Tag: 241114

The Art Roundup 24/11/21

The latest from NH’s theater, arts and literary communities

• Chorale concerts: NH Master Chorale Director Dan Perkins planned this month’s concerts, “A Breath of Ecstasy,” which will take place at 7 p.m. on Saturday, Nov. 23, at South Church in Concord and at 4 p.m. on Sunday, Nov. 24 at the Plymouth Congregational Church. The overall theme is “For a Breath of Ecstasy,” taken from a 2017 composition by the American composer Michael John Trotta that sets seven of Teasdale’s poems from “Love Songs,” a collection published in 2017, which won the original Pulitzer Prize in poetry. Tickets are available through nhmc.ticketleap.com/f24 or at the door.

• Murder mystery: Murder’s In the Heir will be presented by the Majestic Theatre (880 Page St., Manchester, majestictheatre.net) on Friday, Nov. 22, through Sunday, Nov. 24. “Almost every character in this hilarious mystery has the weapon, opportunity, and motive to commit the unseen murder. And it’s up to the audience to decide who actually did it!” according to the press release. Murder’s in the Heir is directed by Becky Rush and stars Michele Bossie, Natashia Da Cunha-Lund, Katie Davis, Matthew Davis, Larissa Gault, Scott Howard, Alex Jozitis, Benjamin Mahon, Ilana Peet, Lee Peet, Eric Petit, Josh Sanborn, Krystal Timinski and Marinda Weaver, according to the same release. The show will run Friday, Nov. 22, at 7 p.m., Saturday, Nov. 23, at 2 p.m. and 7 p.m. and Sunday, Nov. 24, at 2 p.m. Tickets are $20 for adults, $15 for ages 65 and above and 17 and under. Tickets can be purchased by calling 669-7469, by visiting majestictheatre.net or at the door before the show, according to the release.

• Art at the Center: The Sandy Cleary Community Art Gallery is located on the ground floor of the Nashua Center for the Arts inside the concourse that runs along West Pearl Street, from the Main Street Lobby entrance to the West Pearl entrance, according to their website. The gallery gives local artists the opportunity to display and sell their work to thousands of people attending concerts and events at the Center annually. Their new rotation, which runs from October through December, features four of Nashua’s talented artists, Dan Marshall, R.D. Lembree, Sandy Machell and Monique Sakellarios. Visit nashuacommunityarts.org/sandy-cleary-community-art-gallery.

• Small art: Pillar Gallery + Projects’ newest exhibit is “NANO” and the show runs until Wednesday, Dec. 18. “NANO” is a juried exhibition focused on smaller works. The press release describes the exhibit thusly: “In a fast-paced culture perpetually interested in bigger, NANO showcases the impact of works that are intimately-scaled.” The exhibition will be installed salon-style to highlight the range of processes and thematic exploration and they are accepting 2D and 3D works in all media. 2D works must be no larger than 6 x 6 inches (8 x 8 inches framed) and 3D works no larger than 4 x 4 x 4 inches. Visit pillargalleryprojects.com.

• Tour historic houses: At Strawbery Banke Museum (14 Hancock St., Portsmouth) participants can join expert guides for a 90-minute tour exploring three centuries of Thanksgiving traditions. Attendees will travel through time and visit four historic houses as they learn how this holiday has evolved over time, according to their website. They will discover how people celebrated Thanksgiving in 1777 at the William Pitt Tavern, experience the height of the Victorian period in 1870 at the Goodwin Mansion, share in the experience of a Jewish immigrant family learning about the American holiday in 1919 at the Shapiro House, and learn about Thanksgiving on the home front in 1943 at the Abbott House and Store, according to the same website. Members $20; non-members $25. Tours on Saturday, Nov. 23, and Sunday, Nov. 24, take place at 11 a.m., noon, 1 p.m. and 2 p.m. Tours will also occur on Friday, Nov. 29, Saturday, Nov. 30, and Sunday, Dec. 1, at these times: 10 a.m, 11 a.m., 11:30 a.m., noon, 1 p.m., 1:30 p.m., and 2 p.m. Visit strawberybanke.org.

