I haven’t been to my once-regular hangout, The Redford Theatre, at all this year, and it seems unlikely that I’ll go over there before the school year concludes in a few short weeks. The likely reason for this is the lingering satisfaction – even nearly a year later – of getting to see my favorite James Bond movie On Her Majesty’s Secret Service at the Redford on the big screen last June.
After seeing the film onscreen once before – and coming close to seeing it onscreen nearly 20 years ago in 1998 at the Brattle Theatre back in Cambridge – I was still excited to see it again. Reasons were similar to why I am often drawn to reissues or revival screenings: the immediacy of the cinematic experience can’t be replicated in your home or in a lighter setting. That’s especially true with this Bond movie, which offered a level of intensity and character that was arguably unmatched until Casino Royale appeared on screens 37 years later.
The previous screening, at the Museum of Modern Art in New York City, offered the excitement of 007’s 50th anniversary year and took place in October, 2012. I’d made a special trip to the city for the event, and was not disappointed – mostly – except for the fact that a key sequence of the film was completely missing from the print that they showed. Thankfully that did not happen at the Redford and the emphasis was on the quality of the experience, complete with old-style intermission as is customary with their classic film showings.
Of course another part of the appeal of this experience stemmed from having visited the primary filming location itself, as referenced in my YouTube clip below, high in the Swiss Alps. I’m currently looking in to making a return visit there, just over 10 years after when I previously went, and am hoping it will work out.
So with the peaks of an experience like that with OHMSS, why would (or how could) I top that? It’s nothing against the Redford, though, and they continue to be a strong resource and community member of Detroit.
Living in Michigan has brought about what could be seen as my destined interest in Tim Horton’s coffee. Destined in the sense that it’s a company I’ve been aware of for seemingly all my life, thanks to my born in Montreal father who saw Tim Horton himself play hockey and then became acquainted with their distinct dark and hearty brand of coffee, becoming a big fan and even having a plastic Tim’s cup affixed in one of his car dashboards for a period of time when I was growing up. On the couple of occasions that he and I made a point of traveling to Canada, or to Northern New England where the chain had a few outposts, it was a Big Deal to visit Tim Horton’s en route or as part of the trip.
So when I first arrived in Michigan nearly four years ago, it was an “oh, yeah” moment of realizing that Tim Horton’s was both in the neighborhood and could be easily accessed over the border in Canada as well. While I initially referred to Tim’s visits as a “making good on the proximity to Canada” – and it was – at some point they became a more regular routine, possibly around my time of living in a building that had a Tim’s on the first floor and thus I came to somewhat over-rely on at times.
Since I don’t live in that building anymore, and am now more aware as to which Tim’s locations are more consistent than others, visits to Tim’s have since turned into more of a “Where’s Waldo” or by convenience based experience.
This was true today, when I found myself in an area that has multiple Tim’s in close proximity to one another. I chose the smallest of the locations, which I have visited occasionally, and found that they were having an overloaded moment. I ought to have used the backup of cars from the drive through as a sign to go elsewhere, but I was able to get a parking space and went inside.
Despite having at least five cars in the drive-through, the interior of the store was COMPLETELY EMPTY of customers. The clerk gave me a harried expression worthy of a novel (his co-workers were hurriedly attending to the drive – through customers) and took down my order. When the order arrived, it became a humorous mistake in that he gave me two sandwiches instead of one (so there’s tomorrow’s breakfast!) and forgot about my drink. When I reminded him of it, it was on the house, since I’m pretty sure I wasn’t charged for it in the first place. Knowing the menu so well at this point – and sticking to more or less the same order – has allowed me to memorize the typical price of things or what is comboed together. The clerk and I exchanged an understanding glance again worthy of a short scene, and that was that. But definitely one of my most memorable Tim’s visits in recent memory, as it veered from the routine and had an element of surprise and unpredictability.
