The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
April 5, 2013
THE MAASAI WARRIOR IS COMING!
presents:
James Beard
Celebrity Chef Dinner
Martin Rios
APRIL 10th • 1:00 - 5:00
$175 per person (including tax and gratuity)
Celebrate the collaboration of Maasai beadwork and Pikolinos Footwear, 100% of Pikolinos’ Maasai sandal profits benefit the Maasai Community.
Wednesday, April 17 • 6pm -7pm Meet the Chefs Reception Thursday, April 18 • 6:30 pm Seven Course Chef’s Dinner & Canapes
Kevin Nashan
Kevin Binkley
Frank Bonanno
Join us for an exciting evening featuring six James Beard semi-finalists, hosted by Restaurant Martín. The dinner includes a seven-course meal, each course prepared by a different chef, expertly paired with appropriate wines. To reserve please call Jennifer or Danielle at 505-820-0919
526 Galisteo Street • 820.0919 www.restaurantmartin.com
Bruce Auden
in La Fonda Hotel 100 E. San Francisco St. 984-2828
Bowman Brown
Nature's Art and Functionals.
where the santa feans eat…
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lunch / dinner / sunday brunch New! Happy Hour Special: Our ‘Classic’ appetizers – 50% off
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PASATIEMPO I April 5 - 11, 2013
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ADDDDDDDDDDDDDDDDDDF H H H Supporting the Education and Community Programs of The Santa Fe Opera H H H Opera Unveiled 2013 H H author Desirée Mays launches Volume 15 of her H Local H popular Opera Unveiled series. She will provide musical and H historical background on the five operas of the coming Santa H Fe Opera season, The Grand Duchess of Gerolstein, The H Marriage of Figaro, La Donna Del Lago, La Traviata and H H the world premiere of Oscar. H Wednesday, April 17 at 5:30p.m. H Free to members of all Guilds. Non-members: $5 or join at the door from $35 per year. H HDDDDDDDDDDDDDDDDDDDDDDDDDDDH H H Creating an Opera Season H H Brad Woolbright, director of artistic administration at The H H Santa Fe Opera, will explain what goes into planning an opera season. What comes first, the operas or the choice of H H singers? Is there a programming philosophy here in Santa H Fe? With his many years of connections to artists, to agents, H and to new talent, Brad will answer your questions. H H Wednesday, May 29 at 5:30p.m. H Free to members of all Guilds. Non-members: $10 or join at the door from $35 per year. H H Both presentations will be held at the Unitarian Universalist Congregation of Santa Fe H 107 W. Barcelona St. HDDDDDDDDDDDDDDDDDDDDDDDDDDD H H H H Friday, June 28, 2013 from 5:30p.m. at The Santa Fe Opera Dapples Pavilion H H To purchase tickets, go to http://www.guildsofsfo.org/SF or call 505-629-1410 Ext. 113 H JLLLLLLLLLLLLLLLLLL: Guilds of The Santa Fe Opera, Inc.
PHOTO BY BOB GODWIN
Springtime for Santa Fe
less 20% for locals thru April 15th jrltd.com
30th Anniversary! Join us April 5th – April 14th to celebrate our 30th Anniversary chef Gharrity has created a special Prix Fixe dinner menu featuring favorite dishes from the past. April 5th & 6th la cantina will perform “That 80’s Show” Show times are at 5:30pm and 8:00pm. come in your best 80’s attire and receive a free dessert. For reservations call 505.988.9232 we are celebrating the birthday of one of Santa Fe’s oldest cottonwood Trees. Join us April 11th at 6:00pm for a special toast. Follow us on Facebook & Twitter for anniversary week promotions and specials. For details and more Information visit www.lacasasena.com
Open Daily 11:00am until 10:00pm
114 East Palace Avenue Santa Fe 87501 505 988 1147 designs@jrltd.com 4
PASATIEMPO I April 5 - 11, 2013
125 East Palace, Santa Fe, New Mexico 87501 | (505) 988-9232 complete menu at www.lacasasena.com FOllOw uS ON FAcEbOOk
SFCA
The Santa Fe Concert Association presents
Richard
GOODE Works by Haydn, Mozart & Beethoven
TuesdAy, APriL 9, 2013 • 7:30 The Lensic Performing Arts Center • $20 - $75 Lensic box office: 988.1234
A beAutiful spring trend is rose gold. come in And view our rose gold And dAre to bAthe in the wArmth of spring.
www.santafeconcerts.org
The Santa Fe Concert Association 321 West San Francisco Street, Suite G Santa Fe, New Mexico 87501 Phone: 505.984.8759
233 Canyon Road, Suite 1 • Santa Fe • new MexiCo • 505.820.6304 • Map #xx
Fax: 505.820.0588
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
April 5 - 11, 2013
On the cOver 32 reflective refraction: bonnie bishop At the end of March, Chiaroscuro Contemporary Art celebrated the return of spring and the beginning of its new exhibition season with the fourth annual Spring Thaw group show. The exhibit brings together gallery artists and guests who work in various mediums. For the five-person show, longtime Santa Fe artist Bonnie Bishop contributed three large-scale photographs from her Kyoto Windows series, which was shot in the Japanese city in 2010. On the cover: detail of Kyoto Window II; courtesy the artist and Chiaroscuro Contemporary Art.
bOOks
mOving images
12 in Other Words When the Devil Doesn’t Show 14 isabel Wilkerson The Great Migration 16 shaken to his corps Peace Corps exposé
46 Pasa Pics 50 Like Someone in Love 52 No
mUsic and PerfOrmance
calendar
eventua goes on Lisa Fay & Jeff Glassman listen Up Pianist Richard Goode terrell’s tune-Up Roger Knox Pasa tempos CD Reviews Pasa reviews Buried Child Onstage this Week A game of chicken sound Waves Evarusnik 4eva
20 22 24 26 28 31 63
56 Pasa Week
and 9 mixed media 11 star codes 54 restaurant review
art and architectUre 34 Tanba Modernism II Art of Keiichi Shimizu 38 a tisket, a tasket Basket cases at Patina Gallery 42 art of space World Trade Center site
Visit us on the web at "*&*%$!)'(#"
advertising: 505-995-3819 santafenewmexican.com ad deadline 5 p.m. monday
Pasatiempo is an arts, entertainment & culture magazine published every friday by The New Mexican. Our offices are at 202 e. marcy st. santa fe, nm 87501. editorial: 505-986-3019. fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — kristina melcher 986-3044, kmelcher@sfnewmexican.com
Ceramic Vase Form No. 7 (detail) by keiichi shimizu
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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com
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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff acker 986-3014, jcacker@sfnewmexican.com
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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela beach 986-3019, pambeach@sfnewmexican.com
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staff Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com rob deWalt 986-3039, rdewalt@sfnewmexican.com James m. keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com
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cOntribUtOrs laurel gladden, robert ker, bill kohlhaase, Wayne lee, Jennifer levin, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, khristaan d. villela
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PrOdUctiOn dan gomez Pre-Press Manager
The Santa Fe New Mexican
© 2013 The Santa Fe New Mexican
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Robin Martin Owner
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Ginny Sohn Publisher
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advertising directOr Tamara Hand 986-3007
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marketing directOr Monica Taylor 995-3824
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art dePartment directOr Scott Fowler 995-3836
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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert
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advertising sales mike flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852
Rob Dean editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
G F IN O AT RS G BR EA IN LE 0 Y RM CE R 5 FO E ER OV P
SONGS & STORIES BY THE LEGENDARY
IAN TYSON IN CONCERT
Internationally Renowned SingerSongwriter, Recording Artist and Winner of Numerous Honours and Awards Classic hits include Four Strong Winds (voted Canada’s #1 Song of the 20th Century) Someday Soon & Navajo Rug
with Special Guest
TOM RUSSEL Lensic Performing Arts Center • Wed. April 17, 2013 – 7:30pm Tickets at The Lensic Box Office 505-988-1234
www.ticketssantafe.org/tsf/event_calendar/detail/1831 • Presented by 107.5 Outlaw Country
Thursday, April 25, 2013. 7:30PM
Lensic Performing Arts Center, Santa Fe | 211 West San Francisco St. Featuring an all star line-up of Grammy award winning artists— Dee Dee Bridgewater, vocals; Christian McBride, bass & Musical Director; Chris Potter, saxophone; Ambrose Akinmusire, trumpet; Benny Green, piano; and Lewis Nash, drums Sponsored by the Santa Fe Jazz Foundation; Brownstein Hyatt Farber Schreck, LLP; and Bumble Bee’s Baja Grill; with additional support from Nicholas Potter Bookseller
EUROPEAN CONTEMPORARY STYLING
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Tickets $20-$55. Outpost 505.268.0044; Lensic 505.988.1234; or TicketsSantaFe.org
PASATIEMPOMAGAZINE.COM
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Blue Rain Gallery’s 1st Annual Invitational Show
Susan Contreras
April 1 – 30, 2013, Artists’ Reception: Friday, April 5th, 5 – 7 pm Featuring the works of Susan Contreras, Ed Sandoval, Dallin Maybee, Suzanne Wiggin, Robb Rael, Andrea Peterson, Holly Wilson, Lorenzo Chavez, and Kay WalkingStick 130 Lincoln Avenue, Suite C Santa Fe, NM 87501 505.954.9902 www.blueraingallery.com
For tickets visit: www.southwestcare.org 8
PASATIEMPO I April 5 - 11, 2013
David Chailloux
ShopBabette.com
1 1 0 D O N G A S PA R , S A N TA F E
(505) 989-3435
MIXED MEDIA
Formations in the Atlantis chamber of Lechuguilla Cave
Mineral grotesqueries! How about witnessing the bizarre marvels of the deepest cave in the United States? A virtual phantasmagoria! In front of your eyes in a veritable extravaganza of three-dimensional photographs and films? Yes, and you can see it in Los Alamos at this time. Just hie over to Mesa Public Library Art Gallery (2400 Central Ave.) and the Pajarito Environmental Education Center, or PEEC (3540 Orange St.), for a two-venue exhibition titled Underground of Enchantment: Lechuguilla Cave of Carlsbad Caverns National Park. It may sound totally insane, but Lechuguilla, in southeastern New Mexico, is 1,600 feet deep and 130 miles long. And it’s filled with some of the most unusual geologic formations: not just stalagmites and stalactites but weird balls called cave pearls, odd curling helictites, 20-foot-long crystal chandeliers, and even crazier mineral deposits called speleothems. The exhibition, organized by the Carlsbad Museum and Art Center and curated by Gosia Allison-Kosior, features 3D photography and image presentations by David De Roest, Michel Renda, Daniel Chailloux, and Peter and Ann Bosted. Opening receptions are held on Friday, April 5, from 4 to 5:30 p.m. at the library (662-8250) and from 5 to 6:30 p.m. at the Pajarito center (662-0460). The show hangs through May 29. On April 5, John Lyles presents a free lecture, “Mapping Lechuguilla Cave,” at 6:30 p.m. at PEEC. On April 14, Tony Hinojosa leads an all-day outing to Alabaster Cave near San Isidro, where you can look forward to “crawling, scrambling over rocks, traversing rock ledges, and squeezing through tight spaces,” according to press materials. This one has a $30 fee. Contact PEEC for tickets. “Natural History of Bats: Masters of the Night Sky” is the topic for wildlife biologist Debbie Buecher at 6 p.m. April 17 at PEEC. Designed for adults and for children in the second grade and up, it costs $5 per person or $10 for a family. At 7 p.m. on April 30, caver Beth Cortright offers “Expedition Caving Basics,” a free presentation at the library. At 7 p.m. on May 14 at the library, Lyles, James Hunter, and Brian Kendrick offer a free slide show and discussion titled “Recent Discoveries in New Mexico Caves.” — Paul Weideman
JOIN THE JOURNEY THIS SPRING!
S
pring is here! Daffodils and tulips are blooming, as are the many enriched lives of our community. Our Village is maintained by our hard working team who are here because they care about people. We have charming adobe apartments and casitas available and would love to have you come for a tour, meet our residents and team. Join us. Rediscover yourself and join the journey to Taos Retirement Village.
T AO S
R E T I R E ME NT V IL L A GE 414 Camino de la Placita . Taos NM
575.758.8248 www.taosretirementvillage.com
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Experience our premier club facilities with our 30-day trial membership program.
Quail Run has so much to offer from dining to fitness and golf! Join today and enjoy Santa Fe’s Best Kept Secret.
The 30-Day trial membership* offer expires April 19th. Call today to sign up and schedule a tour.
OYSTER PERPETUAL MILGAUSS
*This is a limited offer with certain restrictions.
3101 Old Pecos Trail 505.986.2200 quailrunsantafe.com
NURSERIES
Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011 Spring Hours
Mon - Sat 9 to 5:30 Sun 10 to 4 Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 to 4 Sat 8 to Noon
rolex
SPRING WORKSHOPS Four fun, interesting & informative talks absolutely FREE! All participants receive a 20% discount card to use the day of the workshop. The next workshop will be at our NORTH store at 304 Camino Alire. The final three workshops will be at our SOUTH store. All workshops start at 11:00 AM. April 6 Valerie Jones & Leanne Lopez: Introduction to NEW plants for 2013
Fabian Chavez
Saturday, April 6 - 11:00am to noon
April 20 TJ Jones: Growing Vegetables in Containers
www.paynes.com 10
See all 4 workshops and details at paynes.com
PASATIEMPO I April 5 - 11, 2013
God and Health Rob Gilbert, practitioner and teacher of Christian Science, will talk specifically to case studies of spiritual healing. Learn how you can improve your own spiritual health care practice. Rob has co-produced two educational videos for medical nursing schools and hospitals and has a Master of Theology from Boston University.
Valerie Jones
April 13 Fabian Chavez: Tree Selection, Planting and Care
TJ Jones
✄
April 27 Lynn Payne: America’s Favorite Flower, The Rose
oyster perpetual and milgauss are trademarks.
FREE Lecture on Reliable Spiritual Healthcare
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PAYNE’S
On the PLaza, Santa Fe 61 Old Santa Fe Trail • 505 • 983 • 9241
at Christus St. Vincent Hospital
Medical and Dental Building Conference Room Sponsored by:
First Church of Christ Scientist, Santa Fe 982-1342 • Christiansciencesantafe@gmail.com
Lynn Payne
STAR CODES Heather Roan Robbins
Along with sprouting crocuses and trees pulsing with sap and pollen, spring offers an opportunity to remake ourselves. And like those trees, our new life force can be irritating to others. We can minimize how we trigger others as expressive Mercury is still in considerate and tactful Pisces, but this week the new moon in Aries calls us to remember and express who we truly are. Cooperation isn’t easy. We have plenty of goodwill, but no one wants to take orders as the sun, Venus, Mars, and Uranus continue their dance through independent, headstrong, direct, and alive Aries. Relationships can run hot and cold. We push and pull one another as the emotional arbiters Venus and Mars conjunct in fiery Aries. Be patient with one another’s quirks. The weekend begins in a reactive but hopeful mood. We work to balance our needs with those of the community and must chew over recent events. The weekend is emotional, intuitive, possibly insecure, and impractical under a Pisces moon, but it’s a good time to get in touch with ourselves or connect with others on a deeper level. Midweek a new moon in Aries gets the party started. Act, don’t react; own the paradigm. Some people will be cruising for a fight, but most of us will just have spring fever. On Thursday the moon enters fertile, stubborn Taurus, a wonderful time to plant seeds of all sorts. Start a business or garden, pick up a skill, dig a foundation, or begin a romance. Events triggered now will have consequences. Friday, April 5: Group dynamics matter more than personal connections this morning. Pay attention to karmically important communications and beginnings and endings. It’s a chance to learn on the fly. We shift toward the heart and notice what matters tonight but may feel restless — even in good circumstances. Saturday, April 6: Let feelings flow and catch up with oneself as the moon enters Pisces and both Mars and Venus semisquare Neptune. Reel in projections and stay in the moment. Situations grow complex, and self-doubts filter in. Give people room to be touchy. Sunday, April 7: Compost the past and use it to mulch the future. The mood is sensitive, impressionable, and alive; relationships spark as Venus and Mars conjunct. Energy fluctuates and daydreams call. Monday, April 8: If emotions flood practicalities, be patient and look for firm ground. Some punctuation is needed midday to complete a cycle. Keep hands busy while the heart processes this restless and disconnected afternoon. We get sparky and reactive as the moon enters Aries tonight. Tuesday, April 9: The mood is erratic; watch for mixed signals and reactive moods as the moon conjuncts Uranus this morning and Mercury challenges Saturn later. Worries can wind us up unless we put this mood to good use. Wednesday, April 10: Launch an adventure as the moon conjuncts the sun, Venus, and Mars this morning in restless, attitude-filled Aries. Responses are lightning fast — make them appropriate. Initiate change and conceive projects that make a difference. Thursday, April 11: Plant seeds in fertile soil. The waxing Taurus moon helps ground what we’ve started, so plant carefully. The mood is determined and well meaning, with a sad or frustrated point later as the moon opposes Saturn, which centers us in what matters tonight. ◀ www.roanrobbins.com
Unforgettable Special Events Join us for upcoming special events that are perfect for your next night on the town. Don’t miss our next Meet the Artist Event, that features talented sculptor Gino Miles, with an unforgettable reception and dinner.
Corzo Tequila Tasting at AGAVE Lounge April 18, 2013 4:00pm - 7:00 pm Learn all about Corzo Tequila at this complimentary seminar! Throughout the month of April enjoy Corzo Tequila specials, including the “Perfect Paloma” cocktail.
Meet the Artist Event Featuring Gino Miles at The Gallery at Eldorado April 25, 2013 6:00 pm We’ve partnered with Beals and Abbate Gallery to celebrate the work of Gino Miles with a reception and four-course dinner paired with wines from Black Mesa Winery. Please call 505.995.4502 to make reservations.
Cinco de Mayo Farm to Restaurant Benefit Dinner at the Old House May 5, 2013 6:30 pm
Join us for a Farm to Restaurant feast to welcome spring. Chef Tony Smith will prepare a fresh, locally-derived dinner to benefit Farm to Table’s award-winning Farm to Restaurant program. Dinner selections will be paired perfectly with wine from Vivác Winery. Please call 505.310.7405 to make reservations.
Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com PASATIEMPOMAGAZINE.COM
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In Other wOrds
book reviews
When the Devil Doesn’t Show by Christine Barber, Minotaur Books, 276 pages Christine Barber gets Santa Fe. She knows the history, the streets, the accents, and the rivalries, petty and otherwise. When the Devil Doesn’t Show is her third mystery novel featuring Lucy Newroe, a newspaper editor at The Capital Tribune and a volunteer emergency medical technician, and Detective Sergeant Gil Montoya of the Santa Fe Police Department. The first book in the series, The Replacement Child (2008), received the Tony Hillerman Prize, and the second, The Bone Fire (2010), won a New Mexico Book Award. In these books, Barber’s affinity for and familiarity with the nuances of Santa Fe are obvious. It is clear she’s lived and worked here, not just vacationed here. Her plotting is layered and interesting, using plenty of local lore, but her prose is awkward and sometimes glaringly clunky — and, frankly, Lucy is annoying. In the most recent installment, though, Barber has come into her own. All the notes are correct here. Lucy is a flawed, complex, even funny character with the capacity to inspire empathy; the prose is fluid; and the Santa Fe details are deeper and more evocative than ever. The story starts at Las Posadas, on the Santa Fe Plaza, a few nights before Christmas. Detective Montoya is there with his wife and daughters, but he is soon called away to a fire in a home north of town, where three bodies have been found. Lucy, in her capacity as an EMT, is also on the scene. Barber was an EMT and draws on her experience to great effect, allowing the reader to inch along the floorboards of the house with Lucy, who has no false bravado about her duties. She is hot and terrified — and no longer inclined to fight her fears and demons with alcohol, an issue she struggles with throughout the book, with greater and lesser degrees of success. Though Lucy isn’t much softer around the edges than in the previous books, she has much more humanity, which makes her a protagonist to root for rather than one whose absence makes you breathe a sigh of relief. Detective Montoya continues to be the unwavering moral backbone of the series, a born and bred local who is calm under pressure, even when he is unsure of his decisions. As similar crime scenes multiply around Santa Fe, the plot thickens to include the film industry, crypto-Jews, Los Alamos National Laboratory, Nambé Pueblo, the grounds of the old St. Catherine’s Indian School, New Mexico State Penitentiary, Christus St. Vincent Medical Center, and of course The Capital Tribune — a stand-in for The New Mexican, where Barber used to work. A rash of layoffs has just hit the paper, forcing Lucy into a new role writing, among other things, birth announcements. Barber uses the timing of news releases faxed to the paper to advance the plot, and she expertly connects the dots between seemingly irrelevant bits of information, right down to the title, which is both literal and metaphorical. Even the fickle December weather plays a role, causing delays and accidents that affect how the characters go about their business. “Every time there was a winter storm, it was like a surprise party had been thrown for the entire city, with lots of white confetti covering everything. No one seemed to ever expect it, even when the meteorologists predicted it. ... It didn’t matter. Snow always sent Santa Fe into shock,” Barber writes. Lucy, who has lived in Santa Fe for only a few years, takes great delight in describing the different kinds of New Mexico snow and regional weather patterns, including thunder snow, which is “something Lucy thought she’d made up one night while sleeping.” Detective Montoya’s partner, Joe, is the cutup to Montoya’s straight man, and though he’s often funny, he could use some fleshing out. As written, he’s a broad-strokes East Coast yokel, unfamiliar with local ways (which gives Barber plenty of excuses to offer expository information about New Mexico culture). A new character, officer Kristen Valdez, who lives in Nambé, is drawn with welcome subtlety, and one hopes she will appear in future installments of the series. Barber captures a range of supporting characters, from socially withdrawn scientists to pueblo governors to confused heroin addicts on the lam, without turning anyone into a stereotype or caricature, something that marred her depiction of artists and counterculture spirituality in The Bone Fire. This time around, Barber even slips in some affective resonant imagery at the end of the novel that recalls the fire at the book’s beginning. We are with Lucy at the Canyon Road Walk on Christmas Eve, surrounded by thousands of flickering farolitos and safe in the arms of someone who seems to, possibly, love her. A happy ending, at least momentarily, before the next murder in Santa Fe brings all these people together again. — Jennifer Levin
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PASATIEMPO I April 5-11, 2013
SubtextS Book March Whether you’re looking for fiction or fine art, history or poetry, new bestsellers or out-of-print rarities, there is bound to be a bookstore in Santa Fe that has what you need or will help you find it — making it easy to shop locally and support small, literary-minded businesses. Here are some of the bestselling books in Santa Fe for March: Garcia Street Books (376 Garcia St., 986-0151) 1. The Aviator’s Wife by Melanie Benjamin 2. Tenth of December by George Saunders 3. A Tale for the Time Being by Ruth Ozeki 4. The Searchers: The Making of an American Legend by Glenn Frankel 5. Lean In: Women, Work, and the Will to Lead by Sheryl Sandberg Bee Hive Kids Books (328 Montezuma Ave., 780-8051) 1. State of Wonder by Ann Patchett 2. Don’t Bump the Glump! by Shel Silverstein 3. Big Nate: In a Class by Himself by Lincoln Peirce 4. Where the Mountain Meets the Moon by Grace Lin 5. The Tale of Peter Rabbit by Beatrix Potter The Ark (133 Romero St., 988-3709) 1. Living Beautifully With Uncertainty and Change by Pema Chödrön 2. Mayan Ouroboros: The Cosmic Cycles Come Full Circle by Drunvalo Melchizedek 3. The Untethered Soul: The Journey Beyond Yourself by Michael Singer 4. Fear: Essential Wisdom for Getting Through the Storm by Thich Nhat Hanh 5. All Is Well: Heal Your Body With Medicine, Affirmations, and Intuition by Louise L. Hay & Mona Lisa Schulz — compiled by Jennifer Levin
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The Marseille Caper by Peter Mayle, Alfred A. Knopf, 216 pages If your idea of a good evening is cuddling up in your flannel pj’s with a cup of hot cocoa and a comforting book, Peter Mayle’s latest novel, The Marseille Caper, might be just what le médecin ordered. Mayle, of course, has become a Francophile brand unto himself. Starting in 1989 with the virally popular A Year in Provence, Mayle has built a global following chronicling all things Provençal — wine, food, travel, history, and the French je ne sais quoi that so enamors him. Like his 12th title, The Vintage Caper, Mayle’s latest offering adds a little spice to the chocolat of his oeuvre. As in that romp, we’re served succulent literary appetizers of fine dining, exotic locales, colorful (if sometimes twodimensional) characters, and easy living, and we’re again given a robust entree of crime fiction. Set against the cultural tapestry of old Marseille, the plot once more revolves around suave American detective Sam Levitt and his “friend,” glamorous insurance agent Elena Morales. For this outing, the couple join forces with their rival from The Vintage Caper, the debonair Francis “Sissou” Reboul. When we closed that book, Sam had just outwitted Reboul and stolen back an oenophile’s $3 million wine collection. Now Reboul enlists Sam’s charm and wit to help defeat his business rivals in winning a massive waterfront-development competition. Things get complicated — and dangerous — when one of the other two finalists decides to use dastardly means to land the contract. Suffice to say, the protagonists perform admirably and live to star in what will almost assuredly be a third installment in the emerging Sam Levitt franchise. This isn’t a long book, yet, as always, Mayle displays masterfully patient plot development. Like a gourmand lingering over a four-hour meal, the author savors each course before moving on. As he adds pinches of back story, Mayle indulges in splashes of local color and history, character peccadilloes, and regional lore. “A lot of Provence used to be Italian,” Sam explains to Elena over coffee. “The popes were once based in Avignon. Nice was called Nizza. ... It’s one of the things I like about Provence; one of the things that makes it so different from Northern France.” We learn that the Cathédrale de la Major is supported by 444 marble columns, that the Vieille Charité was designed by the court architect of Louis XIV to shelter the homeless, and that “we dress conservatively, and yet Frenchwomen led the world in going topless on the beaches.” Elena’s observation that Sam is “turning into a walking guide book” can occasionally be said of Mayle, as well, as his scene-setting diction sometimes turns encyclopedic. As always, the expat takes immense pleasure in describing in salivating detail the cuisine of his adopted country. Take this rundown of tapas at a local Latin restaurant: “pata negra ham from acorn-fed pigs in Spain; tuna roe drizzled with olive oil; fried aubergines dusted with mint; tartare of salmon, with honey and dill ... ” You get the picture. Mayle also shows generous appreciation for the “British grub” favored by one of his villains, Ray Prendergast: “proper sausages ... beef curry ... blue Stilton, Old Speckled Hen beer ... porridge, and McVittie’s Chocolate Digestive biscuits.” The Marseille Caper goes down easy. Just don’t read it on an empty stomach. — Wayne Lee
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Bill Kohlhaase I For The New Mexican
BLACK FLIGHT
ISABEL WILKERSON DOCUMENTS THE EXODUS FROM THE JIM CROW SOUTH
© Joe Henson
merican history is filled with stories of migration. The California Gold Rush of the 1850s and concurrent migrations to Colorado, Utah, and Nevada saw about a quarter-million men, women, and children flood the West. The Dust Bowl migration of the 1930s provoked some 300,000 disaffected rural farmers and others to move from the drought-inflicted plains of Oklahoma and nearby states to California. Yet the largest and longest-lived migration in American history isn’t the best known or most studied. It’s the migration of roughly 6 million black Americans from the Jim Crow South to major American urban centers of the North and West between about 1915 and 1970. If you refer to it as the Great Migration, the name historians have given it, most people will think you’re speaking of something else. The Great Migration’s relative invisibility has become less so since the 2010 publication of Isabel Wilkerson’s landmark book The Warmth of Other Suns: The Epic Story of America’s Great Migration. In some 600 pages, Wilkerson — the daughter of Southern migrants — details the often frightening reasons for the exodus and the conditions migrants faced while traveling and after arriving in their new homes. She cites studies that counter long-held assumptions of how migrants affected the cities where they settled. And she finds threads within the Great Migration story that are common to the entire human history of migration.
