Summer screens in review...

Transformers: B
It had no pretensions beyond being a summer action movie with winsome teen stars and cool car effects, and as such was entirely successful. It scored bonus points by having an excellent supporting cast of hapless grown-ups, heroines with math and mechanical skills, and an exploration of how just plain inconvenient it would be to have giant car robots stomping all over your lawn and garden.

Becoming Jane: D-
The only reason this film doesn't all out fail is because of the casting potential and the fact that, since I walked out, I'm not really as fully informed as I should be. As a card-carrying Austen-o-phile, I was eager to see Austen receive the same treatment as Shakespeare and Beatrix Potter, but was utterly aghast at the poor writing, the shoddy story-crafting and the utterly inappropriate sex liberally sprinkled on her life. It's like the filmmakers saw a few Austen movies and pulled out the most common themes -- a party scene, a country house, people sniping at eachother, gossop -- and banged them together with a giant mallet. Yuck.

Death at a Funeral: B
For all Frank Oz's snippy renunciation of the very idea of a "British sensibility," this movie was chock full of it. A very over the top comedy featuring a mourning family, a blackmailing gay dwarf and Alan Tudyk doing a remarkable impression of a skittish guy on his first big drug trip, "Death at a Funeral" is hilarious as long as you're willing to go with the flow and just keep laughing as the debacle gets larger and larger. A lot of subtlety, despite the slapstick, is represented in the acting styles of pretty much all the main characters. Very funny.

Stardust: B
Fans of Neil Gaiman (of which I am not really one) will say the book's better, I say this was quite an enjoyable film, packed with homages to fairy tale after fairy tale, with a great cast (though the hero was overwhelmed by the considerable talents of, among others, Claire Danes and Robert De Niro as a Pirate Captain, Queer Eye For the Straight Guy edition). It doesn't compare to a fantasy classic such as "The Princess Bride," but it's quite pleasant, on the whole. The seven ghostly brothers are a particular treat of a running gag, and Michelle Pfeiffer is hilarious as an over-the-hill witch chasing her youth.

The Last Legion: B-
Colin Firth, Aishwarya Rai, Ben Kingsley, the kid from Love Actually ...great cast brought together to tell the story of the last descendant of Caesar who became Uther Pendragon and wielded Excalibur before, you know, it was immortalized by Disney. All in all, a weak distillation of Lord of the Rings-esque visuals with inconsistent speech patterns (the Romans might well have been walking down Main Street while the Goths were declaiming for the stage), unsurprising character development, many many shots of Aishwarya's eyelids opening to reveal those startling irises, Colin Firth in body armour giving what some screenwriter probably flatters himself is the heftiest battle speech since St. Crispian's day.... A lot of shoddy production values conspire with the lame writing to handicap what might have been a big adventure for all concerned. Whatever. I'd watch Colin Firth read Green Eggs and Ham if he wore a five o'clock shadow and sculpted armour to do it.


Nanny Diaries: B-
Not as much excruciating fun as "The Devil Wears Prada," but just what a 22-year-old college graduate needs to see to be reminded that compromising one's dreams and putting the journey of self-realization on hold for an "easy" gig as an Upper East Side Nanny...isn't all it's cracked up to be. I disagree with many critics who faulted Laura Linney's delivery as too polished to earn her moments of vulnerability; I thought her porcelain surface was clearly on the verge of cracking even as she pretended to be confident and assured. Scarlett Johannssen, always a favorite of mine, is good but not stellar as the nanny, and the kid is nowhere near as endearing as the one from "Love Actually," "Jerry Maguire" or "Finding Neverland." Still, lots of good swipes taken at the Upper East Side museum of Mommy Barbies.

Final Times review

For the Ithaca Times

Winnie-The-Pooh, at The Hangar Theatre, July 3rd, 2007

As promised...

For the Ithaca Times....

Disney's Beauty and the Beast, at The Hangar Theatre, June 27th, 2007

"How The Other Half Loves, at Cortland Repertory Theatre and Menopause the Musical at Syracuse Stage, June 27th, 2007


Only one more review to do as an Ithaca Times reviewer....Check back next week for Winnie the Pooh.

The Ant and the Grasshopper

For The Ithaca Times

The Ant & The Grasshopper, at The Hangar Theatre, June 20th, 2007

Coming Soon!

Delayed reaction! here's a post of capsule reviews I tried to post back in January but accidentally saved as a draft from 2006...so here they are, with my latest cinematic experiences tacked on at the end.

Miss Potter: A- -- Adorable, well-shot, well-cast, sweet and inspiring and endearing. I saw it with my family, and we all appreciated the incorporation of the watercolor figures and hope for many incarnations of biographies where authors interact with their art.

Curse of the Golden Flower: B -- Intense colors, strong acting, lots and lots of blood. I probably spent about 1/4 of the movie with my hands over my eyes, but if you're feeling bloodthirsty and want to walk around paranoid that your family is plotting against you, this is definitely the film to see.

Volver: A- -- this was a challenging film to get through, but Penelope Cruz and the rest of the cast are strong and engaging. Volver's another great picture in the Almodovar tradition, with pathos, humor, drama and beautiful cinematography. A very grown-up film.

The Holiday: B+ -- good romantic fun. It's definitely more than the previews made it out to be, so if you're in need of having your relationship optimism restored, check this one out.

Happy Feet: A- -- Get over yourselves and see this one if you haven't already! It's adorable, with a lot of great music. It raises some sobering issues for a kids movie, but c'mon, even Toy Story brought up Plastic Corrosion Awareness.

The Queen: B -- When it comes to indulging America's passion for royals, this movie's like a big wet blanket, because apparently the royals are foible and fairly humorless individuals. Lots of good performances turned in by Michael Sheen as Tony Blair, Helen Mirren as HMQE2 (though I spent too much time despising the character to notice). Not so much a laugh riot as a Dignity riot.

