Pasatiempo, Oct. 12, 2012

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture October 12, 2012

Bless Me, Ultima Santa Fe Independent FIlm FeStIval

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Celebrate this holiday season and book your holiday party with us!

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October 12-18, 2012

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Lensic Presents

B ROAD CAST I N H D

The Last of the Haussmans

October 12 7 pm

$22 / $15 students

Stephen Beresford’s funny, touching, and sometimes savage portrait of a family that’s losing its grip.

Tickets Santa Fe 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

Photo: Cath eri n e A s h m o r e

from London’s Daily Express, Daily Mail, Evening Standard, Times, and Financial Times

Coming Soon from the National Theatre

Timon of Athens / November 8

Shakespeare’s tale of consumption, debt and ruin.

t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n

SALE! FALL 10% OFF on All Awning Products.

our superior awning products are an affordable & attractive addition to your home or office. Expires: october 31, 2012.

A Rare Opportunity for Lovers of Jazz and Classical Music Clarinetist EDDIE DANIELS & Pianist ROGER KELLAWAY in a Live Encore Performace of their acclaimed 2011 Library of Congress Concert Sunday, October 14th ~ 4 PM

featuring the lush music of Duke Ellington accompanied by Santa Fe Symphony cellist, James Holland Tickets $25, $35, $45 available now at

THE LENSIC PERFORMING ARTS CENTER 211 W. San Francisco St. 505.988.1234 Benefitting the NM Center for Therapeutic Riding and the Santa Fe Symphony Music Education Committee

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October 12-18, 2012

PASATIEMPO

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THE SANTA FE NEW MEXICAN

October 12 - 18, 2012

On the cOver 36 Bless Me, Ultima at the santa Fe independent Film Festival Rudolfo Anaya’s influential 1972 novel about a boy growing up in rural New Mexico during the 1940s comes to the silver screen at last. The New Mexico premiere of the film (which was shot here) takes place on Thursday, Oct. 18, at the Lensic Performing Arts Center in a presentation of the Santa Fe Independent Film Festival, now in its fourth year. Among the other features to be shown over the festival’s five-day run is the adaptation of Judy Blume’s 1981 novel Tiger Eyes. On the cover: Miriam Colon and Luke Ganalon in Bless Me, Ultima. Cover photo by Ursula Coyote; courtesy BMU Film, LLC.

bOOks

mOving images

16 in Other Words Paul Auster’s Winter Journal

54 Pasa Pics 60 Searching for Sugar Man

mUsic and PerFOrmance

calendar

terrell’s tune-Up Mission of Dinosaur Jr. Pasa reviews Bruce Lee at Gig Pasa tempos CD Reviews Onstage this Week Weill away the hours cognitive dissonance When Eddie met Roger Moon Over Buffalo Capturing a theater life Pasa reviews Santa Fe Rep’s Working i can’t quit you, lennie Of Mice and Men high art in high-def The Met in HD and others sound Waves Grass Is Green at High Mayhem

18 20 22 25 26 44 46 48 50 71

64 Pasa Week

and 13 mixed media 15 star codes 62 restaurant review

art 28 capital 5 Mayor’s awards 30 Peter and thomas moran Early Santa Fe artists 32 art in review Joan Snyder retrospective

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. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — kristina melcher 986-3044, kmelcher@sfnewmexican.com ■

art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com

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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com

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chief copy editor — Jeff acker 986-3014, jcacker@sfnewmexican.com

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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com

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calendar editor — Pamela beach 986-3019, pambeach@sfnewmexican.com

bolshoi ballet: The Pharaoh’s Daughter; photo by mikhail logvinov

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staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com rob deWalt 986-3039, rdewalt@sfnewmexican.com James m. keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntribUtOrs laurel gladden, robert ker, bill kohlhaase, Jennifer levin, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, khristaan 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 Tamara Hand 986-3007

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marketing directOr Monica Taylor 995-3824

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art dePartment directOr Scott Fowler 995-3836

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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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advertising sales kaycee canter 995-3844 mike Flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Rob Dean editor

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Celebrating 25 years in New Mexico Join us for An Evening of Music and Mysticism Saturday, October 27 6:30-9:00 p.m.

Santa Fe Community Convention Center Featuring Fr. Richard Rohr, ofm, globally recognized teacher, and two-time Grammy Award winning Native American flautist and storyteller Robert Mirabal.

