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The ballerina as a species of theater artist has been endangered worldwide for a quarter of a century; however, two organizations still regularly produce new generations of them. One is the Paris Opera Ballet; the other is the Kirov. Both are huge companies with old, distinguished schools, and both have large repertories stocked with works that require a ballerina's presence. What is the nature of that presence? My favorite answer is George Balanchine's. In The Nutcracker, he once observed, "the ballet is the tree." He meant the Christmas tree in his own production, which, as an appropriately scaled evergreen, serves as the focus of the family party, and then, in the vision of the child Marie, mysteriously swells in sync with Tchaikovsky's ascending musical scales, until the only parts one can see are the very bottom branches, each about the size of a house in East Egg. The rest of the tree, one imagines, is creating havoc with the landing patterns of airplanes making for Kennedy and La Guardia. That is, Balanchine was talking of transformation, a certain kind of stage illusion associated with magic, music and what was once called the sublime.
Of course, a family Christmas tree that has sprouted to the size of the Chrysler Building is thoroughly inappropriate to a domestic setting. And that's the point: Ballerinas require a special setting--a surround of music, space and light in which they can grow--and partners who think of them before they think of themselves. Balanchine's ballets, regardless of their complexity in other ways, always clear such spaces. As he showed his audiences, over and over again, a ballerina catalyzes a ballet company's energy and summarizes something of its style, but she is not simply one more player on a team. She is, rather, the thing, the principle, the radiance, the life force that the team is playing for, or fighting to protect. The very concept harks back to chivalric codes and contains, as well, an element of the sacred. In a world where nothing seems sacred anymore--not religious sculptures the size of a mountain from the seventh century, not the privacy of intimate communication, not Christmas--it's a wonder there are any ballerinas left at all.
And yet, in February, during a brief season at the Kennedy Center in Washington, the Kirov was able to field at least four ballerinas of international stature during two performances of Jewels, the spectacular, evening-length storyless ballet, for a cast of sixty-six dancers, that Balanchine made for the New York City Ballet in the mid-1960s and slightly reworked about a decade later. The structure is both very simple and rather devious. Jewels consists of three "acts"--that is, of three individual ballets--each focused on a precious stone: "Emeralds" (to excerpts from Fauré's late 1880s Pelléas et Mélisande and Shylock), "Rubies" (to Stravinsky's 1929 Capriccio for piano and orchestra) and "Diamonds" (to Tchaikovsky's Third, "Polish" Symphony, with the first movement omitted). Only "Rubies" has since proved excerptable, able to stand on its own as a repertory item, and it may not be a coincidence that the music for "Rubies" is the only score of the three that Balanchine used as the composer wrote it.
Although the conceit of the work--that the ballet represents facets of dancing, of Balanchine's choreography and of his company at their most precious--has been dismissed as "packaging" by none other than Lincoln Kirstein, in retrospect it is possible to see some deep structures in it as a whole that were not visible when it was made. It is also possible to see--especially in the configurations of the corps de ballet--various actual designs for women's jewelry: necklaces, tiaras and parures.
Over an evening, the ballet gradually, almost subliminally, proceeds from complicated to streamlined choreographic designs, as jewelry design has proceeded from the nineteenth to the twentieth century. At the same time, there is also a gradual change in the images of lineage and love, from closely cherished connection to heroic and isolating grandeur. Each section has a principal couple who are supported by a world of soloists and/or corps de ballet.
In "Emeralds," a double-stranded ornament with pendants, the hierarchy is the most complex: There is a second principal couple, a trio of virtuoso soloists (two ballerinas and a danseur) and a corps whose interaction with the leads is exceptionally intimate--as in the pas de deux of Balanchine's Concerto Barocco, where, at points, the corps practically seems to embody the couple's collective breath. In "Rubies," where close connections are continually set up and then dissolved in diverting play, there is a principal couple and a Valkyrian ballerina soloist who occupy the same stage space and stage time; yet this trio is linked only visually, by its coordination with the corps de ballet--that is, only through formal conjunctions, rather than, as in "Emeralds," through a shared focus or mission. In "Diamonds," where imaginative distances are the most extensive, there is no mediating soloist whatsoever: There is the couple and the female corps. We are in the fourth act of Swan Lake, at least for most of the ballet; then, with the "Scherzo," where four gentlemen are introduced, and the concluding polonaise for the entire cast of "Diamonds," which brings in male cavaliers for each of the corps' ladies, Balanchine pulls one more rabbit out of his hat and brings Jewels back to a nineteenth-century court; that is, he gives Swan Lake a happy ending.
In the meantime, as all this transpires, the ballet is also developing the theme of walking--on flat, on point, alone, partnered--to climax in the pas de deux of "Diamonds," which opens with one of the most heartbreaking images of "pedestrian movement"--the buzzwords of downtown dance in 1967--in the classical repertory. At that time in his life, Balanchine was working daily on crossword puzzles at home before going to the theater, and it is quite possible that his wit, which could be quite barbed, was brought fully to bear in Jewels to make a statement about what walking on the stage ought to be. Was he conscious that he was taking a swing at postmodern dance? Probably not, although from a vantage point three decades later, Jewels does look like a divine comedy of a critique.
Jewels was an immediate hit at its premiere in 1967, and it is still well attended at New York City Ballet, where it has never been out of permanent repertory. It is also a hit at the Miami City Ballet, whose artistic director, Edward Villella, was the original male star of the pas de deux in "Rubies" and who, when he decided to stage the full work with his company, sought out the original ballerinas of all three self-contained sections to coach his own dancers. The participation of Violette Verdy ("Emeralds"), Patricia McBride ("Rubies") and Suzanne Farrell ("Diamonds") has helped to make Miami's production of Jewels the most choreographically persuasive and musically detailed version in the world.
Even so, the Kirov offers a level of ballerina dancing that neither the New York City Ballet nor Miami approaches--in the case of NYCB, hasn't approached in a couple of decades. At the performance I saw, the principals were Zhanna Ayupova (in "Emeralds"), Diana Vishneva ("Rubies") and the young soloist Daria Pavlenko ("Diamonds"). The night before, Svetlana Zakharova had led "Diamonds," and by the accounts of several colleagues also acquitted herself beautifully. What sets them off from their current American counterparts in the work? The scale of their dancing, for one thing, which begins with their prodigiously strong lower backs and feet. The technical challenges--and there are many in each section--simply do not show in the performances of Ayupova and Vishneva, both of them seasoned principals. For Pavlenko, there were some tiny miscalculations of balance during the partnered adagio, and in what may be the pinnacle of difficulty in "Diamonds"--the moment when the danseur releases the ballerina to take an unsupported turn in arabesque position on point--the soloist elected, like her age-peers in the United States, to make only one revolution, unlike the miraculous Farrell and the magisterial Kyra Nichols, who were sometimes capable of a heartstopping two, or even, on occasion, three (a feat on the order of landing a toss with a quadruple revolution in figure skating). And yet, no individual feat, not even this one, is central to Jewels. Ballet is not a sport; it is an art. A single turn, impeccably achieved and musically sound, would please Balanchine, for whom quality always mattered before quantity. And Pavlenko, like the lustrous Ayupova and the brilliant Vishneva, made quality her priority. She danced as if she were carrying the real story in her head of what the ballet was about, as if she had a mission to show it entirely through the conjunction of her movement and the music. The moment when she vibrantly released her partner's hand in coordination with a chilling peak chord in Tchaikovsky had the effect of lightning in a midnight field.
