Pasatiempo January 9, 2015

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

PERFORMANCE SANTA FE PRESENTS

January 9, 2015

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PASATIEMPO | January 9-15, 2015

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THE SANTA FE NEW MEXICAN

January 9-15, 2015

www.pasatiempomagazine.com

ON THE COVER 28 Siblings in song Engelbert Humperdinck’s opera, based on the Brothers Grimm fairy tale Hansel and Gretel, had its premiere in 1893, with composer Richard Strauss conducting.

Strauss pronounced the work a masterpiece, and its success throughout Germany and around the world was almost immediate. It entered New York’s Metropolitan Opera repertoire in 1905 and has been a company staple ever since. This weekend, Joe Illick, artistic director of Performance Santa Fe, brings a streamlined English-language version of the children’s opera Hansel and Gretel to the Scottish Rite Center for three free performances. On the cover is a late-19th-century illustration of the defiant duo, possibly by Heinrich Leutemann or Carl Offterdinger.

MOVING IMAGES

BOOKS AND TALKS 10 12 16

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In Other Words Tasty: The Art and Science of What We Eat Everybody’s library American Pulp Type A Buyer beware — e-books

36 38 40 42 44

MUSIC AND PERFORMANCE 18 20 23 24 26

Pasa Tempos Album reviews Pasa Reviews Santa Fe Pro Musica Orchestra Random Acts African Children’s Choir Winter winds Serenata of Santa Fe Just an old-fashioned girl The Madwoman of Chaillot

CALENDAR 50

6 8 48

Viajes Leandro Katz’s and Frederick Catherw rwood’s w ancient Maya

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

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Art Director — Marcella Sandoval 505-986-3025, msandoval@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

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Mixed Media Star Codes Restaurant Review: Thai Café

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PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com ■

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ART & ARCHAEOLOGY 30

Once Upon a Time in America Magician: The Astonishing Life and Work of Orson Welles Selma She’s Beautiful When She’s Angry The Search for General Tso Chile Pages

Tom Cross Publisher

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Winter Clearance

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Featuring Attractive Handcrafted Furniture Southwestern Style • One-of-a-kind Pieces

Astrophysics Join the Chorus RENESAN Reads!

Shakespeare

Contemporary Art

World War I Study Group

How to Read a Constitution Japanese & Samurai History

Film Discussion

Food, Culture, & Human Evoluion

Dr. Seuss Macbeth

Prevention and Causation Letters of Saul Bellow

Learn to Speak Shakespeare’s Sonnets!

Hot Spots - Where in the World?

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Margaret Mitchell’s Gone With The Wind

The Trinity Site and the Very Large Array Trip

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Thomas Mann’s The Magic Mountain

Flannery O’Conner

Notes on Music: Jean Sibelius

Faulkner’s Light in August

Southwest History

Geology of Los Alamos Area

Richard the III

How Are Weather Forecasts Made?

Behind the Baton

Register January 12 at www.renesan.org Walk-in registration at St. John's beginning January 19 Spring Semester Begins February 2

Why Do Bones Break?

Bach’s Magnificat & Easter Oratorio British India: Rise & Fall of The Raj

The New Yorker Geology of Tent Rocks

Judy Chicago

Leonard Bernstein’s Music

Anne Brontë’s The Tenant of Wildfell Hall

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Furnishing New Mexico’s Beautiful Homes Since 1987

59 Classes, Lectures, and Trips

Global Sustainability: Is It Still Possible?

William Blake’s World Hitler and Mussolini: A Brutal Friendship A Walk Around Old Santa Fe Taking Apart the News Women of Acequia Madre House Lunchtime Current-Events Discussion Arthur Conan Doyle’s Sherlock Holmes Last Supper - Seder? Winifred Wagner: Bayreuth’s Mistress & Hitler’s Muse The Dawn of the Renaissance Why We Dropped The Bomb Four-Day Seminar - Immigration in the Borderlands

Jazz of the Sixties

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S E R E NATA

Sunday, January 11, 2015 of Santa Fe 3:00pm

MIXED MEDIA

First Presbyterian Church 208 Grant Ave, Santa Fe

Music for woodwinds by Barber, Ligeti and Janacek SERENATA OF SANTA FE presents

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COmmunity LECturE

Eating Our Words

What the Language of Food Says About Us Wednesday, January 14 7:30 p.m.

James A. Little Theater 1060 Cerrillos Rd., Santa Fe Lectures are free and open to the public. Seating is limited.

The words we use to talk about food offer surprising insights on history, economics, psychology, and even evolution. Daniel Jurafsky explores the relationship between food and language around the globe, from the origins of America’s national condiment as a Chinese fermented fish sauce to the reason crispy food brands tend to have different vowels than their creamy counterparts. Jurafsky will also look at the stunningly complex language of restaurant menus and reviews, and what they tell us about our culture and society.

Jurafsky, a 2002 MacArthur Fellow, is Professor and Chair of Linguistics and Professor of Computer Science at Stanford University. He recently published The Language of Food: A Linguist Reads the Menu.

DanieL JuRaFSky

SFI’s 2015 Community Lecture series is generously sponsored by Thornburg Investment Management

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PASATIEMPO I January 9-15, 2015

Talk about continuous curves

During a recent interview, Penelope Hunter-Stiebel had a quick reaction to the suggestion that rococo can be described as a “hyperdecorative” style in art, furnishings, and architecture. “It doesn’t have to be hyperdecorative,” said the rococo authority, who lectures on the subject at 2 p.m. on Monday, Jan. 12, at the Museum of Spanish Colonial Art. “It’s an impulse; it’s this sensuous, anti-rational impulse that has always been there, but it’s usually undercover, and then it comes up like the Loch Ness monster every so often.” Rococo is all about curves, but not just any curves. “It’s not a controlled curve or a C curve, but a continuous curve, an S curve.

It’s extremely organic and imaginative, and there’s a whole intellectual movement against it every time it erupts.”

The fanciful style originated in France in about 1730. Its allegiance to freedom and violating all the rules was at least in part a reaction against what Hunter-Stiebel called the “regime of rational control” under Louis XIV. In the mid-18th century, rococo was the last word in style. The idea of overdecoration relates more to adaptations by other countries than to its original expressions.

According to Hunter-Stiebel, recent examples of the style are Frank Gehry’s Guggenheim Museum in Bilbao, Spain, and a gilded wall mirror

by Jeff Koons that appeared in the exhibition Rococo: The Continuing Curve, 1730–2008. Hunter-Stiebel served as guest curator on that show at the Smithsonian’s Cooper-Hewitt, National Design Museum in New York and curated Louis XV and Madame de Pompadour: A Love Affair With Style, which was exhibited at the Dixon Gallery and Gardens, Memphis, Tennessee, and at Rosenberg & Stiebel, Inc., New York. The speaker will illustrate her lecture, “Rococo, the Continuous Curve,” with items from both of those exhibitions. The museum is at 750 Camino Lejo. Tickets are $10; call 505-982-2226 for reservations.

— Paul Weideman

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Parents and caregivers are encouraged to partic cipate.

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STAR CODES Heather Roan Robbins Spring will be an active, action-packed season, so let’s lay the groundwork now. Mercury turns retrograde on Jan. 22: We have between now and then to get our schedules sketched out, working after that on using our imaginations to dream new forms into existence.

Venus and Mercury — the planets that symbolize our hearts and minds — run together in outgoing and friendly Aquarius this week to activate our social conscience and help us think in terms of teamwork and collaboration. This also adds poetic insistence to our words and a desire to convince and connect through them.

The weekend begins rather industriously as the moon in Virgo helps us bring our organizational skills into our homes. We can merely catalog all the things that need fixing, but it’s better to become inspired to actually do something about one or two items on the list. The rest of the weekend is more sociable and connected under a Libra moon.

Early next week, Mars, the planet we associate with motivation and defenses, enters Pisces and takes some of the sting out of tempers. Though it increases our sensitivity and compassion, it can also intensify our tendency to feel put upon or victimized. Mars in Pisces until the end of February can lower our defenses, but this can also affect us physically. Let’s support our immune system and pace our energy expenditure — keeping it slow and steady — exercising, but not to the point of exhaustion.

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PASATIEMPO I January 9-15, 2015

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Friday, Jan. 9: After a vulnerable and foggy early morning, watch a tendency to be hard on yourself, as well as on others, under an intelligent but slightly cranky Virgo moon. Tonight, everybody may need a moment to vent — and to do so scintillatingly — but, afterward, it’s important to come back to what heals.

Saturday, Jan. 10: Tend to all the things that have recently been swept under the rug. Meet and greet, but don’t expect people to stop and talk long — we’re all nagged by an urge to accomplish. Be free with advice if asked; stuff it otherwise. Evening wanders: Release the agendas and focus on renewal.

Sunday, Jan. 11: A lazy day — we hunger for peace and connection as the friendly Libra moon trines Mercury and Venus and wants us all to get along (or at least talk about doing so). It’s a warmhearted day for community, but we respond to ugliness or ill will with a severe allergic reaction.

Monday, Jan. 12: The world gets complicated; our energy grows more subtle as Mars enters Pisces. Deal with uncomfortable, urgent communications this morning, but use patience and forethought. Our soul may long for that deep, inner quiet just as the world clamors for us to make decisions.

Tuesday, Jan. 13: We have strong opinions this morning, and they only thicken later as the emotional moon enters Scorpio and trines Mars. It’s good to know what we want and where we stand, but let’s be careful with our cheerfully belligerent streak, asking where it furthers progress. Tonight, if old resentments creep in, express them with care (expect retaliation if they’re expressed otherwise), then let go.

Wednesday, Jan. 14: It’s easy to get lost in an internal realm of would have/ could have/should have this morning. Our imaginations tend to linger in the dark corners unless we steer them toward positive obsessions. Watch out for fractured, brittle things — like bones or glass — under slippery circumstances.

Thursday, Jan. 15: We’re curious — even profound — but if we get convoluted, it helps to listen to another person’s story that’s more complicated than our own as the Scorpio moon squares Jupiter. Rather than get reactive, take a moment of quiet to look for the empowering truth beneath that story. ◀ www.roanrobbins.com

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IN OTHER WORDS book reviews Tasty: The Art and Science of What We Eat

by John McQuaid, Scribner, 304 pages If you’ve ever found yourself shying away from Brussels sprouts, broccoli, or cauliflower during holiday dinners, don’t feel guilty. The scientific verdict is that a wariness about these and other bitter foods and beverages — including beer, chocolate, and coffee — is, to some degree, wired into all of us.

At last count, John McQuaid writes in Tasty: The Art and Science of What We Eat, his informative and entertaining “biography of flavor,’’ scientists have identified roughly 23 human genes that act as “bitter receptors.” In comparison, there are only three genes that are receptors for sweetness. Why so many more for a bad taste? Toxic plants are often bitter, so humans and other creatures have evolved an enhanced ability to sense this signal of potential harm.“Bitterness originated as a biological warning system to keep toxins out of the body,” McQuaid writes. “Jellyfish, fruit flies, and even bacteria can sense bitter compounds.”

This raises an obvious question: If bitterness is a danger flag, why do so many people like broccoli, spinach, and pickles anyway? Because, for most of us, bitterness is not an offensive taste on the tongue itself, especially when it’s combined with other flavors by a good cook. Experiments dating back to 1930, using a bitter white powder called phenylthiocarbamide (PTC), have shown that many people are what scientists refer to as “non-tasters.”

That is, when a bitter substance is placed on their tongue, it doesn’t make them frown or wince. Non-tasters like McQuaid — who had himself tested using a different agent, a chemical called 6-n-propylthiouracil — are likely to enjoy bitter foods.

People who hate broccoli — like President George H.W. Bush, who famously banned it from Air Force One in 1990 — are probably “tasters.” In 1941, all five of the famous Dionne quintuplets were tested using PTC. Every one was a taster; Cécile Dionne echoed the sentiments of the group when she said, “Ce n’est pas bon!”

McQuaid, a prolific journalist who co-wrote a 2006 book about Hurricane Katrina called Path of Destruction: The Devastation of New Orleans and the Coming Age of Superstorms, covers a lot of ground in Tasty, touching on everything from alcoholic beverages to super-hot peppers to sweets to the physical mechanics of food-driven “disgust” to the history of the potato chip. (“Its exact origins are cloudy; the most famous story suggests it was born at the Moon Lake Lodge in Saratoga Springs, New York, in 1853.”)

He does a terrific job of blending complicated strands of history, social science, chemistry, brain science, genetics, agriculture, and commerce into the stories he builds around his separate themes, and he’s done a tremendous amount of research. (The book contains 27 pages of footnotes.)

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PASATIEMPO I January 9-15, 2015

McQuaid has a sharp eye for offbeat anecdotes that bring the science to life. Often, these stories come from the early days of experimentation, when people knew very little about the workings of the brain or human genetics but made notable discoveries all the same, using the available methods of their time.

For example, in McQuaid’s chapter on chili heat (“Quest for Fire”), we read about an experiment conducted in 1953 by one T.S. Lee, a biologist at the National University of Singapore who wanted to study the puzzling way that the human body reacts to capsaicin, the chemical responsible for a chili’s burn. Lee assembled 46 male volunteers, clad only in cotton trousers, and painted their “faces, ears, necks, and upper bodies with a solution of iodine and dusted them with dry cornstarch — a combination that makes sweat turn blue.” The men were fed peppers called Capsicum annuum, which are about 20 times hotter than jalapeños. Monitoring their bodies’ reactions, Lee observed what science still recognizes to be true: The chemical burn of a hot pepper doesn’t raise body temperature, but it does make you perspire. “In Lee’s experiment,” McQuaid writes, “the subjects sweated as if they had run a mile on a hot afternoon.” Santa Feans who eat especially hot red chile would probably recognize the sensation.

The book’s most notable chapter is “The Seduction,” which focuses on sweets. McQuaid, like other writers on this subject, reports that the amounts of sugar consumed by modern humans are far too high.

In nature, McQuaid explains, sugar is relatively rare, found mainly in fruits, berries, figs, and honey. But over the centuries, the production of plant-based sugars (from sugarcane, beets, and corn) have created a massive oversupply. “The world is now running a giant sweetness experiment,” McQuaid writes. “Enormous resources are employed, year after year, to saturate billions of living bodies with sugars, and scientists are only beginning to assess the effects on human biology and public health.”

The statistics McQuaid serves up are alarming: Worldwide, daily consumption of sugars added to food increased 46 percent between 1983 and 2013, and Americans consume an average of 40 teaspoons of sugar a day — more than anyone else in the world. On the (relatively) bright side, he reports that some of the associated ills from this intake — obesity, cardiovascular problems, diabetes — have sent a message to consumers. In the early years of this decade, he writes, the sale of soft drinks decreased for the first time in their century-long history. Diabetes is still on the rise, though, and McQuaid reminds us that one of the greatest challenges in the field of dietary science remains unmet: The world could still use a sugar substitute that’s both harmless and as tasty as the real thing.

— Alex Heard

SUBTEXTS Food for thought Santa Fe is known as a foodie town.

Many of its restaurants offer locally sourced organic ingredients, fusion cuisine that crosses cultures, and dishes rooted in New Mexico food traditions.

Most people, if they’ve lived here long enough, know whether they prefer red or green chile, but probably aren’t aware that their preference for different types of vowel sounds may affect their taste buds, or that the length of the words on a menu could increase the price of their meal.

The study of food language is the specialty of Dan Jurafsky, a linguist who crunches this seemingly esoteric data to discover broad sociological patterns in the way we experience food — which is simultaneously trendy, marketable, and necessary for survival (and, therefore, utterly inescapable). In The Language of Food: A Linguist Reads the Menu (W.W. Norton & Company, 2014), Jurafsky infuses scholarship into a book written for a general audience, elucidating, for instance, why — across continents and languages — people tend to associate sharp foods like crackers or pickles with vowels made in the front of the mouth and rich, creamy foods like milk chocolate or soup with vowels made in the back of the mouth. Jurafsky covers a variety of topics in his book, including the history of food monikers and how some similarly named foods from different countries are actually connected (such as the macaroon, the macaron, and macaroni), as well as why sweet and indulgent expensive foods are described by many online reviewers in sexual terms, while cheaper desserts are associated with drugs. At 7:30 p.m. on Wednesday, Jan. 14, at the James A. Little Theater (New Mexico School for the Deaf, 1060 Cerrillos Road), Jurafsky presents his food scholarship in “Eating Our Words: What the Language of Food Says About Us” as part of the Santa Fe Institute’s Community Lecture series.

There is no charge for admission. For information, call 505-984-8800.

— Jennifer Levin

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11

Jonathan Richards I For The New Mexican

To one who has a Taste, the Poets serve to fill up Time which would otherwise pass in Idleness, Languor, or Vice. You will never be alone, with a Poet in your Pocket. You will never have an idle Hour.

T

— John Adams, in a letter to John Quincy Adams, 1781

he paperback revolution that erupted in this country in the late 1930s and continued into the ’60s put literature, both high and low, into the hands of a reading public, the range of which, in both size and demographics, was previously unimaginable. The paper was cheap, softbound titles were affordable, and the dimensions of a pulp paperback made it easy to slip into a pocket and carry around. Books, formerly the province of the well-heeled intelligentsia, were suddenly as accessible and portable as a pack of cigarettes.

Overnight, everybody was reading.

Paula Rabinowitz, a professor of English at the University of Minnesota and a fan and collector of the publishing phenomenon known as “pulp,” has written a generally lively and always loving paean to the publishing format that changed America’s reading habits.

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PASATIEMPO I January 9-15, 2015

“What is pulp?” she writes in American Pulp: How Paperbacks Brought Modernism to Main Street. “Steamy fiction? Sleazy magazines? Cheap paper? Or might it be a technology, a vehicle that once brought desire — for sex, for violence — into the open in cheap, accessible form? Or, and this is the question that motivates this book, might it be part of a larger process by which modernism itself, as high literature and art but also as mass consumer practice, spread across America?”

If Rabinowitz shows a tendency from time to time to slip into the cadences of academia, that’s understandable in an academic, though it sometimes feels at odds with her subject matter. But she’s also capable of a lively prose style that embraces humor and irony.

The writing is often incisive, but sometimes careless, as in the mistaking of “poured” for “pored” (“millions of twenty-five cent paperbacks were scooped up and poured over by practically everyone”); or when, in introducing her “story of quotidian objects” that takes in fields as diverse as “law, art, government, war, literary forms, race relations, sexuality, crime, and popular media,” she refers to the pulp publishing industry as “a many-hydra-headed beast,” which seems like a few heads too many. These are surprising lapses from

a professor of English; but she makes up for them with a profligate use of favored words like “demotic,” which one can go years without finding on a printed page. She also has an unfortunate habit of repeating herself, returning to information already introduced and presenting it with the air of something new.

