Arts & Entertainment

Film/TV page 13 | Theater page 14 | Food page 18 | Jazz page 19

Your Stars

‘King Richard’—A father’s dream helps shape legends

By LAPACAZO SANDOVAl

Special to the AmNews

“King Richard” is about the vision and the conviction of one man—Richard Williams (Will Smith) and his determination to turn his gifted daughters, Venus and Serena, into the world’s greatest tennis players. He started building their road to success along with his wife Brandi (Aunjanue Ellis) even before their girls were born; he wrote down a 78-page manifesto, and according to the film credits at the end of the movie, most of these things have come true.

Of course when their journey started most folks believed he was crazy, but hindsight possesses 20/20 vision and Richard always had that kind of spectacular vision.

Will Smith is almost unrecognizable in the title role, and director Reinaldo Marcus (“Monsters and Men”) crafted a rather old-fashioned story that focused (gently) on how an African American kid grew up, running for his life because he’s running from the Klan in Shreveport, La.––but it’s in this hostile environment that his mindset formed. Fast-forward, Richard raised his five daughters in Compton, California and instilled in them a strong work ethic that is flavored with dedication. In many ways, both girls achieved the American dream.

Watching Venus’ success, Serena prepares to step into that world and the most interesting thing about this story is the discovery of the family’s life, what they overcame, and how Richard’s master plan played out in practice. The screenplay by Zach Baylin is strong and I would not be surprised if there was an Oscar nomination to follow.

The road to success was a challenge for Richard almost at every turn. One example is when Richard felt a certain way when a pair of sports agents showed up wanting to represent Venus using the word “incredible” to describe her ability. Richard believed that it was a “code” against their race (which it is). And remember that the game of tennis is mostly played by white people. As Venus begins to rise, her father reminds her of the responsibility that she takes onto the court which would later (if, done correctly) inspire African, African American, and Afro Latinos girls around the world.

And Richard was correct. Their daughters Venus and Serena Williams have become shining examples to millions of people, and this well-structured film exists to show us all that dreams can be achieved.

This is an inspirational story and it’s an important one as well. This family made their mark and it wasn’t easy. The film gives us a look into how Richard coaches his daughters on the broken Compton public tennis courts, and that nothing stopped their practice, it was rain or shine. One day a “concerned citizen” called the police on them for being too hard on their kids, and both Richard and Brandi let their words do the fighting. They explained that their kids must be tough, since “running the streets” is simply not an acceptable way of life.

Richard isn’t afraid and he shows this courage to his family that he’s protecting them. In one unexpected scene, he makes the bold choice to take the gun, from his security job, to stop the man who’s been harassing his daughter. The story also doesn’t shy away from dealing with the family’s faith and how they deal with the countless prejudices working against them—systemic and personal.

The actor, Smith, brings out Richard’s natural charisma and wraps it brilliantly into this man’s stubborn yet supportive focus.

Actresses Saniyya Sidney and Demi Singleton are pitch-perfect in their respective roles as young Venus and Serena; both can handle the athletic and the dramatic layers.

What I love best about “King Richard” is that this is a true story and one that can be replicated in any family if there is faith, direction, drive, and the will to never give up.

“King Richard” (Courtesy photo)

‘House of Gucci’—You cannot look away as the House crumbles

By LAPACAZO SANDOVAL

Special to the AmNews

You simply can’t look away from director Ridley Scott’s “House of Gucci” which shows the backstabbing dressed in luxury and dripping in privilege found inside the European, old-world fashion dynasty. The marketing materials are very clear that this is “based on a scandal” and at its heart, this is a docudrama filled with a checklist of ambitious types who seem to think that they will live forever.

