Epoch Arts 12-18-2015

PAMELA RAITH

Truce on the Western Front

Q&A With Director Patrick ‘TransFatty’ O’Brien

‘Our Friends the Enemy’ makes one consider the state of the world today.

TIMOTHY SACCENTI/RAUL CAVAZOSBINDER/FILMBUFF

The most courageous filmmaker you’ve never heard of.

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Shen Yun Performing Arts

Inspirational Color Through

Shen Yun

The unexpected freshness of ancient color and costume

By Kati Vereshaka | Epoch Times Staff

I

t all began with yellow.

The Yellow River Plateau is considered to be the cradle of the Chinese nation, and Chinese culture is said to have begun with the Yellow Emperor (Huang Di), who reigned 2698 B.C.–2598 B.C. At the end of the emperor’s life, a yellow dragon is said to have appeared and carried him up to the heavens.

Color has always played an instrumental role in China.

Throughout the millennia, Chinese people believed that their culture was divinely bestowed. They believed the five elements of water, fire, wood, metal, and earth created all things in nature, including color, and thus color was inseparable from the heavenly laws.

Color was rich in symbolism and used wisely. The philosopher Confucius applied the colors black, red, cyan, white, and yellow, to the traditional values of benevolence, righteousness, rites, wisdom, and trust.

Emperors chose from these symbolic colors for their respective reigns based on the five elements and the Yin Yang theory. Colors were chosen based on the elements, the season, and their symbolic meanings.

See Inspirational Color on C2

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December 18–24, 2015 TheEpochTimes.com/EpochArts ALL PHOTOS BY SHEN YUN PERFORMING ARTS

Shen Yun Performing Arts

Inspirational Color Through

Shen Yun

Inspirational Color continued from C1 This had been the case until the communist regime took hold and worked to replace such beliefs with atheism, class struggle, and a destruction of ancient values.

Red—the color of the fire element—was once used sparingly as a dot of paint to depict the eye of the dragon. Now, China is awash with red to the exclusion of all others colors.

Reviving Color Deep azure skirts turn into a glittering midnight sky, as dancers in costumes reminiscent of celestial phoenixes twirl and spin.

Streams of celadon, gold, and orange are thrust into the air by the quick stepping performers in a celebratory northeastern folk dance.

Digital backdrops recreate mythical and earthly landscapes in full splendor. Holy temples, imperial palaces, intimate Chinese gardens, or heavenly scenes suddenly come to life when the dancers fill the stage.

Color is alive on stage as Shen Yun Performing Arts, poised to kick off its 2016 season, is at the forefront of a revival that showcases China’s true culture through classical dance and music.

Since the New York-based company began performing in 2006, artists and fashion designers among the audience members have been fascinated by the unique stage effect achieved by combining classical Chinese dance with colorful costumes, set against vivid backdrops. Audiences worldwide have noted Shen Yun’s unique and powerful artistic elements that combine an all-encompassing experience.

For instance, it is not every day that vivid greens and bright magenta are paired to an elegant effect. Fashion designers see Shen Yun, and the wheels of inspiration start to turn.

Former model turned accessories designer Yliana Yepez watched Shen Yun Performing Arts at Lincoln Center’s David H. Koch Theater in January 2014 at a time when she was preparing designs for the next Mercedes Benz New York Fashion Week.

“These colors will give you life. Maybe I should change some of the color palette after seeing the show,” she said at the time.

Her handbags have been worn by celebrities, as well as have been featured in magazines, including Vogue, WWD, InStyle, and Glamour magazine among others.

Her current collection features vivid colors such as saffron, emerald, tangerine, teal, and scarlet among more muted colors.

Azzurra Itri, Italian fashion designer and owner of OneSoul, saw a performance in Milan. “[Shen Yun] is always a great source of inspiration,” she said, because traditional Chinese dress showed the “ability to mix colors and fluidity of costumes in a truly innovative way, for us Westerners.”

These colors will give you life. Maybe I should change some of the color palette after seeing the show.

Yliana Yepez, designer

Shen Yun Performing Arts Lincoln Center David H. Koch Theater Tickets: Online: ShenYun.com/NYC Hotline: 800-818-2393 Running Time: 2 hours, 15 minutes (one intermission) Date & Time: Jan. 14 & 15 at 7:30 p.m.

Jan. 16 at 2:30 p.m. & 7:30 p.m.

Jan. 17 at 1:30 p.m.

A Shen Yun dancer portrays a celestial phoenix.

It was the second year Ms. Itri had seen Shen Yun. Having seen a performance once, her expectations were very high. But Shen Yun puts on an all new performance every season, which means 400 new costume pieces, and Ms. Itri said the result was extraordinary.

Through classical Chinese dance, the color and movement had created “a truly magical effect,” she said.

Celebrated designer Norma Kamali, who designs for dance herself, said, “I saw here the best example about how fabric, clothing, and sleeves can enhance the movement and tell the story.”

Babbie Lovett, a model and fashion show producer, said Shen Yun Performing Arts was the most aesthetic production she had ever been to. “I don’t think I have ever seen a more beautiful production,” said Ms. Lovett seeing Shen Yun at Lincoln Center.

Artists leave the performances lauding the quality and uniqueness of the performance, expressing how inspired and uplifted they feel.

Through the Ages, Across China Donna Karan, chief designer of DKNY and founder of the Urban Zen charity initiative, attended Shen Yun in 2011 and sponsored the VIP reception following the opening night performance at Lincoln Center’s David H. Koch Theater in New York on June 23.

“What I loved about the show was the authenticity of it. It was taking me on a journey to the many aspects of China,” said Ms. Karan, echoing a sentiment that many audience members have felt after watching Shen Yun performances.

A famous Chinese saying goes, “Each dynasty has its own court.” It refers to the fact that each dynasty brought with it new artistic expressions, including style of dress, architecture, crafts, and technical innovations.

The company’s website reminds us that ancient people believed that immortals from celestial paradises reincarnated as humans on Earth during different periods. They became the emperors, officials, scholars, and artists who brought to humankind gifts that would shape the land and its culture.

One of these divine gifts was celestial garb, depicted in many paintings of celestial fairies, Buddhas, Bodhisattvas, Daos, and other

deities in their respective regalia.

The ladies of the Tang Dynasty court are depicted with golden skirts and wide, sweeping sleeves. The Manchurian princesses of the Qing Dynasty wore elaborate headdresses and elevated “flower pot” shoes in a regal, yet playful, dance.