Night at the Museum: A -- Exactly what was called for during the holiday season..silly, a teensy bit education, and providing lots of fodder for intermarketing spinoffs (see the current Sleep Over At the Museum series being held at the Natural History Museum...) Ben Stiller is a silly silly man, but this film nearly redeems him for Zoolander.

The Pursuit of Happyness: A -- The side of the holidays everyone needs to remember -- the plight of the less fortunate in a race-conscious world. Will Smith was amazing, his son Jaden was captivating, the connection between the two is strong enough for a movie all to itself, so the overcoming adversity is almost a bonus.

Dream Girls: B -- As much as I love to see Broadway hitting the big screen, (a trend I really feel was revived with Moulin Rouge, so Thanks, Baz Luhrman!) this didn't quite hit its mark for me. Great music, but it made you want to go listen to the real thing rather than purchase the soundtrack.

Knocked Up: B -- I loved "40 Year Old Virgin" and I love this filmmaker's eye for the messy humanity of relationships. I didn't enjoy the bathroom humor, but I enjoyed the cast chemistry and the message of the film through all the crudity. Don't see it with your parents, but do see it.

Pirates of the Caribbean 3: C -- as a movie, absolutely terrible. Cluttered, self-indulgent, insufficiently edited, lazily written. But as a cinematic conclusion to a great franchise, thoroughly enjoyable. Characters you like, a budget to make them really shine, lots of silliness. Kick back and watch it in conjunction with the second one and it'll probably go down a lot easier.

Surf's Up: B- -- Penguins are cute. Everyone knows this. They are cute when they stand around holding eggs on their feet, cute when they dance, and cute when they inexplicably congregate on a beach, have access to mass media, and surf. The animated documentary gimmick of this one made it cuter than a straightforward narrative would have been, and lent it sort of an overdrawn Christopher Guest atmosphere. Still, only one or two big laughs amidst a gooey puddle of cuteness.

Shrek 3: B- -- utterly pale in comparison to its predecessors. Shrek and Fiona are trying to find a way out of being the next King and Queen of FarFarAway, so Shrek's hunting down the other heir to the thrown while Fiona's coping with pregnancy and to throw in some extra giggles Donkey and Puss have switched bodies. Which would be a lot cooler if it wasn't, you know, a pre-recorded process that required no effort on the part of ... anyone... to arrange. *sigh* I wanted to love it, but failed to do so. Stick with the original and you'll be a happier camper. Made me wish Mike Myers would do more actual movies again. We haven't seen him looking like himself since...what.."Wayne's World 2?"

American Dreamz: C -- Funny concept, lame execution, kind of weird subplot integration.

Accepted: B+ -- a small movie with reasonable ambitions. An underachieving high school graduate doesn't get into any of his college choices, so he invents his own and an online glitch allows hundreds of other rejects, misfits and freak shows to enroll as well. Pretty clever, and enthusiastically executed. Quite successful, and Lewis Black's cameos as the fake college's dean are HILARIOUS, as they are straight from his own material. All the fun of Billy Madison without the implausibility of Adam Sandler as a romantic lead, as Justin Long is good looking.

Finger Lakes Theater Calendar

The Ithaca Times

Finger Lakes Footlights, June 13, 2007

Pretty much a glorified calendar of all the upcoming summer theater in the Finger Lakes region, but compiled entirely by yours truly. Sans commentary.

This week I'm seeing "How the Other Side Loves" in Cortland, "Beauty and the Beast" and the Hangar, and "Menopause the Musical" in Syracuse...it's going to be a busy weekend.

Also, I'm possibly considering posting some capsule reviews of all the movies I've been enjoying at the Elmira Drive-in...and that's been four in the past two weeks..

New!

For the Ithaca Times

Doubt, at The Hangar Theatre, June 13th, 2007

A really excellent show. I saw the Broadway production a few years ago, got even more food for thought out of seeing it a second time. Highly recommend it.

New!

For the Ithaca Times

Miss Saigon, at The Merry-Go-Round Playhouse, June 6th, 2007



Coming soon: Doubt at the Hangar next week, and then another bit of a lull before I have three reviews in a single weekend! What a hard life to lead...

New!

Sorry for the lull -- Finals week and all -- but I'm happy (and a little sad) to present my final reviews for The Ithacan (recipient of at least 25 awards this year!)

Leslie Bennetts' "The Feminine Mistake"
The Feminine Mistake, May 3, 2007

and

A Couch Potato column about the BBC's new Robin Hood series, currently airing on BBC America every Saturday night at 9. . . DVD release June 15th!

Latest Robin Hood is a Stone Cold Fox, May 3, 2007

This one really needs a visual:

New!

I'm very proud to post the first Official Review of the World Premiere of "The Count of Monte Cristo," by IC senior Brett Boles:

The Count of Monte Cristo, Ithaca College, May 3, 2007

Article published May 2, 2007
‘The Count of Monte Cristo' sings to a new, confident tune
By Miranda K. Pennington
Special to The Journal

The high level of anticipation surrounding the Ithaca College's final mainstage production of the year was more than justified by the production that ran last week in Ithaca College's Hoerner Theatre. The world premiere musical from composer senior Brett M. Boles, based on Alexandre Dumas' “The Count of Monte Cristo,” was impressive and full of promise for future growth and success.

Boles faced the task of reproducing onstage the elaborate story of a young sailor, Edmond Dantès, his love Mercedes, his unjust imprisonment and his final vengeance on those responsible for his betrayal. “The Count of Monte Cristo” may be a work in progress, but it is already a highly evolved achievement.

The composer's familiarity with the novel was reflected in his confident handling of the sprawling plot, emphasizing the elements of romance and vengeance. In focusing on Dantès' hardening from impetuous youth to callous Count, Boles is able to barely touch upon some of the novel's other epic adventures.

He managed to compress the significant relationship between Dantès and his prison mentor Faria into an extended training montage, punctuated by vignettes of the world outside the dank Château d'If. The time saved was spent relishing each step of Dantès retribution and seeking out what humor there is to be found (though some of the jokes seem out of place) in the otherwise dark tale.

