The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
March 28, 2014
PAYNE’S NURSERIES
Payne’s South 715 St. Michael’s 988-9626 Payne’s North 304 Camino Alire 988-8011 Spring Hours
SPRING WORKSHOPS Informative, fun and interesting talks absolutely FREE! All participants receive a 20% discount card to use the day of the workshop. All the workshops will be at our SOUTH store on St. Michael’s Drive and start at 11:00 AM.
Mon - Sat 9 - 5:30 Sun 10 - 4
March 29 TJ Jones: Organic Pest/Critter Control
Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 - 4
April 5 Sam McCarthy: Compost and Organic Soil Improvement
Lynn Payne
Prepare to be dazzled by Luma, a visual circus of light, color, and motion.
Sam McCarthy
April 12 TJ Jones: Growing Vegetables in Containers April 19 Happy Easter! No Workshop Easter Weekend. Closed Easter Sunday
TJ Jones
Payne’s Discount Coupon 50% OFF ALL SIZES OF BARBERRY 30% OFF PACKAGED ONION SETS www.paynes.com
Lensic Presents
Good at either St. Michael’s Dr. or Camino Alire location while supplies last. Coupon must be presented at time of purchase. Limit one coupon per customer, please. Cannot be combined with any other coupon or offer. Good through 4/3/14.
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PASATIEMPO I March 28 - April 3, 2014
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Santa Fe Concert Association, 324 Paseo de Peralta, Santa Fe, NM 87501 (505) 984-8759
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PASATIEMPO I March 28 - April 3, 2014
TICKETS:
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THE SANTA FE NEW MEXICAN
March 28, 2014
www.pasatiempomagazine.com
ON THE COVER 36 The Big Uneasy Director Elia Kazan broke away from his typical message pictures to make Panic in the Streets, released in 1950. This fast-paced melodrama about a trio of lowlevel thugs (headed by Jack Palance) who may be carriers of a plague in New Orleans, seemed to feed into the fears of Cold War audiences. The film plays in its original English version as part of the Santa Fe Institute and the Center for Contemporary Arts’ Science on Screen series on Monday, March 31, at CCA. The cover is a Spanish-language poster for the movie with Palance in profile.
MOVING IMAGES
BOOKS
38 Elaine Stritch: Shoot Me 40 Particle Fever 42 Pasa Pics
12 In Other Words Brown Dog 14 Wonder Women Pretty in Ink
MUSIC AND PERFORMANCE 18 20 22 24 27 28 30
CALENDAR
Terrell’s Tune-Up The Black Lips Playing the field Pianist Alan Pasqua Pasa Tempos CD reviews Talkin’ Balkan Rumelia Onstage Bassist Earl Sauls Guru of Chai Jacob Rajan Pasa Reviews Aspen Santa Fe Ballet
49 Pasa Week
AND
8 Mixed Media 11 Star Codes 46 Restaurant Review: Bambini’s
ART
32 Lost Horizons Karina Hean
Traverse V by Karina Hean, 2013
ADVERTISING: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com ■
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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
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STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com
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CONTRIBUTORS Loren Bienvenu, Taura Costidis, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela
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PRODUCTION Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
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Robin Martin Owner
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Ginny Sohn Publisher
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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
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Ray Rivera Editor
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S AV O R T H E S O U T H W E S T
MIXED MEDIA
Savor the rich, earthy flavors of creative American cuisine infused with regional ingredients at the Anasazi Restaurant. Three-Course Prix Fixe Lunch Monday-Saturday · $20 Three-Course Prix Fixe Dinner Sunday-Thursday · $40 For reservations, call 505-988-3236 Menu subject to change
A NA SAZ I RESTAURANT
Rosewood Inn of the Anasazi 113 Washington Avenue Santa Fe, NM 87501 505.988.3030 www.rosewoodhotels.com
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Naomi Tatum“Off The Grid”– A One Woman Show Friday, March 28 through Sunday, March 30 Fine Art Framers Pop Up Gallery Showroom 1415 W. Alameda • Santa Fe Opening Reception Friday, March 28 from 6-8 pm Gallery Hours: Saturday and Sunday • 10 am to 5 pm. Naomi Tatum, known for her Abstract Expressionist paintings and collages, will be exhibiting a series of new works in a show titled, “Off The Grid”, featuring work inspired by wire mesh construction. Tatum’s skilled use of color, mass, form and line create a playful vibrant interaction and surface tension on her sculpted canvas pieces. 1415 W. Alameda, Santa Fe • 505-982-4397
Babies are on the way... Support their moms by volunteering with us 983-5984
www.manymothers.org 8
PASATIEMPO I March 28 -April 3, 2014
Sworded history: the Iron Throne
Ahead of the game Some lucky fans have an opportunity to see the season four premiere of HBO’s hit series Game of Thrones at the Jean Cocteau Cinema a full week before it airs on HBO. The fourth season is hotly anticipated after last season’s harrowing “red wedding” climax left viewers reeling and retching. Certain characters will surely be missed in the upcoming season, but fan favorites such as Tyrion Lannister, Daenerys Targaryen, and Jon Snow, as well as characters we love to hate such as the incestuous duo of Cersei and Jaime Lannister — all of whom made the April cover of Vanity Fair — will be back. But, in the grim world of Game of Thrones, where major characters are killed off regularly, who knows for how long? Last season’s closer, as usual, left the lives of several of our scheming, warring, desperate friends hanging in the balance. Game of Thrones is adapted from author and Jean Cocteau Cinema owner George R.R. Martin’s popular A Song of Ice and Fire series of novels, so who better to introduce the season four premiere? On March 20 Martin gifted a fan with a full-size replica of the show’s Iron Throne during a raffle at a screening in the Barclays Center in Brooklyn. There is no word of a repeat performance in Santa Fe, but cinema goers should be prepared for anything. Doors open at 1 p.m. on Saturday, March 29. The screening starts at 1:30 p.m. following opening remarks by Martin. A Spanish-language screening of the season four premiere (no subtitles) begins at 10:30 a.m., and seating for the morning show begins at 10 a.m. There is no charge to attend the screenings, but seating is limited and on a first come, first served basis, with no line outside the theater for any screening allowed before 10 a.m. Cellphones are forbidden for these screenings. The theater will serve complimentary popcorn and beverages. A replica of the Iron Throne will be available for photo-taking at Sanbusco Market Center (500 Market Ave.) from 9:30 a.m. to 5 p.m. Game of Thrones is rated TV-MA for language, nudity, and violence, so bringing the kids is not recommended. The HBO premiere will take place on Sunday, April 6. The cinema is at 418 Montezuma Ave. Call 505-466-5528 for more information. It may officially be spring, but winter is still coming in the world of Game of Thrones. — Michael Abatemarco
Nano, nano The Art of Systems Biology and Nanoscience returns for its fifth straight year, once again hosted by 333 Montezuma Arts (333 Montezuma Ave., 505-988-9564). Art and science merge in this two-day series of events sponsored by the New Mexico Spatiotemporal Modeling Center and the University of New Mexico’s Cancer Nanoscience and Microsystems Training Center. The events include an art exhibit that opens at 4 p.m. on Friday, March 28. It features scientific illustrations and watercolors by David S. Goodsell of San Diego’s Scripps Research Institute, a display of silk scarves by cell biologist Eve Reaven, and microscopy images and videos created by scientists at UNM and Los Alamos National Laboratory. A 6 p.m. public lecture by Sandra Schmid of the University of Texas Southwest Medical Center is titled “Coats, Collars, and Accessories: The Elegance of the Cell’s Endocytic Machinery.” A gallery viewing of the art follows at 7 p.m. Events continue at 10 a.m. Saturday, March 29, with National Nanodays, a hands-on program for kids that includes an atomic-force microscope demonstration by Stephen Jett. Goodsell discusses his art in a gallery talk at 3:30 p.m. A solo flute performance of Edgard Varèse’s Density 21.5 by flutist Tina Termini starts at 5:15 p.m. Her performance is accompanied by high-resolution microscopy images. A lecture by Diane Lidke of UNM’s department of pathology takes place at 5:30 p.m. Lidke’s lecture, “The Protein Dance: Nanoscale Views of Molecular Dynamics on Cell Membranes,” is followed by more art viewing. The events are free to the public. Registration is required for the private receptions. Participants can register online at The Art of Systems Biology and Nanoscience website (http:// stmc.health.unm.edu/art/2014.html), where a complete schedule is listed. — M.A.
BITS and pIeceS
03 / 28 - 04 / 19 / 2014
RECEPTION 03 / 28 / 2014
5 - 7 PM
Featuring works by karina Hean / CatHerine gangloFF / MiCHel Déjean
zane bennett contemporary art A portion of a red blood cell; illustration © David S. Goodsell, 2005
435 S GuadaluPE ST, SaNTa FE, NM 87501 T: 505-982-8111 F: 505-982-8160 zaNEbENNETTGallERy.COM
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Jamie Hamilton
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PASATIEMPO I March 28 - April 3, 2014
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Pandora’s • Pranzo Italian Grill/Alto Raaga Restaurant • Ristra Restaurant Rock Paper Scissor SalonSpa • Santa Fe Pens Teca Tu-A Pawsworthy Pet Emporium
STAR CODES
Heather Roan Robbins
Lunch Specials Monday
It’s crazy out there. The astrological energy shifts — lovely one minute and crazy the next — as if we’re in a food processor on pulse. Chapters end and begin. If we stay grounded, do good work, and take care of ourselves, we avoid anxious restlessness and make productive changes. As the weekend begins, the mood is emotional, intuitive, and curious as the moon conjuncts dreamy Neptune in sensitive, intuitive Pisces. But we can drift off base — assumptions can kick us and lead us astray. It is important to disabuse ourselves of misconceptions and get clear about what we know and don’t know before the new moon in Aries instigates action and a new yearly cycle on Saturday night. Impulse control will be way down; the stars provide energy, and we have to provide wisdom. Aries breeds rebellion. Unless we’re confronted with a clear case of power abuse that requires a wise Aries response, let’s work toward what we want, not against what they want. Be very spacious with one another this weekend. Romance and friendship can flow easily if we get to know one another anew as heartwarming Venus trines active Mars. We have to let go of preconceptions, even with people we’ve known a long time. Plant seeds literally and figuratively as April begins under a fertile waxing Taurus moon. Friday, March 28: Notice overnight dreams and news headlines; information is revealed from the depths as Mercury sextiles Pluto. Give, but in a healthy non-codependent way. Feel the breath of the spirit singing softly, and sing back as the sensitive Pisces moon conjuncts Mercury. Honor others’ feelings and don’t ask too much of them. Saturday, March 29: We’re full of contradictions: hot and cold, generous and self-centered. Romantic sparks build expectations; enjoy the sparks, release expectations, and practice good relationship skills. If work needs to come first, stop whining and do it. Look before leaping as the moon enters feisty Aries. Sunday, March 30: The brash, reactive Aries new moon at 12:44 p.m. gets the party started. People hate to be told what to do; reverse psychology helps. Tonight take a deep breath, and play it for the long haul. Monday, March 31: The mood is contrary and difficult as the moon opposes Mars, but it helps if we can laugh about it. We may need to put out fires, light a fire under someone, or find new motivation for ourselves. Vulnerability reminds us of our interdependence. Tuesday, April 1: Life can play April Fool’s tricks, but we can laugh at them as the sun conjuncts Uranus and squares Jupiter and Pluto over the next few days. Be ready to respond to unusual events. It may be just the time to make a long-considered leap, but be wary of a sudden impulse to walk out — see what minor changes can be made first. The ground is very fertile under a sensual, stubborn Taurus moon — let’s be careful what we plant. Wednesday, April 2: Most of us can feel a strong pulse of energy — a longing to reach for more. Our thinking may be logical and wise, but underneath primeval energy stirs — what we signal with our words and with our actions may be very different. Thursday, April 3: Check for strategic moves made overnight. New options open up. Take them all seriously as the moon enters communicative Gemini. Give people a chance to talk it out. This afternoon, take care of health issues; get R & R and repair connections. ◀ www.roanrobbins.com
Make Reservations Now For:
Easter Brunch Buffet April 20th
Grilled Cheese Sandwich & Bowl of Tomato Soup $7
Tuesday
Green Chile Chicken Enchiladas with the Fixings $7
Wednesday
Agave Ale Battered Fish-n-Chips, Hand-Cut Fries, Coleslaw
$9.95, 2nd order 1/2 price!
Thursday
Authentic Green Chile Stew with Pork, Tortilla $7
Friday
Green Chile Cheeseburger with Hand-Cut Fries $6
Daily Happy Hour 4-7pm
Small Batch Brew Dinner Featuring Chefster’s Ale and Santa Fe Brewing Company April 24th
Purchase tix with QR code, at Santa Fe Brewing Co. or at AGAVE Lounge.
For more information 505.995.4530 Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com
L a
C a n t i n a
P r e s e n t s
The briTish
invasion La Cantina’s singing waitstaFF honors the 50th anniversarY oF the BeatLes Coming to ameriCa!
Join Us For The CelebraTion! Friday, april 4th & saTUrday, april 5th show Times at 5:30 & 8:00pm Featuring Favorites suCh as "Let it Be", "BLaCkBird", "YesterdaY", "heLP!" and muCh more.
For reservations please Call 505-988-9232
Open Daily 11:00am until close 125 East Palace, Santa Fe, NM 87501 (505) 988-9232 | F i N D u S O N Fa c E b O O k
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IN OTHER WORDS book reviews Brown Dog by Jim Harrison, Grove Press, 525 pages We first met Jim Harrison’s Brown Dog in the author’s 1990 novella collection The Woman Lit by Fireflies. B.D., as he is most often called, is a denizen of the woods, waters, and watering holes of Michigan’s Upper Peninsula. He claims he doesn’t amount to much and that “you can’t get more ordinary.” As the 75-page story opens, he’s making his living as a salvage diver. On a rocky ledge 70 feet down in Lake Superior, he discovers a perfectly preserved Indian dressed in the “old-time clothes of a tribal leader” with a frayed rope attached to his leg. (In the second Brown Dog novella, The Seven-Ounce Man, that depth would become 50 feet.) Before the first story is over, Brown Dog, an orphan who says that he’s no more Indian than “a keg of nails,” begins to believe that the Chief, as he calls him, just might be his father. Ethnic identity, less a concern to B.D. than catching trout or finding a beer, is an issue through all six novellas collected in Harrison’s Brown Dog. Raised by a white grandfather who fed him strange platitudes — “It’s darkest before it gets darker” — B.D. grows up among the U.P.’s Native American population. His name, given to him by a Chippewa mother for his habit of hanging around her daughter, suggests he’s Indian. Mostly his identity hinges on his drinking, his near-constant sexual desires, and his dedication to seeking retribution. B.D. is easy prey for groups that seek his involvement, whether it’s student radicals or Native American political activists; strange behavior for a man who seems happiest when he is out wandering alone in the woods. The identification he has with Native Americans — the bigotry directed at them is sometimes directed at him — plants him on both sides of the racial divide. He sometimes uses his attachment to Native culture to his advantage, especially when it helps him with women. This leverage, more comic than seductive, provides much of what seasons the stories. The comedy, despite its bawdiness, recalls Mark Twain. Like Huck Finn, Brown Dog has trouble accepting society as he finds it. B.D.’s innocence is reflected in his devotion to the women, children, dogs, and even the vehicles, that clutter his life. “As a sentimentalist he was always trying to get at the heart of something that frequently didn’t have a heart.” This, and his sexual preoccupation, result in a vulnerability 12
PASATIEMPO I March 28 -April 3, 2014
that makes him a target — first of a Chicago waitress who takes his rent money in return for sex lessons, and then of Shelly, the young anthropologist who persuades him to reveal the location of a remote Indian burial site. He’s not hardened by these experiences. His traits, good and bad, persist even as his heart expands. Brown Dog is frequently on the lam because of “a series of petty misdemeanors and relatively harmless felonies,” many of them committed in a trance he attributes, crudely, to female genitalia. Exile and homecoming are constant themes. His crimes put him on the road to Chicago in a stolen ice truck, to Los Angeles (walking the last 47 miles), and later Canada and Montana. His last trips become crimes in themselves. In The Summer He Didn’t Die, he hustles his adopted daughter, the fetalalcohol-syndrome-afflicted offspring of his first, misguided love, across the border to evade the authorities that want her housed at an institution. T h ro u g h o u t t h e s e s i x novellas, only the initial one written in the first person, B.D. remains something of a spiritual sage, comfortable with quiet, at his best when nothing’s happening. His wisdom is simple and not always profoundly stated. “Life could kick you in the ass brutally hard and a day spent fishing a creek or a river and you forgot the kick,” he muses while contemplating the power of water. Harrison surrounds Brown Dog with memorable characters — his best friend David Four Feet, who, like B.D.’s grandfather, appears only in memory; Rose, that first love, who shows him little regard except when he has money; and Rose’s “cross-wired” daughter Berry, whose innocence transcends even Brown Dog’s. Read as a whole, the six novellas do not a novel make. The first of them is the best. The errant charms of Brown Dog revealed there, little changed as the collection progresses, aren’t enough to propel you through the other stories. The following tales, with their evolving cast of characters and situations, worked better serialized, with a few years between installments. Here, lined up together in one volume, those charms aren’t enough to carry readers from one to another. Harrison’s familiar and rambling prose style makes for comfortable reading, and Brown Dog is certainly an endearing character. But his weaknesses, and the predicaments in which he lands, give all but the first couple of stories an air of déjà vu. — Bill Kohlhaase
SUBTEXTS The score It’s easy to think of today’s obsession with sports, both professional and collegiate, as the circus in Juvenal’s “bread and circuses” definition of political distraction (the “bread” now being nachos and buffalo wings). Go ahead, start wars, defund public education, and intercept our phone calls — we’ve got a game to watch. Yet sports, with all its drive for profits, corporate endorsements (including at the college level), concussions, and censorship of athletes, is more political than ever. That’s the theme of sportswriter Dave Zirin’s latest book, Game Over: How Politics Has Turned the Sports World Upside Down (published by The New Press). The author discusses his work with Alternative Radio’s David Barsamian at 7 p.m. on Wednesday, April 2, at the Lensic Performing Arts Center (211 W. San Francisco St.) as part of the Lannan Foundation’s In Pursuit of Cultural Freedom series. Tickets, $6, with discounts available, may be purchased by calling 505-988-1234 or visiting www.ticketssantafe.org. Zirin, whose previous books include Bad Sports: How Owners Are Ruining the Games We Love and Welcome to the Terrordome: The Pain, Politics, and Promise of Sports, has made a career of pulling back the curtain on the cultural spectacle of athletics. He begins Game Over by quoting Howard Cosell’s first rule of “the jockocracy”: “sports and politics just don’t mix.” You might think that Cosell, an integral part of ABC’s coverage of the bloody 1972 Munich Olympics, would have known better. Witness the homophobia of the host country at the recent Sochi Olympics, the ongoing demands of billionaire professional team owners for subsidies and tax breaks at the public’s expense, and the petition to the National Labor Relations Board recently filed by college athletes seeking to unionize against what they call the dictatorship of the National Collegiate Athletic Association. Zirin details the indentured nature of college sports in a chapter title “The NCAA’s ‘Whiff of the Plantation.’ ” He explores racism, sexism, and immigration issues while examining the outrages committed in the name of the Olympics and World Cup soccer. Necessary reading, and not just for sports fans, Game Over reveals what goes on beyond the circus’ center ring. — B.K.
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WONDER WOMEN Cartoonist and historian Trina Robbins Bill Kohlhaase I The New Mexican
AT
some point Trina Robbins, co-founder of underground landmark Wimmen’s Comix, turned against Wonder Woman. In 1986, she illustrated the beloved DC Comics superheroine in a four-part adventure The Legend of Wonder Woman, and made contributions to writer Kurt Busiek’s plot. But in the early ’90s, she saw a change in the warrior princess. “Wonder Woman, at that point, had nothing to do with what I did,” Robbins told Pasatiempo in a phone call from her longtime home in San Francisco. “They reduced this iconic superheroine and made her this hypersexual pinup. It was horrific. They lost the female audience. But ironically, sales soared. All the guys were buying it.” Robbins is the leading champion of women cartoonists and archivist of their work. “I’ve got stuff on the walls, most of it in filing cabinets,” she explained. “A chunk of it travels around.” Part of her extensive collection is on view at the Pittsburgh Toonseum through March 30, as part of the exhibit Wonder Woman: On Page and Off, a show that spent last summer at the Women’s Museum of California. Robbins has been collecting comics — and personal histories — from
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PASATIEMPO I March 28 -April 3, 2014
about the same time she began drawing for New York’s alternative bi-weekly The East Village Other. Author of a number of books on women in comics — the latest is Pretty in Ink: North American Women Cartoonists 1896-2013 — her reputation is such that people call her with tips about forgotten female cartoonists. Pretty in Ink builds on Robbins’ previous books. She writes about the World War II-era strip G.I Gertie that appeared in a Women’s Army Corps newsletter called WAC’s Works. The creator of the comic, Eva Mirabal — misspelled “Mirabel” by the publisher, a mistake that was never corrected in the strip — was born at Taos Pueblo and attended the Santa Fe Indian School. Mirabal also did war-bond posters and one of the murals at the Santa Fe Indian School that were lost when the buildings were torn down in 2008. Mirabal’s career might have faded even from her family if someone hadn’t suggested, by email, that Robbins get in touch with Mirabal’s son, the Taos artist Jonathan Warm Day Coming. “Because of my research, a lot of people contact me,” Robbins said. “This particular person suggested I contact [Mirabal’s] son. I didn’t even know she had a son.” Two G.I. Gertie strips appear in the new book.