The stage costumes have been adapted for dance, but their style maintains traditional elements and colors.

Shen Yun also pays homage in dance and costume to some of China’s ethnic minorities that number over 50. For example, Shen Yun’s Mongolian dances have showcased the dress and headpieces that are a source of pride in Mongolian women’s wardrobes.

The Miao, or Hmong, is China’s fifth largest ethnic group and one of the most ancient.

Embroidered costumes in jewel-like tones and elaborate silver jewelry feature prominently in Hmong ethnic dances.

In performing a Miao dance, the strong sense of rhythm increases as the dancers move to accompanying drumbeats, and the abundance of the jewelry maximizes the jingling sounds it produces.

“It will have an influence on my next collection. It is so striking. The flow and the combination of the colors—the audacity to put together certain colors, that’s just amazing,” said Cristiane Belmonte, a fashion designer who saw the performance in Milan.

“The combinations are not common today,” said fashion designer Mary Duldouras after seeing a performance in Toronto in 2013.

“There’s contrast in the colors ... the movements were so beautiful with the dancers and the music working together in harmony. It’s very elegant.”

Michael Silvia, founder of THE SILVIA & GROUP, said the colors “are so striking and so beautiful, it just kind of expands your eye in terms of what a palette can look like.”

While the influences of these costumes are ancient and varied, the appeal for today’s artists and designers is fresh and universal. Every season brings a whole new wardrobe of 400 meticulously designed and carefully crafted costume pieces—a new well of color and inspiration for the audience to draw upon. Some have remarked that these colors have started to trickle onto the runways and, perhaps next, the holiday windows on Fifth Avenue.

“Manchurian Elegance,” a 2011 Shen Yun dance.

NEW PAGODA S P E C I A LT Y I N C .

St. Michael’s

The Next Art Opening You Attend, Can Be in Your Home

Show off your collection with museum quality framing and conservation.

renews last year’s efforts to make the upcoming Holiday Season joyful for needy children.

ON SATURDAY, DECEMBER 19TH AT 2 P.M.

Early 19th Century Tiffany Grande Carriage Clock, strike repeater with Alarm

within All Souls Chapel, the United States Marines will collect presents to be distributed to children across the metro area.

YOUR AID IS NEEDED! Hank Johnson of Jazzbone Records playing Christmas favorites on the piano.

Picture Frames & Mouldings Museum Conservation Framing Reproduction Period Mirrors

Jinpra N.Y. E-mail: Jinpra@aol.com

St. Michael’s Cemetery 40 W 25th St #103, New York, NY 10010 • (212) 645-1964 facebook.com/newpagodaspecialty

72-02 Astoria Boulevard East Elmhurst, NY 11370 Tel: 718.278.3240 Fax: 718.278.2168

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December 18–24, 2015 TheEpochTimes.com/EpochArts S I BY L L E ’ S S T Y L E D I A RY ALL PHOTOS COURTESY OF MARGO MANHATTAN

MARGO MANHATTAN on Being Rock ‘n’ Roll Chic and Feeling Fabulous in Your Body Type

By Sibylle Eschapasse This week’s style diary guest is the internationally renowned jewelry designer Margo Manhattan. The famed designer is the daughter of New York City prima ballerina Karin von Aroldingen and goddaughter to ballet master George Balanchine. Her jewelry line has adorned many celebrities from Selena Gomez to Beyoncé and is at the origin of the world famous Red Ribbon label pin for AIDS and the Pink Ribbon for Breast Cancer awareness. She is bold, dynamic, and rock ‘n’ roll all the way!

You never serve anyone by being like everyone else.

Margo Manhattan

Sibylle Eschapasse: Describe your style?

Margo Manhattan: Rock ‘n’ roll chic.

Ms. Eschapasse: If a close friend were to describe your personality in three words, what would they be?

Ms. Manhattan: Loyal, loving, sensitive.

Ms. Eschapasse: How did your style evolve since you were a teenager?

Ms. Manhattan: It probably became a little more chic; all in all, I think I was rock ‘n’ roll back then as well.

Ms. Eschapasse: What is the wildest thing you ever wore?

Ms. Manhattan: For a benefit for Gael Greene’s Citymeals, I designed and made a gummy fish dress, and made the outfit look like a mermaid.

I hot glue-gunned the fish to the dress and it was so heavy and tight I couldn’t move my legs, so I rolled around on my rollerblades.

Margo fell in love with precious metals and stones at a young age, creating jewelry using the Byzantine method.

Ms: Eschapasse: How do you dress on workdays versus weekends?

Ms. Manhattan: I’m pretty true to my style, rock ‘n’ roll chic, for work and going out, and usually sporty-rock ‘n’ roll chic on the weekends when I’m with kids and friends since I’m very athletic and always active.

Ms. Eschapasse: Who is your style icon?

Ms. Manhattan: Madonna, I love the way she reinvents herself all the time and keeps it fresh and exciting!

Ms: Eschapasse: What does having style mean to you? In other words, please define style.

Ms. Manhattan: Style is being true to who you are as an individual. Style means being able to put something together and have it work, look great, be who you are, look and feel fabulous in your body type. Style isn’t something you acquire, you either have it or you don’t. Style is being confident with who you are and being able to accentuate your assets. Anyone can just pick up a magazine or an outfit from a shop window and wear it, but style is when you can take those pieces and make it your own. Style is an individual creative process.

Ms. Eschapasse: What is one purchase you’re most proud of?

Ms. Manhattan: My Chanel watch.

Ms. Eschapasse: What would you pay a lot of money for, and what would you never pay much money for?

Ms. Manhattan: I would pay a lot of money

Ms. Eschapasse: When you go on the red carpet, how do you want your outfit to make you feel?

Ms. Manhattan: I want to feel confident and sexy.

Ms. Eschapasse: Which designers can achieve that?

Ms. Manhattan: Carla Dawn Behrle has done some amazing leather outfits for me and more.

I also love the way Dolce & Gabbana fits me.

Ms. Eschapasse: What do you think of how others dress and what’s your advice to people who would like to develop their personal style?

Ms. Manhattan: You never serve anyone by being like everyone else. “To thine own self be true.”—Shakespeare. Dare to be who you are!

Ms. Eschapasse: What are three accessories you can’t live without and what’s one item that makes you instantly more confident?

Ms. Manhattan: Can’t live without my jewelry and platforms. Jewelry is my armor that, for me, deflects evil and instantly makes me confident and whole, while the shoes give me the stride and strut to my confidence.

