CAROL ROSEGG
Comedy and Drama Beautifully Combined
FANGHONG/CC BYSA 3.0
The Rise and Fall of an Ancient Chinese Tyrant
Who would have thought ‘Cymbeline’ could be so funny?
Shang Yang of the Qin Dynasty was devoured by his own rule.
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See C7 CAROL ROSEGG
C1 August 21–27, 2015
Theater Review
Unique gifts brought to the stage in a poignant, superb production Paul O’Brien (L) and Tim Ruddy in “The Weir,” wherein the characters tell of what haunts them.
‘The Weir’ By Diana Barth
EW YORK—A pinch of tenderness, a morsel of warmth, a hint of spice, all combine to fuse into a delicious theatrical stew—a mix of contradictory, wholly human, experiences. Such is my take on the Irish Repertory Theatre’s current revival of Conor McPherson’s “The Weir.”
A country pub in a small town not far from Dublin comes to teem with life.
Under Ciaran O’Reilly’s unobtrusive but minutely detailed direction, a country pub in a small town not far from Dublin comes to teem with life. The pub is an informal meeting place for a group of neighbors who have known each other all their lives. Proprietor Brendan (Tim Ruddy) is setting things up behind the bar as Jack (Paul O’Brien) enters. A garage owner who bets the horses, Jack is happy tonight because he’s picked a winner, thanks to the advice of his buddy and sometime employee Jim (John Keating). Jim spends much of his time caring for a sick mother. The three men, all single, pass their evenings downing stout and a “small” whiskey and gossiping about local doings. This evening’s topic of interest is the imminent arrival of their most successful crony, Finbar (Sean Gormley), who’s made it bigger than any of them by moving to a larger town and going into real estate. The only married man of the group, he’s been
seen squiring about a woman down from Dublin, Valerie, (Mary McCann), who’s just bought an old house close to the pub. When the pair soon appears, Jack launches, inappropriately it turns out, into a tale of Valerie’s new house. The house was rumored to have once been approached by fairies who wanted to enter it via their pathway known as “the fairy road.” This tale, along with the drink, triggers stories from the other men, all of which hint at the supernatural, or hauntings, or ghosts. The men assure their listeners that the stories may not be factual; perhaps they’re the result of the viewers’ exhaustion, drink, or simply the Irish love of exercising their imagination. As for Valerie, however, rather than upsetting her as the men had feared, the stories give her the courage to relate something that had recently happened to her—an event, sadly, that had provoked a deep sea change in her life.
See ‘The Weir’ on C8
C2 August 21–27, 2015
Arts & Entertainment www.TheEpochTimes.com CAROL ROSEGG
Theater Review
Comedy and Drama Beautifully Combined Who would have thought ‘Cymbeline’ could be so funny By Judd Hollander
‘Cymbeline’
NEW YORK—Comedy and drama are often presented as both sides of the same coin, and indeed, some instances can be terribly painful in one aspect and terribly funny in another. The Public Theater’s absolutely brilliant production of William Shakespeare’s “Cymbeline,” now at the Delacorte Theater in Central Park, makes this clear. Usually played more or less as a straight drama (as was the case with the last Broadway revival in 2007), this production goes a much lighter route. The Bard’s outlandish plot seems even more so, while the serious elements of the show remain intact. Thanks to Daniel Sullivan’s very strong directorial work and a top-notch cast of nine, many of whom play multiple roles, the show combines royal gravitas with 1960s Las Vegas, expository speeches with audience participation, cross-dressing women with invading Romans, and an attempted palace coup with a reunion of long-lost siblings. In ancient Britain (when it was part of the Holy Roman Empire), King Cymbeline (Patrick Page) is enraged when his daughter Imogen (Lily Rabe), next in line for the throne, marries the commoner Posthumus (Hamish Linklater). Imogen’s only other royal sibling is her half-brother, the perennially befuddled Cloten (Linklater). Cloten is the child of Cymbeline’s current queen (Kate Burton) and her former husband. When Posthumus is banished, he flees to Rome where he encounters Iachimo (Raúl Esparza, who does a wonderful turn as a lounge singer, channeling Frank Sinatra). When Posthumus praises Imogen and her virtuous nature as one unequaled in all the world, Iachimo wagers that not only will he seduce her, but will also return with enough evidence to prove her infidelity. When Iachimo seems to do just that, Posthumus, enraged at finding himself a cuckold, sends off a letter to his loyal servant, Pisanio (Steven Skybell), ordering Imogen’s death. As this storyline plays out, Britain finds itself about to go to war with the Roman Empire over its refusal to pay Rome an annual tribute. These separate plot lines come together through a series of coincidences that can only be called Shakespearean.
Delacorte Theater in Central Park Entrance at 81st St. & Central Park West Tickets: free; for information, PublicTheater.org
CAROL ROSEGG
Running Time: 3 hours, 5 minutes (one intermission) Closes: Aug. 23
The fight direction by Rick Sordelet and Christian KellySordelet, to both comedic and dramatic effect, is superb.
Imogen (Lily Rabe), next in line for the throne, marries the commoner Posthumus (Hamish Linklater). Linklater, in a serious turn, plays a worthy match for princess Imogen, despite his low rank. Running throughout the story is a warning of the dangers that come from making a “rush to judgment.” From Posthumus’s denunciation of Imogen to Cymbeline’s condemnation of Belarius (Burton), a former lord in his court, this theme is ever present. The parties who act on this information believing it to be true pay a heavy price when it turns out to be false. The same fate befalls those who quite willingly pass the supposedly factual information along. There’s also chiding of the male sex in the story. Men take turns “trash-talking” their women, trying to seduce other men’s wives, or being so blind they cannot see the duplicity going on in front of their eyes. Even Guiderius (David Furr) and Aviragus (Jacob Ming-Trent), two young men raised from
infancy by Belarius and long-lost sons of Cymbeline, rail against their quiet lives. Yet neither has had the chance to feel the sting of battle or the wholesale letting of blood. It’s the expression of these themes, both in comedy and drama, that make the play work so well. The righteous rage of Posthumus and the anguish Imogen feels at points are delivered both powerfully and poignantly. At the same time, Linklater plays Cloten— would-be suitor of Imogen and would-be instigator of a war with Rome—as a complete laughingstock; every movement, word, and gesture make the character look completely idiotic. Highlights include Cloten trying to draw a sword or trying to write a song for Imogen. Burton also does well in the double-duty department, portraying the outwardly proper, inwardly scheming queen in one moment while giving a salt-of-the-earth quality to the steadfast Belarius the next. Elsewhere, Esparza does a wonderful turn as a rogue who perhaps goes just a bit too far in order to assuage his own ego. He also does well with the musical bits, as several enjoyable moments are incorporated into the story. Page is stalwart as both Cymbeline and Philario, Posthumus’s host in Rome. The rest of the cast work well, and the fight direction by Rick Sordelet and Christian KellySordelet, to both comedic and dramatic effect, is superb. It helps that the show never really goes too far over the top, although some of the Cloten bits—including one sequence straight out of a Bugs Bunny cartoon—come pretty close. According to the show’s program notes, scholars have counted a total of 27 revelations in the final scene of “Cymbeline.” It’s a number I would be hard pressed to dispute, having had too much fun watching the proceedings to keep count. Also in the cast is Teagle F. Bougere. Judd Hollander is the New York correspondent for the London paper The Stage.