But there’s plenty of material here to keep her, and us, busy, as she delves into the mid-century marriage of marketing and literacy and shows us how the vision of a few publishers, first in London and then in New York, created popular access to everything from sleaze and porn to the classics. Pulp grew out of the penny dreadfuls, dime novels, and true crime magazines that fed the hunger of young men and women for sensationalism, but it grew far beyond those origins. One of the biggest boosts to the explosion of cheap, portable reading matter was World War II. Faced with more than 16 million of its men and women in uniform over the course of the war, the U.S. government, in concert with private interests, decided to undertake a push for literacy among a military population drawn from all levels of society. “The Council on Books in Wartime organized to promote books as essential tools of a democratic nation through a variety of programs. The lightweight books they invented … formed the basis of both the paperback industry’s postwar explosion and the government’s ongoing efforts to improve the health, training, and literacy of draftees and enlistees, many of whom entered the services malnourished, poorly educated, and unemployed, escaping destroyed farms and cities devastated by the Depression.” Bulging crates of free books in Armed Services Editions were shipped overseas and to training bases for distribution to the troops. Selections included fiction, nonfiction, poetry, the works of such diverse authors as Rupert Brooke, Isak Dinesen, Zane Grey, Ring Lardner, Henry James, Albert Maltz (who later became one of the Hollywood Ten), and Rafael Sabatini. These selections were not arrived at without political wrangling: Sen. Robert Taft (R-Ohio) engineered an amendment to the Soldiers’ Vote Act of 1944 that prohibited books with any mention of political parties, “in an effort,” Rabinowitz writes, “to cancel the enormous popularity of FDR.” One of the books thus censored was Charles A. Beard’s The Republic, continued on Page 14

BULGING CRATES OF FREE BOOKS in Armed Services Editions were shipped overseas and to training bases for distribution to the troops. Selections included fiction, nonfiction, poetry, the works of such diverse authors as Rupert Brooke, Isak Dinesen, Zane Grey, Ring Lardner, Henry James, Albert Maltz (who later became one of the Hollywood Ten), and Rafael Sabatini.

Top left, the newsstand in Chicago’s Union Station, 1943; Library of Congress, Prints & Photos Division, FSA/OWI Collection; photo Jack Delano; courtesy Princeton University Press

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American Pulp, continued from Page 12

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“in part for its inclusion of the Constitution.”

One of the delights of American Pulp are its two dozen pages of color plates of the pulp covers that once enlivened book racks in drugstores and bus stations across the country.

And there are about 20 more such reproductions of covers in the book’s three dozen pages of archival halftone images. Artists like James Avati, known as “the Rembrandt of Pulp,” lured readers into solid literature like Christopher Isherwood’s Goodbye to Berlin, whose cover depicts a sultry Sally Bowles draped provocatively across a chair, wielding her cigarette in a long holder. George Orwell’s Burmese Days features a native Burmese woman in a deeply plunging neckline watching jealously from the shadows as a white man passionately buries his lips in the bare neck and shoulder of a blonde. The deception wasn’t all about sex. John Hersey’s Hiroshima has a cover showing a young white American couple fleeing an atomic blast. Such covers, and the copy lines that were splashed across them (“This book will shock you!”), “put these books into the hands of those who might never have otherwise read them,” Rabinowitz astutely notes.

The flood of pulp paperbacks opened up avenues for the dissemination of topics that would ordinarily have been taboo. Interracial sex and homosexuality found their way into print, in part because nobody was looking too closely. The author devotes a lot of attention to the effect that lesbian literature had on isolated young women in small towns and rural communities who felt unconventional stirrings and thought they were totally alone in doing so. Lesbian fiction served as how-to manuals, not for the sex acts themselves, but for tips on how to dress, how to act, what to read. Among other interesting tidbits, Rabinowitz offers the insight that the name Paula (the title character in a novel by lesbian author Gale Wilhelm) became “a frequent code name for lesbians in many pulps.”

This is surely offered with a wry smile by the author who bears that name.

The obscenity trials that rocked the world of literature tended to be aimed at the high-toned stuff like James Joyce’s Ulysses and D.H. Lawrence’s Lady Chatterley’s Lover. This came about in part because these books, pulped into cheap paperbacks that could be had for the price of a pack of cigarettes, put them too easily in the hands of the great unwashed. The irony, as Rabinowitz points out, is that “the very idea that had prompted Allen Lane to develop Penguin Books — a desire to bring literature to a wide audience through cheaply produced books sold at railway stations and newsstands — was the cause of the furor about this book’s [Lady Chatterley’s Lover] publication.” It was all right for the privileged to indulge in a little erotica, but god help us if it fell into the hands of the undeserving poor. Book censorship, the author observes, “was tied to efforts to control the masses.”

It is Rabinowitz’s thesis, as underlined in her book’s subhead, that the paperback revolution brought America into the modern world. She makes a persuasive case for that — though it is sometimes undermined by tooextensive digressions into specific works and authors — through lively and pertinent anecdotes, original insights, and extensive research. The world is even more modern now, leaving postmodernism expiring quaintly in the dust. And while there are still paperbacks, the heyday of pulp is long gone: The reader following John Adams’ advice to his son John Quincy is as likely to carry their pocket poet on a Kindle. ◀ “American Pulp: How Paperbacks Brought Modernism to Main Street,” by Paula Rabinowitz, is published by Princeton University Press.

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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.

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

free family preview/dress rehearsal: wednesday, january 7 | 6 pm 3 FREE performances at the scottish rite center: friday, january 9 | 7 pm saturday, january 10 | 2 pm sunday, january 11 | 2 pm AdvANCE TICkETs REqUIREd FOR ThEsE PERFORMANCEs call performance santa fe at 505-984-8759 to reserve seats

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15

TYPE A A column exploring the changing world of publishing and reading James McGrath Morris

E-books: the legerdemain of tomorrow?

The new emerging world of e-books has a potential dark side to which few are paying attention. E-books make censorship and other restrictions on the freedom to read possibly easier.

In 2009, Justin Gawronski, then a Michigan teenager, was one of many Kindle readers who learned what you think is yours isn’t when it comes to digital texts. One day while reading George Orwell’s Nineteen Eighty-Four for school, he couldn’t locate his copy on his Kindle. It was missing. Unbeknownst to him, Amazon, which had sold him the book, didn’t have the rights to the edition or to the edition of Orwell’s Animal Farm it was selling. So technicians at the world’s largest bookseller configured their computers to solve the problem.

Moving like thieves under the cover of darkness, lines of coding went down the internet that destroyed the text of the books when readers turned on their Kindles. Refunds were issued.

“I certainly never expected that something I bought and thought I owned could be taken away from me so easily,” Gawronski told a reporter from Britain’s Guardian. That’s because the teenager made a mistaken assumption that only the format is different when dealing with e-books. However, e-books are fundamentally different from the paper books one picks up in a store in that their readers don’t own most e-books but are instead granted a license to use them. You may tear apart and rearrange a traditional printed book, you may sell it or give it to another, you may even photocopy large portions of it as long as you don’t resell the copies. More important, once in your hands, the publisher and others do not have any right to tamper with your copy.

The Amazon agreement, which everyone who uses Kindle has to approve in order to obtain books, is a licensing contract with terms that consumers hardly do more than glance at. James J. O’Donnell, a Georgetown University professor, learned about this fine print traveling overseas. When he landed in Singapore, he updated his Google Play app on his iPad. The software then proceeded to remove all the e-books on his iPad and blocked him from downloading them again because it determined he was in a nation outside Google’s licensing agreements. In short, he would have to fly home to retrieve his e-books.

While what was done to the high-school student and the university professor might be considered a bad moment in customer service, the e-book providers were well within their rights. Google Play’s terms of service, as lengthy and as complicated as 16

PASATIEMPO I January 9-15, 2015

E-BOOK YOUR BOOKS ARE NOT YOUR OWN ( READ THE FINE PRINT )

those of Amazon, Kobo, or Nook, include the right of the provider to “remove from your device or cease providing you with access to certain products that you have purchased.” In short, the two had granted prior permission when they obtained their books. If either of them had been presented with a similar multipage licensing agreement when buying a book in a brickand-mortar store, one can presume they would have been shocked. But in cyberspace, consumers click an “agree” button with abandon when presented with licensing agreements.

There is a more ominous possibility looming than changed relations in the selling and buying of books.

The new technology opens the additional possibility of an Orwellian future in which publishers can alter and censor books while they are still in a reader’s possession.

This fear is not the product of a paranoid mind but of the reality of living in a world in which our devices are tethered to the internet. “That is one of the consequences of being constantly connected,” explained Parker Higgins of the Electronic Frontier Foundation, a nonprofit digital-rights group based in San Francisco.

Governments of all sorts have long found it irresistible to censor the content of books to varying extents.

In the extreme case, such as in totalitarian societies, certain books are entirely banned, and owning them is a crime. Yet even in democracies, some degree of content restrictions exists. Material deemed libelous, seditious, or pornographic can be legally restricted in most places.

But e-books eliminate what might be called the “barn door” confronting censors. Once a book is printed and in the hands of a reader, it is for all

intents and purposes unalterable. If, for instance, a court rules that a book contains libelous material and orders the publisher to remove the offending sections in subsequent printings, those who own the printed book may continue to view such passages. It is now conceivable that a court order of the future could include altering the text on e-books already in the possession of readers because, again, the books don’t belong to the readers.

Connectivity and the changing concept of book ownership make the electronic censorship feasible. Robert Darnton, the author of Censors at Work: How States Shaped Literature, is known for his deep studies of censorship in the past but concedes he has given little thought to the new possibilities of censorship. “I don’t think any of us have adequately considered this,” Darnton said. “Electronic communication opens up the possibility of cutting and pasting and modifying texts to an extraordinary degree, and that is a source of real worry.”

One early test of this possibility is in Europe, where the European Union has been pioneering a concept known as the “right to be forgotten.” Essentially the idea is an extension of a person’s right to privacy.

The court ruling provides individuals with a means to require the deletion of personal information on the internet so that search engines can’t find it. For instance, in July, The Guardian received a notice that six articles it had published could no longer be located using Google. An example of the offending articles, described by the newspaper, was one that reported on a soccer referee who had lied with regard to granting a crucial penalty.

According to Higgins, the early conduct of the European court raises the possibility that a judge could eventually issue an order requiring that a passage in an e-book or other electronic publication be removed even years following publication.

In the late 1970s, I brought with me on a trip to the Soviet Union a collection of books that were banned there, including One Day in the Life of Ivan Denisovich,

by Aleksandr Solzhenitsyn, a work that had originally been published in Russia in 1962 but was later suppressed. When I distributed the booty to students in Moscow, I watched as they began to type copies, using carbon paper to extend the number of copies. What then seemed like a primitive means of escaping censorship may ironically have a revival in the age of e-books.

Printed books may remain the ultimate protection against big brother. “It’s unlikely,” Higgins notes, “that a court would order that someone break into your house with a glue stick and scissors.” ◀

Jazz from the ’20s, ’30s, and ’40s

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S C H O O L S

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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.”

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PASATIEMPO I January 9-15, 2015

THEO PARRISH American Intelligence (Sound Signature) Longtime Detroit house producer Theo Parrish is a crowd pleaser who loves to challenge his fans to the point of frustration. Famed for his thumping disco revival and house edits, he enjoys turning on a dime and exposing his dance audience to genres far beyond their comfort zone. For instance, his new release opens with the frenetic, juke-inspired “Footwork” and its belligerent, amped-up 4/4 house beats, but the club bangers disappear immediately thereafter, never to return. Instead, Parrish borrows from a century of music traditions from the African diaspora — dancehall, doo-wop, blues, gospel, and funk — to create dance rhythms that will never see the light of club-floor play. “Ah” is a dreamy slice of indie R & B that ditches beats per minute, and even melody, for an up-and-down-the-scale rendition of the title song by vocalist Ideeyah. He fiddles with Jamaican dub on “Make No War” and makes a minor symphony of syncopated Motown soul-drum sequences in “Fallen Funk.” Parrish draws on musical traditions far outside the realm of most dance producers. But the resulting tracks are consistently slick and sophisticated, revealing an artist confident enough to make his own signature grooves out of any sound or sample he finds pleasing. — Casey Sanchez MARIANNE FAITHFULL Give My Love to London (Easy Sound) It’s been slightly more than 50 years since Marianne Faithful released her hit version of Mick Jagger and Keith Richards’ “As Tears Go By” in June 1964, but don’t expect her latest album to be an austere, backward-looking overview, a cash-in, or “deathbed rock.”

She survived breast cancer years ago, and on the cover here poses while exhaling smoke, defiant and cool as ever. The music matches the album cover, alternating between opulence and ferocity with an effortlessly dark and alluring vibe. It also helps to have a Rolodex such as hers. She called on Roger Waters to write “Sparrows Will Sing,” a song that nicks some nonsense phrases from Lewis Carroll’s “Jabberwocky” and maintains the smoke and fire of Carroll’s words. Longtime friend Nick Cave co-wrote “Deep Water” with her, and also submitted album highlight “Late Victorian Holocaust,” a piano-led bit of gothic chamber pop that drifts through the lives of drug addicts (Faithfull once was one) like a ghost. She not only reimagines Leonard Cohen’s “Going Home” with Cohen collaborator Patrick Leonard as an elegant bit of angelic, spoken-word theater, but gets Brian Eno to contribute a backing baritone.

The long list of collaborators may make it sound like she’s letting them do the heavy lifting, but that is not the case. This is a finely curated and finely performed artistic statement that could only have come from a huge talent and a true survivor.

— Robert Ker

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Music of festivity opened and closed Santa Fe Pro Musica’s last program of the recently departed year. Thomas O’Connor began by conducting the Santa Fe Pro Musica Orchestra in Georg Philipp Telemann’s Water Music.

Although it is in no way the equal of George Frideric Handel’s similarly named compilation, Telemann’s orchestral suite is nonetheless a work of considerable allure, an above-average achievement from a composer whose very name betokens the pedestrian in music. Telemann wrote it to celebrate the centennial of a college for seafarers in Hamburg, and most of its 10 movements accordingly depict aquatic topics. To the late-Baroque mind, that meant mythological concepts like Thetis awakening, Neptune in an amorous mood, and Triton playing tricks. The orchestra played the piece adeptly, showing greater expertise in the upper voices (violins and oboes) than in the lower ones, the cellos being distressingly lax with their intonation.

Violinist Cármelo de los Santos projected a well-rounded tone as the soloist in the “Autumn” and “Winter” concertos from Antonio Vivaldi’s The Four Seasons. “Autumn” suffered from rough coordination between soloist and orchestra in the first movement, and in the second the harpsichord continuo was realized as an unvarying succession of chords arpeggiated into eighthnotes. Vivaldi did signal that the music there was supposed to suggest drunken peasants drifting off to sleep, but it is probably not advisable to invite the audience to do the same. One of the most beautiful expanses in The Four Seasons is the warmhearted slow movement of “Winter,” but the performers dispatched it at a fleet tempo without the slightest affection. The disappointment was somewhat redeemed by an ingratiating interpretation of the concerto’s finale.

Handel was represented by his much-loved Music for the Royal Fireworks, another celebratory piece, in this case to grace festivities in London’s Green Park marking the signing of the Treaty of Aix-la-Chapelle in 1748. The orchestra offered a solid performance, not overly concerned with detailed niceties but hearty and cheerful all the same. The brass section — three each of horns and trumpets — deserved special kudos. They infused the score with accuracy, a careful blend, and the requisite spirit of rejoicing without ever threatening to overpower the ensemble.

A reviewer would not normally have reason to call attention to the front-of-house experience prior to a concert, but in this case it was troubling enough to serve as a cautionary tale for any performing-arts organization. The Sunday afternoon concert was apparently sold out, which is a wonderful thing, but the personnel overseeing the crowd in the lobby of the St. Francis Auditorium were obviously not prepared to handle so many people arriving at essentially the same time. Long lines snaked here and there, attendants barked conflicting instructions, and the tempers of attendees grew short. Notwithstanding the turmoil in the lobby, the orchestra churned into action right on schedule. By the time I gained access to the hall, the concertmaster was tuning up, and probably 50 ticket-holders were still behind me. A word to the wise: So far as the audience is concerned, the concert experience begins long before the first note sounds. The virulent comments emitted by many frustrated attendees who were simply trying to reach the seats they had purchased would lead one to believe that Pro Musica came up short on audience development that afternoon.

— James M. Keller

Flora Springs Winery Wine Dinner | Luminaria Restaurant Wednesday, January 28th

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Santa Fe Science Café For Young Thinkers

Mahler Symphony No. 1 ‘Titan’

SUNDAY, JANUARY 18—4 PM AT THE LENSIC

Mozart

Featuring Dana Winograd & Joel Becktell

“I marvelled at the singular courage of the unknown composer... and ardently desired to know the man responsible for so extravagant a work.”

(Bruno Walter, recalling his first hearing of Mahler’s first symphony, in June 1894, at the age of 18.)

“Too Cool to Resist: The Mystery of Superconductivity”

Ross McDonald

Los Alamos National Laboratory Wednesday, January 14, 6:00-7:30 PM Georgia O’Keeffe Education Annex 123 Grant Avenue, Santa Fe The ages of mankind are defined by the materials we have mastered—from the stone, bronze, and iron ages to today’s, silicon age. What materials will define the next age? Being able to design materials with new functionality holds great technological promise. One example is the prospect of creating materials that superconduct — carry electrical current without loss — at room temperature. Such materials could enormously reduce energy demand world-wide. I will discuss the challenges of using the world’s strongest magnetic fields to reveal the mysteries of superconductivity at high temperatures.

Admission is Free and all are welcome!

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Ross will also appear on the KSFR Radio Café with Host Mary Charlotte at 8 am on the morning of the Café. It’s at 101.1 on your FM dial.

Ross earned his PhD at Oxford University. Today he pursues his studies of superconductivity at the National High Field Magnet Lab campus at LANL. Go to www.sfafs.org or call 603-7468 for more information.

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21

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PASATIEMPO | January 9-15, 2015

Show how you

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RANDOM ACTS Changing Africa with music: African Children’s Choir

Thirty-one years ago, Ray Barnett, a human-rights activist, formed the African Children’s Choir with atrisk orphans in Uganda. The choir appears at the Cathedral Basilica of St. Francis of Assisi (131 Cathedral Place, 505-982-5619) at 7 p.m. on Friday, Jan. 9. The group and its parent organization, Music For Life, are dedicated to helping create new leadership in Africa through education: Music For Life has educated more than 50,000 children. The choir, singing traditional spirituals and well-known gospel songs, performs around the world, and has performed or recorded with Annie Lennox, Paul McCartney, Pumeza Matshikiza, and Sara Hickman.