Clockwise, from left, Ann Brewster’s The Things They Whispered; the founding mothers of the Wimmen’s Comix collective, 1972, self-portraits by the various artists, Trina Robbins is third from right; Patti Moodian’s Wimmen’s Comix #1 cover, 1972; Pretty in Ink front cover image, Flapper Fanny by Ethel Hays; opposite page, from left, Lily Renée’s Too Young for Love; Pauline Loth’s Miss America, 1945
Another tip led Robbins to long-sought information on Lily Renée, a Jewish refugee who escaped Austria in 1939 as a teenager. In America, Renée landed a job with Fiction House comics even though she had never drawn before. She spent five years drawing features, fillers, and covers — the only woman to do so for the publisher. Renée’s works included The Lost World for Fiction House’s Planet Comics. In 2011 Robbins wrote Renée’s biography in graphic-novel form: Lily Renée, Escape Artist: From Holocaust Survivor to Comic Book Pioneer. It was illustrated by Anne Timmons and Mo Oh. Renée gave up comics in 1949 and wrote and illustrated children’s books and plays. “There are an amazing amount of people who drew comics in the ’40s who’ve left us,” Robbins said. “I knew her work but couldn’t find her. And then I got a phone call saying ‘I’m Lily Renée’s granddaughter.’ She knew her grandmother had been a cartoonist, and every reference led her to me. We got together that summer in New York. Like a lot of World War II vets, Renée never talked about her time in the service.” Robbins said she always loved to draw. “I found a photo of me at 5 in kindergarten class, a class picture, and the photo makes a statement about me. All the kids are looking up and smiling at the camera. I’m not sure why, but I’m in the back of the room at the easel with my back turned to the camera, doing a watercolor of Peter Pumpkin Eater. The teacher didn’t seem to notice or care.”
Robbins was drawn to San Francisco in 1970. “I’d gotten into underground comics, and all that was really happening in San Francisco — everything was there in the late ’60s. And the first thing I noticed when I got there was that underground comics was a boys’ scene. I was not invited in.” Robbins didn’t need an invitation to join the staff at It Ain’t Me Babe, a feminist underground newspaper, which led to her production of It Ain’t Me Babe comics, the first North American all-woman comic book anthology, according to Pretty in Ink. In 1972, she joined other artists to produce Wimmen’s Comix. Robbins stayed with the collective that put out Wimmen’s (which became Wimmin’s in its final issue), as did many of its members, for its entire 20-year run. That 20 years wasn’t without problems. Wimmen’s co-founder Aline Kominsky left the group after Robbins criticized the man who would become Kominsky’s husband, Robert Crumb, for the misogyny in his comics. Robbins is still a critic. “In today’s awareness of rape culture you would think more people would understand. His comics were full of rape, disfigurement, and humiliation of women, occasionally even murder. But to criticize him was sacrilege. People had an understanding that Crumb was God.” continued on Page 16
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Northern New Mexico Citizen’s Advisory Board Meeting The Northern New Mexico Citizens’ Advisory Board (NNMCAB) is a federally chartered organization that offers recommendations to the U.S. Department of Energy (DOE) regarding Environmental Monitoring, Remediation, and Waste Management activities at the Los Alamos National Laboratory (LANL). The meeting is open to the public and all interested parties are encouraged to attend.
April 9, 2014 2:00 p.m.—4:00 p.m. Cities of Gold Conference Center, 10-B Cities of Gold Road, Pojoaque, New Mexico 87506
2:00 p.m. Approval of Agenda/Minutes From March 12, 2014 Meeting 2:07 p.m. Old Business/New Business 2:35 p.m. Update from Executive Committee - Carlos Valdez, NNMCAB Chair 2:40 p.m. Update from DOE - Lee Bishop, Deputy Designated Federal Officer 2:45 p.m. Presentation by Pete Maggiore, Department of Energy, “Proposed Campaign Process” 3:30 p.m. Public Comment Period 4:00 p.m. Adjourn
Please Note: For more information about this meeting or the mission of the NNMCAB, Contact: Menice B. Santistevan, Executive Director @ 505.995.0393 or 800.218.5942 E-mail address: menice.santistevan@nnsa.doe.gov Visit the NNMCAB website at www.nnmcab.energy.gov or Facebook page (NNMCAB)
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Pretty in Ink, continued from Page 15 In addition to her recent book, Robbins has written From Girls to Grrrlz: A History of Women’s Comics From Teens to Zines, an account of the years since 1941, when women comics became cool. Her other works include The Great Women Superheroes and, with Catherine Yronwode, Women and the Comics. Though she no longer draws, she continues to write graphic novels. A fascination with Honey West, the 1960s television detective played by Anne Francis, has led to a series of Honey West graphic novels published by Moonstone Books. “I’ve been writing most of the material. I just adored Anne Francis as Honey West, as did many young women. She came before feminism, but there she was, in charge.” She also writes the ChicagoLand Detective Agency series, wacky detective comics for adolescent readers. Prettty in Ink goes back to the earliest newspaper comics and illustrations, to Rose O’Neill and her strip for Truth Magazine, believed to be the first ever by a woman. By the time O’Neill came up with her signature Kewpies in 1909, there was a host of women writing and illustrating comics. The 1940s, with the daily Brenda Starr: Reporter and other strong female leads including Miss Fury by Tarpe Mills, had its share of women illustrators and writers. The last decade, with the rise of graphic novels, has also been strong in women writers and illustrators. They have produced much of the true-to-life and popular material found in today’s graphic novels. “All the book stores now have a graphic-novels section. And the libraries are so glad that they’re books, not flimsy like comics, that they can stand on the shelves. Libraries are always looking for materials for girls, so they love graphic novels. “For so long, everyone believed that girls didn’t read comics,” Robbins said before she delivered one of her signature lines: “Girls read comics when comics are written for girls. This girls-don’t-read-comics thing was finally proven wrong by the tsunami of manga from Japan. There is a huge following for shˉojo manga drawn and written for girls.” Further historical proof comes out of From Girls to Grrrlz. In the 1940s and ’50s, girls outnumbered boys among comic readers. The reason? Robbins points out that Archie, Betty, Veronica, Jughead and the others got readers hooked by their comic high-school tales, without a superhero in sight. “The great breakthrough was Art Spiegelman’s Maus, because here was a story in graphic form that was not underground or superhero or something else that comics were expected to be. It opened the field for this kind of comic that looked like a book and told real stories. Women finally had an outlet for the stories they wanted to tell.” Robbins admitted that comics and comic-book stores are largely male territory. “Mainstream comics are still totally male oriented. There are exceptions, and there are more of these exceptions as the independent and graphic comic markets get bigger. But the mainstream comic publishers will probably always cater to boys and men.” ◀ “Pretty in Ink: North American Women Cartoonists 1896-2013” by Trina Robbins is published by Fantagraphics Books. Above, Dale Messick’s Brenda Starr, 1940
Lensic Presents Indian Ink Theatre Company of New Zealand
Guru of Chai
The contradictions of modern India, with its iPhones and ancient gods, come alive in this funny and beautiful romantic thriller about a poor chaiwallah (tea seller).
April 1, 7:30 pm
READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.
$15–$35
“Flawless . . . Cleverly constructed, full of melodramatic twists and humourous asides.” —Sydney Morning Herald
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OrchestraFest!
BENJAMIN ALIRE SÁENZ
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WEDNESDAY 16 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER Seven stunningly evocative short stories … a haunting tableau of characters wrestling with the boons and burdens of existence … Sáenz, with these masterfully hewn stories, presents this hardscrabble yet tenacious city as beautiful in its contradictions, disquieting in its ambiguities, and heartbreaking in its quotidianness. Filtered through this book are the lives of its singular people: doomed, broken, resourceful, and, above all else, faithful — to the city and to the parts they play in its intricate dimensions. — Texas Books in Review Benjamin Alire Sáenz’s latest book, Everything Begins and Ends at the Kentucky Club, is a collection of stories
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Special Thanks to Sponsors: SJR Charitable Foundation & Independent Order of Odd Fellows
whose characters are all tied in one way or another to a famed watering hole on the Avenida Juárez, where the author says, “people go when they’re in trouble, when they’re looking for trouble or when they’re trying to get out of trouble.” A prolific writer and master of many genres, his books include the novel Carry Me Like Water, the young adult book Sammy & Juliana in Hollywood, and the poetry collection Dark and Perfect Angels. Born in Old Picacho, New Mexico in 1954, Sáenz has been a member of the faculty at the University of Texas at El Paso since 1992. TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
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TERRELL’S TUNE-UP Steve Terrell
Lips service
I guess I shouldn’t be surprised that “Drive-By Buddy,” the first song on Underneath the Rainbow, the new album by The Black Lips, has a hint of country twang. After all, the Lips, garage-punks or “flower-punks” (their own label) that they are, covered Willie & Waylon’s “Mamas Don’t Let Your Babies Grow Up to Be Cowboys” a few years ago. No, this isn’t a country or “alt-country” album, by any means. In fact, on closer listen, the guitar riff of “Drive-By Buddy” sounds a lot like George Harrison playing “Honey Don’t” or other Carl Perkins songs in those early Beatles years. (I read another review that compared it with the guitar riff of The Monkees’ “Last Train to Clarksville.” That works, too.) But the Southern roots of the Georgia-based Lips are much more apparent here than on previous efforts. When they sing “we’re hanging on a broken T-Bird hood” in the refrain, it sounds like good redneck fun — probably more than it would be in real life. You can hear these roots in the bouncy “Justice After All,” with its Neil Young guitar hook, and you can even hear it in the jittery mutated early rock ’n’ roll sound of “Dorner Party,” which is about spree-killer rogue cop Christopher Dorner. You can especially hear the South in the slow, menacing “Boys in the Wood,” a song Lynyrd Skynyrd might have done had Ronnie Van Zandt survived that plane crash. The lyrics tell of moonshine, mayhem, vehicle theft, and a harrowing backwoods world that’s part Deliverance and part Thunder Road. “His ghost lives in the trailer/It was
his foster home/Pall Malls and an inhaler/His girl’s nagging on the phone/The pain his body’s feeling/ Will leave you accident prone/Cause the car he was stealing/Drove to the unknown.” Another cool thing: The Black Lips’ official video, full of violence, sex, and debauchery, is actually worthy of the song. Look for it on YouTube. While this is not a concept album by any means, there does seem to be a common thread running through several tunes — jail and running from the police. “Waiting,” for instance, has a verse about getting paranoid about cops while driving on the interstate. “Smiling” deals directly with a night singer Jared Swilley spent in the slammer. If somebody ever makes a punk-rock version of The Dukes of Hazzard, they’ll have to get The Black Lips to do the soundtrack. Some say that Underneath the Rainbow is the most polished Black Lips album to date. Actually, I think some people said the same thing about their previous album, the Mark Ronson-produced Arabia Mountain. Truth is, you can detect some not-so-subtle touches by Patrick Carney, the drummer of The Black Keys, who produced most of the tracks here. For example, the electro bass sound on “Dandelion Dust,” a hardedged boogie, is right out of The Black Keys playbook. Other tunes were produced by Tom Brenneck, the guitarist for Sharon Jones’ Dap-Kings and the New York Afrobeat group The Budos Band. “Polished” is a relative thing. For the most part, The Black Lips, except for a few moments when they get sucked in too far into the Black Keys dimension, retain the slop, fury, and dumb jokes that made me love them in the first place. They prove this with the scary-sounding “Do the Vibrate,” complete with wolf howls and an almost metallic “Rock Lobster” guitar riff. Beneath the threatening atmospherics, the song is actually about an alternative use for cellphones. Get to know this band better at www.black-lips.com. Also recommended: Buy Before You Die by Figures of Light. As an old rocker myself, it’s always enjoyable to see a band that faded away decades ago get a second breath and start rocking again. That’s definitely the story of Figures of Light, a pre-punk group that never came anywhere close to achieving the fame of The Stooges or The Velvet Underground, but they were right there in New York City in the early’ 70s, smashing TV sets onstage and cranking out ▼
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PASATIEMPO I March 28 -April 3, 2014
raw, screeching, feedback-filled guitar rampage with sardonic, angsty lyrics. The Figures hung up their rock ’n’ roll shoes before the end of the Me Decade. But they rose again in 2008, when they were rediscovered and reconstituted by Norton Records. Singer Wheeler Winston Dixon and guitarist Michael Downey made a couple of fine albums with Norton (Smash Hits and Drop Dead), keeping their basic rough-edged sound, but apparently that only whetted their appetites.
While‘Underneath the Rainbow’ is not a concept album by any means, there does seem to be a common thread running through several tunes — jail and running from the police. In the past year or so they’ve self-released several EPs of new material, including one of my favorite FOL follies, a “country” song (though The Black Lips sound more country than the Figures) called “Too Many Bills, Not Enough Thrills” as well as a compilation called Lost and Found, which included rarities, remixes, and even a screaming death-metal cover of their first “smash hit,” “It’s Lame,” by a band called Belladonna & The Decimators. But Buy Before You Die is definitely the best thing Dixon and Downey have done since Drop Dead. It’s only seven songs long, but every one of them is a doozy. All the selections are sandwiched between songs lampooning mindless consumerism: the title song (”You’re buying this, you’re buying that/You’re getting stupid, dumb, and fat.”) and “A Word from Our Sponsor,” a phony ad in which the band plays a Velvet-like musical backdrop as Dixon shills for some unspecified surreal, horrible-sounding food product (ingredients include rabid squirrel meat, dehydrated cow’s head, old coffee filters, toothpaste, and insect repellent). Maybe that’s how the narrator of “Swollen Colon Lament,” another song here, ended up with his condition. While the above-mentioned songs feature the basic up-tempo minimalist guitar rock the Figures do so well — as does the rockabilly-influenced “Pauline” — some of tracks here are, well, pretty. “Killers From Space” has breezy, jazzy chords. “The Winter of Our Discontent” is slow minor-key number with a spooky tremolo guitar. And “Streets of Rain” is a minor-key dirge with strong bass and lyrics about hopelessness. I hope Dixon and Downey keep at it, because they’re only getting more interesting. Find Figures of Light at www.figuresoflight.com. ◀
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Celebrate community leaders who made Santa Fe greener in 2013!
~ Wednesday April 2nd, 5:30pm ~ at the Eldorado Hotel, with refreshments provided
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Bill Kohlhaase I The New Mexican
PLAYING THE FIELD PIANIST ALAN PASQUA
K
eyboardist Alan Pasqua was given some simple advice by jazz vocalist Sheila Jordan early on that would follow him the rest of his career. It was 1975, and Jordan, revered for her 1962 recording Portrait of Sheila, had hired Pasqua for her comeback recording, Confirmation. They had been introduced by the respected jazz composer and New England Conservatory of Music instructor George Russell. “I was this young guy just starting out, and Sheila took me in,” Pasqua told Pasatiempo. “We got to be very close. She became like my jazz mom. I loved her and she loved me. Confirmation was the first jazz record that I did on acoustic piano. It was very free. Everything was so easy. It was totally far out.” Jordan, sensing the young keyboardist’s enthusiasm and knowing just how hard a career in jazz could be, 20
PASATIEMPO I March 28 -April 3, 2014
took Pasqua, who appears at St. John’s College on Saturday, March 29, aside. “ ‘Support your art,’ she told me. ‘Find a way. You can’t make a living just being a jazz artist, so learn to survive by doing all the things you can do.’ ” Pasqua was born in New Jersey and educated for two years at Indiana University’s Jacob School of Music under composer and Kennedy Center for the Performing Arts “Living Jazz Legend” David Baker and for two years more at the New England Conservatory. His diverse career is a reflection of Jordan’s guidance. He’s done studio work for a number of Hollywood film-score composers including Lalo Schifrin, Jerry Goldsmith, and John Williams, as well as scoring movies himself. He’s toured as a keyboardist with everyone from Kenny Rogers to Santana. He’s taught jazz improvisation and composition at the University of Southern California for some 14 years. All the while
he’s maintained a reputation as a stellar jazz pianist, recording a Grammy-nominated disc in 2007 with his longtime associate drummer, Peter Erskine. At New England, Pasqua studied piano with Jaki Byard, the pianist with Charles Mingus during one of the bassist’s most productive periods. “Jaki really understood what the spirit of jazz is,” Pasqua said. “He taught me how to be a jazz pianist rather than someone who just plays jazz piano. Depending on what he was playing, he had very different approaches to the music. He taught through example rather than just giving you a lesson sheet and sending you home to practice. He thought that the piano was basically the entire orchestra, not just the right hand playing melody over the left hand. He impressed upon me that both hands were important, that they played as one.” Much of Pasqua’s compositional savvy came from his studies with Russell and Thad Jones at the New England Conservatory. Jones, the co-leader of one of the most important big bands of the ‘60s and ’70s, was a particular inspiration. “Thad would come in and bring his scores from the Thad Jones-Mel Lewis Orchestra, arrangements of Count Basie’s material, and I’d look at them with my mouth wide open. I couldn’t believe I was actually seeing them. He was such an amazing guy.” Jones was also impressed with the young pianist, inviting him at the age of 21 to play with the orchestra at one of the regular Monday-night engagements at the Village Vanguard club in Greenwich Village. “I got to sit in for a tune,” Pasqua recalled, “and I played a good solo. I was happy with it. But when we got near the end of the piece, I got a bit ahead of myself. It wasn’t a loud or a giant mistake, but I started the party a little too soon. Like Yogi Berra said, like they say about everything else, it ain’t over till it’s over.” Russell taught Pasqua his Lydian Chromatic Concept of tonal organization, a modal-scale form of notation that borrowed from Eastern music traditions and influenced both John Coltrane and Miles Davis. “It’s really a fascinating way of writing, kind of simple in one way and unbelievably complex in another. George was a great pianist himself.” Russell wrote a suite of pieces, Living Time, for pianist Bill Evans that was recorded and released as an album by that title in 1972. When the piece was performed at Carnegie Hall, Russell invited Pasqua to be one of the pianists in what amounted to a double big band. Pasqua, playing electric keyboard, was set up on stage next to former Miles Davis drummer Tony Williams. “I had a couple solos to play on Fender Rhodes, and he was right there,” Pasqua said. “I didn’t know it but at the time he was in the process of putting together [his band] Lifetime. I also didn’t know that [guitarist] Allan Holdsworth was in the audience or that he and Tony had been working together in the early stages of the band.” A few days later, Pasqua returned home to his Boston apartment and was told by his roommate that Williams had called. “I thought it was a joke,” Pasqua said. He returned the call, and Williams told him about the band he was putting together with Holdsworth and that they wanted him to come down to New York and work with them. “I was in the car within an hour,” Pasqua laughed. The keyboardist is heard on two of Williams’ Lifetime albums, Believe
It and Million Dollar Legs. The combination of Pasqua’s ringing Fender Rhodes tones and Holdsworth’s orchestral approach to the guitar proved a winning combination. Pasqua’s innovative electric soloing — it can be heard in stand-out style on “Fred” from Believe It — brought distinct jazz touches to what was mostly rock-powered music. It also brought the young musician a lot of attention. Pasqua toured with the band for two years. Their last gig, in 1976, was in Santa Monica, where Pasqua now makes his home. “I was torn at that point. I was obviously an East Coaster through and through, but we’d just had an insane winter in Boston, one like they’re having this year, and I’d also become disillusioned with the scene in New York. I wanted to play music and didn’t want to take a day gig to support it. I’d spent time in San Francisco with Tony and Allan and thought, OK, California’s not bad. So I decided to move to Los Angeles.” Pasqua knew one person there, Bruce Botnick, a recording engineer who had produced the Lifetime albums. Botnick was a well-known recording engineer in the rock world — he had done recordings for Arthur Lee and Love as well as The Doors — and helped Pasqua land gigs first with Eddie Money and later Bob Dylan. Pasqua toured two years with Dylan and is heard on Dylan’s 1978 recording Street-Legal. Following his time with Dylan, he spent two years traveling with the Santana band. Botnick also knew composer Jerry Goldsmith and soon had Pasqua working the L.A. studio scene with John Williams, Dave Grusin, and others. Pasqua worked with Goldsmith on the soundtrack for Robert Redford’s The Milagro Beanfield War and with Quincy Jones on The Color Purple. “I was making a living with 15 synthesizers,” Pasqua said. “And I really missed playing piano.” He began playing gigs around Los Angeles with bassists John Patitucci and Chuck Domanico and drummer Erskine. In 1994 he recorded Milagro, his first record as a leader, with drummer Jack DeJohnette, bassist Dave Holland, and saxophonist Michael Brecker, followed by Dedications with Holland, Brecker, trumpeter Randy Brecker, drummer Paul Motian, and saxophonist Gary Bartz. He recorded frequently with drummer Erskine and the late bassist Dave Carpenter, most notably on Badlands, a collection that includes five of Pasqua’s compositions. “Once Peter [Erskine] landed back in L.A. and formed the trio, it was a natural for me to start writing. Composing helps me to discover and define my voice on the piano and in art.” Composing, he said, also helps him carve out his own sound on the keyboard. “Every pianist has their own unique sound, something more than just touch and tone. If you hear Keith Jarrett or McCoy Tyner or Herbie Hancock play, you just know it’s them. The kinds of compositions that they wrote ultimately helped them become who they are as pianists, as much as practicing and playing other people’s tunes did. Writing your own music is another channel of expression that helps you find your voice on the instrument.” Teaching has allowed him the time and income to turn his interest back to his own playing. “I subbed for a friend in a jazz class at UCLA and just decided to talk about John Coltrane’s A Love Supreme and how all its feeling and expression tied back into knowing music. A student came up to me after class and asked if I could come back and told me how great it was. I left feeling good.” He approached the chairman of the USC program at the time, fellow pianist Shelly Berg, about teaching jazz there and was given a handful of students before being offered the opportunity to teach jazz improvisation. He makes sure his students get the same advice that Jordan gave him years ago. “I give them the same speech. You have to learn to compose; you have to learn to arrange; you have to do everything you can do to increase your chances of making it as an artist. I spent one day [when young] working in a lumber yard. I had to quit. It wasn’t what I wanted to do.” ◀