Museums Are Using Virtual Reality to Preserve the Past—Before It’s Too Late By Jenny Kidd Cultural institutions are steeped in history and tradition, but they are also uniquely placed to take advantage of some of the latest technology. Drones, 3-D printing, and augmented reality apps are just some of the tools being used to construct “virtual museum” experiences for real and digital visitors. While these technologies open up new and exciting possibilities for curators, they also provoke resistance around the issues of authenticity, ownership, and value. There are currently a number of projects under way that explore how historically or culturally significant sites and objects can be presented using digital means. For instance, museums around the world are investigating the possibilities offered by 3-D printers to extend and further examine their collections in a form where detail can be magnified and destruction is far less consequential. Meanwhile, the EU’s Digiart project will be using drones to “capture” inaccessible cultural artifacts, before creating advanced 3-D representations of them. And Cyark is creating a free online 3-D library of the world’s cultural heritage sites, using a combination of lasers and computer modeling. Internet of Historical Things? According to Digiart, one result of this might be an “Internet of Historical Things”: one where immersive 3-D story worlds become a genuine possibility for historical encounters. The Smithsonian offers an online Panoramic Virtual Tour, as do the Louvre and the V&A Museum of Childhood. Augmented reality applications are a feature of many sites of archaeological significance. It is not uncommon to find museums rendered in Minecraft, lovingly built brick by brick by an invisible crowd of tech-savvy fans, as in the Brit-
ish Museum’s Museumcraft, or the shortlisted IK prize entry Tatecraft. Digital media is also impacting the analog museum experience profoundly, perhaps most playfully evidenced in the world’s first selfie museum, Life in Island, where, unlike some cultural venues, selfie sticks are welcome. One question to consider is whether the extension of this activity into the realm of play and the imagination alienates us further from the authentic “aura” of the original, undermining it, devaluing it, or perhaps even exposing its limitations. The rhetoric of authenticity has traditionally been key to the way heritage experiences are packaged and sold to us. Yet “authenticity” is not an objective value—it is always ascribed to (say) an object or a work of art, by some authority. Museums often recognize this—and have engaged in active exploration of the limits of the authentic. The Museum of Art Fakes in Germany is a prime example, as is the recent Museum of Lies initiative from Incidental and Amgueddfa Cymru–National Museum Wales. Museums have begun to embrace the possibilities of “remix culture,” offering high-resolution artworks (for example) for re-use and circulation. The Rijksmuseum’s Rijksstudio is a beautifully crafted example of how this can work in practice. In my own research, I tend to find the public demonstrates more conservative attitudes than the conservators to such developments. Cultural Emergency But these are not really new developments. People have been talking about virtual museums for many years as ways of allowing visitors access to sites and experiences that would not otherwise be available to them. What is remarkable is how far we have come from the clunky interactivity offered in those early attempts, and the number of ways that online and on-site experiences have begun to blur.
Immersive 3-D story worlds become a genuine possibility for historical encounters.
CYARK/CC BY-SA 3.0
A virtual reconstruction of the northern Ayyubid Wall, an extensive urban fortification, constructed of stone by the conquering Syrian Kurds in 1176.
Exploring the line between fact and fiction has an appeal for institutions that have historically been caught up in discussions about origins, preservation, and—more recently—restitution. Being able to test new forms of reality raises fascinating and far-reaching issues—which museums and galleries are not shying away from. For instance, there are a host of ethical concerns around recreation and representation. These developments open up new avenues for debate about the restitution of cultural artifacts: If I can 3-D print the Elgin Marbles or build them in Minecraft, does that complicate the discussion about their ownership, or make it more straightforward? Throughout 2015, the wars in Ukraine, Syria, and Iraq have continued to claim lives and displace millions. Alongside the shocking human toll of these conflicts, there is a growing concern about the cultural losses being inflicted on these ancient civilizations. Footage shot by drones in Syria has given us unprecedented access to, and evidence of, the destruction of cultural heritage in those parts. UNESCO has launched an emergency initiative to safeguard Syrian cultural heritage. Michael Danti of the Syrian Heritage Initiative at the American Schools of Oriental Research has said that these developments are “the worst cultural heritage emergency since World War II.” Tourism cannot take the same form again in countries that have seen that level of devastation. Here we see how technologies can be used not only to document the making—and unmaking—of heritage but also to rebuild it, both materially and in the imagination. Jenny Kidd is a lecturer in media and cultural studies at Cardiff University in the U.K. This article was previously published on TheConversation.com
Patrick Page (L), Hamish Linklater (C), and Teagle F. Bougere in The Public Theater’s Free Shakespeare in the Park production of “Cymbeline.”
Books
C3 August 21–27, 2015
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SOUTH DAKOTA HISTORICAL SOCIE
Book Review
Pioneer Life Brought Fully to Life Scholarship supplements Laura Ingalls Wilder’s first, unpublished work Laura Ingalls Wilder is one of the most recognized names of children’s literature—and for good reason. It was she who brought tales of America’s pioneer days to thousands of young readers and introduced them to the genre of historical fiction. In fact, fiction is truly where those beloved “Little House” books belong. Although Wilder passed away in 1957, her dedicated fans can enjoy a new, “truer” account of her life in “Pioneer Girl: The Annotated Autobiography,” complete with carefully researched editorial embellishments. In 1930, a retired and restless Wilder sat down to write about her life as one of the many hopeful souls in search of a prosperous future. She wrote this first draft—titled “Pioneer Girl”— as an autobiography, but the project was abandoned in favor of the fictionalized book series for children. Wilder never saw “Pioneer Girl” published, but as of late 2014, her followers can read her story as it was originally intended. “Pioneer Girl” is essentially the seed of the “Little House” series as we know it. As such, fans of her books will recognize many of the stories, places, and characters. What they will be less familiar with are the harsher realities of pioneer living. While the autobiography is still adorned with the charming tales and beautiful imagery of Wilder’s vivid memory, it is in no way a romanticized version of the late 1800s. Readers will be introduced to drunken debauchery, adultery, and fevers so terrible that eating watermelon was forbidden. Watermelon would worsen fever symptoms. The main portion of “Pioneer Girl” takes readers on an extensive family tour through the largely untamed American wilderness—from Kansas and on to Missouri, up to Wisconsin
It is in no way a romanticized version of the late 1800s.
