FALL ARTS

september 17, 2012

film by daniel d’addario | theater by harry haun art by dan duray | books by michael H. miller top 10 galleries, museums, books, films, theater and music

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PHOTOS BY DANIEL KING/CONTOUR BY GETTY IMAGES, NICK BRIGGS, STEPHEN LOVEKIN/GETTY IMAGES

Untitled-46 1 8/31/12 12:05:57 PM STRICTLY LIMITED ENGAGEMENT BEGINS NOVEMBER 3 Norbert Leo Butz Katie Holmes

A NEW COMEDY ABOUT FAMILIES AND FELONIES A NEW COMEDY ABOUT FAMILIES AND FELONIES BY alsoTheresa starring Rebeck DIRECTEDPhil BY Upshaw Barbara Desimini Jenny Houlberg also starring Jack O’Brien Phil Upshaw Barbara Desimini Jenny Houlberg

Judy Greer Josh Hamilton Jayne Houdyshell

OMusic Box Theatre, 239 W. 45th St. Telecharge.com 212-239-6200 DeadAccountsOnBroadway.com Images by Tom Singer, Tom Munro, Russell Baer, Sylvain Gaboury/Getty Images, Chia Messina

Untitled-45 1 8/31/12 11:30:02 AM FALL ARTS PREVIEW | Table of Contents ART Dan Duray on celebrating a century of arms and armor at the Metropolitan Museum of Art 6 October 18–November 18, 2012 BOOKS 15 “Sublime...a colorful expeditionary force strikes Michael H. Miller on Marco Roth and his into the interior vastness of the soul.”—New York upcoming memoir, The Scientists FILM Daniel D’Addario on the fall’s presidential fi lms, Lincoln and Hyde Park on Hudson 20 THEATER Harry Haun on Grace, at the Cort Theater 26

Akram Khan Company, Vertical Road TOP TEN Museums by Dan Duray 8 Galleries by Andrew Russeth 10 Kiran Ahluwalia Fabulous Beast Dance Books by Michael H. Miller 18 Theatre Films by Daniel D’Addario 22 Les Arts Florissants Theater by Daniel D’Addario 29 Late-Night Elegies: Poet of the Piano Classical Music & Opera by Carl Gaines 31 Alexei Lubimov Akram Khan Company 10 Liam Ó Maonlaí Higher Vibrations I went to the house Mary Chapin but did not enter Carpenter Earthly and Heavenly Life Ensemble Basiani Latvian Radio Choir september 17, 2012 Immortal Bach Philharmonia Orchestra Esa-Pekka Salonen CULTURE EDITOR EDITOR Cosmic Pulses SARAH DOUGLAS AARON GELL Malavika Sarukkai White Light Conversations ART DIRECTOR PRODUCTION White Light Lounges LAUREN DRAPER AND CREATIVE Song of the Earth DIRECTOR

Informal post-performance MANAGING EDITOR ED JOHNSON gatherings MICHAEL WOODSMALL PHOTO EDITOR

CONTRIBUTORS PETER LETTRE Photos: background image: Ian Cuttler © 2012; DANIEL D’ADDARIO Vertical Road: Laurent Ziegler DAN DURAY ADVERTISING Sponsored by Official sponsors CARL GAINES PRODUCTION HARRY HAUN LISA MEDCHILL

National Sponsor of Lincoln Center MICHAEL H. MILLER

Official Broadcast Partner of Lincoln Center ANDREW RUSSETH Additional support provided by The Fan Fox Official Sponsor of Lincoln Center and Leslie R. Samuels Foundation, Inc. PUBLISHER SPENCER SHARP Endowment support provided by the American Express Cultural Preservation Fund Official Wine of Lincoln Center Official Airline of Lincoln Center

THE NEW YORK OBSERVER 321 WEST 44TH STREET, N EW Y ORK, NY 10036 THE NEW YORK OBSERVER212.755.2400 321 WEST 44TH STREET, N EW YWWWORK, .NYOBSERVER 10036 . c Om 212.755.2400 WhiteLightFestival.org Publisher JAREDWWW. OBSERVERKUSHNER. c Om THE NEW YORK OBSERVER President321 WEST 44TH CHRISTOPHER STREET, N EW YORK, NY 10036 BARNES Executive212.755.2400 V.P. BARRY LEWIS 212.721.6500 WWW.OBSERVER. c Om Executive Assistant ALEXANDRA ENDERLE Alice Tully Hall or Avery Fisher Hall Box Office, Broadway at 65th Street

2 SEPTEMBER 17, 2012

zFA_TOC/Mast copy.indd 2 9/7/12 10:24:16 AM ION THAT THE ACCLAIMED STEPPENWOLF PRODUCT

MAKES YOU CATCH YOUR BREATH! – Charles Isherwood, CHILLING AND TRANSFIXING. The New York Times

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Untitled-13 1 9/4/12 4:28:57 PM galleristny a chronicle of the art world in New york and beyond

Warhol comes to the Met. FALL FOR ART As this introductory column went to print last season, much in the New York art world felt uncertain. There were ru- mors of both gallery expansions and gallery closures, and of artists switching teams, while two New York fairs—the vet- eran Armory Show and the new Frieze New York, a British import—were revving to compete for dealers and dollars. Six months down the road, we may not yet know which fair will win our fair city—Frieze was good, but the Armory held its ground—but we do know that, all around town, top deal- ers are waging a space race, doubling down on their fast-gen- trifying neighborhoods. In Chelsea, Friedrich Petzel, Andrea Rosen, Lisa Spellman of 303, Sean Kelly, David Zwirner and Marc Glimcher of Pace have grabbed chunks of real estate, or are about to; most are at various points on construction proj- ects. On the Lower East Side, Lisa Cooley, Laurel Gitlen, Can- ada and Marlborough are among those on the move, trading their cubbyholes for, if not palaces, at least more spacious showrooms. For the public, this means more and larger exhi- bitions—in short, more art. For the trade, it means that on the supply side the stakes are higher than ever. As for the city’s museums, they are stronger than ever, offering up some mid-career stars playing for entries in the history books (Wade Guyton at the Whitney, Matt Connors at MoMA PS1) some established artists looking to cement their legacies (Martha Rosler at MoMA, Rosemarie Trockel at the

New Museum) and, in what is sure to be blockbuster for the ork Met, some sixty of Andy’s heirs in “Regarding Warhol: Sixty Artists, Fifty Years.” Our guide to the fall’s must-see gallery ), N ew Y and museum shows in this special preview issue will help you ARS

sort it all out. ( ociety As the season unfolds, make sure you return regularly to the Visual for oundation The New York Observer and its visual art blog, GalleristNY arhol F (www.GalleristNY.com), for our ongoing, on-the-ground cov- erage of the international art scene from a distinctly New York perspective. ndy W T he A ndy © 2012 —Sarah Douglas and Andrew Russeth S R ights I nc. / A rtists A rts,

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zFA_IntroGalleristNY.indd 4 9/7/12 10:08:43 AM DAVE HILL SALMAN RUSHDIE NADJA SALERNO-SONNENBERG ALEC BALDWIN WALLACE SHAWN ZADIE SMITH MICHAEL SHOWALTER ELIZABETH MITCHELL EISA DAVIS ETGAR KERET WYCLIFFE GORDON & MORE

Untitled-33 1 9/5/12 2:03:47 PM FALL ARTS PREVIEW | Art

Dean, ca. 1900, wearing a full suit of Japanese armor. Below right, German Gothic armor, ca. courtesy metropolitan museum of art metropolitan courtesy 1475-1500. a call to arms The Met’s arms and armor collection turns 100

By Dan Duray

n 1912, Bashford Dean became the oyster culture, and was the was the first- the martially inclined. first curator of arms and armor at ever curator of fishes at the American Mu- “In terms of sheer numbers, it probably the Metropolitan Museum of New seum of Natural History). is one of the biggest,” Donald La Rocca, de- York. He had a reputation as a trail- This year, the Met will honor Dean, who partment curator, said on a recent tour of blazer: he explored Japan when died in 1928, and celebrate the depart- the space, comparing the Met’s collection the country was still otherworldly ment with an exhibit, “Bashford Dean and with other world-class ones. “In terms of to foreigners, and designed armor the Creation of the Arms and Armor De- quality, the things that rank highest are for American troops in World War I. He partment,” that takes a look at the curi- probably the ancestral collections” such as Ischmoozed the Morgans to get them to do- ous circumstances that led to a New York Vienna’s, (which evolved with the holdings nate their armor, and wrote Helmets and museum ending up with one of the world’s of the Hapsburgs and the Holy Roman Em- Body Armor in Modern Warfare, still a most respected armories, boasting a total perors), Dresden’s (the dukes of Saxony) standard for modern military strategists. of 14,000 guns, swords, knives, pieces of and Paris’s (accumulated by numerous (He was also accomplished in the field of armor and all manner of devices to delight monarchs). But when it comes to quality,

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zFA_Duray.indd 6 9/6/12 5:45:25 PM Art | FALL ARTS PREVIEW

