Saturday, April 21, 2018

MIGHTY APHRODITE

Isn't there enough hate in the world today?

Santa Cruz Shakespeare strikes back this season with a 2018 program entirely devoted to love and all its complications — romantic, comic, and carnal.


Taking centerstage in this season-long homage to Aphrodite is the enduring combination of youthful roistering and tragic romance that is Romeo and Juliet.


The second Shakespearean production is Love's Labour's Lost, the comic misadventures of four young scholars foolishly trying to live without love — until four beauteous young women invade their studies.

Venus In Fur, by contemporary playwright David Ives (The Liar), is a sly debate on sex and sexism between a touchy director and a provocative young actress coming late to an audition.

This year's Fringe production is a play based on Dorothy Parker's droll prose piece, Men I Am Not Married To, adapted and directed by Kayla Minton Kaufman.

Celebrating its fifth season as an independent company, and its third year in the Audrey Stanley Grove at Delaveaga Park, the SCS presents its 2018 season from July 10 through September 2.

SCS Member discount tickets go on pre-sale next week, starting May 1st, at noon, available online or by calling 831 460-6399. (Tues-Fri 12 noon - 5 pm.) Have your member code number handy to get a $5 discount. (Look for your member code number on your membership thank-you card receipt.) Tickets go on sale to the general public starting May 15.

Meanwhile, there's still time to join the SCS team and become a member, or renew your current membership, and get your discount!

July is just around the corner. I'll see you in the Grove!

(That's Romeo and Juliet, by Bulgarian illustrator Svetlin Vassilev. Watercolor, 2003. See more of his gorgeous work here!)

Saturday, April 14, 2018

WILD RIDE

Fasten your gauntlets for this wild ride! In The Master of Verona, actor-author David Blixt  merges the historical realities of life in the Renaissance Italian city-states with what you might call the origin stories of some of Shakespeare's most famous plays.

The plot begins when the infamous poet Dante Alighieri (long exiled, and now a caustic celebrity) joins the court of his new patron, Francesco della Scala, called Cangrande, the cunning, charismatic, ruthless, and dazzling Lord of Verona.

Over the template of Cangrande's raucous real-life exploits, Blixt sows the seeds of themes, plots, and characters that will evolve into some of Shakespeare's most famous plays, to be further developed in the next three books (and counting) in the series.

Despite teasing hints, few of Shakespeare's actual characters appear in this book, but the devilish glee with which Blixt foreshadows conflicts and stories to come keeps us turning the pages.

The story is so dense with historical action and intrigue, I meant to skim an early, detailed battle scene, but the character-building was so excellent, I didn't want to miss a word. (Also, the busy plot demands you pay attention!)
Statue of Cangrande, Verona

It may take Blixt 100 pages to describe the events of a single day, but he knows his Shakespeare, his Dante, and his Renaissance Italian history. And there's literally never a dull moment!

It's fascinating to watch protagonist Pietro Alighieri evolve from studious youth longing for the approval of his famous father, accidental war hero, and confidant of Cangrande, into a man for whom honor and justice are so ingrained, he doesn't even realize how extraordinary his values are.

Full disclosure: I started reading this book for practical (or possibly piratical) reasons. Working on my own Italian Renaissance project, I was hoping to steal, er, sample some of the period color.

Evidently, flamboyant Cangrande laughed at danger!
In a sudden fit of de-cluttering (the kind I only seem to do when I'm supposed to be writing), I found a postcard for this book and another novel with a similar historical setting in an old file of tchotchkes from a long-ago book conference.

So, I found both books online. The first one was a little too YA for me. Then I picked up this daunting volume: it weighed a ton, the pages were numerous, and the print was tiny.

Well, I thought, I'll just skim through it and hopefully pick up a little of the flavor of the era through osmosis.

Hah! Flavor? This book is a fourteen-course meal! No point standing on ceremony; better just dive in, for all the reasons mentioned above!

Wednesday, April 11, 2018

CRAFTY BEAST

The countdown continues for Beast: A Tale of Love and Revenge (coming July 10)!

So my Beast of the Month for April is this ceramic art tile depicting scenes from Beauty and the Beast, ca. 1867. Tile from Morris (as in William), Marshall, Faulkner & Co. Painted by Edward Burne-Jones and Edward Coley.

Okay, this Beast is basically just a bear, but I love the decorative quality of this Pre-Raphaelite tile. In design terms (very loosely speaking), the mid-Victorian Pre-Raphaelites led to Art Nouveau led to the Craftsman style around the turn of the 20th Century.

