The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
January 31, 2014
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PASATIEMPO I January 31 - February 6, 2014
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PASATIEMPO I January 31 - February 6, 2014
Lensic Presents
BROADCAST IN HD
Tom Hiddleston ((The Avengers) and Mark Gatiss (BBC’s Sherlock) star in Shakespeare’s tale of political manipulation and revenge.
January 31 7 pm $22/$15 students Discounts for Lensic members
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February 27 National Theatre’s War Horse
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THE SANTA FE NEW MEXICAN
January 31 - February 6, 2014
www.pasatiempomagazine.com
On the cOver 28 Stilled life Three decades after his first feature, Koyaanisqatsi, part of his Qatsi trilogy, filmmaker Godfrey Reggio is back with a new effort, Visitors. “It’s radically different from the trilogy, different by virtue of the stillness of the piece. I learned long ago that the stiller a person becomes, the higher probability that their senses are attuned to what is around them.” The film, with music by long-time collaborator Philip Glass, opens at The Screen on Friday, Jan. 31, with Reggio taking part in a Q & A. The image on the cover is from the film; courtesy Cinedigm.
BOOKS
MOvIng IMAgeS
14 In Other Words Breakfast With Lucian and Bingo’s Run 16 type A A column about publishing & reading
26 Coriolanus 40 12 O’Clock Boys 42 Pasa Pics
MUSIc AnD PerFOrMAnce 18 20 22 24 33 34
cALenDAr
Pasa tempos CD reviews terrell’s tune-Up Two from Texas Pasa reviews Santa Fe Pro Musica Orchestra Serious respect Bassist Dezron Douglas Onstage The Merry Wives of Windsor russian dressing The Jewel in the Manuscript
49 Pasa Week
AnD 10 Mixed Media 13 Star codes 46 restaurant review: chocolate Maven
Art 36 those magnificent women in their flying machines Patrick Nagatani
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. e-mail: pasa@sfnewmexican.com PASAtIeMPO eDItOr — KrIStInA MeLcher 505-986-3044, kmelcher@sfnewmexican.com
Barbara hatch in The Jewel and the Manuscript; photo by Lynn roylance
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Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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Assistant editor — Madeleine nicklin 505-986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff Acker 505-986-3014, jcacker@sfnewmexican.com
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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
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StAFF WrIterS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com
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cOntrIBUtOrS Loren Bienvenu, taura costidis, Laurel gladden, Peg goldstein, robert Ker, Jennifer Levin, robert nott, Jonathan richards, heather roan-robbins, casey Sanchez, Michael Wade Simpson, Steve terrell, Khristaan D. villela
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PrODUctIOn Dan gomez Pre-Press Manager
The Santa Fe New Mexican
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Ginny Sohn Publisher
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ADvertISIng DIrectOr Tamara Hand 505-986-3007
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MArKetIng DIrectOr Monica Taylor 505-995-3824
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grAPhIc DeSIgnerS Rick Artiaga, Jeana Francis, Elspeth Hilbert
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ADvertISIng SALeS - PASAtIeMPO Art trujillo 505-995-3852 Julee Clear 505-995-3825 Matthew Ellis 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
Ray Rivera editor
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For students who learn differently PASATIEMPOMAGAZINE.COM
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tonight . january 31,2013 2014 . 5-7pm tonight . april 26, . 5-7pm
l as t Fr i day a r t wal k In Santa Fe’s Vibrant Railyard Arts District laST friDay every mOnTh
lewallen galleries Now & Then: Contrasting Approaches to Key Themes of Modernism
charlotte jackson Fine art Blue
tai gallery Tanabe Kochikusai, Flying Dragon, Bamboo
william siegal gallery Gallery Artists
zane bennett contemPorary art Under 35: Part I I
david richard gallery Oli Sihvonen, In Motion Thomas Downing, Gesture Then and Now: The Legacy of Abstract Expressionism
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the ways in which artists are using shared experiences with food and drink to spark new encounters with the world around us.
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Join us tonight for the Public Opening to discover first hand
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david william richard siegal charlotte jackson
zane bennett
READ ST.
WAREHouSE 21
P RAIlyARD pARkIng gARAgE
The Railyard Arts District (RAD) is comprised of six prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer. 8
PASATIEMPO I January 31 - February 6, 2014
$20 of Food
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February 7, 7 pm
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“Fast, furious and funny! In Quinn we trust.”
Legendary comedian Colin Quinn returns to the stage, tackling 226 years of American Constitutional history in 70 minutes.
“Hilarious! Wonderfully riotous!” —Hollywood Reporter
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T o receive rece iv e this thi s o offff er , v is isit it Splu Sp lu r geTa geTaos os .com b before efor e midn i gh g htt F e bu ra ry 5 5,, a n d p u rc ha se t he S p lur g e cer tificate, wh ich can be red eem ed fo r t he ab ov e o ff e r. T h i s ad ve rt is em ent is no t a Splurge cert i fi c a te .
—New York Daily News
S ERVICE C HA RG ES APPLY AT ALL POINTS OF PURCHASE
th e lensic is a non profit, member-supported organ ization
Santa Fe Community Orchestra
Oliver Prezant, Music Director
New Works by New Mexico’s Composers Readings of New and Recent Works by: Paul Wexler
Moravian Doina and Klezmer Fantasy
Christopher Yarnell and Lisa Marie Stuart
oPening in FeBruary
Friday, January 31st, 6:00 pm
Proudly Featuring the Best CraFt Beer new MexiCo Breweries have to oFFer
Kyodaina Hoshi
Stieren Hall at The Santa Fe Opera
Free admission; Donations appreciated Call 466-4879 for more information or to submit works for consideration SFCO’s New Works by New Mexico’s Composers program is sponsored by a generous grant from The Mill Foundation. This and other SFCO projects made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; the Santa Fe Arts Commission and the 1% Lodger’s Tax.
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PASATIEMPO I January 31-February 6, 2014
Stock keepers: The art of collecting The first of this year’s planned Art Matters events, sponsored by the Santa Fe Gallery Association, begins on Friday, Jan. 31, with Art Matters: Collections. “The strategy is to focus on the connoisseurship, knowledge, and expertise within the art professionals and establishments of Santa Fe, through lecturers, artist talks, panel discussions, or simply a gallery walk and talk … that places an emphasis on content and critical dialogue about the fine art and artists,” said Kathrine Erickson, director of the Santa Fe Gallery Association. Evoke Contemporary (130 Lincoln Ave., 505-995-9902) kicks off the series with a 5 p.m. reception and viewing of realist portraits by Daniel Sprick on Jan. 31 (the show runs through Saturday, Feb. 1). Events continue at 2 p.m. on Feb. 1, with a panel discussion held in conjunction with the exhibit Oli Sihvonen: In Motion — Rhythmic and Optical Paintings From 1988 to 1991 at David Richard Gallery (544 S. Guadalupe St., 505-983-9555). Panel participants include artists Lilly Fenichel and Allan Graham and gallery director David Eichholtz. At 3 p.m on Feb. 1, Pippin Contemporary (200 Canyon Road; 505-795-7476) hosts The Joys and Challenges of Collecting, a discussion with Santa Fe-based author Eric Gustafson. On Feb. 7 and 8 at 7 p.m. Casweck Galleries (203 W. Water St., 505-988-2966) hosts staged readings based on the book Hearts West: True Stories of Mail-Order Brides on the Frontier, directed by Janet Davidson of For Giving Productions. Tickets for the readings cost $15; call Casweck for reservations. Following the reading on Feb. 8, author and graphic designer Wiz Allred presents a talk on collecting, also at Casweck. Allred repeats the talk free of charge at 2 p.m. on Feb. 9. David Richard Gallery presents two more Art Matters events on Feb. 8. The first is a 1 p.m. gallery discussion on the exhibit Select Works on Paper From the June Wayne Private Collection, followed by a 2:30 p.m. talk on the show Gesture Then and Now: The Legacy of Abstract Expressionism, with artists Fenichel, Phillis Ideal, and Eugene Newmann.
At 2 p.m. on Feb. 8, Chiaroscuro Contemporary Art (702½ Canyon Road, 505-992-0711) hosts a talk by gallery director John Addison. The Georgia O’Keeffe Museum (217 Johnson St., 505-946-1000) offers Collectors, Dealers, and Museums: A Shared Future, presented by Cody Hartley, the museum’s director of curatorial affairs. The event takes place at 5:30 p.m. on Feb. 8 and is followed by a reception and a drawing, with a chance to win either a curated library of art books, a private tour of a prominent New Mexico-based artist’s studio, or a tour of a private art collection. Tickets for the O’Keeffe event cost $75; ticket sales help fund the Santa Fe Gallery Association and can be purchased online at www.okeeffemuseum.org/sfga. Art Matters: Collections events are free unless otherwise stated. For information call 505-982-1648 or visit www.artmatterssantafe.org. — Michael Abatemarco
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Oldies and goodies Remember the music of the ’50s, ’60s, and ’70s? Shy of weddings, there are few if any local opportunities to hear the melodies that formed the soundtrack of those decades. The Center for Contemporary Arts (1050 Old Pecos Trail) has an event for those who want to spin and gyrate to the oldies. Get ready to twist and shout at Gotta Dance!, held at CCA’s Muñoz Waxman Gallery on Friday, Jan. 31, at 6:30 p.m. A fundraiser for CCA, local radio station KSFR-FM, and Casa Milagro, a therapeutic community for adults living with mental illness, the event is deejayed by Pete Gurule, who hosts the Friday Night Mixx Fixx on KSFR. Tickets ($25, discounts available) can be purchased at www.ccasantafe. org/events or at the door. You can make song requests in advance by emailing 3badbabes@gmail.com. If you want to imbibe to loosen up your dancing feet, you’ll have to bring your own spirits (snacks too), but CCA will provide seats, tables, and utensils. For more information call CCA at 505-982-1338. — M.A.
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PASATIEMPO I January 31 - February 6, 2014
STAR CODES
Heather Roan Robbins
It’s a tough week to be an Olympian. We get to wrestle with our
ghosts, our fear of loss, our doubts, and our dire hopes as Venus conjuncts Pluto. Our minds turn poetically inward, which can make practicalities snag, minor accidents increase, and negotiations bog down as Mercury enters Pisces, opposes Neptune, and turns retrograde — all while old lava flows underneath, both political and geologic, as Jupiter opposes Pluto. Though most of us will be just fine, if a little moody and absent-minded, athletes getting ready for competition may have a rough week. Jupiter opposes Pluto exactly this week and will again mid-April. This can give us energy just when we need it. But like Mount Kilauea in Hawaii, material erupts from underneath. If tempers feel lava-like, it’s better to spill a little regularly, like Kilauea, than letting it build up to a pyroclastic blast. The last few weeks were a time of remembering and letting go as Venus retrograded back to conjunct Pluto; many had to make major emotional adjustments. We’re now at a pivot point. We have the chance to let go of an emotional burden or accept a new assignment and head down a different road as Venus turns direct. Our hearts move forward as our minds look back, and all these aspects help prepare us for a dynamic spring ahead. While these decisions may be reexamined as Mercury retrogrades over the next few weeks, most heart-based plans will hold.
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Friday, Jan. 31: Tend to serious work details first thing while the moon squares Saturn. Midday can bring up surprising emotional whirlpools as Venus turns direct. The mood is intuitive and imaginative. Tonight, avoid intimate questions because we’re feeling too much as the moon enters Pisces. Saturday, Feb. 1: Swim in the dream realm this morning as the moon conjuncts Neptune in Pisces. Time seems to slip sideways. We may feel tender, like a peeled grape, and get prickly to cover vulnerability. Keep demands minimal.
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Sunday, Feb. 2: Let’s ask the groundhog when the winter ends, ask the cardinal about our love life, and ask a spider about our work on this traditional day for animal auguries, with our intuition cranked up under the sensitive Pisces moon. Humans are more difficult, but make efforts to understand one another before sparks fly as the moon enters impatient Aries tonight. Monday, Feb. 3: Ride the roller-coaster as a restless Aries moon conjuncts Uranus and squares Jupiter, Venus, and Pluto. Emotional swings try to convince us that the situation is more dire or more wonderful than it is. Tuesday, Feb. 4: We laugh, we cry, and we emote easily but may have little patience. Keep interactions short, sweet, and to the point. Early morning is productive, but pad the schedule with extra time for delays midday. Smooth ruffled feathers or fight cleanly this afternoon as the moon opposes Mars. Be honest about the problem, but speak up while diplomacy is still possible. Wednesday, Feb. 5: The mood is steady. Mundane chores can offer a reprieve. Problems that began earlier in the week require work now. Tonight a return to something familiar can be healing as Jupiter trines Chiron. Thursday, Feb. 6: The mood lightens. Support steadies us as the earthy Taurus moon trines Venus. Gentle intuition helps us share kindness below the verbal level. Technical glitches and poor timing increase as Mercury retrogrades tonight. ◀ www.roanrobbins.com
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In Other wOrds book reviews
AP Photo/Sang Tan
Breakfast With Lucian: The Astounding Life and Outrageous Times of Britain’s Great Modern Painter by Geordie Greig; Farrar, Straus and Giroux
Pilar Ordovas, formerly of Christie’s, in front of a Lucian Freud painting on display at the London auction house, 2007
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PASATIEMPO I January 31-February 6, 2014
A painter applies more than pigment to a canvas. He can mix as many hues as he wishes, but some of the most important colors to appear in a work are ones not found on his palette. Those shades come from both the external and internal life of the artist — the events, episodes, loves, and intrigues that color the resulting works. The figurative painter Lucian Freud (1922-2011) had a vast inventory of such colors that he exploited. For Lucian Freud, grandson of Sigmund, and a man who became almost as famous as his grandfather, “The aura given out by a person or object is as much a part of them as their flesh,” as he once wrote. “The effect they make up in space is as bound up with them as might be their colour or smell.” So closely did Freud observe his chosen figures prior to and during the process of portraiture that, as he commented in an interview, “I sometimes looked so hard at a subject that they would undergo an involuntary magnification.” As viewers of Freud’s canvases know, that up-close and decidedly personal view of people can sometimes reveal less-than-beautiful physical attributes — sagging breasts, protruding bellies, moles and wrinkles, and the nuances of private parts better left that way. And he often juxtaposed subjects in ways that unsettle the viewer, as in his well-known Large Interior, W9 (1973), in which he painted his clothed elderly mother sitting next to one of his mistresses, who lies topless on a bed. For a man whom biographer Geordie Greig reveals as being obsessively private yet determined to be noticed, Freud proves not easy to like as a person. As the reader learns in Greig’s Breakfast With Lucian, Freud fathered at least 14 children (others estimate the number as high as 40) over a 36-year period with a number of women, many while he was married to his two wives (what would granddad have said about that?). He painted some of his progeny in the nude (including a 14-year-old daughter, his first full-body nude, a subject that became his trademark), ignored others for years at a time, withheld his phone number to some, and even concealed the existence of various half siblings from one another. He double- and triple-timed regularly on mistresses, made drunken scenes in restaurants, uttered profoundly misogynistic and anti-Semitic remarks despite his being Jewish, demanded scores of hours of uncomfortable, if not outright dangerous sittings from his figures (his model David was made to lie naked with a live rat beside his genitalia), and even arranged for his own paintings to be stolen if he disapproved of them. Until he became wealthy from his paintings, which now routinely make tens of millions of dollars at auction, Freud would often borrow money from friends and family, and he reputedly hired gangsters to threaten a potential biographer.
No gangsters knocked on Greig’s door. Rather, his book resulted from his dogged and courteous attempts over the years to secure an interview with Freud. Prior to Freud’s impetuous assent to the idea, his only letter to Greig, as the author writes, “was one in which he said that the thought of granting me an interview made him ‘sick.’ ” But in 2002, when Greig was then editor of Tatler, the arbiter of English social life, Freud agreed to meet for a talk over breakfast at his favorite London restaurant, Clarke’s, which functioned as a kind of private salon for him. And, so, over the course of several years, Greig and Freud became not only subject and interviewer but also close personal friends. The older Freud got, the more sociable and less private he became. We learn about the long and complicated personal life of Freud, as well as the techniques he employed as a painter, as a result of the informal meetings and breakfasts Greig had with him. Soon, Freud became a kind of surrogate uncle to Greig’s own children, and in these intimate chats, Freud revealed all — or, rather, what he wanted to. Greig paints in the rest. And while his book anatomizes many of the loves of Freud, there were so many, and so many that overlapped, that the inventory of lovers can, at times, become wearying. Even Freud’s friendships come and go with such frequency that we forget who he’s on good terms with. The late Francis Bacon was one such friend who endured, for the most part (Bacon’s triptych of Freud sold at Christie’s in November 2013 for $142.4 million, the highest price ever paid at auction for a work of art, attesting to the fame of Freud as a subject). Greig masterfully mixes hard-core biography with snippets of Q & A dialogue he conducts with Freud’s lovers and children and Freud himself to create a memorable portrait of a portraitist. And because Greig spent so much time in the company of Freud’s paintings and studio, he has earned the right to be psychoanalytical about the grandson of the world’s most famous psychoanalyst: “So smothered was [Freud] by his mother’s claustrophobic affection and inquisitiveness that he felt an urge not to be controlled by or obliged to any woman.” Or, “His steel core of ambition was matched by a magical ability to charm. Both were ruthlessly marshaled in his aim to compete with the greatest artists of all time, and to lead a life unrestrained by moral scruples.” Freud knew everybody (he dated Greta Garbo when he was a teenager) and everybody knew of him. While few, other than the likes of the author and Freud’s longtime devoted assistant and model, David Dawson, had the chance to breakfast with him this often, the reader feels by the time the paint has dried that he has been in the company of the artist. For most of us, however, we are glad not to have had to recline naked with a rat or dog in our laps while Freud scowled and muttered at his canvas. It seems that the picture of Freud we get is a colorful one. — David Masello
We know that, in each and every child, there is a spark, and that it is incumbent upon us to fan that spark into a brightly burning flame.