‘Pioneer Girl: The Annotated Autobiography’ Author: Laura Ingalls Wilder & Pamela Smith Hill (editor) Publisher: South Dakota Historical Society Press Pages: 400 pgs Price: $39.95
and Minnesota, stopping briefly in Iowa, back to Minnesota, and finally settling in Dakota Territory. “Pioneer Girl” strips the “Little House” series of its fantasy. Not even her real-life courtship with her soon-to-be husband Almanzo Wilder could be considered romantic. Their first “dates” were spent on long, cold sleigh rides from the school at which she taught to her family home. It seems that they seldom spoke, and they were shy and modest up to the wedding. Yet perhaps this quiet bond of understanding between young Laura and Almanzo proves something more to the modern reader: There is enchantment to be found in realism, if one is willing to look. The story’s conflict is not of an internal nature. Rather, the Ingalls family relies on one another for love and protection in a land fraught with thieves, murderers, and the destructive power of nature. Their journey is further brought to life by the hundreds of insightful, carefully researched annotations. Editor Pamela Smith Hill is the brilliant beacon of information that guides modern readers through Wilder’s autobiographical story. Included in this book are relevant maps, vintage photographs, and excerpts from local newspapers. Consider “Pioneer Girl” to be a firsthand history lesson—enriched by genealogy, geography, and an explanation of local culture. In this way, readers not only get an intimate look at Wilder’s life, but they also receive a fairly solid sense of what it was like to be a pioneer. The reader will note that Wilder’s writing style is much simpler and direct than in her fictional series. This is a testament to her inexperience as a writer. As “Pioneer Girl” was the first account of her life, Wilder had yet to hone her skills as a master of storytelling. The story’s lack of sensory
TY PRESS
By Chelsea Scarnegie
details and the questions she left unanswered might have had her audience wanting more—if it were not for Hill’s useful annotations and background information. For example, consider the following passage: “When the work was done, Ma would cut out paper dolls for us and let us cook on the stove for our play house dinners.” Hill then points readers to a passage in “Little House in the Big Woods,” where Wilder describes how the dolls were made and what they were made of. Hill adds, “By providing a few key details, Wilder pulled her readers into the unfolding action and brought the scene to life, a process she had quickly learned to master.” In the end, the annotations work as a way for Hill to give readers more context as well as personal asides about Wilder’s writing style. The wealth of extra information feels, at times, overwhelming, but it gives readers the freedom to explore as much or as little as they want of Wilder’s world. Considering the sometimes choppy nature of “Pioneer Girl,” this partnership of story and annotations works nicely. Chelsea Scarnegie, from the Chicago area, has a degree in writing.
ORCHARD BOOKS
RANDOM HOUSE BOOKS FOR YOUNG READERS
Book Review
Something We Forget When Children Go Back to School Prepare children with positive examples found in books By Linda Wiegenfeld School is rapidly approaching and most children have mixed emotions about returning. They may feel excited, scared, nervous, and so on. A good number of children might be fearful about how they will act if they encounter difficult situations. Here is where children’s literature can really help. Many children’s books show characters responding to difficult situations in a positive way. As Dr. Seuss said, “You have brains in your head. You have feet in your shoes. You can steer yourself any direction you choose.” Below are a few books that give children the tools to practice positive self-talk. ‘Horton Hatches the Egg’ by Dr. Seuss Horton is a good-natured elephant that agrees to sit on the egg of Mayzie, a very lazy bird, while Mayzie takes a short rest. Little does Horton know that a casual promise can demand so much of him. Mayzie does not keep her word to come right back. Horton must face dire circumstances such as braving the elements, teasing from other animals, being stalked by hunters and forced to travel on a boat to the United States where he finds himself sold to the circus. But through all Horton’s travails, he never gives up on his promise. He says to himself over and over, “I meant what I said, and I said what I meant. ... An elephant’s faithful, one hundred percent!” Things look bad at the end of the book when Mayzie wants her egg back, but then a miracle occurs. ‘Belinda the Ballerina’ by Amy Young Belinda dreams about being a dancer. But when she tries out for ballet, the so-called experts tell her that she doesn’t fit the image of what a good ballerina should look like: She has two huge feet. Belinda doesn’t even get to audition. So she abandons her dream and takes a job as a waitress, but her passion remains. One day, a band comes to play outside the restaurant where she works. Belinda follows her heart and starts dancing as they play. From that point on, there is no stopping Belinda as she begins dancing for more and more people. When the maestro from the grand Metropolitan Ballet hears about her, he asks her to perform. She does and is a huge success. Belinda realizes then that she shouldn’t
have let doubters stand in her way of doing what she loves. ‘Giraffes Can’t Dance’ by Giles Andreae This story is also about an unusual physical feature. Gerald, the giraffe, wants to dance on the dance floor like the other animals, but his knees are awfully crooked and his legs are rather thin. He tries his best but is called clumsy. So he leaves the dance floor and feels quite useless. A cricket stops Gerald and encourages him to dance. The cricket says that all Gerald needs is a different tune (the sounds of nature) to motivate him. Gerald listens and starts dancing in a most unusual way. His friends admire his moves. At the end of the story, Gerald realizes that there is more than one way to reach a goal and it is OK to be different. ‘A Chair for My Mother’ by Vera Wang A young girl, her mother, and her grandmother have lost all their possessions in a fire. The entire neighborhood and all their relatives pitch in to help them furnish a new place. But they are missing one thing—a comfortable chair for the mother to sit in after work. The family decides to work together to save coins for this purchase. It takes lots of patience and hard work; but at the end of the story, the three-generation family is able to buy the chair. The book also shows the joy they feel at achieving a difficult goal. ‘The Little Engine That Could’ by Watty Piper A stranded train carrying good things for boys and girls breaks down and needs to be pulled over the other side of the mountain. Two engines come by that can do the job, but they think that they are too important for such a trivial task. Another engine thinks that it is too old to do the job and gives up before it even tries. This reaction is in stark contrast to the next engine that comes along: a small, inexperienced blue engine. The engine is willing to give the task a try even though it is doubtful that it can succeed. But the engine begins pulling, repeating the mantra “I think I can, I think I can,” as it goes along. The engine overcomes a seemingly impossible task. ‘Spaghetti in a Hot Dog Bun: Having the Courage to Be Who You Are’ by Maria Dismondy Papa Gino tells his granddaughter that
people are all different and that this prevents the world from being a boring place. Then he has Lucy recite the following: “Even if you are different from others on the outside, we all have a heart with feelings on the inside.” When Lucy goes to school, she is teased constantly by Ralph, including about how she eats spaghetti. One day at recess, Ralph gets stuck at the top of the monkey bars. Lucy is tempted to forget her grandfather’s teachings and to treat him in an unkind way. But she see tears in Ralph’s eyes and helps him instead. Later, Lucy feels that she did the right thing when Ralph thanks her by giving her a picture. Lucy has earned the respect of a bully. These are a few of the many books about positive self-talk. They contain great role models, which children can copy to enrich their lives. Linda Wiegenfeld is a veteran teacher in Somerville, Mass. She may be contacted at LWiegenfeld@aol.com MAKING SP
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They contain great role models, which children can copy to enrich their lives.
C4 August 21–27, 2015
Arts & Entertainment www.TheEpochTimes.com
Supervillain to the Rescue?
ALL PHOTOS BY WARNER BROS.
