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Critics’ Picks MUSEUMS Dream Weaver: Thai artist and poet Pinaree Sanpitak’s new installation and textile works, “Hanging by a Thread.” She will also have a solo show at the Chrysler Museum this October. Through June 1, Tyler Rollins Fine Art Ltd., 529 W. 20th St., 10W, 212-2299100, [Valerie Gladstone] Edited by Armond White New York’s Review of Culture • GALLERIES Heliontrope: A luminous exhibition of a decade’s work by one of the last great French modernists, with nearly 30 paintings and drawings by Jean Hélion (19041987), revealing his evolution from pure abstraction to figuration. Through June 30, Schroeder Romero & Shredder, 531 W. 26th St., 212-630-0722, [John Goodrich] Freudian Trip: “Lucian Freud Drawings” includes over 80 works spanning from 1940 to the present day in charcoal, pastel, conté, pen and ink, crayon, etching and watercolor. Through June 9, Acquavella Galleries, 18 E. 79th St., 212-734-6300, acquavellagalleries. com. [VG] CLASSICAL Adventures with Lang Lang: You never know what Lang Lang, the sensational young pianist, will do: lay an egg or knock you out? Always worth attending. May 29, Carnegie Hall, 212-247-7800, carnegiehall. org; 8 p.m. [Jay Nordlinger] Kara Hayward on the lookout as Wes Anderson’s Suzy. Binocular Vision Wes Anderson looks at life twice in Moonrise Kingdom By Armond White W ill Wes Anderson ever return to the blunt sexuality of the Hotel Chevalier overture to The Darjeeling Limited? The mannered style of his new film, Moonrise Kingdom, suggests, perhaps, an adieu to innocence. It’s a remarkable fantasy creation at the same time that it knowingly presents a sophisticated deconstruction of prelapsarian innocence. Moonrise Kingdom is titled for the idyll shared by two New England preteens in love, Suzy (Kara Hayward) and Sam (Jared Gilman). It’s the name they give an unchristened cove previously known by its map coordinates, or the technical “Mile 3.25 Tidal Inlet.” Suzy and Sam are both 12 years old, but Anderson’s personalized vision makes their identities emerge affectionately; Suzy’s detached from her parents and three brothers, Sam’s an orphan isolated from the delinquents in his foster home and his scout troop. They are typical Anderson protagonists—which means nothing about them is typical. Both Suzy and Sam’s intelligence arises from their self-conscious loneliness as part of their survival tactics; she reads books about girls in danger, he becomes an exemplary boy scout. Their shared paradise might not last into adulthood, but instead of Stand By Me’s sappy view of adolescence, Anderson offers fine insight into their specific emotional qualities. Leaning toward fantasy, Anderson studies the depths of personality. Suzy and Sam are not sexualized, like the Peter and Wendy in P.J. Hogan’s extraordinary 2003 Peter Pan. This is also a runaway’s story, like François Ozon’s Criminal Lovers, a Hansel and Gretel tale mixing Night of the Hunter and They Lived By Night, but Anderson favors a chaste view of sexual precocity. This delicate, eccentric sensibility of Anderson’s films (The Darjeeling Limited, The Royal Tenenbaums) confuses some people, but his meticulous visualization of feeling and adolescent experience is what distinguishes his cinema. Childhood isn’t coddled in an excessive or nostalgic way, it provides a key to Anderson’s sense of basic human nature. The adults in Moonrise Kingdom— Suzy’s parents (Bill Murray, Frances McDormand), Sam’s Scout master, Ward (Edward Norton), and the local police captain, Sharp (Bruce Willis)—display an older but similar weariness and dissatisfaction. Despite the farcical tone, no one is infantilized; all are seen compassionately. Norton’s weak chin and slight lisp personify the dweeb that is Anderson’s specialty. He’s not brilliant like the nerds Jason Schwartzman plays for Anderson, rather, he’s one of Moonrise Kingdom’s mundane, unjudged innocents. Starting with Suzy’s brothers listening to Benjamin Britten’s 1946 recording The Young Person‘s Guide to the Orchestra, Op. 34 (Themes A-F), Anderson diagrams the Continued on next page Britten and Brilliant: Two days after Opera in Cinema presents Benjamin Britten’s “Peter Grimes” at the Big Cinemas Manhattan Theater, Opera Moderne mounts Britten’s “Turn of the Screw,” based on Henry James’s supernatural masterpiece. SCARY! May 26, Symphony Space, 2537 Broadway, 212-864-5400,; , 8 p.m., $55 advance, $45 for members & children, $60 day of show. [Judy Gelman Myers] JAZZ Now’s the Time: Brilliant pianist, composer and band leader Jonathan Batiste, co-director of the National Jazz Museum in Harlem (NJMH), present “Jazz is: NOW.” May 23, NJMH, 104 E. 126th St., 212-348-8300,; 7 p.m., free. [VG] DANCE Names and Misnomers: A survey of international dance styles graces the Museum of Art and Design theater. Performers include Souleymane Badolo, Bridgman/Packer Dance, Claire Porter and Misnomer Dance Theater. June 1, The Theater at Museum of Art and Design, 2 Columbus Circle, 212-2997777,; 7:30 p.m., $20, $12 for members. [Phyllis Workman] Women’s Whirl: Gotham Dance Festival celebrates the work of American women, among them Jane Comfort & Company, Camille A. Brown & Dancers, Kate Weare Company, Pam Tanowitz Dance and Monica Bill Barnes & Company, in this one-night celebration program, “Working Women.” June 5, The Joyce Theater, 175 8th Ave., 212-928-6517,; 7:30 p.m., $10+. [VG]

cityArts May 24, 2012

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