taking into account bloodthirsty breadth, Dean’s time. Lighting, for example, is a the Met’s collection really has no right to ‘Tibetans have said more and more important element of ex- be as profound as it is, being on this side of hibition. An upcoming reorganization, Mr. the Atlantic. this to me: “Thank La Rocca said, will increase the luster one The Met owes that profundity to col- notices on the items, though it won’t quite lectors with a passion for the tools of war. God, you’re actually be at “jewelry case” levels. Dean exhib- Most of these early armor collectors tend- ited the armor surrounded by tapestries ed to fall into two categories: well-man- and stained glass, like a Gothic Revival nered gentlemen in the European mold, showing people that home, but the ideal lighting for metal is and William Randolph Hearst. much stronger than the light that’s best “Because of the romance of the age of we’re not all monks.” ’ for those materials, and the galleries have chivalry, it was not necessarily a testoster- brightened significantly since they were one-fueled thing,” Mr. La Rocca said. Wil- removed in the 1950s. liam H. Riggs and Rutherfurd Stuyvesant, supporters of the collection (next year, the The biggest difference in the field is two of the museum’s first trustees, were Sulzberger gallery will have an exhibition that there’s significantly less armor on major collectors, as was the Duc de Dino, dedicated to crossbows). The show opens the market, though the department still a minor French aristocrat whose trove the with a large photograph of Dean wearing works to fill gaps where they exist. Arthur museum bought for a quarter of a million Japanese armor; next to the photograph Ochs Sulzberger, former publisher of The dollars in 1904, its most expensive pur- rests the armor itself, complete with fuzzy New York Times, was a great supporter of chase ever at the time. That collection was pelt shoes. the department when he was a trustee at meticulously assembled over a period of 15 “He’s such an original character, you the museum, and helped provide funds for years. really can’t do him justice in a room this the acquisition of a major collection of Ti- “Hearst was different, in that he would size,” Mr. La Rocca said, flicking on the betan armor. The department displayed it get all these catalogs, and he’d call his peo- lights. “But by combining the objects we in 2006, and Mr. La Rocca estimated that ple all over the world and say ‘buy me this, have with the narrative we have, and the about 90 percent of that show was pur- this and this,’” Mr. La Rocca said. “Riggs documents and so on, we’ll try and give a chased with Sulzberger money. attended sales all over Europe. He sat in good sense of who he was and what he was “Tibetans have said this to me: ‘Thank the showroom. He annotated the catalogs. about.” God, you’re actually showing people that They’re invaluable for research and as a re- A portion of the pieces in the Met’s we’re not all monks,’” Mr. La Rocca chuck- cord of what he was doing. They really pur- galleries incorporate relatively new ele- led, then he coughed. “Not that there’s any- sued it. Dino went to Europe for three to ments—this due to the nature of conser- thing wrong with monks.” four months, took the steamship over and vation. “When you got this resurgence of The fact is the age of the major collectors traveled, unbelievably, summer after sum- collecting there was a need for armorers has passed. Ronald Lauder, Mr. La Rocca mer, year after year to see the great things to do repair, and from the 19th century said, will probably be among the last to ac- and meet the dealer and the collectors. He right up to the early to mid-20th century, cumulate such material. Those who come really pursued them with a passion.” if armor was missing a part, they would close tend to collect American firearms. Around the time the Met bought the just make it,” Mr. La Rocca said. “Old- “It’s always nice to get a fresh ac- Dino collection, Bashford Dean began to style restoration like that, we don’t quisition so people look and say ‘Oh, work with the museum—first as an honor- do anymore, but Dean knew from this is new!’ but the permanent col- ary curator, which meant he wasn’t paid. the start of the collection that he lections are really deep and rich,” He confessed he had no eye for blades, but needed specialized craftsmen Mr. La Rocca said. routinely wore his purchases from Japan, for the maintenance of it, and he “There will continue to be, for armor with complicated reliefs. He sold was able to persuade the greatest generations, the occasional new much of that armor to the museum at cost French craftsman at the time, object that really is a revelation. so that he could return and buy more, Daniel Tachaux, to come to When you look at those last few much of which he would later donate to New York in 1909.” things in our recent acquisi- the Met. He began collecting at age 10, The museum’s in-house tions publications, there are when he bought two daggers from a pri- armor shop led to Dean de- a couple of things that come vate collector who was displaying them signing helmets for WWI, along that are really stun- at the Met. which were ultimately reject- ning and important. But it When Dean started working with the ed because they too close- won’t ever be like in Dean’s Met, stateside collectors were so voracious ly resembled German ones. period, where the sword collec- that one German arms and armor curator “Here you have the Star Wars tion of Jean Jacques Reubell, referred to “the American peril” vacuum- storm trooper helmet,” Mr. who gave this great, amaz- ing up the world supply for their homes in La Rocca said, gesturing ing collection of small swords Newport. Dean was serious about schmooz- to another design by Dean because his wife and his mother ing for donations at a time when there were that closely resembles the were both New Yorkers—so you important ones to be sought, making him ones from the movie, though got 400 staggeringly important very much responsible for transforming in metal, for peering over the pieces that make the collection— the collection into what it is today. trenches. Dean clearly loved that type of thing is not going The new exhibition, which celebrates the the attention he gained to happen,” he said. department’s centennial and runs from Oc- from his position, giving “The era of hundreds and tober 2 to September 29, 2013, will occupy talks during which he fired hundreds of things in col- a tiny room, the Arthur Ochs Sulzberger matchlock, Wheelock and lections, like in the Dean era, Gallery, off the the John Pierpont Morgan flintlock mechanisms onstage is gone,” he added. “But that’s Wing that houses the department’s perma- at the museum. O.K.—that’s a period of history

courtesy metropolitan museum of art metropolitan courtesy nent collection, both named for prominent Much has changed since and it’s over.”

september 17, 2012 7

zFA_Duray.indd 7 9/6/12 5:46:08 PM FALL ARTS PREVIEW | Museums

TOP TEN tudio museum shows a nne ork, a nd S uz What we’re most looking forward to in museums By Dan Duray N e w Y upin G a llery, 10 Burke S C hristopher P hoto: j ects. Wade Guyton OS Regarding Warhol: s, L ehm a nn Ma Whitney museum of Sixty Artists, Fifty Years

American art The Metropolitan Museum of Art An g eles P ro os

October 4–January 13 September 18–December 31 a lene T hom

Best known for his elaborate collabora- Andy Warhol’s influence on contemporary © M ick Vielmetter L tions with artist Kelley Walker, Wade Guy- art is undeniable, but no institution has Din, une très belle négresse #2 (2012) ton makes paintings with Epson inkjet attempted to track it definitively—until by Mickalene Thomas. printers and flatbed scanners. With this now. “Regarding Warhol” gathers works mid-career retrospective, the Whitney by artists who owe great debts to the king continues to look at some of the themes of downtown. The show is divided into five ples by their artistic forebears. Didn’t know of Cory Arcangel’s from last year: themes seen in Warhol and his successors: her knit paintings were inspired by Judith the effect on art of digital imag- “Daily News: From Banality to Disaster” Scott’s yarn sculptures? Not a problem— ery and processes. Mr. Guyton’s (Jeff Koons, Damien Hirst, Ai Weiwei), Scott’s threadwork will be right next to show takes as its title the stan- “Portraiture: Celebrity and Power” Trockel’s. Now if only she’d address the dard abbreviation for a com- (Elizabeth Peyton, Karen Kilim- precedent for that piece where she had spi- puter’s operating system, and nik, Cindy Sherman), “Queer Stud- ders spin webs while on LSD … his work can be understood ies: Shifting Identities” (Richard as an exploration of paint- Avedon, Peter Hujar, Christopher Mickalene Thomas: ing’s OS. This may be his first Makos, Robert Mapplethorpe, Cath- The Origin of the Universe major survey exhibition in a erine Opie), “Consuming Images: Brooklyn Museum museum, but it’s not his first Appropriation, Abstraction, and prolonged stay in one: as a stu- Seriality” (Richard Prince, Cindy September 28–January 20 dent he worked as a guard at Sherman, Christopher Wool) and “No Fresh from the Santa Monica Museum of Dia: Chelsea. Boundaries: Business, Collaboration, Art, “Origin of the Universe” is the Brook- Wall Relief With and Spectacle” (Koons again, Takashi lyn-based Ms. Thomas’s first solo museum Bird (1991) by Murakami). At the end, you will won- exhibition, and it’s jam-packed with rhine- Picasso Black Jeff Koons. and White der if there is a square inch of contem- stones, afros and other “Blaxploitation” porary art Warhol didn’t influence. Solomon R. Guggenheim Museum ephemera from her childhood in the 1970s. The history of painting is never far away in October 5–January 23 Rosemarie Trockel: A Cosmos her work, and the show takes its title from Picasso was, of course, a master of all col- The New Museum a piece based on the Courbet painting of ors but working in black and white (and the same name, which replaces the origi- gray) led him to new depths of expres- October 24–January 21 nal’s white, er, subject with a black one. The sion—think of Guernica. Aside from some Don’t you hate it when you don’t get all show will also feature a new series of paint- early blue and rose paintings, the stark- the art history references in a show? Well, ings that offer a unique take on landscapes. ness of the Guggenheim’s show—it con- you’re in luck. This show of the German Ms. Thomas is not one to miss: none other sists of some 100 pieces in a variety of conceptual artist is styled as a “self-por- than Michelle Obama commissioned a por- mediums dating from 1904 to 1971—may trait” rather than a retrospective and will trait from her. be overwhelming, in the best possible way; take the form of installations featuring her wear a tux, if you’re looking to blend in. drawings and ceramics, along with exam- TOP TEN museums continued on page 8 oons

os An g eles; ©Jeff K os tudio/ tudio, L tudio, oons S rker S s M . Pa a hoto; Jeff K y P hoto; m a La D ou g l Untitled (2008) by Wade Guyton.

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zFA_T10Museums/Galleries.indd 8 9/7/12 10:10:32 AM 2012–2013 SEASON Tchaikovsky/Dvořák/Fauré Oct. 16, 2012 at 7:30 PM Young Beethoven Oct. 21, 2012 at 5:00 PM Mozart/Chopin/Smetana Nov. 2, 2012 at 7:30 PM WITH THE FIRST NOTE, Nov. 4, 2012 at 5:00 PM Mozart Connections THE CONVERSATION BEGINS. Nov. 13, 2012 at 7:30 PM Connect with the music like never before in the most intimate Night Music of concert experiences. We are The Chamber Music Society of Nov. 18, 2012 at 5:00 PM Lincoln Center, and we invite you to be a part of it. BAROQUE FESTIVAL Bach Keyboard Concertos Dec. 2, 2012 at 5:00 PM Dec. 4, 2012 at 7:30 PM Baroque Collection Dec. 7, 2012 at 7:30 PM Brandenburg Concertos Dec. 16, 2012 at 5:00 PM Dec. 18, 2012 at 7:30 PM

Dvořák & Brahms Jan. 11, 2013 at 7:30 PM Jan. 13, 2013 at 5:00 PM Winter Winds Feb. 5, 2013 at 7:30 PM Bold Statements Feb. 10, 2013 at 5:00 PM Metamorphosen Feb. 22, 2013 at 7:30 PM Love Songs Mar. 8, 2013 at 7:30 PM SHOSTAKOVICH: THE COMPLETE QUARTETS Shostakovich Cycle I Mar. 17, 2013 at 5:00 PM Shostakovich Cycle II Mar. 19, 2013 at 7:30 PM Shostakovich Cycle III Mar. 22, 2013 at 7:30 PM Shostakovich Cycle IV Mar. 24, 2013 at 5:00 PM PHOTO: TRISTAN COOK PHOTO: TRISTAN Schumann & Mendelssohn Apr. 7, 2013 at 5:00 PM OPENING NIGHT: SERENADES Death and the Maiden Monday, September 24, 2012, 7:30 PM Apr. 16, 2013 at 7:30 PM The Cellists of Lincoln Center MOZART Serenade in C minor for Winds, K. 388 Apr. 21, 2013 at 5:00 PM KODÁLY Serenade for Two Violins and Viola, Op. 12 Thomas Hampson & STRAUSS Serenade in E-flat major for Winds, Op. 7 The Jupiter Quartet DVOŘÁK Serenade in D minor for Winds, Cello, and Double Bass, Op. 44 Apr. 28, 2013 at 5:00 PM

Benjamin Beilman, Ani Kavafian, violin; Paul Neubauer, viola; Nicholas Canellakis, cello, Britten at 100 May 10, 2013 at 7:30 PM Kurt Muroki, double bass; Tara Helen O’Connor, Ransom Wilson, flute; James Austin Smith, Stephen Taylor, oboe; Romie de Guise-Langlois, David Shifrin, clarinet; Peter Kolkay, Mozart Celebration Bram van Sambeek, Harry Searing, bassoon; Michelle Baker, Julie Landsman, May 19, 2013 at 5:00 PM Jennifer Montone, Julia Pilant, horn May 21, 2013 at 7:30 PM

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   ċŏđŏĂāĂġĉĈĆġĆĈĉĉ All concerts take place in Alice Tully Hall.