These eras were all about fine craftsmanship and beautiful decoration. And just look at that lower right image!

I love how Beauty is having a romantic dream of Beast back in his rose garden, as her conniving sisters slumber on obliviously. Yes, according to the story, this is probably the dream that tells Beauty to hurry back to the cattle because Beast is dying without her.

But there's so much tenderness in that image! That's why I love it.

Friday, March 30, 2018

MR. NATURAL

Filmmaker, Goldsworthy, reunite for new art doc, Leaning Into the Wind

Whenever I'm asked what my favorite movies are, I usually babble out three or four titles that pop into my head right that minute — Chinatown, I might say. Or Annie Hall, or Memento, or Grand Illusion. The selection usually varies, according to my mood in the moment.

But one title I always include on the list is Rivers and Tides: Andy Goldsworthy Working With Time, German filmmaker Thomas Riedelsheimer's stirring 2001 documentary about the life and extraordinary work of "environmental artist" Andy Goldsworthy.

Not a conventional biographical doc, it says little about Scotsman Goldswothy's personal life. Instead, it's a vibrant joyride through themes of art, time and nature, expressed through the artist's powerful, yet often intentionally impermanent constructions — required viewing for anyone looking to jumpstart your own creative energy.

Artists and movie lovers who made Rivers and Tides such a long-running hit in Santa Cruz will be thrilled that filmmaker Riedelsheimer once again teams up with Goldsworthy for a new doc, Leaning Into The Wind.

Nature at work: mesmerizing
It's an invigorating portrait of the artist 16 years later: older, mellower (perhaps) but no less questing, as he travels the globe revisiting old work (or what's left of it), setting himself new challenges, and always seeking new ways to look at art, his work, and life.

Goldsworthy works with natural materials (leaves, twigs) meant to altered or destroyed by the caprices of nature, or mammoth stone constructions. One wall of clay develops a mesmerizing network of cracks and fissures as the clay dries.

Most haunting is a sculpted portal through which moonlight alone projects a glowing image of breathtaking beauty and no substance at all, into the darkness.

Like its predecessor, this move is a feast. Peel your orbs and dig in!
(Read more)

Friday, March 23, 2018

PROWLING TOWARD PUB DAY

More exciting news as my Beast prowls toward publication!

The folks at Audible are busy putting together the Beast: A Tale of Love and Revenge audiobook as we speak. They even sent me sample audition tapes, so I could vote on which narrator I liked best!

No details yet, but release date should be the same as publication day, July 10, 2018.

I'm so looking forward to hearing what they do with my Beast!

Meanwhile, my PR diva at Candlewick Press, is lining up guest blog posts and Q&As for me in the weeks running up to publication day. (Including more giveaways!)

Got a book blog? I'd be thrilled to drop by and answer questions, reveal little known facts about Beast, or otherwise hang out, so please do let me know!

I can't wait to share my Beast with the world!

Stay tuned . . .

(Above: Concept sketch by Francois Baranger for 2014 French film La Belle et la Bete.)

Thursday, March 22, 2018

GROWTH SPURT

Loss, redemption, maturity fuel family healing in witty Coming of Age

Patrons of the Jewel Theatre Company may fondly recall its production of a play by Santa Cruz author Kate Hawley back in 2015. That excellent play, Complications From A Fall, is a kind of companion piece to Hawley' newest work, Coming Of Age, "a serious comedy" now having its world premiere at JTC.

Both plays deal with the theme of aging parents and their effect on the lives of their middle-aged children.

Hawley is particularly incisive in exploring the radical idea that parents may have once had —or continue to have — separate, and interesting lives outside the box into which their children have always confined them.

Coming Of Age is less overtly comic than its predecessor, although it still has plenty of witty dialogue. Protagonist, Ian (the entertaining Mike Ryan), author of literary novels, drops in to the family home in upstate New York to visit his father, John (J. Michael Flynn), an acclaimed university professor, now retired, and recently widowed.

They've been setting up this visit for weeks, but John is surprised to see him, and doesn't seem too eager to have his son stick around. Ian finds out why with the arrival of Deirdre (Martha Brigham). Once a bedazzled student of John's, nearly 40 years younger than he is, Deirdre has become a fixture in the household.

As discreet as she is in person, her presence chips new fissures into the already tense father-son relationship.

