January 16, 2015
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The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
POPup
January 25, 2015 12pm-4pm
Fundraiser
benefiting Native american youth hoop dancers Native American artist show & Silent Auction hoop dancing every hour on the hour
AT La fonda on the santa fe plaza
special thank you to la fonda for sponsoring the event
funding supports travel & lodging to participate in world championship hoop dancing contest in phoenix, az, feb 7 & 8 P U E BL O
OF
POJOAQUE
www.pojoaque.org/hoop
231 washington avenue / santa fe, nm 505 • 984 • 1788
Aprés Ski for Light Fare & Cocktails! Happy Hour Special - 50% off
OUR FAMOUS CLASSIC APPETIZERS CALAMARI, DUMPLINGS, SPRING ROLLS Wines-by-the-glass, ‘Well’ cocktails & our House Margarita! FULL BAR with FREE WI-FI Monday thru Friday from 4:00 – 6:00 p.m. …
BMW VALUE SERVICE. If your BMW is out of warranty, BMW Value Service is here to help. Reasonable costs combined with the peace of mind of knowing your vehicle is in the hands of BMW trained technicians make BMW Value Service a clear choice. Schedule a complimentary multi point inspection, or better yet, take us up on our $79.95* oil change. Santa Fe BMW 2578 Camino Entrada | Santa Fe, NM 87501 | SantaFeBMW.com *Offer is valid for all BMW 3 series models except for M cars. Price excludes tax. Please Call for details.
PRE-K & KINDERGARTEN
PROGRAMS DESIGNED TO EDUCATE THE HEART AND THE MIND Studies show that integrating social-emotional learning (SEL) in the classroom yields a deeper sense of self and improved academic performance GIVE YOUR CHILD A CRITICAL FOUNDATION FOR SUCCESS: PRE-K & KINDERGARTEN APPLICATIONS DUE JAN 23
Come on in – we’re on the route to the Ski Basin: Corner of Paseo de Peralta & Bishop Lodge Rd. Next to Wells Fargo Bank... This Weeks’s Lunch Special – from 11:30 a.m. 1/2 Grilled Cheese – Pastrami Sandwich w/ cup of Potato – Green Chile BIsque & Small Organic Greens Salad 10.00 (takeout always available) OUR WINTER HOURS CONTINUE: dinner: monday – saturday from 5:30 p.m. lunch everyday from 11:30 am. – 2:00 p.m.
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for ‘Instant Gift Certificates’ go to: www.santacafe.com Rio Grande School does not discriminate on the basis of race, color, gender, sexual orientation, gender identity, or national or ethnic origin.
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PASATIEMPO | January 16-22, 2015
Artwork by: Lee Charley
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Artwork By: Hal and Margie Hiestand
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LAST CALL· JAN 16–19
Santa Fe Community Orchestra
Oliver Prezant, Music Director 2014-2015 Concert Season
W O M E N ’ S & M E N’ S F O OT W E A R
30%–75%OFF
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New Works by New Mexico Composers Love Lost by Barak Breden • Danzon Cubano by Lenny Tischler Friday, January 16, at 6 pm in St. Francis Auditorium at the New Mexico Museum of Art, 107 W. Palace Ave. Free Admissions, Donations Appreciated The SFCO’s New Works by New Mexico Composers program is made possible through the generous support of the Mill Foundation.
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10 Min. North of DOWNTOWN Santa Fe • Exit 175 on Hwy 84/285 PASATIEMPO | January 16-22, 2015
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JANUARY SPECIAL
In celebration of our 50th Year, we are offering Lunch and Dinner Specials in January, Tuesdays thru Fridays including complimentary chips and salsa! DINNER for TWO $19.65 Choose Any Two Entrées
• Plato Con Flautas • Sopaipilla Relleno • Combinacíon Traditional • Enchiladas • Chicken Fajita Salad
LUNCH Special $7.65 each
A Timeless Tradition! 1965 - 2015
505.351.4444 ranchodechimayo.com
• Sopaipilla Relleno • Combinacíon Pequeño • Traditional Enchiladas • Platillos Con Tacos • Carne Adovada Pequeña Dine-in only and prices do not include tax and gratuity. Vegetarian options available for above items. No substitutions or separate checks. Tuesdays through Fridays, excluding Holidays.
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FIRST Sale HOLIDAY Spring Orders STOREWIDE Floor Samples SALE! accessories
NOW through Thru February 15th December 21st! Moss Collection | 530 S. Guadalupe | Santa Fe | 505-989-7300
Southwestern Style • One-of-a-kind Pieces Reasonable prices every day of the year
Our Warehouse Showroom features over 8000 sq. ft. of handcrafted furniture. Please come in, you’ll be pleasantly surprised.
SANTA FE COUNTRY FURNITURE 525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr. Monday - Saturday • 9 - 5 • Closed Sundays www.santafecountry.com
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THE SANTA FE NEW MEXICAN
January 16 - 22, 2015
www.pasatiempomagazine.com
ON THE COVER 16 Scads of brass Old-time swing and blues sometimes gets a bad rap these days — tired, perhaps even schmaltzy — but the members of the Hot Sardines play every song like it’s brand-new. The band, boasting four horns, a French singer, and a tap dancer, is eminently entertaining and has the musical proficiency to pull it off. Now in the middle of its first major tour, the Sardines hit the Lensic Performing Arts Center on Wednesday, Jan. 21. The cover photo of the music makers is by LeAnn Mueller.
MOVING IMAGES
BOOKS AND TALKS 12 28
34 35 36
In Other Words The Secret History of Wonder Woman Taking root State botanist Daniela Roth
CALENDAR
MUSIC AND PERFORMANCE 14 18 20 23
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Handful of dust Mariela in the Desert Terrell’s Tune-Up Swamp Dogg ggg Pasa Tempos Album reviews Random Acts Robert Earl Keen
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Abandonment to rebirth Ted Larsen Spaced out I Want to Believe (maybe)
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St., Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com
I WANT TO BELIEVE
Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com
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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
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Copy Editor — Susan Heard 505-986-3014, sheard@sfnewmexican.com
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STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Jennifer Levin 505-986-3039, jlevin@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Bill Kohlhaase, Iris McLister, James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2015 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Star Codes Restaurant Review: The Teahouse
ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday
PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com ■
Pasa Week
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ART 24 30
Goodbye to All That Winter Sleep Chile Pages
Tom Cross Publisher
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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
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MARKETING DIRECTOR Monica Taylor 505-995-3824
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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852
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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Kelly Moon 505-995-3861 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl
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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841
Ray Rivera Editor
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Generous Tuition Assistance Available On a First-Come, First-Served Basis.
Linson’s | 1305 Cerrillos Rd | Santa Fe, NM M: Closed | T-F: 10:00 am – 5:00 pm Sat: 12:00 pm – 4:00 pm Sun: Closed 505-984-8700 | www.linsonsdesignsource.net
College Preparatory serving grades 6 -12
admissions@desertacademy.org 505.992.8284
7300 Old Santa Fe Trail, Santa Fe, NM 87505
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FRIDAY, JANUARY 16TH DJ CHIL SATURDAY, JANUARY 17TH DJ 12 TRIBE
FEBruary 28 · 7pm
giggle. wiggle. groove. An eclectic mix of informative and entertaining programs await you on KUNM – your passport to the worlds of news, music, community and culture. Publicly supported. Publicly responsive. KUNM is an essential part of New Mexico’s day. KUNM 89.9FM | STREAMING LIVE 24/7 AT KUNM.ORG
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NOW OPEN Aspen Wellness Acupuncture
$25 Appointments A i t t Walk-ins Welcome tickets on sale at TICKETS.COM 8
PASATIEMPO | January 16-22, 2015
Monday - Thursday 10 am - 2 pm Phone: 505.466.5887
3450 Zafarano Drive (next to Lowe’s Home Improvement)
R PianoWerkes r
Clearance Sale
PianoWerkes is dedicated to making a contribution to our community by loaning fine pianos to local schools and arts organizations at no charge. These pianos along with overstocked new and used pianos, are gathered one time a year and sold to the public at drastically reduced prices.
130 Lincoln Ave., Santa Fe, NM 87501 505-982-0055 truewestsf@aol.com
Open Everyday
Thurs, Jan 22 • By Appointment – Fri, & Sat, Jan 23-24 • 10am-5pm
New Yamaha, Bösendorfer, Schimmel, Estonia and Vintage Steinway, Yamaha Disklavier Player Pianos, Yamaha Clavinova Digitals, Yamaha Hybrid and Silent pianos Used and Trade-in Models including Steinway, Baldwin, Yamaha and Boston
Call Now for Appointment or Information: 505.884.5605 PianoWerkes 4640 Menaul Blvd. NE, Albuquerque www.pianowerkes.com 505.884.5605
Independent Living
VINTAGE Navajo Weavings
Assisted Living
Toast to Perfection & Enjoy Life!
Discover the Starlight Lounge At The Montecito Santa Fe You don’t have to live here to experience the Starlight Lounge’s delicious bar menu prepared by our Executive Chef, accompanied by exciting live music and entertainment. A $2/Month Guest Membership is required for all non-residents available with the Concierge.
Call to Schedule a Tour Today 505.428.7777 The Montecito Santa Fe
January’s Friday Night Live Music Series January 16th: Michael Tait Tafoya with Jennifer Perez January 23rd: The Jazzbians January 30th: Singer/Songwriter Susan Abod Accompanied by Bert Dalton
Music is from 7:00—9:00 pm Bar Menu available 5:00—8:00 pm Full Bar with excellent wine and beer list On-Site Parking
500 Rodeo Road, Santa Fe, New Mexico 87505
www.MontecitoSantaFe.com PASATIEMPOMAGAZINE.COM
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READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.
KAREN RUSSELL with Porochista
Khakpour
WEDNESDAY 28 JANUARY AT 7PM LENSIC PERFORMING ARTS CENTER
Karen Russell is a novelist and short story writer and was one of The New Yorker’s “20 Under 40” in 2010. Her debut novel, Swamplandia!, is set in Ten Thousand Islands off the southwest coast of Florida and tells the story of the Bigtrees, a family of alligator wrestlers who live in a theme park. Praised by Carl Hiaasen as “both shimmering and stark,” Russell’s first novel was subsequently adapted into a series on HBO. A recipient of a 2013 MacArthur Foundation “Genius Grant,” Russell is also the author of the story collection St. Lucy’s Home for Girls Raised by Wolves as well as the recent Vampires in the Lemon Grove.
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Ms. Russell deftly combines elements of the weird and supernatural with acute psychological realism; elements of the gothic with dry, contemporary humor. From apparent influences as disparate as George Saunders, Saki, Stephen King, Carson McCullers and Joy Williams, she has fashioned a quirky, textured voice that is thoroughly her own: lyrical and funny, fantastical and meditative… – Michiko Kakutani of The New York Times on Vampires in the Lemon Grove om aos.c rgeT Splu
TICKETS ON SALE NOW
You Save 50%!
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
www.lannan.org 10
PASATIEMPO | January 16-22, 2015
Exclusively available at SplurgeTaos.com To rece iv e t his o f f e r, vis it S p lurg eTa os. com b efore mid n ig h t W edn es da y , Ja nu ary 2 1an d p urc h as e t h e Sp lu rge cert if ic at e, w hich c a n be re dee me d for th e ab ov e o f f er. T hi s adve rti sem ent is n ot a Sp lur ge c er tif i c ate.
STAR CODES
Winter Market at El Museo Saturday 8 am - 3 pm
Heather Roan Robbins
This week will probably not go as expected, but we can get organized and take advantage of serendipitous moments. The first part of the week is competent and thoughtful. Early next week, active Mars forms a tricky conjunction with intuitive Neptune. On a good day, it imparts a willingness to take actions based on faith and sensitive understanding as we deal with our escapist patterns. It can bring action (Mars) to our dreams (Neptune), or leave us feeling a bit lazy and permeable. On a bad day, it fuels a fight for religious beliefs or deepens our attachment to illusion. It will be up to us to add compassion, a visceral sense of connection (which is the deepest gift of Neptune), and a willingness to see even uncomfortable truths. Powerful emotions connect us to our international relations with Venus, Mercury, and, soon, the sun — expressed through communal Aquarius. This lineup can make our hearts bubble over like boiling porridge. We want to feel a collective heartbeat, and we ache for the woes of the world together. But we can miss the needs of those closest to us, or think we know their feelings better than we do. Bubbling porridge can make a mess. It helps to ask our nearby loved ones what they need and how they feel, and to notice when we are boiling over emotionally and need to step back. Mercury turns retrograde by the end of the week, breaking our flow of concentration and introducing unexpected agendas. Ordinary plans for travel, communication, and understanding get complicated. We’ve got three weeks to review and reorganize; let’s use them to our advantage. Friday, Jan. 16: A seriously restless morning questions our priorities under a peripatetic Sagittarius moon. Honesty can be abrupt when we’re anxious, so center down before speaking. Tonight, free one another’s spirit from the week’s heaviness.
Sunday 9 am - 4 pm Art, Antiques, folk & Tribal Art, Books Jewelry, cowboys & indians, Hand made purses, beads, Glass, hides and much much more
El Museo Cultural de Santa Fe 555 Camino de la Familia, Santa Fe, NM 87501 (In the Railyard across the tracks from the Farmer’s Market) Info call: Steve at 505-250-8969 or Lesley at 760-727-8511
Dr. Glenda King
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Saturday, Jan. 17: Let the mind and the feet roam as the Sagittarius moon trines expansive Jupiter and activates our dancing feet. International news calls us to explore the joys and responsibilities of global citizenship. People are farsighted today, but that can mean they don’t see what’s right next to them — don’t take it personally. Sunday, Jan. 18: It’s a day to search one’s soul and get organized. Look into personal and cultural history for a fresh understanding of the moment under a waning Capricorn moon. Small accomplishments soothe us. Monday, Jan. 19: Our hearts swell and emotions spill over for the sake of the world soul today as Mars conjuncts Neptune. We may be grumpy and uncomfortable under the Capricorn moon, but we’ll feel better when we acknowledge that we belong to something larger than ourselves. Tuesday, Jan. 20: The mood grows open and stubborn — if less intimate — as the sun and moon enter Aquarius and conjunct. Reorganize relationships — strengthen healthy group commitments, and let go of those that don’t work. Watch for misunderstandings — it’s easy to develop a theory and think we know more than we actually do.
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Mission: to strengthen our health, to protect our land, to grow our economy by serving local sustainable food. shepherd’s lamb shank
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Wednesday, Jan. 21: Mercury retrogrades, and our signals cross. Don’t run on the ice or run into assumptions: Walk with grace instead. Follow through carefully on stray practical details — they fall through the cracks so easily. Thursday, Jan. 22: We feel for the poor, the hurt, and the downtrodden as the Pisces moon conjunct Mars and Neptune. This lineup can leave us sensitive and sulking. Keep such pain in perspective, and notice where real work is needed. ◀ www.roanrobbins.com
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IN OTHER WORDS book reviews The Secret History of Wonder Woman by Jill Lepore, Alfred A. Knopf/Random House, 410 pages Merciful Minerva! The true origin story of the world’s most famous female superhero was, until now, known only to her creator, William Moulton Marston, his three female life partners, and their four children. But now, in The Secret History of Wonder Woman, author Jill Lepore clarifies the Amazonian warrior princess’s true connections to the history of American feminism, as well as to alternative lifestyle and marriage practices. The story is anchored in female empowerment and one psychologist’s deeply held belief in the superiority of women — but as progressive as this might sound, it’s also a story steeped in deception, outsized egos, and fetish. Lepore has created a truly excellent, borderlinesalacious read, peppered with vintage photographs and examples of early Wonder Woman panels that exemplify where Martson’s real life bled into newsprint and where he turned many of his professional enemies into comic villains. Marston was born in 1893 in the Cliftondale neighborhood of Saugus, Massachusetts. When he was in the eighth grade he met Elizabeth “Sadie” Holloway, the woman he would later marry and whom he would require to go by “Betty,” as he found her given first name displeasing. In high school he became a champion of women’s suffrage and developed an interest in the female figures of Greek mythology. As a junior at Harvard University he invented the lie detector test, for which he spent decades trying to earn legitimacy. After getting a law degree and then a Ph.D. in psychology at Harvard, he taught psychology at both American and Tufts universities but was kicked off their faculties because his peers thought he used the academic discipline to advance questionable personal theories. In 1929, Marston spent a year at Universal Studios, where he served as its director of public services, eager to offer Hollywood his psychological insights. Over the years, he wrote nine books dealing with psychological themes; his best-known, Emotions of Normal People, published in 1928, was his first. Betty, who was born on the Isle of Man but grew up stateside, in Boston, received her B.A. at Mount Holyoke College, her master’s in psychology at Radcliffe, and her law degree at Boston University. She ultimately began writing historical and technical articles, which provided the main consistent source of income for her large family. There is no question that Marston believed women were capable of wielding power. But whether this belief was based in concepts of social justice and equality, or in a combination of personal charisma and a domination/submission fetish, is open for debate. Lepore makes no explicit judgments. She doesn’t have to. Marston, for all his talk about the need for women to take power away from men, seems to have lived financially off the self-empowerment of his wife, while his projects generally failed to have much economic muscle. And he fed emotionally off the devotion of his second “wife,” Olive Byrne, who was part of the family but whose children grew up thinking Marston, who was their real father, was a 12
PASATIEMPO I January 16 -22, 2015
sort of stepfather. Byrne was a former student of Marston’s. She was very close to her aunt, Margaret Sanger, who pioneered the American birth-control movement alongside her sister, Ethyl (Olive’s mother). Because Olive threatened suicide when anyone attempted to assert her true connection to Marston, Wonder Woman’s very real ties to Sanger’s life and mission historically have gone unknown. A third woman, Marjorie Wilkes Huntley, came and went from the Marston household over the years but was considered, for the purposes of the 1930 census, a “roomer” of William and Betty’s. Byrne, always fearful of exposure, sometimes used Richard as her last name and was not recorded as a member of the household that year. Lepore speculates that Byrne may have moved out to hide her pregnancy. In addition to feminism and the romantic arrangements of the Marston clan, Lepore also touches on the history of the lie detector test and the American justice system, along with the history of superheroes. In the 1930s and ’40s, when superhero comics first captured the imaginations of the nation’s children, many leading psychologists saw them as fascistic, prepping our youth for authoritarian rule by the Übermenschen. But Hollywood was hiring psychologists during that same time to help create story lines audiences would respond to, and superheroes gained a foothold there almost immediately after they rose to prominence in comic books. Because Marston considered superheroes excellent role models, he had an entree, beginning in 1941, into the world of DC Comics. What is most striking about The Secret History of Wonder Woman, beyond the information it presents, is the exceptionally high quality of the writing. The first line of the first chapter rivals that of Anna Karenina for its succinct and beautiful presentation of provocative information: “William Moulton Marston, who believed women should rule the world, decided at the unnaturally early and altogether impetuous age of eighteen that the time had come for him to die.” After that opening line, the prose never wavers in strength or power. Lepore sustains a diction that echoes the bluster of early Wonder Woman comics and that of Marston, who not so obliquely postured as a sort of beleaguered superhero of psychology — a man who could detect lies but who, paradoxically, had to lie about his own life and achievements to get work. Marston died of skin cancer on May 2, 1947, one week shy of his fifty-fourth birthday. After that, the Wonder Woman comics were written by people who didn’t much care for Marston’s bondage aesthetic or female-empowerment themes. Wonder Woman lost most of her feminist identity until it was reclaimed by Ms. magazine in the 1960s. Among the most interesting of Marston’s legacies is how Olive Byrne and Betty (who lived to be one hundred) chose to spend the rest of their lives: continuing to live together, with Marjorie Wilkes Huntley perpetually welcome as an on-and-off housemate. — Jennifer Levin
SUBTEXTS View from the top: poet Stanley Noyes, 1924-2014 In his poem “The Real Wild,” Stanley Noyes laments the disappearance of animals that used to roam the arroyos and trails in Santa Fe — foxes that tripped “across Garcia Street near the Camino” and wild turkeys that climbed Mt. Atalaya, “Where from time to time I’d pick up/A horny toad for a look and put it back.” Noyes, a native of California’s Napa Valley and a resident of Santa Fe since 1964, died on Christmas Eve at age ninety. John Brandi, a poet, painter, and founder of Tooth of Time Books, was a good friend of Noyes’, meeting him shortly after Brandi arrived in New Mexico in 1971. “As poets, prose writers, and lovers of the New Mexico landscape, we had much in common,” Brandi told Pasatiempo. “He hiked me up all the major peaks of the Manzanos, Sandias, Jemez, and Sangre de Cristo mountains, wanting me to ‘see from the top what I was missing from the bottom.’ ” In 1984, Tooth of Time published Noyes’ book The Commander of Dead Leaves, which features graphics by Fritz Scholder. Noyes went on to publish other books of poetry and Southwest history with small presses in the ensuing decades. “The Real Wild” and several other uncollected poems by Noyes were published by Tooth of Time in a final 200-edition hand-bound chapbook of his work, My Half-Wild West, in 2012. The first poem in the book, “Prologue: The Last Buffalo at San Jon, NM,” was issued in 2014 as a limited-edition broadside, hand-printed by Tom Leech on paper crafted with buffalo-wool fibers at the Palace of the Governor’s Print Shop and Bindery. Noyes, who worked as a teacher and arts administrator in Santa Fe, served in the U.S. Army during World War II and was awarded the Bronze Star. He is survived by his wife, Nancy, his children, and many other relatives. — J.L.