details ▼ Alan Pasqua ▼ 7:30 p.m. Saturday, March 29 ▼ Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca ▼ $25; for reservations, call 505-984-6118
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PASA TEMPOS album reviews BRIGITTE ALFREDO FONTAINE Comme RODRÍGUEZ The à la Radio (Superior Invasion Parade (Mack Viaduct) This notable reissue by a Avenue) The 28-year-old Cuban San Francisco label boasts an exotic pianist phenom’s second album for Mack teaming-up from 1971: the French avantAvenue (and second produced by Quincy garde vocalist Brigitte Fontaine and the Art Jones), The Invasion Parade is a stunning Ensemble of Chicago. On the title track, combination of different styles that sticks Fontaine sings in unison, or trades lines, close to tradition one moment and fearwith the raw-toned horns of Lester Bowie, Roscoe Mitchell, lessly launches far-reaching explorations the next. Rodríguez Leo Smith, and Joseph Jarman, while Malachi Favors explains in the liner notes that the title references a carnival in maintains a lively mood with pulsing bass and Fontaine’s colmusic mecca Santiago de Cuba and also speaks to the invasion of laborator, Areski Belkacem, drives along with pat-a-patpat drums. cultures defining the album, with musicians representing Cuba, the On “Tanka,” she sings sweetly, poetically, against echo-y hand drums; United States, Puerto Rico, and Bulgaria. After being “discovered” by then “Le Brouillard” finds her supported by a popping foundation of Jones, Rodríguez relocated to the U.S. in 2009 and quickly became part bongos, and a sopranino sax whines in the background. For the short of the younger generation of ultra-proficient players experimenting with “Encore,” Fontaine speaks tentatively, accompanied by constant, insect-like genre-melding, dissonance, and rhythmic displacement. Something of a sisslings. This is followed by “Leo,” a freeform assemblage of trumpet and Cuban Jason Moran, Rodríguez covers every inch of the keyboard, launchunusual instrumental noises, kept in a groove boundary by the unremitting ing long piano runs that culminate in headlong dives into dense chord but extra-ordinary drumming. The very short “Les Petits voicings. In “Timberobot,” woody, acoustic Afro-Cuban Chevaux” is an a cappella piece with “verses” mostly consisting piano chords are overdubbed with Minimoog Voyager of the word “la” repeated melodically. Then suddenly, synthesizer parts to gives voice to the robot of the title. on part two of “Tanka,” the vibe shifts eastward, courtesy Next is a ballady take on “Quizás, Quizás, Quizás On ‘Comme à la Radio,’ of beautiful lute and zither played alongside Fontaine’s (Perhaps, Perhaps, Perhaps)” with lots of cymbal colors gorgeous vocals. It all feels like a fascinating travelogue from the likewise young-yet-accomplished drummer we’re experiencing a from tune to tune. We’re experiencing a laboratory Henry Cole. “Snails in the Creek (Caracoles en el setting during which densely creative moments were Riachuelo)” is a particularly clear and successful laboratory setting during which utterance of Rodríguez’s desire to musically overlap recorded — and it feels like many more albums could have come from this cauldron. (No more did.) Don’t miss culture, style, and era — it opens with crickets and densely creative moments it. There are songs about fog and tar! — Paul Weideman bell tolls, introduces guest vocals from Esperanza Spalding and Cuban percussionist Pedrito Martinez, were recorded. There are songs and then ventures into the unknown. — Loren Bienvenu BENEDICTINES OF MARY Lent at Ephesus (DeMontfort Music/Decca) The 22 singing nuns who make up the about fog and tar! Benedictines of Mary, Queen of the Apostles choir probably Inventions (Temporary Residence Ltd.) Mark T. Smith of have little in common with Justin, Shakira, and Miley, except Texas post-rock superstars Explosions in the Sky and Matthew that all of their albums have wafted to the top of the Billboard Cooper, the Oregon artist who records ambient music under bestseller charts in recent weeks. For the sisters, the chart in the name Eluvium, have paired as a duo called Inventions. If you question is for “Traditional Classical Music,” where in early March their are familiar with both artists, then the resulting album sounds exactly newest release, Lent at Ephesus, occupied spot No. 1, with their Angels and as you would expect. This may be a disappointment if you were hoping to be Saints at Ephesus at its heels in second place. The community was founded in surprised by new sounds and odd curveballs. On the other hand, these two Pennsylvania in 1995 and in 2006 moved to the Priory of Our Lady of Ephesus men are extremely reliable at what they do, and this collaboration is exactly (hence the album’s title) in northwest Missouri. This both is and isn’t a as great as you’d expect. It isn’t very difficult to guess who brought what to professional choir: it is to the extent that its members’ vocation involves this side project, as Smith’s heavenly guitar tones and Cooper’s crushing gathering to sing praise many times each day, but in terms of musical atmospherics and classical-tinged compositions are such signatures practice, the group’s remarkable accomplishments derive more from in their regular gigs. Only some moments on Inventions mesh their spiritual sincerity than from fully “professional” choral technique. contributions until the individuals are unrecognizable, such as “Sun They produce their gentle sound mostly in half-whispered mezza Locations/Sun Coda” with its chirping samples, twitching strings, voce. Several Latin chants interspersed among the 23 tracks are and electronic squiggles that suggest what shooting stars might the most captivating portions of this latest CD. sound like. One of the undeniable highlights Their polyphonic hymns and anthems are also is “Peaceable Child,” a seven-minute passage pretty, but a sameness of tempo (slow), pitch that begins with piano notes and glitch level (moderate), and volume (restrained) samples before the steady beat of a drum end up yielding a beautifully recorded 80 gently raises the piece aloft. That’s not an minutes with a payback that is more anomaly, however; this is an album that meditational than strictly musical. doesn’t touch the ground very often. — James M. Keller — Robert Ker
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PASATIEMPO I March 28 -April 3, 2014
tonight 28,2013 2014. .5-7pm 5-7pm tonight. .march april 26,
l as t fr i daY a r t Wal k In Santa Fe’s Vibrant Railyard Arts District laSt fRiDay eVeRy MONtH
Zane Bennett conteMPorarY art Bits and Pieces, works by Karina Hean, Catherine Gangloff, and Michel Dejéan
charlotte jackson fine art Ronald Davis: Unidentified Floating Objects
daVid richard GallerY eVoke conteMPorarY Grand Opening Celebration Julian Stanczak, Lineal Pathways Paul Pascarella, New Moon West Gesture Then and Now: The Legacy of Abstract Expressionism
tai Modern Monique Van Genderen & Nagakura Kenichi
WilliaM sieGal GallerY Seated Nayarit, 300BC-300AD
jaMes kellY conteMPorarY leWallen Galleries Nic Nicosia, Mouth to Mind Group Show: Traces of the Dulcet Earth
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Gather your friends and join us tonight for Tom Marioni’s The Act of Drinking Beer is the Highest Form of Art. Guests are invited to enjoy a beer in Marioni’s bar installation and listen to jazz.
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The Railyard Arts District (RAD) is comprised of eight prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer. PASATIEMPOMAGAZINE.COM
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Sitara Schauer, Deborah Ungar, Nicolle Jensen, and Alysha Shaw; photo Matthew Morrow
Dedicated musicians of Rumelia Paul Weideman I The New Mexican
On every song they do, the four Santa Fe women who make up Rumelia dive right in to a hypnotic groove that shouts Balkans. “Pajduska Trojka” is a festive instrumental tune featuring percussion-driven accordion and violin. On “Cobankat,” following an ominous introduction, they engage in a soulful back-and-forth between voices and clarinet. These are two tracks on the group’s 2013 album Lost & Found that you might hear on Saturday, March 29, when Rumelia presents Voices of the Wind, the first of a three-concert series at the historic San Miguel Chapel. Rumelia, which specializes in music from Eastern Europe, was the featured local group at last year’s International Folk Art Market. Whereas the San Miguel 24
PASATIEMPO I March 28 -April 3, 2014
dates will be all-acoustic, the group is launching a series at Duel Brewing on April 5 that’s “pluggedin, loud, and danceful,” as Deborah Ungar put it. She plays accordion and clarinet. The other members are Nicolle Jensen, lead vocals, doumbek (or goblet drum), bass doumbek, frame drum, and riq (Middle Eastern tambourine); Sitara Schauer, violin, backup vocals, guitar, and mandolin; and Alysha Shaw, vocals, doumbek, bass doumbek, frame drum, riq, and cajón (box drum). Paul Brown joins them on oud and bass for the first two San Miguel Chapel concerts. Much of their repertoire is assuredly get-up-anddance music, but they’re looking forward to tailoring it to the atmosphere of the old church at the corner
of Old Santa Fe Trail and East De Vargas Street. “I’ve been missing having some more quiet and intimate things, being able to be a little more expressive and interact with the audience a little more,” said Ungar, who teaches music at Salazar Elementary School and at Santa Fe University of Art and Design. “I started playing Balkan music when I got to Santa Fe in 2008. I had studied classical piano for a long time, and I decided not to go astray from that. I got my master’s in music from Washington State University, focusing on music theory and musicology. Then as soon as I graduated, I was looking for something different to do.” She played clarinet with the Balkan/Mideast Ensemble, which was formed when SFUAD was the College of Santa Fe and is directed by Polly Tapia Ferber (who guests on Lost & Found). Ungar was later given an accordion and learned to play it. Rumelia performs music from Bulgaria, Turkey, Greece, Macedonia, Albania, Serbia, Bosnia, Hungary, and Ukraine as well as Romany (Gypsy) music from various countries. They sing in many of the languages of these places as well as in Ladino, the language of the Sephardic Jews. “Sephardic culture in the eastern part of Europe was much different than the Sephardic culture that was in New Mexico and the New World. There really isn’t a lot of music left over, although there are still traditions, because the Sephardic people here were hiding as conversos, so a lot of the traditions were lost.” Group members have recently researched Sephardic music from Greece and Turkey, and they
plan to perform songs from the Sephardic communities of Thessaloniki, Izmir, and Istanbul. “We do our own arrangements, but people recognize the songs,” Ungar said. “Someone just told me the other day that one of the tunes we play was really popular in Israel in the 1970s.” The second San Miguel concert, titled Voices of the Past, is set for April 26. “It happens to be close to Yom Ha’Shoah for the Holocaust Day of Remembrance, and so we are doing half the concert of klezmer with another clarinetist in town, Paul Wexler.” The third performance in the San Miguel Chapel series is Voices of the Forest on May 31. “It will be mainly choral music, and our friend Willa Roberts will join us.” Ungar is currently learning a Turkish clarinet, a G instrument, which has a different fingering pattern and is easier to bend notes on compared with the B-flat clarinet. The two instruments look similar, although the Turkish clarinet is longer. When she played some fleet lines on both, it was obvious that the Turkish has a different, more dimensional sound. Singer and percussionist Shaw grew up in New Jersey and Vermont and came to New Mexico in the mid-2000s. She earned a degree in political science and interdisciplinary art from the College of Santa Fe and is poised to complete an MFA in art and social practice from Portland State University. “I met Nicolle and some of the other collaborators in our first group, Rusalki, pretty early on, but it wasn’t until 2006 that I started to play in the Balkan/Mideast Ensemble,” Shaw said. “I think Polly Tapia Ferber has been an inspiration for all of us. The university’s music program has different ensembles, everything from funk to gamelan to African drum to jazz and also the Balkan ensemble. That and Polly’s presence has opened so many people to this music in ways that have just transformed their lives as musicians.” Shaw said there is a quite large community of Americans who don’t necessarily have ethnic ties to the Balkans but who love playing and dancing to this folk music. “The motivation seems to come from just this inexplicable compulsion when you hear the music, almost like an obsession. I think a lot of it has to do with a deeper need for community and roots in the United States, this melting pot with the sort of rootlessness of a younger country. A lot of this music that we play is very, very old, and there are many songs that have dances that go with them. The bottom line is it’s just something emotional. It’s so foreign, with the odd time signatures and keys, and it’s very compelling.” Jensen, the other vocalist/percussionist in Rumelia, studied many instruments as a youngster. “I got into Balkan and Middle Eastern music while studying at the College of Santa Fe and was instantly hooked by the unique sound. I love folk music all around; the basic humanness of the topics — love, life, loss — resonate with me on a deep level.” Schauer, a fifth-generation American with roots in northern Europe, is a classically trained violinist and lover of folk fiddle music. More than 10 years ago, she started lessons in Arabic violin, a style featuring scales, tuning, and rhythms different from those of the Western classical violin. That led her to Balkan music. About Rumelia, she said, “I believe we will stay connected to Balkan music. It is rich, and somehow it’s in our blood. It is eccentric and enchanting, and that’s what we are.” Asked about the musicians’ evolution in Rumelia, Ungar said, “Playing together for a long time has been really wonderful. We rely on each other more and the way we interact, just to trust each other and know that ‘Oh, that’s cool, they’re going to do that now.’ The way we play together is also the way we interact: we work through stuff, but we have a great relationship that is close and informs how we play and what we want to work on. It’s pretty cool.” ◀
In Pursuit of Cultural Freedom
A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.
DAVE ZIRIN with DAVID
BARSAMIAN
WEDNESDAY 2 APRIL 7PM LENSIC PERFORMING ARTS CENTER Our sports culture shapes societal attitudes, relationships, and power arrangements. It is where cultural meanings — our very notions of who we are and how we see each other, not only as Americans but also as individuals – play out. It frames the ways in which we understand and discuss issues of gender, race, and class. And, as ever, it is crucial for understanding how these norms and power structures have been negotiated, struggled with, and resisted. — from Game Over: How Politics Has Turned the Sports World Upside Down, by Dave Zirin © 2013
Dave Zirin, widely published independent sports journalist, author, sports editor for The Nation magazine and host of Edge of Sports Radio, has brought his blend of sports and politics to multiple television and radio programs, including MSNBC, CNN, ESPN’s Outside the Lines, C-SPAN’s BookTV, Democracy Now! and National Public Radio. Zirin is well known for his book The John Carlos Story: The Sports Moment That Changed the World. His new book, forthcoming in May 2014, is Brazil’s Dance with the Devil: The World Cup, the Olympics and the Future of Democracy. TICKETS ON SALE NOW
details ▼ Rumelia in concert ▼ 7:30 p.m. Saturday, March 29 ▼ San Miguel Chapel, 401 Old Santa Fe Trail ▼ $10-$20 suggested admission at the door; advance tickets $15; call 505-577-2676 for reservations
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
www.lannan.org PASATIEMPOMAGAZINE.COM
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ON STAGE Can’t get no satisfaction: Joe Ely
Still partly promoting material from his 2011 solo album, Satisfied at Last, Joe Ely is anything but. His set for the current Western Wind Tour incorporates a “suitcase of new songs” and collaborative partnerships with multi-instrumentalist Jeff Plankenhorn and indie-folk guitarist David Ramirez. The Tex-Mex rocker is no stranger to collaboration, having worked with The Clash in the late 1970s as well as Bruce Springsteen, The Chieftains, and many others. Ely and Ramirez play a duo show at Santa Fe Sol Stage & Grill (37 Fire Place) at 8 p.m. on Saturday, March 29. Advance tickets, $32, are available from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org); it’s $40 at the door for the 21-and-over show. — L.B.
Rodney Bursiel
Lady of the Lensic: Joyce DiDonato
New York bassist Earl Sauls visits Santa Fe for a Friday, March 28, gig with Brian Bennett, piano, and John Trentacosta, drums, at the Museum Hill Café (710 Camino Lejo). They begin at 7 p.m., but the doors open at 6 p.m. Sauls has made music with jazz stars including Stan Getz, Woody Herman, Howard McGhee, and Chuck Wayne. Sauls is a longtime musical collaborator of guitarist Joshua Breakstone. The two played the Museum Hill Café in May 2013 in a trio with Trentacosta. Tickets for the Santa Fe Music Collective concert are $25; call 505-983-6820 for reservations. — P.W.
Anna Chobotova
Nick Heavican
The mezzo-soprano Joyce DiDonato scored a hit singing the title role in Rossini’s La donna del lago last summer at Santa Fe Opera. When she returns to town for a recital this week, she will bring along further operatic items by the same composer, the “Willow Song” from his Otello and the chestnut “Una voce poco fa” from Il barbiere di Siviglia. Also on the program are familiar arias from Mozart’s Le nozze di Figaro and Handel’s Giulio Cesare, a not-so-familiar one by Handel’s near-contemporary Johann Adolf Hasse, and selected songs by early 20th-century composers Fernando Obradors and Reynaldo Hahn. Pianist Craig Terry assists. The performance, presented by the Santa Fe Concert Association, takes place on Monday, March 31, at 6:30 p.m. at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets ($25 to $95) are available by calling 505-988-1234 and visiting www.ticketssantafe.org. — J.M.K.
Out among the stars: Earl Sauls
THIS WEEK
Winner plays all: Vadym Kholodenko
Ukrainian pianist Vadym Kholodenko has a busy schedule this year fulfilling the bookings the Van Cliburn International Piano Competition lines up in advance for whoever walks away with the gold medal at its quadrennial contest. Last June, Kholodenko earned the Cliburn’s top spot overall through a sequence of solo, chamber, and concerto performances, and he also obtained separate awards for best performance of a new work and best performance of chamber music. His recital in Santa Fe at 7:30 p.m. on Tuesday, April 1, presented by the Santa Fe Concert Association, includes two five-movement assemblages by Schumann — the midcareer Faschingsschwank aus Wien and the late Gesänge der Frühe — as well as Brahms’ Four Ballades (op. 10), and nine Chopin mazurkas. The concert takes place in St. Francis Auditorium in the New Mexico Museum of Art (107 W. Palace Ave.). Tickets ($20 to $50) can be acquired from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe. org). — J.M.K.
PASATIEMPOMAGAZINE.COM
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Loren Bienvenu I For The New Mexican
Guru of Chai (aka The Elephant Wrestler )
John McDermott
ost one-man plays star a single character. Guru of Chai stars 17 (well, 18, counting the live musician who performs onstage but does not speak), all voiced by Jacob Rajan. The New Zealand playwright and actor said that after two years of in-depth rehearsal, the real challenge isn’t keeping track of all these personalities — it’s trying to keep them from bursting forth of their own volition. Since co-founding the independent Indian Ink Theatre Company in 1997, Rajan and his collaborators have written and toured six comedy-drama productions that incorporate multicultural themes with the use of masks. In recognition of his work, the New Zealand-raised actor, of Indian descent, was recently named a member of the New Zealand Order of Merit. 28
PASATIEMPO I March 28 -April 3, 2014
Guru of Chai, coming to the Lensic Performing Arts Center on Tuesday, April 1, presents something of a story-within-a-story. The numerous characters are given life from the perspective of the narratorial guru — a poor Indian tea seller telling the story of his life-changing encounter with a young girl abandoned in a railway station. The guru has the ability to weave in and out of the story by directly interacting with the audience. Rajan discussed the work with Pasatiempo from his home in New Zealand on a recent Thursday afternoon (or, Friday morning for him). Pasatiempo: I understand that you’re back home in New Zealand — does that mean you’re enjoying some time off? Jacob Rajan: Well, it’s been a bit frantic, because I just got back from India and did a performance over there.
So I’m back reacquainting myself with my children and my wife. Then it’s off to the States in a week, for three weeks. We’re covering a lot of ground, from Florida to Massachusetts, I think. I must buy a map. My geography is hopeless — I just go where I’m told. Pasa: How many people are in your touring party? Rajan: It’s pretty minimal. This trip there are only three of us: my technical manager, my musician, and myself. The props and things we’re carrying in suitcases, because we’re going to so many places. If we didn’t carry them, the set wouldn’t be there in time. Pasa: Are you exclusively performing Guru of Chai on this tour? Rajan: Oh, is that what they’re calling it in Santa Fe? Pasa: As far as I know — does it have another name? Rajan: Yes, The Elephant Wrestler. Wrestler as in WWF [the World Wrestling Federation].
