Paper_Hanger’s Weblog
Performances, movies and book reviews …Nutcracker Nation
Finally, a book review … !
This book examines how The Nutcracker came from its native Russia and took root in America. It treats the ballet as an immigrant and examines how being in america has changed it; and like many immigrants, how it changed its adopted country. It is more a work of socialogy, rather than of dance.
The book takes from the Ballet’s inception in 1892, at the Maryinski Theater, St Petersburg, under the choreography of Lev Ivanov (who stepped in for Marius Petipa). Through to George Balanchine’s productions for television, danced by the New York City Ballet, broadcast by CBS in 1957 & 1958. Through to Viji Prakesh’s bharata natyam Nutcracker and Donald Byrd’s Harlem Nutcracker.
Nation’s premise is that the Ballet has elements that easily allow an entire community involvement to become involved: there are roles for children and adults, of varying dance training, plus backstage and front-office roles. Apparently, in many towns and city the Christmas/Holiday season is ushered in by the local ballet(s) putting on their variation of The Nutcracker. And what variations there are; generally, Clara, the Mouse King, the Nutcracker/Prince, the Sugar Plum Fairy, and (uncle) Drosselmeier – or some suitable substitute – appear. The author, herself, danced as a snowflake in Fernaud Nault’ Nutcracker in Louvisille Ballet in 1963.
Clearly, the author has done a large amount of research, including following two ballet companies: Loudoun Ballet – Leesburg, Virgina, USA – and the National Ballet of Canada – Toronto. Fisher, uses the amateur and professional companies to illustrate contrasts and similarities.
It gets a little cerebral at times, but Nutcracker Nation needs to be treated as a serious book about socialogical aspect of American life, rather than a book about a ballet or how amateur and professional ballet companies operate. I found it a little dry, and would have liked to see more of the human side of the Loudoun Ballet and the National Ballet of Canada. Having said that, Fisher does give a very good summary of the evolution of The Nutcracker from its Russian origins to its current status as an America ‘citizen’, and of those who had a hand in the change. George Balanchine, a Russian emigre himself, through his willingness to stage the Ballet, and arranging it for TV, seems to have played a major role.
The book is probably a must for those with a deep interest in ballet or for whom The Nutcracker is a favourite ballet – as it goes in to the motivations behind the characters and what the characters have come to represent in America.
0.3
Terminator Salvation
I had a spare three hours so I went to see the latest Terminator movie. Warning: plot elements revealed.
I found Terminator: The Sarah Connor Chronicles kind of interesting, so I thought “give it a go.”
Christian Bale gets to play the first adult potrayal of John Connor. I found the rest of the rest of the cast looked like the cast from The Sarah Connor Chronicles: Marcus (Sam Worthington) for Derek (Brian Austin Green); Blair (Moon Bloodgood) for Cameron (Summer Glau) and Kyle (Anton Yelchin) for John Connor (Thomas Dekker ). Nice to see Yelchin showing some versatility (vis-a-vis playing the part of Chekov in Star Trek.
It is an action movie. It is loud and violent, and maybe a little formula-ish. John has to save his future father without revealing too much to those around him. Still, it pays homage to the earlier Terminator movies in a number of places; there is even a ‘tip of the hat’ to Arnold Schwarzenegger
The film stay consistent with the previous Terminator movies. It fills in some of the missing pieces; and does not try to re-invent things.
I have two questions: (i) was that really Arnie in the final confrontation? (ii) John knows that Skynet will one day produce human tissue covered terminators, so why is he so surprised?
0.3
New Zealand School of Dance Choreographic Season 2009
Last night I went to the opening night of the New Zealand School of Dance Choreographic Season 2009 – “In a Space”. I was quite looking forward to this: I had not been to a dance performance for a while, the astronomy theme would combine my interest in dance with my interest is space and the School’s marketing manager had ’sent’ me two reviewer tickets !
I got there nice and early to pick up my complimentary tickets from Rebecca Galloway (the marketing manager, who was on the ticket pick-up desk) and wandered about the Te Whaea Plaza.