The score was expressive and exciting, with complex meters underneath compelling melodies expressing longing, adventure and anticipation. The expansive chorus numbers were triumphant and his smaller ensembles — particularly the delicately lovely “Worth the Wait” trio — showcased Boles' gift of vocal composition as he wove as many as six voices together in richly textured groups, though at times polyphony nears cacophony.

The creative team behind the production, including director Susannah Berryman and musical director Joel Gelpe (who also conducted the excellent pit orchestra) tapped the strongest musical performers Ithaca College has to offer for the challenging roles Boles has developed.

Senior Jeremy Jordan gave his best Ithaca College performance yet as the Count. His beautiful tenor voice was at its most clear and he was completely immersed in the character, leaving no trace of his past lighter roles. As his Mercédès, senior Marisa Dargahi was an ardent and passionate foil, with a resonant middle range and light upper register.

Within the trio of villains, Danglars (senior Michael Mott), Villefort (junior Daniel C. Greenwood) and Fernand (senior Aaron Morris), each one brought a distinctive conviction to their respective role. The three blended well while holding their own on solo numbers, particularly Danglar's striking “Unlimited,” and Villefort's stirring “Innocent or Guilty.” The young Haydèe, freshman Elysia Shutrump was both sweet and fiery, her childlike quality contradicted by her mature and stunning rendition of “Like I Can” (an piece of mezzo-soprano virtuosity to be treasured).

The wide variety of musical numbers showed off Boles' understanding of plot and character development through song. Some pieces, like the opening “Months at Sea,” provided moments of pause and reflection, while others like “Pieces on a Chess Board” accelerate the story and set crucial plot developments in motion (via memorable tunes and deftly intricate wordplay).

Though the characters may declare “subtlety be damned,” there was a great deal of nuance in the production, from the understated movements and elaborate dance choreography by Mary Corsaro to the elaborate costumes by Greg Robbins, who executed everything from prison rags to Turkish finery.

Set designer Steve TenEyck provided a multi-apertured balcony overlooking the stage, a turntable for stylish scene changes and movable pier and prison cell platforms to augment the austere mansion set. Sensitive lighting by senior Adam Frank slanted through shuttered windows, dimly illuminated Dantès' cell or provided a starry showcase for Mercedes' moving “Wait and Hope.”

One of the few criticisms of “The Count of Monte Cristo” concerns the consistent vehemence of the music; some numbers might have been more effective in a less anthem-like style. However, when the novel was first published serially, every chapter ended in a dramatic cliff-hanger. When the heightened passion of Boles' compositions is viewed as a reflection of the novel's original format, the climactic nature of each song takes on deliberate significance.

The crux of Boles' accomplishment is the complexity of his musical composition. Coupled with clever lyrics, his melodies had the freedom of modern pop music grounded in the inspiration and healthy vocal tradition of classic Broadway. There were echoes of “Les Mis,” “La Mancha” and “Phantom,” but Boles has drawn from a substantial pool of musical theatre history to create something unforgettable and entirely his own.

New!

Ithaca Journal, review of the Kitchen Theatre's "Yellowman" (the full version ran online, an abbreviated edition was in-print.)

Article published May 1, 2007
Pulitzer-winning ‘Yellowman' delivers emotional intimacy
By Miranda K. Pennington
Special to the Journal

Sweating in the summertime heat of Russellville, S.C., the characters of Dael Orlandersmith's “Yellowman” strive for a sense of self independent of the racial tensions in which they are immersed. The protagonists, Alma and Eugene, ultimately come to realize that though they have benefited from the progress of their generation, they are not exempt from the burdens placed upon them by their environment or stealing up to them from their roots.

“Yellowman,” which opened Saturday at the Kitchen Theatre, covers a span of roughly 12 years and follows the growth of Alma and Eugene as they mature, fall in love and are ultimately separated by tragedy.

It is a pleasure to watch Alma (Lisa Gaye Dixon) and Eugene (Tyrone Mitchell Henderson) grow up together, from the playground adventures of Batman and Catwoman to the heated gazes of smitten adolescence.

The intimacy of the Kitchen Theatre, in a play so full of personal communication, makes the actors seem to speak to the audience almost more often than to one another, an effect that would be diminished if not lost in a larger space.

When not delivering internal musings or narrating the action of the play, the actors portray numerous characters from the surrounding world. Dixon, in addition to the spirited Alma, depicts her Gullah mother Odelia, a bratty neighborhood girl, and a light-skinned black girl she meets in college. Henderson is the shy, eager Eugene, but also his dainty light-skinned mother, his thundering dark-skinned Gullah father, his frail grandfather, a beaming Gullah boy named Alton, and a sly troublemaker named Weiss. At times Dixon and Henderson even play each other, speaking or reacting for their counterparts.

Their versatility is impressive as they transform through gesture and body language, vocal accent and inflection, the nuances of facial expression. Sliding in and out of the musical Gullah/Geechee dialect, Henderson and Dixon make the most of Orlandersmith's poetic storytelling style, lingering on the repetitions and rhythmic speech patterns that give the play such a distinct voice.

The simple clapboard set, designed and lit by Solomon Weisbard, is sparsely decorated but filled by the imaginations of Alma and Eugene, changing from shack to mansion, from New York City street to South Carolina suburb, from backyard to train car and back again.

The production is so seamless that the work of visiting director Sara Lampert Hoover almost feels effortless. The apparent lack of directorial strings or fingerprints on the production as much credits the strength of the play and the actors as it does Hoover.

She has steered her cast into total commitment, filling the small stage with their booming voices, running full-tilt around an imaginary playground or emulating the menacing quality a drunken adult has for a frightened child.

Though plenty of humor is found in the candid expressions of childhood and the rueful recollections of adulthood, the power of “Yellowman” lies in its approach to the heavy consequences of internalized racism. The characters struggle with the acidity of self-loathing as it inevitably projects outward upon those they love, just as it was drawn inward from parents and friends and neighbors. The enforced drive towards lightness and wealth is all around Alma and Eugene, however hard they try to tune out those voices.