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Family Physician | Board Certified ABFM In Santa Fe since 1987
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$50 Credit On Initial Visit With This Ad
wednesday, january 21, 2015 | 7:30 pm location: lensic performing arts center
No longer accepting insurance, but reasonable fees.
Photo credit: David Marlow and Parasol Productions
ANNUAL WHITE SALE!
20%OFF! SheetS, Duvet COverS, DOwn COmFOrterS anD PillOwS Jan 16th - 31st
Custom orders available
www.pandorasantafe.com
Sanbusco Market Center • 500 Montezuma • 982-3298 • 10-6 Mon-Sat 12-5 Sun.
Smokin’ hot jazz — played with brassy soul and stride piano, and sung by a songstress straight out of the Jazz Age. You will not want to miss The Hot Sardines. They make an era-defining sound relevant to now. “…one of the best jazz bands in NY today.” — Forbes ticketsSantafe.org | 505 988 1234 PerformanceSantafe.org | 505 984 8759
Underwritten in part by Bumble Bee’s Baja Grill
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Jennifer Levin I The New Mexican
Handful of Dust
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rtistic talent doesn’t always come with a sustaining vision, though a sculpture or a poem can look good enough on the surface to distract from its lack of real substance. Nonetheless, ambition and connections can take artists to a certain point, allowing them to hide the truth of their mediocrity for a while, and even allowing for a measure of acclaim. But the output of such artists eventually wears thin. An actor’s performances begin to seem the same; a writer’s novels retread old ground; a painter’s expression doesn’t deepen. However, sometimes too little ambition renders a promising talent irrelevant because it’s never put to use — but the vision persists in that mind. This is the story of many failed and fallen artists who were diverted from their passions by choice or circumstance. In Mariela in the Desert, which opens at Teatro Paraguas Studio on Thursday, Jan. 22, playwright Karen Zacarías explores the friction between these different types of creative personalities in a family drama set in Mexico. The present day is 1950, and the narrative flashes back to the 1930s, when Mariela and her husband, José, were contemporaries of Frida Kahlo and Diego Rivera. José’s reputation was blossoming just as the couple was starting its family. A move from Mexico City to the desert,
where they planned to form an artist colony, essentially has left them exiled, and they have spent the subsequent decades blaming each other, each playing martyr to the other’s suffering. Now José is dying, and Mariela sends a telegram to their estranged child, Blanca, who is away at university, to convince her to come home. The two mysteries of Mariela in the Desert, directed by Alaina Warren Zachary, center around the childhood death of Mariela and José’s son, Carlos, in a fire, and the existence of a painting called The Blue Barn, which José has taken a knife to just before the play begins. Though the audience never sees the actual painting, its subject matter, aesthetics, and meaning are discussed many times. Its title references Kahlo’s childhood home in Mexico City, known as the Blue House, which is now a museum, and the imagery described connotes some of Kahlo’s paintings, especially My Dress Hangs There (1933), despite the two works’ disparate settings — Frida’s painting in the city, Mariela’s in the desert. Zachary sees the play as a story about Kahlo and Rivera through the eyes of Mariela and José. “Art was revolutionary to them,” she said. “They committed their lives to it. It was their passion. I think passion goes through everything in this play.”
Mariela in the Desert
Inset, Nicholas Ballas and Catherine Donavon; photo Becca Spencer
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The narrative implicitly compares and contrasts the two couples and questions what it means to persevere for one’s art. Kahlo was able to live uproariously and paint through a life of excruciating pain and medical problems — when she was a teenager, she was in a bus accident in which she was impaled by a metal pole. Mariela gave up painting for maternal responsibilities, among other reasons that are revealed along the way, but because she was a married woman in Mexico in the first half of the 20th century, it could be argued she didn’t have much agency in her decisions — nor can her life be reduced to having simply chosen motherhood over art. Mariela’s artistic passions have not cooled, despite never sitting at the easel anymore, whereas José’s inspiration dried up long ago. He has the bluster, and perhaps some of Rivera’s talent, without possessing the latter’s vision or legendary charm. Zacarías has set up a similar equation between Mariela and daughter Blanca, who arrives home with her much-older lover, Adam, an American-Jewish professor of art history who wants to include a chapter about José in the book he is writing. His arrival casts light on the couple as players in the post-revolutionary Mexican art world, while further complicating what we know of the family mysteries. Blanca, it seems, has been living out what she perceives to be her mother’s destiny, with eerily similar deleterious effects. After receiving the Arizona Theatre Company’s 2004 National Latino Playwriting Award, Mariela in the Desert premiered in 2005 at Chicago’s Goodman Theatre — and received negative reviews. The main complaint was that the story was slow and struggled under the weight of too many subplots. Zacarías revised the play for a production by the Denver Center Theatre Company in 2010, tightening her focus on the ways in which the members of the family have made one another miserable. José and Mariela are based on her grandfather, a successful but critically unappreciated filmmaker, and her grandmother, a respected writer, who lived in Mexico in the 1930s. In 2007, the original version of the play was put on in Santa Fe by Theaterwork, with Catherine Donavon starring in the title role. She reprises that in the current production with Teatro Paraguas. Nicholas Ballas plays José; Kathi Collins plays José’s older sister, the pious Oliva. As part of the rehearsal process, Zachary had cast members go barefoot onstage to give them a sense of the harshness of the desert. They have also experimented with finger painting to practice working with their hands, and they each painted their own version of The Blue Barn. “It’s so easy to believe we can just ‘act,’ being artists, but I wanted them to have the tactile experience,” said Zachary, who moved to Santa Fe in 2008 and immediately noticed how often she saw images of Frida Kahlo in local shops. “She’s like the patroness of Santa Fe,” she noted. Zachary has been acting professionally for 50 years, beginning on Broadway in the early 1970s in the original cast of Grease. She has acted locally with Theaterwork and with the Santa Fe Shakespeare Society, and in fall 2014 began teaching in the theater department at Santa Fe University of Art and Design. This is her first time directing for Teatro Paraguas. The production features live classical guitar by Yves C. Lucero, and Xochitl Montelongo-Ehrl, an accomplished dancer and founder of Santa Fe Danceworks — located next door to Teatro Paraguas — will dance throughout as the spirit of the desert and of the lost son. “My vision of how this looks is impressionistic,” Zachary said. “French Impressionism is my favorite period. There isn’t much that’s literal about the set. It’s as if everyone has had a little bit of champagne, and everything is very soft.” ◀
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details ▼ Mariela in the Desert ▼ 7:30 p.m. Thursday, Jan. 22; continues 7:30 p.m. Thursdays-Saturdays; 2 p.m. Sundays through Feb. 1 ▼ Teatro Paraguas Studio, 3205 Calle Marie ▼ $17, $12 seniors & students; 505-424-1601 or teatroparaguas@gmail.com for reservations
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Paul Weideman I The New Mexican azz music big and bouncy, fun, swinging, and plenty passionate — that’s what you get in a concert with the Hot Sardines. The eight-piece group from New York, playing the Lensic Performing Arts Center on Wednesday, Jan. 21, is bright on the brass, featuring four horn players, and on the brassy, with a dynamic French singer up front. The Sardines offer music based on swing and blues from the 1920s and ’30s and a stage presence alternately glamorous and gritty. The members’ influences include Count Basie, Django Reinhardt, the Andrews Sisters, Ray Charles, and Thelonious Monk. The trick is to showcase songs sometimes nearly a century old without being an “old-timey band.” Bandleader Evan “Bibs” Palazzo, a stride-piano practitioner who worships at the altar of Fats Waller, said they just play the music “as if these songs were written this morning, for today’s generation.” 16
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The band has been around since 2007, when Palazzo made the acquaintance of vocalist and washboard player “Miz Elizabeth” Bougerol. “We met through an ad I placed on Craigslist to get a jam together of likeminded people who wanted to play ’20s, ’30s, ’40s jazz, and she answered,” the bandleader told Pasatiempo. “We all hail from New York, except Elizabeth, who was born in Paris. We basically started playing in New York for anyone we could get to listen to us, busking in the subway and dragging friends out to look for bars with open mikes. The first thing that happened that was really exciting beyond that is that there’s an underground speakeasy movement, especially in New York, where people go online and find the location and the secret password, and then 300 people show up dressed in vintage attire and party the night away.” Before they met, Bougerol was a full-time writer (she penned the guidebook New England’s Favorite Seafood Shacks). But during her work as an editor for a web-based travel company, she realized more and more that she wanted to focus on music. She would
go to jazz shows around New York City, asking if the bands would try her out as a singer. As the rejections piled up, she decided to buy a washboard and teach herself how to play it. She and Palazzo responded to the same Craigslist ad inviting people to participate in an open jazz-jam in midtown Manhattan, and the two had an instant musical connection. Palazzo knew they were destined to collaborate when Bougerol asked him if he knew any Fats Waller. “I just started playing ‘Your Feet’s Too Big’ on the piano,” he said, “and Elizabeth just joined in like we’d been singing that duet together for decades.” The next ingredient in the development of the Hot Sardines recipe came when Edwin “Fast Eddy” Francisco stopped by Palazzo’s house on an errand for a friend and started tap-dancing while the two were rehearsing. Out of that came the distinctive tap-and-washboard percussion section. “I’ve always felt, with Fred Astaire and Gene Kelly, the music really supports the visual element,” Palazzo said. “The art of tap-dancing is now kind of relegated to Broadway and
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▼ Performance Santa Fe presents the Hot Sardines ▼ 7:30 p.m. Wednesday, Jan. 21 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $27-$100 (discounts available); 505-988-1234, www.ticketssantafe.org
Opposite page, photo LeAnn Mueller
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revivals of [the musical] 42nd Street, which is wonderful, but what Fast Eddie does with us is more dynamic.” The trio ultimately became an octet, with Evan Crane on bass and sousaphone, Nick Myers on clarinet and saxophone, Jason Prover playing trumpet, Alex Raderman on drums, and Mike Sailors on cornet. The band’s recording debut was 2011’s Shanghai’d. Its new album, Hot Sardines, came out last October on the Decca/Universal Music Classics label. It has a few original songs as well as covers of tunes by the likes of Sidney Bechet, Jimmy McHugh, and Victor Young. “With those names, you’re touching on all the figures Elizabeth and I are inspired by and why we started the band,” Palazzo said. “We’re very lucky to have found musicians that share our views about this music. We all have favorites, and we love sharing music together. They’ll play a Bix Beiderbecke track they discovered that’s just been remastered, or I’ll bring in some Fats Waller or Louis Armstrong, and we have a grand old time.” The mix-up of a Parisian vocalist (Bougerol sings in both French and English) and a band full of accomplished, energetic musicians specializing in early-American jazz has been a hit. The Hot Sardines sold out 15 straight shows during a 2013 residency at Joe’s Pub in New York. Now the group is in the middle of its first major tour. The flaming little fishes come to Santa Fe after five shows the week before in California and Arizona. “It’s been a whirlwind,” Palazzo said. “We came out of the jazz scene in New York that we love, and we have this great album out, and we’re touring it. We started in October, and the tour goes through May.” The leader said the band’s following at the speakeasy events consisted of people in their thirties and younger. At concerts, they range from teenagers to octogenarians — the people who danced to swing music when it was king in America. And this music was made for dancing. “We love to play for dancing. That’s what a lot of those speakeasies were all about. Our first breakthrough gig was in the Midsummer Night’s Swing [series] at Lincoln Center a few years back, and that was with 7,000 swing dancers. It’s a different kind of a show when you’re playing just for dancing, but we love doing that, because it brings to mind the tempos and lengths of songs for dancing.” The Hot Sardines also have fans from the contemporary-jazz realm. “We’re very heartened by that,” Palazzo said. “We recognize how amazing they are, how they express jazz, and it’s nice to see how they really understand the discipline it takes to play the older forms: the more strict guidelines within which you find your freedom to improvise.” A swinging rhythm and improvisation were the two measures of traditional jazz, and this band embraces both. “Even our tap-dancer improvises like a soloist. When he’s not tapping with the drums, he’ll get up and do an elaborate solo, and it’s a surprise every time.” So how do they keep it fresh, playing to live audiences almost every night? “Unfortunately, this music took a hit when it became sort of corny and chintzy from people playing it halfheartedly and repetitively. The answer to that question is that all our arrangements are bare bones and improvised, called by me. I put out signs with my hand like a catcher and call the kinds of solos we do, so every time we play a song it is slightly different. We also change set lists from night to night, and we’re apt to change our set list midstream.” In reaction to an audience? “We’re not pandering to the audience,” the bandleader said, “but we want the audience to be with us. A big part of what I think this music can do, and does, is that it’s infectious, with everyone participating emotionally in what’s happening. We go all out to try to bring what we feel, which is joy and happiness, to the audience.” ◀
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TERRELL’S TUNE-UP Steve Terrell
Still in the race
With humor, grace, and funk — not to mention just enough weirdness to keep it interesting — Jerry Williams Jr., better known as Swamp Dogg, has not only released his best album in years but done it in an amazingly timely fashion. The irascible Swamp Dogg spends much of the provocatively titled The White Man Made Me Do It singing, and frequently talking, about race relations — past and present — in these United States. And as anyone who has read a newspaper or watched more than five minutes of news in the last couple of months knows, race relations have been a major topic of national discussion because of the police killings of Michael Brown in Ferguson and Eric Garner on Staten Island — and the decisions of grand juries in those communities not to indict the killers. Swamp doesn’t specifically mention either of those controversies on this album, which was recorded before either grand-jury decision. “I have a tendency to be a wee bit clairvoyant,” the singer said in a recent interview in the Glendale News-Press when asked about that. It’s not hard to figure where he stands on the issue of race. Mr. Dogg tackled this subject in his albums since he was a swamp pup in the early ’70s. On the new album, in a song called “Light a Candle … Ring a Bell,” he declares, “America’s sick, and it needs a doctor quick.” And to those who argue that American racism is a thing of the past, this album has 18
PASATIEMPO I January 16 -22, 2015
a song titled “Prejudice Is Alive and Well.” Here he sings, “Tell my children why their schools are so poor/Tell my children why colleges are closing their doors/ Tell my people why they can’t get a job/To feed their children, it’s either welfare or rob.” (Swamp Dogg also takes aim at the representatives in Washington, D.C., on the tune, singing, “Congress fights worse than the Crips and the Bloods/They act like they’re on hardcore drugs.” In the title song, which kicks off the album, he deals with the lingering effects of slavery. “I used to sit on the rooftop and read by moonlight/While the master was in my shack screwing my wife,” he sings. (That line was the inspiration for the album cover.) But Swamp’s purpose isn’t self-pity. He contends that racial injustices and personal humiliations were the impetus that fueled many descendants of slaves to excel. “When you get right down to it, my hat’s off to the white man/’Cause the white man, he made me do it/I had to break free, so I could be me.” And in the spoken-word part of the song, he names and discusses African-American role models — scientists, inventors, artists, business leaders, and a female aviator, who received her aviation license before Amelia Earhart. “And she didn’t get lost,” Swamp Dogg says. Not all of the songs deal with America’s racial problems. There are several that are about gender relations. You probably can guess what “Lying Lying Lying Woman” entails. “Bitch started acting like Frankenstein,” he growls at one point, but on “I’m So Happy” and “Hey Renae,” he sings about marital bliss. There are several covers of R & B and soul classics like “You Send Me,” “Your Cash Ain’t Nothin’ but Trash,” and, my favorite, Leiber and Stoller’s “Smokey Joe’s Café.” And he invokes the memory of perhaps the greatest rock ’n’ souler of all time, Sylvester Stewart, aka Sly Stone. “Where Is Sly” is not only a wonderful ode to the man but a plea for him to get back in the game. While I appreciate this sentiment, Stone has made umpteen comeback attempts through the years, including a 2009 album called I’m Back! Family and Friends, which featured mostly rerecordings and remixes of old material. In addition to the contents of its lyrics, a major asset of The White Man Made Me Do It is Swamp Dogg’s band. Among the players is David Kearney, better known as Guitar Shorty, a veteran blues-slinger who has played
numerous times in Santa Fe. Shorty gives the album an earthier and definitely more bluesy feel than many of Swamp’s recent efforts have. Swamp Dogg, or, rather Jerry Williams, is seventytwo years old, and I can testify that he’s still a dynamite performer. I saw him in New Orleans a little more than a year ago, and White Man shows he’s still got a lot to say. Check out www.alive-records.com/artist/ swamp-dogg. Also noted ▼ While No One Was Looking: Toasting 20 Years of Bloodshot Records. For the past two decades, Bloodshot, an independent seat-of-the-pants “insurgent country” outfit from Chicago, has been among my very favorite record labels. Its stable has at various times included Alejandro Escovedo, Neko Case, Robbie Fulks, Andre Williams, the Old 97’s, Wayne Hancock, the Bottle Rockets, the Dex Romweber Duo, Scott H. Biram, Graham Parker, and, since the very beginning, the wonderful, wascally Waco Brothers. So yes, I definitely toast Bloodshot Records’ owners, Rob Miller and Nan Warshaw, all the above artists, and many more who have made crazy music there. Unfortunately, I have to say that this compilation is something of a disappointment. The idea behind it is good — having various bands and singers, mostly those not affiliated with the label, cover songs by Bloodshot artists. There are some famous, or at least relatively famous, artists here — Mike Watt, Superchunk, Ted Leo, The Minus 5, and Carolyn Mark — though most are pretty obscure. And there are some wonderful tracks. Chuck Prophet’s version of Andre Williams’ “Dirt” is fun, while Reverend Peyton’s Big Damn Band’s “St. Nick on the Fourth in a Fervor,” a song by Ha Ha Tonka, makes me wonder why the Rev. wasn’t on Bloodshot to begin with. The Handsome Family nails the Bottle Rockets’ “1000 Dollar Car.” I hope Possessed by Paul James adds Murder by Death’s “I Came Around” to his live shows. And while I still like the original better, Andrew Bird and Nora O’Connor do a fine version of Fulks’ “I’ll Trade You Money for Wine.” But way too many songs on this collection lack the crazy energy and wild spirit that made Bloodshot what it is. There are lots of soft singer-songwriter and wimpy alt-rock renderings here. Most of these aren’t bad — they’re just unremarkable. My advice: Celebrate Bloodshot’s anniversary by spending the dough you would have on While No One Was Looking on some classic Bloodshot albums by the Wacos, the Meat Purveyors, or Trailer Bride. Other good investments include last year’s Born Raised & Live From Flint, by Whitey Morgan and the 78’s, as well as fairly recent releases from the Dex Romweber Duo, Biram, and Lydia Loveless. You’ll be happy you did. Visit www.bloodshotrecords.com. ◀
CLASSICAL WEEKEND RECITAL PER TENGSTRAND, piano
St. Francis Auditorium, New Mexico Museum of Art
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Saturday, January 24, 2015 at 4pm Sunday, January 25, 2015 at 3pm Santa Fe Pro Musica Orchestra Thomas O’Connor, conductor Per Tengstrand, piano HAYDN Symphony No. 92 “Oxford” STRAVINSKY “Dumbarton Oaks” MOZART Piano Concerto No. 24, K. 491
MEET THE MUSIC one hour before each Orchestra concert at the Lensic. Learn more about the music you love! ARTIST DINNER: Sunday, January 25 at 5:30pm with Per Tengstrand*