Bingo’s Run by James A. Levine, Spiegel & Grau, 287 pages When an American author’s portrayal of his third-world protagonist seems patronizing, is this an example of cultural insensitivity on the writer’s part or excessive sensitivity on the reader’s? James A. Levine, a professor of medicine at the Mayo Clinic, adopted the voice of a 15-year-old Mumbai girl sold into sexual slavery in his first book, The Blue Notebook. In Bingo’s Run, his hero is another 15-year-old in desperate circumstances: Bingo Mwolo, a drug runner in Nairobi’s infamous Kibera slums and the archetypal lovable rogue. Despite the author/physician’s professional familiarity with the plight of impoverished youth, his portrayal of Bingo feels contrived and inauthentic because of the simplistic, even blithe, representation of the struggle and misery such a character would encounter in daily life. Bingo is a cheeky and street-smart orphan, more Artful Dodger than Oliver Twist. Being of unusually small stature, he is well-suited to weaving through Nairobi’s urban jungle and delivering cocaine. But his life takes a twist after he witnesses a murder, which in turn transports the narrative improbably from the arena of drug lords and corrupt missionaries to that of high-stakes art dealers. Perhaps the most consistently off-putting facet of this novel is its implementation of an Englishbased street patois. Regardless of whether or not it is rooted in any sort of reality, its prevalence seems incompatible with the refined and literate voice Bingo employs as narrator. A particularly egregious example occurs when Bingo tries to woo an American art collector into adopting him: “Mrs. Steele, I’z jus’ a chil’ from tha country, ya. Mize Fatha waz a poor farma in tha East … Fatha, he farm every day. We was poor but Mudda, she took care of everyting.” When narrating his background story (as opposed to telling it to other characters), Bingo drops the dialect and resorts to pseudo-poetics. During a flashback scene, Bingo remembers the night his mother, a prostitute, was killed: “Knife touches her skin. ‘It is soft,’ Knife says, ‘No oil.’ Knife enters and is welcomed with blood’s warmest kiss. Mama groans.” It’s permissible for an author to indulge in a certain imaginative license as a means to empathize with a person whose life and culture is entirely distinct from his or her own; however, this approach backfires when the author tries to meld the often incompatible qualities of glamor and authenticity. Bingo suffers from several of the contradictions that result from this melding — the most notable one being his antithetical wise yet naive nature. After being adopted, he is put up in a fancy hotel that causes him no end of wonderment: “I had been in hundreds of hotel rooms, but this was special. It was mine. … The bathroom had a toilet you could sit on, and a giant cattle trough and two sinks.” Would a person who had been in hundreds of hotel rooms, including countless ones in this very hotel, really mistake a bathtub for a cattle trough? Typical of such stories, the underlying moral is that Bingo is best off pursuing his scampish lifestyle in the slums that he calls home. Toward the end of the book, our hero has the choice between two prospective futures: “Mrs. Steele was Destiny No. 1: America, high school, trucks, and free food. Destiny No. 2 was Kibera, the scam, and the run. I knew that I would be crazy not to go to America, but Nairobi was my place; here were my people. In Kibera, I was the greatest runner, and I was famous.” The mythology and mutations of the American dream would be worth exploring at greater length; but after the adventures of Kibera’s most famous runner come to a close, this novel seems content inviting the reader to shake his or her head and muse, “Oh, Bingo! What mischief will you get into next?” — Loren Bienvenu
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Type A
A column exploring the changing world of publishing and reading
James McGrath Morris
We’ll never read the same way again What is happening to books today is as important a moment in history as five centuries ago when a German blacksmith with the unwieldy name of Johannes Gensfleisch zur Laden zum Gutenberg created moveable type and launched the printing revolution. In the years since, technology has made the design, printing, and delivery of books easier, cheaper, and faster. But this latest wave of change — that brought by ebooks — is more than a matter of replacing type, ink, and paper with pixels. Rather a profound shift is taking place in the act of reading itself. Up until now most books, with the exception of reference works and dictionaries, comprised an array of words that one read sequentially. Assuming readers didn’t close a book, the author remained in complete control of their progress, of what they learned, and when. This is no longer the case. In the format of an ebook, readers are freed from this linear literary shackle. Words on the page can now act like escape hatches, at the touch of a finger taking readers to other worlds. Even the simplest book can become something like a choose-your-own adventure popular with children in the past. In short, authors are writing works in which they have greatly diminished control over the reading experience. So why should a writer craft an end to a novel that is dependently linked to the beginning and various moments in between if there is little guarantee the reader will be along for the entire voyage? Leaving the page and meandering cyberspace may be a boon for the dissemination of knowledge, writes author Steven Johnson in the Wall Street Journal, but it is yet another challenge to the finite resource of attention. “As a result,” he says, “I fear that one of the great joys of book reading — the total immersion in another world, or in the world of the author's ideas — will be compromised.” Indeed, reading is a demanding and learned skill that requires concentration, often contemplation, and certainly a lack of distractions. Ebooks are by nature an active visual medium — in short, the opposite of paper books. “You might think of this new medium as books we watch, or television we read,” observes Kevin Kelly, author of What Technology Wants, in a Smithsonian article. In an ebook world, the solitary and private pursuit of reading is also transformed into a collectivist activity. Ebooks permit the measuring of all aspects of reading and the creation of a new social dimension. Publishers are able to learn how long it takes readers to finish a work, when readers get bored, and when they appreciatively mark a section. The first two bits of knowledge are essentially marketing information, little different than what most businesses learn about their products.
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PASATIEMPO I January 31-February 6, 2014
Relief at the Gutenberg Monument in Mainz, Germany
In editorial meetings of the future, authors might be provided with marketing data to use in crafting their next novels. “We note,” the editor might say, “that your readers don’t like your choice of adjectives and find your dependent clauses ponderous” — a data-driven version of advice offered by the late acerbic crime writer Elmore Leonard in his famous essay “Easy on the Adverbs, Exclamation Points and Especially Hooptedoodle.” In a moment of droll self-mockery, sadly missed by many aspiring writers, Leonard advised, “Try to leave out the part that readers tend to skip.” Little did he know that writers would soon have the tools for doing just that. There are, of course, publishers resisting this approach. “The thing about a book is that it can be eccentric, it can be the length it needs to be, and that is something the reader shouldn’t have anything to do with,” Jonathan Galassi, president and publisher of Farrar, Straus & Giroux, told a reporter. “We’re not going to shorten War and Peace because someone didn’t finish it.” Even so, the second batch of data, the one about readers’ underlining and notation habits, has insidious potential for reading. In the past one might pick up a friend’s copy of a book and discover some underlined or noted passages. But that yellow highlighter or marginalia gave one only a clue to the taste of one or a few previous readers. Now ebooks allow the aggregation and sharing of the underlining habits of thousands of readers, pressing upon them conformity not unlike the peer pressure that drives fashions. The personal pencil tick or highlighting of text is transformed into a tool of conventionality. Of course, all these predictions could be as wrong as those that forecast the end of morality when comic books came on the scene. It may well be that while technology can change the world, the actual process of reading remains linear. That’s the belief of Dominic Basulto, a futurist.“In short, technological change is revolutionary, but human change is evolutionary,” he writes in a Washington Post blog. “The experience of reading, the love of narrative, and the craving for new stories has been hard-wired into our DNA, and there’s very little Silicon Valley can do to change this, other than by re-wiring our brains.” ◀
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C A N C E R F O U N DAT I O N F O R N E W M E X I C O
Thursday, February 13th, 2014, 5:0 0 p.m.
Valentine's Eve, Santa Fe Convention Center, $75 per person Dinner Buffet
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PASA TEMPOS
album reviews
WARPAINT ALBERT Warpaint (Rough Trade) HEATH, ETHAN This all-women indie-rock band IVERSON, AND BEN STREET formed in 2004 but didn’t release a Tootie’s Tempo (Sunnyside Records) debut album until 2010 — an unusually Listing even the highlights from jazz drumlong incubation period. Perhaps as a result, mer Albert “Tootie” Heath’s recording career Warpaint sounds like a lot of indie-pop would exhaust the column inches available for from the late ’90s and early ’00s, such as this review. A shortlist might include sessions Broadcast, Beth Orton, and Everything but with tenor sax titans Dexter Gordon, Sonny the Girl. Fittingly, the album is produced Rollins, and John Coltrane. Heath’s latest by Flood and mixed by Nigel Godrich — recording as bandleader — one of only four two men who helped shape the sound of — is Tootie’s Tempo, with bassist Ben Street the late 1990s. But this kind of late-night folktronica has not come and pianist Ethan Iverson (of The Bad Plus). In the album opener, back into fashion, and this album feels oddly out of place and time, stride pioneer James P. Johnson’s classic “The Charleston,” Heath’s compounded by the fact that there are few hooks or statements to be second-line-influenced snare work combines control and chaos. Toward found. It’s a collection of ethereal vocals, generic lyrics, and trip-hop the end, a tight and syncopated drum solo culminates in a rousing all-trio sonics that all seems to drift by like a cloud. The only thing that feels shout chorus. Other tracks, like a relaxed “Stompin’ at the Savoy,” also pay particularly modern is the drumming, which recalls the kinetic if occahomage to early standards. However, the trio’s version of Paul Motian’s 1985 sionally flat sound of bands like TV on the Radio or The National. composition “It Should Have Happened a Long Time Ago” embraces Even when the players wrestle down a melody, as on the single ambience in a decidedly fresh and modern way. The closer is “Love Is to Die,” they don’t seem to know what to do with “Tootie’s Tempo” — five minutes of drum solo work that even it and let it get away. They close the album with “Son,” nondrummers will appreciate. It was originally a full trio take, a piano ballad that builds dramatically with military drums, Iverson explains in the liner notes (perhaps overmodestly): The steamy ‘LST’ and sleek guitar lines, and singing with a sense of purpose. “This isn’t the only track we tried in the studio where This is where they should have started. — Robert Ker Tootie’s sultry lilt outclassed us (or me, at least; Ben usually beautiful ‘Bacharach’ on sounded pretty good) to the point that general release RICHARD EGARR Handel: Eight “Great” Suites would provoke embarrassment. We decided to salvage this ‘39 Steps’ are fascinating (Harmonia Mundi) Surprisingly few keyboard virtuosos one by simply making it a drum solo.” — Loren Bienvenu have championed Handel’s Eight “Great” Suites or, to use examples of how piano the name he attached to them in their initial publication JOHN ABERCROMBIE QUARTET 39 Steps (ECM) in 1720, “Suites de Pieces pour le Clavecin.” That Handel Guitarist John Abercrombie and his band — pianist Marc and guitar can work together chose to title them in French provides a possible key to Copland, bassist Drew Gress, and drummer Joey Baron their interpretation, and the superb British harpsichordist — offer a program of mostly gentle jazzy music, with an occaand off each other. Richard Egarr takes the hint by underscoring how deeply sional Hitchcock theme. It first shows up in “Vertigo,” and it is some of them connect to the keyboard tradition of such French a very pleasant sort of vertigo they portray. The steamier “LST” masters as d’Anglebert, the Couperins, and Rameau. This leads, and beautiful “Bacharach” are fascinating examples of how piano on this two-CD album, to performances that are nothing short of and guitar can work together and off each other — and Abercrombie revelatory in several cases, most astonishingly in the first, sixth, and eighth hasn’t featured a pianist for more than 30 years. (For perspective, suites, all of which sport what amount to French-style unmeasured preludes, the guitarist’s recorded output approximately works out to one album a year as well as in portions of the E-Major Suite (the most familiar of the bunch for four decades.) “Greenstreet” is as dapper as Sidney, although I don’t get thanks to its famous “Harmonious Blacksmith” variations). However, Egarr the sense of weight that a song named after this actor should also convey. does not proselytize for a one-size-fits-all philosophy, and he renders the You would expect a quality of psychological tension in a tune named other suites in the more Italianate, Corelliafter the film “Spellbound,” and this very derived flavor they seem to want. He follows cool piece is tantalizingly spooky, with good Handel’s original texts rather than the doses of rhythmic suspense and dissonant altered versions a contemporary published mystery. Knowing the plot of the film Shadow to make them “more manageable under of a Doubt, we anticipate a depiction of innothe hand.” Indeed, a player would find cent love ruined by a deadly cynicism and the keyboard writing to be idiosyncratic betrayal. The music in the too-short piece is — Egarr’s booklet notes characterize it as confused, conflicted, and almost free. The title “awkward in the same sense that Brahms’ song is lovely and cagey, but lacks inklings piano writing is awkward”— but his perof the movie’s humor and adventure. The set formance shows the price to be justified ends with a splendidly contorted version by the powerful profile of the music. of the standard “Melancholy Baby.” — James M. Keller — Paul Weideman
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PASATIEMPO I January 31-February 6, 2014
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TERRELL’S TUNE-UP Steve Terrell
Two from Texas
When you think of country-folk songwriters from Texas, you probably think of pickers and singers like Townes Van Zandt, Guy Clark, Ray Wylie Hubbard, The Flatlanders, and Terry Allen. Not to mention Willie and Waylon and the boys. Here are a couple of younger singer-songwriters from the Lone Star State whose music is definitely informed by all those greats, even though they don’t sound much like your typical Texas troubadours. They both started out as “one-man bands” and are in their late 30s, and I suspect they share a lot of the same fans. But they don’t sound much like your typical one-man bands, and, come to think of it, they don’t sound much like each other. ▼ There Will Be Nights When I’m Lonely by Possessed by Paul James. Though he frequently sings like a man possessed, this singer’s name isn’t “Paul James.” It’s Konrad Wert, a preacher’s son born and raised in a Mennonite family in Immokalee, Florida. Paul James is a combination of his father’s and grandfather’s names. Wert’s day job is as a special-education teacher at an elementary school. Jeopardizing forever his standing with one-man-band purists (I suppose there are some of those out there), Wert is joined by an ad hoc band on some cuts here. The players include a couple of Texas heavyweights — steel guitarist Lloyd Maines and harmonica honker Walter Daniels. Fortunately, the extra musicians only enhance and don’t clutter Wert’s sound. Fans will immediately know that this record, released late last year on the Hillgrass Bluebilly label, is
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PASATIEMPO I January 31-February 6, 2014
a Possessed by Paul James album by the opening notes of the first song, “Hurricane.” Wert’s fiddle, screeching but not quite abrasive, is soon followed by foot stomping, a stand-up bass, drums, and excited yelps from Wert — perhaps an invocation to the swamp demons who haunt his music. Wert’s on the fiddle on the next tune, “Songs We Used to Sing,” as well. It’s upbeat with just a hint of pop in the melody, though you’re not likely to hear this on commercial radio. Drummer Cary Ozanian gets a good workout on this one. On “Heavy,” Wert ditches the band and switches to banjo. “Oh, this life can get heavy,” he sings in the refrain. The words may underscore the pressure that seems to propel his soaring vocals. “Dragons,” also featuring Wert on banjo, is a shambling roadhouse blues tune. He roars and growls as Daniels blows sweet riffs on his harmonica. (Wert cleverly sneaks the titles of some of his earlier albums into the lyrics on these two songs. His previous record, Feed the Family, is referenced in the first verse of “Heavy,” while on “Dragons” Wert sings, “You’ve left me cold and blind,” a sly wink to the title of his 2008 album.) The title song, preceded by a minute-long fiddle solo, features an even-more-intense-than-usual Wert, stomping, fiddling, and pleading for love, though he sees some rough times “when we cry ourselves to sleep.” The darkest song here is undoubtedly the slow, minor-key “Pills Beneath Her Pillow.” It’s about reckless and weary lovers. The woman keeps pills under her pillow, while the man keeps guns under his. In the chorus Wert sings, “Everyone is searching for love, everyone is fighting for love, everyone is killing for love, and baby, oh, I’m dying tonight.” My favorite song on There Will Be Nights is a lighter piece, a sweet love-lust tune called “38 Year Old Cocktail Waitress.” With some honkytonk steel from Maines, Wert sings, “On the golf course road down in Mexico, she’s my beauty queen/She wears a pink bikini, drinks an appletini, oh, she’s quite the scene.” Check out www.ppjrecords.com. ▼ Nothin’ but Blood by Scott H. Biram. Now I doubt that Scott H. Biram would ever sing the praises of a woman who drinks appletinis. He seems like he’d be more attracted to the straight whiskey type. In fact, “Only Whiskey” is the name of one of the rowdiest
tunes on this new album by gruff-voiced Biram. “Only whiskey can sleep in my bed,” he growls over his distorted electric guitar. There are plenty of rip-roaring, blues-soaked, boozefired songs on Nothin’ but Blood, scheduled for release next week by Chicago’s Bloodshot Records. “Alcohol Blues” (an old Mance Lipscomb tune), with a guitar hook similar to that on Cream’s version of “Crossroads” and with a string of obscenities, is definitely one. “Around the Bend” and “Church Point Girls” might just be the first recorded one-man-metal-band tunes in human history. On “Bend” Biram even manages a pretty good parody of the lizard-demon voice you hear in so many death-metal bands. While Biram lustily sings of drinking, drugging, sex, and sin, there are plenty of salvation songs here as well. “Gotta Get to Heaven” is a happy tune about a guy who apparently has wrestled with his sinful ways and won. Tacked on at the end of the album are three “gospel bonus tracks,” including oft-covered classics like “Amazing Grace” (featuring Biram’s harmonica and ambient rain sounds) and a rousing “John the Revelator,” and one called “When I Die,” which is credited to Biram, though it sounds as if it could be a hymn from deep within the foggy realm of American folk traditions. Biram performs more cover songs than usual on this record. Besides those already mentioned, he does versions of folk gems, including “Jack of Diamonds,” “I’m Troubled” (which is credited to Doc Watson, though it sounds much older), and Willie Dixon’s “Back Door Man,” which is closer to Howlin’ Wolf’s version than to the one by The Doors. While Biram is best known for his rambunctious and sometimes raunchy material, he is also capable of giving us slow, pretty acoustic songs. He has proved that before, of course, on songs like “Still Drunk, Still Crazy, Still Blue” from Something’s Wrong/Lost Forever (2009) and “Broke Ass” from 2011’s Bad Ingredients. On the new album, “Never Comin’ Home” is a sturdy country weeper, while the minor-key “Slow and Easy” is slow, though the narrator, drinking his wine to get “that same old high,” sounds anything but at ease. The real standout is a song called “Nam Weed.” It’s the story of a Vietnam vet pining about the good old boys he knew during the war. “Long time, back in Vietnam/I had some friends that could give a damn/ They’d roll ’em up and smoke ’em down/Good weed back in Vietnam.” Here in the USA, however, the nostalgic narrator is doing time for some unspecified crime. “All my friends were over there,” he laments. Visit www.scottbiram.com. Biram and Possessed by Paul James show that, in case anyone forgot, singer-songwriters don’t have to sound self-absorbed and folksingers don’t have to be self-righteous. Both of them also prove that Texas hasn’t stopped making top-notch troubadours. ◀
DEAN’S LECTURE & CONCERT SERIES
SUNDAY, FEBRUARY 2 · 1:00 – 4:00 PM
Celebrate Asian New Year 2014 Year of the Horse 1:00 – 4:00 pm Hands-on projects for ages 3 – 103: · New Year’s Wish Sumi-e Painting with William Preston · Chinese Dancing Dragon Puppets · Performances by the Quang Minh Lion Dance Group Free with museum admission. New Mexico residents with I.D. free on Sundays. Youth 16 and under and MNMF members always free. Funded by the International Folk Art Foundation.
Presented in conjunction with Tako Kichi: Kite Crazy in Japan
spring | 2014
1160 Camino Cruz Blanca | Santa Fe, NM | 505-984-6000 | www.sjc.edu
Events will be held in the Great Hall, Peterson Student Center, St. John’s College campus at 7:30 p.m., unless otherwise noted. Lectures and concerts are free and open to the public. “’Freedom Depends on Its Bondage’: The Return to Plato in the Philosophies of Leo Strauss and Emmanuel Levinas” Leora Batnitzky, Princeton University Department of Religion Friday, January 31
“The Shape of Musical Time”
Andy Kingston, St. John’s College, Santa Fe Friday, February 7; 3:15 p.m., Great Hall
“Spirited Friends: On Dogs and Friendship” Gary Borjesson, St. John’s College, Annapolis Friday, February 21
Afternoon Concert: Chip Miller, piano
Sunday, February 23 3 p.m., Great Hall
Evening Concert: David Russell, guitar Friday, March 7
On Museum Hill in Santa Fe · (505) 476-1200 · InternationalFolkArt.org
“Machiavelli’s Enterprise”*
Harvey Mansfield, Harvard University Government Department Friday, April 4; 3:15 p.m., Great Hall
Afternoon Concert: Yu Ji, piano
Sunday, April 6; 4 p.m., Great Hall
“A Strong Good?”
Annual Steiner Lecture Remi Brague, University of Paris, Ludwig-Maximilian-Universität of Munich Friday, April 11
“‘Exit, pursued by a bear’: Finding Direction in Shakespeare”* Elizabeth Samet, United States Military Academy, West Point Friday, April 18
An Evening with the author of The Tiger’s Wife* Annual Worrell Lecture Téa Obrecht Friday, April 25
Student Theater Performance
TBA Friday, May 2
“How Does Philia Come to Be?”
Paul Ludwig, St. John’s College, Annapolis Friday, May 9; 3:15 p.m., Great Hall
“Stowaway! A University Academic’s Year at St. John’s College” James Brooks, Visiting Scholar, St. John’s College, Santa Fe Wednesday, May 14; 3:15 p.m., Junior Common Room
*This lecture is part of The Carol J. Worrell Annual Lecture Series on Literature
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GeorGia o’Keeffe and ansel adams: The hawai‘i PicTures
PASA REVIEWS
February 7 – September 14, 2O14
Santa Fe Pro Musica Orchestra Lensic Performing Arts Center, Jan. 25
Fiddler raises the roof
T Georgia O’Keeffe, White Bird of Paradise, 1939. Oil on canvas, 19 x 16 in. Georgia O’Keeffe Museum. Gift of Jean H. McDonald. © Georgia O’Keeffe Museum. Ansel Adams, Leaves, Foster Gardens, Honolulu, Hawaii, 1957-1958. Gelatin silver print, 13 x 9 7/8 in. Center for Creative Photography, University of Arizona.
exhibiTion oPeninG lecTure Georgia o’Keeffe and ansel adams: displacement and Place in the hawai‘i Pictures Theresa Papanikolas, Curator of European and American Art at the Honolulu Museum of Art, and curator of the exhibition, Georgia O’Keeffe and Ansel Adams: The Hawai‘i Pictures, will focus on work created in and about Hawai‘i by two of America’s most renowned 20th-century modernists. She will discuss how they developed a sense of place in their work, as they bypassed the visual formulas and cultural clichés being constructed at mid-century. Their paintings and photographs reveal what lay beyond the beaches of Waikiki by giving form to their personal discoveries in the islands. Thursday, february 6, 6:30 Pm, saint francis auditorium New Mexico Museum of Art, 107 West Palace Avenue, Santa Fe, NM Admission $5; Members and Business Partners, FREE Reservations: 505.946.1039 or online at okeeffemuseum.org
Georgia O’Keeffe and Ansel Adams: The Hawai‘i Pictures was organized by the Honolulu Museum of Art and made possible with generous support from Barney Ebsworth, First Insurance Company of Hawai‘i, Patrick and Edeltraud McCarthy, and the National Endowment for the Arts. Additional support for this exhibition and related programming is provided by a grant from The Burnett Foundation, New Mexico Arts, a division of the Department of Cultural Affairs, and the Santa Fe Arts Commission and the 1% Lodgers’ Tax.