There is no charge for the concert, but free-will offerings aid the organizations’ African education, relief, and development programs. — Paul Weideman

THIS WEEK

Recalling Vivaldi: Red Priest

The British Baroque ensemble Red Priest takes its moniker from the nickname of violinist-composer Antonio Vivaldi, who was a priest with red hair and, as one of his era’s leading virtuosos, may have prefigured the flamboyance the group brings to its unbuttoned performances. The quartet (which comprises recorder, violin, cello, and harpsichord) plays fast and loose with its material, preferring theatricality to anything resembling academic sobriety. The group will appear at 7 p.m. on Friday, Jan. 9, at the Duane Smith Auditorium, Los Alamos High School (1300 Diamond Drive), courtesy of the Los Alamos Concert Association. Tickets ($30) are available through Tickets Santa Fe at the Lensic (www. ticketssantafe.org, 505-988-1234). On the program are transcriptions of Vivaldi’s four concertos known as The Four Seasons, as well as pieces by Biber, Corelli, Purcell, and Jacob van Eyck, the blind recorder player and carillonneur of 17th-century Utrecht. — James M. Keller

Playing up a storm: Tony Furtado

If you want to see some dazzling fingerpicking on guitar and banjo, check out Tony Furtado. He plays Gig Performance Space (1808 Second St., www.gigsantafe.com) at 7:30 p.m. on Wednesday, Jan. 14.

Furtado surprised himself by winning the Grand National Banjo Championship in Kansas in 1987. Five years later, he released his debut album, Swamped.

His newest CD is due out this year. Furtado also has written instruction manuals for banjo and guitar. The engaging musician, appearing with his band, plays in the realms of Americana and indie rock, with a little jazz and Celtic folk thrown in. This concert is presented by Southwest Roots Music. Tickets are $25 in advance from www.brownpapertickets.com and $28 at the door. — P.W.

PASATIEMPOMAGAZINE.COM

23

S

ince its founding in 1987, Serenata of Santa Fe has served up chamber music for a wide variety of instrumental combinations. At its heart are a handful of musicians headed by artistic director Pamela Epple, a Juilliard-trained oboist who was a busy freelancer, a member of the American Composers Orchestra, and a musician for the Paul Taylor Dance Company before she moved to Santa Fe. Although at least some of the core members usually appear in each of the group’s events — normally six public performances every year, plus a few intimate house concerts — other musicians eke out the forces, as needed, for specific repertoire.

On Sunday, Jan. 11, Serenata is presenting a concert, titled Zephyrs, that is entirely devoted to chamber music for winds. “Wind players all know this repertoire from their years of schooling,” Epple said. “I usually program a woodwind-oriented concert each season, often with piano, but I’ve been getting requests from the players that we look at some of the best pieces that use winds alone.” She responded with a program that is modest in length but high in quality, consisting of three 20th-century masterpieces — one American, one Hungarian, and one Czech: Samuel Barber’s Summer Music for woodwind quintet, composed in 1956; György Ligeti’s Six Bagatelles for woodwind quintet, from 1953; and Leoš Janácˇek’s Mládi (Youth) for wind sextet, from 1924. “I think we’ve all performed these pieces one time or another, but we haven’t all played them together. It’s great to come back to them, bringing our different experiences to bear.”

Summer Music is, as its title suggests, an evocation of warm-weather sentiments, the first of its five connected sections even being marked “Slow and Indolent.”

Epple had intended to schedule the piece in September, when summer was still holding on, but the musicians’ schedules rendered that plan impossible. No matter: The piece’s flavor — “moody and melodic,” as she called it — may provide an even more welcome escape for January listeners. “This is a very difficult piece,” she allowed, “posing the woodwind quintet challenges involving complex sonorities and intonation,

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PASATIEMPO I January 9-15, 2015

WINTER WINDS erenata of anta Fe S S

six of which he went on to recast for wind quintet. “Ligeti was a maverick,” Epple said. “It was a very controversial set of pieces for where he was at that time, which was Budapest, and it wasn’t performed until some years later. Now it’s at the center of the woodwind chamber repertoire. Each of the bagatelles is very different, and although they are very original in their sound, there are some suggestions of Bartók, whose music Ligeti supported. You hear it most in the second movement, where heavy, accented rhythms and asymmetrical phrases suggest what we think of as typical of Bartók.”

“I very much like the colors of Janácˇek’s Mládi, too,” she said, pointing to the unusual sonic combination that results from his adding a bass clarinet to the normal wind quintet setup plus having the flutist double on piccolo (which also happens in the Ligeti set). “The bass clarinet provides an extra foundational element,” she said. “This is more folkish-sounding music. In fact, all of this program is a little different from what people may think of as typical classical music. We could have done the familiar classics of the wind quintet repertoire — the quintets of Reicha or Danzi — but this 20th-century repertoire is much more colorful.”

“In fact, the woodwind quintet isn’t always at the top of my list as a genre,” she admitted. “It’s a fun way for woodwind players to learn about ensemble playing and experience complex balance issues, and we all do play in quintets at some point. But when it comes to quintets, I personally find 20th- and 21st-century music the best. The composers tend to illuminate brighter wind sonorities, and it’s in those pieces that this combination can shine.” ◀

details ▼ Serenata of Santa Fe: Zephyrs — music for woodwinds

by Barber, Ligeti & Janácˇek ▼ 3 p.m. Sunday, Jan. 11 ▼ First Presbyterian Church, 208 Grant Ave.

James M. Keller I The New Mexican

▼ $15-$30, student discounts at the door only; Tickets Santa Fe at the Lensic (www.ticketssantafe.org, 505-988-1234)

Rainier Studio

From left, Keith Lemmons, Scott Temple, Pamela Epple, Toni Lipton, and Diva GoodfriendKoven

and setting off the different chapters of the piece.”

To an unusual extent, the piece focused on technical facility as part of its genesis. Barber wrote it after being bowled over by the New York Woodwind Quintet, and he sat in on rehearsals where that group labored over group exercises their hornist had crafted to help them countenance advanced issues of tuning and balance that many woodwind quintets never even think about. He incorporated some of those arcane technical challenges into his piece. As it happens, one of Epple’s principal oboe teachers, the late Ronald Roseman, was a member of that very ensemble at the time.

Ligeti’s Six Bagatelles also have an “étude” quality about them, but in this case they were written more as composition études than performance études, and Ligeti started out by casting them for piano. “In 1951,” wrote the composer,” I began to experiment with very simple structures of sonorities and rhythms as if to build up a new kind of music starting from nothing.

My approach was frankly Cartesian, in that I regarded all the music I knew and loved as being, for my purpose, irrelevant and even invalid. I set myself such problems as: what can I do with a single note? with its octave? with an interval? with two intervals?” Out of this stringent self-discipline grew numerous movements,

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25

Jennifer Levin I The New Mexican

J U S T A N O L D-F A S H I O N E D G I R L

J

ean Giraudoux died about two years before the first production of The Madwoman of Chaillot, the play for which he is most famous in the United States. Set in Paris in the 1940s, the story features a group of misfits at a local café hatching a plot to get rid of some wealthy industrialists who want to tear up the city in search of oil. It premiered at the Théâtre de l’Athénée in Dec. 1945 and opened on Broadway three years later, adapted from the French by Maurice Valency. It ran for two years at the Belasco and Royale theaters, and Martita Hunt won a Tony Award for her performance in the title role. The play has been a favorite at high schools, colleges, and community theaters ever since: In 1975, Greer Garson starred in a production at the College of Santa Fe. 26

PASATIEMPO I January 9-15, 2015

Perhaps the most famous — or infamous — version of The Madwoman of Chaillot is the star-studded 1969 film starring Katharine Hepburn, which is so notoriously terrible that it continues to garner negative reactions, with a 20 percent “fresh” rating on the movie-review aggregate website Rotten Tomatoes.

“No doubt a hip, groovy, contemporary film version of The Madwoman of Chaillot was possible, but Bryan Forbes has not directed it,” Roger Ebert wrote when it was released.

The play, which remains sociopolitically relevant, stands on its own and should not be judged by the cinematic version, with its strange attempts at stylistic flourishes and Yul Brynner’s scenery chewing. It’s a favorite of Barbara Hatch’s, who directs the Santa Fe Playhouse’s production, opening with a gala on

Friday, Jan. 9. Of her production, Hatch said, “There will be no French accents. I lived in France for nine years, so this is a pet peeve of mine. There are 24 people in this cast, and they will not be putting on a range of uneven accents. I promise.”

Hatch was an assistant director for the play at a repertory company in 1998, and then directed it at a high school where she taught in 2007. At the Playhouse, she’s directing a cast with local talent that rivals the movie’s collection of stars. Countess Aurelia, the Madwoman of Chaillot, is played by Karen Leigh, who has acted in many local theatrical productions, including 2014’s Benchwarmers and the 2008 Ironweed Productions presentation of Doubt. Virginia Hall Smith is Mademoiselle Gabrielle, Jennifer Graves is Madame Constance, and Rose Provan is Madame Josephine,

who gives the legal opinions when the ladies and their friends from the café try the businessmen for greed — in absentia.

“It’s the 1940s, but in her mind Countess Aurelia still lives in the 1890s, because it was a much simpler time for her,” Hatch said. “Her friends are also eccentric ladies, all of whom have decided that living in an earlier time period was happier for them, back when they were young and beautiful.”

The madwomen dress in the extravagant manner of the earlier era, with big hats and petticoats, and retain an old-fashioned manner.

The play opens at the sidewalk tables of Chez Francis, where the President (Jeff Nell) and the Baron (Michael Graves) meet the Prospector (Tone Forrest). The President is continually distracted by the vagabonds around him — the Juggler (Giuseppe Quinn), the Ragpicker (Rod Harrison), and the Street Singer (Susie Perkins), among others. He seems to think they have no right to breathe the same air he does, and complains to the staff about their presence. The businessmen are interested in the oil the Prospector insists is under their very feet — but, he tells them, the city architect will not give him the necessary permits to begin drilling. To remedy the situation, he has blackmailed a young employee, Pierre (Hania Stocker), to place a bomb in the city architect’s office so they can kill him and install a new city architect who will do what they tell him. Drilling for oil will destroy Paris, so when the vagabonds, staff, and some patrons overhear the plan, they decide to put the greedy men on trial and render a verdict and punishment.

The play is considered a satire with elements of fairy tale, and the characters are mostly based on fixed social types, similar to the idea of commedia dell’arte. “We talked about that in our rehearsal process,” Hatch said, “how the President is like the Pantalone.” In commedia, the Pantalone represents money and the highest rung on the social ladder. In the play, the vagabonds and the madwomen run counter to fixed social reality and are the foundation of that reality, which shows up strongly in the soliloquies they deliver about the current state of society and the businessmen who, driven by a lust for profit, have no use for the underclass.

The Ragpicker is the moral philosopher of the bunch. He tells Countess Aurelia of empty-eyed men and how the only people getting any respect are pimps. Even cabbages, he says, can no longer just sell themselves as cabbages. They have to be marketed and made into something more than they are. There is always a middleman. “Countess, little by little, the pimps have taken over the world. They don’t do anything, they don’t make anything — they just stand there and take their cut. ... So you know, Countess, why the world is no longer happy. We are the last of the free people of the earth,” he says. Later, speaking from the point of view of the men on trial, he explains greed as a problem of money loving him, rather than the other way around. It rings cynical and true, almost seven decades after it was first written.

“The play translates beautifully to the present day. We’re still going after the oil. We’re still looking for ways to have more, own more, keep more. To do the superficial thing and not to communicate as human beings. To pursue the golden calf, as they say in the play,” Hatch said. “We think it’s going to make our lives better, but it doesn’t necessarily. It usually just means having more stuff. I’m not trying to make a political statement, but the play is a bit of a wake-up call, asking us why we have to be this way. It’s a very idealistic take — that fixing this is as simple as making the greedy people disappear.

And then the dark time will end, and the sun will shine again.” ◀

details ▼ The Madwoman of Chaillot ▼ 7:30 p.m. Friday (gala 6:30 p.m., curtain 7:30 p.m.), Saturday & Thursday, Jan. 9, 10 & 15; 2 p.m. Sunday, Jan. 11; Thursdays-Sundays through Feb. 1 ▼ Santa Fe Playhouse, 142 E. De Vargas St. ▼ $20, discounts available; reservations at 505-988-4262; tickets at 800-838-3006 or www. santafeplayhouse.org

Opposite page, left, Karen Leigh and Hania Stocker, middle, Leigh and Rod Harrison (Kitty Barkley and Susie Perkins, background), right, Rose Provan, Virginia Hall Smith, and Jennifer Graves; photos by Lynn Roylance; painting

by George Stef˘ ¸ anescu, 1967

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27

Adele Oliveira I For The New Mexican

nibble, nibble,

braving danger in Hansel and Gretel

Clockkwise from top p left,, illustration byy German artist Alexander Zick (1845-1907); Los Angeles playbill circa 1936-1941; illustration by German artist Carl Offterdinger (1829-1889); a statue of Humperdinck with Hansel and Gretel in Boppard, Germany

28

PASATIEMPO I January 9-15, 2015

or the past five years in early January, ch hildren have crowded onto the floor fll off the Scottish Rite Center’s theater, sittting on bunched-up snow jackets and clad in party dresses or pajamas while waiting in hushed anticipation for the lights to dim and the show to start.

Though one might expect that only a midwinter screening of Frozen or Happy Feet could elicit such enthusiasm, the kids are there to see an opera. And, yes, they’re excited.

This year, the opera in question is Engelbert Humperdinck’s 1893 adaptation of the Brothers Grimm fairy tale Hansel and Gretel. It’s the sixth opera presented at the Scottish Rite by Performance Santa Fe especially for children and their families.

Past productions have included Cinderella, The Magic Flute, and last year’s The Barber of Seville.

The operas are adapted by Performance Santa Fe artistic director Joseph Illick and are designed specifically to demystify opera and make it palatable to kids (and perhaps parents) who haven’t experienced it before. “The word opera can be frightening,” Illick told Pasatiempo.

“It conjures up these associations of being long and boring.” The hour-long, oneact, English-language operas, which are always performed by professional opera singers from around the country, are free to the public. In addition, all 1,200 of Santa Fe Public Schools’ third-graders will see the show.

Among opera buffs, Hansel and Gretel is a classic children’s opera. It’s put on regularly at the Metropolitan Opera in New York, and musical pieces from the show, like “Evening Prayer,” are frequently performed on their own. But even for novices, Hansel and Gretel is appealing: The story is familiar, the protagonists are a couple of plucky kids, and the show features an entire house made of candy. Humperdinck, who was a student of Richard Wagner’s, made the music in Hansel and Gretel accessible and beautiful in a very simple way. Humperdinck’s sister Adelheid Wette wrote the libretto, softening the Grimms’ story line a bit because she worried it was too dark for children. Certain productions, like this year’s revival of Richard Jones’ staging at the Met, have sought to recapture the dire circumstances and grim realities of the fairy tale. But, according to Illick, his interpretation is in keeping with Wette’s narrative spirit: whimsical and not too scary for young children.

Kentucky-based mezzo-soprano Kate Tombaugh returns to New Mexico for her fourth role with Performance Santa Fe, singing the role of Hansel.

“Hansel is different than anything else I’ve done in Santa Fe,” Tombaugh said. “For starters, he’s a boy. Gretel’s a polished young lady, and she knows what to do, but Hansel’s quite a bit younger and just wants to have fun. Hansel and Gretel is one of my favorite operas musically and dramatically because it’s written for kids. It’s very clear-cut, and it’s easy to see what’s going on. And there are these really relatable melodies for children in the middle of this lush, gorgeous music.”

The production schedule for local community operas is grueling, demanding a high level of professionalism. Rehearsals don’t begin until just after the New Year, and singers are expected to know their parts perfectly upon arrival in New Mexico — less than a week before a dress rehearsal that’s open to the public.

Sets are speedily constructed in the Scottish Rite Center. “The doors of the building are small,” Illick explained, “so we’ll build this fantastic gingerbread

Hansel and Gretel teaches us that even when you’ve been dealt a large blow and it feels like you can’t take on any more, there will be relief.

— mezzo-soprano Kate Tombaugh

house in the theater and then throw it in a dumpster when the show’s over.”

The entire process is ambitious and exhausting.

If the task of adapting a full-length opera to fit into an hour seems formidable, that’s because it is. But there’s a method to Illick’s preparation, and he becomes so immersed in the opera that the creative process becomes his own. “When you think of a big opera and trying to trim it down, it’s daunting. But if you think of beginning with a crucial scene or element and adding to it, it’s much easier. I start with a scene, and then it’s almost as if I’m writing it myself.”

The key element in Hansel and Gretel is the witch — or, as Illick describes the character, “a man in witchdrag.” The witch will be performed by Brian Wallin, a tenor with the Fort Worth Opera Studio, which is also

lending some other members of its company to this production. “The witch and her cottage are the most important,” Illick said. “The children are sent into the forest, and they’re terrified. And the witch is a horrible, child-eating creature. But the witch is eccentric, too, and humorous. Humperdinck purposely wrote humor into the role.”

Hansel and Gretel includes youth performers, who participate in the community opera every year as part of Performance Santa Fe’s EPIK Artists program. These singers are expected to be just as put-together as their adult counterparts. This year, nine student artists between the ages of nine and sixteen will sing as the children’s chorus in the opera and share among them two solo roles. Thirteenyear-old Kaeleigh Glazner, who has worked with Performance Santa Fe since she was seven or eight, has been singing, as she puts it, “since I could sing — since forever.”

Glazner sings the part of the dew fairy — but not in every performance. This, she explained, is because “it’s a very strenuous aria, and my voice isn’t matured yet, and I could damage it if I performed it back-to-back.” Glazner said it’s very exciting to work with adult singers, and that performing in the operas “isn’t really a question of whether I love it or not.

Performing in these shows is just the best possible thing on the planet.”

Though the effort behind Hansel and Gretel is tremendous and should be commended, the best reason to attend the show is because it’s a chance to see an original live performance. Access to the arts in a relatively small city is one of the big perks of living in Santa Fe. And, as Tombaugh puts it, community opera only exists if people show up. “Hansel and Gretel has a message that you can carry every day,” she said. “In a way, it’s a very spiritual show. You know, life is hard. These children endure a pretty big trauma, but Hansel and Gretel teaches us that even when you’ve been dealt a large blow and it feels like you can’t take on any more, there will be relief.” ◀

details ▼ Performance Santa Fe presents Hansel and Gretel ▼ 7 p.m. Friday, Jan. 9; 2 p.m. Saturday & Sunday, Jan. 10 & 11 ▼ Scottish Rite Center, 463 Paseo de Peralta ▼ Free tickets available at the door

PASATIEMPOMAGAZINE.COM

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VIAJES PINTORESCOS Y ARQUEOLÓGICOS Khristaan D. Villela

House of mirrors: Leandro Katz’s and Frederick Catherwood’s ancient Maya Among the different formulations of “landscape” investigated in the current exhibition at Site Santa Fe, SITElines 2014: Unsettled Landscapes, which closes this weekend, are archaeological and cultural landscapes. The Argentine artist Leandro Katz is one of several in the exhibition who use their practice to call attention to issues of cultural property, colonialism, and postcolonialism.

