Epoch Arts 4-15-2016

RICHARD TERMINE

C1 April 15–21, 2016

The cycle of four plays is also known as the ‘Henriad.’

Jasper Britton (C) as King Henry IV, much older now than in “Richard II” and hoping to pass the mantle to his son, Prince Hal (not pictured).

THEATER REV IEW

‘King and Country Shakespeare’s Great Cycle of Kings’

By Diana Barth

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EW YORK—To mark this year’s 400th anniversary of William Shakespeare’s death, a series of four of his history plays is being presented at Brooklyn Academy of Music (BAM) via Britain’s Royal Shakespeare Company’s “King and Country: Shakespeare’s Great Cycle of Kings.”

In a performance rich with subtlety, David Tennant is alternately arrogant or sullen.

Remarkably, much of the series’s contents parallel the present political climate here at home.

The tetralogy, known as the “Henriad,” encompasses leadership—both positive and negative: competitiveness, slander, greed, underhandedness. One need only watch the evening news to see these elements played out.

But, to balance the scales, Shakespeare also offers a noble and just king: Henry V, the final royal personage portrayed in the series, following “Richard II” and “Henry IV, Parts I and II.” “Richard II” opens compellingly with three sopranos, standing in a minuscule balcony chanting somber tones while onstage a woman weeps over a casket. Dramatic trumpeting thunders out.

See Shakespeare on C7

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April 15–21, 2016 TheEpochTimes.com/EpochArts PHOTOS COURTESY OF BULGARI

Octo Collection.

Serpenti Collection.

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Octo Collection.

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We don’t act like a Geneva-based company.

It’s not how Italians enjoy life.

ROMAN DNA An interview with Guido Terreni, managing director of Bulgari Watches

Epoch Times: What is the DNA of Bulgari? And what makes your brand unique?

Guido Terreni: First of all we have to start with the fact that we are a Roman brand. In hard luxury, there are no Italian brands. You have Geneva-based companies, especially in the watches. Or you have French-based companies. We are one of the leaders in hard luxury, rooted in jewelry, and we come from Rome.

From a cultural point of view, Italians, and especially Romans are much different from Swiss or French. The way of living and enjoying life in Italy is very different.

In hard luxury, you’re used to following a rule or an etiquette. As Romans, we have DNA that is very different because you make your own rules in the way you live. That’s about being Italian and being Roman. The self-confidence the Romans have is telling you that you’re going to behave, even if you don’t respect the etiquette or protocol or a way of living.

This is due to the fact that Rome ruled the world 2,000 years ago. When you have a DNA like that, you don’t ask for permission. You just do what you want. That is in the DNA of the brand.

The ambassador line of Bulgari is the Serpenti Collection. The Serpenti Collection is something that is not born by looking at what sells or by looking at the competition. A watch like this tells you what Bulgari is about.

So going back to our DNA, as Romans, this is inspired by many, many years of having the serpenti in our brand. Cleopatra brought the “serpent” (snakes) to Rome, it came to Rome for love.

We do not follow others in doing a feminine watch, just by taking a men’s watch, making it a little bit smaller, putting some diamonds and fancy colour on the dial. That’s not how we treat a woman. It has to be something specific for her.

Bulgari became internationally famous with the Dolce Vita period. It is a period in which actors from Hollywood came to Rome because of Cinecittà. It was the Hollywood of Italy in

Quest for Elegance Epoch Times: How about the Greek origins of the brand?

Mr. Terreni: Founder Sotirios Bulgari left Greece, passed by Corfu, Naples, and then reached Rome in 1884. He founded Bulgari in Rome that same year.

He was a silversmith, so he started doing jewels, silver, and then gold. So I would say the origins are Greek, but the expression is Roman.

The brand is really Roman. When you are a Roman, or Italian, you have a quest for elegance and beauty. That is a talent.

And doing a watch design is something as difficult as doing a grand complication. So you’re combining this Italian cultural elegance with the savoir-faire in Switzerland in making watches.

Epoch Times: How does this translate into your marketing and communication strategy for the global consumers? How do you keep the balance between the brand’s consistency and cultural sensitivity?

Mr. Terreni: People from other cultures are not looking for a brand to express their own culture. They’re looking for a brand to be true to itself. I have been leading the watch business since 2009. What I’m trying to do since then is to do less science.

Serpenti, launched in 2010, clearly shows that. And the Bvlgari Bvlgari is another expression of boldness. It is an expression of Roman culture.

Roman emperors used to write their own names and Rome on coins, like Caesar, Roma.

And we have Bulgari, Roma. This is so creative and bold. … Rome gives us the boldness, the personality.

Epoch Times: And the influence from the Roman architecture …

Mr. Terreni: It’s an endless source of inspiration. These are all contemporary objects.

Because they always say, I’m not interested in buying a watch that is an expression of somebody else’s time.

When you look at other watches, you see these gold round watches, very discreet and old fashioned. It’s what my grandfather used to wear. I don’t drive his car, I don’t wear his clothes, why should I wear his watch? That’s the way we see luxury, how you should enjoy a timepiece.

ute Repeater is the star of the fair this year. It is the thinnest minute repeater in the world.

We already made the thinnest tourbillon two years ago. This piece is extremely contemporary, very modern.

It’s one of the most difficult complications.

I think there are a few brands that can do something like this. This is done completely in-house with the savoir-faire in watchmaking. And it is done in a style, which is different from the rest.

Serpenti Incantati

Epoch Times: Tell us more about the watch you’re wearing.

Mr. Terreni: It’s very architectural. This is my personal watch since 2012. It’s the father of the Octo Collection and I always appreciate it because it’s very contemporary, very masculine. I love the masculinity of the Octo and I love the fact that you can recognize it from 10 meters [about 30 feet] away and it’s not what everybody is wearing. It’s a question of exclusivity.