This is his time

Willie Nile on making the best music of his life

By Michael Witthaus
[email protected]

“The Benjamin Button of rock ’n’ roll” is what VH1 Storytellers creator Bill Flanagan once called Willie Nile. “Because my career has been ass backwards,” Nile said recently. It’s true; the Buffalo-born rocker made two great albums early and waited 10 years for his third. Since then, he’s released over a dozen more, including nine in the last 12 years.

Nile’s energy level is up to 11, and he’s so confident he can inspire a crowd with his high-energy rock that he offers a guarantee. “If you want to see a spark and some light in this darkness, come to a show,” he said. “If you’re not blown away and you don’t feel better walking out the door, you’ll get your money back … and I don’t mean you’ll just like it.”

Every night, Willie Nile leaves everything on the stage, exiting fully soaked in sweat, usually after more than one standing ovation. He’ll play great songs from the early days like “Vagabond Moon” along with rave-ups like “This Is Our Time,” a cut from 2013’s American Ride and “The Day The Earth Stood Still,” the title track from his last studio album.

“Nothing’s changed, except I think I’m singing better,” he said. “My voice has gotten just a little richer. Maybe I wouldn’t go that far; I’m a little Sam Cooke, but I mean, I’m having more fun. The set lists are never better than this, and it’s a ball. I’m still feeling it in every pore of my body, and I’m not the only one.”

If the measure of a person is the company they keep, Nile is a star. He got his first big break when the booker at Kenny’s Castaways convinced Robert Palmer, the New York Times’ premier critic in the 1970s, to arrive early for a show he was covering to catch Nile’s opening set. The rave review led to a record deal and a tour opening for The Who.

Bruce Springsteen invited Nile to open for him in front of 70,000 fans in New Jersey’s Giants Stadium, and in 2009 pulled him from the audience to sing Jackie Wilson’s song “Higher & Higher” at a show that turned out to be Clarence Clemons’ last with the E Street Band.

Nine years ago he stood between Springsteen and Pete Townshend to perform “Won’t Get Fooled Again” in a band that included Billy Idol and Who lead singer Roger Daltrey. Nile also played “Substitute” and “Kids Are Alright” at the show, a Grammy MusiCares tribute.

“I remember thinking, what’s wrong with this picture?” he recalled, and talked about working out how to play the Who classic backstage with the Boss, who also didn’t know the song. “For 15 minutes, like two high school kids … we learn ‘Won’t Get Fooled Again.’ You can’t make this stuff up; I’m living a dream.”

Nile, however, isn’t the least bit starstruck by the music legends who love him.

“I’m just too dumb to know any better, but fame was never what I cared about,” he said. “It was always about the songs … that’s gotten me through some really small keyholes into some unique places.”

The inverse of that is what led him to leave music in the wake of his first two critically lauded albums when the industry harshed his mellow, then return in 1991 with Places I Have Never Been. He just wasn’t feeling it anymore. He and his then-wife — he’s now married to Italian photographer Cristina Arrigoni — moved back to Buffalo and had four kids.

“I stayed there through the eighties,” he said. “I stopped playing, but I was always writing. That’s what I do. I’ll write till I drop. At this rate, I’ll be playing till I drop, but it’s like my dad says … he asks, ‘How you doing?’ and I’ll say, ‘I’m working really hard, I’m pretty beat.’ He goes, ‘Yeah, but you get to do what you love. You’re a lucky guy.’ And he’s right.”

Even in conversation, one can hear the raucous Nile’s rock ’n’ roll heart beat. When he’s up on stage blazing through his massive catalog or covering a gem like the Velvet Underground’s “Sweet Jane” — Lou Reed was another New Yorker Nile knew — it’s like attending a revival tent party in 4/4 time.

So don’t go to The Rex on Nov. 15 with any thoughts of getting a refund. Rather, expect many moments when Nile’s spirit lifts the crowd to its feet. “I’m a 76-year-old dude and having the time of my life and doing the best shows in my career,” he said. “I’m having a ball, still writing at the top of my game, and the songs are still coming.”

An Evening With Willie Nile
When: Friday, Nov. 15, 7:30 p.m.
Where: Rex Theatre, 23 Amherst St., Manchester
Tickets: $35 at palacetheatre.org

Featured photo: Willie Nile. Courtesy photo.

My Old Ass (R)

A newly minted 18-year-old is suddenly confronted with her 39-year-old self in My Old Ass, a very sweet coming-of-age comedy.

