Pasatiempo - January 14, 2022

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture

January 14, 2022

Tango Argentina

PAGE 16

PASATIEMPOMAGAZINE.COM

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January 14, 2022

ON THE COVER

‘It’s all about the embrace’ A shift of the hips. A pivot and snap of lace. The clipped stamp of a heel. Romance but also tension. Tango Argentina, cofounded and danced by Guillermo De Fazio and Giovanna Dan, explores the dance and its evolution from its birth in Argentinian brothels to the Golden Age of Tango in the mid-1930s and ‘40s. “Tango was originally a street dance, a challenge between men,” De Fazio says. “Rural Argentina has its own folk dances, its cowboy gauchos and tradition of ranching, but the story of tango is an urban one.” On the cover are the founders of Tango Argentina.

Guillermo De Fazio and Giovanna Dan

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pasatiempomagazine.com

BOOKS & LITERATURE 08 Review No Land to Light On

by Yara Zgheib

MOVING IMAGES

09 Review The Latinist by Mark Prins

24 Review A Hero 25 Review The Tender Bar

MUSIC & PERFORMANCE

26 Chile Pages In theaters and streaming

10 Random Acts The Maxwell Quartet and Shamarr Allen 12 Against the odds New Mexico actor Steven Herrera 18 Mozart, Haydn, Glinka & Fung Santa Fe Symphony

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ART & CULTURE 10 Random Acts American Pickers 20 Remote Possibilies The Harwood Museum of Art, Taos

24 CALENDAR 28 Pasa Week 31 Exhibitionism

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ET CETERA 04 Star Codes

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Teatro Parraguas 3205 Callee Marie ♦ Zircus Ero otique Sat, Jan 15, 7:30 p.m.

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Tickets: teatroparaguasnm.org 505-424-1601 Labinger Productions Four New Short Plays, by Jerry Labinger Directed by Talia Pura Sat, Jan 22, 7:30 p.m. Free.

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STAR CODES Heather Roan Robbins

Starting Jan 17 use code: MONDAYFUNDAY for 50% off NM resident tickets on Mondays after 3pm

IT’S GOING TO BE A WONKY WEEK. So when things get strange, push the pause button and hold still for a minute. Mental Mercury now turns retrograde for the next three weeks and complicates how we communicate and how we transport. Venus, queen of relationships and all we value, is retrograde to the end of the month, and change-inducing Uranus soon turns direct after many months retrograde. When planets change directions, the energy they symbolize can swirl and roil like a winter ocean.

With these retrogrades, we could feel like we’ll never get out of the 2020-2021 COVID vortex. Political headlines focus on the past, and relationships can review their low points. If this gets to us, we can use the retrogrades to consciously review any good memory or healthy progress.

Changes come later in the spring. For now, employ basic Mercury retrograde survival skills. When there’s a whiff of tension, don’t push; check for misunderstandings or stop, smile, back off, and come at it again later. Return to common goals, like the Constitution and democracy.

Make room for delays, follow up on essentials, and track tight timelines carefully. Prioritize safety.

Use this time to catch up, finish loose ends, reconnect with old contacts, and revive shelved creative projects.

As Mercury retrogrades on Friday, a verbal Gemini moon loans us a talkative and adaptable mood. Over the weekend our moods roil as the moon waxes full in emotional Cancer, and the sun conjuncts intense Pluto. Look for plot twists midweek under a Leo moon and as Uranus turns direct. The general mood becomes more collaborative as the sun enters Aquarius.

FRIDAY, JAN. 14: Expect delays and don’t give up. Refine and adjust plans to prepare to build momentum in a month. Midday confusion can leave us overextended tonight. Prioritize rest. Enjoy ambient sharp-edged humor; just be kind as well as funny.

SATURDAY, JAN. 15: Let the world’s difficulties inspire more authenticity, not less. Take care of the home, family, and chosen family as the moon enters Cancer and trines Jupiter. Share the heart through actions rather than words.

SUNDAY, JAN. 16: Watch a tendency to catastrophize or get depressed as the sun conjuncts Pluto. Instead, honor a call to the heart and stick to what really matters. If emotional needs play bumper cars, drop below minor irritations and reactions as Mercury semi-squares Mars. Stay safe and keep the heart open.

01/14 SubDocta

with SFAM, Otterspace

10pm Doors, 18+

01/29

The Marías Present: CINEMA

9pm Doors, All Ages

02/02 Neil Frances with Luke Wild

7pm Doors, 18+

02/03 Adultiverse Adults Only Night

6pm-10pm, 21+

02/09 Inner Wave with Divino Niño

7pm Doors, All Ages 02/15 Samia

with Annie Dirusso

7pm Doors, All Ages

MONDAY, JAN. 17: The emotional weather changes quickly; storm clouds scuttle over bright skies as the moon waxes full in deep-feeling Cancer.

Dwell neither in the past nor the future; stay here and now. For stability, feel the earth beneath, the sky above, and spirit within all.

TUESDAY, JAN. 18: We may long for some positive excitement for a change as Uranus turns direct under an expressive Leo moon. Feel the feelings rather than invoke drama to express their depths. Keep an eye out for electronic difficulties and enjoy unexpected spontaneous moments.

WEDNESDAY, JAN. 19: Morning is slow or serious as the Leo moon opposes Saturn. People need more attention by midday. It eases practical work if we nurture connection first and then attempt to coordinate. The sun enters Aquarius tonight and turns our minds towards community and the body politic.

THURSDAY, JAN. 20: Make lists and check them off under the conscientious Virgo moon. Check to make sure all on the team have shared priorities.

Do not take minor irritations out on one another. Lack of clarity rather than stupidity can cause problems. Celebrate every minor victory. ◀ Contact astrologer Heather Roan Robbins at roanrobbins.com.

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PASATIEMPO I January 14-20, 2022

MIXED MEDIA

The showgirls arrive in the National Theatre’s 2017 production of Follies.

FOLLIES ON THE STAGE AND IN OUR LIVES When Follies opened in 1971, it was one of the largest and most ambitious book musicals in Broadway history, with 47 cast members and a 34-person orchestra. It was also the second most expensive, trailing only Coco (1969), which took first place due to Katharine Hepburn’s munificent salary. At the time, critics were divided over James Goldman’s storyline — unflattering portraits of marriages were still unusual in musical comedy — but adored Stephen Sondheim’s lyrics and score.

The National Theatre’s 2017 version wasn’t quite as large as the original, but it came close, with a cast of 37 and an orchestra of 21. Dominic Cooke’s staging successfully captured the grandeur of the original, as did the company’s Live in HD telecast from November of that year. It’s finally being screened in Santa Fe, and it’s a superb opportunity to celebrate the memory of Sondheim’s remarkable career and achievements.

Follies is both an homage to the glamorous musical revues of the 1920s and 1930s, such as the Ziegfeld Follies and George White’s Scandals, and an unsparing portrait of what transpires for most of us during our romantic lives and personal relationships. To cite an example, one of the main characters’ contradictory feelings are succinctly summed up in a song title: “The God-Why-Don’t-You-Love-Me Blues.”

The action takes place in an about-to-be demolished vaudeville theater, where the Weissman Follies girls have gathered some 30 years after their final performance for their first and last reunion. During the event, long-simmering tensions and suppressed desires boil to the surface, especially for Phyllis Rogers and Sally Durant, and their respective husbands, Benjamin Stone and Buddy Plummer. They were close friends decades earlier but now revelations and recriminations fly, testing both marriages near and perhaps past the breaking point.

Many of the performances are riveting, and the production earned widespread acclaim, with both Time Out and The Guardian giving it five-star ratings. Time Out went on to proclaim, “Well, hello perfect!

Great shows are rare; flawless ones happen only under a blue moon. But Dominic Cooke’s revival of this wry, classy American musical ... is both of the above,” and The Guardian said, “Imelda Staunton [as Sally Durant] is unforgettable in Dominic Cooke’s ingenious revival of a musical that perfectly fuses splendor and poetic sadness.” ◀ 2 p.m. Saturday, Jan. 15, Lensic Performing Arts Center, 211 W. San Francisco St., $22, 505-988-1234, lensic.org. Masks required; those 12 or older must provide proof of full vaccination or recent negative test results — Mark Tiarks/For The New Mexican

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A Selection of Luxury Listings from Santa Fe Properties Property Address

MLS

List Price

Property Address

MLS

List Price

182 Tesuque Village Road

202104317

$8,800,000

116 Calle Ventoso W*

202104422

$1,930,000

1523 Calle Terrazas

202103630

$6,000,000

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202104540

$1,800,000

412 Circle Drive

202003203

$5,390,000

241 CR A-20*

202103820

$1,795,000

26 Lodge Circle

202103342

$4,500,000

51 Coyote Mountain Road

202102942

$1,648,000

1889 Sage Drive*

202104309

$3,500,000

35 Leaping Powder Road

202105180

$1,595,000

Lot 16, 17 & 18 Ponderosa Ridge

202105206

$3,450,000

1125 E Ridge Rd

202105204

$1,500,000

1813 Camino de Cruz Blanca

202104412

$3,300,000

5 Camino Rael

202002820

$1,495,000

64 Pinon Jay Trail

202103632

$3,300,000

46 Lamy Drive*

202104944

$1,475,000

44 Tesuque Ridge

202103656

$2,750,000

1225 SEVILLE

202104338

$1,450,000

98 La Barbaria Trail

202103749

$2,595,000

48 E Estrada Calabasa

202105296

$1,295,000

11 Avenida de Rey

202102215

$2,500,000

1124 E Ridge Rd

202105203

$1,250,000

144 La Barbaria Rd

202102789

$2,285,000

0 Paseo de Vistas

202104430

$1,000,000

282 Calle Juanita

202104797

$2,100,000

*Indicates Listings Under Contract

For a complete list of our luxury offerings, visit santafeproperties.com/luxury-homes

santafeproperties.com | 505.982.4466 |

IN OTHER WORDS

NO LAND TO LIGHT ON by Yara Zgheib, Atria, 304 pages, $26 Wendy Smith I For The Washington Post Yara Zgheib’s second novel revisits the bad old days of 2017, delving beneath the headlines to tell a wrenching personal story, which traces the paths of two Syrian immigrants torn apart by the U.S. travel ban. No Land to Light On shows the shameful way the United States has denied the responsibilities attached to its status as a symbol of freedom and hope for desperate people across the globe. But this is not simply a protest novel. In elegant prose, Zgheib skillfully mingles her protagonists’ memories with a nail-biting account of their 2017 ordeal to craft a narrative rich in metaphors and complex, believable characters.

Sama Zayat leaves Damascus in 2010 to study anthropology at Harvard University and to escape the constricted life she foresees for herself in Syria.

In America, she believes, she can be “light and cosmopolitan, a world-touring saunterer, untethered by land or home ... taking flight.”

(Evocative quotations from ornithologist W.H. Hudson on bird migration, Sama’s particular academic interest, elaborate Zgheib’s themes of global migration’s benefits and perils.)

Hadi Deeb arrives in Boston in 2015, three years after the eruption of Syria’s brutal civil war. Jailed as an enemy of the regime, he emerges to hear his mother tell him, “Go and don’t you dare come back. ... I will not, I will not bury my son.” From a United Nations camp in Jordan, he gets a Boston lawyer and legal refugee status.

He falls in love with Sama at their first meeting, and they marry four months later. There are tensions — Hadi is haunted by Syria’s agony, while Sama urges him to put the past behind him — but they are happy and thrilled when she becomes pregnant.

The couple’s recollections of those halcyon days, when they believed they were making a new life in America, present a bitter contrast with the grim scenes at Logan airport in Boston, where Hadi lands

after burying his father overseas. It is the first day of the travel ban, and the airport is surrounded by demonstrators and police.

Sama, now 28 weeks pregnant, struggles to stay on her feet in the middle of a frantic crowd when her phone rings. It’s Hadi, who has been detained and had his passport seized. Before she can hear more, a spasm of pain throws her to the ground. She’s taken to the hospital, and a quick change of scene takes us to the room with no clock and no windows where Hadi and some 40 others are being held, their phones confiscated.