Epoch Times: How do you take the heritage from the past and make it relevant to the modern day consumer?

Mr. Terreni: That is part of the culture that we have. We are a very cultivated brand in terms of design. It is in the DNA of the brand.

For example, we have two new watches that we’re introducing this year on the Serpenti.

We keep evolving and this gives you a much younger flavor, and it is a bit more glamorous.

When you look at this 10, 20 years from now you will still like it.

It is called Serpenti Incantati. It’s a new version of the Serpenti. Not many people prefer snake that folds around the wrist, so this Incantati is folding around the watch. So you have the jewellery watch that is round and still playing the theme of the snake.

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ounded in 1884 by Greek silversmith Sotirios Bulgari, the luxury brand that carries his surname is undoubtedly all Roman.

While most watch brands are based in Geneva and Italian fashion brands choose Milan as headquarters, Bulgari has stayed true to Rome. Its many product lines that include jewelry, watches, fragrances, and accessories, are informed by a Roman aesthetic that is inspired by the city’s architecture, lifestyle, and then there’s a certain Roman mindset.

Guido Terreni, managing director of Bulgari Watches, spoke to the Epoch Times about Bulgari’s Roman DNA, the brand’s distinctive features, and the new timepieces at this year’s Baselworld.

the 1950s and 1960s. And they discovered the easygoing, fun, and exciting life in Italy.

The divas of that period discovered Bulgari.

And Bulgari became jeweler of stars. When you have that type of customer, you have a charm and excitement. It is the true charm of these people.

And on the men’s side, it is the same. We have a watch like the Octo, which is standing out. It’s an architectural design, an expression of contemporary design. We never go back to traditional designs. It’s something that’s designed for today. And 20, 30, 40 years from now it still has to be very contemporary. And this is true for the Bvlgari Bvlgari, that was designed 40 years ago and is still is very active.

So we don’t act like a Geneva-based company. It’s not how Italians enjoy life. We want to have an exuberant creativity with a tremendous level of sophistication.

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By Emel Akan | Epoch Times Staff

Guido Terreni, Bulgari

Epoch Times: The gemstones are in ruby color. Is there anything significant about it from a cultural standpoint?

Mr. Terreni: The brand is the leader in gemstones. We’ve been using coloured gemstones. This is a tribute that we put in our watches. We also have a collection with amethyst color. We really play with nature.

Epoch Times: What kind of women consumers will be among the first to wear your collection before anybody else?

Mr. Terreni: When I’m asked this question, everybody expects me to answer by custom or nationality. I never use that. Because in every culture, in every nationality, you have a Bulgari client. It’s a question of confidence level.

As I mentioned earlier, Rome is about the boldness of the client. This speaks to women and men who make their own rules. Who have a strong personality, who are refined and have a sensitivity for aesthetics.

For ladies, it’s a little bit easier because we have 130 years of history in jewellery. The ladies’ watches always have a strong link to jewellery, the Serpenti Collection.

World’s Thinnest Minute Repeater On the men’s side, it’s really a statement of aesthetic. Our new watch Octo Finissimo Min-

Guido Terreni, Bulgari Watches managing director.

Epoch Times: What are the key trends you observe in global markets?

Mr. Terreni: I see a lot of brands are playing with the Chinese zodiac. We’re not doing that. I have too much respect for Chinese culture. And if there are people buying it, I won’t judge. But I think it’s important to make people understand the DNA. In difficult times, brands try to defend themselves. We do exactly the opposite, we become even more creative and make people understand who we are. I think in difficult moments, you have a great opportunity of gaining market share through this strategy.

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April 15–21, 2016 TheEpochTimes.com/EpochArts SBORISOV/ISTOCK

The Last National Poetry Month Ever?

A look at poetry’s downward trend

By Evan Mantyk

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et’s face it: Today, the audience of poetry is increasingly dwindling as poetry becomes appealing and understandable only to the poets themselves.

According to the government’s “Survey on National Participation in the Arts,” released last year, Americans’ reading of literature has stayed static, but reading of poetry has sharply declined. In 1992, 18 percent of Americans said they had read or listened to a poem in the last 12 months, but that figure dropped to a mere 7 percent by 2012, the worst decline of any literary genre. In another decade or two, we are looking at virtual oblivion.

How do we turn around this dismal downward trend? How do we revive poetry—a free or low-cost pastime that stimulates your mind, inspires your soul, satisfies your grandest longings, fortifies the pillars of great civilizations and cultures, and communicates your ideas and feelings more effectively than almost anything else? How do we do it?

April is National Poetry Month and seems as good a time as any to think about an answer to this question, lest it be the last of its kind.

The first step is to return poetry to what people recognize as poetry, in other words, rhyme and meter: Take these lines of William Wordsworth’s poetry (his words are worth listening to): “I wandered lonely as a cloud / that floats on high o’er vales and hills / when all at once I saw a crowd / a host of golden daffodils.”

You may not fall in love with these lines or with poetry after reading them, but you know for sure that it is poetry, how it basically works, and what it is saying. What is the deep meaning? The average man might respond, “I don’t know? Beauty?” Correct! That’s how poetry should work. Too much poetry today is overly cryptic and out of touch with ordinary readers.

Myself and many other poets, after dabbling in modern art or modern poetry, are returning to classical forms for this reason. However, it is anything but easy when college courses and the general public have already come to accept that serious poetry today generally shouldn’t rhyme or make sense upon first reading. The question is how to reconnect the indifferent non-poet masses with poetry.