Ms. Eschapasse: Who have been your greatest fashion influences?

Ms. Manhattan: Karl Lagerfeld, I worked on styling his collection when I was in Paris and if something wasn’t right he would just pull out the sheers cut it up and make it right. That was my inspiration as it made me less afraid of changing something if it was not perfect. Karl is an icon and inspired me with his talent and the way he created styles for different brands, all while maintaining their individual images.

I would love to do that!

Style is an individual creative process, says Margo Manhattan.

for fabulous gems to design incredible pieces of jewelry, adventure, and travel. I wouldn’t pay extravagant money for wines or expensive dinners.

Margo’s Favorites Favorite color: Hues of blue Favorite perfume Michael Favorite restaurant in NY: Too many to choose from Favorite drink: Sambuca for the moment Favorite movie: “Sleepless in Seattle” Favorite book: “Veronika Decides to Die” by Paulo Coelho Favorite quote: “In order to be irreplaceable one must always be different.” —Coco Chanel

The Dona Bracelet of oval cabochon moonstones designed

by Margo Manhattan.

Margo is true to her rock ‘n’ rock chic style, both for work and going out.

Sibylle Eschapasse is from Paris and now lives in Manhattan. She is a journalist and a contributing writer to various publications. Sibylle is also the author of a children’s book, “Argy Boy!: A New York Dog Tale.” She may be reached at Sibylle.Eschapasse@gmail.com

EXPERT ADVICE

On Color Combinations Of Mats And Framing Styles

Sibylle’s “Style Diary” is a column that explores style from the perspective of choices, and what that means for different people, with personal advice from some of the most stylish people in New York.

The Roman Pantheon 19th Century engraving by Domenico Amici Custom

& Archival Framing Antique, Modern & Contemporary Prints, Paintings & Photographs Margo and Mika.

(212) 755-1516 133 East 54th Street, 2nd Floor www.PhyllisLucasGallery.com

Director: Michael Lucas Mon–Fri: 10am–5pm, Sat: 2–5pm

For our online art exhibitions search for Phyllis Lucas Gallery at: onekingslane.com % 1stdibs.com

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December 18–24, 2015 TheEpochTimes.com/EpochArts

Theater Reviews

Truce on the Western Front

By Diana Barth NEW YORK—One man, actor Alex Gwyther, who also wrote the piece, presents episodes that occurred during World War I, which have come to be known as The Christmas Truce.

In 1914, for a brief time there were actually episodes during which opposing soldiers, the British and the Germans, came together in friendship on the battlefield.

The protagonist, called James, first creates the picture of a group of his buddies. They huddle in the unwelcoming trenches, complaining of the wet and cold; they welcome packages from home. One says, “I’ve never appreciated wool socks so much,” in reference to a pair his mom had knitted for him and sent from England. A rasher of bacon becomes a feast. Letters from home urge them to return home safely.

One of their number, James’s school buddy, George, goes missing.

One day James stumbles upon a small group of German soldiers in a barn. He raises his gun to shoot, then relents as one cries out in perfect English: “I was a taxi driver in Birmingham!”

They all chat together excitedly and promise to meet again, bringing gifts.

The gifts seem meager but are so welcome in the environment—cigarettes, even sketches that some have drawn.

Soon they must return to their job: making war.

These episodes take place in different, unconnected areas. It’s almost as if word has somehow spread that they are friends under the skin. One night a German crawls toward their trench. He shouts, “Wait!” as they’re about to fire. The German then deposits a tiny Christ-

The play makes one consider the awful mess the world is in today.

‘Our Friends the Enemy’ Lion Theatre 410 W. 42nd St. (Theatre Row) Tickets 212-239-6200, or Telecharge.com Running Time 1 hour, 5 minutes (no intermission) Closes Dec. 20

PAMELA RAITH

Alex Gwyther wrote and stars in “Our Friends the Enemy.”

PAMELA RAITH

Alex Gwyther as Private James Boyce in a play about the famous World War I truce at Christmas in 1914. mas tree at the edge of the trench and crawls back to his side of the battlefield.

As it is Christmastime, the Germans sing Christmas carols and wish their British enemies a merry Christmas. A group of Germans approaches and offers cigarettes. The uniforms of gray and khaki seem to blend into one. Barriers briefly vanish.

There’s an amusing episode when both sides encounter a wild hare. It’s to be their dinner!

Each side offers chase, but the wily hare ultimately outsmarts them, dashing to safety down a long, wet trench.

In another incident, some Germans advise a British soldier on how to conquer the lice that are devouring him.

A group of British and German soldiers put on skits to entertain their buddies. A German, attired in a pink blouse and black skirt, flounces about, flirting with his English counterpart, who mimes the role of an English gentleman.

George’s body is later found, face down in a muddy trench. The Germans help bury him.

The play makes one consider the awful mess the world is in today. Will we ever all come

together?

In direct contrast to the hope the play has offered, one is shaken into reality again when certain facts come out at the talkback I attended at the end of the performance: Many of the British were executed for their part in the truce. Their superiors felt it necessary to remind them all that war is a serious business; rules must be followed.

It is sad and chastening.

Under Tom O’Brien’s direction, aided by production design (James Hirst), lighting design (David Goldstein), UK lighting design (Derek Anderson), sound design (David Gregory), and music composition (Darren Clark), performer Alex Gwyther, wearing a World War I soldier’s uniform, brings this project to life, infusing it with a special kind of importance.

The production was brought over from England, and this run represents its debut in the United States.

Diana Barth writes for various publications, including her own New Millennium, an arts publication. She may be contacted at DiaBarth@juno.com

The Warm Return of an Old Friend Holiday nostalgia at Irish Rep

By Judd Hollander NEW YORK—The quintessential old-fashioned English Christmas never really existed until Charles Dickens wrote about it in “A Christmas Carol,” and Santa Claus was never round and jolly until Coca-Cola featured him that way in an advertising campaign. Yet both creations have long become part and parcel of the public consciousness. The same is true with Dylan Thomas’s joyfully nostalgic “A Child’s Christmas in Wales.”

The perennial (if not always annual) holiday treat is presented by the Irish Repertory Theatre, now at its temporary space near Union Square. Though Thomas had written parts of the story earlier, it was originally written as a radio play in 1952 and draws upon his boyhood memories of Christmas.

Charlotte Moore, the Irish Rep’s artistic director, winningly adapted and directed the scenarios presented. Whether completely true, made up, or romanticized and falling somewhere in between, the show charmingly presents the Christmas we all wish we could have experienced at least once in our lives.

