The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
March 29, 2013
Arlo Guthrie Lensic Presents
H e r e C om e s t h e K i d
Lensic Presents BROADCAST IN HD The acclaimed new comedy by Alan Bennett
PEOPLE Starring Tony and Olivier winner Frances de la Tour
A M USI C A L TR I B U TE TO WO O DY G U T H R I E
The Times (UK)
Daily Telegraph, Evening Standard, Guardian, Independent (UK)
J O I N F O L K I CO N A R LO G U T H R I e
for an unforgettable evening of music and stories celebrating his father, the legendary Woody Guthrie, in his 100th birthday year.
April 4
People spoil things; there are so many of them and the last thing one wants is them traipsing through one’s house. Dorothy (de la Tour) wonders if an attic sale might be a solution.
April 5, 7 pm
7: 3 0 p m
$ 2 0 -$ 4 5
Discounts for Lensic members & students
Coming Soon—Broadcast from London’s National Theatre
This House / May 16
$22 / $15 students
SPECIAL THANKS TO
FOR ONGOING SUPPORT OF THE NT LIVE SERIES
Tickets: 505-988-1234 www.TicketsSantaFe.org
Tickets: 505-988-1234 www.TicketsSantaFe.org
SE RVICE CHA RGE S A P P LY AT A LL P OINTS OF P U RCHA SE
S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E
t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n
t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n
Easter Brunch !
Organic Mattress. Non toxic bedding. Extreme comfort. Fresh energy for the bedroom.
Sunday, March 31, 2013 10:00 a.m. - 2:30 p.m. a la carte menu from $10 patio seating weather permitting Pink Margarita w/ Peep - $5.00 & selection of Easter “Mocktails” ‘instant’ gift certificates available/walk-ins welcome!
Great bed collection Happy Hour Monday thru Friday 4-6 pm 231 washington ave. santa fe, nm 505•984•1788 2
March 29 - April 4, 2013
www.
s e q u o ia s a n t a f e
.
.com
201 Galisteo St, Santa Fe, NM 87501 Tel 505 982 7000
PRESENTS
The Holocaust Cantata
This is not a sofa bed,
it’s an eye-catching, sleep-inducing, marvel of modern engineering.
(songs from the Camps)
by Donald McCullough
Saturday, April 6, 7:00pm Performed by Polyphony: Voices of New Mexico Under artistic director and pianist Maxine Thevenot
This concert is presented in honor of the annual observance of Yom Hashoah, Holocaust Remembrance Day. The first 100 families or singles to arrive at the event will receive a complimentary copy of Fragments: Architecture of the Holocaust An Artist’s Journey Through The Camps by Karl P. Koenig.The book retails for $75. General Ticket Admission $25 prepaid or $30 at the door Seating is limited. Buy tickets at 1-800-838-3006 www.brownpapertickets.com/event/349336
The New Comfort Sleeper
™
2230 Old Pecos Trail Santa Fe, NM 505.820.2991 www.beittikvasantafe.org
&
b o t w i n
e y e s
e y e
g r o u p
o p t i c s s a n ta
f e
Cartier Chanel Chrome Hearts Anglo American Anne et Valentin Beausoleil Lunettes Dolce & Gabbana Etnia Barcelona FACEaFACE Ronit Furst Gotti, i.c!berlin Oliver Peoples RetroSpecs Loree Rodkin Theo, 2.5 Eyephorics…
Dr . M a r k bot w i n Dr . Jonath an bot w i n Dr . J e r e M y bot w i n
Optometric Physicians
444 St Michaels Drive
5 0 5 . 9 5 4 . 4 4 4 2 BotwinEyeGroup.com PASATIEMPO
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ASPENSANTA FE BALLET
SEASON PRESENTING SPONSOR
MARCH 29 & 30 7:30pm
at the United Church of Santa Fe • • • •
Veteran dancer Sam Chittenden’s final Santa Fe performances!!
“Committed to Resurrection” Santa Fe Brass and 30-voice adult and children’s choirs Classical, Global and Gospel music Handel’s “The Hallelujah Chorus.”
Children’s Easter Egg Hunt after 8:30 and ll:00 services. Childcare all morning.
THE UNITED CHURCH OF SANTA FE Rev. Talitha Arnold, Sr. Minister; Rev. Brandon Johnson, Assoc. Minister Jacquelyn Helin, Pianist and Music Director; Karen Marrolli, Choral Director Andrea Hamilton, Children’s Director
1804 Arroyo Chamiso (at St. Michael’s Drive) 988-3295 unitedchurchofsantafe.org
“Love God. Love Neighbor. Love Creation.” Wheelchair accessible
Groups of 10 or more receive discounts of up to 40%! Call 505-983-5591 for more information.
Tickets: 505-988-1234 PREFERRED HOTEL PARTNER
GOVERNMENT / FOUNDATIONS
MEDIA SPONSORS
Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts.
March 29 - April 4, 2013
for all ages
ŭ 6:30 a.m. Sunrise Outdoor Service ŭ 8:30 and 11:00 a.m. Celebrations
OFFICIAL AND EXCLUSIVE AIRLINE OF ASPEN SANTA FE BALLET
4
Easter Celebrations
The Lensic, Santa Fe’s Performing Arts Center
aspensantafeballet.com CORPORATE SPONSORS
New Life in an Old World!
Easter Lunch
The Linen Store
Lunch served 11am -3pm
Honey Glazed Ham, Norwegian Salmon Filet Strawberry and Goat Cheese Salad House Smoked Salmon Eggs Benedict Baked Almond Streusel French Toast Classic Eggs Benedict Pavlova with Strawberries, Lemon Cheesecake, Panna Cotta Champagne Cocktails
&
Huge Spring Sale Hundreds of items!
Dinner Specials 3pm - close
326 S. Guadalupe •
988-7008 • www.ziadiner.com
223 Galisteo between Water & Alameda • 505.983.6331 • Mon-Sat 10-6, Sun 11-5
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories
Featuring Attractive Handcrafted Furniture Southwestern Style • Great one-of-a-kind Pieces
Reasonable prices every day of the year!
Graduate Gemologist on Staff Master Jeweler on Premises 6 Days a Week to Take Care of All Your Jewelry Needs.
Please come in, you’ll be pleasantly surprised.
SANTA FE COUNTRY FURNITURE
jewelmark@qwestoffice.net
505-820-6304 233 Canyon Road
Spruce Up Your Spring Wardrobe With Some Bangle Bracelets. Come preview our new bracelet collection.
525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr.
Monday - Saturday
•
9-5
•
Closed Sundays
TO FIND US ON GOOGLE MAPS USE: 273 AIRPORT RD. • IPHONE SEARCH USE: “LOC: +35.638542, -106.024098”
PASATIEMPO
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THE SANTA FE NEW MEXICAN
March 29, 2013
On the cOver 28 aspen santa Fe ballet’s sam chittenden “He’s just a natural, one of the most sincere and honest performers I’ve ever seen,” said Tom Mossbrucker, artistic director of Aspen Santa Fe Ballet, of the company’s 15-year veteran Sam Chittenden. Though Chittenden will be retiring soon, he dances with Aspen Santa Fe in a program of mixed repertory on Friday and Saturday, March 29 and 30. Our cover image shows Chittenden with Katie Dehler; photo by Rosalie O’Connor.
bOOks
mOving images
14 in Other Words The Revenge of Geography
38 42 43 44
mUsic and PerFOrmance 18 20 23 24 26 30 31 55
Pasa tempos CD Reviews terrell’s tune-Up Swamp Dogg rides again Onstage this Week Mangum force son down Sam Shepard’s Buried Child Pasa reviews New Mexico Guitar Duo Pasa reviews Clybourne Park Pasa reviews Theater Grottesco sound Waves Spring in your two-step
Pasa Pics Caesar Must Die Ginger & Rosa Olympus Has Fallen
calendar 48 Pasa Week
and 11 mixed media 13 star codes 46 restaurant review
art 32 snakes alive! Eight Modern group show 34 art in review Carlan Tapp 36 Full-scale photos Mark Laita’s Serpentine
Visit us on the web at "*&*%$!)'(#"
advertising: 505-995-3819 santafenewmexican.com ad deadline 5 p.m. monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. marcy st. santa Fe, nm 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — kristina melcher 986-3044, kmelcher@sfnewmexican.com
Observant Serpent (detail) by todd ryan White
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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com
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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff acker 986-3014, jcacker@sfnewmexican.com
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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela beach 986-3019, pambeach@sfnewmexican.com
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staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com rob deWalt 986-3039, rdewalt@sfnewmexican.com James m. keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com
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cOntribUtOrs laurel gladden, lauren elizabeth gray, robert ker, bill kohlhaase, Jennifer levin, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, khristaan d. villela
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PrOdUctiOn dan gomez Pre-Press Manager
The Santa Fe New Mexican
© 2013 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Ginny Sohn Publisher
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advertising directOr Tamara Hand 986-3007
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marketing directOr Monica Taylor 995-3824
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art dePartment directOr Scott Fowler 995-3836
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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert
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advertising sales mike Flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852
Rob Dean editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
PASATIEMPO
7
SPRING WORKSHOPS
PAYNE’S NURSERIES
Five fun, interesting & informative talks absolutely FREE! All participants receive a 20% discount card to use the day of the workshop. The next two workshops will be at our NORTH store at 304 Camino Alire. The final three workshops will be at our SOUTH store. All workshops start at 11:00 AM.
Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011 Spring Hours
Mon - Sat 9 to 5:30 Sun 10 to 4
Springtime for Santa Fe
less 20% for locals thru April 15th jrltd.com Lynn Payne
March 30 Lynn Payne: Pruning March 31 CLOSED Easter Sunday
Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 to 4
April 6 Valerie Jones & Leanne Lopez: Introduction to NEW plants for 2013
Valerie Jones
Fabian Chavez
✄
April 20 TJ Jones: Growing Vegetables in Containers April 27 Lynn Payne: America’s Favorite Flower, The Rose See all 5 workshops and details at paynes.com
www.paynes.com
clip & save
April 13 Fabian Chavez: Tree Selection, Planting and Care
114 East Palace Avenue Santa Fe 87501 505 988 1147 designs@jrltd.com TJ Jones
S
the
anta fe
ymphony
...bringing great music to life
Faure’s Requiem
Kathlene Ritch, soprano • Tim Willson, baritone
• Vivaldi’s Concerto for Two Trumpets Greg Heltman and Brynn Marchiando, trumpet • Conducted by Choral Director Linda Raney
featuring The Symphony Chorus accompanied by The Symphony’s Chamber Ensemble
•
Thursday, April 4, 7:00 pm
Cathedral Basilica of St. Francis Assisi Admission is free • Pay what you can No tickets needed • Doors open at 6:30 pm
For information call 983-1414 or visit santafesymphony.org
Concert Support by New Mexico Bank & Trust 8
March 29 - April 4, 2013
Join us at Osteria D’ Assisi for
EASTER BRUNCH SUNDAY March 31st • 11:30-3PM
Come enjoy a prosecco della casa! We will be offering a childrens menu and a traditional menu that is available al la catre. Patio seating will be available weather permitting! Call now for reservations. •
Next month
· April 11th Cocktails and tapas · April 25th Wine and tapas
505-986-5858 58 S. Federal Place Santa Fe, NM 87501
www.sfcc.edu
apriL
Michael Freitas Wood UNFOLDING TIME
4
caLendar of events THURSDAy
10 a.m. to 5 p.m., Jemez Rooms dreamsclubnm@gmail.com Informational workshops, resources and a fundraiser for people with disabilities, student leaders and those going into social and health services. Free.
March 29 through April 19 OP EN I N G RE CE PT I ON
Friday, March 29 from 5 – 7 pm
SFCC Planetarium: Backyard Astronomy
6
435 S. Guadalupe St., Santa Fe, NM 87501 505 982-8111 zanebennettgallery.com Tue-Sat 10-5 or by appointment
8 p.m. to 9 p.m. 505-428-1744 Enjoy a live presentation in the planetarium followed by an outdoor viewing of the night sky, if weather permits. Please see sfcc.edu for other events during this month. SATURDAy
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SATuRdAy
fRIdAy
ThuRSdAy
WEdNESdAy
TuESdAy
moNdAy
Still Life
AfTERNooN
EvENING
figure drawing
Beginning & Intermediate
Intermediate & Advanced Kevin Gorges 9:30 am - 12:30 pm 8 weeks $169.95+tax April 1 - May 20
Kevin Gorges 1:30 pm - 4:30 pm 8 weeks $169.95+tax/model fee* April 1 - May 20
Watercolor & oil
oil Painting
Lee Rommel 9:30 am - 12:30 pm 6 weeks $129.95+tax April 2 - May 7
Portrait
drawing & Painting
Roberta Remy 9:30 am - 12:30 pm 7 weeks $149.95+tax/model fee* April 3 - May 15
Watercolor & oil
Must have figure experience
Pastel Painting
Watercolor & oil
James Roybal 1:30 pm - 4:30 pm 8 weeks $169.95+tax April 3 - May 22
Watercolor
Watercolor
mixed media Collage
oil Painting
Intro figure Painting Kevin Gorges 6:00 pm - 8:30 pm 8 weeks $169.95+tax/model fee* April 2 - May 21
Michael McGuire 1:30 pm - 4:30 pm 8 weeks $169.95+tax April 4 - May 23
Richard Guzmán 9:30 am - 1:30 pm 7 weeks $169.95+tax April 6 - May 18
Richard Guzmán 6:00 pm - 8:30 pm 8 weeks $169.95+tax April 1 - May 20
Michael McGuire 1:30 pm - 4:30 pm 8 weeks $169.95+tax April 2 - May 21
Lee Rommel 9:30 am - 12:30 pm 6 weeks $129.95+tax April 4 - May 9
Mell Feltman 9:30 am - 12:30 pm 7 weeks $149.95+tax April 5 - May 24
drawing
Lee Rommel 6:00 pm - 8:30 pm 6 weeks $129.95+tax April 3 - May 8
Expression Through Watercolor Christy Henspetter 6:00 pm - 9:00 pm 8 weeks $169.95+tax April 4 - May 23
*+model fee
Darlene McElroy 1:30 pm - 4:30 pm 8 weeks $169.95+tax April 5 - May 24
All Class fees + Tax
Register NoW for SummER ART WoRKShoPS
10% Student discount
ValdesArtWorkshops.com
Enroll Early!
on
Art Supplies!!!
Art Supplies • Art Classes 1006 Marquez Place • Santa Fe 87505 (505) 982-0017 valdesartschool@qwestoffice.net
SPRING ART CLASSES 2013
moRNING
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Algae(Spirulina) Microfarming Class
9 a.m. to 4 p.m., Jemez Rooms 505-428-1270 Join two of the algae industry’s leading experts as they review small scale spirulina algae microfarming. Register at www.sfcc.edu or e-mail gordon.fluke@sfcc.edu.
RAILYARD ARTS DISTRICT WALK LAST FRIDAY OF EVERY MONTH
6-8 WEEK CLASSES
Disability Awareness Fair
THURSDAy
Carbon Economy Series: Women’s Gardener, Farmer, Rancher Training
April 12 to April 15, Jemez Rooms 505-819-3828 A conference for women farmers and ranchers interested in improved quality of life, profitability and land health. Visit carboneconomyseries.com. THURSDAy
Santa Fe Higher Education Center Ground Breaking Please visit hec.sfcc.edu for more info.
505-428-1501
SFCC Fantastic Futures Career Fair
10 a.m. to 2 p.m., Main Hall and Campus Center 505-428-1406 Dress your best, bring your resume and be ready to make a great first impression with potential employers. Visit www.sfcc.edu/ career_services or e-mail patty.armstrong@sfcc.edu.
eartH weeK events
22 26
MONDAy
FRIDAy
Resource Fair and Bike Ride
10 a.m. to 2 p.m. 505-428-1266 Join our bike ride from Sirius Cycles at Rodeo Plaza to SFCC and visit with college resources, local nonprofits and others. FREE.
Solar Fiesta
On campus. Exhibits and workshops on renewable energy topics for children, homeowners and job-seekers. FREE.
SPECIAL AND ONGOING EVENTS Summer and Fall 2013 Credit Registration Begins
505-428-1270
New Kids Campus Summer Program
505-428-1380
SFCC Strategic Planning
505-428-1765
Summer registration for New Mexico residents begins Monday, April 15 and fall semester registration begins Monday, April 22. Register at www.sfcc.edu.
Activities and field trips to areas of interest on the SFCC campus. Registration required. Visit kidscampus.sfcc.edu. For information on the college’s new strategic planning process, please contact Yash Morimoto at yash.morimoto@sfcc.edu.
HeLping students succeed. serving our community.
Individuals who need special accommodations should call the phone number listed for each event.
Learn more
505-428-1000 www.sfcc.edu PASATIEMPO
9
an-thol’o-gy
ILLUMINATION:
BEINGS OF LIGHT Works of Cynthia Stibolt
Friday, March 29 -Sun, March 31 Opening Reception Friday, March 29, 5:30pm – 7:30 pm Showroom Hours: Saturday, March 30 & Sunday, March 31, 10am-4pm
la-ser, ann n. original, authentic, inspired monoprints, genuine
and spontaneous; artistic response to unconscious inspiration; sophisticated and soulful artist expression.
pearce, pa-tri-cia v. hunter/gatherer; creative expansionist;
up-cycling artifacts that stimulate curiosity; art via deconstruction/construction; arresting; energetic; fun and funky.
cal-houn, ro n. tantalizing texture; elegantly aristocratic; sounds of rusting steel and broken glass; hand hewned manuscripts; raw, regal and ritualistic.
iVO V contemporary
Cynthia Stibolt works in a unique adobe studio, built on principles of sacred geometry which has enabled her to reveal aspects of the unseen world through stunningly vibrant watercolors enhanced with angelic script, illuminated with iridescent gold, silver and copper details. Commissions and personalized pieces are available upon request. For more information, see www. cynthiasmithstibolt.com
March 28 – May 13 Opening Reception Friday, March 29 5pm – 7pm
725 Canyon Rd, Santa Fe • 505-982-1320 • www.vivocontemporary.com
Annie Leibovitz, the Cerro Pedernal from georgia o’Keeffe’s patio at ghost ranch, new mexico, 2010. © Annie Leibovitz
Quality 1415 W. Alameda, SantaFe, NM • 505-982-4397
annie leibovitz: pilgrimage FebrUary 15 – may 5, 2o13
217 Johnson Street Santa Fe 505.946.1000 okeeffemuseum.org
Annie Leibovitz: PiLgrimAge is organized by the Smithsonian american art museum. the bernie Stadiem endowment Fund provided support for the exhibition. the C. F. Foundation of atlanta supports the museum’s traveling exhibition program, Treasures to Go. For the georgia o’Keeffe museum, exhibition and related programming were made possible in part by a generous grant from the burnett Foundation. the georgia o’Keeffe museum also wishes to thank the following sponsors: Century bank, inn of the anasazi,mary & Charles Kehoe, los alamos national bank, new mexico gas, Santa Fe University of art and Design, Santa Fe Weaving gallery. the museum recognizes preferred hotels: bishop’s lodge; inn and Spa at loretto, Santa Fe; inn on the alameda; la Fonda on the plaza; eldorado Hotel & Spa. PA rt i A L Ly f u n d e d b y t h e C i t y o f S A n tA f e A rt S C o m m i S S i o n A n d t h e 1 % L o d g e r S ’ tA x .
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March 29 - April 4, 2013
Spring Forward!
MIXED MEDIA
Johnny Was • Biya • JWla • Bucko of santa fe komarov • language • Jag • cut loose christopher Blue
123 W. Water St. Downtown Santa Fe • 505-982-5948
8p
m
Drew Berry: Caspase-8 activation, apoptosis, animation still, 2005; top, The Kinetochore (from E.O. Wilson’s Life on Earth biology textbook for iPad), 2012
Take a fantastic voyage into nano art For hundreds of years, artists have employed their talents for biological observation to envision life on the molecular and atomic scale. That tradition continues through state-of-the-art technology at 333 Montezuma Arts, and you won’t need a Fantastic Voyage-style submarine shrunk down to microscopic size. The Art of Systems Biology and Nanoscience, sponsored by the New Mexico Center for the Spatiotemporal Modeling of Cell Signaling (Spatiotemporal Modeling Center), takes place on Friday and Saturday, March 29 and 30, and features talks by leading biomedical scientists. An exhibit of animation and scientific illustrations by Drew Berry, the recipient of a MacArthur “genius” grant in 2010, is part of the event. Berry’s work is accompanied by the art of photomicrographer Thomas Deerinck. At 6 p.m. Friday, neurobiologist Mark Ellisman gives a lecture on “Imaging the Dark Matter of the Brain.” The talk is open to the public, but priority seating is given to registered participants. There is no charge to register, though you should if you wish to attend the pre-lecture reception that begins at 4:30 p.m. University of New Mexico cell biologist Angela WandingerNess presents her lecture “Envisioning Therapies by Picturing Disease” at 5:30 p.m. Saturday, March 30 (a reception for registered participants is held at 4:30 p.m.). Art by Berry and Deerinck may be viewed from 4 to 9 p.m. Friday. The rest of the exhibit is open from 10 a.m. to 8 p.m. Saturday, and activities for children and adults are included throughout the day. For a complete schedule of events and to register, visit http://stmc.health.unm.edu. 333 Montezuma Arts is at 333 Montezuma Ave. Call 988-9564 for more information. — Michael Abatemarco
JAPANESE TAPAS & SUSHI
Late Night Special
to
clo
sin
4
$ 99
g,
ev
2 Locations
er
sushi
yn
igh
Downtown next to Lensic on Burro Alley
Across from Regal Cinema 14
992-0304
438-6222
t
Variety of Japanese Tapas and $2 Draft Beer all day, everyday
Get Fit for Summer! dkb Level I Boot Camp is a strength,
cardio, and fat-loss program grounded in kettlebell technique and other cutting edge fitness modalities.
6 weeks, 3 days/week Only $300! Starts April 16, 2013 Morning + evening sessions available! JOIN TODAY: 984-9000
info@dkbfitness.com
transform your body • transcend your goals
www.dkbfitness.com • 3201 Richards Lane, Suite B, Santa Fe, NM 87507
PASATIEMPO
11
30th Anniversary! Join us April 5th – April 14th to celebrate our 30th Anniversary chef Gharrity has created a special Prix Fixe dinner menu featuring favorite dishes from the past. April 5th & 6th la cantina will perform “That 80’s Show” Show times are at 5:30pm and 8:00pm. come in your best 80’s attire and receive a free dessert. For reservations call 505.988.9232 we are celebrating the birthday of one of Santa Fe’s oldest cottonwood Trees. Join us April 11th at 6:00pm for a special toast. Follow us on Facebook & Twitter for anniversary week promotions and specials. For details and more Information visit www.lacasasena.com
Experience our premier club facilities with our 30-day trial membership program. Quail Run has so much to offer from dining to fitness and golf! Join today and enjoy Santa Fe’s Best Kept Secret.
The 30-Day trial membership* offer expires April 19th. Call today to sign up and schedule a tour. *This is a limited offer with certain restrictions.