$50 per person (includes a delectable dinner) For more information and to register visit www.cac.org or call 505.242.9588 Fr. Richard Rohr, ofm, bears witness to the universal awakening within mystical and transformational traditions. A Franciscan priest of the New Mexico province, Fr. Richard founded the Center for Action and Contemplation (CAC) in Albuquerque, New Mexico in 1987.

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October 12-18, 2012

Sunday, 14th, 1-4 pm, Both rooms open to the public.

Bag day ($3 per bag) in Tatum room.

Memberships available at the Door.

Sponsored by the Friends of the Santa Fe Public Library.

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Get your ad into the official New Mexico Rail Runner Xpress magazine Don’t miss the opportunity to reach these train passengers. From Belen to Santa Fe and everything in-between, the magazine includes Rail Runner news, events, stations, ticket information, schedules, connections, promotions and a route map.

Xpress December Edition Space res & ad copy deadline: 11/14/2012 Publication: 12/05/2012

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PASATIEMPO

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Toadhouse (Allan Graham), Pond With Lotus, n.d. From the exhibition Alcove 12.5, through October 21.

OCTOBER 12 5:30–7 p.m.

Gallery conversations with artists in Alcove 12.5. Participate in open gallery conversations with the current artists.

OCTOBER 26 5–8 p.m.

Alcove 12.6 opens. The next installation of the year-long project showcasing contemporary New Mexico artists.

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October 12-18, 2012

! h g u a L o t Elect

Lensic Presents

Santa Fe Prep invites you to Admissions Open House, Friday, October 26th, 2:00 pm What matters isn’t just the ratio between your child and a teacher.

It’s also the relationship.

While you may have heard of community service, outstanding academics, arts, and athletics, you have never seen a faculty bring them to life with such passion and dedication.

political satirist

Will Durst October 19 7:30 pm, $15–$20 “Possibly the best political satirist working in the country today”–The New York Times

Elect t o Scre am!

The Phantom of the Opera & The Alloy Orchestra October 31 7 pm, $10–$20 The 1925 silent film is a horror classic—and even more fun with Alloy’s haunting soundtrack, performed live!

Contact Mike Multari, Director of Admissions, at mmultari@sfprep.org or 505 795 7512 sfprep.org

Tickets Santa Fe 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

T H E L E N S I C I S A N O N P RO F I T, M E M B E R-S U P P O RTE D O R GA N I Z AT I O N

t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n

PASATIEMPO

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Š MAT HENNEK

A retrospective of multimedia works from the early 1960s to the present Sponsored by the Santa Fe Community College and curated by Jon Carver Exhibition Dates: October 12 - November 18

Born Under What Star?

Opening Reception: Friday, October 12 5: 00 - 8:00 pm RDG Visiting Artist Series: The artist will host a public discussion at the gallery on the evening of:

Friday, Novenmber 2nd, 2012 from 6-7 pm This exhibiTion is sponsored by ArT on CAmpus And The GroW sAnTA Fe CommuniTy ColleGe FoundATion

Red Dot Dot Gallery Red The Red Dot is made possible through the generosity of the Zane Bennett Gallery.

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October 12-18, 2012

For more information call 505-820-7338 www.red-dot-gallery.com 826 Canyon Road, Santa Fe, NM

MIXED MEDIA

Courtesy RoTo Architecture

Let’s get architectural

Architects Michael Rotondi and Matthew Hufft are featured in the series Vital Tectonics in Our Current Culture, presented by the Santa Fe chapter of the American Institute of Architects, with events in October and November.

Rotondi co-founded the architectural firm Morphosis in 1975 and also co-founded the Southern California Institute of Architecture.

The investigations of his current firm, RoTo Architecture, Los Angeles, “are informed by the dynamic relationships of conservation and change, sociocultural evolution of the city, the simultaneity of process, order, and unity, and the symbiotic coupling of society, environment, Two views of the Architecture and economy,” according to a company stateand Art Building at Prairie View ment. “The broadest question framing these A & M University, Prairie View, investigations and directing the design research Texas, by Michael Rotondi is, ‘What is the architectural equivalent of this?’ ” In 2009 Rotondi won the American Institute of Architects/L.A. Gold Medal for his efforts at answering that question.

Hufft’s design collective, Hufft Projects, is based in Kansas City and New York.

“It’s a newer company doing some interesting multi-design projects,” said James Horn of Spears Architects, who has organized the Vital Tectonics events since 2008. “Hufft does design-build work. Then they do digital fabrication, and they also do gallery design and furniture,” he said.