CMSINSxxxx_NYOmag1p.inddUntitled-45 1 1 8/31/128/30/12 11:30:55 3:52 AMPM FALL ARTS PREVIEW | Museums and Gallery Shows

TOP TEN museums from page 8 Marina Abramovic engaged in staring contests with total strangers during her Ann Hamilton: own retrospective. Ms. Rosler’s show TOP TEN The Event of a Thread is just as unconventional, if not more so: originally staged at the University Park Avenue Armory of California, San Diego in 1973, and gallery December 7–January 6 then in Basel, Switzerland, and else- where, it’s an actual garage sale hawk- The Park Avenue Armory is quickly ing items donated by the artist, MoMA becoming an essential stop on New Shows staff and the general public. Visitors will York’s contemporary art itinerary, and have a chance to haggle with Ms. Rosler,10 What we’re most looking forward this fall’s collaboration with who will donate the proceeds to at the galleries Ann Hamilton will be a to a charity. Donations have must-see. Ms. Hamilton been solicited over the sum- By Andrew Russeth has long had an obses- mer, though thankfully, as sion with text and its The New York Times notes, destruction—in 1993, an “Food and other perishable Sarah Oppenheimer at P.P.O.W. installation at Dia: Chel- items, liquids, weapons and September 6–October 13 sea consisted of a fig- toxic or hazardous materials ure in a room filled with [were not] accepted.” In the 1970s, Gordon Matta-Clark wrote horse hair, meticulously that, by slicing through buildings as part of the practice he called Anarchitecture, he burning lines of text in a Come Closer: Art book—and she’s contin- aimed to offer “confusion guided by a clear ued the theme here. Read- Around the Bowery sense of purpose.” Sarah Oppenheimer ers stand at one end of the The New Museum carries that project deep into sublime, uncharted territory by cutting into walls hall, their voices beamed (2006) by Shutter 1 September 19–January 6 and floors to build subtle, nuanced instal- to portable radio receiv- Rosemarie Trockel. ers that visitors may carry Remember the Bowery from lations that both guide and trick vision. with them as they explore the days before it was the hot Extreme confusion gives way to a sur- the space. The pièce de résistance: 30 spot for startup millionaires and the real level of clarity in her second show at fairground-style swings in the center of twee coffee that runs through their P.P.O.W., a gallery-altering installation. the Drill Hall. veins? No? Well, then this exhibition will either jog your memory or, for a Guido van der Werve at Matt ConnOrs: Impressionism younger generation, provide a dose of Luhring Augustine Bushwick MoMA PS1 history. Urban decay is documented here, with plenty of drug abuse and September 9–December 16 deadbeat landlords. The artist list is October 21–December 31 Existential dread looks effortless and ele- diverse. There’s Marcia Resnick, Keith gant in the austerely beautiful films that New York’s young painters have been Haring, Joey and Dee Dee Ramone, and Dutch artist Guido van der Werve has made doing some pretty fascinating things even Adam Purple, the so-called “Guer- over the past decade. He walks in front of with abstraction and Matt Connors is rilla Gardener” who sowed his seeds an icebreaker on the frozen Gulf of Finland one of the best. Here’s a line from the in abandoned lots, back when those in one, and, in another, spends a day at the press release that helps explain why existed downtown. he’s so good: “His paintings are remark- North Pole, slowly rotating along with the able for the apparent thinness of their Earth. Eight of his films will be screened at surface; paint ends up in them, rather Bashford Dean and the Luhring Augustine’s Bushwick branch, and than on them.” The works are somehow Creation of the Arms and at the gallery’s headquarters in Chelsea, he archaeological, which explains why pre- Armor Department vious texts on his works, such as one for TOP TEN GALLERIES continued on page 13 a show last year at Lüttgenmeijer in Ber- The Metropolitan lin, expound upon things like mysteri- Museum of Art (2012) ous Peruvian drawings: were they left by D-33 October 2–September 29 by Sarah the ancients or by extraterrestrials? The Oppenheimer. MoMA PS1 exhibition is Mr. Connors’s Admit it: if you’re at the Met and you first solo U.S. museum outing, and it will pass the arms and armor collection y be a mix of older and newer works, some you can’t help but take a peek. Don’t be created specifically for the show. ashamed: we’re all murderous animals, it’s quite normal. The department cel- Martha Rosler: Meta- ebrates its centennial this year, and to Monumental Garage Sale mark the occasion, they’ve assembled an

exhibition honoring Bashford Dean, the g alle r ppow t Bonn, 2011;

The Museum of modern art curator who founded it. An eccentric pro- uns Nov. 17–30, 2012 fessor, Dean trained as a zoologist and was Curator of Fishes at the American For her first big solo show at MoMA, Museum of Natural History before com- Martha Rosler is going straight to the ing to the Met, where he laid the founda- heart of the museum, its atrium—the tion for the field of research at large. Oh, very same space where, two years ago, and there will be samurai swords. ockel / VG Bild- K r ie T ockel / VG © Rosema 10 september 17, 2012

zFA_T10Museums/Galleries.indd 10 9/7/12 10:15:33 AM 4O CHAMBER ORCHESTRA

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THURSDAY SATURDAY FRIDAY SATURDAY SATURDAY OCT 11, 2012 DEC 1, 2012 FEB 1, 2013 MAR 23, 2013 APR 27, 2013 AT 8 PM AT 7 PM AT 8 PM AT 7 PM AT 7 PM with with with with with Sasha Cooke, Anne Akiko Meyers, Wayne Shorter Richard Goode, Gabriel Kahane, Mezzo-Soprano, and Violin Quartet Piano Vocalist & Nathan Gunn, Baritone Performing Prokofiev, Wayne Shorter, Saxophone; Performing Fine, Composer Mozart, and for the first Danilo Perez, Piano; John OPENING NIGHT Mendelssohn, and Performing Wolf, Patitucci, Bass; Brian Blade, CELEBRATION time the Barber Violin Schumann’s Piano Schoenberg, and a world Concerto Drums Performing Rossini, a world Concerto with premiere by our first premiere by Augusta Read Performing Beethoven, long time collaborator composer-in-residence, Thomas, and our first-ever Ives, and a world premiere Richard Goode Gabriel Kahane Beethoven’s 5th by Wayne Shorter www.orpheusnyc.org

40TH ANNIVERSARY SEASON Opening Night 2012-2013 SERIES AT CARNEGIE HALL Celebration Underwriter Official Tour Sponsor Stern Auditorium | Perelman Stage

Gabriel Kahane is the Music Alive Composer-in-Residence with Orpheus Chamber Orchestra. Music Alive is a residency program of the League of American Orchestras and New Music USA. Photos: Orpheus (Larry Fink), Gunn (M. Sharkey Photography), Meyers (Lisa-Marie Mazzucco), Shorter (Henry Leutwyler), Goode (Sasha Gusov), Kahane (Josh Goleman).

OCOINSxxxx_NYOmag1p_fin.inddUntitled-45 1 1 8/31/128/30/12 11:32:36 3:56 AMPM LaPlacaCohen 212-675-4106 Publication: Ny Observer Insertion date: Sep 12, 2012 8.125 x 10.75 + bleed 4C MAG . 8/29/12 2:04 PM 9/4/12 2:16:25 PM Organized by the Santa Monica Museum of Art Din, une très belle négresse #2, 2012 Thomas ON VIEW STARTING ON VIEW STARTING Mickalene SEPTEMBER 28, 2012 28, SEPTEMBER Origin the of Universe Generous Forest support City the Ratner Companies Stephanie provided Contemporary and and Art by Exhibition Tim Fund. Ingrassia Mickalene Thomas (American, b.Rhinestones, 1971). acrylic paint,(259.1 x and 213.4 oilx 5.1 enamelcm). Private on Collection,Lehmann wood panel, MaupinBoston. Courtesy 102 Gallery, x of Projects. 84 Newthe x artist, York, 2 © and in. Mickalene Suzanne Suzanne VielmetterVielmetter Thomas, AngelesLos LosProjects. LehmannPhotoChristopher Angeles by Burke Maupin Studio Gallery, New York, and North American Time Zone Photo– . Offset lithograph. 17.5 x 17.5 in , detail from Time. Conceptual Art ON VIEW STARTING STARTING VIEW ON SEPTEMBER 14, 2012 14, SEPTEMBER the Emergence of of Emergence the “Six Years” Lucy R. LippardLucy and Materializing Materializing N. E. Thing Co. (Iain Baxter [Canadian b. England, 1936] and Ingrid Baxter Ingrid and England, Baxter b. 1936] [Canadian Baxter (Iain Thing E. Co. N. [American, b. 1938]). 1. V.S.I. Simultaneity, October 18, 1970, (44.5 x 1970 44.5 cm). Morris and Helen BelkinColumbia, Art Gallery, Vancouver; University Gift of Iain of BaxterBritish and Ingrid Baxter, 1995. This exhibition is Foundation. made possible Additional by by the generous Elizabeth the support A. Helene Sackler has been Zucker provided Seeman Memorial Exhibition Fund. 718-638-5000 www.brooklynmuseum.org Expanded hours – open until 10pm every Thursday , 2008., Murano is the media sponsor. Organized by Centre Pompidou the The Secret Happy End

Othoniel DECEMBER 2, 2012 ON VIEW THROUGH THROUGH VIEW ON

Jean-Michel

Jean-MichelOthoniel (French, b.1964), glass,Saint Just’s mirror glass, metal, vintage carriage, 10611/16145x 5/16 x 59 1/16 in. (270.0 x 370.0 x 150.0 cm).Emmanuel Brooklyn Museum, Perrotin, Gift of GalerieOthoniel Paris/Miami, and the artist, 2010.11. ©Jean-Michel Generous support for provided this exhibition by was Galerie support Perrotin. was AdditionalA. provided and Fund, by the Robert the StephanieContemporary Martha and S. Art Tim Institut Français, Exhibitionand the Ingrassia Rubin French Ministry Fund, of Foreign Affairs Exhibition and the Culture.