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Orient-Occident II: Hommage à la Syrie (Alia Vox) Transcultural performance is a tricky business. Assemble musicians from disparate musical traditions — even very accomplished ones — and you risk getting a between-the-cracks product that falls short of the best things about either style and settles instead for a marketable “We Are the World” smarminess. (Silk Road Ensemble, anyone?) But it doesn’t have to be that way. The remarkable Catalan musician Jordi Savall, a noted conductor and viola da gamba player from the early-music world, has been leading cross-cultural explorations in which his ensemble, Hespèrion XXI, collaborates with unusually sensitive performers from distant places. Their latest investigation turns to Syria, evoking a happier time of a musical tradition that is stunningly beautiful though battered at the moment. Instead of pretending that either tradition is what it is not, Savall finds common, mutually enriching ground by researching and building on historical realities. This vividly recorded CD respects the best musical characteristics that lie deeply within differing musical aesthetics but that intersect in a sonic crossroads of old Christian and Jewish communities, medieval Italian dance (a swinging interpretation of a 14th-century istampitta), and songs and instrumental dances that arrived in Syria from throughout the Middle East. This haunting release comes with a 430-page booklet that fills you in on the political and cultural balance of Syria in seven languages, a worthy acquisition in its own right. — James M. Keller MARC MARZENIT To Love Until We Say Goodbye (Natura Sonoris) Barcelona producer Marc Marzenit is a young artist in search of a voice. A classically trained musician whose true passion led him to the realm of electronic compositions, he has, after a few singles and some remix work, released his debut album. On it, he covers a fair bit of ground, primarily within disco and house genres, gently shifting his tempos from second to third to fourth gear as the album progresses. There are a few stops along the way, such as when he does an uncanny impression of James Blake’s rich, crooning vocals on the ballad “To Love Until We Say Goodbye,” but for the most part the album hurdles forward at a steady throb. At times it sounds like the shortened version of the Chromatics’ “Tick of the Clock” that was included on the soundtrack for the 2011 movie Drive. He also does a variation on the booming horns that Hudson Mohawke assembled and Kanye West sampled in West’s “Blood on the Leaves.” It’s clear that Marzenit wears current influences on his sleeve, and there’s nothing terribly boundarypushing here. That’s OK. This is electronic comfort food, full of neon keyboards and gently pulsing basslines. It’s easy to listen to, and at high volumes it sounds pretty great. In the meantime, the range of sounds on the track “Black Wisdom,” from mystical chanting to mysterious piano-twinkling, hints at what could happen next. — Robert Ker
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RANDOM ACTS Guitar man: Greg Ruggiero
Jazz guitarist Greg Ruggiero plays the Museum Hill Café (710 Camino Lejo) at 7 p.m. on Friday, Jan. 16, in a concert presented by the Santa Fe Music Collective. The trio features Ruggiero and bassist Asher Barreras — both musicians came out of the dynamic Albuquerque jazz scene and now work in New York City — and drummer John Trentacosta, a longtime Santa Fean originally from New York. Ruggiero has made music with the likes of saxophonists Frank Morgan and Greg Osby, singer Jane Monheit, and drummer Steve Little, and has released two albums, Balance and My Little One, playing both covers and original compositions. Tickets are $25; call 505-983-6820 for reservations. — Paul Weideman
THIS WEEK
First among first symphonies: Mahler
Conductor Guillermo Figueroa became well known to local audiences through his tenure as music director of the New Mexico Symphony Orchestra, which he led for 11 years until its demise in 2011. He also spent a decade as concertmaster of New York City Ballet and was a founding member of the Orpheus Chamber Orchestra and the Emerson String Quartet. This weekend he appears as guest conductor with the Santa Fe Symphony. The audience will be treated to Vivaldi’s Concerto for Two Cellos, spotlighting orchestra members Dana Winograd and Joel Becktell, and the ballet music from Mozart’s opera Idomeneo. Those charmed works share the program with a later, more towering masterwork, Mahler’s Symphony No. 1, possibly the most extraordinary “first symphony” ever unveiled by a composer (or at least rivaled in that regard only by Berlioz). The concert takes place Sunday, Jan. 18, at 4 p.m., at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets ($22 to $76) are available by calling 505-988-1234 or visiting www.ticketssantafe.org). Guillermo Figueroa — James M. Keller
You can rely on the classics: Santa Fe Pro Musica
Not a lone star now: Robert Earl Keen
On Robert Earl Keen’s newest album, Happy Prisoner: The Bluegrass Sessions — due out Feb. 10 — the Americana legend covers many of the artists who influenced him during childhood and during his early days playing guitar at Texas A&M University in the late 1970s. Tracks include “Footprints in the Snow,” famously recorded by Bill Monroe; Flatt & Scruggs’ “Hot Corn, Cold Corn”; and many traditional songs, including the 19th-century murder ballad “Poor Ellen Smith.” He duets with Lyle Lovett on “T for Texas” and with Natalie Maines of the Dixie Chicks on “Wayfaring Stranger.” Keen, who has 18 albums to his credit, is considered a true Texas storyteller, and on Saturday, Jan. 17, the Lone Star State’s answer to Bruce Springsteen plays songs from the new album, as well as his greatest hits, at Skylight (139 W. San Francisco St.). The 21-and-over show begins at 7 p.m.; doors open at 6 p.m. Tickets, $30 (reserved seating is extra), are available at www.skylightsantafe.com. — Jennifer Levin Alexander Kenney
Santa Fe Pro Musica’s annual Classical Weekend features pianist Per Tengstrand in a return visit, appearing as both a recitalist and a concerto soloist. On Wednesday, Jan. 21, at 7:30 p.m., he takes to the stage of St. Francis Auditorium (New Mexico Museum of Art, 107 W. Palace Ave.) to play Beethoven’s Piano Sonatas No. 7 and No. 8 (the latter being the famous Pathétique), selections from Grieg’s Lyric Pieces, and Liszt’s Après une lecture du Dante. On Saturday, Jan. 24, at 4 p.m., and Sunday, Jan. 25, at 3 p.m., the mini-festival’s concerts take place at the Lensic Performing Arts Center (211 W. San Francisco St.), where Thomas O’Connor leads the Santa Fe Pro Musica Orchestra in Haydn’s Oxford Symphony, Stravinsky’s Dumbarton Oaks orchestral concerto, and Mozart’s C-minor Piano Concerto (K. 491), with Tengstrand at the Steinway. Tickets for the above events ($20 to $65, with discounts available) may be purchased through Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). O’Connor and the orchestra (without Tengstrand) also appear at the Peterson Student Center of St. John’s College (1160 Camino de Cruz Blanca) in a free performance on Friday, Jan. 23, at 7:30 p.m., playing Stravinsky’s Dumbarton Oaks plus Bach’s Third Brandenburg Concerto and Tchaikovsky’s Souvenir de Florence. — J.M.K.
Per Tengstrand
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Michael Abatemarco I The New Mexican
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Ted Larsen in his studio, 2012; opposite page, Larsen: Approach Angles, 2014, salvage steel, marine-grade plywood, silicone, vulcanized rubber, adhesive, and hardware
has been close to a decade since Santa Fe-based artist Ted Larsen moved from painting landscapes, barns, and houses, in series, to making minimalist sculpture. But, in the transition, he has not abandoned some of the formal concerns he explored on canvas: how color affects the subject, for instance, and how the subject may affect color. “When I was painting, I might find a place in the landscape, an element that could be primarily described, that sort of transcended the particular and became more universal,” Larsen told Pasatiempo at his studio on Lena Street. “The way that I approached the subject matter, serially, I would keep the composition the same, often, but I would change the color. When I painted barns and things like that, 24
PASATIEMPO ASA O I January 16 -22, 22 201 2015
I would change the palette of each painting — an all-red painting, an all-yellow painting, an all-blue painting — and the barn would always be the same compositional form on the picture plane. Changing the palette allowed me to look at the relationships between color and form. I wasn’t particularly interested in landscapes or barns or anything like that. I was interested in them being a vehicle to paint on. I did that for like 15 years.” Larsen is represented in New Mexico by Nüart Gallery. When tragedy struck the World Trade Center on Sept. 11, 2001, Larsen, dissatisfied with his painting practice, reevaluated the direction of his work. That morning, he headed to Downtown Subscription on the way to his studio. Other than staff, no one was there. “Then a friend, Brian Knox, ran in, and he said to me — a totally non sequitur thing — he said, ‘Well, my kids are OK.’ I thought, ‘Well, good. Why wouldn’t they be?’ because I had no idea what was going on. He knew, and he told me. I jumped in my car and drove to my wife’s business, and that’s when the first building fell. We were thinking there may be 10,000 people per building, or something like that. I thought, ‘I just watched 10,000 people die.’ I viewed it through a TV, which is a certain simulacrum. For me, the combination of being restless with painting and watching this simulated thing happen, which was real at the same time, and this sort of conflict within it all, I realized I could no longer
keep doing what I was doing. To be truthful to myself, I needed to abandon what I was doing.” His sculpture practice involves cutting and arranging — in the manner of bricolage — prepainted, salvaged steel. Working primarily in a small scale, Larsen takes laminated sheets of Baltic birch and uses them as the substructure for the painted metal, which covers the overall form like a skin. Although the prepainted surface retains scratches and weathering, hints of its previous life, before employment in the service of art, are subtle. “I certainly hope that, materially, you don’t look at this and see it as something other than a prepainted surface. I don’t want you to recognize the origins of it.” Larsen made his earliest explorations into salvage metal when he was a child in South Haven, Michigan. He was attracted to the heap of discarded tools, tractor parts, and other equipment stacked between his father’s orchid greenhouse and the family house. “Not far away was a small airport, and I used to run over there and look at the crop dusters and play inside the old abandoned airplanes. I’ve always had an interest in that kind of material, but I’m not making work that’s didactic. I’m not saying ‘recycle.’ I don’t think of it as salvage. I think of it as something that has a history — in the same way philosophy from the turn of the century might be a little outdated but still relevant.” continued on Page 26
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Ted Larsen, continued from Page 25 Larsen’s recent series Painting Now From Then seems to directly reference his interest in the materials of the universal past as well as his personal past as a painter. These mixed-media, abstract pieces, meant to hang on a wall, are flush or parallel with the surface of the wall, much like a painting, but their earthy hues — which are arranged sometimes in n grids, sometimes as horizontal bars, and d sometimes in more haphazard-looking pattterns — are composed, one could decidee, as explorations of color theory in three dimensions rather than in the usual two. Much of his more recent work referencees a sort of modernist aesthetic, recalling the truncated shapes of Constructivism m and the interplay of rounded and angulaar forms and fragmentation seen in Futurisst works. Larsen names Cézanne among hiis creative antecedents as well as the Russian n Suprematists of the early 20th centuryy, who were interested in compositions mad de using fundamental geometric shapess. “Moving forward, midcentury modernism m
was huge. I have a relationship to that midcenturymodernist aesthetic. I’m trying to be involved with that and, at the same time, move past it — to understand some of the inherent qualities of that period and add something to it, deny something from it, or subvert something.” Larsen’s most recent body of work involves a juxtaposition of two disparate forms, one black and one white,
brought together into a single composition. While some older pieces appear more cobbled and mechanical, riveted together into jointed sculpture, the new ones are more pristine, more precisely built. “These pieces are more about shape relationships — these two formal elements combined that create tension.” Like those in Larsen’s series Painting Now From Then, his newest works also hang on the wall. But these later pieces were created in two basic arrangep ments, either hanging flush or jutting out m at angles from the surface of a flat plane. One describes a space that is pictorial, while O he other is more overtly sculptural. “It’s a th perceptual issue. What I’m really interested p n is the mechanics of seeing and pattern in reecognition. When we get old enough, we see hapes and letters, but we don’t actually read sh hem — we recognize them. The symbols th have meaning to us, but they’re just shapes h n themselves that we give meaning to. I also in hink of my work in terms of pure formalism: th his shape plus that shape. Compositionally, th itt generally goes in a more reductive directiion, but it doesn’t always seem apparent hat way visually.” ◀ th Eric Swanson
Larsen’s studio, 2012; above, Larsen: Rolling Stop, 2014, salvage steel, marine-grade plywood, silicone, vulcanized rubber, adhesive, and hardware
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PASATIEMPO I January 16 -22, 2015
Presented by The Zia Singers Karen Marrolli, Director This Saturday and Sunday, January 17 and January 18, 2015 3:00pm Tickets $20, Students Free Immaculate Heart of Mary Chapel 50 Mount Carmel Road, Santa Fe, New Mexico
museum of indian arts and culture
Storytelling
THINK CRITICALLY. ACT THOUGHTFULLY.
presents
GRANMARY’S PLACE
January 18 • February 8 • March 15 2pm and again at 3pm
Please join us for a story hour series featuring Native American Tales
Free admission for NM residents on Sundays with ID, and always free admission 16 and younger. Program funded in part by Sudbrink Memorial Fund.
p a rt m e
Affairs •
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710 Camino Lejo on Museum Hill 505.476.1269 Ne o w Mexic IndianArtsandCulture.org nt
Photo: Anne Staveley
GranMary’s storytelling program at the Museum of Indian Arts and Culture celebrates the life of Docent Mary Sudbrink. Mary loved life, children, and especially telling stories to MIAC’s youngest visitors. GranMary’s Place is dedicated to her.
APPLICATION DEADLINE: FEB. 23 TUITION ASSISTANCE AVAILABLE
Prep means Prepared. Ready for Anything. Mike Multari 505 795 7512 Serving Grades 7-12 sfprep.org Call to Schedule a Visit! PASATIEMPOMAGAZINE.COM
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Paul Weideman I The New Mexican
H
ow do big wildfires impact native plants in the mountains of New Mexico? On the evening of Wednesday, Jan. 21, Daniela Roth, the state botanist, presents her findings from a study on that topic at the monthly meeting of the Santa Fe chapter of the Native Plant Society of New Mexico. Roth’s experience takes in a dozen years in the Navajo Nation backcountry researching rare ffllora for the Navajo Natural Heritage Program. She worked for three years at the U.S. Fish & Wildlife Service on endangeredplant conservation in southern Utah before moving to New Mexico. She is employed by the forestry division of the New Mexico Energy, Minerals and Natural Resources Department. The division gathers information on endangered species and develops and implements conservation measures to protect them. Pasatiempo: What does it mean to be the state botanist? Daniela Roth: Well, it’s somewhat of an arbitrary title, because the botanist for the U.S. Bureau of Land Management sometimes goes by that name as well. But that is the title that has gone with this position. Pasa: Which is botany-program coordinator for New Mexico’s forestry division? Roth: Yes, and sometimes it’s also the endangeredplant-program coordinator. That’s the most accurate job title, because I strictly work with endangered plants. It is in the forestry division, because the division has statutory authority for the endangered-plant law in the state and is therefore responsible for rare plants and making sure no plants go extinct. Pasa: Is the 1973 Endangered Species Act the law on this? 28
PASATIEMPO I January 16-22, 2015
State botanist Daniela Roth on endangered species Roth: No, that is the federal law. There are 13 federally protected plant species in New Mexico, but there are 24 additional plants here that are protected under the New Mexico endangered-species law. Pasa: Opinions about endangered species vary — from people who think plants and other animals have as much of a right to be here as humans do, to people who think these species might only be important in terms of human medicine. Where do you place yourself on that spectrum? Roth: I’m on the end that everything has the right to be here, and that we as humans have the obligation to protect them from extinction caused by our actions. And we can make those choices in the United States, because we live in a rich country, and we have to be stewards of the land. We have to set an example. Pasa: Does every state have an endangered-species law? Roth: No. Colorado doesn’t. Utah doesn’t. Pasa: So they’re relying on the federal law? Roth: Yes. But unfortunately, the federal protection is only the tip of the iceberg of what’s really going on. In New Mexico, we actually consider almost 200 species to be very rare, and only 37 of them are state-listed because we have some kind of a concern about threat. Pasa: A plant can be naturally rare because it lives in a relatively uncommon habitat niche. Roth: Yes, and that is an interesting point about this talk I’m going to give. Some plants are only known to exist in a few locations. Nobody ever looked at these things before these megafires we’ve seen in recent years, and now quite a few of those plants have burned. We had no idea how they would respond to fire or to the consequences of fire and drought. Now we have the entire known range of a species burning up, resulting in complete habitat alteration, and we don’t know how the plants will respond. For this study, I went into the Gila and Lincoln forests. In the Lincoln, there was the Little Bear Fire in
2012, and in the Gila, there were the Whitewater-Baldy Fire and Silver Fire in 2012 and 2013, and for the most part I found all plants surviving the fires. But several of these species had actually evolved to grow in cool, shady sites on north-facing slopes or at the bottoms of washes, so what I found was not so much that the fire killed the plants but the aftermath did. A lot of the wash bottoms were completely ripped out by post-fire fll floods, so those plants are gone. Plants that grew on north-facing slopes came back — but they haven’t noticed yet that the canopy is completely gone, so the habitat is no longer cool and shady. Pasa: Don’t you think that these huge fires are Smokey Bear’s fault? That U.S. Forest Service campaign of preventing fires for decades led to the huge buildup of fuel — shrubs and grasses and small trees and dead trees — so the fires that get out of control now are so hot they burn the big trees all the way up and even sterilize the soil, rather than burning through quickly. Roth: Yeah, especially in mixed-conifer forests. The trees don’t grow quickly, and they tend to be actually naturally pretty thick with the lower fire return, where it might naturally burn every 200 or 300 years, and that’s where all the rare plants are: in the sky islands. Pasa: Wow. Sky islands. Roth: It’s usually the mountaintops that provide habitat not available in the surrounding areas, so you have unique plants that evolved over millennia, and there’s no place for them to go. They are like islands in this desert sea. The Gila National Forest and Lincoln National Forest in particular are very diverse, with unique and endemic ffllora — plants that occur nowhere else in the world. Pasa: What are some of the plant examples you’ll talk about? Roth: I looked for 15 species of plants, and some of them saw a significant portion of their range burned, or the entire known range burned. Two examples of the
latter in the Gila are the Hess’ fleabane fll and the Mogollon death camas. That death camas was only known from five sites at about 8,700 feet in the Mogollon Mountains, and it’s still there, but the area completely burned, so I’m worried about whether it can exist without the canopy. The fflleabane grows on rock outcrops, and the plants that grew out in the open like that will generally be OK, I think. Pasa: What happens with the canopy gone? There’s just too much light? Roth: Yes, but it’s also increased competition from aggressive plants like aspens. They get quite weedy after fire. A lot of rare plants have a hard time with competition. Pasa: What about the people who say so what? What can you do? Roth: For my talk I’ll have a list of recommendations, because it’s true: What can you do about it? What can you do about wildfire? But we can manage our forests to increase resilience with prescribed fire and thinning, so the fires don’t burn like 300,000 acres at once. And if there are areas with sensitive species, you could target management thinning and prescribed fires there. Pasa: Has that been done? Roth: No, absolutely not. Right now the only place where they do prescribed burning tends to be near human habitations, to protect human lives and property. There are other things you can do. My biggest problem with the study is that there was no baseline information. There are no botanists looking after things. Plants are seriously neglected by the Forest Service, and they don’t even know how abundant the sensitive species are. Pasa: So you can’t even measure the true impact of fires? Roth: Right. It’s like a wild goose chase. Pasa: Are there better protections in other places? Roth: The management is better in the Pacific Northwest, for example. They have more money, maybe because they have more logging revenues, and they have more botanists in the forests, but they have substantially fewer sensitive plants in the Northwest. Here, we have lots of very rare and sensitive species and almost no botanists. There’s one on the Lincoln Forest, and she’s the only one in the state. There’s now a regional botanist for New Mexico and Arizona, but that’s almost more of a bureaucratic position. Pasa: Can you lobby for more attention to rare and endangered plants? Roth: I am leaning on this regional botanist to do something, in particular for the Gila. But, really, every forest should have a botanist. ◀
details ▼ Daniela Roth lecture: “Impacts of Wildfire on Rare Plants in the Gila and Lincoln National Forests” ▼ 6:30 p.m. Wednesday, Jan. 21 ▼ Christ Lutheran Church, 1701 Arroyo Chamisa ▼ No charge; 505-690-5105
Above, Hess’ fleabane growing in a rock outcrop; middle, from left, Sierra Blanca cliff daisy; Gooding’s onion blooming; bottom, state botanist Daniela Roth carrying an agave; opposite page, the flowers of a Mogollon death camas; photos courtesy Daniela Roth
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Michael Abatemarco I The New Mexican
Spaced out I wanted to believe, but the tools had been taken away. The X-Files had been shut down. They closed our eyes. Our voices have been silenced, our ears now deaf to the realms of extreme possibilities. — FBI Special Agent Fox Mulder, The X-Files
B
eginning with a series run that started in 1993,TV’s The X-Files exploited long-held beliefs in UFOs, alien abductions, and government conspiracies. The show matched the credulous FBI agent Fox Mulder with skeptical partner Dr. Dana Scully to investigate cases of paranormal events, cryptozoology, and, of course, alien activity. The series, which ended in 2002 after earning a massive cult following, spawned two films — The X-Files: Fight the Future (1998) and The X-Files: I Want to Believe (2008). The latter’s title is taken from Mulder’s catchphrase, now a cultural meme, which he often asserted when pressed about the depths of his conviction in the paranormal. The show’s mythology was built around the theme of an impending alien invasion.