Pasa: There must be a story behind that. Rajan: The show was originally called Guru of Chai, but some of our presenters in the States seem to think that could be a problem in terms of promoting it, I take it because there are two foreign words. But wrestling is something everyone likes. Pasa: Tell me a little bit about the play and how it fits in with your other theatrical works. Rajan: My first work [Krishnan’s Dairy] was a solo show with a live musician. Guru of Chai is similarly a solo show. … You see the genesis in the original work — Krishnan’s Dairy is a show using masks. But I use quick-change masks to create the illusion of dialog between two people. In Guru of Chai, I play 17 characters. They’re sometimes reduced to teeth. I love that freedom of the storyteller to shift forms.
Pasa: 17? How do you keep track? Rajan: It takes a lot of patient work on the part of my director on the rehearsal floor to delineate those characters. We take two years to put a show together. By opening night, I’m not getting into character, the characters are screaming to get out of me. The joy of Guru is that a single storyteller is portraying all the characters, so he has the ability to break and speak to the audience. That interplay is a strong part of the show. The audience is front and center, not in a terrifying way, just in that I’m telling you a story. I’m a believer in theater that does that; that sense of communion with the audience. Pasa: How did you come up with this particular story? Rajan: There’s a whole bunch of inspirations for Guru of Chai. We were working in Bali, researching Balinese mask, which is a touchstone of this company. Most of our work, all of our work it’s fair to say, is mask-based. Our particular attention was drawn to the Balinese comic mask. We’ve made about three trips over to Bali. On the earliest one we came into contact with a mask dancer. It’s quite a devotional form, almost a religious practice, and this man was steeped in the spiritual aspect of the mask dance. But he was desperate to have a Facebook page and be famous and have wealth. All his aspirations toward that were kind of diminished by his love of beer and gambling. He was this very flawed individual that we loved, so he became our guru, our storyteller. I just gave him some hideous teeth and changed him into an Indian. Another influence is an Indian folk tale we found in a dusty corner of the internet, called Punchkin. The original idea was very much a fairy tale, involving kings and queens and evil wizards and things like that. For a long time we had difficulty making that relevant to a contemporary audience. What we did is disassemble the fairy tale and reassemble it in modern India. So, for example, seven princesses that were abandoned in the jungle by the king became seven sisters abandoned in a subway station ... suddenly it became sort of a Slumdog Millionaire romantic thriller. Pasa: So you were still drawing on the framework provided by the fairy tale, just transposing it into a modern context? Rajan: Yes, because the stock characters you have in a fairy tale work so well. They have for all time. The drama is so good, and the conflict and relationships are so great. But we’ve taken great liberties. If you were to read the original fairy tale, you might not even see our story there. It’s so disguised now with the modern references and everything. It’s just the engine, really. Pasa: Does this combination of the ancient and modern seem to resonate with your audiences on a personal level? Rajan: I’ve just come back from India, and you see it there constantly: ancient gods and iPhones. It makes for a lot of comedy, but it also speaks to the tension of what’s happening all around the world, this rapid pace of progress we’re having and what we leave behind. Even the landscape has changed. Where I’m from in southern India, it was so lush and green and full of paddy fields. The rice growing there made it so beautiful. Now the paddy fields have been turned over because rice is completely uneconomic and everyone wants to go into IT, and the work in the field is so hard, and they can just import the rice. There are
massive changes, and that’s the dilemma — we can’t really hang on to the old stuff just for the beauty of the green fields. Pasa: Given how many countries you’ve taken this piece to, do you notice a lot of differences in the ways different cultures react to it? Rajan: Audiences in New Zealand can be quite conservative. Don’t get me wrong, they love the show. But we’re not as emotionally available as people in America tend to be. There are real belly laughs from them, and they stand at the end. Always! Which I love. For me as a performer, that’s where I get so much of my energy, from the audience. The play, at the end of the day, is just wiring; the audience is what you plug into. Pasa: Has it been more challenging elsewhere? Rajan: Germany was difficult. Extraordinary by the end, in that we had six curtain calls. In New Zealand we are embarrassed after two. So after four it’s ridiculous, we just want to go have a drink. In Germany although they’re English speakers, they were still reading subtitles. The dialog was projected above the stage, so you’d have the experience of saying the punchline and seeing two hundred heads tilt up and the laugh coming a second later. The timing was all off. Most people, when they laugh, go, “Hahahahaha!” In Germany, it’s “ha.” Pasa: Given what you said about the play being somewhat interactive, does each performance reflect its audience? Rajan: It’s a new relationship each time, and you’re kind of navigating it as a performer. Now I can tune into every silence, every cough, and I can adjust. Because Guru plays with the audience, there is room for improvisation. Having said that, its not an improvised form. We are working off a text, and two years are spent refining a text. Pasa: Anything new in the works at the moment? Rajan: Because we just came back from India, we are inspired for a new show. But that’s still a mirage in the distance. Our latest show, called Kiss the Fish, is going to be touring in New Zealand in the middle of this year. We are also working on a feature film. Pasa: Are these newer projects similarly inspired by your own multicultural experiences? Rajan: With the cultural aspect, a lot of that comes from me being Indian. I’m writing what I know, but also what I imagine, because I was raised in New Zealand, so the India I write about is the India of my imagination. Pasa: Do you see similar experiences reflected elsewhere in the performing-arts scene of your country? Rajan: That’s the beauty of New Zealand. We are such a young country. We can pirate other people’s traditions and not be bound by them. But we try to learn as much about the original country, so as to show respect. Then we ravage it. I suppose there was a time when we were bound to a colonial past, but more and more we are having pride in our own voice. ◀
details ▼ Guru of Chai ▼ 7:30 p.m. Tuesday, April 1 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $15-$35; 505-988-1234, www.ticketssantafe.org
PASATIEMPOMAGAZINE.COM
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PASA REVIEWS Aspen Santa Fe Ballet Lensic Performing Arts Center, March 21
A unified force
AFTERNOON
Still Life
Kevin Gorges 9:30 am – 12:30 pm 8 weeks $169.95 March 31 – May 19
Figure Drawing Kevin Gorges 1:30 pm – 4:30 pm 8 weeks $169.95* March 31 – May 19
Watercolor & Oil Lee Rommel 9:30 am – 12:30 pm 8 weeks $169.95 April 1 – May 20
Oil Painting Michael McGuire 1:30 pm – 4:30 pm 8 weeks $169.95 April 1 – May 20
Intro Figure Painting
WEDNESDAY
Portrait
Roberta Remy 9:30 am – 12:30 pm 8 weeks $169.95* April 2 – May 21
Pastel Painting James Roybal 1:30 pm – 4:30 pm 8 weeks $169.95 April 2 – May 21
Watercolor & Oil Lee Rommel 6:00 pm – 8:30 pm 8 weeks $169.95 April 2 – May 21
THURSDAY
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PASATIEMPO I March 28 -April 3, 2014
spen Santa Fe Ballet is such a small company, and there has been so much turnover of dancers recently — Craig Black, Sadie Brown, Paul Busch, and Peter Franc are all relative newbies, with longtime company members Sam Chittenden, Katie Dehler, and Seth Del Grasso now gone — that part of the interest in watching an ASFB performance is seeing how the new crew dances and how the choreographers choose to employ their talents. All three pieces presented last weekend at the Lensic Performing Arts Center were commissioned by ASFB and developed on company dancers. Many other regional groups are forced by economic factors to basically serve as recycling companies. That a 10-person dance troupe based in two small cities has the ability to attract and pay up-and-coming and established European and American choreographers is a testament to the directors, Tom Mossbrucker and Jean-Philippe Malaty, whose taste in dancers as well as choreographers is a brilliant balance between practicality (budget and scale) and vision. Which is not to say that every evening at Aspen Santa Fe Ballet is an artistic life changer. Repeat performances of Fold by Fold, choreographed by the young American discovery Norbert De La Cruz III, and Beautiful Mistake, by Spanish choreographer Cayetano Soto, along with The Heart(s)pace, a new work by Nicolo Fonte (his eighth creation for the company), were strong on visual elements and powerful dancing and less commanding in the sense of complete, organic development of themes. There is a difference between movement invention and artistic resonance. Fonte’s piece — which he described in an interview for the Aspen Times Weekly as being inspired by the death of his father, of heart failure, and of the practice, in yoga, of heart-based openings and spiritual connection — brought sunlight and lyrical movement to the stage, a departure for this choreographer. A wall erected on stage right offered huge porthole windows that were flooded with light (the lighting design for all three pieces by Seah Johnson was inspired) and served as a place where dancers would occasionally stop, as if looking out. The texture from this golden glow seemed to inform movement that was rounded, featuring a softer attack and more flowing transitions than Santa Fe has seen in previous Fonte pieces. It was as if the angst had lifted. Finally. Each of the dancers has a self-assured presence onstage and striking technique. Veterans Katherine Bolaños and Samantha Klanac Campanile combine authority, a sensual edge, and consistently beautiful phrasing. Emily Proctor is a tiny dancer with a huge voice, at least physically, while Seia Rassenti continues to emerge as the company’s most exciting dancer. Her journey upward as an artist has been continuous and gratifying to witness. Brown, in her first full season, is getting an opportunity to shine — she looks at home here. Joseph Watson continues to offer an athleticism and commitment that sizzle in practically every moment. Seven-year veteran Nolan DeMarco McGahan has a strong masculine presence and excellent partnering skills. Franc seems happy after being released from years of chorus and demisoloist duties at Houston Ballet. Black has the technical chops gained from a Juilliard School education, while Busch is more out there, with an idiosyncratic personal style as well as a hyperextended physicality. All these unique dancers seem to breathe, move, and focus as a single unit — always one of the most beautiful qualities of the company. — Michael Wade Simpson
When the Stars Trembled in Río Puerco an oral history play based on "Recuerdos de Los Viejitos" collected & edited by Nasario García adapted and directed by Shebana Coelho
SHARE YOUR RECUERDOS Open Mic before Sunday performances Fri/Sat 7:30pm, Sun 4pm • Tix $15/12; wSundays pay-what-you-wish Teatro Paraguas 3205 Calle Marie, Santa Fe NM 87507 Reservations: Tel: 505-424-1601 or recuerdosvivosnm@gmail.com
INFO: teatroparaguas.org • www.recuerdosvivosnewmexico.com
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PASATIEMPO I ????????? ??-??, 2014
Michael Abatemarco I The New Mexican
F
LOST HORIZONS Artist Karina Hean
or many artists drawn to the Southwest, the landscape is both subject and inspiration, from realist depictions with horizon lines and mountainous vistas, canyon lands, and brush-dotted hills to abstractions. The work of Santa Febased Karina Hean avoids the easy classification of “landscape art” while still conveying a feeling of the land; biomorphic forms swirl in nearmonochromatic compositions with an earthy quality and the suggestion of outdoor terrain, clouds, and sky. Gone from Hean’s mixedmedia pieces, on view in Bits and Pieces at Zane Bennett Contemporary Art, are the horizons and vibrant colors of the high-desert terrain, but the great outdoors remains a catalyst for her drawings and monoprints in the exhibit. “The work is definitely landscape-inspired, landscape-based,” Hean told Pasatiempo. “I’m very big into hiking and walking. Spending hours doing that, the more I realize I’m just grabbing shapes. When the show is over I’m hoping to get back to it. It’s kind of ironic that preparing for a show takes you away from the inspiration on some level for a little bit.” Bits and Pieces includes mixed-media constructions by Catherine Gangloff and linear works on paper by Michel Déjean as well as work from three series by Hean: Swarm, Traverse, and Wonder Wander. Hean makes compositions that combine contrasting elements that leave the viewer slightly disoriented as though seeking firm ground in the midst of a maelstrom. Dense, dark areas rendered in black are combined with light, opaque washes of color, and rigid, structural forms merge with fluid gestural marks. “I’m always seeking visual contrast. That’s a personality trait. It comes through in the work. I’m looking for that kind of drama of light versus dark, curvilinear versus linear, solid versus atmospheric, amorphous shapes. That’s what I like about the Swarm series — these misty sections where you’re not sure where the space lies.” The series is not overly chaotic, despite its energy. The contrasting elements are somehow cohesive but alive with spiraling, churning motion. “The idea of movement, almost like tornadoes, I think about when I’m drawing them, almost like watching weather happen.” There is also an ephemerality about the Swarm series as though the writhing forms are in a state of transformation, vacillating between solidity and insubstantiality. “Storms come in,” she said, “and storms go away.” Wonder Wander, a recent series of monotypes, was made over the past few months for the exhibition. “Wonder Wander is related imagery but definitely a new palette from the other series. The monoprints are more about shapes than drawing. It’s more about these flat color shapes and creating different kinds of space.” The forms
in Wonder Wander are more rigid in appearance than those in Swarm or the Traverse series, and Hean adds a lot more color. “There are these sort of land-cut shapes that seem like they’re moving through space. Then there are these biomorphic shapes. At moments they remind me of bodily organs. At other moments they look like they could be parts of seaweed that you might find on the beach. I tend to like, at the moment, printing a layer of flat, flat color. I have an etching press on loan in my house so I can print these at home. I’m kind of in love with what monotyping with flat ink can do in a mixed-media work.” Hean incorporates collage into some works in the Traverse series, merging drawing with cut, imperfect rectilinear forms. The collaged elements add a sense of rigidity to the overall compositions in the series which, like those of Swarm, are like massing objects caught in an eddy. The cut shapes add another contrast: architectural and geometric versus organic. In Traverse IV and V one gets the sense of looking down a descending staircase into darkness. “A lot of the rectilinear part is coming from looking at the structure and lines of different mineral types from mineral identification books — very unscientifically, of course. I’m just snatching and grabbing shapes and patterns and amalgamating them.” The juxtapositions apparent in Hean’s work are part of the purview of Bits and Pieces. Like Hean, Gangloff combines disparate elements into cohesive compositions, but her constructions are more sculptural, combining flat fragments of wood and other materials and joining areas of flat color with painted patterns. Déjean’s untitled drawings differ from the works of Hean. Where her monoprints and drawings are primarily naturalistic, surging forms, his are grid drawings that rely on a combination of straight lines and color bands. Sections of his grids are filled with looser line patterns, but the overall effect is one of structure and repetition. None of the artists work figuratively, although Hean comes closest. The viewer wants to read figuration into her pieces, but they never seem to resolve themselves into concrete, recognizable forms. “I’m somewhere in the middle of representation and abstraction,” she said. “I think that’s inspired from having drawn from life — objects and the figure — for so many years. But now my work has definitely become these invented forms, these invented landscapes.” ◀
details ▼ Bits and Pieces, works by Karina Hean, Catherine Gangloff & Michel Déjean ▼ Reception 5 p.m. Friday, March 28; exhibit through April 19 ▼ Zane Bennett Contemporary Art, 435 S. Guadalupe St., 505-982-8111
Karina Hean: Swarm, 2013, mixed media on paper
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PASATIEMPO I March 28 - April 3, 2014
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The Big Uneasy Robert Nott I The New Mexican Panic in the Streets, Cold War thriller, not rated, Center for Contemporary Arts, 3 chiles Looking back at his 1950 film Panic in the Streets, director Elia Kazan said, “I’m thankful Panic in the Streets was very superficial, conventional, and corny.” He added, “I always thought Panic was sort of a bizarre comedy.” The words are from the book Kazan on Kazan, in which the director discusses his career with Jeff Young. It may seem a strange way to describe a melodrama about a resolute hero trying to stop the spread of pneumonic plague in New Orleans, but as Kazan said, “You can’t take the plot too seriously. You know the plague isn’t really going to spread. It’s a springboard for a sort of caper.” The Santa Fe Institute is teaming with the Center for Contemporary Arts to show the film as part of their Science on Screen series. Santa Fe Institute Omidyar Fellow Ben Althouse — who is currently working on a study of how individual behavior affects the transmission of whopping cough, flu, and other contagious diseases — introduces the film. The movie, shot on location in New Orleans in late 1949 and early 1950, stars Richard Widmark as a Public Health Service officer trying to contain a potential outbreak of a plague being carried by a trio of low-level thugs played by Jack Palance, Zero Mostel, and Guy Thomajan. The bad guys don’t realize they are carriers of an infectious disease, but they want to blow town fast following their killing of a Greek immigrant who first brought the plague to the city. Althouse thinks the film packs a dose of realism despite some hoary Hollywood conventions. “They did the best they could at the time and picked something that could inspire fear in people — plague. That is a disease that did kill thousands of people thousands of years ago.” The depiction of plague-driven death is also realistic, he said, but what Althouse doesn’t buy is the fact that Widmark’s character always has a syringe full of antibiotics with him to cure anyone who comes into contact with the thugs. “In reality, he would have had to treat them by putting them in quarantine and then giving them antibiotics for some time. He wouldn’t have said, ‘Here’s a shot. Now be on your merry way.’ ” Althouse said that the picture was perfect for the time. “What was coming up on everybody’s mind was the potential spread of biological warfare, a threat that started back in World War I and was heightened during and after World War II. There was that Cold War threat of someone releasing a pathogen on the world’s 36
PASATIEMPO I March 28 -April 3, 2014
population. I think this was on people’s minds. Right after the film was released, the Epidemic Intelligence Service was created — where they took physicians, gave them proper training, and sent them to places that were experiencing outbreaks of novel diseases so they could understand how a pathogen works, how they could stop it, and how far along the outbreaks were occurring.” Kazan, who up to 1950 had made a number of message pictures including Gentleman’s Agreement (1947) and Pinky (1949), recounted having a blast while shooting Panic in the Streets.. He saw the film as a comic chase — and it does include a lengthy and sometimes amusing pursuit on foot through a dockside factory. The director in later years spoke glowingly of Widmark and Barbara Bel Geddes, who plays his wife, as well as Palance and Mostel. He was less impressed with Paul Douglas, who plays the police chief, noting that he “should have been the host of a steak joint.” Kazan wanted realism, so he hired nonactors from New Orleans to play the restaurant workers, B-girls, and dock workers. Take a look at the scene early in the picture in which actor Lewis Charles, playing the infected Greek, staggers across the railroad tracks and narrowly misses getting hit by an oncoming train. It’s not trick photography, and that’s no stunt double. “Everybody was saying, ‘You’re trying to kill us. You’re a murderer,’ ” Kazan recalled. “I did stuff like that a lot. I really learned that if a man is supposed to be wet in a scene, like he’s been in the river, there’s only one way to do it. Throw him in the river.”