Jewels is not only a ballerina vehicle, of course; it was made to reveal an entire company, in every ranking, as a treasury. The Kirov today justifies its acquisition: It has depth at every level. The dancers may not catch the jazzy swing in it that the Americans take as their birthright; however, the grandeur of the Kirov schooling and the monumental look of the company style are both flattered and challenged. The ballet is exquisitely costumed--the original Karinska designs have been meticulously rendered--and the Peter Harvey set, which would seem too ornate now for an American version, looks just right here, with its great, soft swags at the wings and its layered drizzle of gemstones in the air. One misses the septet that Balanchine added at the end of "Emeralds" in 1976: Its concluding image, with three cavaliers on bended knee, one arm of each raised in fealty to an invisible ideal, anticipates the moment in "Diamonds" when the cavalier kneels to his ballerina, as if he had walked in search of her across a vast distance and, by accident, discovered her on a mountaintop. In dancing Jewels, the Kirov is bringing back to itself something of what it lost for most of the twentieth century, and when its dancers kneel and walk and kneel, these simple actions feel profound. In July, the company will be at the Met in New York, and Jewels is on the schedule.
Science fiction routinely gets away with subversive gestures that would never be allowed in any realistic program. Thus it is that people who don't watch Star Trek are probably unaware that its vision of our future is socialistic, anti-imperialist and passionately committed to expanding the list of sentient life forms who are judged to have rights and acknowledged to be persons. (If you think this question applies only to hypothetical androids and blobs and has nothing to do with you, you haven't been watching Star Trek, which makes it clear that its disfranchised beings are surrogates for people of color, colonized workers, Palestinians--yes, there was an entire plot arc devoted to Palestinians--disabled people and others.)
I'm speaking of the post-Kirk Star Treks, of course, and the "socialism" I'm referring to is limited, more a matter of providing food, housing and medicine to everyone than preventing some from getting richer than others. But it's still pretty damn good to see a popular series proposing that everyone is entitled to healthcare and abundant, no-shame-attached welfare. And in the sphere of race the show has been bold, exploring racial self-hatred, exploitation and cultural imperialism more acutely than almost any realistic series.
Star Trek's audience has always been far bigger than the hard-core fan base widely mocked for wearing Vulcan ears, or more precisely, for the intensity of their commitment to a shared communal fantasy. In its thirty-five-year history--with five television series to date, nine movies and hundreds of novels and comic books as well as unauthorized, but wildly popular, fiction by fans--it has shaped how most Americans see space travel, our eventual contact with other civilizations, even the future itself. NASA astronauts have asked for tours of Star Trek ships because to them, as to most of us, Star Trek is spaceflight.
The first series, which began in 1967, was an odd amalgam of manly Buck Rogers adventure, cold war pro-Americanism and utopian social drama influenced by the civil rights movement. When Star Trek was revived for TV in 1987 with The Next Generation, the show's tagline was tellingly updated from "where no man has gone before" to "where no one has gone before." And the changes went far beyond gender. Trek's depictions of racism and caste exploitation got acute, with a series of amazing shows about workers treated as things, and it explored torture and official violence daringly, bitingly criticizing them even as it showed our own implication in them. (TNG also utilized the skills of a heart-stoppingly talented Shakespearean actor, Patrick Stewart.) The next two series, Deep Space Nine and Voyager, steered Star Trek onward into the 1990s. (Voyager in particular took Trek forward, having three aggressive women as the show's main characters, and also making them the sharpest scientific minds on the ship.)
So, watching the first season of the latest Trek vehicle, Enterprise, I've felt...nausea and horror. It takes Star Trek so far backward that it's like Buffy becoming a sex slave chained to a bed for the rest of her television career. Set in Trek's "past," 100 years before Kirk's time and just 150 years after our own, Enterprise depicts the first humans to have contact with alien races. Emphasis on races: the interplanetary politics seem to have been framed by Pat Buchanan. Though there are two token humans of color on the ship, humans are heavily coded as white and male.
All the previous Star Trek series, over three decades, have been about becoming progressively more catholic, more aware of the astonishing diversity of the galaxy, the provincial limitedness of one's own assumptions and one's own potential to harm people who are different. The newest offering is a frank vehicle for white male suprematism and resentment.
Let's start with white. The titles, set to a hymn that combines the first Christian references ever heard on Star Trek with some boasts about resisting alien domination, show drawings of the ships of fifteenth-century European colonial powers and European maps and globes from the same period. On one is scripted "HMS Enterprise." This jibes neatly with the plot, the first ever on Star Trek in which racism is applauded. The normal, virile, white spacemen of Earth are being held back by the ridiculous sensitivities of the Vulcans, pushy, geeky aliens who want them to respect the cultural differences of all the alien races.
The Vulcans have withheld scientific information from "us" because they are envious, effete dominators who can't stand our vitality, our creativity, our closeness to life. Want me to spell it out? What they really hate is our balls. In this way, they are straight out of Nazi propaganda about Jews, so that I almost expected to see little comics of Vulcans poisoning the wells of Aryans and strangling Nordic farmers with their moneybags. Mr. Spock, the Vulcan in the original series, has been widely read as either a Jew or an Asian, but he was also the sexiest and most popular character on the show. If he represented a nonwhite race, he was one that the viewers desperately wanted to be. No such luck here. T'Pol, the Vulcan science officer that the humans are forced to serve with as a condition of getting Vulcan astronomical charts, is a caricature of a bitter woman of color, obsessed with human (i.e., white) evils, bleating endlessly about self-determination for Klingons and other people whose names sound dumb to humans. She's the unworthy affirmative-action hire foisted on "us" by cowards and spineless administrators.
The moral center of this roiling race opera is Capt. Jonathan Archer, who hates Vulcans because they prevented his astronaut father from perfecting the first big human ship with warp drive. "I've been listening to you Vulcans telling us what not to do my entire life," he shouts at T'Pol. "I watched my father work his ass off while your scientists held back just enough information to keep him from succeeding." There's a heavily Freudian element in all this: His father's failed big ship is referred to in most episodes, and we get frequent flashbacks of little-boy Jonathan playing with a remote-controlled toy rocket with his father, literally trying to get it up. In the show's iconography, T'Pol represents a castrating woman as well as a scheming racial inferior, and when he talks to her, Archer often sounds like the hero of a 1950s movie beating back the heart-freezing bitch who's trying to crush his vitals: "You don't know how much I'm restraining myself from knocking you on your ass."
Did I mention that he uses the word "ass" a lot? It's sort of like the way George Bush Senior boasted that he had "kicked a little ass" in the debate with Geraldine Ferraro. This is the first Star Trek really interested in punishing women. And the first Trek that makes women really punishable: A typical scene has T'Pol talking up how stupid and crude the crew are, telling them that they'll never be able to accomplish their mission, while trying to eat a breadstick by cutting it with a knife and fork. T'Pol is a sort of Kryptonite, wielding a wilting female discipline against their freewheeling male joy: She can't enjoy food, can't enjoy sex, can't enjoy violence. And this Trek, as though someone had joined together Gene Roddenberry and the WWF, wants to cheer on men for sticking it to her on every planet the crew visits. It apparently works: The show has achieved astronomical ratings with male viewers.
