken Johnson, © 2007

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Heritage Square Museum”™s latest exhibit Their Rights and Nothing Less: A Celebration of Women”™s Suffrage runs through Sunday, September 26th.

This is the last week to see this exhibition!

Complete with original, rarely-seen ephemera from the early years of the suffrage movement, a special section of the exhibit will be dedicated entirely to the efforts of women in Los Angeles who led the fight for equality NINE years before its ratification at the National level.

This year marks the 90th anniversary of the passage of the 19th Amendment to the Constitution giving women the right for women to vote. More accurately, the language does not reference women in the affirmative; what it does is not deny the right to vote based upon gender.

The right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex. Congress shall have power to enforce this article by appropriate legislation.

The 19th Amendment was proposed on June 4. 1919. Ratification was completed on August 18, 1920 by Tennessee, by a one-vote margin. It was certified on August 26, 1920.

suffragette arrest

Of course, the fight for women”™s rights began much, much earlier. In 1792, A Vindication of the Rights of Woman: With Strictures on Political and Moral Subjects was published by Mary Wollstonecraft, which responded to an issue even more basic and immediate than voting rights””the right””indeed the necessity for women to receive an education. Although almost inconceivable to think of now, this was considered a radical position which provoked a dramatic, although not necessarily negative, response. Starting with this simple idea, women have been fighting for equal rights ever since.

Curated by Mitzi March Mogul, Their Rights and Nothing Less takes a critical look at the incredible effort it took to gain that right and includes original artifacts from the early years of the struggle. In addition, the exhibit continues after the vote was won to look at critical issues fought and won by the women’s rights movement after. Including ephemera and artifacts from a never-before-seen private collection, the exhibit is a must for every woman…and man. The exhibit is made possible thanks to sponsors Planned Parenthood of Pasadena, 9 to 5-the National Association of Working Women, Bob Taylor Properties and the Glendale Printing Center.

Celebrating 41 years preserving and interpreting the history of Southern California, Heritage Square is a living history museum whose eight historic structures to tell the story of the development of Los Angeles like no place else.

Heritage Square Museum is open for regular tours Fridays, Saturdays and Sundays, from 12:00 PM to 4:30 PM. The exhibit is included in the museum”™s admission fee: $10/adults, $8/seniors, $5/children ages 6-12.

The Heritage Square Museum

3800 Homer Street, off the 110 Pasadena Freeway at Avenue 43, just north of downtown Los Angeles.

For further information, visit their website or their museum blog.

Report by Pauline Adamek