The bulk of the gallery space at the Renwick is now in service to a major retrospective of the works of potter and sculptor, Michael Sherrill. I confess, I've never heard of him before today. He is a native of North Carolina and lives and works there. The exhibit originated at The Mint Museum in Charlotte, North Carolina. The Renwick is its second stop, and it will end its run at the Arizona State University Art Museum, I believe that's in Tucson.
The retrospective starts with modest thrown pottery and quickly evolves into many motifs all bearing the powerful influence of organic forms and the natural world on Sherrill's creations. Until he finally leaves utilitarian concerns behind and embraces a natural world of his own creation. The floral works are not real, but not not real either. It is an affecting melding of reality with imagination. I will share highlights from three of the motifs. Elements of intentional drama are added to the later works by the judicious use of lighting.
TEAPOTS
BOTTLES
BOTANICAL/FLORAL
Monday, September 30, 2019
Smithsonian Renwick Gallery: Ginny Ruffner: Reforestation of the Imagination
Blue Flower with Snakes
Serpens primula nubes
Grape Flower
Anthurium vinifera
Pear with Windows
Pyrus fenestrata
Even better, the modest catalogue of the exhibit includes all the botanicals, a fictional post apocalyptic history of each flower--AND, a scannable stump impression that works like the sculptures in the gallery! It's all quite clever times two, and I found it delightful.
Sunday, September 29, 2019
A Day In Meals
A day of meals. Eat well, your body will show you how grateful it is.
BREAKFAST
Scrambled Eggs with Oyster Mushrooms
A creamy Dijon Mustard sauce with Capers
Fresh Fruit:
Cantaloupe and Strawberries
Hazelnut Coffee
V8 Juice with a healthy zing of Sriracha Sauce
Purified Water
LUNCH
Salad:
Iceberg Lettuce, Tomatoes, Cucumbers
Sweet Red Pepper, Green Bell Pepper
Black Olive & Red Cabbage
Chipotle Ranch Dressing
Habanero Cheddar Cheese
Purified Water
DINNER
Fresh Atlantic Cod "bites"
with Horseradish Catsup
Ginger & Garlic Stir Fry
with Crimini Mushrooms,
Sweet Yellow Onions &
Baby Green Bok Choy
Mango Ice Tea
Halloween Helpers
Saturday, September 28, 2019
Arena Stage: Jitney
I am on a quest to see the complete works performed on stage by a select handful of playwrights. Of course, Shakespeare (I've seen 16 of his 37 works). Also Lillian Hellman, Tennessee Williams, Athol Fugard, Paula Vogel and August Wilson. Specifically, Wilson's Pittsburgh Cycle (a.k.a Century Cycle). Ten plays written as a snapshot for each of the decades of the 20th century. Written between 1982 and 2005 (the last one completed just before his death), they were not written in chronological order. In fact, "Jitney," which represents the 1970's was the first play to be completed in the cycle. It is also the only one that Wilson returned to and reworked. The version I saw today was that 1996 revision.
You all know, when I see something I like, I am not shy about telling you. The moment I entered the theatre and encountered the set, I was blow away. It's an extraordinary staging with tremendous detailing and a sense of depth beyond the boundary of the acting space like nothing I've ever encountered. Through plate glass windows, you see actual automobiles parked on the streets.
I know, I know, I know---I AM a set SLUT! I just love a good stage set. (Insight: I taught stage design for two years at my alma mater under the direction of the head of the Drama Department as an Independent Studies option for Theater Majors--turn over a rock, and no telling what might pop up!)
Also noteworthy, there was not a single actor in this production who I had ever seen before. The only other time that this happened at Arena Stage was when I attended another amazing production, the play "Moby Dick". Then it was because that production originated in Chicago at Steppenwolf Theatre, and basically came to Arena lock stock and barrel. Reading the program, I discovered that the origins of this production were similar. Arena is the first stop for what is basically a remounting of the 2017 Broadway production of "Jitney" under the direction of Ruben Santiago-Hudson who also directed it then. In fact, many of the original cast members returned to reprise their performances.
One more reason for this production's cohesion and nuanced intensity.