Open Daily 11:00am until 10:00pm 125 East Palace, Santa Fe, New Mexico
3101 Old Pecos Trail 505.986.2200 quailrunsantafe.com
87501 | (505) 988-9232 complete menu at www.lacasasena.com FOllOw uS ON FAcEbOOk
One hour group lesson for two
CHRIST IS RISEN! Easter Sunday March 31
25!
$
REGULARLY $50
St. John’s United Methodist Church Sunrise Contemplative Service - 7am ~ youth worship band, handbells ~ Worship Celebration - 8:30am and 11am ~ choir, brass, percussion ~
St. John’s is a warm and welcoming church. We are located at 1200 Old Pecos Trail - phone: 982-5397, web: www.sfstjohnsumc.org 12
March 29 - April 4, 2013
com
eTaos.
Splurg
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Exclusively available at SplurgeTaos.com To receiv e t his offe r , visit Splur ge Taos. c om be for e m idnight Apr il 3 and pur c hase t he Splur ge c e r tific ate , whic h c an be r e de e m e d for the above offe r . This advertisemen t is n ot a Splu rge certificate.
STAR CODES Heather Roan Robbins
Celebrate Easter! March 31st Most Reverand Daniel Dangaran
Between spring fever and a major dose of Aries attitude, our world may
feel like it’s tilting toward something wonderful or some unexpected obstacle. Our challenge is to react appropriately and stay in the present, even though bits of the past rear up and Aries energy pulls us to chase after dreams and nightmares like a greyhound after a rabbit. We can see far ahead for a change, but to reach the horizon we need to engage opportunities here and now. We can choose to stay open for a serendipitous meeting or positive relationship shift. With the sun, Venus, Mars, and Uranus in forthright, urgent, self-centered Aries, we notice an urgency to express and feel understood, but it’s hard to feel heard when everyone’s talking. On personal, professional, and political levels, we need to be as curious about others as we want them to be about us. We can see where the way we act and speak creates difficult reactions in the people around us as Mercury conjuncts Chiron in Pisces. We can rebel against our patterns and choose different options, or we can retrench, defend, and get what we’ve always gotten. The weekend starts off broody, territorial, and sparky; we’re combustible in the best and worst ways as the moon and Saturn conjunct in moody Scorpio. The archetype of the Easter cycle acts out in the planets; we may need to mourn what’s lost as the sun and Venus square Pluto over the weekend and celebrate life as these two sextile Jupiter on Sunday and conjunct Mars in Aries in the week ahead.
Meditation 8:45 AM
Come home to the traditions you love with the acceptance you’ve longed for!
Holy Eucharist 9:00 AM
Bishop Daniel Dangaran, Pastor, Presiding Rev. Mother Carol Calvert, Assoc. Pastor Madi Sato, Special Music
Information 505-983-9003
An Alternative Catholic Community. Independent of other Catholic Churches.
THE MAASAI WARRIOR IS COMING! APRIL 10th Celebrate the collaboration of Maasai beadwork and Pikolinos Footwear
in La Fonda Hotel 100 E. San Francisco St. • 984-2828
Friday, March 29: Sharp humor and undercurrents make life feel portentous. We need deep talk and a mystery to solve as Mercury sextiles Pluto. Curiosity calls us off the beaten path, but be cautious as old resentments can emerge inappropriately. Evening grows deep and musky. Saturday, March 30: Relationships can be tested by prickliness, odd memories, or a need for control as the sun and Venus challenge Saturn. We grow more intimate with trustworthiness and mutual empowerments. It won’t help to withhold, obsess, or hold each other responsible for an existential ache. Tonight the moon enters upbeat, restless Sagittarius, though deeper feelings need respect. Sunday, March 31: The mood is funny and interactive with darker undertones; our hearts may ache for something we’ve lost or something unfound. We can pour this ache into compassionate action, artwork, or valuing those present. Relax in sociable camaraderie as Venus sextiles Jupiter midday; let it soothe deeper undercurrents. Monday, April 1: Irreverent mischief mitigates recent heaviness as the sun sextiles Jupiter. Explore freedom midday; playfulness can be healing. Tonight, organize for an ambitious week as the moon enters Capricorn.
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Tuesday, April 2: Evaluate work; changes are afoot, requiring strategic attention and adaptation. Work urgency evokes a tendency to micromanage that won’t go over well; proceed collaboratively. Tell people what problems need to be solved but not how to solve them. Evening grows more thoughtful as the moon conjuncts Pluto. Wednesday, April 3: After a rushed morning, we see a past problem in fresh light. Keep priorities clear, drop the desire to prove right, and focus on what achieves goals. Performance matters, not promises; follow through on agreements, and keep things manageable.
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In Other wOrds The Revenge of Geography: What the Map Tells Us About Coming Conflicts and the Battle Against Fate by Robert Kaplan, Random House, 403 pages Robert Kaplan’s latest book on international affairs, The Revenge of Geography, contains a stream of anecdotes and historical illustrations about the dynamics of the world’s populated spaces. “A state’s position on the map is the first thing that defines it, more than its governing philosophy even,” he writes. “Why is China ultimately more important than Brazil?” he asks. “Because of its geographical location.” Why is Africa so poor? Because its coastline is short and lacks good harbors, Kaplan writes. The word revenge in the book’s title refers to this inescapable reality of geographic fate, and although Kaplan is careful not to overstate the case, his book is about summoning the national will to resist surrendering to this fate. “Geography,” Kaplan explains, “from a Greek word that means essentially a ‘description of the earth,’ has often been associated with fatalism and therefore stigmatized: for to think geographically is to limit human choice, it is said. ... I merely want to add another layer of complexity to conventional foreign policy analyses and thus find a deeper and more powerful way to look at the world.” Kaplan’s study examines how various nations and subnational cultures get along with their neighbors. He looks for useful generalizations based on how people are related geographically, keeping in mind that the world is getting smaller even as geographical pressures are multiplying. The author has spent much of his life in Europe and traveling the world. He has written 14 books, including this one, and served for 25 years as a correspondent for The Atlantic. In this book, he labels New York Times columnist Thomas Friedman one of the “elite,” but Kaplan is just as well connected with the foreign-policy establishment and just as familiar to the top players. He is the chief geopolitical analyst for Stratfor, a private intelligence firm that was embarrassed by WikiLeaks hackers last year. In 2004 Kaplan was among a group of writers and neoconservatives who supported the Iraq War, of which he gives a perfunctory account in this book. “I had been impressed by the power of the American military in the Balkans,” he writes, “and given that Saddam had murdered directly or indirectly more people than had Milosevic, and was a strategic menace believed to possess weapons of mass destruction, it seemed to me at the time that intervention was warranted.” In an October 2008 dispatch in The Atlantic, he offered a more specific mea culpa: “As an early supporter of the war in Iraq, I like others have taken refuge in counterfactuals,” which he defined as “all the bad things that might have happened had we left Saddam Hussein in power.” He added that the situations avoided didn’t really compare with the hard facts now visible: thousands of American and hundreds of thousands of Iraqi lives lost — “not to mention the hundreds of billions of dollars spent on the war that could have been used to meet other threats to our national interests.” He also says he misjudged the character of the people who were prosecuting the war. What has renewed Kaplan’s belief in geopolitics, which he traces back more than 2,500 years to Thucydides’ insights in The Peloponnesian War? “To recover our sense of geography, we first must fix the moment in recent history when we most profoundly lost it, explain why we lost it, and elucidate how that affected our assumptions about the world. Of course such a loss is gradual. But the moment I have isolated, when that loss seemed most acute, was immediately after the collapse of the Berlin Wall.” The field of international affairs has seen a broad revival of interest in geopolitics, which is practically a movement according to The Return of Geopolitics in Europe?, a book published in 2012 and edited by Stefano Guzzini. Guzzini gives the title a question mark because the return is widely attributed (not just by Kaplan) to the collapse of the wall and to the end of the Soviet Union, even though the shift happened in an unexpected way. Guzzini analyzes the question further and attributes the rebirth of geopolitics to national identity crises: many countries have lost confidence in former certainties. The intellectual question is more troubling in Europe, where political geography was invented, because “geopolitik,” as it was once known, is identified with the Third Reich, where it was used to guide the German government between World War I and World War II. Kaplan makes no bones about his nationalist and imperialist ambitions for the United States, baldly suggesting various hegemonic strategies for rounding up whole regions to be controlled by the U.S. He considers the U.S. neglect of a constructive engagement with Mexico (compared to our extravagantly destructive preoccupation with the Middle East) to be one of our most urgent geopolitical problems, one that will not be solved by building a higher or more impermeable wall. At the same time, his imperialist fantasy of adding the northern tier of Mexican states to the U.S. is typically hostile and aggressive. There is something surprisingly wholesome about Kaplan’s prescription for strengthening democratic culture to resist the negative drag of geography, but in general his hard-nosed “realism” — short for “a grim view of humanity” — would seem self-defeating long before one arrives at a border. — Roger Snodgrass 14
March 29-April 4, 2013
book reviews
SubtextS But has he been to Harlem? Michael Clinton already has the plot for the next Indiana Jones movie figured out. And why not, since he visited the Sacred Valley of the Incas? This world traveler has learned a lot of lessons after touring more than 120 countries and seven continents, and here’s a really important tip for you ladies: if you ever visit Buenos Aires, do not forget your sports bra! Clinton explains why in his new book, The Globetrotter Diaries: Tales, Tips and Tactics for Traveling the 7 Continents (published by Glitterati Incorporated). His firsthand accounts of climbing a fogshrouded mountain in Scotland and roaming Rome are enough to make you want to take off for those places today. He loves Italy but doesn’t like Japan; and happily for all the cowboys and cowgirls in this neck of the good old United States, he dedicates a whole chapter to going West, American style. The book is filled with useful tips for the modern-day traveler: take an overnight train to save on hotel bills, be nice to airline agents, bring clothing you are willing to leave behind so you can buy cool stuff from other countries and pack it in your suitcase instead. And don’t be afraid to purchase anything you want when traveling — because if you don’t, you’ll regret it later. Clinton talks about his book and signs copies at 6 p.m. Friday, March 29, at Collected Works Bookstore (202 Galisteo St., 988-4226). And if you’re sick of the way technology rules our lives in this country, his chapter on visiting Bhutan may make you want to live there instead. But watch out for that landing strip. — Robert Nott
shop boldly. live beautifully. Heads in Beds: A Reckless Memoir of Hotels, Hustles, and So-Called Hospitality by Jacob Tomsky, Doubleday/Random House, 247 pages For reasons I cannot decipher, even though he explains them in his introduction, Jacob Tomsky refers to himself as Thomas Jacobs throughout Heads in Beds, his memoir of working in hotels in New Orleans and New York. He seems to think he’s worked at every hotel everywhere. Despite writing, “Believe me, I get around; I’ve probably checked you in a couple of times already,” by his own accounting in the book, he’s only worked at three hotels. According to Tomsky, if you slip the front desk attendant a $20 bill at any hotel in this country, you will get superior service, including room upgrades, late checkouts, and even free wine, all through the open (and unethical) gaming of the computerized property-management system. According to my husband, who works in a luxury hotel in Santa Fe, this just isn’t true. You tip a valet, and you tip a bellman, but you don’t try to bribe the front desk in exchange for favors. A $20 bill slid across a check-in desk in Santa Fe without further explanation would likely be changed for a 10, a five, and five ones. But New Mexico is not New York, and New York is a tipping culture. And New York, according to Tomsky, is a union town full of alcoholic, cokesnorting bellmen and wealthy guests who peel off 50s — called“bricks”— like it’s nothing and for this minimal effort, this small gift to the right person, get every amenity the hotel could possibly offer. Tomsky offers his story as a guidebook for travelers. He thinks they should know that their water glasses are sometimes being cleaned with furniture polish and that if you don’t tip a bellman, he might urinate in your cologne. His anecdotes about the odd, ugly, and sometimes wonderful behavior of named and unnamed celebrity guests are quite endearing. His stories of guest complaints and the strange things people do in hotel rooms are also interesting, and he has a great ear for regional speech patterns. Despite Tomsky’s frequent hyperbole and baseless extrapolation of his limited experience to hotels everywhere, his memoir is a worthwhile read. He has an aggressive, hard-boiled prose style, and his attitude becomes increasingly sour and flip as the book progresses and the longer he stays employed at a midtown Manhattan hotel he calls the Bellevue. Heads in Beds might have benefited from a bit more distance — Tomsky still works at a hotel and is still apparently bitter about the way his life has turned out — but his riffs on his useless philosophy degree and descriptions of his Brooklyn roommate’s hipster boyfriend are probably worth the price of the book, even in hardcover. The story is most engrossing when the Bellevue is bought by an equity group and renovated into a true luxury hotel. The new owners fire everyone they are legally allowed to fire and then try to force out union employees by making their lives miserable. The details of absurd management practices will be of interest to anyone who has ever worked in the service industry, but Tomsky could use a nice, relaxing vacation. If he checks into a hotel in Santa Fe, the front-desk attendant will look him in the eye and ask how his trip was, with no hidden agenda. He should know that around here, usually only managers can approve any sort of upgrade. — Jennifer Levin more book reviews on Page 16
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In Other wOrds book reviews Ballerina: Sex, Scandal, and Suffering Behind the Symbol of Perfection by Deirdre Kelly, Greystone Books, 272 pages Forget any assumptions you may have about the glamorous lives of prima ballerinas. Deirdre Kelly, a Toronto-based dance critic and journalist, has written Ballerina: Sex, Scandal, and Suffering Behind the Symbol of Perfection, which makes Black Swan look like a Disney classic for kids. The cliché of suffering dancers in bloody toe shoes is the least of it in the story Kelly presents. Her version of ballet history is filled with prostitutes, anorexics, and tragic figures like Emma Livry, one of the great Romantic ballerinas of the Paris Opéra, who caught fire in front of a dress-rehearsal audience in 1862 when her skirt got too close to the gaslights; she died months later from a related infection. Kelly seems to assume that in this age of reality TV, what lovers of dance really want to know is that ballerinas were glorified concubines in the early days of the art form, that George Balanchine ran his artistically groundbreaking New York City Ballet like a sexually abusive despot, and that the careers of today’s stars are becoming shorter and more difficult due to age discrimination and increasing levels of competition — more dancers and fewer jobs. Every art form is full of tragic tales of lives cut short and brilliant artists who go insane or kill themselves or who are not discovered until it is too late. Ballet is no more a haven for sad stories than is music, the visual arts, or theater. Dancers are perhaps even less likely than other artists to have interesting biographies because their careers are so short. An attempt to rise to the top in dance is, in its essence, a doomed endeavor. In dance, longevity is an oxymoron. Kelly presents a thoroughly researched and well-presented primer on dance history. She traces the evolution of ballet from a pastime for the ruling elite in 15th-century France — the age of Louis XIV (who choreographed and performed in his own ballets) — to a more egalitarian art form after the French Revolution and to a 20th-century profession. Her feminist perspective cuts out all the saccharine excesses presented in other dance-history volumes, but her tendency to go “shocking” adds its own particular slant to an art form that, no matter what happened backstage, has always involved beauty and the highest artistic expression. The examples of African-American ballerina Misty Copeland, who has struggled because of her race, and Jenifer Ringer, the New York City ballerina (and mother) accused by a New York Times dance critic of eating “one sugar plum too many,” shed no light on the art form. They underscore the challenges that all performing artists face, which is nothing new. — Michael Wade Simpson
See more Book Reviews @ www.pasatiempomagazine.com
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PASA TEMPOS
album reviews
tHe men Gottfried New Moon (sacred Homilius St. Mark Passion (Carus) This being Holy Bones) Don’t let the first track Week, listeners will probably be revisitfool you. “Open the Door” is a little ing Johann Sebastian Bach’s two masterly ditty that you could take home to your settings of the Passion story based on the parents, complete with jangly guitars Gospel narratives presented by Matthew and some honky-tonk piano. It sounds and John. This year, curious music lovers like something David Crosby might have can also explore the story as recounted cooked up on his porch 40 years ago — a in the Gospel of Mark in the worldcountrified bit of pop about the euphoric premiere recording of a captivating setting start to a romance. And then the second by Bach’s pupil Gottfried August Homilius (1714-1785), who for track (“Half Angel Half Light”) comes in, maybe twice as loud as many years was the leading church musician in Dresden, Germany. the first, and it’s as if The Replacements’ Paul Westerberg crashed the This substantial piece, which runs two hours and 10 minutes, is mellow mood, drunk and belligerent and looking to start a fight. On this sometimes reminiscent of Homilius’ teacher, but more often — especially song, the men of The Men trade lines about rocky roads and drinking too in its colorful, expressive arias — it reflects the more-up-to-date, poised, much, and it takes a few listens to realize it’s also a song about new love. post-Baroque style of Bach’s son Carl Philipp Emanuel, who often directed The band takes a different approach but arrives at the same destination: both Homilius’ scores (and whose handwritten copies of those works are in songs are sweet, in their way, and devilishly catchy. For most of the rest of the many cases their only surviving sources). The elegantly modulated album, the band follows the second approach, thrashing and flailing, tenor of Hans Jörg Mammel, principally known as a lieder singer, with guitars and drums in an organized chaos. There’s enough is central to this production, as he serves as the Evangelist of a hint of old-time rock ’n’ roll boogie and head-turning (declaiming the Gospel verses) in addition to rendering tunefulness to warrant the Replacements comparison, and several arias. Other vocal soloists are firm and pleasing; these elements are sturdy enough to draw in listeners (like On ‘Half Angel the Basler Madrigalisten proves an expert choir, conveying me) who bring their earplugs to rock shows. The songs Half Light,’ the men of its Lutheran chorals with gusto; and L’Arpa Festante, about fresh romance are apt: The Men of New Moon sound a German period-instrument orchestra, prolike they’re about to have a lot of new fans. — Robert Ker The Men trade lines about vides polished support. Fritz Näf conducts with a secure sense of overall pacing that keeps the drama Jon iraBaGon’s outriGHt! Unhinged (irrabagast flowing in this remarkable, affecting composition, rocky roads and drinking too much, records) Is saxophonist Jon Irabagon the next great jazz which fully merits rediscovery. — James M. Keller innovator? His I Don’t Hear Nothin’ But the Blues series and it takes a few listens to — one a drums-sax duo, the other a trio with guitar — marC JoHnson, eliane elias Swept Away (eCm) are free-blowing sessions out of the John Coltranerealize it’s also a song For me, this is a waited-for revelation in the pure pianistic Rashied Ali Interstellar Space school. Nothing new there, genius of Eliane Elias. She’s a lovely singer of jazz and except for Irabagon’s tenor, not as searching as Coltrane’s about new love. Brazilian jazz, but on albums like Bossa Nova Stories (Blue but confident and wildly ecstatic. He brings the same style Note, 2008) and Light My Fire (Concord Picante, 2011), I’m to his Outright! quintet. You can’t call the 10 tunes here completely new. They’re all takeoffs on existing forms — Latin, usually left wanting more from her fingers. She shares leader billing blues, the jerkiness of certain avant-garde stylists — executed with with her husband, bassist Marc Johnson, on this album. The title track, not-quite-syncopated rhythms, improvisations suggesting personality disa beautiful and stately opener, was composed by Elias, as are most of the songs orders, and occasional background noise. The pieces, some inspired by here. On “It’s Time,” she and Johnson and drummer Joey Baron are joined by celebrities like Charles Barkley and Parker Posey, establish identity tenor sax player Joe Lovano, who is gorgeously restrained on Swept Away. with quirks, turns, and outbursts. “Silent Smile (Urban Love Song)” Elias treats us to a few of her amazing multinote flourishes in this tribute builds from John Hébert’s cuddly acoustic bass lead to a swirling, to her deceased friend and bandmate Michael Brecker. My favorite is the Sun Ra-inspired harmonic tangle of added strings and brass when dense, intense trio piece “One Thousand and One Nights.” In the intro Irabagon’s Outright Jazz Orchestra joins and outro, Johnson plays a strong, repeating the quintet. With its electric guitar and step motif while Elias builds her clusters. In the middle section, the bassist settles into Fender Rhodes keyboard, “Kremzeek!” is an irregular but hard-swinging pulse and new-school fusion, hard-driving and decoElias seeks and declares and explores, in rated with Jazz Messengers-era horn riffs. the final minutes dabbing some dissonance “Lola Pastillas” opens with Jacob Sacks’ into the mix to angularize the proceedings. wayward piano chords before stumbling Also rewarding on this all-instrumental into an off-kilter clave, something you disc are Johnson’s slow burner “Midnight could dance to but not without effort. Blue” and the couple’s delicate This band is clawing its way into the “Inside Her Old Music Box.” future as it feasts on the past. — Paul Weideman — Bill Kohlhaase
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ISABEL WILKERSON with John Stauffer
WEDNESDAY 10 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER I’m reading The Warmth of Other Suns right now, Isabel Wilkerson’s beautiful, epic narrative following the migration of African Americans from the South to the North. It’s easily the best book I’ve read in 2010. It’s the sort of book that every American should read. – Ezra Klein, The Washington Post …[a] massive and masterly account of the Great Migration. – David Oshinsky, The New York Times
Desert Academy Congratulations to Our Nationally Recognized Seniors!
aRiadNe eLLSwORTH National Hispanic Program Scholar
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Isabel Wilkerson is the author of The Warmth of Other Suns, an epic story of the Great Migration, chronicling the journey of over six million black Americans from the South who migrated north and west between World War I and the 1970s. Inspired by her own parents’ migration, she devoted 15 years to the research and writing of the book, interviewing more than 1,200 people along the way. Wilkerson is a former national correspondent and bureau chief at The New York Times.