“House of Gucci” is about a real family dynasty and a very sophisticated group that crave power and in building their business empire inside this delicate family structure character flaws are laid bare. The year is 1978, and Patrizia Reggiani (Lady Gaga) is living that Italian, middle-class life, working at her father’s trucking company in Milan but it is clear that she wants more out of her life. At a splashy party thrown at an aristocrat’s mansion, she meets Maurizio Gucci (Adam Driver), a nerdy type sporting oversized glasses, and once she hears his last name—Gucci—he suddenly becomes an interesting option. When we meet Maurizio he has no interest in working in the family business and is pursuing law at the university where Patrizia arranges a “chance” meeting.

Her “stalking” works and he finally introduces her to his father, Rodolfo (Jeremy Irons) who is powerful, elegant, formidable, and the co-owner and patriarch of the Gucci brand. Immediately he is upset that his son would marry someone whom he feels is socially beneath him. But Maurizio stands by her, a trait that brings admiration in its way. And when he marries Patrizia his father cuts him out of the family fortune. The couple settle into their normal lives, have a daughter, and interact with the other members of the Gucci clan, including Aldo (Al Pacino), Rodolfo’s brother and the co-owner of the company. Note that the brothers have an interesting relationship and both are living off the company that has made their family wealthy. Here we are talking about the foundation of generational wealth which was started by their father in Tuscany, where they still raise cows that produce Gucci’s leather.

Enter Aldo’s son, Paolo (Jared Leto) who is a frustrated designer and favors lavender corduroy suits and possesses the Gucci ego.

When Patrizia meets Aldo at his 70th birthday party, she views him as a door to get back into the Gucci family so she charms him. He gives her a pair of Concorde tickets to New York and she loves the perks that go with being a member of the Gucci empire. For a short period.

Maurizio and Aldo seem content to be a part of a big, greedy family but where there is money, there is also tension like the war brewing over the infamous Gucci knockoff handbags that are sold on the streets of the world, for $29.95. Patrizia thinks they damage the Gucci image. Then Aldo reveals that the Gucci company oversees them because they make money!

As Patrizia lives in the life of wealth and privilege, her ferocity becomes razor-focused. Lady Gaga’s performance is a revelation as we never lose sight of the working-class girl who wants a life of wealth and privilege. She is a social climber and proud of it, and willing to do the hard work to keep it. She’s so desperate that she takes advice from a television psychic named Pina (Salma Hayek), who becomes her ally and eventually her partner-in-crime when she figures out how to cut Aldo out of the picture and seduce and abandon Paolo.

Adam Driver delivers a near-perfect performance especially when he begins to wake up and begins to resent what Patrizia is doing to his family which is essentially tearing it apart. It’s an interesting dynamic and since steel sharpens steel it’s no surprise that she infuses a new ruthlessness into him where he begins to transform into—a Gucci.

“House of Gucci” is a movie about shifting power. It’s so riveting watching this brand and family implode—you can’t look away.

“House of Gucci” (Courtesy photo)

The members of Roundabout Theatre Company’s “Trouble in Mind”

By LINDA ARMSTRONG Special to the AmNews

“Trouble in Mind” is a monumental work, whose time has finally come on Broadway! It delivers on all thrusters. It is catastrophically brilliant, catastrophically funny and catastrophically troubling. Alice Childress’ bold work asks why must Black actors play demeaning characters and play the game of appeasing and cajoling white directors just to keep working. Why are white directors given this right to rule over Black actors and make them play mammys and buffoons and care nothing about their dignity and self-respect? How troubling is it that this was the state of Broadway theater in the 1950s, and that only recently have things begun to change in terms of the roles that Blacks perform on Broadway?

Alice Childress bravely addressed an issue that’s truly part of Black actors’ history on Broadway, but she did it with a great deal of humor. She also showed how white directors would cast people in these stereotypical, offensive plays where they were demeaned and considered inferior to the white characters. She showed how overly dramatic and buffoonish Black characters were made to be portrayed. The saddest part about this is realizing that Childress’ work is not just something from her imagination: for generations, Black actors had to endure only being allowed to play these types of roles. Black actors had to accept being the simpleton on stage and being the “yes’m” character to the superior white character who was in charge of their lives, their families and their daily means of existence. Childress’ play may have us laughing as the Black actors perform these roles to perfection, but also let it be known that they are doing this because they have to earn a living, they have to eat and so have no choice in the matter. But through Childress’ lead character Wiletta, stupendously played by LaChanze, we see a woman who has decided “I can’t keep holding my tongue! I can’t keep cajoling the racist, white director. I have to speak up, despite what that might mean for me and my fellow cast members.”