Katz’s visual art and films explore topics in Latin American history, often approached from leftof-center political perspectives. His Catherwood Project (1985-1995, reopened in 2001) is a dialogue between the history of representations of the ancient Maya civilizations of Mexico and Central America and the sociocultural and economic forces that explain and underlie that history. According to the artist’s website (www.leandrokatz.com), the project, which currently entails more that 4,000 black-and-white and about 1,800 color photographs, explores the paradoxes that arise when images made by the early-19th-century British artist Frederick Catherwood are juxtaposed with contemporary views of the same ruined buildings.

Many of the buildings Catherwood drew were in an advanced state of ruin, and in the intervening 16 decades, some have collapsed. Others have been stabilized and even rebuilt because they are key generators of revenue from contemporary tourism, especially in Mexico.

Katz’s Catherwood Project has often been exhibited over the past 30 years, and there is a large body of critical discourse on the photographs. But first, a few words on Katz’s technique. In an essay published in Two Projects/A Decade, the catalog for an exhibition held at New York’s Museo del Barrio in 1996, curator Julia P. Herzberg notes that the artist used five techniques to “enter into the vision of Catherwood by looking for his precise point of view.” For example, in Gate at Labná (1991), Katz photographed the ruins from the same vantage point as that used by Catherwood. He then placed his photograph next to a photograph of Catherwood’s version and rephotographed the images together. Another approach, as seen in Uxmal — Casa de las Palomas, entails photographing the ruins as before, but this time we see Katz’s hand in the frame, holding a copy of a printed version of Catherwood’s images of the same building. Katz’s third and fourth approaches entail making photographs of the same ruins Catherwood drew but not necessarily from the same points of view. Some of these images include tourists visiting the ruins, many of whom are seen taking their own photographs. Katz’s last series is a response to Catherwood’s rare night views of Maya ruins. In these images, he appears in the photographs, draped in a black cloth, as he lights the building using multiple flashes.

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PASATIEMPO I January 9-15, 2015

A

lthough he died about 160 years ago, Catherwood (1799-1854) continues to influence the way we view the ancient Maya civilization. He trained at London’s Royal Academy of Art, and proved his mettle as an architectural draftsman in the late 1820s and early 1830s on the Egyptian expeditions led by the Scottish archaeologist and antiquarian Robert Hay. While in the region in 1833, he made the first modern survey of the Dome of the Rock in Jerusalem, the shrine holy to Christians, Muslims, and Jews. The (unlikely, at least to me) story goes that Catherwood conducted a detailed architectural survey of the structure disguised as an Arab, since outsiders were not permitted to enter the shrine. After returning to London, Catherwood found employment in popular entertainment, at the panorama operated by Robert Burford in Leicester Square. Panoramas were one of the most popular forms of public entertainment in Europe and the U.S., from their invention in the 1790s until the late 19th century.

They consisted of large-scale paintings, some up to 30 feet high and measuring 10,000 square feet, which were mounted inside rotundas. Viewers would enter panoramas through a tunnel and ascend to a belvedere, or viewing platform, where they could observe the painting — a kind of early-19th-century virtual-reality experience. The most popular subjects were foreign cities or famous battles, like Napoleon’s defeat at Waterloo in 1815. Catherwood painted several panoramas for Burford, including views of the Temple of Karnak and

the city of Thebes, of the ruins of Baalbec, and of the city of Jerusalem.

It was at Burford’s panorama in 1835 that Catherwood met the American traveler John Lloyd Stephens, who was passing through London en route to New York. Stephens was concluding a two-year sojourn in Egypt and the Middle East, as well as in the eastern Mediterranean, Poland, and Russia. Back in New York, Stephens wrote and published Incidents of Travel in Egypt, Arabia Petraea, and the Holy Land (1837) and Incidents of Travel in Greece, Turkey, Russia, and Poland (1838). These works were well received, and the first was reviewed by none other than Edgar Allan Poe. The success of these works afforded Stephens the opportunity to consider further travelogues, and he turned his attention to Mexico and Central America, which were at the time poorly known to Anglophones.

Prior to their independence from Spain in the early 1820s, foreigners (i.e., non-Spanish people, and especially Protestants) were forbidden from travel to the viceroyalties of Mexico, Peru, or anywhere in the Spanish crown’s Latin American colonies. So when Stephens departed New York in October 1839 for Central America on the first of two expeditions, he was almost guaranteed an audience for any account he might write of his travels. He was accompanied by Catherwood, who had relocated to New York three years earlier to open an architectural practice at 4 Wall St. The artist also built the first permanent panorama in New York, a specially constructed rotunda at the corner of Broadway and Prince Street. There he exhibited his own panoramas, as well as others purchased from Burford.

Stephens and Catherwood spent several months in Mexico and Central America. Although it seems that everyone knew he would be gathering anecdotes and observations for a new book, U.S. President Martin Van Buren charged Stephens with making diplomatic overtures in Central America. The Federal Republic of Central America (1821-841), including what are now Guatemala, El Salvador, Honduras, Nicaragua, and Costa Rica, was engulfed in a fatal civil war in 1839, and Stephens never found a government with which to deal.

I

nstead he and Catherwood traveled around the region, exploring ancient Maya ruins, including Copán in Honduras and Quiriguá in Guatemala and Palenque, Uxmal, Chichén Itzá, and Tulum in Mexico. Everywhere they traveled, Catherwood made drawings of the towns, villages, natural features, and ruined Maya cities, with special attention to the last. He often used a camera lucida to record the complex decoration of Maya sculptures and architecture. A camera lucida is an optical device that

uses a mirror or prism to project a scene before it onto the artist’s drafting table. The device cannot make an unskilled artist into an expert renderer of architectural detail, and most students of Catherwood agree that he was a master draftsman apart from whatever use he made of the camera lucida. Stephens and Catherwood returned to New York with a rich trove of material, which they immediately began preparing for publication. They also planned a second expedition — to focus on the Maya ruins of Mexico’s Yucatán Peninsula. This time they carried with them a daguerreotype outfit.

Although the daguerreotype process of making early photographs was only announced in Paris at the end of summer 1839, the technique quickly crossed the Atlantic. Stephens and Catherwood were not even the first to make daguerreotype photographs of the Maya ruins. They were preceded by a few months by the Austrian Baron Emanuel von Friedrichsthal, most of whose images have been lost. The Stephens and Catherwood expeditions resulted in the illustrated travel accounts Incidents of Travel in Central America, Chiapas, and Yucatan (1841) and Incidents of Travel in Yucatan (1843). Selling at $5 for each set, the books quickly went through dozens of editions. While Stephens wrote intelligently and entertainingly, the enduring fame of the volumes owes more to Catherwood’s illustrations, 68 in the 1841 volumes and 124 in the 1843 set. Catherwood also produced a deluxe portfolio of his images of Maya ruins, published in New York and London in May 1844. His Views of Ancient Monuments in Central America, Chiapas, and Yucatan presented 25 images of Maya ruins and sculptures, reproduced from Catherwood’s original drawings and daguerreotypes

by Britain’s best lithographers. Only 300 sets were produced, including 250 with sepia-toned images and 50 with hand-colored lithographs. Needless to say, complete sets of Catherwood’s views are valuable today, ranging from $55,000 to $67,000 on Abebooks.com.

None of the daguerreotypes made by Stephens and Catherwood have been identified, and just a handful of his original drawings and watercolors of Maya ruins survive. This is owing to a devastating fire that reduced Catherwood’s New York panorama to ashes on July 31, 1842. Ultimately, we know his illustrations of ancient Maya art and architecture from their published versions, rather than from original renderings.

It has often been said, by Leandro Katz and many others, that Catherwood’s images of ancient Maya art and architecture were much more accurate than those made by almost every other artist of the era. The worst offender in this regard was Count Jean-Frédéric de Waldeck (circa 1766-1875), who saw elephants in the art of the Maya city of Palenque and who drew the site’s rulers as if they were Oriental potentates, complete with Phyrgian caps. Waldeck believed that there had been contact between the Old and New Worlds in ancient times, and that Egyptian and Near Eastern people, customs, and even animals (the elephants) could be observed in Maya art. Although a careful study of Waldeck’s preliminary drawings reveals no such distortions, by the time they were engraved, his Maya looked Turkish or perhaps Persian. While Catherwood’s illustrations evince no such pictorial biases, his mode of presenting Maya art and architecture rests squarely in the tradition of late-18th-century and early-19th-century Romanticism. His Broken Idol at Copán, from the

1844 portfolio, shows Stela C from Copán, Honduras, shattered by the hand of time. But it also shows a lightning bolt and a startled deer, both details that cannot be recorded by the long exposures of the daguerreotype process. Instead, these and other characteristics of Catherwood’s pictures recall images of ancient Egyptian sculpture and architecture, for example those made by Agostino Aglio for Giovanni Belzoni’s Narrative of the Operations and Recent Discoveries Within the Pyramids, Temples, Tombs, and Excavations, in Egypt and Nubia (1821) or by David Roberts for his Holy Land, Syria, Idumea, Arabia, Egypt & Nubia (1849).

O

ne of the issues that separate Katz’s project from Catherwood’s relates to the matter of mechanical reproduction.

Both Katz and Catherwood used their era’s technology to capture images of the ancient Maya ruins. But whereas Katz’s photographs are handmade and unique objects, the corpus of Catherwood images that Katz mines are not, and are instead adaptations of the English artist’s work. As noted above, relatively few original Catherwoods survive, and Katz’s Catherwood Project proceeds from the wood engravings and lithographs published beginning in the early 1840s. Katz does not comment on this apples-andoranges issue, but it seems essential to a project that sets out to open a dialogue across time. In other words, the comparisons work only if you accept that what is being compared is the subject matter of the images, the Castillo at Chichén Itzá, for example, and not their mediums.

Katz has commented that his project addresses issues of colonialism, as they affected the history of representation of Maya antiquity. I think he intends to draw our attention to the fact that both Stephens and Catherwood were foreigners, and that their words and images can be interpreted as acts of cultural appropriation. R. Tripp Evans has explored this theme in his book Romancing the Maya: Mexican Antiquity in the American Imagination, 1820-1915 (University of Texas Press, 2004). While he and Catherwood were visiting the ruins of Copán, Honduras, Stephens actually bought the ruins, or believed he did. The idea was to move

the site’s many sculptures to New York, where they would be the centerpiece of a museum of American antiquity. Stephens’ project was perfectly aligned with the collecting practices of European institutions of his era, such as the British Museum or the Louvre. Of course, the difference is that the U.S. had no formal colonies in Latin America. But in a cultural extension of the Monroe Doctrine, Stephens staked a claim to the cultural patrimony of the entire Western Hemisphere.

In an article published in 1994 in Poliester, a shortlived Mexican arts magazine, critic Cuauhtémoc Medina argues that Katz’s Catherwood Project deals with the connections among ruins, photography, and death. Contemplating ruins of any kind can lead us to thoughts about our own brief existence. Katz’s Tulum, Descending God (1985), shows a diminutive structure at the ruins of the same name. But, unlike Catherwood’s images of Maya ruins, which are peopled only by his workmen or by a few natives, Katz’s photo is filled with tourists, many of whom are taking their own photographs. Medina notes that photography and modern tourism share a history. Stendhal published his Memories of a Tourist in 1838, just a year before the invention of photography. Some people now travel only to take photographs. Katz’s Catherwood Project explores issues of time, duration, and series. He is in dialogue with Catherwood, as well as with the history of representations of Maya antiquity, a project that at times calls to mind a house of mirrors, both reflecting and refracting its subject. ◀ “SITElines 2014: Unsettled Landscapes” at SITE Santa Fe (1606 Paseo de Peralta, 505-989-1199) runs through Sunday, Jan. 11. Entrance is by museum admission (no charge on Fridays).

Leandro Katz: Uxmal — Casa de las Palomas (Uxmal — House of the Doves), 1993, gelatin silver print; opposite page, left, Katz: Labná Gate Interior, After Catherwood (West Facade), 1991, gelatin silver print; images courtesy the artist and Henrique Faria Fine Art, New York

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Fairy tale of New York F O Once Upon a Time in America, crime drama, ra ated R, The Screen, 4 chiles In n its heavily cut U.S. theatrical release, Sergio Leone’s magnum m opus Once Upon a Time in America, part of The T Screen’s Films to See Before You Die series, was reegarded by critics as an incoherent mess. Those who were w lucky enough to see it at its Cannes premiere in 1984 saw a cut that was closer to what Leone originally intended — but only now, 30 years after its release, has the film been restored to its most complete version to date. At four-plus hours, the new edit, which includes 22 minutes of never-before-seen footage is a beautiful, tragic, and poetic story of loyalties, betrayals, and lost love that unfolds over the course of half a century.

The saga centers on David “Noodles” Aaronson, played by Robert De Niro (Scott Tiler as a youth), a small-time hood who, along with his streetwise pals — a motley assortment of ruffians who seem modeled on the Dead End Kids — rises from a life of delinquency to organized crime in the Jewish mob during the Prohibition years. Noodles and his peers grow up on the Lower East Side of Manhattan, rolling drunks and otherwise getting up to no good while trying to avoid the local cop on the beat (Richard Foronjy). Noodles’ crony Max Bercovicz (played as an adult by James Woods and as a youth by Rusty Jacobs) is his Machiavellian foil, always luring him toward a bigger score.

Noodles has developed a crush on Deborah Gelly (played as an adult by Elizabeth McGovern), an aspiring actress who is, he well knows, out of his league — and their romantic interludes are all too brief. Over time, erupting violence builds a wedge between them.

The story unfolds at a novel’s pace, weaving back and forth in time from the last days of Prohibition to the late 1960s, and back to the early 20th century, the period during which Max, Noodles, and the rest of the gang — “Fat” Moe Gelly, Philip “Cockeye” Stein, Top, Elizabeth McGovern; bottom, Rusty Jacobs, Noah Moazezi, Brian Bloom, and Scott Tiler; opposite page, top, James Woods, De Niro, James Hayden, and William Forsythe; bottom, De Niro

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PASATIEMPO I January 9-15, 2015

Patrick “Patsy” Goldberg, and the young but tough Dominic — live amidst gangs and broads, caught between the temptations of their budding sexuality, typical boyhood concerns, and the violence of their world. Early sequences establish the characters’ personalities and bonds (we can guess that the latter will be irrevocably broken before too long). The story is told from the point of view of Noodles, now an old man who looks back with regret and (one might imagine) wistful acceptance at what his life has become.

Once an opium-addicted bootlegger who, with a single phone call — a tip-off about an impending heist at the Federal Reserve Bank — changed the course of all his friends’ lives, Noodles now lives somberly and quietly, having given up all his previous criminal undertakings. When he receives an invitation to a party at the home of a politician he’s never met, Noodles, suspecting an unsettled score, heads back to his old haunts to discover the intent behind it.

Once Upon a Time in America carefully conceals its secrets until the proper time for their revelation. Later

events in the film cast light on earlier ones, an aspect that was lost in its regrettable U.S. premiere. Leone was best known for the Clint Eastwood vehicles A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad and the Ugly, a trilogy that brought the actor fame and helped popularize spaghetti westerns, international co-productions between the U.S. and Italy, Spain, and other European countries in which American actors were often featured. Though Leone had originally planned to release Once Upon a Time in America as two three-hour films, his studio wanted only one film and pressured him to make a series of cuts, which he accomplished with Nino Baragli, an editor with a long pedigree in Italian film. The resulting director’s cut felt cohesive. However, after that, and against Leone’s wishes, around 90 minutes more were expunged by the Ladd Company for the movie’s U.S. release — a tragic butchering that turned it into something unwatchable. Leone was heartbroken. The remaining footage was forced into chronological order, precluding an unfolding of the story in

flashbacks, as Leone had intended. Important characters appeared without explanation, their relevant back stories left on the cutting-room floor. Such was the case with gun moll Carol, who was played by Tuesday Weld. What had been considered his masterpiece ended up as his swan song: The director died five years later, in 1989, only sixty years old.

A longer cut that restores the fullness of Weld’s character, made under the supervision of Leone’s children and with help from Martin Scorsese’s The Film Foundation, premiered at Cannes in 2012. That version, with the additional 22 minutes of previously unseen material, taken from strips of discarded positives that were intended for reference only, will be shown at The Screen. It’s easy to spot where such sequences were added. The sound quality is muted and the footage is flat and washed out, all in contrast with the more-polished material. Oddly, these problems don’t detract too much from the overall experience.

The added scenes have a dreamlike feel that works with Ennio Morricone’s moving score — as well as

with the beautiful, seamless transitions from the 1960s to a sepia-toned past and the sense of melancholy that pervades the film. It’s a movie to get lost in.

Once Upon A Time in America is a lavish production.

The star-studded ensemble, which includes Joe Pesci, William Forsythe, Treat Williams, and Danny Aiello, was expertly cast. Even the youthful versions of key characters resemble their older counterparts, particularly Jacobs as the younger Max and Jennifer Connelly as the younger Deborah. The story, which spent years in development, was inspired by The Hoods, a semiautobiographical novel about a criminalturned-informant by Harry Grey (real name: Harry Goldberg). The period details feel just as authentic as Francis Ford Coppola’s first two iterations of the Corleone saga. As a matter of fact, Leone was originally asked to direct The Godfather for Paramount but decided against it in order to focus on his own crime drama. The look of it recalls the paintings of Edward Hopper and the kind of nostalgia elicited by the works of Norman Rockwell. Violence pervades the film but is rarely gratuitous. For instance, the setup for a major bank heist late in the story never delivers the expected gunfight. Instead, something more subtle and complex plays out, in which the puzzle pieces fall into place, with the fates of the characters involved in the heist only slowly revealed through talk of the past, long after the associated events. We sense the older Noodles is a profoundly changed man. He seeks out Deborah, who left him one night, long ago, after he attempted to force himself on her in a scene the Ladd Company edited out. Noodles has no interest in rekindling the past — he merely wants answers. The unfulfilled relationship weighs upon both characters; a secret prevents them from ever bridging the distance that has grown between them. At its core, Once Upon a Time in America is a story of wrong choices made by a man who knew better when he made them and who is made painfully aware of their devastating outcomes.

— Michael Abatemarco

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MOVING IMAGES

film reviews

Train wreck Magician: The Astonishing Life and Work of Orson Welles, documentary, rated PG-13, Center for Contemporary Arts, 3.5 chiles This is the biggest electric train set a boy ever had!