With a warm and inviting set, complete with trees, a crackling fireplace, a wreath, and stockings hung over the hearth, the stage is set for a trip down memory lane that is sure to reawaken thoughts of one’s own childhood.

What makes the production so appealing is its quiet and elegant simplicity. We are drawn almost unconsciously into the tale.

The cast members (Jacque Carnahan, John Cullum, Katie Fabel, Kenneth Quinney Francoeur, and Ashley Robinson) speak Thomas’s words, sing Christmas carols, and create an atmosphere in which it seems as if they are each sharing their own particular memories.

All the while the others nod in quiet remembrances of their own or interject their individual Christmas recollections.

Among the images recalled is a child vowing to stay awake all night on Christmas Eve before he inevitably slips into dreamland. He then wakes up to find it’s Christmas morning and runs outside to play.

Then there’s the opening of “useless presents” (clothing and other quite functional items, but none as thrilling as toys) and meeting those idiosyncratic family members to be avoided (such as the one who drinks, the one who complains, and the one who just has to pinch cheeks and never remembers that the child is not a baby anymore).

Ironically, as we age, some family members cease to be objects of ridicule and become objects of pity. These are people who have nothing left in their lives but these family get-togethers. Indeed, the story makes mention of “some few small aunts, not wanted in the kitchen, nor anywhere else for that matter, sitting on the very edges of their chairs, poised and brittle, afraid to break, like faded cups and saucers.”

It’s a testament to Thomas’s writing that many of the scenarios presented can be seen as comical in one light and a bit tragic in another.

One of the most striking things about “A Child’s Christmas in Wales” is that no matter how many times we may see it, we can always find something different in its telling.

This time I found myself focusing on the lyrical intonations of Thomas’s words. They conjured up such images as snow-laden streets, a dark and foreboding house, a quiet park, which becomes an adventure land for those brave enough to venture into it, and the swirling streams of smoke caused by two men puffing on their pipes as they trudged past.

All of these images are spoken in the voices of adults recalling a time, not always that long ago, when the world was magical and not as harsh as it is today—a truism for people of any era. Though even the children in Thomas’s tale have a scare or two before Christmas day is over.

Another strong element of the production is the relatively seamless way the songs are interspersed with the dialogue. We are treated to such classics as “Deck the Halls,” “Good Rest Ye Merry, Gentleman,” and a wonderful medley that includes “I Saw Three Ships” and “The Holly and The Ivy” mixed in with tunes written by Moore.

These newer songs include “Take My Hand, Tomorrow’s Christmas,” and “Open Your Eyes”—one would be hard-pressed to listen to the latter and not become teary-eyed. Another enjoyable tune is “Miss Fogarty’s Christmas Cake,” a satirical salute to all those inedible dishes that someone made with love, but which others would do anything to avoid.

Musical director Mark Hartman provides excellent accompaniment on the piano and tosses in an occasional comment or observation when appropriate.

Whether you have Christmas memories akin to the ones depicted here or if you’ve never had anything close to them, but wish you did, “A Child’s Christmas in Wales” is the show for you.

It never fails to warm the heart and allows you to forget, at least for a little while, the tribulations that all too often come with the season and lose yourself in the possibilities of what it could be.

Judd Hollander is the New York correspondent for the London publication The Stage.

‘A Child’s Christmas in Wales’ The Irish Repertory Theatre The DR2 Theatre 103 E. 15th St. in Union Square Tickets: 212-727-2737, or IrishRep.org Running Time: 1 hour, 10 minutes (no intermission) Closes: Jan. 3, 2016

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December 18–24, 2015 TheEpochTimes.com/EpochArts BARNEY MOSS, CC BY 2.0

In ‘Gorilla’ by Anthony Browne, Hannah is given the gift of time with her father.

Children need to be interested in the books they’re reading, so it’s better if they choose the books themselves.

Book Reviews

Childrens’ Books About Gift Giving

By Linda Wiegenfeld The holiday season is here and commercialism abounds. Yet gift giving can also be altruistic. Winston Churchill said, “We make a life by what we give.”

The following books demonstrate that giving can be a basic ingredient in a truly happy life.

ing is the gift that will follow its owner everywhere.”

STOREY PUBLISHING

FARRAR, STRAUS AND GIROUX

‘Boxes for Katje’ “Boxes for Katje” is based on a true story.

Author Candace Fleming tells about the concept of giving and getting back.

Right after World War II, Katje’s family lives in war-torn Olst, Holland, which has been devastated. Then one day a box arrives from America full of things to help. The box was sent by Rosie, an American girl, as part of a goodwill effort. A friendship begins between the girls, and many more packages arrive from Rosie.

Rosie begins a collection of things for Katje from all over her American town.

Katje is so appreciative and shares the items that come with all her neighbors.

Finally things get a little better for Katje.

To thank Rosie and everyone who helped her, Katje sends tulip bulbs to America to brighten their day.

‘Mr. Rabbit and the Lovely Present’ Charlotte Zolotow’s “Mr. Rabbit and the Lovely Present” is another older book with simple yet colorful illustrations.

It features a charming conversation between a rabbit and a little girl.

The girl wants to get a gift for her mother but has no money. The rabbit and the girl finally settle on a most unusual gift—the gift of colors. Mr. Rabbit then suggests some rather foolish gifts for each of the colors, such as red roofs or a yellow taxicab.

In the end, they decide to put fruits representing different colors (green pears, yellow bananas, red apples, and blue grapes) into a basket that the girl already owns. The book ends with the girl feeling that she has a lovely present.

‘The Teddy Bear Doctor: A Let’s Make & Play Book’ “The Teddy Bear Doctor: A Let’s Make & Play Book” by Deanna F. Cook and “The LEGO Ideas Books” are examples of the many books that give the gift of learning in an exciting way.

“The Teddy Bear Doctor” has everything in it to set up an amazing pretend veterinarian clinic. The many “LEGO Ideas Books” have children make models using their imagination. To paraphrase an old Chinese proverb, “Learn-

‘Gorilla’ In “Gorilla” by Anthony Browne, Hannah is given the gift of time with her father.

Hannah loves everything about gorillas but has never seen a real one because her father has never taken her to the zoo. He is always too busy.

Hannah asks for a gorilla on her birthday. Although she means a trip to the zoo, what Hannah gets instead on the night before her birthday is a toy gorilla.

That night, Hannah dreams that the toy gorilla grows, and wearing her father’s clothes, takes her on an adventure, which includes a trip to the zoo.