John Tinker: Ambidextrous (maybe), 2015, painted wood and glass Top, Victor Melaragno: Far Out Soon Moon, 2015, one-shot enamel on composition board Opposite page, Eve Andrée Laramée: Judd UFO #1, 2015, photo
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PASATIEMPO I January 16 -22, 2015
Like Mulder, there are many people out there who contend that we are not alone, and that our government knows it. But conspiracy theories, credible or not, suggest a very dark situation: abductions, cruel experimentation on humans and animals, militarized use of alien technology, and preparation for intergalactic warfare between good and bad aliens. Given all that, would you still want to believe? On the other hand, an alien race with advanced technology and superior intelligence could possibly help us solve some issues on Earth, an idea that has its proponents in the New Age crowd that looks to the skies for friendly intervention. Local artist Erika Wanenmacher, an avid X-Files fan, remains circumspect. In a written statement for I Want to Believe (maybe), a group show she curated at Offroad Productions, she says that “the qualifying ‘maybe’ in the title statement is the result of considerations about our culture’s tendency to want quick solutions to our problems.” The exhibit includes works by Wanenmacher, Marc Clements, Eve Andrée Laramée, Tom Jennings, John Tinker, Michael Lujan, Katherine Lee, Nico Salazar, Benji Geary, John Boyce, and Victor Melaragno. Because interest in the subject of unexplained occurrences does not necessarily preclude skepticism, Wanenmacher made sure that her choice of artists was not predicated on their beliefs regarding paranormal events but rather on whether or not they have something to say about them. Minnesota-based painter and sculptor Marc Clements’ artistic practice often involves cairns, or trail markers and landmarks, as inspiration for sculptural forms. His incised stonework leaves the basic shape of the rocks he works with intact. Clements carves elaborate designs drawn from nature, tattoo designs, Celtic symbols, and other forms into the stones. Some of his work involves crop-circle designs. They are appropriated images drawn from that global phenomenon. Crop circles are intricate geometric compositions, believed by some to be extraterrestrial in nature, that show up inexplicably in crops and fields at locations around the world. His Yarnbury Castle, Wiltshire, May 16, 2010, included in the show, replicates a crop circle that appeared near the remains of an Iron Age hillfort in southwest England. “What fascinates me about crop circles is that no one ever claims credit for them,” he told Pasatiempo. “Even if it was aliens, they exist as works of art. I’m interested in them as works of art.” The piece is a stone carving made from a single hunk of granite, smoothed by glaciation, whose design is accentuated with layers of copper gilding. “As the copper
A new exhibit examines aliens,UFOs, and crop circles
oxidizes and tarnishes, the pattern takes on that lovely green patina,” he said. About two dozen of Clements’ Wall Comets are also included in the exhibit. The Wall Comets — thin, circular objects with fiery tails that also bear ornate geometry derived from crop-circle patterns, as if to say that what’s written in the crops and fields was first written in the stars — are meant for display on a flat surface. Victor Melaragno’s cartoonish enameled cutouts depict a rather homely — and toothy — character, perhaps an alien, called Soon Moon, who sports a My Favorite Martian T-shirt and, in one piece, holds in his hands a Zanti Misfit, an antlike creature from
an episode of The Outer Limits. With their popculture references, his works are a tribute to geekdom, poking harmless fun at fanboys and conspiracy theorists such as Agent Mulder’s computer-hacking geek pals, “the Lone Gunmen.” Local artist John Tinker’s untitled alien hand is a sculptural piece that projects out from the wall. The three-fingered form is based on common depictions of the hands of “small greys,” a type of bug-eyed extraterrestrial often depicted in movies and described in the accounts of alleged alien abductees. A reflective, faceted-glass jewel attached to the end of one continued on Page 32
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Spaced out, continued from Page 31 finger catches the light like it does on the glowing fingertip of Steven Spielberg’s E.T. The hand is painted a sickly, alien-green color that glows in the dark. Eve Andrée Laramée, who divides her time between Santa Fe and Brooklyn, combines pictures she shot of Donald Judd’s aluminum cube sculptures at the Chinati Foundation in Marfa, Texas, with Photoshopped images of UFOs. “I never understood Donald Judd and didn’t really like his work,” she said. “But when I went to Marfa, I thought, ‘Oh, my God.’ His work is about perception and time and space, and it blew my mind. You really couldn’t tell what you were looking at. They have this anomalous visual quality. In person, it was disorienting. But then that got captured in the photos, and that really surprised me.” One photograph shows a landed UFO outside the window behind a Judd piece — and its reflection is seen on the surface of the sculpture. In another work, she places a subtle reflection of an alien being, another “small grey,” on the front of one of Judd’s cubes. “For a while I had him, really sharp, in the window, like peeking in. Then I thought I’d have him in the shadows so he’s not too obvious.” Laramée’s images toy with perception, in the same way Judd’s perplexing metal boxes do. She altered the stock photos of UFOs to match the tonal quality and resolution of the overall compositions so they look authentic. “Some of those UFO photos, especially the amateur ones, are really grainy,” she said. Even the silver-blue appearance of the aluminum cubes is matched by the color of the UFOs. In one image, a whole fleet glides by outside, seen from a window. Laramée is noncommittal on the subject of an actual alien presence in our midst and regards the idea as an expression of a contemporary mythos. “Years ago, I read that little book by Carl Jung, Flying Saucers. It’s fascinating that, after the Second World War, there was this increase in sightings. Whether that is because we were trying to make sense of the horrors of war — a war fought from the air — or whether we were being visited by aliens, it really doesn’t matter. What matters is that it makes us think.” To state it as Mulder would, what matters is that our ears remain open to “the realms of extreme possibility.” “I want to believe, too,” Laramée said. “There’s something compelling about any sort of phenomenon we don’t understand, whether it’s real or imaginary.” ◀
details ▼ I Want to Believe (maybe) ▼ Reception 6 p.m. Saturday, Jan. 17; by appointment thereafter; through Jan. 24 ▼ Offroad Productions, 2891-B Trades West Road, 505-670-9276
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PASATIEMPO I January 16-22, 2015
Marc Clements: Yarnbury Castle, Wiltshire. May 16, 2010, glaciated stone with paint and copper leaf
“**** (Highest Rating)! I love it. ‘Winter Sleep’ feels like a novel, an exceptionally rich short story and a cinematic immersion all at once. It is a beauty. The appeal of ‘Winter Sleep’ lies in its characters’ threshold of revelations. It’s probably the finest Chekhov adaptation on film.” -Michael Phillips, Chicago Tribune
“Nuri Bilge Ceylan is at the peak of his powers with “Winter Sleep,” a richly engrossing and ravishingly beautiful magnum opus.” Variety “The Best Film of the Year.” -Ella Taylor, NPR
Friday 6:30 • Saturday, Sunday and Monday 2:30 and 6:30 Tuesday 2:30 • Wednesday and Thursday 2:30 and 6:30
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Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 PASATIEMPOMAGAZINE.COM
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Friday-Sunday January 16-18 11:30am - Boyhood 12:00pm - Dying to Know* 2:15pm - The Homesman* 3:00pm - Citizenfour 4:45pm - She’s Beautiful When She’s Angry* 5:30pm - The Homesman 7:00pm - Boyhood* 8:00pm - Dying to Know
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Concessions Provided by WHOLE FOODS MARKET 34
PASATIEMPO I January 16-22, 2015
film reviews
Nowhere man Goodbye to All That, indie romantic comedy, not rated, Jean Cocteau Cinema, 1.5 chiles
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In 2005, the beautiful indie sleeper Junebug, with a screenplay by Angus MacLachlan, introduced the world to recent Golden Globe-winner Amy Adams. Goodbye to All That, MacLachlan’s directorial debut, is less melancholic than Junebug, but it’s still no cookie-cutter romance or formulaic comedy. It’s the story of Otto Wall (Paul Schneider), a sweet but dweeby husband and father. He has some sort of business-casual white-collar job and a comfortable, if unexciting, marriage. He’s athletic but a little awkward — in the opening scene, he trips and falls right after crossing the finish line of a run. Otto suddenly finds himself divorced, living alone, and learning to navigate the world of the single forty-something guy who shares Paul Schneider and Anna Camp custody of his preteen daughter (Audrey P. Scott). The film has its charming, quirky, well-meaning moments, but it’s as clumsy and clueless as its protagonist. Otto’s wife, Annie (Melanie Lynskey), claims that he “doesn’t pay attention,” but we never really witness his failures or lack of attention, so apparently MacLachlan expects us to take her word for it. Were people hiding things from him? In early scenes, his wife quickly stashes her laptop when he walks into the room, and his daughter shoves the book she’s reading under her bedcovers when he comes in to kiss her good night. Otto doesn’t know Annie has a therapist, but has she actually told him? Or was he just supposed to figure it out? MacLachlan packs his cast with wonderful female actresses (Lynskey, Heather Graham, Anna Camp, and Amy Sedaris), but he doesn’t paint women in a flattering light. Rather than being sympathetic, Annie comes across as self-righteous, angry, and uncommunicative. She abruptly asks Otto to meet her at her (as-yet-unmentioned) therapist’s office one afternoon, and then she and her shrink (a comically infuriating Celia Weston) ambush him with the news that Annie wants a divorce. Maybe Otto is amiably oblivious, but it seems like the height of passive-aggression to speak to your therapist about your marital problems and decide you want a divorce without at least pointing out your grievances to your spouse first. She hasn’t bothered to talk to Otto about their problems, but he discovers later that she has been having a torrid affair all along. Through OkCupid, Otto looks for a new relationship, but mostly ends up having a lot of mildly kinky, sometimes sad, occasionally funny hookups. With almost no effort, he meets several women — gorgeous, well-built, aggressive caricatures who only seem to want hot, commitmentfree sex. This seems to be more male wish fulfillment than an attempt to portray strong, independent-minded female characters. As a director, MacLachlan doesn’t do much stylistically. He has Otto use Facebook to connect with former sweethearts and troll his ex-wife’s feed. Believable? Yes. Cinematic? Not very. MacLachlan may have been trying to keep his film realistic and relatable, and there’s nothing wrong with that. But Otto gets stuck in a pattern, gaining no insight and, like the film, lacking any forward momentum. MacLachlan does paint a lovely portrait of North Carolina, with its leafy winding roads, where golden autumn sunlight and colorful foliage give everything an idyllic glow. If only MacLachlan had a similar outlook on humanity. — Laurel Gladden
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Cold shoulder: frosty in Anatolia
There’s a small hotel Winter Sleep, drama, not rated, in Turkish and English with subtitles, The Screen, 3.5 chiles Winter Sleep is a quiet but striking character study in which the weight of rather mundane events that unfold over the course of the film bear heavily on its protagonists, in part because there’s not much else going on. This is not so much a criticism as an acknowledgment that this slow-moving and well-acted drama offers a thoughtful exploration into superficiality. The setting is the hotel Othello, located in the mountainous region of central Anatolia. There, Aydin (Haluk Bilginer), an aging former actor, is the proprietor. He lives at the Othello with his young wife, Nihal (Melisa Sözen), and his recently divorced sister, Necla (Demet Akbag). Aydin rents out property in the nearby village. When winter comes, and the three are snowed in, they fill their evenings with long conversations about such topics as the nature of evil and whether it’s better to resist or submit to it — a theme that runs through the film. Animosity among the small crew’s members grows as the winter days stretch on. This latest film from Turkish director Nuri Bilge Ceylan, known for Once Upon a Time In Anatolia (2011), won the Palme d’Or at Cannes. Early on in Winter Sleep, a young child throws a rock through the window of Aydin’s car. This leads to an uncomfortable confrontation with the boy’s father, Ismail (Nejat Isler), a tenant facing eviction because of unpaid rent. What Aydin, in his self-absorption, doesn’t really get is that most of the villagers, including his wife, do not particularly like him. Nihal makes a diplomatic effort to get him to understand this. She reminds him that he’s a conscientiousness, honest, and well-educated man, but that he uses these virtues to suffocate others. Holed up in his rooms, aspiring to write a book on Turkish theater, Aydin doesn’t see that winter is a profoundly more immediate and visceral time for the villagers he looks down upon from his mountaintop perch. When the local imam, Hamdi (Serhat Mustafa Kiliç), inadvertently annoys him by intervening in the glass-breaking incident, Aydin responds by writing a column in the local paper about the role an imam should play. Aydin’s act serves only to distance him even more from his community. Meanwhile, Nihal’s attempts to organize a fundraising event to help develop schools in the region are criticized by her husband, who considers her inexperienced and naive. When Ismail’s son contracts pneumonia, the direct result of being chased into the water by Aydin’s assistant early in the film, Nihal attempts to set things right with the poor family. But Aydin’s shadow falls long, even on his young wife, who he purports (unconvincingly) to love, and things do not go as expected. Winter Sleep is the kind of film in which the setting reflects the interior state of the protagonists: As the snows fall, their relations grow icier and icier, eventually erupting. We are left with a clear reminder that being king of the mountain can be a lonely thing indeed. — Michael Abatemarco
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than he is here, but the story of an orphaned bear who is taken in by a family has its fans. Nicole Kidman plays a villainous taxidermist. Rated PG. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) SPARE PARTS This movie, based on true events, tells the story of four underprivileged Hispanic kids in a high school in Phoenix who band together and win a competition against all odds. Miraculously, the film is not about football — it’s about a robotics competition. George Lopez, Jamie Lee Curtis, and Marisa Tomei co-star. Rated PG-13. 83 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE WEDDING RINGER Kevin Hart plays Jimmy Callahan, a guy who makes himself available — for a fee — as a best man for men who are getting married but don’t have many friends. Josh Gad plays a guy who doesn’t have any friends whatsoever, so he invents a whole wedding party that needs to be filled out by Callahan’s friends. Maybe they even become actual friends. Rated R. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) Station break: bear and buddy in Paddington, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week AMERICAN SNIPER Director Clint Eastwood is eighty-four years old, but he’s showing no signs of slowing down: Just six months after Jersey Boys hit theaters, he returns with this war film. Bradley Cooper (Oscar nominee for best actor) plays Chris Kyle, a Navy SEAL sniper who killed more people than any other sniper in U.S. military history. This film, based on Kyle’s memoirs, balances his military and home lives. Nominee for best picture. Rated R. 132 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) BLACKHAT Chris Hemsworth (Thor) plays a hacker who seeks to disrupt the world of finance and eludes American and Chinese authorities in a global pursuit. Michael Mann directs, so you can expect it to be stylish. Viola Davis and Wei Tang co-star. Rated R. 135 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CAKE The latest film in the New York Film Critics Series is this drama about a woman (Jennifer Aniston) who does some soul-searching after a fellow member of her chronic-pain support group commits suicide. Aniston participates in a Q & A session broadcast after the screening. 7 p.m. Tuesday, Jan. 20, only. Rated R. 102 minutes. The Screen, Santa Fe. (Not reviewed) 36
PASATIEMPO I January 16 -22, 2015
DALEKS — INVASION EARTH: 2150 A.D. This 1966 sequel to 1965’s Dr. Who and the Daleks features Peter Cushing in the Dr. Who role. It takes place in the future, after Daleks have invaded and destroyed Earth. Not rated. 84 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) GOODBYE TO ALL THAT This directorial debut from Angus MacLachlan is the story of Otto Wall (Paul Schneider), a sweet, dweeby, oblivious husband and father who suddenly finds himself divorced and learning to navigate the world of the single forty-something guy who shares custody of his preteen daughter. MacLachlan packs his cast with wonderful female actresses, but he doesn’t paint women in a very flattering light, and as a director, he doesn’t do much stylistically. The film has its well-meaning moments, but it’s as clumsy and clueless as its protagonist. Not rated, 87 minutes. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) See review, Page 34. THE MET LIVE IN HD: THE MERRY WIDOW Renée Fleming stars in director and choreographer Susan Stroman’s new staging of Franz Lehár’s operetta, which is broadcast live from the Met. 11 a.m. Saturday, Jan. 17. Lensic Performing Arts Center, Santa Fe. (Not reviewed) PADDINGTON One of the biggest box-office hits in the United Kingdom in 2014 was this tale about the galoshes-wearing stuffed bear, now animated with CGI. Paddington is more popular across the pond
WINTER SLEEP Aydin (Haluk Bilginer), a former actor who owns a hotel in the mountains of Anatolia, is holed up with his young wife (Melisa Sözen) for a long winter. A minor incident early in the film sets off a chain of events with devastating consequences. Nuri Bilge Ceylan’s Turkish drama, winner of the Palme d’Or at Cannes, is a keenly observed exploration of a relationship built on superficialities and a portrait of a self-absorbed man with minor power who subtly wields his influence, unaware of how he inspires loathing in others. Not rated. 196 minutes. In Turkish and English with subtitles. The Screen, Santa Fe. (Michael Abatemarco) See review, Page 35.