Rotondi gives a free lecture, “From the Center” at 5:15 p.m. Monday, Oct. 15, at George Pearl Hall Auditorium, School of Architecture and Planning, the University of New Mexico (off Central Avenue S.E., Albuquerque). He offers a workshop titled Beginner’s Mind + Creativity from 9:15 a.m. to 12:45 p.m. on Tuesday, Oct. 16, at Warehouse 21 (1614 Paseo de Peralta).

Hufft gives a lecture, “Modern in Middle America,” at 6:15 p.m. on Nov. 12 ($15 at the door), and leads a workshop on Modern Fabrication from 8 to 11 a.m. on Nov. 13. Both events are at Warehouse 21.

Horn said the workshops may involve pencil sketching, laptop sketching, and model making, as well as brainstorming discussions. The Rotondi and Hufft workshops are $25 each (students $5). Call James Horn at 983-6966 or visit www.aiasantafe.org.

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When “That will never happen to me” happens.

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October 12-18, 2012

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STAR CODES Heather Roan Robbins

This week, the planets call for a fresh plan of action; it’s time to

think through the past, analyze its effect on the present, and figure out what to do. This is how to rock the election season, but it can also shake up our personal and professional lives.

Start with an in-depth analysis of the past with Mercury in focused, research-oriented Scorpio. We need a new understanding about why we are here and not just a lot of stubborn opinions about other people’s business, which can be Scorpio’s shadow side. It pays to check in with others to make sure they are ready to dive deep.

After this analysis, we want to break out of stale patterns and see problems solved as active Mars in Sagittarius supportively trines electrifying, revolutionary Uranus next week. This aspect can shake things up in a good way.

A sense of humor and a flexible disposition help in relationships this week as Venus squares Mars. Mars in Sagittarius strengthens humor and lets us forgive anything but dishonesty. Venus now in Virgo brings out our thoughtfulness. It’s easy to tease others but hard to take teasing — so if someone minds a funny, offhand remark, back off and change the subject.

Everyone’s a critic as the weekend begins. If we get upset with someone, we tend to list their faults in no uncertain terms. Be sensitive in good ways instead. Over the weekend, a new moon in Libra calls for a more beautiful world.

Midweek, stop talking and start doing things as the active Sagittarius moon conjuncts urgent Mars. Move forward wisely. The big issues of the time need attention.

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Friday, Oct. 12: The morning is delightful if nervous. Put your analytical brain to good use. Indulge in quality not quantity tonight as the moon squares Jupiter.

Saturday, Oct. 13: Savor the moment, and take care of unfinished business.

Consider antiques or ancient artifacts. This evening, seek peace under the Libra moon. The process of engaging in the arts can be healing.

Sunday, Oct. 14: Review progress on major life issues as the Libra moon squares Pluto and opposes Uranus. Acknowledge anger over any recent personal injustice, and move on. Later, slow down and share priorities with others. Appreciate what works as the moon trines Jupiter.

Monday, Oct. 15: Solve a problem and make a difference under the new moon in egalitarian Libra. The ground rules are shifting — people respond well to dynamic leadership and compassionate eccentricity. Edges are sharp tonight as the moon enters Scorpio. Don’t ask for patience.

Tuesday, Oct. 16: Primal feelings can test trust. Well-ordered intelligence tugs against oceanic emotions as Venus squares Jupiter. Be alert to nuance and paradox. We are being dealt a new hand, but we can’t see it yet. Let the soul process the information.

Wednesday, Oct. 17: The mood is positive and outspoken with too many pots simmering. Stay organized but adjustable as the moon enters Sagittarius.

It’s easy to feel overwhelmed tonight as the moon squares Neptune. Reconnect with others rather than push for progress.

Thursday, Oct. 18: Don’t test people’s patience as the outspoken Sagittarius moon conjuncts Mars. Be clear or be quiet. Take action — just make sure the action is worthy. Share laughter midday, and watch an opinionated streak later on. There is lots to think about tonight, but we need to know when to put these thoughts aside and rest. www.roanrobbins.com

PASATIEMPO

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In Other wOrds Hispano Homesteaders: The Last New Mexico Pioneers 1850-1910 by F. Harlan Flint, Sunstone Press, 96 pages Rolling west out of Antonito, Colorado, the antique Cumbres & Toltec Scenic Railroad confronts the sheer cliffs of Toltec Gorge about a mile south of the New Mexico border and then dips into a tunnel and emerges dangling several hundred feet over the Río de los Pinos, one of the most pristine and peaceful trout streams in the southern Rockies.