— Orson Welles, on his first visit to a movie studio Orson Welles was hailed as a genius at 18 months and derided as a has-been before he was 25. His 1941 film, Citizen Kane, tops the American Film Institute’s list of the greatest movie ever made. He blazed like a comet through the worlds of theater and film, and died at the age of seventy trailing a spectacular string of legendary successes and failures in his wake. He was that enduring biblical cliché, a prophet not without honor except in his own country, a darling of European critics, and often a whipping boy in the American critical press. In the 30 years since his death, his reputation has been on the rise, and the carpings of his critics have receded. Films like Touch of Evil and Chimes at Midnight, once disparaged, are now generally considered masterpieces. The Other Side of the Wind, a satire starring John Huston that was mired (like many of his projects) in financial and legal difficulties and unfinished at his death, is to be completed and released this year to mark the 100th anniversary of his birth.

In other words, this is a guy well worth another look, and that is what veteran filmmaker Chuck Workman gives us in Magician: The Astonishing Life and Work of Orson Welles (the title alludes to Welles’ considerable talent as a stage magician). Some cinephiles and Welles mavens may sneer that Workman offers nothing new to the already well-chewed feast of the great man’s biography, but for most of us it’s a chance to watch, wonder, and sigh over the highlights

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PASATIEMPO I January 9-15, 2015

Orson Welles directs his recently unearthed comedy from 1938, Too Much Johnson

and missed opportunities in the life of a theatrical genius who was probably his own biggest fan and worst enemy.

Workman carves up his subject’s life into chronological chapters. “1915 to 1941: The Boy Wonder” starts us off with Welles’ birth and boyhood in Kenosha, Wisconsin, where the family doctor recognized signs of precocity in the toddler and showered him with gifts designed to bring it out. “He was fawned on as remarkable from an early age,” notes one biographer, actor Simon Callow; and Welles reflects with wry amusement that “there’s nothing more hateful on earth” than a child prodigy, adding, “I was one of them.”

This section takes us through his school days, when his theatrical talent began to emerge, and when his inability to play nicely with others also attracted notice. “He had no empathetic skills,” recalls a classmate. The film moves on through his early successes, as he ran off and lied about his age to begin a professional theater career that soon brought him to New York, and his collaboration with John Houseman in the Mercury Theatre, both on stage and on the air. That led to the legendary 1938 broadcast of The War of the Worlds, a Halloween prank that panicked thousands of gullible radio listeners with its breathless news coverage of Martians landing in New Jersey and brought a barrage of lawsuits and a national scandal. “I didn’t go to jail,” Welles quipped. “I went to Hollywood.”

Workman’s first chapter ends with Citizen Kane, which established Welles’ credentials as a cinematic genius but earned tepid critical response and a lackluster box office. In the next section, “1942 to 1949: The Outsider,” Workman begins to chronicle the odyssey that set Welles adrift from Hollywood. His second feature, The Magnificent Ambersons, though

maimed by studio recutting, was still a critical success but lost money. And from then on, it’s a career of almost mind-boggling ups and downs, with the downs carrying the day as Welles sparred with studio executives and generally came out on the short end.

Callow marvels at how “this extraordinary man was outwitted by such lesser men.”

Workman keeps things moving with a nimble narrative that cuts between a fascinating assemblage of clips from films and rare stage footage, along with extensive reminiscences and observations from family, friends, critics, lovers, admiring colleagues, and plenty of old television interviews with the great man himself, at different ages, stages of health, periods of accomplishment and frustration, moods, and attitudes. Sometimes he’s self-aggrandizing, sometimes self-justifying, sometimes self-lacerating, but always magnetic and entertaining.

As the young genius aged and failed, slamming Hollywood doors behind him and alienating the powerful with his antic, arrogant, and often irresponsible behavior, dodging the tax man, marrying and divorcing, ballooning into an obese caricature, working as an actor and, later, an advertising shill (“We will sell no wine before its time”) to try to bankroll his directing dreams, that early promise receded further and further from his grasp. And yet even his glancing engagements with excellence as he explored and pioneered independent filmmaking left him standing taller and casting a longer shadow than most of his contemporaries.

The test of Workman’s collection of clips and stories will be not so much in whether it breaks new ground, but in its success in bringing a new audience to its subject, and in reminding Welles’ fans of what amazing things he accomplished, and what a tantalizing lot he left undone.

— Jonathan Richards

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film reviews

King of kings Selma, biopic, rated PG-13, Regal Stadium 14, 3 chiles When Barack Obama was elected president in 2008, there was rapturous talk of a post-racial America, but it did not take long to chill that bud of optimism. A recalcitrant Congress determined to deny the barrierbreaking president any measure of success, whatever the cost, blocked bills, appointments, and initiatives at every turn. And, in the past year, a poisonous undercurrent of racism that does not define but nevertheless plagues too many of the nation’s police forces surfaced in Ferguson, Missouri, and other cities, to underscore the hazards of being young, black, and male in the Land of the Free.

Half a century ago, the civil rights attack on Jim Crow in this country was just coming to a boil under the leadership of a charismatic young Atlanta preacher, the Rev. Dr. Martin Luther King Jr. And one of the watersheds of that movement was a massive protest march bound from Selma, Alabama, to the state capital at Montgomery, 50 miles away, to bring pressure for the passage of the 1965 Voting Rights Act. That event is the centerpiece and focus of Selma, the uneven but powerful film from director Ava DuVernay that puts America’s greatest civil rights leader at the center of a major theatrical release for the first time.

Hollywood is not entirely to blame for King’s absence from the big screen. The great activist’s warring heirs have blocked various proposed film projects, and DuVernay and her producers (including

Oprah Winfrey as Annie Lee Cooper

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PASATIEMPO I January 9-15, 2015

In union there is strength: David Oyelowo (back row, center) as Martin Luther King Jr.

Oprah Winfrey, who appears in a small but key role) were denied permission to use his speeches. Screenwriter Paul Webb was forced to paraphrase and pastiche to create the feeling of King’s oratory without using his actual words.

DuVernay is breaking barriers of her own as a young (she is forty-two) black female director at the helm of a major motion picture. On the whole, she does a solid job. She begins with a moment of quiet humanity: King (David Oyelowo) is practicing his acceptance speech for his Nobel Peace Prize and fussing over the pretentiousness of the formal wardrobe required for the event, as his wife, Coretta Scott King (a lovely Carmen Ejogo), soothes him and helps him with his ascot.

As DuVernay follows the events that lead to the Selma march, she does well with these intimate moments, moments that emphasize the humanity and vulnerability of the men and women who put their lives on the line in the cause of freedom. Make no mistake — blood was in the air, and the courage it took to stand up peacefully against the might of apartheid Southern law enforcement armed with clubs, whips, dogs, and guns, with no defense but courage and conviction, was extraordinary. These moments, too, the movie nails, forcing us to stare, as stunned television audiences did in 1965, into the face of state-sponsored racism, belligerent ignorance, and horrific violence.

Some of the casting is uncannily good, particularly when it comes to King’s inner circle, as well as in a memorable short bit by Nigel Thatch as Malcolm X. In other places, the casting leaves itself open to criticism. Nowhere is this more apparent than in the portrayal of Lyndon B. Johnson by the great English actor Tom Wilkinson. Wilkinson has the physical size

to convey LBJ, and he plays his scenes with power and conviction, but his accent is borrowed, and there is little of the dust of a hardscrabble Texas background.

(Oyelowo and Ejogo are also British, as is Tim Roth, who plays Alabama Governor George Wallace.)

There has been a lot of controversy over the way Selma depicts the character of LBJ. Some historians and former associates have taken exception to the film’s image of a Johnson bitterly and bullyingly opposing King’s drive for voting-rights legislation.

Selma goes so far as to suggest that the president actively conspired with FBI director J. Edgar Hoover (Dylan Baker) to smear and harass King. Johnson’s priorities were certainly different from King’s, but this may tilt the table too far.

“Everybody has to take license in movies like this,” one historian told The New York Times. “But with the portrayal of LBJ, I kept thinking, ‘Not only is this not true, it’s the opposite of the truth.’ ” Getting this right is important in a film that means to tell it like it is and bring an ugly chapter of American history to light for a new generation still feeling its effects.

In most measures, Selma succeeds. Oyelowo gives us an MLK in whom quiet, deeply religious and social convictions triumph over human doubts and weaknesses. If he occasionally falls just short of the soaring eloquence that stirred a nation to examine its conscience, he does come close to it.

In the film’s closing moments, DuVernay shuffles in actual footage of the 1965 march, black-and-white film of the real men and women who changed the way America saw the face of its professed ideals and practice in the pursuit of liberty and justice for all. We never doubt it’s the same people we’ve been watching all along.

— Jonathan Richards

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Friday & Sunday January 9 & 11 11:00a - Dying To Know* 12:00p - She’s Beautiful...Angry 1:15p - The Homesman* 2:15p - Citizenfour 3:45p - Magician: Orson Welles* 4:45p - Dying To Know 6:00p - Inside The Mind of Leonardo* 7:00p - Boyhood 7:45p - The Homesman*

Saturday January 10 11:00a - Dying To Know* 12:00p - She’s Beautiful...Angry 1:15p - The Homesman* 2:15p - Citizenfour 3:45p - Magician: Orson Welles* 4:45p - Dying To Know 6:00p - Inside The Mind of Leonardo* 7:00p - Dying To Know with Q&A! 7:45p - The Homesman*

Mon-Thurs January 12-15 2:30p - She’s Beautiful...Angry 3:45p - Magician: Orson Welles* 4:45p - Dying To Know 6:00p - Inside The Mind of Leonardo* 7:00p - Boyhood 7:45p - The Homesman*

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PASATIEMPO I January 9-15, 2015

Virginia Blaisdell

Make it a weekend.

film reviews

NOW and then She’s Beautiful When She’s Angry, documentary, not rated, Center for Contemporary Arts, 3 chiles On the night of June 25, 2013, the most riveting coverage on television was of Texas State Senator Wendy Davis as she concluded the final minutes of a nearly 13-hour filibuster attempting to block Senate Bill 5.

The filibuster worked, though the bill later passed and severely restricted access to abortion in Texas. Davis’ efforts were ultimately unsuccessful, but it was powerful to watch her on the Senate floor, holding her ground in her now-infamous pink sneakers. As midnight neared, the crowds inside the Capitol cheered loudly and constantly. Even through a screen, the excitement of the moment was palpable as voices rallied behind Davis in support of reproductive justice.

A new documentary, She’s Beautiful When She’s Angry, seeks to capture the same sense of possibility and revolution by portraying the women’s movement that took place between 1966 and 1971. The film depicts the changes that began during that era while also making the point that women’s liberation is an ongoing process and that maintaining women’s rights is crucial.

The feminism that grew out of the social movements of the late ’60s posited that the personal is political: that issues like birth control, abortion, equal pay, and access to day care are not concerns confined to individuals, but should be addressed by society. In that spirit, She’s Beautiful When She’s Angry is told through recollections and anecdotes of feminists like rock critic Ellen Willis, Jacqui Ceballos, a former president of the New York chapter of the National Organization for Women, and essayist and activist Kate Millett, among other notables. The film also addresses the recurrent critique that feminism is largely a straight, college-educated, middle-class white-woman’s movement and features a few interviews with activists who speak from the perspective of being poor, a person of color, or a lesbian. There’s plenty of interesting archival footage of marches on Washington and bras burning, of poetry readings in Berkeley and protests at the foot of the Statue of Liberty.

(Less successful are a couple of cheesy re-enacted scenes, but they’re brief.)

Seeing She’s Beautiful When She’s Angry may feel like eating your vegetables — important but not particularly thrilling. But because of the film’s easy, intimate conversations with its subjects, it manages to be poignant and funny. For those who lived through the late ’60s, the film may function as a reminder of just how much hard-won political and social ground women have gained in the last 40 years. But the documentary is perhaps more important for young feminists, male and female, who are aware that Lena Dunham and Beyoncé are feminists, and who may identify as feminists themselves, but who have yet to define the movement in personal terms. We’re still waiting for universal access to day care, abortion rights that aren’t constantly under siege, and earning the same wages as men.

Being a feminist is still radical, and it’s indeed beautiful.

— Adele Oliveira

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film reviews

today

Friday, January 9, 10 am–5 pm Tales from a Dark Room opens for viewing.

Photographers used to spend much of their time in the dark, processing film and developing pictures. Many are switching to digital image-making but the mystique of the darkroom lingers.

ASPEN MAYS, DODGE 7, 2014, GELATIN SILVER PRINT, UNIQUE PHOTOGRAM. COURTESY OF THE ARTIST.

coming up

Wednesday, January 28, 6–7:30 pm “Caves, Cribs and Cathouses: How Frontier Prostitution Helped Build the West,” by Laura Gonzales-Meredith. Part of the Winter Lecture Series “Speaking of Traditions: New Perspectives on Old Traditions” co-presented with El Rancho de las Golondrinas. St. Francis Auditorium. Free.

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PASATIEMPO I January 9-15, 2015

A mystery most fowl The Search for General Tso, culinary-history documentary, not rated, The Screen, 3 chiles The next time you go out for Chinese food, take a close look at the menu.

Odds are it includes General Tso’s chicken, one of the most popular Chinese-American dishes in the U.S. We love these fried chicken nuggets in a sweet-and-salty sauce, but do most of us know who General Tso was?

Or why a dish was named for him? Did he even like chicken? This brief but rich documentary from director Ian Cheney (King Corn) sets out to answer those questions.

Cheney begins by traveling to Mainland China. Few people in Shanghai seem to have heard of General Tso or the chicken of the same name. When shown photos of it, they laugh, shake their heads, and say, “No idea.” One woman even thinks the meat looks more like frog than fowl. Eventually, though, Cheney lands in Hunan Province, where he discovers General Tso’s home as well as a school, a hotel, a museum, a public square, and even a liquor named after him — but still no stir-fry.

He then directs his gaze to the U.S. and the history of Chinese immigration. The Chinese cuisine we know today developed against a backdrop of racism and economic struggle. Beginning with the influx of Chinese during the Gold Rush and moving through the Chinese Exclusion Act of 1882 and Richard Nixon’s historic visit to China in 1972, Cheney reveals the way that immigrants in the U.S. were demonized and restricted to lowwage jobs but persevered and found success by starting restaurants rather than working for other people. Even today, the first job many immigrants to the U.S. have is in a Chinese restaurant kitchen.

Cheney crosses the country visiting numerous restaurants — even making a stop in Tucumcari — and stimulates our appetites with shots of chicken being battered, fried, and tossed with sauce in a wok. Along the way, we learn about other popular Chinese-American dishes, like cashew chicken, which originated in Springfield, Missouri. We come to understand that as a way of assimilating, proprietors of Chinese restaurants changed traditional dishes to make them more palatable to stateside customers. Americans spent years eating bland chop suey before restaurateurs like the legendary Cecilia Chiang began serving something closer to authentic Chinese cuisine. In the ensuing decades, cooks have continued to blend classic dishes with regional ones. Szechuan alligator is a mainstay at a popular Chinese restaurant in Hammond, Louisiana, for example.

The Search for General Tso includes the requisite talking heads, from academics, restaurateurs (Chiang and her son Philip, among others), and food writers (Jennifer 8. Lee and Fuchsia Dunlop) to a man who collects menus and a C.P.A. who has visited more than 6,000 Chinese restaurants across the U.S. Interspersed are lively silhouette-style animated sequences, and the score by Ben Fries and Simon Beins is cheerful and bouncy but unobtrusive. Cheney manages to maintain a bit of mystery as the film unfolds, not revealing all he learns about the origin of the dish until the end. The film is brief, breezily paced, and rather reportorial but still utterly enjoyable. In these days of locavorism, we obsess over where our food comes from and practically expect our chicken to come with a résumé. This insightful and fun documentary takes that investigation one step further.

— Laurel Gladden

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— compiled by Robert Ker

in time to stop horrific crimes — in particular, the terrorist known as the Fizzle Bomber — taking along a mysterious companion (a terrific Sarah Snook). 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 dishes on Chinese restaurant menus across the U.S., but do most of us know who this General Tso was or why a dish was named for him? This 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) See review, Page 42.

Winsome, lose some: Liam Neeson and Maggie Grace in Taken 3, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week IF YOU DON’T, I WILL Mathieu Amalric and Emmanuelle Devos are fine actors, but in Sophie Fillières’ anti-romance, they have call all to on their skills to keep the story of squabbling, disenchanted Pierre and Pomme on the rails as they snipe, snub, and sabotage each other. Then Fillières sends them out on a hike and leaves Pomme there alone to fend for herself for a long stretch of the movie, where the poor soul faces an uphill struggle to make her loneliness interesting, with little help from the director. Not rated. 102 minutes. In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards) INHERENT VICE Director Paul Thomas Anderson dips into the world of author Thomas Pynchon with this adaptation of his 2009 stoner-noir novel about a 1970s private investigator (Joaquin Phoenix) who investigates the disappearance of an ex-girlfriend and gets in over his head. Josh Brolin, Owen Wilson, Reese Witherspoon, Benicio Del Toro, Jena Malone, and Martin Short co-star. Rated R. 148 minutes. Regal DeVargas, Santa Fe. (Not reviewed) MAGICIAN: THE ASTONISHING LIFE AND WORK OF ORSON WELLES Veteran filmmaker Chuck Workman shines a light on the extraordinary career of Orson 44

PASATIEMPO I January 9-15, 2015

Welles with a nimble narrative that combines a fascinating assemblage of clips from his films; rare stage footage; extensive reminiscences and observations from family, friends, critics, lovers, and admiring colleagues; and plenty of old television interviews with the great man himself. Rated PG-13. 94 minutes.

Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 36.

ONCE UPON A TIME IN AMERICA Sergio Leone’s magnum opus, cut by nearly half its length for its original release, has U.S. been restored to its former glory with an additional 22 minutes of never-before-seen footage.

The story of David “Noodles” Aaronson (Robert De Niro) and his partnership with Max Bercovicz (James Woods), Jewish bootleggers in New York during the Prohibition years, is told through flashbacks. Noodles has unfulfilled aspirations and a romantic heart, but the lure and excitement of easy money drive him to a life of violence. It’s a wonderful evocation of times past with lavish, authentic period sets; a memorable Ennio Morricone score; and a stellar cast. Rated R. 251 minutes. The Screen, Santa Fe. (Michael Abatemarco) See Screen Gems, Page 34.

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

SELMA Half a century ago, the civil rights attack on Jim Crow in this country was just coming to a boil under the leadership of 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 Selma, the 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. Rated PG-13. 127 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) See review, Page 38.