The treatment of T'Pol isn't the worst part. If women aren't harridans like her, they're sexy, exotic alien wenches, completely inhuman, who only, only, only aim to please. I thought I was in some different science-fiction universe altogether when, in the Enterprise pilot episode, two male crew members spent lots of time watching scantily clad alien dancing girls with three-foot long tongues flicking at insects and each other. "Which one would you prefer?" the manager asked the men. In my recollection, this is the first Trek on which Starfleet officers have ever considered buying women. The women were like insects themselves, fuckable insects, and in the time we spent mentally fondling their soulless, bouncy bodies I felt, for the first time, that Star Trek didn't consider me a person.
Oh, I forgot, there's one other possible role for women on the show. Hoshi, the one human woman on the ship, is an Asian who's supposed to be great with languages, but she spends most of her time as a sort of secretary who relays messages from other ships. And, surprise, she's as sweet and smiling as Uhura, the black woman in the original series, who was also supposed to be a highly trained officer but only ever got to get Starfleet on the phone. Now, this is allegedly set 150 years in the future, but somehow Hoshi hasn't been trained in self-defense, even though Starfleet is partly a military operation. In one episode enemies are chasing the crew, and the captain has to call two officers to "get Hoshi" inside. It's clear that she could never save herself.
Vulcans know how to do a very cool self-defense maneuver that involves making people unconscious by pinching their necks from behind, but T'Pol somehow never gets to do it. (She never gets to do the very cool Vulcan mind-meld, either.) And Vulcans have, in every incarnation of Star Trek until now, been supersmart. They aren't anymore. Every Vulcan on the show has been dumb as a rock.
Why the gods of Star Trek have seen fit to radically change the show's politics is a question I'd love to be able to answer. Enterprise was birthed before September 11, but it seems tailor-made for this time of alien-hating and macho heroism. The show actually has its mouthpiece characters say outright that Americans are better than other people, which even the first Star Trek had the taste to avoid. (At this rate, Star Trek won't admit the existence of gays and lesbians until 2150.)
I can only think that this Star Trek was set in the past--uh, I mean 150 years into the future--so as to give it a convenient excuse for turning back the galactic clock on race and gender. But given the place Trek holds in so many people's imaginations, the shift of the Trek world to the right makes it feel as though the future has suddenly been foreshortened.
Why, asked my friends and my baffled wife. Why, piped my son. Even the movie critics sitting next to me wanted to know: What perversity drove me to see Hart's War and Rollerball? Did I need to make February seem any longer?
Rollerball I can explain. The costumes looked nifty on the subway poster, LL Cool J makes me smile and Chris Klein, in Election, was an endearing goof. In other words, I'm a movie sucker. Besides, the original Norman Jewison film had represented capitalism (to use a big word) as a corrupt blood sport--and in the early weeks of the Enron scandal I felt like hearing a rant.
Would that I had listened to my colleagues, friends, soul mate and 3-year-old. Cinematically, the John McTiernan remake is a hodgepodge of jittery traveling shots that convey the excitement of blood sport by capturing whatever random objects passed before the lens. Since there were more floodlights on the set than anything else, the main thrill of Rollerball comes from learning how a police interrogation would feel if it were conducted on skateboard. The politics? Let me note that the action has been transferred to Central Asia, which offers three alien hordes for the price of one location. Mongols, Arabs and ex-Soviet miners threaten to engulf our beamish Klein, who dresses for the occasion in a red Statue of Liberty T-shirt.
As for Hart's War: When I signed up to watch Bruce Willis win World War II, I didn't know the movie's real lead would be some other actor, whom I wouldn't recognize again if he came to my place for Friday dinner and stayed the weekend. This young stick of furniture represents an untested lieutenant, who lands in a German POW camp. Willis, meanwhile, is the camp's ranking American officer, a role that he interprets as a test of endurance. He tries to get through the whole picture without once moving his face.
Mysteries lie within Hart's War. How did this setup give rise to a courtroom drama? Who decided this particular case was a good way to put American racism on trial? Why is the movie's most sensitive, complex figure a Nazi commandant? And if Bruce Willis shaves at the end of every third day, how come we never see his mug on days one or two? There must be answers to these questions, but they remain elusive, like my reasons for seeing the picture.
Actually, my reasons were all too simple. I wanted to watch something--and when I got to Monsoon Wedding, the new movie directed by Mira Nair, I at last found something good. I don't call it that just because I'd been worn down by Hart's War and Rollerball, or because (full disclosure) I'm acquainted with the co-producer. Shot in Delhi in what seems to have been a single great rush of energy, Monsoon Wedding is good because it spills over with color, music, dance, sex, rainwater, flowers, cell phones and popsicles. The actors' faces are all indelible; the characters' family dynamics, both impossible and too damned normal.
Written by Sabrina Dhawan, Monsoon Wedding is the story of four days in the family life of Lalit Verma (Naseeruddin Shah), a dyspeptic Delhi businessman whose nerves and bank account are being stretched thinner than usual by the impending marriage of his daughter Aditi (Vasundhara Das). She is about to wed Hemant (Parvin Dabas), a young engineer now living in Houston, who proves to be handsome, muscular and pleasant when he drives up the lane to the Verma house. "Hi," he says. "How are you?" Not the greeting a bride wants at her engagement party--but then, she and Hemant scarcely know each other. Amid clusters of video cameras, the arranged couple exchange rings and sweets. To answer the question: She isn't doing too well.
It seems she's in love with another man: a TV talk-show host, who's sleek and exceedingly married. But this, as it turns out, is the least of the film's concerns. Sweet-faced Aditi and easygoing Hemant function almost as the ingénues of Monsoon Wedding, occupying the middle distance with bland pleasantness while the rest of the frame fills up with the real characters.
There's a funny and touching couple, first of all: the Verma family's wistfully beautiful servant, Alice (Tilotama Shome), and the man in whom she dares to take a romantic interest, the comically energetic wedding planner P.K. Dubey. Played by Vijay Raaz, Dubey is the movie's most vivid figure, and a character who deserves a share of screen immortality. All ears, Adam's apple and polka-dot scarf--the sign of a fragile vanity--he starts out spouting double talk into his cell phone, proceeds in nervous animation to devour the wedding's decorative marigolds and never once slows his pace till Alice brings him down, bump, on his knees.
Next there's a steamy couple: cousin Ayesha (Neha Dubey), a teenage bump-and-grind expert in a tight blue dress, and Rahul (Randeep Hooda), a college student from Sydney, Australia. Called "bloody number-one most stupid duffer" by his own father, Rahul has shown up at the wedding with his broken hand in a cast, out of which sticks a painfully erect thumb. And yet, despite this obvious protrusion, Rahul waits almost till the last second to make his move on a more-than-willing Ayesha.
Finally, there's a tragic couple: Aditi's unmarried cousin Ria (Shefali Shetty), who wants to become a writer, and silver-haired Tej Puri (Rajat Kapoor), the de facto head of the family. Although the bitter history between these two must go undisclosed in this review, the audience will have no trouble guessing their secret. The important question is, What will Lalit do about this matter, once it's revealed to him?