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wo works of surpassing loveliness occupied the first half of Santa Fe Pro Musica Orchestra’s program on Jan. 25 at the Lensic Performing Arts Center. Ralph Vaughan Williams drew the melody of his Fantasia on a Theme of Thomas Tallis from a third-mode hymn Tallis had published in a 1567 collection of psalm settings. The third (or Phrygian) mode is a scale arrangement that differs slightly from modern major or minor scales, and the 1567 psalter characterized it thus: “the Third doth rage: and roughly brayth.” In the Fantasia Vaughan Williams produced three and a half centuries later, in 1910, the composer neither rageth nor brayeth. On the contrary, he offers a refined study in sustained ecstasy that plumbs the sonic possibilities of a string orchestra that is divided into two sub-orchestras and a string quartet. On a larger stage than the Lensic’s there would be space to separate the component forces, as the composer recommended, but even without the extra spatial perk, Thomas O’Connor extracted a finely crafted performance. The solo quartet — violinists Stephen Redfield and Karen Clarke, violist Kim Fredenburgh, and cellist Myron Lutzke — was outstanding, but there was depth throughout the sections, which obviously put much preparation into rehearsing as an ensemble. The program notes pointed out that Vaughan Williams wrote his Fantasia after studying with Ravel in Paris. That threemonth stint, which Vaughan Williams called acquiring his “French polish,” contributed to the sonic finesse of this work, but I am surprised that interpreters rarely approach the Fantasia as they might a Ravel piece, with surging phrases superimposed over a restrained core. O’Connor followed the more standard approach, emphasizing terraced dynamics rather as if the various string forces were different ranks of an organ, and that proved effective too. What followed was still more exceptional: a riveting performance of Samuel Barber’s Violin Concerto, featuring soloist Cármelo de los Santos. Barber was swimming against the critical current when, in 1941, he unveiled a work that maintained so firm a grasp on Romantic ideals. (“Lyric and rather intimate” was his description of the piece.) De los Santos, a native of Brazil, serves as associate professor of violin at the University of New Mexico and enjoys a solo career that is more modest than it should be judging from this exemplary performance. His ravishing tone displayed a layer of delicious sweetness spread over a fundamentally powerful timbre with a smoky underpinning, the latter particularly compelling in passages that lay on the G string. (He plays an instrument built in 1929 by the respected Chicago luthier Carl G. Becker.) He brought color, clarity, security, and momentum to his interpretation, which stressed lyric opulence in the opening movement, dramatic passion in the Andante, and vigorous energy in the finale. The orchestra seemed swept up by his intensity, even to the point of overpowering him at several places. The performance was a triumph for De los Santos, easily rivaling interpretations one would expect from soloists whose names are more widely recognized. Beethoven’s Symphony No. 1 received a solid if not particularly detailed reading after intermission, with the wind sections offering rich-hued section work. Among the delights of this concert was the fact that it did not include speeches, a welcome rarity that placed the spotlight on the ensemble and its admirable work from the get-go. — James M. Keller
forum presenter & award-winning novelist of Wash
Jerome Bernstein, M.A.C.P., NCPsyA. & Guilford Dudley, Ph.D. forum panelists & Jungian analysts in Santa Fe & Albuquerque
America’s Shadow: Curse and Redemption through a Novelist’s Eyes
Friday, February 7th 7-9pm $10 2 CEUs Except for the genocidal policies toward Native Americans, America’s most persistent and deep-seated shadow is its treatment of African Americans – from 250 years of slavery, to the Jim Crow South, to today’s criminal justice system and Voter ID laws – all reflecting the shadow of authoritarian repression and superiority by whites. It is arguably the country’s most serious “cultural complex,” involving collective scapegoating by colonists, who achieved aristocracy and wealth through an extreme racial hierarchy that turned humans into private property. Margaret Wrinkle has written an acclaimed novel about a slave, the medicine woman he loves, and his owner, an impoverished veteran of the Revolutionary War and the War of 1812 who is torn by the opposites of financial need and the immorality of slavery. The New York Times Book Review calls the novel “both redemptive and affirming.”
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Open Public Forum Margaret Wrinkle
CALENDAR OF EVENTS
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Community Health Nurse/Mobile Health Van 9 a.m. to 3 p.m., Main Entrance 505-995-9538 Get blood pressure, glucose and cholesterol checked.
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Southwestern Sleepers Lecture Series: Insomnia 5:30 p.m., Room 433 505-438-3101 Find out what’s new in sleep medicine and treatment.
The novel brings out not just injustice, but potential loss. We are in danger of losing the benefit of integrating our collective shadow. From the same psychological cloth we are in danger of losing the enrichment by the “racially other,” because we are unable or unwilling to hold and integrate these “different” humans whose ancestors were on our soil longer than most of ours. Their differing views of soul, nature, ceremony, spirit, life rhythm, and passion can be an inestimable enrichment to the psyches of whites, allowing a new wholeness – collectively and individually – to emerge.
Backyard Astronomy 7 to 8 p.m., Planetarium 505-428-1744 Enjoy a live presentation of the current skies. Give Kids a Smile Day 11 a.m. to 2 p.m., Room 454 505-428-1258 Free dental screenings, limited treatment, education, food and goodies. Open to all ages.
Reading the novel will be helpful but not necessary for benefitting from this program. Event takes place at Center for Spiritual Living. 505 Camino de los Marquez, Santa Fe
For information contact Jerome Bernstein, 505-989-3200 For expanded program details go to www.santafejung.org
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A Month with the Moon 7 to 8 p.m., Planetarium 505-428-1744 Learn more about our natural satellite.
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Renewable Energy Day 10 a.m. to 2 p.m., State Capitol Bldg. 505-310-4425 Celebrate the benefits of renewable energy.
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¡Perú los espera! 3 to 4 p.m., Room 217 505-428-1649 Learn how you can take Spanish classes and explore the Andean culture in Perú.
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SFCC Governing Board Meeting 5 p.m., Board Room 505-428-1148 Agenda and background materials for board meetings are at www.sfcc.edu/about_SFCC/governing_board.
PLUS... Feb. 13 — SFCC Day At the Legislature. See the many ways we serve our community, 8 a.m. to 2 p.m., at the State Capitol Building. Feb. 21-23 — ArtFeast Fashion Show featuring SFCC “Star Students”. To purchase tickets and more information, please visit artfeast.org. Through March 5 — “Dos Pintores – Dos Senderos: Padre y Hijo: An Exhibition of Paintings” SFCC Visual Arts Gallery. MORE AT WWW.SFCC.EDU
LEARN MORE. REGISTER NOW. 505-428-1000 www.sfcc.edu EMPOWER STUDENTS, STRENGTHEN COMMUNITY. EMPODERAR A LOS ESTUDIANTES, FORTALECER A LA COMUNIDAD. PASATIEMPOMAGAZINE.COM
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Bill Kohlhaase I The New Mexican
Jazz bassist
DEZRON DOUGLAS learns from his elders
assist Dezron Douglas was 18 when he first met revered saxophonist and fellow Hartford, Connecticut, resident Jackie McLean. Douglas had finished high school and taken a job, much to the chagrin of family members, who wanted him to continue his education. A great-uncle, drummer Walter Bolden, brought McLean to the house. There McLean, who ran the jazz program at the University of Hartford’s performing arts conservatory, the Hartt School, took the bassist aside. “I didn’t know who Jackie McLean was,” said Douglas, who brings his quartet to Santa Fe on Friday, Jan. 31. McLean must have felt the face to face wasn’t enough and later phoned Douglas. “He talked to me a long time and kept telling me, Come play in my program. I know your family. I know your uncle. We go way back. Come play for me.” Douglas spent the next four years at the school, performing in McLean-led ensembles, forging tight relationships with student musicians who have also 24
PASATIEMPO I January 31-February 6, 2014
gone on to notable jazz careers. “I became a follower of Jackie Mac. He was a huge mentor. He helped fill the void after my uncle passed away.” McLean worked with Sonny Rollins, Miles Davis, and Charles Mingus in the 1950s and recorded a string of groundbreaking albums for Blue Note Records, including Jackie’s Bag, Let Freedom Ring, and Destination … Out! He developed a style that took its form and substance from the bebop and hard-bop movements and combined them with free jazz sensibilities. He founded the Hartt School’s African American music program, which later became the Jackie McLean Institute of Jazz. “Jackie was inspiration personified. Everything that came out of his mouth was nothing but wisdom. He encouraged me to keep playing the way I play, to get my own sound. He’d sit and watch me closely. He’d say, You know your instrument, but you have to go into the big room — you have to play from inside. When you close your eyes I can see you start to go there. But you have to go deeper.” McLean inspired Douglas to embrace the jazz legacy. He would sometimes call Douglas late at night — or Douglas would call him — with stories from his
bebop days. “He was a kid when he was hanging out with Charlie Parker and Thelonious Monk and Sonny Rollins. Their families knew each other. It’s hearing his story, not just the legend of it but from someone who was there — stories of people whose whole lives were built on this music, not just the art but the business, the light side and the dark side. That’s how you know this music is real.” Douglas’ great-uncle provided a connection to the local scene and to the jazz world at large. Bolden was a regular in the Hartford jazz community until 1950, when Stan Getz came through town, needed a backup band, and hired a trio that included Bolden and the young pianist Horace Silver. Getz liked the trio so much that he hired the group as his touring band. Bolden ended up in New York, where he recorded with Gerry Mulligan, Coleman Hawkins, and McLean. Bolden also had a reputation as a composer, writing music for fellow drummer Art Taylor’s group Taylor’s Wailers, pianist Harold Mabern, and trumpeter Howard McGhee. “At first, I didn’t even know [my great-uncle] played drums,” Douglas said. “He used to come over to Grandma’s house and play the piano and sing.” When
Bolden found out the young Douglas was getting into jazz, he brought him some albums by Taylor’s Wailers. “I discovered that he’d written half of [Taylor’s] book. That’s when I figured it all out.” Bolden gave the young bassist encouragement. He drove up from New York to hear Douglas’ high school jazz band’s last performance. “I’d sent him an invitation and didn’t expect him to show. He was having bad health issues. But there he was. Afterward, we talked for a long time. He’d been writing some new music. He said, You stand out. You sound great. Play some melodies on the bass — get the feel for them. This is in your blood. I want you take this music further.” Bolden, who died in 2002, left copies of all his music to his great-nephew. “There was some of the stuff he’d written for Harold Mabern in there. I’m hoping to work it into my own music.” Douglas was born in 1981. He was 5 when he first attended one of his father’s gospel performances at church. He was struck by his father’s singing and even more so with the group’s bassist. “Dad would sing around the house, but I’d never seen him perform like this. I could see how he reacted to the bass, how everybody in the congregation reacted to it. The groove was just infectious. I just gravitated toward it.” Douglas has a theory about what caused that reaction. “It’s the vibration, the feeling you get from the vibration of the sound. You feel that vibration before you hear the sound. And what that conjures up is the feeling you get as you hear the sound.”
If you take the history out of this music,
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world know that this is where it all comes from. Douglas listened to the music of the day: pop, soul, R & B, and blues. “When I was old enough to really start listening, my dad said to check out the bass players. I could hear the different reasons something from Stax or Motown became a hit, and it always had to do with the bass. It’s what was happening in music. When I caught the jazz bug at 16 or 17 and began to listen to jazz intensely, I could understand what was going on.” At the Hartt School, Douglas studied with bassist Nat Reeves. It was Reeves who set him up with saxophonist Pharoah Sanders. “They put my name in when Nat couldn’t make the gig, and there I was,” Douglas said. “Pharoah’s the only saxophonist I know who can solo for a long time and never sound like he’s reusing anything. He’s an explorer. He’s going to find everything and anything that can happen in a tune.” In addition to Sanders, Douglas has worked with saxophonists Kenny Garrett and Ravi Coltrane and a host of other jazz artists who came before him. His career as a leader is building steam, fired by the connections he made at the Hartt School. Last year, Dezron Douglas: Live at Smalls with trumpeter Josh Evans was released to glowing reviews in DownBeat and other jazz publications. The album includes several of Douglas’ own compositions, works that find a place between the hard bop he so admires and the new rhythms and harmonies that define contemporary jazz. “I’m a big fan of all that music from the ’50s, ’60s, and ’70s. Sometimes being a fan of that you’re shunned. Everyone wants hip-hop in their jazz. I’m hip — I used to deejay and play Public Enemy and Run-DMC. I play electric bass. But I have a serious respect for the elders of the music, the guys like Jackie and my uncle, who brought this music to where it is. If you take the history out of this music, the feel just won’t be right. I’m here to let the world know that this is where it all comes from.” ◀
Both classes held at the Leonard Helman Bridge Center
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details ▼ Dezron Douglas Black Lion Quartet with Lummie Spann Jr., Josh Evans, and Eric McPherson, presented by SFé Jazz ▼ 6 & 8 p.m. Friday, Jan. 31 ▼ The Den, 132 Water St. ▼ $55-$250; reservations at 505-670-6482
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From an 18th-century painting by Gavin Hamilton
James M. Keller I The New Mexican
Enemy of the people Shakespeare scholar John Andrews discusses Coriolanus
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hakespeare wrote his tragedy Coriolanus sometime in the period between 1605 and 1610, with 1608 being the year cited by a number of scholars grasping at scant information. In any case, it was a work of his full maturity, arriving just a few years after the tragic trio of Othello, King Lear, and Macbeth, but audiences have never granted it the popularity they have bestowed on those works. It nonetheless soldiers on, securing, if not affection, at least profound respect from its aficionados. A production currently running at the intimate Donmar Warehouse in London will be beamed internationally — including to the Lensic Performing Arts Center on Friday, Jan. 31 — as part of the National Theatre Live in HD incentive. Coriolanus traces the rise and fall of an arrogant patrician of ancient Rome, Caius Marcius, who appends the name Coriolanus after defeating the neighboring Volscians at the town of Corioli. On the basis of his military triumph he is made a candidate for the consulship, but his contempt for common citizens — the plebeians — renders him temperamentally unsuited for such a position. They so resent his disdainful bearing that he leaves town and enters into an opportunistic political alliance with Volscian general Tullus Aufidius; if he cannot gain the admiration of the Roman citizens, at least he can conquer them with force. The Roman people are outraged by his turncoat tactics, and at the last minute he is dissuaded from his plan by his family, particularly by his domineering mother, Volumnia. He prepares to draw up a peace treaty with the Romans, but he is by now too far enmeshed in his scheme. Aufidius, who has privately resented Coriolanus all along, denounces him to the Volscian authorities, and Coriolanus is slain in the ensuing mêlée. We thought we might benefit from some help in penetrating the play’s tough exterior, and we knew just the man for the job: John Andrews, OBE, who in 2008
moved to Santa Fe from Washington, D.C., where he spent a decade as director of academic programs at the Folger Shakespeare Library and four further years as deputy director of education programs for the National Endowment for the Humanities. He now devotes much of his time to overseeing The Shakespeare Guild, a philanthropic organization that supports Shakespearean enterprises internationally. His overflowing résumé includes the fact that The Literary Guild (a unit of Doubleday) engaged him to edit The Guild Shakespeare, its 19-volume annotated edition of the Bard’s works. This grew into a still more detailed collection published by Everyman’s Library, in which his edition of Coriolanus displays a rigorously scholarly text on the right-hand pages and his detailed, line-by-line commentary on the left — that is, when the commentary doesn’t spill over onto the right-hand pages as well. Pasatiempo: How do your Guild and Everyman editions differ from other Shakespeare editions? John Andrews: Originally, I thought I would focus on the commentary, since all modern editions were pretty much the same when it came to the text itself. There is a strong editorial tradition that goes back to the 18th century, the time of Alexander Pope and Lewis Theobald. Theobald especially made a lot of emendations, and it’s amazing that so many survive, since so often they were unnecessary and not nearly so good as what was there already in the publications from during or near Shakespeare’s lifetime. In the 18th century, language got formalized and standardized. But I went back to the original published texts — the quartos and the Folio of 1623 — and started looking at them in a way I thought no one had done when preparing editions for general readers, very often incorporating unusual early spellings. For example, in the early editions the word “human” is almost always spelled with a terminal “e”: “humane.” So when Lady Macbeth complains that her husband is “too full of the milk of human kindness,” as actors will pronounce it today, she was saying more than we would likely pick up today; it is both “human” and “humane.” In my editions I ended up keeping the original spelling and the original punctuation wherever I felt it would make a difference, and in almost every case I decided it would be presumptuous of me to assume it would not make a difference. In the commentary, I found myself often pointing out possibilities of ambiguity, making cross-references to other instances of the same kinds of unusual spelling elsewhere in other plays. Pasa: Does Coriolanus offer examples of such ambiguities? Andrews: Oh, yes. For example, in Act 4, Scene 7, there are two uses of the word “cluster.” Coriolanus’ friend Menenius refers to the plebeians as clusters, and in every edition I checked this is said to mean “mobs.” That is in fact what they are, but it occurred to me that I had encountered that word before in Othello. When Iago watches Cassio kiss Desdemona’s fingers out of respect while they’re waiting for Othello’s ship to arrive, he refers to them as “clysterpipes” in the early quarto edition, which becomes “cluster-pipes” in the folio. The word derives from the Greek “klyster,” which reached Middle English as “clyster,” meaning an enema. What Menenius is saying there, or Shakespeare is saying with his “small Latin and less Greek,” is that the mobs served as a kind of instrument for the evacuation of the city politic, that they drove Coriolanus out of the city, in effect giving the body politic an enema. That’s the kind of payoff you get when you consider these early sources. Understanding this enriches the meaning. It ties in with the imagery of the play, which is really about physical aspects of digestion; a famous passage is the “parable of the belly,” and there are places where Shakespeare plays with a pun on the words “faces” and “feces.” And the title character’s name, as the scholars Stanley Cavell and Kenneth Burke have pointed out, is a play on the word “anus.” In a literal sense, this play is about “the body politic” — how it needs to function properly in all its parts, that you can’t have members in rebellion. Pasa: Politics being out of balance seems relevant to our own time, doesn’t it? Your editor’s introduction to Coriolanus begins by pointing out that, in the play’s opening scene, “Shakespeare invites us to explore a perennial problem: the equitable distribution of a society’s goods and resources.” That sounds like income inequality. Andrews: That’s one reason the play is appearing more often these days. It really relates to what is going on in society, and not just American society. Ralph Fiennes’ movie of Coriolanus, from 2011, sets it in Serbia, in a dark, Eastern
Tom Hiddleston in Coriolanus, an NT Live broadcast; photo Johan Persson
European, post-Soviet society. The opening scene of the play is unquestionably about the 1 percent versus the 99 percent, the belly consuming all of society’s resources and distributing nothing to the other parts of the political body. It is not the first time Shakespeare dealt with this question; it also makes up a key scene in King Lear. Pasa: Are there other important themes we might watch for in this play? Andrews: The theme of sacrifice. Coriolanus is sacrificed at the end of the play. I keep seeing in this play references to Isaiah, chapters 52 and 53, passages about the suffering servant, which are often seen as prophetic of the Crucifixion. These are very familiar to us as they figure in the libretto for Handel’s Messiah: “He was despised and rejected of men,” for example, or “He was cut off out of the land of the living.” Shakespeare suggested ways in which Coriolanus becomes a man of sorrow, is despised, is cut off, and we knew him not. Shakespeare looks at Roman history as depicting a pre-Christian society that couldn’t be a really healthy society because it couldn’t develop into something harmonious. We find something similar in Julius Caesar, where Brutus says, “Let us be sacrificers but not butchers.” These things would not be understood by the characters in the plays, but Shakespeare was writing for an audience that would pick up on these analogies. Pasa: How does this fit into the trajectory of Shakespeare’s several plays set in ancient Rome? Andrews: It’s his fourth and final play about Rome. His early play Titus Andronicus is about the end of the Roman Empire. Julius Caesar is about the transition from the Roman Republic to the empire. Antony and Cleopatra involves the establishment of the republic. And Coriolanus goes back to the beginning, shortly after Lucius Junius Brutus in effect founded the republic by banishing the Tarquins, in 509 or 510 B.C. So Coriolanus is about how the Republic of Rome becomes formed in its early stages. It’s in a state of arrested development, struggling to realize its potential. Pasa: Do you rate Coriolanus highly with Shakespeare’s oeuvre? Andrews: It is certainly true that a lot of the characters, and Coriolanus in particular, are unsympathetic characters. But personally, I find it a powerful play. T.S. Eliot called it, along with Antony and Cleopatra, “Shakespeare’s most assured artistic success” and ranked it higher than Hamlet. I suspect he may have been alert to a lot of the wonderful ambiguities we find in Coriolanus. ◀
details ▼ Shakespeare’s Coriolanus, National Theatre Live in HD broadcast ▼ 7 p.m. Friday, Jan. 31 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $22; 505-988-1234, www.ticketssantafe.org
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Jonathan Richards I For The New Mexican Jonathan Richards I For The New Mexican At first it’s thoughts, and after a while it’s something else, more primal, that passes back and forth between your eyes and hers, from your mind to hers, from her soul to yours. And she knows something, perhaps a great deal, that you do not.
