ABT: Manon with Roberto Bolle's Farewell

Ballet farewells are for the cognoscenti. Those that have followed the career of an artist, and want to make sure they have a last look at him/her before the end. For the rest of us, it's a matter of dealing with the fact that one missed a lot. Especially when it comes to the retirement of a great, beloved artist. This season it was Roberto Bolle's turn. After joining American Ballet Theatre as a principal in 2009, last night he gave his last performance with ABT in Sir Kenneth McMillan's Manon; the role of Des Grieux being one of the staples of his much-admired career. The magnificent Hee Seo was his Manon, and the ever-popular American dancer James Whiteside danced the role of Lescaut.
This was my first time at this ballet, and as the evening progressed I had to fight the absurd thoughts of comparing this work to the Jules Massenet opera, which I don't know very well, or Giacomo Puccini's take on the Abbé Prévost's novel which I have never read. Also, not having followed the career of Mr. Bolle I was totally unprepared for last night's evening. To be honest, I usually like to do my homework before a performance, but I only learned of the gala the night before, and I wanted to be there. Why? Because many times, in such events filled with so much emotion an artist can touch greatness. And, I believe it happened last night. Yes, the buzz in the audience was there, and the fans and the cognoscenti were evenly spread around the house, but all of that aside, reflecting just on the performance, it was a great evening of dance. Mr. Bolle couldn't have done better. It's what happens when an artist decides to call it quits while he's still at the top of his game following the dictum for retirement: "Don't stay too long!" Of course a dancer reaches the end when the rest of us are still fledglings at our professions. I'm glad that Mr. Bolle chose to go out when he did. He left the limelight with one of those bangs that people will be talking about for years -- that's what I mean by touching greatness.

Of course, following the wild standing ovation there were the customary tributes by colleagues past and present. I offer the above video, in case you were not in the house last night, so you can share in the glory of the evening.

New "CASABLANCA" from Egypt

A new film bearing the name Casablanca has been released by Egypt. Many critics are pointing out that the new movie might be a turning point in the history of that country's film industry. The film is directed by Peter Mimi, written by Heshan Helal, and it stars Amir Karara, Eyad Nassar, Ghada Adel, Amr Abdel-Gelil, Lebleba and Mahmoud El-Bezawy.

The film deals with three friends who work together in ship burglary. They are usually tasked to steal the expensive cars that contain hidden drugs on those ships, in order to get a percentage of the money in return. However, they get caught at some point throughout the movie and start betraying each other, until the plot thickens and they get involved in life and death matters with the Mafia men in Casablanca, Morocco. 

The trailer of the film amassed a million views in three hours of its release. This is a record in the history of Egyptian cinema.
Synergy Productions and film producer Waleed Mansour, presented the trailer where star Amir Karara appeared in several action scenes. In addition, the appearance of Jordanian star Eyad Nassar is expected to be a turning point in his career.  Casablanca was released during Eid al-Fitr, the end of Ramadan.

I am happy to report that this new movie has nothing to do with the American film of the same name.  It is not an Egyptian remake. It is a totally contemporary action film only using the one word title of the classic Warner Brothers picture. Perhaps the director sees it as a homage to the Golden Age of Hollywood, but that is not clear. Other than the fact that the movie portrays Morocco as a dangerous place filled with intrigue, and perhaps death might be the only link to the original film.

Source: https://identity-mag.com/casablanca-unrealistic-action-movie-or-a-turning-point-in-egyptian-cinema/

ON BROADWAY: To Kill a Mockingbird

The winners here are Aaron Sorkin who has fashioned a riveting play out of Harper Lee's well known 1960 novel, and director Bartlett Sher, who time and time again surprises us by conjuring the magic and genuineness of the theater, whether it be one of his warhorse revivals at Lincoln Center, or this powerful hybrid. Would that he were as lucky with the world of opera. His forays at the MET have been received with mixed reviews time and time again. Another clever touch is the use of music, especially composed for this production for pump organ and guitar by the talented Adam Guettel, whose brilliant 2005 music for The Light in the Piazza won a Tony for Best Musical Score, and was presented at Lincoln Center helmed by Mr. Sher.