Though dramatic in itself, Lalit's dilemma is all the more striking as the turning point of a movie about people we might lazily term Westernized. This big Punjabi family speaks English half the time and drives the same cars you might see in Connecticut. Aditi's lover, the TV host, appeals rhetorically to "our ancient culture," even while he's trashing it; Dubey's mother interrupts a twilight, touristic view of Delhi to chatter about the day's stock prices. But these characters are modern, not homogenized. Lalit's problem takes a specifically Indian form when he's forced to choose between two responsibilities: to Ria, who is wounded, and to his family, which must not suffer a rift. The young not-quite-lovers, Aditi and Hemant, confront a similar choice when they have to decide not just whether to go ahead with the wedding but also who should make the decision.
But enough of problems. Monsoon Wedding is more interested in unions: wet ones, and lots of them. From an opening scene played before a wilting, semicollapsed piece of lawn architecture, the movie bounces toward a conclusion in a tent, which holds up surprisingly well and has room for more revelers than expected. I think there's space for you, too.
Much admired by French critics and now opening in the United States, Esther Kahn is one of those movies you decode more than watch. Outwardly, it's a costume drama, set in London during the gaslight era, about a fiercely odd Jewish girl from the East End. Though her home is warm and convivial, Esther (Summer Phoenix) feels so estranged that her family sometimes looks transparent to her. A hard-core rejectionist from birth, she won't read, won't court properly with boys, won't earn her living normally. Her manner is blank, except for the occasional outburst of violence.
So she becomes an actress--which leads us to the inner story.
Destined for the theater but completely untutored, Esther comes under the protection of an older Jewish performer, Nathan (Ian Holm), who volunteers to teach her to act. In the most absorbing section of the film, we watch the wily Holm instruct Summer Phoenix in how to build a rapport with the audience by acknowledging their presence, feeding off the emotions that run across the footlights. This is, of course, exactly what a film actress cannot do.
It's a familiar game, this ploy of dramatizing the actress as she dramatizes the character; but Esther Kahn plays it to the limit, erecting the barrier of a movie screen between the two figures. Esther, a young woman who doesn't feel a part of life, becomes an allegory of Summer Phoenix, who really isn't in the room with us, though she soaks up our desires anyway.
The distinction comes up early: When Esther goes to a medical clinic for a checkup, a voiceover narrator recites a description of the character, while the camera provides us with our first series of close-ups of the actress who stands in for her.
Later, as if to extend the allegory, the movie has Esther apprentice herself in sex to a drama critic--a necessary step, according to the plot, since sex will supposedly fill her with the emotion she lacks. The instruction doesn't seem to work. Although Esther moves upward in her career, ultimately taking the lead in Hedda Gabler, Summer Phoenix goes on behaving like a blank, as befits a projected image.
Forgive me for foisting off so much interpretation. I do it only because Esther's success in the theater would be inexplicable at face value; from what we can see, she's as expressive in her roles as a pair of socks. (In fact, the movie refuses to let us see Esther act. Whenever she steps on stage, the sound drops out and the action goes into slow motion.) Nor is there any good reason why Esther could attract and hold the attention of the drama critic--except that he's played by Fabrice Desplechin and therefore serves as a stand-in for the director and co-writer of Esther Kahn, Arnaud Desplechin. The intangible shadow-woman on the screen is Desplechin's creation. He loves her, guides her and will ultimately abandon her. Or perhaps he'll be the one to be abandoned.
Maybe this sounds dry. It's not. Arnaud Desplechin finds startling beauty wherever he turns his camera: in the boarded-up windows of the East End (as closed to the world as Esther), in a framed view of a tree (an alien apparition in Esther's life), in the waves of the Thames as they carry Esther toward her future. The re-creation of the period is almost hypnotically vivid, and the large supporting cast (notably the actors who play the family) build up a wonderful sense of community, which Esther can't enter. Everything here is precise, intelligent and slightly maddening. You want to take Summer Phoenix by the shoulders and shake her, to make her act in this world.
But then, doing the job for you, she begins to strike her own face. It takes a long time before the allegory, and the actress, turn on themselves--but when it happens, Esther Kahn delivers an unforgettable, visceral blow.
Johnny Temple plays bass guitar in the rock bands Girls Against Boys and New Wet Kojak and is the publisher of Akashic Books (www.akashicbooks.com).
The legendary Surrealist exhibitions of the late 1930s and early 1940s were Surrealist in spirit and secondarily Surrealist in content. In 1942, for example, an exhibition called "The First Papers of Surrealism" was installed at the Whitelaw Reid mansion on Madison Avenue in New York, and those that attended it were far more likely to remember the show itself than any of the works on display. It was designed by Marcel Duchamp, using one mile of string to weave a sort of spider's web from floor to walls to ceiling, which visitors had to climb through to look at the art hung on temporary display panels. Moreover, they had to put up with a crowd of schoolchildren, boisterously playing ball or skipping rope or chasing one another through the show. The children were instructed to say that Mr. Duchamp said it was OK for them to play there, if anyone raised the question. It was an ideal way to subvert any propensity to seek a rich aesthetic experience in contemplating the art, and by indirection to demonstrate that it was not the point of Surrealist art to be an object of aesthetic contemplation in the first place. Duchamp disdained aesthetic response--"That retinal shudder!" as he dismissed it in a late interview.
Duchamp had also installed the legendary International Exposition of Surrealism at the Galerie Beaux-Arts in Paris four years earlier. There he arranged to have the ceiling hung with 1,200 coal sacks that, though empty, showered residual coal dust on the throngs below, who were supplied with flashlights to see the paintings hung in shadows. Upon entering the show, visitors encountered Rainy Taxi by Salvador Dali--an ancient taxicab on which water poured down from the ceiling. The driver and passenger were both mannequins, the former equipped with a shark's head and wearing goggles, the latter a frump covered with escargots, and both placed on a bed of lettuce.
These exhibitions achieved the same shock of incongruity that was intended to characterize what one might think of as Surrealist experience in general, as expressed in one of their favorite paradigms from a text by Isidore Ducasse, a k a le Comte de Lautréamont: "The chance meeting on a dissecting table of a sewing machine and an umbrella." There is a 1920 photograph by Man Ray of a mysterious object, wrapped in a heavy blanket and bound with rope. It was used as the frontispiece of the first issue of a magazine, La Révolution surréaliste, the readers of which would immediately have inferred from its title--"The Enigma of Isidore Ducasse"--that the wrapped object must be a sewing machine. Visitors to non-Surrealist exhibitions of Surrealist art--such as "Surrealism: Desire Unbound," on view at New York's Metropolitan Museum of Art through May 12--might be let in on the secret by a wall label reading: "sewing machine, wood, fabric, card." But without knowing the identity of Ducasse or the text alluded to, the point of the work would be lost on them.
Surrealism was essentially a literary movement, whose primary products were books, magazines, poems, letters and manifestoes. These in fact form a considerable part of "Desire Unbound," which, together with the many aging snapshots of groups of smiling Surrealists, could with equal suitability have made up a show at the Morgan Library or some comparable venue. Art itself was largely peripheral to the movement, serving, like Man Ray's photograph, to illustrate the essentially philosophical ideas of the writers, who were chiefly poets and what one might term aesthetic ideologists, tirelessly taken up with defining what we might term "Surrealist correctness." At least in the early stages of the movement, one of their questions was whether painting was even a Surrealist possibility. Ironically, the writers have become the subject of scholarly specialization, while Surrealism itself is widely identified with a body of paintings, pre-eminently those of Dali--desert landscapes in acute perspective, on the floor of which various objects, often teeming with ants, cast sharp shadows. It was Dali who designed the dream sequence in Alfred Hitchcock's film Spellbound--and it is his idiom that has been universally appropriated for the representation of dreams.