now in theaters ANTARCTICA: A YEAR ON ICE Living at the bottom of the world — including months of total darkness, raging winds, sub-zero temperatures, and the gorgeous aurora australis — is an adventure experienced by only a small group of people. Filmmaker Anthony Powell treats us to a multidimensional immersion in the landscape and with the residents of Scott Base and McMurdo Station in Antarctica. Rated PG. 91 minutes. The Screen, Santa Fe. (Paul Weideman) BIG EYES Tim Burton ditches the oppressive whimsy to tell a tale of artistic agency, focusing on Margaret Keane
(Amy Adams), the woman who painted those portraits of sad, big-eyed children that became popular in the middle of the 20th century. The film focuses on her marriage to Walter Keane (played by a smoothtalking Christoph Waltz), who marketed her work so aggressively that he ended up claiming credit for himself and hoarding the fame until she fought back. Burton could have plumbed deeper emotional depths, but the film is breezy, the supporting cast is colorful, and the art direction is impeccable. Rated PG-13. 105 minutes. Regal DeVargas, Santa Fe. (Robert Ker)
CITIZENFOUR This documentary should be required viewing, whichever side of the Edward Snowden patriot/ traitor bias you fall on. Laura Poitras, the director contacted by Snowden to break his story, presents only one side here, but it’s a compelling brief that asks what constitutional freedoms we’re willing to surrender for security. Poitras pads her film with some sleepy footage of Snowden sitting in his hotel room, but there’s plenty of meat. Rated R. 114 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
BIG HERO 6 This animated film from Disney (loosely based on a Marvel comic) emphasizes hard work, the pursuit of science, the strength of friendship, and the ability to handle setbacks — all while telling a superhero origin story that’s full of heart and humor. Hiro (Ryan Potter), a boy who lives in a city that’s a hybrid of Tokyo and San Francisco, inherits an inflatable robot named Baymax from his big brother. Tragedy strikes, which pushes the pair into a mystery so challenging that they enlist four friends to join them. Rated PG. 102 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker)
DYING TO KNOW Gay Dillingham’s profound, uplifting documentary takes us on a journey to that border no fence can keep us from crossing. Our guides are those two irrepressible icons of drugs and enlightenment, former Harvard professors Timothy Leary and Ram Dass. Local figures are among those interviewed, and there’s a nicely unobtrusive narration voiced by Robert Redford. Not rated. 99 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) In Alejandro González Iñárritu’s hilarious searing, backstage satire, Michael Keaton nominee (Oscar for best actor) dazzles with his brilliant of movie dissection a star, in artistic eclipse in the years he his since sold soul to play a masked comic-book superhero, looking for redemption on the Broadway stage. Aided by a terrific supporting cast that includes Edward Norton, Naomi Watts, and Emma Stone and shot by the great Emmanuel Lubezki, Birdman, a nominee for best picture, crackles with wit, fantasy, and penetrating insights about show business, cultural relevance, and the modern world. Iñárritu is a nominee for best director. The film has nine nominations in total. Rated R. 119 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) BOYHOOD Richard Linklater’s extraordinary achievement (and an Oscar nominee for best picture) has been to take one boy, a six-year-old named Ellar Coltrane, and shoot him for a few days every year for a dozen years. He wrote each screenplay segment based on talks with his cast, which includes Ethan Hawke and Patricia Arquette as the boy’s parents. We watch as Mason grows up and makes it safely through boyhood’s adventures and discoveries, arriving on the brink of young adulthood as the movie ends. Linklater is a nominee for best director. The film is up for six Oscars. Rated R. 165 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
FLAMENCO, FLAMENCO This film offers no narrative, no dialogue, no voice-over, and no subtitles — only title cards identifying the performers and the numbers. When they sing, the words are untranslated, but if you aren’t fluent in Spanish, you needn’t worry about missing their meaning. We are in the hands of Carlos Saura, master filmmaker and connoisseur of Spanish dance, and his frequent collaborator, the great Italian cinematographer Vittorio Storaro. 2 p.m. Sunday, Jan. 17, only. Not rated. 97 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) FOXCATCHER Why did heir John Eleuthère du Pont (Steve Carell, an Oscar nominee for best actor) become fascinated with the U.S. wrestling team in the ’80s and ’90s? That quesOlympic tion lies at the heart of the film, which covers the years before du Pont murdered one of his team’s coaches in 1996. Despite sharp writing and nice directorial flourishes, Foxcatcher never gains much purpose. Carell and Channing Tatum (as a wrestler) are both terrific, but the gold goes to Mark Ruffalo (best supporting-actor nominee) for his performance as the doomed coach. Rated R. 134 minutes. Bennett Miller is a nominee for best director. Regal DeVargas, Santa Fe. (Robert Ker) THE HOBBIT: THE BATTLE OF THE FIVE ARMIES The story of Bilbo Baggins (Martin Freeman) concludes with a battle that makes this film feel like the third act of the previous movie rather than a stand-alone feature in its own right. Dwarves, elves, orcs, men, trolls, goblins, wizards, eagles, giant worms, and one hobbit collide in one big melee. It’s impressive but exhausting — which at this point is true of Jackson’s entire foray into Middle
Earth. Rated PG-13. 144 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) THE HOMESMAN Tommy Lee Jones directed, co-wrote, and stars in this story of an independent woman (Hilary Swank) who teams up with a likable rascal (Jones) to guide three insane women from the wilds of the Nevada Territory to the safety of the East in the mid-1800s. It’s an intriguing, haunting tale that pays homage to the pioneers who shaped the land. Rated R. 122 minutes. Center for Contemporary Arts, Santa Fe. (Robert Nott) THE HUNGER GAMES: MOCKINGJAY - PART 1 The studio behind the Hunger Games franchise split the film adaptation of the final book into two parts to keep the money train rolling. This time Katniss (Jennifer Lawrence) is talking ’bout a revolution. Rated PG-13. 123 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE IMITATION GAME This very entertaining movie, an Oscar nominee for best picture, could have been a lot more. Morten Tyldum (nominee for best director) and screenwriter Graham Moore have taken the engrossing story of Alan Turing (Benedict Cumberbatch, a nominee for best actor), the British war hero, computer pioneer, and homosexual martyr, and fit it into the familiar confines of a biopic stocked with Movie Moments, which never convince us that things really happened the way the film depicts them. All the acting is terrific, and Cumberbatch plays the brilliant, socially clueless scientist with a mercurial doggedness. Rated PG-13. 114 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) INHERENT VICE Director Paul Thomas Anderson’s latest film is also the first-ever adaptation of a Thomas Pynchon novel, and it’s every inch as shaggy and rambling as the author’s most celebrated work. Joaquin Phoenix plays a 1970s private investigator with Neil Young sideburns and a joint on his lips. He looks into the whereabouts of a missing ex-girlfriend and winds up in a far-out world of murder, money, and characters with names like Wolfmann (Eric Roberts) and Bigfoot ( Josh Brolin). In classic noir style, the plot doesn’t always stay in focus, but somehow it gets you from point A to point B and invites you to sit back and enjoy the long, strange trip. Still, it could use more energy or a tighter edit. Owen Wilson, Reese Witherspoon, Jena Malone, and Martin Short are co-stars, but as a tough-yeteccentric cop, Brolin shines the brightest. Rated R. 148 minutes. Regal DeVargas, Santa Fe. (Robert Ker) continued on Page 38
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THE INTERVIEW The most talked-about movie this holiday season was a comedy in which Seth Rogen and James Franco play bumbling journalists assigned to kill North Korean dictator Kim Jong-un. North Korea allegedly hacked into Sony’s email system and promised terror threats on theaters that showed the film. A huge kerfuffle ensued, and the film was pulled. Now it’s back. Rated R. 112 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) INTO THE WOODS Stephen Sondheim’s musical about psychological self-discovery gets Disneyfied (though tastefully) under Rob Marshall’s smart, sensitive direction. Top-drawer performances, with better singing than you might anticipate, come from Meryl Streep (Witch), a supporting-actress Oscar nominee, Johnny Depp (Wolf), Anna Kendrick (Cinderella), Tracey Ullman ( Jack’s Mother), and supporting players. The score and dialogue remain largely intact, making this a must-see for Sondheimites. Rated PG. 124 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( James M. Keller) NIGHT AT THE MUSEUM: SECRET OF THE TOMB The whole gang is back: Ben Stiller, Owen Wilson, Steve Coogan, Ricky Gervais, and many more. It seems as though the filmmakers forgot to write a script, however, and did what the makers of any tired franchise do: concoct a lame excuse to move the whole thing overseas (in this case, to London). In one of his final roles, Robin Williams is once again underused as Teddy Roosevelt. Rated PG. 98 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) PREDESTINATION Constrictions of time and gender roles are shattered in this stylishly shot bit of sci-fi noir, which is based on a Robert A. Heinlein short story. Ethan Hawke plays a special agent tasked with going back in time to stop horrific crimes — in particular, the terrorist known as the Fizzle Bomber — taking along a mysterious companion (a terrific Sarah Snook).
spicy bland
medium
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PASATIEMPO I January 16 -22, 2015
The story twists in ways predictable and not, occasionally takes melodramatic turns, and is sometimes bogged down by a syrupy score. Rated R. 97 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) THE SEARCH FOR GENERAL TSO General Tso’s chicken is one of the most popular menu items in Chinese restauacross the U.S., but do most of us know who rants General this Tso was or why a dish was named for This him? insightful and enjoyable documentary from director Ian Cheney (King Corn) sets out to answer those questions. He travels to China and crosses the U.S., providing plenty of appetite-stimulating scenes along the way. He delves into both Chinese and American history and reveals an intriguing connection between the immigrant experience and the creation of Chinese-American cuisine. Not rated. 71 minutes. The Screen, Santa Fe. (Laurel Gladden) SELMA Half a century ago, the civil rights attack on Jim Crow in this country was just coming to a boil under the leadof ership the Rev. Dr. Martin Luther King Jr. One of the watersheds of that movement was a massive protest march bound from Selma, Alabama, to the state capital of Montgomery, 54 miles away, in support of the 1965 Voting Rights Act. That undertaking is the centerpiece and focus of this uneven but powerful film from director Ava DuVernay. David Oyelowo gives us an MLK in whom quiet, deeply religious, and social convictions triumph over human doubts and weaknesses. An Oscar nominee for best picture. Rated PG-13. 127 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) SHE’S BEAUTIFUL WHEN SHE’S ANGRY This documentary chronicles the women’s movement between 1966 and 1971. Told through interviews with activists and archival footage (marches on Washington and bras burning in barrels plus a few minutes of 1920s suffragettes), the film could feel like eating your vegetables, but instead it is resonant, intimate, poignant, and funny, as well as a good reminder that being a feminist is still as essential as it is radical. Not rated. 92 minutes. Center for Contemporary Arts, Santa Fe. (Adele Oliveira) TAKEN 3 When the small action film Taken was unceremoniously released in 2008, it was difficult to imagine that there would someday be two sequels. People keep taking stuff from Liam Neeson’s Bryan Mills, so he must keep getting very cross with them. This time around, he’s framed for his wife’s murder and has to clear his name while getting revenge.
Rated PG-13. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE THEORY OF EVERYTHING A movie about Stephen Hawking ought to be bursting with ideas. What director James Marsh has come up with is a nicely crafted, watchable, but conventionally structured romantic biopic. An Oscar nominee for best picture, its secret weapon is Eddie Redmayne (nominee for best actor), who is brilliant in his transformation into the gnarled, twisted physical wreck of the Hawking we know, body confined to a wheelchair, voice produced by a machine. What we miss is the excitement of Hawking’s mind, soaring through time and space. Costar Felicity Jones is a nominee for best actress. Rated PG-13. 123 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) UNBROKEN Angelina Jolie is back in the director’s chair to tell the true story of Louis Zamperini (Jack O’Connell), the Olympic runner who survived a plane crash in World War II, 47 days on a life raft, and over two years of abusive treatment in Japanese POW camps. Rated PG-13. 137 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) WILD In 1995, inexperienced hiker and camper Cheryl Strayed strapped on a backpack and covered 1,100 miles of the Pacific Crest Trail. This moving, ruggedly beautiful adaptation of her memoir — starring Reese Witherspoon (Oscar nominee for best actress) — seems destined for similar success. Director Jean-Marc Vallée and cinematographer Yves Bélanger capture scenery and settings with deft camerawork, and the storytelling is honest, vivid, and nonjudgmental, if sometimes a bit too on the nose. Rated R. 115 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) THE WOMAN IN BLACK 2: ANGEL OF DEATH In this follow-up to a mildly popular movie of 2012, it’s the middle of World War II, and children are brought from London to a haunted mansion where the ghostly gal of the title gets a chance to scream at them from random corners of darkened rooms. Rated PG-13. 98 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
other screenings Regal Stadium 14, 505-424-0799 Annie, The Boy Next Door, Mortdecai, Strange Magic. ◀
WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Boyhood (R) Fri. to Sun. 11:30 a.m., 7 p.m. Mon. to Thurs. 6 p.m. Citizenfour (R) Fri. to Thurs. 3 p.m. Dying to Know: Ram Dass & Timothy Leary (NR) Fri. to Sun. 12 p.m., 8 p.m. Mon. to Thurs. 2 p.m. The Homesman (R) Fri. to Sun. 2:15 p.m., 5:30 p.m. Mon. to Thurs. 4:30 p.m. She’s Beautiful When She’s Angry (NR) Fri. to Sun. 4:45 p.m. Mon. to Thurs. 7 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com Daleks - Invasion Earth: 2150 A.D. (NR) Fri. 6:40 p.m. Sat. 2 p.m. Sun. 4:30 p.m. Mon. 6:40 p.m. Wed. 6:40 p.m. Thurs. 4:30 p.m. Flamenco, Flamenco (NR) Sun. 2 p.m. Goodbye to All That (NR) Fri. 8:40 p.m. Sat. 4:30 p.m. Sun. 6:40 p.m. Tue. 6:40 p.m. Wed. 8:40 p.m. Thurs. 6:40 p.m. The Interview (R) Fri. 2 p.m. Sat. 8:40 p.m. Wed. 2 p.m. Predestination (R) Fri. 4:30 p.m. Sat. 6:40 p.m. Sun. to Tue. 8:40 p.m. Wed. 4:30 p.m. Thurs. 2 p.m., 8:40 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com Big Eyes (PG-13) Fri. and Sat. 12:45 p.m., 3:45 p.m., 6:45 p.m., 9:25 p.m. Sun. to Thurs. 12:45 p.m., 3:45 p.m., 6:45 p.m. Birdman (R) Fri. and Sat. 12:25 p.m., 3:25 p.m., 6:25 p.m., 9:20 p.m. Sun. to Thurs. 12:25 p.m., 3:25 p.m., 6:25 p.m. Foxcatcher (R) Fri. and Sat. 3:10 p.m., 9 p.m. Sun. to Thurs. 3:10 p.m. The Imitation Game (PG-13) Fri. and Sat. 12:15 p.m., 3:20 p.m., 6:15 p.m., 9:05 p.m. Sun. to Thurs. 12:15 p.m., 3:20 p.m., 6:15 p.m. Inherent Vice (R) Fri. and Sat. 12 p.m., 3:15 p.m., 6:30 p.m., 9:35 p.m. Sun. to Thurs. 12 p.m., 3:15 p.m., 6:30 p.m. TheTheory of Everything (PG-13) Fri. to Thurs. 12:10 p.m., 6:10 p.m. Wild (R) Fri. and Sat. 12:35 p.m., 3:35 p.m., 6:35 p.m., 9:30 p.m. Sun. to Thurs. 12:35 p.m., 3:35 p.m., 6:35 p.m. REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com American Sniper (R) Fri. to Sun. 1 p.m., 4:20 p.m., 7 p.m., 7:30 p.m., 10 p.m., 10:30 p.m. Annie (PG) Fri. to Sun. 1:15 p.m., 4:15 p.m., 7:15 p.m. Big Hero 6 (PG) Fri. to Sun. 1:05 p.m., 4 p.m. Blackhat (R) Fri. to Sun. 1:20 p.m., 4:25 p.m., 7:25 p.m., 10:35 p.m. The Boy Next Door ( R) Call for times. The Hobbit:The Battle of the Five Armies in 3D (PG-13) Fri. to Sun. 12:15 p.m., 10:05 p.m. The Hobbit:The Battle of the Five Armies (PG-13) Fri. to Sun. 3:30 p.m., 6:45 p.m. The Hunger Games: Mockingjay - Part 1 (PG-13) Fri. to Sun. 10:05 p.m. Into the Woods (PG) Fri. to Sun. 1:35 p.m., 4:40 p.m., 7:35 p.m., 10:30 p.m. Mortdecai (R) Call for times.
Night at the Museum: Secret of theTomb (PG) Fri. to Sun. 1:50 p.m., 4:20 p.m., 7:15 p.m., 9:50 p.m. Paddington (PG) Fri. to Sun. 12:35 p.m., 2:50 p.m., 5:10 p.m., 7:40 p.m., 10 p.m. Selma (PG-13) Fri. to Sun. 12:40 p.m., 4 p.m., 7:05 p.m., 10 p.m. Spare Parts (PG-13) Fri. to Sun. 12:50 p.m., 4:05 p.m., 7:10 p.m., 9:55 p.m. Strange Magic (PG) Call for times. Taken 3 (PG-13) Fri. to Sun. 12 p.m., 2:35 p.m., 5:15 p.m., 7:55 p.m., 10:35 p.m. Unbroken (PG-13) Fri. to Sun. 12:55 p.m., 4:10 p.m., 7:20 p.m., 10:25 p.m. The Wedding Ringer (R) Fri. to Sun. 12:30 p.m., 3 p.m., 5:30 p.m., 8 p.m., 10:30 p.m. The Woman in Black 2:Angel of Death (PG-13) Fri. to Sun. 12:20 p.m., 3 p.m., 5:25 p.m., 7:50 p.m., 10:15 p.m.
AmericAn sniper 1:45/2:10 4:30/5:00/5:00 7:15/8:00 blAckhAt 1:50 4:40 7:30 hobbit 3 2D 1:45 4:15/4:50/4:50 7:10 into the wooDs 1:55 4:35 7:20 night At the museum 3 2:25 5:00 pADDington 2:00 4:45 7:05 tAken 3 2:15 4:50 7:15 the weDDing ringer 2:20 4:55 7:25 unbroken 1:50 4:25/4:45/4:45 7:25 womAn in blAck 2 7:35 *****mon-thur only ****sat & sun only ***Fri & sat only **Fri only times for Friday, January 16th - thursday, January 22nd
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10:00 7:55/7:55 10:00 9:40 9:50 9:55 7:45/7:45 9:50 *everyday
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W I N N E R! B E S T A C TO R COMEDY OR MUSICAL M I C H A E L K E ATO N
BEST
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Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Antarctica:A Year on Ice (PG) Sat. to Mon. 11 a.m. Tue. 12:30 p.m. Cake (R) Tue. 7 p.m. The Search for General Tso (NR) Fri. 4:30 p.m. Sat. to Mon. 12:50 p.m. Tue. 5:35 p.m. Wed. and Thurs. 12:50 p.m. Winter Sleep (NR) Fri. 6:30 p.m. Sat. to Mon. 2:30 p.m., 6:30 p.m. Tue. 2:30 p.m. Wed. and Thurs. 2:30 p.m., 6:30 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com American Sniper (R) Fri. 4:30 p.m., 5 p.m., 7:15 p.m., 8 p.m., 10 p.m. Sat. 1:45 p.m., 2:10 p.m., 4:30 p.m., 5 p.m., 7:15 p.m., 8 p.m., 10 p.m. Sun. 1:45 p.m., 2:10 p.m., 4:30 p.m., 5 p.m., 7:15 p.m., 8 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Blackhat (R) Fri. 4:40 p.m., 7:30 p.m. Sat. and Sun. 1:50 p.m., 4:40 p.m., 7:30 p.m. Mon. to Thurs. 4:40 p.m., 7:30 p.m. The Hobbit:The Battle of the Five Armies (PG-13) Fri. 4:50 p.m., 7:55 p.m. Sat. and Sun. 1:45 p.m., 4:50 p.m., 7:55 p.m. Mon. to Thurs. 4:15 p.m., 7:10 p.m. Into the Woods (PG) Fri. 4:35 p.m., 7:20 p.m., 10 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:20 p.m., 10 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:20 p.m. Mon. to Thurs. 4:35 p.m., 7:20 p.m. Night at the Museum: Secret of the Tomb (PG) Fri. 5 p.m. Sat. and Sun. 2:25 p.m., 5 p.m. Mon. to Thurs. 5 p.m. Paddington (PG) Fri. 4:45 p.m., 7:05 p.m., 9:40 p.m. Sat. 2 p.m., 4:45 p.m., 7:05 p.m., 9:40 p.m. Sun. 2 p.m., 4:45 p.m., 7:05 p.m. Mon. to Thurs. 4:45 p.m., 7:05 p.m. Taken 3 (PG-13) Fri. 4:50 p.m., 7:15 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:15 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:15 p.m. Mon. to Thurs. 4:50 p.m., 7:15 p.m. Unbroken (PG-13) Fri. 4:45 p.m., 7:45 p.m. Sat. and Sun. 1:50 p.m., 4:45 p.m., 7:45 p.m. Mon. to Thurs. 4:25 p.m., 7:25 p.m. The Wedding Ringer (R) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:25 p.m. Mon. to Thurs. 4:55 p.m., 7:25 p.m. The Woman in Black 2:Angel of Death (PG-13) Fri. and Sat. 7:35 p.m., 9:50 p.m. Sun. to Thurs. 7:35 p.m.