For Alma, made to feel like an “ugly, dark thing” by her mother, life is a constant battle to appreciate and embrace personal beauty and strength. Dixon shows Alma's fire as well as her insecurities, the passion and trepidation of a young woman striving to succeed in a world not yet ready for her.

Eugene, shamed and resented by his father for his fair skin, is paralyzed by the expectations of his family, both the positive and negative. Henderson brings a sweet smile, solemn eyes and vulnerable manner to the character, depicting his gradual loss of innocence alongside the build-up of anger and disappointment that the world was not what he hoped it could be.

“Yellowman” is rife with racial epithets, both insidiously casual and threateningly dramatic. The societal wedge attempting to separate Alma and Eugene runs deeper than just shades of skin color, made still worse by the destructive presence of alcoholism threading through both families. As Orlandersmith herself has said, she doesn't absolve anyone for the injustices perpetrated at both ends of the spectrum. They are equally embittered, equally prejudiced, and equally culpable for the divide Alma and Eugene attempt to bridge.

“Yellowman” runs at the Kitchen Theatre through May 13, with performances 7:30 p.m. Wednesdays and Thursdays, 8 p.m. Fridays and Saturdays, and 4 p.m. Sundays. Tickets are available from the Clinton House Box Office by calling (607) 273-4497 or online at kitchentheatre.org.

New!

Disturbia, April 26th, 2007

I predict that in 10 years Shia LeBeouf will be playing the roles Jude Law is playing now. Well, they'll be different roles, unless we really, truly run out of ideas in the next decade, but they'll be the same kind of roles...requiring charm, wit, slight self-deprecating goofiness but the flawless good looks to pull it off.

In the fashion of New

Sweeney Todd, The Melodramatics Theatre Company at Cornell's Risley Theater, April 19, 2007

"The history of the world, my love. . . ."

Coming Soon

This week: A review of a Melodramatics production of "Sweeney Todd" over at Cornell in The Ithacan

Next week: A review of "Disturbia" for The Ithacan, along with the IC student-written Ithaca College World Premiere production of "The Count of Monte Cristo" for The Ithaca Journal, possibly a book review of The Feminine Mistake for The Ithacan and a "Couch Potato" segment about the BBC's Adventures of Robin Hood (aka Hot Robin Hood).

Following week: Yellowman at the Kitchen Theatre

So hold tight!

New!

For The Ithacan

The Namesake, April 12th, 2007

Off the Cuff-esque Blood Diamond review

Coming soon - This week, a review of "The Namesake," the week after that a local "Sweeney Todd" and after that, "The Count of Monte Cristo," a world-premiere musical by an IC student....stay tuned!

This was actually written as a job audition, and as such I deemed it ok to repost it here....

Blood Diamond

Directed by Edward Zwick
Written by Charles Leavitt (screenplay and story) and C. Gaby Mitchell (story)

In the same vein as “The Last King of Scotland” and “Hotel Rwanda,” “Blood Diamond” seeks to open the eyes of a desensitized Western audience to tragedy and bloodshed that the western world ignored as it happened. In the wake of a very successful awards season, last week Warner Bros came out with a special edition two-disc DVD release to commemorate the film’s success.

Violence ravages the African continent every time a valuable commodity is discovered, and this time it’s diamonds from Sierra Leone in Western Africa. The blood diamonds of the title are so called because the pursuit and sale of these diamonds finances (and causes) civil war wherever they are sought.

White Zimbabwean Danny Archer (Leonardo DiCaprio), sometime mercenary and smuggler, provides focus for the narrative, which follows his life and that of Solomon Vandy (Djimon Hounsou), a trusting Mende fisherman whose life and village are decimated by a horde of “Revolutionary United Front” (RUF) raiders.

Solomon is taken to a camp and forced to mine for diamonds that are then turned over to the RUF. While panning through grit and river dirt he stumbles upon a valuable find – a large clear “pink” diamond – which he manages to bury just before the camp is attacked by government soldiers who throw him in prison.

In the meantime Archer has been arrested for attempting to smuggle diamonds across the border into Liberia, and he witnesses Solomon’s confrontation with his former captor while in prison. Once out, Archer, promising to help Solomon find his family, convinces Solomon to split the diamond’s profits with him, and they set off to return to the camp where it was buried.

Along the way they meet an American journalist, Maddy Bowen (Jennifer Connelly), who becomes indispensable in furthering their quest by letting them join her media convoy. Their journey takes them through villages, refugee camps, jungles teeming with armed villagers, rebels and soldiers, and illustrates vividly the pervasive atmosphere of mistrust, volatility and terror.

DiCaprio, with the same ageless face and a freshly adopted accent, is sharp and commanding. His Archer is a fighter, impeccably well-versed in the speech patterns and rituals of the mercenaries with whom he so coolly deals. Archer’s loyalty is unpredictable throughout the film – a triumph for DiCaprio, who creates a character who is both utterly self-serving and yet deserving of trust from the start.

Apart from being entirely too fresh-scrubbed to be living a subsistence existence as a wartime journalist, Connelly successfully captures the vain idealism, struggle for truth and responsibility of a visitor trying to make an impact on an inscrutable foreign land.

Their chemistry is compelling without distracting. There’s no “I’ll never let go, Jack” to be found here – instead their attraction provides the some of the impetus for Archer’s redemption.

Hounsou, as Solomon, is endlessly trusting and unsavvy. He’s able to survive by not attracting attention, but isn’t capable of the conniving necessary to travel from one militarized area to the next. His eventual loss of innocence is heartbreaking.

Zwick’s “Blood Diamond” is masterfully done – it in no way glamorizes the struggle or anyone who played a role in it, and incorporates a succinct explanation of the politics and commerce of diamonds into the narrative. The film contrasts the bloodied diamond fields, the escapist bars and the beauty of the African landscape. Similarly the soundtrack features exultant indigenous music and harshly invasive American rap, demonstrating aurally the constant culture clash.