This Fall the World World the Fall This Comes to Brooklyn to Comes Untitled-7 1 BMM-0053-NyObserver_Sep_8.125x10.75_v4.indd 1 Gallery Shows | FALL ARTS PREVIEW

ork ing, should serve as a reminder, offering museum loans and, even more enticing, works that the artist has held in his collec- tion for decades. ustine, N ew Y u g ustine,

Gary Simmons at Metro Pictures uhrin g A November 8–December 15 In Gary Simmons’s ghostly paintings and drawings, buildings, objects and phrases—motifs or symbols laden with issues of power, race and class—are on the verge of going up in smoke or being the artist and L o f the artist ourtesy

C smeared and erased like aging but per- Nummer dertien, Effugio B: portrait of the artist as a mountaineer, sistent memories. This survey will pres- (2010) by Guido van der Werve. ent those iconic works alongside his early installations and sculptures, which approached objects like boomboxes, Ku TOP TEN GALLERIES from page 10 Etel Adnan at Klux Klan hoods and boxing rings with a offers up two new works, one involving a Callicoon Fine Arts similar clear-eyed, poetic cool. 1,000-mile triathlon inspired by the jour- September 12–October 28 ney that Frédéric Chopin’s sister took in the Keltie Ferris at One of the highlights of this year’s Docu- mid-19th century as she smuggled Chopin’s Mitchell-Innes & Nash heart from Paris to Warsaw. menta exhibition in Kassel, Germany, was a roomful of small paintings that Bei- Opens November 29 rut–born writer and artist Etel Adnan Bernadette Corporation has been making since the late 1950s of Brooklyn painter Keltie Ferris’s large at Artists Space Mount Tamalpais, just north of San Fran- abstractions buzz with cisco. Employing just a few choice colors ecstatic, wildly synco- September 9–December 16 and shapes—a searing pink circle for the pated rhythms, lines and Since the mid-1990s, a band of downtown sun, a long expanse of aquamarine for the fields of acrylic and oil intellectuals slash art-types have worked sky—she has created spare landscapes that dueling with bursts of under the name the Bernadette Corpo- come close to being complete abstractions. spray paint in high-con- ration, styling themselves as a vaguely This is her first solo gallery show in New trast colors. Think late left-wing aesthetic vanguard. They have York, and it’s about time—the artist is in Mondrian gone free jazz, authored a novel, made a film about glo- her late 80s. or Marc Grotjahn laced balization protests, published fashion with psychedelics. Often magazines, staged photo shoots, collabo- the works look ready to rated with Chloë Sevigny, written poetry, Zoe Leonard at Murray Guy collapse into cacoph- designed bathroom faucets and put on September 15–October 27 ony, but they somehow numerous solo art exhibitions. Their influ- always hold themselves ence on art has been considerable, but “Is photography a thing?” Zoe Leonard together, exemplars of their willful obscurity can enervate. This asks in a statement for this show. “Or is it painting’s mysterious first-ever retrospective, helmed by Stefan a way of seeing?” It’s both, judging by her powers. After years of August 4, frame Kalmár and Richard Birkett, the director plans for her first gallery outing in New showing at Horton, this York since 2003. She’s turning one room is Ms. Ferris’s debut at 9 (2011) by Zoe and curator of the nonprofit Artists Space, Leonard. will offer an opportunity to sort it all out. of the newly expanded Murray Guy into a Mitchell-Innes. camera obscura, that bewitching prede- at cessor of photography, letting scenes from Gerhard Richter the street outside stream into the pitch- El Anatsui at Jack Marian Goodman black space through a tiny hole. Next door, Shainman Gallery September 12–October 13 she’ll show her haunting silver photo- November 28–January 12 graphs of the sun, which show her medi- For his latest show at Goodman, “Paint- um’s essential functions: recording light Ghana-born, Nigeria-based sculptor El ing 2012,” Gerhard Richter has printed and stilling time. Anatsui twists, bends and weaves thou- photographs that he made after digitally sands of bottle caps into sprawling, intri- dividing one of his trademark abstract cate, shimmering tapestries. In recent paintings from 1990 into 8,190 patches of Wayne Thiebaud at years, and especially since his appearance various sizes then mirroring and stretch- Acquavella Galleries at the 2007 Venice Biennale, his interna- ing those into what he calls Strip Paint- October 23–November 30 tional reputation has steadily grown, and ings, which are filled with horizontal lines he is poised to leap again with this, his lat- of color, each created from a fleck of paint Wayne Thiebaud’s paintings of pris- est show at Jack Shainman Gallery, which he placed on canvas 22 years ago. (Got all tine cakes, pies and ice cream sundaes comes a month after the High Line hangs that?) Arguably the world’s greatest living have become such iconic symbols of a huge, luminous work made with pressed painter, Mr. Richter could have comfort- mid-20th century American life that it’s tin and mirrors on a neighboring building. ably coasted for the rest of his career on easy to forget their artistry and audac- A touring retrospective exhibition of his his beguiling abstractions. Instead, he’s ity. This career-spanning survey, curated work arrives at the Brooklyn Museum in bravely experimenting. by Princeton art historian John Wilmerd- February.

september 17, 2012 13

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ASOINSxxxx_NYOmag1p.inddUntitled-13 1 1 9/4/128/30/12 4:26:43 9:54 PMAM Books | FALL ARTS PREVIEW CLOSE READING Marco Roth’s memoir began as revenge, but led him to something far more complicated By Michael H. Miller

reud’s concept of der Familien- of deeply repressed family secrets. suddenly and poked me in the wrist, roman, translated as “the fami- It is hardly accidental, then, that The Sci- just below a vein...[A]t the time we ly romance,” is a developmental entists, the first book by Marco Roth, a found- were beginning to hear about this new stage that begins as the child ing editor of the literary journal n+1, has the disease … grows intellectually and discov- subtitle, “A Family Romance.” Mr. Roth has ers the limitations of his par- been working on the book, in one form or an- Eugene’s sister, Anne Roiphe, Mr. Roth’s ents. It is defined as a series of other, for most of his adult life, more or less aunt, has been writing memoirs and auto- changing fantasies: after noticing that other since his father Eugene died of AIDS in the biographical novels for almost 50 years. The Fsets of parents are perhaps more impressive family’s Upper West Side apartment in 1993. story of her brother’s death was an inevitable than his own, the child imagines that he was Mr. Roth was 19, an only child, and sworn to topic in her 1999 book, 1185 Park Avenue. The adopted; having become sexually aware, he secrecy about his father’s illness. He’d been rest of that memoir is devoted to growing up goes on to fantasize that his mother was im- told by his parents that Eugene contracted in a dysfunctional, wealthy Jewish home on pregnated by a man who is not his father. the disease in a freak accident while work- the Upper East Side with her younger broth- Since this is Freud, the term should be con- ing as a doctor in a sickle-cell lab. He recalls er, but in the book’s final section, she subtly sidered more polemical than literal. In an his father talking about having AIDS as if it questions her brother’s story about the lab: introduction to the 1909 paper “Der Famil- were “a bedtime story”: “If he did not even then tell me everything ienroman der Nerotiker,” Freud’s biographer about his life and if his AIDS was in fact con- Peter Gay points out that the German suffix I wasn’t wearing latex gloves, which tracted in the more usual way I would have “-roman” has two meanings: “romance,” for you’re supposed to do whenever you’re been heartbroken—heartbroken because he one, but also “novel,” an appropriate subtext handling blood, and, as I was about would have lived so long bending beneath for an idea that is rooted in the stories a child to get the needle out of the guy’s arm, tells himself about having been the product he jerked and the needle came out CLOSE READING continued on page 16 Celebrating

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CLOSE READING from page 15 But the books fill in certain of each oth- er’s gaps. Ms. Roiphe talks at length about the deceptions forged in other ignorant and (and Mr. Roth alludes to) her brother leav- cruel times.” Mr. Roth quotes that passage ing medicine briefly to study, of all things, in The Scientists and remembers first con- comparative literature at Yale, how he pored sidering the idea that he hadn’t been told the over Thomas Mann and Marcel Proust dur- whole truth when he was sent a galley of his ing a yearlong break from the sciences. In aunt’s book. He was in his early 20s then, and light of The Scientists, those details fore- taken off guard; “It had,” he writes, “never shadow the futility of Mr. Roth trying to occurred to me to doubt my father’s version find his father through reading. The Scien- of events.” tists, though, is more than a response to Ms. “This began as a revenge memoir against Roiphe. Mr. Roth is focused predominantly my aunt,” Mr. Roth said of his book in an on his father—or finding a patriarchal stand- Roth. interview near n+1’s office in Brooklyn. “I in, as in the book’s centerpiece, the author’s think that what I didn’t like about my aunt’s journey to Paris to try to become the appren- book was the tacit victory dance that one tice of Jacques Derrida. Still, it’s difficult to sensed going on in the pages, which might book. His mother’s conclusion is that “there read some passages and not see an argument be inevitable in a survivor’s memoir, where were things … that … no child really ought to playing out between the two authors: you say ‘my family life was really horrible, I know about his or her parents.” am urged by it to write this book my sibling And so for readers, too, the exact details Ms. Roiphe: “Did I really love my did not.’ But,” years later, “I was given to un- of his father’s personal life, to a certain de- brother or did I just think I should? I derstand from my mother that she had been gree, remain ambiguous. Mr. Roth’s mother don’t know.” keeping things back.” admits that in 1976, Eugene had been sleep- Mr. Roth: “Had she been trying to The Scientists started out as a book about ing with a man, but he had promised that protect me until the last possible the stories parents offer their children, told the relationship was over. “Maybe that was moment, or did I even matter to her through a close reading of the novels Mr. the truth,” she says in the book, “maybe that at all?” Roth’s father made him read as a teenager, wasn’t the whole truth.” But Mr. Roth re- predominantly selections from the canon of members the conversation with his mother “I wasn’t trepidatious about my one lit- late 19th- and early 20th-century bildung- being like the transference of a flustered pa- tle sentence,” Ms. Roiphe said in a phone sromans like Ivan Goncharov’s Oblomov and tient who reneges on previous remarks to a interview, referring to how she handled sternly silent analyst. She tells him, “I knew her brother’s “parallel life,” as she calls it when I married him, but I can be very stub- in the book. “By that time, I knew what the born … I thought you really always must have real story was. But I cared a great deal about ‘There isn’t going to be known.” what Marco would think or feel. I did not “There isn’t going to be a definitive truth,” know what the right thing was for Marco, a definitive truth, and Mr. Roth said in Brooklyn. “And that’s an im- what would be the best fit for him. It wasn’t portant lesson for the memoir. At a certain so clear then.” point, you have a kind of fetish for exacti- In his book, Mr. Roth confronts Ms. Roiphe that’s an important tude. Like: I want to know exactly the clubs after reading her galley, but their conversa- that my father might have gone to. But those tion doesn’t go anywhere—Ms. Roiphe tells lesson for the memoir.’ places, they don’t exist anymore. Who knows him “the story is in the book,” and fails to if he even went there? These are just things elaborate further because “she had prom- that are going to be permanently veiled.” ised to protect her source.” Samuel Butler’s The Way of All Flesh. Later, Taken together, The Scientists and 1185 “I was being very careful,” Ms. Roiphe Mr. Roth writes about attending Yale for a Park Avenue are a unique family dialogue, said. “Maybe I could have been more careful doctorate in comparative literature, where presented as a sort of public record. Their and not put anything in there. I have an obli- he never finished his dissertation on lit- styles are divergent. Ms. Roiphe’s prose is gation to write the truth as I see it, and I had erary representations of happiness in the unforgiving: “If it is true that God is the cre- an obligation to Marco as a human being, works of Stendhal and Wordsworth. He was ator, if Adam was the first man and Eve was and somewhere between that I wrote 1185 spending a great deal of his time trying to made from Adam’s rib then God was present Park Avenue.” either disprove or discover his father’s se- at my brother’s birth.” Mr. Roth’s memoir is That book may have called into ques- cret life through Eugene’s personal library. simultaneously more detached and more in- tion the stories that Mr. Roth’s family told The idea was eventually abandoned be- ward. Large swaths of his life are left out—a themselves to reckon with an unspoken sad- cause, as he writes, “I worried that if I ap- divorce, for instance, is presented as some- ness, but The Scientists is less about debunk- proached these books as if they contained, thing of an aside—but the book is also obses- ing the fantasies that are passed down in in buried code, the answer to the question of sively concerned with its making. a family than it is about how to read them what my father had really desired from his productively. maimed life, I would only find the very an- [T]he thought also came to me that I “You can say it’s slightly perverse that swer I was looking for evidence against.” mustn’t write about any of this. That our family is one in which one has to actu- But, years after reading 1185 Park Avenue, such an act was what my parents ally publish a book in order to have a conver- he finally confronted his mother and asked most dreaded ... On top of that, I felt sation about something that happened 20 her if she’d been telling the truth when she the weight of all my wasted time: years ago, to say, ‘I’m sorry, I feel like I han- brushed aside Ms. Roiphe’s questioning by those months and years of my furtive dled this wrong.’ [My aunt] could have said saying “I know as much as you know.” The reading, the truncated writing, the that to me at any other point, and thereby truth, when he finally gets it, is as subtle as head-banging frustration of not getting perhaps prevented the writing of this book. Ms. Roiphe outing her brother without really anywhere and not getting away. Maybe she didn’t say it in order not to pre-