SHE’S BEAUTIFUL WHEN SHE’S ANGRY This documentary chronicles the women’s movement that took place 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. Take the young feminist (male or female) in your life as an instance of how far women have come in the past 40 years, and remind them that being a feminist is still as essential as it is radical. Not rated. 92 minutes. Center for Contemporary Arts, Santa Fe. (Adele Oliveira) See review, Page 40.

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 is framed for his wife’s murder and must clear his name while getting revenge. Rated PG-13. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

now in theaters ANNIE Back in 1998, rapper Jay Z had a smash hit with “Hard Knock Life (Ghetto Anthem),” a song that sampled the number from the musical Annie. Now the whole production gets an African-American makeover, with Quvenzhané Wallis as the titular orphan and Jamie Foxx as the modern Daddy Warbucks (now a cold-hearted politician named Will Stacks).

Rated PG. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 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 smooth-talking 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; DreamCatcher, Española. (Robert Ker) 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; DreamCatcher, Española. (Robert Ker) BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) In Alejandro González Iñárritu’s searing, hilarious, sometimes unsettling backstage satire, Michael Keaton tosses his hat into the Oscar ring with his brilliant dissection of a movie star, in artistic eclipse in the years since he sold his soul to play a masked comic-book superhero, looking for redemption on the Broadway stage. Packed with a terrific supporting cast headed by Edward Norton, Naomi Watts, and Emma Stone and shot by the great Emmanuel Lubezki, Birdman crackles with wit, fantasy, and penetrating insights about show business, relevance, and the modern world. Rated R. 119 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) BOYHOOD Richard Linklater’s extraordinary achievement 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.

Rated R. 165 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) 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) 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 along this frontier are those two irrepressible icons of drugs and enlightenment, former Harvard professors Timothy Leary and Ram Dass. Local figures like Joan Halifax and Joanna Harcourt-Smith are among those interviewed, and there’s a nicely unobtrusive narration voiced by Robert Redford. Dillingham and HarcourtSmith appear at the 7 p.m. screening on Saturday, Jan. 10. Not rated. 99 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)

EXODUS: GODS AND KINGS Ridley Scott goes biblical with this retelling of the story of Moses (played here by Christian Bale), who leads the slaves in a revolt against Pharaoh Ramses (Joel Edgerton).

Aaron Paul, Sigourney Weaver, Ben Kingsley, and John Turturro also star, but the main attraction for many will no doubt be those clashing armies and parting sea waters. Rated PG-13. 150 minutes.

Screens in 2-D only at Regal Stadium 14, Santa Fe, and DreamCatcher, Española. (Not reviewed) FLAMENCO, FLAMENCO This film offers no narrative, no dialogue, no voiceover, 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. Not rated. 97 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) FOXCATCHER Why did wealthy heir John Eleuthère du Pont (Steve Carell) become fascinated with the U.S. Olympic wrestling team in the 1980s and ’90s? That question lies at the heart of this film by Bennett Miller, which covers the years before du Pont abruptly murdered one of his team’s coaches in 1996. Despite sharp writing and nice directorial flourishes, Foxcatcher never gains enough purpose to justify its mannered pace. Carell and Channing Tatum (as a wrestler) are both terrific, but the gold medal goes to Mark Ruffalo for his fabulous performance as the doomed coach. Rated R. 134 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE GAMBLER Mark Wahlberg plays the title role — a literature professor with a gambling addiction who gets in with some bad people and borrows a lot of money to get away from them — in this remake of the 1974 James Caan vehicle of the same name.

Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 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) continued on Page 46

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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 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. In the wake of its release, 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)

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; DreamCatcher, Española. (Not reviewed)

INTO THE WOODS Stephen Sondheim’s Into the Woods, a musical about psychological selfdiscovery, 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), Johnny Depp (Wolf), Anna Kendrick (Cinderella), Tracey Ullman (Jack’s Mother), and a constellation of 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)

THE IMITATION GAME This very entertaining movie could have been a lot more.

Director Morten Tyldum and screenwriter Graham Moore have taken the engrossing story of Alan Turing (Benedict Cumberbatch), 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) INSIDE THE MIND OF LEONARDO 3D When Leonardo da Vinci died in 1519 at the age of sixty-seven, he left among his possessions some 30,000 pages of notebooks and several paintings. This documentary, directed by Julian Jones for the History Channel and featuring Scottish actor Peter Capaldi delivering Leonardo’s words, is at its best when it concentrates on the notebooks, on the restless curiosity of perhaps the most brilliant and diverse man ever to draw breath. For reasons that possibly not even Leonardo could explain, the director has chosen to make his film in 3-D. Not rated. 85 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)

spicy bland

medium

mild

heartburn

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PASATIEMPO I January 9-15, 2015

MONK WITH A CAMERA Swiss-born photographer Nicholas Vreeland left his cushy, upscale world behind to seek the simplicity of a monk’s life at the Rato Dratsang monastery in India. A Buddhist monk for more than 30 years, Vreeland still shoots photographs, including tender, intimate portraits of secular and monastic life in India and Tibet. Affable and charitable as he is, he has maintained a worldly attachment to his art form, which is at odds with his spiritual practice — something that is not sufficiently explored here. Not rated. 90 minutes.

The Screen, Santa Fe. (Michael Abatemarco) 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) PENGUINS OF MADAGASCAR This animated comedy opens with Werner Herzog uttering the line, “Look at them, tumbling onto their chubby bum-bums.”

Miraculously, that isn’t the only funny part of the movie. This Madagascar spinoff mostly shines, as the four central penguins get into a brisk, funny, spy-movie-like battle with an evil octopus. I attended as a dutiful parent bracing for the worst; by the time

I got off my bum-bum, though, I had enjoyed myself.

Rated PG. 92 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) THE THEORY OF EVERYTHING A movie about Stephen Hawking ought to be bursting with ideas. What director Marsh James has come up with is a nicely crafted, but watchable, conventionally structured romantic biopic. It has, however, one extraordinary feature: Eddie Redmayne 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.

Rated PG-13. 123 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) UNBROKEN Angelina Jolie gets 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 more than two years of abusive treatment in Japanese prisoner-of-war 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 — 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 Jean Cocteau Cinema, 505-466-5528 Gold Diggers of 1933 (1933).

Regal Stadium 14, 505-424-0799 Interstellar Opening Thursday, Jan. 15: American Sniper, Blackhat, Paddington, The Wedding Ringer. ◀

Call theaters or check websites to confirm screening times.

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Boyhood (R) Fri. 7 p.m. Sun. to Thurs. 7 p.m.

Citizenfour (R) Fri. to Sun. 2:15 p.m.

Dying to Know: Ram Dass & Timothy Leary (NR) Fri. 11 a.m., 4:45 p.m. Sat. 11 a.m., 4:45 p.m., 7 p.m. Sun. 11 a.m., 4:45 p.m. Mon. to Thurs.

4:45 p.m.

The Homesman (R) Fri. to Sun. 1:15 p.m., 7:45 p.m. Mon. to Thurs. 7:45 p.m.

Inside the Mind of Leonardo 3D (NR) Fri. to Thurs. 6 p.m.

Magician:The Astonishing Life and Work of Orson Welles (PG-13) Fri. to Thurs. 3:45 p.m.

She’s Beautiful When She’s Angry (NR) Fri. to Sun. 12 p.m. Mon. to Thurs. 2:30 p.m.

Night at the Museum: Secret of theTomb (PG) Fri. to Wed. 1:50 p.m., 4:20 p.m., 7:15 p.m., 9:50 p.m.

Paddington (PG) Thurs. 7:05 p.m., 9:30 p.m.

Penguins of Madagascar (PG) Fri. to Sun. 12 p.m., 2:20 p.m. Mon. to Wed. 12 p.m., 2:20 p.m., 4:45 p.m., 7:20 p.m., 10:05 p.m.

Selma (PG-13) Fri. to Wed. 1 p.m., 4 p.m., 7 p.m., 10 p.m.

Taken 3 (PG-13) Fri. to Sun. 12 p.m., 2:35 p.m., 4:45 p.m., 5:15 p.m., 7:20 p.m., 7:55 p.m., 10:05 p.m., 10:35 p.m. Mon. to Wed. 12 p.m., 2:35 p.m., 5:15 p.m., 7:55 p.m., 10:35 p.m.

Unbroken (PG-13) Fri. to Wed. 12:55 p.m., 4:10 p.m., 7:20 p.m., 10:25 p.m.

The Wedding Ringer (R) Thurs. 7:15 p.m., 9:55 p.m.

The Woman in Black 2:Angel of Death (PG-13) Fri. to Wed. 12:20 p.m., 3 p.m., 5:25 p.m., 7:50 p.m., 10:15 p.m.

JEAN COCTEAU CINEMA

THE SCREEN

CCA CINEMATHEQUE AND SCREENING ROOM

418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com Flamenco, Flamenco (NR) Fri. to Sun. 2 p.m.

Gold Diggers of 1933 (NR) Fri. to Sun. 4:30 p.m.

Wed. and Thurs. 4:30 p.m.

The Interview (R) Fri. to Sun. 8:40 p.m.

Tue. and Wed. 8:40 p.m. Thurs. 2 p.m., 8:40 p.m.

Predestination (R) Fri. to Sun. 6:40 p.m.

Tue. 6:40 p.m. Wed. 2 p.m., 6:40 p.m. Thurs.

6:40 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., 9:10 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., 3:15 p.m., 6:15 p.m., 8:55 p.m.

Sun. to Thurs. 12:15 p.m., 3:15 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.

The Theory 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., 9:15 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) Thurs. 7 p.m., 10:10 p.m.

Annie (PG) Fri. to Wed. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10 p.m.

Big Hero 6 (PG) Fri. to Wed. 1:45 p.m., 4:25 p.m., 7:30 p.m.

Blackhat (R) Thurs. 8 p.m., 10:05 p.m.

Exodus: Gods and Kings (PG-13) Fri. to Wed. 12:15 p.m., 3:45 p.m., 7 p.m., 10:20 p.m.

The Gambler (R) Fri. to Wed. 12:50 p.m., 4:30 p.m., 7:25 p.m., 10:05 p.m.

The Hobbit:The Battle of the Five Armies in 3D (PG-13) Fri. to Wed. 12 p.m., 3:30 p.m., 6:45 p.m., 10 p.m.

The Hobbit:The Battle of the Five Armies (PG-13) Fri. to Wed. 12:30 p.m., 3:55 p.m., 7:10 p.m., 10:25 p.m.

The Hunger Games: Mockingjay - Part 1 (PG-13) Fri. to Wed. 12:45 p.m., 3:50 p.m., 7:40 p.m., 10:30 p.m.

Interstellar (PG-13) Fri. to Wed. 10:05 p.m.

Into the Woods (PG) Fri. to Wed. 1:35 p.m., 4:40 p.m., 7:35 p.m., 10:30 p.m.

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Antarctica:A Year on Ice (PG) Mon. to Thurs.

12:15 p.m.

If You Don’t, I Will (NR) Fri. 2 p.m., 7:40 p.m.

Sat. 7:40 p.m. Sun. 1:25 p.m. Mon. to Thurs. 2 p.m., 7:40 p.m.

Monk With a Camera (NR) Fri. 4:15 p.m.

Sat. and Sun. 11:30 a.m. Mon. to Thurs. 4:15 p.m.

Once Upon aTime in America (R) Sat. 1:30 p.m.

Sun. 5 p.m.

The Search for General Tso (NR) Fri. and Sat. 6:15 p.m. Sun. 3:25 p.m. Mon. to Thurs. 6:15 p.m.

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Annie (PG) Fri. 4:40 p.m., 7:15 p.m., 10 p.m.

Sat. 2 p.m., 4:40 p.m., 7:15 p.m., 10 p.m. Sun. 2 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:15 p.m.

Big Eyes (PG-13) Fri. 4:25 p.m., 7 p.m., 9:35 p.m.

Sat. 1:55 p.m., 4:25 p.m., 7 p.m., 9:35 p.m.

Sun. 1:55 p.m., 4:25 p.m., 7 p.m. Mon. to Thurs.

4:25 p.m., 7 p.m.

Big Hero 6 (PG) Fri. 4:50 p.m. Sat. and Sun. 2:20 p.m., 4:50 p.m. Mon. to Thurs. 4:50 p.m.

Exodus: Gods and Kings (PG-13) Fri. to Thurs.

4:15 p.m.

The Gambler (R) Fri. and Sat. 7:30 p.m., 9:55 p.m.

Sun. to Thurs. 7:30 p.m.

The Hobbit:The Battle of the Five Armies (PG-13) Fri. 4:50 p.m., 7:55 p.m. Sat. 1:45 p.m., 4:50 p.m., 7:55 p.m. Sun. 1:45 p.m., 4:50 p.m., 7:55 p.m. Mon. to Thurs. 4:15 p.m., 7:15 p.m.

The Hunger Games: Mockingjay - Part 1 (PG-13) Fri. and Sat. 7:20 p.m., 9:55 p.m.

Sun. to Thurs. 7:20 p.m.

Into the Woods (PG) Fri. 4:35 p.m., 7:20 p.m., 10 p.m. Sat. 1:50 p.m., 4:35 p.m., 7:20 p.m., 10 p.m.

Sun. 1:50 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. 4:30 p.m., 7:05 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:30 p.m., 7:05 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:30 p.m., 7:05 p.m. Mon. to Thurs. 4:30 p.m., 7:05 p.m.

Taken 3 (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:40 p.m.

Sat. 2:05 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs.

4:40 p.m., 7:10 p.m.

Unbroken (PG-13) Fri. 4:45 p.m., 7:45 p.m. Sat. 1:45 p.m.,4:45 p.m.,7:45 p.m. Sun.1:45 p.m.,4:45 p.m., 7:45 p.m. Mon. to Thurs. 4:25 p.m., 7:25 p.m.

The Woman in Black 2:Angel of Death (PG-13) Fri. 5 p.m., 7:35 p.m., 9:50 p.m. Sat. 2:25 p.m., 5 p.m., 7:35 p.m., 9:50 p.m. Sun. 2:25 p.m., 5 p.m., 7:35 p.m.

big eyes 1:55** 4:25 7:00 taken 3 2:05** 4:40 7:10 into the woods 1:50** 4:35 7:20 the gambler 7:30 woman in black 2 2:25** 5:00 7:35 unbroken 1:45** 4:25/4:45 7:25 annie 2:00** 4:40 7:15 night at the museum 3 2:10** 4:30 7:05 hobbit 3 2d 1:45** 4:15/4:50 7:15 exodus 2d 4:15 hunger games: mockingjay Part 1 7:20 big hero 6 2d 2:20** 4:50 **saturday & sunday only *Friday & saturday only times for Friday, january 9th - thursday, january 15th

9:35* 9:40* 10:00* 9:55* 9:50* 7:45** 10:00* 9:45* 7:55* 9:55*

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47

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Baby, it’s cold inside Thai Café 329 W. San Francisco St., 505-982-3886, www.thaicafesantafenm.com Lunch 11:30 a.m.-3 p.m. Mondays-Fridays; dinner 5-9 p.m. Mondays-Thursdays, 5-9:30 p.m. Fridays-Saturdays, 5:30-8:30 p.m. Sundays Takeout available Vegetarian options Handicapped accessible Noise level: quiet Beer, wine & sake Credit cards, no checks

]

The Short Order Thai food, with its liberal use of serious chile and fragrant aromatics, is the sort that can warm you up quickly during chilly times of year like this.

Thai Café, a basic Thai-food restaurant on the corner of San Francisco and Guadalupe streets, offers salads, soups, stir fries, rice dishes, and noodles that are served in a range of spice levels: mild, medium, hot, and “ Thai hot.” Everyone seems friendly here, though the front of the house is often understaffed. Sadly, much of the food left me cold.

Recommended: tom ka gai, tom yum goong, tofu salad, and pad ped ga praw.

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

48

PASATIEMPO I January 9-15, 2015

You might have a hard time staying warm in the dining

room of Thai Café, a basic Thai-food restaurant on the corner of San Francisco and Guadalupe streets. Despite a vestibule designed to minimize noise and blasts of arctic winds, chilly air makes its way into the dining room this time of year, and almost every table feels mysteriously drafty. Fortunately, Thai food, with its liberal use of serious chile and fragrant aromatics, is the sort that can warm you up quickly. But unfortunately, much of the food at Thai Café left me cold.

The menu offers a fair amount of flexibility when it comes to spiciness: mild, medium, hot, and “Thai hot” levels are available, the last clocking in at a claimed 150,000-250,000 Scoville units (habañero intensity).

Medium provides a satisfying warmth that you’ll notice but soon forget. If you ask for hot, your server might look at you skeptically and redirect you to a lesser intensity.

This is how we learned about “medium plus,” a subtlety the menu doesn’t mention but one that made us sweat. If the kitchen doesn’t think most of its customers can take the heat, why offer advanced spicy choices?

At lunch and dinner, only one server was manning the front of the house. At dinner, this meant that new patrons would often wait several minutes to be seated, and we waited long periods for food and for the check to arrive.

The staff seems a little better prepared at lunch — maybe there’s a rush of local businesspeople. Everyone seemed friendly, if a bit on the shy side.

Lunch plates include a cup of clear, saffron-tinted brothy soup with the pronounced funky tang of fish sauce and a touch of heat. The yellow mussaman curry is a hearty, gravylike base flecked with chile and studded with potato and peanuts. It was rich and spicy but dominated by an odd sweetness. The light but strongly flavored sauce of the pad ped ga praw (basil and lime leaves, chile, bamboo stalk, onion, slightly toothy broccoli, and, in this case, blocks of chewy golden tofu) had a similar sweetness before the heat set in. The spicy fried rice is sticky and saucy and also oddly sweet, though shrimp, peppers, tomato, onion, and strips of egg balance things out with a pleasant savory quality.

The dinner menu includes appetizers, salads, stir fries, noodles, and rice dishes. The aromatic soups feature the coconut-milk-based tom ka gai, filled with shreds of mostly flavorless chicken but given aromatic lift by lemongrass, galangal, kaffir lime leaf, and cilantro. The tom yum goong is a clearer hot-and-sour broth accented by tomatoes, onion, mushroom slices, and a few precooked shrimp.

Both have that curative power one looks for in a soup, especially in the middle of winter.

With their crisp, light-green lettuce, the “fresh rolls” were true to their name, but otherwise, they were a travesty —

the rice paper tacky, flimsy, and improperly sealed. The wrapper fell apart at the merest touch, allowing lettuce, clumpy wads of rice noodle, and wrinkly, overcooked baby shrimp to tumble out before getting anywhere near your mouth. The house-made sauce looked gorgeously golden but left an off-puttingly sweet stickiness on our fingers.

Hearty cubes of golden fried tofu make up the bulk of the lovely salad that includes crunchy purple cabbage, pungent red onion, peppers of the sweet and hot variety, shredded carrot, and a mouthwateringly tangy, spicy dressing — all swaddled in leaves of delicate butter lettuce.