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PASATIEMPO I April 5-11, 2013
Most of the book centers on the personal experiences of three individuals who together; people went to jail for playing checkers. There were segregated Bibles, left their homes in the South for a new start elsewhere. Ida Mae Gladney left Bibles not to be touched by someone of a different race. Any infraction, even the a sharecropper’s existence in Mississippi in 1937 to arrive in Chicago. George most trivial, had the potential to be met with violence and loss of life. They lived Starling fled Florida for Harlem in 1945. Robert Foster, a country doctor, left in a caste system that’s hard to comprehend today.” Louisiana in 1953 to pursue his career in California, settling in Los Angeles. In The violence didn’t end once one moved north. Wilkerson relates the story, a phone call from Georgia, Wilkerson explained why, after interviewing about reported by the poet Carl Sandburg, then working for the Chicago Daily News, 1,200 people who participated in the migration, she chose these three. of a black teenager who was attacked and drowned after drifting across an “In many respects, all those interviews I did were a casting call, an audition to unmarked segregation line at a Lake Michigan beach. As Starling’s experience in be a protagonist in a book that’s really about millions of people,” she said. “I was Harlem shows, the migrants faced resistance from locals no matter where they looking for individuals who in some way would be a proxy of all these people, went — and not only from whites. “It’s a natural human reaction to be resistant whose backgrounds would share a single purpose but for diverse reasons. I and fearful of newcomers,” Wilkerson explained, “especially when you’re feeling wanted people who would represent these three migration streams [to Chicago, insecure about your job and economics already. It’s one of the great tragedies of New York, and Los Angeles]. Beyond that, I was looking for people who would the 20th century that in these big cities, [migrants] were pitted against people complement one another in socioeconomic standing. It was important to know much like themselves; they couldn’t see beyond the superficial differences to the events that led to their departures, the different ways they came to their see what they had in common, that they shared the same hopes and dreams. We decision, and the different outcomes they had on arrival. On one level, I needed see this in today’s immigration discussions. People from Europe, Asia, South people who were larger than life, whose individual stories could hold their own and Central America — everyone is trying to do the same thing, trying to find against the massive story I was telling.” Wilkerson visits Santa Fe on Wednesday, work and housing. People pitted against one another like this re-creates the caste April 10, to read from and discuss her book with Harvard University history system in a different form.” professor John Stauffer as part of the Lannan Foundation’s Literary Series. The book dismantles many of the assumptions that migrants were responsible The stories of Gladney, Starling, and Foster are told with engaging detail and for the ills that befell some U.S. cities during and after the migration. “They were insight. We witness the teasing Starling takes from his fellow citrus pickers in blamed for the troubles of the cities they fled to,” Wilkerson writes. ”They were Florida for pursuing his education — teasing that ends when Starling does the said to have brought family dysfunction with them, to more likely be out of work, math and shows the pickers they are being cheated of wages. The story of Gladney, unwed parents, and on welfare than the people already there.” Drawing informacasting her first-ever vote after moving to Chicago, is tinged with intimidation tion from more recent studies and her examination of U.S. Census records, she as she recalls the cruel, Ku Klux Klan-affiliated governor and senator she wasn’t reveals that just the opposite was often the case. Her book cites the research of allowed to vote against in Mississippi. And there’s the frustrating and occasionsociologist Stewart E. Tolnay, an expert on the Great Migration, and his conclually humorous tale of Foster’s first trip to Las Vegas after moving to L.A. Wilkerson sion that “southern migrants had higher rates of participation in the labor force, holds nothing back addressing their lives. She relates the horror of living in an lower levels of unemployment, higher incomes, lower levels of poverty and often violent society, as well as her protagonists’ ambitions and dreams, fulfilled welfare dependency.” and not. “These people were highly motivated,” Wilkerson said, “first to leave the situations Wilkerson was already a distinguished journalist when she took on the project. they faced, and then to make something of themselves in their new homes.” She won the Pulitzer Prize in journalism (and was the first black woman to do The author knew that many of those who were part of the migration from the so) in 1994 for her work as Chicago bureau chief for The New York Times. She South never shared that history with their families. Her fear was that many of the spent the next 15 years researching and writing migrants’ stories might be lost as the participants died the book. She even re-created the road trip Foster off. “These were generations of people who did not took from Louisiana to California — driving a want to burden their children with what they endured. Every four days someone was lynched, from 1880 Buick, just as he did. “I followed the same path, They wanted to give their children the possibility with my parents in the car, that he did. When of going out and flourishing without the weight of until well into the Great Depression.This was a world we got to the point of the journey where he was the past. For the migrants, it was the beginning of a turned away [from lodging in Phoenix], we new life, and they didn’t look back. So they cut off that’s hard to imagine. When you study the archives, pushed through, just like he did.“ Like Foster, a whole part of themselves from their children and you find laws on the books that said it’s against the Wilkerson fought off drowsiness while driving their own psyche. In fact, what they did, what they through the night. Her parents, noticing that she endured, how they came out the other side could be a law for a black man and a white man to play checkers tremendous source of strength. That’s something that was falling asleep at the wheel, demanded she shouldn’t be lost.” ◀ either pull over and rest or let them out. “It was together; people went to jail for playing checkers. an attempt to re-create something that didn’t exist There were segregated Bibles, Bibles not to be touched anymore,” Wilkerson said of the experience. “The details ease in which we found a place to rest actually ▼ Isabel Wilkerson reads from and discusses by someone of a different race. Any infraction, even made me feel more empathy for what he endured. The Warmth of Other Suns: The Epic Story of America’s Great Migration with scholar John Stauffer, part of the I could experience the physical and emotional the most trivial, had Lannan Foundation’s Literary Series weariness he might have had but couldn’t fully the potential to be ▼ 7 p.m. Wednesday, April 10 create the depths of his despair, coming this far and still finding himself in the same kind of ▼ Lensic Performing Arts Center, 211 W. San Francisco St. met with violence [discriminatory] circumstances.” ▼ $6, students $3; 988-1234, www.ticketssantafe.org Wilkerson’s description of life in the South and loss of life. during the Jim Crow era is an education in what Opposite from top, left to right: George Starling during — Isabel Wilkerson African Americans experienced every day. “[Jim his time as a citrus worker in Eustis, Florida; Starling Crow] is just a name, a shorthand that does not (left) at the Wildwood, Florida, railroad station, where fully capture the sense of terror people lived he caught the train north to New York City in April under,” she said. “Every four days someone was 1945; Ida Mae Gladney dressed for church in Chicago lynched, from 1880 until well into the Great in the late 1930s; Gladney in Chicago in the 1940s; Depression. This was a world that’s hard to Robert Foster with his wife, Alice Clement Foster (on imagine. When you study the archives, you find his right), in a Los Angeles nightclub in the 1950s; Foster with his medical degree; images from www. laws on the books that said it’s against the law for isabelwilkerson.com a black man and a white man to play checkers PASATIEMPOMAGAZINE.COM
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Author J.Grigsby Crawford
Rob DeWalt I The New Mexican
Top: Crawford helped the small community of Zumbi, tucked along the eastern Andean slopes, build a greenhouse on the village’s high school campus. Bottom: the Mendoza home, Crawford’s Peace Corps accommodations in La Segua, a wetland area west of the Ecuadorean coastline; photos courtesy J. Grigsby Crawford
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PASATIEMPO I April 5-11, 2013
Grigsby Crawford doesn’t pull any punches, whether they’re aimed at himself or others, in his debut narrative nonfiction book, The Gringo: A Memoir, published in December 2012. Crawford, who goes by the nickname Grigs, recounts his two years of service in South America as part of Peace Corps Ecuador’s Natural Resource Conservation project. His harrowing journey and his gonzo reflections on the volunteer organization that was officially established by President John F. Kennedy in March 1961 are a compelling study in human endurance in the face of government policies that often seem grotesquely amusing. In his mid-20s, fresh out of college with a degree in political science and English from George Washington University, Crawford joined the Peace Corps in 2009. “I joined for all the reasons most people my age want to join: to experience another culture, to help my fellow man, you know,” Crawford told Pasatiempo by phone from his Washington, D.C., home. “But there’s also that sense of adventure that everyone has, that curiosity to really see what you’re made of inside.” Crawford wastes no time in The Gringo pointing out the myriad comical frustrations involved in the Peace Corps application and training process. His recollections are as witty as they are revealing. (He suspects the organization bogs applicants down with paperwork in hopes of weeding out the lazy ones — and the ones harboring exponentially more idealism than street smarts — before they get further along in recruitment.) “I viewed the application and training regimen as a sort of Catch-22 scenario,” Crawford said. It reminded him of Joseph Heller’s Yossarian character in his dealings with military bureaucracy, except Crawford confronted humanitarian-oriented pencil pushers, mental-health professionals, and immunization-happy doctors. (A gorgeous female helping — or hurting — hand was occasionally in the mix.) “Some trainees cracked,” Crawford writes. “Perhaps they couldn’t take the physical endurance or maybe it was the psychological scrutiny, but in the middle of an exercise, they would announce that they’d had enough and it was the last anyone would see of them. Most, however, passed. They made it through training, swore in, and departed for their country of service, where they practiced a grand total of zero of the martial expertise they’d acquired in the several weeks prior. “With that in mind, I went into training prepared to kick ass. In a matter of minutes, however, I discovered that training in the twenty-first century Peace Corps had about as much in common with boot camp as did a chapter meeting for the local Cub Scouts. The gradual pussification of the Peace Corps in recent decades had caused a 180-degree turn that took training from a genuinely rugged ordeal to something like college orientation, only lamer.” Crawford knew what to expect from the process after speaking with people who had been through it before him — from talking to old-timers with Peace Corps experience, he knew things were much different than they were in the early days of the organization. “I had some friends of friends who had done it, so I had some idea. It should come as no surprise to anyone reading my book, or anyone else, for that matter, that government agencies can be inefficient. To me, in the beginning of the recruitment process, the bureaucracy was pure hilarity. But later, when I was in Ecuador, I began
to realize what was really at stake and what that kind of inefficiency, and in some cases total ineptitude, can lead to. Obviously, in some cases, things took a pretty dark turn for me, and a mountain of paperwork didn’t make things any more pleasant.” An intense feeling of cultural isolation is common for Peace Corps recruits who find themselves in places like Zumbi, a remote Ecuadorean village in the shadow of the Andes, and Crawford experienced that while stationed there. It’s the main reason he chose The Gringo as the title of his memoir. “The term itself is already culturally loaded,” he said. “Gringo — you will always be an outsider, different, an alien.” And Crawford had plenty of reasons to constantly remind himself that — despite his genuine interest in bringing agricultural progress to Zumbi — he was always going to be an outsider. As for the medical wonders encountered in the developing world, Crawford got a pants-load. First, he describes “a throbbing aching feeling of sickness that I can’t shake. (I find out a week later that this is not the result of acute heartache but a combination of amoebas, E. coli, and worms — a triple play of intestinal issues.)” Crawford thwarted kidnappers in his first host village on the Ecuadorean coast and endured isolation and the frustration of watching villagers suffer. Throughout it all, he retained his testicular fortitude — until a jungle parasite attacked his testicles. “About the physical issues, I remember thinking at one point, if this doesn’t get better soon, I might as well just pack it in and suffer in the comfort of home instead of continuing to do so in the Ecuadorean Amazon. It got pretty close there for a bit. But I looked at it much like the attempted abduction at my first site: it was weird, and totally
e twsenmtyu-ch h t in g in hat Ctroarpins had aboutid aa chapter t d e r e v o c s i I d century Peace oot camp as d. The gradual first ommon with b cal Cub Scouts in recent in c ting for the lohe Peace Corps e turn that mee ification of t d a 180-degre gged ordeal to puss des had cause a genuinelyl ru n , only lamer deca training from lege orientatio took ething like col som
continued on Page 18
Some trai take the nephesysicacracl enkedud.raPencrheapors they couldn’t the psychological scrutiny, but maybe it was an One of the exercise, they would announcein ththe middle of m ha yourself in a ost rewardin d enough. … Most, however, pa at they’d is that you’ nother place t gitpathrtsroougfhimtrmaining, swore in , an ssed. They made cultural com re diving headf hethPeiearcecoCunotryrps ofersseinrvig ce, where d departed for plexities. irstgranintdo tot alnowofnwazeyro of the marthtieyal prexacpeticed a u n k they’dwasacqureally ired at in thstake e several weeks prior.rtise I began to realize what and what that kind of inefficiency,leadandto. in some cases total ineptitude, can a pretty Obviously, in some cases, things took of paperdark turn for me, and a mountain pleasant. trick these work faididn’t to sortanyofmore , really,things r is itmake How m was their s i ecotour that people into believing ticket to prosperity? PASATIEMPOMAGAZINE.COM
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J. Grigsby Crawford, continued from Page 17
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[messed] up. But I just kept reminding myself that I’m the one who signed up for adventure. And can you really complain when you sign up for adventure and it turns out to be a bit more intense than you thought it might be?” While The Gringo isn’t meant to be a scathing condemnation of the Peace Corps, Crawford raises questions about the organization’s ability to honor its mission statement these days. Concerning his work writing a grant for — and helping Zumbi villagers build — an educational greenhouse on the grounds of the local school, Crawford said, “You have to ask if it’s necessary to have a carousel of new volunteers filtered into these sites, whether or not the need is still there for them, and whether or not someone has taken a close and thoughtful examination of the projects going on there. “Should they continue, or is the Corps just cycling in new gringos year after year? And who is that really doing good for? It happened with a lot of projects. It stood out particularly with regard to projects tied to ecotourism, not only for the reasons I already mentioned — the inefficiency of it all — but because it also seemed particularly unfair to the communities where some of these sites were. How fair is it, really, to sort of trick these people into believing that ecotourism was their ticket to prosperity? I didn’t, and I don’t mean to, denigrate a whole cross section of the international tourism industry, but taking a focused look at what I saw — Ecuadoreans being convinced that an impoverished wetland area could become the next Costa Rica — it was a waste of volunteer time and resources.” There were times when medical problems and turbulent relationships with his host families made Crawford lash out at people in the communities where he was stationed — quietly, of course, and in his own head, to avoid violent confrontations. A feeling of resentment toward a host family or community is a common experience for isolated volunteers, as is a feeling of being underappreciated, Crawford said. Although “needs improvement” is perhaps an understatement of Crawford’s perspective on the Corps, he admitted that “one of the most rewarding parts of immersing yourself in another place the Peace Corps way is that you’re diving headfirst into unknown cultural complexities.” Just expect a lot of paperwork in both the deep and shallow ends of the adventure pool, he warned. The months following his return to the U.S. from Ecuador could probably make for a full-length sequel to The Gringo, Crawford said. He experienced extreme reverse culture shock when he got to Colorado, discovering that the U.S. can be just as isolating as Zumbi, but in completely different ways. After living for two years in fear of being kidnapped or otherwise injured, Crawford said, it was refreshing to be out of sleeping-with-one-eye-open mode. “It was nice not being stared at and viewed as an outsider,” he said. “It was nice not to feel that otherness. Digital media kind of scared me for a while, though. Twitter was released a year or two before I left, but by the time I came back, it had really taken over everything. Feeling comfortable in social settings again took a while, too.” After just a week in Colorado, Crawford hopped in a car and took a road trip to New Mexico, through Texas and Kansas, and back to Colorado. “I needed to hit the road and clear my head,” he said. “Then I drove to D.C., where I live now. Hitting the open road is a cure for pretty much everything, as far as I’m concerned.” Crawford works for a public-affairs firm in the nation’s capital during the day and spends his evenings plotting his next adventure. And he still has both testicles. ◀ “The Gringo: A Memoir” by J. Grigsby Crawford was published by Wild Elephant Press in December 2012.
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PASATIEMPO I April 5-11, 2013
Santa Fe
Spring Classic Weekend
Santa Fe Pro Musica Orchestra Thomas O’Connor, conductor Chad Hoopes, violin Dina Vainshtein, piano
1st Prize at the Young Artists Division of the Yehudi Menuhin International Violin Competition
Recital
Friday, April 12 at 7:30pm Brahms Sonata No. 2 in A Major, Op. 100 Bach Sonata No. 1 in G Minor, BWV 1001 Prokofiev Five Melodies, Op. 35b Tchaikovsky Three Pieces “Souvenir d’un lieu cher,” Op. 42 Ravel Tzigane
Concerto
Plays the 1713 Stradivari “Cooper” violin
Saturday, April 13 at 6pm Sunday, April 14 at 3pm Tchaikovsky Violin Concerto in D Major, Op. 35 Beethoven Symphony No. 3 in E-Flat Major, Op. 55 “Eroica”
Meet the Music Introduction: Saturday and Sunday one hour before each performance. Tickets: $20, $35, $45, $65. | Santa Fe Pro Musica Box Office: 505.988.4640 (ext.1000), 800.960.6680 Tickets Santa Fe at the Lensic: 505.988.1234 | For complete season concert listing visit www.santafepromusica.com The 2012-2013 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.
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David Cline; far right, Jude Lombardi
Michael Wade Simpson I For The New Mexican
LISA FAY AND JEFF GLASSMAN DUO Lisa Fay and Jeff Glassman
the world is made up of right- and left-brain-dominant people, as many believe — the creative, intuitive ones versus the analytical thinkers — Lisa Fay and Jeff Glassman are big lefties. They are the composers, performers, and artistic directors of the Lisa Fay and Jeff Glassman Duo, a 22-year-old theater partnership based in Urbana, Illinois. Their piece Depth of a Moment: In Four Parts appears from Thursday, April 11 to April 14 as part of Eventua, an experimental theater festival presented by Theater Grottesco and the Center for Contemporary Arts. Fay and Glassman create original theater works based on a juxtaposition: the highly structured works involve regular people performing mundane tasks, such as drinking a cup of coffee. “What you see on stage is really ordinary people doing things that seem extra ordinary — highly coordinated or paying attention to rhythms,” Fay said in a conference call from Urbana, with Glassman joining in from Chicago. “It has to be rooted in daily life to work. You can’t see the rhythms if the action is like a dance — already abstracted.” “Text is used,” Glassman added, “but not in a narrative sense. Narrative is derived from structure. We have one piece that is silent, one piece that has talking the whole time, a section that plays with rhythms, and a piece where a soundscape is created as a character’s voice begins to create his reality.” Their sets consist mainly of small pieces of furniture and hand props. “We refer to ourselves in musical terms rather than dramatic ones,” Glassman said. “We generally compose a structure and organization for our pieces, much like a composer would make notations for a composition. We create the structure before we get to the content.” A category on the duo’s website is entitled “Scores.” Within that section, a series of typed and handwritten charts, like blueprints for a building being continually revised, illustrate the true extent of their analytical bent. Within the graphic array of colored blocks, stacked categories of numbers and letters, and arrows pointing from one column of numbers to the next exists the essence of a Fay/Glassman piece. One document lists rules: 20
PASATIEMPO I April 5-11, 2013
Every appearance is repeatable. No object moves, except when moved by an actor. No actor takes an imaginary object. Every appearance has consequences in so far as it changes the physical arrangement on stage. An additional note explains, “The sequence of appearances both determines and is determined by the history of the sequence. Given the rules, not all sequences are possible.” A key element to the theories that Fay and Glassman put into practice on stage is their concept of pivots. “During pivot points, actors will suddenly switch tracks from one story to another,” Glassman said. “When the actors pass through pivot moments, they will instantaneously progress to the next story — in midstream. The audience will be watching a story. The actor will be in the middle of doing or saying something. Then, all of a sudden, he will transition to a new story. It’s jarring, delightful, fun. It’s slapstick physical humor. It’s like a magic trick when it happens.” Glassman explained that our brains are now trained by MTV and the internet to create narrative out of a barrage of information. “We performed at a high school a few years back,” Fay remembered. “The kids immediately had no problem constructing a narrative out of what we were giving them, even with all the pivots and changes. The teachers were much less comfortable with it. Kids these days are used to synthesizing bits of information to construct reality.” A typical Fay/Glassman piece might contain two different stories and one or two performers. The art is in how the narratives and the performers function nontraditionally on stage. In chamber music, a composer might switch musical keys and have different instruments present different themes, often at the same time. In film, an editor might cut and splice a scene to present time and storytelling in a choppy, disjointed, or rapid-fire way. Fay/Glassman works take a similar approach.