To date I have only seen two other productions from Wilson's Pittsburgh Cycle. One was nice, basically 'meh' in many ways. The other was electrifying. Well, at least, until now. This one raised the bar substantially. Every single actor was Tony Award worthy. As an ensemble, they were not only a well oiled machine, but also fresh--every moment feeling authentic.
They were so freaking good that I even found myself so intune with their performances, that I also had space to admire the actual structure of the play. Now, sometimes when my mind wanders like this, it's a reflection of some degree of boredom. In this instance, the polish was so perfectly rendered, that without missing a beat, I could also contemplate the reflection. The play that I sort of poo-pooed, was his second in the series. Knowing this was his first, I didn't come with out-sized expectations. About halfway through the first Act, I starting thinking, "What the hell happened between writing this play and the second one?" Later, when I learned that he'd revised it extensively in 1996--I knew what had happened. Pity he didn't live long enough to tweek "Ma Rainey's Black Bottom," as well.
Within Wilson's vision for "Jitney" and genius as a playwright, you see how every scene within each act holds a classic rising plotline to an epiphany. Each of which builds to the next scene. Every character inhabits their own arc, and interacts with each other character in an intricately woven tapestry that intersects moments of mirthful comradery with stark alienation. Never judging, not preaching, just laying it out there. All this and reverberations of the generational angst, Vietnam War residue, ERA cultural paradigm shifts, the first inklings of the death of racist redlining that were all part of the 1970's
... A tour de force of historic imperatives presented with all the power and mundanity of the air we breath. Honestly, I believe that if August Wilson were still among the living, he would see this realization of his vision and feel as profoundly satisfied as I was. Darlings, I walked out of Arena Stage with the conviction that I had just been to church.
You all know, when I see something I like, I am not shy about telling you. The moment I entered the theatre and encountered the set, I was blow away. It's an extraordinary staging with tremendous detailing and a sense of depth beyond the boundary of the acting space like nothing I've ever encountered. Through plate glass windows, you see actual automobiles parked on the streets.
I know, I know, I know---I AM a set SLUT! I just love a good stage set. (Insight: I taught stage design for two years at my alma mater under the direction of the head of the Drama Department as an Independent Studies option for Theater Majors--turn over a rock, and no telling what might pop up!)
Also noteworthy, there was not a single actor in this production who I had ever seen before. The only other time that this happened at Arena Stage was when I attended another amazing production, the play "Moby Dick". Then it was because that production originated in Chicago at Steppenwolf Theatre, and basically came to Arena lock stock and barrel. Reading the program, I discovered that the origins of this production were similar. Arena is the first stop for what is basically a remounting of the 2017 Broadway production of "Jitney" under the direction of Ruben Santiago-Hudson who also directed it then. In fact, many of the original cast members returned to reprise their performances.
One more reason for this production's cohesion and nuanced intensity.
To date I have only seen two other productions from Wilson's Pittsburgh Cycle. One was nice, basically 'meh' in many ways. The other was electrifying. Well, at least, until now. This one raised the bar substantially. Every single actor was Tony Award worthy. As an ensemble, they were not only a well oiled machine, but also fresh--every moment feeling authentic.
They were so freaking good that I even found myself so intune with their performances, that I also had space to admire the actual structure of the play. Now, sometimes when my mind wanders like this, it's a reflection of some degree of boredom. In this instance, the polish was so perfectly rendered, that without missing a beat, I could also contemplate the reflection. The play that I sort of poo-pooed, was his second in the series. Knowing this was his first, I didn't come with out-sized expectations. About halfway through the first Act, I starting thinking, "What the hell happened between writing this play and the second one?" Later, when I learned that he'd revised it extensively in 1996--I knew what had happened. Pity he didn't live long enough to tweek "Ma Rainey's Black Bottom," as well.
Within Wilson's vision for "Jitney" and genius as a playwright, you see how every scene within each act holds a classic rising plotline to an epiphany. Each of which builds to the next scene. Every character inhabits their own arc, and interacts with each other character in an intricately woven tapestry that intersects moments of mirthful comradery with stark alienation. Never judging, not preaching, just laying it out there. All this and reverberations of the generational angst, Vietnam War residue, ERA cultural paradigm shifts, the first inklings of the death of racist redlining that were all part of the 1970's
... A tour de force of historic imperatives presented with all the power and mundanity of the air we breath. Honestly, I believe that if August Wilson were still among the living, he would see this realization of his vision and feel as profoundly satisfied as I was. Darlings, I walked out of Arena Stage with the conviction that I had just been to church.