When he demands to speak to his lawyer and call his wife, the response is, “Sir, I’m going to have to ask you to calm down, or I will have to restrain you.” This official is unmoved to hear that his father died in Amman one day before the interview for American visas Hadi has been working to get his parents for two years. “ISIS recruits quite a lot of Syrians in Jordan,” he remarks.

Deceived into signing a form that says he is leaving voluntarily, Hadi is deported to Amman. He gets his passport and phone back upon arrival, speaks to Sama, and learns that their son has been born. As they had agreed, Sama names him Naseem, “light breeze” in Arabic: “We had wanted a name as clear and vast as this country, his by birth, ours by choice, by wish, by need, by hope.” But their hope falters as Hadi’s prospects for a legal return to the United States dim, and their dangerously premature son struggles for survival. The differences between husband and wife, normal and manageable when they lived together, threaten to widen into an abyss created by absence and uncertainty.

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PASATIEMPO I January 14-20, 2022

A fascinatingly open-ended conclusion is fueled by decisions Syrian immigrants Hadi and Sama make that will stir lively debate among readers. It’s a fitting close to a novel alive to the ambiguities of the American and the immigrant experience.

The airport officials are not the only callous government representatives in No Land to Light On, but their just-following-the-rules attitude is balanced by accounts of welcoming and supportive Americans: the lawyer and his wife who take Hadi into their home; the doctor who sustains Sama and Naseem as the baby slowly improves under her care; Sama’s professor, himself an immigrant, who understands the sacrifices made to come to a new country and encourages her to persevere.

A fascinatingly open-ended conclusion is fueled by decisions Hadi and Sama make that will stir lively debate among readers. It’s a fitting close to a novel alive to the ambiguities of the American and the immigrant experience. Hadi is not wrong to conclude that he was a fool to trust in the promise of America: “Something I believed unbreakable, believed in all my life, staked my life on.” But Zgheib gives Sama’s professor an eloquent alternate view: “This is a very young country. I have hope for it. I think it is greater than people think.” ◀

book reviews

THE LATINIST by Mark Prins, Norton, 341 pages, $26.95 Maureen Corrigan l The Washington Post The Latinist is ingenious in its sinister simplicity. In the opening pages of Mark Prins’ novel, Tessa Templeton, a Ph.D. candidate in classics at Oxford, discovers that her mentor has written a recommendation letter that damns her with faint praise, torpedoing her chances of securing an academic job. His motive?

Obsession. Professor Christopher Eccles wants to keep Tessa close to him, toiling as an adjunct. He’s the ultimate “Professor of Desire.”

Did you just gasp? Then, you, Dear Reader, must be familiar with the mean streets and dead ends of graduate school, particularly in disciplines like classics, where the job prospects are so infinitesimal that competition is particularly cutthroat and internationally renowned mentors like Professor Eccles are scarce. Tessa is a rising star in her small field: the noncanonical work of minor Roman poets. She’s had a paper accepted for publication and a monograph under serious consideration at Oxford University Press. So, it’s odd that some of the more humdrum graduate students in her program have landed job interviews, while Tessa has received none. Still, when Tessa receives an email from an anonymous sender that reads: “You may want to reconsider asking Christopher Eccles for a recommendation letter in the future,” she first thinks the message — and the accompanying photo of the devastating recommendation letter — must be a practical joke.

Why would Professor Eccles, or “Chris” as he’s known to Tessa, write a letter filled with buzz-kill phrases such as: “Tessa has made strides from a rocky beginning to her doctorate. ... [W]e met more regularly in her first year than is normal with the

students I supervise. Sometimes she is hindered by a tendency to be argumentative.” But as the truth of Chris’ erotic fixation emerges, Tessa realizes that she’s as trapped as any noir character caught in Nightmare Alley: after all, her career rests in the hands of the very man who’s trying to destroy it, out of “love.” To free herself from the trap Eccles has set for her, Tessa must do what she does best: Use her brain power to outthink her predatory thesis adviser.

Author Mark Prins coaxes readers into the weeds of Ph.D. candidate Tessa Templeton’s research, rendering technical details about things like “limping iambic” poetic meter not only graspable, but engrossing.

Such is the horrific premise of The Latinist, a superb literary suspense novel that calls to mind an earlier such debut, Donna Tartt’s The Secret History.

Tartt’s 1992 novel was similarly situated in the claustrophobic world of academia and saturated with references to classical mythology. Like Tartt, Prins understands the fascination of the arcane. He coaxes readers into the weeds of Tessa’s research, rendering technical details about things like “limping iambic” poetic meter not only graspable, but engrossing. The other signature aspect of academic life — particularly in graduate school (Prins attended the Iowa Writers’ Workshop) — that he nails is its monomaniacal lack of moderation. Professor Eccles may be unhinged, but he has a double in Tessa, who’s so zealously dedicated

to her research and career that she blows off her boyfriend’s father’s funeral to attend a conference, thereby demonstrating that she has the right stuff to someday navigate the shark tank of the tenure process.

In addition to being an expert on obscure Roman poets, Tessa is also a formidable scholar of the Daphne and Apollo myth. That’s the ancient Greek story, set down most memorably by the Roman poet Ovid in his Metamorphoses, where the nymph Daphne escapes sexual violation by the god Apollo by transforming into a laurel tree. Clearly, The Latinist itself is a clever updating of the Daphne and Apollo myth — a modern tale of coercive power and last minute changes of fortune. As it goes on, this academic suspense story also changes shape, mutating into something closer to Agatha Christie’s Murder in Mesopotamia after Tessa flees Oxford and attaches herself to an archaeological dig at Isola Sacra near Rome. There, working largely in solitude in an eerie necropolis, Tessa makes a spectacular discovery that just might reverse the power dynamics between her and her grasping mentor.

Prins’ evocative writing style makes The Latinist more than just a diverting contrivance. Here, for instance, is a mythologically inflected description of a visit Chris pays to his mother, who’s just entered a nursing home. She’s been diagnosed with dementia, another kind of metamorphosis: “The elevator dinged at the first floor and at the third he stepped out, following room numbers through a labyrinth of hallways. He thought of Theseus in the labyrinth trailing Ariadne’s thread behind him so that he could find his way back out when he killed the Minotaur — he was Theseus, confronting nothing less frightening: a parent. How would he get out of this? ... Another door, another hallway, new voices.

Let this journey continue, he thought. I’d love to never get there.”

The startling and grotesque metamorphosis that ends The Latinist might have earned the approval of Ovid himself. Like the classics that inspire it, The Latinist is an inventive wedding of the elegant and the barbaric. ◀

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9

RANDOM ACTS

Shamarr Allen; photo Adrienne Battistella

Come blow your horn

‘American Pickers’ wants you! (Maybe)

Gathering strings

Shamarr Allen, lead vocalist and trumpeter of his namesake band, Shamarr Allen & the Underdawgs, hails from New Orleans’ Lower 9th Ward and expands on the city’s rich tapestry of music with a musical style influenced by jazz, hip-hop, rock, funk, country, and blues. He’s performed and collaborated with a renowned stable of artists, including Willie Nelson, Lenny Kravitz, and Patti LaBelle. A composer and producer, as well as trumpeter, Allen’s exhilarating sound transcends musical boundaries. He appears live at 7:30 p.m. on Tuesday, Jan. 18. Tickets are $17 in advance (available at tickets.holdmyticket.com/tickets/383897; 505-886-1251) and $20 on the day of the show. Doors open at 7 p.m. The event is 21 and older without parent or guardian.

Masks and proof of vaccination or a negative COVID-19 test are required. Tumbleroot Brewery, 2791 Agua Fría St., 505-303-3808, tumblerootbreweryanddistillery.com — Michael Abatemarco

If you and your stuff are up to snuff, you might just find yourself featured on American Pickers. The popular History Channel reality show, which seeks out hidden treasures on America’s highways and byways, is scouting New Mexico for a planned March filming. Do you have a fabulous collection of Ming Dynasty vases or David Hockney lithographs? Don’t get your hopes up. The pickers are looking for grungy Americana that can be restored to its former glory and, they hope, sold at a tidy profit. Series creator and co-host Mike Wolfe (called “The Jack Kerouac of Junk” by The New York Times) runs Antique Archeology shops in LeClaire, Iowa, and Nashville, Tennessee, when he’s not on the road picking. The show is looking for private collectors (no shops or dealers) with large accumulations of antiques. The personality of the collector (the quirkier the better) is almost as important as the quality of the material in being chosen for the show.

To nominate yourself or someone you know, send your name, phone number, location, and description of the collection with photos to americanpickers@cineflix .com or call (646) 493-2184.

— Mark Tiarks/For The New Mexican

Scotland’s Herald called the The Maxwell Quartet “brilliantly fresh, unexpected and exhilarating.”

Perhaps that’s no surprise because they’ve built a reputation as one of Britain’s finest string quartets.

Consisting of four friends who grew up playing folk and classical music together in youth orchestras across Scotland, they began their career as an official quartet in 2010. They play a repertoire of classical and folk-infused music, with members Colin Scobie and George Smith on violin, Elliott Perks on viola, and Duncan Strachan on cello. The group is known for its enthusiastic, passionate playing.

They perform at 7 p.m. on Friday, Jan. 14, at the Duane Smith Auditorium at Los Alamos High School (1300 Diamond Dr., Los Alamos). The concert is presented by the Los Alamos Concert Association.

Tickets are $35 (free for ages 6 to 18) and can be purchased at tix.com/ticket-sales/losalamosconcert/6559/event/1226297. Masks are required in the lobby and auditorium, and social distancing is encouraged. Los Alamos Concert Association, 505-662-9000, losalamosconcert.org — M.A.

10 PASATIEMPO I January 14-20, 2022

CÉCILE McLORIN SALVANT tuesday, february 8 | 7:30 pm | Lensic Performing Arts Center

She’s back! Today’s reigning jazz vocalist returns to Santa Fe after her smash debut in 2017. Winner of the Thelonious Monk International Jazz Competition, Cécile McLorin Salvant has skyrocketed from a favorite of critics and dedicated fans to a multi-Grammy Award winner and one of the most fearless voices in music today. As Wynton Marsalis put it, “you get a singer like this once in a generation or two.”

bringing the world to a stage near you

Exclusively presented through the generosity of Elaine and Michael Brown

tickets start at $35 I PerformanceSantaFe.org I 505.984.8759 The Lensic Performing Arts Center will require that all persons attending events at the theater provide proof of full vaccination or the results of a negative Covid test taken within the previous 72 hours to gain admittance.

PASATIEMPOMAGAZINE.COM

11

Michael Abatemarco I The New Mexican

Bounding through the open door ACTOR STEVEN HERRERA

IN

his college days, studying urban planning and design at the University of New Mexico, Steven Herrera Jr. thought that maybe he’d pursue a career as an architect. In a way, he was following in the footsteps of his father, local contractor Steven Herrera. But fate had other plans for the young student, who nurtured a lifelong dream of being in the movies.

“I just didn’t see too much creativity in urban planning and design for me, but I learned so much,” says the Los Angeles-based actor. “In college, I got scouted by a modeling and commercial agency.

They asked if I wanted to read for a Campbell’s Soup commercial, just to see how I did. I thought, ‘Oh, this is amazing. I get to act.’”

Sitting on a comfortable sofa in the guest house on his father’s property in Tesuque, Herrera looks very much the movie star. You’d almost think you were in a spacious Beverly Hills pied-à-terre with breathtaking views,

12 PASATIEMPO I January 14-20, 2022

an amber glow from sconces, and pillows of a classic Pendleton design strewn about the couch. Or at a movie star ranch, overlooking the nearby corral. He stays in the house whenever he’s in town visiting family, as he did during this interview just before Christmas.

“I went and read for the commercial and was completely turned off by it,” says the 30-year-old actor. “It was so boring.”

That was the sum of Herrera’s acting experience in college. (He graduated in 2014.) But a break would come. Today, he’s a principal actor in Good News, a drama in post-production starring Machine Gun Kelly and has a lead role in Him, a horror film in pre-production. But there was a time when being in the movies was just a fantasy for the New Mexico-born actor who was raised off of Highway 14, not far from Madrid. Compared to Los Angeles, the area was, he says, “the middle of nowhere.”