Flynn, Brigham, Ryan: Menage a trois
Director Paul Whitworth keeps the action unobtrusively fluid — especially in the dynamic second half when Hawley's focus becomes sharper; all of the characters get a chance to express their own feelings and motivations in Hawley's simple, eloquent dialogue.

Flynn's portrait of John as a cranky oldster betrayed by time is tempered by flashes of the magnificent lion he must have once been.

And, as usual with JTC, tech work is first-class, especially Kent Dorsey's outstanding Craftsman-style set. You will want to live here!
(Read more)

Thursday, March 15, 2018

HAPPY NEWS

Say what you will about the Ides of March, but I received some happy news today from Kirkus Review!

My editor, Kaylan Adair, at Candlewick, sent me a pre-publication sneak peek at the Kirkus review of Beast: A Tale of Love and Revenge, will be published online next week. (May 1st, in print.) They say, in part:

A fresh retelling of "Beauty and the Beast" with an interesting and meaningful plot twist. Vividly enchanting descriptions transport the reader to the beautiful surroundings. Lucie is a brave and sympathetic heroine who ultimately writes her own happy ending. For readers who love reimagined fairy tales and strong female characters. (Fiction. 13-adult)

The readers at Kirkus are a tough crowd. They weren't so crazy about Alias Hook, so this review is a big thrill for me!

Also pleased that they rate the prospective age group as 13 to adult. Just a reminder that this is not exactly the Disney version!

Thanks, Kirkus!


Tuesday, March 13, 2018

THE JOURNEY CONTUNUES

Fans of Dana Chamblee Carpenter's compelling debut novel, The Bohemian Gospel, will find this second installment of the trilogy, The Devil's Bible, something of a hybrid.


The first half alternates chapters between the extraordinary life of heroine, Mouse, in 13th C Prague (picking up exactly where the previous book left off) and a contemporary, globe-spanning chase thriller involving missing medieval manuscript pages, secret societies, sinister priests, and an epic battle between Good and Evil.


But Carpenter amps up the intrigue with the fact that the contemporary heroine is the same Mouse as the outcast healer, manuscript illuminator and purveyor of dark terrifying powers from the first book.


700 years later, she's perpetually on the move; she shuns personal relationships and never stays in one job long enough for anyone to notice that she never ages.


The first book is all about establishing Mouse's character as she comes to grips with her powers and — finally — discovers their source. This backstory is invaluable as Mouse's personal journey continues here, so read the first book first.


In this one, her fractious relationship with her parent, her determination not to give into the dark side of her powers, and her quest for redemption — she even dares to fall in love —  fuel the heart of story.


That said, when the second half of the book goes into full-on Da Vinci Code mode, I wasn't quite as interested. Carpenter writes with urgency, but the demonic assaults and near-death resurrections start to feel a little repetitive.


Page from the real Codex: illuminating
But I found the parent-child debates about the nature of evil fascinating. (And not only because they remind me so much of James Hook's struggle to outgrow the role of villain thrust upon him in Alias Hook!)


Btw, the so-named Devil's Bible is an actual book, The Codex Gigas ("giant book" in Latin), a mysterious 13th C manuscript of mammoth size and unknown origin, with glorious illuminations.


Including the disturbing image of the Devil (above) that Carpenter appropriates for her cover. (Feast your orbs here!)


Carpenter's tale-spinning about the origin and creation of this masterpiece is audacious and satisfying.


Sign me up for the final book in the trilogy, The Book of the Just due out in October!

Saturday, March 10, 2018

WILD THING


It's the tenth of the month, and you know what that means?


Four more months until the release of Beast: A Tale of Love and Revenge! (July 10, 2018!)


In the meantime, behold my Beast of the Month, by contemporary artist Clive Hicks-Jenkins.


Is this a Beast with art-i-tude, or what?


Hicks-Jenkins is a theatrical designer, painter, printmaker and book illustrator in Wales.

 
This sketch is a design for a pair of Beauty and Beast puppets he began in 2014. It doesn't look like Hicks-Jenkins ever completed the pair. But I was able to track down this image of his final version of Beast!


Here's the fascinating backstory of how Hicks-Jenkins was inspired by Jean Marais and Josette Day in the classic Beaty and the Beast film by Jean Cocteau. After making this colorful drawing, he opted to ditch its refinement and instead do a much wilder, rougher version for the actual puppet.


Its papier-mâché head is texturized with plenty of gesso (unsanded), and painted black-and-while (to reference the film), with the focus on it head, paws, and claws.


I love this wild-looking puppet to pieces! (It must be the doll-maker in me.) But I also adore the original sketch!


