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Hamptons Journal: McArthur Binions at the Peter Marino Foundation, the LongHouse Gala, and Daniel Humm at Guild Hall

The work is detailed and geographic, tonal, you might say, like bop graffiti on brick in a Detroit abandoned building. The artist, McArthur Binions, in fact, comes from Detroit but spent a lot of time in New York meeting Thelonius Monk and Miles Davis, moving on to Chicago where he now lives and works. Artist Rachid Johnson was his student, so favored that he became part of the family, taking care of the kids. At a recent "Brunch with Bob," at the Peter Marino Foundation, he told a packed crowd awed by Binions' art, Binions refused to sell his work at the time, proclaiming it would be worth a lot someday. And Johnson who knew him only in that school setting as his teacher, thought, "This guy is crazy." Yeah, as the saying goes, crazy like a fox. This was the talk's great takeaway.

In the foundation gardens for brunch, Prudence Fairweather asked McArthur Binions if he had ever met her husband, John Chamberlain. Oh yes, that was at the Fanelli Bar. He had a large vial of cocaine. I ask, did he share? "Yes he did. It was very good."

A who’s who of artists show up at the LongHouse gala every year. The evening, honoring Kenny Scharf and Tony Bechara, is always an homage to Jack Lenor Larsen, its founder, and a celebration for nature enthusiasts who love the combo of gorgeously curated outdoor art in the leafy setting: Robert Wilson, Ned Smyth, Joan Semel, mingling among many others. The much-awarded “Marvelous Mrs. Maisel” costumer Donna Sakowska said she’s been living in Paris developing a ballet series called “Etoile” with the Palladinos.

Amy Ryan, Liev Schreiber, Zoe Kazan in A Superb Revival of Doubt: A Parable

In the revival of John Patrick Shanley’s Doubt: A Parable at the Todd Haimes Theater, Amy Ryan as formidable, grim-faced Sister Aloysius is the kind of no-nonsense nun so fearful—under her eye, the consequences of actions good or bad are the same; you definitely don’t want to be caught. As directed by Scott Ellis, a fine tuning of Shanley’s work, she demonizes Liev Schreiber as Father Flynn, newly arrived at this Bronx parish in 1964. From the start, centerstage, delivering a sermon on “Doubt” in New York-ese, back lit by stained glass, he projects humanity, especially as his speech sets up the parable at hand: Doubt can be as binding as faith.

This is theater at its finest, a holy cathedral of words. Playing with notions of innocence and guilt, the 2004 play—a Pulitzer Prize winner--means to keep us juggling our own internal debates on the subject, the truth intensely shimmering far away, compelling, mysterious and suspenseful. A younger teacher, Zoe Kazan shines as Sister James. Meek as need be before her superiors, she also represents the future of the church. She has doubts about what happened in the rectory when a student—the school’s only black boy-- returns to class after a private meeting with Father Flynn. Reporting to Sister Aloysius, she suspects her superior’s accusations go too far, judging him a pedophile without saying the word. Can she maintain discipline as represented by Sister Alyosius, while keeping a tender, nurturing and welcoming presence for her students?

Sister Aloysius’ meeting with the boy’s mother in a deft performance by Quincey Tyler Bernstine brings its own surprises. As does Father Flynn’s confrontation with Sister Aloysius in her Bible-lined study, questioning why he is thought guilty without proof. Of course, we as observers have our own certainties, or doubts, and they keep shifting. And it’s hard not to be swayed by Father Flynn’s kindness, vulnerability—and sheer manliness.

Marion Cotillard at the Rendez-vous with French Cinema

Oscar winner Marion Cotillard in feathery white posed before photographers on opening night of this year’s Rendez-vous with French Cinema at Lincoln Center. She’s a big star, known internationally since her debut role as Edith Piaf, but for this yearly festival, a collaboration with Unifrance, it did not take long before she melded into the crowd, another guest for cocktails. Similarly, at the French Embassy where the party turned swank, she was part of the crowd with Thomas Cailley, director of the opening night film, THE ANIMAL KINGDOM, enjoying drinks, vegetarian tagine, the confluence of English and French conversation. The French are very good at keeping the celebrity buzz under control.

Winner of five Cesars in France, THE ANIMAL KINGDOM, explores the imagined proposition of humans mutating into animals--literally. How does that affect identity? Family? Empathy? The star, Romain Duris, plays a family man whose wife has become a large beast—yes, literally. Neither he nor Adele Exarchopoulos, another big star who plays a minor role attended. In France as in America, having a film this lauded will improve chances of funding the next one, but Cailley said of his film in our conversation: This film is weird, and will widen the possibilities for others to make their more edgy films.