“After college, I moved to San Diego and was just hustling, working all kinds of side jobs: sales, marketing, valet, everything,” Herrera says. “I

Actor Steven Herrera; photo Jim Weber/ The New Mexican Opposite page, from left, Herrera at the Horton Grande Theater in San Diego for his showcase of Good Will Hunting; with actor Matthew Modine (left), from Herrera’s Instagram: “…thanks @matthewmodine for spending the day teaching your craft and love for playing different lives”

decided to hop into some acting classes, get some coaching, and learn the fundamentals that I never took the time to learn when I was younger.”

Herrera was 10 years old when he started dreaming of being in the movies. That was when he started developing a kind of alter ego: the funny guy.

“I was trying to be as weird and funny as I could. But I definitely wanted to be in the movies. I just had it in the back of my mind that it was impossible to do. I also wanted to be a professional basketball player.”

When he started pursuing acting and moved to Los Angeles, Herrera says his family and friends weren’t positive or negative, just neutral. They had faith that he could make it work.

“My family members would always [say] I could get lost in the Sahara with … one sock and just the shirt on my back, and I’d find my way out. So the response was like, ‘OK. Even if we don’t fully believe it’s going to happen, you’ll figure something out.’ They don’t understand the audition process and agent process and all of that kind of stuff. But they’re just so interested in how it all works. And even if I’m in the smallest of roles, like 10 seconds of screen time, they’re just amazed by it.”

Growing up on 10 acres of land where there are no sidewalks and his nearest neighborhood friend lived miles away, Herrera found ways to occupy his time.

He rode his dirt bike, skateboarded, snowboarded, and made art.

Under the moniker “Kong,” he gained a small reputation as a street artist. He credits the performative aspect of being a street artist with feeding his acting ambitions.

“In the street art world, you go under a different name, so you’re like a character,” he says. “I really liked that, and that’s why I reference it with the acting. Street art for me was kind of like an alter ego or alter identity. It’s kind of a different life from the social norm, and it’s frowned upon in society. But it was a way for me to express my creativity. I’d go to bed at night and dream about different ideas for a wall or for a canvas. The next day, I would just go practice and get better at manipulating paint.”

But something beckoned to him, and Herrera would grab his dirt bike, ride to the top of a hill, and look down on the movies being filmed at Bonanza Creek Movie Ranch, which was close to his family’s property.

“Sometimes they’d have explosions and all kinds of stuff going on. I’d just sit there and watch it all. I thought, ‘Maybe I want to be a stuntman,’ because I grew up doing action sports. But I reenacted like every movie continued on Page 14

PASATIEMPOMAGAZINE.COM

13

Steven Herrera, continued from Page 13

40TH

ORCHESTRA | BAROQUE ENSEMBLE | STRING QUARTETS

ANNIVERSARY

Tickets $20-$85

WINTER ORCHESTRA CONCERT Lensic Performing Arts Center Jan 29 at 7 PM | Jan 30 at 3 PM PRO MUSICA ORCHESTRA David Felberg, conductor Anne-Marie McDermott, piano Kathryn Mueller, soprano REENA ESMAIL The History of Red (world’s live premiere)

MOZART Piano Concerto in B-Flat Major, K. 450 MENDELSSOHN Symphony No. 4, “Italian” MEET THE MUSIC | One hour before each concert, included with ticket purchase Artist Sponsor of Reena Esmail | Richard Bentley and Elaine Wang Meyerhoffer, in honor of David Cost Artist Sponsor of David Felberg | Elaine Wang Meyerhoffer, in honor of Chatter Women of Distinction Initiative Underwriter | Sallie Bingham

and the 1% Lodgers’ Tax

sfpromusica.org | 505.988.4640 Santa Fe Pro Musica adheres to the Lensic Safe Events Policies 14 PASATIEMPO I January 14-20, 2022

scene in my room. A lot of comedies, action films. I wanted to be Spider-Man ever since the first movie came out.”

But at St. Michael’s High School in Santa Fe, where Herrera was a student, acting wasn’t something he pursued.

“I closed myself off from it then, and I regret it now,” he says. “I just felt like, ‘There’s no way I could become an actor where I’m from.’ I saw it as such a far-fetched dream.”

Herrera looks younger than he is, which is why he’s often cast in roles where he plays teenage characters, including a recent, uncredited stint as a teen fairgoer in Licorice Pizza.

In his acting classes in San Diego, his passion for the craft blossomed.

“I fell in love with how much you can really learn and how much goes into taking those words from a piece of paper, turning them into life, making it believable to the viewer. My goal was to start off with theater and see where that went.”

Things unfolded a bit differently, however.

In one of his classes, the students created a film showcase that was presented for an audience of writers, producers, agents, and other industry professionals. After the show, an agent reached out to Herrera and signed him, convincing the budding actor to move to LA, where he’s been living for the past three years.

“The mindset that’s helped me out is, you have to want it but not need it. If you’re trying to book the gig, it’s going to be better for you mentally if you want it more than you need it. But you have to want it because it’s your passion.”

— Actor Steven Herrera “I just hit the ground running,” says Herrera, who’s just landed a role in the first episode of a forthcoming Reese Witherspoon-produced series for Amazon called Daisy Jones & The Six. “I feel like I’ve been on 5,000 auditions at this point. My goal isn’t to be famous,” he says. “I just want to be a working actor and be proud of what I’m putting out there. The mindset that’s helped me out is, you have to want it but not need it. If you’re trying to book the gig, it’s going to be better for you mentally if you want it more than you need it. But you have to want it because it’s your passion.”

Despite his share of rejections, Herrera never thought about giving up.

And every once in a while, there’d be an angel there to give him a boost.

In 2020, he was working for a catering company that landed a contract to cater for the Academy Awards ceremony. Herrera showed up, not knowing what to expect nor what his duties would be for the evening.

“You got lucky tonight,” his captain told him. “You’re in charge of the trophy room.”

That meant that Herrera would be pouring and handing out champagne to the Oscar winners when they walked off stage.

“It’s this private, private room,” he says. “It was basically just me with the champagne while they were waiting to get their trophies engraved. I was geeking out the whole time.”

Renée Zellweger had just won her second Oscar, the Best Actress award for her role as Judy Garland in the 2019 biopic Judy, when she walked into the room.

“She was so sweet because she just took the time to talk to me, even in the moment where she was winning an Oscar. I’ll remember it forever.”

Zellweger asked him if he was an actor. He said yes, and she replied, “Keep knocking on that door and eventually that door will open. You’re going to do it. Keep at it.”

“I was just in awe that she even took the time to say that to me,” he says.

“If I ever win any type of award, I hope I remember that all the people around me also have a dream and treat them right.” ◀

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15

G Michael Wade Simpson For The New Mexican

Dance therapy TANGO AND THE HUMAN CONNECTION

16 PASATIEMPO I January 14-20, 2022

uillermo De Fazio and Giovanna Dan are directors, performers, partners, choreographers, and teachers who live and breathe tango. Their touring production, Tango Argentina, will bring a cast of eight dancers and four musicians to the Lensic Performing Arts Center on Thursday, Jan. 20. In a world starved for human connection — thanks, COVID — the sight of four couples literally dancing cheek-to-cheek may induce an emotional reaction in the audience. The feelings may be even stronger for the dozens of local dancers who recently lost their Tango Tuesdays, a weekly tradition since 2001, when the restaurant El Mesón closed after 25 years.

“It’s all about the embrace,” says Dan, who was raised in Los Angeles by Argentine American parents (a professional tango dancer and musician) and has been partnered with De Fazio since 2015. “Social dance is like therapy. In this digital age, we are losing a physical connection with other people.”

De Fazio says that the tango is different than dances like salsa, merengue, and swing. “Tango is intimate. It makes you calm.”

Raised in Buenos Aires, Argentina, De Fazio toured internationally for many years as part of an act with his brother. Los Hermanos Macana offered a very fast, complicated style, he says, not at all romantic. “Tango was originally a street dance, a challenge between men.” Rural Argentina has its own folk dances, its cowboy gauchos and tradition of ranching, but the story of tango is an urban one about European immigrants who arrived in Buenos Aires and Montevideo, Uruguay, en masse during the 1880s and early 20th century.

Tango, born in brothels, was considered less than respectable, was sometimes illegal, and evolved from an edgy, underground expression of sexual tension into a UNESCOapproved cultural heritage art form — and a national pastime.

“In the beginning of tango, Buenos Aires was 70 percent male,” De Fazio says. “The 30 percent who were women included 20 percent who were married and 10 percent who were prostitutes. The men danced with each other while they were waiting for women.”

Tango Argentina will offer a condensed history of the form — both musical and physical. “We’ll go through the different decades and eras of tango,” Dan says.

Music director Fabrizio Mocata, who will be at the piano, created original compositions in the spirit of these different ages of tango. “In the early days, with the immigration came musicians from Europe who brought different instruments and created a new sound,” De Fazio says. The early dances were quite simple. De Fazio calls it La Guardia Vieja (Old School). By the 1920s, the music had grown popular, but the dance was still considered risqué. “Tango then was like twerking. My grandmother was very conservative. She didn’t go for it at all,” he says. “But she loved the music.” At that time, as music first began to be recorded, the Guardia Nueva (New Wave) featured tango that was less improvisatory, worked with notated music, and had more dance structure.

Tango Argentina’s musical story will also pay tribute to Carlos Gardel, a singer who popularized tango music in the 1920s and ‘30s. “He was the Frank Sinatra of tango,” De Fazio says. “He was a huge star. Everybody was listening to his music on the radio. Tango became more romantic.”

During the Golden Age of Tango (mid-1930s through the 1940s), the dance became well-accepted socially. “Everybody was doing tango,” Dan says. The music was quicker, and the dance had more velocity. “You have to be chill to do it well,” De Fazio says. (“It was ‘happy’ tango,” Dan says.) In the ‘40s, a

time of the Big Band in America, the tango orchestras became larger and were associated with different political parties.

“There was one popular tango orchestra associated with the Peronistas, another with workers, and yet another was considered ‘high class,’” De Fazio says.

During the time of Argentina’s military dictatorship, 19761983, tango was once again forbidden. “It was also that way during COVID,” De Fazio says. During lockdowns in Los Angeles and Buenos Aires, the milongas (tango gatherings) went underground. There would be hundreds of people dancing at secret parties, Dan says. “It never stopped.” Dan and De Fazio avoided these gatherings but continued to teach on Zoom and later began to offer lessons in person, wearing masks.

“One of our students is a rocket scientist. He spends so much time in his mind. He was looking for a physical connection with his wife,” De Fazio says.

“If I were to generalize, “ Dan says, “I would say that people are drawn to tango when they have done something completely different in their lives, and they are looking for a physical connection to others in a way they haven’t experienced before.”

She started a tango teaching career after earning a dance degree from University of California-Los Angeles and spending years in the wings as a little girl watching her mother perform.

“I’m 5’8” and in 4-inch heels. ... People say I was too tall to ever find a partner,” she says. “One day I attended a workshop lead by Guillermo and his brother, and after five minutes, he says to me, ‘You’re going to be my partner.’”

He is 6’5” in socks. “I noticed right away that she had strong legs and booty,” he says. “That’s very important! In tango, the woman has to work in high heels and is often leaning way, way back. She has to be flexible but needs the support from her strong booty.”

As a duo, the real-life couple have performed in South America, Europe, Asia, and the Middle East. Known as GD Tango, they have also appeared at La Casa del Tango in Dubai, the United Arab Emirates, and performed at the Hollywood Bowl with the Los Angeles Philharmonic Symphony for a nationally broadcast PBS special.

At 38, De Fazio says he no longer performs “like a break dancer,” but that’s OK. “You can dance until you’re 100. When you have more experience, your dancing is more interesting. You’re more musical, more intellectual. Sometimes it’s not even the dance, it’s the pauses you take,” he says.

The music of Astor Piazzolla, which features a fusion of jazz and tango, revolutionized the form in the latter part of the 20th century. “It was faster, had more colors, more notes. It was richer,” De Fazio says. It was years before the dancers of the form caught up to the Italian composer’s quick rhythms. “In came lifts and tricks. Today there is a whole tango competition world.”

But for De Fazio, it’s about more than dancing pyrotechnics.

