Posts Tagged ‘Chicago’
April 23, 2014 | by John Paul Rollert
Reclaiming the Bard for the common man.
There was a time when attending a motion picture was not an occasion but an event. Most of the great movie houses that might remind us—the Roxy in Times Square, Fox Theater in San Francisco, the Loews Palace in DC—are long gone, but the Music Box remains. A local landmark on Chicago’s North Side, the theater still has its Austrian curtains, house organ, and even a hoary legend: the ghost of Whitey, the house manager who ran the theater from opening night in 1929 until Thanksgiving eve, 1977, when he lay down for a cat nap and passed away in the lobby.
The Music Box is an 800-seat theater, more than three times the size of Donmar Warehouse, another theater nearly four thousand miles away in London. What brought the two houses together was Shakespeare’s Coriolanus. A recent performance at the Donmar was beamed live, and later rerun, to cinemas all over the world as part of Britain’s National Theatre Live series. It was the first time the Music Box telecasted a production that completely sold out.
In Shakespeare’s canon, Coriolanus sits somewhere between rarely remembered plays like Pericles and Two Gentlemen of Verona and stock selections like King Lear and Romeo and Juliet. A story of pride and political intrigue plucked from Plutarch’s Lives, the play is a little like an olive: a bitter fruit from Rome and something of an acquired taste. Its title character is one of Shakespeare’s great creations—for an accomplished actor, a role almost as inevitable as Iago or Macbeth. T.S. Eliot called the play “Shakespeare’s most assured artistic success;” he admired it so much he wrote two “Coriolan” poems with an eye toward an unfinished tetralogy.
It’s unlikely enough that an art-house movie theater would sell so many tickets to a telecast of Coriolanus—but I should add that this was a morning matinee in Chicago on a frigid Sunday in February. When I arrived, then, I wasn’t exactly worried about finding a place to sit—but I was bewildered to discover a packed house where I expected an acre of open seats. Read More »
March 12, 2014 | by David Mamet
The third of five vignettes.
I played football against him, and I saw him not only at the games, but at the various league events. And I saw him at my cousin’s school banquets, open houses, graduations. He was the captain of their football team, the president of their student council and their student class; he was the recipient of various league honors whose names escape me, but, I believe, had to do with Most Sportsmanlike, and so on. I saw him suffer through this adulation as a young black man in a white community.
His high school coach cried when praising him at the league’s year-end banquet, and I am sure, though I do not remember, that many of the parents’ generation were moved to mistiness at his valedictory speech. It may have been a good speech, or it may not have, but the half remembered or imagined emotion on the audience’s part must have been mixed relief and self-congratulation; relief at the first hint, in their world, of the end of racism, and self-congratulation at their (imaginary) part in the correction. How could it be otherwise? It could not. Who was harmed? No one except Bill MacDonald, who was the victim of the good-willed farce. Read More »
February 26, 2014 | by Sharon Mesmer
In the summer of 2011, I spent every afternoon Google-mapping the Chicago neighborhood where I grew up. I pulled the shades down, turned the air conditioner up, and typed the intersections that define Back of the Yards—named for its proximity to the Union Stockyards—into the search box. I was in the early stage of a nervous breakdown, obsessively attempting to revivify the past, the only place where, I believed, continuity existed. Fifty-First and Loomis was my embarkation point: the intersection where our family doctor’s office was located. An unfilled prescription, from 1965, that I’d found in my deceased mother’s jewelry box provided the office’s address. My mother and I had had a contentious relationship, but that summer I fantasized about opening her grave and throwing her skeletal arms around me—“I thought even the bones would do,” to quote Plath. I used the objects from the jewelry box (grocery lists, a Revlon “Moondrops” powder compact, old Sears charge cards, blue crystal rosaries, a Coty lipstick) to reconstruct her existence, and finding that prescription was like finding the key to a long-locked door.
Going to the doctor had been a kind of family outing—every three months, to get my grandmother’s diabetes checked—and I wasn’t sure if I had dreamed those odd excursions to that tiny office. My mother would go downstairs to get my grandmother dressed: clean hairnet; heavy girdle and thick support pantyhose; rhinestone brooch; nice dress instead of a stained shift; black orthopedic shoes instead of house slippers; and dentures, from the glass on the bathroom sink. Then she’d run upstairs to get my sister and me ready, dabbing Chantilly perfume on our wrists. Read More »
February 13, 2014 | by Harry Backlund
On Art Spiegelman’s new stage show, Wordless!