The sequence of appearances both determines and is determined by the history of the sequence. Given the rules, not all sequences are possible.
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In Depth of a Moment, the pieces are called, simply enough, “Coffee Cup Duet,” “’Napse,” “Time and Time Again,” and “Homeland.” “The work we do is more like watching a concert — with movements,” Fay said. Fay and Glassman are partners in life as well as in the theater. Fay was a dancer until she switched to theater at Columbia College in Chicago. They began creating work together in 1990. Over the 22 years they have performed together, the duo has toured the world; appeared in mime, dance, and theater festivals in the U.S. and abroad; and received fellowships, including one from the National Endowment for the Arts. Fay also helped create the Social Issues Theatre program at the University of Illinois Urbana-Champaign. Glassman was a founding member of United Mime Workers and toured with the group from 1971 to 1986. On and off since 2002, he has taught a course called Inventing Systems for Theatre and Music at Evergreen State College in Olympia, Washington. It’s easy to see why Theater Grottesco directors were drawn to include Fay and Glassman in Eventua. Both groups have roots in mime and physical theater. Both create their own pieces rather than performing traditional works or often-produced plays. And while Theater Grottesco provides the right brain, Fay and Glassman provide the left. ◀
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details ▼ Lisa Fay and Jeff Glassman Duo: Depth of a Moment: In Four Parts, part of the Eventua festival, presented by Theater Grottesco and the Center for Contemporary Arts ▼ 7 p.m. Thursday-Saturday, April 11-13; 4 p.m. Sunday, April 14 ▼ Muñoz Waxman Gallery, CCA, 1050 Old Pecos Trail ▼ $25, $10 students, pay what you want on Thursday); 474-8400, www.theatergrottesco.org
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LISTEN UP
Sam Adams
James M. Keller
That was the week that was: Santa Fe Pro Musica Baroque Ensemble Santa Fe Pro Musica is no longer as devoted to period-instrument performance as it once was, but the historical-performance movement still holds sway over the Holy Week concerts the group’s Baroque Ensemble presents annually at Loretto Chapel. This year’s installment, which I heard on March 29, ran nearly two hours (including intermission), which is longer than it looked to be on paper, and by the end one had the feeling that it would have brought more consistent pleasure if it had been a little less generous. For the most part, the musicians seemed to be adept each in their own right, but the more of them who were involved in any piece, the more problems ensued. Because the players largely eschew vibrato except for special effect, there is no wiggle room for inexact intonation. This led to recurrent tartness within the string ensemble, which comprised violinists Stephen Redfield and Karen Clarke, violist Gail Robertson, and cellist Katie Rietman, particularly noticeable in a Telemann trio sonata. On the plus side, the musicians extracted a shimmering sound when things were going well, and Redfield in particular put across his carefully sculpted phrases with well-projected definition. Warm-toned flutist Carol Redman assumed solo duty for the Sonata in E Minor (op. 2, no. 1) by Jean-Marie Leclair, a work crafted for violin (Leclair’s instrument) but that the composer allowed might also be played on the flute. This it can be, E minor being a comfortable key for the Baroque flute; and for the most part it was elegantly interpreted, most impressively in the fluttering fourth movement, although a lengthy episode in E Major (much less congenial for the instrument) seemed to pose finger-twisting problems on this evening. Of all the souls who throw their hats into the period-instrument ring, surely the bravest are the brass players. A guest performer for these concerts was Brian Shaw, who teaches trumpet at Louisiana State University and here performed on a Baroque trumpet. Whereas most musicians active in the historical-performance movement play on instruments that closely duplicate extant examples of ancient instruments, trumpeters by and large take a compromise approach. Few of them play on actual “natural trumpets,” which consist of a brass tube with a mouthpiece at one end, every note achieved through slight variations of mouth muscles. Instead, they use a so-called Baroque trumpet that maintains much of the acoustical quality of period brasses yet provides a measure of updated flexibility through vents in the tube that somewhat facilitate chromatic demands without offering the full convenience of modern valve trumpets. They are still hard to play. Shaw brought with him a trumpet concerto by Johann Melchior Molter, a contemporary of Bach’s, whose music is negligible — except, I suppose, to trumpeters. This concerto reminded listeners of the impact made on German late-Baroque music by Vivaldi, whom Molter knew in Italy. Several passages here seemed dropped in practically off the rack from the Italian master, odd incursions into an otherwise Germanic context. At his best, Shaw produced a pure, gleaming tone; elsewhere his work reminded listeners of the formidable technical challenges the instrument presents. Harpsichordist Kathleen McIntosh (who, along with Rietman, made up the continuo contingent) assumed the spotlight for three solo pieces by Jacques Duphly, a late voice in the tradition of the French Baroque harpsichordist-composers. The set was not immune to stumbles, but the finest performance of the evening came with the middle of these items, Les Grâces, from his Third Book of Harpsichord Pieces (published in 1756). McIntosh’s fluid reading spun a dreamlike web in which the composer’s elaborate ornamentation gilded an inherKathleen McIntosh ently affective musical line. 22
PASATIEMPO I April 5-11, 2013
Bach’s Cantata No. 51, Jauchzet Gott in allen Landen, is a well-known showpiece for soprano with obbligato trumpet. Pro Musica’s vocal soloist was, unusually, a mezzo-soprano, Deborah Domanski, assisted by trumpeter Shaw. I can’t say why she opted for this piece, especially when she might have chosen among several wonderful solo cantatas Bach wrote for a lower voice. Perhaps she is in the process of reestablishing her voice at a range higher than she has targeted in the past. Indeed, she proved capable of navigating this soprano tessitura, but doing so came at a price. Placing her voice at such a height meant her lower range failed to project, and it seemed to diminish her comfort in articulating consonants, which became largely undetectable. This interpretation was not helped by uncertainty in entrances in the chorale movement, where the singer’s hymn phrases emerge out of a complex trio-sonata texture featuring two violins, or by a frequent push and pull in matters of tempo, not to mention the ongoing issues of instrumental intonation. In the end, it was a concert that kept listeners a bit on the edge of their seats. He thinks therefore he plays: pianist Richard Goode A highly anticipated moment arrives Tuesday, April 9, when pianist Richard Goode comes to the Lensic Performing Arts Center courtesy of the Santa Fe Concert Association. Goode, who turns 70 two months hence, has quietly grown into a senior statesman of the keyboard. He has the reputation of a “pianistphilosopher,” carrying on the principles of such of his teachers as Claude Frank, Mieczyslaw Horszowski, and Rudolph Serkin. In this sense, one might classify him as an anti-virtuoso, which is not to imply that he falls short in technical capacity but rather that dazzling mechanical ability — or even the sheer sonic luxury of the instrument — holds little interest for him as an end unto itself. It should not come as a surprise that such a musician should be particularly drawn to masterpieces of the greatest composers, to works that continue to disclose their secrets even after the thousandth repetition. Look at Goode’s catalog of recordings and, when it comes to solo-piano music, you will find almost exclusively the names of undisputed masters from the most mainstream tradition of musical discourse: Bach, Mozart, Beethoven, Schubert, Schumann, Chopin, Brahms. All of these, as it happens, are composers who continued to pose new challenges for themselves throughout their careers; and so it is logical that a musician of this bent would end up being drawn to their late works, to the most distant points their fecund imaginations managed to reach. In his Santa Fe recital, Goode will focus exclusively on late works by the three great masters of Viennese Classicism: Haydn, Mozart, and Beethoven. From Haydn comes one of his very last keyboard sonatas, in C Major (Hob. XVI/50), composed in 1794 or 1795 during his second residency in London. He wrote three sonatas at that time, all for the celebrated pianist Therese Jansen. The daughter of a German dancing master, she married an art dealer named Gaetano Bartolozzi (his father, Francesco, was an engraver who made an important stipple portrait of Haydn), and they produced a daughter who would gain renown in the 19th century as a singer under the name Madame Vestris. Of the three “Jansen” sonatas, the C-Major is the most advanced in terms of its pianism, calling for the full range of pianos then being used in England, where instruments were being built with a broader range of notes than were generally available on Continental pianos. It is also one of the earliest pieces to make use of the una corda pedal, which Haydn employs to telling effect. And it is a work of exceptional wit, which was always one of the composer’s strong suits. Goode will offer two pieces by Mozart, his Rondo in A Minor (K. 511) and Sonata in F Major (K.533/494). These are late works only in the sense that late is never more than a relative term. One might well maintain that since Mozart lived only to the age of 35, he never had the opportunity to compose late works in any objective sense. In the event, such works as these will have to suffice. Mozart would go on to write three further piano sonatas after the one programmed here, which dates from January 1788, three years and 11 months before he died. The A-Minor Rondo came a bit earlier, in 1787, and it is one of Mozart’s most far-
9 4 Iyyar - אייר
The Hebrew month of Iyyar begins on Wednesday, April 11. During Iyyar, we continue the Omer count, which began on Passover. This 49-day period of reflection and self-improvement culminates on Shavuot, the day of the giving of the Torah. Israeli Memorial Day & Independence Day fall on April 15 & 16.
The Mussar of Kabbalah
Seven Weeks to Sinai Series Begins Sunday, April 7, 6-7pm. Register at kolberamah.org/7weeks May you have a blessed & successful month of Iyyar.
Steve Risking
KolBeRamah.org • (505) 216-6136 551 W Cordova Rd, Suite F in Santa Fe
Richard Goode
reaching conceptions, its harmonic quest leading practically to the doorstep of Schubert and even Chopin. Beethoven, in contrast, lived a full and unhappy life of 56 years, which at the time was about average life expectancy for people who made it past childhood. Scarcely was the coffin lowered into the ground than scholars began viewing his oeuvre as falling into three periods: early works, until about 1802; middle works from then through about 1812; and then a late period extending to his death, in 1827. Beethoven’s 32 piano sonatas are revered as cornerstones of the instrument’s repertoire — Goode has recorded them all — and six of them qualify as late-period pieces. That said, they are not all that late. He signed off on the last two of them in 1822, at which point quite a few imposing masterworks still lay in his future, including the Diabelli Variations, the Missa solemnis, the Ninth Symphony, and his final five string quartets. Nonetheless, the late piano sonatas reach far into his imagination, distilling musical thoughts into practically nothing or expanding them into vast chapters, tying episodes together through novel structural ideas. It is amazing to think that Beethoven wrote them in almost total deafness, increasingly unconstrained by certain practicalities of conventional performance. Goode will play two of these late piano sonatas. The Sonata in A Major (op. 101) is less frequently programmed than it deserves, but it is a thing of beauty, and it absolutely captivated such ensuing figures as Mendelssohn, Schumann, and Wagner, the last of whom cited its first movement as embodying his ideal of “endless melody.” And then, to conclude, he will play the Sonata in A-flat Major (op. 110), Beethoven’s penultimate sonata. Here we find the composer in all his immeasurable breadth. On one hand, he works in references to two popular Viennese songs of the day, “Unsa Kätz häd Katzln ghabt” (Our Cat Has Had Kittens) and “Ich bin lüderlich, du bist lüderlich” (I’m a Slob, You’re a Slob). The latter is perhaps an autobiographical reference, since at about the time Beethoven was writing this sonata he seemed to be losing control of his life, and he grew so slovenly that he was actually arrested for vagrancy by policemen who refused to believe that the bum before them could be the eminent composer. On the other hand, the A-flat-Major Sonata includes music of visionary transcendence, its finale moving from heart-rending sorrow to conclude in an ecstatic fugue. You might think of it as a composition that keeps pulling the carpet out from under itself, and as such, it is just the sort of piece that is bound to continually intrigue an artist like Richard Goode. ◀ Pianist Richard Goode performs at 7:30 p.m. Tuesday, April 9, at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets, $20 to $75 (discounts available) may be purchased by calling 988-1234 and from www. ticketssantafe.org.
Friday, August 10th Friday, February 1st to to Friday April 22nd 5th toto Friday, Febry0th to Friday, December 2nd Friday March Thursday, August 16th toThursday, Thursday, June Thursday, Fary 16th February 7th Thursday April 11th Thursday March 28th 4:30 –to 6:30pm 4:30-6:30pm 4:30 to 6:30pm 4:30 6:30 4:30 to
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TERRELL’S TUNE-UP Steve Terrell
This land is their land Back in the mid-’60s, when I was but a lad, my mom, knowing how much I liked Johnny Cash, gave me an unusual album. It was called Bitter Tears: Ballads of the American Indian. Unlike the other Cash records I had, there were no big radio hits on this one. It had to be one of the angriest county albums released on a major label in the ’60s — or, come to think of it, ever. The songs were all about broken promises, broken lives, damned rivers, and damned peoples. And yet, there was some wicked humor in at least one song, a “tribute” to a certain notorious Indian fighter: “I can tell you, buster, I ain’t a fan of Custer/And the general he don’t ride well any more.” Like most the songs on the album, “Custer” was written by Peter La Farge, son of the late Santa Fe writer Oliver La Farge. There’s a recently released CD that deals with the plight of indigenous people, and it’s not about American Indians: Stranger in My Land by Aborigine singer Roger Knox (backed by Chicago’s Pine Valley Cosmonauts). The stories told take place in different locales than those on Bitter Tears, but many of the themes are similar. Knox has been performing and recording in the land down under for more than 30 years. This collaboration with the Cosmonauts, a loose-knit country-rock collective headed by Jon Langford (best known for his work in The Mekons and The Waco Brothers) is his American debut. The teaming was instigated by Langford, who first read about Knox in a book by Australian author Clinton Walker called Buried Country, which chronicles Aboriginal country musicians. In a recent Chicago Tribune interview, Langford said that the book “really struck a chord in me, that black people in
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PASATIEMPO I April 5-11, 2013
There’s a recently released CD that deals with the plight of indigenous people, and it’s not about American Indians: ‘Stranger in My Land’ by Aborigine singer Roger Knox. Australia would use basically a white American music form as a way of telling their stories.” For this album Langford gathered an impressive bevy of guests including fellow Mekon Sally Timms, R & B codger Andre Williams, and American country giant Charlie Louvin (who died since he contributed his vocals to the song “Ticket to Nowhere”). Kelly Hogan, Will Oldham, and Tawny Newsome added some vocals, and The Sadies, a Canadian band that has collaborated with Langford before, became honorary Cosmonauts. There are several sentimental wish-I-wasback-home tunes here, a familiar theme in American country music. There is “Home in the Valley” (with sweet harmonies by Timms) and “Blue Gums Calling Me Back Home,” in which Knox gets nostalgic about “a land where the kangaroos and emus roam.” In “The Land Where the Crow Flies Backwards,” Dave Alvin and Knox’s son Buddy swap electric-guitar leads as Knox tells about a previous career herding cattle and admits to the harsh brutalities of the cowboy’s life: “The mosquitoes and flies torment you, and the sun beatin’ down so hard/You might think it’s a hell of a place, but to me, it’s my own back yard.” In “Streets of Tamworth,” he longs for “didgeridoos droning in the night,” “the taste of porcupine,” and being where “the white man’s ways won’t bother me no more.” There are also some scathing political songs. “Warrior in Chains” is about an Aborigine inmate who commits suicide in an Australian prison. (Knox, as well as many of the songwriters whose works are on this album, spent some time within the Australian corrections system.) “Brisbane Blacks” deals with alcoholism among the Aborigines. “Wayward Dreams” is about the destruction of tribal customs because they don’t fit into the white man’s “wayward scheming dreams.” And most heart-wrenching of all is “Took the Children Away,” written by Archie Roach. This is about the cruel Australian policy of taking Aborigine children from their homes in an attempt to assimilate them into the white culture. The policy officially ended around 1970.
My favorite song is “Scobie’s Dream,” a lighthearted tune about a drunk with severe d.t.’s. Poor Scobie hallucinates about an animal hoedown — “dancin’ kangaroos,” “two black crows playing the old banjo,” “Mr. Bandicoot in a gabardine suit dancing with a little brown pig,” etc. — for a whole week. The song, written by Dougie Young, is described in the liner notes as about “a jailbird and a drunk.” It exemplifies country music’s proud tradition of finding weird humor in even the most tragic situations. Visit www.bloodshotrecords.com/ album/roger-knox-stranger-my-land. Also recommended: My World Is Gone by Otis Taylor. Many of the best songs on My World Is Gone, like the material on Roger Knox’s album, deal with the plight of tribal people — in Taylor’s case, American Indians. The Denver bluesman is aided by Mato Nanji of Indigenous, a Native blues-rock band, on about half the tracks. The most memorable “Indian songs” here are the title cut, a slow lament featuring Nanji’s guitar and fiddle by Anne Harris; “Sand Creek Massacre Mourning,” which deals with a 1864 attack by the Colorado militia (and a company of New Mexico volunteers) on Cheyenne and Arapaho villages in which mostly women and children were slaughtered; “The Wind Comes In,” featuring some tasty interplay between Nanji’s guitar, Brian Juan’s electric organ, and Taylor’s banjo; and the quick-paced “Lost My Horse,” a rerecording of a song that first appeared on Taylor’s 2001 album White African. As usual, Taylor’s lyrics are sparse, repetitive, and short on detail. The words provide a loose framework, and he lets the instruments create the mood. Sometimes only Taylor seems to know what the song is actually about. For instance, I had no idea what “Girl Friend’s House” was about until I read the liner notes: “After catching his wife in bed with her girlfriend, the husband decides he wants to join in.” I listened to the song a couple of more times to try and catch some juicy details, but alas, I could find none. Check out www. otistaylor.com. ◀
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WEDNESDAY 10 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER I’m reading The Warmth of Other Suns right now, Isabel Wilkerson’s beautiful, epic narrative following the migration of African Americans from the South to the North. It’s easily the best book I’ve read in 2010. It’s the sort of book that every American should read. – Ezra Klein, The Washington Post …[a] massive and masterly account of the Great Migration. – David Oshinsky, The New York Times Isabel Wilkerson is the author of The Warmth of Other Suns, an epic story of the Great Migration, chronicling the journey of over six million black Americans from the South who migrated north and west between World War I and the 1970s. Inspired by her own parents’ migration, she devoted 15 years to the research and writing of the book, interviewing more than 1,200 people along the way. Wilkerson is a former national correspondent and bureau chief at The New York Times.