“You look down on these meadows that are still irrigated around where our family is and our friends live, and people riding the train have a sense of what it looked like a hundred years ago, because it hasn’t changed that much,” said F. Harlan Flint, who has written a heartfelt book about that idyllic valley, the Hispanic homesteaders who settled there in the second half of the 19th century, and their previously unsung piece of an epic destiny that began 300 years before.

Hispano Homesteaders is a brief, focused story about a unique Hispano population that, beginning in the early 1600s, carried Spanish blood and culture into what would become the American Southwest.

Flint illustrates the thesis of the geographer Richard L. Norstrand, who described in his 1992 book The Hispano Homeland a blend of cultures developing by a process he called contiguous expansion — a slow extension along multiple frontiers, usually short distances at a time, making a place on the next piece of the river, or the next river. “Where there was no surface water,” Flint writes, “there would be no settlement, and where water was present, the people would come.”

book reviews After settling in the Santa Fe area and advancing up the Río Grande for 200 years in an outward push along the river and its tributaries, the Hispanos were freed from Spanish rule by the Mexican Revolution of 1821, and then their homeland was relinquished from Mexico to the United States by the Treaty of Guadalupe Hidalgo in 1848. In the aftermath, the Americans’ handling of prior land grants to the Hispano settlers would become the source of generations of chronic grief and discontent.

Thirty-five years ago, as a young lawyer working at the State Engineer’s office in Santa Fe, Flint partnered with some colleagues to buy a piece of property on the northernmost edge of Río Arriba County in an isolated community along Santa Rita Canyon. Many of the old wooden cabins that housed the original settlers could still be seen on both sides of a small river flowing east and north, eventually to join the Río Grande.

For many summers to come, Flint and his partners took turns vacationing in and fixing up what turned out to have been the cabin of one of the community’s original homesteaders, José Bautista Gallegos.

“Almost by a process of osmosis, I began to absorb what had been going on up there,” Flint said in a recent interview in Santa Fe, where he now spends the other half of his time that he is not in Santa Rita.

He includes himself in the group of Anglos he calls “lifestyle pioneers,” who sought refuge from the clamor and technical artifice of urban existence in the 20th century and began rediscovering the virtues of rural life. “Because a live stream is such a rare thing in New Mexico, a property that only supported subsistence agriculture for hundreds of years suddenly had a higher economic value because of its beauty and recreational resources,” Flint said.

In New Mexico, those virtues are not always as uncomplicated as advertised. Because of unresolved legal issues related to pre-American land grants, Flint and his partners had to go all the way to the New Mexico Supreme Court to establish their title to the cabin. “While we were doing the suit, we discovered that our friend Baudelio Garcia’s parents’ house,

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October 12 -18, 2012

which was right next door to us and which they had lived in as long as they could remember, was in fact on Forest Service land,” Flint said. Garcia’s title was eventually established in an agreement between the owner of Ghost Ranch, the Board of Christian Education of the United Presbyterian Church, and federal landholders. The problem was resolved through a unique land exchange.

“Most of the property where we’re located is certainly within the bounds of what was originally the Conejos Grant, and which was never recognized by the federal government because there was never an advocate for it,” Flint said. “On the other side of the Río Grande was the Sangre de Cristo Grant, much of which was recognized because it had Anglo advocates, the people who were going to become the owners of the property.” Many of Flint’s neighbors’ holdings were validated ex post facto under the Homestead Act of 1862, even though the landholders had moved onto the land long before their claim was filed.

Flint’s interest in the history of Santa Rita grew over the years, especially when he moved back to New Mexico in 1990 and started to spend longer periods of time in the community and got to know his neighbor Garcia and his wife. “They owned the land on both sides of us, and he was the guy who looked after the acequias and managed the water,” Flint said.

As he looked into the land’s history, Flint was intrigued by what he began to realize was the culminating chapter of a project that was three centuries old, an independent and resourceful people following the rivers and streams in the Río Grande Basin. But more important for him, was to describe what he could still see in the foreground, the entrepreneurial spirit and risk-taking capacity of the people in his community. “The self-reliance was pretty amazing,” Flint said, “and it still persists.”

— Roger Snodgrass F. Harlan Flint gives a talk and signs books at 2 p.m.

Saturday, Oct. 13, at Garcia Street Books, 376 Garcia St., 986-0151.

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Winter Journal by Paul Auster, Henry Holt, 231 pages Novelist Paul Auster’s new memoir seems once removed from its subject.