Elliot (Maisy Stella) has gone to the woods with her two best buddies to celebrate her birthday by taking mushrooms. Her friends seem to be seeing euphoric discos; Elliot is stuck sitting by the campfire complaining nothing is happening. And then Elliot (Aubrey Plaza) shows up. Old Elliot is bemused by Young Elliot, who is initially shocked but then wants to know, like, what stocks to buy so they can be rich in 20 years and what awesome things might happen to her. Old Elliot is wary of messing with the future too much but she does tell Young Elliot to spend more time with her family, to please wear her retainer and to stay away from anyone named Chad. Elliot doesn’t know a Chad — until she meets her dad’s summer worker on the family cranberry farm and he is, of course, Chad (Percy Hynes White).

Elliot, who has always been attracted to women, is shocked to learn she’s attracted to the potentially troublesome Chad. While dealing with this confusion, she is also approaching the big life change of heading to college. She has always been eager to leave her family’s farm and small town but now that it is a reality she finds herself full of conflicting emotions.

My Old Ass thinks a lot about last times — the last time you do a thing and whether you know when you’re doing it that it is the end of something. Some lasts sneak up on you — the last time Elliot’s mom (Maria Dizzia) rocked a toddler Elliot to sleep. Some, like the last times Elliot is suddenly encountering as she prepares to leave for college and have her “life start,” as she says, are clearly last times and she has to deal with all the bittersweetness of them while in the middle of them. My Old Ass approaches this — life transitions, what we miss and how we deal with it all — with genuine emotion and melancholy-tinged sweetness while also being funny and having just the right touch when it comes to the older-self-talks-to-younger-self aspect of the story. Great performances all around help sell the realness of this world, with special kudos to Stella. A

Rated R for language throughout, drug use and sexual material, according to the MPA on filmratings.com. Written and directed by Megan Park, My Old Ass is an hour and 29 minutes long and distributed by Amazon MGM Studios. It is available for rent or purchase and is streaming on Amazon Prime Video.

The Substance (R)

Demi Moore gives a very good, frequently quite funny performance in the goofy body horror The Substance.

Aging star Elisabeth Sparkle (Moore) attempts to recapture the “best version” of herself with an underground treatment called the Substance. The neon green serum does not lift and tighten — it pushes a whole new younger, flawless version of yourself out of you, violently, creating a seam down the back that this new person has to sew up. The operating rule of the Substance is seven days on, seven days off — the perfect Substance-created version of yourself gets to be for seven days while the older you sleeps. In seven days, you must switch back. Both versions are “you” and the younger version needs a “stabilizer” (fluid syringed out of the older version’s back) to continue existing.

Sue (Margaret Qualley), Elisabeth’s “best version,” is able to win a spot as the host of the exercise show Elisabeth was just fired from and is quickly getting spots on billboards. When Elisabeth reawakens she is both proud of what her alter has accomplished and, very quickly, jealous. Later Sue’s carelessness with the seven-day-switch rule has immediate and disturbing consequences for Elisabeth.

The Substance has lots of tight shots gleefully highlighting the grossness of the human body even before the movie’s final third, when what feels like a tidy dark comedy horror about beauty, age and media takes a hard left turn into total bonkers territory. Like so bonkers that the movie pushes past where you think it will stop, enters a new realm of absolute lunacy and then keeps going, so that actually by the end I kinda respected the whole crazy circus of gore the movie became. What holds it together throughout is Moore, who really does some solid work here with both the desperation Elisabeth feels (and that the Substance exacerbates) and the movie’s comedy. B+

Available for rent or purchase and streaming on Mubi.

The 4:30 Movie (R)

Kevin Smith makes his The Fabelmans with The 4:30 Movie, a nostalgia-rich tale of teenage friendship and love and ye old 1980s pre-stadium-seating movie theaters.

Ben David (Austin Zajur) gets up the courage to ask Melody Barnegat (Siena Agudong), a girl he likes but ghosted after he got nervous when they kissed, to the 4:30 screening of what sounds like a middling detective movie — their local theater in suburban New Jersey isn’t playing Poltergeist II, the current hot ticket. The screening will come in the middle of a day of movies Ben has planned with his friends, dork Belly (Reed Northup) and dork-who-wants-so-badly-to-seem-greaser-cool Burny (Nicholas Cirillo). Belly seems perfectly happy for Ben but Burny is clearly nervous about how it will change the friendship dynamic. In addition to friend friction, obstacles to Ben’s romantic movie moment include a power-drunk cineplex owner (Ken Jeong), assorted burnout theater employees and Ben’s and Melody’s parents.