Here's some more of the artist's insights into his puppet-making process!

Friday, March 9, 2018

FEMALE TROUBLES

Trans heroine triumphs over adversity in A Fantastic Woman


Transgender actress Daniela Vega makes a triumphant debut in A Fantastic Woman (La Mujer Fantastico), playing the role of a transgender woman fighting for respect in modern-day Chile. But this is way more than one-issue movie.

This year's Foreign Language Oscar winner, Sebastián Lelio's engrossing film is a resonant and stylishly-told story about the basic human right to live with dignity and carve out one's identity in the world.

Chilean filmmaker Lelio (along with his co-screenwriter, Gonzalo Maza) made the zesty woman-over-50 movie, Gloria, a few years back.

They continue to delve into the psyche of interesting females here with protagonist Marina Vidal (Vega), a cafe waitress by day who croons sultry ballads in a bar at night.
Reyes and Vega; frisky and tender

She shares an apartment in Santiago with her partner of several years, frisky, tender Orlando (Francisco Reyes), a divorced businessman a few decades older than she is.

But one night, in bed, Orlando becomes disoriented. Marina rushes him to the hospital — where, soon after, he dies.

But the devastating shock of her loss is just the beginning of her troubles.

That not all of the issues she faces are gender identity-based broadens the film's scope. Marina's plight as an outsider forbidden the rights of the legal kinship group is universal.

Lelio makes adroit use of visual metaphor (like mirrors, inviting us to ponder the true nature of identity), as the emotional story draws us in. And in Vega's fearless performance, we get a strong-willed heroine to root for.

Not "tough" in any clichéd way, she's determined to pursue her rights and stay true to her selfhood.

Performer and trans activist Vega was Lelio's consultant on the film, introducing him to contemporary trans culture. But it wasn't until the very end of the process, when the script was completed and the cameras were ready to roll, that it occurred to Lelio that Vega would be perfect to play Marina.

So the role was not exactly written for Vega, but thank heavens for serendipity — her performance is outstanding.
(Read more)

Sunday, March 4, 2018

THEY'RE B-A-A-CK AGAIN!

Well, friends, the Academy Awards will be handed out tonight.


And you know what that means:


 Oh no! Oh yes! It's the Return of the Oscar Barbies!


There are no Best Actress nominees from historical films this year — unless you count movies set in the '60s, '70s, and '80s.

No Judi Dench flouncing around in crinolines as Queen Victoria; no new Jane Austen adaptations. Those are always the most fun to do.

Still, there's room for creativity in this year's nominees.



First up: Margot Robbie as Tonya Harding in I, Tonya.


Okay, yes, she's got roller skates, but I grew up in SoCal so I didn't have Barbie's ice-skating outfit! I made this outfit from bits and pieces — just like Tonya had to do — and the doll's exaggerated hair and makeup are (for once) perfect!


Next up, Saorise Ronan in Lady Bird! Nothing too distinctive, costume-wise — except the slightly pink hair.


I really had a hard time coming up with props for this one.

So I finally resorted to a prom dress from Barbie's closet to reference the scene when Lady Bird and her mom go shopping, and quit their petty bickering the instant they both fall in love with the same dress!


Our third nominee is Meryl Streep, playing publisher Katherine Graham in The Post.


 

Fortunately, I have a tweed suit, string of pearls, and a vintage short-haired Barbie for — well, basically, any time Meryl Streep gets nominated. (Which is every year.)

All I needed to do this year was Google The Washington Post and print out a mini version of the front page.


Next up, my favorite challenge of the year, for my favorite movie — Sally Hawkins in The Shape of Water!


There's not much to her outfit‚ a blue dress and a blue sweater, like all the cleaning staff wear at the secret government lab in the movie. (Also, those shiny black shoes.)


Of course, I had to make the mop, not an item typically fond in Barbie's wardrobe.


But the main event here is her "prop" — the Amphibian Man himself! Yes, it's The Creature From the Black Lagoon, from the classic 1950s sci-fi movie that director Guillermo del Toro cheerfully admits inspired his own character.


This image is on the lid of the box containing the Creature model kit. (Art Boy never built the model, so I had to use the lid.) I found the perfect industrial-green construction paper to frame it in, and Art Boy cleverly constructed the rest of the "tank" around it.


But, as much fun as they were to make, these nominees are the also-rans this year.


And the winner is: Frances McDormand in Three Billboards Outside Ebbing, Missouri!
 