It is with reference to dreams that Surrealism was initially formulated in André Breton's First Surrealist Manifesto of 1924. What excited Breton about dreams was the fact that what happens in them defies reason and certainly common sense. But for just the reason that dreams cannot be captured in the discourse we use in our waking lives, they were, until Freud, relegated to parentheses that we felt no need to incorporate into the narrative of our lives. Breton was convinced that this was, in effect, throwing away something of inestimable value, and in the Manifesto he described a method of writing that makes the dream accessible to our waking consciousness. This, in effect, is a kind of automatic writing--writing that as far as possible is uncontrolled by our critical faculties. The resulting pages will be impossible to appreciate in the ways in which ordinary writing is appreciated. "Poetically speaking," Breton says, "they are especially endowed with a high degree of immediate absurdity." Nevertheless, what we have done has somehow brought the dream before our conscious minds, and what we have is at once reality and dream, hence a kind of "absolute reality." Surrealism is then the method through which this absolute or "sur-" reality is made available to us as a resource to be used. Here is Breton's definition:
SURREALISM, noun, masc. Pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral preoccupations.
I have italicized "either verbally or in writing" to emphasize that Breton does not mention either singing or playing, or drawing or painting. There is little if any Surrealist music, though one might think that jazz would exemplify psychic automatism to perfection. Breton thought Surrealist music was impossible, probably because music lacks the dimension of realism that is a precondition for sur-realism--an objection that would be overcome in the case of opera, and indeed my musical informant, Lydia Goehr, has told me of a Surrealist opera, Julietta, by a Czech composer. Painting, on the other hand, met the criterion of realism, but as far as the Surrealists were concerned, it lacked the spontaneity of writing or speech. Dali painted like an old master, using perspective and chiaroscuro, building up glazes, creating illusions. There is no way it could have been done automatically, or without rational control. So by definition, his painting cannot be Surrealist. It would be like transcribing a dream in rhymed verse. The most that can be said is that he illustrates strange conjunctions and encounters, directed, as it were, by a strong artistic will.
One might say that the visual arts became admitted to Surrealism only when artists found ways of working more fluidly. Max Ernst's marvelous collage narratives, in which he clipped and pasted images from old engravings, recommended themselves to the Surrealists. Miró, who actually used writing in his paintings together with images, was also accepted. When Breton encountered the sculpture of Giacometti, it was as though he at last found someone who seemed to dream while awake, in the medium of clay and plaster.
In truth, it was mainly the painter Matta who found a way of drawing automatically and hence surrealistically. And Matta taught the New York painters--especially Pollock and Motherwell--how to do this. Psychic automatism evolved spectacularly into what we now think of as Abstract Expressionism, and it was through the chance encounter of Right Bank Poets and rednecks like Pollock on the dissecting table of Manhattan that American artists were able to produce work that Motherwell describes as "plastic, mysterious, and sublime"--adding that "no Parisian is a sublime painter, nor a monumental one, not even Miró." But Abstract Expression was never "Surrealist" in the sense in which Dali's images were. It was as though there were two dimensions to Surrealism--psychic automatism and absurdity. The latter does not figure in Breton's definition, but it certainly figures in what we might call Surrealist sensibility.
I learned a certain amount about what it would have been like to be a Surrealist from Robert Motherwell, who as a young artist in New York in the early 1940s became a kind of guide to Breton and a cadre of other Surrealists, then in exile in New York, where they endeavored so far as possible to re-create the form of life they'd lived in Paris. Twice a week they would gather for lunch at Larre's, an inexpensive French bistro on West 55th Street, and proceed afterward to Third Avenue, at that time lined with all sorts of secondhand stores and antiques shops. The activity for the afternoon was to decide which of the objects on display were Surrealist and which were not. It was a fairly serious matter to be wrong about this. Matta would have been disgraced when he misidentified as Surrealist a certain gargoyle head--until Duchamp intervened, saying that maybe he had a point. Duchamp, listed as Generateur-Arbitre (producer and arbitrator) in the catalogue for the 1938 exhibition, was not officially a Surrealist, but Breton regarded him as having perfect pitch when it came to what possessed surreality and what did not.
A famous such object was a curious wooden spoon Breton and Giacometti had found at the flea market in Paris. A little shoe was carved just under the spoon's handle. It struck Breton that the whole spoon could be seen as itself a shoe, with the little shoe as its heel. He then imagined the possibility that its heel was another shoe, with a heel of its own, which itself was a shoe...and that this could go on to infinity. The spoon he saw as an example of "convulsive beauty" in the sense that it revealed through its structure a state of mind, which consisted in a desire for love. There is a photograph, again by Man Ray, of this found object with the descriptive title "From the height of a little slipper making a body with it..." which was published in Breton's book L'Amour fou. There would be no way of telling from the photograph--or from the spoon itself--that it had convulsive beauty, or the evasive property of surreality. And I am uncertain whether it has either of these intrinsically, or only for the individual to whom it reveals, the way a verbal lapse does in Freud's The Psychopathology of Everyday Life, a state of mind that would otherwise have remained unconscious. At the very least, some fairly elaborate chain of interpretation--as again in the The Psychopathology of Everyday Life--has to be supplied. Surrealism was a taxing and fully absorbing form of mental activity.
In the First Surrealist Manifesto, Breton mentions having become aware of a certain "bizarre sentence" that came to him "bearing no trace of the events with which I was involved at the time." He was unable to remember the exact wording, but it generated the writing he subsequently identified as Surrealist. The little spoon, as it happens, helped unpack a different such phrase, one that had been obsessively running through his mind--"Cendrier-Cendrillon"--which means "Ashtray-Cinderella." Breton refused to learn English, not so much, I believe, out of the vanity that is threatened when we lose the fluency of our native tongue but because we dream in our own language. The terms "ashtray" and "Cinderella" have no obvious connection, but "cendrier" and "Cendrillon" have a common root--the French word for cinders or ashes, which enables them to be conjoined in free association. Breton went so far as to ask Giacometti to make an ashtray in the form of Cinderella's slipper. But he remained baffled by "Cendrier-Cendrillon," and somehow the slipper spoon helped clarify the emotional state that expressed itself through the conjunction. But you have to read L'amour fou to find out how.
L'amour fou brings us to "Desire Unbound"--since unbound desire is exactly what L'amour fou is. Desire--and in particular erotic desire--is the theme of the Metropolitan exhibition. With qualifications, everything in the show possesses surreality--or convulsive beauty--providing we understand how to unlock it. The most helpful thing to understand is that aesthetics was never a central Surrealist preoccupation, so looking for an aesthetic experience here will not get you to first base. You have to look at the exhibits the way those displaced Surrealists looked at the objects on view in shop windows sixty years ago, trying to decide which were the Surrealist objects. Motherwell told me that his problem in playing that game lay in the fact that he had been brought up to look at antiques aesthetically. His mother was an antiques collector. But he got a kind of education surréaliste in those afternoons spent peering through dusty shop windows, tutored by Breton and Duchamp. With a sigh of what I felt was despair, he said, on one occasion, that the whole world was beginning to look surrealistic to him. But that, as he of course knew very deeply, was a metaphorical truth. The world seemed pretty crazy when the International Exposition of Surrealism took place in Paris in 1938. France was falling apart, German planes were bombing Barcelona, Germany was poised for conquest. The Surrealists were not aiming for the kind of experience that could be had from reading the headlines.