Taking a conservative view on this movie that also features one such mutant who wants to fly, this is surely the best movie I have ever seen on the subject of father/son relationships. More conventional, director Pascal Bonitzer’s film AUCTION, about a Nazi-stolen Egon Schiele painting turning up in a workingclass home in the French countryside, would screen the next night, its North American premiere. A favorite among Rendez-vous critics, AUCTION is smart about the art market. Bonitzer based his script on interviews with key players in a known newspaper story. While Alex Lutz stars as an auctioneer, for Bonitzer, the young man who wants to give up his lucrative possession to the true Jewish heirs is a hero.

Sting—yes, that Sting-- plays himself in Michel Gondry’s THE BOOK OF SOLUTIONS, perhaps the goofiest selection in the Rendezvous lineup. A young film director (Pierre Niney), wanting to complete his work after the project has been kaboshed, holes himself up in the French countryside with the stolen footage. Manic, he wants to complete his movie and even convinces Sting to perform. Nutty as the twists and turns seem, this film may illustrate the inner frustrations of many filmmakers.

Christine Lahti in Russian Troll Farm: Jesse Tyler Ferguson Honored at the Vineyard Theater Gala

Any lingering doubts about how the 2016 election went the way it did, Sarah Gancher’s Russian Troll Farm: A Workplace Comedy, now ending its run at the Vineyard Theater, offers a hilarious, clever, chilling spectacle of our nightmares come true –especially horrifying as we move toward the 2024 elections. Set in a cold office space, this play posits workers, computer nerds doing what they do best: hacking. A photo of Putin hangs on a back wall. We are in fact where our worst fears of control by a foreign enemy are fueled and posted. Expert in manipulating social media, these workers, led by Ljuba, a Robotnik performed by Christine Lahti, tweet misinformation at once familiar and breathtakingly outrageous—Hillary as a pedophile—kidnapped kids in tunnels beneath Disneyland—incredible fakeries that had us by the –eh, balls.

The brightest note—this is good, riveting theater. And that view goes beyond the sight of Steve’s (John Lavelle) ample, inked butt crack. Renata Friedman as Masha, Haskell King as Egor, and Hadi Tabbal as Nikolai round out the fine ensemble. My hope is Russian Troll Farm will move to Broadway—as have other superb Vineyard productions such as Dana H. and This is a Room.

At the Vineyard Theatre’s gala this week, the Edison Ballroon was abuzz. Honoring Jesse Tyler Fergusen, a rousing rendition of “Take Me Out to the Ball Game” was a no-brainer. Chelsea Clinton, Lea DeLaria, Celia-Keegan Bolger, Sara Bareilles, Emily Bergl, and Montego Glover paid tribute, but Glover, a former Ferguson roommate, could attest: Jesse puts down the toilet seat. Whattamensch!

Jennifer Holliday at the Carlyle Café

Tony award winning Jennifer Holliday makes her debut at the Café Carlyle, not far from where she starred on Broadway as Effie in 1981 in “Dreamgirls.” Singing “I’m Still Here,” Holliday channels ancestors—Barbra Streisand among them-- in a set that features selections from the American songbook. But more, she evokes a prior Café Carlyle resident, the legendary Elaine Stritch, who made this Stephen Sondheim “Follies” hit her signature song. Holliday now makes it her own, and ends her generous set with her “Dreamgirls” anthem, “And I’m Telling You—I’m Not Going.”

Great news! At 63, Jennifer Holliday in a magenta sequined sheath, uses the intimacy of the Carlyle stage to sing about love, and honor her muses, Michael Bennett and Marvin Hamlisch. Their advice brought her to the standards that make this show so special—“Taking a Chance on Love,” “Come Rain or Come Shine,” “In a Sentimental Mood,” “Caravan,” “Body and Sou,” to name a few. Working in a jazz idiom –scatting like Ella Fitzgerald and mixing in her R&B chops-- she’s backed by an excellent band: music director Shedrick Mitchell on piano, Eric Wheeler on bass, Charles Haynes on drums, and Jarien Jamanla on sax.

