Day 250/365 - Modern Day Drive-In

The Business Improvement District in my neighborhood stages an outdoor film festival every summer. They erect a movie screen on a grassy sward in the courtyard of an office complex and show movies for free every Monday after dark. Last summer they showed all the James Bond movies. The theme for this summer is superhero movies and tonight's show was Superman II, so I decided it was high time I put in my first appearance at this year's festival.

Superman II is my favorite of the Superman movies despite all the logic holes, such as:

-- Why, when the villains drop the flags after attacking the lunar expedition, do they immediately fall to the surface of the moon rather than drifing down slowly?
-- When Superman uses his laser vision while in his Clark Kent disguise, why doesn't he burn holes through his glasses?
-- After being stripped of his superpowers, how do Clark and Lois make it back to civilization from his remote Fortress of Solitude?
-- How does Superman get his powers back after his mom tells him the process of removing them is permanent?
-- And just how does his amnesia-inducing superkiss manage to neatly erase Lois' memory of his secret identity?

In the final analysis though, who really cares? It's still a fun movie and seeing it makes me feel like a kid again, just like sitting outside to watch a movie makes me think back to when we'd go to the drive-in theater when I was little. That's worth overlooking a few gaffes.

(Taken with my Nikon D90)

Day 231/365 - Legacy of Light

Tonight I went to see the new play "Legacy of Light" at Arena Stage's substitute venue in Crystal City. This piece was specially commissioned by Arena from local playwright Karen Zacarias and is having its debut a half-block from my apartment. It's always exciting to see a brand new work, although about half the time the play turns out to be disappointing. Most new plays are more along the lines of rough drafts when they premiere and still need a fair amount of shaping and polishing.

That's not the case with "Legacy of Light." It's an absolutely brilliant, fully-realized play. The story takes place between and betwixt two sets of characters in two different centuries, Enlightenment Era France and modern New Jersey. In each setting there are four primary characters, two men and two women. The Enlightenment cast consists of historical figures such as Voltaire and pioneering female physicist Emilie du Chatelet, her daughter, and her young and impetuous lover, while the modern cast is composed of a female astrophysicist, her schoolteacher husband, and a struggling young woman and her brother.

The characters move around each other in various orbits and while initially they are confined to their own eras, as the play progresses the Enlightenment characters also appear in the modern setting. Whether these time travelers are ghosts, hallucinations, or something else is never fully addressed and surprisingly it doesn't really seem to matter. Their simultaneous existence in both the 18th and 21st centuries further reinforces two principles of physics discussed in the play: first, that energy is not destroyed but persists (an idea first put forth by Emilie herself) and second, that time is not constant but varies as energy increases (an idea which Einstein derived from Emilie's work).

The plot of the play focuses chiefly on women scientists who are simultaneously on the verge of important discoveries and the verge of motherhood, but it is not about just that any more than the dictionary is just about words beginning with the letter A. The writing is razor sharp and the play is dazzlingly smart, consciousness expanding, and utterly original. If you have a brain and a heart you'll enjoy it a great deal. If you're deficient on either count you probably won't care for it much, and more's the pity for you.

The set design is facilitative and unobtrusive and the costumes are, in the words of one of the characters, amazingly amazing. Many of the actors play two roles, one in each of the play's eras, and the peformances range from excellent to merely adequate. Interestingly, some of the dual performers are excellent in one part and merely adequate in the other. Standouts among the cast include the actresses playing Emilie and Olivia, the astrophysicist. The performers portraying the modern sister-brother pair are also quite good.

As if you couldn't tell by now, I enjoyed this play immensely and it's something I can't recommend highly enough. Beg, borrow, buy, or steal a ticket but by all means go. GO!

(Taken with my Nikon D90)

Day 83/365 - Next to Normal

Next to Normal is a musical with a bit of a convoluted development history. It opened in New York off-Broadway to reviews that were generally positive, albeit with some reservations. It was because of those reservations that the play migrated south for the winter to be retooled and restaged. It's currently being produced by Arena Stage at the Crystal City performance space that was pressed into service to tide them over until renovations are completed on their home theatre on DC's Southwest Waterfront.

I went to see it tonight even though I had misgivings about going. The play is about a dysfunctional family dealing with mental illness, so unlike most fare offered by theatres around the holidays, it's not exactly cheery and uplifting. Generally I'm opposed to paying to be depressed for two hours, but the reviews of the reworked show have been uniformly glowing and Ticketplace had half-price seats available and the theatre is literally a block from my apartment. So, I went.

As far as musicals about mental illness go, I think it's about as good as you're going to get. I don't know whether I could recommend it or not, but it definitely wasn't a waste of time or money. Despite the fact that I was predisposed to not liking it, I found the story very poignant, gripping, and compelling. The songs were serviceable but, with the exception of one that's refrain was 'I Miss the Mountains,' largely unremarkable (judging by the program none of the songs appear to have actual titles, which should be a tip-off as to how memorable they are). The performers were strong actors, but middling singers with thin, easily frayed voices. The orchestra was quite good. Arena's Crystal City performance space isn't terrible, but given that the seating area is pitched at a very shallow angle and the stage is rather low, you spend a good portion of the play watching the back of the person's head in front of you rather than the actors.

So, much like the critics who reviewed the play's first run in New York (who, unlike me, actually know what the hell they're talking about), I'd have to say that Next to Normal is good, with some reservations.

(Taken with my Nikon Coolpix S200)