The DVD’s special features include a commentary by Zwick and four featurettes. “Blood on the Stone,” a documentary by West African journalist Sorious Samura, explores now-peaceful Sierra Leone and seeks out the real-life counterparts of the film’s heroes. The other features are trivial by comparison – interviews with DiCaprio and the filmmakers on how he developed his character, a brief examination of women war journalists. These extras balance information and entertainment, proving that the film’s assertions are based in fact while still providing the zing of celebrity accessibility and behind the scenes candor.

The Oscar-nominated sound editing and mixing is well represented on the DVD; the explosions and their aftershocks are appropriately booming, the musical direction complements the dynamic shocks and deceptive lulls of the film, and the picture is equally flawless for both the carnage and the sweeping landscapes.

There’s plenty of art and metaphor and symbolism to be found in the film, but the filmmakers never sacrifice the intensity of the message for the sake of a poetic one-liner. The art comes more softly than that – in the contrast between blood-soaked dusty red earth and a pristine jewelry store window, in the clarity of a diamond the size of a bird’s egg and the darkness of the hands that dig and sift and die for them.

Also New!

For The Ithacan

Reign Over Me, April 5th, 2007

New!

For the Ithaca Journal

IC stages fresh, innovative ‘36 Views'
By Miranda K. Pennington
Special to The Journal

From the first moments of Naomi Iizuka's “36 Views,” which opened at Ithaca College last week, the presence of cultural conflict dominates the stage. Themes of deception and the distinction between the genuine and the forged pervade the drama, forcing recognition of the fact that no one can know what they have not seen for themselves.

Designer Sandra Podolsky's set — tatami mats, shiny black tile, textured screens — is minimalist and colorless save for a silk-screened view of Mt. Fuji filling the background with ruddier colors. Darius Wheeler (Stuart Fingeret), an art dealer of questionable acquisitional morals enters, speaking of an “adventure in the Orient.”

Suddenly a percussive knock sounds, startling the hooded Kurogo (traditional Kabuki actors employed to provide props and communicate subtext). They deftly peel the layers and layers of kimono from the masked woman who has taken center stage to reveal a petite Asian woman in a smartly tailored suit. The scene has smoothly shifted — Wheeler and the woman, Setsuko Hearn (Aki Sato-Johnson) are meeting-cute at a cocktail party.

The Kurogo are constantly participating in the scene. Under the direction of Norman Johnson they employ measured dance-like movements and gestures to move props off and on for the actors' use. The story unfolds as a tiled mural is created on the floor, piece by piece placed and repositioned by the Kurogo until the 36 tiles reveal the final image.

Wheeler's assistant, John Bell (Peter Gray) has penned a pillow book in imitation of those written by Heian-era Japanese women and stumbles into passing the verses off as genuine. The lie takes on a life of its own — the verses fool everyone with their delicate phrases and authentic-sounding tone.

John's vindictive artist friend Claire Tsong (Alison Lani) forges a set of originals (accompanied by whirling Kurogo with singed paper tied to their wrists) to corroborate John's story and eventually revenges herself on Wheeler by selling the scam to Elizabeth Newman-Orr (Gillian Glasco), an undercover journalist.

Johnson minimizes the action of the play, focusing instead on cause (0or preparation) and effect (or consequence). A glass isn't dropped — the hand holding it tips, and broken shards materialize on the floor courtesy of a quick-fingered Kurogo. This inability to see what has actually happened reflects the way these historians can never truly experience events from the past, only observe the fragmentary surviving relics.

The incorporation of the Kurogo contributes to the overall sense of uncertainty by preventing the audience from knowing exactly what shape the room or the drama would take next. The periodic sharp raps from percussionist Alex Krasser signal an emotional or physical shift, making even the contemporary scenes in the play feel distinctively foreign.

The prints, scrolls and statuettes featured in Podolsky's design for the show took on lives and characters of their own, it seemed - highlighted by effective lighting (designed by Sarah J. Watson). Greg Robbins' costumes helped define the roles and attitudes of the characters, from the black-clad, hooded Kurogo to the professional attire of the academics.

Very little says as much about East-West cross influences as a traditional sari cut into a tight cocktail dress wrapped around a spiky-haired bisexual artist in insanely tall heels.

The cast is adventurous when it came to mixing ancient and modern theatrics, growing in confidence as the production progresses. Alyssa Denea Duerksen's briskly academic maturity as Setsuko's boss provides a firm stability, while Lani's animalistic energy was almost too feral for the otherwise muted atmosphere.

Ultimately the more challenging aspects, such as the expressive recitation of things that are beautiful or the ritualistic movements of the Kurogo, are the most effective. This production is a fresh and innovative element for the 2006-07 Ithaca College theater season. As Katsuchika Hokusai's famous series proves, an event can be viewed from dozens of angles without ever being completely understood. It's true of Mt. Fuji, and it's true of Iizuka's “36 Views.”

“36 Views” by Naomi Iizuka continues with performances at 8 p.m. April 3-6, and 2 p.m. and 8 p.m. on April 7 in the Clark Theatre in Dillingham Center at Ithaca College.Tickets range from $5.50-$10 and can be obtained from the box office at 274-3224 or online through IthacaEvents.com.

Miranda K. Pennington is a senior at Ithaca College studying music and writing.

Newish!

For the Ithaca Times

The Winter's Tale, at Syracuse University, March 29th, 2007

Coming Soon: "Reign Over Me" for The Ithacan and IC's "36 Views" for the Journal

New!

For The Ithacan

Bridge to Terebithia, March 22nd, 2007

It's good to be back from Spring Break and reviewing again... I've started sending out resumes and cover letters in pursuit of editorial assistant positions in Manhattan.... Choir had a fabulous tour to the South, the snow is melting in rivers outside...