PUBLIC DOMAIN

Too much poetry today is overly cryptic and out of touch with ordinary readers. you can utilize that foundational perspective and harness it within whatever field you are in as Nolan has effectively done.

Lastly, classrooms remain the surest and easiest way to facilitate engagement of non-poets with poetry. To put it more accurately, humanities education itself, including History, Social Studies, and English Language Arts, benefits immensely from the study of poetry. A core skill in these areas is to ascertain meaning and value in a text. Classical poetry provides the perfect grounds for cultivating this skill. It is a forum that balances free-spiritedness, beauty, creativity, and passion with structure, discipline, order, and restraint.

Classical poetry offers not only a break from long, dry history texts and uninteresting novels but also a place for honing interpretative, critical reading and intuitive skills. If you are a teacher, consider using more classical poetry in your classroom.

These are just a few of the ways that poetry can enrich people lives. So, pick up some good poetry and start reading! And, if you can’t make heads or tales of the poem after a moment of reflection, then it’s probably not good to begin with.

Enjoy classical poetry in motion with the following poems written by living poets today and previously published by the Society of Classical Poets (classicalpoets.org).

William Wordsworth.

I have no definitive answers, but only fragments and clues. I have a 9-year-old son and a 7-year-old daughter and I’ve tried numerous poems on them. Funny and humorous poems, and poems marked “children’s poetry,” sometimes work and sometimes don’t.

The poems they enjoy most, regardless of poem quality or their particular interest in the subject matter, are riddles. From the Riddler in Batman comic books and movies to the riddles of Gollum in “The Hobbit” to the traditional lantern riddles of the Mid-Autumn Festival (the Chinese equivalent of Thanksgiving), riddles are an age-old heritage that is still relevant and engaging today. Riddles make poetry interactive, fun, and relevant to non-poets.

Recently, I saw Christopher Nolan’s movie “Interstellar,” which prominently featured Dylan Thomas’s rhyming poem “Do Not Go Gentle Into That Good Night.” Here, we have classical poetry being disseminated to and enriching the lives of millions of moviegoers, most of whom are non-poets.

At their roots, other artistic fields, such as filmmaking—and perhaps all fields and endeavors in a general sense—could be looked at as extensions of poetry. If you have a solid grasp and understanding of good poetry, the simplest form of artistic communication, then

April Earth

Betsy Hughes graduated from Vassar College with an A.B. in English and an abiding love for poetry. She earned her M.A. in English from the University of Dayton and taught high school English for 30 years at The Miami Valley School. In retirement she has moderated courses in literature and creative writing for the University of Dayton Osher Lifelong Learning Institute. Her sonnets have appeared in The Ohio Poetry Association Anthology “Everything Stops and Listens” and in several literary journals. Hughes is the 2013 winner of the Stevens Manuscript Competition sponsored by the National Federation of State Poetry Societies, with her book titled “Breaking Weather” released in the spring of 2014. She won an Honorable Mention in the Society of Classical Poets’ 2014 Poetry Competition.

Her primary interests revolve around her (retired) professor husband, two children, and four grandchildren.

Spring Tanka

By Brian Mc Cabe Now Spring time is here; Snow drops of white will appear Behind them will come Yellow harbingers of sun, Daffodils of the New Year.

Brian Mc Cabe is a retired civil servant in Ireland, who is now pursuing an interest in creative writing, and has had a number of poems and short stories published in Ireland. He writes for a number of journals on the subjects of history and archeology, and has recently published “Dear Miss B: A collection of Edwardian postcards.”

By Betsy M. Hughes Beneath us sleeps a secret, patient world Of fertile earth and plantings—bulbs and seeds In moistened soil, safely tucked and curled, Receiving rains sufficient to their needs.

The ground is soundless. Underneath, the mood Is active waiting, purposeful, and pure— Anticipation cooled with quietude Until a sure emergence is secure.

Then urgent stems must make their run to light, They push through pathways in the loam, upswing— Up! Up!—toward a place where all is bright, They burst into the warmth and fire of spring.

New shoots from tubers, bulging buds give scope To subterranean harbingers of hope!

The Cherry Blooms in Central Park

By Peter Agnos In Central Park the cherries now Are hung with blooms along the slough, And stand around the reservoir, Pink and white Spring avatars.

Now of my three-score years and ten I’ve outlived many better men; I’m over-the average hill by five….

I wonder why I’m still alive.

To gaze at cherry trees in bloom One hundred years seems little room— Maybe one will whisper in my ear The meaning of the changing year.

Peter Agnos is a poet living in Manhattan in the West 90s with a view of the Hudson River.

The First Day of Spring

By Lorna Davis The first day of spring started rainy and cold, But new greens were sprouting, defiant and bold, And daffodils nodded their bright heads of gold, To make the day not quite as dreary.

As I, winter-weary, looked out through the glass And wondered if ever this winter would pass, A rainbow of songbirds alit on the grass And watching them, soon I grew cheery.

On closer inspection, I noticed the gray Was lighter, and brighter indeed was the day, As the storm clouds were parting and drifting away, And sunlight began to break through.

And then, as I watched, winter’s grip on the world Was loosened, as though its cold fingers uncurled, And outside my window the spring was unfurled In a glittering light on the dew.

Taking leave of my window, I stepped to the door, And into the garden I went, seeking more Of the warmth that all winter I’d been longing for, And out in the sunlight I stood.

The air was still cool, but it smelled fresh and clean, And the tips of the branches were all dipped in green.

Wherever I looked, signs of spring could be seen, And on such days—oh yes—life is good!

Lorna Davis is a poet who is happily retired and living in California. She can be reached at LornaDavisPoetry@yahoo.com To contact the Society of Classical Poets, write to Submissions@ClassicalPoets.org Evan Mantyk is president of the Society of Classical Poets and a high school English teacher in upstate New York.