“I like to look back at the time of my grandparents,” De Fazio says. “The man offers his hand to the woman ...” ◀

details ▼ Tango Argentina ▼ 7:30 p.m. Thursday, Jan. 20 ▼ Lensic Performing Arts Center, 211 W. San Francisco Street ▼ $25-$49; 505-988-1234, lensic.org ▼ M asks required. Must have proof of vaccination or negative test for 12 and older.

PASATIEMPOMAGAZINE.COM

17

Mark Tiarks I For The New Mexican

THE

TRUMPETS SHALL SOUND

THE

Trumpeter Mary Elizabeth Bowden

18 PASATIEMPO I January 14-20, 2022

Santa Fe Symphony’s concert on Sunday, Jan. 16, features a true rara avis: a trumpet concerto by a female composer written for and played by a female soloist. Vivian Fung’s new piece features trumpeter Mary Elizabeth Bowden, who’s also the soloist in Haydn’s superb Trumpet Concerto. An overture by Mikhail Glinka and Mozart’s Symphony No. 41 round out the bill.

In her program notes, Fung writes, “The concerto originally was inspired by a conversation about Mary’s journey in her solo career in general, and as a woman in a male-dominated field. Ideas of striving, overcoming challenges, frustration, passion, and, ultimately, joy and celebration are all explored in this piece.”

Fung’s new work gives Bowden an opportunity to demonstrate her prowess on all three members of the trumpet family. In addition to the standard E-flat trumpet, the score calls for flugelhorn, which has a more burnished, mellow tone Composer Vivian Fung’s than a standard trumpet, and the high-pitched piccolo trumpet. Fung new work allows Mary cited “[stretching] the imagination Elizabeth Bowden to to what is possible for the instrudemonstrate her prowess ments” as one of her objectives.

The concerto is relatively short on all three members of — about 15 minutes — but includes the trumpet family: the sections the composer describes as standard E-flat trumpet, the “a toe-tapping march, a lamentful and stormy chant ... [and] a hipflugelhorn trumpet, and hop-inspired dance.” It’s played in the piccolo trumpet. one continuous movement, rather than the fast-slow-fast, three-movement form that the term concerto implies. The Santa Fe Symphony and seven other groups commissioned the new piece, with the Erie Philharmonic giving the first performance in March 2020.

In addition to her solo career, Bowden is principal trumpet of the Artosphere Festival Orchestra at Arkansas’ Walton Arts Center, as well as a member of Tennessee’s Iris Orchestra and the Richmond (Indiana) Symphony Orchestra. She’s also a founding member of Seraph Brass, an all-female ensemble that won the 2019 American Prize in Chamber Music.

Haydn’s Trumpet Concerto is one of the very few Classical-era pieces showcasing the instrument. During the Baroque era, trumpeters played fantastically difficult, high-pitched solo parts on “natural” instruments, which were just a mouthpiece, a flared bell, and, in between, a coil of brass tubing without valves or pistons. Bach’s Brandenburg Concerto No. 2 is one of the best-known pieces in which it is prominently featured.

That playing tradition died out during the late 18th century and the trumpet was relegated to playing about 10 different notes in orchestral pieces of a martial or celebratory nature. Haydn’s concerto was

The Zia Singers, under the Artistic Direction of Aaron Howe, present

commissioned in 1796 by Anton Weidinger, a virtuoso player and inventor of a new type of trumpet with several keys that allowed him to play many more notes than were possible on a natural trumpet.

Haydn gleefully seized on the new instrument’s ability to play fast scales and runs, especially in its lower register, which had never been heard before. Weidinger’s instrument never caught on, but the concerto Haydn wrote for him is still considered the finest ever written for trumpet.

Mikhail Glinka was the first composer to create a recognizably Russian style in classical music, particularly in his operas A Life for the Tsar (1836) and Ruslan and Lyudmila (1842). Alexander Pushkin intended to write Glinka’s libretto for the latter, basing it on his 1820 poem of the same name, which combines aspects of fairy tales and epics. His death in a duel in 1837 meant that Glinka’s text was assembled by a team of writers, and the opera premiered in St. Petersburg to a tepid response.

Its musical merits were soon recognized, however, and Ruslan and Lyudmila became a staple of the Russian operatic repertory, especially at Moscow’s Bolshoi Theatre, where it has been performed more than 700 times. The exhilarating overture is a concert hall favorite around the world.

Written in August 1788, only a few months before his untimely death, Mozart’s Symphony No. 41 in C major was his last work in the genre. It’s Mozart’s longest symphony and is universally considered a masterpiece.

In the Cambridge Musical Handbook on the symphony, musicologist Elaine Sisman summed up the responses to it as ranging “from admiring to adulatory, a gamut from A to A.” 4 p.m. Sunday, Jan. 16, Lensic Performing Arts Center, 211 W. San Francisco Street, $22-$80, 505-983-1414, santafesymphony.org Masks required; 12 and older must have proof of vaccination or recent negative test results. ◀

Magnificat Geneviève Caron

Featuring the New Mexico Premiere of

Kim André Arnesen’s Magnificat and highlighting soprano soloist

Leslie Umphrey Saturday & Sunday, January 22 & 23, 2022 at 3PM First Presbyterian Church, 208 Grant Avenue, Santa Fe, NM

COVID-19 protocols: proof of vaccination or proof of a negative COVID test within 72 hours of the performance are required for attendance. Masks required.

Adults $25, Children 12 or Younger $10.

Tickets now available for purchase through our website at www.TheZiaSingers.com

Join The Zia Singers!

Auditions for our Spring Concert take place at Noon on February 8th, 2022.

Composer Vivian Fung

If interested please sign up on our website: www.TheZiaSingers.com.

PASATIEMPOMAGAZINE.COM

19

TECH TREK R E M OTE PO S S I B I LITI E S

Jennifer Steinkamp, Bouquet 1 (2013), generative custom software animation (color, silent), computer, projector; photo Joseph Rynkiewicz, courtesy of the Carl & Marilynn Thoma Art Foundation.

Opposite page: Leo Villareal, Particle Field (triptych, 2017), OLED monitors, electrical hardware, and custom software; Pace Gallery

20 PASATIEMPO I January 14-20, 2022

Michael Abatemarco I The New Mexican

In

the arts, we tend to think of landscapes as ways of depicting physical terrain, like mountains, prairies, and canyon lands. But a landscape is often more about context. We talk about the landscape of the psyche, of memories, and dreams with a tacit understanding that they’re not physical regions but representations. Inner space is a landscape. Outer space is too.

In artist Leo Villareal’s Particle Field (2017), the flow of light appears to emanate from the center of a 5-by-8-foot triptych of monitors.

Created using custom software, the landscape being depicted here is that of energy fields surrounding a black hole in space. It’s a hypnotic work of ever-changing tendrils of pixelated light that branch out. It isn’t a physical landscape with a location in time, but an imagined one.

Villareal’s work is included in Remote Possibilities: Digital Landscapes from the Thoma Foundation Collection. The exhibition is on view at the Harwood Museum of Art in Taos through Feb. 27 and features works

by Villareal, John Gerrard, Bruce Nauman, Jennifer Steinkamp, Kent Monkman, and Marina Zurkow, artists who use digital technologies to create landscapes, challenge our ideas of landscapes, and examine our place in them. “When we talk about western landscape, it first became this viable artist career path in the 14th through 17th centuries, which is what most of these works are responding to,” says Nicole Dial-Kay, the Harwood’s Curator of Exhibitions and Collections.

“There’s a whole other conversation to be had if we’re talking about Asian landscapes, which goes back to the 6th century and maybe even further. But the Renaissance era is when we start seeing the medium as we really know it.”

Villareal’s Particle Field makes a subtle reference to Renaissance tradition. The triptych was inspired by Renaissance altars.

“There’s a lot of references in those Renaissance triptychs to creation, destruction, life, and death,” Dial-Kay says. “In these three screens, there’s something like 64 million pixels. He worked with an astrophysicist to depict the energy moving around the black hole.”

In a way, Villareal’s piece could stand as counterpoint to Steinkamp’s alluring and provocative custom software animation, Bouquet 1 (2013).

The former is a macrocosmic view of a celestial phenomenon, the latter is a terrestrial-based representation of flora. Steinkamp’s piece is a tangled mesh of green leaves and red, magenta, purple, and orange petals that undulates as if of its own volition or from a breeze. Bouquet 1 is a 12-by-15-foot digital projection.

“She’s really inspired by 16th-century Dutch still lifes,” Dial-Kay says. “She’s also interested in scientific illustrations of flora. Her work shows a duplicity of nature. It’s so captivating, but there’s something almost dangerous about it too. It looks like if you were to get in there, you’d get wound up in it and wouldn’t be able to free yourself.”

It is by design that Remote Possibilities is on exhibit in conjunction with two other shows in which landscape plays an integral role: Gus Foster: Panoramic Photographs of Northern New Mexico and Commemorating the 50th Anniversary of the Return of Blue Lake to Taos Pueblo: A New Day for American Indians. Foster’s exhibition spans the photographer’s career from his early years in Taos in the 1970s into the 21st century. The Blue Lake exhibition honors the 50-year anniversary of the repatriation of the sacred Blue Lake to Taos Pueblo.

“They all have these land ties that are in conversation with one another,” Dial-Kay says of the exhibits. “There are a lot of scholars who think that digital landscape is different because it’s a lot more engaged, more prodding, and more analytical about the subject matter versus just stepping back and representing.”

Some of the work in Remote Possibilities plays out in real time, notably Nauman’s Setting a Good Corner (Allegory and Metaphor) from 1999. Nauman’s single-channel video is self-portrait which depicts him constructing the corner of a fence on his land. The action lasts approximately an hour from start to finish. It makes no bold artistic assertions and contains nothing revelatory. But it does erase the continued on Page 22

PASATIEMPOMAGAZINE.COM

21

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Kent Monkman, The Symposium (2015), generative custom software animation (color, silent), monitor, media player, custom frame; 3 minutes, 24 seconds; photo by Kent Monkman, courtesy of the Carl & Marilynn Thoma Art Foundation

division between art as a vaulted concept and the prosaic, in this case a man engaged in manual labor. “There’s a conversation to be had about production and value,” Dial-Kay says. “Nauman’s exploring the idea of the yeoman, who works the land and gives it 100 percent. He starts the project and ends the project and then the work is over.”

In the 19th century, landscape representation intertwined with the concept of westward expansion. It became a way to sell Americans living on the East Coast, as well as Europeans, on the idea of the West as an untrammeled, pristine frontier, ripe for exploitation.

But the history of U.S. migrations across the West is also one of expulsions, forced relocations, and broken treaties.

First Nations artist Kent Monkman recasts historical events from the perspective of Indigenous peoples, upending conventional views and questioning society’s dominant ideologies. In The Symposium (2015), a custom animation, he’s taken a digital representation of Lancelot Théodore Turpin de Chrissé’s Acropolis in Athens (1805) and inserted representations of people in live-action digital. In the foreground, Monkman appears as Miss Chief Eagle Testickle, an Indigenous drag queen. He created the figure for multimedia works and performance pieces that explore themes of cultural exchange, appropriation, and gender.

In The Symposium, Miss Chief Eagle Testickle, wearing heels and a feather headdress, appears in the role of an artist. A muscled figure in a classical pose models for the artist, who’s painting his likeness on a buffalo hide. “Monkman is imagining that when the Indigenous people were thriving in the Americas and Greek culture was thriving in Europe, they were in conversation, sharing ideas, sharing their arts,” Dial-Kay says.

Landscape here, while clearly referencing place, encompasses cultural milieux. The Symposium isn’t proposing that this scene took place but that it could have, had one culture been aware of the other. Monkman draws a parallel between the rich and lasting influence of Greek arts and culture with an equally diverse and culturally defining inheritance among Indigenous peoples.

It’s not the possibilities for technology-based landscape representation that makes the exhibition worthwhile. It’s the strength of the works’ thematic exploration of our conception of the natural world, our subservience to its whims, our role as stewards, and as provocateurs. Remote Possibilities broadens our definition of what landscape is and what it could be. ◀

details ▼ Remote Possibilities: Digital Landscapes from the Thoma Foundation Collection

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REVIEW

MOVING IMAGES A Dostoyevskian tale of everyday tragedy A HERO

Michael O’Sullivan I The Washington Post Trailer youtu.be/zAJ6_lmr_HQ Iran’s official Oscar submission, A Hero, centers on Rahim Soltani (Amir Jadidi), a divorced calligrapher/ sign painter in Shiraz who is serving a jail sentence for his failure to pay a creditor 150,000 toman (about $35).