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he stares at you, unblinking, and you stare back at her. Time passes, and you’re still gazing into those eyes, deep and dark and fathomless. At first it’s thoughts, and after a while it’s something else, more primal, that passes back and forth between your eyes and hers, from your mind to hers, from her soul to yours. Her name is Triska. She’s a female lowland gorilla. And she knows something, perhaps a great deal, that you do not. “Loren Eiseley has this phenomenal quote,” said Godfrey Reggio, stretching his rumpled six-footGod-knows-how-many-inch frame at his cluttered desk in what used to be a Santa Fe auto-repair shop and is now his office. “‘We, as human beings, have not seen ourselves until we have been seen through the eyes of another animal.’” Three decades after his first feature, Koyaanisqatsi, and a dozen years since his most recent, Naqoyqatsi, Reggio is back with a new effort. It’s called Visitors, and 28
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it opens at The Screen on Friday, Jan. 31. Reggio provides an introduction and holds a Q & A with the audience. In some ways, Visitors is kin to his Qatsi trilogy (which also includes 1988’s Powaqqatsi), and in some ways it’s something new. “It certainly is in the form of the other films,” the filmmaker acknowledged. “Image and music, pictorial composition, as opposed to coming from literature, which is screenplay, first and foremost. These films — if I knew what they were going to be before I made them then I couldn’t make them. Of course it’s very hard when you’re trying to raise money, from businesspeople especially, to say, ‘Trust me,’ so I have to act as if I know what I’m doing.” One important departure is that Visitors is composed of long takes. Koyaanisqatsi contained about 400 separate images, and by Naqoyqatsi he was up to 600. Visitors, which runs just under an hour and a half, has 74. “So if Koyaanisqatsi is an outside look at the world, this is more of an inside look at the world. It’s radically
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different from the trilogy, different by virtue of the stillness of the piece. I learned long ago that the stiller a person becomes, the higher probability that their senses are attuned to what is around them.” Reggio left home at 14 and joined the Christian Brothers order in New Orleans. “I learned as a young Christian Brother that if I wanted to see that which is ordinary, I had to look at it, or stare at it, until it became strange,” he said. “I went to a self-sufficient community of monks, about 100 monks, and we did everything from bury the dead to make our clothes to produce all our food. So I was in the world but not of it. At 14 I entered the Middle Ages, rather than La Dolce Vita New Orleans, which I grew up in.” When he came to Santa Fe as a young Brother, movies could not have been further from Reggio’s world. “Being a Brother, you don’t see films. Maybe once or a couple of times a year we would have a film on the life of Christ, Joan of Arc, or something similar.
All Brothers take a vow to teach the poor gratuitously. I was a young zealous monk. My Che Guevara, as it were, was Pope John XXIII. He said, Accept nothing, question everything, even the structure of the church. So I drove my superiors crazy, until they let me work with barrio youth. And Brother Alexis Gonzales, from Santa Fe, said to me, Godfrey, I’m going to show you a film — it may change your life. And he gave me Los Olvidados (The Forgotten Ones), the Buñuel film. I was working in the barrio, and that film was like a lightning bolt for me. It was a spiritual experience. It was not entertaining. It touched my soul deeply. I showed it on the walls of the barrio. I bought a 16mm copy, and it became like our church.” That was in the early ’60s. Reggio decided that if film was that powerful a tool, if it could move him “and all the beautiful young men and women in the youth gangs that I worked with,” that it was something he wanted to try to use. “I could never do what Buñuel did,” he readily acknowledged, “and I wasn’t personally interested in entertainment cinema. I very seldom go to the movies. I have nothing against them. But there are many paths to the source. My path was one of naivete, of not being trained in the cinema. Which is very fortunate for me, continued on Page 30
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Images from Visitors, courtesy Cinedigm
Visitors, continued from Page 29
Rehearsal with Philip Glass and orchestra
Godfrey Reggio, photo by Trish Govoni
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PASATIEMPO I January 31-February 6, 2014
because if I’d been trained in the cinema I would never have been making this kind of film.” In preparing Visitors, Reggio began with a few basic concepts. “First of all, I wanted to have a gorilla. So I went to the Bronx Zoo, because of all the captive gorillas in the United States, there was one kind I wanted — not just a gorilla but a lowland female gorilla, because her face and our face are most similar in the primate world. We’re a human animal and she’s a primate, and we are connected. To see a gorilla in the zoo or her natural habitat is seeing a gorilla. To take the habitat out of the shot, to put her in a ‘blackground,’ changes the dynamic of viewing — now she is looking at you.” What Reggio calls “blackground” are the deeply saturated blacks behind his subjects, which eliminate all distraction from the face itself. He shot close-ups of old people in a New Orleans retirement home, he shot kids playing video games, he shot Triska in her simulated African habitat at the Bronx Zoo and then proceeded to remove all traces of that environment. “It took six months, two people working day and night — because of all those little hairs, you can’t just cut [the background] out. You have to have the illusion that that gorilla is sitting in the studio like the others.” Another starting point for Reggio was a desire to use a split screen. “The problem with a split screen is that it’s overt in its didactic form — you’re telling people to compare this to that. The images are competitive, and they’re telling you what to think or feel.” To solve this problem, he employed the blackground technique to blend the split-screen images together, so that “all the portraits in the film, the gamers, the TV kids, all of that was shot separately, but on the blackground.” By eliminating the obvious framework of the split screen, he was able to “give more focus to the viewer and use split screen in a way that’s hidden in plain sight.” The last major element he began with was “two and a half primates in a pew: the gorilla, the human, and the cyborg. The point of view for each is the following. The gorilla is the adult in the room. She’s the witness and the diva of the film. We humans are the audience. We’re like the real King Kongs. We’re swinging by our t-a-l-e-s from the trees. And then all of us, cyborgs, not of science fiction but of the fiction of science. “Technology is the subject of all of the films that I’ve done. It’s the most misunderstood subject on the
planet. We keep thinking technology is neutral — that it’s another category, like culture, the economy, war. None of that reads for me. What reads for me is that technology is the new and comprehensive host of life. It is the environment of life, as ubiquitous as the air we breathe. We do not use technology. We live it.” In Visitors, Reggio again entrusts the music to his longtime collaborator Philip Glass. “The music in these films is co-equal with the image,” he said. “As much effort goes into preparing Philip for his task as it does to prepare the cinematographers for shooting the film and the editors for editing the film. I like working with Philip. His music is quintessentially cinematic — foreground and background rhythmic structures, happening all together, all at once.” For Reggio, this film is “not logical. It’s not linear, not a story to be told but a story to behold. This film is not about entertainment. If a documentary is going to give you information that is scrutable, that you can understand, this film is not going to do that.” He compares it to a hamburger bun without the hamburger. It’s a two-way street, an experience of viewing and being viewed. It’s a picture from which each member of the audience must draw his or her own meaning, “and after some people leave because there’s no hamburger on the bun, it’ll be a different experience for each person who remains. We all see a different picture. People see things in the film that I had no intention of putting in, but I know that the film has an intention beyond mine.” Reggio likes to end his pictures where they started, returning to the point of departure. “I always use bookends. If you put a frame around something, the human propensity is to conjure meaning, because there’s a frame. If you have a bookend, if it begins the way it ends, then that helps the viewer, for herself, to conjure meaning. The gorilla begins and ends the film. And then there’s a little twist at the end.” Here’s looking at you, kid. With a twist. ◀
details ▼ Visitors ▼ Opening-night screening 7 p.m. Friday, Jan. 31, with an introduction by and Q & A with Godfrey Reggio ▼ The Screen, 1600 St. Michael’s Drive ▼ $10; 505-473-6494
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ON STAGE Panic button: Adam Harvey takes on Finnegan
THIS WEEK
What did James Joyce mean when he wrote “Bababadalgharaghtakamm inarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntooh oohoordenenthurnuk?” This is just the first of 10 cryptic 100-letter “thunder words” that appear in his epic and largely incomprehensible last work, Finnegans Wake. Most people who claim to have read the book are liars; those who claim to understand it are even more suspect. However, performance artist Adam Harvey puts himself under the spotlight in a one-man show that explores the significance of the epic work (and seeks to somewhat explain it as well). He brings Don’t Panic: It’s Only Finnegans Wake to Teatro Paraguas Studio (3205 Calle Marie) for three shows: 7 p.m. Friday and Saturday, Jan. 31 and Feb. 1, and 2 p.m. Sunday, Feb. 2. Tickets cost $12 and can be reserved by calling 505-424-1601 or at www.teatroparaguas.org. — L.B.
Requisite Requiem
Joe del Tufo
I sing the body eclectic: George Winston
As a musician most identified with the New Age genre, George Winston practices a soothing but not simplistic musical variety. And variety is definitely the word: in his blog, he writes, “The languages I improvise in are Hawaiian slack key, Appalachian/American folk music, and popular standards.” His influences include James Booker, Fats Waller, Ray Charles, and Abdullah Ibrahim, but he is also fond of covering pieces from Vince Guaraldi’s Peanuts soundtrack. He has described what he does in general terms as “rural folk piano.” Winston has recorded just 16 albums in a career of more than 40 years. His most recent is 2012’s Gulf Coast Blues & Impressions 2: A Louisiana Wetlands Benefit. Hear him play at 7:30 p.m. Saturday, Feb. 1, at the Lensic Performing Arts Center, 211 W. San Francisco St. Tickets, $28 to $52, are available from www.ticketssantafe.org or by calling 505-988-1234. — P.W.
Four days after Mozart’s 258th birthday, First Presbyterian Church (208 Grant Ave.) celebrates the composer with a performance of his Requiem on Friday, Jan. 31, at 5:30 p.m. Most of the church’s TGIF concerts run just a half hour, but this one will clock in at twice that. Mozart had finished about half the piece when he died in 1791, and editors have proposed a variety of completions over the years. For this performance, director Linda Raney is sticking with the commonly encountered version by Franz Xaver Süssmayr, who was Mozart’s pupil and music copyist as the Requiem came into being and therefore could claim a degree of authority on Mozartian matters. The concert will feature five vocal soloists plus the Chancel Choir of First Presbyterian Church, all accompanied on the organ by Jan Worden-Lackey. There is no admission charge, although freewill offerings are welcome. Visit www.fpcsantafe.org or call 505-982-8544. — J.M.K.
The merrying kind: Windsor’s wives
Lust, deception, greed, jealousy — many of Shakespeare’s favorite themes play out humorously in The Merry Wives of Windsor. Sir John Falstaff, who provides comic relief in the histories Henry IV, Parts 1 and 2, takes on a starring role here as a downon-his-luck knight who hopes to obtain financial relief by courting two married women in Windsor. These wives make merry at his expense, until he finally learns his lesson. The production incorporates live period music and is staged by the Arden Shakespeare Festival. Deborah Dennison directs. After shows in Albuquerque and at Santa Fe’s Teatro Paraguas Studio, the play comes to the James A Little Theater (1060 Cerrillos Road, New Mexico School for the Deaf) at 7:30 p.m. Friday and Saturday, Jan. 31 and Feb. 1, and at 1 p.m. Sunday, Feb. 2. Tickets cost $20; $15 for students and seniors. Call 505-603-7479 for reservations. — L.B. PASATIEMPOMAGAZINE.COM
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the jewel in the manuscript
Paul Weideman I The New Mexican 1866, two years after the publication of Notes From Underground and while he was completing Crime and Punishment, Fyodor Dostoevsky underwent one of several dramatic events in his life: he met a strong woman. The relationship is at the heart of The Jewel in the Manuscript, a play by Rosemary Zibart opening on Saturday, Feb. 1, at Warehouse 21. Zibart had long been a fan of the Russian writer’s The Brothers Karamazov. When she and her husband, Jake Barrow, visited St. Petersburg she had to see the Dostoevsky House Museum. On the way out, she bought a small biography to read on the plane on the way home to Santa Fe. “You know how you’re sitting on the plane for those long, overseas flights with the little beam of light coming down onto what you’re reading? It’s pretty focused,” she told Pasatiempo. “I discovered that he also had a fantastic life, and I knew nothing about it. I felt if I knew nothing about his life, and I’m fairly literate, then most Americans would 34
PASATIEMPO I January 31-February 6, 2014
know nothing about it. But you can’t write a play about somebody’s entire life. You have to find the incident.” She found the perfect point 44 years into the novelist’s life. He was in the middle of publishing Crime and Punishment as a series of installments in a Russian literary journal, and his gambling was getting the better of him. “This particular episode is so fascinating because he was such a complex, incredibly screwed-up character,” said Michael Graves, who directs Zibart’s play. “Dostoevsky [played in the Santa Fe production by Nicholas Ballas] had a gambling addiction and was an incredible womanizer. His editor, Fyodor Stellovsky, told him that if he could write a novel in 27 days, his debt would be wiped out. If not, Stellovsky would get all his royalties for seven years.” Dostoevsky’s friends, including Aleksandr Milyukov (played by Justin Golding), suggested that they could each write a chapter and finish a book that way, but the idea was an affront to Dostoevsky’s ego, Graves said. Then Milyukov told him about a new technique
called shorthand. Milyukov would find him a stenographer, and instead of having to write everything out, Dostoevsky could just talk. “But when the stenographer arrived, it was a woman named Anna Snitkina [played by Barbara Hatch]. He was very reluctant to share anything or trust a woman because … the previous one, Polina Suslova, had abused him incredibly, and he actually kind of liked it, but he hated her at the same time. The play is basically about Anna [getting him past] his distrust of women and his disbelief that a woman can be intelligent.” In the play, Anna and her mother, Maria ( Jennifer Graves), have been having a rough time. Anna’s father has recently died, and the inheritance is running out. Maria doesn’t approve of Anna going to stenography school, and she’s really upset that her daughter has been hired by the philanderer Dostoevsky. But Anna is a very strong character. We won’t give away the subsequent plot pathway, but the real Snitkina went on to become a Russian feminist icon. She was also a noted philatelist.
Zibart wrote the play seven years ago. She sent it out to festivals and competitions 42 times without getting a positive result before having it staged at the Icicle Creek Theater Festival in Leavenworth, Washington, in 2009. “As a result I got to go there and workshopped it with Kurt Beattie [artistic director of A Contemporary Theatre] in Seattle. I spent 10 days sitting at a table with five professional actors, a dramaturge, a stage manager, and Kurt, going over every single sentence in the play. That was an extraordinary experience. I was a journalist for years, and I write children’s books and children’s picture books. But this was a huge opportunity to enter into being a playwright.” One result of the Beattie sessions was that 10 pages were cut from the script. Zibart said that was not a painful surgery. “No, because I’d worked in journalism. I wrote for Parade magazine. I used to have articles that were 1,500 words pared down to 500. That was the wonderful thing about being a journalist: you no longer think that every word is sacred.” Her previous ventures in the world of the stage include a comic play about the philosopher Friedrich Nietzsche and an intellectual friend chasing after a beautiful young woman in Rome; City Mice, about an urbane New Yorker who owes money and can only borrow from his hippie brother; and a play in a more documentary vein about the first American woman to receive a medical degree, Elizabeth Blackwell, who adopted an orphan girl while she was struggling to establish her medical practice. “One key part of The Jewel in the Manuscript is how it portrays the vicissitudes of being an artist,” Zibart said. “In Dostoevsky, you see the whole creative process: his elation when everything is flowing smoothly and his despair when he feels no one will ever appreciate or reward his work. Through his relationship with Anna, Dostoevsky finds the rudder — the stability and perseverance — that keeps him moving forward steadily.” Graves previously directed Hatch in a play at the Santa Fe Playhouse. “She is perfect for Rosemary’s play, and Anna is a very complex role,” he said. “I had never seen Nicholas Ballas’ work. I don’t usually cast people I haven’t seen, but he was recommended by so many people, and Rosemary told me he really wanted to do it. I had him read, and he is amazing. He has an incredible résumé, and the chemistry between Nicholas and Barbara was automatic.” Jennifer Graves, who portrays the challenging Maria, is the director’s wife. They met 33 years ago working at the New York theater/bar/nightclub Ted Hook’s Backstage. Filling out the cast is Hania Stocker as the stepson, Pasha. “He’s not a pleasant character at all,” the director said. “He’s very resentful of his father and blames him for his mother’s death.” Michael Graves is a professional actor of some 45 years’ experience. About a decade into his career in theater, he attended a directing workshop with Harold Clurman. “It hooked me; it turned me around.” As a director, Graves has specialized in Shakespeare, Chekhov, Ibsen, Shaw, Tennessee Williams, and musicals. He is also founder of the Las Cruces Community Theatre, which recently celebrated its 50th anniversary. How did he come to the Jewel in the Manuscript project? “A year ago I went to Albuquerque at the suggestion of a friend to see the production of this play at the Adobe Theater, and I just fell in love with it.” Graves was “deeply moved by the honesty and poetry” of the play, which he described as both a love story and a play about redemption. “I had done several Dostoevsky plays as an actor, including a version of The Idiot off Broadway, and I’ve been nuts about Dostoevsky all my life.” ◀
details ▼ The Jewel in the Manuscript ▼ 7:30 p.m. Saturday, Feb. 1 (party follows); 2 p.m. Sunday, Feb. 2; 7:30 p.m. Thursday, Feb. 6; continues 7:30 p.m. Thursdays & Saturdays, 2 p.m. Sundays through Feb. 16
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WORKS BY BERNARD HERRMANN, JOAN TOWER AND BRAHMS David Felberg & Elena Sopoci, violins | Shanti Randall, viola Sally Guenther, cello | Pamela Epple, oboe Keith Lemmons, clarinet | Debra Ayers, piano
▼ Warehouse 21, 1614 Paseo de Peralta ▼ $30 performance & party; $20 Saturdays & Sundays; $15 or two tickets for $20 Thursdays; for reservations call 505-983-8159 All Chamber Music, All the Time
Background, Barbara Hatch and Nicholas Ballas, photo Lynn Roylance; foreground, portrait of Dostoevsky by Vasily Perov, 1872
FOR TICKETS VISIT: SERENATAOFSANTAFE.ORG OR CALL the Lensic Box office: (505) 988-1234. For program details: (505) 989-7988.
