Empire of Light

As a huge fan of both Sam Mendes and Olivia Colman I figured that a collaboration between the two of them would be amazing so I went to see Empire of Light at the Broadway last night.  Unfortunately, I was a bit disappointed.  Hilary Small (Colman) is a sad and lonely middle-aged manager of a beautiful Art Deco cinema in the seaside town of Margate in the early 1980s.  Stephen (Micheal Ward) is a young Black man with aspirations of attending university to study architecture who is hired at the cinema as a ticket taker.  They eventually begin a secret relationship but it is threatened by the racial tensions in Thatcher's Britain and by Hilary's worsening depression.  The one thing that helps them both heal is the community they find at the Empire Cinema.  Colman gives an incredibly subtle but powerful performance and the most compelling moments occur whenever the camera is focused on her face, especially in a scene where she is overcome by emotion while watching a film by herself.  Ward is also very affecting and his scenes with Colman are so tender.  The images on the screen are absolutely gorgeous (Roger Deakins just does not miss) and I loved the use of the piano in the score by Trent Reznor and Atticus Ross because it is so haunting and plaintive.  My biggest problem with this movie is that it lacks focus because there are some extraneous sub-plots, such as Hilary's degrading sexual relationship with her boss (Colin Firth), and a few elements that I wish were explored more, such as Hilary's previous experiences with mental illness and Stephen's experiences with racism.  Also, the message about the power of film is not developed beyond a great monologue from the cinema's projectionist (Toby Jones) and the aforementioned scene where Hilary watches a film.  There are so many ideas and none of them are tied together in a cohesive manner so this movie is more like a series of beautiful vignettes.  I wanted to like it more than I did.

White Noise

When I read the novel White Noise by Don DeLillo in a Contemporary American Lit class in college I did not like it at all (I suspect I was too young to really appreciate the topic of existential dread).  When I heard that Noah Baumbach was directing an adaptation starring Adam Driver, I decided to read it again and it resonated a bit more with me this time around for many reasons.  I have been anticipating the movie ever since and I finally had a chance to see it at the Broadway last night.  Jack Gladney (Driver) is a professor of Hitler Studies at College-on-the-Hill in a small Midwestern town living a suburban life with his fourth wife Babette (Greta Gerwig) and a collection of his, hers, and ours children (Raffey Cassidy, Sam Nivola, and May Nivola) while trying to bury his fear of death in the mundane.  However, when a train derailment creates an airborne toxic event and Babette reveals that she has been taking an experimental drug called Dylar, Jack is forced to confront his fears.  Even though it explores serious themes, this is a comedy of the absurd and its surreal tone might not work for others but it really worked for me and I had a lot of fun watching it.  It is a very faithful adaptation of a somewhat unwieldy novel and I think Baumbach does a great job with the material even if it does go off the rails a bit in the third act.  The best part, for me, is Driver's performance because he really humanizes a character that I found remote in the novel.  He plays Jack as a pontificating intellectual who is also a bit of a buffoon to his family and his deadpan delivery is perfect.  My favorite scene is when he and a fellow colleague, played by Don Cheadle, give a lecture together about the pervasive themes of death in the lives of Hitler and Elvis because he is so over the top (the editing in this scene is brilliant).  I also enjoyed his scenes with Gerwig (who is also outstanding) and the children because he has such a great rapport with them and they seem like an actual family in their chaotic interactions.  There are some amazing action sequences (this is Baumbach's most ambitious project), particularly the train derailment and the evacuation sequences, and the production design, especially the A&P, is a lot of fun.  I predict this will be a movie that people will either love or hate but, since I love it, I will recommend it to fans of dark comedies (it will begin streaming on Netflix on December 30).

Note:  Definitely stay through the credits because there is a dance sequence with the whole cast in the A&P to a new song by LCD Soundsystem (their first music in five years) and it is hilarious!  Be sure to watch Jodie Turner-Smith (who plays a professor).

Lower Lights Christmas Concert 2022

One of my many favorite Christmas traditions is the annual Lower Lights Christmas concert and I have really missed it for the past two years!  I was thrilled to be back at Kingsbury Hall last night for this concert and I think it was the best one yet!  The Lower Lights is a supergroup of insanely talented songwriters, musicians, and singers, many of whom are popular in their own right, who periodically join forces to record folk and bluegrass renditions of hymns and Christmas carols.  I really love their sound and I especially love their Christmas music (any time you can add a mandolin and a banjo to a Christmas song you should definitely do it).  They began with "I Saw Three Ships," "O Come, All Ye Faithful," "Angels We Have Heard On High," "Away in a Manger," and "The Holly and the Ivy" which were absolutely beautiful!  Then Marie Bradshaw, Kiki Jane Sieger, and Cherie Call sang "Still, Still, Still" which is my favorite song at every Lower Lights Christmas concert because the three of them harmonize so beautifully that it gives you chills!  The group also performed "Beautiful Star of Bethlehem," "Maybe This Christmas," "Mary's Boy Child," and "A Cradle in Bethlehem."  Dustin Christensen performed a lovely rendition of "Have Yourself a Merry Little Christmas" and Sarah Sample's "White Christmas" got many people slow dancing in the aisles at her request.  I really loved the instrumental versions of "O Little Town of Bethlehem" and "What Child Is This?" and I found it incredibly amusing when every member of the group played the banjo during "Once in Royal David's City" (another Lower Lights favorite of mine).  In the middle of their set they performed a number of their gospel songs, including "Just a Closer Walk With Thee," "The River Jordan," "This Little Light Of Mine," and "Will the Circle Be Unbroken?"  These songs turned Kingsbury Hall into an old time revival and some people were really moved by the holy spirit (especially the people siting by me!).  They also performed a rocking version of "Didn't My Lord Deliver Daniel" during which they jammed for a good ten minutes!  My favorite moment of the concert came during a beautiful and affecting acoustic version of "Happy X-Mas (War Is Over)" because it brought tears to my eyes!  During the encore they performed a hilarious version of "You're A Mean One, Mr. Grinch" (which has become a tradition), an upbeat version of "Christmas (Baby Please Come Home)," and a rousing rendition of "Go Tell It On The Mountain" with lots of audience participation.  They brought all of their family members to the stage for an acoustic performance of "Silent Night" (another tradition) to conclude the evening.  I loved every minute of this concert and highly recommend it!  Unfortunately, last night was their final performance this year but definitely put it on your list for next year!