Relatedly, my favorite Tim’s drink, a mocha latte, recently disappeared from their advertised menu and is now considered part of their “secret menu” – I guess – because it isn’t publicized and yet they still make it. (While in Canada recently I learned that some locations have changed espresso machines entirely, accounting for that switch, but the adjustment doesn’t seem to have been carried out across the whole chain.)
Some locations in this metro Detroit area appear to be more familiar with the mocha latte than others, so that contributes to part of my guessing game with the chain, and part of the fun, admittedly, of going back to that original intention of enjoying geographic proximity to our Northern Neighbor. And also making sure that I’m fully alert for the continuing rigors of a busy lifestyle.
It was a special treat this week to focus again on theatregoing instead of my currently more customary filmgoing. It was also intriguing and exciting to be able to see two world premiere plays right in my (relative) backyard.
First up was a trip back out to The Purple Rose Theatre in Chelsea, well-known for its founder, actor Jeff Daniels, and its role as a cornerstone of the economy in Chelsea, a small yet well-settled town that is more or less the end of the metro Detroit sprawl as one heads west towards Kalamazoo, Chicago and other south/westerly points. The “Rose” makes a point of presenting new work – their fall play which I had also seen was a first-time presentation – but this time they did things particularly well with a strong script and production. In fact, I feel this play was one of the best I’ve seen in the entirety of my nearly four years living in Michigan.
Smart Love told a relatable story of a recent widow, Sandy, who at first glance appears to be doing OK at getting on with her life following the recent death of her husband. We’re introduced to her in the midst of a night spent with new boyfriend Victor at her home, said to be in the Detroit area. Just when things seem like they’re going to continue in a pleasingly domestic manner, Sandy’s son Benji appears at the door, urgently knocking and urging his mother to let him inside, even though it’s the middle of the night and they haven’t seen each other for a number of months. Benji is a scientific researcher at MIT (coincidental for me as a Massachusetts native) and chooses to come back to Michigan as he is eager to share some new creative developments related to his career and research.
And the story unspools from there, in surprising and often thought-provoking directions. Never going too far into the provocation category, the play stays in realistic gravity thanks to Kamoo, one of this area’s finest actresses IMO, who sells every moment from surprise to tenderness to anger to contemplation and beyond. The rest of the cast holds strong with the material and the twists and turns of the story. The key dramatic questions stay grounded in humane and familial realism, which was helpful to me as an audience member.
The second show of the weekend enabled a very belated first visit to Matrix Theatre Company in southwest Detroit. This group is thoroughly grounded in the tight-knit community of the city, and I’d intended to attend one of their shows on a couple times during the past few years, but didn’t make it until now. This play, Intentions, by Abbey Fenbert, looked at a small community of residents in an intentional living house outside Chicago. I wondered at times how the drama would reveal itself, and at multiple occasions the scenarios reminded me of the on-campus housing environments at my own college, where issues of green living, creating with purpose, entanglements with housemates and questions of how to conduct oneself in the outside world are often hot topics.
A mostly youthful five person ensemble cast keeps the tables turning on each other, and the script knew how to keep things fresh without falling into tropes of just two people talking or the scene going on too long. While some story elements were fairly predictable in my eyes, there was an appealing continued emphasis on nuances and the value of relationships. Several scene transitions carried the story along in its silent moments, as well.
Overall an appealing pair of newer plays, each with their own quirks and appeal, that I’ll continue to remember and appreciate for their origins right here in Michigan.
The three films I’ve seen so far this year, as I maybe/maybe not get back into the “one film per week” routine, all focus strongly on the feminine experience, which feels appropriate and important as the Trump era begins in US government. (As we clearly saw yesterday with the widespread women’s marches around the country.)
Going in reverse chronological order, last night’s film of choice was the new 20th Century Women, which I caught back at the Devonshire Mall cinema, a place that would be my favorite local cinema if it wasn’t over a country border that requires often irritating logistics, not to mention a toll both ways. Anyway, I continue to appreciate the times that I do get over there, and this was the first time in awhile, probably over a year, although I had been to the mall – and not the cinema – at more recent times.