Speaking of choir, this Saturday, March 24th at 8:15 in Ford Hall on the Ithaca College campus, the IC Choir will be giving its final home concert of our astounding choral program...I guarantee this will be completely unlike anything you've ever experienced before. Try to be there if you can!

New!

(well, new last week)

For The Ithacan

Venus, March 1st, 2007

NEW!

For the Ithaca Journal

The long awaited Opera review -- I've realized the Ithaca Journal archives older articles, so here's the complete text, rather than a link...

IC's ‘Acis and Galatea' delivers beautiful vocal lines

By Miranda K. Pennington
Special to The Journal

Part of the joy of attending any operatic performance is witnessing the marriage (or the occasional clash) of the classic and the modern. In the case of Ithaca College's latest undertaking, Handel's “Acis and Galatea,” the most striking choice was that of combining 18th century music with a contemporary sense of stage activity, which on the whole enlivens the piece.

“Acis and Galatea” is based on the mythical love story between the human Acis and the immortal nymph Galatea, who are torn apart by the jealous rage of the monstrous Cyclops, Polypheme. Originally performed as background music for upper class dinner parties, “Acis and Galatea” has lovely melodies but is somewhat constrained by the amount of da capo repetition.

The performance opens with the Storyteller chorus, lounging with books and scrolls and enjoying the scenery around them. The appearance of Galatea drifting woefully by, pained by their joyful music, leads them to invoke the spirits of Acis and Galatea to reenact their tragic love story.

The student cast, under the music direction of Mark Kaczmarczyk, assistant professor of music performance, is more than vocally capable, with double-cast leads who alternate performances. Andy McCullough and Victoria Benson, the opening night's Acis and Galatea, have a rich, mature sound, while their counterparts, seniors Andrew Chandler and Allison Hooper, have lighter and more straight-toned voices. The second set of voices is better suited to the expected sound of the Baroque period, but McCullough and Benson have more facility with the ornamentation.

Also doubled is the role of shepherd Damon, sung by Daniel C. Greenwood and Diana Yourke. Greenwood is the stronger actor, though Yourke's voice handles the demands of arias like “Shepard, what art thou pursuing” with greater ease. Sophomore Garry McLinn plays the role of Polypheme with a warm middle register and an unexpected comic turn.

The set design by Alan Edwards interprets the pastoral setting of the opera through an 18th-century-looking salon, with a precarious (and far too steep) moveable staircase leading to a platform separating the mortals from Galatea and Polyphemus. The lighting design by Steve TenEyck is striking, washing the white stage in a distinct color for each character — placid blue for the storytellers, mournful lavender for Galatea, bold orange for Acis and vivid red for bloodthirsty Polypheme.

Some of the “special effects” are less successful than others — the giant leaves carried by masked figures that attend and protect Galatea are lovely to watch, but the fabric wave that unrolls across the stage as a flood and later a river detracts from the musical performance and the diction of the singers. Polypheme's tyrannical puppetry adds interest to his long aria “Ruddier than the Cherry” and turns him from a terrifying character to a grotesquely humorous one.

Jennifer Caprio's costume design combines an updated pastoral theme with style elements from various periods and sources — the corsetry says 18th century while the boots say 20th, the waistlines suggest early 1900s while the elaborately powdered wigs hail from the late 1700s. Caprio distinguishes the mythological characters by dressing them in vivid colors.

Her less winning choices are the unflattering design of Acis' costume and Galatea's shades of purple, which become washed out onstage. Her Edward Scissorhands design for Polypheme is terrific, though watching McLinn's progress up and down the staircase in 6-inch platform shoes is nerve-wracking.

Visiting director David Lefkowich has the chorus emphasizing key words with choreographed movements and staggering in response to Polypheme's booming strides, which, if not making them appear particularly graceful, keeps the ensemble engaged with the action. It makes the moments of stillness feel focused rather than lifeless.

It's not wise to attend a performance of Handel expecting Donizetti's passion, Puccini's lush sound or Mozart's nuanced character development. The greatest strengths and challenges of Handel's operas are the beautiful vocal lines, the stirring choruses and the demanding vocal ornaments, all of which this production of “Acis and Galatea” solidly delivers.

“Acis and Galatea” runs through March 2, with performances at 8 p.m. Wednesday and Friday. Ticket prices range from $4.50 to $10 and can be purchased at the Ithaca College ticket office in Dillingham Center, the Clinton House Ticket Center, online at www.ithacaevents.com or by calling 274-3224.

Miranda K. Pennington is a senior at Ithaca College studying music and writing.

NEW!

For The Ithacan

Oscars, Schmoscars, February 22nd, 2007


For the Ithaca Journal

The Odyssey, part II, at the Kitchen Theatre February 21st, 2007

For the Ithaca Times

The Art of Dining, at Syracuse University, February 21st, 2007

NEW!

Because I said so, February 15th, 2007

It's not that I hate all movies these days....just... all the ones I seem to see at the mall.

(Also, I've decided to leave the "NEW!" entries up so people can read chronologically rather than only by genre....let me know what you think)

NEW!

For The Ithacan

Stomp the Yard, February 7th, 2007

A fun and slightly snarky review...

Miranda Pennington's Home Page

Hi, and welcome to the home of all my book, movie, TV, CD, live music and theatre reviews, as well as my Spring 2006 bi-monthly column "Indian Immersions," published in The Ithacan.

The "On This Page" column to your left serves as a page index. The links directly underneath will take you to, among other places, the Ithaca Times Arts Blog and a search page on the website of Ithaca College's award-winning weekly newspaper, The Ithacan where you can find all 35 of my columns and reviews listed by date (most recent first). Below, I've created links to each individual review, sorted by type.

Please don't hesitate to email me at mpennin1 (at) ithaca (dot) edu if you see anything you like or on which you want to comment. Thanks!