Note:  This has been an incredibly festive week with three different productions of A Christmas Carol and two Christmas concerts!  I am overflowing with Christmas spirit!

Prokofiev's Piano Concerto No.2

Last night's Utah Symphony concert was so phenomenal that I had goosebumps the whole time!  The guest conductor for the evening was David Robertson, who is very popular with both audiences and the orchestra, and I loved watching him on the podium because he was so expressive!  The first piece on the program was The Chairman Dances: Foxtrot for Orchestra by John Adams.  This is an outtake from Adams' opera Nixon in China and it depicts a dance between Madame Mao and Chairman Mao after the latter climbs out of his portrait and comes to life.  What I loved about this piece is how Adams plays with rhythm and tempo because it sometimes seems as if she is enticing him seductively and at other times they are dancing energetically.  I also really enjoyed the jaunty themes played by the brass!  Next, pianist Behzod Abduraimov joined the orchestra for Piano Concerto No. 2 by Sergei Prokofiev.  This piece is considered to be one of the most technically difficult piano concertos in the repertoire and Abduraimov performed it brilliantly.  The piece is incredibly dramatic and I especially loved the first movement because it begins with a melody that becomes more and more intense and then the piano takes over for a cadenza that is as much fun to watch as it is to listen to.  Then the orchestra joins the piano once again with so much force that it is almost overwhelming (the brass!) until the piano ends the movement with a soft repetition of the melody.  It is so tempestuous and emotional!  The audience (and Robertson) responded with thunderous applause at the end of it!  The rest of the piece is just as spectacular and I also enjoyed a very melancholy theme in the final movement followed by an explosive ending!  I loved this performance so much (I feel like I was holding my breath through most of it) and I was amazed watching Abduraimov's fingers flying up and down the keyboard!  After the intermission, the concert concluded with Symphony No. 1 by Dmitri Shostakovich.  This piece was written as a requirement for graduation from the Leningrad Conservatory and it is very inventive.  I love the themes played by the woodwinds (particularly the solo clarinet) in the first movement, the dramatic themes played by the brass in the second movement, the solo cello in the third movement, the snare drum roll at the beginning of the fourth movement, and the epic fanfares that end the symphony.  I was blown away by this concert and I definitely recommend getting a ticket for the same program tonight (go here for tickets).

A Christmas Carol at HCTO

Last night I saw the reclamation of Ebenezer Scrooge (Ric Starnes) by the Ghosts of Christmas Past (Tannah O'Banion), Present (Mark Fossen), and Future (Carter McEwan) for the third time this week at HCTO.  I had never seen this version before and I really loved it!  Much like the production at HCT, this show incorporates music in the form of a group of carolers (Abby Young, Ally Johnson, Ashlyn Patterson, Carter McEwan, Jacob Eich, Jacob Ith, and Kirk Baxter) who sing in between scenes, provide narration for the action, and move set pieces on and off stage.  I really enjoyed their performance of "Wexford Carol" (which is becoming one of my new favorites this year), "Bring a Torch Jeanette, Isabella" (another favorite from my choir days in college), and "Joy to the World" (because it is so triumphant).  I was also really moved by a tender version of "What Child is This" by Bob (Geoff Means) and Mrs. Cratchit (Natalie Killpack-Daniel) at Tiny Tim's grave and by "God Rest Ye Merry Gentlemen" by Scrooge after his transformation.  It was really interesting for me to see this show a day after HCT's version because there are some differences that I actually prefer.  The scenes between a young Ebenezer (Aron Naylor) and Belle (Ellie Mellen) are expanded to show show her living her life with a husband and daughter to emphasize what Scrooge has missed out on, the scene between Old Joe (Ethan Freestone) and the Charwoman (Natalie Killpack-Daniel) regarding Scrooge's belongings after his death happens very quickly (I think it goes on far too long in HCT's version), and the scene where Scrooge wakes up in his bed chamber is filled with more gratitude than giddiness.  Starnes is an outstanding Scrooge and I especially enjoyed his reaction to reading his name on the tombstone and his interactions with Cratchit.  I also really enjoyed Doug Kaufman and Ethan Freestone as the solicitors because their facial expressions and physical performances add a bit of levity to the story and, of course, Sawyer Winspear is absolutely adorable as Tiny Tim, especially when he directs his family in a rousing version of "The Twelve Days of Christmas."  The sets are very minimal with pieces moved on and off stage (I was impressed with how seamless and how well integrated into the action this was) but the costumes are gorgeous with lots of details and embellishments (I loved all of the bonnets).  I fell in love with this production and now I am going to have to add it to my list of holiday traditions!  It runs at HCTO through December 23 with multiple performances each day (go here for tickets).