Perhaps there is no better actor to play the righteous lawyer Atticus Finch, then Jeff Daniels, and actor who is experiencing the second stage of his career, and whose accent couldn't be more genuine, if at times one has to bend an ear to catch every word. After all, he was born in 1955 in Clarke County Georgia, and I am sure that his Deep Southern roots resonate with the dramatic themes of this work, as well as its language. If there is an actor capable of wiping off the memory of Gregory Peck, in the landmark film of the novel, then Mr. Daniels is it.

Mr. Sher's great genius lies in his precise, at times wondrous casting. Celia Keenan-Bolger, who won a Tony award this year for this performance, allows her talent, and the magic of the theater to convince us that she is the child Scout. Likewise Will Pullen and Gideon Glick portray touching versions of Jem Finch, and Dill Harris. Gbenga Akinnagbe is a touching Tom Robinson, and LaTanya Richardson Jackson is a memorable Calpurnia. The intensity portrayed by Frederick Weller as Bob Ewell leaves a dark impression on one's soul, and Erin Wilhelmi as his daughter Mayella is an unforgettable creature, one part victim, the other part mired in her entitled homegrown racism.

"All rise" has been the catchword for this production. All rise, indeed, as one of the best casts on Broadway delivers a performance truly worthy of a standing ovation.

ON BROADWAY: Kiss Me Kate

Cole Porter never had it so good with Kiss Me Kate. His 1948 answer to Rodgers and Hammerstein's Oklahoma! was his first musical where his clever lyrics and music were fully integrated organically to the show's book. And what a book it was! Bella and Samuel Spewack wrote a charming comedy about an acting troupe putting on Shakespeare's The Taming of the Shrew led by Fred Graham, the show's director and leading man, and his leading lady, ex-wife Lilli Vannessi. These battling exes were inspired by real-life husband and wife stars Alfred Lunt and Lynn Fontanne who were known to engage in marital battles on and off the stage.

The Roundabout Theatre Company is in the midst of a fun revival of this classic, starring Kelli O'Hara and Will Chase. Immediately one notices how many of the show's songs have gone on to become part of the American Songbook. Porter's contribution to this list of musical gems often came from forgotten shows. "Begin the Beguine," one of his great songs comes from a show called Jubilee, probably only remembered because of Mr. Porter's musical participation. Incidentally, "Just One of Those Things" also came from this forgotten piece of Broadway history, penned by Moss Hart, whose plot revolves around the silver jubilee of Britain's King George V.  But Kiss Me Kate's list of hits includes "Another Op'nin', Another Show," "Wunderbar," "So in Love," "Too Darn Hot," and that audience favorite "Brush up Your Shakespeare," sung by two Runyonesque gangsters. It's the 10 o'clock number that over the years has become an audience favorite.

This revival, directed by Scott Ellis, is not only a lot of fun, but it maintains the show in period, thus assuring that the jokes and references adhere to that post-war period where America was prospering, and the Broadway musical was in the midst of its richest period.

Bravo to Kelli O'Hara, who has become our leading Broadway actress, specializing in revivals. Let us hope that before long she lands a new musical that could possibly equal the greatness of the string of hits that she has had (South Pacific, The King and I) lately.

On a personal level, this was my first production of this beloved classic. Also I had never seen the 1953 MGM film starring Kathryn Grayson and Howard Keel either. My only link to Kiss Me Kate were the songs "Wunderbar" and "So in Love," sung by Alfred Drake and Patricia Morison, and which I got to learn when I bought a Broadway retrospective set on LP of original cast recordings. What talent! No wonder it took home the first Tony Award for best musical back in 1949.

The current revival runs until the end of this month. I suggest you get down to Studio 54 and catch it before the summer gets too darn hot and the show closes.