Huge crowds turned out for two boffo evenings of concert excerpts from Puccini’s operas. It was part of Bryant Park’s free, summer Picnic Performances. Music was provided by New York City Opera, “famously dubbed ‘The People’s Opera’ by Mayor Fiorello LaGuardia at its founding in 1943.'” I attended on a beautiful, balmy Saturday evening.
New York City Opera
Heathcote Williams
Uncensored, ‘Advertisement’ for a Supermarket
![Heathcote Williams [Photo: JH, 2013]](https://www.artsjournal.com/herman/wp/wp-content/uploads/2017/07/heathcote-williams-photo-copy-200x200.png)
‘The people who run Tesco must be Buddhists / You go in there and things are exactly as they should be / There is nothing that you could possibly want / Bits of telepathic animals neatly shrouded in heat-raised polystyrene / With Magic-Maker gravestones. / Dyed tomato mulch slobbering to itself in lead-lined tubular coffins, / Zilched by monosodium glutomate.’ — Heathcote Williams
Beinecke’s Sweet Tweet
Lorraine Hansberry to Langston Hughes and His Reply
An eagle-eyed member of Straight Up’s staff of thousands, unpaid but indefatigable, noticed this exchange posted on Twitter by the Beinecke Rare Books and Manuscript Library at Yale University, and sent it along. Perhaps you saw it? If not . . .
Lear Lite
Shakespeare’s writing—all of it, poetry and plays—was repulsive to Tolstoy, who claimed that whenever he read Shakespeare he was overcome by “repulsion, weariness, and bewilderment.” As for “King Lear,” ranked among Shakespeare’s four greatest tragedies, he found it “at every step,” according to George Orwell, “stupid, verbose, unnatural, unintelligible, bombastic, vulgar, tedious and full of incredible events, ‘wild ravings,’ ‘mirthless jokes,’ anachronisms, irrelevancies, obscenities, worn-out stage conventions and other faults both moral and aesthetic.”
David Erdos in His One-Man Show About Lenny Bruce
At the Cockpit Theatre in London: ‘His Last Cabaret’
Plus his poem, ‘When a Tower Falls,’ which carries on Heathcote Williams’s legacy, but in Erdos’s own key: When a society falls, what you notice first is the rubble, / Seen on TV, ghosted buildings give way to dust / Through bomb blast. Through the sudden heat and the haze, / You will see only the print of lost towers, fading with age: / Time’s fragmented, and your first tasted moments / Clash and mix badly with the afterburn and the bitter / Of what could well be your last. Of course, the world has seen / Towers fall through man made event, false god sanctioned, / But we seem to have made no true effort to rebuild or renew / What was lost. What we lack has been leased and sold again / To new builders who continue to falsify all around us / While tapping us still for the cost. …
Out of the Fax Machine and Into the Past
So I was looking over some documents I had stored away years ago. (When you get old you start looking back, as everybody knows who has ever got old.) Well, I came across this fax from my great old friend, the late Carl Weissner. At first I couldn’t place what he meant by “O’s diary.” But then I realized that “O” was a reference to Orton, the playwright Joe Orton, whose plays I deeply admired and occasionally reviewed, and that I had sent Carl one of them, which is what set him off. As to the Raymond Chandler quotation Carl was thinking of using as a motto for a collection of magazine pieces, it turned out that he used it for his doomsday-lit novel “Death in Paris” instead, which he wrote online and which was published posthumously in paperback and as an ebook. Dear Carl, you are missed.
Mirren and McKellen . . . This Time for Laughs?
I see from the morning paper that Helen Mirren and Ian McKellen were on Broadway as surprise guests in an improv hip-hop comedy and that Mirren is quoted as saying, “We are so outside of our comfort zones.” Rodney Dangerfield couldn’t have said it better. The only other time they were on a Broadway stage together was in a Strindberg’s “Dance of Death”—let me take you back.
Fluxus, Intermedia and . . .
The Something Else Factor: Alison Knowles, Barbara Moore, Martha Wilson and I will be participating this evening in a panel about the glory days of Something Else Press, moderated by Hannah B. Higgins, at the Emily Harvey Foundation. It’s the first of four discussions organized by Christian Xatrec and Alice Centamore. The events are free. RSVP to ehf.nework@gmail.com
A Gothic Tale Set in Black and White
Other works by Ligia Lewis include Sensation 1/This Interior (High Line Commission) (2019); so something happened, get over it; no, nothing happened, get with it (Jaou Tunis) (2018); Melancholy: A White Mellow Drama (Flax Fahrenheit, Palais de Tokyo) (2015); minor matter (2016), a poetic piece illuminated by red; Sorrow Swag (2014), presented in a saturated blue; $$$ (Tanz im August) (2012); and Sensation 1 (sommer.bar, Tanz im August -2011, Basel Liste- 2014).
Encore: A Little ‘Newspaper Music’
This reading of a Fluxus piece by Alison Knowles from 1962 was recorded probably in 1967. The cassette tape was salvaged from a recent basement flood and digitized by the indefatiguable S|U staff. Ear plugs may be helpful in some passages.
Power Malu Shines at 2019 Ackers
The honorees at the 2019 NY Acker Awards made some terrific statements about the history of the Lower East Side and their commitment both to the community and to the arts, but a rap performance by Power Malu about the devastation in Puerto Rico, where people are still struggling to recover from Hurricane Maria and from the Trumpistan government’s failure to provide proper help, was the most notable of the evening.
2019 NY Acker Awards Held at Theater for the New City
The Acker Awards, now in their sixth year, are a tribute given to members of the avant-garde arts community who have made outstanding contributions in their discipline in defiance of convention, or else served their fellow writers and artists in outstanding ways. The award’s novelist namesake, in her life and work, exemplified the risk-taking and […]
Beckett’s ‘Rockaby’ Set by William Osborne
In William Osborne’s setting of ‘Rockaby’ we hear the whispered thoughts of an old woman during the last twenty-five minutes of her life accompanied by the dirge of four distant trombones. “Those arms at last…”
‘Miriam, Part 2, The Chair’
“A woman trapped in domestic boredom moves toward a nervous breakdown. Institutionalized, she attempts to create a performance for a shortly expected visit from her children, but can find no words to express her feelings. She discovers she has no language of her own and recedes more and more into silence. Only her instrument can serve as an expression of her […]
‘So Much Sour Salami’
Frank Scully, a long-forgotten journalist, was recalling the first time he met Luigi Pirandello in Paris in the cocktail lounge of a movie theater on the Champs Elysée. It was well before World War II, but he could have been writing about the here and now in Trumpistan. Pirandello was “on the lam from his […]
‘Meeting Jim’ (Who’s Having the Time of His Life)
I’ve never met Jim. We’ve only corresponded by email about the strange case of Orwell’s typewriter. But I know that Jim Haynes is a man for all reasons — pleasure, food, sex, mind, books, theater, life — and that to meet him in person all you have to do is show up at his door […]
‘Aletheia’ to Tour Northeastern U.S.
Composed by William Osborne for singer-instrumentalist, computer-controlled piano, and quadraphonic electronics, “Aletheia” is a music theater work featuring the solo performance of Abbie Conant as the title character. Osborne writes, “Aletheia is an opera singer who is delighted that she has been asked to perform for an opera gala. She only needs to go down […]