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PASA TEMPOS
album reviews
Peter Clint PhiliPs Cantiones Mansell Stoker: sacrae octonis vocibus Original Motion Picture (hyperion) Although William Byrd Soundtrack (Milan) The soundtrack to managed to balance being a Catholic director Park Chan-wook’s three’s-a-crowd church musician in Protestant England thriller Stoker opens as the movie does, during the late Renaissance, he was an with a recitation from 18-year-old India exception. A more typical case was Peter (Mia Wasikowska). It’s followed by violinPhilips (circa 1560-1628), who left his ist and singer-songwriter Emily Wells’ dour native England as a young man to build a career of renown but glossily attractive “Becomes the Color,” telling us all we on the Continent, eventually entering the Catholic priesthood in need to know of India. Mansell, an original member of Pop Will the early 17th century. In Italy he fell under the sway of Palestrina Eat Itself, is adept at establishing character through music. His and Marenzio, the latter being his favorite among his contemporary previous film credits include Requiem for a Dream, The Fountain, composers. In the Netherlands he spent time with Sweelinck, and in and Black Swan. His Stoker mostly favors melancholy over drama, Brussels he was a neighbor of his fellow British ex-pat composer John an approach that emphasizes strings with only periodic infusions of Bull (run out of England for adultery) and a friend of the painter Rubens. tension from electronics and percussion. Nothing here is as weighty as Philips’ prolific output covers a broad stylistic range, but his Cantiones his theme to Requiem. “Happy Birthday (A Death in the Family),” with sacrae octonis vocibus, published in Antwerp in 1613, tends toward grandeur, xylophone and repeated figures, suggests Mike Oldfield’s theme for The exhibiting the sort of musical “triumphalism” that period Protestants Exorcist. Minimalism shows up again in the delightful piano piece found reprehensible. The Choir of Royal Holloway (a fine col“Duet,” composed by Philip Glass. The clap-stick grate of “A lege chorus) and the English Cornett and Sackbut Ensemble Family Affair” has just enough presence to suggest murder, here offer a generous selection of eight-voiced motets from while “Crawford Institute (Family Secrets)” contrasts xylothat collection. Rupert Gough directs them in sumptuous phone-induced innocence with troubled horns and strings. ‘Delta Machine’ readings infused with rhythmic vitality, the cornets and Wells returns to moan on the shimmering bonus track. sackbuts used selectively to infuse the double choir with Breaks from the instrumentals include “Stride la vampa” is all about redemption, mellow warmth. Highlights include a Caecilia virgo (to from Verdi’s Il Trovatore, appropriate for a story that calls the patron saint of music) overflowing with contrafor avenging the death of a parent, and Lee Hazlewood which is fitting, since it finds puntal imitation and a concluding Hodie nobis de caelo and Nancy Sinatra’s oldie “Summer Wine,” a tale of filled with exhilarating figuration. — James M. Keller seductive intoxication that is appropriate for the plot Depeche Mode at the top of but a distraction on the soundtrack. — Bill Kohlhaase its game after more DePeChe MODe Delta Machine (Mute Columbia) As the title of the 13th full-length album from U.K. electropop GraCe Kelly Live at Scullers (PaZZ) Saxophonist than 30 years. /New Wave icons Depeche Mode suggests, Delta Machine and singer Grace Kelly won’t be 21 until May 15, but this takes a stab at the stylistic qualities that provide the frameis already her eighth album; among the others are discs in work for the Delta blues while keeping intact the band’s which she shares the leader spot with Phil Woods and with signature synths and pulsating drum-machine beats. It’s a far cry Lee Konitz. For her latest, the prodigy was recorded live at Scullers Jazz Club in Boston, where she made her performance from DM’s beginnings as part of the British Blitz-Boy/New-Romantic debut at age 13. The eclectic set begins with “Please Don’t Box Me In,” pop movement of the early ’80s, but the band — especially lead singer inspired by Brian Blade’s Fellowship band. She sings with a warm, enthuDavid Gahan, who battled drug addiction for years — has been through hell siastic, athletic, stylish voice and then, following a nice solo by guitarist and back frequently enough to warrant some dark and introspective tunage. Peter McCann, she shines brightly on alto. The program moves into the The deluxe-edition download contains 18 tracks, and the bluesiest-song award goes to “Goodbye.” Gahan sings in his telltale vibratic sinal baritone, pop realm with “Eggshells,” featuring Latin-flavored guitar and percus“It was you who took my soul, threw it in the fire, tamed it in the rapture, sion by Mark Walker. Her singing style on the infectious “Night Time Star” is lively and loose. “Autumn Song,” the CD’s first instrumental, filled me with desire, now I’m pure, now I’m clean, I feel cured and is full-textured and romantic, offering showcase spaces for the serene in you.” Primary songwriter and multi-instrumentalist Martin saxophonist and guitarist as well as trumpeter Jason Palmer, with Gore lends the album plenty of twangy blues guitar, and unlike prenice backing touches from cellist Eric Law. All of the songs vious DM efforts, his arrangements are left to stand on their own here were composed by Kelly except the instead of being buried under Gahan’s vocals last two, instrumental covers of the stanor a crushing wall of gothy synths. Produced dards “The Way You Look Tonight” and by Ben Hillier (he also produced DM’s 2005 platter Playing the Angel and 2009’s Sounds “Summertime.” Her other numbers include of the Universe), Delta Machine is all about the sexy “Ready Set Stay,” the singerredemption, which is fitting, since it also songwriter-style “Kiss Away Your Tears,” finds Depeche Mode at the top of its and the heady, straight-ahead instrugame after more than 30 years. mental “Searching for Peace.” — Rob DeWalt — Paul Weideman
26 PASATIEMPO I April 5-11, 2013
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PASA REVIEWS Buried Child, presented by Ironweed Productions and Santa Fe Playhouse Santa Fe Playhouse, March 30
Family tree
I
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Please join us on April 15th at 6 pm for
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ronweed Productions says in the first sentence of its mission statement that it exists “to produce plays rooted in the American experience.” Sam Shepard’s Buried Child, which the company currently offers in a co-production with Santa Fe Playhouse, certainly qualifies. It is all about roots, mostly not in a good way. The tale it tells is sometimes willfully indistinct, which in no way detracts from its strange appeal. The action unrolls in a dilapidated Illinois farmhouse occupied by a family so deeply rooted that escape is impossible. The place is anchored by Dodge, almost unable to budge from the couch (or uninterested in doing so), and his wife, Halie, who still has a bit of life left in her and so goes off gallivanting with the local priest. Also holding down the fort are their sons Tilden and Bradley. The latter is a menacing presence as long as his artificial leg is attached. The former escaped for a while to New Mexico, where something very bad happened, after which he returned to wander dazed in the bosom of his dysfunctional family. Another brother, Ansel, is dead, but he lingers palpably, at least in his mother’s idealizing memory. And then there is a sinister family secret. Into this morass wanders Vince, Tilden’s son, on a road trip from his home in New York City with his new girlfriend, Shelly, who has been prepped by Vince’s stories of his family’s Norman Rockwell-style charms. The visit does not go well. This production, directed by Mona Malec, conveys the play’s darkness so effectively as to leave attendees in an unnerved state when they try to clear their heads at intermission. The nocturnal horror-story atmosphere brightens in the last act, which is sunnier in that it takes place during daytime. The roots go on tightening their grip nonetheless, strangling the family like a pot-bound plant. On the other hand, the play also offers evidence of roots working to a productive end, with vegetables apparently germinating in long-fallow fields. However you interpret the symbolism of Buried Child, you are sure to end up treading on pretty intense territory. The reason this Pulitzer Prize-winning play has been a classic practically since the moment it was unveiled, in 1978, partly involves the games it plays with your mind. But it also has to do with the terrific humor Shepard imparts where one would scarcely hope to find it. One glimpses that humor rarely in this production, which conveys the basic information effectively but without quite the sparkle audiences have grown to relish in this play. Malec has commendably molded an ensemble cast out of actors of disparate experience. Several players made especially strong impressions. Larry Glaister, as the patriarch Dodge, commands pity while exacerbating the family’s impotence. As Tilden, Scott Harrison (Ironweed’s artistic director) puts viewers on edge as they try to decide whether he’s crazy as a loon or the only sane one in the bunch. Matt Sanford and Kate Kita, as boyfriend and girlfriend Vince and Shelly, both underscore the distance their characters cover in reacting to the family’s gravitational pull, with Sanford traveling an especially unsettling path. In all, this is a sturdy production of a memorable play, even if it fails to seize a measure of the comic richness that lurks on Shepard’s pages. — James M. Keller “Buried Child” continues at Santa Fe Playhouse (142 E. De Vargas St.) at 7:30 p.m. Thursdays to Saturdays and 2 p.m. Sundays through April 14. Tickets are $20 (discounts available); $10 on Thursdays. Call 988-4262 or visit www. santafeplayhouse.org.
58 S. Federal Place, Santa Fe, NM 87501 28
PASATIEMPO I April 5-11, 2013
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29
picnic for earth
Exhibition April 5 - 29, 2013 Patina Gallery Artist Reception
Patina Gallery invites you to Picnic for Earth, an
Friday, April 5
exhibition curated by Ivan Barnett and featuring a
5:30 - 7:30 pm
live auction celebrating the planet we live on, the food it provides and the people we share it with! Featured Works By:
Maude Andrade Laurie Archer Joe Bova Kevin Box Matthew Chase-Daniel Devendra Contractor & Kenji Kondo Jan Brooks, Amelia & Lane Coulter
Geoffrey Gorman Melinda K. Hall Nancy Judd Yuki Murata Peter Ogilvie Chris Richter Gail Rieke & Sialia Rieke Holly Roberts
Auction Friday, Apri 19 4:00 - 6:00 pm Auction is LIMITED to 75 attendees. Admission is complimentary; auction items start at $500-$750. All proceeds benefit The Nature Conservancy, (slideshow at www.nature.org/newmexico) and Santa Fe Farmers’ Market Institute www.farmersmarketinstitute.org. For more information or to reserve your space, please contact Natalia Chavez at: 505-946-2026 or nchavez@tnc.org.
Patina Gallery 131 West Palace Ave. Santa Fe, NM 87501 • 505.986.3432 patina-gallery.com
30
PASATIEMPO I April 5 - 11, 2013
ON STAGE Their coops runneth over: concert for the Eldorado Nine
Whether you’re hen-lovin’ folk or stand with NIMBY anti-cluckists, you’ve probably heard about the squabble in Eldorado over a poorly worded covenant that now has a handful of lot owners going to court over the right to bear chickens. At 5 p.m. Friday, April 5, the Performance Space at La Tienda shopping center (7 Caliente Road, Eldorado) hosts the Eldorado Funky Chicken Fuster Cluck, a concert and silent auction to benefit the defense fund of “the Eldorado Nine” SANTA FE lot owners. Slated to perform are Broomdust Caravan, Matthew Andrae, Laurianne Fiorentino, Joey Wilson, George Adelo, Drastic Andrew, Puppet’s Revenge, and others. Because you need to have a sense of humor about the whole dust-up, guests are asked to come armed with their favorite chicken jokes. There will also be a best deviled egg contest. A $20 donation at ELDORADO the door is requested for admission (but no one will be turned away, unless they bring a chicken hawk). The entrance fee for the contest is $5. Oh! I almost forgot: Why did the chicken cross the road? He wanted to be poultry in motion. — RDW
THIS WEEK
Woodwind family gathering: Calefax Reed Quintet
Aficionados of the woodwind family may take particular pleasure in the Amsterdam-based Calefax Reed Quintet, which brings together the atypical assemblage of oboe, clarinet, saxophone, bass clarinet, and bassoon. Established in 1985, the group selected its name strictly for its euphony: one of the members recalled the word from a sign he used to bicycle past as a boy, and only years later did the players learn that it referred to a firm that manufactured nautical motors. Although a number of pieces have been composed expressly for this distinctive instrumentarium, the group also includes many transcriptions in its repertoire. The five pieces it plays when presented by the Los Alamos Concert Association, at 4 p.m. on Sunday, April 7, are all arrangements originally written for other forces by Rameau, Ravel, Weill, Debussy, and Gershwin. The performance takes place at the Duane Smith Auditorium of Los Alamos High School, 1300 Diamond Drive. Advance tickets ($30) may be purchased from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe. org) and from www.losalamosconcert.org. Tickets at the door cost $35. — JMK
People pleasers: NT Live
Courtesy NT Live
The NT Live high-definition broadcasts from the National Theatre in London have included more turkeys than they should, but this week’s offering may be among the better of the lot. It’s a new play by Alan Bennett titled People, and although British critics have not hailed it as a perfect play, it has earned mostly positive reviews, with such descriptors as “mordantly funny” (The Guardian) and “entertaining” (The Daily Telegraph). Bennett’s The Habit of Art, broadcast two years ago, was one of the first and best of the NT Live series. As with that play, some viewers might find certain plot elements of the new work to be risqué and should plan accordingly. At center stage is the redoubtable Frances de la Tour as an impoverished aristocrat doing what she must to ensure the welfare of her deteriorating mansion. (The play has sparked a public spat between Bennett and the National Trust, which maintains Britain’s architectural treasures.) The broadcast begins at 7 p.m. on Friday, April 5, at the Lensic Performing Arts Center, 211 W. San Francisco St. Tickets ($22; discounts for students) are available by calling 988-1234 and through www.ticketssantafe.org. — JMK
Shell game: the Baile de Cascarones
For more than 70 years, the Sociedad Folklorica de Santa Fe has presented the Baile de Cascarones (Dance of the Eggshells), an annual event held on the weekend after the Lenten season. The dance serves as a way to promote and preserve the traditional music and folk dances of Spain, but the origin of cascarones — eggshells filled with confetti — is hard to pin down. (Some people believe the eggs were an import to Spain from the Orient.) During the festivities, men crumble confetti eggs over the heads of potential dance partners. The Baile de Cascarones reached New Mexico in the 1800s. Although the dance waned in popularity in the years leading up to the Great Depression, the Sociedad Folklorica de Santa Fe revived the tradition in 1940. This year’s family-friendly dance takes place from 7 to 11 p.m. Saturday, April 6, at the Santa Fe Community Convention Center (201 W. Marcy St.). Tickets are $15 per couple, $10 for an individual, and $2 for ages 6 to 18. Cascarones will be available for purchase. Call 983-7839 for details. — RDW
PASATIEMPOMAGAZINE.COM
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Rob DeWalt I The New Mexican
Reflective RefRactions
in
Greek mythology, Persephone is the goddess of earthly renewal, queen of the underworld, and the daughter of Olympian ruler Zeus and Demeter, goddess of the harvest. Persephone’s image is celebrated in everything from Etruscan terra cotta urns and Athenian tondo paintings to the work of American painter Thomas Hart Benton and modern-day sidewalk art. At the end of March, Chiaroscuro Contemporary celebrated the return of spring and the beginning of its new exhibition season with the fourth annual Spring Thaw group show. Persephone won’t be there in body — or paint, or sculpture, or mixed media — but she’ll be there in spirit. The show continues through April 27. Each year, Chiaroscuro brings together gallery and guest artists for the eclectic exhibit featuring new works in an array of mediums. This year’s roster includes colorful wall sculptures by Chip Dunahugh, mixed-media abstract paintings by Katherine Chang Liu, figurative oil paintings by Michele Mikesell (from her Freezing the Octopus series), and large-scale abstract paintings by Colleen Drake. Longtime Santa Fe resident Bonnie Bishop is the only artist contributing photographic work to this year’s show. Her large-scale images of windows, which she describes as conveying “the mystery behind the parted curtain,” are like hypnotic glimpses into gently rippling gazing pools. Pasatiempo caught up with Bishop, who talked about her photographs in the exhibit, which are derived from a series of images taken in Kyoto.
looking through the glass with Bonnie Bishop
Pasatiempo: What first drew you to photography? Did you have mentors? Bonnie Bishop: In 1973, after graduating from college, I accompanied a National Geographic photographer, Macduff Everton, to Yucatán, Mexico. He gave me my first camera and taught me how to operate it. During the next six months I discovered light, shadow, tone, color, and movement through a lens. I return to Mexico often. The unexpected juxtaposition of colors and the grit of the country are inspiring. I always find something curiously beautiful to photograph when I travel. Probably, because of my background in printmaking, I often see images as a series. I like the movement and tension grouped images create, the way they complete a story. Pasa: Is there a common thread in your photographic work? Bishop: A consistent theme in my photography and printmaking is translucence, the passage of light. I photograph light filtered through objects — fabric, tea bags, dresses, drapes, leaves, windows. I’m interested in the bare bones of an object. Like making an X-ray, I’m exposing its essential nature. I aim for the combination of beautiful and haunting. Pasa: Texture and depth play large roles in the photographs’ mysteriousness. It’s almost like looking through mist with broken glasses on. What attracted you to windows? Bishop: In 1980, I was walking through a neighborhood in La Veta, Colorado, and a windowsill with carefully arranged tchotchkes caught my attention. I was curious. What is the meaning of these objects to their collector? Why these choices — sentimental? Aesthetic? I am drawn to the mystery behind a slightly parted curtain. What is revealed? What is meant to be hidden? I enjoy the covert act of peering into a scene from another’s life. When the image is reversed and seen by me, how is it transformed? In my window series I’m turning the tableau around, shooting the still lives of windows from the outside in. Pasa: What was it about certain windows in Kyoto that inspired you so much? Bishop: Because of my interest in minimal art, architecture, and photography, I headed to the art island of Naoshima, Japan, [home to many museums] to celebrate my 60th birthday. My other destination was Kyoto where I photographed the Kyoto Window series in 2010. Many traditional homes in Japan are built directly beside the road and patterned glass is used to provide privacy. The differing textures of the windows create diffuse, abstract, pointillistic, and translucent images. By printing them large they become life-size and offer the viewer an experience similar to peering through a window. ◀
details ▼ Spring Thaw, fourth annual group exhibit ▼ Reception 5 p.m. Friday, April 5; exhibit through April 27
Bonnie Bishop: Kyoto Window I, 2010, 42 x 29 inches; opposite page, a self-portrait
32
PASATIEMPO I April 5-11, 2013
▼ Chiaroscuro Contemporary Art, 702½ and 708 Canyon Road, 992-0711
PASATIEMPOMAGAZINE.COM
33
Michael Abatemarco I The New Mexican
KEIICHI SHIMIZU
one considers Japanese Tanba pottery purely from the standpoint of tradition, then its history, spanning hundreds of years, has been primarily to fulfill utilitarian functions. Innovations have been relatively recent. Contemporary ceramist Keiichi Shimizu, whose exhibition Tanba Modernism II opens on Friday, April 5, at Touching Stone, is among a generation of potters pushing the boundaries of the medium with minimalist designs that reflect a modern aesthetic. “Tanba clay has been used for almost a thousand years,” Shimizu told Pasatiempo.. “Most traditional Tanba wares are based on round wheel-thrown forms, fired unglazed in wood-fueled kilns. The core of my work is based on the same clay, but I always think of how to create better forms and designs with this material. I had to develop new techniques to achieve the forms that meet my desires.” The term Tanba (also called Tamba) refers to the central, mountainous region of Hyogo Prefecture, where Shimizu continues to work with local clay as his father did before him. Shimizu studied in Kyoto as a young man. “Quite a few potters of my generation studied in Kyoto. We were all influenced by the creative energy and activities that eventually led me to a new direction. Among contemporary Japanese potters, I admire Shoji Kamoda, Kiyoyuki Kato, and Sueharu Fukami. These potters have very different styles, but they share one common character of breaking through previously accepted boundaries.” A lot of Tanba pottery vessels are vase forms and storage jars. Tanba is also known for its ceramic sake bottles. Today, the surface of Tanba pottery is often covered with an ash glaze and continues to be fired in wood kilns. Tanba’s community kiln is among Japan’s historic Six Old Kilns, the other five being associated with Bizen, Echizen, Seto, Shigaraki, and Tokoname styles. Collectively the Six Old Kilns are known in Japan by the term rokkouyo. But most potters in the area now use their own family kilns rather than the large community kiln. Shimizu’s work avoids heavy glazes and, unlike in older forms, he relies on a white slip, used sparingly, as a decorative motif on his surfaces. Most of the work presented in Tanba Modernism II was fired in his own gas kiln at higher temperatures than a wood kiln will allow. The decorative slip contrasts with the darker clay used for the body of each piece, but in his new work the contrast is subtle. Shimizu’s vase forms contain angular, segmented sections. Unlike some Tanba pottery in which the ash glazes, when used, are allowed to run and drip, Shimizu’s slip is applied in geometric patterns on the surface, with angles and planes that do not necessarily follow the contours of the pieces, lending complexity to his deceptively simple forms. “I mostly work intuitively,” he said. “When I create a new form, I usually make a miniature model with clay. I would study it from different angles, then shave or add clay to develop it into a balanced form. If the form looks promising, I would make a medium-sized continued on Page 36
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PASATIEMPO I April 5-11, 2013
My father’s generation was the first who viewed themselves as artists rather than craftsmen. Since then, a number ofTanba potters became innovators. — Keiichi Shimizu
Keiichi Shimizu: Ceramic Vase Form No. 2, 2012, 17 x 14 x 12 inches; above, Ceramic Hanging Vase No. 18, 2012, 7 x 4 x 4 inches; opposite page, Ceramic Vase Form No. 3, 2013, 16.5 x 9 x 5 inches
PASATIEMPOMAGAZINE.COM
35
William Clift, Mont St. Michel, 1982. © William Clift. Courtesy of the artist.
what’s happening
Keiichi Shimizu, continued from Page 34
this weekend | family activity day “Get to Know Your Art Museum”
april 7 sunday 1:00– 4:00 pm · Explore the inner workings of an art museum. Staff members will be here to talk about the museum and their work, plus a hands-on family art activity. Free.
coming up | exhibition
opening
Ceramic Vase Form No. 6, 2012, 12 x 6.5 x 8.5 inches
Shiprock and Mont St. Michel: Photographs by William Clift april 19 friday 5:00– 8:00 pm · Over the course of almost four decades, Santa Fe photographer William Clift has photographed two distinctive monoliths that dominate their landscapes: Shiprock in New Mexico and Mont St. Michel in France. Free.