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39
RESTAURANT REVIEW Alex Heard I For The New Mexican
Lush leaf
Like many males, I’m sometimes leery of teahouses,
The Teahouse 821 Canyon Road, 505-992-0972, www.teahousesantafe.com Breakfast 9 a.m.-5 p.m. daily; lunch & dinner 9 a.m.-9 p.m. daily Vegetarian options Takeout available Handicapped accessible Patio dining in season Noise level: moderate to loud Beer & wine Credit cards & checks
]
The Short Order Situated near the upper end of the Canyon Road commercial strip, The Teahouse is one of the best places in Santa Fe to enjoy a good, affordable breakfast with a pot of tea. But don’t feel boxed in by the focus on tea — The Teahouse serves many other beverages, including coffee and coffeebased drinks, Mexican cokes, mimosas, and soda-based shandies. The dinner menu is appealing, too, and the restaurant does great things with baked goods and desserts. Recommended: cranberry-almond scone, confetti eggs with bacon, Norwegian eggs Benedict, Sicilian fog, and northern Italian-style apple cake.
Ratings range from 1 to 5 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value. 5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor
40
PASATIEMPO I January 16 -22, 2015
thanks to an experience I had in Albuquerque once: I walked inside the St. James Tearoom, a charming but frilly place with a “high tea” style. It was full of women wearing big, colorful hats, and I got out of there faster than Peter Rabbit running from Mr. McGregor. That’s the wrong attitude. Tea-centric restaurants tend to serve good food, and if you like tea at all, you can be confident that they’ll brew it and present it in a way that’s worthy of a beverage with so much variety, history, and cultural significance. Both of these attributes are on display at The Teahouse, a popular spot tucked inside a picturesque, low-ceilinged old building at the corner of Canyon Road and East Palace Avenue. The Teahouse has a different atmosphere from that at a place like the St. James — it’s more world beat than Old World, more Santa Fe than UK. Two recent trips confirmed that it remains a dependable and affordable destination, especially for breakfast. Visiting The Teahouse is a fun way to expand your knowledge of tea and tea-based drinks. It houses a vast selection of imported teas from China, India, Japan, and Sri Lanka — along with blends mixed here in Santa Fe — which are served in a variety of styles. Just looking at the menu is a learning experience. For example, I’d never heard of pu-erh, a fermented tea from China that comes out looking almost as dark as coffee. And if tea isn’t what you want, you’re not boxed in. The Teahouse serves coffee and coffee drinks, too, along with beer, wine, Mexican cokes, orange juice, mimosas, soda-based shandies, and several other choices. During a recent breakfast trip, we opened with a pot of Earl Grey Provence and a Sicilian fog, a type of tea latte. The Earl Grey, with its distinctive taste of bergamot — with lavender added to the Provence blend — was rich, aromatic, and not bitter in the least. A fog blends tea, steamed milk, and a flavoring like hazelnut or vanilla to create a light-but-filling drink. The Sicilian fog combines blood-orange black tea with vanilla, and it’s delicious. The taste of the tea came through nice and strong — again without being bitter — and the texture was creamy and smooth. Any tea restaurant worth that label can bake a good scone, and The Teahouse delivers. The one we tried had the crumbly, buttery texture of a drop biscuit, with baked-in cranberries and almonds that gave it a crunchy sweetness that balanced the welcome bite of baking soda. Next up was a dish called confetti eggs — a satisfying light breakfast consisting of steamed scrambled eggs with grated Parmesan, scallions, and tomatoes, with wheat toast and thin slices of bacon on the side. (The bacon is extra, but it only costs $2.) My companion tried the Norwegian eggs Benedict, and this was a success, too, featuring soft, runny poached eggs; generous amounts of thin-sliced smoked salmon; a delicate English muffin; a savory hollandaise sauce; and tiny shreds of tarragon. Another visit, for dinner, showed us more of The Teahouse’s range while revealing a couple of minor shortcomings. We started by sharing a big salad featuring mixed greens, cauliflower, pine nuts, and currants. The cauliflower florets had
been partially blackened and then cooled — an interesting concept, but the result was on the bland, cold, and chewy side. I ordered an Italian chicken pot pie, which was topped with polenta instead of the more typical lid of puff pastry. The polenta oozed nicely into the pot-pie goo, which was generously loaded with chicken, peas, potato chunks, and herbs. My friend tried the polenta alla Norma, a variation on the Sicilian classic, pasta alla Norma. (Fun fact: The dish is supposedly named after the Bellini opera Norma.) The recipe is simple. A slice of warm polenta is topped with roasted eggplant, tomato sauce, and the firm Italian cheese ricotta salata. The polenta was dense, and it could have used some melted-in cheese and herbs. The eggplant was fine, but there wasn’t enough sauce to balance out the somewhat-dry polenta base. The dessert that followed was very good, a $10 trio that featured generous servings of tiramisu, gingerbread with whipped cream and lemon curd, and a northern Italianstyle apple cake. The apple cake is an all-star offering, similar in texture to the almond cake that food writer Amanda Hesser has touted over the years. It’s designed to fall in the middle, so each slice is dense and moist — texturally halfway between cake and pure almond paste (or, in this case, applesauce). Is there such a thing as a destination dessert? Apparently so, because I’ll be going back for that one. ◀
Breakfast for two at The Teahouse: Norwegian eggs Benedict ...............................$ 15.00 Confetti eggs with bacon................................$ 8.00 Cranberry-almond scone................................$ 4.50 Pot, Earl Grey Provence tea............................$ 3.50 Pot, bourbon black tea ...................................$ 3.50 Sicilian fog......................................................$ 4.00 Bazaar fog .......................................................$ 4.00 Glass, mimosa ................................................$ 6.00 TOTAL............................................................$ 48.50 (before tax and tip) Dinner for two, another visit: Cauliflower salad with mixed greens, pine nuts, and currants ............................$ 12.75 Italian chicken pot pie....................................$ 13.00 Polenta alla Norma.........................................$ 12.00 Mini sweets trio..............................................$ 10.00 Glass, Wither Hills sauvignon blanc ..............$ 7.50 Samuel Smith oatmeal stout...........................$ 5.00 Black cardamom tea latte ...............................$ 3.75 TOTAL............................................................$ 64.00 (before tax and tip)
NEW MEXICO LEGISLATURE
IN SESSION
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LEGISLATURE
The 2015 session
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41
C A L E N D A R
L I S T I N G
G U I D E L I N E S
• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. • Send material no less than two weeks prior to the desired publication date. • For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words). • All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings. • Return of photos and other materials cannot be guaranteed. • Pasatiempo reserves the right to publish received information and photographs on The New Mexican website. • To add your event to The New Mexican online calendar, visit santafenewmexican. com and click on the Calendar tab. • For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.
ARTS AND ENTERTAINMENT CALENDAR
January 16 -22, 2015
CALENDAR COMPILED BY PAMELA BEACH
FRIDAY 1/16
Swiss Bistro
Classical Music
Irish multi-instrumentalist Gerry Carthy, 7-10 p.m., no cover.
Santa Fe Community Orchestra
Turquoise Trail
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Open-rehearsal readings of new works by New Mexico composers, 6-7:30 p.m., donations welcome, 505-466-4879, sfco.org.
Cissy & Sapphire, 9:30 p.m.-2 a.m., no cover.
Tiny’s
Bluesman Kenny Sky Wolf, 5:30-8 p.m.; rocker Sean Healen, 8:30 p.m.-close; no cover.
Vanessie
TGIF Chancel Choir recital
Tenor/pianist Branden James and cellist James Clark, 6:30 p.m., call for cover.
First Presbyterian Church of Santa Fe, 208 Grant Ave. Hymns, 5:30-6 p.m., donations accepted, 505-982-8544, Ext. 16.
SATURDAY 1/17
In Concert
Gallery and Museum Openings
Santa Fe Music Collective
Offroad Productions
Museum Hill Café, 710 Camino Lejo The jazz series continues with guitarist Greg Ruggiero, joined by bassist Asher Barreras and drummer John Trentacosta, 7 p.m., $25, santafemusiccollective.org, 505-983-6820.
2891-B Trades West Rd., 505-670-9276 I Want to Believe (Maybe), group mixed-media show, reception 6-8 p.m., through Jan. 24. (See story, Page 30)
Opera in HD
Theater/Dance
The Metropolitan Opera: Live in HD
The Madwoman of Chaillot
Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents Jean Giraudoux's 1943 satire, 7:30 p.m., $20, discounts available, 505-988-4262, brownpapertickets.com, runs Thursdays-Sundays through Feb. 1.
The Lensic Lehár's The Merry Widow, 11 a.m. and 6 p.m., $22-$28, discounts available, 505-988-1234, ticketssantafe.org.
Outdoors
Zía Singers
Classical Music
Zane Bennett Contemporary shows work by painter David Nakabayashi, 435 S. Guadalupe St.
Immaculate Heart of Mary Retreat Center Chapel, 50 Mount Carmel Rd. Annual winter concert Fire, Water, Air and Earth, 3 p.m. today and Sunday, $20 in advance and at the door, students no charge, 225-571-6352.
Duel Brewing
Omira Bar & Grill
In Concert
Classic-rock trio C.S. Rockshow, 9 p.m.-close; call for cover.
Palace Restaurant & Saloon
El Paseo Bar & Grill
Pranzo Italian Grill
Hotel Santa Fe
Second Street Brewery
School auditorium, 275 E. Alameda St., 505-310-4194 John Trentacosta and Bert Dalton lead the music and voice students in compositions by Charlie Parker, Dizzy Gillespie, and Sonny Rollins, 7 p.m., no charge.
La Fiesta Lounge at La Fonda
Second Street Brewery at the Railyard
La Posada de Santa Fe Resort and Spa
Shadeh
Mine Shaft Tavern
Skylight
Arrowhead Ruins tour
Pecos National Historic Park, NM 63, 505-757-7241 Ninety-minute guided hike to an off-trail site, 1:30 p.m., entrance fee $3, tour $2, call for details, open daily; visit nps.gov/pecos for updates on this weekly event.
Nightlife
(See Page 43 for addresses)
Blue Rooster
Pachanga! Latin club: DJ Aztech Sol spinning cumbia, bachata, and merengue, 9 p.m.-1:30 a.m., call for cover.
Café Café
Dance to Trio Los Primos, 6 p.m., no cover.
¡Chispa! at El Mesón
Three Faces of Jazz, with guest trumpeter Chief Sanchez, 7:30-10:30 p.m., no cover.
Cowgirl BBQ
Kitty Jo Creek Band, bluegrass, 5 p.m.-7:30 p.m., Americana band Santa Fe Revue, 8:30 p.m.-close; no cover.
The Den
Ladies' Night, with DJ Luna spinning dance beats, 9 p.m.-close, call for cover.
42
PASATIEMPO I January 16 -22, 2015
Jazz/funk trio Müshi, 7-10 p.m., no cover.
El Farol
Weekly rotating DJs, 9:30 p.m.-close, no cover. Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. Local singer/songwriter Pat Burns celebrates the release of his CD Burns, 8 p.m.-close, no cover. Nacha Mendez & Friends, 6:30-9:30 p.m., no cover. Sage & Jared's Happy Gland Band, 5 p.m., on the patio; Karaoke Kamikaze, 8 p.m.-close, no cover.
Montecito Starlight Lounge
Michael Tait Tafoya and Jennifer Perez, guitar and vocals, 7-9 p.m., call for cover.
Friday night jazz, with saxophonist/vocalist Brian Wingard, 6-9 p.m., no cover. Don Boaz & Sal, 4:30-7:30 p.m., no cover. Geist Cabaret, with pianist David Geist, 6-9 p.m. Blues band The Barb Wires, 6 p.m., no cover. Gypsy-jazz ensemble Swing Soleil, 7-10 p.m., no cover. DJ Chil, electronic, 9 p.m.-4 a.m., no cover. EmiArte Flamenco, featuring La Emi and Fabian Sisneros, 8-9:30 p.m.; Reggae Dancehall Fridays, with Brotherhood Sound System, 8 p.m.-close, in the Skylab; The Alchemy party, with DJs Dynamite Sol and Juicebox Ray, 9 p.m.-close; call for cover.
New Mexico School for the Arts Jazz Ensemble
Robert Earl Keen
Skylight Americana singer/songwriter, 7 p.m., $30 in advance, holdmyticket.com.
Theater/Dance The Madwoman of Chaillot
Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents Jean Giraudoux's 1943 satire, 7:30 p.m., $20, discounts available, 505-988-4262, brownpapertickets.com, runs Thursdays-Sundays through Feb. 1.
The Lodge at Santa Fe Presented by Zircus Erotique, 9 p.m., $15, VIP tickets $20, $5 increase day of show, zeburlesque.com.
Books/Talks Hollis Walker
Op. Cit Books, 500 Montezuma Ave., Suite 101 The local author reads from The Booby Blog: A Cancer Chronicle, 3 p.m.
Opera Breakfast Lecture Series
Second Street Brewery
Bill Hearne Trio, honky-tonk, 6-9 p.m., no cover.
DJ 12 Tribe, electronic/techo/hip-hop, 9 p.m.-4 a.m., no cover.
Nightlife
La Posada de Santa Fe Resort and Spa
Skylight
Cowgirl BBQ
Mine Shaft Tavern
Shadeh
Techno beats with DJs Mayrant and Billiam, 9 p.m.-close, in the Skylab; Alchemy 2.0, 9 p.m.; call for cover.
Events
Tiny’s
Nightlife
(See addresses at right)
Blue Rooster
Trash Disco, with DJ Oona, 9 p.m.-2 a.m., no cover.
¡Chispa! at El Mesón
Sweetwater Harvest Kitchen
Showcase karaoke, with Nanci and Cyndy, 8:30 p.m.-to close, no cover.
The Underground at Evangelo's
Weekly DJs, 9 p.m.-midnight, call for cover.
Upper Crust Pizza
Folk singer/songwriter Dana Smith, 6 p.m., no cover.
Vanessie
Tenor/pianist Branden James and cellist James Clark, 6:30 p.m. call for cover.
SUNDAY 1/18
Chris Ishee Quartet, jazz, 7:30-10:30 p.m., no cover.
Gallery and Museum Openings
Cowgirl BBQ
Jean Cocteau Cinema Gallery
Santa Fe Chiles Dixie Jazz Band, 2 p.m.; indie-rock band Mark's Midnight Carnival Show, 8:30 p.m.; no cover.
Duel Brewing
Celtic Voice, paintings by Wendi Haas, reception 5-7 p.m., through Feb. 16.
Wheelhouse Art
Pray for Brain, with Mustafa Stefan Dill, guitar; Jefferson Voorhees, drums; Christine Nelson, bass, 7-10 p.m., no cover.
418 Montezuma Ave., 505-919-9553 Studio 732, hand-built clay sculpture by Santa Fe Community College students, open house 1-3 p.m., through Jan. 29.
El Farol
Classical Music
Flamenco dinner show, 6:30 p.m.; rock 'n' roll guitarist Sean Healen, 9 p.m.-close; call for cover.
El Paseo Bar & Grill
Weekly DJs, 9:30 p.m.-close, no cover.
La Fiesta Lounge at La Fonda
Local singer/songwriter Pat Burns celebrates the release of his CD Burns, 8 p.m.-close, no cover.
La Posada de Santa Fe Resort and Spa
Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone and bassist Jon Gagan, 6-9 p.m., no cover.
Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe Irish multi-instrumentalist Gerry Carthy, 7:30 p.m.-close, no cover.
Mine Shaft Tavern
Kitty Jo Creek Band, bluegrass/cowboy jazz, 3 p.m., on the patio; Greg Butera & The Gunsels, Cajun/honky-tonk, 7 p.m.-close; call for cover.
Omira Bar & Grill
Jazz saxophonist/vocalist Brian Wingard, 6-9 p.m., no cover.
Palace Restaurant & Saloon
New Mexico Women's Chorus
Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, 505-983-5022 Broadway hits, 4 p.m., $15 in advance, $20 at the door, discounts available, nmwomenschorus.org.
Santa Fe Symphony
The Lensic Guillermo Figueroa leads the orchestra in music of Mozart, Mahler, and Vivaldi, conductor's lecture 3 p.m., performance 4 p.m., tickets start at $22, 505-988-1234, ticketssantafe.org.
Zía Singers
Immaculate Heart of Mary Retreat Center Chapel, 50 Mount Carmel Rd. Annual winter concert Fire, Water, Air and Earth, 3 p.m., $20 in advance and at the door, students no charge, 225-571-6352.
Theater/Dance J.C. Currais
Skylight Stand-up comic, Paul Laier opens, 7 p.m., $15-$20 in advance at holdmyticket.com.
The Madwoman of Chaillot
Pranzo Italian Grill
Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents Jean Giraudoux's 1943 satire, 2 p.m., $20, discounts available, 505-988-4262, brownpapertickets.com, runs Thursdays-Sundays through Feb. 1.
Santa Fe Sol
Books/Talks
Benito Rose Plaza Trio, 4:30-7:30 p.m.; rock band Anthony Leon & The Chain, 10 p.m.; call for cover. Geist Cabaret, with pianist David Geist, 6-9 p.m., call for cover. Singer/songwriter Elle Carpenter, 7 p.m.-close, call for cover.
Nacha Mendez & Company, 7 p.m., call for cover.
Israeli dance
Evangelo’s
Blues singer Alex Maryol, 7-10 p.m., no cover.
Saturdays with John Serkin on Hawaiian slack-key guitar, 6-8 p.m., no cover.
Santa Fe Community Convention Center Twenty-first annual benefit held in support of The Food Depot; featuring a soup competition among 30 local restaurants, noon, tickets start at $30, 505-988-1234, ticketssantafe.org, $35 at the door, ages 6-12 $10, ages five and under no charge.
El Farol
Odd Fellows Hall, 1125 Cerrillos Rd. Traditional folk dances; 8-10 p.m. weekly, $5 suggested donation, santafe.israeli.dance.com.
Second Street Brewery at the Railyard
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 Bill Derbyshire discusses Lehar's The Merry Widow, 9 a.m., held in conjunction with the Metropolitan Opera's Live in HD season, $5 at the door.
Souper Bowl
Events
Journey Santa Fe Presents
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 A discussion on the 2015 legislative session with Alan Webber and Bill Dupuy, 11 a.m.
Tone & Company Band, local musicians are welcome to jam, 9 p.m.-close, call for cover. Country singer Wiley Jim, 7 p.m., call for cover.
(See addresses below) John Prine tribute brunch, with Americana band Boris & The Salt Licks, noon-3 p.m.; Americana guitarist/singer Jim Almand, 8 p.m.-close; no cover.
Mike Wojniak, indie rock, 3-7 p.m., no cover.
Vanessie
Pianist Doug Montgomery, 6:30 p.m., call for cover.