When evaluating a restaurant, pad Thai can be a good benchmark. Here, it has an excellent smokiness, and the sauce is pungent, bright, and, at even at medium-plus, almost panic-inducingly spicy. The noodles, though, were oddly gluey and greasy, the pork pieces fully cooked but not hot. Scraps of egg were overly present, while peanuts were in short supply.

If you’re inclined to order on the spicier side — as a bunch of Texans at a nearby table was doing on one of my visits — be prepared to sweat. A cold, slightly sweet Singha beer from Thailand can serve as a refreshing cooler.

Or there’s the smooth, rich, but not overly sweet green-tea ice cream, which was a welcome balm for our burning tongues. Maybe next time, as a precautionary measure, I’ll order dessert to eat alongside my entree. ◀

Lunch for three at Thai Café: Pot, green tea...................................................... $ 3.90 Mussaman curry with beef ................................. $ 10.25 Pad ped ga praw with tofu ................................. $ 9.25 Spicy fried rice with shrimp ............................... $ 11.25 TOTAL................................................................ $ 34.65 (before tax and tip) Dinner for two, another visit: Fresh rolls........................................................... $ 5.95 Tofu salad ........................................................... $ 5.95 Small tom ka gai................................................. $ 3.50 Small tom yum goong ........................................ $ 3.95 Pad Thai with pork............................................. $ 12.95 Green-tea ice cream............................................ $ 3.50 Two Singha beers................................................ $ 9.00 TOTAL................................................................ $ 44.80 (before tax and tip)

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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.

• To add your event to The New Mexican online calendar, visit santafenewmexican. com and click on the Calendar tab.

• Return of photos and other materials cannot be guaranteed.

• Pasatiempo reserves the right to publish received information and photographs on The New Mexican website.

• 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 9-15, 2015

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 1/9

La Fiesta Lounge at La Fonda

Gallery and Museum Openings

La Posada de Santa Fe Resort and Spa

Syd Masters & The Swing Riders, 8 p.m., no cover.

Back Pew Gallery

Nacha Mendez & Friends, 6:30-9:30 p.m., no cover.

First Presbyterian Church of Santa Fe, 208 Grant Ave. Abstracts in Color, group show, reception 6-7:30 p.m., through Feb. 22.

Mine Shaft Tavern

Acoustic bluegrass guitarist Erik Sawyer, 5 p.m., on the patio; zydeco/blues/funk band Felix y Los Gatos, 7 p.m.-close, no cover.

Back Street Bistro

513 Camino de los Marquez, 505-982-3500 Trabajo, woodcuts, monoprints, and mixed media

by Lily Schlien, reception 5:30-7:30 p.m., through Feb. 21.

Omira Bar & Grill

Friday night jazz, with saxophonist/vocalist Brian Wingard, 6-9 p.m., no cover.

Palace Restaurant & Saloon

Collected Works Bookstore

Blues/rock guitarist Alex Maryol, 4:30-7:30 p.m., no cover.

202 Galisteo St., 505-988-4226 Paintings From the Silk Road, work by Sandra Place, reception 5-6:30 p.m., through Feb. 15, 15 percent of proceeds benefits Doctors Without Borders.

Pranzo Italian Grill

Geist Cabaret, with pianist David Geist, 6-9 p.m., call for cover.

Santa Fe Clay

545 Camino de la Familia, 505-984-1122 Six Under Thirty-Six, group ceramic show, reception 5-7 p.m., through Feb. 21.

Second Street Brewery

Vivo Contemporary

Folk singer Steve Guthrie, 7-10 p.m., no cover.

Folk-rock band The Bus Tapes, 6 p.m., no cover.

Second Street Brewery at the Railyard

725 Canyon Rd., 505-982-1320 Order and Chaos, group show of works by gallery artists, reception 5-7 p.m., through Feb. 24.

Shadeh at Buffalo Thunder Resort & Casino Weekly local dance bands, 9:30 p.m.-midnight, no cover.

Classical Music TGIF recital

First Presbyterian Church of Santa Fe, 208 Grant Ave. Clarinetist Robert Marcus and pianist Edwin Light play music of Mozart and Schubert, 5:30-6 p.m., donations accepted, 505-982-8544, Ext. 16.

In Concert African Children's Choir

Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place Thirty-year celebration; spirituals, gospel favorites, and dances, 7 p.m., donations welcome, africanchildrenschoir.com.

The Spizzwinks(?)

United Church of Santa Fe, 1804 Arroyo Chamiso Rd. Yale's student a-cappella choir on tour; eclectic selections, $12 in advance, students $7, spizzwinks.ticketbud.com.

Theater/Dance Hansel and Gretel

Scottish Rite Center, 463 Paseo de Peralta Humperdinck's opera based on the classic fairy tale, performed by Performance Santa Fe Orchestra, conducted by Joseph Illick, 7 p.m., free tickets available at the door, call 505-984-8759 for information, runs through Sunday. (See story, Page 28)

50

PASATIEMPO I January 9-15, 2015

Skylight

Yale's a-capella choir Spizzwinks(?) performs Friday at United Church of Santa Fe, 1804 Arroyo Chamiso Rd.

The Madwoman of Chaillot: gala opening

Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents Jean Giraudoux's 1943 satire, gala celebration 6:30 p.m., curtain 7:30 p.m., $20, discounts available, 505-988-4262, brownpapertickets.com, runs Thursdays-Sundays through Feb. 1. (See story, Page 25)

Books/Talks Institute of American Indian Arts Writers Festival

IAIA Auditorium, Library and Technology Center, 83 Avan Nu Po Rd., 505-424-2356 Novelist Sherman Alexie wraps up the week-long event with a reading of his works, 6 p.m., no charge, call for seat availability.

Outdoors Arrowhead Ruins tour

Pecos National Historic Park, NM 63, 505-757-7241 Ninty-minute guided hike to an off-trail site, 1:30 p.m., entrance fee $3, tour $2, call for details, open daily; nps.gov/pecos.

Nightlife

(See Page 51 for addresses)

Café Café

Dance to Trio Los Primos, 6 p.m., no cover.

¡Chispa! at El Mesón

Three Faces of Jazz, with guest trumpeter Tom Rheam, 7:30-10:30 p.m., no cover.

Cowgirl BBQ

John Kurzweg Band, rock, 8:30 p.m.-close; call for cover.

The Den

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.

Swiss Bistro

Irish multi-instrumentalist Gerry Carthy, 7-10 p.m., no cover.

Tiny’s

Singer/songwriter Chris Abeyta, 5:30 p.m.; classic-rock band The Jakes, 8:30 p.m.; no cover.

Vanessie

Pianist Doug Montgomery, 6-8 p.m.; tenor/pianist Branden James and cellist James Clark, 8-11 p.m.; call for cover.

Ladies' Night, with DJ Luna spinning dance beats, 9 p.m.-close, call for cover.

SATURDAY 1/10

El Farol

Theater/Dance

Rockabilly band Rob A Lou's Elvis Presley tribute, 9 p.m.-close; call for cover.

El Paseo Bar & Grill

Weekly rotating DJs, 9:30 p.m.-close, no cover.

Hotel Santa Fe

Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover.

Hansel and Gretel

Scottish Rite Center, 463 Paseo de Peralta Humperdinck's opera based on the classic fairy tale, performed by Performance Santa Fe Orchestra, conducted by Joseph Illick, 2 p.m., free tickets available at the door, call 505-984-8759 for information, Sunday encore. (See story, Page 28)

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. (See story, Page 25)

Books/Talks Cea Sunrise Person

Op. Cit Books, 500 Montezuma Ave., Suite 101 The author reads from North of Normal, 5:30 p.m.

Events

Contra dance

Odd Fellows Hall, 1125 Cerrillos Rd. Folk dance with easy walking steps; live music

by Roaring Jelly; beginners lesson 7 p.m., dance 7:30 p.m., $9, students $5, 505-820-3535.

Shadeh at Buffalo Thunder Resort & Casino Hip-hop night, with rotating DJs, 9 p.m.-4 a.m., no cover.

Skylight

Fresh Kicks: DJs Josh Burg and Kevin Kirkland, 9 p.m.-close, in the Skylab; Alchemy 2.0, 9 p.m.; call for cover.

Sweetwater Harvest Kitchen

Saturdays with John Serkin on Hawaiian slack-key guitar, 6-8 p.m., no cover.

Tiny’s

Showcase karaoke, with Nanci and Cyndy, 8:30 p.m., no cover.

SUNDAY 1/11

Tierra Sonikete: Joaquin Gallegos on guitar and J.Q. Whitcomb on trumpet, 7:30-10:30 p.m., no cover.

Cowgirl BBQ

Chris Chickering Band, rock 'n' roll, 2 p.m.; indie-rock band Drastic Andrew, 8:30 p.m.; no cover.

Duel Brewing

Rumelia, contemporary Balkan folk tunes, 7-10 p.m., no cover.

El Farol

Flamenco dinner show, 6:30 p.m.; rock band Controlled Burn, 9 p.m.-close; call for cover.

El Paseo Bar & Grill

Weekly rotating DJs, 9:30 p.m.-close, no cover.

La Fiesta Lounge at La Fonda

Syd Masters & The Swing Riders, 8 p.m., 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

Bluegrass band Dandelion Liberation Front, 3 p.m., on the patio; Shiners Club Jazz Band, 7 p.m.-close; call for cover.

Omira Bar & Grill

Classical Music Serenata of Santa Fe

First Presbyterian Church of Santa Fe, 208 Grant Ave. Zephyrs, music for woodwinds by Barber, Ligeti, and Janáček, 3 p.m., $15-$30, 505-988-1234, ticketssantafe.org, discounted tickets for students and children ages 5 and under available at the door only. (See story, Page 24)

Theater/Dance Hansel and Gretel

Scottish Rite Center, 463 Paseo de Peralta Humperdinck's opera based on the classic fairy, tale performed by Performance Santa Fe Orchestra, conducted by Joseph Illick, 2 p.m., free tickets available at the door, for information call 505-984-8759. (See story, Page 28)

The Madwoman of Chaillot

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. (See story, Page 25)

Michael "Wheels" Parise

Skylight Stand-up comic, Phil Perado opens, 7 p.m., $15-$20 in advance at holdmyticket.com.

Events Israeli dance

Odd Fellows Hall, 1125 Cerrillos Rd. Traditional folk dances; 8-10 p.m. weekly, $5 suggested donation, santafe.israeli.dance.com.

Jazz saxophonist/vocalist Brian Wingard, 6-9 p.m., no cover.

Nightlife

Palace Restaurant & Saloon

Cowgirl BBQ

Bluegrass band Railyard Reunion, 4:30-7:30 p.m.; rockabilly band Rob A Lou, 10 p.m.; call for cover.

Pranzo Italian Grill

Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover.

San Q Sushi South

Flamenco Night!, with Mina Fajardo & Friends, 7-9 p.m., no cover.

Second Street Brewery

Surf-rock band The Fabulous Martini-Tones, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Bluegrass/Americana band Kitty Jo Creek, 7-10 p.m., no cover.

Pianist Doug Montgomery, 6:30 p.m.-close.

MONDAY 1/12 Carrie Vaughn

Friends of the Wheelwright lecture

Wheelwright Museum of the American Indian library, 704 Camino Lejo, Museum Hill, 505-982-4636 Robert Gallegos discusses how to differentiate between fake and authentic Native jewelry and pottery, refreshments 2 p.m., talk 2:30 p.m., $10.

Rococo: The Continuous Curve

Books/Talks Jean Cocteau Cinema The author reads from and signs copies of Kitty's Greatest Hits, 7-9:45 p.m.

Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, 505-982-2226 Independent curator Penelope Hunter-Stiebel illustrates examples of the style, 2 p.m., $10, call for reservations.

Check with venues

Vanessie

Blue Rooster

¡Chispa! at El Mesón

Vanessie

Weekly rotating DJs, 9 p.m.-midnight, call for cover.

Nightlife

Trash Disco, with DJ Oona, 9 p.m.-2 a.m., no cover.

Key Francis, psychedelic rock, 3-7 p.m., no cover.

The Underground at Evangelo's

Pianist Doug Montgomery, 6-8 p.m.; tenor/pianist Branden James and cellist James Clark, 8-11 p.m.; call for cover.

(See addresses at right)

Mine Shaft Tavern

(See addresses at right) John Prine tribute brunch, with Americana band Boris & The Salt Licks, noon-3 p.m.; rock duo Don Curry and Pete Springer, keyboard, guitar, and vocals, 8 p.m.-close; no cover.

El Farol

Nacha Mendez & Company, 7 p.m.-close, call for cover.

Evangelo’s

Tone & Company Band, local musicians are welcome to jam, 9 p.m.-close, call for cover.

La Posada de Santa Fe Resort and Spa

Country singer Wiley Jim, 7 p.m., call for cover.

for updates and sp ecial events

Agoyo Lounge at th e Inn on the Alame da The Matador 303 E. Alameda St. , 505-984-2121 116 W. San Francisc Anasazi Restauran o St. t& 113 Washington Av Bar Mine Shaft Tavern e., 505-988-3030 2846 NM 14, Madr Bishop’s Lodge Ra id, 505-473-0743 nch Resort & Spa 1297 Bishops Lodg Mo lly's Kitchen & Loun e Rd., 505-983-6377 1611 Calle Lorca, 50 ge Blue Rooster 5983-7577101 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 Music Room at Ga Café Café rrett’s Desert Inn n 311 Old Santa Fe Tra 500 Sandoval St., 50 il, 505-982-18511 5-466-1391 Odd Fellows Hall ¡Chispa! at El Mesó n 1125 Cerrillos Rd., 213 Washington Av 505-473-0955 e., 505-983-6756 Omira Bar & Grill Cowgirl BBQ 1005 St. Francis Dr 319 S. Guadalupe St. ., 505-780-5483 , 505-982-2565 Pa lace Restaurant & The Den Saloon 142 W. Palace Ave., 132 W. Water St., 50 505-428-0690 5-983-1615 Pranzo Italian Grill Duel Brewing 540 Montezuma Av 1228 Parkway Dr., e., 505-984-2645 505-474-5301 Santa Fe Bar & Grill Eldorado Hotel & Spa 187 Pase 309 W. San Francisc o St., 505-988-4455 505-9 o de Peralta, DeVargas Center, 82-3033 El Farol Santa Fe Commun 808 Canyon Rd., 50 ity Convention Ce 5-983-9912 nter 201 W. Marcy St., 50 El Paseo Bar & Grill 5-955-6705 Sa nta Fe Sol Stage & 208 Galisteo St., 50 Grill 5-992-2848 37 Fire Place, solof Evangelo’s santafe.com San Q Sushi South 200 W. San Francisc o St., 505-982-9014 3470 Zafarano Dr., 505-4 Gig Performance Sp 38-6222 ac Second Street Brew 1808 Second St., gig e ery santafe.com 18 14 Second St., 505-982 Hilton Santa Fe -3030 Second Street Brew 100 Sandoval St., 50 ery at the Railyard 5-988-2811 1607 Paseo de Peral Hotel Santa Fe ta, 505-989-3278 Shadeh at Buffalo 1501 Paseo de Peral Thunder ta, 505-982-1200 Resort & Casino 30 Iconik Coffee Roas Buffalo Thunder Tra ters il, 877-848-6337 1600 Lena St., 505-4 28-0996 Sk yli gh t Jean Cocteau Cinem a 139 W. San Francisc 418 Montezuma Av o St., 505-982-0775 e., 505-466-5528 Sta rlight Lounge at Mo Junction 500 Rodeo Rd., 505-4 ntecito Santa Fe 530 S. Guadalupe St. 28-7777 , 505-988-7222 Sw eetwater Harvest La Boca Kitchen 1512-B Pacheco St. 72 W. Marcy St., 50 , 505-795-7383 5-982-3433 Sw iss Bistro La Casa Sena Cant ina 401 S. Guadalupe St. 125 E. Palace Ave., , 505-988-5500 505-988-9232 Ta berna La Boca La Fiesta Lounge at La Fonda 125 Lincoln Ave., 50 100 E. San Francisc 5-988-7102 o St., 505-982-5511 Te rraCotta Wine Bistro La Posada de Sant a Fe Resort and Sp a 304 Johnson St., 505-989-1166 330 E. Palace Ave., 505-986-0000 Tiny’s Lensic Performing Arts Center 10 05 St. Francis Drive 211 W. San Francisc , Suite 117, o St., 505-988-1234 505-983-9817 The Lodge at Sant a Fe The Underground 750 N. St. Francis Dr at Evangelo’s ., 505-992-5800 200 W. San Francisc o St. Low ‘n’ Slow Lowride r Bar Vanessie at Hotel Chimayó de Santa Fe 434 W. San Francisc 125 Washington Av o St., 505-982-9966 e., 505-988-4900 Warehouse 21 1614 Paseo de Peral ta, 505-989-4423

C L U B S, R O O M S, V E N UES

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Events

Books/Talks

Swing dance

Brainpower & Brownbags Lecture Series

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.

Meem Community Room, Fray Angélico Chavez History Library, 120 Washington Ave. Films Made in New Mexico: A History, by Jeff Berg, noon-12:45 p.m., no charge, 505-476-5200.

Nightlife

Santa Fe Institute Community Lecture

(See Page 51 for addresses)

Cowgirl BBQ

Karaoke, with Michele Leidig, 9 p.m., no cover.

El Farol

Rock band J.J. and The Hooligans, 8:30 p.m.-close, call for cover.

La Fiesta Lounge at La Fonda

Local country artist Bill Hearne, 7:30 p.m., no cover.

Vanessie

Pianist Doug Montgomery, 6-8 p.m.; tenor/pianist Branden James and cellist James Clark, 8-11 p.m.

TUESDAY 1/13 Books/Talks New Mexico Music Commission meeting

Old Senate Chambers, Room 238, Bataan Memorial Building, 407 Galisteo St. Open to the public; 10 a.m.-noon, a copy of the agenda will be available 72 hours prior, call 800-879-4278.

The New Space Age: An Archaeological Perspective on Humanity's Exploration and Use of Space

School for Advanced Research boardroom, 606 Garcia St., 505-954-7203 Sparks: Off-Beat New Mexico lecture series; with Beth O'Leary's overview of the early space age, circa 1957 to 1972, 3-4 p.m., no charge.

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. The free series continues with Eating Our Words: What the Language of Food Says About Us, by linguist Dan Jurafsky, 7:30 p.m., santafe.edu.

(See Subtexts, Page 10)

Nightlife

(See Page 51 for addresses)

¡Chispa! at El Mesón

Flamenco guitarist Chuscales, 7-9 p.m., no cover.

Cowgirl BBQ

Bluegrass band Railyard Reunion, 8 p.m., no cover.

La Fiesta Lounge at La Fonda

Country band Buffalo Nickel, 7:30-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa

El Farol

Canyon Road Blues Jam, 8:30 p.m., no cover.