LaChanze delivers a lavishly, stunning performance that lets you see all of the levels of this character, an actress who has been in the game for a while and has played it very well, doing the stereotypical character parts, but when she is given the chance to do her first Broadway play, she desires more. When confronted with the ridiculousness of her character (a mother who lives on a plantation with her husband and son and is now worried because her son wants to vote, something the whites don’t feel Negroes have a right to do; and while she tries to get him not to vote, once he does, she gives him over to the sheriff to be put in jail for his own safety. What?), Wiletta tries repeatedly to speak to the white director, Al Manners, played by Michael Zegen, a pompous, racist, man who dismisses her attempts to make the script more authentic, and verbally abuses the cast, stage manager and the theater doorman Henry. This director is the perfect example of white privilege as he talks to the cast in any way he wants and they have to laugh at his jokes and agree with whatever far-out approach he wants them to take in portraying these groveling, agreeable, stereotypical Black characters.

The other Black actors in this engrossing work illustrate how Black actors took

the abuse because they needed to survive. Jessica Frances Dukes is absolutely priceless as the spirited Millie, who comes to rehearsal with a mink coat and new outfits and has a husband with a steady job but, when push comes to shove, has to admit that she needs this play to happen. Tony Award winner Chuck Cooper brings a great depth and multiple levels to his character Sheldon. This is an older actor who is used to playing the simpleton and is willing to do it to provide a roof over his head. He is also the Black actor that doesn’t want to rock the boat. He will play the exaggerated preacher complete with singing or the simpleton father who sits in the corner and whittles. He is the Black man that realizes you have to play the game and that when one Black person in a cast creates trouble it can adversely affect everyone. He is also a character who has experienced trauma and that also keeps him grounded to realize that he must succeed. Brandon Michael Hill playing John, a young Black actor, is stirringly naïve and then brutally awoken to the reality of the life of a Black actor on Broadway in the 1950s. He sees firsthand that playing the game doesn’t just require playing demeaning roles, but can also mean that you come face to face with the humiliation that the white director can impose on Black cast members at his will. Danielle Campbell is marvelous as Judy, the white actress in the play who is the plantation owner’s daughter, but seems to also have an empathy for the negroes. Campbell’s character at first questions the racist words her character uses, but eventually accepts them. She feels like they are all puppets to be controlled by others. She also is an example of white privilege, where, if she fails she will just go back to the home of her rich white parents. Don Stephenson plays Bill, the racist white character in the play who makes speeches telling the crowd that whites are superior to the darkies and as superiors they have to speak calmly to the darkies. He also represents the white actor who could take or leave this play because he has many other projects he’s working on. Simon Jones is absolutely adorable and wise as Henry, the verbally abused doorman who is the voice of reason for Wiletta and her cheerleader. Alex Mickiewicz is sympathetic as Eddie the stage manager, who is also abused by the arrogant, pushy director, but is also someone who has options in his work choices and doesn’t need for anything.

All of these characters are poignantly bought together through the splendid direction of Charles Randolph Wright. Wright’s direction brings out all the nuances of Childress’ masterpiece! “Trouble in Mind” is playing at the American Airlines Theatre on West 42nd Street. While you will laugh a lot, this production is also thought-provoking and a documentary of sorts depicting our humiliating history on Broadway. Go and see what our people went through and in some cases are still going through to work on the Great White Way! “Trouble in Mind” trembles with truths!

For more information, visit www. roundabouttheatre.org.