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TERRELL’S TUNE-UP Steve Terrell
Dogg is my co-pilot Great news for fans of the soul man known as Swamp Dogg: Alive/Naturalsound records has just re-released Mr. Dogg’s first two albums, Total Destruction to Your Mind and Rat On! Both have been out of print for years. I know there are members of the cult of Swamp Dogg among my readership. But there’s a good chance that the vast majority of readers have no idea who he is. Born Jerry Williams in Portsmouth, Virginia, more than 70 years ago, he began recording in the mid-1950s under the name of Little Jerry and later “Little Jerry Williams.” His Swamp Dogg persona didn’t emerge until 1970 with Total Destruction to Your Mind. Rat On! followed the next year. Despite having a wonderful, sometimes piercing high voice, Swamp Dogg managed never to become a mainstream success. His biggest success is probably being the co-writer — along with fellow soul-belter Gary “U.S.” Bonds — of “She’s All I Got,” a huge country hit for Johnny Paycheck in the early ’70s. But Swamp Dogg was intent on forging his own path in the music world. Years before it was fashionable, he bolted the big labels and started his own independent company, Swamp Dogg Entertainment Group, even though that meant leaner record sales and relative obscurity. Another possibility is that these albums didn’t go platinum because of the covers, which were punk-rock in spirit years before punk. The cover of Total Destruction features a fuzzy photo of Swamp in his underwear with what might be a saucepan on his head, sitting on what looks like a garbage truck. Rat On! has a picture of Swamp Dogg wearing a snazzy blackand-white pimp cap and matching shirt and riding a large white rat the size of a horse. (The strange, sometimes off-putting Swamp Dogg
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March 29-April 4, 2013
Swamp Dogg’s early albums didn’t go platinum, possibly because of the covers. ‘Total Destruction to Your Mind’ features a fuzzy photo of Swamp in his underwear with what might be a saucepan on his head. album covers never stopped. His 2003 record If I Ever Kiss It … He Can Kiss It Goodbye shows Swamp Dogg in a rather conservative suit surrounded by oversized disembodied tongues and lips. Then in 2007 there was Resurrection, which had a cover depicting the singer nailed to a cross, clad only in an U.S.-flag loincloth.) But you can’t judge a record by the cover, so those who skipped the early Swamp Dogg records because of the album art did themselves a disservice. Especially when it comes to Total Destruction to Your Mind. The title song opens the album, with Swamp making an overt “I Am the Walrus” reference (“Sittin’ on a corn flake …”). It’s an upbeat, gospel-infused tune, but despite the surreal lyrics and some subdued wah-wah guitar, I wouldn’t call this a “psychedelic” soul song as countless other writers have. It’s just good-time Southern soul. Swamp refers to “psychedelic music to blow my mind” in the next song, “Synthetic World.” But the music on this tune is sweet and mellow. I can almost imagine the late Richard Manuel of The Band singing the song “The World Beyond,” a lament taking place in some postapocalyptic reality. (Believe it or not, this was written by Bobby Goldsboro, most famous for the sap masterpieces “Honey” and “Broomstick Cowboy.”) And I’m not sure which reality “I Was Born Blue” came from. In the refrain, Swamp sings, “Why wasn’t I born with orange skin and green hair like the rest of the people in the world?” One of the harder-edged tracks here is the slow-burning, swampy “Sal-a-Faster,” which starts out with Swamp confessing, “I just hafta always stay plastered …” But the song in which he seems to be having the most fun is “Redneck,” which was written by Joe South. That’s one of two South songs here, the other being “These Are Not My People,” which is about a young woman who falls victim to the temptations of the wild side of life. Total Destruction ends with a couple of tunes that perhaps should have been called “The Paternity Suit Suite.” “The Baby Is Mine” is about tensions between a guy and his ex-love’s
husband. “You can bet your life, she might be his wife/but the baby is mine,” Swamp sings. The next tune, “Mama’s Baby, Daddy’s Maybe,” is a straight-up blues about a “wild” woman married to a brown-eyed man who is worried whether his blue-eyed child is really his. Rat On! starts out with “Do You Believe,” which has Swamp pondering the political landscape of the day. “Do you believe in the NAACP/Or the Ku Klux Klan/The Panther Party/or in Uncle Sam?” But the theme changes to personal domestic matters in the next song. “Predicament #2” is about a guy with a loving wife and child as well as a mistress on the side. “One woman keeps my heart and the other keeps my family,” he sings. Later in the album, he sings about a more unusual situation. “That Ain’t My Wife” is about a guy who walks into his old house and watches a couple making out on the couch. He leaves, gets some booze at a liquor store, and goes back to the house just to make sure. Two of my favorite songs on Rat On! are covers. Swamp Dogg does a stirring version of The Bee Gees’ “I’ve Gotta Get a Message to You.” But even better is his soul-soaked take on a Mickey Newberry classic, “She Even Woke Me Up to Say Goodbye.” Right now I can’t decide whether I like this song best by Swamp Dogg or Jerry Lee Lewis. Check out www.alive-totalenergy.com/ x/?page_id=3848. Terrell questions Question Mark: I’m crying 96 tears of joy right now, because I will be doing a radio interview with the one and only Question Mark of Question Mark & The Mysterians on Sunday, March 31, on my radio show, Terrell’s Sound World. Tune in for some words of wisdom from one of the founding fathers and unascended masters of what became known as garage rock. The show starts at 10 p.m., and the interview will begin about 10:15 p.m. That’s on KSFR-FM 101.1 and streaming live on the web at www.ksfr.org. ◀ More Terrell’s Tune-up @ www.pasatiempomagazine.com
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Demonstrations All Month: April 5th & 6th - Franklin Peters - Acoma Pueblo April 12th - Carolyn Concho - Acoma Pueblo April 13th - Preston & Debra Duwyenie - Hopi & Santa Clara April 19th & 20th - Jean Sahmie - Hopi Pueblo April 26th - Johnathan Naranjo - Santa Clara Pueblo April 27th - Thomas Tenorio - Santo Domingo Pueblo
Andrea Fisher Fine Pottery
100 West San Francisco Street, Santa Fe, NM 87501 (505) 986-1234 www.andreafisherpottery.com
TuesdAy, APriL 9, 2013 • 7:30 The Lensic Performing Arts Center • $20 - $75 Lensic box office: 988.1234
www.santafeconcerts.org
The Santa Fe Concert Association 321 West San Francisco Street, Suite G Santa Fe, New Mexico 87501 Phone: 505.984.8759
Fax: 505.820.0588
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March 29 - April 4, 2013
ON STAGE Fauré’s a jolly good fellow
Though he was not a religious believer, Gabriel Fauré spent a lot of time in churches. In 1887 he began a 30-year stint as organist at the Madeleine in Paris, and that same year he embarked on writing his Requiem “for no reason at all,” as he reported — “for the pleasure of it, if I dare say so.” His student and biographer Émile Vuillermoz wrote: “Only his natural courtesy and his professional conscience allowed him ... with the least amount of hypocrisy to write a certain number of religious works, [including] his extraordinary Requiem. This Requiem is, if I dare say so, the work of a disbeliever who respects the belief of others.” The Santa Fe Symphony Chorus and Chamber Ensemble offer a performance of this beloved masterwork at the Cathedral Basilica of St. Francis of Assisi on Thursday, April 4, at 7 p.m. The doors open at 6:30 p.m. There is no charge for admission, but donations are welcome. Also on the bill is Vivaldi’s Concerto for Two Trumpets. Call 983-3530. — JMK
THIS WEEK
Music for the road: Santa Fe Women’s Ensemble
The sacred text “O vos omnes,” taken from the Latin translation of the Book of Lamentations, invites meditation on the subject of sorrow: “O all you who walk by on the road, pay attention and see: if there be any sorrow like my sorrow.” The passage was quite logically adopted by the Catholic Church into the religious services during Holy Week. In 1932, the famous cellist Pablo Casals composed a choral setting of this text for a choir in his native Catalonia. The Santa Fe Women’s Ensemble, directed by Linda Raney, includes it in a Good Friday concert that features spiritual music by five composers as well as literary readings. The performance on Friday, March 29, which begins at 5:30 p.m. and runs about a half-hour, is part of the “TGIF” series that enlivens every Friday at First Presbyterian Church (208 Grant Ave.). No tickets are required, but free-will offerings are accepted. For information, call 982-8544, ext. 16. — JMK
Voices ring out: Schola Cantorum
Schola Cantorum of Santa Fe, an a cappella sacred-music ensemble, presents a program of “Good Friday Reflections” at 7 p.m. Friday, March 29, at the Shrine of Our Lady of Guadalupe (417 Agua Fría St.). The ensemble’s Renaissance and Early Modern renditions hark back to a time before dyed eggs and chocolate bunnies. Friday’s program includes the Gregorian chant “The Passion According to Luke,” Gregorio Allegri’s Miserere, and sacred chants of Ireland. Schola Cantorum was founded in 1990 under the direction of Santa Fe native Bill Turney; the group’s recent tour of Italy included a performance at St. Peter’s Basilica in the Vatican. For more information, contact the ensemble at 474-2815 or see www.schola-sf.org. — LEG
Land of Neutral Milk and honey: Jeff Mangum at the Lensic
Even though singer-songwriter Jeff Mangum released his last album under the Neutral Milk Hotel moniker some 15 years ago, fans continue to regard his body of work with a peculiar combination of hard-core reverence and twinkle-eyed nostalgia. Yet regardless of the suffocating hero worship many devotees place upon the man, Mangum continues to tour — albeit in a more under-the-radar fashion. It must be trying for Mangum to step out of the shadow of his own past, including his co-founding of the legendary Elephant 6 Recording Company, which helped launch his career as well as those of Elf Power, The Olivia Tremor Control, Of Montreal, and others. Catch Mangum at the Lensic (211 W. San Francisco St.) performing familiar tunes such as “Holland, 1945,” “King of Carrot Flowers,” and “Two-Headed Boy” at 7:30 p.m. Tuesday, April 2. Electro-folk outfit Tall Firs opens. Tickets, $20 to $32, are available through the Lensic, 988-1234, www.ticketssantafe.org. — RDW
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SON DOWN SAM SHEPARD’S
EXPLORES DARK FAMILY SECRETS
Carrie McCarthy
Jennifer Levin I For The New Mexican
amilies are messy. Relationships are fraught with the weight of the past, and no one ever shares identical memories of the way things were or what happened when. Most families are able to get through a holiday or other gathering without rupturing, but some aren’t. It depends on how complicated the relationships are, how traumatic the history. Sam Shepard’s Pulitzer Prize-winning play Buried Child presents an outsized version of shared but fractured familial narratives and what it means to be connected by blood. This classic dark comedy, presented by Ironweed Productions and Santa Fe Playhouse, runs at Santa Fe Playhouse through April 14. Critics and scholars often refer to Buried Child, which was first presented in 1978, as a story about the death of the American dream as it manifests for a once-successful farming family. Though those themes may exist, according to director Mona Malec, there is nothing “actable” about the American dream. Critical attention paid to images and symbolism related to farming are “fine if you want to do a dissertation,” she said, “but what is this play about? What do these people want? I think that every character needs to be seen, heard, and recognized.” These needs are thwarted by the fact that none of the characters really see one another. Their collective blindness is so willful that it resembles mental illness. It is clear from the start that something terrible has happened in this family, but that terrible event is
You always hurt the ones you love: from left, Scott Harrison and Quinn Mander; Larry Glaister and Harrison; Glaister, Matt Sanford, and Kate Kita 24
March 29-April 4, 2013
buried deep in their damaged bodies and minds. Dodge (played in this production by Larry Glaister), the aging alcoholic patriarch, lives with his nagging, pious, and strangely disconnected wife, Halie (Kat Sawyer), in a crumbling farmhouse in the Midwest. Their lonely eldest son, Tilden (Scott Harrison), has recently returned from a long stint in New Mexico, from which he was legally or possibly psychically ejected. Another son, Bradley (Quinn Mander), is a bitter bully who lost a leg in an accident. Into this tiny world walk Tilden’s estranged son Vince (Matt Sanford) and his girlfriend Shelly (Kate Kita), who have stopped in during a road-trip-tour of Vince’s past. But no one recognizes Vince. What’s more, they seem to have forgotten he ever existed. Time is fluid in Buried Child. Sometimes it seems as though Vince, who is in his early 20s, last saw his family five or six years ago; other times it seems it’s been far longer. By some accounts, the crops haven’t come up in 12 years; in others it’s 30. “I think what’s sometimes difficult for people and difficult for us as an ensemble to work on is that this is not realism. It looks like realism, smells like realism, and it’s got the feel of realism, but it isn’t realism,” Malec said. “Each of these characters lives in their own reality, and I’ve tried to give the actors permission not to share each other’s stories but to let go of the other person’s story and see what comes up in the moment between the two characters.” Glaister said he conceives of Dodge as unsure of which son is which or how many he has. When Vince and Shelly arrive, he is forced to see his sons,
to account for them, for the first time in years. As the only total outsider to the situation, Shelly pulls the truth out of the family by insisting on making sense of their denial. At one point, as Halie prattles on about youth today and lionizes another long-lost son, Ansel, who never appears in the play, Shelly shouts in her face, demanding to be acknowledged. Kita describes Shelly’s fear throughout the play as one born of familiarity, which is why she slips so easily into the roles of detective and chameleon. “There’s that fine line between what you know being comfortable and what you know being absolutely terrifying. In a family, there’s a constant fight for your independence, and yet you can’t escape where you came from,” Kita said. As confused and unmoored as the characters are, Buried Child is structured traditionally, with rising action, a climax, and a denouement, though any answers the audience comes to might not be easy to accept. The secret revealed at the end of the play is contained in the title, yet it is still easy to miss. Clues are left throughout the play and then uncovered in a rush of information near the end, when pressure has built up and nothing more can be kept inside. Each family member loudly, desperately insists that the others have it wrong, and they plead with each other to stop talking before it’s too late. “We made a pact! We made a pact between us! You can’t break that now!” Bradley tells his father. “I don’t remember any pact,” says Dodge. Malec first read Buried Child as a teaching assistant in graduate school. Harrison, the artistic director of
Ironweed Productions, is a big fan of Shepard; the first two Ironweed productions in Santa Fe were the playwright’s Fool for Love and True West. Harrison prepared for his role as Tilden by reading Shepard’s nonfiction and short stories, including Motel Chronicles and Day out of Days. Because the play is considered so dark, Malec and Harrison knew “we’d have to get really ugly [during the rehearsal process],” she said. “I actually don’t see the play as that dark. I think it’s really funny and that there’s an awful lot of hope in there. The play rings familiar to me. This is a family in which anytime a person in power speaks, the truth changes and history changes. Unfortunately, I know that very well, and I think that’s why the play has always resonated with me. But once Shelly shows up, they’re forced to actually face the truth, and that’s freeing for each one of these people in a different way, and I see that as hopeful. I don’t see it as this tragedy.” ◀
details ▼ Buried Child, presented by Ironweed Productions and Santa Fe Playhouse ▼ 7:30 p.m. Friday, Saturday, and Thursday, March 29 & 30 & April 4; 2 p.m. Sunday, March 31; continues Thursdays-Sundays through April 14 ▼ Santa Fe Playhouse, 142 E. DeVargas St. ▼ $20 (discounts available); $25 first Friday gala (March 29, includes 6:30 p.m. reception); $10 Thursdays; 988-4262 or www.santafeplayhouse.org
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PASA REVIEWS New Mexico Guitar Duo Gig Performance Space, March 23
Teachable moments
A
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delighted maiden. A brave Brazilian composer and feminist. A robot realizing life and then facing its demise. Music heard in a New York deli while waiting in line for a sandwich. When the New Mexico Guitar Duo performed at Gig Performance Space, every selection began with a story. The enchanting music was often framed by fascinating introductions, adding a dimensional perspective to the music as it was performed. In addition to the exposition of what inspired the music and insights into the composers’ lives, these prefaces also contained glimpses into the nonstandard tunings required by a few of the pieces. Yes, the octave between the first and fifth strings, both tuned to B flat, is obvious once it is pointed out. But its function might not have been immediately apparent, especially for non-guitarists, without the explanation. Need it be said that both these men are teachers? Mickey Jones and Jeremy Mayne, together for some 20 years, are both guitar instructors at Albuquerque Academy. They’re students of the music as well. The stories preceding the selections extended over geography, generations, and genres. The music hailed from Brazil, Bolivia, and Argentina as well as Spain, France, and England. It was played with a respect reflected in the duo’s serious execution and visible passion for music of many sorts. The overall effect was something akin to experiencing both an impassioned musical presentation and an entertaining lecture. Upon leaving, one couldn’t help feeling moved and a bit smarter. The two opened with a piece by Radamés Gnattali dedicated to the Brazilian choro composer Pixinguinha. The music was light and playful, with Mayne’s lead balanced against supporting lines and chords from his partner. The second movement from Bolivia-born composer Jaime Zenamon’s “Sonata Andina” was introduced as “ethereal” and indeed held otherworldly moments. An arrangement for two guitars of Isaac Albéniz’s “Rumores de la Caleta” was a model of finesse, interplay, and technique. Throughout the evening, the men displayed a familiarity that comes from long association. Their rhythms, constantly changing, were filled with measured retardation, suspenseful pauses, and interlocking rejoinders. Nods and smiles served as visual cues, and unison lines came in lock step. Even in those rare moments when a phrase faltered or lost its propulsion, the second guitar supported the other in a way that smoothed the rough spot. The blending of their sounds in the acoustically friendly confines of Gig generated warmth, fullness, and moments of surprising synchronicity. Individually the two were technically astute. Together they were a model of concordant harmony. Jones’ arrangement of Argentine composer Alberto Ginastera’s “Danza de la Moza Donosa” (“Ballad of the Delighted Maiden”), originally written for piano, was a marvel of dissonant resolution and considered harmonics. The evening’s most interesting piece was its most contemporary. “Generator,” written by Englishman Gary Ryan, was inspired by illustrations from Swiss surrealist H.R. Giger. Jones, in his introduction, explained how Giger’s art had influenced Ridley Scott during the creation of Alien. The piece was a strange collage of sounds meant to capture the electronic heartbeat of a human-robot as it comes to life and eventually winds down. The improvisatory effect and the twinkling interplay of the music were electric. At its most intense, it came off as a sort of high-tech bluegrass, more spark than twang. The evening ended where it began, with another piece from Gnattali — this one dedicated to the Brazilian composer and political activist Chiquinha Gonzaga, who divorced her husband for opposing her desire to be a musician, a first in late-1800s Brazil. The music was quick and light and had a certain playfulness but also insistence. You could sense the person behind the song. — Bill Kohlhaase See more Pasa Reviews @ www.pasatiempomagazine.com
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March 29-April 4, 2013
tonight . march 29, 2013 . 5-7pm
L as t Fr i day a r t WaL k In Santa Fe’s Vibrant Railyard Arts District tonight . july 30 . 2010 . 5-7pm last friday every month
charLotte jackson Fine art William Metcalf, Mindspace
tai gaLLery Contemporary Bamboo Art
david richard gaLLery Carol Brown Goldberg, Phillis Ideal, Tom Martinelli
LeWaLLen P S pA Eo
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FARmER’S mARkET
WiLLiam james david keLLy richard siegaL charLotte jackson
READ ST.
WAREHouSE 21
james keLLy contemPorary Stuart Arends, New Work
LeWaLLen gaLLeries Kris Cox, Failure
zane bennett contemPorary art Michael Freitas Wood, Unfolding Time
cAmIno DE lA FAmIlIA
El muSEo culTuRAl
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mAnHATTAn
cAmIno DE lA FAmIlIA
WiLLiam siegaL gaLLery Gallery Artists
zane bennett
Join us at SITE Santa Fe for our new season featuring a suite of contemporary art exhibitions that explore that california State of mind.... State of Mind: New California Art Circa 1970 Mungo Thomson: Time, People, Money, Crickets Linda Mary Montano: Always Creative image: Robert kinmont, 8 Natural Handstands (detail)1969/2009, nine silver gelatin prints, each: 8 x 8 in. photo: Joerg lohse, Image courtesy Alexander and Bonin, ny
The Railyard Arts District (RAD) is comprised of seven 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. PASATIEMPO
27
Michael Wade Simpson I For The New Mexican
On
Sam Chittenden’s Facebook page, there are no pictures of him in tights. Nor is there a single photo of him lifting his longtime girlfriend Katie Dehler in one of the Aspen Santa Fe Ballet pieces they love to perform together. All the images show him free-climbing nearly vertical slabs of rock with his bare hands and not a safety rope in sight. The shots also reveal that the ground is not too far away and that inflatable backpacking mattresses are strewn around in case of a fall. Rock climbing is a passion for Chittenden, but neither climbing nor skiing (an obvious pastime for anyone living in Aspen, Colorado) is encouraged for ballet dancers. “You can’t have a maniacal dance focus and be mentally healthy,” he told Pasatiempo. And while climbing, skiing, and similar activities are not expressly forbidden, “they’re frowned upon,” he said. After 15 years with Aspen Santa Fe Ballet, Chittenden is retiring at the end of the season. On Friday and Saturday, March 29 and 30, the company performs Jiˇrí Kylián’s Return to a Strange Land, Alejandro Cerrudo’s Last, and Trey McIntyre’s Like a Samba at the Lensic Performing Arts Center. Dehler, who followed her boyfriend to Aspen after they met in the dance program at the University of Utah, said that they are so used to seeing each other all day, every day, that it is going to be difficult not to have him around. “We’ll have more to talk about at night, I guess,” she said. Chittenden will take a job in the front office at company headquarters, which will include duties as a graphic designer. Still, as half of a couple that has been together on stage as well as off, it is going to be sad for Dehler. “I’m trying to burn in my memory what it’s like to dance with him while I still can. It’s so special to have shared all these experiences with him.” Chittenden had been studying dance for only three years when he was invited to join the fledgling Aspen Santa Fe company right out of college. Artistic director Tom Mossbrucker, who danced with the New York-based Joffrey Ballet, said there was something about Chittenden that went beyond technique, or a lack of it. “It has so much to do with qualities that are inside him. He’s just a natural, one of the most sincere and honest performers I’ve ever seen.” Most dancers have something layered on top, he said, some affectation. “With Sam there is absolutely no ego, no pretension. His honesty has rubbed off on everyone who has ever been in the company with him. He is the epitome of the Aspen Santa Fe dancer.” “He had a natural physicality and athleticism from rock climbing that carried over,” said Seth DelGrasso, one of the original company dancers, who retired at the end of last season. “Sam has an unassuming nature, but he is so powerful. DelGrasso recalled seeing Chittenden perform a solo piece in 2004, a contemporary version of Afternoon of a Faun, the groundbreaking 1912 ballet by Vaslav Nijinsky, reimagined by French choreographer Thierry Malandain. “It pushed him in a way we hadn’t seen before. He had to carry a character — to be true to the theme of the original production — but layer it with the contemporary ideas of a new choreographer.” “It was a testament to how calm a person he is,” Dehler recalled. “We were rehearsing at the studios of [Malandain’s company] Ballet Biarritz, in southwest France. Here was Sam,
28
March 29-April 4, 2013
Hanging
up his Capezios Aspen Santa Fe Ballet’s Sam Chittenden
working with a person who didn’t speak English. The dancers from the company would just come in and watch.” “It was a challenge for me to hold focus for the entire piece,” Chittenden said. “I had to create an inner story to go with the choreography.” “I’ve worked with other choreographers, like Nicolo Fonte and Jorma Elo, four, five, six, seven times. It’s great being part of a process of developing a new piece. There is so much growth and progression,” he said. “Now I have a better idea of what they want and what I have to offer them. They put themselves into their choreography but allow the personalities of the dancers to come through. I’ve learned how to put myself into the steps I’m given.” “All the choreographers fall in love with him. They all want to use him,” Mossbrucker said. “He has such an even personality. He never seems to get upset. He’s confident, and he works hard. After 15 years, I’m still amazed at the power he puts into it. The new dancers see and emulate that.” “He’s supercalm. He’s a calming force on all of us,” Dehler said. “The first time we were opening in New York City I was so nervous. Then I looked over at him backstage, and he was smiling and joking. He helps remind me that what we are doing is fun,” she said. “I’ve learned from every dancer I’ve worked with,” Chittenden said. “Katie always inspires me in terms of her performance quality, her commitment to detail. The move ment seems to come from inside her. From the other men, I’ve learned to have attack and clarity.
