• Broadway’s LuPone and Ebersole in “War Paint”: Double Display of Delicious Divadom

    Edward Rubin

    Patti LuPone (Helena Rubenstein)and Christine Ebersole (Elizabeth Arden) in ‘War Paint.’ Photos by Joan Marcus.

    It’s no surprise that Patti LuPone and Christine Ebersole, two of Broadway’s most beloved Tony-winning performers, each with their own cadre of diehard followers, are filling the seats at Broadway’s Nederlander Theater. It is equally unsurprising that the audience goes over the moon after each Scott Frankel (music) and Michael Korie (lyrics) War Paint song that they sing. And there are some twenty of them. They must realize that this is History in the Making, heaven-sent if you will, for having two knock ‘em dead Broadway stars singing their hearts out for the price of one, is a treat of great and rare proportion. (more…)

  • Award-winning WW II Drama, ‘Land of Mine’: Boy Soldiers and the Allies’ Revenge

    Nancy Kempf

    “All wars are waged against children.” Eglantyne Jebb, British social reformer and author of “Declaration of the Rights of the Child” (1876-1928)

    Two of the finest World War II films ever made are Austrian filmmaker Bernhard Wicki’s “The Bridge” (“Die Brücke”) and Soviet Russian filmmaker Elem Klimov’s “Come and See.” Wicki’s film, based on Gregor Dorfmeister’s 1958 novel of the same name and based on actual events, was released in 1959, a mere 15 years after World War II ended, when the experiences of war would have been fresh in the German memory. (more…)

  • ‘Sweat’ at Broadway’s Studio 54: Scoring a Knockout!

    Herbert Simpson

    Finally, Lynn Nottage’s powerful, timely play at Broadway’s, Studio 54, officially opened last month. I read it for an award-granting committee in 2015 and got detailed reports on its sold-out productions at Oregon Shakespeare Festival and Arena Stage in D.C. They got rave reviews. Then I saw this same production at the Public Theatre in New »more

  • Yale Center for British Art’s, ‘Enlightened Princesses’: The Power of Human Endeavor

    Tyler Griffith

    Jean-Baptiste van Loo, Augusta, Princess of Wales, 1742, oil on canvas, 94 1/2 x 62″. Royal Collection Trust.

    Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World offers a visceral, multi-faceted and interdisciplinary look at the eighteenth century told through the passions and activities of three women—German aristocracy by birth, British royalty by marriage. Among their shared interests were natural philosophy (we moderns might call it “science”), literature, theater, music, fine art, religion, architecture, collecting, exploration, patronage, botany, charity, medicine, education, politics, crafts, horticulture, and gardening; and the list could go much, much further on. All three women demonstrated a deep-rooted and persistent interest in the limits and possibilities of human endeavor, both in terms of the interior developments of creative genius and in the external interaction of humanity with the world around them. They used all available resources to encourage the arts and sciences to blossom under their charge as Queen Consorts and senior women at court. (more…)

  • New York Artist, Mary Hrbacek’s ‘Fierce Affection’ for a Miracle of Nature

    Richard Friswell

    Mary Hrbacek, Fierce Affection (2014) Acrylic on Linen, 40 x 40″

    You pass by them each day, a world replete with these silent sentinels, looming and swaying in breezes high overhead. They cleanse our air, shade our backyards, grace our hillsides, and even sacrifice themselves to set our campfires aglow, or frame a roof over our heads. Trees are a ubiquitous part of our lives in all but the most barren or harshly urbanized parts of our lives. Their beauty and utility go largely unheralded, unless you take the time to explore the wonder of both their form and function in our everyday existence. One artist in particular has taken the time to carefully examine this deeply-rooted, but often ignored feature of our landscape—dramatically expressive living organisms that overspread approximately 9.6 billion acres or 30% of the world’s land surface—trees. (more…)

  • ‘The Object Lesson’ at the New York Theatre Workshop

    Edward Rubin

    Solo performer Geoff Sobelle, in ‘Object Lessons.’ Photos: Joan Marcus

    The New York Theatre Workshop, one of the most audacious theaters in New York City, never fails to astonish its audience in the wide-ranging fare that it chooses to present, the directors and actors that tread its stage, and its stunning production designs.