Off the Cuff -- The Prestige

Adding to the earlier magic-fest of The Illusionist and Scoop, The Prestige is an engrossing tale of talent, ambition and revenge. Christian Bale and Hugh Jackman play competing magicians always trying to perform the best illusions, draw the biggest crowds, and eventually achieve true magic.

Once upon a time they were both assistants in another performer's show, where Alfred Borden (Bale) is striving to make things more dangerous, more exciting while Robert Angier (Jackman) is playing by the rules of magic, though still striving for excellence. Tragedy drives them apart, however. Borden with his natural talents and commitment to sacrificing everything for his art, and Angier, with his illusionist and trick-creator Cutter (the unbeatable Michael Caine) in tow, set up separate shows and an escalating rivalry (complete with vengeful acts of sabotage).

Borden has the most talent and Angier the highest level of showmanship, not to mention an attractive assistant -- Olivia Wenscombe (Scarlett Johannson, with whom I have my own sort of professional rivalry -- she acts alongside and in the arms of all my favorite dreamboat actors, and I write about it). When Borden comes up with a trademark trick, "The Transported Man," Angier is driven to obsession in pursuit of the illusion. The double-knot of revenge and ambition ties these two men together and makes for intricate storytelling.

The film follows the structure of a magic trick -- the Pledge (where the magician shows you something ordinary), the Turn (where he sets up the trick and distracts you), and the Prestige (the moment of magic). With Cutter to explain all the nuances of the behind-the-scenes magic world, things like "It's not enough to make something disappear, you have to bring it back again," and "mind your sightlines," the essence of the tricks are explained. What keeps you turning the movie over and over in your mind is something much more difficult to illustrate.

Bale and Jackman are spectacularly matched (and, not to give myself a repuation as the Boy-crazy Critic, they are also delicious). Watching these two strong actors -- one so solid and commanding, the other so elegant and captivating -- push against one another would be a substitude for plot in any less artful movie. Fortunately director Christopher Nolan (who co-authored the screenplay with his brother Jonathan from a novel by Christopher Priest) has built up a vivid world to surround and contain his leading men.

The gritty turn-of-the-century look of the film is dark and mysterious, punctuated with grimy theatres and bustling street scenes. Algier's trip to Colorado to meet with the scientist/inventor Tesla (an austere David Bowie) would be an almost rustic counterpoint, save the sparking addition of electricity and "real magic" to tie it back to the film's earlier scenes.

The supporting ladies of the cast -- Johansson, Rebecca Hall and Piper Perabo -- are also strong as mistress and wives, respectively. Johansson's Olivia, who loves both magicians, and Rebecca Hall's Sarah, who can't compete with Borden's committment to his work, balance the testosterone-driven masculinity of the film with their scenes of domesticity just as their characters force the magicians to think of something other than their next stage show.

Much of the story-telling occurs through voiceover-induced flashback -- Algier and Borden each have a copy of one another's journals, and as they read over them we are submerged into their reflections and impressions of one another while retaining a sense of dramatic irony from our awareness of their present situation.

I wouldn't, for a million dollars, give any of the film's secrets away. I'll just say it's got more twists than a rabbit warren, and more to recommend it than any other magic film I've seen this year. Even if you think you've caught on to the Prestige early on, you've probably only picked up one of many twists before the film resolves.

My one hint is this -- the Pledge continues on much longer than you'd expect; the magic of this film, as in most illusions, is all in the preparation, the set-up for the Turn.

Off the Cuff -- Casino Royale

You know what's missing from this blog? Spontaneity.

So without further ado, an off the cuff James Bond review.
Because he is such an enormous fox, I would like him in a box
I wouldn't care if he wore sox, I really love the way he walks..
And I will stop this rhyme when it is time.


At any rate... though it may surprise some to learn it, I'm a closet Bond freak -- but a purist. Sean Connery is the best Bond, and there will be no discussion of the matter. I'm a frequent viewer of TBS' 30 Days of 007, where they show a Bond film every night, so I should know.

That said, I will consider Daniel Craig a worthy successor to the fancy watch and Aston-martin. Aka he was buff and a sculpted sort of dreamy. He also has a great athletic physicality, piercing eyes and (Zoolander pout notwithstanding) a suave attitude that makes up for those ears. (And really, the mouth thing isn't so bad -- it draws attention to his lips...makes you want to do things to them. Like bite them. But I digress.)

As for the director's "pare down and open up" approach to the story, I think the paring down worked better than the opening up. The overall look of the film is stylish and sharp, the plotline takes advantage of the poker craze and a perennial global adoration for the Riviera and the Bahamas, the stunts are vicious and realistic. Speaking of stunts, I think one of my favorite Craig Bond traits was his ability to take a hit and really feel it. He heals fast, but the man takes a minute to show some scars.

This is one of Pierce Brosnan's biggest flaws -- too polished and pretty. Craig's Bond reels after he jumps off a two story building or flings himself off of a crane. When he gets poisoned, he staggers,. The movie opens with him getting his second kill to attain double-o status, so it feels like Bond is still learning the ropes -- when to hurtle through the window, when to take the stairs. That sort of thing.

It starts to feel like the director was just using "an examination of Bond's psyche" as an excuse to cut the gadgets budget -- for example, when Bond meets his leading lady on a train and she sits down for dinner and a no-frills discussion of his character. It's like "Oh, yes, and here's the scene where we get the lowdown on Bond's background. Taken care of? Excellent. Off to Montenegro -- and get that smart accountant into something backless. That's the ticket."

I enjoyed it though -- the violence was certainly more cringeworthy, and as with any Bond movie if you think too much about the details there are questions that stick out more prominantly than Craig's ears (I do feel that any Bond who has as much trouble making his head look proportionate as this one does should spend as little time as possible in the ocean. Then again, I only thought that until they panned down as Bond walked onto the beach. I didn't know there were that many muscles.) We all know any airport in the world would completely shut down as soon as there was any sign of a fuel truck going amuck -- just as they would have in Speed.