“I would never be hired today with only three years’ training. The company has evolved. The standards are higher. Tom and JP [executive director Jean-Philippe Malaty] have evolved, too. They’ve gotten better at running a company, better at realizing their vision and reaching goals.” “I’ve loved the travel, performing in beautiful theaters in Italy. We were just in Russia, which was amazing. When we performed in Minnesota for the first time, which is where Katie and I are from, we had 100 people, all family and friends, in the audience.” “We’ve performed six times at the Joyce Theater in New York. The first time it was, Oh my God. The second time, it was, All right, we’re here, let’s do it. They like dance in New York, and they know about it. That helps. Every place we’ve danced is different, and you never know what to expect.” “We’ll see how it shakes out,” he said, referring to his future as an ex-dancer. “I’m not particularly introspective. I tend to just keep moving. There are things I’ll miss and things I won’t. Maybe it’ll sink in in a couple more weeks.” ◀
details ▼ Aspen Santa Fe Ballet, mixed repertory ▼ 7:30 p.m. Friday & Saturday, March 29 & 30 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $25-$72; 988-1234, www.ticketssantafe.org
Sam Chittenden, Joseph Watson, and Samantha Klanac, performing in Like a Samba Opposite page, Chittenden during a performance of Afternoon of a Faun; photos Rosalie O’Connor
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PASA REVIEWS Clybourne Park, performed by Fusion Theatre Company Lensic Performing Arts Center, March 22
Eric Martinez
Jacqueline Reid and Evan Garrett
These walls could talk
T
his past weekend the Fusion Theatre Company, a professional group based in Albuquerque, rounded the three-quarters mark of its first Santa Fe season with three performances of Clybourne Park by Bruce Norris, and one was heartened to find a hefty crowd attending the first of those evenings. Again the troupe rewarded attendees with a forceful play accurately conveyed by accomplished actors through a firmly conceived production. The main matter of Clybourne Park is the uneasy intersection of race and real estate in American neighborhoods, a serious subject made palatable by spirited writing and a hefty dose of humor. Lurking as a backdrop to the drama is Lorraine Hansberry’s classic 1959 play A Raisin in the Sun. In that work, an African-American family buys a home in an all-white Chicago suburb despite protestation from the community, embodied in the character of Karl Lindner, chairman of the neighborhood association. Norris’ play, which was first produced in 2010 and promptly won the Pulitzer Prize for drama and a raft of other accolades, is really two plays in one. Its first act views this real-estate transaction from the perspective of the sellers and reveals why they have authorized an intermediary to unload the place at a bargain price: they want to distance themselves from the memory of their son, who, haunted by terrible things he did as a soldier in the Korean War, hanged himself in the bedroom upstairs. Sure enough, Lindner comes a-knocking, bent on persuading the sellers not to go through with the transaction, intruding into a living room already filled with conflicting personalities and issues. He’s accompanied by his wife, pregnant and deaf, an intriguing character in her own right but also symbolizing that future generations wait in the wings and that nobody in this motley gathering really hears anybody else. By the time the lights go down, everyone’s arguments have fallen on deaf ears. 30
March 29-April 4, 2013
Act 1 is essentially a 1950s-style play, clear in its characterization, neatly plotted in its arc of action. It reflects A Raisin in the Sun in the way it lets critical details leak out from an ongoing barrage of possibly inconsequential family banter. Act 2 is set 50 years later, in the same house. The arrival of that first African-American family led to “white flight” and the area’s transformation into a black neighborhood. Now a white couple has bought back into the neighborhood, and they want to reconstruct the house on a gentrified scale — against the objections of the community association, now represented by a black couple. In this production, director Fred Franklin cleverly launches Act 2 with a recording of a Barack Obama speech that underscores the progress made by African Americans in recent decades. In the ensuing community meeting, however, we gradually see that the tensions of race and real estate remain entrenched. Though the assumptions behind the conversation have not entirely changed, the language has. One was impressed by the skill with which the actors in this production adapted to the reinvented diction of Act 2. In the first act, people mostly give one another space to say their piece, however ineffectively. In the second, the discourse tends toward the fragmentary, and although people repeatedly proclaim their sensitivity to one another’s statements, they are forever getting stuck in the ruts of evasive small talk rather than riding the road to resolution. Seven accomplished actors populate this tightly knit ensemble, each portraying a different character in the two acts. Although Norris distributes his material with an overall sense of democracy, an extra measure of richness goes to the part divided between Lindner (Act 1) and Steve, the husband half of the yuppie buyers (in Act 2). Gregory Wagrowski plumbed both roles deliciously. His Karl was someone you would dislike even if you were on his side, and his Steve proved not less tone-deaf to ingrained bigotry, doing more than his share to torpedo the neighborhood meeting he seeks to commandeer. Jen Grigg effected a most surprising transformation from the out-of-touch near-buffoonery of Betsy (Mrs. Karl) Lindner (Act 1) to the yuppie wife Lindsey (Act 2), again pregnant and less of a loose cannon than her husband but capable of unhelpful volleys herself. Angela Littleton and Hakim Bellamy brought up the African-American contingent. She showed breadth as Francine (Act 1), a cleaning lady close to the end of her tether, just itching to escape the family’s employ, and as Lena (Act 2), the earnest community representative, patient — but only up to a point. He was ingratiating as her husband in both acts (Albert, then Kevin), affable even when not taking any guff — a very appealing stage presence. The couple of Bruce Holmes and Jacqueline Reid were pitiable without being maudlin as the home sellers Russ and Bev (Act 1), he enclosing himself in an emotional fortress, she trying her powerless best to break out. Both get kudos for variety: in the ensuing act, Reid played a soulless, tough-talking lawyer (and, it is revealed, the daughter of the Lindners, who left the neighborhood rather than endure its evolution). Holmes became Dan, a blunt workman whose comic presence belied his profound responsibility, which was to dig out the footlocker Russ had buried in the back yard in Act 1. This trunk, viewers have surmised, contains the effects of the son whose suicide years ago set the tale into motion. It played a prominent role in Act 1 as people labored to dispose of it and also in Act 2, where, recovered, it sits like an elephant in the living room, no longer meaningful to the living yet mythic in its centrality: heavy emotional baggage. Evan Garrett appeared in secondary parts as the local minister Jim (Act 1) and the community facilitator Tom (Act 2), but in the play’s short memory-coda, he broke hearts as Kenneth, a ghostly uniformed presence penning his suicide note. From comments overheard at intermission and in the days following, I gather that not everybody cared for the play. For my part, I have been impressed by the group’s repertoire, which has focused on recent works that audiences are likely encountering for the first time but that have been vetted through successful prior runs in demanding theatergoing communities. Viewers will respond to any artistic endeavor through the prism of their own taste, of course, but so far Fusion has given us nothing but worthwhile plays crafted to challenge and ultimately enrich audiences. — James M. Keller Fusion Theatre concludes its current Santa Fe season with two performances of Charlotte Jones’ “Humble Boy” on May 7 and 8 at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets ($20-$40) are available by calling 988-1234 and from www.ticketssantafe.org. See more Pasa Reviews @ www.pasatiempomagazine.com
PASA REVIEWS
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OFF
ALPHA LIGHTWEIGHT COLLECTION
Exquisite Absurdity: 30 Years of Looking Forward, performed by Theater Grottesco Center for Contemporary Arts, March 23
Still Grottesco after all these years
I
t must have been hard to encapsulate 30 years of Theater Grottesco productions in one evening. In Exquisite Absurdity: 30 Years of Looking Forward, artistic director John Flax and his collaborators chose to present “pivotal moments ... successful experiments which broke ground and moved the company into new artistic realms,” as noted in the program. In 10 excerpts chosen from a vast repertoire — 11 full-length productions and more than 40 shorter works since 1983 — Flax, associate artistic director Elizabeth Wiseman, and two veteran company members, Todd Anderson and David Salowich, offered a lean, mean, and very funny journey through Grottesco’s world. It is a world that could be described as un-Shakespearean. In lieu of presenting a grand torrent of poetic text with themes of war, tragedy, and the most wretched extremes of the human character, the theater presented by Grottesco is often idiosyncratic, wordless, and comic. Flax and Wiseman studied in Paris at the school of Jacques Lecoq, an athlete turned actor who taught a style of physical theater using masks, mime, and the traditions of commedia dell’arte and buffoonery. Over the years, Grottesco has stayed true to this theatrical lineage while creating works that update it and experiment with it in interesting ways. Grottesco’s 12th Night (2008) presents Shakespeare’s play through the eyes of the servants. A 2012 production, Storm, is a multimedia collaboration with jazz musicians. In a culture that is increasingly visual and less inclined to rely on language for narrative, Grottesco in 2013 seems more up-to-the-minute than it might have 20 years ago. There is no need to say anything about mime. Exquisite Absurdity opened with an excerpt from The Insomniacs, produced in 1984 during the days when Grottesco was mainly a touring company and performed more than 100 times in Paris, Budapest, Toronto, New York, Minneapolis, Santa Fe, and Reykjavik. Candlesticks and nightclothes suggested a simpler age, as Flax and Wiseman, wearing facially exaggerating half-masks, presented a hilarious depiction of the bedtime routines of a married couple. Keyholes, from 2003, inspired by an Italo Calvino story, illustrated how Grottesco experiments with storytelling. In this excerpt, Anderson played a master of ceremonies (of sorts) telling a tale about a man climbing up onto the moon. The company’s actors stepped out of character throughout the evening to offer brief introductions for various pieces. In The Angels’ Cradle, from 1993, Grottesco explores the lives of street people and the communities they form in the recesses of the urban environment. A man discovers one of these encampments, where rituals, music making, and play create a sense of community and empowerment. A section from 1987’s Fortune: The Rise and Fall of a Small Fortune Cookie Factory featured all four actors playing international reporters giving their newscasts simultaneously in English, Italian, Russian, and Spanish. The Richest Deadman Alive! (1988) offered a skillfully physical bit by Anderson, playing two people at the same time. Throughout the evening, Wiseman, the only woman in the cast, showed a remarkable ability to jump into a variety of characters, while Flax, in several pieces, demonstrated an uncanny ability to sit in silence and offer, in one deadpan expression, an expansive commentary. In Henry and the Animals, from 1989, he puts on a pair of fake buckteeth and instantly transforms into a simpleton. It is in these simple moments that Grottesco performers achieve profundity. — Michael Wade Simpson Theater Grottesco’s “Exquisite Absurdity: 30 Years of Looking Forward” continues at 7 p.m. Thursdays to Saturdays and 4 p.m. Sundays through April 7. Tickets are $25, students $10, and Thursdays are pay what you wish. Call 474-8400 or visit www.theatergrottesco.org.
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ALIVE! E! GROUP SHOW EXPLORES ANCIENT ARCHETYPE Rob DeWalt I The New Mexican Feb. 10, the Chinese zodiac calendar advanced from the Year of the Dragon to the Year of the Snake, transitioning from a time of unpredictability to what, provided we are strong-willed and pay attention to details, is said to be a period of steady progress, hard-earned prosperity, and situational awareness. Whether or not you believe in such interpretations of the Chinese zodiac, one thing is certain: the snake, as a creature and as a symbol, conjures up countless religious, political, and mythological narratives. The mysterious slithering serpent — with its forked tongue, scaly skin, and contorting body — inspires both awe and fear. On Friday, March 29, Eight Modern hosts a reception for Year of the Snake, a group exhibit featuring work by Alexander Calder, Clayton Porter, Erika Wanenmacher, Ming Fay, Tony Fitzpatrick, Flor Garduño, Fay Ku, Katherine Lee, David X Levine, Robert Mangold, Siobhan McBride, Rebecca Shore, and Todd Ryan White. Each artist contributes work that speaks as much to the visual qualities of the snake form as the mythical or zodiacal ones. Those born in the Year of the Tiger are considered incompatible with those born in the Year of the Snake, yet Fay Ku’s series of delicate paper tigers made from silk-screened handmade Japanese paper and archival adhesive have a skin that resembles the pattern of a snake’s epidermis. A similar pattern emerges in Todd Ryan White’s Directions to See a Ghost, a two-dimensional watercolor-andink work on handmade paper. White, whose detailed drawings often hew to the macabre, psychedelic, and mystic, is no stranger to the serpent motif and its symbolic ties to death, rebirth, immortality, and — from a biblical perspective — forbidden knowledge. Alexander Calder’s two colorful embossed aquatint etchings from the 1970s add a splash of the abstract to the two-dimensional works in the exhibit, the shapes mimicking the vibrant energy and sweeping linear patterns of the artist’s mobiles from the 1930s. In Egypt the snake was considered a chthonic creature and thought to possess life-giving properties. Ascribed to numerous deities, the serpent is found in the Pyramid Texts and other historical written materials. Artist Tony Fitzpatrick’s works resemble sections of reworked Egyptian parchmentscroll texts, with serpents and birds sharing real estate with crashing airplanes, televisions, and human skulls. Santa Fe artist Clayton Porter exhibits at Eight Modern for the first time as part of Year of the Snake. He spoke to Pasatiempo by phone about his piece Untitled (self portrait as monster) and similar work in a series that was first shown at the now-defunct Launchprojects space in 2010. In the self-portrait, and in Porter’s other pieces exhibited at Eight Modern, an appendage resembling a brightly colored coral snake protrudes from a head or body. “The coiling, colorful imagery in the work doesn’t really have anything to do with snakes,” Porter explained, “but there is a serpentine effect to it that does resemble a snake. Essentially, it’s supposed to represent desire. In the self-portrait and another piece, the colorful appendage is coming out of the characters’ eyeballs. I was thinking about desire and how we want things, with that colorful, candy-eyed lust. 32
March 29-April 4, 2013
“I was recently thinking about the garden of Eden and thinking, What if that moment of betrayal between a man and a woman wasn’t about a piece of fruit that Eve was taking but it was about another woman that Adam was consuming? So it ends up being like the first infidelity, and cheating sort of ruined the peacefulness of the garden. ... The pieces at Eight Modern are an allusion to that hidden pursuit, that hunt, and to feeling like a monster — looking and acting like a candyeyed monster — in the process.” Local artist Erika Wanenmacher’s two gouache-on-archival-inkjet-print works depict snakes placed against photographs of the sky. The snake in flight is a myth in its own right. The pieces were first exhibited at Linda Durham Contemporary Art in 2010 as part of the one-person show Where Have You Been? (Come to Your Senses). “The snake prints are about being in the body, being in the moment, noticing things in the world around you,” Wanenmacher said. “It’s about immortality, shedding the skin, moving through time.” Wanenmacher, who tends to layer personal myths atop other, broader myths, frequently references serpents in her work. She also sports a tattoo of a snake on one of her wrists. In her house sits a mixed-media piece that mimics the winding snake — the Serpent of Wisdom — that wraps around the Tree of Life in the esoteric teachings of the Kabbalah. The piece is covered in skin that was shed by Delilah, the giant python who resided at the Artisan art-supply store on Cerrillos Road and died in 2012. When asked if the piece ever scared anyone,Wanenmacher replied, “Absolutely, and it kind of makes me laugh. I mean, that’s the nature of an archetype, right? It’s something people know deeply in the reptile part of their brain but maybe they don’t want to think about in the very front part of their brain, which is why snakes work so well as an archetype and make for good religious symbolism. You don’t want to look at a snake out of fear or disgust, but you almost can’t help it. And when you do look, that image isn’t going away. Ever. So, you know, you might as well eat the apple!” ◀
details ▼ Year of the Snake reception ▼ 5 p.m. Friday, March 29; exhibit through April 6 ▼ Eight Modern, 231 Delgado St., 995-0231
EACH ARTIST
EACH ARTIST CONTRIBUTES WORK THAT SPEAKS AS MUCH TO THE VISUAL QUALITIES OF THE SNAKE FORM AS THE MYTHICAL OR
ZODIACAL ONES. Fay Ku: Paper Tiger B, 2013, silk-screen print on handmade Japanese paper and archival adhesive, 8 x 19.75 x 9.5 inches; above right, Clayton Porter: Untitled (self-portrait as monster), 2010, acrylic and graphite on panel, 60 x 48 x 2.75 inches; opposite page, Todd Ryan White: Directions to See a Ghost, 2013, ink, watercolor, and marker on handmade paper, 13 x 10.5 inches
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ART IN
REVIEW Carlan Tapp: The China Express, Santa Fe Art Institute, 1600 St. Michael’s Drive, 424-5050; through April 5
T
Carlan Tapp: above, Outside of Helena, Montana, along Highway 12, empty coal cars head east toward the Powder River Basin to be reloaded. Right, Jay Julius, Lummi tribal official. “The salmon are our buffalo. We are walking on the stones our ancestors walked on 3,500 years ago”. Cherry Point, Washington, proposed terminal location. Below, Condominiums line the Seattle waterfront along the rail; all images © Carlan Tapp 2013
he 1,200 mile train route stretching from the Powder River Basin in Wyoming to British Columbia, Canada — where multiple trains pulling more than 100 cars transport coal every day to be shipped to China — is marked at various points by coal dust inches thick and flowers, crosses, and toys that serve as shrines to people killed in collisions with trains. The dust threatens the health of people in rural and urban communities as well as entire ecosystems. Photographer Carlan Tapp’s exhibition The China Express documents the people and places affected by coal shipping. Tapp’s project is timely in light of proposals by SSA Marine to build the Gateway Pacific Terminal at Cherry Point, Washington, 17 miles south of the Canadian border and north of a reservation that is home to the Lummi Tribe. The terminal would increase train traffic from Powder River to the Pacific Coast, and a lot of that traffic would congregate at a spot that is sacred to the Lummi people and close to oil refineries owned by BP and Conoco. The China Express makes the best case it can for why the increase is a bad idea. The China Express is a straightforward exhibition. Tapp spent weeks traveling the route the trains take to British Columbia, photographing everything from the open-pit coal mines in Wyoming to Pacific Northwest towns and Indian reservations. In some areas, coal mining has depleted wells and caused streams and natural waterways to dry up. Coal dust blown from passing trains coats vineyards along the Columbia River. And derailments occur with regularity: in July 2012, the National Wildlife Federation documented 30 major derailments in the previous two years. The China Express is informative and presents this information unobtrusively, in the form of brief captions that serve as titles for each image. Tapp’s black-and-white images of the frost-covered firs and mist-shrouded hills along the route are starkly beautiful but marred by the consistent presence of the train tracks, which lend an ominous tone to the otherwise majestic landscapes. Included in Tapp’s photographic narrative are people such as Jay Julius, a fisherman and member of the Lummi Nation’s tribal council. Julius, interviewed for a video component of the exhibition, is wary of the proposed terminal location at Cherry Point. Then there’s Wyoming rancher L.J. Turner, who has lost access to thousands of acres of public lands where he used to graze his herds — lands now leased for mining. Backers of the Gateway Pacific Terminal downplay the environmental and health impacts raised in Tapp’s exhibit, stressing on the terminal’s website that the new wharf would create jobs and benefit the coal industry by increasing the number of shipments overseas, allowing a greater U.S. presence in a competitive market. But Tapp is concerned with the effects of industry on fragile ecosystems. Tapp is a documentary photographer, and the stories that emerge in this photographic essay are angerinducing and heartbreaking. Among the most affecting images is a simple monument, a memorial to a warrior who fought at Little Big Horn. “Closed Hand, a Cheyenne warrior, fell here on June 25, 1876, while defending the Cheyenne way of life,” reads the inscription. With coal trains passing close by, it seems the struggle continues. — Michael Abatemarco See more Art Reviews @ www.pasatiempomagazine.com
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March 29-April 4, 2013
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Full-scale Mark Laita’s Serpentine reproductions
Rob DeWalt I The New Mexican
WHEN
photographer Mark Laita was a boy growing up in the Midwest, he used to find, and sometimes catch, snakes in his backyard. Whether or not this common childhood activity led to a subconscious fascination with snakes is of no consequence to Laita, who in his new book, Serpentine, distills snakes into a fascinating study of color, movement, and form. In a compelling introduction, celebrated novelist William T. Vollmann ponders the serpent with an eye toward the Jungian concept of psychological projection — the ways in which the subliminal qualities of a creature such as the snake can arouse within us deep-seated feelings of awe, fear, respect, and derision. Laita, whose commercial work includes introductory images for the Apple iMac and iPod and the BMW-produced Mini Cooper, has released two previous fine-art-photography books: Created Equal — a startling collection of human portraiture that explores the similarities and differences that exist within disparate cultures and classes — and Sea, an engrossing study of oceanic life.
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March 29-April 4, 2013
Serpentine includes images of more than 100 snakes, some venomous, some not, some egg bearers, others live bearers (those that give birth to live snakes), each presenting a distinctive visual signature outside of its natural environment. “The book isn’t really about snakes,” Laita told Pasatiempo from his California studio. “It’s about looking for the compelling, the evocative, and the beautiful. I shot snakes, maybe about a dozen years ago, but they were always in a ‘natural’ environment, with branches, grass, dirt, or handlers in the viewfinder.” For Serpentine, Laita sought out herpetologists, snake handlers, antivenin lab specialists, zoologists, and others to capture his fleeting muse. “I knew Jules Sylvester, a snake wrangler for television and film [Sylvester worked on The X-Files and Snakes on a Plane], and he put me in touch with wrangler Tom Crutchfield [who supplied snakes for George Romero’s Day of the Dead and reptiles for Raiders of the Lost Ark, among other films]. The contacts kept coming, and I got to photograph more snakes than I originally thought possible. When the snakes were shedding, the handlers would contact me so I could come in
and shoot them when their skin color was at a peak. The Sea book, because of the water component, had its limitations both mechanically and logistically. But Serpentine was a different animal, so to speak.” Laita photographed his slithery subjects on a black-velvet background using an 8 x 10 view camera for most of the shots. “It seemed like the velvet surface eliminated the snakes’ ability to move around as quickly as they would in the wild,” Laita said. “I don’t know anything about the biomechanics that snakes possess, but the velvet, for the most part, allowed me and the handlers to work rather quickly. It seemed to slow most of them down. You get to know something about a snake’s size and its striking distance, at least in the moment, and you adjust your guidelines for what the frame requires on a given shoot.” Despite understanding the danger involved in dealing with certain snakes, Laita didn’t complete his Serpentine journey unscathed. Toward the end of shooting, he was bitten on the left calf by a black mamba, one of the world’s deadliest reptiles. Without treatment, a bite from a black mamba is reportedly 100 percent fatal. Its bite has killed elephants. How, then, did Laita survive? Speculators have suggested it may have been a dry bite — a strike in which the snake injects no venom — or that massive bleeding pushed the venom out of Laita’s body quickly enough to avoid fatal poisoning. (Laita caught the bite on-camera with a point-and-shoot device. If your curiosity is piqued, Google it.) Laita said that during the shoot a snake handler’s telltale hook on a stick got caught on an electrical cord, and the startled mamba struck out at the closest warm object: Laita’s leg. “The handler told me the mamba was really docile,” Laita said, “and I had been around the snake already. I’d been around vipers, too, which are really intimidating. It was completely unexpected, and I didn’t even realize I had captured the bite on film until later.” Potentially deadly setbacks aside, Laita completed his project with a better understanding of — and, no doubt, deeper respect for — snake physiology. He did it in a way that celebrates the serpent’s uniqueness without demonizing it. In fact, he may have done the snake a favor: imagining the creature outside of its human-interactive habitat — celebrating it as a thing of beauty bathed in shape, line, and color without the intrusion of mankind’s paranoid, symbol-riddled imagination or ungentle hand — lessens the possibility that we will try to drive it out of wherever we happen to be. “I could have just as easily created a book of fire-hydrant pictures,” Laita said, “but what would be the point in that? There’s a mythology surrounding snakes that’s universal.” Laita’s photos aren’t about telling you what snakes are. They’re about asking you to see them differently. Laita has a few fine-art photography projects in the works, but for the time being, he’s keeping mum about them. “I tend not to talk about what I’m working on,” he said. “I wouldn’t want it to come Mark Laita back to bite me. No pun intended.” ◀ Mark Laita: King Cobra; top, Beautiful Pit Viper; opposite page, Albino Honduran Milksnake (left); Rowley’s Palm Pit Viper; all images © Mark Laita
“Serpentine” was published by Harry N. Abrams in February 2013.