PASATIEMPOMAGAZINE.COM
35
Michael Abatemarco I The New Mexican
Those magnificent women in their flying machines
Oh! I have slipped the surly bonds of Earth And danced the skies on laughter-silvered wings; Sunward I’ve climbed and joined the tumbling mirth of sun-split clouds, — and done a hundred things You have not dreamed of … — from “High Flight” by John Gillespie Magee Jr.
T
he archaeologically themed Excavations project, begun by photographer Patrick Nagatani in the 1980s, appears to consist of the findings of a Japanese archaeologist named Ryoichi who uncovered the remains of classic cars at ancient sites. The seemingly authentic evidence of Ryoichi’s momentous discovery includes photos documenting a Ferrari emerging from the ash at the ancient Roman site of Herculaneum, a Jaguar unearthed near the observatory (El Caracol) at Chichen Itza, and the front end of a BMW peaking from behind a partially excavated wall at Chaco Canyon’s Great Kiva, as well as detailed field notes, site maps, and the results of techniques used to date the findings. Despite the photographic “proof” of the automobiles’ discovery, Nagatani wasn’t trying to to pull the wool over anyone’s eyes. The visual components of Excavations flesh out a narrative constructed for the intrepid, obsessive Ryoichi — a kind of alter ego for Nagatani, whose middle name is Ryoichi. The photographer claims he met Ryoichi while gambling in Las Vegas. The only known photograph of Ryoichi bears a curious resemblance to the artist himself. More than a decade after the project was completed, Ryoichi is poised to re-emerge as a character in a collaborative novel that Nagatani is developing, The Race. This time around, working at a temple site in Myanmar, Ryoichi has uncovered no classic cars — symbols of material culture — but Supermarine Spitfire floatplanes, symbols of flight and spirit.
Patrick Nagatani, the feminine, and flight
Patrick Nagatani: Ludmilla Litvyck in Flight, Red/11, archival digital print, 2013 Opposite page: Nanibah Jackson in Flight, Yellow/13, archival digital print, 2013
The Race, a work in progress, has a series of images connected to Nagatani’s narrative, which deals with a number of female pilots of different national and ethnic backgrounds — including a Tibetan, a Japanese American, an Israeli, a Russian, and an Italian, to name a few. A selection of artworks based on the characters and the planes they fly is included in the first exhibition of Andrew Smith Gallery’s new Annex. The Annex is in the gallery’s former site on West San Francisco Street. (Andrew Smith Gallery moved to its present location on Grant Avenue in 2009.) The exhibition, Outer/Inner: Contemplation on the Physical and the Spiritual, is a survey of Nagatani’s work from the past 15 years. “The visual art is representative of visual directions I’ve moved in while I’ve been writing,” Nagatani told Pasatiempo. “In the book there will be 20 images. I’m only showing 16 at the gallery, mainly because some of them deal with the ending of the novel, and I’d rather not have that revealed at this point. The main context will be different colored and numbered Spitfire floatplanes flown by the women pilots.” The Spitfire images are all titled with the names of the female pilots. Their stories connect with the novel’s theme of an eternal feminine presence reawakening in the world. “I’m not going to say it directly in the novel, but it will feel like the time of witches and goddesses will re-emerge. It’s about returning to the magic and embracing that. Maybe it will be over the top, but what the hell?” The symbol of flight is used in the artwork, as well as in the novel, to address themes of spirituality. Even the discovery of the buried floatplanes and their subsequent return to the air suggests something about transcendence over the material plane. “The idea of being in the clouds is about being closer, in a Western sense, to the idea of God. In talking to pilots continued on Page 38
36
PASATIEMPO I January 31-February 6, 2014
Patrick Nagatani, continued from Page 36
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about the control one has when being in the air, the long moments of flight, of being able to think and come to terms with things, all that falls apart when you come back down to earth. With all of my pilots there will be an aspect of that. The enclosed space of a cockpit is like the cave that a Buddhist monk might go to to work toward his or her enlightenment.” Constructing the novel represents a massive organizational effort for Nagatani, who solicited a number of other writers to flesh out different characters. Nagatani’s task, in addition to writing the back stories for three of the main characters, is to interconnect the additional character material provided by Julie Shigekuni and Kirsten Buick, both professors at the University of New Mexico; as well as text from Andre Ruesch, a Lesley University photography instructor; writer Nancy Matsumoto; and nine other contributors. “I’ve got a February deadline for a first draft,” Nagatani said. The prints made for the book and included in the exhibit are not meant to illustrate the text but to present the story in purely visual terms. “I’ve always been interest in photography’s ability to tell a story, and in developing a narrative in the body of photographs. The broadest fictional narrative was in my Excavation work.” Outer/Inner also features a selection of Nagatani’s Buddhist Tape-estries, luminous chromogenic prints overlaid with masking tape that subtly alters the hues of the photographic imagery. “The 24 Tape-ist pieces I’m showing are all Buddhist deities, mostly female goddesses of compassion. Even the text on a lot of these Tape-estries are mantras of compassion. That body of work was the culmination of my studying. I concentrated for a long time on the Tibetan, Chinese, and Japanese transitions in terms of when Buddhism came to those countries and the deities that represented compassion. I treasure those pieces. This will be my first time showing this body of work in New Mexico. I haven’t become a Buddhist, and I don’t think I will because of not wanting to be religiously involved in anything that has dogma to it. Philosophically, I appreciate what Buddhism has to say.” A third set of images, selected from Nagatani’s Novellas series, is also included. As the series title suggests, the Novellas are not broad narratives such as Nagatani explored in Excavations and has returned to with The Race. They are more like allegories that tell, through collaged arrangements of Polaroids, advertisements, clippings from comic books, and other found materials, brief tales of folly. The included Novellas are from a set called Unbearable Weight, and much of the imagery is of the hands, arms, legs, and torsos of bodybuilders. Even the most toned and sculpted physique is ultimately a transitory thing. The inclusion of the Unbearable Weight images in the exhibit relates to the idea of impermanence suggested in the other bodies of work. “In my case, I’m dealing with cancer,” said Nagatani, who has been undergoing intensive chemotherapy since late 2013, when cancer that was in remission came back. “I’m consciously dealing with the changes in my body occurring from the chemotherapy and, at the same time, trying to maintain a spiritual stance and support the healing.” ◀
details ▼ Patrick Nagatani: Outer/Inner: Contemplation on the Physical and the Spiritual ▼ Reception 5 p.m. Friday, Jan. 31; exhibit through March 14 ▼ Andrew Smith Gallery Annex, 203 W. San Francisco St., 505-984-1234
Top, Mahasthamaprapta, 2009, chromogenic print
38
PASATIEMPO I January 31-February 6, 2014
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39
movIng Images film reviews
Easy riders: the 12 O’Clock Boys
Wheels of fortune Robert Ker I For The New Mexican 12 O’Clock Boys, documentary, not rated, Center for Contemporary Arts, 3.5 chiles HBO’s celebrated show The Wire used a journalist’s eye and a dramatist’s flair to depict Baltimore as a city with a corrupt infrastructure, a lack of resources, and a poor population whose needs are going unmet. 12 O’Clock Boys, a documentary by Lotfy Nathan — begun while he was a student at Maryland Institute College of Art — looks at some of those who have slipped through the cracks in Baltimore. The people are the 12 O’Clock Boys, a loose group of African American men who race the streets atop dirt bikes and ATVs. One of their favorite stunts is a wheelie so extreme that the vehicles’ front tires point straight up like clock hands at noon. Their rides are illegal and dangerous. Nathan examines those involved from all sides — the men, the police, the victims of accidents — without judging or putting himself in the way of his reportage. Most of all, he’s interested in a boy named Pug and his family. Pug is a charming boy, both exuberant and frustrated in a way that characterizes those who have outgrown childhood but are not yet teenagers. His single mother frets about him; she tries to harness his love of animals to push him toward a career as a veterinarian, but the boy is too smitten by the allure of the dirt bikes. It’s easy to see why that life would be so attractive to him. Nathan conveys the blissful escapism that biking provides with incredible slow-motion shots of riders performing tricks and zooming down the streets en masse, all set to triumphant, bass-heavy hip-hop beats. He shows us the beauty in these people’s lives without feeding us a bunch of baloney. We also see a daily routine that is full of stress and depression. The living quarters are shabby and overpopulated; the families splintered and jobs scarce. One of Pug’s older brothers — a strapping young man who has helped Pug stay grounded and focused on his future — dies of an asthma attack. Clearly, the family deserves better. And we should feel uncomfortable in a world where boys like Pug matter-of-factly discuss how they could be gone in an instant, as this is the reality that engulfs them. Part of what makes 12 O’Clock Boys one of the best recent movies about poverty in this country is that what you see is so far from many people’s reality that it hardly resembles America at all. ◀ 40
PASATIEMPO I January 31-February 6, 2014
EvERYONE AgREES,
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MOVING IMAGES pasa pics
— compiled by Robert Ker
from live action to animation — to form a narrative (starring Bob Geldof) that integrates seamlessly with the band’s ambitious suite of songs. There hasn’t been anything like The Wall attempted in the 22 years since, and that’s a shame. Rated R. 95 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) RAZE In the grindhouse days, “women’s prison films” were crude and offensive, but they were (with some exceptions) silly goofs. Raze updates the subgenre in the same way many directors have updated the modern horror flick: by making it grim and punishing. This story centers on a group of women who are kept in cells and must fight each other to the death with their bare hands. The combat sequences are hurt by the fact that each fight takes place in the same small room, with roughly the same rules. Zoë Bell, longtime stuntwoman for Quentin Tarantino, takes the star turn here. She’s got charisma, but the movie doesn’t. Not rated. 87 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker)
Who’s LARPing now? Peter Dinklage and Ryan Kwanten in Knights of Badassdom, at the Jean Cocteau Cinema in Santa Fe
opening this week GAME OF THRONES MARATHON The HBO series Game of Thrones, based on the Song of Fire and Ice books by George R.R. Martin, is not typically screened in theaters. The Jean Cocteau Cinema shows the first three seasons, screening two or three episodes per week (first come, first served) until March 24. Occasionally, Martin will drop by in person or a cast or crew member will appear via Skype. Season 2 episodes 1, 2, and 3 screen at 7 p.m. Monday, Feb. 3. Not rated, but not suitable for children. Each episode runs roughly 55 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) KNIGHTS OF BADASSDOM Peter Dinklage graces this stoner comedy about a band of LARPers (live-action role-playing participants) who take on a demon unleashed when a would-be wizard reads from a real tome of dark magic he purchased on eBay. The plot is thin, the jokes are lame, and the protagonist (Ryan Kwanten) has all the charisma of a cardboard standee. (The real stars, Dinklage and Summer Glau of Firefly, do what they can.) But if you’ve got time to burn, feel free to burn one with these guys. Eve Angelic, a locally shot short film, accompanies Badassdom. Rated R. 86 minutes. Jean Cocteau Cinema, Santa Fe. ( Jeff Acker) 42
PASATIEMPO I January 31-February 6, 2014
LABOR DAY Director Jason Reitman ( Juno) returns with a love story based on Joyce Maynard’s book. Josh Brolin plays a fugitive who hides from the law in a house owned by a single mother (Kate Winslet) and her son (Gattlin Griffith) and soon discovers the love of his life and the family he never thought he’d have. Rated PG-13. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) NATIONAL THEATRE LIVE: CORIOLANUS Tom Hiddleston stars in a Donmar Warehouse production of Shakespeare’s play. 7 p.m. Friday, Jan. 31, only. Lensic Performing Arts Center, Santa Fe. See story, Page 26. PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of choreographer Alexei Ratmansky’s ballet Lost Illusions, based on Balzac’s novel, and danced by members of Moscow’s Bolshoi Ballet. 1:10 p.m. Sunday, Feb. 2, only. Not rated. 180 minutes. The Screen, Santa Fe. (Not reviewed) PINK FLOYD THE WALL It’s easy to roll your eyes at The Wall now: Pink Floyd’s song cycle about the rise and fall of a rock star with numerous psychoses and the accompanying film that dramatizes it are indeed overblown, pretentious, and indulgent. The results, however, are unique and too entertaining to warrant ridicule. Director Alan Parker employed an array of images — from the surrealistic to the serious and
TELLURIDE MOUNTAINFILM FESTIVAL The ever-popular traveling festival featuring short films about environmental concerns — be they concerns about dwindling natural resources or about rappelling up a gnarly cliff face — returns to Santa Fe courtesy of local conservation group WildEarth Guardians. 7 p.m. Wednesday, Feb. 5, only. Not rated. 169 minutes, plus one intermission. Lensic Performing Arts Center, Santa Fe. (Not reviewed) THAT AWKWARD MOMENT Miles Teller, Zac Efron, and Michael B. Jordan play three bros who live in the typical too-big-to-believe New York apartment and have adventures with women who should really know better. The trailer promises penis jokes and people getting hit by cars. Rated R. 94 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 12 O’CLOCK BOYS The “boys” of this film’s title are African American men in Baltimore who race dirt bikes and ATVs on city streets while performing dangerous stunts. Lotfy Nathan’s documentary looks at them — with a particular focus on young Pug, who aspires to be one of them — with blissful shots of the rides and a frank, nonjudgmental examination of the poverty and hopelessness that engulfs them. What makes this a great film about poverty in this country is that what you see is so far from many people’s reality that it hardly resembles America at all. Not rated. 76 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) See review, Page 40. VISITORS Godfrey Reggio, the man who made Koyaanisqatsi (and two subsequent films to complete his Qatsi trilogy), has returned with Visitors, which was 10 years
in the making and represents a new approach for the filmmaker. Visitors is composed of 74 long, quiet takes that create an unspoken dialogue between the film and the viewer. The first image, which returns during the film and at its end, is a remarkable closeup of the staring face of a gorilla. “She’s the witness and the diva of the film,” the director said. “It’ll be a different experience for each viewer.” Reggio appears in person at the 7 p.m. Friday, Jan. 31, screening. Not rated. 87 minutes. The Screen, Santa Fe. ( Jonathan Richards). See story, Page 28.
now in theaters AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over the music of Duke Ellington at a party. This is appropriate, because David O. Russell has orchestrated his wild and wonderful riff on the 1978 Abscam sting operation like an Ellington suite. The film weaves themes and rhythms, tight ensemble work and electrifying solos, and builds to a foot-stomping climax. Nominated for 10 Academy Awards, including Best Picture and all four acting categories (for Bale, Adams, Bradley Cooper, and Jennifer Lawrence). Rated R. 138 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) AUGUST: OSAGE COUNTY Tracy Letts adapts his Pulitzer Prize-winning play for the screen, with an embarrassment of riches led by Meryl Streep as the poisonous matriarch of one of the most dysfunctional families you’ll ever meet as they gather to cope with the suicide of the patriarch (Sam Shepard). Streep is joined but not matched by a generally strong cast, with particular kudos to Julia Roberts, who along with Streep was nominated for an Oscar for her work here. Rated R. 119 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) THE BEST OFFER Writer-director Giuseppe Tornatore has crafted an elegant mystery set in an art world full of fakes and forgeries. It’s a bit of both itself but is still handsome to look at and enjoyable to absorb. Geoffrey Rush is smooth as silk as Virgil Oldman (a name freighted with meaning), a high-end art auctioneer who’s a bit of a crook and an eccentric. His world changes when he’s called by a mysterious young woman (Sylvia Hoeks) to appraise her deceased parents’ fabulous estate. The dialogue and plot twists are contrived, but the film is enjoyable viewing and was a big winner at Italy’s equivalent of the Oscars. Rated R. 131 minutes. The Screen, Santa Fe. ( Jonathan Richards)
BROKEN CIRCLE BREAKDOWN This Belgian indie boasts artful cinematography, a fantastic soundtrack, and now an Oscar nomination for a Best Foreign Language Film. Didier ( Johan Heldenbergh) and Elise (Veerle Baetens) fall in love, have a baby, and perform in a bluegrass band until tragedy strikes. Director Felix Van Groeningen throws time in a blender, whirring around from the middle to the beginning and back. Not rated. 111 minutes. In Flemish with subtitles. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) DALLAS BUYERS CLUB In 1985 a homophobic Texas redneck named Ron Woodroof was diagnosed as HIV-positive, at a time when AIDS was known almost exclusively as a gay disease. His battle against a medical industry that put profit ahead of patients is the basis for this remarkable story. Matthew McConaughey as Woodroof and Jared Leto as his transvestite sidekick Rayon were good enough to earn notice from the Academy, which also nominated the film for Best Picture. Rated R. 117 minutes. Center for Contemporary Arts and Regal Stadium 14, Santa Fe. ( Jonathan Richards) DIRTY WARS At great personal risk, reporter Jeremy Scahill scours the backwaters of Afghanistan and Yemen to uncover the shadowy world of the U.S. Joint Special Operations Command. Scahill argues that JSOC, an elite unit whose officers tracked and killed Osama Bin Laden, is an “assassination machine” that draws the U.S. into further conflict with a wide array of countries in Africa and the Middle East. Nominated for an Academy Award as Best Documentary. Director Rick Rowley appears at the screening in person. 1:30 p.m. Saturday, Feb. 1, only. Not rated. 90 minutes. Center for Contemporary Arts, Santa Fe. (Casey Sanchez) FROZEN Disney’s latest fable, nominated for Best Animated Feature Film, is strange: it is a breezy tale of misunderstanding with no real villain or central conflict. Two princess sisters in a fantasy kingdom part ways when one is revealed to have magical powers to summon snow and ice. With the help of a big lug ( Jonathan Groff), younger sis (Kristen Bell) must pull older sis out of her wintery withdrawal from society. Some afternoon screenings are official sing-alongs to the popular soundtrack, so prepare accordingly. Rated PG. 108 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE GREAT BEAUTY Director Paolo Sorrentino’s excursion through Roman high life is a funny, sexy, and heartbreaking look at a society dancing as fast as it can to keep up with a past that can’t be caught. Our guide is Jep Gambardella (Toni Servillo), a writer who made
a literary splash with a novel 40 years ago and hasn’t been able to think of anything worth writing about since. Nominated for Best Foreign Language Film, the movie is a conscious and masterful updating of Fellini. Not rated. 142 minutes. In Italian with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) HER Writer and director Spike Jonze spins a futuristic fable about a melancholy man ( Joaquin Phoenix) and his sexy-sounding computer operating system (voiced by Scarlett Johansson). Everything from the fashion to the architecture builds a sophisticated depiction of a utopian near-future, and the breadth of the themes makes Her a Rorschach test: one could see it as a movie about the definition of love, our reliance on technology, the shifting of gender roles, or the merits of Buddhist philosophy. It’s up for five Academy Awards, including Best Picture. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE HOBBIT: DESOLATION OF SMAUG As if in reaction to criticism that the first Hobbit flick was too slow, director Peter Jackson keeps the action pumping in this sequel. Given that the film is nearly three hours long, it gets exhausting. It also feels shorter than many 90-minute films, thanks to its attention to detail, swashbuckling action, operatic drama, and a jimdandy of a dragon (voiced by Benedict Cumberbatch). Rated PG-13. 160 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Robert Ker) THE HUNGER GAMES: CATCHING FIRE This is a rare case of a movie that’s just as good as — if not better than — the book on which it’s based. Defiant Katniss ( Jennifer Lawrence) has inspired unrest in Panem, a dystopian nation where a totalitarian government punishes its citizens for their rebellion by forcing children to compete in an annual televised battle. To dampen Katniss’ fire, sinister President Snow (Donald Sutherland) forces her back into the arena. Rated PG-13. 146 minutes. Regal Stadium 14, Santa Fe. (Laurel Gladden) I, FRANKENSTEIN Some of the producers of the Underworld series hope to do for Mary Shelley’s best-known creation what they did for vampires and werewolves: Matrix-ize it! Aaron Eckhart plays Frankenstein’s monster as an action hero, caught in a war between gargoyles and demons. This film will not be nominated for any 2015 Academy Awards. Rated PG-13. 92 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) continued on Page 44 PASATIEMPOMAGAZINE.COM
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MOVING IMAGES pasa pics
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INSIDE LLEWYN DAVIS The Coen brothers have made a richly textured, visually gorgeous film set in the Greenwich Village folk scene at the start of the ’60s. The title character (Oscar Isaac) is loosely inspired by Dave Van Ronk, one of the core figures of the folk revival, but he doesn’t achieve similar stature. The Coens handle the music with respect and treat the life of a marginal artist with humor, sympathy, and a nice streak of cynicism. The film is about opportunities missed, lost, and squandered. Rated R. 105 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE INVISIBLE WOMAN Over the last dozen or so years of his life, Charles Dickens (Ralph Fiennes) kept a young mistress, the actress Nelly Ternan (Felicity Jones), hidden from the world. In Fiennes’ film, adapted by Abi Morgan (The Iron Lady) from Claire Tomalin’s book, he tells a distinctly Victorian tale of illicit love. Dickens burned all his correspondence and diaries in part to keep this story secret, but it seeped out. Fiennes has built a detailed and beautifully presented Victorian world, but he has not quite managed to make the romance come alive. Rated R. 111 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) JACK RYAN: SHADOW RECRUIT Kenneth Branagh — who, despite his impressive background in Shakespeare and British theater, is now billed as “the director of Thor” — is the director (and co-star) of the latest film starring Tom Clancy’s beloved Jack Ryan. This one is a prequel, with Chris Pine doing the whole international espionage thing in the title role. Kevin Costner and Keira Knightley play Ryan’s boss and wife. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) JOE PAPP IN FIVE ACTS Joe Papp was a visionary whose dream of bringing Shakespeare to a wide audience grew into the phenomenon that is Shakespeare in the Park. Even his closest friends didn’t know he was a Jewish kid from Brooklyn whose immigrant parents could barely speak English. Filmmakers Tracie Holder and Karen Thorsen peel away the layers with their absorbing collection of film clips and famous talking heads. Revelatory and moving.