Check with venues fo
r updates and spec ial events
Agoyo Lounge at th e Inn on the Alame da Mine Shaft Ta 303 E. Alameda St. vern , 505-984-2121 2846 NM 14, Madr Anasazi Restauran id, 505-473-0743 t & Bar 113 Washington Av Molly's Kitchen & e., 505-988-3030 Lounge 1611 Calle Lorca, 50 Bishop’s Lodge Ra 5-983-7577 nch Resort & Spa 1297 Bishops Lodg Mo ntecito Starlight Lo e Rd., 505-983-6377 500 Rodeo Rd., 505-4 unge Blue Rooster 28-7777 101 W. Marcy St., 50 Museum Hill Café 5-206-2318 710 Camino Lejo, Mi Burro Alley Café lner Plaza, 505-984-8900 207 W. San Francisc o St., 505-982-0601 Odd Fellows Hall Café Café 1125 Cerrillos Rd., 500 Sandoval St., 50 505-473-0955 5-466-1391 Omira Bar & Grill ¡Chispa! at El Mesó n 1005 St. Francis Dr 213 Washington Av ., 505-780-5483 e., 505-983-6756 Pa lace Restaurant & Cowgirl BBQ Saloon 142 W. Palace Ave., 319 S. Guadalupe St. 505-428-0690 , 505-982-2565 Pranzo Italian Grill The Den 540 Montezuma Av 132 W. Water St., 50 e., 505-984-2645 5-983-1615 Santa Fe Bar & Grill Duel Brewing 187 Paseo de Peral 1228 Parkway Dr., ta, DeVargas Cente 505-474-5301 r, 505-982-3033 Eldorado Hotel & Spa Sa nt a Fe Community Co 309 W. San Francisc nvention Center o St., 505-988-4455 201 W. Marcy St., 505-9 El Farol 55-6705 Santa Fe Sol Stage 808 Canyon Rd., 50 & Grill 5-983-9912 37 Fire Place, solof El Paseo Bar & Grill santafe.com San Q Sushi South 208 Galisteo St., 50 5-992-2848 3470 Zafarano Dr., Evangelo’s 505-438-6222 Second Street Brew 200 W. San Francisc ery o St., 505-982-9014 1814 Second St., 505-982 Gig Performance Sp -3030 ace Second Street Brew 1808 Second St., gig ery at the Railyard santafe.com 1607 Paseo de Peral Hilton Santa Fe ta, 505-989-3278 Shadeh 100 Sandoval St., 50 5-988-2811 Buffalo Thunder Re Hotel Santa Fe sort & Casino, 30 Buffalo Thunde 1501 Paseo de Peral r Trail, 877-848-6337 ta, 505-982-1200 Skylight Jean Cocteau Cinem a 139 W. San Francisc 418 Montezuma Av o St., 505-982-0775 e., 505-466-5528 Sweetwater Harve Junction st Kitchen 1512-B Pacheco St. 530 S. Guadalupe St. , 505-795-7383 , 505-988-7222 Swiss Bistro La Boca 401 S. Guadalupe St. 72 W. Marcy St., 50 , 505-988-5500 5-982-3433 Ta berna La Boca La Casa Sena Cant ina 125 Lincoln Ave., 50 125 E. Palace Ave., 5-988-7102 505-988-9232 Te rraCotta Wine Bistro La Fiesta Lounge at La Fonda 304 Johnson St., 50 100 E. San Francisc 5-989-1166 o St., 505-982-5511 Tin y’s La Posada de Sant a Fe Resort and Sp a 1005 St. Francis Drive, Suite 117, 330 E. Palace Ave., 505-986-0000 505-983-9817 Lensic Performing Arts Center Tu rquoise Trail 211 W. San Francisc o St., 505-988-1234 Buffalo Thunder Re sort & Casino, The Lodge at Sant 30 Buffalo Thunde a Fe r Trail, 877-848-6337 750 N. St. Francis Dr ., 505-992-5800 The Underground at Evangelo’s Low ‘n’ Slow Lowride 200 W. San Francisc r Bar o St. at Hotel Chimayó de Santa Fe Vanessie 125 Washington Av e., 505-988-4900 434 W. San Francisc o St., 505-982-9966 The Matador Wa rehouse 21 116 W. San Francisc o St. 1614 Paseo de Peral ta, 505-989-4423
C L U B S, R O O M S, V E N UES
Santa Famous
PASATIEMPOMAGAZINE.COM
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MONDAY 1/19 Books/Talks
Southwest Seminars lecture
Hotel Santa Fe, 1501 Paseo de Peralta Zuni Culture & Cooking Pots: 13th-Century Migration and Changing Social Landscapes, with archaeologist Matthew Peeples, 6 p.m., $15 at the door, 505-466-2775, southwestseminars.org.
Events Swing dance
Odd Fellows Hall, 1125 Cerrillos Rd. Weekly all-ages informal swing dance; lesson 7-8 p.m., dance 8-10 p.m., dance $3, lesson and dance $8, 505-473-0955.
Nightlife
(See Page 43 for addresses)
Cowgirl BBQ
Cowgirl Karaoke, with Michele Leidig, 9 p.m., no cover.
El Farol
Hillary Smith & Company, soul, 8:30 p.m.-close, call for cover.
In Concert Hot Sardines
The Lensic Theatrical jazz band, tunes of the '20s, '30s, and '40s, 7:30 p.m., tickets start at $13.50, 505-988-1234, ticketssantafe.org. (See story, Page 16)
Books/Talks Friends of the Wheelwright Book Club
Wheelwright Museum of the American Indian library, 704 Camino Lejo, Museum Hill, 505-982-4636 A discussion of Louise Erdrich's crime mystery The Round House, 1:30 p.m., open to the public, no charge.
Impacts of Wildfire on Rare Plants in the Gila and Lincoln National Forests
Christ Lutheran Church, 1701 Arroyo Chamisa A talk by state botanist Daniela Roth, 6:30 p.m., no charge, 505-690-5105. (See story, Page 28)
Nightlife
(See Page 43 for addresses)
¡Chispa! at El Mesón
La Fiesta Lounge at La Fonda
Blues/Americana guitarist/singer Jim Almand, 7-10 p.m., no cover.
Tiny’s
New Orleans-style jazz/soul/blues band Peculiar Patriots, 8 p.m.-close, no cover.
Vanessie
Classic-rock trio C.S. Rockshow, 7:30 p.m., no cover.
Local country artist Bill Hearne, 7:30 p.m.-close, no cover.
Bob Jones' Great Big Jazz Band, 6-9 p.m., no cover.
Cowgirl BBQ
La Fiesta Lounge at La Fonda
Tenor/pianist Branden James and cellist James Clark, 6:30 p.m., call for cover.
La Posada de Santa Fe Resort and Spa
TUESDAY 1/20
Palace Restaurant & Saloon
Nightlife
(See Page 43 for addresses)
¡Chispa! at El Mesón
Argentine Tango Milonga, 7:30-11 p.m., no cover.
Cowgirl BBQ
Singer/songwriter Mike Wojniak, 8 p.m., no cover.
El Farol
Canyon Road Blues Jam, 8:30 p.m., no cover.
Evangelo’s
Fat Tuesday, with Les Gens Bruyants, Cajun-style tunes, 7 p.m.-close, call for cover.
Country singer Wiley Jim, 7 p.m., call for cover.
Evangelo’s
La Fiesta Lounge at La Fonda
Classic-rock trio C.S. Rockshow, 7:30-11 p.m., no cover.
La Posada de Santa Fe Resort and Spa
The Lodge at Santa Fe
Irish multi-instrumentalist Gerry Carthy, 7-9:30 p.m., call for cover.
The Matador
DJ Inky Ink, soul/punk/ska, 8:30 p.m., no cover.
Palace Restaurant & Saloon
Limelight karaoke, 10 p.m.-close; call for cover.
Swiss Bistro
Guitar duo Wes & Mito, Gypsy Kings-style rhythms, 7:30 p.m.-close, no cover.
Taberna La Boca
Nacha Mendez, 7-9 p.m., no cover.
The Underground at Evangelo’s
THURSDAY 1/22
Local nonprofit organization; Review Santa Fe and Project Launch, Thursday, Jan. 22, submission deadline; opening in January: The Choice Awards and Project Development; Sunday, Feb. 1, deadline; applications available online at visitcenter.org.
The Underground at Evangelo’s
Tutors sought for local students at all grade levels; math and literacy support needed in particular; training provided; contact Cynthia Torcasso, 505-954-1880, ctorcasso@cisnm.org.
Vanessie
Santa Fe Botanical Garden volunteers
DJs Homeboy Sandman, Mega Ran, Benzo, and Sae What, 8 p.m.-close, call for cover. Pianist Bob Finnie, 6:30 p.m., call for cover.
OUT OF TOWN Sunshine Theater, 120 Central Ave. S.W. Theatrical band, 9 p.m. Saturday, Jan. 17, $20 in advance, $25 day of show, holdmyticket.com, 505-254-8393, student discounts available.
Take Over Wednesdays, with DJ Doer spinning hip-hop, 7 p.m.-close, call for cover.
Center: International calls for entry
Community
Grateful Dead tribute band Detroit Lightning, 8 p.m.-close, no cover.
TerraCotta Wine Bistro
Electric-jam night with Nick Wymett, 9 p.m.-close, no cover.
made entirely from canned goods (to benefit The Food Depot) for an Saturday, April 11, exhibit held at Santa Fe Place Mall; winners announced in five categories; winning structures entered in an international competition; for guidelines visit santafe.canstruction.org/design-teams, entry form and fee ($100) due Monday, Feb. 16.
Tiny's
Albuquerque
Tiny’s
MarchForth Marching Band: Albuquerque
Pat Malone Jazz Trio, with Kanoa Kaluhiwa on saxophone, Jon Gagan on bass, and Malone on guitar, 6-9 p.m., call for cover.
Rock guitarist Anthony Leon, 8:30 p.m.-close; call for cover. Guitarist Ramon Bermudez, 6-8 p.m., no cover.
1/17
Thursdays with Little Leroy & His Pack of Lies, dance band, 9 p.m.-close, call for cover.
MarchFourth Marching Band
Chatter Sunday
The Kosmos, 1715 Fifth St. N.W. Elias-Axel Pettersson: piano recital, music of Bach, Chopin, and Scriabin, 10:30 a.m., Sunday, Jan. 18, $15, discounts available, chatterabq.org.
Los Alamos
Communities in Schools New Mexico
Stuart L. Udall Center for Museum Resources, second floor, 725 Camino Lejo, Museum Hill Free training: Tuesday and Saturday, Feb. 3 and 21: history of SFBG and ecosystems; Wednesday and Saturday, Feb. 4 and 7: botany, botanical names, and water issues in New Mexico; Thursday and Saturday, Feb. 5 and March 7: SFBG plants and grounds tour; Friday and Saturday, Feb. 6 and March 21: policies and procedures; all sessions begin at 8:30 a.m., call 505-471-9103 to register.
Filmmakers/Performers Get Smart (phone) Filmmaking Contest
Open to filmmakers worldwide; films must be seven to ten minutes long and made with a smart device, any genre; top ten submissions showcased at Albuquerque Film & Music Experience, May 31-June 7, first place awarded $500, final submission deadline Friday, Feb. 20, view guidelines and submit films online at abqfilmexperience.com.
La Fiesta Lounge at La Fonda
Theater/Dance
La Posada de Santa Fe Resort and Spa
Ben Wright's open-song night, 7 p.m., no cover.
Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents Jean Giraudoux's 1943 satire, 7:30 p.m., $10, 505-988-4262, brownpapertickets.com, runs Thursdays-Sundays through Feb. 1.
TerraCotta Wine Bistro
Mariela in the Desert: opening night
Twenty-Eighth Annual Placitas Artists Series Learn about and meet some of the critters living
Nightlife
San Ildefonso Pueblo
Local country artist Bill Hearne, 7:30 p.m., no cover. Country singer Wiley Jim, 7 p.m., call for cover.
Second Street Brewery at the Railyard
Jazz guitarist Pat Malone, 6-8 p.m., no cover.
Tiny’s
Open-mic night with Randy Mulkey, 7 p.m., no cover.
The Underground at Evangelo's
Latin Tuesdays, with DJ AdLib and The Sabrosura Sound System, 9 p.m.-close, call for cover.
Vanessie
Pianist Doug Montgomery, 6-8 p.m.; tenor/pianist Branden James and cellist James Clark, 8-11 p.m.; call for cover.
The Madwoman of Chaillot
Teatro Paraguas Studio, 3205 Calle Marie A lyrical play by Karen Zacarias, 7:30 p.m., $17, discounts available, 505-424-1601, teatroparaguas.org, continues ThursdaysSundays through Feb. 1. (See story, Page 14) (See Page 43 for addresses)
Blue Rooster
Electronic Expressions, 9 p.m.-2 a.m., call for cover.
¡Chispa! at El Mesón
WEDNESDAY 1/21
Jazz piano and saxophone duo Kirk Kadish and Ray Griffin, 7-9 p.m., no cover.
Classical Music
Cowgirl BBQ
Santa Fe Pro Musica
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Piano recital: Per Tengstrand, music of Beethoven, Grieg, and Liszt; 7:30 p.m., $20-$65, students $10, ticketssantafe.org, 505-988-1234.
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PASATIEMPO I January 16 -22, 2015
Greg Butera & The Gunsels, Cajun tunes and honky-tonk, 8 p.m., no cover.
El Farol
Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.
Backcountry Film Festival
Reel Deal Theater, 2551 Central Ave. Nine films, prizes, beer and wine, 7 p.m. Thursday, Jan. 22, $12 in advance, $15 at the door, visit pajaritoeec.org or call 505-662-0460 for tickets.
Placitas La Placitas Presbyterian Church, NM 165, Exit 242 off Interstate 25 Willy Sucre & Friends, guitar and string trio, music of Bach, Schubert, and Paganini, 3 p.m. Sunday, Jan. 18, $20 in advance and at the door, 505-867-8080, students $15.
San Ildefonso Pueblo Firelight Dances
NM 502, 15 miles north of Santa Fe off U.S. 84/285 Feast-day celebrations; Thursday evening, Jan. 22: bonfires and firelight procession; all day Friday, Jan. 23: buffalo, Comanche, and deer dances.
PEOPLE WHO NEED PEOPLE Artists/Designers American Institute of Architects' Canstruction design and build competition Open call for design teams to create structures
PASA KIDS
Harrell House of Natural Oddities Santa Fe Public Libraries
around us during this free interactive program; 4 p.m. Friday, Jan. 16, La Farge Branch, 1730 Llano St., 505-955-4863; 11 a.m. Saturday, Jan. 17, Main Branch, 145 Washington Ave., 505-955-6783; 2:30 p.m. Saturday, Jan. 17, Southside Branch, 6599 Jaguar Dr., 505-955-2828.
Souper Bowl
Santa Fe Community Convention Center Twenty-first annual benefit held in support of The Food Depot; featuring a soup competition among 30 local restaurants, noon, tickets start at $30, 505-988-1234, ticketssantafe.org, $35 at the door, ages 6-12 $10, ages 5 and under no charge.
Lifestyles From Mars to Earth
Santa Fe Community Gallery, Santa Fe Convention Center, 201 W. Marcy St. The Santa Fe Botanical Garden hosts a family workshop held in conjunction with the exhibit End of Days; 2-4 p.m. Saturday, Jan. 17, no charge, call 505-471-9103 for details. ◀
Tweedy
UPCOMING EVENTS MUSIC
Santa Fe Pro Musica Orchestra
The Lensic 4 p.m. Saturday, Jan. 24, Thomas O'Connor leads the orchestra, featuring pianist Per Tengstrad in music of Haydn, Stravinsky, and Mozart; 3 p.m. Sunday, Jan. 25, encore, followed by 5:30 p.m. dinner with the pianist (limited seating), $10-$65, 505-988-1234, ticketssantafe.org, call SFPM for dinner reservations, 505-988-4640. Meet the Music discussions led by the conductor are held one hour in advance of both concerts.
Big Head Todd and The Monsters
The Lensic Rock band, 7:30 p.m. Tuesday, Jan. 27, $42, discounts available, ticketssantafe.org, 505-988-1234.
Leo Bud Welch
Skylight Veteran blues guitarist, Alex Maryol opens, 7:30 p.m. Friday, Jan. 30, $17 in advance at holdmyticket.com.
The Green
Skylight Hawaii-based reggae band, Through the Roots opens, 7:30 p.m. Monday, Feb. 2, $16 in advance at holdmyticket.com.
Dan Hicks and The Hotlicks
Skylight Folk/jazz, 7:30 p.m. Thursday, Feb. 5, $24, preferred seating $34, holdmyticket.com.
Santa Fe Pro Musica: Szymanowski String Quartet
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Mozart, Haydn, Dvořák, and Szymanowski, 3 p.m. Sunday, Feb. 8, $10-$65; followed by 5:30 p.m. dinner with the quartet (limited seating), 505-988-1234, ticketssantafe.org, dinner reservations required, call 505-988-4640.
Serenata of Santa Fe
First Presbyterian Church, 208 Grant Ave. Common Tones, music of Barber, Dvořák, and Kenji Bunch, 3 p.m. Sunday, Feb. 8, $15-$30, 505-988-1234, ticketssantafe.org, discounted tickets for students and children ages 5 and under available at the door only.
Notes on Music: Jean Sibelius
United Church of Santa Fe, 1804 Arroyo Chamiso Rd. Celebrating the Finnish composer's 150th birthday, lecture by Joseph Illick, with musical illustrations, 7:30 p.m. Tuesday, Feb. 10, $25, performancesantafe.org.
Todd Snider
The Lensic Satirical folk singer/songwriter, 7:30 p.m. Tuesday, Feb. 10, $22-$42, 505-988-1234, ticketssantafe.org.
Dan Bern
Gig Performance Space Singer/songwriter, 7:30 p.m. Thursday, Feb. 12, $22 in advance, $25 at the door, gigsantafe.com.
New Mexico Bach Society and Chatter
Immaculate Heart of Mary Retreat Center Chapel, 50 Mount Carmel Rd.
The ensembles perform Bach's Coffee Cantata, 7 p.m. Friday, Feb. 13, performers include tenor Andre Garcia-Nuthmann, cellist James Holland, violinist David Felberg, and flutist Linda Marianiello, $28.50, discounts available, holdmyticket.com, visit nmperformingartssociety.org for details.
Santa Fe Music Collective jazz concerts
Museum Hill Café, 710 Camino Lejo 7 p.m. Friday, Feb. 13: the series continues with drummer Albert "Tootie" Heath joining pianist Bert Dalton and bassist Andy Zadrozny; 7 p.m. Friday, March 6: singer Sheila Jordon and bassist Cameron Brown; $25, santafemusiccollective.org, 505-983-6820.
Eric Bibb
The Lensic Blues guitarist, 7 p.m. Sunday, Feb. 15, $15-$30, 505-988-1234, ticketssantafe.org.
Lucinda Williams
The Lensic Blues and country singer/songwriter, 7:30 p.m. Wednesday, Feb. 18, $46-$74, 505-988-1234, ticketssantafe.org.
Santa Fe Symphony
The Lensic A Shakespeare-inspired tribute of works by Tchaikovsky, Mendelssohn, and Corigliano, with guest conductor Sarah Hicks, 4 p.m. Sunday, Feb. 22, $11-$72, discounts available, 505-988-1234, ticketssantafe.org.
Santa Fe Desert Chorale
Cristo Rey Church, 1120 Canyon Rd. Dancing the Mystery, works by Brahms, Duruflé, Eric Whitacre, and Abbie Betinis, set to vocals inspired by Sufi poets, 7 p.m. Sunday, Feb. 22, $25-$50 in advance at 505-988-2282 or online at desertchoral.tix.com.