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April 15–21, 2016 TheEpochTimes.com/EpochArts

Opera Review

Domingo Still Dominates the Stage in

‘Simon Boccanegra’

Plácido Domingo (C) in the title role of Verdi’s “Simon Boccanegra.”

Giuseppe Verdi (1813–1901) composed 28 operas, at least half of which are at the core of today’s repertoire.

Domingo’s voice is still powerful.

‘Simon Boccanegra’ Metropolitan Opera House 30 Lincoln Center Plaza Tickets 212-362-6000, or MetOpera.org Running Time 3 hours, 9 minutes Closes April 16

KEN HOWARD/METROPOLITAN OPERA

NEW YORK—In 2008, a poll of opera critics conducted by BBC Music Magazine named Plácido Domingo the greatest tenor of all time.

The following year, he began a new career as a baritone.

Verdi is Domingo’s favorite opera composer, and he first performed the title role of “Simon Boccanegra” at the Metropolitan Opera in 2010. Now 75 years old, he is again tackling the demanding part at the Met with the venerable James Levine conducting.

The plot is rather convoluted. It begins in Genoa in the 14th century with a revolution throwing out the aristocracy. The crowd overturns a statue, reminiscent of the scene in Iraq after the invasion. In fact, all the political upheavals in the Giancarlo del Monaco production resemble the events we see on the news every day.

The title character is a pirate turned politician (sound familiar?) whose lover, Maria, dies at the beginning. Just as Boccanegra finds Maria’s body, the crowd declares him the ruler.

Her father, the aristocrat Fiesco, mourns her death but hates Boccanegra for having an illicit affair that resulted in the birth of a daughter.

Fiesco demands his granddaughter, but Boccanegra explains that the baby has mysteriously disappeared. All of this happens during the Prologue.

Act I begins 25 years later. Fiesco is living under the assumed name of Andrea Grimaldi and is raising Amelia, whom he believes to be an orphan. In actuality, she is his granddaughter.

Meanwhile, Amelia is in love with Gabriele Adorno, a revolutionary who wants to overturn Boccanegra. One of the courtiers, Paolo, has his own designs on Amelia and has a confederate try to abduct her. The plan is foiled

by Adorno, who erroneously thinks Boccanegra is behind the attempted kidnapping.

Boccanegra figures out that Amelia is really his long-lost daughter, and the girl convinces him to pardon Adorno.

At the end, Boccanegra is poisoned by Paolo, but everybody (except for the murderer on his way to be executed) makes up in time for the ruler to sing his final notes.

“Simon Boccanegra” was not successful when it premiered in 1857. More than 20 years later, Arrigo Boito revised the libretto, adding the powerful council chamber scene in Act I. The later version of the opera is the one being revived at the Met. While Domingo doesn’t sound like a true

MARTY SOHL/METROPOLITAN OPERA

By Barry Bassis

Joseph Calleja as Gabriele Adorno and Lianna Haroutounian as Amelia in Verdi’s “Simon Boccanegra.”

baritone, his voice is still powerful and, if anything, his interpretation of the role has deepened since he performed it in 2010. Has anyone at his age performed leading roles at a major opera house and done so with such distinction?

Another veteran, bass Ferruccio Furlanetto, was a splendid Fiesco. As Amelia, soprano Lianna Haroutounian sang with a lustrous tone, as did the tenor Joseph Calleja in the part of Adorno.

Baritone Brian Mulligan from Endicott, New York, shows enormous promise as the evil Paolo.

Under James Levine’s vigorous conducting, Verdi’s music is consistently melodic even if the arias are not among his most famous.

Giancarlo del Monaco’s production is traditional but satisfying. The set of the council chamber evoked cheers from the audience.

Barry Bassis has been a music, theater, and travel writer for over a decade for various publications.

JOAN MARCUS

Theater Review

Piercing Look at the World of High Finance

By Judd Hollander NEW YORK—Say what you want about the onepercenters. For better or worse, they’re the ones who get things done; and in a world where money is power, that’s an important selling point. But when public image comes under attack for those selfsame actions, that’s another story entirely. These factors collide head-on in Sarah Burgess’s comedic drama “Dry Power,” currently at The Public Theater.

Rick (Hank Azaria) is one of the founding members of KMM Capital Management, a company dealing in leveraged buyouts, flipping companies, and/or stripping them apart and selling off the pieces in the name of profit.

Possessed with an acute business sense, Rick seems to lack common sense. He has thrown an extravagant engagement party—complete with an elephant—for himself and his fiancee the same day a supermarket chain under KMM control announces hundreds of layoffs.

This juxtaposition generates reams of negative publicity for the company, as well as a series of protests against him and his investors.

Salvation appears for Rick in the form of Landmark Luggage, a Sacramento-based company looking to expand and needing a new influx of capital.

Rick’s partner Seth (John Krasinski), who brought him the deal, sees this as a win for all concerned. It’s a low buy-in fee (only $491 million). Moreover, Seth has virtually promised Landmark CEO Jeff Schrader (Sanjit De Silva) that KMM would retool the company and keep it in California, thus creating more jobs there. The deal will help

offset all of KMM’s recent bad press.

However Seth’s plan is virulently opposed

by Jenny (Claire Danes), KMM’s other major player. She is more concerned with what is financially best for the company rather than any so-called human factor. Not trusting Seth’s somewhat rosy projections, especially since the idea entails breaking into the luggage market via online shopping, she reasons things would be much cheaper to move all manufacturing offshore to Mexico or Bangladesh.

“Dry Powder” (a financial term referring to marketable securities that are highly liquid and considered like cash) is a fascinating look at the way deals can be made or discarded at the drop of a dime.