Some people see Panic in the Streets as a typical postwar example of film noir, and several books on the topic, including Alain Silver and Elizabeth Ward’s Film Noir: An Encyclopedic Reference to the American Style, spotlight the picture. But noir historian and author Eddie Muller, who wrote Dark City: The Lost World of Film Noir and co-programs the San Francisco Noir City Film Festival, told Pasatiempo that while he likes the film, “I don’t really think it is particularly noir. Amazingly, to me that is because of Widmark. Because
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Barbara Bel Geddes and Richard Widmark
he is the big star, and they spend so much time with the guy who is clearly the good guy. ... Aspects of it feel like noir, but I’ve come to really think of noir as having the hardcore aspect of the ‘villains’ being the protagonists ... where the audience is asked to empathize with the bad guys. There’s a moral ambiguity there that the audience is asked to deal with, but in Panic there really is no moral ambiguity. Palance is the bad guy — like this cancer running loose.” Muller noted that The Killer Who Stalked New York, a film released shortly after Panic in the Streets, follows the same theme by having a femme fatale played by Evelyn Keyes inadvertently carry a smallpox plague into New York City. “She goes along with her lover’s scheme to smuggle jewels in, and she does it for love, and he contacts smallpox and dies, and she is left carrying the contagion into the city and becomes the focal point of a huge manhunt. To me that seems pretty noir.” In the wake of these films, other movies worked to scare audiences by suggesting that various diseases could easily be spread, striking people down with invisible deadliness, including The Satan Bug (1965), The Andromeda Strain (1971), Outbreak (1995), and Contagion (2011). Then, of course, there are any number of zombie movies in which people turn into the living dead because of some unknown disease. “Plague is all around,” Althouse said. “There are a handful of these cases in the U.S. every year, but modern antibiotics can treat it. You go to the doctor and treat it right away, so the likelihood of it spreading is pretty low.” But still, can some sort of disease turn us into cannibalistic human monsters like in those zombie movies? Althouse is dubious. “You know, I haven’t seen a ton of those movies, but my friends watch them, and they ask me, ‘What are the chances of some virus turning us all into zombies?’ I tell them there are viruses that change our behavior — rabies, for instance, makes you froth and become aggressive and bite people — but we’re not likely to become zombies.” ◀
details ▼ Panic in the Streets, introduced by epidemiologist Ben Althouse, part of the Santa Fe Institute and the Center for Contemporary Arts’ Science on Screen series ▼ 7 p.m. Monday, March 31 ▼ Center for Contemporary Arts, 1050 Old Pecos Trail ▼ $10; 505-982-1338
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MOVING IMAGES film reviews
When a Broadway baby says good night Jonathan Richards I For The New Mexican Elaine Stritch: Shoot Me, documentary, not rated, The Screen, 3 chiles Elaine Stritch is getting on. When this documentary was being shot, she was staring down the barrel at 87. Now she’s 89. She recently returned to the Manhattan she is seen leaving at the end of the movie, to do promotion rounds. And startled Kathie Lee Gifford with an F-bomb, live, on the Today Show. If that sort of thing offends you, you’re probably not the right audience for this movie. Stritch, who grew up in a devout Catholic family with an archbishop for an uncle, has added a few words to her vocabulary since she left the Convent of the Sacred Heart, and she does not scruple to use them in conversation. But, as her
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PASATIEMPO I March 28 -April 3, 2014
Elaine Stritch
friend Stephen Sondheim observes, “What makes her interesting is that the convent girl is still there, always.” Getting older is sometimes a matter of indifference to her, sometimes of exasperation, sometimes terror. Mostly, though, she takes it in stride. “You might as well enjoy it,” she philosophizes, “because there ain’t a goddamn thing you can do about it.” If you’re not familiar with Stritch, you’ve missed something. She’s one of the last remaining Broadway stars of a vanished era. She went to acting school with Marlon Brando, made her professional stage debut the year Michael Douglas was born and fell in love with his father, Kirk, while she was in her first Broadway show two years later, understudied Ethel Merman in Call Me Madam while appearing in the Broadway revival of Pal Joey, got the first of her five Tony nominations in 1955 for Bus Stop, made “The Ladies Who Lunch” a classic in the original Broadway cast of Sondheim’s Company, and finally won a Tony in 2002 with Elaine Stritch at Liberty, a one-woman show that looked back at her life up to the three-quarter-century mark (it was also filmed as a documentary, and won her an Emmy in its TV incarnation). She’s done plenty of movie and television work, most recently as Alec Baldwin’s mother on 30 Rock. Filmmaker Chiemi Karasawa (a seasoned producer making her directorial debut) follows the grande dame as she prepares a cabaret show of Sondheim songs, sometimes interrupting rehearsals with her devoted musical director, friend, and caretaker Rob Bowman to gulp down a glass of orange juice when her blood sugar runs low. “It’s hard enough,” she says, “to remember Sondheim’s lyrics when you don’t have diabetes!” She used to gulp down a lot more than that. She’s a recovering alcoholic, a phase of her life that comes in for some self-examination during the film, although she says she’s sick of talking about it. The death of her beloved husband John Bay, an heir to the Bay’s English Muffins fortune, aggravated her drinking, but he left her financially comfortable, and she still sends friends
English muffins on holidays. Stritch was off the booze for 25 years; these days she allows herself a drink a day. But she admits that the thing that scares her the most is drinking, “because it’s such an escape.” Remembering lyrics is getting harder. In rehearsal, she goes up repeatedly, and you feel the stage fright as she prepares to face an audience with those elusive little words fleeing her memory. Before her opening at the Café Carlyle, Sondheim sent a telegram: “Good luck. I won’t be there, so feel free to make up your own lyrics.” But performing is her life’s blood, and when she walks out on stage, it’s like plugging in to a divine power source. The voice is a memory of its former brassy power, but the diva can still sell a song. Stritch was never a raving beauty, but she had her share of love affairs. She briefly dated JFK, and she and Ben Gazzara were a hot item, until she made a movie with Rock Hudson and fell for him, in what must seem in retrospect an unwise choice. Karasawa seasons the recipe with a number of interviews with friends and admirers of the lady, including Nathan Lane, Cherry Jones, John Turturro, Hal Prince, Tina Fey, and Baldwin (who is credited as executive producer). The film is dedicated to the late James Gandolfini, who admitted that if he’d been a bit older, and she a bit younger, they probably would have had “a torrid love affair that would have ended very badly.” The movie leaves us with the picture of a woman whose passion for performing keeps her going, past the deterioration of her physical resources and the outliving of the friends and colleagues of her prime. There’s loneliness and regret. There is a harrowing scene in which she experiences a diabetic crisis, and panics. “I’m scared,” she gasps to Bowman. But she still gets around town with energy, goes to the theater and restaurants, laughs with friends. And she still performs, in her signature outfit of a long white silk shirt over black tights that show off her still-fabulous legs. “I feel better when I work,” she says. So do we. ◀
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March 28 - April 3
1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org
Santa Fe’s only not-for-profit, community-supported independent theater, showing the best in cinema since 1983
“MIND BLOWING” – The New York Times
“
BENING AND HARRIS ARE INDEED FACES TO LOVE.’’ -LOS ANGELES TIMES
A COMPELLING
“
PSYCHOLOGICAL LOVE STORY.” –VARIETY
she lost her perfect love... until she found his perfect double.
annette bening ed harris
AN INVENTOR TRIES TO SOLVE ONE OF THE GREATEST MYSTERIES OF ART
“A STIMULATING DETECTIVE STORY THAT HOLDS YOU IN THRALL!” -Peter Travers, ROLLING STONE
“GRADE A! EXQUISITELY FUN!” -Owen Gleiberman, ENTERTAINMENT WEEKLY
PARTICLEFEVER
Tim’s Vermeer
WITH ONE SWITCH, EVERYTHING CHANGES
A Penn & Teller Film WWW.SONYCLASSICS.COM
SANTA FE INSTITUTE PRESENTS
PANIC IN THE STREETS with Ben Althouse 7:00p Monday, March 31 • $10 gen, $8 CCA/SFI members
particlefever.com
From the makers of WORDPLAY and I.O.U.S.A. “NUANCED... INSPIRING... A design story at its core, but stand back a bit and you find something grander: a document of America at its most vulnerable.” - ARCHITECTURAL RECORD
“A
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“a transfiXinG Grand slam... a rivetinG eXamination of intimacy, identity, duality and our unconscious desires.” the playlist
HEARTENING STORY ABOUT THE POWER OF DESIGN.”
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- SLATE
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from denis villeneuve director of prisoners
IF YOU BUILD IT Shop class. Redesigned.
Tuesday April 1
Monday March 31
Fri-Sun March 28-30
11:00a - Walking the Camino* 11:45a - Tim’s Vermeer 1:00p - If You Build It* 1:45p - Face of Love 3:00p - Walking the Camino* 3:45p - Face of Love 5:00p - Enemy* 5:45p - Particle Fever 7:00p - Tim’s Vermeer* 8:00p- Particle Fever 8:45p - Enemy*
1:45p 2:15p 3:45p 4:30p 5:45p 7:00p
-
Walking the Camino* Face of Love Enemy* Particle Fever Tim’s Vermeer* Science on Screen: Panic In The Streets 8:00p - Enemy*
1:30p 2:15p 3:30p 4:30p 6:45p 7:45p
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Walking the Camino* Face of Love Enemy* Particle Fever Particle Fever Enemy*
Weds-Thurs April 2-3 12:00p 1:30p 2:15p 3:30p 4:30p 5:45p 6:45p 7:45p -
- Face of Love Walking the Camino* Face of Love Enemy* Particle Fever Tim’s Vermeer Particle Fever Enemy*
*indicates showing is
COMING SOON to CCA:
• Particle Fever • The Face of Love for a price of $8.00, or • Nymphomaniac Pt. 1 & 2 • The Missing Picture $6.00 for CCA Members •Finding Vivian Maier...& more in The Studio at CCA,
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MOVING IMAGES film reviews
Get your boson Michael Abatemarco I The New Mexican Particle Fever, documentary, not rated, Center for Contemporary Arts, 3.5 chiles A documentary that wrings cheers from an audience might be a rare thing, but it’s difficult not to get caught up in the rapture of Particle Fever. Since 2008, CERN (the European Organization for Nuclear Research) has been conducting experiments on the world’s largest particle accelerator in an effort to find proof of the existence of the Higgs boson, an elementary particle sometimes referred to as the “God particle.” The film tells the story of the Higgs boson’s discovery and, even for those who think nuclear physics is purely for brainiacs, it’s an entertaining, thought-provoking ride. Located on the French/Swiss border near Geneva, CERN’s Large Hadron Collider, a 17-mile-long accelerator, is at the center of the most expensive scientific experiment ever conducted. Proof of the boson’s existence would help validate a theory of how all matter in the universe is given mass. How the particle, among the smallest ever detected, actually does this is not so easy to explain, but the race to find it is engaging and ultimately moving. Physicist-turned-filmmaker Mark Levinson documents the efforts of scientists from more than 40
PASATIEMPO I March 28 -April 3, 2014
100 countries across the globe, including nations in conflict with one another, to work on the project which was purposely nonmilitaristic. The LHC is no secretive project and has been public from the start. The film follows several theoretical and experimental physicists who have a stake in what the project reveals. We are introduced to theorists such as David Kaplan and Nima Arkani-Hamed, who do their best to explain the science behind the project, and experimental physicists, such as Monica Dunford, who work with the evidence produced by the collider. When Kaplan is questioned by an economist during a conference about the economic value of the LHC, he responds by indicating that regardless of any real economic value, unlocking the secrets of the universe is its own reward. Here is how it works: charged particle beams are accelerated through the LHC in opposing directions at high rates of speed. Their paths are slowly brought into alignment until they collide and particles are detected in the aftermath of the collision. There is animosity between theorists and experimentalists who each have their way of doing science, but by the film’s end, none of that matters. The scientists and engineers working on the nuts and bolts of the project and the theorists who first proposed the existence of the boson are all vindicated. The particle, named for British scientist Peter Higgs, was first theorized by him and others in the mid-1960s. The announcement of the discovery in 2012, when Higgs was 83, was major world news. Imagine the feel-
ing of having your decades-old theory substantiated. There are tears in Higgs’ eyes when CERN makes the announcement, and he was ultimately awarded a joint Nobel Prize with Belgian physicist François Englert in 2013. In analyzing the data collected from the experiment, more questions arise. Depending on where the particle fell on a scale that measures mass, the discovery was expected to support one or the other of two prominent theories about the nature of the universe: the supersymmetry model that proposes symmetry in space-time and the multiverse model that suggests our universe is one of many interconnected, bubble-like universes. Where traces of the Higgs boson were actually detected on that scale remains a source of speculation and fascination. Levinson’s film gains dramatic traction as it goes along because he filmed the project as it was developing. We are in the center of the action, not just watching talking heads discussing an event in the past. Levinson takes us right up to the point in 2012 when the LHC was shut down for a period of two years for maintenance and to examine the collected data. Particle Fever instills in the viewer a desire to follow the team’s progress when CERN fires up the collider again this year. ◀
Above, object of con-CERN: the Large Hadron Collider
“Cheers to a movie as gloriously entertaining and bluntly honest as the lady herself. Everybody rise.” Peter Travers, Rolling Stone
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MOVING IMAGES pasa pics
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before it airs. The new episodes are hotly anticipated after last season’s harrowing climax left viewers reeling. A Song of Fire and Ice author (and Jean Cocteau Cinema owner) George R.R. Martin gives opening remarks. No charge, but seating is limited. 1:30 p.m. Saturday, March 29 (10:30 a.m. Spanishdubbed screening precedes, without subtitles). Not rated but not suitable for children. Each episode runs roughly 55 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) THE GRAND BUDAPEST HOTEL By now, Wes Anderson’s style is so familiar that all you need to know about his latest film is the subject matter (the theft and recovery of a priceless painting in a posh hotel) and who’s in it (Ralph Fiennes, Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Jude Law, Bill Murray, Edward Norton, Tilda Swinton, and Tom Wilkinson, among others). Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
Are you not into rain? Russell Crowe in Noah, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week THE BOYS OF ABU GHRAIB Writer, director, and star Luke Moran plays Jack Farmer, an American soldier deployed to Iraq’s Abu Ghraib prison during the United States’ occupation of Iraq. Shot at the old New Mexico State Penitentiary and based on true events, the film is a bare-bones treatment that handles human-rights abuses at the notorious prison too gently, focusing instead on the guilt or innocence of one man. What could have been a searing indictment of military corruption plays more as standard fare, although it is competently acted and directed. Rated R. 102 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) CESAR CHAVEZ It’s hard to believe nobody has made a feature film about 1950s and ’60s MexicanAmerican activist and labor organizer Cesar Chavez before, given his status as an icon of nonviolent resistance. Michael Peña plays Chavez in this film, and John Malkovich plays the farm owner who opposes him. Rated PG-13. 101 minutes. Some screenings are dubbed in Spanish. Regal Stadium 14, Santa Fe. (Not reviewed) 42
PASATIEMPO I March 28-April 3, 2014
ELAINE STRITCH: SHOOT ME If you’re not familiar with Elaine Stritch, you’ve missed something. She went to acting school with Marlon Brando, understudied Ethel Merman in Call Me Madam while appearing in the Broadway revival of Pal Joey, got the first of her five Tony nominations in 1955 in Bus Stop, made “The Ladies Who Lunch” a classic in the original Broadway cast of Company, and finally won her Tony in 2002 with Elaine Stritch at Liberty, a onewoman show that looked back at her life up to the three-quarter-century mark. Here, director Chiemi Karasawa follows her at 87 as she prepares for a final cabaret show of Sondheim songs. Not rated. 80 minutes. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 38. THE FACE OF LOVE Annette Bening plays Nikki, a woman who falls in love with an art teacher (Ed Harris) who seems like a great guy, but that’s not why she’s into him. What she’s really into are his looks — namely, that he looks exactly like her deceased husband. Will she see him for who he is? Robin Williams co-stars. Rated PG-13. 92 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) GAME OF THRONES PREMIERE Some lucky fans have an opportunity to see the season-four premiere of HBO’s hit series at the Jean Cocteau Cinema a week
MARTIN SCORSESE PRESENTS: MASTERPIECES OF POLISH CINEMA This collection of Polish classics, most of them seldom seen in this country, covers three decades, from the mid-’50s to the mid’80s. The 21 films include work by Andrzej Wajda, Andrzej Munk, and Krzysztof Kieslowski. Jerzy Kawalerowicz’s Night Train (1959, 98 minutes) is shown on Saturday, March 29, and Tuesday, April 1, at The Screen, Santa Fe. Wajda’s Ashes and Diamonds (1958, 103 minutes) screens on Friday, March 28, and Thursday, April 3, at the Jean Cocteau Cinema, Santa Fe. Not rated. In Polish with subtitles. ( Jonathan Richards) NOAH Darren Aronofsky follows his award-winning Black Swan with a good, old-fashioned biblical epic. He tackles the story of Noah’s ark in a style that looks like Braveheart crossed with The Perfect Storm. Russell Crowe plays the title character; Jennifer Connelly and Anthony Hopkins co-star. Some screenings at Regal Stadium 14 dubbed in Spanish. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PANIC IN STREETS Director Elia Kazan broke away from his typical message pictures to make this fast-paced, extremely satisfying melodrama about a trio of low-level thugs (Jack Palance, Zero Mostel, and Guy Thomajan) who may be inadvertent carriers of plague in 1950 New Orleans. Richard Widmark is the hero, with Paul Douglas as a blustery police chief. The climatic foot chase is wonderful to watch. Shows as part of CCA and Santa Fe Institute’s Science on Screen series, with an introduction by epidemiologist Ben Althouse. Not rated. 96 minutes. Center for Contemporary Arts, Santa Fe. (Robert Nott) See Screen Gems, Page 36.