From the lingering shots of the post-rotary push-button desk phone to jokes about the surely-finished-forever Star Wars trilogy, The 4:30 Movie is all about the gooey nostalgia for a very specific late 1980s time and place and for the impact it had on Smith’s life. Actually, just how Fabelmans-y this movie is becomes ever more apparent as the movie goes on, culminating in a fun little credits scene. This much Kevin Smith-itude might not be for everyone but I thoroughly enjoyed it. B

Available for rent or purchase.

Bambi, by Felix Salten

Bambi, by Felix Salten (Knopf, 211 pages)

If all you know of Bambi is what Disney served up, you don’t know Bambi.

With many of Disney’s early movies, the stories weren’t written in-house — Snow White came from a German fairy tale, attributed to the Brothers Grimm, and Pinnochio was written by an Italian journalist in the 19th century. The source material for Bambi, which Disney released as an animated film in 1942, was a slim novel by the same name written by Felix Salten. It’s been re-released this year as a gold-embossed hardcover book, part of Alfred A. Knopf’s “Children’s Classics” series — which is fine, so long as this elegant, disturbing little book doesn’t fall into a child’s hands. This is not your 5-year-old’s Bambi, and Thumpers in the rear-view mirror are not as they seem.
That said, Salten’s Bambi, subtitled “A Life in the Woods,” is better than Disney’s, and I love that the foreword is the original one from 1928, which concludes, “I particularly recommend it to sportsmen.”

Like George Orwell with Animal Farm and E.B. White with Charlotte’s Web, Salten created characters who are fully animal but at the same time quite human. The book opens with an exchange between Bambi’s mother, exhausted from giving birth, and a magpie who keeps chattering about its own life. “Pardon, I wasn’t listening,” Bambi’s mother says after a while, and the magpie flies away thinking, “A stupid soul. Very nice, but stupid,” which, fair or unfair, could encapsulate a lot of conversations we all have in a grocery store line.

Soon enough, as Bambi enjoys his solitary time with his mother they encounter a ferret that has killed a mouse. And a “vast, unknown horror clutched at his heart” as the fawn gets a blurry view of some unknown horror that exists beyond his idyllic life. But his mother is not yet ready to speak of it, trying to keep Bambi innocent as long as possible while teaching him about the joys of the meadow, where “he rejoiced with his legs and with his whole body as he flung himself into the air,” and gazed at the sky, where “he saw the whole heaven stretching far and wide and he rejoiced without knowing why.”

He is introduced to three other deer, one of which, Faline, will become his mate, and catches his first glimpse of his father, who passes the cluster of deer with another proud stag without acknowledging them. Crushed, Bambi asks his mother why; she replies, “They don’t ever stay with us, only at times. … And we have to wait for them to speak to us. They do it whenever they like.”

Bambi’s mother herself grows increasingly colder to her son as he matures, once snapping at him, “Go away and let me be.” When he cries for her, a stag appears and tells him, “Your mother has no time for you now.” And this is before we ever get to the cruelty of man, the hunter, who is described throughout simply as “He.”

The word “Bambi” itself has become Bambi-ized, more associated with cartoon characters and porn stars than its source. But Saltzer’s book, while simply written, is gritty with the hard reality of animal life in which fear and death are constants. In one interaction with a squirrel, Bambi inquires about the rodent’s father, and the squirrel replies, “O, the owl caught him a month ago.” One chapter is a conversation between two autumn leaves, clinging to the top of a tree, contemplating their mortality. (“Can it really be true, that others come to take our places when we’re gone and after them still others, and more and more?”)

All this is to say, perhaps this was a “children’s” book when it was first published, five years before antibiotics were discovered and when many people still slaughtered their own meat and death had not been sanitized and swept aside to nursing homes and hospitals. Now, it’s nightmare-inducing stuff, particularly with the running theme of abandonment by parents, and a scene in which Bambi’s “Friend Hare” — which Disney named Thumper — is terrified and writhing in a trap.