It also shows the importance of holding on to one’s principles. While individuals may not always be able to change the world, they can certainly control what happens in a deal they have a hand in, provided they have the courage to follow it through to the end.

Performances are strong throughout with each of the actors who play Rick, Jenny, and Seth supporting the playwright’s commentary on the world of high finance.

Krasinski, for example, brings Seth to life with an image of the white-collar working man who has it all: a family, a good job, and pride in the work he does. Indeed, one of the few times Seth and Jeff get into a disagreement is when Jeff disparages Seth’s type of business.

Danes shows Jenny to be a hard-charging businesswoman one moment—sending one of her team to the hospital for exhaustion—and a deliberate caricature the next. She brilliantly makes the character a sort of emblem of all

’Dry Powder’ shows the importance of holding on to one’s principles.

‘Dry Powder’ The Public Theater 425 Lafayette St. Tickets 212-967-7555, or PublicTheater.org Running Time 1 hour, 35 minutes Closes May 1

that’s wrong in her line of work.

Jenny has no personal life whatsoever; she doesn’t care about the company’s public image, forgetting its investors; she also has a complete lack of tact and ends up constantly apologizing to Rick because of it.

At the same time, Jenny is brutally honest.

As she tells Jeff, “I may not turn out to be your best friend, but I’ll never mislead you.” She also gets the best laugh lines in the play.

As for Rick, played nicely low-key by Azaria, he carries power like a cloak draped about his shoulders. He’s also always careful to examine every deal he’s involved in from all possible angles. In fact, he hired Seth and Jenny so he could listen to their often differing opinions, and even though both go against his wishes from time to time, he keeps them around for that purpose. Yet there is never any doubt that he is the boss and the one who makes all final decisions.

Taking place in a theater in the round, on a set designed by Rachel Hauck with nothing but blue cubes to serve as the various set pieces, Thomas Kail’s strong direction and the various actors’ spot-on performances allow the show to zip by in no time at all.

Credit must also go to Clint Ramos’s rather sharp-looking costumes, particularly the ones the KMM people wear.

Chock-full of financial speak, “Dry Powder” offers an all-too-clear look at the world of high finance and the unfortunate realities that come with it.

Judd Hollander is a member of the Drama Desk and a reviewer for StageBuzz.com

(L–R) Seth (John Krasinski), Rick (Hank Azaria), and Jenny (Claire Danes).

Rick likes to hear opposing viewpoints from his KMM Capital Management staff, Seth and Jenny, in “Dry Powder,” written by Sarah Burgess.

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April 15–21, 2016 TheEpochTimes.com/EpochArts ALL PHOTOS COURTESY OF FLOATING CLOUD PRODUCTIONS

Film Review

‘BLEEDING EDGE’

When a Film Is More Than Just a Movie Film tells story of atrocities taking place today in China, and the West’s complicity in them

In a scene from the film “The Bleeding Edge” from award-winning director Leon Lee a prisoner of conscience under the Chinese regime is tortured for not renouncing her faith.

By Joshua Philipp | Epoch Times Staff

“The issues this film address is something that does deserve a fair amount of investigation,” says actress Anastasia Lin.

A new independent film from award-winning director Leon Lee could be one of the most important movies you’ll see this year. “The Bleeding Edge” is a deeply emotional and powerful film that borders somewhere between a thriller and a piece of investigative journalism.

It’s a film about one of the most brutal human rights abuses taking place in the world today: the Chinese Communist Party’s (CCP) persecution of Falun Gong practitioners. And it’s also a film about responsible business practices, in a world where technology giants hold our security and privacy in the palms of their hands.

Epoch Times was given a screening of “The Bleeding Edge,” which premieres at the Palm Beach International Film Festival on April 11.

Falun Gong, also called Falun Dafa, is a Chinese spiritual discipline steeped in ancient Chinese traditions. Its practitioners try to improve their characters according to the principles of truthfulness, compassion, and tolerance, and also practice five exercises, which are similar in appearance to the art of tai chi.

On July 20, 1999, there were an estimated 100 million people practicing Falun Gong in China, and CCP leader Jiang Zemin launched his persecution of the practice, which he saw as a threat to the CCP’s power.

Families were broken, innocent people were thrown into prisons and forced labor camps, and many faced extreme forms of torture—the worst of which is the harvesting of organs from living people, something only uncovered in 2006.

“The Bleeding Edge” follows two stories within the persecution, one of a mother, Chen Jing (played by Anastasia Lin), who was imprisoned and tortured for her beliefs, and the other of a Canadian software developer, James Branton (played by Jay Clift), who sold to the CCP technology being used in the persecution.

In a phone interview with Epoch Times, Lee shared his hope that the film will start discussions, and inspire people to research the topic.

He said, “If all we achieve is open up discussion and prompt people to look into it, we’ve achieved our purpose.”

The film is a thriller that is based on real events.

The fictional software company, Cyskom Technologies, is a play on Cisco Systems, which helped the CCP build its massive surveillance system— the Golden Shield Project—that has been used for human rights abuses.

Anastasia Lin, who was Miss World Canada 2015 and became famous when she revealed the CCP was threatening her father in an attempt to silence her on human rights in China, researched her role by interviewing Falun Gong practitioners who were imprisoned and tortured in China.

Leon Lee, the film’s director and producer, is no stranger to the topic. He won the prestigious George Foster Peabody Award in 2015

Hollywood today is a place where filmmakers are trying to cater to the CCP, with hopes of winning access to the Chinese market.