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MOVING IMAGES pasa pics
— compiled by Robert B. Ker
about nuclear missiles and as Rosa and Roland begin to flirt. Fortunately, Ginger has other adults in her life — de facto godfathers Mark One (Timothy Spall) and Mark Two (Oliver Platt) and Bella (Annette Bening), a visiting political activist. Fanning’s performance is far and away the best part of the film. Her exploration of Ginger’s world falling apart — but not ending — homes in on the core of being a teenage girl. Rated R. 90 minutes. Center for Contemporary Arts, Santa Fe. (Adele Oliveira) See review, Page 43. THE HOST Stephenie Meyer’s other big book — OK, after the Twilight saga it’s positively tiny — centers on an alien invasion that takes over the bodies of humans. Melanie (Saoirse Ronan) aims to prove that her heart will go on and that love can conquer any old stinkin’ aliens. The foremost aim of that love is hunky Jared (Max Irons, son of Jeremy). Rated PG-13. 119 minutes. (Not reviewed) Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.
Stephenie Meyer meets Nicholas Sparks: Max Irons and Saoirse Ronan in The Host, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week CAESAR MUST DIE Inside the walls of the high-security wing of Rome’s Rebibbia prison, a production of Shakespeare’s Julius Caesar is being rehearsed and performed under the direction of Fabio Cavalli, who started the prison theater program. The actors are murderers, drug traffickers, Mafiosi, and Camorristi. Between (and sometimes during) rehearsals they are locked up in cells. The acting is terrific, the visuals are stunning (color for the stage presentation, black-and-white for the rehearsal process), and the production gets its authority from the back stories of the players as well as the language of the play. The movie, the Italian Oscar submission (it didn’t make the final cut), is the work of veteran directors Paolo and Vittorio Taviani (Padre Padrone, The Night of the Shooting Stars). Not rated. 95 minutes. In Italian with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 42.
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March 29-April 4, 2013
G.I. JOE: RETALIATION For generations, little boys have honored the courage and patriotism of America’s greatest action figure by hurling him as high as they can and watching to see if any limbs pop off when he hits the ground. Powerful computers and scores of CGI special-ops teams accomplish the same thing in this sequel to 2009’s G.I. Joe: The Rise of Cobra, with Dwayne “The Rock” Johnson, Bruce Willis, and Channing Tatum lending pathos to Joe’s tale. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. GINGER & ROSA This coming-of-age story set in 1960s London focuses on the interplay between personal relationships and global affairs. Seventeen-year-old Ginger (Elle Fanning) and Rosa (Alice Englert) have been inseparable since birth, and they experience the ups and downs of adolescence together. The only child of bohemian Roland (Alessandro Nivola) and dejected housewife Natalie (Christina Hendricks), Ginger is concerned about the possibility of nuclear war. Discontent mounts as she listens to radio broadcasts
PERFORMANCE AT THE SCREEN: YOUTH AMERICA GRAND PRIX GALA Student and preprofessional dancers from numerous countries show off their skills in this high-definition screening of a gala performance of “Ballet’s Greatest Hits,” which features well-known dances from Swan Lake, Giselle, and La Bayadère, among other works. 11 a.m. Sunday, March 31, only. The Screen, Santa Fe. (Not reviewed) TYLER PERRY’S TEMPTATION: CONFESSIONS OF A MARRIAGE COUNSELOR It’s “physician, heal thyself” in this story of a marriage counselor ( Jurnee Smollett-Bell) who is wooed away from her well-meaning but inattentive husband (Eric West) by a wealthy, fiery, smooth-talking man (Robbie Jones). Girl, that guy is bad news. Rated PG-13. 111 minutes. (Not reviewed) Regal Stadium 14, Santa Fe; DreamCatcher, Española. UPSIDE DOWN This parable takes the current economic disparity to wild heights with a story about the haves who live below and have-nots who experience a different gravitational pull, living just above everyone else. It’s a Philip K. Dick-ensian setting for a Romeo and Juliet-style love story centering on a poor boy ( Jim Sturgess) who wants to break his world’s natural laws and the structures of class to get with his wealthy childhood sweetheart (Kirsten Dunst). Rated PG-13. 108 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
now in theaters Admission This is not strictly a rom-com, though it’s romantic and intermittently funny. The plot, obscured in televised promos, is about a woman (Tina Fey) in mid-life coming to terms with the ways in which her childhood affected the choices she made later. Unfortunately, Admission’s tone is unfocused, and Fey isn’t quite able to pull the audience along emotionally. Scenes with her mother, however, played effectively by Lily Tomlin, rise above the eye-rolls that elsewhere suffice to give Fey’s character psychological depth. If you’re looking for insightful commentary on college admissions practices, you won’t find it here. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe. ( Jennifer Levin) AmoUR This exquisitely crafted film is beautifully played by a couple of legends of French cinema. Jean-Louis Trintignant and Emmanuelle Riva portray retired musicians in their 80s. When she suffers a minor stroke and enters an inexorable decline after botched surgery, he honors his promise to keep her at home in their Paris apartment, coping as his beloved wife sinks into a living hell. Austrian filmmaker Michael Haneke turns his unsparing lens on the indignities, sufferings, and helplessness that can attend the end of a long life. Depressing but riveting. Winner of the Academy Award for best Foreign Language Film. Not rated. 127 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) THE CALL Halle Berry plays a 911 operator who hears a woman being attacked at the other end of the phone line. When it happens again, everyone suspects a killer of the serial variety. When it happens a third time, the operator becomes determined to do whatever it takes not to let the young abductee (Abigail Breslin, whose roles have clearly grown much darker since Little Miss Sunshine) die. Rated R. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE CRoods It’s been a few months since we’ve had a quality family film — which makes no sense since many families across the country have been cooped up all winter and need to get out of the house. Here’s one about members of a Neanderthal family (voiced by Nicolas Cage, Ryan Reynolds, Emma Stone, and
others) who just need to get out of the cave. Their adventure is set into motion, because the land they live in is crumbling, which basically makes this Ice Age with people. Rated PG. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) EmPERoR Tommy Lee Jones plays Gen. Douglas MacArthur just as the man finds himself in charge of the American occupation of Japan. He assigns Gen. Bonner Fellers (Matthew Fox), an expert in Japanese culture, to figure out what to do with Emperor Hirohito (Takatarô Kataoka) — hang him as a war criminal or save him? In English and Japanese with subtitles. Rated PG-13. 106 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE GATEKEEPERs The questions that haunt this documentary are desperately basic ones: Do the things we do in the name of protecting our security work? Do they work on a moral level? Do they work on a practical level? Do they make things better? Or do they make things worse? Israeli cinematographer-turned-director Dror Moreh makes a powerful case that the answer to the first three questions is mostly no. He interviews six former heads of Shin Bet, the Israeli antiterrorism security agency. Each expresses the conviction that the process of brutalizing a hostile occupied enemy is both immoral and counterproductive. The film, which was nominated for an Oscar, has not found favor with official Israel. Rated PG-13. 97 minutes. In Hebrew with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) idEnTiTY THiEF Sandy Patterson ( Jason Bateman) discovers his identity has been stolen. He has one week to clear his name, so he goes to Florida to find the thief (Bridesmaids’ Melissa McCarthy), and they engage in a lot of insulting and punching. Rated R. 111 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE inCREdiBLE BURT WondERsTonE Steve Carell and Steve Buscemi star as two flamboyant magicians who are made obsolete by a gimmicky, David Blaine-like upstart ( Jim Carrey). The title character (Carell) turns to the one man who can help him: his childhood idol, the retired Rance Holloway (Alan Arkin). The film is well crafted, and the actors nicely settle into their roles — Carrey lays it on thick, but you don’t cast him to do subtle. However, the comedy rarely connects, and the climax requires too much suspension of disbelief even for a goofy film like this. With all these gifted veteran actors
G.I. Joe: Retaliation
(including James Gandolfini) draping themselves in velvet suits and funny wigs and pretending to be magicians or Las Vegas hotshots, few pictures better fit the old saying that it looks like it was more fun to make than it is to watch. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) JACK THE GiAnT sLAYER Director Bryan Singer (of the first two X-Men films), a team of special-effects wizards, a crack art-direction crew, and an impressive array of actors — including Stanley Tucci, Ian McShane, and Ewan McGregor — try in vain to make audiences forget they’re watching a movie based on “Jack and the Beanstalk.” The film starts promisingly as an adventure with shades of The Incredible Shrinking Man, but as it lurches to the gigantic climactic battle, the script comes apart. Nicholas Hoult’s Jack is jarringly modern-looking in his leather hoodie, jeans, and Urban Outfitters-model hair. He also broods too much in a role that requires carefree swashbuckling, proving that all work and no play make Jack a dull movie. Rated PG-13. 115 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) continued on Page 40
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MOVING IMAGES pasa pics
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LORE Based on material found in Rachel Seiffert’s 2001 Booker Prizenominated novel The Dark Room, Lore tells the story of a Bavarian teenage girl of the same name who must protect her siblings from Allied troops in Germany after the fall of the Third Reich. When Lore’s Nazi-sympathizing parents are taken into Allied custody for interrogation, she and her younger brothers and sister are left to fend for themselves. Unaware of the atrocities their parents helped commit, the children begin a harrowing trek across Germany to join their grandmother in Hamburg. Screenwriters Cate Shortland (who also directed the film) and Robin Mukherjee approach the historically touchy material with grace and panache by turning the Nazi-cinema hunter/hunted formula on its head. Saskia Rosendahl delivers a hypnotizing performance as Lore, and cinematographer Adam Arkapaw applies a stunning impressionistic palette. Not rated. 108 minutes. In German with subtitles. The Screen, Santa Fe. (Rob DeWalt)
OZ THE GREAT AND POWERFUL If Wicked isn’t your cup of tea, try this flimsy prequel to the beloved 1939 classic. It opens in black-and-white Kansas, where a seedy tent-circus magician named Oscar ( James Franco, woefully miscast) breaks women’s hearts between shows. After his hot-air balloon gets caught in a twister, he lands in Oz, the image goes full-color, and he meets three witches (Mila Kunis, Rachel Weisz, and Michelle Williams). Local prophecy predicts that a wizard will save the kingdom and become its new ruler. Could it be Oscar? Problem is, it’s hard to care what happens to a guy who’s “weak, selfish, slightly egotistical, and a fibber” and his one-note sidekicks. To distract us from the lack of intelligent story and emotional depth, director Sam Raimi slings 3-D gimmicks and sets everything amid eye-popping CGI landscapes. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; Storyteller, Taos; screens in 2-D only at DreamCatcher, Española. (Laurel Gladden)
OLYMPUS HAS FALLEN Director Antoine Fuqua (Training Day) delivers an explosionsand-patriotism movie in the mold of the Die Hard franchise. Scottish actor Gerard Butler plays Mike Banning, the Secret Service agent who alone can save civilization when the White House (code name: Olympus) and the president of the United States (code name: Aaron Eckhart) fall into the hands of North Korean terrorists with an arsenal and an army more numerous and fearsome than shoppers on Black Friday. Most of the other big names in the cast — Morgan Freeman as speaker of the House, Angela Bassett as the head of the Secret Service, Robert Forster as chairman of the Joint Chiefs — can only watch helplessly and make wrong decisions from the situation room as Banning, a commando working alone amid the rubble of the White House, works heroically to save the world as we know it. Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jonathan Richards) See review, Page 44.
QUARTET At 75, Dustin Hoffman makes his debut as a director with appealing geriatric material. Beecham House is a retirement home for musicians, among them brooding Reg (Tom Courtenay); sweet, daffy Cissy (Pauline Collins); and lecherous, fun-loving Wilf (Billy Connolly). The arrival of diva Jean (Maggie Smith) completes a foursome who once starred together in a noted production of Verdi’s Rigoletto and sets the stage for an encore performance. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)
spicy bland
medium
mild
heartburn
Send comments on movie reviews to pasamovies@sfnewmexican.com.
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March 29-April 4, 2013
SIDE EFFECTS Steven Soderbergh claims to be taking a sabbatical from making movies. He’s leaving us with a nifty psychological thriller starring Jude Law as an earnest shrink who prescribes a new drug to a depressed patient (Rooney Mara) and gets caught up in a maelstrom when a murder occurs. Catherine Zeta-Jones is smooth as a professional colleague, and beefy Channing Tatum is agreeable as the husband of Mara’s character. The movie revels in its twists and turns, and most of them work. Rated R. 105 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SILVER LININGS PLAYBOOK This story centers on Pat Solatano (Bradley Cooper), who after being released from a mental institution moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany (Best Actress Oscar winner Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him patch things up with his
wife — but only if he will agree to be her partner in a dance competition. The story swerves hilariously around clichés, and the finely honed dialogue, attention to detail, and impressive performances make the movie a near-perfect oddball comedy. Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) SPRING BREAKERS Writer-director Harmony Korine has created a surreal blend of Girls Gone Wild and Natural Born Killers that’s almost more performance art than film. College besties Faith (Selena Gomez), Candy (Vanessa Hudgens), Brit (Ashley Benson), and Cotty (Rachel Korine) finance their spring break trip by robbing a diner. What could go wrong? After a realistically blurry montage of scantily clad days spent swimming, sunning, dancing, and binge drinking, the girls are arrested on a possession charge. To the rescue comes “Alien” ( James Franco), a cornrow- and gold-grill-sporting gangsta who’s half Dazed and Confused’s David Wooderson, half Drexl from True Romance. The film is unfocused, titillating, violent, and thought provoking, and it really doesn’t have much of a plot. To fill things out, Korine resorts to repetition of action and dialogue, which reinforces the surreal mood but eventually becomes annoying. Benoît Debie’s gorgeous, sometimes-fuzzy, Day-Glo cinematography is perfect for this lurid dreamlike world. Rated R. 94 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Laurel Gladden)
other screenings Center for Contemporary Arts 7 p.m. Monday, April 1: Salt of the Earth. Introduced by author Lois Rudnick. 7 p.m. Wednesday, April 3: The Importance of Being Earnest. Santa Fe Opera presents a screening of the 1952 classic. The Screen Noon Saturday, March 30: Happy People 7:30 p.m. Tuesday, April 2: Stevie Nicks: In Your Dreams. Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday to Tuesday, March 31 to April 2: Lincoln. ◀
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CCA CinemAtheque And SCreening room 1050 Old Pecos Trail, 982-1338, ccasantafe.org Amour (PG-13) Fri. to Sun. 2 p.m. Mon. 12 p.m. Tue. 12:45 p.m. Wed. 12 p.m. The Gatekeepers (PG-13) Fri. to Sun. 12 p.m., 4:30 p.m., 6:30 p.m., 8:30 p.m. Mon. 2:30 p.m., 4:30 p.m. Tue. 3:15 p.m., 5:15 p.m., 7:15 p.m. Wed. 2:30 p.m., 4:30 p.m. Thurs. 3:15 p.m., 5:15 p.m., 7:15 p.m. Ginger & Rosa (PG-13) Fri. to Sun. 1:30 p.m., 3:30 p.m., 5:30 p.m., 7:30 p.m. Mon. 1 p.m., 3:15 p.m., 5:15 p.m., 7:30 p.m. Tue. 2 p.m., 4 p.m., 6 p.m., 8 p.m. Wed. 1 p.m., 3:15 p.m., 5:15 p.m., 7:30 p.m. Thurs. 2 p.m., 4 p.m., 6 p.m., 8 p.m. The Importance of Being Earnest (NR) Wed. 7 p.m. Salt of the Earth (NR) Mon. 7 p.m. regAl deVArgAS 562 N. Guadalupe St., 988-2775, fandango.com Emperor (PG-13) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. Quartet (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. Side Effects (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m. Silver Linings Playbook (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:30 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. Spring Breakers (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. Upside Down (PG-13) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. regAl StAdium 14 3474 Zafarano Drive, 424-6296, fandango.com Admission (PG-13) Fri. to Wed. 1:50 p.m., 4:45 p.m., 7:25 p.m., 10:10 p.m. The Call (R) Fri. to Wed. 1:40 p.m., 4:55 p.m., 7:55 p.m., 10:25 p.m. The Croods 3D (PG) Fri. to Wed. 1:10 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. ; The Croods (PG) Fri. to Sun. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m. Mon. to Wed. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m. G.I. Joe: Retaliation 3D (PG-13) Fri. to Wed. 1 p.m., 4 p.m., 7 p.m., 9:50 p.m. G.I. Joe: Retaliation (PG-13) Fri. to Wed. 1:30 p.m., 4:30 p.m., 7:30 p.m., 8 p.m., 10:30 p.m., 10:45 p.m. The Host (PG-13) Fri. to Wed. 1:15 p.m., 1:45 p.m., 4:15 p.m., 7:15 p.m., 7:45 p.m., 10:15 p.m. Identity Thief (R) Fri. to Wed. 1:20 p.m., 4:10 p.m. The Incredible Burt Wonderstone (PG-13) Fri. to Wed. 4:40 p.m., 10:40 p.m. Jack the Giant Slayer (PG-13) Fri. to Wed. 1:25 p.m., 4:10 p.m., 7:05 p.m., 9:55 p.m. Olympus Has Fallen (R) Fri. to Wed. 1:20 p.m., 4:25 p.m., 7:45 p.m., 10:35 p.m. Oz The Great and Powerful in 3D (PG) Fri. to Wed. 1:05 p.m., 4:05 p.m., 7:05 p.m., 10:10 p.m. Oz The Great and Powerful (PG) Fri. to Wed. 1:35 p.m., 4:35 p.m., 7:35 p.m., 10:40 p.m. Tyler Perry’sTemptation (PG-13) Fri. to Wed. 1:25 p.m., 4:05 p.m., 7:20 p.m., 10:25 p.m. the SCreen Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com Ballet’s Greatest Hits — Youth America Grand Prix Gala (NR) Sun. 11 a.m. Caesar Must Die (NR) Fri. to Mon. 2 p.m., 6:10 p.m. Tue. 2 p.m. Wed. and Thurs. 2 p.m., 6:10 p.m. Happy People:A Year in theTaiga (NR) Sat. 12 p.m.
Lore (NR) Fri. to Mon. 3:40 p.m., 7:45 p.m. Tue. 3:40 p.m. Wed. and Thurs. 3:40 p.m., 7:45 p.m. Stevie Nicks: In Your Dreams (NR) Tue. 7:30 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA) 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087 The Call (R) Fri. 4:55 p.m., 7:35 p.m., 9:40 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:35 p.m., 9:40 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. The Croods 3D (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. The Croods (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. G.I. Joe: Retaliation 3D (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. G.I. Joe: Retaliation (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. The Host (PG-13) Fri. 4:35 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs. 4:35 p.m., 7:10 p.m. Olympus Has Fallen (R) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. OzThe Great and Powerful (PG) Fri. 4:40 p.m., 7:25 p.m. Sat. and Sun. 1:55 p.m., 4:40 p.m., 7:25 p.m. Mon. to Thurs. 4:40 p.m., 7:25 p.m. Spring Breakers (R) Fri. 5 p.m., 7:15 p.m., 9:55 p.m. Sat. 2:10 p.m., 5 p.m., 7:15 p.m., 9:55 p.m. Sun. 2:10 p.m., 5 p.m., 7:15 p.m. Mon. to Thurs. 5 p.m., 7:15 p.m. Tyler Perry’sTemptation (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:25 p.m. Sat. 1:50 p.m., 4:25 p.m., 6:55 p.m., 9:25 p.m. Sun. 1:50 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. mitChell Storyteller CinemA (tAoS) 110 Old Talpa Canon Road, 575-751-4245 The Call (R) Fri. 4:55 p.m., 7:15 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:55 p.m., 7:15 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:55 p.m., 7:15 p.m. Mon. to Thurs. 4:55 p.m., 7:15 p.m. The Croods 3D (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. The Croods (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. G.I. Joe: Retaliation 3D (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. G.I. Joe: Retaliation (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. The Host (PG-13) Fri. 4:35 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs. 4:35 p.m., 7:10 p.m. Olympus Has Fallen (R) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. OzThe Great and Powerful in 3D (PG) Fri. 4:40 p.m., 7:25 p.m. Sat. and Sun. 1:55 p.m., 4:40 p.m., 7:25 p.m. Mon. to Thurs. 4:40 p.m., 7:25 p.m. OzThe Great and Powerful (PG) Fri. 4:40 p.m., 7:25 p.m. Sat. and Sun. 1:55 p.m., 4:40 p.m., 7:25 p.m. Mon. to Thurs. 4:40 p.m., 7:25 p.m.