Revisiting the melodrama and the good fight By Sharon Rudorf Pack evil together tightly, twist to foment anger, and release. When the bowels of the earth spew out enough villains, people will come—DC Entertainment is hoping. “All this ‘good versus evil’ is kind of played out right now. It’s time for bad versus evil, right? Time for a movie about bad guys,” said director David Ayer at the San Diego Comic-Con about his movie “Suicide Squad,” scheduled for release in August 2016. “Suicide Squad” is based loosely on the story of “The Dirty Dozen,” a film in which convicted, sometimes deranged, criminals undertake a suicide mission during World War II. The 1967 film received some praise by contemporary critics but for the most part was considered appalling. Bosley Crowther for The New York Times wrote that it was peopled by a sadistic bunch of animals, and with heavy sarcasm, young Roger Ebert wondered how the film could have possibly passed censorship codes which forbid the depiction of certain kinds of cruelty. Is Ayer right? Will villains supplant heroes in our entertainment? If so, if “Suicide Squad” popularizes a new kind of action movie, it will encroach on a territory established long ago, and one which endures for good reasons. Most Popular Genre Ever Just about every action adventure is a melodrama of one type or another. The most popular and money-making genre in history, it has been firmly entrenched in the Western mainstream since the middle of the 19th century and has entertained ever since with contrived, formulaic, convoluted plots, and splashy spectacular effects, such as floods, earthquakes, and any disaster ingenious writers can come up with. Although the genre has kept these aspects, it has mostly done away with another of its hallmark features: excessively emotion-driven performances. In fact, melodrama gets its name from the combination of the words “melos” (think melody) and “drama” since music (like today’s soundtracks) helps intensify the audi-
ence’s emotional experience. Add to the genre package stock characters, especially a hero and a villain. Often the hero was also a victim, whom the villain preyed upon. Think of “Ben Hur” or “The Count of Monte Cristo” where the heroes are unfairly imprisoned, one aboard a galley ship, the other in a dungeon. But popular now is a triangle of characters: victim, villain, and hero as rescuer. Tear jerkers (also known as soap operas) typically focus on the victim. These films emerged from the idea of the damsel in distress tied to railroad tracks. Action adventures, on the other hand, typically focus on the rescuer. The action adventure moved as far away from excessive emotion as possible, reinforced by our current paradigm for acting—realism. Manly, stoic virtues replaced self-pitying victims or revengeful heroes. (The victim is still present, but has enlarged to become the whole human race.) Superhero to the Rescue Not surprisingly, the hero as rescuer populates superhero movies, and recent comic book films have fully embraced the genre. The payback has been huge. The updated Superman flick, “Man of Steel” (2013), grossed $668 million worldwide, Similarly, “Captain America” grossed $370 million, while the last film of “The Dark Knight Trilogy” alone earned a whopping $1.08 billion. In order for melodramas to work, they must appeal to our sense of justice: Debts that are owed must be compensated, inflicted wounds healed, universal values honored, and balance restored. Moral opposites must exist. Evil is fought by an equal good. Despite all the enjoyable campiness in the 1978 film “Superman,” the hero embodied modesty and civility as much as an arsenal of superpowers. He was a super-good guy. Other good heroes? In “Man of Steel” (2013), the updated version of “Superman,” the lonely and necessarily alienated Superman is still motivated by others’ well-being, and “Captain America” (2011) showcases a patriotic hero facing Nazi villains. Even in “The Dark Knight Trilogy” where Stone lithographic advertising poster detail, China, Ca. 1920
Joel Kinnaman as Rick Flagg (L), Margot Robbie as Harley Quinn (C), and Will Smith as Deadshot in the 2016 movie “Suicide Squad.” the evil is darker and violence and mayhem intense, the good fight continues. Batman gives up love in the first film, his reputation in the second, and nearly his life in the third. Self-sacrifice is a hallmark of goodness. Despite that historically the melodrama has fulfilled our sense of justice, the hero may be changing. In an insightful article, author Devin Faraci analyzes how Superman in “Man of Steel” is no longer the great protector. Superman fights General Zod, his equal in superpowers and in determination; yet during the movie’s last fight sequence, the battling duo inflicts wanton destruction on Metropolis. Building after building crumple in a city that, as far as we know, remains inhabited. Never is Superman concerned about the thousands of lives being obliterated. Only when humans are directly in his line of sight does he realize that they exist—kind of a big undersight. So Superman, now lacking conscientiousness (to say the least), is not quite the hero he once was. And Batman, only a man to begin with, has become a problematic hero—one not purely motivated. In fact, “The Dark Knight Triology” earned critical praise partly because of its depth of characterization. Actor Christian Bale has explained that he played Batman so that the character was always just a hair’s width away from acting out his buried wish to avenge his parents’ deaths. In the case of Batman, is the melodrama simply reverting to the composite figure of victimhero—like the Count of Monte Christo or Ben Hur—or is it that, like Superman, the character is simply not as good as he once was? Bad Versus Worse The Warner Bros. trailer for “Suicide Squad” doesn’t give much away, but if it follows the melodramatic structure—hard to think of a comic book epic that doesn’t—the team of DC villains will still need a moral advantage over their enemies. Whether the melodrama can hold up will depend on how bad the squad of villains is because
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moral opposition, however skewed, is necessary. We need to side with someone in a battle, and we choose whoever grabs our sympathies. On a continuum of bad, there’s a huge difference between an anti-hero like Han Solo from “Star Wars” and a villain like the Joker from “The Dark Knight.” Solo may be mercenary, but his heart is in the right place whereas the Joker is a sadist. Sure we like to see Hans Solo get away with being bad, the Joker— however fascinating—not so much. Thus, at some point the melodrama stops working—when the lines between good and bad are blurry. If, however, “Suicide Squad” follows the structure of “The Dirty Dozen”—a thriller, not a melodrama—the only moral dynamic operating is that the foe must be beat at any cost. We don’t want the Nazis to take over the free world, and so any and all measures are fair play. Here we would move closer to something like “Natural Born Killers,” a satiric crime thriller. Creative sadistic violence and gore will predominate in this scenario of “Suicide Squad” without the redeeming social commentary that made the 1994 film palatable for some. Will we be thrilled by sadists or root for justice? It will be interesting to see how bad the villains in “Suicide Squad” will be and how the public will greet it. And it will be just as interesting to see next year’s wave of melodramas: Batman and Superman are slated to meet in the upcoming “Batman v Superman: Dawn of Justice,” a new film of “Ben Hur” is scheduled for 2016, and David Goyer has signed on to direct an adaptation of the “The Count of Monte Cristo.” Will good, and the melodrama, prevail? Sharon Rudorf has a doctorate in theater and taught theater in the Chicago area for years.
Christian Bale as Batman in “The Dark Knight.”
Film
C5 August 21–27, 2015
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Henry Cavill as Solo and Alicia Vikander as Gaby, try to elude another spy in “The Man From U.N.C.L.E.”
Film Review
The Spam From U.N.C.L.E. Henry Cavill as Napoleon Solo (L) and Armie Hammer as Illya Kuryakin “The Man From U.N.C.L.E.”
By Mark Jackson | Epoch Times Staff
(L-R) Henry Cavill as Solo, Elizabeth Debicki as Victoria, Alicia Vikander as Gaby, Sylvester Groth as Uncle Rudi and Hugh Grant as Waverly in “The Man From U.N.C.L.E.”
“U.N.C.L.E., it needs to be called “The Spam from U.N.C.L.E.”