outing him, which is part of the point of the vent the writing of this book.” Endr e Somogyi

16 september 17, 2012

zFA_Miller.indd 16 9/6/12 2:21:23 PM Temptation isn’t a sin…

Unless you give in.

The Life and Trials of AIMEE SEMPLE MCPHERSON

THE MUSICAL PREVIEWS BEGINTHE MUSICALOCT. 13

CAROLEE CARMELLO in SCANDALOUS with GEORGE HEARN Book, Lyrics & Additional Music by KATHIE LEE GIFFORD Music by DAVID POMERANZ and DAVID FRIEDMAN Directed by DAVID ARMSTRONG /FJM
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is the negative reactions to the great presi great the to reactions negative the is you assassinated, don’t see many was movies about him.” Garfield “James deaths. ularity more than the circumstances of their pop presidents’ individual pression, explain Dr. For de or economic war like Foner, crises, major explained. time he another,” some or crisis during of presidents were them of “All Foner. Eric professor University bia Colum and historian said top, on out come on colnandGeorge Washington almostalways polled Lin Roosevelt, are president, best the was who Americans POPULAR When FOR leaders. MAKE TIMES TOUGH corpus—which politician.”) habeas another just him makes of suspension the show not would “I Brands. Dr. said mation,” Procla Emancipation the about film a make I would Lincoln, about a film I “Were making ones. workaday their than rather moments, great presidents’ the to attention our draw to films of nature the in of it’s (AndNations. League the forming say, than, moments big-screen memorable more for makes just WarGreat DepressiontheWorld II andandWar Civil the through nation the leading been, have may Wilson Woodrow president a exemplary how matter no words, other In 1953.”in Truman Harry as unpopular presiden as cy the left the have of might he confusion War, the Cold with deal to had had Roosevelt If suffered. have would reputation “his Brands, Dr. Reconstruction,” said intolived had Lincoln “If republic. the of on behalf actions heroic taking after shortly Roosevelt died and Lincoln both that fact the is the all possibilities.” remember can We presidency. his One thing you’re unlikely to see onscreen onscreen see to unlikely you’re thing One subjectsmovieasappeal theirto Adding on Hudson. Park Murray inHyde Linney and 9/6/12 3:17:02PM ------

This fall’s double dose of presidential films might serve as something of a corrective to the prevailing distrust of politicians.

dents. “Roosevelt was hated by most of the press,” Dr. Foner said. “There are still people out there who consider both Roosevelt and Lincoln tyrants. Go on the internet, you’ll see these neoconservative groups telling you Lincoln ran roughshod over liberty and even introduced the income tax. He intro- duced the welfare state and social security. I’m not sure the controversies have com- pletely died down.” And yet a portion of the presidents’ fasci- nation derives from the divergent feelings they inspired in those they led. Roosevelt, said Dr. Foner, “was a man where, people Day-Lewis in hated him, people loved him—but he was Lincoln. a man who was a leader. He was the face of America as a power.” Or, as Dr. Brands put it, “Great leaders are not uniters, they’re dividers.” when we had to open the door out.” In the absence of contemporary political On film, symbolism and power mat- A bit of poetic license, even with such re- heroes, there’s an appeal to the glorious ter more than bad press: in general, film- vered figures, is hardly a crime. “When I’m Lincoln and Roosevelt of the silver screen. makers have elided the controversies that asked a question about historical fiction or “We’ve had a lot of presidents lately where dogged Lincoln and Roosevelt, by portray- film, I take the Shakespearean view,” said it’s hard to say people should emulate ing the former as a young man (or a vam- Rick Perlstein, the author of Nixonland. them,” said Dr. Foner. “Clinton—I don’t pire slayer), and the latter as the hero of “I’m not a stickler for strict historical ac- want my children to emulate him. Bush— World War II (despite the fact that his curacy, I’m a stickler for poetic truth. If definitely a loser. Perhaps Obama, when he presidency saw much foot-dragging over it’s good enough for Shakespeare, it’s good came in, before the bitter partisanship.” entering the war at all). enough for me.” Just don’t rely on the movies as your only Before celluloid, of course, presidents source. “What my students know about were lionized in verse: Abraham Lincoln was THIS FALL’S DOUBLE DOSE of presiden- history comes with JFK and Gone with the a heroic subject in the poetry of Walt Whit- tial films might serve as something of a Wind,” Dr. Foner lamented. Dr. Brands, man and, later, Carl Sandburg. Roosevelt, Dr. corrective to the prevailing distrust of pol- though, seems to accept cinema’s role as re- Brands pointed out, died at the advent of the iticians. (Remember the rampant specula- inforcer of inspirational myth, citing Davy newsreel, “so there was the moving image tion, just after Barack Obama took office, Crockett (whose rugged persona was an in- of Franklin Roosevelt.” Audiences were re- that he might someday be the subject of a vention of the popular culture of the time). minded of their departed leader’s greatness film, possibly to star Will Smith? Well, love “It’s in the nature of retrospective views like in a whole new, highly convincing way: by him or hate him, four years of political bat- this, where you’re selective. And you select way of a looped image. tles have cooled Hollywood on the Prez.) those parts of the historical record that suit In the translation to film, historical ac- “Presumably the people making this want your purpose. If Franklin Roosevelt is just curacy is generally respected, aside from to take us back to a time when leaders could like any politician today, why bother going certain aesthetic tweaks. Asked where his really inspire us,” said Dr. Brands. Eng- to the theater?” film (which extrapolates an affair from land may be trending in the same direc- As for those who complain that there are the diaries of Roosevelt friend Margaret tion, with recent films about heroic leaders just too many movies about the great presi- Suckley) diverges from historical docu- from Elizabeth I (played by Cate Blanch- dents, fans like Mr. Perlstein, the Nixonland ments, Hyde Park on Hudson screenwrit- ett) to Elizabeth II (Helen Mirren) to Meryl author, would tell them that, with the right er Richard Nelson cited the way the doors Streep’s Margaret Thatcher in The Iron subject, too much is never enough. “If you’re open in Roosevelt’s cottage. “The doors Lady, to Hyde Park on Hudson supporting tired of Lincoln, you’re tired of life. His life open out [in the film], and in real life, they character George VI (whom Colin Firth and his times are more fascinating than

distribution co., llc co., II distribution D ream works James/© david slide. There was just a dramatic moment played as a lead role in The King’s Speech). anything we deserve to enjoy.”

september 17, 2012 21

zFA_D'Addario.indd 21 9/6/12 3:17:32 PM FALL ARTS PREVIEW | Film

TOP The movies we’re most TEN looking forward to watching 10FILMS By Daniel D’Addario THE MASTER Hubbard-like figure who brings DIRECTED BY PAUL untold numbers of believers THOMAS ANDERSON into his thrall. Plot details, per Kristen Stewart in The Twilight Saga: Breaking Dawn—Part 2. Paul Thomas Anderson’s stan- RESERVED. ALL RIGHTS LLC. SUMMIT ENTERTAINMENT, © 2011 ANDREW COOPER September 14 dard, are hazy, but a trailer A long time coming, this reveals that the director has KILLING THEM SOFTLY ern-day story of mobland America, based on a pulp movie, apparently an allegory been characteristically atten- DIRECTED BY ANDREW DOMINIK for the creation of Scientology, tive to the aesthetic com- crime novel. Killing Them couldn’t be better timed, with position of each and every September 21 Softly was a hit at Cannes, and public interest in the (alleg- shot—and that Amy Adams, The follow-up to the much- may be yet another feather edly!) money-grubbing cult at playing a devoted cult wife, loved but little-seen Assassi- in the cap of hunky weirdo an all-time high in the wake of may well be this film’s MVP. nation of Jesse James by the character actor Brad Pitt, who TomKat’s divorce. Philip Sey- Can we arrange for Katie Hol- Coward Robert Ford jumps plays a hit man’s assistant, or mour Hoffman plays an L. Ron mes to present her the Oscar? forward in time—it’s a mod- “point man.” The whole thing

