Waterstone Gallery

Mixed art signals amid the turmoil

ArtsWatch Weekly: Tumbling toward Inauguration; Carrie Mae Weems' billboard campaign; opera in full voice; new faces; Zoomy theater

AS WE TUMBLE TOWARD INAUGURATION DAY, fear and uncertainty fill the air like a chemical cloud. Will another attack take place? If so, will it be more damaging than the first, from which five people died – six, if you count the police officer who took his own life after dealing with the mob in the Capitol Building? What of President Trump, now impeached for a second time, this time charged with “incitement of insurrection“? Will he stand down, or once again ramp things up? What will happen in the capitals of the fifty states, whose centers of government right-wing radicals have vowed to occupy? How and when will the impeachment trial play out in the Senate? Will it aid or harm the process of actually governing during perilous times? What of the coronavirus vaccines? When will they become available to the mass of American citizens? Who will or won’t agree to be inoculated, let alone, at a time when even basic public health has been turned into a radically politicized subject, simply wear a mask?

Above all: How did we reach such a state, and how do we extract ourselves from it? 

Such questions both override our cultural lives and define them. The arts are a reflection of their culture and their times, sometimes underlining the flow of world events and sometimes reacting against them. They can no more exist in a vacuum than a demagogue can exist without a ready and willing audience. 
 

From the Five Oaks thread: “A far-right extremist wearing animal furs and holding a plastic shield and a wooden walking stick sits beneath an oil painting of Charles Sumner by portrait artist Walter Ingalls. Charles Sumner was a U.S. senator from Massachusetts who was an abolitionist and supporter of civil rights for African Americans in the Civil War and Reconstruction eras. He was once severely injured and nearly killed when Representative Preston Brooks beat him with a walking cane on the Senate floor after Sumner made an anti-slavery speech. A small object label is located under the painting.”

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The Week: Seatbelts & Bumpy Nights

The mirror crack'd: Dance, art, and theater ripped from the anxieties and tensions of an unruly world at large

WHAT A WEEK IT’S BEEN, RIGHT? Phone calls and whistleblowers and suppressions and impeachment hearings. A teen-aged climate activist who speaks sharply at the United Nations and prompts both cheers and jeers from the political-media talking heads. A fair amount of fiddling, if we can make a historical comparison, as Rome burns. The Ukrainian Affair looks dark and complex, which by coincidence is what Bobby Bermea has to say about Theatre Vertigo’s season-opening show, the world premiere of Dominic Finocchiaro’s play complex – small “c”, infinite anxieties. Bermea, in his pre-opening interview with Finocchiaro, calls Vertigo “the David Lynch of Portland theater,” and if it feels like we’re living in a David Lynch world, well, that’s life in the 21st century fast lane.

complex, hanging out in the no murder zone. Theatre Vertigo photo

ALSO OPENING THIS WEEKEND, at Portland Playhouse, is Sarah DeLappe’s The Wolves, a play about “the vim and vigor of a pack of adolescent warriors” who do their battle on the soccer pitch, and if that doesn’t remind you just a bit of the young climate activist Greta Thunberg playing on a much bigger field, well, I ask you. Meanwhile, Portland Center Stage is moving into preview performances at The Armory of what looks to be a hard-boiled, stripped-down, lean and mean Macbeth, with all of its raw palace intrigue, which gets me thinking also about Shakespeare’s Henry IV Part II and “uneasy lies the head that wears a crown,” and … well, things do circle around, don’t they?

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