Definitely the toughest challenge of the year. She spends the entire movie in the same blue-denim jumpsuit, most of which I had to make — the top half, anyway. She has basically no hair, what there is of it wrapped in a bandana. (I had to use a twisty piece of wire ribbon.)


And while I was able to paint out some of her eye makeup, I couldn't do anything about her girly grin.


Still, it all came together when, searching for some kind of prop, we found a Barbie-sized Coke bottle squirreled away somewhere. Art Boy made it into the Molotov cocktail McDormand's character throws in a key scene in the movie — one way for this doll to express McDormand's rage, despite that wimpy grin!


That's it for this year. Click here for a peek at Oscar Barbies Past!

Tuesday, February 27, 2018

OSCAR SHAPES UP

Frances McDormand, 3 Billboards: blackly comic
Mavericks to duke it out at 90th Academy Awards

After the OscarSoWhite hashtag movement a couple of years ago, the Motion Picture Academy's demographics have altered.

With membership now opened up to a younger, more diverse crowd of film pros, you might expect this year's nominees to feature a few plucky mavericks vs. the mainstream favorites.

But — surprise! Almost none of the nominees qualify as "mainstream," including the two top contenders: Guillermo del Toro's eerie, romantic fantasy, The Shape of Water, and Martin McDonagh's blackly comic morality play Three Billboards Outside Ebbing, Missouri.

Guillermo del Toro in the (Best) Director seat
While the predictive winners in all four acting categories are pretty much set in stone (results have been uniform throughout the awards season), there's still plenty of room to stir up trouble!

Here's what I think will happen:

BEST PICTURE Three Billboards Outside of Ebbing, Missouri Usually, if you subtract the four (out of nine) nominees whose directors didn't get a nomination in their category, that narrows the field to five serious contenders.

But even though McDonagh wasn't nominated for directing Three Billboards, it's already won a Golden Globe for Drama, and the Screen Actors Guild Ensemble award. The Shape of Water is my favorite movie of the year, but I think it will rack up its Oscars elsewhere.

Gerwig directed herself and star Saoirse Ronan to Oscar nominations
Or it could be that The Shape Of Water has just gotten so much buzzier even since those early awards were issued to Three Billboards that it might just bubble up to the top here, as well.

The Post was a favorite going into the season, with its timely tale of crusading journalists standing up for the truth, but here, the lack of a nomination for director Steven Spielberg suggests it's run out of steam since then.

Less likely (but not impossible) upsets might by Greta Gerwig's smart, beloved indie comedy, Lady Bird, or Jordan Peele's darkly subversive racial-politics horror movie Get Out (Gerwig and Peele both scored directing nominations).

Jordan Peele directs star Daniel Kaluuya, Get Out
BEST DIRECTOR  Guillermo del Toro, The Shape of Water He's already won every award there is in this category — in compensation for Three Billboards walking off with most of the Best Picture prizes — but mostly because Del Toro's irrepressible, iconoclastic personality infuses every frame of this rapturous movie.

Gerwig won a Golden Globe in the comedy category, and Peele earned a Best First Feature nod from the Directors Guild on America (although Del Toro won Best Director from the DGA). So anything is possible.

BEST ACTRESS Frances McDormand, Three Billboards  Bet the rent; name an award in this category, and she's already won it. And deservedly so.

BEST ACTOR Gary Oldman, Darkest Hour Another shoo-in, like all four favored acting nominees. Besides, there has to be some kind of recognition for a guy who started out playing Sid Vicious tackling the role of Winston Churchill.

Rockwell, McDormand, 3 Billboards: Winners
BEST SUPPORTING ACTRESS Allison Janney, I, Tonya  She doesn't just "disappear" into the role of Tonya Harding's cold, heartless mom; Janney plays her in a trance-like state of viperish perversity.

BEST SUPPORTING ACTOR Sam Rockwell, Three Billboards He's got all the buzz, as the hot-headed deputy dragged kicking and screaming to a kind of redemption. I thought his co-star, Woody Harrelson (also nominated) was just as good in this category.

But I'd have liked to see a shout-out for Doug Jones in The Shape of Water. A longtime Del Toro co-conspirator (he played Fauno/Pan in Pan's Labyrinth, and was recently seen as the impossibly elongated alien First Officer Saru in Star Trek: Discovery), Jones' poignant Amphibian Man romancing Sally Hawkins gives the movie its heart and soul.