But neither did they think that the creation of the surrealistic was their unique contribution to art. The surrealistic existed avant la lettre. The Surrealists found it present throughout the history of art--in Hieronymus Bosch and in Hans Baldung Grien for obvious reasons, in Seurat's La Grande Jatte for less obvious ones. The first gallery in the show is given over toGiorgio de Chirico, whom the Surrealists took as a predecessor, and the second one to Dada, many of whose members, especially Max Ernst and Marcel Duchamp, were to make substantial contributions to Surrealism when it emerged as a movement in the 1920s. But the first object one encounters in entering the show--Venus aux tiroirs, 1936--a plaster Venus in whose torso Dali had placed a number of small drawers, as in a jewelry case, each with a fur-covered knob--is self-consciously Surrealist. Fur seemed by itself to confer surreality when adjoined to any object, the use of which seemed to rule fur out as a material--like a teacup, for example. No survey of Surrealism would be complete without Meret Oppenheim's 1936 fur-lined teacup, which somehow is like a dream object rendered concrete. One can see why. The last thing one expects, lifting a teacup to take a sip, would be the feeling of fur on one's lips. It happens only in dreams, where it would seem to disguise an obvious reference and a no-less-obvious repressed wish. Oppenheim had a genius for finding ways to express genital references through everyday objects, and much of Surrealism was taken up with such disclosures. There is a photograph by Man Ray of an unidentified woman, her head thrown back so that we see the lines of her jaw from below. But then, with the irresistibility of an optical illusion, the neck convulses into the shaft of a thick penis, with the jaw becoming the glans--and the image looks like a huge penis coming out of a woman's shoulders. Surrealist objects are displacements of the objects of desire with which the world around and within us abounds--though a lot of good it does us so far as the gratification of desire is concerned. Perhaps that is why it seems to constitute the constant preoccupation of mental life, which surfaces distortedly in our dream life.
The great emblem of unfulfilled and perhaps unfulfillable desire is Duchamp's 1915 masterpiece The Bride Stripped Bare by Her Bachelors, Even, usually referred to as The Large Glass. A display case here holds notations and sketches for the work, and there is a painting of the bride in Duchamp's Cubist manner. The stripping has gone so far that the flesh has been taken away, and what we see looks like her reproductive system, including a schematized uterus. She is suspended in an upper chamber, separated by a glass shelf from her "bachelors"--a chorus of "malic forms" in the lower chamber. The two chambers are united and separated by an erotic desire that leaves everyone at once unsatisfied and inseparable. Duchamp, as is well-known, took a female identity for himself as Rrose Sélavy--Eros, c'est la vie--and was photographed wearing a woman's hat, makeup and furs by--who else?--Man Ray. In one of his most famous works--a postcard of the Mona Lisa on which he drew a mustache and goatee--Duchamp sought a reverse transgendrification. Magritte showed the female torso as a readymade pun on a male face, with the nipples as goggle eyes, and the pubis as beard. In Surrealist thought, male and female are often transcriptions of each other, as in the myth of Aristophanes that once upon a time we were a single being, male and female at once, and that ever since we have longed, in futility, for our other half. In Surrealism, though, the split was not clean--each of us bears something that belongs to our sexually opposite number.
The Surrealists did have robust love lives, and the heart of the show--no pun intended--exhibits the cat's cradle of their relationships: Gala with Paul Eluard, Man Ray and finally Dali; Max Ernst with Leonora Carrington and Dorothea Tanning; Eluard with Nusch; Man Ray with Meret Oppenheim and Lee Miller; Louis Aragon with Elsa Triolet; Breton with Nadja and Jacqueline Lamba. And there were plenty of secondary loves as well. Many of the women were artists in their own right, and it is a merit of the show that a lot of their work is shown. I'll end with one of my favorite lines from a Surrealist poet, Robert Desnos, bound to two women--Yvonne George and Youki Foujita--by l'amour fou: J'ai tant rêvé de toi que tu perds ta réalité. ("I have dreamt of you so much that you have lost your reality.") The line is logically equivalent to: "I have dreamt of you so much that you have gained surreality." The beauty of the objects of Surrealist desire became convulsive through dreams. May this become true for us all!
It's one thing to have Somali groups protesting Black Hawk Down for what they say is an inaccurate and racist portrayal of Somalis.
Frederick Wiseman has spent a lifetime piecing together sounds and images captured from the daily flow.
"I remind myself that much of television is now comic strip," Ralph Ellison told TV Guide in 1988. It is not surprising that the author of Invisible Man would be uncomfortable with the cool medium. After all, Ellison's only completed novel repeatedly attacks the vulgarity of literal representation to the point where even the novel's hero is famously nameless. Ellison directs us away from appearances and keeps his hero running, from white cops, black nationalists, hypocritical Communists and corrupt academics, only to find himself nestled in the Dostoyevskian underground of the written word. Regardless of much of its politics, the literary Modernism of Mann, Eliot, Joyce, Faulkner and others provided Ellison with an unlikely harbor from racism; representing that literary process on television is a little like disobeying Kafka's instructions and drawing the insect of The Metamorphosis.
Yet in that same TV Guide interview, Ellison acknowledged that television "while very fleeting, has its permanent side, too, which allows you to go back." Poised somewhere between comic strip, permanence and VH1's Behind the Music, writer-producer-director Avon Kirkland has served up Ellison for middlebrow America in Ralph Ellison: An American Journey. At its worst, Kirkland's documentary stages melodramatic depictions of Ellison's triumphant novel, reducing its hallucinatory nuance to earnest television. At its best, the documentary stages melodramatic depictions of Ellison's disappointing life, and it is this haunting story that makes for a compelling made-for-TV biopic.
Since there is still no published biography of Ellison (there are two in the works, by Lawrence Jackson and Arnold Rampersad), Kirkland has the advantage of telling a story that has never been told in public before, at least not in any sustained, ostensibly objective way. Ellison may have told the story of hopping a freight train to enroll in Tuskegee as a scholarship student in an essay; but until you've seen his bandaged student ID and heard the narration of the story with a montage of trains, hobos and predators to the strains of Howlin' Wolf, it's not quite real in the way that TV makes events seem real. And unless you've dug through his archives at the Library of Congress, happened to be watching when, say, he was being interrogated by Bryant Gumbel on the Today show or had the opportunity to actually speak with him in person, Ellison's TV persona--with his halting, Oklahoman elegance and stammering, reticent speech--may seem at first a great contrast to the defiant iconoclast you would find in his writing. Instead, whether you see him recount how he modestly resisted Richard Wright's suggestion that he try his hand at fiction writing, humbly insist why he thought T.S. Eliot and Louis Armstrong were similar in their approaches, or listen to his own readings of his unfinished second novel--looking simultaneously bewildered and amused by the cadences of his own voice and the eccentricity of his own prose--he is the image of a man haunted. One photograph shows him hunched over the typewriter, with whiskey decanter ominously prominent, as the narrator gives us Ellison's account of his lack of productivity in the 1960s. Referring to the mounting attacks on his integrationist vision from the kind of black nationalist voices he had already dreamed up in the figure of Invisible Man's Ras the Destroyer, Ellison said simply, "It's hard to write with a clenched fist."