Here a spy, there a spy, everywhere a spy-spy. James Bond, Ethan Hunt (“Mission Impossible,”) Jason Bourne, and Napoleon Solo (“The Man From U.N.C.L.E.”)—all spies. What’s with the endless spy movies all the time? It’s just glorified snooping. And we obviously love it. We love it so much, we picked this movie as a possible outstanding thing for people to go see in August. Today we are forced to eat our words. What’s the word for when the movie trailer is so terrific, and you get all overcome with anticipation, and then the movie tanks? There should be a word for that. Guy—Direct, Don’t Write British director Guy Ritchie’s new spin on “The Man from U.N.C.L.E.” ‘60s TV show is surprisingly dull, given that Ritchie is normally lots of fun. The problem is probably hubris. When it comes to showbiz, after a while people often start thinking they can do everything— all aspects. Everyone’s job. Feel themselves to be a director, feel highly qualified to say what good or bad acting is, and think they can write. Like Sylvester “Yo Adrian!” Stallone thought he could pull off light comedy, and Jim “Fire Marshall Bill” Carrey felt he could do heavy drama—Ritchie thought he could write comedy. Granted he’s a very funny director, but directing is not writing, and the result is a lethargic, flaccid film without an iota of tension, which is why we’re calling it “spam.” Spam is also British; it’s a kind of low-quality canned ham, and since there’s so much hammy acting in
Plod. Er, Plot So there’s a half-French, half-Italian agent named Napoleon Solo—no wait he’s all-American (Henry Cavill), who is required by the CIA to team up with a Russian KGB agent Illya Kuryakin (Armie Hammer) to save the world. The original series’ Cold War stuff doesn’t work anymore in 2015, but they decided to keep the 1960s Cold War time period, which does allow the Soviet and American agents to keep getting into fights—which would have been good if they were funny fights. Solo and Kuryakin are managed by a British intelligence higher-up (Hugh Grant, totally phoning in a performance). And so the CIA suspects a former atomic bomb maker has been abducted by Nazis, bent on world-power destabilization through proliferation of nuclear weapons and technology. First Agent Solo rescues said bomb maker’s gorgeous auto-mechanic daughter, Gaby Teller (Alicia Vikander), from East Germany to help find him. The bomb’s being funded by a moustachio’d, Italian, formula-one racer (Luca Calvani), but his Lady MacBeth-like wife Victoria Vinciguerra (Elizabeth Debicki) is the brains. The Odd Couple Throughout, it’s “The Odd Couple” as spies— one’s dark, one’s blonde, one’s funny (supposed to be) the other is just not, and so on and so forth. They carry on like an old,
It all ends up sounding like Agent Smith doing Roger Moore doing James Bond.
‘The Man From U.N.C.L.E’ Director: Guy Ritchie Starring: Alicia Vikander Henry Cavill Armie Hammer Running Time: 1 hour, 54 minutes Rated: PG-13
unhappily married couple. There are the usual things that happen in spy movies, that is, car chases, surreptitious bugging and de-bugging, the secret agent zip-lining over building tops using his coat to slide down the wire. Spam Analysis Henry Cavill as Napolean Solo seems to be doing his best impression of Agent Smith from “The Matrix,” except he’s supposed to be suave and debonair so it all ends up sounding like a smug Agent Smith doing Roger Moore smugly doing James Bond. Armie Hammer, pretty decent as the preppie Winklevoss twins in “The Social Network,” is just bad casting for someone required to do a thick Russian accent and be exceedingly intense. His range is rather small. And while Cavill is hammy, Hammer is leaden. Alicia Vikander, the Swedish actress we excitedly predicted might be the next Meryl Streep … we have to rethink that statement ... but she’s not bad, given the material. Better than both secret agent men. “The Man from U.N.C.L.E.” is supposed to be an origin story, intended to light the fuse on a whole bunch of sequels. That’s just not going to happen. Unless Ritchie starts leaving the writing to the writers, cuts the homoerotic jokes that obviously and shamelessly pander to acquiring that demographic, stops hiring pretty boys (for the same reason), who happen to have substandard comedy chops into the bargain, and gets back to his gritty, funny tough-guy roots.
ROADSIDE ATTRACTIONS
Film Review
Margot Robbie Saves This Nuclear Holocaust Love-Triangle
‘Z for Zachariah’ oddly cast, doesn’t quite deliver By Mark Jackson | Epoch Times Staff When universes blow up, according to Eastern philosophies, all lives get destroyed except for a few lucky ones who happened to be in exactly the right place, at the right time. Like Tsutomu Yamaguchi, who survived not one but both U.S. atomic bomb attacks on Japan. What are the odds? Taking that concept as a template, the premise of “Z for Zachariah” works. There’s a valley, somewhere in the American South, that’s remained entirely unaffected by worldwide nuclear holocaust. It’s a latter-day Garden of Eden (and it’s a goodlooking movie, shot in Hobbit-land, New Zealand). Which means in terms of casting, we need Adam, Eve, the voice of the Almighty, a fruit tree, and a snake. Two Adams would make it very interesting—a Genesis love triangle. Unfortunately, it doesn’t. Adam and Eve Twenty-something Ann Burden (current “It” girl Australian actress Margot Robbie from “The Wolf of Wall Street” and “Focus,” sporting a dead-on Appalachian accent and no makeup) grew up on a farm, survived the holocaust, and thinks she’s the last human being on the planet. She’s got an old dog, a hunting rifle, a smallgame deadfall trap line, and no electricity. An organ in the tiny church her preacher-daddy built keeps her company, although all the music she knows how to play is exceedingly melancholy. It’s a seriously lonely existence. And then along the dusty road happens one John Loomis, an African-American research scientist (British actor Chiwetel Ejiofor), wearing a silver “safe suit” he designed himself. He whips out his Geiger counter and finally gets a reading with no ominous clicks. Hallelujiah! Free at last from radiation tyranny, he jumps in a lake. But Ann knows the lake’s waterfall brings
radioactivity from outside the valley, and hollers John out of his happy bath, and scrubs him raw. Thus, in this new Eden—Eve begat Adam, and not from her own rib, but with the help of a scrub brush. Without electricity, the chances are slim they can survive the winter. So engineer John suggests sacrificing the tiny church that Ann’s dad built for lumber, to carpenter up a hydroelectric water wheel to put under aforementioned radioactive waterfall. This brings up questions of theology and salvation, seeing as how she’s a preacher’s daughter and he’s a godless man of science.
(L–R) Chris Pine, Margot Robbie, and Chiwetel Ejiofor in “Z for Zachariah.” handles a gun well (militarily well?), is quite fit for a nuclear refugee, shares her faith, and is real good-looking. Jealousy? Nope. Apart from some minor irritated looks cast their way, John says he has no problem with Ann and Caleb. “I’m good with it—y’all can go be white people together.” How on (the last place on) earth is this supposed to be a love triangle if the one angle doesn’t care what the other two angles do?
