Hello, Dolly!: Ogunquit Playhouse Puts On Its Sunday Clothes

Beth Leavel as Dolly Levi and company in Hello Dolly! (Photo: Nile Scott Studios.)

Six decades on, Hello, Dolly! is seen as a prime representative of the golden age of Broadway musicals, but the fact is, that era was rolling into its final years, before rock ‘n’ roll and the bitterness of the Vietnam War wore it down. Jerry Herman and Michael Stewart’s musical adaptation of the 1954 Thornton Wilder farce The Matchmaker, set in Gilded Age New York, lasted on Broadway for seven years and toured for longer, but its producer, David Merrick, turned it into a vehicle with revolving-door stars stepping in to play the marriage broker Dolly Levi, most of them relics from the 1940s. And the musical, with its overweight production values and its thin farce plot – about how the marriage broker Dolly Levi, commissioned by the Yonkers hay and feed shopkeeper Horace Vandergelder to find him a wife, captures him for herself while abetting the courtship of three young couples – grew more arthritic as time pressed on. When Barbra Streisand took over the title role in the otherwise plodding 1969 movie, her astonishing stockpile of talents and unique old-style/new-style presence lit up the fading material like fireworks; she was a godsend. But what contemporary mountings of Hello, Dolly! have shown – from the version at the Goodspeed Opera House in 2013 to the triumphant 2017 Broadway revival to the newly opened one at the Ogunquit Playhouse – is that, liberated from the notion that audiences are paying to watch a guest star in a variety show, it can be a first-rate entertainment.

Resurgence: The Christophers

Michaela Cole and Ian McKellan in The Christophers. (Photo: Department M.)

There isn’t a sentimental moment in Ian McKellen’s portrayal of the artist Julian Sklar in Steven Soderbergh’s The Christophers. Julian is a painter in the sunset of his life who hasn’t made any new work in twenty years; he’s long since faded from celebrity, but a mystique remains around an unfinished series known as “the Christophers,” which he abandoned when he broke up with the lover to whom they were dedicated. His dreadful children (amusingly sketched by James Corden and Jessica Gunning), with whom he has apparently had no relationship for years, terrified that at his death they will be left without any inheritance, hire a young artist named Lori Butler (Michaela Coel) to forge finished versions of the paintings if indeed they exist at all, or to create them if they don’t. They persuade her to apply for the job of their dad’s new assistant in order to gain entrée to his studio. But though Lori has a history with Sklar that he is unaware of and that should definitely encourage her to take his children’s side – as a nineteen-year-old aspiring painter, she endured a withering critique by him on a TV show – her response to the young Sklars’ mission turns out to be very complicated. So is Ed Solomon’s intriguing screenplay, which weighs the questions of legacy and ownership in the arts and the bearing of the personal on the artistic as no movie has since Olivier Assayas’s Summer Hours in 2008.

I Am a Camera: Three Historic Photographers

(Princeton University Press.)

“I am a camera, with its shutter open, quite passive, just recording not thinking. Recording. Some day all this will have to be developed, carefully printed, and fixed.”

--Christopher Isherwood, Berlin Stories

“A still photograph is the illusion of a literal description of how a camera saw a piece of time and space. All things are photographable.”

--Garry Winogrand

How sweet it is! When your three favourite modernist photographers get the huge exhibition and publication acclaim they all deserved separately but which is all the more illuminating and meaningful if read, studied, viewed and reviewed as an ensemble, as a hugely important creative constellation of innovative artists. Such is the joy that arrives spontaneously when one picks up this highly significant exhibition catalogue (artfully disguised as a gorgeously designed coffee table art book), Photography as a Way of Life: Minor White, Aaron Siskind and Harry Callahan, published by Princeton University Press in conjunction with the Princeton University Art Museum. It is a well-earned testament to the achievements of three titans who literally defined the terms by which all photographers after them would be assessed. And the astute author/curator Brendan Fay is the ideal candidate for such a monumental undertaking: his eye and mind will help any reader or viewer, whether they are familiar with these artists or just seeing them for the very first time, come to a fulsome appreciation for what makes these photographic giants... well, so gigantic. White (1908-1976), Siskind (1903-1991) and Callahan (1912-1999), are exemplars of a certain kind of quiet seeing: an intimate and reverential attention to detail and ambience which they share in an elegant and austere manner. I often refer to them as the Vermeers of photography, and Fay’s book confirms it.

Fated and Fully Realized: A Triumphant Kismet opens the National Ballet’s Spring Season

Genevieve Penn Nabity and the artists of the National Ballet of Canada in Kismet. (Photo: Karolina Kuras.)

In the promotional video the National Ballet of Canada released ahead of Kismet, the world-premiere ballet by Jera Wolfe that opened a double bill at Toronto’s Four Seasons Centre on May 29, the Métis-Canadian choreographer speaks of a central figure on a journey, unable to outrun a destiny. Take him at his word and you’ll search the stage in vain for plot. Better to let the literal narrative go.

Dostoevsky in the Water Town

The Dostoyevsky: Man is a Mystery exhibit at the Muxin Art Museum. (Photo: Jason Wang.)

To reach the Muxin Art Museum, one first passes through Wuzhen, a historic water town in Zhejiang Province that has been carefully polished for tourism. Stone paths are kept immaculately clean, boats drift slowly through the canals, and the entire district often feels suspended in a state of permanent display. At the edge of Yuanbao Lake, the museum rises as a cluster of spare concrete volumes designed by OLI Architecture. The shift from the cultivated brightness outside to the cool, inward atmosphere of the galleries is immediate.

Lost in the Labyrinths of the Mind: Backrooms

Chiwetel Ejiofor in Kane Parson's Backrooms. (Photo: A24 Pictures.)

Kane Parsons’s Backrooms is some very clever filmmaking. The elevator pitch could’ve been “Skinamarink, but cinematic.”

Object Lessons: Videotape

(Bloomsbury Books.)

“Objects have the longest memories of all. Beneath their stillness, they are alive with all the experiences they have ever witnessed.”

--Teju Cole

Object Lessons, published by Bloomsbury Books, is an illuminating series of short, beautifully designed books about the hidden lives of ordinary things. As Oana Godeanu-Kenworthy’s incisive biography of this impactful technology reveals, over the span of a single decade, the VHS format changed the privileged relationship between privacy and entertainment, pried open the closed societies behind the Iron Curtain, and then mysteriously sank back into oblivion. Although what we now call streaming has assumed prominence, the legacy of the humble videotape still continues to inform modern entertainment. And I’m delighted to say that both Godeanu-Kenworthy and I appear to share a similar, if not parallel, fondness for the technology that preceded our present stream-mad dimension. Here’s my outset admission: I’ve always been a huge fan of the analog world, its haptic tone and the various shapes it took, and I still am. The author of this charming little book, which has a giant subject and theme that belies its scale, also shares in her book’s beginnings what might account for her fondness. Our first exposure to any given medium of expression is often the most effective for our successive modes of experience.