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PASATIEMPO I January 31-February 6, 2014
11:30 a.m. Sunday, Feb. 2, only. Not rated. 82 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) THE LEGEND OF HERCULES The cheapie “swords and sandals” flick gets a modern update with this loose retelling of the Hercules fable, which stars people with names like Kellan Lutz and Gaia Weiss, boasts special effects that look less impressive than Playstation 4 games, and is afflicted with a recycled 300 visual style. Rated PG-13. 99 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed) LONE SURVIVOR A movie based on a memoir of a combat mission and titled Lone Survivor has to find its strengths in something other than suspense. Peter Berg’s bloodand-guts tale is adapted from Marcus Luttrell’s (Mark Wahlberg) account of an ill-fated 2005 attempt by four Navy SEALs to take out a murderous warlord in the mountains of Afghanistan. The acting is solid, but the movie comes across as a two-hour hybrid of a video game and a recruitment film. Rated R. 121 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) NEBRASKA Woody Grant (Bruce Dern) has won a million dollars, or so his letter from Publishers Clearing House says, and he’s determined to go to Lincoln, Nebraska, to claim his prize. His son David (Will Forte) agrees to drive him. As important as the characters is the black-and-white photography, which brings out the lonely feeling of an era and a generation disappearing into the past. Dern and director Alexander Payne are both up for Oscars, and the film is in the running for Best Picture. Rated R. 115 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE NUT JOB Bug-eyed rodents rule the day in this cartoon about a squirrel (voiced by Will Arnett) and a rat (Robert Tinkler) who attempt to break into a nut store. Kids might like this movie, but parents deserves a prize just for making it through the obnoxious trailer. Rated PG. 85 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) PHILOMENA Steve Coogan plays a down-on-his-luck journalist who takes on a human-interest story by bringing an Irishwoman (Judi Dench, Oscar-nominated once more) to America to find her long-estranged son. The film has the makings of an odd-couple comedy — and there are laughs — but the material runs much deeper and darker than that. Before director Stephen Frears is done taking us on all his turns, we’ve pondered aging, forgiveness, and the existence of God. The film is up for Best Picture at the Oscars. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Robert Ker)
REACHING FOR THE MOON Director Bruno Barreto presents a film about the true-life love affair between American poet Elizabeth Bishop (Miranda Otto) and Brazilian architect Lota de Macedo Soares (Glória Pires). The women met when Bishop traveled to Rio de Janeiro in the 1950s to escape writer’s block. She came into a country that, like the relationship, was volatile and beautiful. Not rated. 118 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) RIDE ALONG Kevin Hart plays a wise-cracking young punk who joins an older, hard-case cop (Ice Cube) on a basic ride-along. And then things get crazy. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 12 YEARS A SLAVE Director Steve McQueen takes us into America’s slave trade with clinical observation and exquisite composition, but he tarnishes his adaptation of Solomon Northup’s 1853 autobiography — about the free-born man’s stint as a slave after being captured and shipped south — with too many movie moments, blunting the impact and calling his intentions into question. The film is up for nine Oscars, including Best Picture and acting awards for stars Chiwetel Ejiofor, Michael Fassbender, and Lupita Nyong’o. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE WOLF OF WALL STREET Martin Scorsese’s celebration of chicanery and gluttony in the world of finance is based on the true story of Jordan Belfort (Leonardo DiCaprio), who fleeced his way to the top selling penny stocks. Scorsese has turned his story, which is nominated for Best Picture, into a dazzling but repetitious movie. It halfheartedly masquerades as a cautionary tale laced with dwarf-tossing contests, exotic cars, yachts, helicopters, naked women, and drugs. Scorsese, DiCaprio, and co-star Jonah Hill are nominated for Oscars. Rated R. 179 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards)
other screenings Center for Contemporary Arts 8 p.m. Friday, Jan. 31: Brightest Star. DreamCatcher The Devil’s Due. Regal Stadium 14 Gimme Shelter. 2 p.m. Sunday, Feb. 2; 2 & 7 p.m. Wednesday, Feb. 5: Groundhog Day. 7 p.m. Thursday, Feb. 6: Monuments Men. ◀
What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org 12 O’Clock Boys (NR) Fri. 5:30 p.m. Sat. and Sun. 8 p.m. Brightest Star (NR) Fri. 8 p.m. Dallas Buyers Club (R) Fri. 12:30 p.m., 3 p.m., 7:30 p.m. Sat. and Sun. 3 p.m., 5:30 p.m., 7 p.m. Mon. to Thurs. 2:45 p.m., 4:15 p.m., 5:15 p.m., 7:45 p.m. Dirty Wars (NR) Sat. 1:30 p.m. The Great Beauty (NR) Fri. 1:30 p.m., 4:30 p.m. Sat. 12 p.m., 4 p.m. Sun. 1 p.m., 4 p.m. Mon. 7 p.m. Tue. to Thurs. 1:15 p.m., 7 p.m. Joe Papp in Five Acts (NR) Sun. 11:30 a.m. JeAn CoCteAu CinemA
418 Montezuma Avenue, 505-466-5528 www.jeancocteaucinema.com The Broken Circle Breakdown (NR) Fri. 1:30 p.m. Sun. 1:30 p.m. Thurs. 1:30 p.m. Game of Thrones (NR) Mon. 7 p.m. Knights of Badassdom (R) Fri. 6:20 p.m. Sat. 1:30 p.m., 6:20 p.m. Sun. 6:20 p.m. Tue. 6:20 p.m. Wed. 1:30 p.m. Thurs. 6:20 p.m. Pink Floyd:The Wall (R) Fri. and Sat. 11 p.m. Wed. and Thurs. 8:30 p.m. Raze (NR) Fri. to Sun. 8:30 p.m. Wed. 6:20 p.m. Reaching for the Moon (NR) Fri. to Sun. 3:45 p.m. Tue. 8:30 p.m. Wed. and Thurs. 3:45 p.m. regAl deVArgAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com 12 Years a Slave (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. August: Osage County (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. Her (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:10 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m. Inside Llewyn Davis (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. The Invisible Woman (R) Fri. to Thurs. 4:30 p.m., 7:30 p.m. Nebraska (R) Fri. and Sat. 1:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m. Philomena (PG-13) Fri. and Sat. 1:50 p.m., 4:50 p.m., 7:35 p.m., 9:50 p.m. Sun. to Thurs. 1:50 p.m., 4:50 p.m., 7:35 p.m. regAl StAdium 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com American Hustle (R) Fri. to Sun. 12:55 p.m., 4:20 p.m., 7:25 p.m., 10:30 p.m. Dallas Buyers Club (R) Fri. to Sun. 1:10 p.m., 4:05 p.m., 7:15 p.m., 10:10 p.m. Frozen (PG) Fri. to Sun. 12:05 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:25 p.m. Frozen Sing Along (PG) Fri. to Sun. 12:30 p.m. Gimme Shelter (PG-13) Fri. and Sat. 2:50 p.m., 10:10 p.m. Sun. 10:10 p.m. Groundhog Day (PG) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. The Hobbit:The Desolation of Smaug 3D
(PG-13) Fri. to Sun. 4:30 p.m.
The Hobbit:The Desolation of Smaug (PG-13)
Fri. to Sun. 12:40 p.m., 8 p.m.
The Hunger Games: Catching Fire (PG-13) Fri. to Sun. 3:30 p.m., 6:50 p.m., 10:10 p.m. I, Frankenstein 3D (PG-13) Fri. to Sun. 2:30 p.m., 7:15 p.m.
I, Frankenstein (PG-13) Fri. to Sun. 12:10 p.m.,
4:50 p.m., 9:40 p.m.
Jack Ryan: Shadow Recruit (PG-13) Fri. to Sun.
12:15 p.m., 2:45 p.m., 5:20 p.m., 7:50 p.m., 10:25 p.m. Labor Day (PG-13) Fri. to Sun. 1 p.m., 4 p.m., 7 p.m., 9:50 p.m. The Legend of Hercules (PG-13) Fri. and Sat. 12:20 p.m., 5:15 p.m., 7:40 p.m. Sun. 5:15 p.m., 7:40 p.m. Lone Survivor (R) Fri. to Sun. 1:05 p.m., 4:10 p.m., 7:10 p.m., 10 p.m. The Monuments Men (PG-13) Thurs. 7 p.m. The Nut Job 3D (PG) Fri. to Sun. 12:25 p.m., 5:05 p.m. The Nut Job (PG) Fri. to Sun. 2:50 p.m., 7:20 p.m., 9:45 p.m. Ride Along (PG-13) Fri. to Sun. 12 p.m., 2:35 p.m., 5 p.m., 7:30 p.m., 10:05 p.m. That Awkward Moment (R) Fri. to Sun. 12:35 p.m., 3 p.m., 5:25 p.m., 7:45 p.m., 10:15 p.m. The Wolf of Wall Street (R) Fri. to Sun. 12:25 p.m., 4:10 p.m., 8:10 p.m. the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com The Best Offer (R) Fri. 1 p.m., 3:45 p.m. Sat. 4:15 p.m. Sun. 10:30 a.m. Mon. to Thurs. 4:15 p.m. Bolshoi Ballet: Lost Illusions (NR) Sun. 1:10 p.m. Visitors (NR) Fri. 7 p.m., 9:15 p.m. Sat. 12:20 p.m., 2:20 p.m., 7 p.m., 9 p.m. Sun. 5 p.m., 7 p.m. Mon. to Thurs. 12:20 p.m., 2:20 p.m., 7 p.m.
Ongoing Classes Babes on Stage - 5-8 yr. old Saturday – 10:00 Young Actors Lab - 8-12 yr.old Saturday– 11:00-12:30 Musical Theatre Workshop 9-14 yr Saturday – 12:30-2:30 • Tuesday 5:30-7:30 Musical Theatre Production Class Private vocal lessons Ask about our SuMMer CAMPS and SPring CAMPS. Adults and youth Auditions for the June Musical are in March TBA. Call 505-946-0488 or email us at sfmusicaltheatreworks@ gmail.com. Our studio is located at 4001 Office Court Drive • Building #200 Santa Fe, NM 87507 • www.MusicalTheatreWorks.net
mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com August: Osage County (R) Fri. 4:30 p.m., 7:10 p.m., 9:45 p.m. Sat. 1:55 p.m., 4:30 p.m., 7:10 p.m., 9:45 p.m. Sun. 1:55 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. Devil’s Due (R) Fri. 5 p.m., 7:35 p.m., 10 p.m. Sat. 2:35 p.m., 5 p.m., 7:35 p.m., 10 p.m. Sun. 2:35 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m. Frozen Sing Along (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 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. I, Frankenstein (PG-13) Fri. 4:55 p.m., 7:30 p.m., 9:35 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:30 p.m., 9:35 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Jack Ryan: Shadow Recruit (PG-13) Fri. 4:45 p.m., 7:15 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:50 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. Labor Day (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m. Lone Survivor (R) Fri. 4:25 p.m., 7 p.m., 9:40 p.m. Sat. 1:50 p.m., 4:25 p.m., 7 p.m., 9:40 p.m. Sun. 1:50 p.m., 4:25 p.m., 7 p.m. Mon. to Thurs. 4:25 p.m., 7 p.m. The Nut Job (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. Ride Along (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. That Awkward Moment (R) Fri. 4:50 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m.
PASATIEMPOMAGAZINE.COM
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RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Carb your enthusiasm Chocolate Maven 821 W. San Mateo Road, 505-984-1980 Breakfast 7-10:45 a.m., lunch 10:45 a.m.-3 p.m. Mondays-Fridays; brunch 9 a.m.-3 p.m. Saturdays-Sundays; high tea Mondays-Saturdays 3-5 p.m.; bakery open 7 a.m.-6 p.m. Mondays-Fridays, 9 a.m.-6 p.m. Saturdays, 9 a.m.-3 p.m. Sundays Counter & table service Takeout available Vegetarian options Noise level: pleasantly lively Patio dining in season Beer & wine Credit cards, local checks
•
The Short Order Polite, professional, and attentive service and a speedy kitchen staff are among the strong suits at Chocolate Maven, a pleasant bakery and café hidden in a warehouse off a light-industrial stretch of San Mateo Road. The breakfast and lunch menus are almost overwhelmingly extensive — including a variety of pancakes, waffles, and omelets; three variations on eggs Benedict; a satisfactory burrito; both migas and chilaquiles; pizzas; several salads; and a two-page array of sandwiches, both cold and hot. Many items can be adapted for vegetarians or vegans. While the quality of savory items wavers, there’s no doubt that the people at Chocolate Maven know how to satisfy your sweet tooth. Recommended: huevos rancheros, ham and Brie sandwich, Niçoise salad, cinnamon twist, and croissants.
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.
46
PASATIEMPO I January 31-February 6, 2014
The choice of the name Chocolate Maven always struck me as an odd one for a place with a menu that’s only minimally composed of chocolate. After all, a maven is an expert, an enthusiast. If your name proclaims your skill with chocolate, why would you serve anything else? Of course, some of the best stuff to be had at this pleasant bakery and café, hidden off a street in a warehouse in a light-industrial stretch of San Mateo Road, is chocolaty and sweet. When the days start to turn chilly in the fall, I crave the Mexican hot chocolate, with its hint of spice and cinnamon, or a mocha made with chile-tinged “Mayan” cocoa. The 4-inch-square “petit four grande” has an indecisive name but a decisive richness, with fluffy mocha mousse filling and a smooth, rich, shiny ganache coat; the cake itself, alas, is far too dense. A cloudlike slice of coconut cream pie is simultaneously ethereal, rich, and nuttily toasty. Pastries are offered in a self-serve display cabinet. Most are appropriately buttery, sweet, and well textured. My main beef with them is the size of the things — many could, and probably should, serve two. The cinnamon twist is the size of my forearm, and the palmier clarifies the reason this pastry is sometimes referred to as an elephant ear. Just past the enticing display of sweets are the dining areas, the main-level one welcoming you with soothing buttery-yellow walls, and another reached via a spiral staircase. In warmer months, a trellis-walled covered patio allows for alfresco dining with a tranquil vista of the parking lot. In the main dining area, a large window offers a behind-the-scenes glimpse of what goes on in a largescale bakery. An extensive menu of breakfast items includes French toast; a variety of pancakes, waffles, and omelets; and three variations on eggs Benedict. There are both migas and chilaquiles, as well as a satisfactory burrito with fluffy eggs, firm new potatoes, and practically heat-free green chile. The Maven tops their adequate huevos rancheros with fresh, mild green chile or a red that has a sweet richness and cocoa-like hue reminiscent of mole. Many breakfast dishes include or are accompanied by ham, bacon, turkey sausage, or your choice of vegetarian substitute. The choices at lunch are almost overwhelming — “Roman-style” pizzas, several salads, and a two-page array of sandwiches, both cold and hot (again, many items can be adapted for vegetarians or vegans). The best we sampled was the palate-pleasing ham and brie sandwich, with its sweet and fruity caramelized apples, luxuriously creamy brie, salty ham, pungent red onion, tangy mustard, and emerald-green spinach thrown in for nutritional good measure. If the daily soup happens to be cream of broccoli, you might want to skip it. Lurking in the depths of our bowl was an off-putting sludge of undercooked, tough, partially pureed vegetable matter. The pale watery broth
had all the richness of skim milk and was dramatically lacking in any seasoning other than the parsley garnish. It was barely worth sopping up with the excellently sour and perfectly crumbed whole-grain sourdough served on the side. A Niçoise salad arrived to take its place. It was a colorful plate of mixed greens, haricot verts, boiled egg, tomato dice, boiled potato wedges, roasted red peppers, and capers topped with bright-pink seared ahi tuna. The blandness of both the fish and the lightly applied Dijon-based vinaigrette surprised me. Briny black olives are de rigueur in a traditional salade Niçoise, and the Maven delivers tiny whole unpitted ones in a small white side dish. If you strew these baubles across your salad, be mindful, or one overly enthusiastic chomp could result in a chipped tooth. The burger is generous in size and serviceable in flavor — meaty and tender, with a touch of char, though noticeably unseasoned. With a $12 base price and toppings running from 50 cents to two bucks, this can quickly become a pricey lunch. Worth the two-dollar upcharge are golden-yellow and excellently starchy fries tossed with garlic and rosemary. They’re delicious, but you might not want to choose them on a first date. Service is polite, professional, and appropriately attentive. The kitchen is quick — at lunch, you can be in and out the door in well under an hour. This is one of the Maven’s strongest attributes. And while the quality of savory items wavers, there’s no doubt that the people at Chocolate Maven know how to satisfy your sweet tooth. ◀
Check, please
Brunch for three at Chocolate Maven: Small “Mayan chile” mocha ...............................$ 4.25 Small Mexican hot chocolate .............................$ 3.00 Breakfast burrito ................................................$ 4.15 Huevos rancheros ..............................................$ 12.00 Ham & brie sandwich ........................................$ 16.00 with garlic-rosemary fries Coconut cream pie ............................................$ 6.00 Petit four grande ................................................$ 6.00 TOTAL ...............................................................$ 51.40 (before tax and tip)
Lunch for two, another visit: Bowl, cream of broccoli soup .............................$ 8.00 Burger with Swiss cheese and green chile ..........$ 13.50 Niçoise salad ......................................................$ 16.00 Vanilla cupcake ..................................................$ 3.25 TOTAL ...............................................................$ 40.75 (before tax and tip)
Photo by Melissa Fricek
A N D R E W S M I T H G A L L E RY I N C . Announcing a special exhibition at the Andrew Smith Gallery, Inc - ANNEX at 203 West San Francisco St., Santa Fe, NM:
Patrick Nagatani
Outer/Inner-Contemplation on the Physical and the Spiritual
Orange/3 from The Race
Manjushri, 2009 from Tape-estries
Ja nuary 31 - March 1 4 , 2 0 1 4 Reception for the artist Friday, January 31, 5-8 p.m. Andrew Smith Gallery, Inc - ANNEX 203 West San Fra n c i s c o S t . , S a n t a Fe , N M 8 7 5 0 1 5 0 5 . 9 8 4 . 1 2 3 4 • w w w. A n d r e w S m i t h G a l l e r y. c o m
and the people who make Prep special To our Malone Scholars like Madison and Xavi, who enrich our school each day. For them, and all our students, we have great expectations and even greater support. “It’s easy to do well when you’re in a comfortable learning environment,” Xavi agreed. Santa Fe Prep is the only school in New Mexico to have received the prestigious Malone Family Foundation endowment grant. Through this scholarship for gifted students, and the generosity of our community, we will award more than $1 million this year in financial aid. We thank our dedicated scholars as well as our donors, who open the door of a Prep education to motivated and talented kids in Santa Fe.