Doug Jones, Amphibian Man: Romantic
OTHER Here's where those new Academy members may prevail with an Original Screenplay award to Peele for Get Out, beating out Del Toro and McDonagh (Although the latter has scored some pre-Oscar awards for Three Billboards). Veteran director James Ivory looks poised to win the Adapted Screenplay award for Call Me By Your Name.

Expect Blade Runner 2049 to score gold for Cinematography, while Phantom Thread wins in the Costume department. (Although, for a movie about the fashion industry, I found the clothes as lackluster as everything else in Phantom Thread.)

Meanwhile, The Shape of Water should swim to victory for its atmospheric sea-green Production Design, and its expressive Original Score by Alexandre Desplat.

(The 90th Annual Academy Awards will be broadcast Sunday, March 4, at 5pm on ABC.)

Friday, February 23, 2018

A HEROINE'S JOURNEY

More time to read means more books to share!

Behold The Bohemian Gospel, by Dana Chamblee Carpenter, an intricate, compelling novel set in 13th Century Prague. (And you know how I feel about Prague!

Dark and despairing in so many ways, the clarity and audacity of this harrowing tale will leave you breathless.

At its center is Mouse, an unbaptized girl for whom no one ever cared enough to give a proper name. Raised in an abbey whose sisterhood she can never be allowed to join, Mouse is a gifted healer who possesses other, more frightening gifts as well.

She's 15 when she saves the life of Ottakar, the "Younger King" of Bohemia;  he's on the brink of death when his men bring him to the abbey from the battlefield. Only a few years older than Mouse, Ottakar rules in an uneasy alliance with his tyrant father.

Whisked off to Prague to aid the recovery of the Younger King, unworldly Mouse struggles to navigate life at court and understand the intense attraction growing between herself and Ottakar — all while trying to solve the puzzle of her birth and the source of her powers.

The seal of the histoical King Ottakar, ca. 1253
Dana Chamblee Carpenter breathes life into Ottakar, the Iron and Golden King, a historical figure who founded cities, created just laws, and sparked an era of prosperity in 13th Century Bohemia when he wasn't busy defending his turf and his people from the armies of rival nobles.

But it's Mouse — both vulnerable and defiant, intelligent and intuitive, in and out of God's favor, yet boldly carving out a place for herself in an unforgiving world — whose journey keeps us turning the pages.

There's a lot to process in this book, plot-wise — including a finale so incendiary, readers might be outraged if we didn't know there was another book (or two) coming to complete the story. Yet the book is such a vivid portrait of the human spirit, in all its strengths and weaknesses, as well as the complexities of its medieval era, that you can't help getting swept along like a current in Vltava River by the drama of these characters' lives.

PS: In Christian lore, "Gospel" means "good news" — ironic, when the central mystery of this book is finally revealed!

Wednesday, February 21, 2018

GLORIA IN EXCELSIS

Film noir star Grahame memorialized in wistful love story Film Stars Don't Die In Liverpool


Gloria Grahame is not much remembered these days. She was never as famous a movie star as, say, Marilyn Monroe. But, with her soft, girlish voice, sensual mouth, and trademark pout belying the gutsy toughness of the characters she played, she was a staple player in 1950s film noir, who is still much beloved by fans of the genre.

But it's Gloria Grahame at the end of her career who's the centerpiece of Film Stars Don't Die In Liverpool.

Based on a memoir written by Peter Turner, it's the story of how Turner, an aspiring young actor trying to break into showbiz, met and fell in love with the veteran actress when she was working onstage in England in 1979.


Bell and Bening: plausibly beguiling
The book is now a movie by director Paul McGuigan, a wistful tone poem about age and celebrity featuring dynamic performances from stars Annette Bening and Jamie Bell.

Peter is 28, and Gloria is almost 30 years his senior. But they bond over the craft and business of acting as he squires her around town, and pretty soon they become lovers.

When, inevitably, she moves back to Los Angeles, she invites Peter to come live with her in her trailer on the beach at Malibu — a heady fantasy for a lad from Liverpool.

That Bening's no-nonsense, often fiercely anti-glam onscreen persona is so different from the kittenish Grahame's gives the casting its interesting edge.

Grahame and Turner, real-life
Instead of trying to mimic the actress, Bening digs into the heart of a woman of a certain age whose appetite for life and the work she loves is undiminished, investing her with a vitality and playfulness that plausibly beguiles the younger man.

Gloria tells Peter the best acting advice she ever got, from Humphrey Bogart. "Keep it all inside," she says. "Let the camera come to you."


Clearly, Bell has taken this advice to heart. Many of the movie's richest moments come from Bell's still face, perceptibly filling with emotion to which he never quite gives voice.