The next morning on her birthday, Hannah gets a surprise when her father says, “Do you want to go to the zoo?” Hannah rejoices.

GOLDEN BOOKS

‘The Sweet Smell of Christmas’ Patricia M. Scarry’s “The Sweet Smell of Christmas” is an interactive book that stresses the all-important sense of smell with scratch-and-sniff stickers that are related to the feelings and memories of Christmas.

While traditional holiday aromas are different for everyone, smell can invoke fond memories of loving actions. The loving actions portrayed in this book—such as getting the perfect tree, hanging candy canes, or baking gingerbread figures—are wonderful gifts for children.

SCHOLASTIC PRESS

‘Extra Yarn’ Mac Barnett’s “Extra Yarn” starts in a black-and-white world, where everything is drab. Then one day, Annabelle finds a magical gift—a box filled with multicolored yarn. She knits a sweater.

There is extra yarn left over, so she knits sweaters for everyone in town, animals, and all sorts of things that don’t even wear sweaters. Yet the yarn never runs out.

One day, an archduke tries to buy her yarn but Annabelle will not sell. The archduke steals her box of yarn, but it is empty. He hurls the box out of the window and Annabelle finds it. At the end of the story, the town is transformed from cold and unappealing to warm and inviting thanks to a magical gift.

CANDLEWICK

‘Ask Mr. Bear’ Marjorie Flack shares a great lesson in “Ask Mr. Bear”: The best gifts are not material items. This is an older book with quaint pictures.

Danny travels from animal to animal looking for the best present for his mother. The animals offer things such as fresh eggs, feathers for a pillow, milk for cheese, and wool. However, everything that is offered by the animals, his mother already has.

Finally one suggests that Danny ask Mr. Bear. Danny goes alone since the other animals are reluctant to accompany him.

Mr. Bear comes up with a wonderful gift—a bear hug for his mother.

‘William’s Doll’ In “William’s Doll” by Charlotte Zolotow, William wants a doll. William is met with opposition from his brother, the boy next store, and his father.

William’s father buys him a basketball, an electric train, and a workbench but William still wants a doll. At the end of the book, William is given the ultimate gift. He not only gets the doll that he wants but also the greater gift of understanding why from a very wise grandmother.

By listening to her grandson, the grandmother recognizes that a doll will help William practice doing what great fathers do— cuddle, comfort, and protect their children.

‘The Quiltmaker’s Gift’ “The Quiltmaker’s Gift” by Jeff Brumbeau is the story about a greedy king surrounded by splendid gifts. The king likes receiving presents so much that he proclaims his birthday will be two times each year. Yet he is never happy with what he has.

The king meets a gifted quiltmaker and demands a quilt from her. She refuses unless he gives away some material possessions. She tells him she will sew him a quilt piece by piece, adding on to the quilt each time he gives something away.

The king reluctantly agrees to her demand, growing happier each time that he gives something away. At the end of the book, he is much poorer in material possessions but has experienced the joy of giving. The king considers that priceless.

The great illustrations of quilts just add to the beauty of the book.

‘The Gift of the Magi’ In O. Henry’s timeless story “The Gift of the Magi,” a poor young couple struggle to give each other meaningful Christmas gifts. Unbeknownst to the other, each gives up a most treasured possession to buy the other a wonderful present. The wife sells her hair to buy her husband a chain for his watch. The husband sells his watch to buy his wife a comb to wear in her beautiful hair. The gifts are useless as a result, but the special feeling invoked from giving to another out of pure love is not. ‘’Twas the Night Before Christmas’ This article would not be complete without mentioning the most famous gift giver of them all, Santa Claus. I highly recommend the book edition of the famous poem “‘Twas the Night Before Christmas” by Clement Clarke Moore.

The poem is about a father observing Santa Claus (called St. Nick in the poem) leaving gifts for the family on Christmas Eve. Many books feature this poem, but I like those with the original unaltered poem and old-fashioned pictures, pipe smoking and all. The poem was written in 1822, and I feel it should be presented in a historically accurate way.

These are some of the many books you may want your children to read. To paraphrase St. Nick’s words, “Happy reading to all, and to all a good night.”

Linda Wiegenfeld is a retired teacher. Please send any comments or stories of giving to LWiegenfeld@aolcom

Holiday Gift Guide Need help finding the perfect gift for him or her?

Check out the NYC Holiday Gift Guide compiled by the Epoch Arts & Style team. www.EpochGift.com

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December 18–24, 2015 TheEpochTimes.com/EpochArts

An Interview With Director Patrick ‘TransFatty’ O’Brien The most courageous filmmaker you’ve never heard of ALL PHOTOS BY TIMOTHY SACCENTI/RAUL CAVAZOS-BINDER/FILMBUFF

By Mark Jackson | Epoch Times Staff

the greatest challenges?

Mr. O’Brien: The greatest challenge was to never give up on the film. To stay alive to shoot another day; to see this film through. To keep looking for new angles. At one point I had Lou Gehrig appear on screen as a zombie. To keep a sense of humor and have fun. But in terms of the greatest challenge, it was the edit. Lasse Järvi and Doug Pray, out on the West Coast, edited 10 years of footage into a beautiful story.

I’ve never seen anything like it.

P

atrick O’Brien—also known as “TransFatty”—made a film documenting one of the world’s deadliest diseases (ALS). The film’s called “TransFatty Lives,” a 10-year project. Why? Because he himself suffers from this disease, and is still with us.

One Bourbon, One Scotch, One Jelly Donut He got his nickname working as a New York performance artist/deejay. I knew guys like Patrick in college: slightly Falstaffian (goodlooking but carrying a few too many pounds), longish hair, beard, more than a little exhibitionistic, snarky-hilarious, and always seriously dialed into whatever was happening on campus of an underground nature with a geek edge.

It’s like a tribe or an archetype almost; call it the TransFatty Tribe. There exist various species within the TransFatty family: the Dungeons & Dragons TransFatty, Dead-head TransFatty, Renaissance Faire TransFatty, Offensive-tackle TransFatty, and so forth.

The TransFatty tribe member tends to be wildly creative, from hysterical bathroom graffiti to campus deejaying, from Ultimate Frisbee to avante-garde bands. And they have a deep devotion to weed. And donuts. It’s a sure bet that chubby, bearded, donut-and-weed-worshipping, super-snarky film director Kevin Smith (aka “Silent Bob”), is a card-carrying member of the TransFatty club.

