“It is through art, and through art only, that we can realize our perfection”~ Oscar Wilde.
Last night I was fortunate enough to go to the Redhouse Arts Center to see their opening night performance of the famous true life play of Oscar Wilde, called, “Gross Indecency: The Three Trials Of Oscar Wilde.” This show is part of the Redhouse’s in rep series, “Redhouse Gone Wilde”. This play, originally written for the stage by Moisés Kaufman, surrounds around some of the real life accounts of the three trials of Oscar Wilde. Wilde was eventually sent to prison and sentenced to two years of hard labor. The play also deals with Wilde”s involvement with Lord Alfred Douglas and his “gross indecencies” with other men in the 1800’s. This production of “Gross Indecency: The Three Trials Of Oscar Wilde” is currently running in conjunction with “A Man Of No Importance” and opening next week, in the Redhouse Lab Space, “The Importance of Being Earnest”.
The Moth is a not-for-profit organization in New York City, founded in 2009, that produces and shares stories from around the world in their weekly podcast and at storytelling events. Earlier in January, they released stories from their Moth Radio Hour main stage show in NYC that was part of the 2014 World Science Festival. Four people told true, emotional stories with a scientific twist. One stood out from the rest in terms of being almost too unbelievable to be true but we will get to that in a minute.
Sunday afternoon I went to see a performance of “Lend Me a Tenor” by the playwright Kenneth Ludwig performed by The Central New York Playhouse. The production runs two hours including an intermission. The members of the cast consist of eight people all together, each one perfectly picked for the role they played and created to make their own.
Reporter Sarah Koenig spent one year investigating the 1999 murder of 18-year-old Hae Min Lee, a high school student in Baltimore. The result is an absorbing, 12 episodes of interviews and testimonies meticulously re-created in the attempt to determine what happened one day after school in the window of about twenty minutes. That time frame could prove the innocence of Adnan Syed, the victim’s ex-boyfriend who was found guilty of Lee’s murder and is serving a life sentence. Or it could validate that guilty verdict.
There isn’t a better horror movie you’re going to see this year. It’s as simple as that. Writer and director Jennifer Kent made this movie in South Australia, her first feature length, with very little money. She raised $30,000 on Kickstarter to help with the art production. What Kent does so well is she takes some of the best qualities of great horror and runs with it throughout her movie: a monster not completely seen, very little CGI, few settings and characters, inner psychological turmoil and an ending that satisfies without setting itself up for the sequel. It is a classic that will be remembered and taught to film students.
“This is a play about the devilish in-between of narcissism versus peacemaking, of bitterness versus forgiveness…”
Last friday I saw “Visiting Bammy Lewis,” as envisioned by the CNY Playhouse, written by local playwright Joleene Derosiers Moody. Quite a show.
If The Glass Menagerie could be considered a comedy, if The Seagull is a comedy, then Visiting Bammy Lewis has found it’s place amongst the greats of cynical and obscenely sad laugh riots. Maybe it was just me, but I found this farce more depressing than funny.
“Visiting Bammy Lewis,” an original comedy by Joleene DesRosiers Moody and directed by Korrie Taylor, is now playing at The Central New York Playhouse. A family comes together for the holidays and chaos ensues from unwanted guests and a winning lottery ticket. Syracuse.com‘s Len Fonte describes it as, “slight, silly, and often the kind of funny that’s linked to confusion, but it’s still a good time.”