In the end Salter’s Bambi is both a coming-of-age story and circle-of-life story, as the deer matures and accepts his role in the forest. Like every good story, it has a clear villain — the human — who is threaded with complexity. He both terrorizes the forest creatures and provides a safe and loving home for his dog, and even cares for an injured deer.

In one scene, a hunting dog and his wounded prey, a fox, have an emotionally charged conversation, the fox calling the dog a turncoat and renegade, since they are genetically brothers. The dog replies, “Do you think you can oppose Him, poor creatures like you? He’s all powerful. He’s above all of you. Everything we have comes from Him.”

And just when you think you’ve got the book’s theological implications figured out, Salter goes elsewhere, because this is, at its heart, a morality tale.

Stephen King once called Disney’s Bambi the first horror movie he ever saw because of its effect on him as a child. That genre doesn’t describeSalter’s Bambi the book, except maybe for vegans. But it’s a deeply affecting little book that, like A Christmas Carol and Animal Farm, shows that the impact of a book has nothing to do with its length. A —Jennifer Graham

Album Reviews 24/11/14

Ron Carter & Art Farmer, Live At Sweet Basil (Arkadia Records)

This release, newly pressed in 180-gram premium virgin vinyl, captures a dream band of jazz legends jamming at the famed New York City club, which they did in order to tick a more-or-less mandatory checkbox in the band’s “We Played Here” list; everyone had played shows there from its mid-1970s opening onward. This 1990 performance finds the players at the top of their respective games: Ron Carter on bass, Art Farmer on trumpet and flumpet, Cedar Walton on piano, and Billy Higgins on drums. Each member wrote at least one tune for this album, which kicks off with one of Carter’s, “It’s About Time,” wherein Farmer immediately moves into trumpet-soloing mode while Carter noodles underneath most expressively. That’s just for starters; for another thing, a 10-minute rendering of “My Funny Valentine” finds the band taking their deliciously sweet time with the melodies. Walton and Higgins had a long coworking history, as evidenced by their flawless, seemingly preternatural canoodling, but the whole smash is deep-stewed for timelessness. A+ —Eric W. Saeger

Hattie Webb, Wild Medicine (self-released)

Here’s to the semi-obscure side musicians: This Kent, U.K.-bred singer and harpist, along with her sister, Charley, just finished a tour with Pink Floyd’s David Gilmour, the sort of elite-level gig that’s nothing new to them (in the past they’ve joined bands like Lumineers and Tom Petty and The Heartbreakers, and even performed for Queen Elizabeth II once). This solo album finds Hattie playing the role of a lilting goddess, opening with “Shakespeare’s Shores,” which, at least in a syncopatic sense, is a distant cousin to Guns N’ Roses’ “Sweet Child O’ Mine” (hey, man, I always do try to provide some point of reference, regardless of propriety). Despite the obvious ren-faire ambiance that comes with this territory, there’s nonetheless an Americana vibe wafting through these pieces; I swear I heard a dobro in there, but it certainly could have been my cat’s snoring. Either way, you get the gist — the freaking Queen rocked out to this stuff, guys — it’s intended for ruminating, sipping tea, and other putterings. A+ —Eric W. Saeger

PLAYLIST

A seriously abridged compendium of recent and future CD releases

• What’s up, guys, I hate to remind you, but I hope you’re not doing anything silly with your money these days, like buying cans of ramen noodle packs just to keep your weight up in these hilariously broke times, because guess what’s coming, that’s right, it’s the holidays! What does it all mean? It means you have to start seriously thinking about buying presents for people who won’t appreciate them, unless they actually want one of the albums that’s coming out in time for the holiday season, maybe for example one of the albums that are coming out this Friday, Nov. 15! Holy Toledo, look at all these new albums, coming for your “discretionary spending money” (ha ha, remember that crazy stuff?) like a flock of geese who want you to give ’em your stale old Pop-Tarts! Yes, sorry, folks, why not get it out of the way now and buy one of these albums before the inevitable $800 car repair bill comes up, just like it does every year when you least want it to happen, so let’s look at your choices, I am here to help you, my little elves! Oops, let me start by donning my Stetson hat, adjusting the spurs on my boots, and throwing a case of toxic-smelling American beer in the back of my Chevy pickup, as we start off the week with Reboot II, the new album from cowboy troubadours Brooks & Dunn! You may have heard of this country duo, given that they get literally billions of YouTube views and sell gorillions of albums, which could probably be chalked up to the fact that the band makes sure we music journalist bros can’t escape them, like, they’ve probably sent me 200 albums over the years. Not saying they like me personally; they never include an introductory letter or anything, they just expect me not to be stupid and to know who they are, which is good marketing I suppose, like, if The Beatles put out a new album, they’d just send it to me with no note saying, “Hello Eric, I hope that you are doing OK in these apocalyptic times” and simply expect me to write about it, in this multiple-award-winning newspaper column! Well, let me tell you, I won’t be treated like some nobody who’s never won an award. In fact, I’ll — oh never mind, let’s just get this over with, by listening to the new single, a re-recording of one of their previous hits, “Play Something Country!” The guest singer for this rerub is Lainey Wilson, who does her yodel-singing routine over this old ZZ Top-like tune, like, if ZZ Top heard this, they’d probably sue these guys for copyright infringement, not that I’m trying to cause any trouble!