PARTICLE FEVER Director Mark Levinson filmed events at the Large Hadron Collider as they unfolded during the most expensive scientific experiment to date, during which scientists from more than 100 nations sought to prove or disprove the existence of the Higgs boson, a theorized elementary particle that would help explain how matter is given mass. The discovery of the boson is a dramatic and entertaining story that opens wide the door on a mystery of the universe that has been perplexing scientists since the 1960s, and it leaves you fascinated. Not rated. 99 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) See review, Page 40. PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Marco Spada, choreographed by Pierre Lacotte and danced by members of Moscow’s Bolshoi Ballet. 9 a.m. Sunday, March 30, only. Not rated. 180 minutes, plus 2 intermissions. The Screen, Santa Fe. (Not reviewed) SABOTAGE Arnold Schwarzenegger has struggled to get his acting career going again since leaving politics. For this venture he lets his gray hair show like never before and teams with a filmmaker (David Ayer of End of Watch) who has proven he can do gritty, streetlevel action. Arnie plays a DEA agent who angers a powerful drug cartel, which will do whatever it takes to get him but good. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
now in theaters AMÉLIE This eccentric, highly stylized romantic comedy, about a Parisian woman (Audrey Tautou) who decides to perform random acts of kindness and ends up finding love, came to the States in 2001 and was a smash hit as foreign films go. It remains a delicious French pastry, but it has gone a bit stale over the years, as quirky and borderline saccharine films often do. The career of gifted director Jean-Pierre Jeunet (The City of Lost Children) sadly went downhill from here. Rated R. 122 minutes. In French with subtitles. Jean Cocteau Cinema, Santa Fe. (Robert Ker) AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over the music of Duke Ellington at a party. This is appropriate, because David O. Russell has orchestrated his wild and wonderful riff on the 1978 Abscam sting operation like an Ellington suite. The film weaves themes and rhythms,
tight ensemble work and electrifying solos, and builds to a foot-stomping climax. Rated R. 138 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) DIVERGENT Need something to keep you occupied until the next Hunger Games film arrives? Try this, based on the first book in Veronica Roth’s popular YA series. It’s set in postapocalyptic Chicago, where society is organized into five factions. As teenagers, everyone takes a test to determine the group for which they’re best suited, but some, such as Tris (Shailene Woodley), can’t be easily sorted. Tris keeps her “divergence” hidden as she begins her training, senses romantic sparks with an instructor (Theo James), and learns that one faction is plotting to overthrow the government. The performances are solid; the leads have great chemistry; and the pacing mostly keeps you engaged. But the way the story unfolds is predictable — unfortunate for a film about thinking for yourself. Rated PG-13. 143 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) ENEMY Director Denis Villeneuve’s follow-up to last year’s disturbing Prisoners is a moody, slow-burn thriller that pits Adam, a sullen history teacher, against his alter ego. When Adam spies his doppelgänger, an actor named Anthony, in a rented movie, he sets out to track him down. The two men meet and the unlikable Anthony takes to Adam with all the antagonism of a spider to a fly. Jake Gyllenhaal’s dual role as Adam/Anthony is the latest in a streak of memorable performances for the actor. Enemy is a sinister Möbius strip of a film that peers into the shadowy side of human nature. Rated R. 90 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) 50 TO 1 Skeet Ulrich plays a cowboy in a film based on the true story of Mine That Bird, the racehorse that was partly trained in New Mexico and won the Kentucky Derby in 2009. Rated PG-13. 110 minutes. Regal Stadium 14, Santa Fe DreamCatcher, Española. (Not reviewed) GLORIA In Santiago, Chile, an outgoing sexy divorcée with a youthful spirit (Paulina García) makes a fresh start at dating in this lighthearted but keenly observed film about the challenges of finding love later in life. After meeting a former naval officer (Sergio Hernández) who owns a paintball park, Gloria is swept into a whirlwind romance. She’s a woman seeking freedom from the past, and he’s a man who can’t let go of his. García gives a strong but measured performance as Gloria. Rated R. 110 minutes. In Spanish with subtitles. Regal DeVargas, Santa Fe. (Michael Abatemarco)
GOD’S NOT DEAD Kevin Sorbo (TV’s Hercules: The Legendary Journeys) plays a college professor who loses his faith and teaches his students that God is dead, until a plucky freshman (Shane Harper) challenges him. Willie Robertson, one of the Duck Dynasty dudes, appears as himself. Rated PG. 113 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) GRAND PIANO A nerdy young concert pianist plays his comeback performance while fending off malefactors who promise to kill him and his movie-star girlfriend unless he renders a flawless interpretation of four reputedly unplayable measures that will engage a mechanism that will release a key that will unlock a safe in an overseas bank vault. Director Eugenio Mira’s principal blunder is his failure to decide whether this is a suspense thriller or a camp comedy. Should you attend, you can help him out by imagining the pianist as played not by bewildered Elijah Wood but instead by Pee-wee Herman, which is actually not hard to visualize and, in one fell swoop, could make the experience perversely enjoyable. Rated R. 90 minutes. Jean Cocteau Cinema, Santa Fe. (James M. Keller) IF YOU BUILD IT Designers Emily Pilloton and Matthew Miller work on a series of projects with a highschool class in North Carolina. The premise of the studio they establish “is inspired by this raw and unadulterated talent and creativity and brilliance that youth have,” Pilloton says, “and that I think we just see being drained out of them systematically, and it breaks my heart.” The couple’s journey with the students — from drawings to models to a new market building for the town — is gloriously transformative. No rating. 85 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) THE LEGO MOVIE Emmet Brickowski (voiced by Chris Pratt) is an ordinary LEGO worker in a city where everyone follows instructions to build the perfect world. Then Brickowski learns from some rebels that he can build whatever he wants, and they set out to defeat the evil President. What sounds like a long commercial is one of the best family films in recent years, with subversive humor, nifty twists, wild visuals, catchy music, guest spots by the likes of Batman, and an anarchic plot that snaps together as perfectly as a certain plastic toy. Rated PG. 101 minutes. Screens in 2-D only at Regal DeVargas, Santa Fe. (Robert Ker)
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THE MONUMENTS MEN During World War II, the U.S. put together a team of art scholars and academics under the aegis of the military to try to locate art treasures looted by the Nazis. As the war wound down, it became apparent that the Germans were prepared to destroy these works if they couldn’t keep them. George Clooney, wearing the hats of writer, director, producer, and star, has crafted a hugely enjoyable old-fashioned war movie in the tradition of The Dirty Dozen out of this gripping, funny, and moving material. Rated PG-13. 118 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) MR. PEABODY & SHERMAN Those old enough to have watched The Rocky and Bullwinkle Show may remember “Peabody’s Improbable History,” a smart segment about the time travels of a brilliant beagle and his human. This adaptation, which complicates those goofy adventures considerably, will remind you that this concept worked better in 5-minute doses. Some terrific animation, good gags, and cute characterizations don’t quite offset the general lack of excitement and jokes based on stale internet memes. Rated PG. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) MUPPETS MOST WANTED The latest Muppet caper involves an evil doppelgänger Kermit who tries to pull off the crime of the century while the real Kermit languishes in a Siberian gulag. The jokes land more often than in typical Hollywood comedies, and the music is uniformly wonderful and plentiful. However, parents will like it more than kids, and even parents will find it too long. As the great Statler once said, “They could improve this whole show if they just changed the ending … by putting it closer to the beginning!” Ooooh-ho-ho-hoho-ho! Rated PG. 112 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)
spicy
medium
bland
heartburn
mild
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PASATIEMPO I March 28-April 3, 2014
NEED FOR SPEED The Fast and the Furious franchise is widely loved and only shifting to higher gears of popularity, so the imitators are starting to get the green light. Need for Speed hews so close to the Furious make and model that it features a multicultural band of outlaws who crack wise and drive colorful cars in an attempt to pull off a wild heist. Starring Aaron Paul of Breaking Bad. Rated PG-13. 124 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
300: RISE OF AN EMPIRE In the years since the 2006 blockbuster 300, there’s been no shortage of movies attempting to copy that film’s distinct visual style and Roman-era subject matter. So, finally, here is an official follow-up — but without Zack Snyder as director (he co-writes and produces) or star Gerard Butler, is this still Sparta? The plot centers on greased-up, shirtless men waving swords and shouting. Rated R. 103 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española.(Not reviewed)
NON-STOP An ordinary trans-Atlantic flight is terrorized by someone who threatens to kill all the passengers on board. Fortunately, one of those passengers is a federal air marshal. Unfortunately, the terrorist has a vendetta against this marshal. Fortunately, the marshal is played by Liam Neeson. Go get ’em, Liam! Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)
TIM’S VERMEER There are two essential questions posed by this richly entertaining movie created by Penn and Teller around a quixotic experiment by their friend Tim Jenison, a tech multimillionaire. One: Did Johannes Vermeer use optical devices to create his extraordinary paintings? Two: If he did, does that make them less extraordinary? Jenison embarks upon what can only be described as an obsessive quest as he sets out to prove that he, a non-artist, can produce a Vermeer using optics available in 17th-century Holland. Rated PG-13. 80 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards)
OMAR This follow-up to writer-director Hany Abu-Assad’s acclaimed 2005 feature Paradise Now is about a group of friends who want to fight the Israeli occupation of Palestine. Omar is a love story of the Shakespearean sort and a chess-piece political thriller with chase scenes worthy of James Bond or Jason Bourne. The film creates a lovely, detailed portrait of daily life in the West Bank and then reveals the way ongoing political unrest casts a shadow over it all. It’s a story about love, coercion, oppression, and betrayal — of the political and personal sort. Not rated. 96 minutes. In Arabic and Hebrew with subtitles. The Screen, Santa Fe. (Laurel Gladden) PHILOMENA Steve Coogan plays a down-on-his-luck journalist who takes on a human-interest story by bringing an Irish woman ( Judi Dench) to America to find her long-estranged son. The setup suggests a lighthearted, odd-couple comedy — and there are laughs — but the material runs much deeper and darker than that. Before director Stephen Frears is done, we’ve pondered aging, forgiveness, the existence of God, and how well we can truly know another person. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Robert Ker) SON OF GOD Diogo Morgado plays Jesus Christ in this biopic, which covers everything from Christ’s birth to death in epic, action-movie style. Some afternoon screenings at Regal Stadium 14 are dubbed in Spanish. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
WALKING THE CAMINO: SIX WAYS TO SANTIAGO This documentary looks at a few of the many people who walk across northern Spain on the pilgrimage path known as the Camino de Santiago. Not rated. 84 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed)
other screenings Jean Cocteau Cinema Noon & 4:30 p.m. Sunday, March 30: The Bad News Bears (1976). 2:15 p.m. & 8:30 p.m. Sunday, March 30: Bull Durham. 6:45 p.m. Sunday, March 30 & 8:30 p.m. Tuesday, April 1: Bang the Drum Slowly. 6:30 p.m. Tuesday, April 1: Off on the Horizon Shorts Collection. 6:30 p.m. Wednesday, April 2: Women’s Voices Shorts Collection. 8:30 p.m. Wednesday, April 2: One Man’s Hero. Regal Stadium 14 2 p.m. Sunday, March 30; 2 & 7 p.m. Wednesday, April 2: Silence of the Lambs. 8 p.m. Thursday, April 3: Captain America: The Winter Soldier. Screens in 3-D and 2-D. ◀
WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old PecosTrail, 505-982-1338, www.ccasantafe.org Enemy (R) Fri. to Sun. 5 p.m., 8:45 p.m. Mon. 3:45 p.m., 8 p.m. Tue. to Thurs. 3:30 p.m., 7:45 p.m. The Face of Love (PG-13) Fri. to Sun. 1:45 p.m., 3:45 p.m. Mon. and Tue. 2:15 p.m. Wed. and Thurs. 12 p.m., 2:15 p.m. If You Build It (NR) Fri. to Sun. 1 p.m. Panic in the Streets (NR) Mon. 7 p.m. Particle Fever (NR) Fri. to Sun. 5:45 p.m., 8 p.m. Mon. 4:30 p.m. Tue. to Thurs. 4:30 p.m., 6:45 p.m. Tim’s Vermeer (PG-13) Fri. to Sun. 11:45 a.m., 7 p.m. Mon. 5:45 p.m. Wed. and Thurs. 5:45 p.m. Walking the Camino: Six Ways to Santiago (NR) Fri. to Sun. 11 a.m., 3 p.m. Mon. 1:45 p.m. Tue. to Thurs. 1:30 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528 www.jeancocteaucinema.com Amelie (R) Fri. 3:45 p.m. Wed. 2 p.m. Thurs. 4:15 p.m. Ashes and Diamonds (NR) Fri. 1:30 p.m. Thurs. 2 p.m. The Bad News Bears (PG) Sun. 12 p.m., 4:30 p.m. Bang the Drum Slowly (PG) Sun. 6:45 p.m. Tue. 8:30 p.m. Boys of Abu Ghraib (R) Fri. 6:45 p.m. Thurs. 6:45 p.m. Bull Durham (R) Sun. 2:15 p.m., 8:30 p.m. Game of Thrones (NR) Sat. 10:30 a.m., 1:30 p.m. Grand Piano (R) Fri. 9 p.m. Wed. 4:15 p.m. Thurs. 8:45 p.m. Off on the Horizon Shorts Collection
Tue. 6:30 p.m.
One Man’s Hero (R) Wed. 8:30 p.m. Women’s Voices Shorts Collection Wed. 6:30 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com American Hustle (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Gloria (R) Fri. and Sat. 1:40 p.m., 4:20 p.m., 7:40 p.m., 10:10 p.m. Sun. to Thurs. 1:40 p.m., 4:20 p.m., 7:40 p.m. The Grand Budapest Hotel (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. The Lego Movie (PG) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:20 p.m., 9:45 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:20 p.m. The Monuments Men (PG-13) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. Philomena (PG-13) Fri. and Sat. 1:20 p.m., 3:50 p.m., 6:50 p.m., 9:55 p.m. Sun. to Thurs. 1:20 p.m., 3:50 p.m., 6:50 p.m. REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com 300: Rise of an Empire (R) Fri. to Wed. 3 p.m., 5:30 p.m., 8 p.m. 300: Rise of an Empire 3D (R) Fri. to Wed. 12:20 p.m., 10:30 p.m. 50 to 1 (PG-13) Fri. to Wed. 12 p.m., 2:35 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m. Captain America:The Winter Soldier (PG-13) Thurs. 8 p.m., 10 p.m. Captain America:The Winter Soldier 3D (PG-13) Thurs. 8:15 p.m., 10:10 p.m. Cesar Chavez (PG-13) Fri. to Wed. 10 p.m. Spanish Dubbed Fri. to Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m. Divergent (PG-13) Fri. to Sun. 12:10 p.m., 12:25 p.m., 3:30 p.m., 4 p.m., 6:55 p.m., 7:10 p.m., 10:05 p.m., 10:20 p.m. Mon. to Wed. 12:10 p.m., 12:25 p.m., 3:30 p.m., 4 p.m., 6:55 p.m., 7:10 p.m., 10:05 p.m., 10:20 p.m. God’s Not Dead (PG) Fri. to Wed. 12:45 p.m., 4:10 p.m., 7:05 p.m., 9:55 p.m. Mr. Peabody & Sherman (PG) Fri. to Wed. 2:35 p.m., 5:05 p.m., 7:35 p.m., 10:05 p.m. Mr. Peabody & Sherman 3D (PG) Fri. to Wed. 12:05 p.m.
Muppets Most Wanted (PG) Fri. and Sat.
12:05 p.m., 12:55 p.m., 3:15 p.m., 3:45 p.m., 7 p.m., 9:45 p.m. Sun. 12:55 p.m., 3:45 p.m., 7 p.m., 7:30 p.m., 9:45 p.m., 10:15 p.m. Mon. and Tue. 12:05 p.m., 12:55 p.m., 3:15 p.m., 3:45 p.m., 7 p.m., 7:30 p.m., 9:45 p.m., 10:15 p.m. Wed. 12:55 p.m., 3:45 p.m., 7 p.m., 9:45 p.m., 10:15 p.m. Need for Speed (PG-13) Fri. to Wed. 12:50 p.m., 4:10 p.m., 7:15 p.m., 10:20 p.m. Noah (PG-13) Fri. and Sat. 1 p.m., 4:05 p.m., 4:35 p.m., 7:10 p.m., 7:25 p.m., 7:40 p.m., 10:15 p.m., 10:30 p.m. Fri. to Wed. 1:30 p.m. Spanish dubbed Sun. to Wed. 1 p.m., 4:05 p.m., 4:35 p.m., 7:10 p.m., 7:40 p.m., 10:15 p.m. Non-Stop (PG-13) Fri. to Wed. 4:45 p.m., 7:50 p.m., 10:25 p.m. Sabotage (R) Fri. to Wed. 1:30 p.m., 4:20 p.m., 7:20 p.m., 10:10 p.m. The Silence of the Lambs (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Son of God (PG-13) Fri. to Wed. 1:15 p.m. THE SCREEN
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Bolshoi Ballet: Marco Spada (NR) Sun. 9 a.m. Elaine Stritch: Shoot Me (NR) Fri. and Sat. 2:15 p.m., 4:10 p.m., 6 p.m. Sun. 1 p.m., 3 p.m. Mon. 2:15 p.m., 4:10 p.m., 6 p.m. Tue. and Wed. 2:15 p.m. Thurs. 2:15 p.m., 4:10 p.m., 6 p.m. NightTrain (NR) Sat. 12 p.m. Omar (NR) Fri. and Sat. 7:45 p.m. Sun. 5 p.m. Mon. 7:45 p.m. Tue. 4 p.m. Thurs. 7:45 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 300: Rise of an Empire (R) Fri. 4:45 p.m., 7:25 p.m., 9:45 p.m. Sat. Sun. 2:20 p.m., 4:45 p.m., 7:25 p.m. Mon. to Thurs. 4:45 p.m., 7:25 p.m. 50 to 1 (PG-13) Fri. 4:55 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:20 p.m. Mon. to Thurs. 4:55 p.m., 7:20 p.m. Divergent (PG-13) Fri. 4:50 p.m., 7:50 p.m. Sat. and Sun. 1:50 p.m., 4:50 p.m., 7:50 p.m. Mon. to Thurs. 4:15 p.m., 7:10 p.m. God’s Not Dead (PG) Fri. 4:45 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. Mr. Peabody & Sherman (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Muppets Most Wanted (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Need for Speed (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Noah (PG-13) Fri. 4:40 p.m., 7:40 p.m. Sat. and Sun. 1:45 p.m., 4:40 p.m., 7:40 p.m. Mon. to Thurs. 4:15 p.m., 7:15 p.m. Sabotage (R) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Son of God (PG-13) Fri. 4:40 p.m., 7:35 p.m. Sat. and Sun. 1:50 p.m., 4:40 p.m., 7:35 p.m. Mon. to Thurs. 4:20 p.m., 7:20 p.m.
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RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Hoagie’s heros Bambini’s 905 S. St. Francis Drive (in front of Ski Tech), 505-699-2243, www.bambinissantafe.com Lunch 11 a.m.-3 p.m. Mondays-Saturdays, closed Sundays Takeout and nearby table seating Vegetarian options Handicapped accessible Noise level: traffic from St. Francis Drive No alcohol Credit cards, no checks
•
The Short Order For expatriated Philadelphians or anyone who loves a classic cheese steak sandwich, things are looking up. Steve Pompei, his son-in-law Chip Storm, and his daughter Lynsey Pompei-Storm bring you Bambini’s, a shiny silver, blue, and red truck anchored in front of the Ski Tech shop on St. Francis Drive. The menu offers traditional Philly cheese steaks, cold Italian-style hoagies, barbecue and Buffalo chicken spins, and a few other options, including some for vegetarians. Lynsey and Steve are cheerful and friendly and have that facial recognition you want at a neighborhood eatery, remembering customers by name and, if you eat there often enough, asking you if you want “the usual.” Don’t forget to heed Clemenza’s advice from The Godfather: Take the cannoli. Recommended: original cheese steak, Greek steak, falafel hoagie, fries, onion rings, and cannoli.
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
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PASATIEMPO I March 28 -April 3, 2014
What do you call it when someone is overly hopeful about the quality of their cheese steak? Whizful thinking. The origin of that, ahem, cheesy old joke is probably due to the fact that restaurants across America feel compelled to create their own versions of the classic Philly cheese steak sandwich, often with disappointing results. I’ve even been to Japanese restaurants that try to turn it into sushi. I shudder to think. The cheese steak’s basic form is well established. The bread should be slightly chewy — many purists will turn up their noses at any bread not from the Philly-based Amoroso Baking Company. The meat should be thinly sliced and redolent of the searing hot griddle it’s slapped around on for a few minutes. You might want the full-flavored, slightly caramelized sliced onions. The cheese can be American, provolone, or Cheez Whiz, the processed food product that’s anathema to gourmands almost everywhere but here. For expatriated Philadelphians who long for the classic street food of home, things are looking up. Steve Pompei, who was a chef at the Palace restaurant in the 1980s, has teamed up with his son in-law Chip Storm and his daughter Lynsey Pompei-Storm to open Bambini’s, a silver, sky-blue, and red food truck anchored in front of the Ski Tech shop on St. Francis Drive. Bambini’s offers traditional Philadelphiastyle cheese steaks along with a few variations, including one with added green chile, as well as cold Italian-style hoagies, barbecue and Buffalo chicken spins, and a few other options. You’ll probably see Lynsey or Steve — maybe both — behind the window where you order. They’re both cheerful and friendly and eager to offer suggestions. They have that facial recognition one hopes for in an everyday neighborhood eatery — they know many customers by name, and if you eat there often enough, as you stroll up, they’ll ask you if you want “the usual.” On one chilly afternoon, while we waited for our original cheese steak, my dining companion, who lived in Philadelphia for many years, peeked through the truck window to scrutinize its preparation and slowly began nodding in silent approval. “He’s got the technique,” he said, and then I swear I saw him licking his lips. What arrived at our table — there are a few on the sidewalk outside Ski Tech — was a no-nonsense hunk of sandwich. On pillowy soft, mildly sweet bread — yes, shipped in from Amoroso — was thinly sliced smoking-hot juicy Angus beef; slick, soft, savory onions; and a river of gooey Creamsicle-orange sauce. It’s not a tidy undertaking. If you plan to try to eat one of these in your car, grab plenty of napkins. If meat isn’t your thing, don’t despair. Bambini’s has two solid vegetarian options. The eggplant Parm tops that chewy, sweet roll with breaded and fried discs of not-at-all slimy eggplant, melted cheese, and a healthy ladleful of a bright, robust, and hearty “red gravy” (otherwise known as marinara). The eggplant offered just the tiniest bit of firmness, which kept the sandwich as a whole from coming across like a giant soft, saucy mess. It’s about as filling a vegetarian meal
as you can get, but it most certainly should not be mistaken for health food. The falafel hoagie is a little less of a gut-bomb. Appropriately russet and crunchy, the falafel nuggets were a bit crumbly and dry but with addictively starchy sweetness and mildly herby. Tumbled over them are chunks of soft, snowy, mouthwateringly tangy feta; hunks of tomato and cucumber; and a blanket of shredded lettuce. Similar in construction is the not-as-good-as-the-cheese-steak but still generally delicious “Greek steak,” something similar to a gyro, with thinly sliced meaty beef, feta, tomatoes, cukes, and lettuce. In both of those cases, the only real problem was the construction: the tzatziki sauce is dappled onto the bread below the falafel and the meat and ends up soaking into the bread, making the center of the sandwich wet and dense. The veggies and ribbons of lettuce lie loose on top, tumbling off easily. Drizzling sauce on top would dress the greenery and help hold it in place. But I’m picking nits here. Everything we sampled at Bambini’s was solid — down to the onion rings and fries. Served in a paper cup, our starchy, golden, steaming-hot fries were just greasy enough to hold on to the salt. Rather than slipping out of their nubbly brown beer-batter coat, the rings of onion clung tenaciously to their crunchy crust. Plain and chocolate-coated cannoli are on the menu as well — and you can add a shower of whole salted pistachios for just 50 cents extra. The tubular shell is firm and crunchy, the ricotta-based filling fluffy and sweet. A good cannoli is hard to come by, so heed Clemenza’s advice from The Godfather: Take the cannoli. ◀
Lunch for two at Bambini’s: Original cheese steak ......................................... $ 8.79 Eggplant Parm ................................................... $ 8.99 Onion rings ........................................................ $ 3.79 Mango tea .......................................................... $ 2.00 Water ................................................................. $ 1.50 TOTAL ............................................................... $25.07 (before tax and tip) Lunch for two, another visit: Greek steak ........................................................ $ 8.99 Falafel hoagie ..................................................... $ 8.99 Fries ................................................................... $ 1.99 TOTAL ............................................................... $19.97 (before tax and tip)
Spring Dinner and Auction Celebrating the school’s environmental science program Project PRESERVE Live Music from Mala Maña Silent and Live Auctions • Yummy Family Style Dinner
Tons of Fun Bring your friends Saturday, April 12, 2014 5:30-10:30 PM Inn and Spa at Loretto
Tickets $75
CALL 505-820-3188 FOR TICKETS Walter H. Ganz Endownment Fund in honor of Shawna Crist- Ruiz and Elaine Sullivan • US Bank • Alston C. Lundgren, MD • Sheila Vaughn • Joan Brooks Baker • Spartan Security Systems • Gordon & Hale, P.C. • EL Gancho • Patrick Flanagan and Cecile Keal Lake Peak Associates •
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Now Offering:
Friday, April 4th at the Collected Works Bookstore in Santa Fe “El Caballo” 5 pm to 7 pm – This is a free event
Saturday, April 5th at the Palace of the Governors Museum Auditorium in Santa Fe 10:30 am: 2:30 pm: “Wild Horses and Renegades” “Wild Horse, Wild Ride” 1:00 pm: 5:00 pm: “She Had Some Horses” “Running Wild” Tickets are $5.00 for each film.
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Trusted in Santa Fe for over 27 years 505-989-8749 gabrielroybal.com • 444 st. michaels dr. • santa fe, n.m.
You need to buy in advance as there are no ticket sales at the auditorium. Tickets available through http://tickets.ticketssantafe.org/ or go to the Lensic Box Office. For more information about the Wild Horse Film Showcase and the films we are showing, go to cimarronskydog.org or call: (505) 454-3894. Event sponsored by Cimarron Sky-Dog Reserve, a New Mexico wild horse sanctuary. Photo by Stephen Lang
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The Lensic & the Spanish Colonial Arts Society present
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t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n
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LEARN MORE. sfcc.edu | 505-428-1000
Empower Students, Strengthen Community.