Carey Mulligan's Surprise Appearance at New York Philharmonic’s Evening of Maestro’s Music

Director/ Producer/ Co-writer/ Star Bradley Cooper introduced a special concert at the newly refurbished Geffen Hall, featuring the NY Philharmonic performing Leonard Bernstein’s music for his film MAESTRO. That his subject Leonard Bernstein had begun his career in this very place, conducting the Philharmonic at age 25, gave the evening extra resonance. Fervidly researching, Cooper was said to have attended many a performance in the past five years, seated in the conductor’s box hanging dangerously over the rail, in rapt attention to the feverish body movements needed for conducting. His devotion extended to every aspect of the film, and it shows. Now after MAESTRO’s many awards and nominations, the night’s focus turned to the Philharmonic’s star conductor Yannick Nezet-Seguin, the ample stage packed with musicians, the soloists, and the 50-member chorus. Now a hero to classical musicians everywhere, Bradley Cooper put them in the spotlight. And shine they did.

In Cooper’s hands, glimpses of Bernstein’s musical genius pervade the film. Key scenes were projected over the live performances. The Requiem in St. John the Divine is the longest musical interlude, showing Cooper completely following in Bernstein’s conductor chops. As noted later in the Q&A, performers who had worked with Bernstein actually imagined him back in action. That’s how authentic Bradley Cooper seemed to them.

Kelli O’Hara and Brian D’Arcy James’ Menage a Trois in Days of Wine and Roses

When the new Broadway musical, Days of Wine and Roses, was announced, Henry Mancini and Johnny Mercer’s voluptuous classic song from the movie swelled in my mind’s ear. That was a lot to let go, as the new show at Studio 54 drew near. Featuring Kelli O’Hara and Brian D’Arcy James as the lovers in a doomed triangle with booze, to tunes by Adam Guettel and book by Craig Lucas, the team that made Light in the Piazza starring O’Hara, this Days of Wine and Roses scores the romance operatically, even as it is meant to evoke jazz. A perfect fit for O’Hara, a theater superstar with a singular voice.

Brian D’Arcy James, known especially for comic roles, is the quintessential leading man—a handsome and attentive wooer. Meeting at an office party, the two hook up once she, a lovely “good” girl, not into drink, samples a chocolaty Brandy Alexander. An unshakable, high alcoholic bond precipitates their down journey.

This is no spoiler alert. Anyone familiar with the vagaries of this disease will recognize the thwarted steps taken to survive, and feel the pain in witnessing D’Arcy James’ Joe’s crescendos as he tears down his father-in-law’s (Byron James) prized greenhouse in a drunken rage.

Joe and O’Hara’s Kirsten sing every number, accompanied for a few tunes by their daughter Lila (Tabitha Lawing). Kelli O’Hara’s voice is the one you take home—in “Evanesce” and “There I Go.”

Chita Rivera Remembered at the Café Carlyle: Putting on her Vamp

Broadway musical legend Chita Rivera takes the narrow strip of stage at the Café Carlyle, maneuvering her sequined body strategically so she won’t end up in your vodka tonic. Nobody moves like Chita Rivera. The consummate showwoman, she gives a great, not to be missed night, starting with “A Lot of Living to Do.” For her West Side Story medley, in honor of its 60^th anniversary, she tells of Leonard Bernstein teaching her the role of Anita, and sings “A Boy Like That,” and “America.” With stories galore, and memories of performers who inspired her, such as Rosemary Clooney from whom she learned she could just stand there and sing, and then of course defying that she shimmies through “Sweet Happy Life,” advising, “It’s great when your spirit and body get together.” When she sings “Where Am I Going?” from Cy Coleman and Dorothy Fields’ Sweet Charity, you feel grateful to have her right here, coquettish as three hookers, “Camille, Collette, Fifi” and wistful singing the ups and downs of Jacques Brel’s “Carousel.”

With all due respect to Catherine Zeta-Jones who earned an Oscar for her film role as Velma in Chicago, Chita Rivera blows away all competition. Of course she originated the role of Velma in 1975, opposite Gwen Verdon, only one of her iconic Broadway performances in a career that includes Bye Bye Birdie, The Rink, Kiss of the Spider Woman, as well as West Side Story. Accompanied by an expert band, with music director Michael Croiter on guitar, Jason Loffredo on piano, Jim Donica’s bass, and Dan Willis reeds, she samples from her Broadway hits including the show-stopping vamp for “All That Jazz,” top hat, cane, and all.

Greta Gerwig, Margot Robbie, Charles Melton: Who Cares About Oscar Snubs?