Yes, debtor’s prison is still a thing, and the story — by Golden Globe-winning writer-director Asghar Farhadi (A Separation) — isn’t set in the Middle Ages.

There are other aspects of the Iranian social order — such as a husband’s right to treat his wife like property, and her property as his — that inform the action of this Dostoyevskian tale.

The story begins during a two-day home leave that has been granted to Rahim, who uses the time to visit his girlfriend, Farkhondeh (Sahar Goldust). She’s found an abandoned purse on the street containing several gold coins, which Rahim hopes to exchange for cash toward his debt. But when he discovers that the money won’t be enough, he hits on a better plan: Find the owner of the purse and return the money, trusting that this act of decency will somehow be converted into currency — either the cold, hard kind, or some form of social credit that will benefit him.

Signs go up, and a woman shows up to collect the purse from Rahim’s sister (Maryam Shahdaei). Word gets around of the protagonist’s selflessness, and TV cameras roll, drummed up by prison officials, hoping to use the story to distract from bad publicity about a recent inmate suicide. A charitable organization raises a bunch of money for Rahim — only about half his debt, as it turns out — and offers him a job to help pay off the rest.

But only briefly.

Doubts arise about Rahim’s story, which has been embellished with harmless white lies, such as that he found the purse, not Farkhondeh. And the man to whom he owes money (Mohsen Tanabandeh), a

Aspects of Iran’s social order inform the action in director Asghar Farhadi’s A Hero.

relative of Rahim’s ex-wife, doesn’t want to settle for partial payment. It also doesn’t help that Rahim has a slippery past relationship with the truth: He omitted the fact that his original debt was to a loan shark, not a bank. And as embodied by Jadidi, Rahim wears an ever-present, nervous half-smile that occasionally feels inappropriate to the moment at hand, making him seem devious or, at times, deceptive.

When an official of the charity insists on meeting the owner of the purse — whose identity is unknown, and who may herself have lied about losing it — Rahim enlists Farkhondeh to impersonate the purse’s owner.

It’s a tiny bit of artifice in service of a larger truth, but things quickly spin out of control, leading to fisticuffs and a viral video that is used as leverage against Rahim. Farhadi seems to be critiquing social media/cancel culture as a tool of coercion — a problem certainly not unique to Iran — but also aspects of Iranian society itself. The woman who shows up to collect the purse, for instance, is shifty because, she says, she’s afraid her husband will take her money.

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It’s a tangled web and not entirely one woven from deception. To a large degree, Rahim’s hands are tied.

How exactly is he to get out of debt while he’s in prison?

And yet, like a sheep, he returns at the appointed hour after his leave expires. In some ways, his life behind bars seems less precarious than life on the outside.

When Rahim’s young son (Saleh Karimai), who has a stammer, is exploited for public sympathy, stating hesitantly — yet, more or less, honestly — for a cellphone video that his father didn’t lie, it’s only Rahim who objects. The hero of A Hero is a good and decent man in a small tragedy not of his making. (His partner ran off with the loan money.)

The movie takes place in Iran, yet it’s really situated in the crack of daylight that separates truth from a lie. It’s a tight squeeze, Farhadi seems to say, and one whose pinch this tragedy of the everyday makes us feel, acutely. ◀ Drama, rated PG-13, 127 minutes, Ce nter for Contemporary Arts Cinema, 3 chiles

Liquor and life lessons, served neat THE TENDER BAR

Michael O’Sullivan I The Washington Post Trailer youtu.be/5-DS9vtLeEs The title of George Clooney’s warm and fuzzy film adaptation of J.R. Moehringer’s best-selling 2005 memoir involves a bit of clever wordplay.

First, The Tender Bar is an affectionate allusion to the place where much of the film’s action takes place, if action is the right word for a story that’s mostly about words and feelings: a tavern in working class Manhasset, Long Island, named the Dickens, after the English writer. But it’s also an inversion of “bartender,” which is only one thing you might call the character of Moehringer’s Uncle Charlie, played by Ben Affleck, a bookish autodidact and dispenser of both shots (to the bar’s friendly regulars) and avuncular wisdom — which he calls the “male sciences” — to his nephew, played by Daniel Ranieri at age 11 and Tye Sheridan as a young adult.

Tender also is an apt description for the gently heartwarming tone of this appealingly low-key, faded Kodachrome coming-of-age story, capably directed by Clooney from a screenplay by William Monahan (The Departed).

The film opens in 1973 with the relocation of Ranieri’s J.R and his mother (Lily Rabe) to the crowded and noisy house in which she grew up after being abandoned by the boy’s father (Max Martini) — a deadbeat drunk and radio D.J. known as the Voice — who gave his real name to J.R. but little else. When Mom apologizes to J.R. for their boisterous new living conditions — a houseful of aunts, uncles, and cousins all living under the grudging wing of J.R.’s crotchety, flatulent grandfather (Christopher Lloyd) — the kid reports that he doesn’t mind. “I like it,” he says. “It’s people. I like to have people.” It’s J.R.’s story, but the figure who looms largest is Charlie, a surrogate father and all-around mensch for a boy who has no other male role model.

So what happens in a tale that spans a decade or so, from J.R.’s earliest discovery of literature (courtesy of Charlie and a closet whose sagging shelves are filled with books) to J.R’s college years at Yale and a first job in journalism? Oh, there’s a first love (played by Briana Middleton); a broken heart; a health scare when Mom develops a tumor; and some drinking that briefly threatens to become a problem for its young protagonist. (This is, perhaps, to be expected in a movie that is largely set in a bar.)

But for the most part, life’s darker shadows are kept comfortably at bay, including J.R.’s daddy issues with his actual albeit absentee father. There is one scene, late in the film, in which J.R. delivers some comeuppance, telling his old man — aptly, given his father’s radio nickname — “Shut the [expletive] up!”

Clooney and Monahan employ a form of understated storytelling: The film sneaks up on you, like a sweet cocktail in which you can’t taste the alcohol, delivering a powerful yet unexpected punch. A big ingredient is Affleck, whose performance strikes just the right notes of practical advice and deep affection. At times, Charlie’s role in the story feels a bit literary, for lack of a better word: contrived and on-the-nose. And yet the film acknowledges this: “Maybe this is the point where you tell me something really important,” J.R. says to Charlie — at a moment in the narrative when one would expect such a message. (“Lighten up on your drinking,” Charlie says, a bit anticlimactically.)

If The Tender Bar is about anything, it’s familial love, not life lessons. If it feels smart, and it does, it’s a kind of emotional intelligence. Love — of people, of storytelling, of being alive — is its slyly intoxicating theme. ◀

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Drama, rated R, 104 minutes, available Jan. 7 on Amazon, 3.5 chiles

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MOVING IMAGES chile pages — compiled by Holly Weber

OPENING

Floyd/Washington Post) Drama/biography, rated PG, 112 minutes, Regal Santa Fe Place

BELLE Trailer youtu.be/ChneY1MSVFw For years, shy high school student Suzu has only been a shadow of herself, but when she enters “U,” a massive virtual world, she escapes into her online persona as Belle, a gorgeous and globally-beloved singer. When her concert is interrupted by a monstrous creature, Suzu embarks on an emotional and epic quest to uncover the identity of this mysterious “beast” and to discover her true self in a world where you can be anyone. “Belle is a beautifully observed, dazzlingly animated sci-fi fairy tale about our online-offline double lives.” (Daily Telegraph) Fantasy/anime, rated PG, 121 minutes, Violet Crown

THE KING’S MAN Trailer youtu.be/_0vKejp3rvA Matthew Vaughn’s The King’s Man, a prequel to the filmmaker’s two entertainingly comic-book-y action-adventure spy-larks, Kingsman: The Secret Service and Kingsman: The Golden Circle, is at once more bonkers and more staid than either of its predecessors. Set against the backdrop of World War I, this story posits a revisionist theory about the causes of the global conflict with one man, fictional pacifist the Duke of Oxford (Ralph Fiennes), racing against time to stop history’s worst tyrants and criminal masterminds as they plot a war that could destroy humanity. Vaughn’s stylistic signature of balletic brutality is among the film’s pleasures, although the narrative’s hybrid tone — part academic, part acid trip — is not. (Michael O’Sullivan/The Washington Post) Action/comedy, rated R, 131 minutes, Violet Crown

DRIVE MY CAR Trailer youtu.be/6BPKPb_RTwI An aging, widowed actor seeks a chauffeur. The actor turns to his go-to mechanic, who ends up recommending a 20-year-old girl. Despite their initial misgivings, a very special relationship develops between the two. “Patience is richly rewarded in the three-hour span of Ryusuke Hamaguchi’s theatre-centered tale, adapted from a story by Haruki Murakami.”

(New Yorker) Drama, not rated, 179 minutes, Center for Contemporary Arts Cinema SCREAM Trailer youtu.be/beToTslH17s Twenty-five years after a streak of brutal murders shocked the quiet town of Woodsboro, California, a new killer dons the Ghostface mask and begins targeting a group of teenagers to resurrect secrets from the town’s deadly past. “A bravura, provocative sendup of horror pictures that’s also scary and gruesome yet too swift-moving to lapse into morbidity.” (Los Angeles Times) Comedy/horror, rated R, 111 minutes, Regal Santa Fe Place, Violet Crown

REOPENING THE FRENCH DISPATCH Trailer youtu.be/TcPk2p0Zaw4 Wes Anderson’s The French Dispatch pays oblique but ferociously detailed tribute to The New Yorker, with Bill Murray as Arthur Howitzer Jr., the Harold Ross-like editor of the titular magazine published in the fictional French town of Ennui-surBlasé. A love letter to journalists, The French Dispatch bears the Anderson signatures that have made his movies an artisanal cottage industry. It is undeniably delightful to look at but keeps things on an attractive but shallow surface. (Ann Hornaday/ The Washington Post) Romance/comedy, rated R, 103 minutes, Violet Crown HOUSE OF GUCCI Trailer youtu.be/eGNnpVKxV6s House of Gucci is a movie about passion, not fashion.

The soap-opera-like tale, which tells the true story of the 1995 murder of fashion heir Maurizio Gucci by thugs hired by his ex-wife Patrizia Reggiani (played by Lady Gaga), is also about money, family, power, betrayal, sex, loyalty, scandal, ambition, and murder. Directed by Ridley Scott, it’s one of those prestige true-crime dramas that run through a checklist of events without ever seeming to draw any cautionary lesson or larger point. Unfortunately, House of Gucci is not one of those so-bad-it’s-good larks. (Michael O’Sullivan/The Washington Post) Crime/drama, rated R, 158 minutes, Violet Crown

26 PASATIEMPO I January 14-20, 2022

Belle explores the line between our sense of ourselves and how we want to be seen.