Audiences have thrilled to rise-and-fall stories from Oedipus to VH1's Behind the Music. But unlike the self-destruction of kitschy pop stars, Ellison's supernova is a genuine tragedy; the stakes presented are nothing less than high art and racial understanding, and it is these stakes that are so at odds with a medium that favors sensationalism over sensation, and sentimentality over sentiment. "Why do I write, torturing myself to put it down?" asks the narrator of Invisible Man. Ellison answers with another question: "Who knows but that, on the lower frequencies, I speak for you?"
Ellison was particular about the way he did speak for us, and he made it clear that his own prose would be the only truly acceptable medium for this representation. The Modernist who retreated from the superficial expectations imposed by racism into the perfection of his own art would probably have been troubled to see key episodes in his novel--the grandfather's deathbed speech, the Battle Royal episode, the revelation at the Liberty Paints factory--transformed from literary phantasmagoria into searing teleplay, in which Ellison's ironies are turned into pieties and his jokes are transformed into obvious slogans. This is what television usually does, of course, but the very reason Ellison the documentary subject becomes a hero is that his achievement is in the less-than-telegenic activity of spending long hours in front of the typewriter.
But even if Kirkland's documentary reduces Ellison's novel to comic strip, the medium serves him well to provide the cultural context so crucial to Ellison's reading of America. The sights and sounds of Ellison's early life--complete with baby pictures, Tuskegee footage and Jimmy Rushing clips--are expertly captured, and anyone who wants to understand Ellison's world would have to confront this context. Kirkland also succeeds by producing useful soundbites from commentators, including Robert O'Meally, Morris Dickstein, Farah Griffin, R.W.B. Lewis and especially Cornel West--who delivers his riffs like a Baptist preacher with borscht-belt timing and a Marxist liturgy. A word that many of these commentators use repeatedly is "complexity," a favorite of Ellison's. Yet sometimes complexity can be sacrificed for storytelling, especially on television.
This disparity is certainly evident when Henry Wingate tells a famous story of Ellison's confrontation with a black nationalist at Grinnell College in 1967. According to Wingate's version, when Ellison was called an Uncle Tom, he "became unglued and began to cry, repeating, 'I'm not an Uncle Tom, I'm not an Uncle Tom.'" Wingate, a federal judge, should be taken at his word, but the late Willie Morris, in his memoir New York Days, allowed Ellison to retort, "What do you know about my life? It's easy for you. You're just a straw in the wind. Get on your motorcycle and go back to Chicago and throw some Molotov cocktails. That's all you'll ever know about." Kirkland's version, corroborated by Morris's son, paints Ellison as the kind of helpless victim his own work avoided depicting. Morris's version allows Ellison to fight back--perhaps a little less congenial to a PBS tearjerker.
Of course, even a tragic TV documentary needs an optimistic denouement, and Kirkland provides it with the 1999 publication of Juneteenth. Ellison's inability to produce a follow-up to Invisible Man was the bane of his existence, and perhaps the most frustrating literary waiting game in recent memory. We see Ellison lose more than 350 pages of the manuscript in a fire, retreat from public appearances at the horror of having to answer yet another question about the book, and become an alcoholic hermit, obsessively poring over manuscripts. What the documentary doesn't mention is the quite legitimate argument leveled by many scholars, including Louis Menand in the New York Times Book Review, that Juneteenth isn't really an Ellison novel at all but a dubiously edited and spuriously marketed attempt by Random House to collect on its advance. Instead, we are shown a mellifluous reading by Toni Morrison of a passage from the book, with Robert O'Meally asserting that the passage seemed, "for that day, the greatest thing that had ever been written." We also see GQ writer-at-large Terrence Rafferty acknowledging that while Juneteenth may not have achieved its vast ambitions, it is, "like America, forever a work in progress."
It is true that textual scholarship does not usually make for good television, but there might have been another way to end the show on a triumphant note without making inflated claims for a highly disputed book. What the documentary could have shown was the rise of overtly Ellisonian institutions like the W.E.B. Du Bois Institute at Harvard, where founder and chair Henry Louis Gates has done considerable work in restoring Ellison's reputation while using Ellisonian criteria as a curricular model, and Jazz at Lincoln Center, where Ellison's vision of jazz has been a guiding principle for his confidant Albert Murray and his disciples Stanley Crouch and Wynton Marsalis.
Fifty years ago, Ellison's notions that Louis Armstrong was an icon of artistic independence; that white and black culture were interdependent; and that there was more than a unicausal explanation for the rise of black American culture were the product of an original, idiosyncratic and routinely attacked individual. In the past few years alone, Ellison's afterlife has been more prolific than the last forty years of his life: Philip Roth's The Human Stain successfully used the theme of passing that Ellison struggled with throughout the writing of his unfinished novel. Spike Lee's Bamboozled, filled with overt references to Invisible Man, was also a perverse riff on Ellison's integrationism, portraying whites and blacks as equally complicit in a common cultural phenomenon. And Ken Burns's Jazz demonstrated how Ellison's reading of Louis Armstrong as a transcendent genius who could "bend a military instrument into a beam of lyrical sound" could provide a significant basis for another PBS program. The frequencies of that station may not have been able to pick up on the full range of Ralph Ellison, but a rereading of his prophetic writings will continually remind us that, on the lower frequencies, he speaks for us more than ever.
Despite an initial drop in attendance in the uncertain aftermath of September 11, and the changing of the guard at three major institutions, the London theater scene has rebounded with determination. Across the Thames at the Royal National Theatre, there's a bracing revival of Harold Pinter's chilling No Man's Land. Considered his most enigmatic work (playwright Patrick Marber calls the play "unknowable"), it's the one that is least revived among his many celebrated plays (The Birthday Party, The Caretaker, The Homecoming). In fact, Peter Hall's original production of No Man's Land in 1975 at the National, starring Ralph Richardson as Hirst and John Gielgud as Spooner, was so widely praised that only Pinter himself ventured to take on the role of Hirst thereafter.
Today, after twenty-six years, this darkly powerful play returns to the RNT under the author's direction, and the moonscape of Pinterland has never seemed starker. Critics have hailed its masterful cast, with Corin Redgrave and John Wood giving tour de force performances as Hirst, the debauched writer, and Spooner, the destitute poet he's met in a pub on Hampstead Heath and taken home to his elegant digs in a desperate search for companionship. There, Spooner is imprisoned in Hirst's sepulchral study by a pair of sinister servants, where Hirst invites him into an elaborate fantasy that they were once Oxford schoolmates. The scene of outrageous self-delusion--with Redgrave delivering one of Pinter's most mesmerizing monologues--is hilarious. But ultimately, No Man's Land is a harrowing portrait of failure, loss of memory and the past--a Lear and his Fool on yet another heath, suffering the terrors of loneliness and old age. It's also about the inability to write, a fear that plagued Pinter himself in the early 1970s. This is a landmark production of an elusive masterpiece, a haunting, menacing piece of theater that Marber (director of the 2000 revival of The Caretaker, starring Michael Gambon) describes as "clear and lucid as a dream, and like a dream it resists our need to know its meaning.... I'm not entirely sure I know what's going on in No Man's Land. But I'm not sure I want to know."