The Plaza had been artfully transformed into a theatre foyer – with a temporary bar and covered tables that looked like they were permanent fixtures. On the wall that the Plaza shares with the Te Whaea Theatre, some art was on display – or more correctly projected. Short dance clips were projected above a series of small backlit panels. Each panel explained an item of choreography we would be seeing in the performance. Everything was low light and backlit where necessary for viewing – building the space theme very effectively.
There were nine choreographed works and four interludes, which made for 13 dances:
- Transient Matter – Gina Andrews
- I’m Present (v) – Robbie Curtis
- Jess(ica Jeffereies and) Claire (Hughes) Interlude
- Traveller in the Dark – Nicola Leahey
- Bright Young Things – Lucy Marinkovich
- Challenging Life – Jana Castillo
- Jing(wen Xu and) Robbie (Curtis) Interlude
- Wo de Ying Zi – Jingwen Xu
- Relentless Pull – Florian Teatiu
- Gina (Andrews) Interlude
- Venus – Claire Hughes
- Florean Interlude
- Cosmic Collision – Jessica Jefferies
The Theatre was laid bare – no curtains to creat wings and no backdrop.
The show opened with a video clip of Lucy Marinkovich and a friend projected onto the back wall. They introduced the evening from a men’s toilet (tiles visible in the background)! The images occasionally stopped and/or repeated (a la Max Headroom) – as if the video was being transmitted from a long way away and subject to interference – very sc-fi.
Transient Matter set the scene for the evening – minimal lighting and dancers’ shadows projected deliberately onto walls. Nice sequence where one of the dancers uses a mirror to reflect light that has already passed through his fellow dancers back onto them.
The interludes threw me a bit, as I was trying to keep track of the choreographed works. But I was able to reconstruct the order and place the works afterwards from the programme (in discussion with the other members of my party). Someone needs to come up with a way of introducing dance works – as they are set out in the programme – without intruding into the individual work.
I was a little lost as to which work was which until Relentless Pull came on: Florian Teatiu choreographs the way he dances – full of energy and pace. Also. his Pacific origins were visible in the choreography (e.g. hand gestures while sitting cross legged) and audible in his choosen music.
I am in two minds about the tissu sequences in Challenging Life. This work explored a species’ evolutionary path to walking upright, and the tissu seemed to be some form of suspended egg, from which the species gets deposited. The use of the tissu was restrained; Jana Castillo avoided the tempation to have a prolonged aerial sequence, but then why use it at all? Still, good to see someone willing to explore the concept of dancing in the air.
I enjoyed Venus; the work was very lyrical and soft (I guess I am just a hopeless romantic at heart) and technology had been used to place the dancers on stage twice. Much of the lighting was provided by a back projection showing the three dancers dancing in low light, illuminated by the reflections from their bare backs, complementing their movements on stage.
Venus expanded on the concept introduced by the Jing and Robbie Interlude, where Jingwen dances with a projection of Robbie.
I found the Gina Interlude very clever. Gina Andrews dances in front of three tall mirrors. You could see all sides of her at once – like an animated cubist painting.
I found the Jess Claire Interlude most thought provoking. What did the standing around in the spotlight, rising on a cable and drinking a can of drink mean?
I felt that the pieces by Gina Andrews, Jana Castillo, Florian Teatiu and Jessica Jefferies found the mark with the overall astronomy (and space) theme. Generally, I would have liked to see more of the majestic grandeur of the universe come through.
Given the astronomy (and space) theme, I was a little disapointed that there was not a greater aerial element. I suppose there is a undefined divide between dance and circus/gymnastics, so that spending too much time off the floor is to be avoided.
The dancers did a good job of executing the choreography. And I think that those involved in the set design, lighting and use of video back projection did a fantastic job.
The opening night performance was played to a full house, and I think there was something for everyone – there certainly was for me.
0.3
Star Trek
I went to see Star Trek, a.k.a. Star Trek Rebooted, the other night. Warning: plot elements revealed
The trailer looked good and as it turned out so was the movie.