‘The Bleeding Edge’ Director Leon Lee Starring Anastasia Lin, James Yi, Jay Clift, Tony Bai Running Time 88 mins Not Yet Rated Release Date April 11

The film “The Bleeding Edge” explores the persecution of Falun Gong in China and portrays the Chinese Communist Party’s brutal persecution of the practice.

for his documentary film, “Human Harvest,” on the CCP’s use of Falun Gong practitioners for forced organ transplants.

“The Bleeding Edge” portrays a side of China that the CCP tries to keep hidden from the world. The film is at times brutally real, but it’s brutality with a purpose—which is a rarity in movies.

The story following Jing shows her enduring the same types of torture that befall many religious believers in China, whether they be Falun Gong practitioners, Tibetan Buddhists, Muslim Uyghurs, or House Christians. But it also shows the other side of the persecution— that of regular people with families and children trying against seemingly insurmountable odds to tell the world what’s taking place.

Branton’s story is on the other side of the persecution, and one that is no less real. He’s the businessman who understands his technology is being used for suppression of human rights, but doesn’t fully understand what that means.

After he gets a heart transplant in China, and finds some oddities with the procedure, he begins doing his own research, and uncovers the horrors he helped create.

Hollywood today is a place where filmmak-

ers are trying to cater to the CCP, with hopes of winning access to the Chinese market. Films are getting censored, actors are watching what they say, and courageous voices are becoming fewer and fewer.

Films similar to “Seven Years In Tibet,” which caused its star, Brad Pit, to get barred from China, are now used as examples of what not to do.

And from this standpoint, a film like “The Bleeding Edge” is a welcome change in an environment where many filmmakers are selling out free expression and knowingly keeping silent.

Lee told Epoch Times that “casting was an issue,” and that actors who were supposed to co-star in the film had pulled out because the film touches on topics sensitive with China.

He said the Chinese regime is getting “more and more influential in the worldwide film market,” and it even has “direct investment and co-production deals with U.S. and Canadian studios.”

You can be sure at least that none of the actors in “The Bleeding Edge” will be traveling to China anytime soon—and the fact that they’ve gone ahead with a film, knowing it may bar them from appearing in major films that directors are trying to get into China, is something deserving of respect.

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April 15–21, 2016 TheEpochTimes.com/EpochArts

ARTEMIS QUARTET April 17 at 3 p.m. | Zankel Hall at Carnegie Hall Haydn provided the inspiration for Mozart’s String Quartet in G Major, the first of six he dedicated to his mentor and friend. Tolstoy’s dark tragedy The Kreutzer Sonata was the inspiration for Janáek’s quartet, a visceral work with unforgettable power and lyricism. Grieg’s String Quartet No. 1 in G Minor is a richly sonorous work with forward-looking harmonies and rich color. $49–$58. CarnegieHall.org COURTESY OF ARTEMIS QUARTET

THINGS TO DO COMMUNITY EVENTS NEW IN MANHATTAN Neighborhood Concert: Ying Fang Ken Noda April 16 at 5 p.m.

St. Michael’s Church 225 W. 99th St. A member of the Metropolitan Opera’s prestigious Lindemann Young Artist Development Program, Ying Fang has performed under the direction of distinguished conductors such as James Levine and William Christie. Fang is joined by pianist Ken Noda, who has appeared with the world’s great orchestras and is also an acclaimed chamber musician and vocal accompanist. Free.

SaintMichaelsChurch.org

ONGOING IN MANHATTAN Tribeca Film Festival April 13–24 Various locations

The 2016 Tribeca Film Festival includes conversations this year with successful filmmakers, artists, and executives including J.J. Abrams, Andrea Arnold, Anthony Bourdain, Francis Ford Coppola, Katie Couric, Alfonso Cuarón, Jodie Foster, Ricky Gervais, Catherine Hardwicke, Donna Karan, Baz Luhrmann, Patti Smith, Joss Whedon, Olivia Wilde, Samantha Bee, and more. $10–$40 for individual tickets.

TribecaFilm.com Shakespeare’s Star Turn in America Through May 27 New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center, 40 Lincoln Center Plaza The exhibition focuses on Shakespeare in North America from the Colonial times to the present. The multimedia exhibition uses artifacts from the Library for the Performing Arts’ unique collection to document the on-going popularity of the Shakespeare plays. Free.

NYPL.org

ONGOING ELSEWHERE

Clifford the Big Red Dog April 17 at 2 p.m.

Walt Whitman Theatre, Brooklyn College, 2900 Campus Rd., Brooklyn In this musical adventure, Clifford, Emily Elizabeth and the whole gang from Birdwell Island learn about Clifford’s BE BIG! Ideas—Share, Play Fair, Have Respect, Work Together, Be Responsible, Be Truthful, Be Kind, Help Others, Believe in Yourself, and Be A Good Friend—with memorable songs, creative choreography, and lots of laughter and audience interaction. $18. BrooklynCenter.org The Orchid Show: Orchidelirium Through April 17 New York Botanical Garden, Enid A. Haupt Observatory, 2900 Southern Blvd., Bronx The 14th annual Orchid Show transports visitors on a journey through orchid collecting history, each moment playing out against a stunning

backdrop of thousands of orchids. Discover the far-flung adventures of orchid hunters swept up in 19th-century “orchidelirium,” when explorers risked life and limb to secure these captivating flowers from jungles around the world. $20. NYBG.org Neighborhood Concert: Matuto April 22 at 7:30 p.m.