But that's not why we watch Bond. We watch it for the edge, the cool, the intrigue, and yes, the girls, who get something more akin to a fair shake in this movie. In stepping back from the extravagance of Diamonds Never Die Tomorrow or whatever that last Brosnan debacle was, we've moved away from the Halle Barry avenue, so Bond's counterpoint is not his equal, but niether is she powerless or stupid.

All in all, if the director could have brought himself to shorten a chase sequence by a few squealing turns, trim a few of the peaceful vignettes, and exised a few locational departures, he could have had a much better movie. As it is, it's kind of the A.I. of Bond movies -- good premise, good casting, great effects, but just a few too many chapters. It's not like you can't see them coming, so to pretend that elongating or inserting new sequences will disguise the plot progression is just silly.

I give it a solid B (Goldfinger being an A, Moonraker being a D-), and wouldn't mind seeing it again.

Book reviews

The Ithaca Times

Teenage Waistland, August 30, 2005

The Ithacan

The Feminine Mistake, May 3, 2007


A Feast of Crows, November 17, 2005

America, The Book (review), October 4, 2004

Movie Reviews

The Ithacan

Disturbia, April 26th, 2007


The Namesake, April 12th, 2007

Reign Over Me, April 5th, 2007

Bridge to Terebithia, March 22nd, 2007

Venus, March 1st, 2007

Because I said so, February 15th, 2007

Stomp the Yard, February 7th, 2007

Notes on a Scandal, February 1st, 2007

Curse of the Golden Flower, January 25, 2007

The Fountain, December 14, 2006

Bobby, December 7, 2006

For Your Consideration, November 30, 2006

The Science of Sleep, October 5, 2006

Rent (the movie), December 1, 2005

Just Like Heaven, September 22, 2005

Millions, April 21, 2005

Bride and Prejudice, March 31, 2005

The Merchant of Venice, February 17, 2005

Sideways, February 10, 2005

Bridget Jones 2, The Edge of Reason, December 9, 2004

We Don’t Live Here Anymore, September 30, 2004

Wimbledon, September 23, 2004

Vanity Fair, September 9, 2004

Capsule Reviews

Oscars, Schmoscars, February 22nd, 2007

Best & Worst of Summer ("Little Miss Sunshine," "Nacho Libre"), August 31, 2006

2005 Oscar Picks, February 17, 2005

2005 Top Summer Picks (“Batman Begins” and “The Island”)

Live Show/Theater Reviews

For The Ithaca Times

Winnie-The-Pooh, at The Hangar Theatre, July 3rd, 2007

Disney's Beauty and the Beast, at The Hangar Theatre, June 27th, 2007

"How The Other Half Loves, at Cortland Repertory Theatre and Menopause the Musical at Syracuse Stage, June 27th, 2007


The Ant & The Grasshopper, at The Hangar Theatre, June 20th, 2007

Doubt, at The Hangar Theatre, June 13th, 2007

Miss Saigon, at The Merry-Go-Round Playhouse, June 6th, 2007

The Winter's Tale, at Syracuse University, March 29th, 2007

The Art of Dining, at Syracuse University, February 21st, 2007

Spike Heels at Syracuse Stage, January 24, 2007

Comfort Food at The Kitchen Theatre, January 17, 2007

A Christmas Carol at Syracuse Stage, December 13, 2006

Rebecca Returns at The Kitchen Theatre, December 13, 2006

Little Women, Retold, November 15, 2006 -- A preview of a production at Cornell's Schwartz Center

Driving Miss Daisy, November 1, 2006

The Mozart Mystery, October 5, 2006

For The Ithaca Journal

The Count of Monte Cristo, World Premiere at Ithaca College, May 2nd, 2007

Yellowman, at The Kitchen Theatre, May 1st, 2007

36 Views, at Ithaca College, April 4th, 2007

Acis and Galatea, at Ithaca College, February 28th, 2007

The Odyssey, part II, at the Kitchen Theatre February 21st, 2007

I Reject These Labels, October 5, 2006

For The Ithacan

Sweeney Todd, The Melodramatic's Theatre Company at Cornell's Risley Theater, April 19, 2007

Urinetown: The Musical, November 9, 2006

Etta Jenks, October 11, 2006

Grease, November 10, 2005

“Ithaca College The Show,” April 14, 2005

Suessical, November 4, 2004


This one's just for old times' sake:
The Westfield Watchdog

Hamlet, Westfield High School, November 22, 2002

Indian Immersion Columns

January 26, 2006 - Columnist braves Indian Embassy...

February 09, 2006 - Bazaars, bargains and how to barter...

February 23, 2006 - Henna ink leaves lasting impression...

March 16, 2006 - Bollywood films aren’t always fun...

March 30, 2006 - Diverse country becomes a home...

April 13, 2006 - India's poverty has two faces...

April 27, 2006 - Family defines travel experience...

Features & Profiles

The Ithacan

Both my Journalism department article and my Q&A with Azar Nafisi rated inclusion in The Ithacan's "Year in Review" publication, along with four of my reviews. I'm honored, and hope everyone had a chance to pick up a few copies!

Journalism Department Discusses Changes, January 25, 2007

"Author Explores the Importance of Literature in Students' Lives" – Interview with Dr. Azar Nafisi, author of Reading Lolita in Tehran, September 7, 2006

"All That Jazz" – Profile of C.J. Glass’ recital, February 24, 2005

"Alumni Singers Scat With Students” – New York Voices, November 11, 2004

"Library Offers Range of Flicks,” November 04, 2004

"College Welcomes World-class Acts” – Preview of upcoming music school events, September 16, 2004

The Ithaca Times

Finger Lakes Footlights, June 13, 2007

Not so much a feature as a glorified calendar of all the upcoming summer theater in the Finger Lakes region, but compiled entirely by yours truly.

TV Reviews

The Ithacan

Latest BBC Robin Hood is a Stone Cold Fox, May 3, 2007

The Colbert Report, October 27, 2004

CD/Music Reviews

Lifehouse Lifehouse, April 21, 2005