As the movie is based on Turner's book, we have only his word that Peter was as gallant and adoring as Bell plays him.

But if this movie revives interest in Gloria Grahame's vintage movies, I'm all for it.

Here she is at her saucy best, mixing a drink an cracking wise with her big lug of a boyfriend, mob enforcer Lee Marvin, in The Big Heat (1953)

Sunday, February 18, 2018

TIME BANDITS

Books: entertainment the old-fashioned way
We didn't make a resolution, but once the holiday festivities were over last December, Art Boy and I came up with a radical decision for the New Year. We decided to read more books.

It takes some planning, of course, given the finite number of hours in the day. So we came up with three strategies for wresting time away from our usual allotment. Just call us the time bandits!

Strategy 1: In the dark of winter, we designate the hour before we start prepping dinner to reading. What a luxury! I've already read more books in the last six weeks than I was able to read in all of last year!
Time to excavate those bookmarks and put 'em to work!

As a writer, too, I have to keep filling up the well. It's not like stealing ideas from other books; it's more like the act of reading plunges you into the milieu where ideas are created, both on the page and in your own imagination.

As a smart sociologist once wrote, "we create as we read in a way that we do not as we watch Roseanne." Or, I would add, bringing the comparison up to date, as we do not as we watch the latest Looney Tunes emanating from the White House.

(No offense intended to the original Warner Brothers Looney Tunes of classic cartoons. If only Bugs Bunny and Daffy Duck were running things in DC!)
Oh, if ONLY we'd had this option!

Which brings me to Strategy 2: Unplugging from the nightly news frees up another extra hour — or an entire evening, if you decide to give your psyche and your sanity a break. Stay informed. Seize every possible opportunity to resist. But don't let it occupy your every waking moment. Besides, you'll catch up with the news the minute you go online again.

Strategy 3: W'eve started getting up one hour earlier in the morning. Yes, it's daunting to try to roll out of bed when it's still dark outside. But once showers are taken, the cat's been fed (and, sensibly, gone back to sleep), and caffeine has been imbibed, I find myself at the keyboard before 8 o'clock in the morning! Which means three uninterrupted hours of writing time before we're off to yoga!

And the more writing I get done in the morning, the more deserving I feel about all that rapturous reading to come!

Thursday, February 15, 2018

BRIEF ENCOUNTERS

Revolting Rhymes: Girl vs Wolf
Dark themes, wit, diversity, in Oscar Nominated Short Films

A few years ago, the Academy of Motion Picture Arts and Sciences got the bright idea to start packaging each year's Oscar-nominated short films in two programs to play in movie theaters — one featuring all five nominated live-action shorts, and a second featuring all five animated nominees (plus a few extras, to bump it up to feature-length).

The 2018 editions of the Oscar Nominated Shorts are in theaters now. If I was forced to pick a favorite, I'd go with the Animated Shorts —far more stylistically diverse, in a format that encourages  creative imagination.

The Live-Action nominees represent a broader range of racially and culturally diverse experience, evoking some powerful responses.

Who knows what you'll find in the Lost Property Office
Purists planning to see both should start with the more serious-minded Live-Action Shorts, then treat themselves to the Animated Shorts for dessert!

Among my animated favorites is Revolting Rhymes, from Jakob Schuch and Jan Lachauer (UK). Adapted from a collection of fairy tale-inspired poems by Roald Dahl, it's a sly, subversive mash-up of classic tales conveyed in Dahl's waspishly elegant verse.

A dapper wolf (voice by Dominic West) spins a tale for a sweet little old lady in a tea shop in which strands of Snow White, Little Red Riding Hood, and The Three Little Pigs are woven into a fiendishly clever narrative where little girls are not as helpless as they seem, and "goodness" does not always prevail.

The Silent Child: Maisie Sly
Daniel Agdag's Lost Property Office (Australia) isn't even one of the nominees, but the retro-steampunk vibe in this dialogue-free sepia-toned tale of a lowly clerk in a lost-property office underneath a metro station is completely beguiling.

The most moving of the Live-Action films is The Silent Child by Chris Overton and Rachel Shenton (UK), in which a compassionate young audiologist bonds with a 6-year-old deaf girl whose well-meaning family is too busy to engage with her.

Kevin Wilson Jr.'s My Nephew Emmett (USA), set in Mississippi in 1955, is a dark elegy exploring events leading to one of our nation's most notorious racial crimes, the murder of 14-year-old Emmett Till, told with stark, potent grace.