Evangelo’s

Fat Tuesday, with Les Gens Bruyants, Cajun-style music, 7 p.m.-close, call for cover.

La Fiesta Lounge at La Fonda

Local country artist Bill Hearne, 7:30 p.m., no cover.

La Posada de Santa Fe Resort and Spa

Country singer Wiley Jim, 7 p.m., call for cover.

Guitarist Ramon Bermudez, 6-8 p.m., no cover.

Tiny's

Electric jam, with Nick Wimett, 9 p.m., no cover.

The Underground at Evangelo’s

Take Over Wednesdays, with DJ Doer spinning hip-hop, 7 p.m.-close, call for cover.

THURSDAY 1/15 The Madwoman of Chaillott

Events

La Terraza, La Fonda Cocktail reception, dinner, and talk by Bill Stewart titled Obama's Foreign Policy: The Last Two Years, 5:30 p.m., $125, full-table discounts available, 505-982-4931, sfcir.org.

Nightlife

Electronic Expressions, 9 p.m.-2 a.m., call for cover.

Tiny’s

Duets with jazz pianist John Rangel and friends, 7-9 p.m., no cover.

The Underground at Evangelo's

Latin Tuedays, 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.

WEDNESDAY 1/14 In Concert Tony Furtado Band

Gig Performance Space Bluegrass/roots fusion, 7:30 p.m., $25 in advance at brownpapertickets.com, $28 at the door.

52

PASATIEMPO I January 9-15, 2015

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.

Tiny’s

Honky-tonk/Cajun/surf band The Gunsels, 8 p.m., no cover.

The Underground at Evangelo’s

DJs Homeboy Sandman, Mega Ran, Benzo, and Sae What, 8 p.m.-close, call for cover.

Vanessie

Tenor/pianist Branden James and cellist James Clark, 6:30 p.m.; call for cover.

Various Albuquerque venues Tricklock Company's celebration of works by international avant-garde companies; the festival kicks off with a party at 7 p.m. Tuesday, Jan. 13, performances continue to Feb. 1, individual tickets and passes for four or eight shows available online at tricklock.com, 505-254-8393, student discounts available.

Los Alamos Red Priest

Duane Smith Auditorium, 1300 Diamond Dr. British Baroque instrumental ensemble, 7 p.m.

Friday, Jan. 9, $30, 505-988-1234, ticketssantafe.org.

Los Alamos Mesa Public Library Gallery

2400 Central Ave., second floor, 505-662-8247 Dust, Drought, and Dreams Gone Dry, national traveling photographic exhibit, through Feb. 20.

Santa Fe Council on International Relations' Taos 50th Anniversary Celebration Taos Chamber Music Group

TerraCotta Wine Bistro

Open-mic night, 7-10 p.m., no cover.

Swiss Bistro

TerraCotta Wine Bistro

(See Page 51 for addresses)

Jazz guitarist Pat Malone, 6-8 p.m., no cover.

Limelight karaoke, 10 p.m.-close; call for cover.

Fifteenth Annual Revolutions International Theatre Festival

Rocker Anthony Leon, 8:30 p.m.-close; call for cover.

Second Street Brewery at the Railyard

Ben Wright's open-song night, 7 p.m., no cover.

Palace Restaurant & Saloon

Albuquerque

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. (See story, Page 25)

Singer/songwriters Art & Lisa, 8 p.m., no cover.

DJ Inky Ink, soul/punk/ska, 8:30 p.m., no cover.

Palace Restaurant & Saloon

¡Chispa! at El Mesón Cowgirl BBQ

The Matador

OUT OF TOWN

Theater/Dance

Argentine Tango Milonga, 7:30-11 p.m., no cover.

Irish multi-instrumentalist Gerry Carthy, 7-9:30 p.m., call for cover.

Country singer Wiley Jim, 7 p.m., call for cover.

Nightlife

(See Page 51 for addresses)

The Lodge at Santa Fe

Blue Rooster

¡Chispa! at El Mesón Cowgirl BBQ

The Scones, rockin' Americana, 8 p.m., no cover.

El Farol

Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.

Evangelo’s

Thursdays with Little Leroy & His Pack of Lies, dance band, 9 p.m.-close, call for cover.

La Fiesta Lounge at La Fonda

Country band Buffalo Nickel, 7:30-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa

Pat Malone Jazz Trio, with Kanoa Kaluhiwa on saxophone, Jon Gagan on bass, and Malone on guitar, 6-9 p.m., call for cover.

Harwood Museum of Art, Aurther Bell Auditiorium, 238 Ledoux St., 575-758-9826 Jazzin' Around, works by composer Corey Dundee; performers include flutist Nancy Laupheimer, violinist L.P. How, and cellist Sally Guenther; 5 p.m.

Saturday and Sunday, Jan. 10-11, $22 in advance; $25 at the door; ages 15 and under $12; taoschambermusicgroup.org.

PEOPLE WHO NEED PEOPLE Artists/Designers American Institute of Architects' Canstruction design and build competition

Open call for design teams to create structures 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.

Center: International calls for entry

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.

Historic Structures of Santa Fe

Call for artists working in watercolor and gouache to submit work based on Santa Fe's historic buildings for a June exhibit at the Historic Santa Fe Foundation; entry deadline Sunday, March 1; visit historicsantafe.org for guidelines and a list of structures.

Native Artists Fellowships

The Indian Arts Research Center at the School for Advanced Research offers three artists-inresidence fellowships in diverse creative disciplines, submission deadline Thursday, Jan. 15, visit sarweb.org for application and guidelines.

Community Communities in Schools New Mexico

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.

St. Elizabeth Shelter

Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org

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.

PASA KIDS

Santa Fe Children's Museum

1050 Old Pecos Trail, 505-989-8359 Held weekly on Fridays, 2:30-4:30 p.m., all ages open art studio; 10:30-11:30 a.m. weekly on Wednesdays, bilingual preschool stories, songs, and games, by museum admission.

Hansel and Gretel

Scottish Rite Center, 463 Paseo de Peralta Humperdinck's opera based on the classic fairy tale performed by Performance Santa Fe Orchestra, conducted by Joseph Illick, 7 p.m. Friday, 2 p.m.

Saturday and Sunday, Jan. 9-11, free tickets available at the door, for information call 505-984-8759. (See story, Page 28)

Light and Shadows

Georgia O'Keeffe Museum, 217 Johnson St., 505-946-1000 A free painting and drawing class designed for families with children ages 4-12, 9:30-11:30 a.m.

Saturday, Jan. 10, visit okeeffemuseum.org to register.

Bee Hive Kids Books

328 Montezuma Ave., 505-780-8051 Crafty Story Time, all ages, 11 a.m.-noon Saturday, Jan. 10, no charge.

Books and Babies

Santa Fe Public Library branches Led by singer/storytellers Michael and Lisa; children must be accompanied by an adult, 10:30 a.m. Tuesdays, Main Branch, 145 Washington Ave., 505-955-6783; 10:30 a.m.

Wednesdays, La Farge Branch, 1730 Llano St., 505-955-4863; 10:45 a.m. Thursdays, Southside Branch, 6599 Jaguar Dr., 505-955-2828.

Santa Fe Science Café for Young Thinkers

Georgia O’Keeffe Education Annex, 123 Grant Ave. Too Cool to Resist: The Mystery of Superconductivity,

by Ross McDonald of LANL, 6-7:30 p.m. Wednesday, Jan. 14; a lecture series geared toward ages 13-19, no charge. ◀

Leni Stern African Trio

UPCOMING EVENTS

Gig Performance Space Jazz guitarist, 7:30 p.m. Saturday, March 7, $20 at the door, gigsantafe.com.

THEATER/DANCE

The Metropolitan Opera: Live in HD

MUSIC

Santa Fe Community Orchestra

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. Fridays, Jan. 16, Feb. 6, and March 20; donations welcome, 505-466-4879, sfco.org.

Santa Fe Music Collective jazz concerts

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

Museum Hill Café, 710 Camino Lejo Friday, Jan. 16: the series continues with guitarist Greg Ruggiero, joined by bassist Asher Barreras and drummer John Trentacosta; 7 p.m. Friday, Feb. 13: drummer Albert "Tootie" Heath joins pianist Bert Dalton and bassist Andy Zadrozny; $25, santafemusiccollective.org, 505-983-6820.

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.

Zía Singers

Notes on Music: Jean Sibelius

Immaculate Heart of Mary Retreat Center Chapel, 50 Mount Carmel Rd. Annual winter concert Fire, Water, Air and Earth, 3 p.m. Saturday and Sunday, Jan. 17-18, $20 in advance and at the door, students no charge, 225-571-6352.

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.

Robert Earl Keen

The Lensic Satirical folk singer/songwriter, 7:30 p.m. Tuesday, Feb. 10, $22-$42, 505-988-1234, ticketssantafe.org.

Skylight Singer/songwriter, 7 p.m. Saturday, Jan. 17, $30 in advance, holdmyticket.com.

Santa Fe Symphony

The Lensic 4 p.m. Sunday, Jan. 18: Guillermo Figueroa leads the orchestra in music of Handel, Mahler, and Vivaldi, tickets begin at $22; 4 p.m. Sunday, Feb. 22: Shakespeare-inspired tribute of works

by Tchaikovsky, Mendelssohn, and Corigliano, with concertmaster David Felberg and guest conductor Sarah Hicks, $11-$72, discounts available, 505-988-1234, ticketssantafe.org.

Hot Sardines

The Lensic Theatrical jazz band, tunes of the '20s, '30s, and '40s, 7:30 p.m. Wednesday, Jan. 21, tickets start at $13.50, 505-988-1234, ticketssantafe.org.

Santa Fe Pro Musica

The Lensic 7:30 p.m. Wednesday, Jan. 21, piano recital: Per Tengstrand, music of Beethoven, Greig, and Liszt; 4 p.m. Saturday, Jan. 24, SFPM orchestra, featuring Tengstrand: music of Haydn, Stravinsky, and Mozart, conducted by Thomas O'Connor; 3 p.m. Sunday, Jan. 25, encore, followed by 5:30 p.m. dinner with the soloist (limited seating), $10-$65, 505-988-1234, ticketssantafe.org, dinner reservations required, call 505-988-4640.

Big Head Todd and The Monsters

The Lensic Rock band, 7:30 p.m. Tuesday, Jan. 27, $42, discounts available, 505-988-1234, ticketssantafe.org.

The Green

Skylight Hawaii-based reggae band, Through the Roots opens, 7:30 p.m. Monday, Feb. 2, $16 in advance at holdmyticket.com.

Todd Snider

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.

Buffy Sainte-Marie

KiMo Theater, 423 Central Ave. N.W. Canadian Cree singer/songwriter, 7:30 p.m.

Sunday, Feb. 15, $15-$45 in advance, 505-886-1251, holdmyticket.com.

The Lensic 11 a.m. and 6 p.m. Saturday, Jan. 17: Lehár's The Merry Widow; 11 a.m. and 6 p.m. Saturday, Jan. 31: Offenbach's Les Contes D'Hoffmann; 10:30 a.m. Saturday, Feb. 14, encore 6 p.m.

Tuesday, Feb. 17: Tchaikovsky's Iolanta and Bartók's Bluebeard's Castle; $22-$28, discounts available, 505-988-1234, ticketssantafe.org.

Mariela in the Desert

Teatro Paraguas Studio, 3205 Calle Marie A lyrical play by Karen Zacarias, 7:30 p.m.

Thursdays-Saturdays, 2 p.m. Sundays, Jan. 22-Feb. 1, $17, discounts available, 505-424-1601, teatroparaguas.org.

NMSA Fifth Annual Winter Dances

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.

Radium Girls

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.

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.

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.

HAPPENINGS

Souper Bowl

Santa Fe Community Convention Center Twenty-first annual benefit held in support of The Food Depot; featuring a soup competition among 29 local restaurants, noon Saturday, Jan. 17, tickets start at $30, 505-988-1234, ticketssantafe.org.

Art Starts

Museum of Contemporary Native Arts Works by Chris Pappan, Christine Nofchissey McHorse, and Star Wallowing Bull; also, selections from the museum's collection, opening Jan. 23, through July.

WinterBrew

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.

Lannan Foundation Literary Series

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.

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.

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.

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 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.

Big Head Todd and The Monsters perform on Tuesday, Jan. 27, at the Lensic.

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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.

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900 Works from the collection. 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; closed weekends; roxanneswentzell.net.

SITE Santa Fe

Evoke Contemporary shows paintings by Julyan Davis, 550 Guadalupe St.

AT THE GALLERIES

Evoke Contemporary

550 Guadalupe St., 505-955-9902 Peace Love Joy Art, group show, through Jan. 17.

Tybie Davis Satin Gallery

Santa Fe Public Library, Main Branch, 145 Washington Ave., 505-955-6781 Years of Protest by the Women's Liberation Movement: 1966-1971, photojournalistic work

by Ingrid Vernoes-Froehlich, through January.

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

217 Johnson St., 505-946-1000 Miguel Covarrubias: Drawing a Cosmopolitan Line, mixed media, through 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.

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PASATIEMPO I January 9-15, 2015

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 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

1606 Paseo de Peralta, 505-989-1199 SITElines: Unsettled Landscapes, biennial exhibit of contemporary works, through Sunday, Jan. 11.

Open Thursdays-Sundays; sitesantafe.org.

(See Viajes, Page 30)

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/albuquerquemuseum; closed Mondays.

Los Alamos 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

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.

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). 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 2401 12th St. N.W., 866-855-7902 exhibit focusing on Post-Pop and lowbrow art Our Land, Our Culture, Our Story, historical movements, including works by Robert Williams, overview of the Pueblo world, and contemporary Gary Baseman, Ron English, and R. Crumb, through artwork and craftsmanship of each of the 19 pueblos; Jan. 25. Closed Mondays; harwoodmuseum.org. indianpueblo.org; open daily; weekend Native La Hacienda de los Martinez dances.

708 Hacienda Way, 575-758-1000 National Hispanic Cultural Center One of the few Northern New Mexico-style, Spanish 1701 Fourth St. S.W., 505-604-6896 colonial “great houses” remaining in the American AfroBrazil: Art and Identities, three-tiered Southwest. Built in 1804 by Severino Martinez; exhibit of lithographs from Tamarind Institute, taoshistoricmuseums.org; open daily. photographs and dressed figures by Paulo Lima, Millicent Rogers Museum and ephemera representing popular cultural 1504 Millicent Rogers Rd., 575-758-2462 goods sold by Brazilian street vendors, through mid-August • ¡Papel! Pico, Rico y Chico, group Looking at Taos Pueblo: Albert Martinez, Juan Mirabal, show of works in the traditional art of papel picado and Albert Lujan, paintings, through January (cut paper), through January. Closed Mondays; • Fred Harvey and the Making of the American West, nationalhispaniccenter.org. objects drawn from the Harvey family, through January. Historical collections of Native American UNM Art Museum jewelry and paintings; Hispanic textiles, metalwork, 1 University of New Mexico, 505-277-4001 and sculpture; and contemporary jewelry. Closed David Maisel/Black Maps: American Landscape Mondays; millicentrogers.org. and the Apocalyptic Sublime, photographs by Maisel; Taos Art Museum at Fechin House Beautiful Disintegrating Obstinate Horror Drawing 227 Paseo del Pueblo Norte, 575-758-2690 and Other Recent Acquisitions and Selections From the UNM Art Museum’s Permanent Collection Housed in the studio and home that artist • The Gift, woodcut prints by John Tatschl (1906Nicolai Fechin built for his family between 1927 1982). Open Tuesday-Saturday; unmartmuseum.org. and 1933; taosartmuseum.org; closed Mondays.

Indian Pueblo Cultural Center

Andrea Bowers: Memorial to Arcadia Woodlands Clear-Cut 2013, metal, paaracord, rope, and wood SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199 Unsettled Landscapes, the first in a series of linked biennial exhibitions under the general heading SITElines: New Perspectives on Art of the Americas, continues through Sunday, Jan. 11. The multimedia show looks at political and a social issues and historical narratives in the work of artists in the Americas.

Unsettled Landscapes includes new commissions as well as pre-existing workks and off-site installations.

Lily Schlien: Monastery Garden 2014, mixed media Back Street Bistro, 513 Camino de los Marquez, 505-982-3500 Trabajo, an exhibit of prints by Lily Schlien, opens with a 5:30 p.m. reception on Friday, Jan. 9. The show includes 36 pieces that date from 2006 to the present. Schlien’s prints often juxtapose flora and other landscape elements with imagery of birds — ravens in particular — in bold, graphic designs. The artist works in a variety of printmaking mediums that includes woodcuts, linocuts, and monoprints.

Linda Lopez: Objects Made to Be Rejected 2014, ceramic and woood

Paula Wilson: Salty Fresh 2014, video still Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338 UNDRESS, a multimedia, site-specific installation by Paula Wilson continues in the Spector Ripps Project Space through Feb. 1. The show includes video, video projection, and a larger-than-life female figure under whose skirt visitors can walk. UNDRESS runs concurrently with Art Collision & Repair Shop, on view in the Muñoz Waxman Gallery (also through Feb. 1). The shows are loosely connected by the theme of art as object.

Santa Fe Claay, 545 Camino de la Familia, 505-984-11222 Six Under Thirty-Six, Santa Fe Clay’s first show of the neew year, presents works by six artists under thhe age of thirty-six: Emily Duke, whosee ceramiccs are inspired by construction sites annd architectural structures; Linda Lopez, whosee whim msical works blend inanimate objects witth human characteristics; wi charac Brooks Oliver, who is inffluenced by guiding principles in thee disciplines of engineering, math, and illusion; Peter Pincus, who creates elegant geometricc vessels; Adam Shiverdecker, whose ancient-style ceramics, which he creates to appear to be already in states of decay, reference historic Greek vessels depicting scenes of war; and Matt M Ziemke, whose work is informed by the ways in which landscapes are defined by human activity. The show opens with a 5 p.m. reception on Friday, Jan. 9.

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N

Joy Campbell: Sweet Thing I 2014, altered book Vivo Contemporary, 725 Canyon Road 505-982-1320 “Art, in itself, is an attempt to bring order out of chaos,” wrote lyricist Stephen Sondheim. Vivo Contemporary’s newest show, Order and Chaos, makes that maxim its theme. The exhibit of works by 14 gallery artists — Joy Campbell, Ilse Bolle, Paul Biagi, Barrie Brown, and Marina Brownlow among them — opens Friday, Jan. 9, with a 5 p.m. reception. The artists interpret the theme of order from chaos through their chosen mediums, which include painting, calligraphy, ceramic and paper sculpture, glass works, book arts, and printmaking.

PASATIEMPOMAGAZINE.COM

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PASATIEMPO | January 9-15, 2015