New Mexico MuseuM of Art 107 w. palace ave | on the plaza in santa fe | 505.476.5072 | nmartmuseum.org |
DESERT SON of santa fe
HANDMADE BOOTS, BELTS, BUCKLES, HANDBAGS & JEWELRY
version of about 25 to 30 centimeters. The best test pieces can be further developed into larger works.” At first glance, his pottery retains a sense of precision in design, but Shimizu’s incised lines have slight variations, in keeping with his handfashioned method of working. Shimizu retains the small stones of the natural clay, rather than sifting them out, lending each piece a slightly earthy texture. In some ways, Shimizu’s work follows from the creative methodology and experimentation of his father’s generation. “Before my father’s time, Tanba potters saw themselves as craftsmen producing utility wares. My father’s generation was the first who viewed themselves as artists rather than craftsmen. Since then, a number of Tanba potters became innovators. There have been two distinct lines of development. One line elevates function-based traditional Tanba pottery to a very high level of artistry. Tadashi Nishihata, who also shows at Touching Stone, is a good example. The other line completely breaks free from traditional Tanba wares to explore new forms and ideals. I regard myself in the latter category.” Nishihata’s ceramics bear close resemblance to Tanba pottery from the Edo period, around 1603 to 1867, and he is known for reintroducing an older finishing practice into contemporary wares. An exhibition of Nishihata’s work, along with that of his daughter Haruna, is scheduled for August at Touching Stone. Nishihata and Shimizu have been represented at the gallery for many years. Tanba Modernism II is Shimizu’s fifth show at the space and, collectively, his exhibitions reflect his changing aesthetics. Although he has maintained an interest in exploring geometric, angular forms, his earlier works are modern adaptations of utilitarian objects: incense burners, vases, and mizusashis, containers used to hold fresh water for use in tea ceremonies. Over time, his work has become more purely sculptural. Although many pieces in Tanba Modernism II could be used as containers, such functionality seems a secondary consideration. One wonders how the adaptations explored by Shimizu have been received in an area with a long history of passing down customs, but he appears to have adapted without difficulty. “Tanba is known to be accepting of new ideas,” he said, “perhaps because it is located not far from Kyoto, or because it is popular for foreign potters to work here, including famous British potter Bernard Leach. So my work has been well accepted.” ◀
details ▼ Keiichi Shimizu: Tanba Modernism II
Representi n g He n ry B eg u e li n , Nu me ro 1 0 & Officine C reat ive 725 Canyon Rd. • 505-982-9499 • www.desertsonofsantafe.com 36
PASATIEMPO I April 5-11, 2013
▼ Opening reception 5 p.m. Friday, April 5; through April 27 ▼ Touching Stone, 539 Old Santa Fe Trail, 988-8072
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37
s e s a c t e k s a B Michael Abatemarco I The New Mexican
A picnic for the planet
The Santa Fe Canyon Preserve, near the intersection of Cerro Gordo Road and Upper Canyon Road, was once the location of hydroelectric activity. The remains of old dams along the Santa Fe River can still be seen there. Today the preserve is a protected Nature Conservancy site — and a great place for a picnic. In the exhibit Picnic for Earth, local artists use picnic baskets as canvases for eco-minded art projects. Curated by Ivan Barnett, owner of Patina Gallery, the show is a joint project between the gallery and the Nature Conservancy, which supplied the baskets. Artist Nancy Judd, known for her fashions made from recycled trash, turned her basket into a wispy dress. She also turned to nature as a source of inspiration. “When I thought about creating the piece, it was an obvious connection to me to go to the Santa Fe Canyon Preserve and gather materials. I went up there one winter’s day and clipped branches and gathered seed pods and anything that appealed to me because of color, texture, shape, what have you. Of course, I got permission first.” Judd is one of 17 artists whose work is included in the exhibit. Patina Gallery plans to auction off the pieces on April 19 in advance of Earth Day
38
PASATIEMPO I April 5-11, 2013
(April 22). Proceeds from the auction benefit the Nature Conservancy and the Santa Fe Farmers Market Institute. Judd’s dress includes decoupage flowers over the bustle, which is visible beneath the tulle. The work’s title, Opal, refers to a story Judd remembers from her childhood on the Oregon coast. “When I was about 7, my parents bought some land adjacent to a Nature Conservancy site called Cascade Head Preserve. Almost every weekend and summer, that’s where I played as a kid. It was really the seeds of my environmental education work I’ve gone on to do as a career. I remembered a book I read when I was on the Oregon coast about a young girl named Opal Whiteley. She lived a really harsh life in the logging camp near where my parents had this house. She had this incredible connection with nature and had names for the plants and the trees and saw these spirits. I had become really enamored with her vision when I was young. I decided to have the piece reflect that feeling, her experience of seeing the spirits of nature. That’s how [the basket] came to be that little fairy creature.” Other artists in the show include Yuki Murata, owner and operator of the company Modern Goods, and Joe Bova, president of the American
Association of International Ceramics. Bova’s Una Picnic Cesta para El Dia de los Muertos (A Picnic Basket for the Day of the Dead) is a memento mori, a reminder of human mortality. “My work takes two parallel paths,” Bova said. “One is a little twee, and the other one’s a little dark. The dark part has involved human and animal skeletal representations. I thought: Why not just do something Day of the Dead? It’s thematic. It’s here.” Bova placed two ceramic skulls, crowned as a king and queen, amid a pile of human skeletal remains (also ceramic) on top of his basket. On the handles he placed ceramic birds with a green glaze, a contrast to the white skulls. Inside he put functional objects that you might find in a regular picnic basket. “Because I have pottery skills, I made a set of two bowls and two cups. I also ripped out the [basket’s original] lining, which was a blue-and-white check, and I got some of that colorful Mexican oilcloth with birds and monkeys on it and replaced the lining. So when you open it up, it’s kind of more cheerful on the inside.” The outside of the basket was given a different treatment. “I painted it and sanded it back so it’s kind of continued on Page 40
Yuki Murata: Catch and Release, 2013, mixed media, 23 x 15 x 17 inches; courtesy Victoria Price Gallery Above left, Geoffrey Gorman: “Do you think we ruined their picnic,” Anibis asked Zerba. 2013, mixed media, 18 x 26 x 17 inches; courtesy Jane Sauer Gallery Above right, Devendra Contractor & Kenji Kondo: Autopsy of a Picnic, 2013, medical scan of picnic basket, one of four panels, each 24 x 24 x 1.5 inches Opposite page, Gail and Sialia Rieke: Kakishibu Basket, 2013, mixed media, 19 x 13 x 11 inches
PASATIEMPOMAGAZINE.COM
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antiqued or weathered looking. It conveyed the skeletal idea a little bit more through color and value.” While some artists, such as Judd, completely transformed their baskets, others decorated the surface. Gail Rieke and her daughter Sialia Rieke covered their basket with vintage Japanese papers and stained it with a traditional Japanese persimmon dye called kakishibu. Murata covered her basket with ceramic fish entangled in ropes of fabric. “My piece both restricts and expresses movement and energy,” she wrote in her artist’s statement. “Stones from my yard have swollen felted crimson wool coverings referencing the lush ripeness of seeds, fruit, and motherhood. Bone china fish entangled among lengths of woolen yarn and knots of cotton twine evoke struggle, migration, and instinct.” The piece, which also incorporates porcelain fish and cotton twine, is titled Catch and Release. Murata’s Modern Goods offers a variety of housewares and art pieces with hand-painted designs derived from nature. “In general my work has always referenced nature,” she said. “I wrapped my basket in I don’t know how many yards of yarn. I just kept wrapping it and wrapping it and wrapping it. It’s that idea that it’s all connected. If you pull a string here, it’s affecting something else. We live in a very complex, intertwined universe, and we have to be aware that the choices we make are affecting other parts of the world.” ◀
details ▼ Picnic for Earth
123 W. Water St. Downtown Santa Fe • 505-982-5948 40
PASATIEMPO I April 5-11, 2013
▼ Opening reception 5 p.m. Friday, April 5; auction 4 p.m. Friday, April 19; exhibit through April 29 ▼ Patina Gallery, 131 W. Palace Ave., 986-3432
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41
ART OF SPACE
Paul Weideman
ONE WORLD TRADE CENTER
David Childs, architect — Skidmore, Owings & Merrill 1,368 feet (with antenna to 1,776 feet) Completion estimated late 2013
TWO WORLD TRADE CENTER
Norman Foster, architect 1,359 feet Completion circa 2015
THREE WORLD TRADE CENTER
Richard Rogers, architect — Rogers Stirk Harbour & Partners 1,168 feet Completion circa 2014-2015
FOUR WORLD TRADE CENTER
Fumihiko Maki, architect 978 feet Completion estimated late 2013
FIVE WORLD TRADE CENTER
Kohn Pedersen Fox, architect 743 feet Future construction
SEVEN WORLD TRADE CENTER
David Childs, architect — Skidmore, Owings & Merrill 741 feet Completion May 2006
NATIONAL SEPTEMBER 11 MEMORIAL & MUSEUM
Michael Arad, architect Memorial opened Sept. 11, 2011 Museum under construction
WORLD TRADE CENTER TRANSPORTATION HUB
Santiago Calatrava, architect Construction began in 2007
Skidmore, Owings & Merrill; near right, WTC.com
REBUILDING IN LOWER MANHAT TAN
One World Trade Center
Two World Trade Center
AP Photo/Mark Lennihan
National September 11 Memorial & Museum
42
PASATIEMPO I April 5-11, 2013
RSHP, Team Macarie; courtesy Silverstein Properties; center, Wikimedia; right, Wikipedia
Three World Trade Center
Skyscraper story: 16 Acres explores new building at the World Trade Center site The story of the rebuilding of the devastated World Trade Center site is enormously complicated. The process has involved many people and parties. Some believed that nothing at all should be built there, but it was a certainty that whatever was built would be far from ordinary. All the challenges, controversies, and accomplishments are covered well in 16 Acres, a film that opened last September in Zurich and shows at the Center for Contemporary Arts on Wednesday, April 10. Presented by the Santa Fe chapter of the American Institute of Architects, the film features an assemblage of news snippets, new footage, and interviews with major players, among them developer Larry Silverstein, Gov. George Pataki, Mayor Michael Bloomberg, architects David Childs and Daniel Libeskind, and Rosaleen Tallon, whose brother died at the site on 9/11 and who worked to make sure concerned families’ voices were heard in the planning process. “I started out with this project basically filming and doing a lot of videos as an independent producer working for the Port Authority and Silverstein Properties since 2004,” said producer Mike Marcucci, who made the film with screenwriter/ co-producer Matt Kapp and director Richard Hankin. “The first hire was Matt. We got through the timeline and then we hired Richard. He was a typical New Yorker, who was not aware of a lot of the drama that was going on. People tuned out early on and just stopped listening to everything about the site.” “It’s such a complex story,” Kapp said in a conference call with Marcucci, “and I kind of felt more like a cartographer, mapping out and organizing everything and reading hundreds of articles and books. One of the reasons we brought Richard in is that he’s one of the top guys out there in terms of structuring complicated stories. He was editor and co-producer of Capturing the Friedmans, which was quite an editing job.” The film opens with crystal-clear shots of New York City’s buildings, including the Twin Towers, but there are no jets flying into the skyscrapers. “Most documentaries focus on the tragedy of 9/11, especially the day of the attacks,” Marcucci
Four World Trade Center
Seven World Trade Center
said. “We wanted to do something unusual, really about 9/12, but we had to acknowledge the World Trade Center with those opening shots.” Guiding us through the movie are two commentators: Scott Raab, who has written several pieces about the site development for Esquire, and architecture critic Philip Nobel. “A lot of people turned us down,” Kapp said. “We pursued [architecture critic] Ada Louise Huxtable for quite a while, but I think Raab has a great presence, and he knew so much about the site, and he was able to put it in layman’s terms.” Silverstein, who purchased the Twin Towers six weeks before the 9/11 attacks, wasted little time in planning the rebuilding of what Raab calls “perhaps the most valuable 16 acres on the face of the Earth.” A week after the disaster, Silverstein came out with a redevelopment sketch. Not long afterward, he was suing the insurance company, claiming there had actually been two attacks, not one, to receive a doubled insurance payment. Nobody exercised as much influence over the redevelopment plans as Gov. Pataki, who was running for reelection when some of the key decisions were made and who comes across in the film as a heavy-handed opportunist. “We weren’t out to get anybody,” Marcucci said. “We wanted to do something fair and balanced, but a developer does what a developer does, and a politician does what a politician does.” Libeskind won the competition for the redevelopment master plan. His lofty descriptions of the proposed new skyscrapers, together with his charismatic presence — he resembles a happy, brilliant cartoon character — seemed to take the planning up a few notches. Raab said that architects such as Libeskind have words that “bridge the gap between what can be very funny-looking structures and real things that people actually understand.” He added that Libeskind read the political landscape perfectly, offering “hip architecture that was also flag-waving.” “Yeah, he created an expression of what everybody was looking for in this project, that no one else quite had,” Marcucci said. “He was the right man at the right time.” continued on Page 44
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World Trade Center,
The World Trade Center Transportation Hub (by Santiago Calatrava) with walkable access to 13 New York City subway lines, the New Jersey commuter rail, and the proposed JFK Airport rail line, is under construction.
WTC.com
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SEVEN WORLD TRADE CENTER
ONE WORLD TRADE CENTER
TWO WORLD TRADE CENTER
WORLD TRADE CENTER TRANSPORTATION HUB NATIONAL SEPTEMBER 11 MEMORIAL & MUSEUM
THREE WORLD TRADE CENTER FOUR WORLD TRADE CENTER
FIVE WORLD TRADE CENTER
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PASATIEMPO I April 5-11, 2013
However, his 2002 design for the main new building — One World Trade Center (called Freedom Tower in the early planning) — was ultimately judged to be unbuildable. Roland Betts, a Lower Manhattan Development Corporation board member, reminds viewers that Libeskind was picked for the master plan, not the skyscrapers, which he had never built before. (At the film’s end we learn that since winning the master plan competition, Libeskind has designed more than 40 projects around the world, including several skyscrapers.) A new design was undertaken by David Childs, from the office of Skidmore, Owings & Merrill, in collaboration with Libeskind. In July 2004, a media event with the architects, Silverstein, Pataki, other dignitaries, and a bagpipe band celebrated the planting of a cornerstone for One World Trade Center. Shortly afterward, it was revealed that city police considered the building’s exposed base and its placement to be severe security risks. The cornerstone ceremony became “absolutely pointless,” as Raab puts it, when the tower’s location was shifted by a few feet. The final design was all Childs — except for its height, a symbolic 1,776 feet, preserved from Libeskind’s first plan. The project is ongoing. Seven World Trade Center, designed by Childs, opened in May 2006. The site of the destroyed Twin Towers now holds a memorial plaza and pools, which opened to victims’ families on Sept. 11, 2011, and to everyone else the next day. A National September 11 Museum is planned. One World Trade Center (designed by Childs) and Four World Trade Center (by Fumihiko Maki) should open later this year. The former will be the same height (1,368 feet) as the North Tower, the taller of the two destroyed skyscrapers, but its antenna spire will reach 1,776 feet. Three World Trade Center (by Richard Rogers of Rogers Stirk Harbour & Partners) and the World Trade Center Transportation Hub (by Santiago Calatrava) are likely to open in 2015. Two World Trade Center (by Norman Foster) and Five World Trade Center (by Kohn Pederson Fox) will be built in the future, pending a favorable leasing market. Plans for an arts center designed by Frank Gehry have been disappointed by the realities of financing thus far. Apart from good reviews of 16 Acres in the rest of the country and abroad, Marcucci is happy with the film’s impact on New Yorkers. “When I would tell people I was doing work for the World Trade Center, they didn’t even know there was a Seven World Trade Center building that had opened in 2006. So it was just to show people that something is happening there, that it’s moving forward. That has been the big revelation.” The producers are now working on an ebook companion to the film. “It will have a timeline and a lot of supplemental material, and it will have great educational value,” Kapp said. “We will bring that out with the DVD, probably in the fall.” ◀
“16 Acres,” introduced by Santa Fe architect John Barton, plays at 7 p.m. on Wednesday, April 10, at the Center for Contemporary Arts (1050 Old Pecos Trail). Tickets are $10 at the door. Call 982-1338.
innovative cuisine, memorable occasions
Zaca Mesa Wine Dinner Thursday, April 11, 6pm | $85 per person
505.984.7915 | innatloretto.com
Mikesell, The Proud One, Oil on canvas, 48 x 48
Spring Thaw APRIL 5 - 27
OPENING RECEPTION FRIDAY, 5-7 Bonnie Bishop Colleen Drake Chip Dunahugh Katherine Chang Liu Michele Mikesell
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MOVING IMAGES pasa pics
— compiled by Robert Ker
only. 140 minutes, including intermission. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NO In 1973, with the CIA’s backing, Gen. Augusto Pinochet ousted Salvador Allende, the democratically elected socialist president of Chile. For the next 15 years, Pinochet ruled the country with an iron fist. But when his term expired, the Chilean constitution required a referendum for voters to decide whether Pinochet would return to office. The choice would be a simple yes or no. Pablo Larraín’s movie, Chile’s entry in this year’s foreign language Oscar category, follows the advertising campaigns that helped settle the future course of the country. The film is a lively mix of social satire and political thriller. Rated R. 115 minutes. In Spanish with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 52.
Gone, daddy, gone: Sam Riley and Garrett Hedlund in On the Road, at Center for Contemporary Arts in Santa Fe
opening this week EVIL DEAD The 1981 horror flick Evil Dead is one of the most beloved of cult films. One would think that the cult would resist a 2013 remake, but no. The original movie’s director (Sam Raimi) and star (Bruce Campbell) are among the producers; the new version has a trailer that oozes all of the gore, makeup, and B-movie craziness that made the original so adored; and fans are actually excited. The story centers on a group of young people who visit a cabin in the woods and stumble upon the Necronomicon, a book that summons demons when it is read aloud. Scary jokes and jokey scares follow. Rated R. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) JURASSIC PARK 3D Steven Spielberg’s last truly great family adventure was this 1993 blockbuster about a group of scientists and children who get stuck on an island full of real-life dinosaurs. The young kids who flocked to theaters to see the film and were wowed by those velociraptors are now well into their 20s, (hopefully) flush with disposable income and perhaps feeling nostalgic, so the movie is back in theaters — and the special effects still have the power to wow. This time, it’s in 3-D, so that T-rex stomping 46
PASATIEMPO I April 5-11, 2013
on the heroes’ jeep is even closer than he appeared 20 years ago. Rated PG-13. 126 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 3-D only DreamCatcher, Española; Storyteller, Taos. (Robert Ker) LIKE SOMEONE IN LOVE For his second feature film set outside of his native Iran, Abbas Kiarostami (Certified Copy) went to Japan to make a quiet, conversational movie about love, deception, mistaken identity, and the vague shadow of violence that drifts in the background like a cold mist coiling at the edge of a garden. A young student (Rin Takanashi) working her way through college as a call girl is hired for the evening by an elderly retired professor (Tadashi Okuno). Kiarostami is fascinated by the duality of seeming and being, truth and lies, old and new, East and West. Lives intersect in unpredictable ways, and deceptions and self-deceptions fray at the edges and come undone. And nothing quite prepares you for this quiet film’s startling ending. Not rated. 109 minutes. In Japanese with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 50. NATIONAL THEATRE LIVE IN HD: PEOPLE This staging of Alan Bennett’s comedy about an aging impoverished aristocrat (Frances de la Tour) who ponders what to do with her extensive estate is directed by Nicholas Hytner. Broadcast from the National Theatre in London. 7 p.m. Friday, April 5,
ON THE ROAD Youth will be served, but in Walter Salles’ rendering of On the Road, Jack Kerouac’s seminal novel of a generational revolution at midcentury, it’s served a little underdone. The elements are all there, but the connections seldom catch fire. Sal Paradise, Kerouac’s alter-ego, is played by Sam Riley as a bit of a dispassionate observer diligently taking notes. Garrett Hedlund as Dean Moriarty (a stand-in for the real-life Neal Cassady) has the handsome, sexually omnivorous charm but not the maniacal danger of the wild and crazy guy who took the Beat Generation on the road. The movie has great music, a lot of beautiful photography, a nicely realized vision of postwar America, some good cameos (as well as some strange casting), and a misfired ending. It’s a movie that should have been made 60 years ago, when its sex, drugs, and wanderlust story had the power to shock and inspire. Rated R. 125 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) REEL NEW MEXICO The regular series showcasing independent films with a New Mexico connection presents a screening of Globalized Soul from Cynthia Lukas and Kell Stearnes (Rumi Returning). 7 p.m. Thursday, April 11, only. Not rated. La Tienda Performance Space, 7 Caliente Road off Avenida Vista Grande, Eldorado. (Not reviewed) 16 ACRES One gleaming high-style skyscraper has been completed and four more are under construction at the site of the World Trade Center buildings destroyed on Sept. 11, 2001. But the path navigated by the landowners, developer Larry Silverstein, and architects Daniel Libeskind, David Childs, and Michael Arad — with input and direction from a governor, a mayor, many state and federal agencies, and citizens — was tremendously complicated. The producers and director of 16 Acres do an admirable job of summing it all
up and offering a status report on the site. Santa Fe architect John Barton introduces the screening. 7 p.m. Wednesday, April 10, only. Not rated. 95 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) See Art of Space, Page 42.
now in theaters ADMISSION This is not strictly a rom-com, though it’s romantic and intermittently funny. The plot, obscured in televised promos, is about a woman (Tina Fey) in mid-life coming to terms with the ways in which her childhood affected the choices she made later. Unfortunately, Admission’s tone is unfocused, and Fey isn’t quite able to pull the audience along emotionally. Scenes with her mother, however, played effectively by Lily Tomlin, rise above the eye-rolls that elsewhere suffice to give Fey’s character psychological depth. If you’re looking for insightful commentary on college admissions practices, you won’t find it here. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe. ( Jennifer Levin) CAESAR MUST DIE Inside the walls of the high-security wing of Rome’s Rebibbia prison, a production of Shakespeare’s Julius Caesar is being rehearsed and performed under the direction of Fabio Cavalli, who started the prison theater program. The actors are murderers, drug traffickers, Mafiosi, and Camorristi. Between (and sometimes during) rehearsals they are locked up in cells. The acting is terrific, the visuals are stunning (color for the stage presentation, black and white for the rehearsal process), and the production gets its authority from the back stories of the players as well as the language of the play. Not rated. 95 minutes. In Italian with subtitles. The Screen, Santa Fe. ( Jonathan Richards) THE CALL Halle Berry plays a 911 operator who hears a woman being attacked at the other end of the phone line. When it happens again, everyone suspects a killer of the serial variety. When it happens a third time, the operator becomes determined to do whatever it takes not to let the young abductee (Abigail Breslin, whose roles have clearly grown much darker since Little Miss Sunshine) die. Rated R. 95 minutes. Regal Stadium 14, Santa Fe; Storyteller, Taos. (Not reviewed) THE CROODS Here’s a family film about members of a Neanderthal clan (voiced by Nicolas Cage, Ryan Reynolds, Emma Stone, and others) that just
needs to get out of the cave. The land they live in is crumbling, which basically makes this Ice Age with people. Rated PG. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Not reviewed) EMPEROR Tommy Lee Jones plays Gen. Douglas MacArthur just as the man finds himself in charge of the American occupation of Japan. He assigns Gen. Bonner Fellers (Matthew Fox), an expert in Japanese culture, to figure out what to do with Emperor Hirohito (Takatarô Kataoka) — hang him as a war criminal or save him? In English and Japanese with subtitles. Rated PG-13. 106 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE GATEKEEPERS The questions that haunt this documentary are desperately basic ones: Do the things we do in the name of protecting our security work? Do they work on a moral level? Do they work on a practical level? Do they make things better? Or do they make things worse? Israeli cinematographerturned-director Dror Moreh makes a powerful case that the answer to the first three questions is mostly no. He interviews six former heads of Shin Bet, the Israeli antiterrorism security agency. Each expresses the conviction that the process of brutalizing a hostile occupied enemy is both immoral and counterproductive. The film, which was nominated for an Oscar, has not found favor with official Israel. Rated PG-13. 97 minutes. In Hebrew with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) G.I. JOE: RETALIATION In this follow-up to 2009’s G.I. Joe: The Rise of the Cobra, a starstudded cast revels so completely in its oiled-up bravado, unrealistic gunplay, and pyrotechnic excess that it’s easy to feel sorry for the film’s characters. The plot places Dwayne “The Rock” Johnson, Bruce Willis, Channing Tatum, RZA, and others in what has to be the stupidest world-domination narrative ever committed to a spring-release action film. A complete lack of dramatic development, an attentiondeficit-disorder editing approach, and a bloodless body count that is outgunned by Johnson’s herculean biceps make the $135 million Retaliation a soldier you’ll be glad to leave behind. You also have the option of being disappointed in 3-D. Rated PG. 110 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Rob DeWalt) GINGER & ROSA This coming-of-age story set in 1960s London focuses on the interplay between personal relationships and global affairs. Seventeen-year-old Ginger (Elle Fanning) and Rosa (Alice Englert) have been
Jurassic Park 3D
inseparable since birth, and they experience the ups and downs of adolescence together. The only child of bohemian Roland (Alessandro Nivola) and dejected housewife Natalie (Christina Hendricks), Ginger is concerned about the possibility of nuclear war. Fanning’s performance is far and away the best part of the film. Her exploration of Ginger’s world falling apart — but not ending — homes in on the core of being a teenage girl. Rated R. 90 minutes. Center for Contemporary Arts, Santa Fe. (Adele Oliveira) THE HOST This semi-sci-fi film is based on the only nonvampirish novel from Stephenie Meyer of Twilight fame. It takes place on a peaceful future Earth, now ruled by body-snatching aliens called Souls. Melanie Stryder (Saoirse Ronan), a rebel human, is captured and implanted with a Soul named Wanderer, but she fights back and convinces Wanderer to help her find her brother (Chandler Canterbury), her uncle (William Hurt), and the scruffy young man she loves (Max Irons). Writerdirector Andrew Niccol (Gattaca) strips away almost everything suspenseful about the book and delivers instead a slogging drama with an emo soundtrack and a special-effects budget of about $10. Ronan’s talents are wasted trying to look natural while Melanie goofily carries on conversations with Wanderer in voice-over, and the film isn’t even engaging enough to be campily funny. Rated PG-13. 119 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) continued on Page 48
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JACK THE GIANT SLAYER Director Bryan Singer, a team of effects wizards, a crack art-direction crew, and an impressive array of actors — including Stanley Tucci, Ian McShane, and Ewan McGregor — try in vain to make audiences forget they’re watching a movie based on “Jack and the Beanstalk.” The film starts promisingly, but as it lurches to the gigantic climactic battle, the script comes apart. Nicholas Hoult as Jack also broods too much in a role that requires carefree swashbuckling, proving that all work and no play make Jack a dull movie. Rated PG-13. 115 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) LORE Based on material found in Rachel Seiffert’s novel The Dark Room, Lore tells the story of a Bavarian teenage girl of the same name who must protect her siblings from Allied troops in Germany after the fall of the Third Reich. When Lore’s Nazi-sympathizing parents are taken into Allied custody for interrogation, Lore and her siblings begin a harrowing trek across Germany to join their grandmother in Hamburg. Screenwriters Cate Shortland (who also directed the film) and Robin Mukherjee approach the material with grace and panache by turning the Nazi-cinema hunter/hunted formula on its head. Saskia Rosendahl delivers a hypnotizing performance as Lore. Not rated. 108 minutes. In German with subtitles. The Screen, Santa Fe. (Rob DeWalt) OLYMPUS HAS FALLEN Director Antoine Fuqua (Training Day) delivers an explosionsand-patriotism movie in the mold of the Die Hard franchise. Scottish actor Gerard Butler plays Mike Banning, the Secret Service agent who alone can save civilization when the White House (code name: Olympus) and the president of the United States (code name: Aaron Eckhart) fall into the hands of North Korean terrorists. Most of the other big names in the cast — including Morgan Freeman, Angela Bassett, and Robert Forster — can only watch helplessly and make wrong decisions from the situation room as Banning works heroically to save the world. Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards)
spicy bland
medium
mild
heartburn
Send comments on movie reviews to pasamovies@sfnewmexican.com.