To learn more about the Malone Scholarship or tuition assistance call Mike at 505.795.7512 or visit
www.sfprep.org PASATIEMPOMAGAZINE.COM
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IN SESSION MILAN SIMONICH @MilansNMreport
STEVE TERRELL @steveterrell
PATRICK MALONE @pmalonenm
When the New Mexico Legislature is in session, so are we, with a dedicated team of top names in statehouse coverage reporting from inside the Roundhouse each day. Don’t miss a beat as we present the full picture — both in- and outside the hearing room — on the issues that matter to you most. Every bill, every hearing, count on The Santa Fe New Mexican.
Want to know as it happens? Don’t miss a tweet. Follow us:
@TheNewMexican | #NMLEG
santafenewmexican.com/news/legislature 48
PASATIEMPO I January 31 - February 6, 2014
pasa week Friday, Jan. 31
The Merry Wives of Windsor Arden Shakespeare Festival presents the comedy, 7:30 p.m., James A. Littler Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20, discounts available, 505-603-7479, through Sunday. National Theatre Live in HD Coriolanus, Donmar Warehouse’s adaptation of Shakespeare’s tragedy, 7 p.m., the Lensic, 211 W. San Francisco St., $22, student discounts available, 505-988-1234, ticketssantafe.org. (See story, Page 26)
GALLERY/MUSEUM OPENINGS
A Sea Gallery 407 S. Guadalupe St.,505-988-9140. Works by Elaine Alghany, Susan Jay, and Anne Russell, reception 5-7 p.m., through Feb. 15. Andrew Smith Gallery Annex 203 W. San Francisco St., 505-984-1234. Outer/Inner: Contemplation on the Physical and the Spiritual, work by photographer Patrick Nagatani, reception 5-8 p.m., through March 14. (See story, Page 36) Canyon Road Contemporary Art 403 Canyon Rd., 505-983-0433. Clouds, pastels by Kathy Beekman, through Feb. 9. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Gesture Then and Now: The Legacy of Abstract Expressionism, group show, through Feb. 22; Oli Sihvonen: In Motion, paintings from 1988-1991, through March 8; Thomas Downing: Paintings From the 1970s, through Feb. 28; reception 5-7 p.m. Evoke Contemporary 130-F Lincoln Ave, 505-955-9902. Portraits by Daniel Sprick, reception 5-7 p.m., through Saturday. GVG Contemporary 202 Canyon Rd., 505-982-1494. David Loughridge Photography, memorial exhibit, reception 5-7 p.m., through Feb. 7. Santa Fe Classic Cars 1091 Siler Rd., 505-690-2638. Cars of the Stars, new work by James T. Baker, reception 4-6 p.m. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, group show, reception 5:30-7 p.m., through May 18. Than Povi Fine Art Gallery 6 Banana Lane, 10 miles north of Santa Fe off US 84/285, 505-301-3956. George Toya: The Spirit of Color, mixed media, reception 4-6 p.m., through March 21. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Under 35: Part II, group show, through Feb. 15. Vivo Contemporary 725 Canyon Rd., 505-982-1320. Giving Voice to Image 2, collaborative group show of poetry and art, reception with readings 5-7 p.m.
BOOKS/TALKS
Freedom Depends on Its Bondage: The Return to Plato in the Philosophies of Leo Strauss and Emmanuel Levinas A lecture by Princeton professor Leora Batnitzky, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 505-984-6000.
EVENTS
Gotta Dance Fundraiser for Casa Milagro, KSFR Radio, and Center for Contemporary Arts, DJ-generated music, 6:30 p.m., Muñoz Waxman Gallery‚ Center for Contemporary Arts, 1050 Old Pecos Trail, $25 in advance at ccasantafe.org and at the door, discounts available.
NIGHTLIFE
CLASSICAL MUSIC
TGIF recital: Chancel Choir Mozart’s Requiem, with Jan Worden-Lackey on organ, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations accepted, 505-982-8544, Ext. 16.
IN CONCERT
Dezron Douglas Black Lion Quartet Douglas on bass, Josh Evans on trumpet,
Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Under 21............................. 52 Pasa Kids............................ 52
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
Santa Fe Clay, 545 Camino de la Familia, shows work by ceramicist Abbie Salsbury.
Lummie Spann Jr. on alto saxophone, and Eric McPherson on drums, 6 and 8 p.m. sets, The Den, 132 W. Water St., $55-$250, SFé Jazz, 505-670-6482. (See story, Page 24)
In the Wings....................... 53 At the Galleries.................... 54 Libraries.............................. 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55
THEATER/DANCE
Don’t Panic: It’s Only Finnegans Wake Solo performance by Adam Harvey, 7 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $12, 505-424-1601, encores Saturday and Sunday.
(See Page 50 for addresses) ¡Chispa! at El Mesón Three Faces of Jazz, revolving piano trio, 7:30-10:30 p.m., no cover. Cowgirl BBQ Aaron Hamre, bluesy, acoustic rock, 5-7:30 p.m.; Broomdust Caravan, juke-joint honky-tonk and biker-bar rock, 8 p.m., no cover. Duel Brewing Santa Fe Revue, country, bluegrass, and R & B mash-up, 7 p.m., no cover. El Farol John Kurzweg Band, alt. folk-rock, 9 p.m., call for cover. La Casa Sena Cantina Nunsense, musical comedy, 5:30 and 8:30 p.m., call for cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Kodama Jazz Trio, featuring Milton Villarubia on drums, Jeremy Bleich on bass, and Robert Muller on keyboard, 9:30 p.m., no cover. Palace Restaurant & Saloon C.S. Rockshow, classic rock, 9:30 p.m., call for cover. Second Street Brewery Folk rockers The Bus Tapes, with Heather Tanner on guitar and vocals, Case Tanner on bass guitar, David Gold on lead guitar, and Milton Villarubia on drums, 6-9 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 505-820-0803. 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. PASATIEMPOMAGAZINE.COM
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1 Saturday Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 505-989-4423. Group show of works by Dragonfly Art Studio students (ages 5-14), reception 4-7 p.m., through Feb. 11. Santa Fe Public Library Main Branch 145 Washington Ave., 505-955-6781. Cutups, works on paper and mixed media by JoAnn Garges, through February. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 505-955-2810. Pastel landscapes by Dee Gamble, through February.
1614 Paseo de Peralta, $30 includes postperformance party, 505-989-4423, Thursday, Saturday, and Sunday performances through Feb. 16. (See story, Page 34) The Merry Wives of Windsor Arden Shakespeare Festival presents the comedy, 7:30 p.m., James A. Littler Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20, discounts available, 505-603-7479, through Sunday. Happenings With Lauren Camp Spoken-word performance launching the poet’s book The Dailiness; with music by multi-instrumentalist Char Rothchild and bassist Paul Brown, 4 p.m., Teatro Paraguas Studio, 3205 Calle Marie, by donation.
CLASSICAL MUSIC
BOOKS/TALKS
GALLERY/MUSEUM OPENINGS
Canticum Novum winter concert The chorus and orchestra perform works by Mozart, Schubert, Cimarosa, Hovhaness, and Holst, 7 p.m.; lecture by Oliver Prezant one hour ahead of show, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25 and $35, ticketssantafe.org, 505-988-1234, discounts available.
IN CONCERT
George Winston R & B composer/pianist, 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $28-$52, 505-988-1234, ticketssantafe.org.
THEATER/DANCE
Don’t Panic: It’s Only Finnegans Wake Solo performance by Adam Harvey, 7 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $12, 505-424-1601, concludes Sunday. The Jewel in the Manuscript openingnight gala Rosemary Zibart’s play about Fyodor Dostoevsky, 7:30 p.m., Warehouse 21,
317 Aztec 20-0150 317 Aztec St., 505-8 the Inn at ge un Lo Agoyo a ed on the Alam 505-984-2121 303 E. Alameda St., nt & Bar ra Anasazi Restau Anasazi, the of Inn d Rosewoo e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra e Bishop’s Lodg Rd., 505-983-6377 1297 Bishops Lodge Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón ¡Chispa! at El Mes 505-983-6756 e., 213 Washington Av Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. Café te The Den at Coyo 83-1615 5-9 50 , St. r ate W 132 W. Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton El Cañon at the Hi 88-2811 5-9 100 Sandoval St., 50
50
Art Matters/Collections program Panelists Lilly Fenichel, Allan Graham, and David Eichholtz discuss the exhibit Oli Sihvonen: In Motion, 2-3:30 p.m., David Richard Gallery, 544 S. Guadalupe St., 505-983-9555, visit artmatterssantafe.org for full schedule of events. Paige Grant The author reads from Kitten Caboodle; kitten adoptions follow, 10:30 a.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321. The Joys and Challenges of Collecting A discussion with Eric Gustafson; part of Santa Fe Gallery Association’s Art Matters/ Collections program, 3-5 p.m., Pippin Contemporary, 200 Canyon Rd., 505-795-7476.
EVENTS
Santa Fe Farmers Market Local goods sold weekly on Saturday, 8 a.m.-1 p.m., Farmers Market Pavilion, 1607 Paseo de Peralta, santafefarmersmarket.com.
Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra n 309 W. Sa El Farol 5-983-9912 808 Canyon Rd., 50 ill El Paseo Bar & Gr 92-2848 5-9 50 , St. teo 208 Galis Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 5-4 50 2811 Siler Lane, Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , St. na 1600 Le ca La Bo 5-982-3433 72 W. Marcy St., 50 ina nt La Casa Sena Ca 5-988-9232 50 e., Av e lac Pa 125 E. at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc nc Fra 100 E. San a Fe Resort nt Sa de da La Posa e Ave., lac Pa and Spa 330 E. 00 -00 86 505-9 g Arts Center Lensic Performin St., 505-988-1234 o isc nc Fra n 211 W. Sa
PASATIEMPO I January 31-February 6, 2014
Souper Bowl XX Annual Food Depot fundraiser with localchef-prepared soups and recipes, noon, Santa Fe Community Convention Center, 201 W. Marcy St., $30 in advance, $35 at the door; children ages 6-12 $10, 505-471-1633. Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 8 a.m.3 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge.
NIGHTLIFE
(See addresses below) Anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover. Cowgirl BBQ Bill Hearne Trio, classic country, 2-5 p.m.; Americana band Joshua Powell & The Great Train Robbery, 8:30 p.m., no cover. Duel Brewing Local contemporary Balkan-folk trio Rumelia, 7-10 p.m., no cover. El Farol Controlled Burn, classic rock and country covers, 9 p.m., call for cover. ¡Chispa! at El Mesón Noche de Flamenco with Flamenco Conpaz Troupe, 7-10 p.m., call for cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone, 6-9 p.m., call for cover. Mine Shaft Tavern Booze Bombs, German rockabilly, 7-11 p.m., call for cover. Pranzo Italian Grill Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover.
Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 N.M. 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645
Second Street Brewery Railyard Reunion Band, bluegrass, 6-9 p.m., no cover. Second Street Brewery at the Railyard Folk singer/songwriter Steve Guthrie, 7-10 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover.
2 Sunday CLASSICAL MUSIC
Canticum Novum winter concert The chorus and orchestra perform works by Mozart, Schubert, Cimarosa, Hovhaness, and Holst, 3 p.m.; lecture by Oliver Prezant one hour ahead of show; St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25 and $35, ticketssantafe.org, 505-988-1234, discounts available.
IN CONCERT
Melanie Monsour Piano recital with bassist Paul Brown; jazz, Middle Eastern, and Latin music, noon-2 p.m., Museum Hill Café, 710 Camino Lejo, no charge, melaniemonsour.com.
THEATER/DANCE
Don’t Panic: It’s Only Finnegans Wake Solo performance by Adam Harvey, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $12, 505-424-1601. The Jewel in the Manuscript Rosemary Zibart’s play about Fyodor Dostoevsky, 2 p.m., discussion with students follows, Warehouse 21, 1614 Paseo de Peralta, $20, students $10, 505-989-4423, Thursday, Saturday, and Sunday performances through Feb. 16. (See story, Page 34)
Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008
Zane Bennett Contemporary Art, 435 S. Guadalupe St., shows work by Heidi Brandow.
The Merry Wives of Windsor Arden Shakespeare Festival presents the comedy, 1 p.m., James A. Littler Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20, discounts available, 505-603-7479. Performance at The Screen Lost Illusions, a ballet based on Balzac’s novel, performed at Moscow’s Bolshoi Theatre, 1:10 p.m., The Screen, 1600 St. Michael’s Dr., $20 in advance online at vendini.com and at the door, discounts available, 505-473-6084.
BOOKS/TALKS
Santa Fe municipal elections Journey Santa Fe hosts a conversation with Houston Johansen and Rick Lass on proposed amendments to the city charter, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
EVENTS
Life Drawing Weekly figure-drawing class led by Cari Griffo, 11 a.m.-1 p.m., Duel Brewing, 1228 Parkway Dr., $25 includes refreshments, 505-474-5301. Railyard Artisan Market Handmade goods and live music Sundays from 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge. Santa Fe Jewish Film Festival Lox and bagel nosh 11 a.m., encore screening of the 2010 documentary Joe Papp in Five Acts, 11:30 a.m., Center for Contemporary Arts Cinematheque, 1050 Old Pecos Trail, $12 in advance, santfejff.org. Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 9 a.m.4 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge.
NIghTLIFE
(See Page 50 for addresses) Cowgirl BBQ Santa Fe Revue, country, bluegrass, and R & B mash-up, noon-3 p.m., no cover. Duel Brewing Jazz guitarist Tommy Duran, 3-5 p.m., no cover. El Farol Pan-Latin chanteuse Nacha Mendez, 7-10 p.m., call for cover.
La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. Mine Shaft Tavern The Barbwires, soulful blues, 3-7 p.m.; Super Bowl deck party, 6:30 p.m., call for cover.
3 Monday IN CONCERT
Michael Kott and Laurianne Fiorentino Cello and vocal recital, 7 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $10 and $15, 505-983-5022 or 505-690-5907.
BOOKS/TALKS
Santa Fe Botanical garden Winter Lecture Series Downton Abby: Its Gardens and Landscapes, by Michael Pulman, 2 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $10 at the door, 505-471-9103. Spectacular Recent Finds at Woodrow Ruin Complex: A Mimbres Site Southwest Seminars lecture with Jakob William Sedig, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775.
EVENTS
Game of Thrones Free screenings of the HBO series every Monday at 7 p.m. through March 24, Jean Cocteau Cinema, 418 Montezuma Ave., jeancocteaucinema.com.
NIghTLIFE
(See Page 50 for addresses) Cowgirl BBQ Cowgirl karaoke hosted by Michele Leidig, 8 p.m., no cover. Duel Brewing Blue Monday with James T. Baker, Delta blues, 6-8 p.m., no cover. El Farol Tiho Dimitrov, R & B, 8 p.m., call for cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.
4 Tuesday EVENTS
International folk dances Weekly on Tuesdays, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.
NIghTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30-11 p.m., no cover. Cowgirl BBQ Todd Tijerina Band, rock and blues, 8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., no cover. Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover.
5 Wednesday BOOKS/TALKS
Dharma talk Presented by Zen practitioner and author Natalie Goldberg, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., no charge, 505-986-8518. Ideas and great Transformation in Post-Mao’s China A talk by professor He Li of Merrimack College, noon-1 p.m., School for Advanced Research, 660 Garcia St., no charge, 505-954-7203.
OUTDOORS
La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. Palace Restaurant & Saloon Guitarist Gary Gorence, acoustic rock and blues, 7:30 p.m., call for cover. The Pantry Restaurant Gary Vigil, acoustic guitar and vocals, 5:30-8 p.m., no cover. Tiny’s 505 Electric-Blues Jam, with Nick Wimett and M.C. Clymer, 8 p.m., no cover. ▶▶▶▶▶▶▶▶
Talking Heads
Winter hiking sessions The City of Santa Fe Recreation Division offers local-trail hikes ranging from easy to moderate, 11 a.m.-1 p.m., $20, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., contact Michelle Rogers for details, 505-955-4047, visit chavezcenter.com.
EVENTS
Telluride Mountainfilm Festival Environmental-themed films, 7 p.m., the Lensic, 211 W. San Francisco St., $15, 505-988-1234, ticketssantafe.org.
NIghTLIFE
(See Page 50 for addresses) Cowgirl BBQ Sioux City Kid, Americana and Delta blues, 8 p.m., no cover. Duel Brewing MC Joanna Colangelo serves up tunes and takes requests during Grateful Dead Night, 6-9 p.m., no cover. El Farol Nacha Mendez with Santastico, 8 p.m.-close, no cover. ¡Chispa! at El Mesón Flamenco guitarist Chuscales, 7-9 p.m., no cover.
Downton Abby: Its gardens and Landscapes Join Michael Pulman at 2 p.m. Monday, Feb. 3, as he describes the spectacular grounds of Highclere Castle. A Santa Fe Botanical Garden Winter Lecture Series event. Held at the Santa Fe Woman’s Club, 1616 Old Pecos Trail. $10 at the door. Visit sfbotanicalgarden.org or call 505-471-9103 for more information.
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6 Thursday
MasterWorks of New Mexico 2014 Open to all New Mexico artists; accepting miniatures, pastels, watercolors, and oils/acrylics; digital entries deadline Friday, Jan. 31; miniatures must be shipped by March 15 or hand-delivered by March 22; for prospectus and information visit masterworksnm.org. Santa fe Society of Artists spring jury New Mexico artisans are invited to apply for weekly Saturday outdoor art shows located downtown; jury held on Feb. 22; application forms available online at santafesocietyofartists.com; 505-455-3496.
GALLERY/MUSEUM OPENINGS
Atrium Gallery Marion Center for Photographic Arts, SFUA&D, 1600 St. Michael’s Dr., 505-473-6341. Kevin O’Connell: Everything Comes Broken, through May 17; Monte del Sol student exhibit, through February; reception 5-7 p.m. Commissioner’s Gallery New Mexico State Land Office 310 Old Santa Fe Trail, 505-827-5762. One Tree, Many Roots, works by Diana Stetson and Noël Chilton, reception 4-6 p.m.
Donations/Volunteers
THEATER/DANCE
Benchwarmers 13 sneak peak Festival of eight 15-minute playlets by local playwrights, Santa Fe Playhouse, 142 E. De Vargas St., $10, 505-988-4262, santafeplayhouse.org, Thursday-Sunday through March 2. The Jewel in the Manuscript Rosemary Zibart’s play about Fyodor Dostoevsky, 7:30 p.m., Warehouse 21, 1614 Paseo de Peralta, $15 or two for $20, students $10, 505-989-4423, Thursday, Saturday, and Sunday performances through Feb. 16. (See story, Page 34)
BOOKS/TALKS
Georgia O’Keeffe Museum exhibit lecture Curator Theresa Papanikolas discusses Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures, 6:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $5, 505-946-1039. Opera Unveiled Desirée Mays introduces the Santa Fe Opera’s 2014 season with stories and music selections, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 505-982-9274.
NIGHTLIfE
(See Page 50 for addresses) ¡Chispa! at El Mesón Jazz pianist John Rangel and friends, 7-9 p.m., no cover. Cowgirl BBQ Drasticoustic, acoustic-rock jam, 8 p.m., no cover. Duel Brewing Local singer/songwriters Eryn Bent and Lisa Carmen, 7-10 p.m., no cover. El farol Guitarras con Sabor, 8 p.m., call for cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La fiesta Lounge at La fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. La Posada de Santa fe Resort and Spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., call for cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Tenor guitarist and flutist Gerry Carthy, 9 p.m., no cover. Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. Zia Diner Trio Bijou, vintage jazz with Gemma DeRagon on violin and vocals, Andy Gabrys on guitar, and Andy Zadrozny on bass, 6:30-8:30 p.m., no cover.
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Richard Levy Gallery, 514 Central Ave. S.W., Albuquerque, shows work by Gordon Parks (1912-2006)
▶ Elsewhere AlbuquErquE Museums/Art Spaces
516 Arts 516 Central Ave. S.W., 505-242-1445. Heart of the City, group show, 6-8 p.m. Saturday, Feb. 1, through May 3. Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Open 10 a.m.-5 p.m. Tuesday-Sunday, no charge. Richard Levy Gallery 514 Central Ave. S.W. , 505-766-9888. Segregation Series, work by photographer Gordon Parks (1912-2006); mixed media by Mickalene Thomas; reception 6-8 p.m. Saturday, Feb. 1, through March 1.