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PASATIEMPO
41
moving images film reviews
Such men are dangerous Jonathan Richards I For The New Mexican Caesar Must Die, drama, not rated, in Italian with subtitles, The Screen, 3.5 chiles The story is about conspiracy, murder, betrayal, and overweening ambition. So who are you gonna call? The Taviani brothers — veteran film directors Paolo and Vittorio (Padre Padrone, The Night of the Shooting Stars) — called on the high-security wing of Rebibbia Prison, a major correctional facility on the outskirts of Rome. There they found a population of murderers, drug traffickers, Mafiosi, Camorristi, and other theoretically unsavory types doing long stretches of hard time. Rebibbia, built in 1972, is described in Wikipedia as “one of the major Italian jails intended for rehabilitation and social reintegration” — despite the presence of inmates, including several featured in this movie, who are serving “life meaning life,” which sounds a lot like life without parole. Among its other rehabilitative programs, Rebibbia features a drama club. At the time of filming, the play was Shakespeare’s Julius Caesar, with a cast of inmates drawn from the prison’s overcrowded male population of close to 2,000. (There is a women’s section at Rebibbia as well, but at least here, they didn’t mix, and this production did without the services of Portia and Calpurnia.) The movie opens with a riveting scene from the play’s tragic conclusion, when the noblest Roman of them all, the honorable Brutus, falls on his sword in expiation of his sins. The scene then quickly shifts to six months earlier, at the start of the preparation for Julius Caesar. And at this point the visuals slip into a silvery, saturated black and white, shot by Simone
All-jail Caesar: Giovanni Arcuri, center
Zampagni in high-definition video that’s so sharp it practically etches the screen. This black-and-white scheme seems to fit the atmosphere of the prison interior perfectly. At an assembly, the warden introduces Fabio Cavalli, the theater pro who started the program inside these prison walls. Cavalli announces the play they’ll be doing, and auditions get under way. The candidates step forward, and Cavalli gives them their instructions: state your name, date of birth, parentage, and place of origin. Do it first as if you’re at a border crossing, leaving your wife behind, and then as if you’re being interrogated. “The first time, you’re crying,” he says. “The second, you’re pissed off.” We’ve all seen audition scenes in movies, and they’re usually played for laughs. These auditions are electric. These guys are good. And when the principals are chosen and their sentencing particulars are superimposed over their baleful stares, it sends a shiver down the spine. Giovanni Arcuri (Caesar) — 17 years, drug trafficking Salvatore Striano (Brutus) — 14 years, eight months, member of the Camorra Cosimo Rega (Cassius) — life meaning life, murder The cast is terrific. Rega, a man with a rumpled face and deep-set eyes, is described as the prison’s leading actor. Striano, whom we first met as Brutus in the opening stage excerpt, has a twitchy, sharp-featured intensity. Arcuri has the gravitas to play the ambitious, self-satisfied Caesar, and he bears more than a passing resemblance to Louis Calhern, who played the role in Joseph Mankiewicz’s classic 1953 film. It’s hard to know what to call this movie, which was the Foreign Language Oscar submission from Italy in 2012 but didn’t make the final cut. It’s not
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March 29-April 4, 2013
exactly a documentary, although it’s set in prison with prisoners portraying themselves as they rehearse and develop the production. It’s not exactly Julius Caesar the movie, although it contains some of the most gripping, persuasive Shakespearean acting you’ll see. It’s not exactly fiction, although its scripted elements become more and more apparent as the movie goes on. The actors are instructed by Cavalli to use their native dialects, whether Neapolitan, Roman, or Calabrian, and while the effect of these is largely lost on an American audience, you’re aware of un-Shakespearean locutions in some of the play’s dialogue: “What is it, Brutus?” Cassius asks. “I’ve been watching you for a bit ...” The rehearsal process unfolds in various areas of the prison: in cells, in exercise areas, in corridors. Some of it is wonderfully effective, as in a sequence when Striano and Rega work individually, in the solitude of their separate cells, and the editing cuts back and forth to make the scene play as a single unit. But sometimes the obviously staged quality of the sequences of rehearsal and prison life cuts against the grain of naturalism. Overall, though, this is a Julius Caesar with a raw power you’ve never seen, one that gets its authority from the back stories of the players as well as the language of the play. “On the average,” Cavalli has said, “65 percent of Italian prisoners go back to committing crimes after their release,” but the recidivism rate falls to nearly zero for veterans of prison theater programs. One success story is Striano, who has become a professional actor since his early release from Rebibbia in ’06. He returned as an alumnus to take part in the Tavianis’ film. I don’t know whether or not he got to go home at night. ◀ See more Film Reviews @ www.pasatiempomagazine.com
moving images film reviews
Youthquake Adele Oliveira I The New Mexican Ginger & Rosa, drama, rated R, Center for Contemporary Arts, 2.5 chiles Ginger & Rosa begins with footage of the atomic bomb falling over Hiroshima in 1945 and the near-simultaneous birth of two girls, their mothers holding hands as they labor side by side in twin hospital beds. In the next frame we see the girls at about 6 years old, on a swing set, also holding hands. The deliberate and distinct interplay between personal relationships and global affairs is a theme throughout Ginger & Rosa, a coming-of-age story about best friends growing up in 1960s London. In setting the tone for the film, writer/director Sally Potter (Orlando) skillfully renders the girls’ world with atmospheric details: jukeboxes, record players, turtlenecks, and center-parted hair with abundant split ends. Rosa (Alice Englert, daughter of director Jane Campion, in her debut role) is the more rebellious of the two — she lives with her single mother and younger siblings, whom she is often asked to look after. Ginger (Elle Fanning), so called for her scarlet hair, is the only child of Roland (Alessandro Nivola) and Natalie (Christina Hendricks). Roland is a pacifist and some sort of professor. He was imprisoned during World War II for conscientious objection to service, and he won’t let Ginger call him “dad,” which he says connotes “bourgeois death traps.” Roland is a handsome, aloof, self-absorbed jerk who’s overly convinced of his ideological nobility. He weeps every time he listens to Schubert. He’s fond of saying things like, “There’s a poetry in small spaces.” Natalie is a former painter turned discontented, rejected housewife.
Bird watcher: Alessandro Nivola
The summer of loving my best friend’s dad: Elle Fanning and Alice Englert
Ginger and Rosa are ordinary teenagers living through social and political upheaval. Their parental supervision is minimal, and Roland doesn’t believe in controlling one’s children anyway. We see the girls go through the usual rites of late adolescence: they make out (and then some, in Rosa’s case) with boys in back alleys, get raging hangovers, learn to smoke cigarettes (Rosa’s a natural; Ginger coughs), and become politically engaged, mostly through a series of antinuke meetings held in a warehouse. Ginger especially is concerned about the looming Cuban Missile Crisis and the threat of nuclear war. At first the girls’ friendship is conventional and recognizable. There’s an intimacy and sweetness to their early scenes together; at one point they sit facing one another in the bathtub at Ginger’s house, shrink-fitting their blue jeans in the water. The indigo dye stains their stomachs and white underwear. “Did I tell you that I’ve decided to become a poet?” Ginger asks. “I thought you were already,” says Rosa. Discontent mounts as Ginger listens to increasingly alarming radio broadcasts about the bombs and as Rosa and Roland begin to flirt. On a moonlit drive, set to slow, sexy jazz, the girls sit in the back of Roland’s convertible, their hair flying in the wind, and Roland’s eyes meet Rosa’s in the rearview mirror. This marks the beginning of Roland and Rosa’s transgression against societal norms and, more importantly, against Ginger. It’s hard to conjure any sympathy for Roland and Rosa, even though the latter is too young to truly understand the harm she’s inflicting. Roland wins the award for worst father in the universe. Fortunately, Ginger has other adults in her life, ones who take her burgeoning activism and emotional health seriously; the cast is rounded out by Mark
One (Timothy Spall) and Mark Two (Oliver Platt), who appear in supporting roles as Ginger’s godfathers. The Marks are joined for a visit by a sharply dressed American militant, Bella (Annette Bening), who washes her hair with dish soap and inspires Ginger to attend her first political protest. In general, Ginger & Rosa is a little disappointing, partially because the plot does not match the film’s aesthetics. The cinematography is dreamy, bathed in soft gray English light. Ginger and Rosa’s frequent trips to the seashore are particularly lovely. The girls go everywhere in matching wool duffle coats and walk across the beach, a muddy flat covered with hundreds of white birds, at low tide. Fanning’s performance is far and away the best part of the film. As Ginger, she is subtle and sincere, even when delivering lines like, “We were just roving about, being free.” The film occasionally veers into the obvious and overdone — at one point Mark One plaintively says to Ginger, “Can’t you be a girl for a moment or two longer? You’ll be a woman soon enough.” Hendricks misses the mark as Natalie. Her accent fades in and out, and her character is somewhat ridiculous. In one scene, meant to convey Natalie’s sadness about her wayward husband, she plays the accordion and sings mournfully by the fire. Other moments work better. A little more than halfway through the film, Ginger reads T.S. Eliot’s “The Hollow Men” aloud to comfort herself: “This is the way the world ends/This is the way the world ends/This is the way the world ends/Not with a bang but a whimper.” Fanning’s exploration of Ginger’s world falling apart — but not ending — homes in on the core of being a teenage girl. ◀ See more Film Reviews @ www.pasatiempomagazine.com
PASATIEMPO
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moving images film reviews
Pyongyang-y doodle dandy Jonathan Richards I For The New Mexican Olympus Has Fallen, action fantasy, rated R, Regal Stadium 14, 2 chiles An all-out attack on the White House. Wanton destruction in the nation’s capital, scorched earth, bloody combat, unimaginable devastation. The president tied up and powerless in the hands of an implacable enemy. Just another day in Washington, you say? But no, the antagonists here aren’t the Republicans; they’re the North Koreans. It’s not John Boehner and Rand Paul who are on the warpath; it’s the fiendish Kang (Rick Yune), a rogue North Korean terrorist with a grudge against the U.S. the size of Kim Jong Un’s ego. Kim was named “sexiest man alive” by The Onion last year, and the People’s Daily, the official newspaper of the Communist Party of China, ran it as straight news with congratulations to the diminutive supreme leader. So we’re talking about a big grudge. Then again, a lot of the news surrounding North Korea these days has an absurdist slant. A spate of recent propaganda videos posted on that country’s YouTube channel show North Korea wiping out much of Washington, including the White House, launching devastating missile attacks, conquering South Korea, and taking 150,000 U.S. citizens hostage. And don’t get me started on Dennis Rodman. So Antoine Fuqua’s (Training Day) vision of an apocalyptic attack on the White House could not be better timed. Here’s how it goes down. We start with a preamble that accomplishes three things. It introduces Mike Banning (Gerard Butler, Coriolanus), the head of the presidential family’s
In the company of men: Aaron Eckhart and Butler 44
March 29-April 4, 2013
This isn’t Sparta: Gerard Butler in Olympus Has Fallen
security detail, a tough guy with a soft heart who is the special pal of the First Son, Connor (Finley Jacobsen). It introduces President Benjamin Asher (Aaron Eckhart), also a tough guy, but not as tough as Banning. We meet them both in the Camp David boxing ring, where Banning is politely not knocking the crap out of POTUS in a sparring session. And it introduces us to the lovely first lady (Ashley Judd), who won’t be around long enough for us to bother with her first name. The preamble finishes with a slam-bang sequence that settles Banning’s hash and gives Asher a chance to utter the classic screen line “No-o-o-o-o-o-o!” As they say, six months later. A state visit by the president of South Korea is under way, while somewhere over Maryland a cargo plane meanders toward the nation’s capital and picks up an escort of fighter jets scrambled to intercept and divert its course. A tour bus of Koreans stops on Pennsylvania Avenue. Sanitation trucks make their lethargic rounds. And suddenly all hell breaks loose. The next thing you know, the errant plane has shot down the jet escorts and is strafing the Washington Mall, the Korean tourists have blown the security fence, the garbage trucks have unveiled heavy artillery, and the White House is under siege. The president, the vice president, several Cabinet members, and the South Korean delegation are hustled to an elevator and sequestered in the panic room, a secure bunker deep underground. From his office in Siberia, which is to say the Department of the Treasury, whither he has been exiled, Banning sees the mayhem unfolding and hits the street running. By the time he reaches 1600 Pennsylvania Ave., things are in a sorry state. Olympus (code for the White House) has truly
fallen. The building and grounds look like Berlin in 1945, and they are in the hands of the invaders. To make matters worse, down in the presidential bunker, it seems that not all members of the South Korean security team are what they seem. The president, the vice president, the secretary of defense (a gritty Melissa Leo in a brown wig), and a few other notables are in the hands of people who kill with a laugh, torture with a sneer, and plan to blow up the nation’s nuclear arsenal. The fate of the free world depends on one man. From his salad days as a presidential favorite, Banning knows the inside of the White House like his own living room, and he sets to work. His first job is to get young Connor to safety, because if the terrorists get to him first, the president will be putty in their hands and will spill the nuclear codes like stale beer. Banning must also deal with the suits now running the country. Morgan Freeman, who has played God and the president, has been reduced here to speaker of the House, but with the president and the vice out of commission, he is now acting president. In the situation room, flanked by the director of the Secret Service (Angela Bassett) and the square-jawed, pugnacious head of the Joint Chiefs (Robert Forster), he must issue orders that would slow Banning down if he listened to them. The movie makes an excellent case for Global Zero, the movement to eliminate all nuclear weapons. It all comes down, as we know it must, to a ticking digital clock that will blow the world to smithereens when it reaches zero. The Critic’s Code of Honor prohibits me from revealing whether it does or not. ◀ See more Film Reviews @ www.pasatiempomagazine.com
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AMOUR A Film by MICHAEL HANEKE
Advance Tickets Online or at the Box Office
kicking off Fleetwood Mac’s Sold Out Tour! Tuesday, April 2 at 7:30 All Seats $10.00
WWW.SONYCLASSICS.COM
The Santa Fe Opera presents
The Importance of Being Earnest 7:00p Weds April 3 loRe: HelD oVeR! FRi tHRu mon 3:40 anD 7:45; tueS at 3:40; WeD anD tHuRS at 3:40 anD 7:45
presented by Lois Rudnick with talk-back 7:00p Monday, April 1 Banned by the U.S. Congress! • 100% Made-in-New Mexico!
Friday-Sun March 29-31 12:00p - Gatekeepers 1:30p - Ginger & Rosa* 2:00p - Amour 3:30p - Ginger & Rosa* 4:30p - Gatekeepers 5:30p - Ginger & Rosa* 6:30p - Gatekeepers 7:30p - Ginger & Rosa* 8:30p - Gatekeepers
Mon April 1 12:00p - Amour 1:00p - Ginger & Rosa* 2:30p - Gatekeepers 3:15p - Ginger & Rosa* 4:30p - Gatekeepers 5:15p - Ginger & Rosa* 7:00p - Salt of the Earth 7:30p - Ginger & Rosa*
$10 / $8 for CCA and Opera Guild Members
Tues April 2 12:45p - Amour 2:00p - Ginger & Rosa* 3:15p - Gatekeepers 4:00p - Ginger & Rosa* 5:15p - Gatekeepers 6:00p - Ginger & Rosa* 7:15p - Gatekeepers 8:00p - Ginger & Rosa*
Wed April 3 12:00p - Amour 1:00p - Ginger & Rosa* 2:30p - Gatekeepers 3:15p - Ginger & Rosa* 4:30p - Gatekeepers 5:15p - Ginger & Rosa* 7:00p - Santa Fe Opera: The Importance of Being Earnest 7:30p - Ginger & Rosa*
Thurs April 4 2:00p - Ginger & Rosa* 3:15p - Gatekeepers 4:00p - Ginger & Rosa* 5:15p - Gatekeepers 6:00p - Ginger & Rosa* 7:15p - Gatekeepers 8:00p - Ginger & Rosa*
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* indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members
Happy people: Sat at 12:00
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Bargain Matinees Monday through Friday (First Show ONLY) All Seats $7.50 PASATIEMPO
45
RESTAURANT REVIEW Susan Meadows I For The New Mexican
Fit for a king Santacafé 231 Washington Ave., 984-1788 Lunch 11:30 a.m.-2 p.m. Mondays-Saturdays; brunch 11:30 a.m.-2 p.m. Sundays; happy hour 4-6 p.m. Mondays-Fridays in the bar; dinner nightly from 5:30 p.m.
Noise level: quiet to boisterous Full bar Vegetarian options Patio dining in season Wheelchair-accessible Credit cards, no checks
•
The Short Order Perhaps a handful of fine-dining restaurants have survived to their 30th anniversaries in Santa Fe, a town that challenges chefs and owners with nationally recognized competition and where survival depends in large part on the fickle tourist and fine-arts industries. Santacafé, one of our venerable grande dames, turns 30 this year. Executive chef Martin Anton, who joined the staff in 2012, elevates well-prepared classical dishes with seriously tasty sauces and deliciously maintains the Santacafé tradition of scattering hints of East meets Southwest throughout. The service staff raises the bar for others in town with attention to hospitality, adroit suggestions, and good old-fashioned charm. Recommended: pot stickers with tahini sauce, spring rolls, rib-eye steak, spinach-ricotta-mushroom ravioli, Southwest eggs hollandaise, mascarpone-stuffed French toast, crème brûlée, and chocolate mousse.
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
March 29-April 4, 2013
Thirty years ago, Santacafé opened in the historic Padre Gallegos House, a rambling approximately 150-year-old adobe hacienda with one of Santa Fe’s most beautiful courtyard patios. The house was built by a defrocked priest who went on to represent Santa Fe in the Mexican and territorial governments and served as a territorial representative to the U.S. Congress. New Mexico politicians still count among the crowd, with a former governor sometimes spotted in the convivial, elegant bar. No wonder: happy hour offers half-price house margaritas, wine by the glass, and some of the best appetizers in town. Some might prefer the crispy calamari and chile-lime dipping sauce with hints of lemon grass, but the pot sticker dumplings with a give-me-a-spoon tahini sauce are my favorite. Then again, I can imagine almost subsisting on the earthy shiitake mushroom and cactus spring rolls, which come with a bonus: a silky and crunchy salad of rice noodles, carrots, and romaine. From the efficient and friendly service in the bar to the on-the-mark and generally charming service in the dining rooms, Santacafé’s professional staff made us want to return as much as the food did. The grand old Santa Fe atmosphere emphasizes architecture as decoration — tea lights twinkling in kiva fireplaces, whitewashed walls and gray-washed beams, intimate linked rooms, and views through deep casement windows onto the courtyard or trees outside. At first glance, the dinner menu appears fairly standard, but chef Martin Anton is a graduate of the School of Serious Sauce-ology. A whopping rib-eye at dinner rested on a deep, beefy jus and got extra star treatment with the rarely encountered but kingly (among sauce nobility) béarnaise sauce, delicately colored with Chimayó red chile. The haricot verts added color but needed another few minutes in the pan to develop flavor and lose their squeakiness. The house pommes frites disappeared from my plate — even, mysteriously, when I was busy elsewhere. A Valentine’s Day special of house beet ravioli — pink and in the shape of hearts, no less — stuffed with spinach, ricotta, and wild mushrooms in a champagne beurre blanc made my heart beat faster, though the shaved shoe leather posing as Parmigiano could have stayed in the kitchen and I wouldn’t have noticed. After a week of oatmeal breakfasts, Sunday brunch equals opulence and excess in my book. Santacafé delivers fabulously on both counts. A delicate Bellini was more sophisticated than the brash mimosa usually on offer, where the acid of the orange crushes the flavor and bubbles of the sparkling wine. A hot and hearty cup of sherried lentil soup warmed us up on a blustery midwinter Sunday. We reveled in the better-than French toast, house brioche stuffed with mascarpone and accompanied by sliced fresh strawberries, chantilly cream, crisp bacon slices, and maple syrup. In the savory aisle, poached
eggs glistened atop tomato slices, themselves atop avocado mashed on a toasted house English muffin — all graced by that other royalty-worthy sauce: a delicate red-chile-laced hollandaise. Alongside, a flavorful near-mash hash of potatoes and chorizo lacked only a browned crust for perfection of texture. Remember what I said about excess? I think about crème brûlée as others do about ice cream: there’s always room. A perfect crystalline sugar crust shattered to reveal a silken cream that rivaled the best I’ve eaten on a couple of continents, though the Tahitian vanilla was less assertive than expected. At dinner, a coconut lemon tart had zing, although I wanted fresher coconut. The chocolate mousse with Grand Marnier and bloodorange sauce was enough for two chocolate lovers. A pinot noir from Burgundy demonstrated body and character — I preferred it to a more overbearing one from California — while a barbera from the Piedmont surprised with its delicacy. The very well-chosen selection of wines by the glass was appreciated — although I’d prefer a different champagne than the Moët on offer. Thirty-years on, Santacafé is still serving Santa Fe charm and delicious food in an elegant atmosphere. It’s a very happy anniversary indeed. ◀
Check, please Dinner for two at Santacafé: Small calamari .................................................... $ 9.50 Spring rolls ......................................................... $11.00 Rib-eye steak ....................................................... $26.00 Ravioli with spinach and cheese ......................... $26.00 Chocolate mousse .............................................. $ 8.00 Lemon-coconut tart ............................................ $ 8.00 Glass, Burgundy pinot noir ................................. $14.00 Glass, Piedmont barbera ..................................... $10.00 ToTAL ................................................................ $112.50 (before tax and tip) Sunday brunch, another visit: Cup lentil soup ................................................... $ 3.50 Pot stickers with tahini sauce ............................. $ 8.00 Eggs with hollandaise ......................................... $13.00 Mascarpone-stuffed French toast ....................... $13.00 Crème brûlée ...................................................... $ 8.00 Decaf coffee ........................................................ $ 2.25 Bellini .................................................................. $ 9.00 Glass, California pinot noir ................................. $14.00 ToTAL ................................................................. $70.75 (before tax and tip) See more Restaurant Reviews @ www.pasatiempomagazine.com
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JOIN US AFTER THE PERFORMANCE FOR A TALK BACK WITH OUR SPECIAL GUESTS:
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This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; the city of Santa Fe Arts Commission and the 1% Lodgers Tax; and The McCune Charitable Foundation. D-Generation: An Exaltation of Larks is funded in part by the NEFA National Theater Project with lead funding from the Andrew W. Mellon Foundation and the NEA.
PASATIEMPO
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pasa week 29 Friday
in ConCerT
Jaka Local dance band, 8 p.m, Railyard Performance Space, 1611 Paseo de Peralta, 982-8309, $10 at the door.
gallery/museum openings
333 montezuma arts 333 Montezuma Ave., 988-9564. Art of Systems Biology and Nanoscience, UNM’s fourth annual high-tech art show features work of Drew Berry, reception 4:30-6 p.m., through Saturday, March 30. Visit stmc.health.unm.edu for reception pre-registration; public talks 6 p.m., no charge. Charlotte Jackson Fine art 554 S. Guadalupe St., 989-8688. Mindspace, new work by William Metcalf, reception 5-7 p.m., through April. David richard gallery 544 S. Guadalupe St., 983-9555. Carol Brown Goldberg: Color in Space; Phillis Ideal: Overlap; Tom Martinelli: Out of Register; reception 5-7 p.m., through May 4. eggman & Walrus art emporium 130 W. Palace Ave., second floor, 660-0048. Modbo: Smooth Loper, works by Brett Andrus, Lorelei Beckstrom, and Nina Peterson, closing reception and artist presentation by Andrus 6-9 p.m. eight modern 231 Delgado St., 995-0231. Year of the Snake, group show, reception 5-7 p.m., through April 6 (see story, Page 32). Fine art Framers 1415 W. Alameda St., 982-4397. Illumination: Beings of Light, watercolors by Cynthia Stibolt, reception 5:30-7:30 p.m., through Sunday, March 31. independent artists gallery 102 W. San Francisco St., second floor, 983-3376. Digital photography by Jim Tape, through April 26. James Kelly Contemporary 550 S. Guadalupe St., 989-1601. Stormy Monday, new wall sculpture by Stuart Arends, reception 5-7 p.m., through April 11. lewallen galleries at the railyard 1613 Paseo de Peralta, 988-3250. Failure, new work by Kris Cox, reception 5:30-7:30 p.m., through April 28. Vivo Contemporary 725-A Canyon Rd., 982-1320. An-thol-o-gy, collaborative exhibit of works by Ro Calhoun, Ann Laser, and Patricia Pearce, reception 5-7 p.m., through May 13. William r. Talbot Fine art, antique maps & prints 129 W. San Francisco St., second floor, 982-1559, Missions & Moradas of New Mexico 1922-2012, annual Easter exhibit of modernist and contemporary works, through April 27. Zane Bennett Contemporary art 435 S. Guadalupe St., 982-8111. Unfolding Time, paintings by Michael Freitas Wood, reception 5-7 p.m., through April 29.