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OZ THE GREAT AND POWERFUL This flimsy prequel to the 1939 classic opens in black-and-white Kansas, where a seedy magician named Oscar (James Franco, woefully miscast) breaks women’s hearts between shows. After his hot-air balloon gets caught in a twister, he lands in Oz and meets three witches (Mila Kunis, Rachel Weisz, and Michelle Williams). Local prophecy predicts that a wizard will save the kingdom and become its new ruler. It might be Oscar, but he’s “weak, selfish, slightly egotistical, and a fibber,” so it’s hard to care what happens to him. To distract us from the lack of depth, director Sam Raimi sets everything amid eye-popping CGI landscapes. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; Storyteller, Taos. Screens in 2-D only at DreamCatcher, Española. (Laurel Gladden) QUARTET At 75, Dustin Hoffman makes his debut as a director with appealing geriatric material. Beecham House is a retirement home for musicians, among them brooding Reg (Tom Courtenay); sweet, daffy Cissy (Pauline Collins); and lecherous, fun-loving Wilf (Billy Connolly). The arrival of diva Jean (Maggie Smith) completes a foursome who once starred together in a noted production of Verdi’s Rigoletto and sets the stage for an encore performance. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SIDE EFFECTS Steven Soderbergh claims to be taking a sabbatical from making movies. He’s leaving us with a nifty psychological thriller starring Jude Law as an earnest shrink who prescribes a new drug to a depressed patient (Rooney Mara) and gets caught up in a maelstrom when a murder occurs. Catherine Zeta-Jones is smooth as a professional colleague, and beefy Channing Tatum is agreeable as the husband of Mara’s character. The movie revels in its twists and turns, and most of them work. Rated R. 105 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SILVER LININGS PLAYBOOK After being released from a mental institution, Pat Solatano (Bradley Cooper) moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany (Best Actress Oscar winner Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him patch things up with his wife — but only if he will agree to be her partner in a dance competition. The finely honed dialogue, attention to detail, and impressive performances make the movie a nearperfect oddball comedy.Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden)
SPRING BREAKERS Writer-director Harmony Korine has created a surreal blend of Girls Gone Wild and Natural Born Killers that’s almost more performance art than film. College besties Faith (Selena Gomez), Candy (Vanessa Hudgens), Brit (Ashley Benson), and Cotty (Rachel Korine) finance their spring break trip by robbing a diner. After a realistically blurry montage of scantily clad days spent swimming, sunning, dancing, and binge drinking, the girls are arrested on a possession charge. To the rescue comes “Alien” ( James Franco), a cornrow- and gold-grill-sporting gangsta. The film is unfocused, titillating, violent, and thought provoking, and it really doesn’t have much of a plot, but Benoît Debie’s gorgeous Day-Glo cinematography is perfect for this lurid dreamlike world. Rated R. 94 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Laurel Gladden) TYLER PERRY’S TEMPTATION: CONFESSIONS OF A MARRIAGE COUNSELOR It’s “physician, heal thyself” in this story of a marriage counselor ( Jurnee Smollett-Bell) who is wooed away from her well-meaning but inattentive husband (Eric West) by a wealthy, fiery, smooth-talking man (Robbie Jones). Girl, that guy is bad news. Rated PG-13. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) UPSIDE DOWN This parable takes the current economic disparity to wild heights with a story about the haves, who live below, and the have-nots, who experience a different gravitational pull, living just above everyone else. It’s a Philip K. Dick-ensian setting for a Romeo and Juliet-style love story centering on a poor boy ( Jim Sturgess) who wants to break his world’s natural laws and the structures of class to get with his wealthy childhood sweetheart (Kirsten Dunst). Rated PG-13. 108 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
other screenings Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday to Tuesday, April 7 to 9: Django Unchained. Tipton Hall, Santa Fe University of Art and Design 1600 St. Michael’s Drive, 473-6341 6 p.m. Thursday, April 11: Homeland. Q & A session with filmmaker Hank Rogerson follows. ◀
“AN
Colin Covert
UNFORGETTABLE RIDE.
‘ON THE ROAD’ HAS REACHED THE SCREEN IN WONDERFUL FORM.”
What’s shoWing
“ACHINGLY
Kenneth Turan
ROMANTIC.’’
Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 982-1338, ccasantafe.org 16 Acres (NR) Wed. 7 p.m. The Gatekeepers (PG-13) Fri. to Sun. 12:30 p.m. Ginger & Rosa (PG-13) Fri. to Sun. 1:15 p.m. No (R) Fri. to Sun. 2:30 p.m., 5 p.m., 7:30 p.m. Mon. and Tue. 2:15 p.m., 4:45 p.m., 7:15 p.m. Wed. 2 p.m., 4:30 p.m. Thurs. 2:15 p.m., 4:45 p.m., 7:15 p.m. On the Road (R) Fri. to Sun. 3:15 p.m., 5:30 p.m., 8 p.m. Mon. to Thurs. 12:30 p.m., 3 p.m., 5:30 p.m., 8 p.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775, fandango.com Emperor (PG-13) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. Quartet (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. Side Effects (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m. Silver Linings Playbook (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:30 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. Spring Breakers (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. Upside Down (PG-13) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. regAl StAdium 14
3474 Zafarano Drive, 424-6296, fandango.com Admission (PG-13) Fri. to Thurs. 1:50 p.m., 4:45 p.m., 7:25 p.m., 10:10 p.m. The Call (R) Fri. to Thurs. 1:40 p.m., 4:55 p.m., 7:55 p.m., 10:25 p.m. The Croods 3D (PG) Fri. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. The Croods (PG) Fri. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m. Evil Dead (R) Fri. to Thurs. 2 p.m., 4:10 p.m., 4:30 p.m., 7:05 p.m., 8 p.m., 9:55 p.m., 10:25 p.m. G.I. Joe: Retaliation 3D (PG-13) Fri. to Thurs. 1:10 p.m., 4:15 p.m., 7:10 p.m., 9:50 p.m. G.I. Joe: Retaliation (PG-13) Fri. to Sun. 1:40 p.m., 4:35 p.m., 7:40 p.m., 10:30 p.m. Mon. to Thurs. 1:40 p.m., 4:35 p.m., 7:40 p.m., 10:30 p.m. The Host (PG-13) Fri. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10:15 p.m. Jack the Giant Slayer (PG-13) Fri. to Thurs. 1:25 p.m. Jurassic Park 3D (PG-13) Fri. to Thurs. 1 p.m., 7 p.m., 10 p.m. Jurassic Park (PG-13) Fri. to Thurs. 4 p.m. Olympus Has Fallen (R) Fri. to Thurs. 1:20 p.m., 4:25 p.m., 7:45 p.m., 10:35 p.m. Oz The Great and Powerful 3D (PG) Fri. to Thurs. 1:05 p.m., 4:05 p.m., 7:05 p.m., 10:10 p.m. Oz The Great and Powerful (PG) Fri. to Thurs. 1:35 p.m., 4:35 p.m., 7:35 p.m., 10:40 p.m. Tyler Perry’s Temptation (PG-13) Fri. to Thurs. 1:35 p.m., 4:05 p.m., 7:20 p.m., 10:25 p.m. the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com Caesar Must Die (NR) Fri. 1:20 p.m. Sat. and Sun. 11 a.m. Like Someone in Love (NR) Fri. to Thurs. 3 p.m., 7:30 p.m. Lore (NR) Fri. 5:15 p.m. Sat. and Sun. 12:45 p.m., 5:15 p.m. Mon. to Thurs. 5:15 p.m.
mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087 The Croods (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. 4:30 p.m., 7 p.m. Evil Dead (R) Fri. 4:55 p.m., 7:35 p.m., 9:45 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:35 p.m., 9:45 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. G.I. Joe: Retaliation 3D (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. G.I. Joe: Retaliation (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. The Host (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Jurassic Park 3D (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Olympus Has Fallen (R) Fri. 4:45 p.m., 7:15 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. Oz The Great and Powerful (PG) Fri. 4:40 p.m., 7:25 p.m. Sat. and Sun. 1:55 p.m., 4:40 p.m., 7:25 p.m. Mon. to Thurs. 6:55 p.m. Spring Breakers (R) Fri. 5 p.m., 7:10 p.m., 9:35 p.m. Sat. 2:30 p.m., 5 p.m., 7:10 p.m., 9:35 p.m. Sun. 2:30 p.m., 5 p.m., 7:10 p.m. Mon. to Thurs. 5 p.m., 7:10 p.m. Tyler Perry’s Temptation (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:25 p.m. Sat. 1:50 p.m., 4:25 p.m., 6:55 p.m., 9:25 p.m. Sun. 1:50 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. mitChell Storyteller CinemA (tAoS)
110 Old Talpa Canon Road, 575-751-4245 The Call (R) Fri. 4:55 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:55 p.m., 7:05 p.m. Mon. to Thurs. 4:55 p.m., 7:05 p.m. The Croods (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Evil Dead (R) Fri. 4:55 p.m., 7:35 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:35 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. G.I. Joe: Retaliation 3D (PG-13) Fri. and Sat. 7:30 p.m., 9:50 p.m. Sun. to Thurs. 7:30 p.m. G.I. Joe: Retaliation (PG-13) Fri. and Sat. 4:50 p.m. Sun. to Thurs. 7:30 p.m. The Host (PG-13) Fri. 4:35 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs. 4:35 p.m., 7:10 p.m. Jurassic Park 3D (PG-13) Fri. 4:45 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Oz The Great and Powerful 3D (PG) Fri. to Sun. 7:25 p.m. Mon. to Thurs. 6:55 p.m. Oz The Great and Powerful (PG) Fri. to Sun. 4:40 p.m.
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49
moving images film reviews
Secrets and lies Jonathan Richards I For The New Mexican Like Someone in Love, drama, not rated, In Japanese with subtitles, The Screen, 3 chiles For his second feature film set outside his native Iran, Abbas Kiarostami (Certified Copy) has gone to Japan to make a quiet, conversational movie about love, deception, mistaken identity, seeming and being, and the vague ominous shadow of violence that drifts in the background like a cold mist coiling at the edge of a garden. The picture opens with an elaborate lie being told by a young woman in a bar. She’s talking to her boyfriend, but we don’t see her. The camera stays on her friend, an effervescent young woman with bright red hair who is sitting at a nearby table. The camera will do something along these lines repeatedly throughout, using reflection and misdirection to shade levels of meaning and truth. It’s several minutes before Kiarostami shows us the person behind the voice; she is on a cellphone trying to persuade her jealous lover that she is somewhere other than where she is. This duality and duplicity, overt and implied, is a constant theme of the film. We quickly learn that the young woman is Akiko (Rin Takanashi), who is working her way through college as a call girl. Her pimp, a patient, respectable-looking fellow named Hiroshi (Denden), has booked her for the evening with a client. However, Akiko’s grandmother has come to Tokyo to see her and has left a series of messages on her cellphone. Akiko is juggling her two
Rin Takanashi
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PASATIEMPO i April 5-11, 2013
Tokyo story: Tadashi Okuno, Rin Takanashi, and Ryo Kase
identities, the good granddaughter and the hooker, and doesn’t want to go on the job. Hiroshi insists. “This is a man I respect.” He puts her in a cab, gives the driver money and the address, and sends her off. On the way, she replays her grandmother’s messages. We are left to wonder why she is at work that evening when she is expecting her grandmother and how Grandma got the number of the cellphone Akiko keeps for clients. The taxi passes the railroad station where the grandmother is waiting beneath a statue, and Akiko morosely asks the driver to circle several times, before heading off to her assignation outside of the city. The client turns out to be an elderly gentleman named Takashi (Tadashi Okuno, a veteran Japanese stage actor with few film credits). Takashi is a retired professor of sociology who lives alone in a comfortable, book-lined apartment above a bar in the Tokyo suburbs. He looks to be in his 80s, a shuffling, grandfatherly figure with a full mustache who augments his pension with translation work. Akiko arrives at Takashi’s apartment, they meet, and they chat pleasantly. She admires a print he has of Training a Parrot, a turn-of-the-20th-century painting by Chiyoji Yazaki, which Takashi describes as the first painting to combine a Japanese subject and Western style. It shows a girl and a parrot facing each other in profile, and it might be that the girl is teaching the parrot, or it might be the opposite. Akiko knows the painting. Her uncle gave her a print when she was young and told her it was a picture he had painted of her — a white lie, a loving family joke that contrasts with the darker deceptions that play throughout this story. Akiko sees her resemblance to the girl in the painting and even puts her hair up to demonstrate it to Takashi. “I’m always being told I look like someone,” she tells him, and she proceeds
to pick up old framed photos of his family and comment on her resemblance to them. Likeness is just another form of duplicity. There’s really no sexual tension between Takashi and Akiko. He seems to be interested only in having a nice candlelit dinner and the warmth of youthful female companionship; and when she steers things in a different direction, he tries with dogged patience to get them back on track. The next morning, when he drives her to the university (where he used to teach), their relationship seems to have settled into a familial one. That, at least, is the impression her volatile fiancé Noriaki (Ryo Kase) gets when he encounters them outside the school buildings. When Noriaki mistakes him for Akiko’s grandfather, Takashi does little to disabuse him of the idea. The young man, a college dropout who owns an autorepair garage, pours out his heart to the older man and expresses his desire to honor the traditions of meeting the family and marrying the girl. His reasons are particular: if they’re married, she will have to answer his questions and won’t be able to lie to him. It’s a premise the old man finds naive. Lives intersect in unpredictable ways, and deceptions and self-deceptions fray at the edges and come undone. Noriaki’s jealousy is like a tinderbox, ready to burst into violent flame. And nothing quite prepares you for this quiet film’s startling ending. There are echoes of Ozu and strains of Rohmer in this intriguing shuffling of appearance and reality. At a couple of points during the movie, Kiarostami uses a recording of Ella Fitzgerald singing the lushly haunting Jimmy Van Heusen/Johnny Burke torch ballad that lends the film its title. As it throbs softly in the background of Takashi’s apartment, it’s another dualistic reflection of Japanese setting and Western style. ◀
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Sony Pictures Classics and Participant Media present in association with Funny Balloons and Fabula “NO” Gael García Bernal Alfredo Castro Luis Gnecco Antonia Zegers Marcial Tagle Néstor Cantillana Jaime Vadell Pascal Montero Editor Andrea Chignoli Production Designer Estefanía Larraín Line Producer Eduardo Castro Director of Photography Sergio Armstrong Executive Producers Jeff Skoll Jonathan King Screenplay By Pedro Peirano Screenplay Consultant Eliseo Altunaga Based on the Play “Referendum” by Antonio Skármeta Produced By Juan de Dios Larraín Daniel Dreifuss Directed By Pablo Larraín
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16 ACRES introduced by John Barton 7:00p Weds, April 10 $10 / $8 for CCA and AIA Members
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This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; the city of Santa Fe Arts Commission and the 1% Lodgers Tax; and The McCune Charitable Foundation. D-Generation: An Exaltation of Larks is funded in part by the NEFA National Theater Project with lead funding from the Andrew W. Mellon Foundation and the NEA.
12:30p - Gatekeepers 1:15p - Ginger and Rosa* 2:30p - No 3:15p - On the Road* 5:00p - No 5:45p - On the Road* 7:30p - No 8:15p - On the Road*
Mon-Tues April 8-9
Wed April 10
12:30p - On the Road* 2:15p - No 3:00p - On the Road* 4:45p - No 5:30p - On the Road* 7:15p - No 8:00p - On the Road*
12:30p - On the Road* 2:00p - No 3:00p - On the Road* 4:30p - No 5:30p - On the Road* 7:00p - AIA presents: 16 Acres 8:00p - On the Road*
Thurs April 11 12:30p - On the Road* 2:15p - No 3:00p - On the Road* 4:45p - No 5:30p - On the Road* 7:15p - No 8:00p - On the Road* * indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members
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51
moving images film reviews
Going negative Jonathan Richards I For The New Mexican No, drama, rated R, in Spanish with subtitles, Center for Contemporary Arts, 3 chiles As a rule, dictators don’t hold plebiscites on their tenure in office unless they’re pretty darn sure they’re going to win. In 1973, with the help of Henry Kissinger and the CIA, Gen. Augusto Pinochet ousted Salvador Allende, the democratically elected Socialist president of Chile. For the next 15 years, Pinochet ruled the country with an iron fist. But in 1988, when his term of office (limited by the Chilean constitution) expired, the nation held a referendum to see if voters would give Pinochet another go. The choice would be a simple yes or no. It wasn’t exactly an election with opposing candidates. That would come only if the voters chose no. In No, Chilean filmmaker Pablo Larraín, who has directed two previous films on the Pinochet era (Tony Manero and Post-Mortem), takes up the story as the campaign gets under way. He superimposes a brief summary of the background — much as Ben Affleck did with Argo, another story set up by a CIA overthrow of a democratic government (the agency’s experiment in Iran 20 years before the events of No). Because it could, the Pinochet government stacked the deck. An affirmative vote on the referendum would return the old general to office for eight more years. The opposition had the negative-sounding “no” to work with. Each side was allotted 15 minutes a day for television advertising. But Pinochet
52
PASATIEMPO i April 5-11, 2013
No means no: Gael García Bernal
got prime time. The opposition was awarded the graveyard shift, the 15 minutes from midnight to a quarter past. Larraín’s movie, a subversively satirical period piece for which the director used 1980 Sony video cameras to duplicate the streaky look of TV of the era, starts with René Saavedra (Gael García Bernal), an advertising whiz kid, making a pitch to a new account, a soft drink called Free. “Happiness is coming!” is the tag line. To inject some advertising savvy into its television spots, the opposition approaches René to oversee its political campaign. René’s father was an anti-Pinochet activist, and his ex-wife is a committed radical. But even though he has no use for Pinochet, René is basically apolitical. Reluctantly, he takes the account. The left has a grim task ahead of it, and its brain trust takes a grim approach to the campaign. Its strategy is to saturate the screen with the repressive negatives of the right-wing Pinochet regime: the tanks, the murders, the desaparecidos, the political prisoners. It’s a bitter, angry reaction to an intolerable situation. It reflects the conviction that the election is rigged, the battle is lost, and there’s nothing to do but stir the pot. René screens this material and says, “This is what you’ve got?” He looks around the room of earnest, defensive faces. “Does anybody here expect to win?” he asks. There is silence. Finally a woman admits the obvious. René takes an entirely different approach: sell the “no” campaign as if it were a soda pop or a breakfast cereal. Use humor; use catchy jingles; use exuberance; use picnics, cartoons, rainbows, mimes, and clowns. Imagine every dumb but effective advertising cliché you’ve ever seen, and it would not be out of place here: “Hey Marge, where are you going?” “I’m going out to vote no!” No around the collar beats yes around the collar every time! The
No Generation. No is for the young, the hip, the hopeful. No is the future. Tomorrow belongs to no. René has a good life under the Pinochet regime — a nice job, a nice house, and a nice car. He has a model-train set in his living room. In a way, he’s never quite grown up. He scoots around the city on his skateboard, in jeans, with his shirt untucked. He doesn’t have the kind of stakes in the issues that the others do. His ex-wife, Verónica (Antonia Zegers), does. She’s on the front lines. She gets beaten by the cops. She has even sacrificed custody of their son to René. There are still feelings between them, but he can’t commit to the struggle for freedom, and she can’t take him seriously. Complicating matters is the fact that René’s boss, Lucho Guzmán (Alfredo Castro), is hired to consult on the “yes” campaign, and he’s every bit the advertising huckster René is. As the race heats up, yes begins co-opting no’s consumer-savvy approach. “Yes” is not above strong-arm tactics either. There are thugs, break-ins, threats, and thefts. René hears something one night and comes downstairs to find his model train running around its track and a note: “Nice train.” The stakes and the tensions rise as the polling gap narrows and the campaign moves into its endgame. The film has traces of the great CostaGavras political thriller Z, mixed with elements of Mad Men. No was also Chile’s entry in the foreign language Oscar category. Larraín uses some of the real advertising material that aired during the 1988 campaign. He also uses some of the original news media players, showing them as they are now and then cutting to archival footage of them on the air 25 years ago, which can be a little confusing. Bernal plays René with a gentle soulfulness, but he keeps the character a cipher, no deeper than an advertising slogan. It’s Coke versus Pepsi, with the fate and freedom of a nation to the winner. ◀
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RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Upstairs, downstairs
Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Main dining room: lunch 11:30 a.m.3 p.m., late lunch 3-5 p.m., dinner 5-9 p.m. Mondays-Saturdays, lunch & dinner 3 p.m.-close Sundays Alto: dinner 5-8:45 p.m. daily Takeout available Full bar Vegetarian options Noise level: moderate to cheerily boisterous Credit cards, checks
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The Short Order At the spot where Montezuma Avenue curves in front of Sanbusco Market Center is Pranzo Italian Grill, the casual restaurant that for many Santa Feans is a go-to spot for satisfying, unfussy meals in a comfortable setting. Upstairs is the newer Alto, an offshoot with a menu of small plates ranging from snacky to steaky. Pranzo continues to serve “comfort food for your famiglia,” but at Alto, things need a little work. Recommended: at Pranzo, capellini al pomodoro, duck pappardelle, and tiramisu; at Alto, arugula salad and prosciutto-wrapped scallops.
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
54
PASATIEMPO I April 5-11, 2013
For many Santa Feans, Pranzo Italian Grill — the casual restaurant that occupies the spot where Montezuma Avenue curves in front of Sanbusco Market Center — is a go-to spot for satisfying, unfussy meals in a comfortable setting. It’s not fine dining, but it is perfectly fine “comfort food for your famiglia,” as the menu calls it. Service is quick and attentive, if sometimes a little too nononsense. It’s definitely a team effort. Someone will bring you a basket of bread (and unless you have more willpower than I do, he or she will happily come back to refill it). Different individuals may take your order, bring your food, and clear plates. An overly diligent person may try to refill your water glass after every three sips. The wine list is a tome. You can order by the bottle or the glass — 6.3 ounces (“normale”) or the supersized 9 ounces (“gigante”). On “Vino Sunday,” all bottles are half price, and from 5 to 6 p.m. daily, Pranzo offers a 50 percent discount on all well drinks, beers, and wines by the glass. The house and Caesar salads, available a la carte or alongside a meal, are both perfectly serviceable, though the Caesar stood out for its slivers of robust, fresh-tasting Parmesan. Our rather generic antipasto platter included thick prosciutto, salami, pepperoni, roasted red peppers that tasted as though they came from a jar, mixed olives, juicy peperoncini, some viscous pesto, and cheeses on a creamy-to-chalky spectrum. Pasta was the star. Pranzo’s capellini al pomodoro was somehow comfortably familiar and tastily out of the ordinary. The sauce-to-pasta ratio was ideal. The sauce had a lovely acid-sweet-garlic-herb balance, and it clung nicely to the pasta. The duck pappardelle was a generous plate of wide silken noodles coated in a demiglace-like sauce and hunks of tender, dark, mildly gamey meat. The dish is worth its hefty (for pasta, anyway) price tag. On the building’s upper level is Alto (the menu sort of translates the name for you: “up as in up the stairs”). It’s not actually a different restaurant. You can order from Pranzo’s wine list or a selection of “antipodal” wines — 10 or so choices from the Southern Hemisphere. For your meal, you choose from an assortment of small plates, which range in substance from snacky to steaky. One upper-level room often doubles as a cabaret, with music primarily by pianist and showman David Geist. Someone in the kitchen needs a dictionary. The “sautéed” calamari may have been tossed in a skillet at some point, but it arrived in a deep bowl, swimming in tomato broth-sauce. It was a lot like cioppino, and while the rings and tentacles were tender and the broth zesty, we were perplexed and a little disappointed. Similar confusion arose with the endive Caesar salad. The canoelike shape of those leaves seemed like an ideal vehicle for Caesar’s lemony-garlicky dressing and the guanciale lardons (diced “bacon” made from pigs’ jowls) the menu promised. What arrived was a Jenga-like tower of endive, thick shavings of Parmesan, and boulder-like croutons. Hidden by the cheese were whole ribbony strips of American bacon. A few bites in, an inexplicable, unexpected whole boiled egg yolk rolled out of the cradle of one leaf. Our server insisted it was there on pur-
pose and was part of the presentation, but I wasn’t convinced. As tempting as they sound, skip the portobello fries. Heavily battering and deep-frying pieces of absorbent mushroom results in an oily dish that tastes mostly like the fat it has been fried in. Those umber nuggets definitely do not benefit from the puddle of spicy aioli on the side. The meal improved dramatically with the chicken-liver bruschette — crusty toasts topped with salty, meaty spread and deep-purple balsamic onions (the perfect acid-sweet counterpoint). The sprightly arugula salad is an impressively balanced plate, with its peppery greens; crunchy, bitter fennel; salty-nutty Parmesan; crisp, tart green apple; light, citrusy lemon vinaigrette; and a dusting of mustard seed. The prosciutto-wrapped scallops were fresh, plump, and moist. The risotto, while tasty and full of the fresh oniony pungency of leeks, didn’t have that dish’s adorable starchy stickiness; the grains were easily separable and tossed with a fork. The crème brûlée was a decent sweet way to wrap up a meal, though the crispy sugar was overly brûléed and too thick. A strawberry-slice garnish provided a lovely shot of color, but the crust beneath it was soggy. The oversized tiramisu — creamy, rich, and slightly boozy — was a far more satisfying finish. Things are holding steady at Pranzo, and plenty of Santa Feans are happy about that. At newcomer Alto, the food needs a little work. As people say, though, there’s nowhere to go but up. ◀
Check, please
Happy hour dinner for two in Pranzo Italian Grill’s main dining room: Mixed antipasto plate ............................................ $ 10.95 Half order, capellini al pomodoro .......................... $ 11.95 Duck pappardelle .................................................. $ 21.95 Small house salad with dinner ............................... $ 4.00 Caesar salad with dinner ....................................... $ 4.00 Small glass, Straccali Chianti ................................. $ 4.00 Small glass, San Polo Rubio ................................... $ 7.50 Espresso ................................................................. $ 3.50 Tiramisu ................................................................ $ 7.45 TOTAL ................................................................... $ 75.30 (before tax and tip) Dinner for two upstairs at Alto: Arugula salad ......................................................... $ Calamari ................................................................ $ Endive Caesar ........................................................ $ Portobello fries ...................................................... $ Bruschette .............................................................. $ Scallops with leek risotto ....................................... $ Glass, Laroche Pinotage ......................................... $ Glass, Dona Paula Malbec ..................................... $ Crème brûlée ......................................................... $ TOTAL ................................................................... $ (before tax and tip)
6.00 7.00 9.00 5.00 6.00 11.00 9.00 7.00 7.95 67.95
Santa Fe Community Orchestra Oliver Prezant, Music Director 2012-2013 Concert Season
Spring Concert
Featuring winners of the SFCO’s Concerto Competition
Mozart: Violin Concerto No. 3 in G, K. 216 Doug Bellrichard, soloist
Honegger: Concerto da Camera
Marylinda Gutierrez, flute & Gerry Fried, English horn
Beethoven: Symphony No. 7 in A, Op. 92 Sunday
April 14th
2:30 pm
St. Francis Auditorium, 107 W. Palace Ave. Free admission Donations appreciated AFTER the concert: Make the date extra special AND support the SFCO!!!