Events/Performances
The Menu Tricklock Company presents its staged production based on Jim Linnell’s book of poetry, 10 p.m. Friday, 6 p.m. Saturday, Jan. 1-Feb. 1, Tricklock Performance Laboratory, 110 Gold Ave. S.W., no charge, reservations 505-414-3738. Chatter Sunday Sensual and Serene, flute, harp, and viola recital with Jesse Tatum, Lynn Gorman, and David Felberg, 10:30 a.m. Sunday, Feb. 2, a reading follows with author Betsy James, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.
PASATIEMPO I January 31-February 6, 2014
MAdrid
Johnsons of Madrid 2843 NM 14, 505-471-1054. Preserve La Bajada Mesa, group show in response to proposed mining operation; group show of works by Northern New Mexico artists; Wearables and Wallables, group textile show featuring Beth Wheeler; People, works by Mel Johnson and Cosmo Monkhouse; reception 3-5 p.m. Saturday, Feb. 1, through Feb. 25,
TAos
David Anthony fine Art 132 Kit Carson Rd., 575-758-7113. Exothermic Reactions, photographs of pyrotechnic tableaus by David Mapes, through Feb. 28. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. 12th Annual Miniatures Show & Sale, ticketed ($20) opening reception 5:30-7:30 p.m. Friday, Jan. 31, through March 2. Open 10 a.m.- 5 p.m. Tuesday-Sunday through March, NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge. Taos Art Museum and fechin House 227 Paseo del Pueblo Norte, 575-758-2690. The Animal World of Eugenie Glaman, etchings and paintings, through March 2. Open 10 a.m.4 p.m. Tuesday through Sunday, no charge.
▶ People who need people Artists
Call for sculpture One-inch-high sculptures sought for The Royal Breadshow; sculptures will be exhibited and then baked into breads; March 31 deadline; see theroyalbreadshow.com or axleart.com for submission guidelines.
Cerrillos Hills State Park volunteer training Seeking weekend receptionists, park greeters, and help with serving refreshments during public programs; training held 10 a.m.1 p.m. Saturday, March 8; call for reservations, 505-474-0196, Visitor’s Center, 37 Main St., Cerrillos. fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 505-428-1353. Many Mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org; call 505-466-3715 for more information or to schedule an interview. Santa fe Humane Society and Animal Shelter Dogs need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128. Santa fe Stories Project The Santa Fe V.I.P. seeks material on the post-World War II era in Santa Fe; to submit stories or images, visit santafestories.com; submissions accepted through March. St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org.
▶ under 21 UNDER 21
Rock/punk concert Hating Nate, HN-88, Almost a Lie, and On Believer, 7 p.m. Friday, Jan. 31. Warehouse 21, 1614 Paseo de Peralta, $5 at the door, 505-989-4423.
▶ Pasa Kids flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 505-989-4423. Group show of works by Dragonfly Art Studio students (ages 5-14), reception 4-7 p.m. Friday, Jan. 31, through Feb. 11. Santa fe Children’s Museum science exhibit Cultivate the Scientist in Every Child: The Philosophy of David and Frances Hawkins, descriptions of the team’s work in education and observations of children and teachers; also, hands-on activities for children ages 2-10, through Feb. 9. 1050 Old Pecos Trail, open 10 a.m.-5 p.m. Wednesday, Friday, Saturday, 10 a.m.-7 p.m. Thursday, noon5 p.m. Sunday, $7.50 admission, 505-989-8359. Journey to China With Le Rossignal Bring kids ages 3-5 for an introduction to opera through dance, song, and costumes, 9:30-11:30 a.m. Saturday, Feb. 1, First Presbyterian Church of Santa Fe, 208 Grant Ave., no charge, RSVP to firstprescdc@gmail.com. ◀
In the wings MUSIC
Albuquerque Baroque Players Music of Lully, Rameau, and Couperin, featuring violinist Stephen Redfield, 7:30 p.m. Friday, Feb. 7, San Miguel Church, 401 Old Santa Fe Trail, $18, discounts available, 505-400-9385, albuquerquebaroqueplayers.com. Piano and violin recital Tim Schwarz and Daniel Weiser perform music of Copland, Amy Beach, and William Grant Still, 6:30 p.m. Friday, 7 p.m. Saturday, Feb. 7-8, Quail Run Clubhouse, 3101 Old Pecos Trail, $30 in advance online at amicimusic.org, $35 at the door, 770-490-9134. The Met Live in HD Dvorak’s Rusalka, 11 a.m. and 6 p.m. Saturday, Feb. 8, the Lensic, $22-$28, 505-988-1234, ticketssantafe.org. Serenata of Santa Fe Twists and Turns, music of Brahms, Herrmann, and Tower, 3 p.m. Sunday, Feb. 9, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org. Zappa Plays Zappa Guitarist Dweezil Zappa’s band, 7:30 p.m. Wednesday, Feb. 12 ($32-$75); Dweezilla on the Road, Zappa’s master class ($75), precedes the concert at 3 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., 505-988-1234, ticketssantafe.org. La Catrina Quartet Violinists Daniel Vega-Albela and Roberta Aruda, violist Jorge Martínez, and cellist Javier Arias, with piano and flute, music of Brahms, Mozart, and Amy Beach, 7 p.m. Saturday, Feb. 15, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $25, discounts available, 505-474-4513. Santa Fe Symphony: In Honor of Lincoln Presentation of Copland’s Lincoln Portrait with narration by N. Scott Momaday, and Fanfare for the Common Man, 4 p.m. Sunday, Feb. 16, lecture at 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 505-988-1234, ticketssantafe.org. McFish Trio Cellist Erika Duke Kirkpatrick, violist Marlow Fisher, and harpsichordist Kathleen McIntosh, varied repertoire, 3 p.m. Sunday, Feb. 16, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $5 at the door, 505-670-8273. Pixies Alt-rock band, 7:30 p.m. Tuesday, Feb. 25, Albuquerque Convention Center, 401 Second St. N.W., $39-$58 in advance online at ampconcerts.org or holdmyticket.com, 505-886-1251. Legends of the Celtic Harp Acoustic trio, 7:30 p.m. Friday, Feb. 28, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Jonathan Wilson Psychedelic-folk singer/songwriter and his band, 7:30 p.m. Friday, Feb. 28, the Lensic, $12 in advance, 505-988-1234, ticketssantafe.org, $15 at the door. David Russell Classical guitarist, 7:30 p.m. Friday, March 7, Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $40 at the door, 505-984-6000. New Mexico Bach Society Easter Oratorio, 4 p.m. Sunday, March 9, Stieren Hall, 301 Opera Dr., $30 and $40, 505-474-4513, nmperformingartssociety.org.
Greensky Bluegrass Prog. bluegrass band, 7:30 p.m. Wednesday, March 12, Santa Fe Sol Stage & Grill, 37 Fire Place, $15 in advance, $20 at the door, 505-988-1234, ticketssantafe.org. Yacouba Sissoko Kora player, 7:30 p.m. Friday, March 14, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Sharon Jones and the Dap-Kings Soul and funk; Valerie June opens, 7:30 p.m. Tuesday, March 18, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$54, 505-988-1234, ticketssantafe.org. Santa Fe Symphony Featuring violinist Clara-Jumi Kang; music of Bruch, Rachmaninov, and Borodin, 4 p.m. Sunday, March 23, the Lensic, $22-$76, 505-988-1234, ticketssantafe.org. Sounds of Santa Fe 2 Local musicians’ showcase, 7:30 p.m. Friday, March 28, Lensic Performing Arts Center, 211 W. San Francisco St., $12, 505-988-1234, ticketssantafe.org. An Evening With Joyce DiDonato Mezzo-soprano, 6:30 p.m. Monday, March 31, the Lensic, 211 W. San Francisco St., concert only $25-$95, 505-988-1234, ticketssantafe.org; premium seats and dinner $325, tickets available through the Santa Fe Concert Association, 505-984-8759. Joshua Redman Jazz saxophonist, 7 p.m. Friday, April 4, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $30, students $25, holdmyticket.com. Neko Case Singer/songwriter, with The Dodos, 7:30 p.m. Monday April 14, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$44, 505-988-1234, ticketssantafe.org. The Dandy Warhols Power-pop rockers, 7:30 p.m. Tuesday, April 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $27 in advance, 505-988-1234, ticketssantafe.org, $35 at the door.
Upcoming events Les Liaisons Dangereuses Playwright Christopher Hampton’s adaptation of the novel about seduction and revenge, 7 p.m. Friday and Saturday and 2 p.m. Sunday, March 7-16, Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketsantafe.org, 505-988-1234. The Other Place Fusion Theatre Company presents Shar White’s drama, 8 p.m. Friday, 2 and 8 p.m. Saturday, March 7-8, the Lensic, $20-$40, 505-988-1234, ticketssantafe.org. The Queen of Madison Avenue A reading of Ron Bloomberg’s new play, 7 p.m. Thursday, March 13, the Lensic, 211 W. San Francisco St., $10, 505-988-1234, ticketssantafe.org. Aspen Santa Fe Ballet Choreography by Nicolo Fonte, Cayetano Soto, and Norbert de la Cruz, 7:30 p.m. Friday and Saturday, March 21-22, the Lensic, $25-$72 in advance, 505-988-1234, ticketssantafe.org. Southwest Irish Theater Festival Theaterwork presents four plays and a concert, March 21-30, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., reservations 505-471-1799. HaMapah/The Map Dancer Adam McKinney’s multimedia performance, 7 p.m. Saturday, 3 p.m. Sunday, March 22-23, The Dance Barns, 1140 Alto St., $20, discounts available, 505-988-1234, ticketssantafe.org. The Guru of Chai Jacob Rajan’s one-man portrayal of modern India, 7:30 p.m. Tuesday, April 1, the Lensic, $15-$35, 505-988-1234, ticketssantafe.org.
Luma Experimental-light theater performance, 2 and 7 p.m. Sunday, April 6, the Lensic, 211 W. San Francisco St., $15-$35, discounts available, 505-988-1234, ticketssantafe.org. Spring Awakening A musical based on Frank Wedekind’s oncecontroversial play, 7 p.m. Friday and Saturday, April 25-May 3, 2 p.m. Sunday, May 4, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org.
HAPPENINGS
Seventh Annual New Mexico Italian Film & Culture Festival Showing the 2012 film Shun Li and the Poet, 4 p.m. Sunday, Feb. 9, proceeds benefit UNM Children’s Hospital, The Screen, 1600 St. Michael’s Dr., $100 includes dinner at Osteria D’Assisi, 505-473-6494, thescreensf.com. At the Artists’ Table Valentine’s Day dinner prepared by chef Michelle Roetzer and conversation with Roetzer and artist Susan Contreras, 6-9 p.m. Friday, Feb. 14, held in support of Partners in Education Foundation for Santa Fe Public Schools, Santa Fe School of Cooking, 125 N. Guadalupe St., $175, couples $300, 505-474-0240, eventbrite.com. Wayard Shamans: The Prehistory of an Idea The School for Advanced Research presents a lecture by Silvia Tomásková on humanity’s earliest expressions of art, religion, and creativity through shamanism, 6:30-7:30 p.m. Thursday, Feb. 20, New Mexico History Museum Auditorium, 113 Lincoln Ave., $10, 505-950-7200.
THEATER/DANCE
Colin Quinn The stand-up comic shares his political views in Unconstitutional, 7 p.m. Friday, Feb. 7, Lensic Performing Arts Center, $15-$35, 505-988-1234, ticketssantafe.org. Tao Phoenix Rising Contemporary dance and taiko drum troupe, 7:30 p.m. Saturday, Feb. 22, the Lensic, $25-$45, ticketssantafe.org, 505-988-1234. The Jewel Box Cabaret Gender-bending musical comedy and burlesque series, featuring Guava Chiffon, 8:30 p.m. Saturday, Feb. 22, María Benítez Cabaret at The Lodge, 750 N. St. Francis Dr., $10, VIP seating $20, 505-428-7781. National Theatre Live in HD War Horse, based on Michael Morpurgo’s novel set in France during WWI, 7 p.m. Friday, Feb. 27, the Lensic, $22, student discounts available, 505-988-1234, ticketssantafe.org.
Dance and taiko drum troupe tao phoenix Rising performs Feb. 22 at the Lensic.
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At the GAlleries Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. Illuminated sculptures by Ilan Ashkenazi, through Feb. 22. El Museo Culural de Santa Fe 555 Camino de la Familia, 505-992-0591. La Blanca Ciudad: The White City, contemporary works by artists of Arequipa, Peru, through March. Marigold Arts 424 Canyon Rd., 505-982-4142. Group show of works by gallery artists, through Thursday, Feb. 6. Peyton Wright Gallery 237 E. Palace Ave., 505-989-9888. Art of Devotion, historic art of the Americas, through March 9. Photo-eye Gallery 370-A Garcia St., 505-988-5159. Photo Objects & Small Prints, group show; REDD, jewelry designs by Rachelle Thiewes and Julia M. Barello, through Saturday, Feb. 1. Santa Fe Botanical Garden 725 Camino Lejo, 505-471-9103. Birds in the Garden, installation by ceramicist Christy Hengst, through May. Santa Fe Community College Visual Arts Gallery 6401 Richards Ave., 505-428-1501. Dos Pintores y Dos Senderos: Padre y Hijo, recent work by Andrés Martínez and Adrian Martínez, through March 5. Santa Fe Community Gallery 201 W. Marcy St., 505-955-6705. In/Visible Borders: New Mexico Photographers, including works by Carlan Tapp, Patrick Nagatani, and Norman Mauskopf, through Feb. 21. Santa Fe Prep 1101 Camino de Cruz Blanca, 505-982-1829. Works by alumni, including Peter Sarkisian, Ted Larsen, and Eliot Fisher, through January. Scheinbaum & Russek 812 Camino Acoma, 505-988-5116. Santa Fe Legacy, prints and photographs by Gustave Baumann, Gerald Cassidy, Louie Ewing, Laura Gilpin, Kate Krasin, Eliot Porter, and Todd Webb, through January. Sugarman-Peterson Gallery 130 W. Palace Ave, 505-982-0340. New multimedia work by Michael Protiva, through January. Tansey Contemporary 652 Canyon Rd., 505-995-8513. Devocionales: Neo-Colonial Retablos From an Archetypal Perspective, paintings by Patrick McGrath Muñiz, through January. Turner Carroll Gallery 725 Canyon Rd., 505-986-9800. New works by Rex Ray and Hung Liu, through March 15.
librAries Beaumont and Nancy Newhall Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-474-5052. Open by appointment. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7205. Open Monday-Friday, call for hours. Chase Art History Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6041. Visit stjohnscollege.edu for hours of operation, $40 fee to nonstudents and nonfaculty.
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Min Kim Park, Lynn, in the New Mexico Museum of Art exhibit Collecting Is Curiosity/Inquiry, closing sunday, Feb. 2.
Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 505-476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 505-476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 505-476-9700. 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., 505-467-6825. Rare books and collections of metaphysical materials. Open Monday-Saturday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 505-428-1352. Open Monday-Saturday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 505-984-8800. Open 1-5 p.m. Monday-Friday. Visit santafe.edu/library for online catalog. Santa Fe Public Library Main Branch 145 Washington Ave., 505-955-6781. Open 10 a.m.-8 p.m. Monday-Thursday; 10 a.m.6 p.m. Friday and Saturday; 1-5 p.m. Sunday Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 505-955-4860. 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., 505-955-2810. Open 10 a.m.8 p.m. Monday-Thursday, 10 a.m.-6 p.m. FridaySaturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 505-827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.
PASATIEMPO I January 31-February 6, 2014
MuseuMs & Art spAces Center for Contemporary Arts 1050 Old Pecos Trail, 505-216-0672. Icepop, installation by Sandra Wang and Crockett Bodelson of the art collective Scuba, Muñoz Waxman Gallery • All the News That’s Fit to Print, group show, Spector-Ripps Project Space, both exhibits through March 30. Call for hours or visit ccasantafe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1039. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.7 p.m. Friday; $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1666. Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Open 10 a.m.-5 p.m.; noon-5 p.m. Sunday; closed Tuesday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through March • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s Brazilian collection, through Aug. 10. 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; no charge for NM residents over 60 on Wednesdays; no charge for NM residents on Sundays; school groups no charge. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through spring 2014 • BeltránKropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, through May 27 • San Ysidro/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 young Spanish Market 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., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9 • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. 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; 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., 505-476-5072. Renaissance to Goya: Prints and Drawings from Spain, through March 9 • Collecting Is Curiosity/ Inquiry, through Sunday, Feb. 2 • A Life in Pictures: Four Photography Collections, through Sunday, Feb. 2 • 50 Works for 50 States: New Mexico, through April 13 • It’s About Time: 14,000 Years of Art in New Mexico, through January. Open 10 a.m.-5 p.m. TuesdaySunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Open 10 a.m.-5 p.m. Tuesday-Sunday. $10 admission. Poeh Museum Poeh Museum. 78 Cities of Gold Rd., 505-455-3334. Doing Being Sharing Laughing, group show, through January. 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, 505-989-1199. Open Thursday and Saturday 10 a.m.-5 p.m., Friday 10 a.m.-7 p.m., and Sunday noon-5 p.m. $10; seniors and students $5; no charge 10 a.m.-noon Saturday; no charge Friday. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.-5 p.m. daily; donations accepted.
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A peek at what’s showing around town
Oli Sihvonen: Untitled (003), 1991, oil on canvas. David Richard Gallery (544 S. Guadalupe St.) presents Oli Sihvonen: In Motion, an exhibition of vibrant and rhythmic abstract paintings. Sihvonen (1921-1991) was known for using reductive forms and repetition. The gallery’s selection includes works Sihvonen made from 1988 to 1991. There is an opening reception at 5 p.m. on Friday, Jan. 31. The gallery hosts a free panel discussion about Sihvonen’s work with gallery co-director David Eichholtz and artists Lilly Fenichel and Allan Graham on Saturday, Feb. 1, at 2 p.m. Call 505-983-9555.
Pedro Surroca: Willowed Wisp, 2013, oil on linen. Now and Then at LewAllen Gallery (1613 Paseo de Peralta, in the Railyard) includes work by modern artists including Jean Charlot (18981979), Karl Nolde (1902-1994), and Alexander Calder (1898-1976) and contemporary artists Tom Palmore and Woody Gwyn, among others. The exhibit runs through Feb. 23. Call 505-988-3250.
Kathy Beekman: The Coming Light, 2013, pastel on paper. “Clouds stir up emotion with their constant shifts in light and shadow, their moving forms and color changes,” writes artist Kathy Beekman. “What I like most about them is this ephemerality.” Clouds, an exhibition of her pastel cloudscapes, is on view at Canyon Road Contemporary (403 Canyon Road) through Feb. 9. Call 505-983-0433.
marina Brownlow: Untitled 3, 2013, monoprint. Vivo Contemporary (725 Canyon Road) presents Giving Voice to Image 2, which pairs visual works by 12 gallery artists with poems by 12 New Mexico writers. The show opens on Friday, Jan. 31, with a 5 p.m. reception and a poetry reading with Donald Levering, Julia Deisler, Mary McGinnis, and others. Artists include George Duncan, Ilse Bolle, and Marina Brownlow. A second reception takes place on Friday, Feb. 7, at 5 p.m. with readings by Lauren Camp, Shebana Coelho, and Miriam Sagan, among others. The readings are free to the public. Call 505-982-1320.
Sonja Alhäuser: Flying Feast (detail), 2012, butter, marzipan, other foods, and miniature watercolors. Feast: Radical Hospitality in Contemporary Art traces the history of artist-orchestrated meals from the early 20th century to the present and explores the political, commercial, and social structures surrounding the experience of sharing food. The exhibit, at SITE Santa Fe (1606 Paseo de Peralta), includes The Royal Breadshow, the winning project from last autumn’s Spread event hosted by SITE. Feast opens with a 5:30 p.m. reception on Friday, Jan. 31. For information on related events throughout the run of the show, visit www.sitesantafe.org or call 505-989-1199.
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