Flushing Town Hall, 137-35 Northern Blvd., Queens The lively, joyous sound of Matuto entwines Brazilian folk music with the flatpicking guitars and fiery fiddling of American bluegrass. Matuto (Brazilian slang for “country boy”) beautifully embraces Brazilian forró rhythms and the folk traditions of the American South, with instruments that include accordion, guitar, bass, triangle, and zabumba, a bass drum often used in Brazilian music. Free. www.FlushingTownHall.org Branching Communities Together: 4th Annual Sustainable Living Empowerment Conference April 23 Saint Peter’s University, 2641 John F. Kennedy Blvd., Jersey City, N.J. This intimate, communitydriven conference is meant to move people in a way to want to be the change that they would like to see in the world. It is also an opportunity for organizers and grassroots organizations to come together under one roof, share ideas, and move their respective mission(s) forward.

Free, registration required.

SASGLocal.com

VISUAL ARTS NEW IN MANHATTAN

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Pergamon and the Hellenistic Kingdoms of the Ancient World April 18–July 17 Metropolitan Museum of Art, The Tisch Galleries, Second Floor The conquests of Alexander the Great transformed the ancient world, making trade and cultural exchange possible across great distances. Alexander’s retinue of court artists and extensive artistic patronage provided a model for his successors, the Hellenistic kings, who came to rule over much of his empire. $12–$25 suggested.

METMuseum.org

ENDING IN MANHATTAN The Photography Show, 36th Edition April 14–17 Park Avenue Armory Eighty-six of the world’s leading fine art photography galleries will present a wide range of museum-quality work, including contemporary, modern, and 19th-century photographs as well as photo-based art, video, and new media. $30. aipad.com

The World in Play: Luxury Cards, 1430–1540 Through April 17 Metropolitan Museum of Art Only three decks of European hand-painted playing cards are known to have survived from the late Middle Ages. Examples of cards from the earliest handpainted woodblock deck as well as fifteenth-century German engraved cards, north Italian tarot cards of the same period, and the finest deck from the early sixteenth century will complete the display. $12–$25 suggested. METMuseum.org

PERFORMING ARTS NEW IN MANHATTAN Die Entführung aus dem Serail April 22–May 7 Metropolitan Opera Met Music Director James Levine returns to a work he has long cherished, Mozart’s delightful comic gem of wily captives in a harem. From $25. MetOpera.org

ONGOING IN MANHATTAN Elektra April 14–May 7 Metropolitan Opera The genius director Patrice Chéreau (“From the House of the Dead”) didn’t live to see his great Elektra production, previously presented in Aix and Milan, make it to the stage of the Met. But his overpowering vision lives on with soprano Nina Stemme—unmatched today in the heroic female roles of Strauss and Wagner—who portrays Elektra’s primal quest for vengeance for the murder of her father, Agamemnon. From $32. MetOpera.org Jewels April 19 at 7:30 p.m., April 23 at 8 p.m.

David H. Koch Theater One of the most brilliant works in the Balanchine repertoire, Jewels manifests the multifaceted elegance of three coveted stones. $30–170. NYCBallet.com

ENDING IN MANHATTAN Simon Boccanegra Through April 16 Metropolitan Opera The legendary pair of James Levine and Plácido Domingo have defined Verdi’s art for more than four decades. They demonstrate their mastery with this remarkable character study of the wise Doge forced to confront his past.

The spectacular cast includes tenor Joseph Calleja and another legend, bass Ferruccio Furlanetto, as Boccanegra’s rival, Fiesco. From $27. MetOpera.org Sense & Sensibility Through April 17 Gym at Judson, 243 Thompson St. Written by Jane Austen, adapted for the stage by Kate Hamill, directed by Eric Tucker. $69–$89.

Bedlam.org Roberto Devereux Through April 19 Metropolitan Opera Soprano Sondra Radvanovsky takes on the extraordinary challenge of singing all three of

Donizetti’s Tudor queen operas in the course of a single season, a rare feat made famous by Beverly Sills—and not attempted on a New York stage since.

From $32. MetOpera.org

NEW ELSEWHERE Les Fêtes Vénitiennes April 17 at 2 p.m.

BAM Howard Gilman Opera House, 30 Lafayette Ave., Brooklyn Les Arts Florissants returns to BAM with a well-known but seldom seen opéra-ballet will have a ravishingly beautiful presentation. $35. BAM.org

MUSIC NEW IN MANHATTAN Jeremy Denk on Piano April 17 at 2 p.m.

Stern Auditorium at Carnegie Hall Baroque and Classical favorites interspersed with ragtime and jazz? The extraordinary Jeremy Denk defies recital traditions in a breathtaking range of music from Bach and Schubert, to Joplin and Tatum. $16–$95.

CarnegieHall.org Luisa Sello and Bruno Canino April 18 at 8 p.m.

Weill Recital Hall at Carnegie Hall Italian duo Luisa Sello and Bruno Canino give a recital of works for flute and piano.

They perform Italian composer Amilcare Ponchielli’s Fantasy on “La Gioconda” for Flute and Piano, as well as compositions

by Alfredo Casella and an American premiere by Ezio Monti. $45. CarnegieHall.org Bavarian Radio Symphony Orchestra April 19 at 8 p.m.

Stern Auditorium at Carnegie Hall From the sunny glow of its opening movement to a rousing finale heralded by trumpet fanfares, Dvorak’s Symphony No. 8 is a warm-hearted masterpiece that conjures the spirit of his beloved Bohemia. $18–$112. CarnegieHall.org Takacs Quartet and Garrick Ohlsson April 19 at 7:30 p.m.

Zankel Hall at Carnegie Hall The second of Beethoven’s three quartets dedicated to Russian Count Andreas Razumovsky is famous for a Russian folktune quotation, later used in Mussorgsky’s “Boris Godunov,” in its rhythmically quirky scherzo. $59–$70.

CarnegieHall.org Andrey Gugnin on Piano April 21 at 8 p.m.