In His Prime So imagine you’re a happenin’ young dude, an SVA film grad, underground filmmaker, Internet celebrity, with tons of energy, super-funny, living your bliss … and then one day your foot starts shaking. Doesn’t stop. It’s Amyotrophic Lateral Sclerosis (ALS, or Lou Gherig’s Disease).

Deadly. Fatal. No cure for it.

What would you, yourself, do? Bribe a nurse to hire a hit man? Get wheeled up to the hospital roof, and rolled off, in the bed? If you were of the TransFatty Tribe, you might be delighted by the concept of a 10-story falling, bedpan explosion.

But ultimately you wouldn’t choose that for yourself, because—being a hardcore filmmaker—you’d want to witness the actual bedpan explosion and film it. You wouldn’t be able to have your cake and eat it too.

A guy like Patrick has too much humor and joie de vivre to take such a roof-escape fantasy too terribly seriously. In his film “TransFatty Lives,” he virtually sails through all the bad news with his positivity, humor, sense of mischief, and dedication to his family—intact.

It’s kind of a superhuman feat. It’s a lesson for us all to learn from. Talk about “The Unsinkable Molly Brown.” In the face of this titanic disease, O’Brien is definitely the Unsinkable TransFatty.

The following interview was conducted through email, as Patrick, at this advanced stage of ALS, can only communicate with his support group via one eye.

Q&A Epoch Times: What made you want to be a filmmaker and storyteller? When did you know?

Patrick O’Brien: It started with sound-recording on cassette tapes. In D.C., when I grew up, there was a shock-jock named Greaseman, who I liked. He did skits and sound effects, which I would record and imitate. Then, when my dad remarried, he got a camcorder—that camera changed my life. Also, early on, my mom would do funny voices of different char-

Epoch Times: What surprised you during the making of this film?

Mr. O’Brien: Free small fries from Wendy’s.

Filmmaker Patrick O'Brien imbibing wine unconventionally.

Epoch Times: What’s the most fun part of the creative process for you, in writing, directing, and filmmaking?

Mr. O’Brien: I guess the “making it up as you go” part. Is that directing?

Epoch Times: What do you want audiences to learn and think about?

Mr. O’Brien: The feedback we are getting is interesting. Across the spectrum, our audience—everybody from 15-year-old girls to presidential candidate Chris Christie—talk about being moved and inspired by the story.

And they find it funny too, which is something I really wanted.

Epoch Times: Where do you draw the strength from, to keep going?

Mr. O’Brien: From my 8-year-old son, Sean.

Patrick O’Brien holding his son, Sean Patrick O’Brien.

Patrick O’Brien rockin’ the Mohawk. acters. That was very influential. We loved M*A*S*H.“

Karma is considered ‘heavy.’ You burn it off through suffering—you get lighter.

Enlightenment.

Epoch Times: Steven Spielberg says young filmmakers fall into two categories: They either 1) follow their friends around with a camera, or 2) blow up toy trains and film that. Which one were you?

Mr. O’Brien: Hmm ... I definitely was a pyro early on. And I definitely used my friends in my early films. I guess a combination of the two.

Epoch Times: What was the most significant thing you learned in film school?

Mr. O’Brien: Don’t smoke grass in the hallways.

Epoch Times: What was the significant thing you learned out in the world, actually making films on your own?

Mr. O’Brien: Every shot matters.

Epoch Times: Clearly, everything in this film was challenging. What would you say were

‘Enlightenment by Shotgun’ In the film, “enlightenment by shotgun” is how O’Brien’s therapist describes the descent into the abyss of this disease. However, as O’Brien just said, right there, he is less concerned about such esoteric concepts and explains that the whole film project is really a letter to his baby boy, Sean.

However, slowly but surely, the awareness of the nature of his journey begins to sound very much like the realizations of sages who discern that on an advanced level, things are the reverse of how they appear in our earthly day-to-day lives. Exactly how when you stare at red and then close your eyes, you see green.

And so, instead of taking the entirely understandable victim viewpoint of being jailed in the inert flesh pile that is his locked-down body, ALS transforms, in his mind, into “a beautiful disease.” Beautiful in terms of its soul-transforming potential.

He notes that his outer, physical suffering is “inversely proportionate to my inward journey”—a staggering statement. And yet such views are not uncommon among those shouldering terminal diseases. How often have you heard of someone claiming that if they had to do it all over again, they wouldn’t have it any other way—due to the wealth of wisdom accumulated through suffering?

Eastern schools of thought maintain that the only reason for human existence is to burn accumulated karma through pain, and that the bitterest suffering, from a higher perspective, is therefore the most precious. In light of that—O’Brien’s therapist was right: Patrick hit the suffering jackpot. Karma is considered “heavy.” You burn it off through suffering—you get lighter. Enlightenment.

The film is far from depressing. It will give you hope, through the exceptional courage and resiliency on display by an exceptional filmmaker being his own lab rat and subject matter.

Talk about a life’s work. Talk about a labor of love. Patrick Sean O’Brien gifts his son, Sean Patrick O’Brien, the wherewithal to witness a father’s devotion to be there, no matter what the cost. The film’s poster reads: “As ALS kills ... TransFatty Lives.” TranFatty’s living is a gift to us all.

New App Introduces Classical Music to UK Children

By Kremena Krumova | Epoch Times Staff

P

rimary school teachers in the United Kingdom now have a powerful tool to ignite the love of classical music in their pupils—a new Web-based application, Classical 100, launched on Nov. 2.

Classical 100 is a carefully chosen and freeto-use selection of 100 classical music pieces spanning 10 centuries—from the medieval choral music of Hildegard von Bingen to works by contemporary composers like Graham Fitkin and John Adams.

So far, 1,000 primary schools have signed up for the application, as revealed via an email

by Triona Doherty, the social media and press executive at the Associated Board of the Royal

Schools of Music (ABRSM), the largest music education body in the United Kingdom.

Classical 100 is a joint initiative of ABRSM, Classic FM radio, and the Decca Classics record company, supported by the Department for Education, the education ministry in the United Kingdom.

Fantastic Resource St. Charles Catholic Primary School in London is one of the first to deploy the application, and the feedback from both teachers and pupils has been overwhelmingly positive.

“The Classical 100 app is a fantastic resource for primary schools” wrote Yvonne Sebuyira, the music coordinator at the school.

“For me as a music teacher, it is wonderful

It’s like showing kids videos of ‘The Great British Bake Off’ and saying they know how to cook.

James Rhodes, classical pianist

to have 100 pieces ready to be used as starters for discussion and which inspire and support our instrumental and vocal work.”