This film reinvents the characters from the orginal TV Series in a way that the original Star Trek film in 1979 did not – but should have. The ‘reboot’ is nothing like the ponderous self-tributte of the 1979 film. Instead, we see the beginnings of the crew of the Enterprise (NCC 1701); and as it turns out an alternative crew, in what turns out to be an alternative reality! To be fair, this film could not be made in 1979, the fan base was not ready for a reinvention. But, 30 years on, with the fan base widened and diversified, and the plot universe getting crowded, with the example of Battle Star Galactica to follow, it was time. The ‘new’ characters are similar enough to the old ones, that old fans won’t object (too much). While newer fans, and soon to be fans, have lots to latch onto.
The casting of Zachary Quito as Spock was spot on. James T Kirk, played by Chris Pine, has been updated to be a brasher, more testosterone driven, action character. I think that the Spock character will overshadow Kirk character in the inevitable sequels to come – Spock comes across as the more complex character.
Uhura, reflecting modern views of women, is a much stronger character. She is more assured and aggressive than the original. She could turn out to be a very complex character in later films – certainly the base is there. Perhaps a tribute to Zoe Saladana’s characterisation.
Dr McCoy (Karl Urban), Lt. Sulu (John Cho) and Esign Chekov (Anton Yelchin) don’t get much of a makeover. I suppose there is only so much time in a movie, and these three seem pretty much as they always were.
The only new characterisation I did not like was Simon Pegg as Scotty. Scotty is now young brash nerd ! Oh well. He has also acquired a green companion who does – who knows what.
This is without a doubt the first in a series of new Star Trek films. The characters are re-invented, with homage to some of the highlights from the original TV series – like ‘the kiss’. A nice touch is the death of the minor character in the red suit – in the TV series, and Galaxy Quest, the guy in red always died; well guess what he does !
The universe is re-invented too. Through time travel, an alternate timeline is created. So future films will not be shackled by ‘the past’. Needless-to-say the crew save earth (and the Federation as we will come to know it) from destruction by Nemo – Eric Bana – the film’s villain. And in a homage to previous Star Treks, Wrath of Khan, the villain is given quite a bit of depth
A must see on the wide screen.
0.3
Last Chance Harvey
Warning: plot elements revealed
Warning: sad and often depressing
This film revolves around two characters: Harvey Shine (played by Dustin Hoffman) and Kate Walker (Emma Thompson). Harvey is someone who appears to have hit the dead-end of a long cul-du-sac. Kate, seems destined for something similar, though not as bad – due only to the fact she never married. This film is an exploration of their respective cul-du-sacs and how they help each other get their lifes moving forward. Not surprisingly, they end up moving forward together.
Harvey seems to being by-passed at work and being by-passed at his only daughter’s wedding. It looks like he will loose his job and his daughter. Little cues signal Harvey’s genearl uncoolness – the suit he brought for the wedding is the wrong colour and still has the anti-theft tag still attached! Dustin Hoffman does a great job making Harvey somone who is a little out of step with everyone and everthing. It is so sad to watch – every scene is flinch material.
Katie, is no so much by-passed by life, as not having really started. She seems to be in a very unglamorous job with no great prospects. Then there is the issue of her mother, coming off cancer and an ugly divorce, who keeps ring her up on the cellphone.
But it all ends well for everyone.
On the tissue box scale this is a one, maybe one-and-a-half, tissue box movie.
0.3
Monet and the Impressionsts
I finally ‘got’ the impressionists. After seeing their work in various places around the world – and being impresssed – it was in my home city of Wellington that I finally got ‘them’ – the trick is to step back – way way back
Most of the paintings were by Claude Monet; Works by Paul Cezanne, Jean-Baptiste-Camille Corot, Edgar Degas, Camille Pissarro, Pierre-Auguste Renoir, Alfred Sisley, and Utagawa HiroshigeI were also on display. The collection comes from Museum of Fine Arts, Boston, who are renovating part of their gallery. Instead of putting the works into storage, they are touring the world.
The exhibition is set out chronologically: one decade at a time. With a separate section for when Monet was doing a series of the same scene; one of the Japanese influence; and another of odds and ends. This allows the viewer to see the style develop – moving ever further away from a photographic quality, towards a – well – impressionistic quality.