So the film of choice was 20th Century Women, an ensemble piece that has arrived with some “buzz” into a semi-wide release, although I’m guessing it may be overlooked when the all-important Academy Award nominations are announced on Tuesday morning. A small ensemble cast – Annette Bening, Greta Gerwig, Elle Fanning, Billy Crudup and Lucas Zellman – anchors the film in a surprisingly robust way.
The film seemed unusual to me in that it built my interest in the characters, as opposed to starting early with a lot of information and then losing interest as the narrative goes on. Related to that, the characters seemed to exist in and out of the story, thanks to the use of voice-over, with several individuals offering audio perspective from later in their lives as the “immediate” visual played on the screen.
I was pleased to see the Santa Barbara area of California, a region I’m quite familiar with, be represented in the story, and a few visual shout-outs to locations in the area I’ve passed by numerous times. As well, the heart of the story seemed to be one that focused on the nuances of life and art of communication between individuals, which made it more relatable in some ways than your average film about misfits, which all of the characters clearly were.
and so a notorious year ends. It hasn’t been all bad for me personally, and if anything, I’m grateful to have turned around what could have been a bad year, more or less starting with an injury, into something more adventurous and ultimately optimistic.
It’s been particularly nice to end the year back here in “The California Homeland” of Marin County for the third consecutive year. It’s a good example of how time changes – five years ago I wouldn’t have said this winter visit would become a tradition – and maybe it sets a goal for 2017 of the past becoming the present again.
This week I had the pleasure of seeing one of my favorite actresses – and probably my favorite who is my own age – Rebecca Hall appear in a new film where she finally takes the leading role, after many films in high supporting or co-lead parts.
Hall dazzles in the titular role of Christine, starring as a determined reporter working her way up at a Sarasota, Florida news station in the summer of 1974. Christine openly and fiercely advocates for the professional positions she believes in, such as human interest stories and the actual art of the interview being something that is detailed and not brief, but she is constantly rebuffed by the male upper management of her station. It is hinted that Christine also suffers from an unspecified mental instability, which manifests itself in the paradox of her professional successes contrasting with her at-home life living with her mother and lack of additional social life.
The specificity of the story shines through choices in lighting, costuming, cinematography and sound design, all evoking a lurid (in retrospect) period of browns, muddy hues and too long or too straight hair. We also see a subtle but strong emphasis on gender politics and what the men in charge think the women (ranked below them) are capable of doing, vs. what the women actually want to do.
Through it all Hall carries the film strongly on her shoulders, with many specific character choices such as a lumbering walk, flat American accent, and shading the nuance between Christine’s tenacious professional ambition and interior hesitancy and tentativeness. The strands unify towards the end of the film as it leads to a shocking (but true to the real life story) conclusion.
Hall gives the strongest actress performance I’ve seen this year, though sadly I’m sure it will be overlooked come Oscar time.
Community and audience engagement are intrinsically linked. The community supports audience engagement, while the audience engagement creates community and further involvement in other pursuits. In the theatre, the audience engagement sets the stage for the performance or event to be unique, distinctive and valuable to the community at large.
For me, the community and audience engagement are some of the most exciting aspects to theatrical life. There are opportunities to have great products and inside the theatre experiences, and they can be memorable, but they all have to begin with successful community and audience engagement. Crucially, those qualities generate response and create conversation, amongst audience members, staff, featured artists, and even passerby who may be unfamiliar with the company or specific show.
Community and audience engagement brings results and experiences for the theatrical venue. The qualities also create lasting memories and continued engagement for the patrons and artists. For the company itself, there is an opportunity to be more than just “that building on that street” or “that theatre I’ve never been to.” With solid community and audience engagement, the relationships become reciprocated. The venue gives back to its community and the community supports the venue in multiple ways, not just through philanthropy or attending specific productions.