In addition to being able to replay the pieces, teachers can filter them by genre, mood, country of origin, and time of creation.

“The ability to ‘shuffle’ and organize the 100 pieces according to different criteria is a brilliant idea and particularly helpful!” she said.

For example, if teachers want to raise the energy level in the class, they can select Bernstein’s “Mambo” from “West Side Story,” or encourage a moment of quiet reflection with Beethoven’s “Moonlight” Sonata, according to ABRSM’s press release.

See Music App on C8

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December 18–24, 2015 TheEpochTimes.com/EpochArts DARIO ACOSTA VIA ANONYMOUS 4

Anonymous 4: The Last Noel Dec. 22 at 6:30 p.m. & 8:30 p.m.

Metropolitan Museum of Art

The last chance to hear the bewitching, allfemale a cappella ensemble.

Renowned for their unearthly vocal blend and virtuosic ensemble singing, the four women of Anonymous 4 combine historical scholarship with contemporary performance intuition to create their magical sound. Anonymous4.com

THINGS TO DO COMMUNITY EVENTS NEW IN MANHATTAN Sounds of the Season Dec. 18 at noon 909 Third Ave. A performance by Bay Music School Faculty Carolers.

Free. EastMidtown.org/ SoundsOfTheSeason

VISUAL ARTS NEW IN MANHATTAN Marvin E. Newman: Sequentially Sought Dec. 17–Jan. 30 Howard Greenberg Gallery, 41 E. 57th St., Suite 1406 An exhibition of photographs

by Marvin E. Newman made in New York and Chicago in the 1950s. Free.

HowardGreenberg.com

ONGOING IN MANHATTAN Design for Eternity: Architectural Models From the Ancient Americas Through Sept. 18, 2016 Metropolitan Museum of Art From the first millennium B.C. until the arrival of Europeans in the sixteenth century, artists from the ancient Americas created smallscale architectural models to be placed in the tombs of important individuals. $12– $25 suggested.

METMuseum.org Fabergé From the Matilda Geddings Gray Foundation Collection Through Nov. 27, 2016 Metropolitan Museum of Art Louisiana heiress and philanthropist Matilda Geddings Gray (1885–1971) acquired her first object

by Fabergé in 1933. An artist herself, with a refined aesthetic sensibility, she was a sophisticated collector, while the name of the Russian artist-jeweler Peter Carl Fabergé (1846–1920) was almost unknown in the United States. Over the following years, Matilda Geddings Gray amassed one of the finest Fabergé collections in the world, and Fabergé's art has become widely known and internationally sought after. $12–$25 suggested.

METMuseum.org Masterpieces of Chinese Painting Through Oct. 11, 2016 Metropolitan Museum of Art Over the last forty years, the Metropolitan's collection of Chinese painting and calligraphy has grown to be one of the greatest in the world. Replete with masterpieces dating from the Tang dynasty (608– 917) to the present, the

collection encompasses the vast historical sweep of the brush arts of China, from serene Buddhist scriptures to bombastic court portraits to lyrical scholars' paintings.

This exhibition, presented in two rotations, will highlight the gems of the permanent collection in a chronological display, with an emphasis on works from the Song (960–1279) and Yuan (1271– 1368) dynasties. $12–$25 suggested. METMuseum.org Andrea del Sarto's Borgherini Holy Family Through Jan 10 Metropolitan Museum of Art Andrea del Sarto (1486– 1530) was one of the most influential artists active in Florence in the first decades of the sixteenth century. The exhibition will complement Andrea del Sarto: The Renaissance Workshop in Action, a more extensive survey of the artist's work that will be on view at The Frick Collection at the same time. $12–$25 suggested.

METMuseum.org Andrea del Sarto: The Renaissance Workshop in Action Through Jan. 10, 2016 The Frick Collection, 1 E. 70th St. This selection of nearly fifty drawings—red and black chalk figures, expressive heads, and compositional studies—and three related paintings will explore the important role of drawing in Andrea del Sarto’s paintings and offer an unprecedented display of the two media in concert.

Frick.org Cerámica de los Ancestros: Central America’s Past Revealed Through Jan. 2017 National Museum of the American Indian, One Bowling Green This bilingual (English/ Spanish) exhibition illuminates Central America’s diverse and dynamic ancestral heritage with a selection of more than 150 objects. Free.

NMAI.si.edu

ONGOING ELSEWHERE Greater New York Through March 7 MoMA PS1, 22-25 Jackson Ave., Long Island City, Queens MoMA PS1 presents the fourth iteration of its landmark exhibition series, begun as a collaboration with The Museum of Modern Art in 2000. Recurring every five years, the exhibition has traditionally showcased the work of emerging artists living and working in the New York metropolitan area.

Suggested $10.

MoMAPS1.org

PERFORMING ARTS ONGOING IN MANHATTAN La Donna del Lago Through Dec. 26 Metropolitan Opera Joyce DiDonato reprises her stunning portrayal of the “lady of the lake” in Rossini’s dazzling bel canto showcase set in the medieval Scottish highlands. Tenor Lawrence Brownlee is the king who pursues her. Rossini master Michele Mariotti conducts the operatic adaptation of Sir Walter Scott’s classic. From $25. MetOpera.org The Flick Through Jan. 10 Barrow Street Theater, 27 Barrow St. In a run-down movie theater in central Massachusetts, three underpaid employees mop the floors and attend to one of the last 35-millimeter film projectors in the state. $59–$99.50.

BarrowStreetTheatre.com King Charles III Through Jan. 31 Music Box Theatre, 239 W. 45th St. The Queen is dead. After a lifetime of waiting, Prince Charles ascends the throne with Camilla by his side.

As William, Kate and Harry look on, Charles prepares for the future of power that lies before him‥but how to rule? $37–$159.

KingCharlesIIIBroadway.com Misery Through Feb. 14 Broadhurst Theatre, 235 W. 44th St. The Broadway thriller “Misery,” a stage adaptation of Stephen King’s novel of the same name, taps into that strength as well as the fear of being alone, helpless, and dependent on the kindness of a stranger. $69–$169.

MiseryBroadway.com Fiddler on the Roof Starts Dec. 20 Broadway Theatre, 1681 Broadway Tony-winning director Bartlett Sher and the team behind South Pacific and The King and I bring a fresh and authentic vision to this beloved theatrical masterpiece from Tony winner Joseph Stein and Pulitzer Prize winners Jerry Bock and Sheldon Harnick. $39–$227. FiddlerMusical.com

NEW ELSEWHERE Staten Island Ballet: The Nutcracker Dec. 19-20 Center for the Arts, College of Staten Island, 2800 Victory Blvd.