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22 SEPTEMBER 17, 2012

zFA_T10Movies.indd 22 9/6/12 4:59:13 PM Film | FALL ARTS PREVIEW

promises to be a real boys’ the cast—no word on what Ms. club, with co-stars like Rich- Silverstone, noted vegan, did ard Jenkins, James Gandolfini, around the enormous blocks of and Ray Liotta, who knows a milk product. thing or two (actually, just one thing) about mob movies. Argo a inment I nc. directed by Ben Affleck Butter s . E ntert October 12 directed by Jim Field Smith Ben Affleck, flamed-out October 5 Hollywood star, has had a Little is known about this successful second career Bae Doona in Cloud Atlas. infinitely delayed satirical as the director of Boston rner B ro Wa © 2012 film. How infinitely? The heist pictures, but his third early buzz was that Jennifer directorial effort, Argo, finally on which the whole thing is was unfilmable. And you still Garner’s character, a takes him outside of the old based. might turn out to be right! All housewife and competitive neigborhood. Mr. Affleck we know right now is that the butter-sculptor, was based stars as a CIA officer who Wachowskis (of the Matrix on presidential front-runner comes up with a cunning plan Cloud Atlas films) and Tom Tykwer (of Michele Bachmann. Director to rescue escapees during directed by Tom TYKwer, Run Lola Run) have turned Jim Field Smith hails the Iran hostage crisis—he Andy Wachowski and all of their creative over- from the U.K. but takes on fakes the production of a sci- Lana Wachowski enthusiasm towards putting heartland rituals in this look fi movie (Iran makes a lovely October 26 together the most rollicking at the dairy-art circuit, whose moonscape) and attempts movie ever to contain both a protagonist is an adopted to airlift out the Americans If you read David Mitchell’s Martin Amis-style comedy orphan daring to take on the by pretending they’re crew 2004 tour-de-force novel of manners and a post-apoc- longtime champions (Ms. members. Sounds fairly tidy, Cloud Atlas, which encom- alyptic agrarian community Garner and Mr. Burrell). Hugh but we’re sure complications passes millennia of human Jackman, Olivia Wilde, and will ensue, and we haven’t experience, you probably, TOP TEN FILMS Alicia Silverstone round out even read the Wired article like most people, thought it continued on page 24

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september 17, 2012 23

zFA_T10Movies.indd 23 9/6/12 4:59:41 PM FALL ARTS PREVIEW | Film

Anna Karenina directed by Joe Wright November 9 Joe Wright just can’t resist the charms of Keira Knight- ley—and he’s hardly alone! Mr. Wright made it cool to think Ms. Knightley was a good actress by directing her in well- received roles in Pride & Preju- s s Feature © Focu Sparham aurie

L dice and Atonement; without Knightley in Anna Karenina. his attentions, she’s languished a bit. But Ms. Knightley is back doing what she does best (aris- FILMS from page 23 tocratic hauteur, elaborate garments, the telling off of on Hawaii. Somehow, major so-called gentlemen), and this stars like Tom Hanks and time she’s got a complement of Halle Berry fit into the equa- men to choose from. Though all tion. And if you haven’t read of us English majors know how Mr. Mitchell’s novel yet, better it ends, let’s form factions root- get going if you hope to have it ing for Jude Law’s Karenin or finished and serviceably com- Aaron Taylor-Johnson’s Vron- prehended by October! sky—or, at least, let’s bet on Les Miserables. who has the most convincing Sparham aurie L Russian accent.

Daniel Craig within a five-mile radius can Lee has a lot to prove, having in Skyfall. The Twilight Saga: wait to see just how the Bella- released a couple of films that Breaking Dawn—Part 2 Edward vampire-mortal union couldn’t quite match Brokeback ends—even though the book Mountain in terms of popular directed by Bill Condon came out years ago! Fandom, acclaim. Perhaps the trans- November 16 like vampirism, is eternal. fer to a new environment, with The series that launched a the challenge both of a dense, million magazine covers has Life of Pi allusive text and of, you know, a tiger on a boat, will move him finally ended (though the saga directed by Ang Lee to new heights. If not, it’ll at of its stars’ off-screen romance November 21 will surely inflate the bottom least be the season’s most com- line at many a media outlet for Another unfilmable novel pelling misfire. years to come). It’s the final adapted to the screen? It must installment of the Twilight be fall! Ang Lee attempts some- Les Misérables series, and if you’ve waited to thing of a comeback with his directed by Tom Hooper Skyfall see any of the fine indepen- adaptation of Yann Martel’s December 14 trie s , I nc.; directed by Sam Mendes dent films released the pre- Booker Prize-winning novel, November 9 vious week, get in line early wherein a boy and a tiger Anne Hathaway has subjected for popcorn. No tween, teen are trapped on a raft float- you to her songs through lo The next, and long-delayed, or regressing 30-something ing in uncharted waters. Mr. these many Oscar ceremo- installment in the James Bond nies—and now she finally has story comes with a schmancy the opportunity to belt it out pedigree—director Sam Men- on film. The world’s most ener- P icture s I ndu olumbia des has experienced diminish- getic entertainer shifts down a ing returns since the 1990s, gear to play doomed prostitute but he still, you know, has an Fantine in the adaptation of the orporation, C orporation,

Oscar. So does Javier Bar- world-rattling Broadway show; s C t dem, who promises to be the her co-stars include Hugh Jack- most menacing villain since man and Russell Crowe play- Dr. No. Un-bedecked by golden ing, respectively, the unfairly trophies are new Bond girls convicted Valjean and the dog- Naomie Harris and Bérénice gedly devoted Javert. Other s , U nited A rti LLC aq, Marlohe, but that’s hardly cast members in director Tom ogan’ s P roduction , LLC the point, is it? About the plot Hooper’s first post-Oscar flick an j little is known, except for the include Sacha Baron Cohen juicy promise of spy-queen M’s and Helena Bonham Carter as past coming back to haunt her. the garrulous-to-a-fault Thé- It’s about time Judi Dench got Jenkins in Killing nardiers, but it’s Ms. Hatha- to stretch her acting muscles Them Softly. way who’s likely dreaming a ordon ©2011, C Sue G ordon ©2011, M elinda in the Bond flicks. dream ... of Oscar! D s D uhamel ©2012 Francoi

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Untitled-46 1 8/31/12 12:03:24 PM JAZZ AT LINCOLN CENTER FALL ARTS PREVIEW | Theater

Loose- cannon shannon With Grace, the stage dynamo and Oscar nominee takes aim at Broadway By Harry Haun

nytime anybody itation. Rage is ever within his mentions Michael range, and he can effortless- Shannon, the first ly zoom from zero to 120 with reaction is, ‘That the ruffle of a brow or a glazed- ‘ guy’s an amazing over glare. actor’—I mean, Mr. Shannon chalks up this s E p Auniversally, everyone knows look of chronic intensity and this to be true, because it is.” unease to bone structure, but That’s Paul Rudd waxing it is, nevertheless, unrelenting. OCT rhapsodic about the man he In judgmental severity, it would toots thielemans Photo by Jos L. Knaepen will start sharing the stage be right at home selecting and marquee of the Cort The- which witches are fit for burn- atre with Sept. 13 when pre- ing at Salem. In repose, it smol- SEP 13–15 season opener views begin for Craig Wright’s ders—almost ticks—in dreaded 8 PM BOBBy mCfERRIN: my AudIO BIOGRApH y Jazz at Lincoln Center Orchestra Grace—and, even in that eu- anticipation of an imminent with Wynton Marsalis phoric description, you can hear emotional eruption. In a hall of the “but” coming. “The second fame for frightening actors, his thing I seem to hear from peo- craggy, square face would be in SEP 28–29 JAmE s COTTON ple,” he gingerly post-scripted, a display case alongside those 7:30PM & ‘supERHARp’ BANd “is, ‘Jesus, he’s scary! He’s so of Rando Hatton of the ’40s and 9:30PM Blues harmonica master James Cotton intimidating!’” Richard “Jaws” Kiel of the ’70s. with his ‘Superharp’ Band Mr. Rudd has known Mr. He’s the Mr. Mean of the new Shannon almost 20 years and millennium. SEP 28–29 TOOTs THIELEm ANs : can personally attest to the fal- Only he isn’t, and therein 8 PM CELEBRATING 90 yEARs lacy of that widespread first hangs a career—a humanity With Herbie Hancock, Kenny Werner, Oscar impression. “If people knew Mi- that overwhelms volcanic acts. Castro-Neves, Eliane Elias, and Dori Caymmi chael, he’s the furthest thing “That’s another great thing for from that. He’s hysterically fun- Michael,” Mr. Rudd pointed out, OCT 5–6 B RAd mEHLdAu: sOLO ny—such a gentle, kind soul.” speaking of his colleague’s role 7:30PM & A rare opportunity to hear They just summered together, in Grace. “This is a part people 9:30PM the pianist perform solo filming They Came Together, a would not necessarily think of loopy Airplane!-like antic. Michael for.” The press can attest as well Grace is one of those rare OCT 12–13 KuRT ELLING to Mr. Shannon’s charming plays that directly address 7:30PM & Music from the Brill Building, including works old-school politeness, his shy matters of faith and religion. 9:30PM by Paul Simon, Irving Mills, Duke Ellington, demeanor and Kentucky-fried “The given circumstances are Burt Bacharach, Carole King, and others good manners, but we try pretty clear,” director Dexter not to let any of that get out, Bullard said at a recent press BOX OffICE Broadway at 60TH lest it cost him work or chafe meet’n’greet with the cast at against the chilling persona he the Grace Hotel. “An evangel- has perfected: atop a hulking ical Christian couple moves CENTERCHARGE 212-721-6500 6-foot-4 frame is a brooding, down from Minnesota to Flor- broad-boned face that appears ida to begin a template for a to be in a perpetual state of ag- chain of gospel hotels. He’s a Preferred Card of Jazz at Lincoln Center jalc.org