Watu Wote/All Of Us, by Katja Benrath, (Germany) tells a harrowing true story of Muslims and Christians protecting each other on a bus trip between Kenya and Somalia when their bus is invaded by terrorists.
(Read more)

The film was completed by director Benrath as her graduation project at the end of her studies at the Hamburg Media School.

 (Right: Adelyne Wairimu in Watu Wote/All of Us)

Saturday, February 10, 2018

GOLDEN BEAST

Poor Beast!

He can't get a break. No matter how nobly he behaves, Beauty can't accept him as a romantic partner.

Of course, Beast gets a different story in my book, Beast: A Tale of Love and Revenge!

Speaking of which, as the countdown continues to my publication date (July 10, 2018), behold my Beast of the Month! This lovely image is by Gordon Laite (1925-1978), a popular illustrator of children's books in the 1950s and '60s.

Laite is perhaps best known for The Blue Book of Fairy Tales, a Little Golden Book (remember that series of thin cardboard-bound picture books with the shiny gold spines?), and the collection Five Fairy Tales (which was a Big Golden Book). One of those five stories is Beauty and the Beast, which is the origin of this image.

Although Laite's Beast does not resemble mine, I still love the vivid colors and fanciful details of this picture — look at that winsomely decorated candelabra, and those busy butterflies! Not to mention her gown festooned with peacock feathers!

But I especially love the tenderness of Beauty's hand attempting to comfort Beast.

He gets the companion he deserves in my version of the story!

Tuesday, February 6, 2018

ART to GO!

Hearts for the Arts: love themes
Now that it's positively spring-like outside, it's time to do what Santa Cruz does best: celebrate art and the artists in our midst!

Two fabulous new art shows are up and running this week.

First up, welcome back a beloved local tradition, Hearts for the Arts, the long-running benefit for the  Arts Council of Santa Cruz County.

Once upon a time, it was the biggest clambake of the art season, a catered affair at the Civic Auditorium, where artists came out of their lairs to mingle, while art patrons came all fired up to bid on their work — fueled by free champagne a chocolates provided during the increasingly raucous live auction that closed the evening.

These days things are a bit more (ahem) decorous. Artisan's Gallery, downtown, generously provides the wall space for an ongoing silent auction that opened February 1st, and continues to February 13.

In keeping with the Valentine season, most of the art pieces feature hearts or other love-oriented themes.

And the varying interpretations of that theme is what makes the show so interesting — as you can see from the eclectic grouping, above!

Besides small paintings, there are textiles, mixed media, encaustics, and a selection of fine jewelry to tempt art lovers — 100 pieces in all. Each piece comes with a preemptive strike option, a "Buy Now" price that will secure that item without any further bidding.

Several pieces have already sold out of the show this way, so get out there and place your bids!

I love my Connie Grant watercolor!
And while you're there, check out the vast selection of art, craft, jewelry, and greeting cards Artisan's has to offer. (How funny is it that Art Boy's painting ended up above the greeting card rack featuring champagne cards!)

Meanwhile, down in Watsonville, it's time for the Pajaro Valley Arts annual fundraiser Take Aways: Art to Go. The show features 62 local artists showing small, original pieces, priced to take away!

The cool thing about this show is that each artist displays a selection of pieces, grouped together, so you really get a sense of not only their style and use of materials, but the kind of artistic journey they're on.

It's also handy to have a few extra pieces on display as others are sold and whisked away!

The Aschbacher wall, PVA: on a journey

(Here's our score from the Preview Reception (above): a lovely little watercolor by Connie Grant that we just couldn't resist! You may know her from the fabulous art glass she's made for years with her husband, Jim Grant.

But just look how wonderful these little abstracts are! We love ours!)

The PVA Gallery on Sudden Street is such a rabbit warren of interesting little rooms (it's converted from a stately Victorian house), it's worth it just to poke around and see what marvels you find. There's always a surprise around the next corner!

See for yourself in this virtual tour of the Take Aways show!

One of my other favorite discoveries was this marvelous little window suite of mini chairs (each about 12" tall) from Cristie Thomas and Scott Lindberg. How cool are these? I especially love the one with the tree-limb chair back and legs!

Take Aways: Art To Go runs through March 4 at the PVA Gallery. There will be a closing reception March 4, 2-4 pm. But don't wait 'til then to see the show — pieces are already disappearing off the walls!

Exclusive Seating: mini-chairs by Cristie Thomas and Scott Lindberg