This international troupe

performs classical and original ballet works and provides dance training and performances through its professional school at its Staten Island facility, and offers ballet programs in New York City public schools. $40–$50.

SIBallet.org

MUSIC NEW IN MANHATTAN Musica Sacra Chorus and Orchestra: Handel’s Messiah Dec. 22 at 7:30 p.m.

Stern Auditorium/Perelman Stage at Carnegie Hall Music Director and Conductor Kent Tritle leads Musica Sacra’s 77th performance of Handel’s Messiah at Carnegie Hall. A muchanticipated holiday tradition, the performance features an exceptional cast of soloists, including Kathryn Lewek, soprano; Christopher Ainslie, countertenor; Mingjie Lei, tenor; and Matt Boehler, bass. $35–$90.

CarnegieHall.org

The Masterwork Chorus and Orchestra: Handel's Messiah Dec. 23 at 7:30 p.m.

Stern Auditorium/ Perelman The Masterwork Chorus performs their interpretation of Handel’s Messiah under the baton of Music Director Dr. Christopher Shepard.

He shares the stage with a professional baroque orchestra and four soloists. $13.50–$90.

CarnegieHall.org Twelfth Night Festival Dec. 26–Jan. 6 St. Paul's Chapel, Broadway & Fulton Trinity Church, Broadway at Wall Street Music of the medieval, Renaissance, and Baroque periods rubs shoulders with music by living composers, including premieres by Daniel Felsenfeld, David Lang, Tarik O'Regan, and Gerald Busby.

Free. TrinityWallstreet.org New York String Orchestra Dec. 28 at 8 p.m.

Stern Auditorium/ Perelman Stage at Carnegie Hall

The New York String Orchestra bids farewell to the old year with Barber’s heartfelt Adagio for Strings and an orchestral arrangement of Schubert’s dramatic “Death and the Maiden” String Quartet. $15– $65. CarnegieHall.org New World Christmas: Navidad en Latinoamerica Through Dec. 25 Cathedral of Saint John the Divine, 1047 Amsterdam Ave. Early Music New York’s superb vocal ensemble and a plethora of plucked strings performs sacred works for Spain’s and Mexico’s cathedrals, interspersed with instrumental & vocal chanzonetas, villancicos, coloquios, ensaladas, and indigenous dances by Santiago de Murcia. $20-$50.

EarlyMusicNY.org

Dear Readers If you have an event to suggest, please send details to NYC_Arts@ EpochTimes.com in the format you see here.

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December 18–24, 2015 TheEpochTimes.com/EpochArts

New App Introduces Classical Music to UK Children ALL PHOTOS BY TOM WELLER/ABRSM

Music App continued from C6

For me as a music teacher, it is wonderful to have 100 pieces ready to be used.

It also states: “If a teacher wanted to exemplify the Romantic period, it would lead them to a list including Tchaikovsky’s ‘1812 Overture,’ or if they were exploring choral music they could discover Handel’s ‘Hallelujah’ Chorus from ‘Messiah.’”

“Class teachers are thoroughly enjoying the ‘mood changer,’” said Sebuyira, adding that it also saves time for additional preparation and invites exploration of history, art, and literature from the same time period.

And yet another treat provided by Classical 100 is that each selection is accompanied by a curious story around its creation and author.

For example, with Prokofiev’s “Peter and the Wolf” is the text: “The Russian composer was commissioned in 1936 to write a new musical symphony for the young, to cultivate ‘musical tastes in children from the first years of school.’ He completed Peter and the Wolf in just four days.

While initial reception to the work was poor, it has gone on to be one of the most enduring

Yvonne Sebuyira, music coordinator, St. Charles Catholic Primary School, London

“HONEY, I LOVE IT!” It can be hard to find the perfect gift for that special someone. Why not take them on a journey to a world of beauty and adventure? With thrilling, exquisite classical Chinese dance, groundbreaking technology, and an uplifting musical fusion of East and West, Shen Yun is the unique experience they’ll remember for years to come.

Ali Walker demonstrates the new ABRSM Classical 100 app at St. Charles Primary School in London on Oct. 19.

Classical 100 app displaying classical music selections on a white board during the app’s first demo. and popular pieces of 20th century music, narrated by every imaginable celebrity from Sean Connery to Eleanor Roosevelt, from Phillip Schofield to David Bowie. Each character is represented by a different instrument, while Peter’s theme is taken up by the stringed instruments.”

The music coordinator applauded the storytelling idea and said it even spurs children’s creativity.

“Children are really enjoying learning more about certain pieces.”

“They have responded to the stories and produced some lovely written work, art, and musical accompaniments! Many wish they could access the app at home and indeed asked on the day of the launch if that might happen one day!”

Experience a Divine Culture LINCOLN CENTER DAVID H. KOCH THEATER

JANUARY 14-17

5 Shows Only!

Tickets start at $80 | 800-818-2393 | ShenYun.com/nyc

‘Paper Over the Cracks’ In the U.K.’s educational system, music is an obligatory subject in the first three key stages (ages 5–14) but is often considered a “soft” discipline, given little budget and taught by generalists as supplements to other subjects.

“School music provision is often weak and poorly led,” states a report by the Office for Standards in Education, Children’s Services and Skills from 2013. It explains the root of the problem is “in a lack of understanding, and low expectations in music, among the schools’ senior leaders and their consequent inability to challenge their own staff.”

Classical 100 is the latest initiative striving to improve the quality of music education in the United Kingdom. But while some laud the new app, others have voiced criticism that it cannot replace real music instruction.

“This is an attempt to paper over the cracks ... It’s like showing kids videos of ‘The Great British Bake Off’ and saying they know how to cook,” said classical pianist James Rhodes in an interview for the Daily Mail.

“School music provision is often weak and poorly led,” states a report by the Office for Standards in Education, Children’s Services and Skills from 2013. It explains the root of the problem is “in a lack of understanding, and low expectations in music, among the schools’ senior leaders and their consequent inability to challenge their own staff.”

In response to the criticism, education minister Nick Gibb vowed last month to bring “excellent, well-rounded music education” to all pupils without reserving it for a “privileged few” and announced the investment of $560 million (£390 million) between 2012 and 2016.

But critics remind us that real improvement will not come with just money, but with reconsideration of the importance of music as a school subject.