Weill Recital Hall at Carnegie Hall Gold Medalist and the Audience Prize-winner at the 2014 Gina Bachauer International Artists Piano Competition, Russian pianist Andrey Gugnin performs a program of new and familiar works. $30–$40.

CarnegieHall.org

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April 15–21, 2016 TheEpochTimes.com/EpochArts ALL PHOTOS BY RICHARD TERMINE

T H E AT E R R E V I E W

‘King and Country Shakespeare’s Great Cycle of Kings’

Shakespeare continued from C1 Enter King Richard in the person of actor David Tennant. In a performance rich with subtlety, Tennant is alternately arrogant or sullen, and finally full of regret as he comes to realize that he has been the cause of his own downfall.

Attired in long robes, his hair flowing down his back, Richard presents an imposing figure.

Further, the actor speaks the verse as if he were born to it—a great plus in this role as “Richard II” is almost entirely in verse. That Tennant is also a remarkably versatile performer is evidenced in the fact that he is known primarily for his work in a BBC TV series. This production marks his first appearance in the United States.

Richard is not the noble hero as he might like to appear; there are some unsavory deeds in his past. Nevertheless, overall, he is a sympathetic figure, one whom the audience favors.

Richard’s prime adversary is his cousin, Henry Bolingbroke, son of John of Gaunt (Julian Glover), Richard’s uncle. Jasper Britton’s Henry is the polar opposite of Tennant’s Richard. Blunt, bereft of verbal flourishes, he sees his goal—to obtain the crown—and goes right to the point.

Unfortunately for Richard, Henry is beloved by the people while Richard stands aloof, even disdaining commoners. Like many rulers of his time, Richard does not rule wisely, thinking only of his own wants rather than those of the people. This is a character flaw that will result in Richard’s downfall.

Due to an altercation involving Bolingbroke, Richard sees fit to exile him for a period of time, thinking this will get him out of the picture.

However, Richard makes a fatal error. He seizes

The fat, blustery Falstaff is played to the hilt by Antony Sher.

‘Richard II’ and ‘Henry IV Part II’ BAM, Harvey Theater 651 Fulton St., Brooklyn Tickets 718-636-4100, or BAM.org Running Time ‘Richard II’: 2 hours, 55 minutes (one intermission) ‘Henry IV Part II’: 3 hours, 10 minutes (one intermission) Closes ‘Richard II’: April 29 ‘Henry IV Part II’: April 30

Visit www.goshowstopper.com @goshowstopper | #goshowstopper

John of Gaunt’s property after the old man’s demise. Henry, enraged because he’s been deprived of his rightful inheritance, gathers an army, invades Britain, and captures Richard.

In the powerful deposition scene, where Richard is forced to give up his crown to Henry Bolingbroke, Richard, now barefoot and wearing a simple white gown like a penitent, retains his arrogance.

Henry cynically lets Richard vent, then hurries him off to await his ultimate fate in the form of murder. To this Henry hypocritically cries, “Though I did want him dead, I hate the murderer.” Henry’s complicity in Richard’s murder will later haunt him.

However, Henry has at last achieved his goal: He is now King Henry IV. In “Henry IV Part II,” Henry is in almost constant need to fend off rebels. Further, his son, heir to the throne Prince Hal (Alex Hassell), insists in carousing with the rowdy Sir John Falstaff instead of grooming himself for kingly duties.

Henry, who is now quite ill and almost never sleeps, remarks famously: “Uneasy lies the head that wears a crown.”

The fat, blustery Falstaff is played to the hilt

by Antony Sher. He conveys absolute amorality, openly opposing the highest law official in England, Lord Chief Justice (Simon Thorp).

The theme of anarchy versus the rule of law suffuses the play.

Interludes of country life relieve the stressful political scenes. These Gloucestershire scenes display easy living close to nature: good food, good wine, a life of ease, and freedom from care.

Here the excellent Oliver Ford Davies as Jus-

(Left) Sir John Falstaff (Antony Sher) holds court in a tavern, in a scene from “King Henry IV.” (Top) Jasper Britton (C) as Henry seeking the throne. Behind him are Andrew Westfield, Sean Chapman, and Matthew Needham in “Richard II.” (Right) David Tennant as the ineffectual king, Richard II.

tice Shallow and the fine Jim Hooper as Justice Silence reminisce about the good old days.

Once robust and full of vigor, they mourn the coming on of old age and, ultimately, death.

Enter Falstaff, an old school chum of Shallow’s, assigned to select conscripts for an oncoming war. After interviewing Mouldy, Shadow, Wart, Feeble, and Bullcalf—all true to their names—he selects Shadow, Feeble, and Wart; the others have bribed their way out.

Prince Hal ultimately mends his ways and proves kinglike; Henry thus dies happy. Hal publicly rejects Falstaff, uttering: “I know thee not, old man,” thus shattering the ego of his once close companion. Here, Antony Sher’s Falstaff registers shock as he realizes his plans for a rosy future have gone awry.

Hal takes the Chief Justice to be his father figure, replacing his own father, Henry, and the reprobate Falstaff. Finally winning the crown, Hal becomes Henry V. Politics, morality, guilt, loyalty, mental health, and more are covered by the brilliant Bard of Avon, who, according to the records, lived to be only 52.

With an extraordinary company of skilled and disciplined actors, under the helm of artistic director Gregory Doran and excellent technical support (set by Stephen Brimson Lewis, lighting by Tim Mitchell, music by Paul Englishby, and sound by Martin Slavin), the Royal Shakespeare Company has presented a series of which William Shakespeare himself might well have been proud.

Diana Barth writes for several publications, including New Millennium. She may be contacted at DiaBarth@juno.com

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Epoch Times, April 15–21, 2016

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