Written in the second person, it’s all about “you,” rather than me (or I in the best first-person sense). This separation allows Auster to address himself at a contemplative distance. Its tone is almost accusatory and often seems directed at the reader as well: “You think it will never happen to you, that it cannot happen to you, that you are the only person in the world to whom none of these things will ever happen, and then, one by one, they all begin to happen to you, in the same way they happen to everyone else.” This is the book’s first sentence, and there’s no mystery as to what the “things” are that Auster is talking about. They are what happens as you age, all the entropic changes that announce the end is near. At the end of the book, Auster, 64 years old, announces he has entered “the winter” of his life. Considering life expectancy these days — and despite his smoking — he could be in for a long, cold season.

Auster’s two previous memoirs framed his life in terms of circumstance. The Invention of Solitude is centered on the impact of his father’s death and Auster’s own ascension into fatherhood. Hand to Mouth chronicles Auster’s early attempts to survive as an artist under less-than-favorable economic conditions. Winter Journal seems more scattershot. It’s tied together by the things that have held his life: his homes, his family, his mother, and, of course, his own body, a slate on which the physical damage — an “inventory of scars” — is written. It’s an interesting way to organize a memoir and gives Auster free rein to roam the years. Chronology, such as it is, deals with the development of memory, measured in the sensations of his body — the coldness of his bedroom floor as a child, the satisfaction of gaining the coordination required of playing baseball, and especially, the awakening of sex. About halfway through, there is a numbered list of the 21 places Auster has lived. Each is given a short description. “A worn out, but not altogether a decrepit place, something to be improve on,” he writes of home 16. (“Purchase price: $35,000.”) There are also specific personal details — “Age 30 to 31” — and some not so specific — “A bleak time, without question the bleakest time you have ever gone through.” If the point of this is how the mundane facts of living consume our lives (or that Auster has just moved around a lot), it hardly seems worth the 50-some pages it consumes, despite the occasional amusing anecdotes about troublesome neighbors and building repairs. Is this any way to write a meaningful memoir?

The answer is yes, if only the meaningful events are considered. And what makes events meaningful here are their proximity to death. The consequences of near misses, the stories of car accidents, near-fatal falls, a fish bone wedged deep in one’s throat; all are relevant to the book’s opening line, all are written in Auster’s fine, considered style. There’s no mind-body separation here. Instead, these two vessels — one containing thought, the other filled with organs and liquids ready to spill — share an uneasy relationship. “Your body has always borne the brunt of your fears and inner battles, taking the blows your mind cannot or will not stand up to,” he writes. The rest, of which the Winter Journal contains too much, is simply trivia. Auster’s telling us — telling you — that not much matters.

You might not agree.

— Bill Kohlhaase

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PASATIEMPO

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TERRELL’S TUNE-UP Steve Terrell

Unsound of music “The separation didn’t work out.” That’s what John Lennon said when he got back with Yoko Ono following the couple’s widely publicized mid-’70s split. It could also apply to a few of bands that have recently released new material.

I’m talking about Mission of Burma and Dinosaur Jr. Both groups broke up years ago and got back together after prolonged absences — not as desperate casino-touring nostalgia acts but as vital creative forces that picked up where they left off and resumed making the kind of sounds for which we loved them in the first place. The bands are several years and several albums into their respective comebacks, and neither has worn out its welcome-back.

Here’s a look at the groups’ latest albums: Unsound by Mission of Burma. Mission broke up in the early ’80s because singer/guitarist Roger Miller (no, not that Roger Miller) began suffering hearing damage from playing deafening rock ’n’ roll night after night. Thanks to advances in noise-cancelling ear-plug technology, Mission came back. And it stayed. This will be the third or fourth time I’ve publicly raved about the fact that this Boston “postpunk” (is that what they called it?) band came back from the dead and not only made a great album (ONoffON, 2004) but has continued to make great records ever since — The Obliterati in 2006 and The Sound, the Speed, the Light in 2009. Most of the material is arguably just as or almost as powerful as the group’s early-’80s work, and none of it sounds dated.

▼

Mission of Burma and Dinosaur Jr. are not desperate casino-touring nostalgia acts but vital creative forces that picked up where they left off.

It’s probably beginning to sound patronizing by now, and I’m sure that the members of Mission are getting sick of hearing that line of praise from critics. But the praise is sincere.

When a bunch of grizzled war dogs come out rocking this strong, reprobate rock geezers like me can’t help but feel somewhat vindicated.