CONTINUING THE 355 Trailer youtu.be/SV0s2S9reT0 CIA agent Mason “Mace” Brown (Jessica Chastain) joins forces with a rival German agent (Diane Kruger), a former MI6 ally (Lupita Nyong’o), and a Colombian psychologist (Penélope Cruz) when a top-secret weapon falls into the hands of a group of mercenaries. Together, the four women embark on a breakneck mission to save the world while staying one step ahead of a mysterious figure who’s tracking their every move. “Starry, silly escapism with pop-feminist flare and a passport.” (Entertainment Weekly) Action/thriller, rated PG-13, 122 minutes, Regal Santa Fe Place, Violet Crown A HERO Trailer youtu.be/zAJ6_lmr_HQ A man in prison for debt tries to convince his creditor to withdraw his complaint during a two-day leave, but things don’t go as planned. From two-time Academy Award-winning director Asghar Farhadi, A Hero won the Grand Prix award at the 2021 Cannes Film Festival. “The movie takes place in Iran, yet it’s really situated in the crack of daylight that separates truth from a lie.” (Michael O’Sullivan/The Washington Post) Drama, rated PG-13, 127 minutes, CCAC. Review Page 24 AMERICAN UNDERDOG Trailer youtu.be/_6rn-6lKBJ8 The inspirational true story of Kurt Warner (Zachary Levi), who overcomes years of challenges and setbacks to become a two-time NFL MVP, Super Bowl champion, and Hall of Fame quarterback. Just when his dreams seem all but out of reach, it’s only with the support of his wife, Brenda (Anna Paquin), and the encouragement of his family, coaches, and teammates that Warner perseveres and finds the strength to show the world the champion that he already is. “This down-the-middle crowd pleaser ultimately makes for a rousing enough portrayal of against-the-odds fortitude, pad-crunching gridiron action, and good old-fashioned Midwestern decency.” (Thomas

LICORICE PIZZA Trailer youtu.be/ofnXPwUPENo In this coming-of-age film, writer-director Paul Thomas Anderson once again turns his affectionate, somewhat pitiless lens on the entertainment world. But now it’s the wilderness of child stardom and C-list celebrity, which forms the alternately amusing and bemusing backdrop for a portrait of young love, elusive purpose, knowingness, innocence, and the knockabout appeal of just hanging out. At its idiosyncratic best, the film captures the in-betweenness of life, when love isn’t exactly romance, and the future turns out to be another version of the present. It might be most rewarding to view Licorice Pizza as a dream: It doesn’t always add up, or even go anywhere in particular. But it makes its own kind of offbeat, freewheeling sense. (Ann Hornaday/The Washington Post) Comedy/romance, rated R, 133 minutes, Violet Crown SING 2 Trailer youtu.be/EPZu5MA2uqI You could do worse than this sequel to 2016’s Sing, which follows a ragtag musical menagerie looking to take their act to the film’s version of Las Vegas. As in the original film, they’re led by Buster the koala (Matthew McConaughey), who wants to take the show to Redshore City, but he’s told the group’s potatoes are just too small to make it in Not Vegas. In desperation, Buster promises an appearance by a retired and reclusive rock star/lion (Bono). What begins as a dream of big-time success soon becomes an emotional reminder of the power of music to heal even the most broken heart. A cinematic masterpiece it is not. But Sing 2 is good enough. (Kristen Page-Kirby/For The Washington Post) Comedy/musical, rated PG, 110 minutes, Regal Santa Fe Place, Violet Crown SPIDER-MAN: NO WAY HOME Trailer youtu.be/JfVOs4VSpmA No Way Home is a Spider-Man sundae with extra cherries. The concept of a multiverse is the engine that drives the new film’s narrative, but the high-test rocket fuel that powers it are its performances. Guided by director Jon Watts, whose credits include both of Tom Holland’s previous headlining performances as the wall-crawler, the supporting cast has so much fun here that it’s infectious. With Spider-Man’s identity now revealed, our friendly neighborhood web-slinger is unmasked and no longer able to separate his normal life as Peter Parker from the high stakes of being a superhero. When Peter asks

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THE TRAGEDY OF MACBETH Trailer youtu.be/HM3hsVrBMA4 Joel Coen, directing his first feature film without his brother Ethan, brings a spare elegance to William Shakespeare’s blasted heath in The Tragedy of Macbeth, his minimalist-maximalist adaptation of the famous 17th-century play. Urged on by his loving and pathologically ambitious wife, Lady Macbeth (Frances McDormand), a Scottish lord (Denzel Washington) embarks on an addled mission to take the crown from King Duncan (Brendan Gleeson). Within the world that Coen and his prodigious cast have created ... becomes both a filmy dreamscape and taut documentary, of how love and loyalty, mythologizing and madness can feed into desperate acts of entitlement and self-belief. (Ann Hornaday/The Washington Post) Drama/thriller, rated R, 105 minutes, Violet Crown, streaming on AppleTV+ WEST SIDE STORY Trailer youtu.be/A5GJLwWiYSg In this respectful but smartly tweaked version of West Side Story, director Steven Spielberg proves that the best works of art are simultaneously strong and elastic enough to withstand a wide range of interpretations. The story still centers on star-crossed love amid a fatal feud between the Sharks and the Jets. It doesn’t take much for West Side Story‘s themes to feel of the moment, but screenwriter Tony Kushner makes subtle work of making sure they resonate. This West Side Story sends viewers on a journey that, for all its familiarity, once again feels thrilling, romantic, drenched in movement, life, and color — and, ultimately, aching sadness. (Ann Hornaday/The Washington Post) Musical/romance, rated PG-13, 156 minutes, Violet Crown

Daniel Nadelbach photo p

for help from Doctor Strange, the stakes become even more dangerous, forcing him to discover what it truly means to be Spider-Man. As much fun as this movie is, it is, at heart, a story of loss and letting go. (Michael O’Sullivan/The Washington Post) Action/ adventure, rated PG-13, 148 minutes, Regal Santa Fe Place, Violet Crown

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THE FREE FALL Trailer youtu.be/KPmY0IyD7FQ After a suicide attempt, a young woman wrestles with an overbearing husband in a new thriller from director Adam Stilwell (The Triangle). “People who like psychological horror and unreliable protagonists should absolutely seek out The Free Fall. Be warned, though: It’s hard to pinpoint what exactly is going on until it’s almost too late.” (Dread Central) Horror/mystery/thriller, not rated, 82 minutes HOTEL TRANSYLVANIA: TRANSFORMANIA Trailer youtu.be/6suJohjIvfo The fourth installment of the Hotel Transylvania franchise dives into the relationship between Dracula (Brian Hull) and his goofy, human son-in-law Johnny (Andy Samberg).

As Dracula plans to retire and gift his beloved Hotel Transylvania to his daughter Mavis (Selena Gomez), he changes his mind at the last minute, worried that Johnny will ruin what he has built. Disappointed that Dracula still doesn’t embrace him as a member of the family, Johnny seeks help from Van Helsing (Jim Gaffigan) and transforms himself into a monster. Animation/adventure/comedy, rated PG, 94 minutes, Amazon Prime

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RAY DONOVAN: THE MOVIE Trailer youtu.be/Pe29-eLHbZY Ray Donovan: The Movie picks up where season seven of the popular series left off, with Mickey (Jon Voight) in the wind and Ray (Liev Schreiber) determined to find and stop him before he can cause any more carnage. The film also weaves together the present-day fallout from the Donovan/Sullivan feud with Ray and Mickey’s origin story from 30 years ago. Drama, rated TV-MA, 100 minutes, Showtime THE TENDER BAR Trailer youtu.be/5-DS9vtLeEs Directed by Academy Award-winner George Clooney and based on the best-selling memoir by J.R. Moehringer, The Tender Bar tells the story of J.R. (Tye Sheridan), a fatherless boy growing up in the glow of a Long Island bar where the bartender, his Uncle Charlie (Ben Affleck), is the sharpest and most colorful of an assortment of quirky and demonstrative father figures. J.R.’s determined mother (Lily Rabe) struggles to provide her son with opportunities denied to her, and he begins to gamely, if not always gracefully, pursue his romantic and professional dreams. “The film sneaks up on you, like a sweet cocktail in which you can’t taste the alcohol, delivering a powerful yet unexpected punch.” (Michael O’Sullivan/The Washington Post) Drama, rated R, 106 minutes, Amazon Prime. Review Page 25 — Compiled by Michael Abatemarco

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CALE N DAR LI ST I NG GUIDELINES • Submit Pasa Week calendar events via email to pambeach@sfnewmexican.com at least two weeks prior to the event date.

• Provide the following: event title, date, time, venue, brief description, ticket prices, contact phone number, and web address.

• Inclusion of free listings is dependent on space availability.

ARTS AND ENTERTAINMENT CALENDAR January 14 - 20, 2022

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 1/14

Theater/Dance

Gallery and Museum Openings

Lensic Performing Arts Center, 211 W. San Francisco St. Inaugural U.S. tour; 7:30 p.m.; $25-$49; 505-988-1234, tickets.lensic.org/7765/7766.

(See story, Page 16)

Tango Argentina

Art on Barcelona

Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona St. Image Shifting — Graphics-Infused Photography,

by Adrian Skiles; through March; reception 5-7 p.m.

Nightlife

David Geist

Classical Music

The Cabaret Upstairs at Osteria D’Assisi, 58 S. Federal Pl., 505-986-5858 Pianist/vocalist; 7-10 p.m.; 1st and 3rd Thursdays; $5 cover; phone reservations only.

Robert Krupnick

First Presbyterian Church, 208 Grant Ave., 505-982-8544 Piano recital; music of Mozart, Ravel, and Morton Feldman; 5:30 p.m., doors 5:15 p.m.; donations accepted.

OUT OF TOWN

Theater/Dance

Albuquerque

Richard II

New Mexico Actors Theater, 1213 Parkway Dr. Upstart Crows of Santa Fe’s young Shakespearean actors’ presentation; 6:30 p.m. today through Sunday; $15 online and at the door; encores Jan. 21-23; Jan. 22 gala $50 in advance; upstartcrowsofsantafe.org/upcoming-workshops-1.

SATURDAY 1/15 Gallery and Museum Openings Charlotte Jackson Fine Art

554 S. Guadalupe St., 505-989-8688 David Simpson: Secret Garden, paintings; through Feb. 14; reception 2-5 p.m.

Classical Music Eighth Blackbird

CANCE

LED

St. Francis Auditorium, 107 W. Palace Ave. Contemporary-classical sextet; 7:30 p.m.; $45-$90; secure.performancesantafe.org/7544/7445.

In Concert

Great White and Lita Ford

Buffalo Thunder, 30 Buffalo Thunder Trail Double billed hard rockers; 8 p.m.; $39 and $49; tickets.holdmyticket.com/tickets/383546.

John Moreland

Tumbleroot Brewery and Distillery, 2791 Agua Fría St., 505-393-5135 Folk-rock songwriter; 7:30 p.m.; S.G. Goodman opens; $20 in advance, $25 day of show; ampconcerts.org/event/383036/john-moreland.

LED E C N A C

Theater/Dance Follies

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 London’s National Theatre Live in HD presents Stephen Sondheim’s musical; 2 p.m.; $22; tickets.lensic.org/7802/7808. (See story, Page 5)

28 2022 28 PASATIEMPO PASATIEMPO I January I January14-20, 14 -20, 2022

Exhibit 208

208 Broadway Blvd. SE, 505-450-6884 Black Birds Gather, paintings by Margaret Fitzgerald; through Feb. 5; reception 5-8 p.m. Friday, Jan. 14.

Los Alamos Foto Forum (1714 Paseo de Peralta) shows photographs by Brandy Trigueros through Jan. 28.

Zircus Erotique Burlesque Company

Teatro Paraguas, 3205-B Calle Marie A variety show, including female impersonator Dr. Lucky; 7:30 p.m.; $30; zeburlesque.com.

SUNDAY 1/16 Classical Music

Santa Fe Symphony

Lensic Performing Arts Center, 211 W. San Francisco St. Vivian Fung’s Concerto for Trumpet and Orchestra, with soloist Mary Elizabeth Bowden; 4 p.m.; $22-$80; tickets.lensic.org/7508/7509.

(See story, Page 18)

MONDAY 1/17 Nightlife

Santa Fe Great Big Jazz Band

Tiny’s Restaurant & Lounge, 1005 St. Francis Dr., 505-983-9817 7-9 p.m.; third Mondays monthly; no cover.

TUESDAY 1/18 In Concert

Shamarr Allen

Tumbleroot Brewery & Distillery, 2791 Agua Fría St., Trumpeter; 7:30 p.m.; $17; ampconcerts.org/ event/383897/shamarr-allen.

Books/Talks

Tony Hillerman and the Value of Journalism

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Author Anne Hillerman, biographer James McGrath Morris, and journalist Trip Jennings in conversation; 5:30 p.m.; $120; nmindepth.com; held in support of the New Mexico in Depth news organization.

WEDNESDAY 1/19 Outdoors

Cerrillos Hills State Park

About 16 miles south of Santa Fe off NM 14, 505-474-0196 Hiking, equestrian, and mountain-biking trails open daily; cerrilloshills.org/visit-the-park.

THURSDAY 1/20 Books/Talks David Butow

505-992-0800, Info@monroegallery.com The photographer discusses his book, Brink, which documents the Jan. 6, 2021 insurrection at the Capitol, with Steve Appleford, contributing writer with the Los Angeles Times; 5 p.m. (online).

Call or email for Zoom link.