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PASATIEMPO I March 28 - April 3, 2014
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pasa week
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
TO LIST EVENTS IN PASA WEEK: Send an email or press release two weeks before our Friday publication date to: pasa@sfnewmexican.com SUBMISSION GUIDELINES Provide the following details for each event/occurrence: • • • • •
Time, day, and date Place/venue and address Website and phone number Brief description of event Tickets? Yes or no. How much?
All submissions are welcome, however, events are included in Pasa Week as space allows.
Friday, March 28 GALLERY/MUSEUM OPENINGS
333 Montezuma Arts 333 Montezuma Ave., 505-988-9564. The Art of Systems Biology and Nanoscience, watercolors and illustrations by David Goodsell; microscopy images and videos by UNM and LANL researchers; on view 4-8:30 p.m., lecture by Sandra Schmid of University of Texas Southwest Medical Center 6 p.m., closing Saturday, no charge. Adobe Gallery 221 Canyon Rd., 505-955-0550. Contemporary and traditional Navajo paintings, pottery, rugs, and silverwork, reception 5-7 p.m. Catenary Art Gallery 616 ½ Canyon Rd., 505-982-2700. Gallery grand opening 5-7 p.m. Chiaroscuro Contemporary Art 702 ½ Canyon Rd., 505-992-0711. Spring Thaw, annual group show, reception 5-7 p.m. Evoke Contemporary 550 S. Guadalupe St., 505-995-9902. New location grand opening, works by Steve Huston, Nicholas Herrera, and Victor Wang, reception 5-7 p.m., through April. Fine Art Framers 1415 W. Alameda St., 505-982-4397. Off the Grid, mixed-media work by Naomi Tatum, reception 6-8 p.m., through Sunday. LewAllen Galleries 1613 Paseo de Peralta, 505-988-3250. Glass artist Lucy Lyon’s Sandy Hook Elementary School memorial, reception 5-7 p.m., through April 20. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Bits and Pieces, works by Karina Hean, Catherine Gangloff, and Michel Déjean, reception 5-7 p.m., through April 19 (See story, Page 32)
Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Pasa Kids............................ 52
Lindsay Adler’s works are featured in the Santa Fe Photographic Workshops Instructor Image Presentation series, Monday, March 31, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd.
CLASSICAL MUSIC
Music on Barcelona String and woodwind compositions by Glass and Danzi, 5:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., no charge. TGIF recital Eternal Summer String Orchestra directed by William Houston, music of Bach, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.
IN CONCERT
Bella Gigante: Torch Songs Doors open at 8 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $10 at the door, 505-988-9232. Santa Fe Music Collective The jazz series continues with New York bassist Earl Sauls, joined by Brian Bennett on piano and John Trentacosta on drums, 7 p.m., Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org.
In the Wings....................... 53 At the Galleries.................... 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55
Sounds of Santa Fe 2 Local musicians showcase series; featuring Luke Carr’s Storming the Beaches With Logos in Hand, Ben Wright, and iNK oN pAPER, 7:30 p.m., Lensic Performing Arts Center, $12, 505-988-1234, ticketssantafe.org.
THEATER/DANCE
The Lyons gala opening Santa Fe Playhouse presents Nicky Silver’s drama, reception 6:30 p.m., curtain 7:30 p.m., 142 E. De Vargas St., $30, 505-988-4262, continues Thursdays-Sundays through April 13. Flamenco Fiesta! 2014 Dancer Juan Siddi, choreographer/dancer Mina Fajardo, guitarist Chuscales, percussionist Alejandro Valle, and singer Vicente Griego, 6 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $20, 505-424-1601. Southwest Irish Theater Festival Theaterwork presents Molly Sweeney by Brian Friel, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $5 at the door, visit twnm.org for full schedule.
Zircus Erotique Burlesque Company The Birds & the Bees Burlesque Show, 9 p.m., doors open at 8 p.m., The Lodge at Santa Fe, 750 N. St. Francis Dr., $15 in advance, VIP tickets $20, zeburlesque.com.
OUTDOORS
Enchanted Hikes The City of Santa Fe Recreation Division offers easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, 10 a.m.noon Fridays, March 14-28; Session II, 11 a.m.1 p.m., Saturdays, March 15-29, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., $20, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com. Twilight hike A leisurely guided hike through the hills surrounding the village of Cerrillos, 7-9 p.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, meet at the main parking lot a half mile north of the village, $5 per vehicle, 505-474-0196. ▶▶▶▶▶▶▶▶
calendar guidelines
Please submit information and listings for Pasa Week no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 505-820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 505-986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM
49
EVENTS
Randall Davey house tours Docent-led tours, 2 p.m. weekly on Friday, Randall Davey Audubon Center, 1800 Upper Canyon Rd., $5, RSVP to 505-983-4609.
NIGHTLIFE
(See addresses below) Cowgirl BBQ Folk singer/songwriter Melissa Gail Klein, 5-7:30 p.m.; Sean Healen Band, folk rock, 8:30 p.m.; no cover. Duel Brewing Hot Honey, American Gothic bluegrass band, 7-10 p.m., no cover. El Farol Soul Foundation, Latin jazz, 9 p.m., call for cover. La Fiesta Lounge at La Fonda C.S. Rockshow, with Don Curry, Pete Springer, and Ron Crowder, 8-11 p.m., no cover. Lodge Lounge at The Lodge at Santa Fe Pachanga! Club Fridays with DJ Gabriel “Aztec Sol” Ortega spinning salsa, cumbia, bachata, and merenge, dance lesson, 8:30-9:30 p.m., call for cover. Palace Restaurant & Saloon Funn Addix, 10 p.m., call for cover. Pranzo Italian Grill David Geist, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Bill Hearne Trio, classic country, 6-9 p.m., no cover. Second Street Brewery at the Railyard The Acadian Drifters, blues and bluegrass, 7-10 p.m., no cover. Shadeh DJ Flo Fader, 9 p.m.-4 a.m., call for cover.
317 Aztec 20-0150 317 Aztec St., 505-8 the Inn at ge Agoyo Loun a ed am Al e th on 505-984-2121 303 E. Alameda St., nt & Bar Anasazi Restaura Anasazi, the of Rosewood Inn e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra e dg Lo ’s op sh Bi Rd., 505-983-6377 1297 Bishops Lodge Café Café 5-466-1391 500 Sandoval St., 50 ó ay Casa Chim 5-428-0391 409 W. Water St., 50 ón es M ¡Chispa! at El 505-983-6756 e., Av ton ing ash W 213 Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r 132 W. Wate Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e th El Cañon at 88-2811 5-9 50 , St. al ov nd Sa 100
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PASATIEMPO I March 28-April 3, 2014
Tiny’s Guitarist Chris Abeyta, 5:30-8 p.m.; Underground Cadence, R & B, 8:30 p.m.; no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.
29 Saturday GALLERY/MUSEUM OPENINGS
333 Montezuma Arts 333 Montezuma Ave., 505-988-9564. The Art of Systems Biology and Nanoscience, watercolors and illustrations by David Goodsell; exhibit of microscopy images and videos by UNM and LANL researchers; on view 10 a.m.-7:30 p.m.; kid-friendly interactive experiments 10 a.m.-3 p.m.; artist talk with Goodsell 3:30 p.m.; lecture by Diane Lidke of UNM 5:30 p.m., no charge. La Tienda Exhibit Space 7 Caliente Rd., Eldorado, 505-428-0024. Two Views One Vision, works by Pablo Perea and Linda Storm, reception 5 p.m.
IN CONCERT
Alan Pasqua Jazz pianist, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $25, 505-984- 6118. (See story, Page 20) American Jem Dance music by Jay Cawley, Ellie Dendahl, and Michael Umphrey, guitars and vocals, 6 p.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, $10 at the door. Joe Ely Alternative country singer/songwriter, with David Ramirez, 8 p.m., Santa Fe Sol Stage & Grill, 37 Fire Place, $32 in advance, $40 at the door, 505-988-1234, ticketssantafe.org.
PASA’S LITTLE BLACK BOOK Spa Eldorado Hotel & St., 505-988-4455 o 309 W. San Francisc El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr & r Ba El Paseo 5-992-2848 208 Galisteo St., 50 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 5-4 50 , ne La er 2811 Sil Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 1600 Lena St., 505-4 La Boca 5-982-3433 72 W. Marcy St., 50 ina La Casa Sena Cant 5-988-9232 50 125 E. Palace Ave., at La Fonda La Fiesta Lounge , 505-982-5511 St. 100 E. San Francisco a Fe Resort nt La Posada de Sa e Ave., lac Pa E. 0 33 a and Sp 505-986-0000 g Arts Center Lensic Performin St., 505-988-1234 o isc 211 W. San Franc
San Miguel Chapel Concert Series Voices of the Wind, Balkan folk-music ensemble Rumelia, with Paul Brown, traditional and Sephardic music of Turkey and Greece, 7:30 p.m., San Miguel Church, 401 Old Santa Fe Trail, $15 in advance, $10-$20 suggested donation at the door, rumeliamusic.com. (See story, Page 24) Scott & Johanna Hongell-Darsee Medieval and traditional ballads, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.
THEATER/DANCE
The Lyons Santa Fe Playhouse presents Nicky Silver’s drama, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 505-988-4262, santafeplayhouse.org. Southwest Irish Theater Festival Theaterwork presents A White Notebook by Leslie Harrell Dillen and Cathleen ni Houlihan by W.B. Yeats, 2 p.m., The Cordelia Dream, a play by Marina Carr, follows at 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $5 at the door, visit twnm.org for full schedule.
BOOKS/TALKS
Craig Varjabedian The local photographer discusses and signs copies of Landscape Dreams, 5-7 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321. Santa Fe Council on International Relations lecture Crisis and Confrontation in 16th-Century New Mexico: People of Stone and People of Steel, with Alan Osborne, cofounder of Southwest Seminars, 3 p.m., The Forum, SFUA&D, 1600 St. Michael’s Dr., $10, 505-982-4931, sfcir.org.
Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 N.M. 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705
OUTDOORS
Bird-watching walks Led by local enthusiasts every Saturday, 8 a.m., Randall Davey Audubon Center, 1800 Upper Canyon Rd., no charge, 505-983-4609.
EVENTS
Game of Thrones: Season 4 premiere Screening in Spanish 10:30 a.m.; screening in English 1:30 p.m.; Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528. Look for the throne used in the HBO series at Sanbusco Center, 500 Montezuma Ave., from 9:30 a.m. to 5 p.m. LitQuest 2014 Partners in Education Foundation gala event; dinner, dancing, and silent and live auctions; invited writers include Carmella Padilla, Arthur Sze, and Don Usner, salon and saloon 5 p.m., party 6 p.m., Buffalo Thunder Resort & Casino, 30 Buffalo Thunder Trail, $125 party only, $250 salon, saloon, and party, litquestgala.org. Paper Dosa Collaborative event between the owners of the San Francisco restaurant Dosa and the local art collective SCUBA in support of the CCA; sample South Indian fare on handmade plates, 7-10 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $50, 505-982-1338.
NIGHTLIFE
(See addresses below) Anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover. ¡Chispa! at El Mesón J.Q. Whitcomb Jazz Quartet, 7:30 p.m., no cover.
Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008
Cowgirl BBQ Kitty Jo Creek, bluegrass and cowboy-jazz, 2-5 p.m.; Busy + The Crazy 88, hipster-pop, 8:30 p.m., no cover. Duel Brewing Alex Maryol, indie rock, 7-10 p.m., no cover. El Farol Girls Night Out, rock, 9 p.m., call for cover. La Fiesta Lounge at La Fonda C.S. Rockshow, with Don Curry, Pete Springer, and Ron Crowder, 8-11 p.m., no cover. Pranzo Italian Grill David Geist and Julie Trujillo, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Singer/songwriter Eryn Bent, 6-9 p.m., no cover. Second Street Brewery at the Railyard MVIII Jazz Project, 7-10 p.m., no cover. Shadeh DJ Flo Fader, 9 p.m.-4 a.m., call for cover. Sweetwater Harvest Kitchen John Serkin, Hawaiian slack-key guitar, 6 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover.
Southwest Seminars lecture The series continues with Macrocosm and Microcosm in Southwestern Archaeology: A Historical Perspective, with Flagstaff-based anthropologist David Wilcox, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775, southwestseminars.org.
EVENTS
Swing dance Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m. Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 505-473-0955.
NIGHTLIFE
(See Page 50 for addresses) Duel Brewing James T. Baker, Delta blues, 6-9 p.m., no cover. El Farol Tiho Dimitrov, R & B, 8:30 p.m., no cover. La Fiesta Lounge at La Fonda Cathy Faber’s Swingin’ Country Band, 7:30-11 p.m., no cover. Vanessie Geist cabaret with pianist David Geist, 6:30-9:30 p.m., call for cover.
30 Sunday
1 Tuesday
GALLERY/MUSEUM OPENINGS
CLASSICAL MUSIC
Rock Paper Scissor Salonspa Sanbusco Market Center. 500 Montezuma Ave., 505-955-8500. Crosses and Hearts, group show, reception 3-5 p.m.
Vadym Kholodenko 2013 Van Cliburn Piano Competition winner, music of Schumann, Brahms, and Chopin, 7:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, for tickets call the Santa Fe Concert Association, 505-984-8759, or ticketssantafe.org, 505-988-1234.
IN CONCERT
Melanie Monsour Piano recital with Paul Brown on bass, noon2 p.m., Museum Hill Café, 710 Camino Lejo, melaniemonsour.com, no charge. Santa Fe Men’s Camerata Journeys: Music of America and Scotland, directed by Karen Marrolli, 3 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students under 18 no charge.
THEATER/DANCE
The Lyons Santa Fe Playhouse presents Nicky Silver’s drama, 4 p.m., 142 E. De Vargas St., $20, discounts available, 505-988-4262, santafeplayhouse.org. Performance at The Screen The broadcast series continues with the Bolshoi Ballet in The Golden Age at Moscow’s Bolshoi Theatre, 9 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, thescreensf.com, 505-473-6494. Southwest Irish Theater Festival Theaterwork presents All the Doors Swing Wide! Irish music and poetry, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $5 at the door, visit twnm.org for full schedule.
BOOKS/TALKS
Artist-in-residence talk and open studio Artist/filmmaker Courtney Leonard discusses her work, open studio noon-4 p.m., talk 2-3 p.m., Museum of Contemporary Native Arts, 108 Cathedral Place, by museum admission, 505-983-1666, iaia.edu/ museum.
THEATER/DANCE
Guru of Chai Jacob Rajan’s one-man portrayal of modern India, 7:30 p.m., the Lensic, 211 W. San Francisco St., $15-$35, 505-988-1234, ticketssantafe.org. (See story, Page 28) Hulleah Tsinhnahjinnie: The Three Graces, in the exhibit Native American Portraits: Points of Inquiry, Museum of Indian Arts and Culture, 710 Camino Lejo, Museum Hill. Journey Santa Fe Presents Melting Ice: The Fate of America’s Alpine Glaciers, a slide presentation by science author Christopher White, 11 a.m.; reading and signing of The Melting World: A Journey Across America’s Vanishing Glaciers follows, Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Making the Newspaper of Record Artists with works in the exhibit All the News Fit to Print come together to discuss the show during closing day, 2 p.m., Center for Contemporary Arts Living Room, 1050 Old Pecos Trail, 505-982-1338, ccasantafe.org. Muse Times Two Poetry Series Martha Rhodes and David Mutschlecner read from their respective collections, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ Neil Young tribute band Drastic Andrew & The Cinnamon Girls, noon-3 p.m.; Erin Bent & Troupe Red, indie folk, 8 p.m., no cover.
El Farol Chanteuse Nacha Mendez, 7:30 p.m., call for cover. La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover.
31 Monday CLASSICAL MUSIC
An Evening With Joyce DiDonato Mezzo-soprano, 6:30 p.m., the Lensic, concert only $25-$95, 505-988-1234, ticketssantafe.org; premium seats and dinner $325, tickets available through the Santa Fe Concert Association, 505-984-8759.
BOOKS/TALKS
Santa Fe Photographic Workshops Instructor Image Presentations Open conversation and slide presentation of works by Lindsay Adler, Michael Clark, Colby Brown, and Rick Allred, 8-9 p.m., Sunmount Room, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., no charge, 505-983-1400, Ext. 11.
EVENTS
International folk dances Weekly on Tuesdays, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m., no cover. Cowgirl BBQ Acoustic folk-rock singer-songwriter Carter Sampson, 8 p.m., no cover. Duel Brewing JD Santo, soulful singer/songwriter, 6-8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., call for cover. La Fiesta Lounge at La Fonda Cathy Faber’s Swingin’ Country Band, 7:30-11 p.m., no cover. Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover. ▶▶▶▶▶▶▶▶
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2 Wednesday
PECOS
Civil War reenactment Live rifle and canon demonstrations, speakers, and an encampment marking the 152nd anniversary of the Civil War Battle of Glorieta Pass, reservation-only van tours of the battlefield at 9 a.m., 11:30 a.m., and 2 p.m. Saturday and Sunday, March 29-30, Pecos National Historical Park, Exit 307 off Interstate 25, $3 entrance fee, van tours $2, 505-757-7241.
IN CONCERT
William Tyler Nashville guitarist; Grove of Baal opens, 8:30 p.m., High Mayhem Studio, 2811 Siler Lane, $10 at the door, highmayhem.org.
BOOKS/TALKS
NIGHTLIFE
▶ People who need people Artists
John Vettese
Eliot Porter The docent-led Artist of the Week series continues with a discussion of the late photographer, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075. Lannan Foundation In Pursuit of Cultural Freedom series Sports journalist Dave Zirin in conversation with Alternative Radio director David Barsamian, 7 p.m., the Lensic, $6, 505-988-1234, ticketssantafe.org. (See Subtexts, Page 12) (See Page 50 for addresses) Cowgirl BBQ Barnyard Stompers, rockabilly, punk-rock duo, 8 p.m., no cover. El Farol Guitarist/singer John Kurzweg, 8:30 p.m., no cover. Junction Karaoke Night hosted by Michelle, 10 p.m.-1 a.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover. Palace Restaurant & Saloon Blues/rock guitarist Alex Maryol, 8:30 p.m., call for cover.
William Tyler on stage April 2, at High Mayhem Studio, 2811 Siler Lane.
3 Thursday GALLERY/MUSEUM OPENINGS
Santa Fe Public Library Main Branch 145 Washington Ave., 505-955-6781. Kerri Cottle’s photographic study of Turkey, artist’s slide presentation 5:30-6:30 p.m., reception follows, through April.
THEATER/DANCE
The Lyons Santa Fe Playhouse presents Nicky Silver’s drama, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $10, 505-988-4262, santafeplayhouse.org.
BOOKS/TALKS
Talking Heads
Exhibit panel discussion Curator David Gaussoin and exhibiting artists discuss SFCC’s Visual Arts Gallery show Gray, Matters: An Exhibition of Contemporary Native Art + Design, 1 p.m., Room 711, Fine Arts Center, Santa Fe Community College, 6401 Richards Ave., 505-428-1501.
EVENTS
Backyard Astronomy Live presentation in the SFCC Planetarium, followed by an outdoor viewing, 8 p.m., Santa Fe Community College, 6401 Richards Ave., $5 at the door, discounts available, 505-428-1744. The Commission: Tips and Tools for Artists Workshop presented by Georgia O’Keeffe Museum and Santa Fe Arts Commission, 6 p.m., Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., no charge, 505-955-6705.
NIGHTLIFE
Gray, Matters: An Exhibition of Contemporary Native Art + Design Participating artists discuss the Santa Fe Community College group show with curator David Gaussoin at 1 p.m. Thursday, April 3, Room 711, Fine Arts Center, 6401 Richards Ave., 505-428-1501. Shown: Capricorn, by Cannupa Hanska Luger.
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PASATIEMPO I March 28-April 3, 2014
(See Page 50 for addresses) Cowgirl BBQ Tawnya Reynolds & Don Pedigo, country/Americana/rock, 8 p.m., no cover. El Farol Guitarras con Sabor, Gypsy Kings style, 8 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Trio, Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., call for cover.
Low ’n’ Slow Lowrider Bar at Hotel Chimayó Tenor guitarist and flutist Gerry Carthy, 9 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover.
▶ Elsewhere ALBUQUERQUE
Opera Southwest Bizet’s The Pearl Fishers, 7:30 p.m. Friday, 2 p.m. Sunday, March 28 and 30, National Hispanic Cultural Center, 1701 Fourth St. S.W., $12-$82, 505-243-0591 or 505-724-4771. Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, opening Saturday, March 29, through January 2015, cabq.gov/culturalservices/albuquerquemuseum/general-museum-information. Chatter Sunday The ensemble performs music of Copland and Webern, the spoken-word portion of the program follows with Albuquerque Poet Laureate Hakim Bellamy, 10:30 a.m. Sunday, March 30, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org. Arlo Guthrie 7:30 p.m. Thursday, April 3, KiMo Theatre, 423 Central Ave. N.W., $39$59, ampconcerts.org and holdmyticket.com, 505-886-1251. Outpost Performance Space concerts Jazz vocalist René Marie, 7:30 p.m. Thursday, April 3, $30; Joshua Redman Quartet, jazz saxophonist, 7 and 9 p.m. Friday, April 4, $15; 210 Yale Blvd. S.E., student discounts available for all shows, 505-268-0044, outpostspace.org.