The writer's fear is a theme of another revival in London's season as well--Faith Healer, by the Irish poet-playwright Brian Friel (Philadelphia, Here I Come!; Dancing at Lughnasa), which premiered at Dublin's Abbey Theatre in 1980 and is now being given a luminous production at the Almeida Theatre. This gentle, elegiac play features four monologues by three characters--Frank, an Irish faith healer, part charlatan, part artist, played with self-deprecating charm by Ken Stott (award-winning star of Yazmina Reza's Art); Grace, his ruined wife, played by Geraldine James (of the BBC's epic Jewel in the Crown); and Teddy, the seedy talent agent who loves them both, in a remarkable performance by Ian McDiarmid, Almeida's joint artistic director. These three characters narrate the story, Rashomon-style, of the faith healer's return to Ireland after years of fruitless one-night stands in Scotland and Wales (he once allegedly healed a group of ten), where he attempts to restore his faltering powers. There he meets his tragic end. Under the delicate direction of Jonathan Kent, a tattered curtain sweeps across an empty stage and works theatrical magic, wiping away one monologue, revealing the next, as these stories interweave into a tapestry of three lives touched by tragedy. Like the faith healer whose powers are fleeting (and, eventually, self-destructive), so too Friel raises questions about the unpredictability of the writer's gift. In the end, only the gift of faith itself (whether miracles happen or not) and steadfast love abide, as the powers that can heal lives and artists.
In the midst of these distinguished revivals, a combustible new work on stage at the RNT's Cottesloe Theatre has exploded like a stick of dynamite. Gagarin Way is the first play of a 32-year-old Scottish writer named Gregory Burke, introducing a raw new world to the English-speaking stage and placing new Scottish theater at the table alongside the Irish and the impressive young voices of Conor McPherson (The Weir) and Martin McDonagh (Beauty Queen of Leenane).
Newly arrived from the Traverse Theatre, where it was the hit of the 2001 Edinburgh Festival, Gagarin Way is a fierce black comedy set in the storeroom of a high-tech computer factory in the industrial Scottish county of Fife. A frustrated factory worker, Eddie, and a hapless security guard, Tom, await the arrival of Eddie's accomplice, Gary, who is executing a scheme to kidnap a visiting multinational executive. Gary arrives with their prey, who is bound and hooded, and as the would-be thugs ponder his fate, they enter into an outrageous philosophical debate on existentialism, globalization, Marxism, anarchy and nihilism to express their disillusionment. The opening discussion on the relationship between Sartre and Genet is especially memorable: "The last thing you need after a hard day's gibbering pish on the Left Bank about how we're all subjects among objects is finding out you're a subject among no as many objects now you've got fucking Jean Genet out ay the jail."
This is a ferociously funny satire of terrorism and its bungling misguidedness (they kidnap the wrong person; Gary refuses to buy bullets as a cost-saving measure)--which takes a sudden, horrific turn and ends in heart-stopping violence. Written in colorful (and profane) Scottish dialect, and directed at dangerous speed by John Tiffany, Gagarin Way is a riotous, unpredictable and ultimately frightening ninety-minute ride of powerful, provocative theater.
An interview in the Daily Telegraph described Burke as a "barely literate dishwasher from the back end of post-industrial Scotland who had never written so much as a postcard, and who had to have 'who Harold Pinter was' explained to him when they ran into each other during rehearsals." This makes the accomplishment of this young, self-educated, first-time playwright all the more striking. Burke comes from a corner of Scotland that was staunchly communist in the 1960s, where streets in the village of Lumphinnans were named after heroes like Yuri Gagarin (hence, the play's title)--a region that took its politics seriously, with its coal-miner strikes in the 1980s and struggles against multinationals in the 1990s. A "prolapsed Catholic," as he describes himself, Burke dropped out of Stirling University after two years and "fulfilled a variety of vital roles in the minimum-wage economy," washing factory floors, working on assembly lines, etc. "I wanted to write a play about economics, it being the dominant (only?) theme in modern politics, and the source of real power in our increasingly globalised times. And I wanted to write about men and our infinite capacity for self-delusion." An inveterate humorist and storyteller, a keen observer of human behavior and an astute political thinker, Burke--who wrote his play well before September 11--offers terrifying and timely insights into the psychosis of terrorism and obsessive political ideology. His is a new and unique voice, for unique times. A tempest has blown down from Scotland onto the London stage, reminding us that the theater can be a place of prescience and prophesy as well as entertainment.
For those who prefer dry martinis at the theater rather than Molotov cocktails, there's a sparkling revival of Private Lives at the Albery Theatre on Charing Cross Road. This delectable drawing-room comedy by Noel Coward, crown prince of the genre, premiered in the West End in 1930, starring Coward and Gertrude Lawrence, and then went on to Broadway in 1931. It was one of his most popular and widely produced plays; Coward attributed its lasting success to "irreverent allusions to copulation...causing a gratifying number of respectable people to queue up at the box office." This comedic gem (written, legend goes, in four feverish days holed up in a Shanghai hotel) is celebrated for its insights into marital manners and mores, as well as its scintillating dialogue ("Don't quibble, Sybil") and unparalleled wit (playwright Christopher Hampton praises its portrayal of "bickering as sex pursued by other means"). Currently, it is enjoying a sleek revival with the sophisticated duet of Allan Rickman and Lindsay Duncan, under the smart direction of Howard Davies.
Another revival from that glittering era also graces the West End. Director Peter Hall has resurrected The Royal Family, the George Kaufman/Edna Ferber valentine to New York's roaring theatrical twenties. This delicious old chestnut evokes all the glamour of Broadway's famed 1927-28 season when it premiered, which also included Dracula (starring Bela Lugosi), the Gershwins' Funny Face (featuring Fred and Adele Astaire), Rodgers and Hart's A Connecticut Yankee, O'Neill's Strange Interlude, Helen Hayes in Coquette, Mae West in Diamond Lil and the Hammerstein/Kern Show Boat. Sir Peter's revival of The Royal Family is its first London production since Noel Coward's in 1930, when Laurence Olivier starred as the flamboyant Tony Cavendish. The Cavendishes are of course meant to be the Barrymores, the First Family of the American Theater, with its gifted siblings Ethel, John and Lionel (Drew, Hollywood's current Barrymore, is John's granddaughter). The colorful Cavendishes are played by members of Britain's own theatrical royalty--including the charismatic young Toby Stephens (son of Dame Maggie Smith) and the commanding Dame Judi Dench (whose performance in the newly released film Iris confirms her regal reputation). The star of this showbiz revival, however, is a golden era in the Broadway theater. There is also a bouquet of musicals, including the elaborate (if controversial) South Pacific at the RNT, directed by Trevor Nunn, in commemoration of the centennial of Richard Rodgers's birth. In the West End, there is the RNT's pleasing My Fair Lady starring Jonathan Pryce, and Peter Nichols's irreverent Privates on Parade (a musical satire on the postwar British military in the Far East) is diverting audiences at the cozy Donmar Warehouse (where the current Cabaret now playing in New York was born).
Challenging, moving or simply entertaining, it's a season of healing and faith in the theater.
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