Pasa’s Little Black Book......... 49 Exhibitionism...................... 50 At the Galleries.................... 51 Libraries.............................. 51 Museums & Art Spaces........ 51 In the Wings....................... 52
48
March 29-April 4, 2013
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
TheaTer/DanCe
aspen santa Fe Ballet The contemporary ballet company performs Jiˇrí Kylián’s Return to a Strange Land; Alejandro Cerrudo’s Last; and Trey McIntyre’s Like a Samba, 7:30 p.m., the Lensic, $25-$72, discounts available, 988-1234, ticketssantafe.org, encore Saturday, March 30 (see story, Page 28). Buried Child gala opening Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s drama, 7:30 p.m., 142 De Vargas St., $25, santafeplayhouse.org, 988-4262, ThursdaysSundays through April14 (see story, Page 24). Exquisite Absurdity: 30 Years of Looking Forward Theater Grottesco presents re-created scenes of past performances and previews of works from its 2013 series, 7 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, discounts available, theatergrottesco.org, 474-8400, ThursdaySunday through April 7 (see review, Page 31).
BooKs/TalKs
michael Clinton The author reads from and signs copies of The Globetrotter Diaries, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 14).
eVenTs
pueblo of Tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. raptor rapture Have your photograph taken with birds of prey from the Santa Fe Raptor Center and help with rehabilitation costs, 11 a.m.-2 p.m., Teca Tu Pet Emporium, 500 Montezuma Ave., Sanbusco Center, by donation, call the center for details, 699-0455.
nighTliFe The Screen shows prints by Dante Jerico, opening Monday, April 1, at SFUAD.
ClassiCal musiC
santa Fe pro musica Baroque ensemble Joined by mezzo-soprano Deborah Domanski and trumpeter Brian Shaw, music of Bach and Telemann, 7:30 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, 988-4640, Ext.1000, or ticketssantafe.org, 988-1234, encore Saturday, March 30.
Elsewhere............................ 54 People Who Need People..... 55 Under 21............................. 55 Pasa Kids............................ 55 Sound Waves...................... 55
schola Cantorum of santa Fe The sacred music ensemble in “Good Friday Reflections,” 7 p.m., Shrine of Our Lady of Guadalupe Catholic Church, 417 Agua Fría St., no charge, schola-sf.org, 474-2815. santa Fe Women’s ensemble Music of Casals, Forbes, and Oswald, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext. 16.
(See Page 49 for addresses) Café Café Los Primos Trio, traditional Latin beats, 6-9 p.m., no cover. ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. Cowgirl BBQ Happy Hours with Santa Fe’s own country singer/songwriter Bill Hearne, 5-7:30 p.m.; Broomdust Caravan, juke joint honky-tonk and biker bar rock, 8:30 p.m.; no cover.
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.
El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda Cathy Faber’s Swingin’ Country Band, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin music, 6:30-9:30 p.m., no cover. The Legal Tender Dance band Dusty Dawgs, 6-9 p.m., no cover. The Mine Shaft Tavern Open-mic night with Jason, 7-11 p.m., no cover. The Palace Restaurant & Saloon C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 9:30 p.m., call for cover. Second Street Brewery Ninja Star, dub/rock/reggae, 6-9 p.m., no cover. Second Street Brewery at the Railyard Swing Soleil, Gypsy jazz and swing, 7-10 p.m., no cover. Tiny’s Synde & The Johns, alt. folk tunes, 5:30-8 p.m.; rock/blues band Controlled Burn, 8:30 p.m.-close; no cover. Vanessie Zenobia and Jay Boy Adams, with Mister Sister, R & B, 7:30 p.m.-close, call for cover.
30 Saturday gaLLERy/MuSEuM oPEningS
333 Montezuma arts 333 Montezuma Ave., 988-9564. Art of Systems Biology and Nanoscience, UNM’s fourth annual high-tech art show features work of Drew Berry,
d Wine Bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra nt & Bar anasazi Restaura Anasazi, the of Inn d oo Rosew e., 988-3030 113 Washington Av nch Resort & Spa Bishop’s Lodge Ra ., 983-6377 Rd e dg 1297 Bishops Lo Café Café 6-1391 500 Sandoval St., 46 ón es ¡Chispa! at El M 983-6756 e., Av ton ing ash 213 W hside ut Cleopatra Café So 4-5644 47 ., Dr o an 3482 Zafar Cowgirl BBQ , 982-2565 319 S. Guadalupe St. o Tw Dinner for , 820-2075 106 N. Guadalupe St. at The Pink om The Dragon Ro Fe Trail, a nt Sa d Ol 6 40 e adob 983-7712 lton El Cañon at the Hi 811 8-2 100 Sandoval St., 98 Spa Eldorado Hotel & St., 988-4455 o isc nc Fra n Sa . W 9 30 El Farol 3-9912 808 Canyon Rd., 98 ill El Paseo Bar & gr 848 2-2 208 Galisteo St., 99
reception 4:30-6 p.m. Visit stmc.health.unm.edu for reception pre-registration; children’s interactive nanotechnology experiments 10 a.m.-2:30 p.m., public talks 5:30 p.m., no charge. La Tienda Exhibit Space 7 Caliente Rd., Eldorado, 428-0024. Journeys: Intimate & Infinite, group show of paintings, drawings, and photographs, reception 4-6 p.m., through April 27.
Exquisite Absurdity: 30 Years of Looking Forward Theater Grottesco presents re-created scenes of past performances and previews of works from its 2013 series, 7 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, discounts available, theatergrottesco.org, 474-8400, Thursday-Sunday through April 7 (see review, Page 31).
CLaSSiCaL MuSiC
Exhibit talk Tom Martinelli, Phillis Ideal, and Carol Brown Goldberg discuss their works, 2-3:30 p.m., David Richard Gallery, 544 S. Guadalupe St., 983-9555. The galisteo Basin: archaeology and History of a new Mexico Landscape Public forum; 12:30-5 p.m.; speakers include Lucy Lippard Porter Swentzell, and Wolky Toll, New Mexico History Museum Auditorium, use Washington Ave. entrance, $15, contact the School for Advanced Research for details, 954-7200, sarweb.org.
Santa Fe Pro Musica Baroque Ensemble Joined by mezzo-soprano Deborah Domanski and trumpeter Brian Shaw, music of Bach and Telemann, 6 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, 988-4640, Ext.1000, or 988-1234, ticketssantafe.org.
in ConCERT
Donald Rubinstein Folk-rock singer/songwriter, doors open at 7 p.m., concert begins at 7:30 p.m., Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com.
THEaTER/DanCE
aspen Santa Fe Ballet encore The contemporary ballet company performs Jiˇrí Kylián’s Return to a Strange Land; Alejandro Cerrudo’s Last; and Trey McIntyre’s Like a Samba, 7:30 p.m., the Lensic, $25-$72, discounts available, ticketssantafe.org, 988-1234 (see story, Page 28). Buried Child Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s drama, 7:30 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, Thursdays-Sundays through April14 (see story, Page 24).
Pasa’s little black book Evangelo’s o St., 982-9014 200 W. San Francisc Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina nt Ca na La Casa Se 988-9232 125 E. Palace Ave., at La Fonda La Fiesta Lounge , 982-5511 St. 100 E. San Francisco a Fe Resort nt La Posada de Sa e Ave., 986-0000 lac Pa E. 0 33 a and Sp at the The Legal Tender eum us M d oa Lamy Railr 466-1650 151 Old Lamy Trail, g arts Center in Lensic Perform o St., 988-1234 211 W. San Francisc Sports Bar & grill The Locker Room 3-5259 47 2841 Cerrillos Rd., The Lodge at ge un Lo Lodge St. Francis Dr., N. 0 75 at Santa Fe 992-5800 rider Bar Low ’n’ Slow Low ó ay im Ch l te at Ho e., 988-4900 125 Washington Av The Matador o St., 984-5050 116 W. San Francisc
BookS/TaLkS
EVEnTS
Bollywood Dance invasion 2013 Fundraiser hosted by the nonprofit Amma Center of New Mexico; video/light show, vegetarian meal, and astrology readings, 7:30 p.m., Warehouse 21, 1614 Paseo de Peralta, $15 at the door, ages 12 and under $7, 699-7275. Climate night Local teens lead activities and discussions on the effects of climate change; featured speakers include Molly Sturges and Roberto Mondragón; also, live music, food, and raffle prizes; 5-9 p.m., Desert Academy, 7300 Old Santa Fe Trail, 470-1602.
The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s kitchen & Lounge 1611 Calle Lorca, 983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at garrett’s Desert inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo italian grill 540 Montezuma Ave., 984-2645 Pyramid Café 505 W. Cordova Rd., 989-1378 Revolution Bakery 1291 San Felipe Ave., 988-2100 Rouge Cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & grill 50 E. San Francisco St., 982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 955-6705 Santa Fe Sol Stage & grill 37 Fire Pl., solofsantafe.com
The Flea at El Museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. Santa Fe artists Market 8 a.m.-2 p.m., Saturdays at the Railyard plaza between the Farmers Market and REI, 310-1555. Santa Fe Farmers Market 8 a.m.-1 p.m.; noon Easter-egg hunt with Annie the Flower Fairy; 2:30 p.m. verticalwall gardens workshop, email Bob Ross at rwrlink@gmail.com for details; 1607 Paseo de Peralta, 983-4098.
nigHTLiFE
(See addresses below) Café Café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover. ¡Chispa! at El Mesón Jazz trumpeter J.Q. Whitcomb and his quartet, 7:30-10:30 p.m., no cover. Cowgirl BBQ Mystic Lizard Band, bluegrass, 2-5 p.m.; The Little Sister Band, rock/soul/funk, 8:30 p.m.close; no cover. El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. El Farol Calle 66, salsa/cumbia/merengue band, 9 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 Cathy Faber’s Swingin’ Country Band, 8-11 p.m., no cover.
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Second Street Brewer y 1814 Second St., 982-3030 Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 Secreto Lounge at Hotel St. Francis 210 Don Gaspar Ave., 983-5700 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & nightlife 135 W. Palace Ave., 982-7265 Steaksmith at El gancho 104-B Old Las Vegas Highway, 988-3333 Sweetwater Harvest kitchen 1512-B Pacheco St., 795-7383 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 The underground at Evangelo’s 200 W. San Francisco St., 577-5893 Vanessie 427 W. Water St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008
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exhibitionism
A peek at what’s showing around town
Valentine mcKay-Riddell: Pink Poppy, 2012, photograph. La Tienda Exhibit Space (7 Caliente Road in Eldorado) presents Journeys: Intimate and Infinite, a group exhibition of paintings, drawings, and photography. Artists include Lewis Riddell and Valentine McKay-Riddell along with Susan Ann Thornton and Bruce Wilson. The show opens Saturday, March 30, with a reception at 4 p.m. Call 780-8245.
michael Freitas Wood: Wait, 2007, mixed media. Zane Bennett Contemporary Art (435 S. Guadalupe St.) presents Unfolding Time, an exhibit of grid paintings by Michael Freitas Wood. The artist’s paintings resemble woven textiles from which he draws inspiration, and their intricate patterns have a vibrant intensity and sharp contrasts. The exhibit opens Friday, March 29, with a 5 p.m. reception. Call 982-8111.
William metcalf: Mindspace 48, 2013, acrylic on Dibond. William Metcalf’s paintings rely on perspective to create the illusion of three-dimensionality and a sense of alternating perspectives. Mindspace, an exhibition of new work by Metcalf, opens at Charlotte Jackson Fine Art (554 S. Guadalupe St.) on Friday, March 29. The reception is at 5 p.m. Call 989-8688.
See more Exhibitionism @ www.pasatiempomagazine.com
50
March 29-April 4, 2013
Ann Laser: Awakening, 2012, monoprint. An-thol-o-gy is an exhibit of work by three gallery artists at Vivo Contemporary: Ro Calhoun, Ann Laser, and Patricia Pearce. Calhoun works in mixed media using such material as rusted metal and broken glass. Laser creates abstract monoprints, and Pearce works in assemblage. The reception is on Friday, March 29, at 5 p.m. Vivo is at 725-A Canyon Road. Call 982-1320.
Phillis ideal: Off the Deep End, 2008-2012, acrylic and collage on panel. David Richard Gallery (544 S. Guadalupe St.) presents Overlap, an exhibition of abstract paintings by Phillis Ideal. The reception is Friday, March 29, at 5 p.m. Also opening at the gallery on March 29 are Carol Brown Goldberg’s exhibition Color in Space and Tom Martinelli’s Out of Register. These are the first solo exhibits at the gallery for these three artists. Gallery talks are scheduled for 2 p.m. Saturday, March 30, and are free to the public. Call 983-9555.
At the GAlleries Arroyo Gallery 200 Canyon Rd., 988-1002. Fine Equine Photography, work by Tony Stromberg, through Monday, April 1. El Museo Cultural de Santa Fe 555 Camino de la Familia, 992-0591. Challa: Fiesta Carnaval del Valle de Codpa, photographs by Rodrigo Villalón Ardisoni, through April 5. LewAllen Galleries Downtown 125 W. Palace Ave., 988-8997. Life Mirrors, paintings by Jeanette Pasin Sloan, through April 28. NoiseCat on Canyon 618 Canyon Rd., 412-1797. Celebrating George Flett, new works by ledger artists of the Northern and Southern Plains, through Sunday, March 31. Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Art of Devotion, 20th annual exhibit of art and objects from the Spanish Colonial Americas combined with an inaugural exhibit of European Old Master works of the mid-1500s to the 1800s, through Sunday, March 31. Photo-eye Gallery 376-A Garcia St., 988-5152. The Nude: Classical, Contemporary, Cultural, through April 20. Santa Fe Art Institute Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. The China Express, photographs by Carlan Tapp, through April 5 (see review, Page 34). Santa Fe Clay 545 Camino de la Familia, 984-1122. Remnants, ceramic sculpture by Peter Christian Johnson and Todd Volz, through April 20. Santa Fe Public Library Southside Branch, 6599 Jaguar Dr., 955-2820. Photography As Fine Art, work by Lee Manning, through Saturday, March 30. Verve Gallery of Photography 219 E. Marcy St., 982-5009. Works by Henry Horenstein, Linda Ingraham, and Brigitte Carnochan, through May 4.
liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours. Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday.
Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit santafe.edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.
MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. El Otoño Mío es Tu Primavera, installation by Miguel Arzabe, through April 21, Spector Ripps Project Space • Revival, multimedia installation by Billy Joe Miller, through April 14, Muñoz Waxman Front Gallery. Gallery hours available online at ccasantafe.org or by phone, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Annie Leibovitz: Pilgrimage, through May 5 • Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month. Museum of Contemporary Native Arts ` Burial, mixed media by Jason Lujan; through May 12 • Spyglass Field Recordings: Santa Fe; multimedia work by Nathan Pohio • Images of Life, portraits by Tyree Honga • Moccasins and Microphones: Modern Storytelling Through Performance Poetry, documentary by Cordillera Productions; through Sunday, March 31. Open 10 a.m.-5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon2 p.m. the third Wednesday of each month. Open
Cottonwood Tree in Spring (1943), by Georgia O’Keeffe, Georgia O’Keeffe Museum
10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Plain Geometry: Amish Quilts, textiles from the museum’s collection and collectors, through Sept.1 • New World Cuisine: The Histories of Chocolate, Mate y Más • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Stations of the Cross, group show of works by New Mexico artists, through Sept. 2 • Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • Metal and Mud — Iron and Pottery, works by Spanish Market artists, through April • San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author • Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m.
Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; no charge for school groups; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.9, works by New Mexico artists Jeff Deemie, Teri Greeves, Joanne Lefrak, James Marshall, and Mary Tsiongas, through April 7 • Art on the Edge 2013, Friends of Contemporary Art and Photography’s biennial juried group show includes work by Santa Fe artists Donna Ruff and Greta Young, through April 14 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents no charge on Sundays. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. State of Mind: New California Art Circa 1970, conceptual and avant-garde works of the late 60s and 70s; Linda Mary Montano: Always Creative, interactive performance; Mungo Thomson: Time, People, Money, Crickets, multimedia; through May 19. Open 10 a.m.-5 p.m. TuesdaySaturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit, through April 14. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.
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51
In the wings MUSIC
Santa Fe Men’s Camerata This Land Is My Land, folk songs and spirituals, 3 p.m. Sunday, April 7, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students 18 and under no charge, 473-7733. Richard Goode Piano recital, music of Haydn, Mozart, and Beethoven, 7:30 p.m. Tuesday, April 9, the Lensic, $20-$75, 988-1234, ticketssantafe.org. Santa Fe Pro Musica Violinist Chad Hoopes in recital accompanied by Dina Vainshtein, 7:30 p.m. Friday, April 12, music of Bach, Brahms, and Prokofiev; 6 p.m. Saturday and 3 p.m. Sunday, April 13-14, the young violinist in concert with SFPM Orchestra, music of Beethoven and Tchaikovsky; the Lensic, $20-$65, 988-1234, ticketssantafe.org or 988-4640, Ext. 1002. The Melodians The Jamaican musicians celebrate their 50th jubilee, 8:30 p.m. Thursday, April 18, doors open at 7 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $20, holdmyticket.com. Santa Fe Symphony Orchestra April Joy, featuring piano duo Anderson & Roe, music of Mozart and Dvoˇrák, 4 p.m. Sunday, April 21; the orchestra and chorus perform Orff’s Carmina Burana, 4 p.m. Sunday, May 19, featuring soprano Mary Wilson, tenor Sam Shepperson, and baritone Jeremy Kelly; pre-concert lectures 3 p.m.; the Lensic, $20-$70, ticketssantafe.org, 988-1234. Primus 3D Rock band, 7:30 p.m. Friday, May 17, doors open at 6:30 p.m., Santa Fe Community Convention Center, 107 W. Marcy St., $38, 988-1234, ticketssantafe.org. Steve Miller Band On tour in Albuquerque, 8 p.m. Friday, May 17, Legends Theater, Route 66 Casino, 14500 Central Ave. S.W., $48-$125, holdmyticket.com.
Canticum Novum Chamber Orchestra & Chorus The ensemble concludes its ninth season with music of Boyce, Mozart, Fauré, and le Fleming, vocal soloists include Cecilia Leitner, Deborah Domanski, Javier Gonzalez, and Michael Hix, pre-concert lectures by Oliver Prezant begin one-hour prior, 7 p.m. Saturday, April 27, 3 p.m. Sunday, April 28, Cristo Rey Church, 1120 Canyon Rd., $20 and $30, discounts available, ticketssantafe.org, 988-1234. Womens Voices II Santa Fe Rep presents all-female productions by local playwrights and actors; also, students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7:30 p.m. Thursday, 2 p.m. Saturday and Sunday, May 2, 4-5, Warehouse 21, 1614 Paseo de Peralta, $18, discounts available, 629-6517, sfrep.org. Trey McIntyre Poject The contemporary dance company presents Arrantza, Pass, Away, and Queen of the Goths, 7:30 p.m. Friday and Saturday, May 3-4, the Lensic, $20-$45, discounts available, 988-1234, ticketssantafe.org. Bill Cosby 8 p.m. Friday, May 3, Legends Theater, Route 66 Casino, 14500 Central Ave. S.W., Albuquerque, $35-$75, holdmyticket.com. See/Saw The circus-arts troupe Wise Fool New Mexico presents an outdoor event at the Railyard, 8 p.m. Friday, 1 and 8 p.m. Saturday, May 3-4, wisefoolnewmexico.org, donations accepted.
Upcoming events Humble Boy Fusion Theatre presents Charlotte Jones’ comedy, 8 p.m. Tuesday and Wednesday, May 7-8, the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234. Julie Brette Adams One Woman Dancing 2013, 8 p.m. Friday and Saturday, 2 p.m. Sunday, May 17-19, Santa Fe Playhouse, 142 De Vargas St., $20, 986-1801. Maestro: The Art of Leonard Bernstein Hershey Felder pays tribute to the composer 7:30 p.m. Saturday, June 1, the Lensic, $20-$50, ticketssantafe.org, 988-1234.
HAPPENINGS
Walking With Our Sisters Community-driven art event using beaded moccasin tops installed at various sites in commemoration of the disappearance and murder of more than 600 native women in Canada, lecture 10:30-11:45 a.m., workshop 1-4 p.m. Saturday, April 6 (materials not supplied), Institute of American Indian Arts Auditorium and foyer, 83 Avan Nu Po Rd., 428-5922. Lannan Foundation literary events Authors Isabel Wilkerson and John Stauffer, 7 p.m. Wednesday, April 10; novelists David Mitchell and Tom Barbash, 7 p.m. Wednesday, April 24; the Lensic, $6, discounts available, ticketssantafe.org, 988-1234. Earth Chronicles Project — The Artist’s Process: New Mexico Santa Fe Art Institute hosts a group show with an opening reception, Q & A, and documentary screening at 6 p.m. Monday, April 15, $10, discounts available; also, local poet Lauren Camp leads a workshop titled The Sound of Sunset: How to Write About the Edge of Time in conjunction with the exhibit at 6:30 p.m. Thursday, May 9, $25; 424-5050. Mont St. Michel and Shiprock Santa Fe resident William Clift’s landscape photographs on exhibit April 19-Sept. 8, New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 476-5072.