LOS ALAMOS
Mesa Public Library Gallery 2400 Central Ave., 505-662-8247. Santos of New Mexico, work by Charles Carrillo, opens Monday, March 31, through May 2. Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Edith and Tilano: Bridges Between Two Worlds, photographs and artifacts of the homesteaders, reception 4-6 p.m. Tuesday, April 1, through May, 505-662-4493, losalamoshistory.org.
Call for sculpture One-inch-high sculptures sought for The Royal Breadshow; sculptures will be exhibited and then baked into breads; Monday, March 31 deadline; for submission guidelines visit theroyalbreadshow.com or axleart.com. Santa Fe Public Libraries 2014 public-art program Artists may submit applications during a meeting held at 2 p.m. Wednesday, April 2, at the main branch, 145 Washington Ave.; download application forms online at santafelibrary.org; for more information call 505-955-2824 or 505-955-6781.
Community
Nominations for Santa Fe Community Foundation’s 28th Annual Piñon Awards Honoring Santa Fe and Northern New Mexico nonprofit organizations; four categories: Courageous Innovation, Quiet Inspiration, Visionary, and Tried-and-True; visit santafecf.org for guidelines and nomination forms, April 15 deadline. Santa Fe Stories Project The Santa Fe V.I.P. seeks material on the post-World War II era in Santa Fe; to submit stories or images, visit santafestories.com; submissions accepted through Monday, March 31.
Filmmakers/Performers/Writers
Santa Fe Playhouse: 93rd season Accepting proposals from local directors for fall 2014-summer 2015 season; any genre (no original plays considered); 505-988-4262, santafeplayhouse.org, Monday, March 31 deadline.
Volunteers
American Cancer Society Training offered in support of the Cancer Resource Center at Christus St. Vincent Cancer Center; various shifts available during business hours Mondays-Fridays; call Geraldine Esquivel for details, 505-463-0308.
▶ Pasa Kids Santa Fe Children’s Museum Weekly events including open art studio, drama club, jewelry-making club, and preschool programs, 1050 Old Pecos Trail, by museum admission, for ongoing programs and special events visit santafechildrensmuseum.org, 505-989-8359. Santa Fe Women’s Ensemble Join the singers for an hour of fun and music for kids of all ages; drumming, costumes, face painting, and songs, 3 p.m. Saturday, March 29, Santa Fe Public Library, Southside Branch, 6599 Jaguar Dr., no charge, 505-954-4922. Children’s Story Hour Readings from picture books for children up to age 5; 10:45-11:30 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226. ◀
In the wings MUSIC
Fourteenth Annual Nuestra Musica Celebrating New Mexico’s diverse musical heritage, 7 p.m. Friday, April 4, the Lensic, 211 W. San Francisco St., $10, 505-988-1234, ticketssantafe.org. Awna Teixeira and Dan Bern Singer/songwriters, 7 p.m. Saturday, April 5, Gig Performance Space, 1808-H Second St., $25 in advance at brownpapertickets.com. The Met at the Lensic Encore broadcast of Puccini’s La Bohème, 11 a.m. and 6 p.m. Saturday, April 5, $22; live broadcast of Mozart’s Cossi Fan Tutte, 11 a.m. Saturday, April 26, $22-$28; Lensic Performing Arts Center, ticketssantafe.org, 505-988-1234. Celebration of the Enduring American Popular Song Vocalists Patty Stephens and David Jenness with the John Rangel Trio, 4 p.m. Sunday, April 6, Vanessie, 427 W. Water St., $25 in advance at santafebotanicalgarden.org, and at the door, proceeds benefit Santa Fe Botanical Garden, 505-471-9103. The Mavericks Veteran country/rock/Tex-Mex-fusion band, 7:30 p.m. Monday, April 7, the Lensic, $36-$54, 505-988-1234, ticketssantafe.org. Serenata of Santa Fe Spring for Mozart, music of Pärt, Schnittke, and Mozart, 7 p.m. Friday, April 11, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org. Lori Carsillo Jazz vocalist, with Bert Dalton on piano, Jon Gagan on bass, and John Trentacosta on drums, 7 p.m. Friday, April 11, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Santa Fe Community Orchestra Chorale arrangement of Mendelssohn’s Elijah, with baritone Carlos Archuleta, soprano 0 Jacqueline Zander-Wall, 7:30 p.m. Saturday, April 12, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, donations accepted, 505-466-4879, sfco.org. Santa Fe Symphony Steven Smith returns to lead the orchestra in Mahler’s Symphony No. 7, 4 p.m. Sunday, April 13, Lensic Performing Arts Center, $22-$72, half-price tickets available for youths ages 6-14, 505-988-1234, ticketssantafe.org. Neko Case Singer/songwriter, with The Dodos, 7:30 p.m. Monday, April 14, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$44, 505-988-1234, ticketssantafe.org. Rickie Lee Jones Singer/songwriter, 7:30 p.m. Thursday, April 17, the Lensic, 211 W. San Francisco St., $40-$60, 505-988-1234, ticketssantafe.org. Santa Fe Pro Musica Baroque Ensemble Featuring soprano Kathryn Mueller, 7:30 p.m. Thursday and Friday, 6 p.m. Saturday, April 17-19, Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, 505-988-1234, ticketssantafe.org, 505-988-4640. Bobby Shew Quartet Plays Chet Baker Local trumpeter, with John Proulx on piano, Michael Glynn on bass, and Cal Haines on drums, 7 p.m. Friday, April 18, Harwood Museum of Art, 238 Ledoux St., Taos, $25, 575-758-9826, harwoodmuseum.org. David Berkeley Singer/songwriter, 8 p.m. Saturday, April 19, High Mayhem Emerging Arts, 2811 Siler Lane, $12, students $8, brownpapertickets.com.
Yours Truly Ray Brown Jazz concert with Seattle bassist Michael Glynn, joined by pianist Bert Dalton and percussionist Cal Haines, 7 p.m. Saturday, April 19, $35, call 505-989-1088 for tickets and venue directions. Citizen Cope Acoustic performance by the singer/songwriter, 7:30 p.m. Monday, April 21, the Lensic, $30-$50, ticketssantafe.org, 505-988-1234, a portion of the proceeds goes toward purchasing musical instruments for middle schoolers on the Northern Cheyenne Indian Reservation. The Dandy Warhols Power-pop rockers, 7:30 p.m. Tuesday, April 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $27 in advance, 505-988-1234, ticketssantafe.org, $35 at the door. Perla Batalla Singer/songwriter, 7:30 p.m. Monday, May 5, the Lensic, $15-$35, 505-988-1234, ticketssantafe.org. Seventh Annual Crawdaddy Blues Fest Includes Mississippi Rail Company, Junior Brown, Desert Southwest Blues Band, and Felix y Los Gatos, Saturday and Sunday, May 17-18, Madrid, $15 daily, kids under 12 no charge, crawdaddybluesfest.com.
THEATER/DANCE
When the Stars Trembled in Río Puerco Teatro Paraguas and Recuerdos Vivos New Mexico present a play by Shebana Coelho, 7:30 p.m. Fridays and Saturdays, 4 p.m. Sundays, April 4-13, Teatro Paraguas Studio, 3205 Calle Marie, $15; discounts available; Sundays paywhat-you-wish; 505-424-1601. 27th Annual Choreographers Showcase Organized by New Mexico Dance Coalition; including Echo Gustafson, Monica Mondragon,
UPCOMING EVENTS Pomegranate Studios, and 3HC Holy Faith, 7:30 p.m. Friday and Saturday, April 4-5, Railyard Performance Center, 1611-B Paseo de Peralta, $10-$15 sliding scale, ages 12 and under $5, tickets available at the door. Luma Experimental-light theater performance, 2 and 7 p.m. Sunday, April 6, the Lensic, $15-$35, discounts available, 505-988-1234, ticketssantafe.org. Louder Than Words Belisama Dance and Moving People Dance Theatre present a student repertory concert, 7 p.m. Friday and Saturday, April 11-12, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20, ages 6-12 $10, 505-988-1234, ticketssantafe.org. Aspen Santa Fe Ballet Mixed-repertory encore, 7:30 p.m. Saturday, April 19, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$72, 505-988-1234, ticketssantafe.org. Left to Our Own Devices: Staying Connected in the Digital Age Just Say It Theater presents a collaborative performance by students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7 p.m. Thursday-Saturday, 2 p.m. Sunday, April 24-27, Warehouse 21, 1614 Paseo de Peralta, $10, 505-820-7112. Spring Awakening A musical based on Frank Wedekind’s oncecontroversial play, 7 p.m. Friday and Saturday, April 25-May 3, 2 p.m. Sunday, May 4, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org. Joe West’s Theater of Death Four original one-act plays, includes musical guests Busy McCarroll, Anthony Leon, and Lori Ottino, 8 p.m. Fridays and Saturdays, April 25-26, May 2-3, and Thursday, May 1, Engine House Theater, 2846 NM 14, Madrid, $15 in advance at Candyman Strings & Things, 851 St. Michael’s Dr., 505-983-5906, and Mine Shaft Tavern, 2846 N.M. 14, Madrid, 505-473-0743. BalletNext Classic and contemporary choreography by Mauro Bigonzetti and Brian Reeder, 7:30 p.m. Friday and Saturday, April 25-26, the Lensic, $20-$75 in advance at the Santa Fe Concert Association box office, 505-984-8759, or 505-988-1234, ticketssantafe.org.
Pajama Men The Albuquerque-based comedy duo performs Just the Two of Each of Us, 7:30 p.m. Sunday April 27, the Lensic, $15-$35, 505-988-1234, ticketssantafe.org. The Lilac Minyan A play by Debora Seidman, presented by Metta Theatre, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, May 2-4, Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 505-424-1601, teatroparaguas.org. Flexion Wise Fool New Mexico’s touring stilt and aerial performance, 7:30 p.m. Friday and Saturday, May 16-17 Santa Fe Railyard Park, 740 Cerrillos Rd., donations accepted, wisefoolnewmexico.org.
HAPPENINGS
National Poetry Month Six free events; including a lecture by Santa Fe Poet Laureate Jon Davis, readings by Angela Janda, young poets presented by New Mexico CultureNet, and an all-ages poetry slam presented by the Cut + Paste Society, beginning Saturday, April 5, Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., 505-955-6705. The Armory Show Multimedia group exhibit and public-program series in celebration of CCA’s 35th anniversary; opening reception 6-8 p.m. Friday, April 11; armory show gala 6 p.m. Saturday, April 12; Capital High School Film Festival, 11 a.m. Saturday, May 10, Center for Contemporary Arts, 1050 Old Pecos Trail, exhibit reception $5, gala $100, film festival no charge, 505-982-1338, ccasantafe.org. Lannan Foundation Literary Series Author Benjamin Alire Sáenz in conversation with UT professor Cecilia Ballí, 7 p.m. Wednesday, April 16, the Lensic, $6, discounts available, 505-988-1234, ticketssantafe.org. Opera Unveiled Santa Fe Opera Guild presents author and lecturer Desirée Mays in a preview of the 2014 Santa Fe Opera season, 5:30 p.m. Wednesday, April 23, Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $10, 505-629-1410, guildsofsfo.org. Fantase Dome Fest Outdoor multimedia interactive light installation presented by Creative Santa Fe, 6-11 p.m. Friday, May 9, De Vargas Park, W. Alameda and S. Guadalupe streets, no charge, 505-989-9934, creativesantafe.org. Tenth Annual Native Treasures More than 200 Native artists selling handcrafted works; benefit preview party with a reception for the 2014 Living Treasures artists Joe Cajero and Althea Cajero, 7:30 p.m. Friday, May 23; early bird show 9 a.m. Saturday, May 24, art show and sale 10 a.m.-4 p.m. Saturday and Sunday, Santa Fe Community Convention Center, 201 W. Marcy St., early bird admission $20 at the door, Saturday show $10 at the door, no charge on Sunday, preview party $100 in advance online at nativetreasures.org (includes early bird ticket for Saturday admission). New Mexico History Museum Fifth Anniversary Bash Highlighting toys from the permanent collection with the exhibit Toys and Games: A New Mexico Childhood, games held in the Palace of the Governors Courtyard, 2-4 p.m. Sunday, May 25, New Mexico History Museum, 113 Lincoln Ave., by museum admission, 505-476-5200.
Neko Case performs April 14, at the Lensic.
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AT THE GALLERIES Argos Studio/Gallery 1211 Luisa St., 505-988-1814. Skin Deep, works by members of the Tuesday Night Drawing Group, through Wednesday, April 2. Axle Contemporary Mobile gallery, 505-670-7612 or 505-670-5854. Excavations, installation by Laurie Ann Larimer, visit axleart.com for locations through April 6. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. New Moon West, Paul Pascarella’s paintings, through April 12. Lineal Pathways, works by painter Julian Stanczak, through April 19. El Museo Cultural de Santa Fe 555 Camino de la Familia, 505-992-0591. La Blanca Ciudad: The White City, contemporary works by artists of Arequipa, Peru, through Monday, March 31. Jean Cocteau Cinema Gallery 418 Montezuma Ave., 505-466-5528. Mortal Mirrors, drawings by Todd Ryan White, through April 11. Santa Fe Clay 545 Camino de la Familia, 505-984-1122. Works by ceramic artists Lee Akins, Marc Digeros, and Lilly Zuckerman, through April 19. Visual Arts Gallery — Santa Fe Community College 6401 Richards Ave., 505-428-1501. Gray, Matters: An Exhibition of Contemporary Native American Art + Design, group show, through April 22.
MUSEUMS & ART SPACES SANTA FE
Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. Icepop, installation by Sandra Wang and Crockett Bodelson of the art collective SCUBA, Muñoz Waxman Gallery • All the News That’s Fit to Print, group show, Spector-Ripps Project Space, both shows through Sunday, March 30. Open Thursdays-Saturdays; visit ccasantafe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14. Paintings, drawings, sculptures, sketches, and photographs by O’Keeffe in the permanent collection. Open daily; visit okeeffemuseum.org. Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Visit iaia.edu/museum; Closed Tuesdays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269. Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, more than 1,300 artifacts from the museum collection. Closed Mondays through Memorial Day; visit indianartsandculture.org. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through April 27 • New World Cuisine: The Histories of Chocolate, Mate y
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PASATIEMPO I March 28-April 3, 2014
Poeh Cultural Center and Museum 78 Cities of Gold Rd., 505-455-3334. Nah Poeh Meng, 1600-square-foot installation highlighting the works of Pueblo artists and Pueblo history. Closed Saturdays and Sundays; visit poehcenter.org. Santa Fe Children’s Museum 1050 Old Pecos Trail, 505-989-8359. Houses current interactive exhibits. Visit santafechildrensmuseum.org; closed Mondays and Tuesdays through May. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, through May 18. Closed Mondays-Wednesdays; visit sitesantafe.org. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open daily; visit wheelwright.org.
ALBUQUERQUE
Elissa Levy: Expected to Rise, from the Center for Contemporary Arts exhibit All the News That’s Fit to Print, closing Sunday, March 30.
Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug.10. Closed Mondays; visit internationalfolkart.org. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through May • Window on Lima: Beltrán-Kropp Peruvian Art Collection, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Closed Mondays; visit spanishcolonialblog.org. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historicalroots of Santa Fe. Closed Mondays; visit nmhistorymuseum.org. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Focus on Photography, rotating exhibits: Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • 50 Works for 50 States: New Mexico, through April 13. Closed Mondays; visit nmartmuseum.org. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Closed Mondays; visit pvmiwa.org.
Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, opening Saturday, March 29, through January 2015 • Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through May 18 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro • African American Art From the Permanent Collection, installation of drawings, prints, photographs, and paintings by New Mexico African American artists, through May 4. Closed Mondays; visit cabq. gov/culturalservices/albuquerque-museum/ general-museum-information. Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505-247-0606. Exhibits on overcoming intolerance and prejudice. Closed Sundays and Mondays; visit nmholocaustmuseum.org. Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story, a brief historical overview of the Pueblo world, and exhibits of contemporary artwork and craftsmanship of each of the 19 pueblos. Open daily; visit indianpueblo.org. Maxwell Museum of Anthropology UNM campus, 1 University Blvd. N.E., 505-277-4405. The museum’s collection includes over 10 million individual archaeological, ethnological, archival, photo, and skeletal items. Visit unm.edu/maxwell; closed Sundays and Mondays. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. visit nationalhispaniccenter.org; closed Mondays. New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. Timetracks, core exhibits offer a journey through billions of years of history. Open daily; visit nmnaturalhistory.org. UNM Art Museum 1 University of New Mexico Blvd., 505-277-4001. Melanie Yazzie: Geographies of Memory, works by the printmaker and sculptor • 400 Years of Remembering and Forgetting: The Graphic Art
of Floyd Solomon, etchings by the late artist • The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg Vassiliev, Russian paintings and drawings • Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, all through May 17. Closed Sundays and Mondays; visit unmartmuseum.org.
ESPAÑOLA
Bond House Museum and Misión Museum y Convento 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; visit plazadeespanola.com.
LOS ALAMOS
Bradbury Science Museum 1350 Central Ave., 505-667-4444. Information on the history of Los Alamos and the Manhattan Project, as well as over 40 interactive exhibits. Open daily; visit lanl.gov/museum. Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Edith and Tilano: Bridges Between Two Worlds, photographs and artifacts of the early homesteaders, reception 4-6 p.m. Tuesday, April 1, through May. Core exhibits on area geology, early homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Visit losalamoshistory.org; Open daily. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Closed Sundays; visit pajaritoeec.org.
TAOS
Harwood Museum of Art 238 Ledoux St., 575-758-9826. Ken Price: Slow and Steady Wins the Race, Works on Paper 1962-2010, drawings by the late artist • Charles Mattox: Poetry in Motion, works on paper from the 1970s • Art for a Silent Planet: Blaustein, Elder and Long, works by local artists Jonathan Blaustein, Nina Elder, and Debbie Long, exhibits up through May 4 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Closed Mondays; visit harwoodmuseum.org. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms, pioneer belongings, and Carson memorabilia. Visit kitcarsonhomeandmuseum.com; open daily. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. One of the few Northern New Mexico-style, late-Spanish-colonial-period “great houses” remaining in the American Southwest. Built in 1804 by Severino Martin. Open daily; visit taoshistoricmuseums.org. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and a wide range of contemporary jewelry. Closed Mondays; visit millicentrogers.org. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Open 10 a.m.-4 p.m. Closed Mondays; visit taosartmuseum.org.
EXHIBITIONISM
A peek at what’s showing around town Patrick Nagatani: Christine Banfield in Flight, 2013, archival digital print. Outer/Inner: Contemplation on the Physical and the Spiritual, an exhibition of works in photography and mixed media by Patrick Nagatani, continues at Andrew Smith Gallery Annex (203 W. San Francisco Street) through April. The show includes selections from Nagatani’s Tape-estries and Novellas series and prints based on characters from his novel The Race, a work in progress. Call 505-984-1234.
Rumi Vesselinova: Pizote and Collarito, 2013, photograph. Catenary Art Gallery (616 ½ Canyon Road) celebrates its grand opening with a group show that includes photographs from Rumi Vesselinova’s series Ever After, wearable art from Margarita Mileva’s Upcycled Media Project, paintings by Miro Kenarov, and ceramic and glassworks by Maria Kenarova. The reception is on Friday, March 28, at 5 p.m. Call 505-982-2700.
Michael Peralta: Girl With Pomegranate, 2014, bronze. Beals and Co. presents a pop-up show and art demonstration at a historic Santa Fe home at 429 Sandoval St. The open house is a joint project between Beals and Santa Fe Realtor Richard Anderson. The event includes work by artists represented by Bobby Beals. There will be a demonstration by sculptor Michael Peralta, and painter Kiki Martinez will be on hand to discuss her equine-based art. Axle Contemporary’s mobile gallery is parked outside the home during the open house, and viewers can see its current exhibition Excavations, an installation by Laurie Ann Larimer. The open house starts at 5 p.m. on Friday, March 28. Contact Beals and Co. at 505-577-5911 for more information.
David Hoptman: Sculpted Vessel Green Triangle, 2001, cast bronze. Chiaroscuro Contemporary Art ushers in the season with Spring Thaw, a show of works by New Mexico-based artists Jamie Hamilton, David Hoptman, Carl Moore, and Leah Siegal. This year’s annual exhibit focuses on underrepresented artists who work in a variety of mediums including sculpture, photography, and mixed media. The opening reception is on Friday, March 28, at 5 p.m. The gallery is at 702½ Canyon Road. Call 505-992-0711.
Lucy Lyon: Sandy Hook Memorial, 2014, cast glass, stained glass, bronze, and powder coated-aluminum. LewAllen Galleries (1613 Paseo de Peralta) presents a memorial sculpture by glass artist Lucy Lyon that commemorates the shooting at an elementary school in Newtown, Connecticut. Sandy Hook Memorial depicts in miniature a school library with empty chairs. Etched into the base is the date “December 14, 2012,” the day of the massacre that took the lives of 20 children and six adults. There is a 5 p.m. opening reception on Friday, March 28. Call 505-988-3250.
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