26 september 17, 2012

zFA_Haun.indd 26 9/6/12 2:19:47 PM Theater | FALL ARTS PREVIEW

venture hotel renovator, and they meet a next-door neigh- bor who has been in a recent auto accident. Through their encounter together and with an exterminator”—seven-time ‘I don’t usually Emmy winner Ed Asner—“who visits the building for his job, do romantic they find themselves wrapped up in kind of a love triangle and a bit of a situation of high stakes things. Nobody where we’re not sure how their lives are going to change at this really asks me point. That involves the deal with the hotel as well as the for that.’ marriage.” The extent of the neighbor’s injuries is one of the plot points discreetly sidestepped. “There’ll be some makeup involved, defi- nitely,” conceded Mr. Shannon, who knows the drill from 2006, when he played the recover- Shannon. ing NASA physicist in a critical- ly cheered production of Grace helmed by Mr. Bullard at Chica- go’s Northlight Theatre. In the other play, a one-man but, again, everybody seems to him to be in the film,” he said. “At the beginning of the monologue meltdown called know everybody.” “We both felt it important that play,” he continued, “my char- Mistakes Were Made, he was a Mr. Bullard and Mr. Shan- Michael’s performance be re- acter’s life has been ruined by dizzily spinning dime—a fast- non first crossed paths in 1991 corded in that film.” this car accident, and he’s hav- talking, low-rent Broadway on a Howard Korder play called They were right. If Mr. Shan- ing a hard time figuring out producer (think Max Bialystock Fun/Nobody, and the collabo- non more than scratched the how to go on. Then, he meets in overdrive), speed-dialing and ration paid off with “Chicago’s itchy-twitchy surface of Bug, Steve and Sarah, his next-door speed-lying to keep his teeter- Tony”—a Jefferson Award for playing an AWOL soldier hid- neighbors, and they have tre- ing French Revolution epic from Best Actor. “They were two un- ing out from the Gulf War and mendous impact on him and tanking. Back Stage critic Erik related one-acts about upstate political paranoia in a roach- reawaken him to life. They are Haagensen likened Mr. Shan- New York,” recalled Mr. Bull- riddled motel outside Okla- devoutly religious people, and non’s tour de force to “Leonard ard. “Michael was one of sev- homa City, it could have been it’s quite interesting, I think, to Bernstein conducting a piece of eral lower-middle-class kids an early calling (his grand- have a scientist talking to these Mahler’s.” trying to fill their day. The sec- father was Raymond Corbett two about life and meaning.” This potent alchemy of writ- ond play was about their par- Shannon, a noted entomolo- The people who thought of er, director and actor was prac- ents, and the father was played gist). In any case, the kinetic Mr. Shannon for Grace have tically a palpable thing in both by Tracy Letts. That was when result caught the eye of direc- played the Shannon card twice plays, and now all three gentle- Michael and Tracy met—in that tor Sam Mendes, who put him before in New York—and quite men have joined hands to make show I directed.” in a small loose-cannon role in productively. Messrs. Wright their collective Broadway bows When the time came to trans- Revolutionary Road—a scar- and Bullard know he can juggle with Grace. Consider them the plant Mr. Shannon from Chi- ily erratic, truth-telling math- theatrical masks and shift his- latest in a tidal wave of tal- cago to New York, Mr. Bullard ematician. With only two trionic gears with ease. Their ent that has blown in from the picked a pair of Mr. Letts’s plays harrowing scenes at his dis- Lady ambitiously pretended to Windy City, led by Our Town’s to do the trick, first producing posal, he stole the picture from present the American zeitgeist, David Cromer, August: Osage Killer Joe, in which Mr. Shannon Kate Winslet and Leonard Di- circa the Iraq war, as a hunt- County’s Tracy Letts and Cly- hatched a matricide-for-mon- Caprio and walked off with an ing expedition in the Illinois bourne Park’s Pam MacKinnon ey plot, and then directing Bug, Academy Award nomination. backwoods, played out by three and Bruce Norris. in which Mr. Shannon reprised He carried this mental insta- good ol’ boyhood buds who long Yep, it’s incestuous that way the wired lead performance he bility and anxiety the feature- ago took wildly disparate polit- in Chicago. “We’re a small the- had originated in Chicago. length distance in Jeff Nichols’s ical paths. Mr. Shannon was the ater town in some respects,” It was Mr. Letts who insisted unsettling saga Taking Shelter, es yIm ag apathetic American, stoned on Mr. Bullard allowed, “but a big director William Friedkin hire as an Ohio construction worker his dying wife’s medical mar- one in ways that a network of Mr. Shannon for the movie ver- whose dreams of an apocalyp- ijuana, and the title charac- people who support each other sion of Bug, but it wasn’t much of tic disaster start coming true. ter was his sprightly Brittany will come together. I find New an arm-twist. “Billy really loved spaniel, as symbolically lost as York is not that much different. Mike Shannon’s performance LOOSE CANNON

tt TIZIANA FABI/AFP/Ge his ideals. It’s certainly a bigger pool here, in the thing and fought hard for continued on page 28

september 17, 2012 27

zFA_Haun.indd 27 9/6/12 2:18:04 PM FALL ARTS PREVIEW | Theater Girls! Glamour!Gershwin! “WHO COULD ASK FOR ‘You do have to rebuild the interior ANYTHING MORE!” of the character and the interior –New York Magazine life in that show. I’ve changed a lot as a person since then.’

LOOSE CANNON from page 27 it happens very quickly, sorta like one of those rides at Coney It was Oscar-worthy work that Island where they drop you didn’t make the running, but it from five stories up on a bungee did win him a raft of regional cord or something and you say, Best Actor awards. ‘Whoa!’” A dangerously unpredict- So what is it like to return to a able actor, he can pop up any- role that has been settling into where—and has. This summer, his system for six years? “There he quietly triumphed in, of all are things that come back pret- things, Uncle Vanya Off Broad- ty quickly,” he said, “mostly su- way, bringing some lusty rough- perficial things like maybe a ness to the amorous Dr. Astrov. vocalization that I was using, “It was a great opportunity for certain tics. You do have to re- me,” he said. “I don’t usually do build the interior of the char- Photo by Joan Marcus by Photo romantic things. Nobody really acter and the interior life in asks me for that.” that show. I’ve changed a lot Currently, Mr. Shannon can be as a person since then. That’s Matthew Kelli found representing the law in his always fun to try and incorpo- hard-nosed fashion, on screens rate, maybe things that you’ve big and small. In HBO’s Board- learned—just as a person, not BRODERICK O’HARA walk Empire, which begins its as an artist—points of view you third season Sept. 16, he’s Feder- have picked up along the way.” al Prohibition agent Nelson Van The person who has changed Alden, a violently zealous, pre- the most, in his view, is the dictably obsessed crime-fighter playwright. “Craig is a very butting heads with Steve Bus- fluid writer. He’s always open to cemi’s Atlantic City gang czar, working on things. Even with a Nucky Thompson. In the vis- play like Grace, that has had the ible blur at the cinemas titled success it has had, he’s still in- Premium Rush—“a fun popcorn terested in making it even bet- film,” he calls it—he’s a corrupt ter. To see Craig’s writing on cop who loses his temper and Broadway is long overdue.” at least one tooth over Manhat- At least six years overdue, tan’s Midtown traffic and an if Chicago Sun-Times critic overly committed bike messen- Heidi Weiss is a barometer. At ger (Joseph Gordon-Levitt). the first viewing of Grace, she Mr. Shannon made his film asked, “Why isn’t Craig Wright ® The Tony-Winning New Musical Comedy bow as the recurring groom the talk of Broadway, with his of Groundhog Day, a broken- name right up there in bright record comedy that Stephen lights alongside those of, say, Music and & Sondheim once considered mu- Edward Albee, David Mamet, Lyrics by GEORGE IRA GERSHWIN sicalizing. In real life, he’s yet to Martin McDonagh, John Patrick make it down the aisle, though Shanley, Richard Greenberg Book by Kate Arrington has the inside and the rest? By any measure, JOE DIPIETRO track there, as well as the fe- his plays are as sharp and pro- inspired by material by GUY BOLTON and P.G.WODEHOUSE male lead in Grace; together, vocative as theirs.” they have a 4-year-old daugh- Chicago chauvinism aside, Directed and ter, Sylvia. Off Broadway has been pep- Choreographed by KATHLEEN MARSHALL Grace, he said, is about ques- pered with enough Wright stuff tioning, and its characters go over the years—thoughtful, through extreme changes at a disquieting pieces like Recent telecharge.com | 212-239-6200 rapid pace. “Their lives—and, Tragic Events, Lady, Mistakes essentially, their selves—are Were Made and his Pulitzer al- NiceWorkOnBroadway.com completely changed through- so-ran, The Pavilion—to second OIMPERIAL THEATRE, 249 W. 45th St. out the course of the play—and that motion.

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10 JOAN MARCUS BARRYMORE THEATRE CHAPLIN lific than he’s ever been with with he’s been ever than lific pro- more suddenly Rudd, Paul Opens October 4 CORT THEATRE GRACE silence. butthe career film legendary actor’s ofthe ment ele- every to showcase likely is that aproduction in on Charlie for Chaplin tryout town out-of- Jolla La the well, Q and, ofAvenue previously McClure, Rob numbers. musical splashy be surely will what in of22 cast Callas— ter Class Mas- includes that subgenre legends—a ofshowbiz lives the to illuminate attempts modest other, more Unlike lin. ofChap- life ofthe version cal musi- the Rainbow tramps the of bio-play End Garland Judy ofthe footsteps the In Opens September 10 Chaplin. McClure in Chaplin ’s portrayal of Maria ofMaria ’s portrayal MUSICALS PLAYS & TEN TOP in theaters What we’re most looking forward to is to have a to have is Theater , takes , takes By DanielD’Addario | FALL ARTS PREVIEW FALL ARTS Rain of Days Three in Roberts Julia to fiddle second played ously to Broadway. Heprevi- back headed is gigs, film and TV last Broadway production of production Broadway last the since years five It’s been Opens October 11 THEATRE AMERICAN AIRLINES CYRANO DEBERGERAC SAG Awards?) orthe show aBroadway this is stars, mainstream these all (With exterminator. an is Asner Ed fixture TV bor. Legendary neigh- new pair’s the portray will Shannon, Michael nominee Oscar partner, real-life whose Arrington, Kate by played be to is half better his motels; ofreligious-themed a chain to start to Florida ple moving cou- innocent an in husband the play will Mr. star. Rudd the —but now, with Grace —but now, with continued onpage30 TOP TENTHEATER , he’s