Heaven Let Your Light Shine Down Certain critics of the book from whence this Re-populate the Planet? tale came (Robert C. O’Brien, posthumously They get along, they get involved. Talk about published in 1974) thought of it as a scienceyour slim pickin’s. He’s not really her type, but faith standoff. As mentioned, Ann believes in she’s not really experienced enough to know the Almighty, John doesn’t. any better and too lonely to care. Just by Caleb’s showing up and joining Ann in bowed-head grace-saying before meals, On the other hand, it seems he’s just not that the film tips toward a mildly cloying Chrisinto her. He’s just not that into the stunningly beautiful, nubile, highly available (yearning, tian emphasis, but sort of in the way that you even), last farm girl on earth? Sure. That could spend 20 years listening to Collective Soul’s “Shine,” and then find out the lyrics are highly happen. Is he maybe gay? Perhaps he’s on a deeply Christian: “Oh—that’s what that’s about?” committed spiritual path? Maybe it’s all very John and Caleb just basically go hunting, honorable. He certainly seems to be saying hang out, strike the barn (which feels like a wise, honorable things, about how everything triple-speed, reverse replication of the “Witwill change if they cross that line. Admirable, ness” barn-raising), and build the water wheel laudable, commendable—not very believable— together. restraint. It’s All About the Casting And yet he’s also clearly an alcoholic, getting bombed on a few beers at the local (abandoned) Ejiofor is a stunning actor given the right role corner store. Normally, where there’s one addic- (“12 Years a Slave”), but the stock-in-trade tion, there are usually a couple more. So maybe wild-eyed, mouth-frothing hysterical terror he’s got a drinking induced Jekyll-Hyde thing that worked so well for him in “12 Years,” only functions here as irritating. John whines and and he’s warning her off before she meets the frets a lot, and you want to tell him to shut up. inner beast. To jazz the triangle tension, director Craig Zobel would have needed to cast an actor who Adam Number Two could have rivaled Pine in the dashing lover Soon, along comes Caleb (Chris Pine). He’s a former miner. He’s Caucasian, sounds local, department, like a James Marsden or maybe
a Hemsworth brother. Then again, that much good looks would have immediately turned the entire venture into a soap opera. Maybe the fact that the original book character of John as a jealous, cruel, controlling man was changed, since it could have been construed as politically incorrect with the current casting. But the re-imagining just served to take the air out of the whole thing. Why not leave the book alone and cast accordingly? Robbie is the only reason to see this film. She’s an Australian Emma Stone, with a wide range and charisma for days. She’s got comedic talent, as well as the ability to go deep; she’s going to be around a while. Wait till “Zachariah” comes out on Netflix and watch it back-to-back with “Focus.” Then you’ll be in the right place, at the right time, to appreciate her range. With our earthly chaos looking more grim daily, ultimately people want to feel some hope when exiting an apocalypse movie. This is just the use of an apocalyptic setting in which to stage a fairly lame love triangle. Which says loud and clear that when it comes to humans, the more things change, the more they stay the same.`
‘Z for Zachariah’ Director: Craig Zobel Starring: Margot Robbie, Chiwetel Ejiofor, Chris Pine Running Time: 1 hour, 35 minutes Rated: PG-13
C6 August 21–27, 2015
Things to Do www.TheEpochTimes.com WILLIAM P. GOTTLIEB COLLECTION VIA LIBRARY OF CONGRESS/PUBLIC DOMAIN
Sinatra: An American Icon Through Sept. 4 NYPL, Dorothy and Lewis B. Cullman Center
Frank Sinatra, an artist of such uncommon talent, was known simply as “The Voice.” The exhibition will feature never-before-seen photos, family mementos, rare correspondence, personal items, artwork, and recordings. NYPL.org
COMMUNITY EVENTS NEW IN MANHATTAN Summer Stage Through Sept. 24 Various locations Summer Stage is celebrating its 30th season. It’s a free performing arts festival with shows in Central Park and 16 neighborhood parks across the city. CityParksFoundation.org Bryant Park Moves Saturdays through Sept. 26 This modern dance class, now in its fifth year, is led by dancers from the world-renowned Limón Dance Company. Free. BryantPark.org The Unseen Holocaust: Recent Polish Films Oct. 25 at 2 p.m., Oct. 27–28 at 7 p.m., Nov. 1 at 2 p.m. Museum of Jewish Heritage 36 Battery Place The fall of communism ushered in a new era of candid and artistically accomplished Polish filmmaking about the Holocaust. This weeklong series presents features, documentaries, and short films rarely seen in the United States. Discussions with experts will follow the screenings. $15 public, $12 members. MJHnyc.org Free Kayaking Through October Various locations along Hudson River This event offers free sit-on-top kayaks for public use in protected Hudson River embayments. Brief instruction and all necessary safety equipment will be provided as well as changing rooms, lockers, and locks, bike locks, sun block, and first aid equipment. Free. DowntownBoathouse.org Exhibit: Oh Sit! 14 Sculptors Consider the Chair Through Nov. 8 Tower Plaza in Highbridge Park in Manhattan Located along the esplanade leading up to the recently opened High Bridge, Oh Sit! is a group exhibition of nine artists’ public artworks. In a frantic world, finding a chair can be almost impossible and settling comfortably into one can be an enormous satisfaction. Free. NYCgovParks.org
NEW ELSEWHERE Kite Festival Sept. 19 at 11 a.m.–3 p.m. Harbor View Lawn, Brooklyn Kites will be available for purchase or you can bring your own. Free. BrooklynBridgePark.org
ONGOING ELSEWHERE Samara Golden: The Flat Side of the Knife Through Aug. 31 MoMA PS1, 22-25 Jackson Ave., Long Island City Los Angeles-based artist Samara Golden (American, b. 1973) creates immersive installations that explore what she calls the sixth dimension, where a multitude of pasts, presents, and futures exist concurrently. $5-$10. MOMAPS1.org Mapping Brooklyn Through Sept. 6 Brooklyn Historical Society, 128 Pierrepont St. Contemporary artists exhibit works with historic maps, with examples of maps themselves, suggesting the myriad ways that maps can represent, on the one hand, such practical matters as way finding, property ownership, population shifts, and war strategy, and on the other, the terrain of the metaphorical, psychological, and personal. Suggested admission of $10. BrooklynHistory.org The Rise of Sneaker Culture Through Oct. 4 Brooklyn Museum, 200 Eastern Parkway From their modest origins in the midnineteenth century to high-end sneakers created in the past decade, sneakers have become a global obsession. Suggested $16. BrooklynMuseum.org
PERFORMING ARTS NEW IN MANHATTAN Rooftop Films Through Aug. 22 Various Locations in New York Film festival showing independent movies in outdoor locations. $15–$20. RoofTopFilms.com Hudson Warehouse Shakespeare Workout Aug. 22 at 3–5:30 p.m. North Patio by the Soldiers’ and Sailors’ Monument, Riverside Park, W. 89th St. and Riverside Dr. This “Actors’ Workout,” led by resident artists from Hudson Warehouse, teaches elements of acting, voice production, and stage combat. Open to everyone aged 13 and up. A $10 donation is suggested per workshop. HudsonWarehouse.net
ONGOING IN MANHATTAN
Shakespeare’s Presidential Primary Through Aug. 23 at 8 p.m. Indoor Theatre, Riverbank State Park Lady Macbeth Versus Bottom - who would you vote for? This comedy play has been modeled on the “X Factor,” “America’s Got Talent,” and the traditional “League of Women Voters” format. Free. PulseEnsembleTheatre.org
Sinatra: An American Icon Through Sept. 4 NYPL, Dorothy and Lewis B. Cullman Center Frank Sinatra, an artist of such uncommon talent, was known simply as “The Voice.” The exhibition will feature never-beforeseen photos, family mementos, rare correspondence, personal items, artwork, and recordings. NYPL.org
Shakespeare in the Park: Cymbeline Through Aug. 23 The Delacorte Theater in Central Park Tony Award winner Daniel Sullivan (“King Lear,” “The Comedy of Errors,” “Proof”) directs the Shakespearean fairy tale “Cymbeline,” featuring Tony nominee Lily Rabe and Hamish Linklater. Free. PublicTheater.org
Far, Far Away… Through Sept. 6 Children’s Museum of the Arts (103 Charlton St.) An exhibition that considers the possibility of alternate worlds, dreamscapes, and imagined landscapes—places where adventures occur and fantasy takes over. Free–$11. CMANY.org
Central Park Conservancy Film Festival Aug. 25–29. Gates open at 6:30 p.m., movies begin at 8:00 p.m. Landscape btw. Sheep Meadow and 72nd St. Cross Dr. On the eve of their 35th Anniversary, the the Central Park Conservancy is screening classic films from the year 1980. Free. CentralParkNYC.org
Leighton’s Flaming June Through Sept. 6 The Frick Collection, 1 East 70th St. Frederic Leighton’s painting “Flaming June” is on view in New York for the first time. Complimentary portraits by James McNeill Whistler will also be presented. $10-$20. Frick.org
HBO Bryant Park Summer Film Festival Through Aug. 24 lawn opens on Mondays at 5 p.m. and films start rolling 30 minutes after sunset. The 23rd year of the HBO Bryant Park Summer Film Festival presented by Bank of America with Time Out New York and in
VISUAL ARTS
Frank Sinatra at Liederkranz Hall in New York in 1947.