    I’m talking about set, lighting, sound, costume, and film. In fact, in can be said that visual and audio surprises – you never know what is going to hit you between your eyes and ears upon entering the theatre – is one of the NYTW’S major calling cards (more…)

  • Yayoi Kusama: “Infinity Mirrors” at Washington’s Hirshhorn Museum & Sculpture Garden

    Elaine A. King

    Yayoi Kusama with recent works in Tokyo, 2016. Photo by Tomoaki Makino Courtesy of the artist © Yayoi Kusama. NOTE: detailed image captions can be found at end of review

    Childlike simplicity and frankness along with infinite universes brim throughout the “Yayoi Kusama: Infinity Mirrors” exhibition currently on view at the Hirshhorn Museum and Sculpture Garden.  Kusama’s unique visual language of recurrent patterns of dots, vibrant colors, wondrous-mirrored rooms and pumpkins evoke an atmosphere of positive joyfulness that invite viewers to participate in her unique visual world. This display is a welcomed relief in Washington, DC’s current gloom and doom milieu! (more…)

  • ‘Sunset Boulevard’: Close Encounters at the Palace, Broadway

    Edward Rubin

    Glenn Close as Norma Desmond in ‘Sunset Boulevard.’ All photos: Joan Marcus

    To say that Glenn Close brings down the house during the musical Sunset Boulevard is almost an understatement, as the hoots, hollers, and applause – I even heard a bravo or two– offered by her admirers, shook the very rafters of the Palace Theatre after every number she sang. And that was not the end of it. At curtain call, the now-standing audience celebrating Close’s return to the iconic role of silent screen star Norma Desmond after a twenty- two year Broadway absence – both the musical and Close won a Tony in 1995 – just about refused to let Close leave the stage. (more…)

  • Theaster Gates: The Minor Arts at the National Gallery of Art, Washington, DC

    Elaine A. King

    Artist, Theaster Gates. Photo courtesy of hypocritedesign.com

    Theaster Gates is a 21st century Renaissance man whose art practice comprises painting, sculpture, installation, music, design, performance and urban planning.  Gates is, as are L.A. artists Mark Bradford and Richard Lowe, an extraordinary social practice artist who can sees potential beyond the surface of a situation despite its outwardly decrepit state. He was born in Chicago in 1973 on Chicago’s run-down South Side, known as Greater Grand Crossing, where he continues to work and live. This visionary raises money, collaborates with urban planners/architects/policy makers and has been supported by Chicago’s mayor, Rahm Emanuel who made Gates an off-the-record commissioner of renewal for the city’s South Side. (more…)

  • Philadelphia Museum of Art Features Watercolors by Homer and Sargent

    Amy Henderson
    John William Hill, American (born England), 1812-1879, Apples and Plums, 1874. Watercolor on paper, 7 7/8 × 11 3/8 inches. Collection of Theodore E. Stebbins, Jr.

    John William Hill, American (born England), 1812-1879, Apples and Plums, 1874. Watercolor on paper, 7 7/8 × 11 3/8 inches. Collection of Theodore E. Stebbins, Jr.

    Is it appropriate to define watercolor as “the medium” in American art?  That’s the contention curator Kathleen A. Foster sets forth in her new Philadelphia Museum of Art exhibition and catalogue, American Watercolor in the Age of Homer and Sargent.

    Establishing watercolor’s significance has been the driving force of Foster’s career, beginning with her 1982 Yale dissertation, “Makers of the American Watercolor Movement, 1860-1890.”  While the medium has often been called “quaint” and sniffed at as something women toyed with on Sunday afternoons, Foster has made it her career crusade to show that the medium launched a vital aesthetic movement in America after the Civil War. Instead of imitating French Impressionism, artists embraced watercolor and catalyzed the creation of a uniquely American art–one whose vibrant identity suited the rise of America’s modern national identity in the late 19th century. (more…)