It’s obvious from the bouncy, muscular opening song,“Dust Devil,” sung by bassist Clint Conley, that Unsound doesn’t stray far from the ferocious guitar-driven sound Mission of Burma has been known for since Reagan’s first term. But Miller and crew have added some jiffy touches here and there to keep the sound fresh. There’s Bob Weston’s trumpet on “Add in Unison” and “What They Tell Me,” while the faux Beach Boy harmonies sound cool on “7’s.” The android hip-hop arrangement of “This Is Hi-Fi” is pretty wild, but Peter Prescott’s crazed caveman drumming is what really carries the song.

Mission includes a mad-scientist tape-loop mixer/manipulator in both the studio and on stage. Martin Swope was the original manipulator, and Weston took his place after the band reformed.

I’m not the first to note that Mission of Burma has released more albums since its reunion than it did during its original incarnation. I think that the musicians had as good a time making this album as their fans have listening to it. Visit www.missionofburma.com.

I Bet on Sky by Dinosaur Jr. There are lots of similarities between this band and Mission of Burma. Both hail from Massachusetts. Both released their first records in the 1980s. Both are guitar-centric groups that ride the feedback like rodeo stars — with Dinosaur Jr. being a proud devotee of Neil Young’s electric side.

But unlike Mission of Burma’s breakup, the split between Dinosaur Jr.’s J. Mascis and Lou Barlow in the late ’80s was hardly amicable.

Mascis and Barlow were just sick of hearing each other. Mascis soldiered on fronting a new

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October 12 -18, 2012

Dinosaur Jr. lineup (usually with longtime DJ drummer Murph) and later, J. Mascis & The Fog. Meanwhile Barlow enjoyed some success with his band Sebadoh and then with the less notable Folk Implosion.

Mascis and Barlow came together again around 2005 to do a short tour when Merge Records rereleased some of their early material.

They must have overcome those past differences, because a year later they did another tour and announced they’d be recording a new Dinosaur Jr. album. Beyond was the product of that reunion, and it is a fine record. The followup, Farm, is just as amazing, if not better, and now we have I Bet on Sky, which is no letdown. The band is more melodic than it was back in its young days. But the intensity remains.

As has been the case since the band’s early days, Mascis is still the indisputable frontman. He wrote and sings most of the songs on Sky — his high-pitched whine still provides the emotional center for Dinosaur Jr., while his trademark stormy guitar solos dominate the proceedings. And yes, Uncle Neil is still a huge influence on Mascis. Trying to listen to the guitar intro of “See It on Your Side” without thinking of Young is as hard as listening to the William Tell Overture without envisioning the Lone Ranger.

But, as always, Barlow contributes some wonderful moments as well. His “Rude” is a country-influenced stomp, while the melody of “Recognition” is outright catchy.

One standout on this album is the rhythmic “I Know It Oh So Well,” on which Mascis sounds like a kid who just got his first wahwah pedal for his birthday. Then there’s the opening song, “Don’t Pretend You Didn’t Know,” in which the guitar sounds closer to Archie Bell & the Drells than anything Dinosaur Jr. has ever attempted before.

This album grows on you with each listen.

I hope this dinosaur never goes extinct. Check out www.dinosaurjr.com. ◀

PASATIEMPO

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Parallel dualities here’s no one way to fashion music. But some ways are more unusual than others. Guitarist Bruce Dunlap and drummer Ryan Lee have embarked on an experiment that finds them improvising to each other’s improvisation and then building — you might say composing — from that foundation in a series of ongoing concerts. Their first show, on Sept. 14, brought them together without rehearsal. Dunlap plunged right in, playing in a style recognizably his: warm, lyrical, and harmonically rich. Lee, after a moment’s consideration, joined in, using straw brushes to shade and color the sound. When Dunlap’s playing became more driven, Lee switched to sticks, working color from his drum’s rims and the center of his cymbals. Audience members — there were more than 50 in attendance that night — could see them listening as they responded to each other’s playing. The two came together when ending a phrase, Lee suggesting its imminent arrival with a roll on his tom or adding a crash from a cymbal. The songs, if that’s what you could call them at this point, seemed to search for a center even though they were never at loss for a melody. Dunlap directed the mood and intensity of the music. But Lee provided much of its interest, finding novel ways to respond and emphasize what came from the guitar.

The guitarist explained that they would select moments from a recording of the concert and build on them the next time. After hearing so many thematic phrases and varied moods, one couldn’t help wonder what that next concert would bring.