(Joan Marcus photos)

Brandon Micheal Hall, LaChanze, Chuck Cooper in Roundabout Theatre Company’s “Trouble in Mind”

By JORDANNAH ELIZABETH

Special to the AmNews

The seminal hip hop producer Pete Rock, who is known for his innovative inclusion of jazz in his hip hop beats in the early 1990s, continues to inspire a new generation. This year, he has connected with the online sample catalog Tracklib, which allows producers to create beats of their own, to offer his mentorship to a winner of the site’s Beat Battle Competition.

Rock, who has worked with A Tribe Called Quest and The Roots and is responsible for the sound of Nas’ groundbreaking track “The World is Yours,” has a lot to offer a young producer looking to break into the world of hip hop production.

He took the time to talk to the AmNews about the new generation of hip hop and his incredibly important contribution to the genre at large.

Amsterdam News: What attracted you to be a part of the Tracklib Beat Battle Competition?

Pete Rock: I like hearing different producers. It helps me listen for talent. There’s so much talent out in the world that people don’t get to hear so doing beat battles allows me to hear different people.

(Photo courtesy of Tracklib)

AmNews: How would you like to mentor a new producer?

PR: I would tell them first to have passion, patience and genuine love for what they’re doing. Secondly, they should take the first steps to learn how to use their ear. From there, it goes to testing what they hear and listening to old music, from jazz to soul to rock, and being interested in understanding what is passing through their ear.

AmNews: Are you excited to work with Tracklib’s digital platform of music?

PR: There’s so much there with catalogs. I can’t wait to delve into their stuff and see what I can come up with. That’s the fun part of dealing with Tracklib, having to go through their library of [samples] and getting to pick and choose sounds. It’s great.

AmNews: Do you still enjoy sampling from vinyl?

PR: Of course. There’s still something about vinyl shops where you can find a record that you’re not going to find anywhere else. There’s a lot that Apple is finding out about and is putting it out digitally but I don’t believe there are albums that will ever be digital. So, I’m still in the record shops looking to find good vinyl.

AmNews: What do you think about current hip hop lyrically? Do you think we’re moving forward in regard to the messages coming out?

PR: You have to pick your poison of different genres of rap music that’s out there. You’ve got different kinds of hip hop and you can pick and choose from. Lyrically, it’s not what I feel it should be. I feel that it’s not A Tribe Called Quest, it’s not Gangstarr and Pete Rock and C.L. Smooth lyrically. It’s not Public Enemy and KRS ONE. Those MCs and lyricists had something to say. In today’s mainstream rap it seems like nobody is saying anything. Back then, you could learn from [lyrics] and have them spark an idea in a positive way. I feel like there’s still more work to be done and a lot of the young generation today just needs to open their minds more and learn about not only their core audience but also how to make music and how to write.

AmNews: Do you feel like you’re taking on a role-model position? What are ways you can pull out creativity from young people?

PR: I think creativity is natural. I just happen to be a creative person. I’ve always been a role model and I felt like even if I’m not teaching anyone you can still learn by listening to my music. If you’re using your ear you can learn how I did it but now I feel like in the physical form I’m able to help push things along when I’m talking to the youth about music.

AmNews: What’s your favorite Pete Rock collaboration?

PR: I’ll have to say RUN DMC because I worked with Jam Master Jay on a track called “Down with the King.” Rest in peace to Jam Master Jay. They were my favorite rap group and one day I was buying their music and being a fan and the next I was working with them in the studio. Shout out to RUN DMC.

DEC 15–19 BIG BAND HOLIDAYS

With swinging, big band versions of everyone’s holiday favorites, don’t miss this inspiring seasonal event perfect for the whole family, featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis and special guest vocalist Alita Moses.

JAN 13–14 CELEBRATING CHICK COREA

Celebrate the late, legendary pianist and composer Chick Corea with a once-in-a-lifetime tribute directed by longtime bandmate John Patitucci and guest performances by an A-list of Corea’s past collaborators and band members.