association with Bryant Park Corporation. Free. HBO.com
between the pop and classical worlds. Tickets start at $15. NewYorkLiveArts.org
The Metropolitan Opera’s 2015 Summer HD Festival Aug. 29–Sept. 7 Lincoln Center Plaza This annual festival returns with 10 outdoor screenings of performances featuring the company’s leading artists in a varied selection of operas by Bartók, Bizet, Gounod, Mozart, Offenbach, Puccini, Tchaikovsky, and Verdi. The opening night will screen “West Side Story” on Aug. 28th at 8 p.m. Free. MetOpera.org
Dine and Dance With Sinatra Sept. 26 at 5 p.m.–11 p.m. ‘21’ Club 21 West 52nd St. Hosted in the sophisticated Puncheon Room and Gallery, crooner Nick Drakides and his band will play for your dining and dancing pleasure. $165. 21club.com
Resonant Bodies Sept. 9 Merkin Concert Hall, 129 W 67th St. Sopranos Dawn Upshaw, Lucy Shelton and Tony Arnold share the stage for the first time at this one-night-only performance highlighting each artist’s most distinctive repertoire, including new pieces written specifically for them. $35. KaufmanMusicCenter.org Hollywood Arms Sept. 21 Merkin Concert Hall, 129 W 67th St. The incomparable Carol Burnett teams up with Tony winners Tyne Daly and Michele Pawk and 2015 Tony nominee Emily Skeggs (Fun Home) for an anniversary reading of Burnett’s autobiographical play “Hollywood Arms.” $45–$75. KaufmanMusicCenter.org Trajectories Art Exhibition Through Sept. 26 Friedman & Vallois, 27 E 67th St. French Art Deco gallery Friedman & Vallois presents Vladimir Montufar’s fanciful artwork that pays a homage to the Mayan culture and expresses different aspects of man’s universal condition. Vallois.comorg
MUSIC NEW IN MANHATTAN YMusic Come Around Part I: Qasim Naqvi World Premiere Commission + Repertory Sept. 11 at 8 p.m. New York Live Arts 219 W 19th St. New York Live Arts’ debut music series features yMusic, a genre defying, indieclassical ensemble comprised of six New York City instrumentalists flourishing in the overlap
TeRra Han, Kayageum Sept. 29, 8 p.m. Carnegie Hall, Weill Recital Hall 57th St. and Seventh Ave. Korean musician TeRra Han plays the kayageum, or 12-string zither. $50. CarnegieHall.org The Big Picture Oct 14 at 7 p.m., Oct. 18 at 2 p.m. Museum of Jewish Heritage 36 Battery Place In this cinematic concert, Grammy-nominated clarinetist David Krakauer explores the intersection of music and Jewish identity in iconic movies of the last 50 years. Krakauer adds his contemporary style to beloved songs from films ranging from Funny Girl and Fiddler on the Roof to Sophie’s Choice and The Pianist. $35 general admission, $30 for seniors and students, $25 for members and groups of ten or more. MJHnyc.org
ONGOING IN MANHATTAN Mostly Mozart Festival Orchestra Through Aug. 22 Lincoln Center A discussion, performance and opportunity to meet the Mostly Mozart Festival Orchestra. Free. MostlyMozart.org Spiral Music Every Wednesday Rubin Museum Spiral Music presents acoustic music every Wednesday evening at the base of the museum’s spiral staircase. Artists who specialize in music from the Himalayas and South Asia are invited to forge a connection between their music and the art in the galleries. Free. RubinMuseum.org
Dear Readers: If you have an event to list, please send details to nyc_arts@epochtimes.com in the format you see here.
Essence of China
C7 August 21–27, 2015
www.TheEpochTimes.com
The Rise and Fall of an Ancient Chinese Tyrant FANGHONG/CC BY-SA 3.0
By Leo Timm | Epoch Times Staff hile the social and spiritual teachings of Confucius are now synonymous with traditional Chinese society itself, the first imperial dynasty, the powerful Qin state (221 to 206 B.C.), employed the harsh ideology of legalism. According to the proponents of this strict form of governance, a monarch should seek to acquire as much political power as possible and apply strict laws to dominate all of society. China’s first great era of disunity, known as the Warring States Period, saw the rise of many schools of thought, including legalism and Confucianism. Various local rulers sought the advice of philosophers, teachers, sages, and scientists to aid their quests to lord it over the whole nation. During this time, the state of Qin was a remote region on the fringes of Chinese civilization lying in the mountains that hug the west banks of the upper Yellow River. In the fourth century B.C., Qin’s ruler Duke Xiao began a search for capable men to help him lead his land and people to greatness. Shang Yang was the man who brought legalism to Qin State, which would eventually conquer six other kingdoms to unify China. Unable to find employment as a government minister in his native state of Wei in central China, Shang ventured to the west to heed Duke Xiao’s call.
Legalism demands blind obedience, so anything the people said was irrelevant at best, rebellious at worst.
Advocate of Tyranny The origins of legalism are varied, but Shang Yang was the first to develop it as a distinct political ideology. Taking the Canon of Laws, written by the scholar Li Kui, as his guide, Shang Yang met with Duke Xiao and was able to convince the leader to make him an important minister for Qin. One of the defining traits of legalism was its rejection of any morality not determined by the ruler through his laws. Shang and the successors in his school of thought believed that human nature was chiefly cunning and self-serving in nature. What the Qin minister wanted was obedience. Early in Shang Yang’s career at the Qin capital, he made clear what he expected of his people, by offering the hefty reward of 50 bronze pieces for anyone willing to move a piece of wood from one end of the city to the other—a
A modern Chinese statue of Shang Yang.
task so simple that only a man of poor intellect finally decided to attempt it. Shang promptly gave him the promised money and gauged the commotion that resulted among the people of Qin. Some spoke out against the ridiculous test, while others praised it. All were arrested. Legalism demands blind obedience, so anything the people said was irrelevant at best, rebellious at worst. Most Chinese states at this time were also implementing legal reforms to streamline leadership and improve public order, but Shang Yang’s actions were the most radical. He caused an uproar among the Qin nobility, but they could do little to stop him, because he had the favor of Duke Xiao. Shang had many nobles and scholars punished severely—death for some, mutilation for others. In ancient China, defacing the body was seen as an especially horrific punishment usually reserved for those convicted of serious crimes. Shang Yang’s reforms also focused on maximizing harvests to support large armies. Known to the people of other Chinese states as “tiger and wolf divisions,” Qin soldiers entered battle with little sense of chivalry or regard for their own lives as long as it meant reward and status for them and their families. A Misplaced Comparison The reforms of Shang Yang paid off. In 341 B.C., strengthened by the strict new laws, Qin was ready for war against its age-old enemy and Shang’s homeland, the state of Wei. Lying along the Yellow River was a disputed land containing 10 cities, which Shang conquered through a combination of underhanded tricks and brute force. Hailed by the Qin Duke Xiao as a hero, Shang received a sizeable fief and basked in his own glory. At a lavish and well-attended banquet, he boasted of his achievements. Those in attendance showered him with praise, but one man, a doorkeeper, stood up in dissent. Shang was puzzled and asked him about his silence. “I will tell you the truth of your situation if you promise not to kill or punish me,” the doorkeeper said. Shang Yang agreed. “How do I compare to the great Baili Xi of old?” Shang asked. Baili Xi was a Qin minister who had lived more than 200 years prior to Shang’s time. He served the Qin Duke Mu, known for his generosity and virtuous rule.