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FALL ARTS PREVIEW | Theater

TOP TEN theater from page 29 estate salesman who has grown unable to generate good leads Cyrano de Bergerac, and the- (much as an actor of Al Pacino’s ater writers have been storing caliber has, for years until now, up nasal puns ever since. (Who been unable to get a lead on a nose if this will be a success? role that required much more We’ll be sniffing for hints from than senseless bellowing). The the producers! Etc.) Tony-win- cast is rounded out by the high- ner Douglas Hodge straps on toned likes of Bobby Cannavale the prosthetic schnoz for the and Richard Schiff; the “Cof- title role of the lovesick, pro- fee’s for closers” monologue hibitively ugly French noble- is from the film and not the man, while Clémence Poésy is play, but we can dream it’ll be Roxanne, the not-so-obscure included. object of desire, and onetime Spider-Man villain Patrick Rebecca Page will surely make us all Broadhurst Theatre glad he survived that produc- tion as he swans onstage as Opens November 18 Cyrano’s erstwhile ally Comte Daphne du Maurier via Alfred de Guiche. We smell a good Hitchcock via Christopher night at the theater! Katie Holmes in Dead Accounts. Hampton! The well-loved play- wright and screenwriter has Who’s Afraid of shyness and moth-to-flame ner Katie Finneran takes on adapted into English the book Virginia Woolf? attraction to callous villains. the role of Miss Hannigan. Ms. of a musical that played Vienna Booth Theatre She is set to inherit an enor- Crawford might want to get in the mid-2000s, recount- Opens October 13 mous fortune, but is so taken former red-wig-wearer Sarah ing the twice-told tale of a sec- by the love of a churlish fellow Jessica Parker on the phone to ond wife who must confront To celebrate the 50th anniver- that she may just squander it discuss how to deal with her the ghost of her new, control- sary of Edward Albee’s roller- all. Ms. Chastain’s Broadway newfound fame. ling husband’s former wife. coaster domestic nightmare, debut will be watched closely As in du Maurier’s novel, the the New York stage welcomes by all those who love and/or Glengarry naive protagonist, who speaks a production by way of Chi- envy her, but with support Glen Ross in firstperson in the book, is cago and Washington. Tracy that includes castmate David never named, but Jill Paice Letts, who moonlights as a Straitharn and director Moi- Schoenfeld Theatre will attempt to make a name Pulitzer-winning playwright, sés Kaufman, Ms. Chastain Opens November 11 for herself in the role. The is to take on George, while may not return to her day job directors are about as presti- Steppenwolf star Amy Mor- anytime soon. Al Pacino, who starred in the gious as Mr. Hampton: Michael ton (a Tony nominee for Mr. film production of Glengarry Blakemore once won two Tonys Letts’s August: Osage County) Annie Glen Ross as young, robust for directing a play and a musi- has been honing her piercing Ricky Roma, is showing his age: cal in the same year, and Fran- shriek as Martha. Both actors Palace Theatre he’s coming to Broadway this cesca Zambello is an opera appeared in the original pro- Opens November 8 season as Shelley Levene. Lev- director with, one presumes duction, which earned raves ene, scholars of David Mamet (and hopes) a flair for high from local critics and pre- Little girls of New York, begin will recall, is the once-great real drama. pared them for the big-time: it beseeching your parents for takes two years and three cit- tickets. After a long search, ies’ worth of practice to train the producers of what may become the season’s most Crawford for this great, grueling three- and Sunny in lucrative revival have hour marathon. Annie. found their girl—preteen The Heiress brunette Lilla Craw- ford is to don the red wig Walter Kerr Theatre and belt out “Tomor- row.” Though it’s toured Opens November 1 the U.S. frequently, Taking over the role of Olivia the saccharine show marcu s joan de Havilland and Cherry hasn’t been seen on Jones? That’d be light-speed- Broadway since its rising starlet Jessica Chastain, 1997 revival. It’s not who, like Paul Rudd, is taking entirely for kids: a break from her prolific film James Lapine, a fre- career. She will portray Cath- quent collaborator erine Sloper, originally a char- of Stephen Sond- acter in Henry James’s novel heim’s, is to direct Washington Square, with char- the production, while acteristic Jamesian fragility, two-time Tony win-

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The Anarchist Lyceum Theatre Opens December 2 A new play on Broadway playing just blocks away from a revival of his best- loved work, and a daughter who’s one of TV’s Girls? Could things get sweeter for David Mamet? Well, there was the little matter of actress Laurie Metcalf dropping out of the role of a women’s-prison warden in The Anarchist, the newer of his two currently produced plays, but that turned out not to be such a hurdle when Debra Winger returned from exile to for the role. Plus, Patti LuPone plays a radical prisoner pleading for her own parole. Mr. Mamet’s neoconservative bent may Le Poème Harmonique. well inform how we see the role of the anarchist played out onstage, but, really, we’d forgive Mr. Mamet just about anything. ber 24, 2012. Rachmaninov composed and premiered his Dead Accounts TOP TEN “Rhapsody” in 1934; it is a set Music Box Theatre of variations on Paganini’s CLASSICAL 24th Caprice, and is perhaps Opens November 29 best known for the sweeping 18th Variation. Russian-born When we think about Broad- concerts & Semyon Bychkov conducts the way’s breakout ingenues of October concert, which will the past decade, our minds also feature Brahms’s Sym- don’t immediately leap to operas 10 phony No. 4 and Dutilleux’s Katie Holmes’s turn in All What we’re most looking forward to in the “Metaboles.” My Sons in 2008. She was ... concert halls By Carl Gaines fine? Certainly her time in L’Elisir d’Amore New York, and her exposure to paparazzi therein, engen- Metropolitan dered a high-water mark in Le Poème Harmonique vocal ornamentation and his- Opera House the sales of “boyfriend jeans” The Miller Theatre toric gestures to bring to mind September 24 nationwide. But the stage is at Columbia University life in 17th century Venice dur- ing Carnival. One of Donizetti’s best-known apparently a safe place for September 12 and 14 Ms. Holmes, as it’s to Broad- and oft-performed operas opens way she returns for her first The photogenic and ultra- Piano Competition the Met’s 2012/2013 season new role post-extremely talented French early music Finals with a gala. L’Elisir d’Amore— notable divorce. The Mid- ensemble Le Poème Har- Paul Hall at the The Elixir of Love—sees Russian star Anna Netrebko, who first western woman trying to monique opens the Miller Juilliard School start over while living with Theatre’s season with worked in opera washing floors her parents is to play a Mid- “Venezia”—candlelit, semi- September 21 at the Mariinsky Theatre, in the western woman trying to staged performances of songs The competition will be cut- role of Adina, the wealthy land- start over while living with by Monteverdi, Manelli and throat and the tension high owner who enchants Matthew her parents. Well, Ms. Hol- others. Expect lots of period- for the finals of this Juil- Polenzani’s peasant Nemorino. mes is from Toledo and her appropriate drama, as the liard piano competition. Open The usual operatic trappings— character’s from Cincinnati. group, which focuses on 17th to the public, it will feature shifting financial circum- And her parents, we read, are and 18th century music, inter- students performing Rach- stances, a snake-oil salesman, in off and on. Anyway, the prets works like Ferrari’s “Chi maninov’s “Rhapsody on a and a military on the move—are play’s by super-prolific The- non sà come amor” and mad- Theme of Paganini,” with the all scored to a libretto by French resa Rebeck, and could allow rigals by Monteverdi. Music winner returning to perform playwright Eugène Scribe. for a Kidman-scale career director Vincent Dumestre the work with the Juilliard TOP TEN Music & opera renaissance. leads a production that uses Symphony Orchestra Octo- continued on page 32

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TOP TEN MUSIC & OPERA Brahms’s Violin Concerto at of so many of the country’s from page 31 Avery Fisher Hall with the Lon- similarly financially strapped don Symphony Orchestra in this performing arts institutions, Sphinx Virtuosi all-Brahms program. The Cana- and it was good news when it at Carnegie Hall dian violinist’s mind-boggling announced in late July its offi- Stern Auditorium/ technical abilities, combined cial emergence from Chapter Perelman Stage with his musicality, make him 11 bankruptcy protection. The one of today’s strings stars and “Requiem,” first performed October 9 most in-demand soloists. Val- in 1874, on the anniversary Comprising alumni from the ery Gergiev conducts the pro- of the death of one of Verdi’s Tokyo String Quartet. Sphinx Organization’s epony- gram, which includes Brahms’s friends, seems in opposition mous yearly string compe- “Tragic Overture” and Sym- to the future the orchestra tition, this conductor-less phony No. 2. hopes to forge after a difficult Ensemble ACJW reorganization. Our Saviour’s Atonement L’Elisir d’Amore. Lutheran Church The Tokyo 178 Bennett Avenue, String Quartet Manhattan Zankel Hall November 11 at Carnegie Hall Launching a career as a young October 28 professional musician isn’t easy, The Tokyo String Quartet, on even when you’re at the top its farewell tour, plays works of your game. Once every two by Webern, Mozart and Men- years, the Academy—an inven- delssohn at Zankel Hall as part tion of Carnegie Hall, the Juil- of Yale in New York. After 44 liard School and the Weill Music years together in various iter- Institute—selects as many as 20 ations, the quartet has decided young musicians from around to call it quits, following the the world as fellows. Some past previously announced retire- and current members of the ments of Kikuei Ikeda and Academy make their way into Kazuhide Isomura—second Ensemble ACJW. The Academy violin and viola, respectively. is run in partnership with the chamber group makes yet The 2012-2013 season will be New York City Department of The Philadelphia full of opportunities to cel- Education; its members teach another stop at Carnegie Hall. Orchestra Sphinx was created in 1996 by ebrate the quartet, including in city schools. Ensemble ACJW Aaron Dworkin, later Presi- Stern Auditorium/ concerts at New York’s 92nd brings high-caliber music to dent Obama’s first appointee Perelman Stage Street Y. So dry your eyes and segments of the city that might to the National Council on the October 23 come bid adieu. not always be exposed to it. This Arts. The organization works concert, part of the Voices from Yannick Nézet-Séguin makes to bring diversity to the arts, Orchestra Latin America festival, features his first appearance at Carne- particularly among African- music by Villa-Lobos, Piazzolla gie Hall as the orchestra’s music of St. Luke’s Americans and Latinos, and and Ana Lara. director in a performance of Stern Auditorium/ this concert features works by Verdi’s “Requiem,” with soloists Perelman Stage prominent African-American The Cleveland Marina Poplavskaya, Christine and Latino composers such as November 1 Rice and others. The orchestra Orchestra Coleridge-Taylor Perkinson is the purveyor of that hard-to- MacArthur Foundation Fel- Stern Auditorium/ and Alberto Ginastera. The describe Philadelphia Sound, low Alisa Weilerstein per- Perelman Stage group plays at an extremely but has also become the face forms Haydn’s Cello Concerto high level, and it’s a great way No. 2 with Orchestra of St. November 13 to support diversity among Luke’s on this program, which The Cleveland Orchestra, one string players, which is lack- also includes Mozart’s Sym- of the original Big Five Orches- ing, still, today. phony No. 29 in A Major, his tras, returns to New York with “Chaconne from Idomeneo” a performance of works by London Symphony and Haydn’s Symphony No. 99 Beethoven and Scriabin. The in E-flat Major. Like several program also includes the New Orchestra a mie jung other New York-area orches- York premiere of Matthias a ; j Avery Fisher Hall tras, Orchestra of St. Luke’s Pintscher’s “Chute d’etoiles” October 22 has been at the forefront of for two trumpets and orches- branching out—through its tra. The beloved orchestra a n Op er Violinist James Ehnes, who per- educational programs and out- comes to New York probably formed the Tchaikovsky Violin reach and artistic program- about as often as Mr. Pintscher, Concerto this summer as part ming—while still managing to who has made the city his home of the New York Philharmonic’s pair with blockbuster artists for several years but is often vi ca n/ M etro p olit Concerts in the Parks series, like Ms. Weilerstein, herself a pulled away for other engage- returns to New York to perform Weilerstein. jewel. ments. N i c k H e a

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