Dine at
San Francisco Street Bar & Grill Present your concert program and the restaurant will donate 15% of your food cost to the SFCO. RESERVATIONS ADVISED: 982-2044 50 E. San Francisco Street, Santa Fe SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts; the Santa Fe Arts Commission, and the 1% Lodger’s Tax.
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Kick UP
Your Heels to the sounds of SOULSTICE Santa Fe’s most popular dance band!
APRIL 20TH 8:00-10:30pm DANCE PARTY Farmers’ Market Pavilion $30 | Students $20
Tickets: ticketssantafe.org or, 505.988.1234 Information: 505.820.3188 A fundraiser for the Santa Fe Girls’ School Santa Fe Girls’ School is a 501 © 3 tax exempt 85-0450769
PASATIEMPOMAGAZINE.COM
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pasa week 5 Friday
Exquisite Absurdity: 30 Years of Looking Forward Theater Grottesco presents re-created scenes of past performances and previews of works from its 2013 series, 7 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, discounts available, theatergrottesco.org, 474-8400, final weekend. Lost and Found New Mexico School for the Arts presents student-produced one-act plays. 6:30 p.m., Warehouse 21, 1614 Paseo de Peralta, tickets available at the Lensic box office, 988-1234, continues Saturday, April 6. People The National Theatre of London in HD series continues with a new comedy by Alan Bennett, 7 p.m., the Lensic, $22, student discounts available, 988-1234, ticketssantafe.org.
gallery/museum openings
axle Contemporary 670-7612 or 670-5854. Kathamann’s Metal Jam, mixed-media sculpture, reception 5-7 p.m., look for the mobile gallery’s van at the Railyard plaza, visit axleart.com for van locations through April 28. Back pew gallery First Presbyterian Church, 208 Grant Ave., 982-8544. Family Circle, group show, reception 6-7 p.m., through April. Blue rain gallery 130-C Lincoln Ave., 954-9902. Invitational Group Show, reception 5-7 p.m., through April. Chiaroscuro Contemporary art 702½ and 708 Canyon Rd., 992-0711. Spring Thaw, group show, reception 5-7p.m., through April 27 (see story, Page 32). Collected Works Bookstore 202 Galisteo St., 988-4226. Tapestries by Bengt Erikson, reception 5 p.m., through mid-May. santa Fe Community College school of arts and Design Visual arts gallery 6401 Richards Ave., call SITE Santa Fe for information, 989-1199. Phantasmagoria, young artist group show, presented by SITE Santa Fe’s Young Curators Program, reception 5-7 p.m., through April. eggman & Walrus art emporium 130 W. Palace Ave., second floor, 660-0048. Veiled, works on paper and sculpture by Susan Begy; paintings, drawings, and mixed-media work by Anne Kennedy; reception 5-9 p.m., through April 27. evoke Contemporary 130-F Lincoln Ave., 995-9902. Paintings by Pamela Wilson; video installation of the artist’s profile film by Carlo Zanella, reception 5-7 p.m., through April. Jane sauer gallery 652 Canyon Rd., 995-8513. Chroma, blown-glass vessels by Giles Bettison, reception 5-7 p.m., through April. manitou galleries 123 W. Palace Ave., 986-0440. Harry Greene & Fran Larsen, reception 5-7:30 p.m., through April 19. matthews gallery 669 Canyon Rd., 992-2882. State of the Art, group show of paintings and sculpture by New Mexican artists, reception 5-7 p.m., through April 18. mclarry Fine art 225 Canyon Rd., 988-1161. Treasures From the Artist’s Vault, works by the late Richard C. Sandoval, reception 5-7 p.m. patina gallery 131 W. Palace Ave., 986-3432. Picnic for Earth, group show of picnic baskets (fundraiser auction
Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60
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PASATIEMPO I April 5-11, 2013
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
eVenTs
pueblo of Tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year.
nighTliFe
Jane Sauer Gallery shows work by Giles Bettison
April 19 for The Nature Conservancy and the Santa Fe Farmers Market), reception 5-7 p.m., through April 29 (see story, Page 38). poeh museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Creativity Revisited, silver anniversary of the museum’s permanent collection, reception 5-8 p.m., through July 13. russian art gallery 216 Galisteo St., 989-9223. Seascapes, oil paintings by Rustem Stahurski, reception 5-7 p.m., through May 26. santa Fe public library Southside Branch, 6599 Jaguar Dr., 955-2810. Fine Arts for Children & Teens Spring 2013 Student Exhibit, reception 4 p.m., through April. Touching stone gallery 539 Old Santa Fe Trail, 988-8072. Tanba Modernism II, pottery by Keiichi Shimizu, reception 5-7 p.m., through April 27 (see story, Page 34).
in ConCerT
eldorado Funky Chicken Fuster Cluck Benefit concert and silent auction for the legal defense of Eldorado chicken owners; 5 p.m., includes music by Broomdust Caravan, Laurianne Fiorentino, George Adelo; plus, deviled-egg-dish
Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Pasa Kids............................ 63 Sound Waves...................... 63
contest ($5 entry fee); La Tienda Performance Space, 7 Caliente Rd., $20 suggested donation (no one turned away). TgiF flute and guitar recital Carol Redman and Roberto Capocchi perform Appalachian folk songs and Argentine tangos, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext.16.
TheaTer/DanCe
10-Minute Plays Santa Fe University of Art & Design student production, 7 p.m., Weckesser Studio Theatre, Greer Garson Theatre, 1600 St. Michael’s Dr., no charge, 473-6439, encores Saturday and Sunday, April 6-7. Buried Child Ironweed Productions and Santa Fe Playhouse present Sam Shepard’s drama, 7:30 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, Thursdays-Sundays through April14 (see review, Page 28). Einstein: A Stage Portrait Spoli Productions International presents Tom Schuch in Willard Simms’ one-man play, 7:30 p.m., Teatro Paraguas, 3205 Calle Marie, $16, discounts available, 424-1601, through Sunday, April 7.
(See Page 57 for addresses) Café Café Los Primos Trio, traditional Latin beats, 6-9 p.m., no cover. ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. Cowgirl BBQ Happy Hours with Young Readers Band, 5-7:30 p.m.; Sean Healen Band, Westerntinged rock ’n’ roll, 8:30 p.m.; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa sena Cantina 30th anniversary celebration with tunes from the ’80s, 5:30 and 8 p.m., period attire nets a free dessert, call for cover. la Fiesta lounge at la Fonda The HooDoos, rock and blues, 8-11 p.m., no cover. la posada de santa Fe resort and spa Nacha Mendez Trio, pan-Latin music, 6:30-9:30 p.m., no cover. The legal Tender Buffalo Nickle Band, boot-scootin’ tunes, 6-9 p.m., no cover. The mine shaft Tavern Open-mic night with Jason, 7-11 p.m., no cover.
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.
The Palace Restaurant & Saloon Rock cover band Chango, 9:30 p.m., call for cover. Pranzo Italian Grill John Rangel and Faith Amour, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Ida Nowe & The Chimney Sweeps, folkgrass, 6-9 p.m., no cover. Second Street Brewery at the Railyard Americana band The Saltine Ramblers, 7-10 p.m., no cover. Vanessie Strolling Scones, vintage rock, 8 p.m.-close, call for cover.
6 Saturday In conceRT
BetterFest All-day event starting at 11 a.m. with coffee tastings, brewing demos, and 10 bands; includes Gypsy-jazz ensemble Swing Soleil and local classical/Latin/jazz band Evarusnik, Betterday Coffee Shop, 905 W. Alameda St., Solano Center, $5 at the door. Polyphony: Voices of new Mexico Choral ensemble in Holocaust Cantata: Songs From the Camps, 7 p.m., Beit Tikva Congregation, 2230 Old Pecos Tr., 820-2991, $25 in advance online at brownpapertickets.com, $30 at the door.
TheaTeR/dance
10-Minute Plays Santa Fe University of Art & Design students production, 7 p.m., Weckesser Studio Theatre, Greer Garson Theatre, 1600 St. Michael’s Dr., no charge, 473-6439, encore Sunday, April 7.
Baile de Cascarones Northern New Mexico folk dance, 7-11 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $10; couples $15; ages 6-18 $2; 983-7839. Buried Child Ironweed Productions and Santa Fe Playhouse present Sam Shepard’s drama, 7:30 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, ThursdaysSundays through April14 (see review, Page 28). Einstein: A Stage Portrait Spoli Productions International presents Tom Schuch in Willard Simms’ one-man play, 7:30 p.m., Teatro Paraguas, 3205 Calle Marie, $16, discounts available, 424-1601, through Sunday, April 7. Exquisite Absurdity: 30 Years of Looking Forward Theater Grottesco presents re-created scenes of past performances and previews of works from its 2013 series, 7 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, discounts available, theatergrottesco.org, 474-8400, final weekend. Lost and Found New Mexico School for the Arts presents student-produced one-act plays, 6:30 p.m., Warehouse 21, 1614 Paseo de Peralta, tickets available at the Lensic box office, 988-1234.
BookS/TalkS
Sailing around cape horn Slide presentation by Michael Johnson, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418.
eVenTS
The Flea at el Museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April.
Indigenous healing/Teachings of the high andes Workshop series led by Diane Berman, 9 a.m.-noon today, April 13 and 20, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, call 424-0207 to register, donations welcome. Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. Santa Fe artists Market 8 a.m.-1 p.m. Saturdays at the Railyard park across from the Farmers Market through November, 310-1555. Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098. Walking With our Sisters Community-driven art event using beaded moccasin tops installed at various sites in commemoration of the disappearance and murder of more than 600 Native women in Canada, lecture 10:30-11:45 a.m., workshop 1-4 p.m. (materials not supplied), Institute of American Indian Arts Auditorium and foyer, 83 Avan Nu Po Rd., 428-5922.
nIGhTlIFe
(See addresses below) café café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover. ¡chispa! at el Mesón Flamenco Conpaz, 7-10 p.m., call for cover. cowgirl BBQ Local string band The Free Range Ramblers, 5 p.m.; country band Bonnie & the Clydes, 8:30 p.m.-close; no cover.
el cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. la casa Sena cantina 30th anniversary celebration with tunes from the ’80s, 5:30 and 8 p.m., period attire nets a free dessert, call for cover. la Fiesta lounge at la Fonda The HooDoos, rock and blues, 8-11 p.m., no cover. The legal Tender Tornados, classic rock and country, 6-9 p.m., no cover. The Mine Shaft Tavern Imperial Rooster, gonzo-roots music, 8 p.m., call for cover. Pranzo Italian Grill Pianist/vocalist Stu MacAskie, 6-9 p.m., call for cover. Second Street Brewery Singer/songwriter Zoe Evans, 6-9 p.m., no cover. Second Street Brewery at the Railyard Patrick Burns & Janice, folk-rock, 6-9 p.m., no cover. Stats Sports Bar & nightlife All Gold Everything dance party featuring DJ Paul Feathericci, 10 p.m., call for cover. Sweetwater harvest kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.
pasa week
d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa Shop Betterday coffee lano Center , So 905 W. Alameda St. nch Resort & Spa Bishop’s lodge Ra ., 983-6377 Rd e 1297 Bishops Lodg café café 6-1391 500 Sandoval St., 46 ón ¡chispa! at el Mes 983-6756 e., Av ton ing 213 Wash uthside cleopatra café So 4-5644 47 ., Dr o 3482 Zafaran cowgirl BBQ , 982-2565 319 S. Guadalupe St. o dinner for Tw , 820-2075 106 N. Guadalupe St. at The Pink The dragon Room a Fe Trail, nt Sa d Ol 6 40 adobe 983-7712 lton el cañon at the hi 811 8-2 98 , St. al ov nd Sa 0 10 Spa eldorado hotel & St., 988-4455 o isc nc Fra n Sa . 309 W el Farol 3-9912 808 Canyon Rd., 98 ill Gr & r Ba o el Pase 2-2848 208 Galisteo St., 99
Pasa’s little black book evangelo’s o St., 982-9014 200 W. San Francisc hotel Santa Fe ta, 982-1200 1501 Paseo de Peral la Boca 2-3433 72 W. Marcy St., 98 ina nt la casa Sena ca 8-9232 98 e., Av e lac 125 E. Pa at la Fonda la Fiesta lounge , 982-5511 St. o isc nc 100 E. San Fra a Fe Resort nt Sa de da la Posa e Ave., 986-0000 lac Pa and Spa 330 E. at the The legal Tender eum us M d oa ilr Ra y m la 466-1650 151 Old Lamy Trail, g arts center lensic Performin St., 988-1234 o isc nc 211 W. San Fra e lodge Th at ge un lodge lo Francis Dr., St. N. at Santa Fe 750 992-5800 rider Bar low ’n’ Slow low ó ay im ch at hotel e., 988-4900 125 Washington Av The Matador o St., 984-5050 116 W. San Francisc vern Ta The Mine Shaft 473-0743 d, dri Ma , 14 2846 NM
Molly’s kitchen & lounge 1611 Calle Lorca, 983-7577 Museum hill café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at Garrett’s desert Inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Pyramid café 505 W. Cordova Rd., 989-1378 Revolution Bakery 1291 San Felipe Ave., 988-2100 Rouge cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044 Santa Fe community convention center 201 W. Marcy St., 955-6705 Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030
continued on Page 61
Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 Secreto lounge at hotel St. Francis 210 Don Gaspar Ave., 983-5700 The Starlight lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & nightlife 135 W. Palace Ave., 982-7265 Steaksmith at el Gancho 104-B Old Las Vegas Highway, 988-3333 Sweetwater harvest kitchen 1512-B Pacheco St., 795-7383 Taberna la Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 The Underground at evangelo’s 200 W. San Francisco St., 577-5893 Vanessie 427 W. Water St., 982-9966 Zia diner 326 S. Guadalupe St., 988-7008
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exhibitionism
A peek at what’s showing around town
susan Contreras: Roswell UFO, 2013, oil on canvas. Blue Rain Gallery (130-C Lincoln Ave.) presents its first invitational show featuring work by nine artists: Lorenzo Chavez, Susan Contreras, Dallin Maybee, Andrea Peterson, Robb Rael, Ed Sandoval, Kay Walkingstick, Suzanne Wiggin, and Holly Wilson. The artists work in a variety of mediums including painting, sculpture, and works on paper. There is a 5 p.m. reception Friday, April 5. Call 954-9902.
Richard C. sandoval (1941-2012): Hollyhock, watercolor on paper. McLarry Fine Art (225 Canyon Road) presents Richard C. Sandoval: Treasures From the Artist’s Vault, a selection of watercolors, oil paintings, prints, and carvings. Sandoval’s work reflects the unique beauty, vibrant light, and high contrasts of the Northern New Mexico landscape. The show opens with a 5 p.m. reception on Friday, April 5, and is on view through April 7. Call 988-1161.
Dante Jericho: Just Be Still With Me, 2011, collage canvas print. Artist and author Dante Jericho presents the exhibition Contemplative Collage: From Symbol to Story at The Screen (1600 St. Michael’s Drive). Jericho’s collages combine pop-culture references and photography with a sense of mysticism. The show is on view through May. Call 473-6494.
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PASATIEMPO I April 5-11, 2013
Rachel Gallegos: Untitled, 20122013, oil painting. SITE Santa Fe’s Young Curators program provides high-school students with hands-on experience curating exhibitions of the work of their peers. This year’s show, Phantasmagoria, is inspired by the surreal imagery of dreams and the subconscious. The show opens with a 5 p.m. reception on Friday, April 5, at the Santa Fe Community College’s Visual Arts Gallery (6401 Richards Ave., 428-1501). In conjunction with the exhibit, SITE (1606 Paseo de Peralta) presents a free public lecture by Ashley Nielsen called “Dream Interpretation and Archetypes” at 5:30 p.m. on April 16. The Young Curators deliver a free gallery talk at noon on April 26 at the Visual Arts Gallery. Call SITE at 989-1199.
Key sanders: Aspen Vista IX, 2012, archival pigment print on paper. Key Sanders explores photography with an eye for texture, pattern, and abstraction in the exhibition Recent Landscapes and Botanicals. His work is on view at El Gancho Fitness Swim and Racquet Club (104 Old Las Vegas Hwy.) through April. Call 988-5000.
At the GAlleries Eight Modern 231 Delgado St., 995-0231. Year of the Snake, group show, through Saturday, April 6. Independent Artists Gallery 102 W. San Francisco St., second floor, 983-3376. Digital photography by Jim Tape, through April 26.
liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours. Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit santafe.edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.
April 21, Spector Ripps Project Space • Revival, multimedia installation by Billy Joe Miller, through April 14, Muñoz Waxman Front Gallery. Gallery hours available online at ccasantafe.org or by phone, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Annie Leibovitz: Pilgrimage, through May 5 • Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Plain Geometry: Amish Quilts, textiles from the museum’s collection and collectors, through Sept.1 • New World Cuisine: The Histories of Chocolate, Mate y Más • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m.
Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Stations of the Cross, group show of works by New Mexico artists, through Sept. 2 • Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • Metal and Mud — Iron and Pottery, works by Spanish Market artists, through April • San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author • Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; no charge for school groups; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.9, works by New Mexico artists Jeff Deemie,
Teri Greeves, Joanne Lefrak, James Marshall, and Mary Tsiongas, through Sunday April 7 • Art on the Edge 2013, Friends of Contemporary Art and Photography’s biennial juried group show includes work by Santa Fe artists Donna Ruff and Greta Young, through April 14 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents no charge on Sundays. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Creativity Revisited, silver anniversary of the museum’s permanent collection, reception 5-8 p.m. Friday, April 5, through July 13. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. State of Mind: New California Art Circa 1970, conceptual and avant-garde works of the late 60s and 70s; Linda Mary Montano: Always Creative, interactive performance; Mungo Thomson: Time, People, Money, Crickets, multimedia; through May 19. Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit, through April 14. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.
MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. El Otoño Mío es Tu Primavera, installation by Miguel Arzabe, through
Jeff Deemie’s photographs are shown in New Mexico Museum of Art’s exhibit Alcove 12.9, closing sunday, April 7.
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In the wings MUSIC
Awna Teixeira Singer/multi-instrumentalist, 7:30 p.m. Friday, April 12, Gig Performance Space, 1808 Second St., $15, brownpapertickets.com. Parthenia New York City-based early-music string quartet, joined by mezzo-soprano Jacqueline HornerKwiatek and actor Paul Hecht, 7:30 p.m. Friday, April 12, Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6000. Santa Fe Pro Musica Violinist Chad Hoopes in recital accompanied by Dina Vainshtein, 7:30 p.m. Friday, April 12, music of Bach, Brahms, and Prokofiev; 6 p.m. Saturday and 3 p.m. Sunday, April 13-14, the young violinist in concert with SFPM Orchestra, music of Beethoven and Tchaikovsky; the Lensic, $20-$65, 988-1234, ticketssantafe.org or 988-4640, Ext. 1002. Angel Olsen Singer/songwriter, Villages opens, 7:30 p.m. Saturday, April 13, High Mayhem Emerging Arts, 2811 Siler Lane, 438-2047, $10, 988-1234, ticketssantafe.org. Santa Fe Community Orchestra Winners of SFCO’s concerto competition perform music of Mozart and Beethoven, 2:30 p.m. Sunday, April 14, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, 466-4879, sfco.org. Coro de Cámara The chamber chorus in The American Sound, featuring Barber’s Agnus Dei, 7 p.m. Friday, April 19, Los Alamos; 4 p.m. Sunday, April 21, Church of the Holy Faith, 311 E. Palace Ave., $20, discounts available, corodecamara-nm.org.
THEATER/DANCE
Tracy Grammer Singer/songwriter, 7:30 p.m. Friday, April 19, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com. Rumelia and Underscore Orkestra Local Balkan-folk trio and Gypsy-jazz/klezmer band, 7:30 p.m. Thursday, April 25, Santa Fe Sol Stage & Grill, $7, holdmyticket.com. Moon River & Me Ken Brown sings the Andy Williams Songbook with the Bert Dalton Trio, 6 p.m. Sunday and Monday, April 28-29, La Casa Sena Cantina, $25, 988-9232. Primus 3D Rock band, 7:30 p.m. Friday, May 17, doors open at 6:30 p.m., Santa Fe Community Convention Center, 107 W. Marcy St., $38, 988-1234, ticketssantafe.org. New Mexico Bach Society John Donald Robb’s Requiem and Gounod’s St. Cecilia Mass, 7 p.m. Thursday, May 23, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$55, 988-1234, ticketssantafe.org.