In the theatre as a whole, community and audience engagement are the keys to continued satisfaction and enrichment on all fronts. It is important to not forget about how the audience reacts to the theatre. Most importantly, the theatre is the nexus of community and audience engagement, and all crucial developments generate from that hub.
I’ve been interested in the film Manchester by the Sea, titled after and set within my hometown in Massachusetts, since it was first announced around two years ago. Originally planned to star Matt Damon, the film had an immediate air of prestige coming from acclaimed playwright and somewhat embattled filmmaker Kenneth Lonergan, known for works including This is Our Youth and You Can Count on Me. As it turned out, Damon was not able to star in the film, but remained as a producer, and recruited his longtime friend Casey Affleck to take over the lead role. I would have liked to have been back on the North Shore to observe when they shot the film during the winter of 2015, which was exceptionally snowy and cold.
With this anticipation in place I was very excited when the film appeared on this year’s Windsor Film Festival schedule across the border in Canada, and thus made plans to attend a screening yesterday, creating an amusing irony of having to go out of the country in order to go home. This was perhaps doubly ironic as I was in Manchester itself just four weeks ago and enjoyed a more leisurely visit than my past couple of times being back, which had been just quick drive-throughs.
In general the film lives up to its pre-release and festival generated acclaim as a somber drama that isn’t afraid to go into more depth than other stories it might be similar to. The detailed tone is apparent from the opening scenes, when character beats are held just a second or two too long and/or a character says something they might be thinking but not say in a “conventional” setting. Affleck is on screen in nearly every scene and anchors the film with exceptional pathos; his character motivations are initially shrouded but gradually become clearer as the story goes back and forth in different time frames.
As a native of the area, it’s inevitably both amusing and irritating to see how Manchester itself is represented in the story, with a to be expected range of minor to moderate geographic implausibilities sprinkled in the narrative, along with a few glaring omissions or character choices that made it obvious the writer did not have roots in the area. However, the pleasure of seeing familiar locations and landmarks on screen (especially while watching it in Canada) goes without saying! Since it’s fun for me to examine, I’ll outline some of the film vs. reality impressions here.
- There’s not really a PC way to say this, but it’s doubtful (while not impossible) that a “working class” family as depicted in this story would actually live in Manchester, which has the highest household income of the North Shore area and is known for having large houses and estates and corresponding financial security. I continue to feel that the story ought to have been set in the neighboring and better-known town of Gloucester, which has a more diverse range of inhabitants and a closer connection to the art of the sea. Indeed, the film’s opening shot jumped back and forth between Manchester and Gloucester harbors in order to set the mood of the story. A key scene between two characters late in the film is also filmed in Gloucester, though the dialogue implies they are still in Manchester.
- When Affleck first arrives back on the North Shore, a scene takes place in the neighboring town of Beverly. He then says he has to “go up” to Manchester, which no one would say about the next town over. However, the statement makes sense when his character mindset is considered, having driven up from a town south of Boston on short notice.
- Subsequently, when Affleck first enters Manchester, where he’s meant to have grown up, he drives away from the town center and several well-known gathering places are not seen at all during the film including the town market and train station. A few other scenes in the film feature him driving around to make trips that would be more likely accomplished on foot.
- The town’s crown jewel Singing Beach is not seen in the film nor referenced in any of the dialogue.
- While the choice to have most of the characters use “Boston” accents fits in to the dynamic of the story, such accents are rarely heard in this part of the North Shore, and Hollywood in general still has not learned that those accents are very tightly concentrated to inner-ring towns around and some sections within Boston itself.