James McGrath Morris

Santa Fe Woman’s Club, 1616 Old Pecos Trail, 505-983-9455 The author discusses his newest book, Tony Hillerman: A Life; 5 p.m.; $10 at the door; santafelibraryfriends.org/events.

Maxwell Quartet

Duane Smith Auditorium, 1300 Diamond Dr. Scottish string ensemble; music of Haydn, Dvořák, Prokofiev; 7 p.m. Friday, Jan. 14; $35, ages 6-18 no charge; losalamosconcert.org.

PEOPLE WHO NEED PEOPLE Community

Wanted: History Buffs to Walk the Talk

Volunteer to lead New Mexico History Museum’s Walking Tours of Historic Downtown Santa Fe; info sessions via Zoom: 4 p.m. Wednesday, Jan. 19, 11 a.m. Jan. 22, and 4 p.m. Jan. 26. Email name and preferred date to wthdsfmanager@gmail.com.

Call 505-225-3455 for more information.

Musicians

2022 New Mexico Music Awards

Open to professional and amateur artists, producers, songwriters, audio engineers, and videographers (works must be produced in New Mexico); entries due by midnight Feb. 7; newmexicomusicawards.com.

PASA KIDS Make & Take @ MOIFA

Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 A family-friendly public art program and gallery treasure hunts; noon-4 p.m. daily through Jan. 30; by museum admission. ◀

Music

Club Legato, 125 E. Palace Ave., 505-988-9232 Guitarist Michael Anthony, clarinetist Alex Murzyn, bassist Micky Patten, and percussionist John Trentacosta pay tribute to guitarist Charlie Christian; 6 p.m. Jan. 21; $25 and $30; santafemusiccollective .org.

Funky + Frosty Masquerade Ball

Meow Wolf, 1352 Rufina Circle, 505-395-6369 Electrovibe Events’ 19th anniversary benefitting St. Elizabeth Shelter & Supportive Housing (donations of gently worn winter clothing, blankets, sock, toiletries, and sleeping bags); new date to be determined; tickets.meowwolf.com/ events/santa-fe.

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NED OSTPO

Zía Singers

First Presbyterian Church, 208 Grant Ave. Kim André Arnesen’s Magnificat, Ave Maria, and Karen Marrolli’s arrangement of The Beatles’ Let It Be; 3 p.m. Jan. 22 and 23; $10 and $25; theziasingers.com and at the door.

Bárbara Padilla

ON POSTP

IN THE WINGS

Cécile McLorin Salvant

The Charlie Christian Project

ED

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Classical-crossover soprano; 7 p.m. (new date to be determined); $60-$120; tickets.lensic.org/7829/7831.

Nosotros

Tumbleroot Brewery and Distillery, 2791 Agua Fría St., 505-393-5135 Latin-groove band; 8 p.m. Jan. 22; $10; tumblerootbreweryanddistillery.com/events.

John Rangel Trio

SITE Santa Fe, 1606 Paseo de Peralta, 505-316-3596 Jazz pianist, with Terry Burns on bass and John Trentacosta on drums; 7 p.m. Jan. 28; $25 and $30; santafemusiccollective.org.

The Met: Live in HD

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Director Bartlett Sher resets Verdi’s Rigoletto in 1920’s Europe; 11 a.m. Jan. 29, 6 p.m. Jan. 31; $22-$25; tickets.lensic.org/7637/7646.

Nicolò Spera

St. John’s United Methodist Church, 1200 Old Pecos Trail Classical guitar recital; music of Biber, Ohana, and Bach; 4 p.m. Jan. 29; $15-$20; eventbrite.com.

Santa Fe Pro Musica

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Music of Reena Esmail, Mozart, and Mendelssohn, led by David Felberg, with pianist Anne-Marie McDermott and soprano Kathryn Mueller; 7 p.m.

Jan. 29, 3 p.m. Jan. 30; $25-$90; tickets.sfpromusica .org/7383/7422.

Mike Zito

Tumbleroot Brewery and Distillery, 2791 Agua Fría St., 505-393-5135 Blues artist; 7:30 p.m. Jan. 29; $25; ampconcerts.org/event/385382/mike-zito.

Cedric Burnside

Tumbleroot Brewery and Distillery, 2791 Agua Fría St., 505-393-5135 Blues guitarist-songwriter; 7:30 p.m. Feb. 3; $27; tickets.holdmyticket.com/tickets/385630; $30 day of show.

Rising Appalachia

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Crunk-folk band touring in support of their new album, Leylines; 7:30 p.m. Feb. 2; $30 and $35; ampconcerts.org/event/385670/rising-appalachia.

Jesse Cook Tempest II Tour

Albuquerque Journal Theatre, National Hispanic Cultural Center, 1701 Fourth St. SW, 505-246-2261 Canadian guitarist; 7:30 p.m. Feb. 4; $33-$48; ampconcerts.org/event/375170/jesse-cook.

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Jazz vocalist; 7:30 p.m. Feb. 8; $35-$115; secure.performancesantafe.org/7453/7454.

Poulenc Trio

Duane Smith Auditorium, Los Alamos High School, 1300 Diamond Dr., Los Alamos Piano-wind chamber ensemble Irina Kaplan, Bryan Young, and Alexander Vvedenskiy; 7 p.m. Feb. 11; $35, no charge for youth; losalamosconcert.org/tickets.html.

Newpoli

ED

Tumbleroot Brewery and Distillery, 2791 Agua Fría St., 505-393-5135 Contemporary interpretations of traditional Italian taranta music; date to be determined; $22 in advance, $27 day of show; ampconcerts .org/event/386694/newpoli.

ON POSTP

Santa Fe Pro Musica presentations

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Castalian String Quartet (Mozart, Berg, and Schubert); 3 p.m. Feb. 13; $12-$85; sfpromusica.org/ castalian-string-quartet. Cuarteto Casals (Haydn, Beethoven, and Shostakovich); 7 p.m. Feb. 19; $12-$85; tickets.sfpromusica.org/7391/7392.

Storm Large

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Singer-songwriter; 7:30 p.m. Feb. 14; $35-$57; tickets.lensic.org/7767/7768; 18+.

New Mexico Performing Arts Society Recital Series II

NED

Immaculate Heart of Mary Chapel, 50 Mount Carmel Rd. J.S. Bach, Rachmaninov, Gaubert, and Martinů chamber music for flute, violin, cello, and piano; 5:30 p.m. (new date, May 22); $20-$50; tickets. holdmyticket.com/tickets/381205.

O POSTP

Kaki King

SITE Santa Fe, 1606 Paseo de Peralta Guitarist-composer; 7 p.m. Feb. 15; $30 in advance, $35 day of show; ampconcerts.org/event/382611/ kaki-king.

Glenn Miller Orchestra

Popejoy Hall, 203 Cornell Dr., SE, 505-925-5858, Albuquerque On tour; 3 p.m. Feb. 20; $25-$64; popejoypresents.com.

Tzu-feng Liu

St. John’s United Methodist Church, 1200 Old Pecos Trail Piano solo; music of Schubert, Berg, and Kapustin; 4 p.m. Feb. 26; $15 and $20; eventbrite.com.

Eileen Ivers

Outpost Performance Space, 210 Yale Blvd. SE, 505-268-0044 Known as the Jim Hendrix of fiddlers; 7:30 p.m.

Feb. 27; $44 in advance, $49 day of show; tickets.holdmyticket.com/tickets/378590.

Chicago

Kiva Auditorium, 401 Second St. NW, Albuquerque On tour; 7:30 p.m. March 2; tickets start at $45, VIP tickets available.; albuquerquecc.com/event/ danny-zelisko-presents-chicago-2.

Judy Collins

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Germán López opens; 7:30 p.m. March 7; $44-$59; ampconcerts.org/event/381552/ an-evening-with-judy-collins.

Eliza Gilkyson

St. Francis Auditorium, 107 W. Palace Ave. Celebrating the release of her CD, Songs from the River Wind; 7:30 p.m. March 20 (new date); $32-$46; ampconcerts.org/event/385123/ eliza-gilkyson.

Theater/Dance

Coyote Acid and Out of the Light: Poems from Prison

Teatro Paraguas, 3205-B Calle Marie, 505-424-1601 Teatro Paraguas presents Santa Fe poet John Macker’s one-act play, directed by Argos MacCallum, and a poetry reading; 7:30 p.m. Jan. 21 and 22, 2 p.m. Jan. 23; $10 and $15. Call for reservations; teatroparaguasnm.org.

Piaf! The Show

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Gil Marsalla’s musical celebration of Edith Piaf, starring Anne Carrère; 7:30 p.m. (new date, Feb. 17); $35-$115; secure.performancesantafe .org/7451/7452.

Ailey II

Popejoy Hall, 203 Cornell Dr. SE, 505-925-5858, Albuquerque New York City-based modern-dance company; 7:30 p.m. Feb. 18; $25-$69; 505-925-5858, popejoypresents.com.

Events, Etc.

Kate Joyce: Metaphysics

SITE Santa Fe, 1606 Paseo de Peralta, 505-316-3596 Photographic exhibition; opening 5-7 p.m. Jan. 21; on view through April 22.

Abeyta/To’Hajiilee Ké

Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, 505-982-4636 Paintings, sculpture, and jewelry by Narciso Abeyta (1918-1998), Elizabeth Abeyta (1955-2006), Pablita Abeyta (1953-2017), and Tony Abeyta; opening Feb. 12; through Oct. 2.

Sweetheart Auction

Santa Fe Community Convention Center, 201 W. Marcy St. Annual Cancer Foundation for New Mexico fundraiser; dinner and dessert buffet; wine and beer bar; silent and live auctions; vacation raffle; doors 5 p.m. March 12 (rescheduled date); $100 per person; 505-955-7931, cffnm.org.

Painted Reflections: Isomeric Design in Ancestral Pueblo Pottery

Museum of Indian Arts and Culture, 710 Camino Lejo, Museum Hill, 505-476-1269 Including contemporary designs; opening Feb. 6; on view through March. 12.

VOCES8

Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl. British vocal ensemble; 7:30 p.m. Feb. 20; $45-$95; secure.performancesantafe.org/7455/7456.

International Guitar Night

Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234 Tour includes Lulo Reinhardt (Latin-swing), Stephanie Jones (contemporary-classic), and Eleanora “Lele” Strino (jazz); 7:30 p.m.

Feb. 23; $25-$39; tickets.lensic.org/7769/7770.

Sierra Ferrell Long Time Coming Tour

Tumbleroot Brewery and Distillery, 2791 Agua Fría St., 505-393-5135 Roots singer-songwriter; 7:30 p.m. Feb. 23; $22 in advance, $25 day of show; ampconcerts .org/event/385425/sierra-ferrell.

Janis Ian

Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528 Celebrating Our Years Together tour; 7 p.m.

Feb. 24-26; $45-$60; master class 1 p.m. Feb. 27; $25; eventbrite.com.

Joey DeFrancesco Trio

Outpost Performance Space, 210 Yale Blvd. SE, 505-268-0044, Albuquerque Jazz multi-instrumentalist touring in support of his new release, More Music, with organist Lucas Brown and percussionist Michael Ode; 7:30 p.m.

Feb. 25 and 26; $30 and $35; 505-886-1251, tickets.holdmyticket.com/tickets/387070.

Southwest Arts presents Nicolò Spera Jan. 29 at St. John’s Methodist Church.

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AT THE GALLERIES 5. Gallery

2351 Fox Rd., Suite 700, 505-257-8417 As Time Goes By, photographs by Gus Foster; through Jan. 21.

Aurelia Gallery

414 Canyon Rd., 505-501-2915 Navigating Uncertainty, photographs

by Anne Kornfeld; through Sunday, Jan. 16.

El Zaguán

545 Canyon Rd., 505-983-2567 Kuzana Ogg paintings; through January.

Evoke Contemporary

550 S. Guadalupe St., 505-995-9902 The Middle Place, paintings by Christopher Benson; through Jan. 22. Crossroads, paintings by Jay Bailey, Francis DiFronzo, and Jeremy Mann; through Feb. 19.

Form & Concept

435 S. Guadalupe St., 505-780-8312 Love Tears, sculpture by Debra Baxter; She Dances Like a Bomb, group show; Past Perfect Future, installations by Erin Mickelson; through Saturday, Jan. 15.