Friday, September 27, 2019
Synetic Theatre: The Tempest
Synetic Theatre is one of the most unique theatre troupes in the nation. Founded by the Paata and Irina Tsikurishvili back in 2001, it is modeled after traditional theatre from the native Georgia. A theatre that had to speak its stories to people living on the heart of the silk road. It transcends the limitations of spoken language and tells its stories through actions, mime, gymnastics, costumes, sets, sound effects, music, lightening--it is a full on sensory explosion in service of the play. To this in this restaging of their widely acclaimed 2013 production, add water! And what better story to add water to than Shakespeare's Tempest? I honestly thought at one point, what would old Will think of this!? If he were anything like me, he would have been mesmerized by it.
The degree of physical strength, agility and stamina in any Synetic production is impressive. In this one?--it was Olympian. Irina took on the role of Prospera, and let's be gentle but honest here, she's got to be in mid-40's. A strikingly beautiful woman, her ability to project both power and grace in movement were unflinchingly dynamic. Her son, Vato, held the role of Caliban. He is a stocky man, more lineman and ballet dancer. I first saw him perform with Synetic as Quasimoto in their telling of The Hunchback of Notre Dame. His tender portrayal brought me to tears. As Caliban he demonstrated not only the same emotional range, but a athleticism akin to cirque du soleil! The role of Ariel was reprised by Ale Mills. Alex has an infectiously beguiling stage presence that was put to good use in this role.
While I've always enjoyed the sets at Synetic, this one--water notwithstanding--was the most impressive I've seen yet. The lighting was perfect, complimenting the performance and sweeping the focus from one scene to the next with smooth transitions that allowed the actors to leave and enter the stage without distracting from the action. The score was also beautiful and portrayed the range of moods from chaotic to tender to comical to menacing which such acumen that it was every bit as much of an additional actor as the water play.
It's playing through the 20th of October. I would say, don't miss this one, it's a unique theatrical experience well worth the price of admission.
The degree of physical strength, agility and stamina in any Synetic production is impressive. In this one?--it was Olympian. Irina took on the role of Prospera, and let's be gentle but honest here, she's got to be in mid-40's. A strikingly beautiful woman, her ability to project both power and grace in movement were unflinchingly dynamic. Her son, Vato, held the role of Caliban. He is a stocky man, more lineman and ballet dancer. I first saw him perform with Synetic as Quasimoto in their telling of The Hunchback of Notre Dame. His tender portrayal brought me to tears. As Caliban he demonstrated not only the same emotional range, but a athleticism akin to cirque du soleil! The role of Ariel was reprised by Ale Mills. Alex has an infectiously beguiling stage presence that was put to good use in this role.
While I've always enjoyed the sets at Synetic, this one--water notwithstanding--was the most impressive I've seen yet. The lighting was perfect, complimenting the performance and sweeping the focus from one scene to the next with smooth transitions that allowed the actors to leave and enter the stage without distracting from the action. The score was also beautiful and portrayed the range of moods from chaotic to tender to comical to menacing which such acumen that it was every bit as much of an additional actor as the water play.
It's playing through the 20th of October. I would say, don't miss this one, it's a unique theatrical experience well worth the price of admission.
Thursday, September 26, 2019
Volunteering Perk
Volunteering at the Maryland Zoo certainly has a lot of perks. I do it on Sunday afternoons. When my shift is up, I inevitably end up walking past the Penguin Coast habitat just as the keeper chat is winding up. And every time I do, I learn something new. Every new thing I learn builds in me a deeper appreciation for our keepers and their knowledge and care for our African Penguins.
Wednesday, September 25, 2019
Recent Maryland Zoo Shots
Black-crowned Night Heron
Little Blue Heron
Southern White Rhinoceros
Burchell's Plains Zebra
Saddle-billed Stork
Addra Gazelle
Miniature Mediterranean Donkey
Alpaca
Kune Kune Pigs
African Penguin
Pink-backed Pelican
Kirk's Dik Dik
Common Warthog
Amur Leopard
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