OK, continuing with the film itself. As Affleck’s character Lee experiences the story, he is tasked with looking after his nephew Patrick, played by Lucas Hedges. This character offers a very well-drawn depiction of mid-teenage years (he’s meant to be 16) and the delicate dance of making choices that relate to your family vs. your own personal journey and desires. Patrick’s arc also contains unexpected humor that enlivens the story, while the character also brings it back down to earth/the reality of the situation at a few surprise moments that add to the dynamic of the uncle/nephew relationship. The process of honesty and being “real” that is established early in the film is most sharply seen in the scenes with Patrick, and actor Hedges rises to the challenge with a strongly committed and revelatory performance. The film toys with sending Lee and Patrick’s relationship into “buddy/odd couple” comedy mode, and there are indeed several humorous moments, but then it comes back to reality with the empathy for both characters strongly intact. On the whole, the dynamic between both male characters made me notice that the film isn’t shy of going in-depth with masculine feeling and emotion, often glossed over in storytelling and popular culture, and that choice likely contributes to the richness of the drama.
Of the supporting cast, Michelle Williams is the obvious stand-out in a few strong scenes as Lee’s ex-wife. While her “Boston” accent is likely the most distracting of the cast (at least Affleck’s is authentic), she also carries the reality of the story and the challenge of character choices in context of the narrative.
I would see the film again, and you should too when it comes to general release and likely Academy Awards season acclaim at the end of this year.
The other night I once again found myself pulling out the stalwart and timeless DVDs of The Avengers. This time my attention was drawn to an episode near the end of Emma Peel’s second and final season, entitled The 50,000 Breakfast. I wanted to watch it initially based on a remembrance of the episode’s unusual music score, which does not recur as much as some others do in other episodes of the series and thus, stands out more on its own. I did not expect on revisiting the episode at this particular moment in time to see a clear allegory for the present uneasy political moment in the USA.
In the story, our heroes Steed and Mrs. Peel encounter a team working for the mysterious and accomplished Litoff Organization, focused on finance in Central London. Of particular note in the present era comparison are the two lead individuals they interact with from the company. One person is Miss Pegram who is not given a specific job title but is clearly the woman in charge, an idea which is quite revolutionary for 1967. In the other camp is company butler Glover, whose exact raison d’etre for being part of the company is not made clear by the script (well, I guess he’s Mr. Litoff’s butler, but Mr. Litoff is never seen) and so Glover stands as a bastion of an older time, where men and women had more traditional and formal gender roles. Near the end, when Glover is revealed to have malicious negative intentions that place him aligned with the rest of the villains, he presents a brief and strikingly abrupt (for the rest of the series) monologue, claiming that he “want(s) to be ill mannered and rude and uncouth, and order people about, especially women. I look forward to being excessively rude to a considerable number of handsome women!” – and so he is obviously, with the present day parallel, an elder Donald Trump, while Ms. Pegram, with ambitions to conquer the “man’s world” of finance and accomplishment, clearly evokes Hillary Clinton.
And that is another of many ways that The Avengers remains both timeless and ahead of its time.
… is not so intimidating once you actually sit down and write it.
Over the past 10+ years of theatre work experience, I have focused on positions that combine production and artistic engagement. In my current work at Wayne State, the experiences have built on each other in a satisfying and enriching way. My first year of the Theatre Management focused on building skills (in areas such as box office and house management along with general marketing and publicity) which then transitioned into leadership tasks in the second year. In the current third and final year, those duties have gone a step further to include mentoring of younger students and colleagues along with a more involved role in audience engagement, artistic and general management planning to ensure a successful season.
Some of my earlier theatre production positions centered around stage and artistic management, and as a continuing AEA member I am well aware of best practices for successful production. Those management roles occasionally branched beyond the theatrical realm, most satisfyingly in two years of involvement with a noted film festival in Marin County, California.
All of these theatrical positions stemmed from an earlier in life interest in acting and directing, and it’s clear that this position allows for a melding of many artistic engagements along those realms. The role of the theatre in its community has become increasingly important to me in recent years both as a patron and a worker, and I am particularly interested in ways that the theatre/arts organization can serve and interact with its surroundings, beyond just being a building or organization that presents material for the community and into a relationship that demonstrates genuine reciprocity and commitment.