Foto Forum Santa Fe

1714 Paseo de Peralta, 505-470-2582 There’s No Other Like Your Mother, photographs

by Brandy Trigueros; through Jan. 28.

Hecho a Mano

830 Canyon Rd., 505-916-1341 Tamayo: Works on Paper, prints by Rufino Tamayo; through Jan. 30.

Monroe Gallery of Photography

112 Don Gaspar Ave., 505-992-0800 Retrospective exhibit of work by photographer Tony Vaccaro; through Sunday, Jan. 16.

Obscura Gallery

1405 Paseo de Peralta, 505-577-6708 Paul Caponigro: Polaroids 1960-1969; through Saturday, Jan. 15.

Pie Projects

924-B Shoofly St., 505-372-7681 Source, Process, Transformation, mixed-media work

by Judy Tuwaletstiwa; through Saturday, Jan. 15.

Roxanne Swentzell Tower Gallery

78 Cities of Gold Rd., 505-455-3037 Work by Nambé Pueblo potter Lonnie Vigil; photographs by Spencer McDonald; through February.

Coe Center for the Arts

1590-B Pacheco St., 505-983-6372 The Virtual Coe: online collection of African, Asian, European, Native American, and Oceanic objects; coeartscenter.org.

Georgia O’Keeffe Museum

217 Johnson St., 505-946-1000 Contemporary Voices: Josephine Halvorson, paintings; through March 28. Core exhibits: Becoming Georgia O’Keeffe, Georgia O’Keeffe at Lake George, 1918-2928, O’Keeffe’s New Mexico, My New Yorks, Ritz Tower, Seeing Beyond/Ver más allá, The Natural World, and Travels; okeeffemuseum.org.

Open Thursdays-Mondays.

IAIA Museum of Contemporary Native Arts

108 Cathedral Place, 888-922-4242 We Went Wild, 2021/2022 BFA exhibit; through Jan. 30 • Daniel McCoy Jr: Experimental exPRESSion, mural; through Feb. 27 • Exposure: Native Art and Political Ecology, international exhibit; through July 10 • Alexander Lee: The Dream of Haere-pō, mural; through July • Continuance: O’Ga P’Ogeh Owingeh, a mural by members of Three Sisters Collective; through Aug. 1; iaia.edu/mocna. Closed Tuesdays.

Meow Wolf

1352 Rufina Circle, 505-395-6369 The House of Eternal Return, interactive installation; meowwolf.com/visit/santa-fe. Closed Tuesdays.

Museum of Encaustic Art

18 County Road 55A, 505-424-6487 10th Anniversary of Encaustic Arts Magazine, group show; through March 6.

Museum of Indian Arts and Culture

710 Camino Lejo, Museum Hill, 505-476-1269 A Place in Clay, work by Jemez Pueblo potter Kathleen Wall; through May 16 • Clearly Indigenous: Native Visions Reimagined in Glass, including works by Dale Chihuly and Preston Singletary; through June 16 • Birds: Spiritual Messengers of the Skies, paintings and pottery depicting the roles birds play in Native culture and history; through July; indianartsandculture.org.

Closed Mondays.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 #mask: Creative Responses to the Global Pandemic, fashionable and political face coverings;

through Saturday, Jan. 15 • Dressing with Purpose: Belonging and Resistance in Scandinavia, traditional Swedish folkdräkt, Norwegian bunad, and Sámi gákti folk dress traditions; through Feb. 19 • Yōkai: Ghosts & Demons of Japan, Muromachi Period scroll paintings, Edo Period woodblock prints, and contemporary folk art; through August • Música Buena: Hispano Folk Music of New Mexico, exploring the genre’s roots, through December 2022. Long term: Multiple Visions: A Common Bond, works in the Alexander Girard Wing • Lloyd’s Treasure Chest: Folk Art in Focus, thematic displays from the permanent collection; moifa.org. Closed Mondays.

Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Trails, Rails, and Highways: How Trade Transformed the Art of Spanish New Mexico, works from the collection; through August • Pueblo-Spanish Revival Style: The Director’s Residence and the Architecture of John Gaw Meem, highlighting aspects of the museum’s architectural features; through Oct. 1 • Youth Gallery, Youth Market artists’ works; spanishcolonial.org.

New Mexico History Museum/ Palace of the Governors

105 W. Palace Ave., 505-476-5100 In Search of Domínguez and Escalante: Photographing the 1776 Expedition through the Southwest, works by Siegfried Halus and Greg MacGregor; through June 19.

Core exhibits: Palace Seen and Unseen: A Convergence of History and Archaeology, documents, photographs, and artifacts • The Massacre of Don Pedro Villasur, graphic art by Turner Avery Mark-Jacobs • The First World War, ephemera relating to New Mexicans’ contributions • Setting the Standard: The Fred Harvey Company and Its Legacy, objects from the collection and photographs from Palace of the Governors archives • Telling New Mexico: Stories From Then and Now, artifacts, photographs, films, and oral histories; nmhistorymuseum.org.

Closed Mondays.

New Mexico Military Museum

1050 Old Pecos Trail, 505-476-1479 Art! of War, group show of works by, about, and for veterans; New Mexico’s Civil War, display on the history of the Battle of Glorieta Pass; ongoing; free admission.

Santa Fe Botanical Garden

715 Camino Lejo, Museum Hill, 505-471-9103 A living museum on 14 acres; santafebotanical garden.org. Open Fridays-Sundays.

SITE Santa Fe

1606 Paseo de Peralta, 505-316-3596 SITElab 15: Joanna Keane Lopez: Land Craft Theatre, through Sunday, Jan. 9 • Helen Pashgian: Presences, sculpture; through March 27; sitesantafe.org.

Open Thursdays-Sundays.

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, 505-982-4636 Activation/Transformation, installation by Nathan Young of objects from the collection; through April 3 • Shonto Begay: Eyes of the World, paintings; through December • Indigenous Women: Border Matters, group exhibit; through April 23. Long term: Center for the Study of Southwestern Jewelry, devoted to Diné and Pueblo traditions • Portraits: Peoples, Places, and Perspectives, paintings • Medicinal Healer, An Artist to Remember: Charlie Willeto; folk-art carvings; wheelwright.org. Open TuesdaysSaturdays.

Albuquerque

Albuquerque Museum

2000 Mountain Rd., NW, 505-243-7255 Designing the New: Charles Rennie Mackintosh and the Glasgow Style, touring exhibit of 166 works from the 1890s-1900s; through Jan. 23 • Layered Meanings, collage, assemblage, and montage from the permanent collection; through Feb. 20 • Cannupa Hanska Luger, multidisciplinary works; through July 1; cabq.gov/culturalservices/albuquerquemuseum/plan-your-visit/admission-ticketing.

Closed Mondays.

Taos

238 Ledoux St., 575-758-9826 Remote Possibilities: Digital Landscapes from the Thoma Foundation Collection, works by John Gerrard, Kent Monkman, and Marina Zurkow; through Feb. 27 (see story, Page 20) • Gus Foster: Panoramic Photographs of Northern New Mexico; through April 17 • Commemorating the 50th Anniversary of the Return of Blue Lake to Taos Pueblo: A New Day for American Indians; harwoodmuseum .org. Open Wednesdays-Sundays.

418 Cerrillos Rd., Design Center, Suite 1C, 505-780-5403 Against the Grain, group show of contemporary works; through Feb. 5

Vivo Contemporary

725-A Canyon Rd., 505-982-1320 Awakenings, multidisciplinary works by gallery artists; through March 8.

Millicent Rogers Museum

Zane Bennett Contemporary Art

1504 Millicent Rogers Rd., 575-758-2462 Tuah-Tah/Taos Pueblo: Home, highlighting the Pueblo’s culture and artistic achievements; ongoing • New Mexico A-I-R: IAIA Artist Residents in Visual Dialogue; through Jan. 29 • Pop Chalee! Yippee Ki Yay!, paintings; ongoing; millicentrogers.org.

Closed Wednesdays.

435 S. Guadalupe St., 505-982-8111 Women in Print, group show; through Saturday, Jan. 15.

MUSEUMS & ART SPACES Santa Fe

Taos Art Museum at Fechin House

Art Vault

30 PASATIEMPO I January 14 -20, 2022 30 PASATIEMPO I January 14-20, 2022

107 W. Palace Ave., 505-476-5072 Storytellers: Narrative Art of the West, works from the museum collection; through Feb. 13 • Go West Said a Small Voice: Gustave Baumann and Dreams of New Mexico, examining works influenced by mission churches and Pueblos; through Feb. 13 • Poetic Justice: Judith F. Baca, Mildred Howard, and Jaune Quick-to-See-Smith, works by the muralist, the installation artist, and the painter; through June 19; nmartmuseum.org. Closed Mondays.

Harwood Museum of Art

Strata Gallery

540 S. Guadalupe St., 505-428-0681 From the Carl & Marilynn Thoma Foundation collection: Networked Nature, digital and media works; Saint Somebody: Technologies of the Divine, digital, contemporary Southwestern, and art of the Spanish Americas; through April.

Open Tuesdays-Saturdays.

New Mexico Museum of Art

Evoke Contemporary (550 S. Guadalupe St.) shows paintings by Jeremy Mann through Feb. 19.

227 Paseo del Pueblo Norte, 575-758-2690 Closing Sunday, Jan. 9: Through the Eyes of Fechin, paintings by Nicolai Fechin • From the Permanent Collection: Taos Society of Artists, paintings by Joseph Henry Sharp, E. Irving Couse, Oscar E. Berninghaus, and Bert Phillips; taosartmuseum.org.

Closed Mondays.

EXHIBITIONISM Michael Abatemarco I The New Mexican

MARTIN DROESHOUT Shakespeare (1623), engraving from Shakespeare’s First Folio, courtesy Folger Shakespeare Library Originally opening at the New Mexico Museum of Art on short-term view in February 2016, the traveling show First Folio! The Book that Gave Us Shakespeare, presented the first 17th-century edition of Shakespeare’s Comedies, Histories, & Tragedies. The folio, which numbers around 900 pages, is composed of 18 of Shakespeare’s plays, including The Merry Wives of Windsor, Romeo and Juliet, and King Lear. The exhibition, which is available online, was developed by the Folger Shakespeare Library as a touring exhibit to commemorate the 400-year anniversary of Shakespeare’s 1616 death. View the publishing history and read about the lasting impact of one of the world’s most influential collection of plays. The online exhibit is ongoing and can be accessed at archive.nmartmuseum.org/shakespeare.

New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5072, nmartmuseum.org

JULIA LAMBRIGHT All Directions Blind (2021), egg tempera on panel

ELISA LENDVAY Goldenrod (Yellow Triangular Biplanar) (2021), aluminum, paper clay, bottle caps, acrylic paint, medium, oil pastel The Debra Baxter- and Dawn Cerny-curated national group show She Dances Like A Bomb continues through Saturday, Jan. 15. The sculpture exhibition features artists with connections to the influential MFA program at New York’s Bard College. Artists include Elisa Lendvay, Taylor Davis, and Julia Klein, as well as Baxter and Cerny. The artists create works that challenge the legacies of minimalism and postminimalism. The show’s title is taken from a line from Emily Dickinson’s poem “The Soul has Bandaged moments.” The exhibition represents several generations of Bard’s sculpture professors and students. Masks are required.

Russian-born painter Julia Lambright worked as a makeup artist before moving to Albuquerque to pursue degrees in art at the University of New Mexico. The densely composed, layered imagery of her paintings is created using recipes for gesso and egg tempera that date back millennia. Her new work, created during the pandemic, explores the idea of metamorphoses between objects, including wildlife and flora from her home and garden, that share characteristics of form. Her dreamlike compositions suggest the illusive nature of memory. “My work is concerned with the inadequacy and impermanence of memory,” she says in a statement. “As I excavate the strata of the past, I build these layers into my paintings, recombining incomplete images and symbols in order to evoke the emotional experience of moments distant in time and space.” A solo exhibition of her work continues through Feb. 29. Masks are required.

Gallery Hózhó at Hotel Chaco, 2000 Bellamah Ave. NW, Albuquerque, 505-318-3992, galleryhozho.com

Form & Concept, 435 S. Guadalupe St., 505-780-8312, formandconcept.center

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