After Oscar nominations, pundits weigh in on the snubs. What exactly does it mean? In the case of BARBIE, the highest grossing film of the year: laughing all the way to the proverbial, eh, literal, bank. Team BARBIE has a prominent place at the party, with nods for Best Picture, Original Song, Production Design, Costume Design, and Greta Gerwig and Noah Baumbach’s Adapted Screenplay. Producer Margot Robbie will look gorgeous, of course! As nominee for Best Supporting Actor, Ryan Gosling put it, “There’s no Ken without Barbie.” Don’t cry for me.

For other films, MAY DECEMBER, for example, other consequences for revenues can make a difference, but with an auteur such as Todd Haynes featuring stars Julianne Moore and Natalie Portman—Oscar winners on their own. Watch them as presenters on the special day, and Charles Melton—you may recall from his New York Film Critics win-- looks good in a tux without a shirt.

As the late, great Sylvia Miles, a two-time Best Supporting Actress Nominee—for MIDNIGHT COWBOY and FAREWELL, MY LOVELY—always pointed out during Oscar season, you cannot predict the nominations in traditional ways, seeing the process more of an algorithm of repeated listing by Academy members in each category.

Sir Anthony Hopkins in ONE LIFE Opens the New York Jewish Film Festival

In these dire times, remember the mantra that evil flourishes when good people do nothing. As noted looking back to the days when Nazis rose to power in Europe, these words may guide our actions, as they did a true hero, Sir Nicholas Winton, a British stockbroker who in his ‘20’s took on the plight of refugee Jewish children in occupied Czechoslovakia, attempting to bring as many as possible to foster homes in England. That he brought as many as he did—669—seems a true miracle, but in ONE LIFE, James Hawes’ debut film that opened the New York Jewish Film Festival last week he does just that. Sir Anthony Hopkins plays Winton as an elder gentleman, modest about his “menschlechkeit.” ONE LIFE flashes back to his youth with Johnny Flynn as Winton and his wise, enabling mother played by Helena Bonham Carter devoted to the kindertransport. If you have wondered where some A-list actors have gone—Lena Olin, Marthe Keller, Jonathan Pryce, among them—they are characters here, supporting the cause.

A producer, Joanna Laurie, introduced the film on the festival’s opening night. While many have asked to make a film about Winton, she told the rapt crowd, his daughter and biographer Barbara Winton agreed to this production, saying that she thought Anthony Hopkins should play her father. Yeah, right? No one believed he would say yes, but indeed he did, bringing his prodigious talents to a role well suited to Winton’s elegant modesty. Laurie promised a surprise, which came when during the Q&A she asked members of the opening night audience to stand if they owed their lives to Nicholas Winton. Several families stood up, in a glorious SCHINDLER’S LIST moment that brought home the important theme: an ordinary citizen dared to act--the message illuminated in this thrilling film.

Harry Smith at the Whitney Museum and in Cosmic Scholar: When Whimsy Meets Whip Smart

Back in the day, I thought Harry Smith was a deadbeat. Now, he’s a dead Beat. A filmmaker, artist, student of the occult, mysticism, cats’ cradle and paper airplane master, and famously a star of one of Andy Warhol’s interviews, Harry Smith was a cultural figure in his day, as a rich exhibition of his work, Fragments of a Faith Forgotten: The Art of Harry Smith, at the Whitney Museum, demonstrates. Who knew?

An inhabitant of the Chelsea Hotel and the Breslin before that, he consorted with an array of artsy types, among them photographer/ filmmaker/ musician John Cohen, rocker Patti Smith, photographer Robert Mapplethorpe, and many others who appear in his masterpiece Mahagonny, a filmed reboot of Berthold Brecht and Kurt Weill opera about a city where anything goes. Imagining New York that way in 1970, Smith filmed Allen Ginsberg, Rosebud Pettet, and many other downtown types. Viewers enjoyed it seated on sofas on the Whitney’s 5^th floor.

The Whitney had a weekend of lectures, screenings, and other tributes to Harry Smith. Anne Waldman gave a reading in tribute. Raymond Foye provided a connection to painter Jordan Belson. Some of the interviews are like home movies with semi articulate musings by Smith. Rani Singh, Director of the Harry Smith Archives, spoke about how Mahagonny was made from 1970 till 1980. And like so much experimental work of the time, the percussive poetry of Brion Gysin, Jack Kerouac’s spontaneous prose, William Burroughs’ cutups, the work is highly structured—not at all haphazard, as the art first appears.