Les Ballets trockadero de monte carlo at the Lensic April 15
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Upcoming events Les Ballets Trockadero de Monte Carlo All-male drag dance troupe that parodies classical ballet, 7:30 p.m. Monday, April 15, the Lensic, $25-$72, 988-1234, ticketssantafe.org. Winning the Future Up & Down Theatre Company presents its satirical musical revue, 8 p.m. Friday and Saturday, 4 p.m. Sunday, April 19-21, Teatro Paraguas Studio, 3205 Calle Marie, $10, 424-1601. Louder Than Words Moving People Dance Theatre’s annual spring show, 7 p.m. Friday, 2 and 7 p.m. Saturday, 2 p.m. Sunday, April 26-28, 1583 Pacheco St., $15, discounts available, 438-9180. Womens Voices II Santa Fe Rep presents all-female productions by local playwrights and actors; also, students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7:30 p.m. Thursday, 2 p.m. Saturday and Sunday, May 2, 4-5, Warehouse 21, 1614 Paseo de Peralta, $18, discounts available, 629-6517, sfrep.org. Trey McIntyre Project The contemporary dance company presents Arrantza, Pass, Away, and Queen of the Goths, 7:30 p.m. Friday and Saturday, May 3-4, the Lensic, $20-$45, discounts available, 988-1234, ticketssantafe.org. Humble Boy Fusion Theatre presents Charlotte Jones’ comedy, 8 p.m. Tuesday and Wednesday, May 7-8, the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234. Julie Brette Adams One Woman Dancing 2013, 8 p.m. Friday and Saturday, 2 p.m. Sunday, May 17-19, Santa Fe Playhouse, 142 De Vargas St., $20, 986-1801.
HAPPENINGS
Earth Chronicles Project — The Artist’s Process: New Mexico Santa Fe Art Institute hosts a group show with an opening reception, Q & A, and documentary screening at 6 p.m. Monday, April 15, $10, discounts available; also, local poet Lauren Camp leads a workshop titled The Sound of Sunset: How to Write About the Edge of Time in conjunction with the exhibit at 6:30 p.m. Thursday, May 9, $25; 424-5050. Mont St. Michel and Shiprock Santa Fe resident William Clift’s landscape photographs on exhibit April 19-Sept. 8, New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 476-5072. American Sign Language, Deaf Culture & You Educational event offering an art exhibit, ASL instruction, activities for kids, museum tour, and informational booths, 10 a.m.-3 p.m. Saturday, April 20, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, for more information contact Christine Kane, 476-6400. Kick up Your Heels for Girls! Santa Fe Girls’ School fundraiser; VIP reception and auction 7-8 p.m. Saturday, April 20, Farmers Market Shops, $100; dance party 8-10:30 p.m., Farmers Market Pavilion, $30, students $20, 988-1234, ticketssantafe.org, for information call 820-3188. Lannan Foundation literary event Novelists David Mitchell and Tom Barbash, 7 p.m. Wednesday, April 24; the Lensic, $6, discounts available, ticketssantafe.org, 988-1234. Eve Ensler The author reads from In the Body of the World: A Memoir, 7:30 p.m. Friday, April 26, the Lensic, $30 includes signed copy, students $15, 988-1234, ticketssantafe.org. Celebrate Wisdom of Many Mothers Fundraiser; appetizer/wine reception, silent auction, and panel discussion moderated by Valerie Plame Wilson, panelists include journalist Anne Goodwin Sides and sculptress Christine McHorse, Friday, May 3, Santa Fe Farmers Market Pavilion, $40, 983-5984, manymothers.org. Savor the Flavor Nonprofit organization Delicious New Mexico and the Museum of International Folk Art present an event 10 a.m.-5 p.m. Sunday, June 2, in conjunction with the exhibit New World Cuisine: The Histories of Chocolate, Mate y Más; includes food booths, a cooking demonstration with chef Rocky Durham, a book fair, baking demonstrations on an outdoor horno, and beer and wine tastings ($20), Museum Hill, by museum admission, call 505-217-2473 for more information. Santa Fe Opera opening night benefit The opening-night performance of Offenbach’s The Grand Duchess of Gérolstein is preceded by a gala buffet dinner and a talk by Tom Franks, Friday, June 28, Dapples Pavilion, 301 Opera Dr., $80, hosted by the Santa Fe Opera Guild, 629-1410, Ext. 113, guildsofsfo.org. Santa Fe Opera The season opens Friday, June 28, with Offenbach’s The Grand Duchess of Gérolstein; other offerings include the premiere of Theodore Morrison’s Oscar, SFO’s first mounting of Rossini’s La Donna del Lago, and two revivals, Mozart’s The Marriage of Figaro and Verdi’s La Traviata; also, two special concerts honoring Wagner, Britten, and Stravinsky; call 986-5900 or visit santafeopera.org for tickets and details on all SFO events.
pasa week
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7 Sunday in concert
Sadaqah Middle eastern ensemble Bellydance performance, 6 p.m., Dance Space, 3208-A Richards Ln., $10 suggested donation, sadaqah-music.com. Santa Fe Men’s camerata This Land Is My Land, folk songs and spirituals, 3 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students 18 and under no charge, 473-7733.
theater/dance
10-Minute Plays Santa Fe University of Art & Design student production, 7 p.m., Weckesser Studio Theatre, Greer Garson Theatre, 1600 St. Michael’s Dr., no charge, 473-6439. Buried Child Ironweed Productions and Santa Fe Playhouse present Sam Shepard’s drama, 2 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, Thursdays-Sundays through April 14 (see review, Page 28). Einstein: A Stage Portrait Spoli Productions International presents Tom Schuch in Willard Simms’ one-man play, 2 p.m., Teatro Paraguas, 3205 Calle Marie, $16, discounts available, 424-1601. Exquisite Absurdity: 30 Years of Looking Forward Theater Grottesco presents re-created scenes of past performances and previews of works from its 2013 series, 4 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, discounts available, theatergrottesco.org, 474-8400, final weekend.
bookS/talkS
Ped-i-cure Book readings, signings, and conversation with authors, 4-6 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $10 donation includes book and refreshments, 988-8922. Proceeds benefit Esperanza Shelter for Battered Families.
Talking Heads
Sangre de Cristos Snow & Clouds, by Jim Tape, Independent Artists Gallery, 102 W. San Francisco St.
eventS
the Flea at el Museo 10 a.m.-4 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. international folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome. Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com. railyard artisans Market Balladeer J. Michael Combs 10 a.m.-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098, railyardartmarket.com, market 10 a.m.-4 p.m. weekly. Santa Fe Farmers Market 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098.
nightliFe
living in challenging times: the United States & east asia St. John’s College hosts a two-day symposium with national speakers Monday and Tuesday, April 8-9, sponsored by Santa Fe World Affairs Forum. Day one begins with a cocktail reception; day two includes a buffet luncheon. For details visit sfwaf.org. Email waforum@gmail.com to register.
(See Page 57 for addresses) café café Guitarist Michael Tait, 6-9 p.m., no cover. cowgirl bbQ E. Christina Herr & Wild Frontier, Americana/alt-country/rock ’n’ roll blend, noon-3 p.m.; Miss Shevaughn & Yuma Wray, Americana band, 8 p.m.; no cover. el Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda La Fonda Talent Showcase, any music genre, stand-up comedy, and more welcome, $25 to the winners, 7-10 p.m., no cover. la Posada de Santa Fe resort and Spa Wily Jim, Western swingabilly, 7 p.m., no cover.
the Mine Shaft tavern Soulful-blues band The Barbwires, 3-7 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.
8 Monday bookS/talkS
gertrud kolmar: a literary life Translators Linda Marianiello and Franz Vote read from and sign copies of Dieter Kühn’s biography of the poet, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. households and community at the harris Site, Mimbres valley, new Mexico A Southwest Seminars’ Ancient Sites and Ancient Stories lecture with Barbara J. Roth, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. living in challenging times: the United States & east asia Two-day symposium hosted by St. John’s College, 2-6 p.m. (discussion and cocktail reception), East Asia and the Pacific: Issues and Challenges, 1601 Camino de Cruz Blanca, both days $85; today only $40; students $30; presented by Santa Fe World Affairs Forum, email waforum@gmail.com to register, visit sfwaf.org for details. o’keeffe’s language of Forms Lecture by art historian Jan Castro, 6 p.m., O’Keeffe Museum Education Annex, 123 Grant Ave., $5, 946-1039.
eventS
Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.
nightliFe
(See Page 57 for addresses) cowgirl bbQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Country band Sierra, 7:30-11 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.
9 Tuesday claSSical MUSic
richard goode The Last Word, piano recital, music of Haydn, Mozart, and Beethoven, 7:30 p.m., the Lensic, $20-$75, student discount available, 988-1234, ticketssantafe.org (see Listen Up, Page 22).
bookS/talkS
living in challenging times: the United States & east asia Two-day symposium hosted by St. John’s College, 9:15 a.m.-4 p.m. (discussion and buffet luncheon), A Rising China Seeking Its Rightful Place, 1601 Camino de Cruz Blanca, both days $85; students $30; today only $50; presented by Santa Fe World Affairs Forum, email waforum@gmail.com to register, visit sfwaf.org for details. Sparks: off-beat new Mexico lecture Cultural historian Chris Wilson and photographer Miguel Gandert discuss their book Center Place: The Plazas of New Mexico, 3-4 p.m., School for Advanced Research Boardroom, 660 Garcia St., 954-7203, no charge. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
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events
Indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. Richard levy gallery 514 Central Ave. S.W., 505-766-9888. Color Matter, abstracts by Xuan Chen; new paintings by Charles Fresquez; through May. south Broadway Cultural Center 1025 Broadway Blvd. S.E., 505-848-1320. Mining the 90s, works by Jane Abrams, Aaron Karp, and Alan Paine Radebaugh, through April 19. UnM art Museum Center for the Arts Building, 505-277-4001. Speak to Me, annual graduate show, through May 4 • In the Wake of Juarez: Drawings of Alice Leora Briggs • Bound Together: Seeking Pleasure In Books, group show • Martin Stupich: Remnants of First World, inkjet prints, through May 25. Open 10 a.m.4 p.m. Tuesday-Saturday; $5 suggested donation.
International folk dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.
nIghtlIfe
(See Page 57 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m., call for cover. Cowgirl BBQ Jack & The Bear, folk/rock band, 8 p.m., no cover. el farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Country band Sierra, 7:30-11 p.m., no cover. second street Brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 7-10 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.
events/Performances
10 Wednesday Books/talks
Iconic new Mexico The New Mexico Museum of Art docent talks series continues with a discussion of the paintings of Gerald Cassidy (1879-1934), a founding member of the Santa Fe Artists’ Colony, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072. lannan foundation literary event Author Isabel Wilkerson reads from and discusses The Warmth of Other Suns: The Epic Story of America’s Great Migration; with John Stauffer, 7 p.m., the Lensic, $6, discounts available, ticketssantafe.org, 988-1234 (see story, Page14).
nIghtlIfe
(See Page 57 for addresses) ¡Chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover. Cowgirl BBQ Country-punk duo Barnyard Stompers, 8 p.m., no cover. el farol Salsa Caliente, 9 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de santa fe Resort and spa Wily Jim, Western swingabilly, 7 p.m., no cover. the Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. second street Brewery Vinyl Listening Sessions with DJ Spinifex, 6-9 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 8-11 p.m., no cover. vanessie Pianist Todd Lowry and vocalist Kari Simmons, Hollywood love songs, 7-10 p.m., no cover.
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Print by Jennifer Hudson, in UNM Art Museum’s exhibit Speak to Me featuring graduate students’ works
11 Thursday theateR/danCe
Buried Child Ironweed Productions and Santa Fe Playhouse present Sam Shepard’s drama, 7:30 p.m., 142 De Vargas St., $10, santafeplayhouse.org, 988-4262, ThursdaysSundays through April14 (see review, Page 28). Depth of a Moment: In Four Parts opening night Center for Contemporary Art and Theater Grottesco’s Eventua series continues with a 7 p.m. performance-art piece by Lisa Fay and Jeff Glassman, Muñoz Waxman Gallery, 1050 Old Pecos Trail, pay-what-you-wish, encores Friday-Sunday, April 12-14. Visit theatergrottesco.org or call 474-8400 for series schedule (see story, Page 20).
Books/ talks
alex Peña The artist discusses his paintings and signs complimentary copies of Native Peoples Magazine featuring his work, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. globalized soul Reel New Mexico presents a film and discussion by New Mexico filmmakers Cynthia Lukas and Kell Stearns, 7 p.m., La Tienda Center, 7 Caliente Rd., Eldorado, $5 requested donation at the door. steve terrell: the Inner Workings of the new Mexico state legislature A Renesan Institute for Lifelong Learning lecture by the Santa Fe New Mexican reporter, 1 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 982-9274. tribal archives: ethics and the Right to access A talk by attorney Peter Chestnut, 11 a.m.-noon, School for Advanced Research Boardroom, 660 Garcia St., 954-7205, no charge.
nIghtlIfe
(See Page 57 for addresses) Cowgirl BBQ Old-school rockabilly band Rob-A-Lou, 8 p.m., no cover. evangelo’s Guitarist Little Leroy with Mark Clark on drums and Tone Forrest on bass, 9 p.m.-close, call for cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. the legal tender Two-Step Thursdays with Buffalo Nickel Two, 6-9 p.m., no cover. the Palace Restaurant & saloon Lime Light Karaoke with Michele, 8:30 p.m., call for cover. the Underground at evangelo’s Metal band Hate Engine, 9 p.m., call for cover. vanessie Jazz pianist Robin Holloway and guests, 6:30 p.m.-close, $5 cover. Zia diner Swing Soleil, Gypsy jazz and swing, 6:30-8:30 p.m., no cover.
▶ Elsewhere albuquErquE Museums/art spaces
harwood art Center 1114 Seventh St. N.W., 505-242-6367. That Sound Under the Floor Is the Sea, work by Cedra Wood, reception 6-8 p.m. Friday, April 5, through April 25. Original home of the Harwood Girls School (1925-1976). Open 10 a.m.-4 p.m. Monday-Friday, no charge.
22nd annual albuquerque antiquarian Book fair 5-9 p.m. Friday (includes silent auction of library surplus and donated items), 10 a.m.-4 p.m. Saturday, April 5-6, UNM Continuing Education Conference Center, 1634 University Blvd., $6 for both days, contact Alan Shalette for more information, 505-291-9653, alshal@unm.edu. kamalini Mukherji The singer performs traditional songs of India, 7:30 p.m. Saturday, April 6, Outpost Performance Space, 210 Yale Blvd. S.E., $20, students $15, 505-268-0044. sunday Chatter James D’León: solo piano recital, music of Corigliano and Montague, 10:30 a.m. Sunday, April 7, poetry reading by Rich Boucher follows, The Kosmos, 1715 Fifth St. N.W., $15 at the door, chatterchamber.org. Chatter Cabaret Virtuoso Strings, music of Paganini, Schubert, and Crumb, 5 p.m. Sunday, April 7, Casablanca Room, Hotel Andaluz, 125 Second St. N.W., $20, brownpapertickets.com, chatterchamber.org.
los alamos Museums/art spaces
Mesa Public library art gallery 2400 Central Ave., 662-8250. Underground of Enchantment, traveling group show of 3-D photographs of New Mexico’s Lechuguilla Cave of Carlsbad Caverns National Park, reception 4-5:30 p.m. Friday, April 5, through May 29. Pajarito environmental education Center 3540 Orange St., 662-0460. Underground of Enchantment, traveling group show of 3-D photographs of New Mexico’s Lechuguilla Cave of Carlsbad Caverns National Park, reception 5-6:30 p.m., lecture follows, Friday, April 5, through May 29. Exhibits of flora and fauna of the Pajarito Plateau; live amphibians, an herbarium, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.1 p.m. Saturday, no charge.
events/Performances
Calefax Reed Quintet Amsterdam-based ensemble, music of Ravel, Debussy, and Gershwin, 4 p.m. Sunday, April 7, Duane Smith Auditorium, Los Alamos High School campus, 1300 Diamond Dr., $30, ticketssantafe.org, 988-1234, $35 at the door.
madrid
Johnsons of Madrid 2843 NM 14, 471-1054. Group show of works by gallery artists, reception 3-5 p.m. Saturday, April 6, through April.
taos Museums/Art Spaces
Harwood Museum of Art 238 Ledoux St., 575-758-9826. Red Willow: Portraits of a Town • Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming • Eli Levin: Social Realism and the Harwood Suite; exhibits celebrating Northern New Mexico, through May 5. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.-5 p.m. daily. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge with ID. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Director’s Choice: 14 Years at the Taos Art Museum, works from the collection, through June. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday. Events/Performances Footfalls and The Zoo Story Working Class Theatre Company presents plays by Samuel Becket and Edward Albee, 7 p.m. Friday and Saturday, April 5-6, The Playhouse, 1335-L Gusdorf Rd., workingclasstheatrenm.org, 575-613-0998.
▶ People who need people Artists/Photographers
Collect 10/Lucky 13 New Mexico artists are encouraged to submit work for the Center for Contemporary Art exhibit running April 26, through May 19; People’s Choice award $300 cash; solo show for the Curator’s Choice award winner; submissions accepted 10 a.m.-5 p.m. Wednesday-Thursday, April 10-11; visit ccasantafe.org for details.
Filmmakers/Playwrights/Writers
Santa Fe Independent Film Festival Film submissions sought for the Oct.16-20 festival; regular deadline Wednesday, May 1; late deadline July 1; final deadline Aug.1. Visit santafeindependentfilmfestival.com for rules and guidelines. Santa Fe Playhouse 92nd season Accepting play proposals of all genres for the fall 2013-summer 2014 season from individuals who would like to direct; call 988-4262 or email playhouse@santafeplayhouse.org for proposal packets by Wednesday, April 17.
Tony Hillerman best first mystery novel contest Publishing contract with St. Martin’s Press and $10,000 advance offered to the winner; only authors of unpublished mysteries set in the Southwest may enter; manuscripts must be received or postmarked by June 1; further guidelines and entry forms available online at wordharvest.com.
Volunteers
Birders Lead ongoing birdwatching walks at Leonora Curtin Wetland Preserve, Ortiz Mountains Educational Preserve, and Santa Fe Botanical Garden at Museum Hill; call 471-9103 or email info@santafebotanicalgarden.org for more information. Gearing up for Earth Week Earth Care’s fifth annual Day of Service in celebration of Earth Day and Global Youth Service Days takes place 9 a.m.-3 p.m. Thursday, April 25; volunteers are needed to assist with set-up, break-down, general logistics, and support; contact Casey Moir, casey@earthcarenm.org, 978-290-2792. Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; the hours are 9 a.m.4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details. Santa Fe Women’s Ensemble Always in need of ushers for concerts; email info@sfwe.org or call 954-4922.
▶ Under 21 Found New Mexico School for the Arts presents student-produced one-act plays, 6:30 p.m. Friday and Saturday, April 5-6, Warehouse 21, 1614 Paseo de Peralta, tickets available at the Lensic box office, 988-1234. St. John’s College Community Seminars Read and discuss seminal works; free to 11th and 12th-grade students. Fakhruddin ’Iraqi’s Divine Flashes, 1-3 p.m. Saturdays, through April 13; George Eliot’s Scenes of a Clerical Life, 6-8 p.m. Wednesdays through April 24; 1160 Camino de Cruz Blanca, call 984-6117 to register. Call for young artists and filmmakers Fifth annual Art to Awaken: enter art in any media (performance, music, dance, spoken word) aimed at making a positive impact on the world; 2013 Youth Creating Change Film Fest, presented by Adelante and Earth Care’s Youth Allies: get your message out in 30-second to five-minute digital files of PSAs, short documentaries, or animated films; deadlines for both events is Friday, April 26; for details email youthallies@earthcarenm.org. Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. Group show of works by New Mexico School for the Arts students, through April 14.
▶ Pasa Kids Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, by museum admission, 989-8359. Summer Camp Fair Brouse camp displays, collect brochures, and register your children for camp, 10 a.m.-4 p.m. Saturday, April 13, La Tienda Shopping Center, 7 Caliente Rd., Eldorado, 603-8811 or 466-1059. ◀
Festivals for the rest of us This year we had no SxSF Transit Music Evarusnik Festival, an annual showcase founded in 2010 by local musician, music educator extraordinaire, and former nightclub owner Mikey Baker. And the bluebird of happiness has pooped on another musical tradition: sorry folks, no Thirsty Ear Festival in 2013. We could, of course, wallow in misery and ponder what may have been, or we could choose to look ahead and find ways to fill the soul-crushing void left by all this depressing festival news. (You could also just harvest a few organs and use the blackmarket funds to buy Coachella tickets.) But worry not, concertgoers, and instead lean your ears toward The Betterday Coffee Shop (905 W. Alameda St., 555-1234) beginning at 11 a.m. Saturday, April 6. That’s when the inaugural BetterFest gets under way. This family-friendly all-day event includes 10 musical acts, a bouncy-room thingamajig, inflatable-sumo-wrestling-suit matches, a coffee tasting, and a coffee-brewing demonstration. Daytime performances begin at 11 a.m. with a set by local Gypsy jazz outfit Swing Soleil, followed by Pozo at 12:30 p.m. The Real Bell Brothers hit the stage at 3 p.m., and Ida Noe and the Chimney Sweeps polish off the daytime slots. At 1:30 and 5 p.m., Portland’s Stumptown Coffee Roasters hosts tastings and brewing demos. A local-band showcase begins at 6 p.m. to celebrate the bon voyage of Santa Fe math-rock demigods (and one goddess) As In We, who are headed to Portland, Oregon, to record a new album. Goat kicks things off, followed by another set by The Real Bell Brothers at 6:45 p.m. At 7:30 p.m., one of my favorite local bands, Evarusnik, hits the stage. Core members Andrew Tumason (vocalist, multi-instrumentalist) and Miranda Scott (vocals) blend Eastern European folk balladry, contemporary Israeli dance music, alt-country, Southwestern folk, acoustic shoegaze, hypnotic Icelandic pop, and field recordings to examine themes ranging from colonizationto the natural wonders of the world. Having just released an infectious and haunting new single, “Rapanui’s Lightning,” recorded in analog at Tiny Telephone studio in San Francisco, Evarusnik is putting the final touches on its second full-length release, as yet untitled and due out in May or June. You can hear the new single at www.evarusnik.bandcamp.com. At 9:30 p.m., indie rockers Albatross throw down a set, and As In We closes out the night beginning at 10:30. Swing by Betterday, and for five measly bucks purchase a wristband, which gives you access to all that is BetterFest, plus a free cuppa joe. If you want to enjoy just the evening music showcase, you’ll still have to fork over $5. Bling it on! STATS Sports Bar & NightLife (135 W. Palace Ave., third floor, 982-7265) is going for broke with its new weekly All Gold Everything dance party. The inaugural fete takes place at 10 p.m. Saturday, April 6, and features inimitable DJ/producer Paul Feathericci, who also spins and knob-thrashes for local electronica outfit D Numbers. Cover for the 21-and-older event is $5 at the door. Do you have your Form 1040- \m/. .\m/ ? If, by 9 p.m.Thursday, April 11, you’re still staring your incomplete state and federal income taxes in the face and just want to rage without ending up in the slammer, find your head-bangin’ self at The Underground at Evangelo’s (200 W. San Francisco St., 577-5893) and throw the devil horns on high. Southwest metalcore maniacs Hate Engine perform, and it’s going to get loud ’n’ sweaty up in there. Cover for the 21-and-older show is $5 at the door. — Rob DeWalt rdewalt@sfnewmexican.com www.pasatiempomagazine.com Twitter: @flashpan @pasatweet
A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.
PASATIEMPOMAGAZINE.COM
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