Te Papa are to congratulated for exhibiting the paintings in a space and configuration that allows the viewer to get ‘away from the paintings’. Clever use of ‘broken walls’ allows the viewer to get 10-15 meters away from a painting. When I did this, the paintings really came alive. The painting of Charring Cross Bridge resolved from a misty out of focus work into a briliantly defined bridge viewed from a great height – it was likelooking at it from a helicopter on a clear day. Likewise the painting of Rouen Cathedral became this remarkable piece of architecture, as opposed to a rough unfocussed old building.
The painting I would buy, if I had the money and large enough room is Meadow with haystacks near Giverny; and if I could not have it I would have Meadow at Giverny. Monet was able to capture and reproduce the effect of a low setting sun casting its rays (and causing shadow) through trees into a field or meadow; just breath taking.
The other painting that really grew on me was Cap Martin, near Menton. at first the relationship of the main elements in the painting clashed – the mountains were out of focus, the path was more of a steep bank, and the little town seemed indistinct. Then I inadvertantly looked at it from another ‘room’ and it all resolved.; it was like those magic eye puzzles. Suddenly, the steep bank became a shallow flat clay path, the clouds floated above the mountains casting their shadow on the slopes below, and the town occupied a place at the base of the mountains, edged by a river.
One oddity was the self-portrait by Cezanne looks like New Zealand’s own Sir John Trimmer!
At NZD 15 per adult, you would be silly not to go.
0.3
True Blood – Season 1, Episode 5
Dreading what soft-porn might lurk, I made myself watch episode 5 of True Blood as air-ed in New Zealand – on Prime last night. Warning: plot revealed.
It this episode, we find out more about Bill Comptom’s (Moyer) past – how he became a vampire. Sookie Stackhouse (Paquin) stops going out with Bill – end of Episode 4 – and goes out with Sam Merlotte (Trammell) instead. Jason Stackhouse (Kwanten) continues to experiment with ‘V’ – vampire bloody – and sleeping with the women of Bons Temp.
Bill served in a local regiment and fought in the “war of southern Independence”. On his way home, at the end of the war he is bitten by, and drinks the blood of, a vampire – turning him into a vampire. Incidentally, the vampire, in the guise of a war widow, bears a striking resemblance to Sookie’s grandmother – coincidence or plot hook to come.
Sookie, returns home from her unsatisfactory date – with Sam – to find what looks like her grandmother, her throat cut, on the kitchen floor. Oh the suspense …
0.3
True Blood – Season 1, episode 4
I managed to catch the last 80% of episode 4 of True Blood as air-ed in New Zealand – on Prime last night. Warning: plot revealed.
While they are questioning Jason ‘brain in his pants’ Stackhouse down at the police station and town hall (Bon Temps must be a small place), the ‘V’ – vampire blood – Jason gulped down to avoid arrest for pocession of a controlled substance kicks in; Jason suffers the grandmother of priapasm. Jason’s sleeping with women who are about to be found dead – as per the end of Episode 3 – is getting him into hot water with the townsfolk. I hope that Ryan Kwanten is not too type cast by his excellent portrayal of Jason Stackhouse.
The sex theme just keeps on rocking: Jason’s character is completely taken over by his manhood (maybe an attempt to cleverly not take his character too seriously) and Sookie goes undercover in a vampire bar. Paquin’s innocent characterisation reminds me of Susan Sarandon in the Rocky Horror Picture Show.
Sookie – Paquin – is now deliberately using her power to listen in on people’s thoughts to find the real killer before Jason is lynched by the townsfolk. So she talks Bill – the vampire, Moyer – into taking her to the vampire bar in a nearby town; “it’s not a date!” The bar reminds me of Frankie Goes to Hollywood’s video for Relax – leather, bondage, …
Just when the leave-the-heroine-in-a-bad-situation ending was in danger of wearing a bit thin, we see Sam Merlotte – Trammell – basking, cat like, on the bed of the last murdered waitress.
0.3
I am starting to loose interest in this series.