The answer, arriving on Sept. 28, was more of the same, but different: different melodies, different feels, and more varied tempos, all presented within the realm of the musicians’ complementary styles. Lee, a Kansas City native (where he studied with famed saxophonist Bobby Watson), is currently studying at the University of New Mexico. Dunlap is well known to guitar aficionados in Santa Fe and beyond for his dense, harmoniously detailed sound. For the Sept. 28 concert Lee opened, creating a shimmering rhythm, heat rising from sun-struck asphalt, by dragging his brushes against his cymbals. Dunlap added creamy lyrical lines that solidified into a melodic figure. This time the two seemed on more equal footing, Dunlap giving Lee solo breaks that had him constructing patterns of greater and greater complexity. The guitarist added synthesized tones to his warm sound, at one point sounding harmonicalike lines in unison with the guitar and at another adding brass — like overtones in a rhythmically infectious design that recalled some of Joe Zawinul’s sound for Weather Report. Dunlap brought out the emotional side of his playing on a pair of gospel-influenced tunes that he had written the previous week, music that displayed how well the drummer was able to follow and reflect his partner’s varying intensities. On the closing piece of the first set, the guitarist hinted at “My Romance,” while Lee created soft, airy touches with his brushes. While its music may still be taking shape, Bruce Lee already has a recognizable personality, one that’s technically astute without being distant.

Lyricism is central, and the sound — thanks to Dunlap’s amazing fingering — is almost orchestral in its harmonic depth. No matter how complex or impressionistic Lee’s rhythms, they manage, along with the guitarist’s slant on melody, to keep the music accessible. A night with Bruce Lee, in Gig’s intimate and acoustically accurate space, is a fascinating glimpse into the art of improvisation and interplay.

— Bill Kohlhaase

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PASA TEMPOS

album reviews

Woods Bend Branford Beyond (Woodsist) As Marsalis Quartet befits a band from Brooklyn that Four MFs Playin’ Tunes (Marsalis calls itself Woods, Bend Beyond Music) This album opens with pianist seems out of place in 2012. It’s a Joey Calderazzo’s “The Mighty Sword.” He five-day-old beard of an album, too and soprano saxophonist Branford Marsalis full to be considered scruffy but trade leads over a dynamite rumbling-strings, not groomed enough to pass a job cymbal-crashing foundation by bassist Eric interview. The title track opens the Revis and new drummer Justin Faulkner album with a psychedelic guitar — he joined three years ago, while Revis and solo that reaches orbit before the Calderazzo go back with Marsalis to 1997’s chorus hauls it back to Earth, reminding you of Neil Young. The Music Evolution. The leader said they could have done the Four MFs breezy Laurel Canyon sway and wistful harmonica of “Cali in a Cup” program in one day, as things used to be done at Blue Note Records, — even the name is a throwback to 1971 — confirms that. Singerbut those were often simple blues laid down like jam sessions. “The guitarist Jeremy Earl’s high, affectionate voice even invokes Young’s tunes on this record are very difficult, but we are tight enough to make at his most precious, though Earl is a more polished (and thus, them sound easy,” Marsalis says on his website. “The difference is that arguably, inferior) vocalist. The band does an admirable job of keeping we are a working band.” The Revis original “Maestra” is beautiful, soft and the spirit of Young’s Ragged Glory alive while also dabbling in folk — easy, Marsalis’ soprano now romantic, almost harmonica-like; Calderazzo “Back to the Stone” recalls the traditional folk song “He Was a Friend alternates cascading arpeggios, block chords, and right-hand of Mine” — and maintaining the jangly guitar sound that’s explorations. On Thelonious Monk’s “Teo,” Faulkner really been an indie-rock staple since The Feelies. It’s a tougher shines, and the pianist’s inventions are swingingly engaging. sell than it should be, even if “Is It Honest?,” the album’s “As Summer Into Autumn Slips,” a ballad by Calderazzo, is loveliest track, didn’t feature the F-word in its chorus. loose and quiet, even spiritual, but it also builds to accomCliff Martinez’s score Now that YouTube has replaced radio and vinyl, do modate a sinewy and almost wild soprano solo. The energy people even want relaxed, country-infused rock? shifts dramatically for “Endymion,” a demonstrative piece for ‘Arbitrage’ is great “It’s not our time,” Earl sings on “Impossible Sky.”

by Marsalis (here on tenor) that has a disjointed, jamIf only he’d been born 40 years earlier. — Robert Ker session quality energized by the propulsive Faulkner. late-night background for Straightahead bliss, start to finish. — Paul Weideman les troMpes de ChaMBord Musique de Vènerie sleepy conversation or staring (ad Vitam records) Hunting season is upon us, and if we Arbitrage — Music From the Motion Picture; Original lived in France’s Loire Valley instead of New Mexico the Score by Cliff Martinez (Milan) Cliff Martinez’s score into the fireplace, but sounds of hunting horns would be wafting on the breeze. for Nicholas Jarecki’s high-finance thriller Arbitrage is all there’s no resolution.