• Former interesting person Gwen Stefani is nevertheless still groovy and “swell” in the opinion of all you crazy rock ’n’ roll fans out there, right? Well, no matter, she has a new album out this Friday, Bouquet, whose cover photo depicts her in a cowboy hat, like we were just talking about, in case you already forgot! She is married to Blake Shelton nowadays, so it’s no surprise she’s going in a country direction. The single, “Somebody Else’s,” is a Sugarland-tinged semi-rocker in which Stefani sounds like every other lukewarm diva out there, kind of just clocking in. You know.

• Alt-metal band Linkin Park has entered a new era after the passing of Chester Bennington. Their first LP since 2017, From Zero, streets this week and features the aggressive La Roux-like vocals of new co-lead singer Emily Armstrong! The single, “Over Each Other,” is loud, melodic and catchy, you may very well like it!

• And finally it’s hip-hop-soul legend Mary J. Blige, with her new album, Gratitude, which includes the single “Breathing,” guested by stoned-sounding spitter Fabolous! Its sweeping background vocals make its vanilla trap beat palatable. —Eric W. Saeger

Cablegram

My child texted me from college: “Thank you.” I really couldn’t remember what I had done to be thanked, so I replied, “I live to serve.”

A moment later, the response came: “No you don’t, but I admire your dedication.”

I texted back: “It WAS a good dedication, wasn’t it?”

“What are you even talking about?”

“You know — the big speech the mayor gave before the ribbon-cutting? I really appreciated that he wore his ceremonial sash and sword.”

“That never happened.”

“And the brass band playing ‘Livin’ La Vida Loca.’ I’ll remember the tuba solo as long as I live.”

“I’m not listening anymore.”

“I mean, I could have lived without having the mayor’s wife smash that bottle of champagne against me, but you can’t have everything….”

“I have to get to class.”

“And then, the Poet Laureate. At least she had the decency to read a filthy limerick.”

“There are days when I really hope that I was adopted.”

“I love you and I’m proud of you.”

…

…

“I love you, too.”

The Cablegram

This tall drink is extremely old, as mixed drinks go. It dates back to at least 1908, a time before texts, when fathers had to torture their children in person or via telegram.

2 ounces whiskey – I used Natterjack Irish whiskey for this, and I have no regrets

¾ ounces fresh squeezed lemon juice

½ ounces simple syrup

3 to 4 ounces ginger beer

Add whiskey, lemon juice, and simple syrup over ice in a cocktail shaker. Shake enthusiastically.

Strain over fresh ice in a highball glass, and top with ginger beer.

Stir and drink with a straw, while listening to “Ain’t No Sunshine When She’s Gone” by Bill Withers. Keep score with hashmarks on a pad of paper to see how many of these cocktails it takes before you sing along, loudly and unapologetically. My prediction is two.

Then switch to “Long, Long Time” by Linda Ronstadt. You’ll last half of another before singing with her, then start sending annoying texts to your child at college.

Whiskey and ginger ale are a classic combination. Really good whiskey and ginger beer, even more so. Lemon is a social butterfly who gets along with almost everyone. As a tall drink, the whiskey plays around with your expectations here. There is no burning, attention-grabbing — only a gentle encouragement to have another sip.

Featured Photo: The Cablegram. Photo by John Fladd.

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