Baili Xi, the doorkeeper said, was loved by the people of Qin. He worked directly with the common folk and did not feel the need for any guard. When he died, the people wept as though their own parents had died. Shang Yang, by contrast, ruled only through the power of Qin’s sovereign, Duke Xiao. In the 20-some years of his government, the people of Qin felt only terror, not respect, for Shang and his laws. They knew only profit and forgot morality. Furthermore, the doorkeeper warned, the heir to the Qin throne was not favorably disposed to Shang Yang, so his authority would last only as long as the reign of the current duke. “You know that you do not have the hearts of the people,” the doorkeeper said. “When you go out, you are protected by the strongest of warriors as your bodyguards, always with blades at the ready. Otherwise you would never dare leave your residence. How can you be compared to Baili Xi?” Devoured by His Own Rule As the doorkeeper predicted, Shang Yang’s fortunes changed rapidly once Duke Xiao died the next year, in 338 B.C. His son ascended the throne to become King Huiwen of Qin. The new ruler immediately took steps to apprehend the powerful minister. Shang Yang changed into common dress and fled—but at the first inn he encountered, he was demanded to show identification documents. Trapped in his own regulations, Shang, tired and despondent, was soon captured. He was accused of treason and executed. Shang Yang was dead, but King Huiwen and his successors maintained the legalist system for over 100 years after his death. Qin would only grow in power until the king Ying Zheng, who became the first emperor, unified China. But he died after 12 years of rule, and the dynasty buckled. Freed from the awesome fear the emperor inspired in his subjects, self-serving Qin officials began plotting rebellion after his death. The emperor’s chosen successor was made to commit suicide and an incompetent heir was placed on the throne. The Qin bureaucracy fell apart and the empire plunged into civil war a mere 15 years after the grand unification. Hence the Chinese saying “Qin rose and fell by Shang Yang.”
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Theater
C8 August 21–27, 2015
www.TheEpochTimes.com CAROL ROSEGG
Theater Review
‘The Weir’ The cast of “The Weir,” (L–R) John Keating, Sean Gormley, Tim Ruddy, Paul O'Brien, and Mary McCann, in a splendid production of the touching play.
Unique gifts brought to the stage in a poignant, superb production ‘The Weir’ continued from C1
at usic h ony m the m p nce m/sy e i r e co Exp yu n.
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Presented by Shen Yun Promotions International
n
AN ENCHANTING SOUND RETURNS TO CARNEGIE HALL
Concertmaster ASTRID MARTIG
Conductor
MILEN NACHEV
MUSIC FROM 5,000 YEARS OF CIVILIZATION EXQUISITE CHINESE INSTRUMENTS in a grand Western orchestra. Shen Yun Symphony Orchestra blends Eastern and Western musical traditions in a concert experience unlike any other. Majestic movements convey tales of divine beings descending to Earth. Lilting notes evoke the elegance of ladies at imperial court. Traditional dance rhythms from Tibetan plateaus reverberate through the concert hall. Shen Yun performs soulstirring original works, with solos by the world’s top Chinese tenors and sopranos. Concert highlights also include Western masterpieces by Tchaikovsky, RimskyKorsakov, Sarasate and more.
Soprano HAOLAN GENG
Stern Auditorium/Perelman Stage at
Carnegie Hall
Saturday, October 10 2PM & 8PM
Tickets: $118, $108, $98, $78, $58, $38 Online: shenyun.com/symphony/nyc (presenter) carnegiehall.org (concert hall) Phone: Presenter: 800-818-2393, 888-974-3698 CarnegieCharge: 212-247-7800 Box Office: 57th Street and 7th Avenue
Each character is distinct and distinctive at the hands of playwright McPherson, noted for his melding of the supernatural with reality. (He has illustrated this in his other plays, which include “Shining City” and “The Seafarer,” and which were, as was “The Weir,” seen on Broadway.) As Finbar, Gormley plays somewhat the preening peacock. As the most financially successful of the group, he is dressed, almost ostentatiously, in a well-tailored light-colored suit and highly polished shoes that shine far beyond the confines of the dingy pub. But Gormley combines Finbar’s sometime arrogance with a care for Valerie and what he senses of her inner sadness; his manners then bespeak of a good basic upbringing—indicating classic Irish elegance. Ruddy’s is a difficult task: He demonstrates Brendan’s active listening—the mark of a good actor—his thoughts and feelings etched onto his face. But more, he conveys the sense of someone who has repressed personal desires and has suffered for them. Keating, as Jim, always supplies authenticity. (This marks his 15th show at Irish Rep). His description of Jim’s graveyard misadventure is spine-tingling. O’Brien as Jack exudes a lot of power and takes stage much of the time even though he is often surly and combative. Envious of Finbar’s success in life, Jack picks opportunities to verbally spar with the man (but makes up afterward). But when, late in the play, he relates his story of lost romance, it takes the viewer to a place of bittersweet nostalgia and creates unexpected sympathy for him. Yet it is Valerie’s poignant story in the hands of Mary McCann that tears at one’s heartstrings. All the more so because McCann’s delivery is so simple and unadorned. Her deeply moving performance resonates long after one has left the theater. In addition to the wonderful group of actors, the production boasts of a beautifully chosen production team, which makes this show exquisitely integrated in all respects. Charlie Corcoran’s set seems like an actual pub lifted from the aul’ sod of Ireland, enhanced by Michael’s Gottlieb’s lighting and the unsettling, sometimes eerie, wind effects by Drew Levy. Seldom given credit but so deserving in this case are the properties, or props, selected by Deirdre Brennan. What could more whet one’s thirst than to see side by side weathered earthenware jugs next to the brightly shining drinking glasses. Then the framed old photographs hung on the faded, flowered wallpaper—the photos figure importantly in the play itself. Several characters point out photos to Valerie of themselves as youngsters and of their forebears. Also, a photo of the weir, a dam meant to modify the river’s pathway. Costumes by Leon Dobkowski are “right on the money.” And all is coordinated splendidly by director O’Reilly. The play brings unique gifts, not only the unusual element of otherworldliness, which is dealt with tangibly and is intriguing. But there is the unspoken subtext, the inner haunting, the pain that inhabits all of us at various times—the instances of regret, sorrow, loss, and longing. There is also deep friendship and love. Heart, and soul. I believe it is for those feelings that “The Weir” makes its greatest mark, its greatest contribution to Theater (yes, with a capital T). I can say with unchecked enthusiasm that this production, in its fusion of text with performance, is one of the finest productions I have seen in this or any season. Diana Barth publishes New Millennium, an arts publication. She may be contacted at diabarth@juno.com
‘The Weir’ DR2 Theater 103 E. 15th St. (The Rep’s temporary home while its permanent home is being renovated)
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Tickets: 212-727-2737, or Irishrep.org Running Time: 1 hour, 35 minutes (no intermission) Closes: Sept. 6