András Schiff
The Lensic The pianist performs late works by Haydn, Mozart, and Beethoven, 7:30 p.m. Tuesday, Feb. 24, $13.50-$100, discounts available, 505-988-1234, ticketssantafe.org.
Lyle Lovett & The Acoustic Group
The Lensic Country singer/songwriter, 7:30 p.m. Wednesday, Feb. 25, $69-$94, 505-988-1234, ticketssantafe.org.
The Lensic Acoustic duo songwriter/guitarist Jeff Tweedy (of Wilco) and percussionist Spencer Tweedy, 7:30 p.m. Thursday, March 26, 505-988-1234.
HAPPENINGS
Art Starts
NMSA Fifth Annual Winter Dances
Museum of Contemporary Native Arts Works by Chris Pappan, Christine Nofchissey McHorse, and Star Wallowing Bull; also, selections from the museum's collection, opening Friday, Jan. 23, running through July.
Radium Girls
Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta New Mexico Brewers Guild hosts 16 local breweries and local food vendors to celebrate craft beers, 4 p.m. Friday, Jan 23, $25, holdmyticket.com.
The Metropolitan Opera: Live in HD
The Lensic 7 p.m. Wednesday, Jan. 28: novelists Karen Russel and Porochista Khakpour; 7 p.m. Wednesday, Feb. 11: The Fire This Time, a tribute to James Baldwin, with Nikky Finney, Randall Kenan, and Kevin Young; $6, 505-988-1234, ticketssantafe.org.
THEATER/DANCE
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. New Mexico School for the Arts student showcase, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Jan. 23-25, $10, discounts available, nmschoolforthearts.org. James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. New Mexico School for the Arts Theater Department presents D.W. Gregory's historical drama, 7 p.m. Thursday-Saturday, Jan. 29-31, $10, discounts available, nmschoolforthearts.org. The Lensic 11 a.m. and 6 p.m. Saturday, Jan. 31: Offenbach's Les Contes D'Hoffmann; 10:30 a.m. Saturday, Feb. 14, and 6 p.m. Tuesday, Feb. 17: Tchaikovsky's Iolanta and Bartók's Bluebeard's Castle; $22-$28, discounts available, 505-988-1234, ticketssantafe.org.
Confessions of a Mexpatriate
Teatro Paraguas Studio, 3205-B Calle Marie Raul Garza's one-man performance, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Feb. 6-8, $15, discounts available, 505-424-1601 or teatroparaguas@gmail.com.
Kimberly Akimbo
Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents David Lindsay-Abaire's 2000 dramedy, Thursday-Sunday, Feb. 12-March 1, 505-988-4262.
Annapurna
The Lensic Fusion Theatre Company presents Sharr White's two-hander dramedy, 7:30 p.m. Saturday, Feb. 21, $15-$35, 505-988-1234, ticketssantafe.org.
Stratford Festival HD
The Screen, Santa Fe University of Art & Design Sunday, March 1: the theater company presents King Lear; Sunday, April 12: King John; Sunday, May 24: Antony and Cleopatra, all screenings begin at 11:15 a.m., stratfordfestivalhd.com.
Playwrights Forum
Santa Fe Playhouse, 142 E. DeVargas St. An original full-length work directed by Cristina Duarte, Thursday-Sunday, March 12-22.
WinterBrew
Lannan Foundation Literary Series
New Mexico Italian Film & Culture Festival
Jean Cocteau Cinema The eighth annual event benefits UNM Children's Hospital; opening cocktail reception 3:30 p.m. Thursday, Feb. 5, followed by a screening of Gabriele Salvatores' 2010 comedy Happy Family; the festival continues nightly through Saturday, Feb. 7; reception and film $30, film only $10, Saturday benefit dinner and silent auction $110, master pass $135, jeancocteaucinema.com.
Playwrights Workshop
Santa Fe Playhouse Workshops, 3205-B Richards Lane Writing the Ten-Minute Play, led by Leslie Harrell Dillen, 9 a.m.-4 p.m. Saturday, 1-5 p.m. Sunday, Feb. 7-8, $65, for reservations email leslie.dillen@comcast.net.
Cancer Foundation for New Mexico's Tenth Annual Sweetheart Auction Santa Fe Community Convention Center, 201 W. Marcy St. Dinner and dessert buffet, open wine bar, and vacation raffle, 5 p.m. Saturday, Feb. 7, $75, 505-955-7931, Ext. 1, cffnm.org.
ARTsmart New Mexico: ARTfeast Art of Living fundraisers
It's 5 O'Clock Somewhere, featuring dancing, heavy appetizers, and silent and live auctions; also, showcasing work of fashion designer Patricia Michaels, 6 p.m. Friday, Feb. 20, Peters Projects, 1011 Paseo de Peralta, $75 in advance; Step Up to the Plate, gourmet dinner and auction, doors open at 6 p.m. Saturday, Feb. 21, Santa Fe Community Convention Center, $175 in advance; tickets available online at artfeast.org.
Brush Up Your Shakespeare
Immaculate Heart of Mary Retreat Center Chapel, 50 Mount Carmel Rd. Soprano Christina Martos, baritone Carlos Archuleta, and pianist Debra Ayers, 3 p.m. Saturday, March 7, music of Verdi, Argento, and Cole Porter, $34 in advance and at the door, student discounts available, holdmyticket.com or 505-866-1251.
Leni Stern African Trio
Gig Performance Space Jazz guitarist, 7:30 p.m. Saturday, March 7, $20 at the door, gigsantafe.com.
Susan Graham
The Lensic Music of Schumann and Mahler, 6:30 p.m. Thursday, March 12, tickets begin at $27, student discounts available, 505-988-1234, ticketssantafe.org.
Blues artist Leo Bud Welch performs on Jan. 30 at Skylight.
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MUSEUMS & ART SPACES Santa Fe Center for Contemporary Arts
1050 Old Pecos Trail, 505-982-1338 Art Collision & Repair Shop, interactive installation curated by Susan Begy and Kathryn M Davis, Muñoz Waxman Main Gallery • Undress, multimedia installation by Paula Wilson, Spector Ripps Project Space; through Feb. 1. Open Thursdays-Sundays; ccasantafe.org.
Georgia O’Keeffe Museum
Peyton Wright Gallery shows ecclesiastical and secular works from Europe and the Americas, 237 E. Palace Ave.; shown: Our Lady of Carmel Saving the Souls in Purgatory, by Miguel Mateo Maldonado y Cabrera.
AT THE GALLERIES
Evoke Contemporary
550 Guadalupe St., 505-955-9902 Peace Love Joy Art, group show, through Saturday, Jan. 17.
Monroe Gallery of Photography
112 Don Gaspar Ave., 505-992-0800 Bill Ray: My LIFE in Photography, photojournalistic work, through Feb. 8.
Peyton Wright Gallery
237 E. Palace Ave., 505-989-9888 Art of Devotion, 22nd annual exhibit of historic ecclesiastical and secular work from Europe and the Americas, through March.
Photo-eye Bookstore + Project Space 376-A Garcia St., 505-988-5152 The Day the Dam Collapses, photographs by Hiroshi Watanabe, through Feb. 14.
Red Dot Gallery
826 Canyon Rd., 505-820-7338 Group show of works by students, alumni, faculty, and staff from Santa Fe Community College, Santa Fe University of Art & Design, and UNM, through Jan. 23.
Russian Art Gallery
216 Galisteo St., 505-989-9223 Motherland, paintings by Anatoly Kostovsky, through January.
Santa Fe Arts Commission Community Gallery
Santa Fe Community Convention Center, 201 W. Marcy St., 505-955-6705 End of Days, group show, including works by Pilar Agoyo, Frank Buffalo Hyde, Joel Nakamura, and Bunny Tobias, through January.
Santa Fe Community College Visual Arts Gallery
6401 Richards Ave., 505-428-1501 Doña Inéz Lost Her Slipper, mixed-media installation by Francisco Benítez, through Wednesday, Jan. 21.
Turner Carroll Gallery
725 Canyon Rd., 505-986-9800 Red, group show of works by gallery artists, through Friday, Jan. 16.
William R. Talbot Fine Art, Antique Maps & Prints
129 W. San Francisco St., 505-982-1559 Holy Adobes: The Churches of New Mexico, including works by Gustave Baumann, Gene Kloss, and Lucille Leggett, through Friday, Jan. 16.
46
PASATIEMPO I January 16 -22, 2015
217 Johnson St., 505-946-1000 Miguel Covarrubias: Drawing a Cosmopolitan Line, mixed media, through Sunday, Jan. 18 • Georgia O'Keeffe: Ghost Ranch Views, paintings from the 1930s and 1940s, through March 22; okeeffemuseum.org; open daily.
Museum of Indian Arts & Culture
710 Camino Lejo, Museum Hill, 505-476-1250 Courage and Compassion: Native Women Sculpting Women, group show, through Oct. 19 • Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors, including Houser’s sons Bob Haozous and Philip Mangas Haozous, plus works by Doug Hyde, Estella Loretto, and Robert Shorty; through May • Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection. Closed Mondays; indianartsandculture.org.
Museum of International Folk Art
706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience • Wooden Menagerie: Made in New Mexico, early-20th-century carvings, through Feb. 15 • Multiple Visions: A Common Bond, international collection of toys and folk art. Closed Mondays; internationalfolkart.org.
Museum of Spanish of Colonial Art
750 Camino Lejo, Museum Hill, 505-982-2226 Guadalupe, images of Our Lady of Guadalupe from the museum collection; Boxed In, contemporary artisan-made boxes from the collection, through May • Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation; spanishcolonial.org; closed Mondays.
New Mexico History Museum/ Palace of the Governors
113 Lincoln Ave., 505-476-5200 Toys and Games: A New Mexico Childhood, through Feb. 1 • Setting the Standard: The Fred Harvey Company and Its Legacy, ephemera from the museum collection and photos from POG photo archives • Gustave Baumann and Friends: Artist Cards From Holidays Past, holiday cards by Baumann and other artists spanning the years 1918-1970 • Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings • Poetics of Light: Pinhole Photography; exhibits up through March 29 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; nmhistorymuseum.org.
New Mexico Museum of Art
107 W. Palace Ave., 505-476-5072 Focus on Photography exhibit North to South: Photographs by Edward Ranney, landscape
studies • Hunting + Gathering: New Additions to the Museum Collection, recently acquired works by Ansel Adams, Gustave Baumann, and others, through March 29 • Syncretism, photographs by Delilah Montoya • Cameraless, photograms by Leigh Anne Langwell • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin • Spotlight on Gustave Baumann, works from the museum’s collection; exhibits through 2015. Closed Mondays; nmartmuseum.org.
Los Alamos
Pablita Velarde Museum of Indian Women in the Arts
1050 Bathtub Row, 505-662-4493 Tradition and Change in Córdova, New Mexico: The 1939 Photographs of Berlyn Brixner & the López Family of Wood Carvers. Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org.
213 Cathedral Place, 505-988-8900 Out of the Ordinary, retrospective exhibit of paintings by Velarde. Closed Mondays; pvmiwa.org.
Poeh Cultural Center and Museum
78 Cities of Gold Rd., 505-455-3334 The Why, group show of works by Native artists • Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history; poehcenter.org; also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037; roxanneswentzell.net; closed weekends.
Wheelwright Museum of the American Indian
704 Camino Lejo, Museum Hill, 505-982-4636 Adorn-aments, small works for the holidays, group show including pieces by Dennis Esquival, Liz Wallace, and Nathan Youngblood • works by Diné photographer Will Wilson, through April 19. Core exhibits include historic and contemporary Native American art. Open daily; wheelwright.org.
Albuquerque Albuquerque Museum
2000 Mountain Rd. N.W., 505-243-7255 Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through Feb. 1 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro; cabq.gov/culturalservices/albuquerque-museum; closed Mondays.
Indian Pueblo Cultural Center
2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos; indianpueblo.org; open daily; weekend Native dances.
National Hispanic Cultural Center
1701 Fourth St. S.W., 505-604-6896 AfroBrazil: Art and Identities, three-tiered exhibit of lithographs from Tamarind Institute, photographs and dressed figures by Paulo Lima, and ephemera representing popular cultural goods sold by Brazilian street vendors, through mid-August • ¡Papel! Pico, Rico y Chico, group show of works in the traditional art of papel picado (cut paper), through January. Closed Mondays; nationalhispaniccenter.org.
UNM Art Museum
1 University of New Mexico, 505-277-4001 David Maisel/Black Maps: American Landscape and the Apocalyptic Sublime, photographs by Maisel; Beautiful Disintegrating Obstinate Horror Drawing and Other Recent Acquisitions and Selections From the UNM Art Museum’s Permanent Collection; The Gift, woodcut prints by John Tatschl (1906-1982). Open Tuesday-Saturday; unmartmuseum.org.
Bradbury Science Museum
1350 Central Ave., 505-667-4444 Saul Hertz: A Pioneer in the Use of Radioactive Isotopes, collection of handwritten data charts, personal letters, published papers, newspaper articles, and photographs from the late doctor's estate, through January • Environmental Research and Monitoring, an interactive exhibit on how to preserve archaeological sites, local wildlife, and fragile ecosystems. Core exhibits on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits; lanl.gov/museum; open daily.
Los Alamos Historical Museum
Pajarito Environmental Education Center
3540 Orange St., 505-662-0460 Exhibits of flora and fauna of the Pajarito Plateau; also, butterfly and xeric gardens; pajaritoeec.org; closed Sundays and Mondays.
Española Bond House Museum and Misión Museum y Convento
706 Bond St., 505-747-8535 Historic and cultural objects exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; plazadeespanola.com.
Pecos Pecos National Historic Park
NM 63, 505-757-7241 Exhibits portraying the history of the Pecos Valley, including ruins, traces of the Santa Fe Trail, and artifacts from the Civil War Battle of Glorieta Pass. Open daily; nps.gov/pecos.
Taos E.L. Blumenschein Home and Museum
222 Ledoux St., 575-758-0505 Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open daily; taoshistoricmuseums.org.
Harwood Museum of Art
238 Ledoux St., 575-758-9826 ¡Orale! Kings and Queens of Cool, a four-part exhibit focusing on Post-Pop and lowbrow art movements, including works by Robert Williams, Gary Baseman, Ron English, and R. Crumb, through Jan. 25. Closed Mondays; harwoodmuseum.org.
La Hacienda de los Martinez
708 Hacienda Way, 575-758-1000 One of the few Northern New Mexico-style, Spanish colonial “great houses” remaining in the American Southwest. Built in 1804 by Severino Martinez; taoshistoricmuseums.org; open daily.
Millicent Rogers Museum
1504 Millicent Rogers Rd., 575-758-2462 Looking at Taos Pueblo: Albert Martinez, Juan Mirabal, and Albert Lujan, paintings, through January • Fred Harvey and the Making of the American West, objects drawn from the Harvey family, through January. Historical collections of Native American jewelry and paintings; Hispanic textiles, metalwork, and sculpture; and contemporary jewelry. Closed Mondays; millicentrogers.org.
Taos Art Museum at Fechin House
227 Paseo del Pueblo Norte, 575-758-2690 Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933; taosartmuseum.org; closed Mondays.
Bill Ray: Ringo Starr, Atlanta 1974 gelatin silver print Monroe Gallery of Photography 112 Don Gaspar Ave. 505-992-0800 Bill Ray: My Life in Photography continues through Feb. 8. Ray shot for a number of magazines, including Newsweek, Life, Fortune, and Smithsonian. Over the course of his career, he documented such memorable moments in history as the 1965 Watts riots in Los Angeles, Muhammad Ali in the ring, and Marilyn Monroe singing “Happy Birthday” to JFK. He photographed stills for the Carl Sagan series Cosmos and captured the Beatles, Ray Charles, Natalie Wood, and other stars at the height of their fame. Stuffed elephant circa late 19th century
Camordino Mustafá Jethá: Refugiados (Refugees) 2013, painted wood Museum of International Folk Art, 706 Camino Lejo, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience continues in the museum’s Mark Naylor and Dale Gunn Gallery of Conscience through Jan. 17, 2016. The show includes carvings, fiber arts, paintings, and works on paper treating themes such as the challenges of transitioning to new homes and the long journeys made to reach d Asiia are representted d. them. Workks from the Ameriicas, Afriica, and
New Mexico History Museum, 113 Lincoln Ave., 505-476-5200 The installation Toys and Games: A New Mexico Childhood continues through May 10. Located in the museum’s lobby, it includes items from the 19th and early 20th centuries such as china dolls, rocking horses, spinning tops, mechanical toys, and marbles. “So often, exhibits look at the world from an adult’s perspective,” said museum curator Meredith Davidson. “This gave us the chance to see the collection from a child’s viewpoint.” Visitors are encouraged to leave pictures of themselves with a favorite toy, and children are encouraged to take the complimentary drawings of some of the toys with them to color at home.
A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N Karen Yank: Align 2014, steel and stainless steel
Wendi Haas: Blood Son 2014, acrylic on canvas Jean Cocteau Cinema, 418 Montezuma Ave. 505-466-5528 An exhibit of paintings and mixed-media works by Wendi Haas, titled Celtic Voice, features the artist’s abstract paintings inspired by the Iron Age Celtic people’s mythology and reverence for nature. “For me, the dialogue between painter and canvas is a mysterious adventure involving conscious and unconscious memories,” Haas writes. “There’s a constant exchange between the symbols and surface that makes risk and freedom the most important ingredients in my approach.” There is a 5 p.m. reception on Sunday, Jan. 18.
Zane Bennett Contemporary Art, 435 S. Guadalupe St., 505-982-8111 The gallery’s Annual Group Show 2014, which continues through Jan. 23, features works by Karen Yank, Karina Hean, David Nakabayashi, Sonya Kelliher-Combs, and Holly Roberts, among others. Nakabayashi paints surreal city- and seascapes. Kelliher-Combs’pieces reference her Inupiaq heritage. Roberts uses found objects to create unnerving mixedmedia images of flora, fauna, people, and imagined landscapes.
PASATIEMPOMAGAZINE.COM
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Helping Santa Fe Create Waterwise Outdoor Living Areas Cacti and succulents
Bromeliads Easy to grow long lasting house plants that thrive in low light.
soil Builder
Late January through March is one of the most important times to make sure that your trees, shrubs, and gardens have a fresh layer of mulch to protect them from the cold.
2.5” containers $2.99
4” containers $5.99
2 cubic foot bags $6.99 each or 5 for $32.00
Boston Ferns
Cyclamen
Carolina reaper seed
Boston ferns are a great house plant that will help filter the air in your house or work. These plants are easy to grow in a bright but not direct light with watering every two to three days.
4” containers $4.99
Pet Grass Cats and dogs need fresh grass to chew on all year to help with their digestion. Keep your house plants safe with a pot of pet grass today.
Cyclamen are one of the best flowering house plants for the winter. They will often flower well into April and sometimes May. Cyclamen are very easy to grow with weekly watering in just about any light.
6” containers $8.99
dormant oil
organic Potting soil
Hi-Yield dormant oil is the safe and organically approved way to help keep your roses and other shrubs free of aphids.
2.5” containers $1.99 Regularly $2.99
2 cubic foot bags $19.99
1 quart $13.99
Pete Moss’ Garden Tip: Help keep the landfills and arroyos, Family Owned d sR oa
Ocate Road
Walmart
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ALWAYS FRIENDLY PROFESSIONAL NURSERY SERVICE new winter hours: 10:00 am to 4:00 pm
Jaguar Drive
NEWMAN’S Newmans
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free of old Christmas trees this year by recycling them. This year we are helping collect old Christmas trees to be ground up into mulch that will be used by the city and parks to help our landscapes save water. Simply bring your cut Christmas tree by during business hours and drop it off in the recycling bin. And if you have a live Christmas tree, or any other tree that was recently planted, don’t forget to water it on a regular basis.
Good thru 1/23/15 • while supplies last • stop by today and see our Great selection.
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PASATIEMPO | January 16-22, 2015
5 I-2
7501 Cerrillos rd.
471-8642