THEATER/DANCE
National Theatre of London in HD The series continues with People, a new comedy by Alan Bennett, 7 p.m. Friday, April 5; This House, a new play about Parliament by James Graham, 7 p.m. Thursday, May 16; the Lensic, $22, student discounts available, 988-1234, ticketssantafe.org. Einstein: A Stage Portrait Spoli Productions International presents Tom Schuch in Willard Simms’ one-man play, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, April 5-7, Teatro Paraguas, 3205 Calle Marie, $16, discounts available, 424-1601. Baile de Cascarones Northern New Mexico folk dance, 7-11 p.m. Saturday, April 6, Santa Fe Community Convention Center, 201 W. Marcy St., $10; couples $15; ages 6-18 $2; 983-7839. Les Ballets Trockadero de Monte Carlo All-male drag dance company that parodies classical ballet, 7:30 p.m. Monday, April 15, the Lensic, $25-$72, 988-1234, ticketssantafe.org. Winning the Future Up & Down Theatre Company presents its satirical musical revue, 8 p.m. Friday and Saturday, 4 p.m. Sunday, April 19-21, Teatro Paraguas Studio, 3205 Calle Marie, $10, 424-1601. Louder Than Words Moving People Dance Theatre’s annual spring show, 7 p.m. Friday, 2 and 7 p.m. Saturday, 2 p.m. Sunday, April 26-28, 1583 Pacheco St., $15, discounts available, 438-9180. 52
March 29-April 4, 2013
chad Hoopes in recital April 12, and in concert with santa Fe pro musica April 13-14, at the Lensic
American Sign Language, Deaf Culture & You Educational event offering an art exhibit, ASL instruction, activities for kids, museum tour, and informational booths, 10 a.m.-3 p.m. Saturday, April 20, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, for more information contact Christine Kane, 476-6400. Dinner Onstage at the Lensic Fundraising gala for the venue; featuring cocktails, wine-paired dinner, live and silent auctions, and singer Sharon McNight and pianist David Geist, 6-11 p.m. Saturday, April 20, contact Laura Acquaviva for ticket information, 988-7050, Ext. 1212, lacquaviva@lensic.org. Kick up Your Heels for Girls! Santa Fe Girls’ School fundraiser; VIP reception and auction 7-8 p.m. Saturday, April 20, Farmers Market Shops, $100; dance party 8-10:30 p.m., Farmers Market Pavilion, $30, students $20, 988-1234, ticketssantafe.org, for information call 820-3188. Comfort Food Classic Gerard’s House fundraiser; cook-off with local chefs including Rocky Durham and Ahmed Obo; also, silent auction and raffle, 1-3 p.m. Sunday, April 28, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $50, 424-1800, gerardshouse.org. 2013 Jewish Arts Festival May 3-5, includes multimedia works, gala reception, and music, Temple Beth Shalom, 205 E. Barcelona Rd., art show and sale no charge, gala reception $10 in advance and at the door, for events schedule and to view the artists’ work visit tbsartfest.org. Peter Sarkisian: Video Works 1994-2011 Retrospective exhibit of video and mixed-media installation, free opening reception Friday, May 3, New Mexico Museum of Art, 107 W. Palace Ave., 476-5072. ArtSpring 2013 New Mexico School for the Arts’ year-end performance gala featuring dance, theater, visual arts, music, and a live auction; 5:30 p.m. gala (venue TBA); performances 7 p.m. Friday and Saturday, May 10-11, the Lensic, performances only ($15 reserved seating; $50 preferred seating), $100 includes gala and performance, 988-1234, ticketssantafe.org. Savor the Flavor Nonprofit organization Delicious New Mexico and the Museum of International Folk Art present an event 10 a.m.-5 p.m. Sunday, June 2, in conjunction with the exhibit New World Cuisine: The Histories of Chocolate, Mate y Más; includes food booths, a cooking demonstration with chef Rocky Durham, a book fair, baking demonstrations on an outdoor horno, and beer and wine tastings ($20), Museum Hill, by museum admission, call 505-217-2473 for more information. Santa Fe Opera opening night benefit The opening-night performance of Offenbach’s The Grand Duchess of Gérolstein is preceded by a gala buffet dinner and a talk by Tom Franks, Friday, June 28, Dapples Pavilion, 301 Opera Dr., $70 before March 31, $80 after, hosted by the Santa Fe Opera Guild, 629-1410, Ext. 113, guildsofsfo.org. Santa Fe Opera The season opens Friday, June 28, with Offenbach’s The Grand Duchess of Gérolstein; other offerings include the premiere of Theodore Morrison’s Oscar, SFO’s first mounting of Rossini’s La Donna del Lago, and two revivals, Mozart’s The Marriage of Figaro and Verdi’s La Traviata; also, two special concerts honoring Wagner, Britten, and Stravinsky; visit santafeopera.org or call 986-5900 for tickets and details on all SFO events.
pasa week
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30 Saturday (continued) La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 8-11 p.m., no cover. The Legal Tender Connie Long & Fast Patsy, Janis Joplin meets Patsy Cline, 6-9 p.m., no cover. The Mine Shaft Tavern Grateful Dead-tribute band Detroit Lightning, Paul Feathericci, Josh Martin, and Ben Wright, 7-11 p.m., call for cover. The Palace Restaurant Victor Alvarez and Savor, Cuban rhythms, 8:30 p.m., call for cover. Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery Pollo Frito, New Orleans jazz and funk, 6-9 p.m., no cover. Second Street Brewery at the Railyard Bill Hearne Trio, roadhouse honky-tonk, 6-9 p.m., no cover. Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.
31 Easter Sunday THeaTeR/dance
Buried Child Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s drama, 2 p.m., 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, Thursdays-Sundays through April14 (see story, Page 24). Exquisite Absurdity: 30 Years of Looking Forward Theater Grottesco presents re-created scenes of past performances and previews
Talking Heads
of works from its 2013 series, 4 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, discounts available, theatergrottesco.org, 474-8400, continues Thursday-Sunday through April 7 (see review, Page 31). Youth america Grand Prix Gala The Performance at The Screen broadcast series continues with a classic-ballet showcase, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.
eVenTS
The Flea at el Museo 10 a.m.-4 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April. International folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome. Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com. Santa Fe Farmers Market 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098.
nIGHTLIFe
(See Page 49 for addresses) café café Guitarist Michael Tait, 6-9 p.m., no cover. cowgirl BBQ Pappy O’Daniel’s Irish Biscuit Hour with The Backwoods Benders, noon-3 p.m., no cover. Gerry Carthy, tenor guitar and flute, 8 p.m., call for cover. el Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover. La casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda La Fonda Talent Showcase, any music genre, stand-up comedy, and more welcome, $25 to the winners, 7-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7 p.m., no cover. The Mine Shaft Tavern Americana guitarist Gene Corbin, 3-7 p.m., no cover. Pranzo Italian Grill JEM, Jay Cawley, Ellie Dendahl, and Michael Umphrey, guitars and vocals, 6 p.m., call for cover. Vanessie Sunday open mic with David Geist, 5-7 p.m.; Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.
1 Monday GaLLeRY/MuSeuM oPenInGS
Poets Jennifer elise Foerster and carol Moldaw 6 p.m. Tuesday, April 2, Collected Works Bookstore hosts Institute of American Indian Arts alumna Jennifer Foerster reading from her first book of poetry Leaving Tulsa; also, Pojoaque resident Carol Moldaw reads from her works, including her most recent collection So Late, So Soon: New and Selected Poems. Signings follow. 202 Galisteo St., 988-4226.
The Screen Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6494. Contemplative Collage: From Symbol to Story, prints by Dante Jerico, through May.
BooKS/TaLKS
Breakfast With o’Keeffe Gallery talk with Abiquiú photographer Walter Nelson, continental breakfast 8:30 a.m., talk 9-9:45 a.m., Georgia O’Keeffe Museum, 217 Johnson St., by museum admission, 946-1039.
Red 36, by Kris Cox, LewAllen Galleries at the Railyard
Relic Hunters: encounters With antiquity in 19th-century america A Southwest Seminars’ Ancient Sites and Ancient Stories lecture with James Snead, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.
eVenTS
Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.
nIGHTLIFe
(See Page 49 for addresses) cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. el Farol Geeks Who Drink Trivia Night, 7 p.m., no cover. La casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Latin band Agüeybana, 7:30-11 p.m., no cover. Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.
2 Tuesday In conceRT
Jeff Mangum Acoustic guitar and vocals, 7:30 p.m., the Lensic, $20-$32, a portion of the ticket sales benefits the nonprofit Blue Skies for Children, 988-1234, ticketssantafe.org.
BooKS/TaLKS
essay readings Visiting writer Ashley Butler reads from her collection Dear Sound of Footstep and new works, 7 p.m. O’Shaughnessy
Performance Space, Benildus Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 473-6200. Jennifer elise Foerster and carol Moldaw The poets read from and sign copies of their collections, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
eVenTS
International folk dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.
nIGHTLIFe
(See Page 49 for addresses) ¡chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m., call for cover. cowgirl BBQ Quenby, classic country band, 8 p.m., no cover. el Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. La casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Latin band Agüeybana, 7:30-11 p.m., no cover. Second Street Brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. Tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 7-10 p.m., no cover. Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover. ▶▶▶▶▶▶▶▶ PASATIEMPO
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3 Wednesday
indian pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. richard levy Gallery 514 Central Ave. S.W., 505-766-9888. Levitations, photographs by Natsumi Hayashi, through Friday, March 29. south broadway Cultural Center 1025 Broadway Blvd. S.E., 505-848-1320. Mining the 90s, works by Jane Abrams, Aaron Karp, and Alan Paine Radebaugh, through April 19. unm art museum Center for the Arts Building, 505-277-4001. Speak to Me, annual graduate show, through May 4 • In the Wake of Juarez: Drawings of Alice Leora Briggs • Bound Together: Seeking Pleasure In Books, group show • Martin Stupich: Remnants of First World, inkjet prints, through May 25. Open 10 a.m.4 p.m. Tuesday-Saturday; $5 suggested donation.
Gallery/museum openinGs
Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. Group show of works by New Mexico School for the Arts students, reception 5-6:30 p.m., through April 14.
theater/DanCe
Lost and Found New Mexico School for the Arts presents student-produced one-act plays. Lost plays 7 p.m. today and Thursday, April 4, Found plays 6:30 p.m. Friday and Saturday, April 5-6, Warehouse 21, 1614 Paseo de Peralta, tickets available at the Lensic box office, 988-1234.
books/talks
Creative photography The New Mexico Museum of Art docent talks series continues with a discussion of Betty Hahn’s work, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072. santa Fe photographic Workshops’ instructor image presentations Open conversation and slide presentation of work by Michael Clark, Bill Ellzey, Cig Harvey, and David Robin, 8 p.m., Sunmount Room, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., no charge, 983-1400, Ext. 11.
niGhtliFe
(See Page 49 for addresses) ¡Chispa! at el mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover. Cowgirl bbQ Acoustic folk duo Loves It, 8 p.m., no cover. el Farol Salsa Caliente, 9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la posada de santa Fe resort and spa Wily Jim, Western swingabilly, 7 p.m., no cover. the pantry restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. second street brewery Vinyl Listening Sessions with DJ Spinifex, 6-9 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 8-11 p.m., no cover. Vanessie Singer/songwriter Eryn Bent, 6:30-8:30 p.m.; flamenco guitarist Yves Lucero, 8:30 p.m.-close; no cover.
4 Thursday Gallery/museum openinGs
el Gancho racquet Club 104 Old Las Vegas Highway, call 660-3425 for information. Recent Landscapes and Botanicals, archival pigment prints by Key Sanders, reception 5-7 p.m., through April.
ClassiCal musiC
santa Fe symphony Chorus and Chamber ensemble Recital of Fauré’s Requiem, 7 p.m., doors open at 6:30 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., pay-what-you-can at the door, 983-3530.
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March 29-April 4, 2013
Gerald Clayton and his jazz trio in concert April 4, at Outpost Performance Space, Albuquerque
in ConCert
arlo Guthrie Here Comes the Kid, a tribute to Woody Guthrie, 7:30 p.m., the Lensic, $20-$45, student discounts available, ticketssantafe.org, 988-1234.
theater/DanCe
Buried Child Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s drama, 7:30 p.m., 142 De Vargas St., $10, santafeplayhouse.org, 988-4262, ThursdaysSundays through April14 (see story, Page 24). Exquisite Absurdity: 30 Years of Looking Forward Theater Grottesco presents re-created scenes of past performances and previews of works from its 2013 series, 7 p.m., Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, pay-what-you-wish, theatergrottesco.org, 474-8400, continues Thursday-Sunday through April 7 (see review, Page 31). Lost and Found New Mexico School for the Arts presents student-produced one-act plays. Lost plays 7 p.m., Found plays 6:30 p.m. Friday and Saturday, April 5-6, Warehouse 21,1614 Paseo de Peralta, tickets available at the Lensic box office, 988-1234.
books/ talks
Global Warming: Where are We? A talk by environmental scientist Steve Rudnick, 1 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, a Renesan Institute for Lifelong Learning lecture, 982-9274. Judith nasse and nita murphy Collaborating authors of Millicent Rogers: A Life in Full read from and sign copies of their book, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
niGhtliFe
(See Page 49 for addresses) ¡Chispa! at el mesón Pianist John Rangel, 7-9 p.m., no cover. Cowgirl bbQ Todd Tijerina Trio, blues and rock ’n’ roll, 8 p.m., no cover. el Farol Folk singer/songwriter Zoe Evans, 9 p.m., no cover.
evangelo’s Guitarist Little Leroy with Mark Clark on drums and Tone Forrest on bass, 9 p.m.-close, call for cover. la boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la posada de santa Fe resort and spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6:30 p.m., no cover. the legal tender Two-Step Thursdays with Buffalo Nickel Two, 6-9 p.m., no cover. the matador DJ Inky spinning soul/punk/ska, 8:30 p.m.-close, no cover. the palace restaurant & saloon Lime Light Karoake with Michele, 8:30 p.m., call for cover. steaksmith at el Gancho Mariachi Sonidos del Monte, 6:30-8 p.m., no cover. Vanessie Trumpeter Chief Sanchez and his jazz trio, 7 p.m.-close, $5 cover.
▶ Elsewhere Abiquiú
abiquiú Chamber music series The sixth season opens June 9, with violinist Carmelo de los Santos and pianist Rubia Santos, and continues through September, visit abiquiumusic.com for tickets, directions, and concert schedule, 505-685-0076.
AlbuquErquE museums/art spaces
albuquerque photographers Gallery 303 Romero St. N.W., Old Town, 505-244-9195. The Acoma Collection, work by Lee Marmon, through April.
events/performances
sunday Chatter Pianist Conor Hanick performs music of Bach and Carter, 10:30 a.m. Sunday, March 30, poetry reading by Maggie Evans follows, The Kosmos, 1715 Fifth St. N.W., $15 at the door, chatterchamber.org. Gerald Clayton trio Recent Grammynominated jazz pianist/composer; with Joe Sanders on bass and Justin Brown on drums, 7:30 p.m. Thursday, April 4, Outpost Performance Space, 210 Yale Blvd. S.E., $25, students $20, 505-268-0044.
tAos museums/art spaces
harwood museum of art 238 Ledoux St., 575-758-9826. Red Willow: Portraits of a Town • Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming • Eli Levin: Social Realism and the Harwood Suite; exhibits celebrating Northern New Mexico, through May 5. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. kit Carson home & museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. la hacienda de los martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge. millicent rogers museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.-5 p.m. daily. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge with ID. taos art museum and Fechin house 227 Paseo del Pueblo Norte, 575-758-2690. Director’s Choice: 14 Years at the Taos Art Museum, works from the collection, through June. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday. events/performances Footfalls and The Zoo Story Working Class Theatre Company presents plays by Samuel Becket and Edward Albee, 7 p.m. FridaySunday, March 29-31, and 7 p.m. Thursday-Saturday, April 4-6, The Playhouse, 1335-L Gusdorf Rd., 575-613-0998, workingclasstheatrenm.org.
Taos Chamber Music Group Art of the Cello, Part Two, featuring Joel Becktell, Sally Guenther, James Holland, and Dana Winograd, 5 p.m. Saturday and Sunday, March 30-31, Arthur Bell Auditorium, Harwood Museum of Art, 238 Ledoux St., $20 in advance; $22 at the door; child discounts available; 575-758-9826, taoschambermusicgroup.org.
▶ People who need people Artists/Photographers
2013 Governor’s Awards for Excellence in the Arts Nominate New Mexican artists, businesses, nonprofits/foundations, or individuals contributing to the arts; nominations may be mailed or hand-delivered no later than Friday, March 29, to New Mexico Arts, 407 Galisteo St., Suite 270, 87501; forms available online at nmarts.org, or call 827-6490. Collect 10/Lucky 13 New Mexico artists are encouraged to submit work for the Center for Contemporary Art exhibit running April 26, through May 19; People’s Choice award $300 cash; solo show for the Curator’s Choice award winner; submissions accepted 10 a.m.-5 p.m. Wednesday-Thursday, April 10-11; visit ccasantafe.org for details.
Filmmakers/Playwrights/Writers
Santa Fe Independent Film Festival Film submissions sought for the Oct.16-20 festival; regular deadline Wednesday, May 1; late deadline July 1; final deadline Aug.1. Visit santafeindependentfilmfestival.com for rules and guidelines. Santa Fe Playhouse 92nd season Accepting play proposals of all genres for the fall 2013-summer 2014 season from individuals who would like to direct; call 988-4262 or email playhouse@santafeplayhouse.org for proposal packets by Wednesday, April 17. Tony Hillerman best first mystery novel contest Publishing contract with St. Martin’s Press and $10,000 advance offered to the winner; only authors of unpublished mysteries set in the Southwest may enter; manuscripts must be received or postmarked by June 1; further guidelines and entry forms available online at wordharvest.com.
Singers
Women’s a cappella group Madrigal through contemporary; nonvibrato; email acappellasingers@mail.com for details.
Volunteers
Birders Lead ongoing birdwatching walks at Leonora Curtin Wetland Preserve, Ortiz Mountains Educational Preserve, and Santa Fe Botanical Garden at Museum Hill; call 471-9103 or email info@santafebotanicalgarden.org for more information. Gearing up for Earth Week Earth Care’s fifth annual Day of Service in celebration of Earth Day and Global Youth Service Days takes place Thursday, April 25, 9 a.m.-3 p.m.; volunteers are needed to assist with set-up, break-down, general logistics, and support; contact Casey Moir, casey@earthcarenm.org, 978-290-2792. Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; the hours are 9 a.m.-
4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details. Santa Fe Women’s Ensemble Always in need of ushers for concerts; email info@sfwe.org or call 954-4922.
▶ Under 21 Foreign Tongues Cult Rap duo; also featuring The Source, Sublmnl Rnsons, and Grhymn, 7 p.m. Friday, March 29, Warehouse 21, 1614 Paseo de Peralta, $5 in advance, $8 at the door, 989-4423. St. John’s College Community Seminars Read and discuss seminal works; free to 11th- and 12th-grade students. Fakhruddin ’Iraqi’s Divine Flashes, 1-3 p.m. Saturdays, through April 13, 1160 Camino de Cruz Blanca, call 984-6117 to register. Bollywood Dance Invasion 2013 Fundraiser hosted by the nonprofit Amma Center of New Mexico; video/light show, vegetarian meal, and astrology readings, 7:30 p.m. Saturday, March 30, Warehouse 21, 1614 Paseo de Peralta, $15 at the door, ages 12 and under $7, 699-7275. Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. Group show of works by New Mexico School for the Arts students, reception 5-6:30 p.m. Wednesday, April 3, through April 14. Lost and Found New Mexico School for the Arts presents studentproduced one-act plays, 7 p.m. Wednesday and Thursday, 6:30 p.m. Friday and Saturday, April 3-6, Warehouse 21, 1614 Paseo de Peralta, tickets available at the Lensic box office, 988-1234. Call for young artists and filmakers Fifth annual Art to Awaken: enter art in any media (performance, music, dance, spoken word) aimed at making a positive impact on the world; 2013 Youth Creating Change Film Fest, presented by Adelante and Earth Care’s Youth Allies: get your message out in 30-second to five-minute digital files of PSAs, short documentaries, or animated films; deadlines for both events is Friday, April 26; for details email youthallies@earthcarenm.org.
▶ Pasa Kids Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, by museum admission, 989-8359. 333 Montezuma Arts 333 Montezuma Ave., 988-9564. Art of Systems Biology and Nanoscience, UNM’s fourth annual free two-day high-tech art show. Events 4-9 p.m. Friday, 10 a.m.-8 p.m. Saturday, March 29-30. Receptions 4:30-6 p.m. both days; public talks 6 p.m. Friday and 5:30 p.m. Saturday; visit stmc.health.unm.edu for reception pre-registration. 10 a.m.-2:30 p.m. Saturday, children’s interactive nanotechnology experiments. Story time and Easter egg hunt at Bee Hive Kids Books Storytime 11 a.m. Saturday, March 30, Easter egg hunt follows, 328 Montezuma Ave., no charge, 780-8051. Easter egg hunt at Santa Fe Farmers Market Noon Saturday, March 30, 1607 Paseo de Peralta, 983-4098. Summer Camp Fair Brouse camp displays, collect brochures, or register your children for camp, 10 a.m.4 p.m. Saturday, April 13, La Tienda Shopping Center, 7 Caliente Rd., Eldorado, call 603-8811 or 466-1059 for information. ◀
’Matli Crew The Grammy-winning Latin-fusion juggernaut — and a favorite among Santa Fe audiences — Ozomatli performs at the Santa Fe University of Art & Design’s bandstand on the quad (1600 St. Michael’s Drive) at 9 p.m. Saturday, April 27, in conjunction with the university’s Artists for Positive Social Change program. The five-year initiative, which encompasses a university-wide series of lectures, workshops, demonstrations, performances, and other events, involves students and others in an exploration of art and performance as tools to effect lasting change and meaningful dialogue within the larger community. Inaugurated during the 2011-2012 school year, AfPSC has already welcomed hip-hop legends Public Enemy and artist-activist Shepard Fairey to Santa Fe. The program’s theme for the 2012-2013 year, Art and Political Activism, dovetails nicely with Ozomatli’s propensity for blending politics, hip-hop, and funky Latin-fusion grooves. Ozomatli, which emerged from a labor protest in mid-’90s Los Angeles, is a frequent outreach participant within Southern California’s inner cities. Opening for Ozo will be Inner City Connection (ICC), the brainchild of Public Enemy bassist Brian Hardgroove. The group opened up the PE show at SFUAD in 2012. A new band, The Skankin’ 2x4s, also opens (with a set of Bob Marley covers). The campus is open to ticket holders at 5 p.m., doors open at 6 p.m., and the music starts at 7:30 p.m. Admission to the concert is free, and space is limited. You need to have a ticket, though. None will be available the day of the event. To grab a couple (limit two per person), swing by the Lensic box office (211 W. San Francisco St., 988-1234) between Monday, April 15, and Friday, April 19. If you don’t mind paying a small fee, you can also order tickets online on those days through www.ticketssantafe.org. Oh, and there’s more. You can’t park on campus unless you have a valid handicappeddriver permit. Use the lot at Santa Fe High School (across Siringo Road from SFUAD’s back entrance) instead. Also, if you’re under 18, you’ll need an adult chaperone. And there’s a laundry list of things you can’t bring into the quad area: common-sense items like glass, booze or drugs, and filthy animals (without a service-animal certification) — and weirder stuff, like no skate decks and no chewing gum. But stop whining. It’s free! Do you speaka my language? It’s a great weekend for all-ages music in Santa Fe. First up, at 7 p.m. Friday, March 29, is Tucson conscious-hip-hop collective Foreign Tongues Cult featuring IRONIC & Einstein at Warehouse 21 (1614 Paseo de Peralta, 989-4423). Combining super-melodic narrative attacks and a lyrical bend more in tune with the slam-poetry/Midwest-underground scene than with Southwest hip-hop’s near-ubiquitous Latin flow, Foreign Tongues Cult is on the move — in a tour van, heading east, from southern Arizona. Supporting FTC on the W21 stage are The Source, Sublmnl Rnsns, Trip + Thyme, and Zen Tempest. There’s an $8 cover at the door for the all-ages show. A few advance tickets are available at W21 for $5. Bollywood squares At 7:30 p.m. Saturday, March 30, Warehouse 21 hosts a Bollywood Club Invasion Dance Party benefit for the Amma Center of New Mexico’s charitable projects, which include Mother’s Kitchen — a volunteer-staffed program that feeds nutritious burritos to more than 100 people in need each week in Santa Fe. Mother’s Kitchen also assists with the preparation of meals for St. Elizabeth Shelter and Casa Familia shelter. On deck to perform during the festivities are DJs Dynamite Sol and Shobanon, as well as improv media artist Agramzu. The evening also includes finger foods, chai, astrological readings, a Bollywood dance class, bhangra drumming, henna tattooing, massages, and performances by the Wild Divine Dancers. Tickets for the all-ages event are $15 at the door, under 12 $7, call 699-7275 for more information. — Rob DeWalt rdewalt@sfnewmexican.com www.pasatiempomagazine.com Twitter: @PasaTweet
A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.
PASATIEMPO
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