In 1970, when Art Spiegelman was twenty-two, he went to a gallery opening in Binghamton, New York, for an exhibition of woodcuts by Lynd Ward. Spiegelman wanted to tell Ward how much he admired the wordless novels the artist had made in the 1930s, but also, and no less importantly, he wanted to ask him what his favorite comic books were. The way Spiegelman tells it, the sixty-five-year-old Ward was gracious but confused: he didn’t know much about comics; his Methodist minister father had forbidden them. Ward’s woodcut novels, which blended Depression-era social realism with a Faustian sense of good and evil, owed more to the biblical engravings of Gustave Doré than they did to the Sunday funnies. Spiegelman didn’t get the comics talk he came for, but he spent some time in the gallery, studying those prints. Two years later, he composed a four-page comic about his guilt over his mother’s suicide. It was just a few panels, but their startling intimacy set the pattern for much of his later work, including the Pulitzer Prize–winning Maus, in which they were later included. Spiegelman titled that short comic “Prisoner on the Hell Planet,” and in its stark style and pitch-black outlook, you can see the influence of Ward’s woodcuts.
Spiegelman has given Ward’s novels a central role in Wordless!, the new stage show he created with the composer Phillip Johnston, and which the two men presented twice last Saturday to sold-out crowds at the University of Chicago’s Logan Center for the Arts. Wordless! weaves together Spiegelman’s reflections on the history of wordless novels with slide show projections of the genre’s classic works, which Johnston and his sextet accompany with rollicking, klezmer-inflected, vaudeville jazz. The back-and-forth between lecture and performance neatly captured Spiegelman’s ambivalence about his role on stage. On the one hand, he was a comic artist on a mission, there to add a new branch to the family tree of the graphic novel, one that would demonstrate the genre’s deep roots and help solidify its place in the canon of “real literature.” Mostly though, Spiegelman was having fun. He was there to give the crowd what he had sought from Ward: a conversation about some of his favorite comics and a taste of the overwhelming pleasure they give him. “Don’t worry if you get a little lost while you’re watching,” he reassured his listeners between puffs on his e-cigarette. “I’m hoping you will careen between my words and these picture stories until you’re left as breathlessly unbalanced as I am.” Read More »
November 14, 2013 | by M.J. Moore
Back in 1985, on the morning of November 23 (a cold, wet, gray autumn Saturday), I woke up happy. At that time in my life, nothing could have been more unusual.
But I knew that before that day’s sun had set, I was going to meet James Baldwin, whose body of work (the novels and short stories, his plays and all those exquisite essays) had inspired my own burning desire to write.
Baldwin was on an interview-and-autograph tour which would be his last, crisscrossing America after the simultaneous publication of The Evidence of Things Not Seen (a book-length essay on the Atlanta child murders that were then still common knowledge) and The Price of the Ticket. On that Saturday afternoon, Mr. B. (as I privately referred to him) was scheduled to appear at a bookshop on Lincoln Avenue in Chicago. For the preceding month, each customer who made a purchase at Guild Books had received a Xeroxed postcard-size printout of an invitation to the event. Baldwin’s appearance had also been touted in a news story printed that week in the Tribune.
I thought of how strange it must be—how truly bizarre—for a great writer who has spent thousands of hours alone in a room, grasping for words, struggling to sculpt just the right image on paper, to be confronted suddenly with hundreds of smiling, book-buying admirers; dozens of them invariably requesting special inscriptions for someone special; others craving a momentary brush with celebrity; still others bearing poems, plays, or stories they’re praying to share, plus the others who want to say a few words. I belonged in the latter category. Or I told myself I did. And what I wanted to tell Mr. B., more than anything else, was something like this: Thank you—for your books, for all of your work, and for being such a formidable mentor. I knew he’d heard some variation of that a thousand times before, but I was determined to say it.
Baldwin’s appearance was set for three P.M., and when I arrived at Guild Books just after two o’clock, a crowd of some three hundred was already crammed inside. A line of people stretched out the door and snaked around the corner and down the block. It may have been the most successfully integrated aggregation ever to peacefully assemble in Chicago (food festivals and ChicagoFest notwithstanding). Blacks and whites, Hispanics and Asians, Sikhs with turbans and Jews with yarmulkes were all in line, drawn together by the power of the words.
Passersby inquired about the reason for such a gathering. When told that hundreds were ignoring the autumn chill in order to meet James Baldwin, some of them smiled. Others drew a blank: they wanted to know why he was famous. Read More »
September 19, 2013 | by Clare Fentress