Well, “wafting” is perhaps too delicate a word to describe moody pulse and drone with occasional synthesized transthe hair-raising hubbub unleashed by a dozen hunting horns. missions that suggest electronic commodity trades passing If a beast were to hear any of the tracks on this CD close up in the night. Loops of percussive tones give it a dark, whileand without warning, it would probably die on the spot of a the-city sleeps veneer, and the overall feel of sodium lights and heart attack. Each of this album’s 57 horn calls relates to specific passing neon is much like that Kevin Shields created for Sofia events within a hunt or serves to communicate among participants and Coppola’s 2003 film Lost in Translation. Martinez, a former drummer for distant spectators. Assembling for the hunt, sighting the prey, moving from the Red Hot Chile Peppers, has proven himself adept at musically capturing one forest to another: every step of the process has its own horn call. So do all the substance of films ranging from Sex, Lies and Videotape to Traffic and the animals who find themselves pursued by troops of immaculately Contagion (he frequently works with director Steven Soderbergh). Here he uniformed, horn-blowing gentlemen on horseback: the fox, the creates tension blended with a hint of singsong elitism that defines the boar, various cervids and leporids. Things will end badly for most rich in trouble. The music doesn’t translate to casual listening because of them, but at least they get music to ease their transition to it’s all of a sort and doesn’t seem to go anywhere. It’s great late-night the next world. (Oh, the irony: background for sleepy conversation or staring the name of this French record into the fireplace, but there’s no resolution. company, Ad Vitam, means “To The disc’s last five, tag-along selections Life.”) The music is entrusted to — Björk’s disturbing “I See Who You Are,” Les Trompes de Chambord, an alla Twin Peaks-themed number from You Say star assemblage of hunting-horn Party!, a balmy bossa nova from Antonio traditionalists based at the 440-room Carlos Jobim, and an out-of-place “Just One Château de Chambord in the Loire More Chance” from Billie Holiday — all Valley, one-time pastoral retreat seem chosen for their titles. Robi Botos’ of French royalty and still a hub piano-trio version of “My Foolish of raucous hunting protocols.

Heart”? Nice, but redundant.

— James M. Keller — Bill Kohlhaase

22

October 12 -18, 2012

Ricardo Legorreta and Santa Fe A weekend of activities across Santa Fe to honor the influence of Ricardo Legorreta’s creative force on Santa Fe design.

Por favor, únase a nosotros para un fin de semana de eventos para celebrar Ricardo Legorreta.

Friday and Saturday October 19th and 20th Lectures with Victor Legorreta, Wayne Lloyd, Dr. Khristaan Villela Tours of the Thornburg Campus, Santa Fe Art Institute, Santa Fe University of Art and Design Visual Arts Center, Zocalo Condominiums, and a Private Santa Fe Residence Ricardo Legorreta and Santa Fe Exhibition with videos, drawings, and models of Santa Fe Projects SFAI Benefit Dinner to honor Anne & John Marion and to celebrate Ricardo Legorreta’s legacy - Victor Legorreta will be in attendence For information about the events or to purchase your tickets to the SFAI Benefit Dinner, contact us at (505) 424-5050, info@sfai.org, or www.sfai.org

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October 12-18, 2012

ON STAGE In peak condition: Concordia Santa Fe

Concordia Santa Fe is a wind ensemble led by a series of visiting conductors. On 2 p.m. on Sunday, Oct. 14, Robert J. Ambrose, director of wind studies and ensembles at Georgia State University’s School of Music, occupies the podium.

Among the works he leads are the Firebird Suite by Stravinsky (arranged for large wind ensemble) and “Colorado Peaks”

by Dana Wilson, who says his piece “suggests a person’s relation to the Colorado Rockies via a rugged and persistent climb.” The concert takes place at St. Francis Auditorium in the New Mexico Museum of Art, 107 W. Palace Ave. There is no charge, but donations are appreciated. Call 913-7211.

THIS WEEK

Kurt Weill tribute by Robert Sinn

Kurt Weill and Bertolt Brecht’s Die Dreigroschenoper (The Threepenny Opera, 1928) helped define the Weimar Republic and redefine musical theater. Weill’s later successes on Broadway included collaborations with Ira Gershwin and Moss Hart (1941’s Lady in the Dark) and Ogden Nash and S.J. Perelman (1943’s One Touch of Venus). From Darkness to Light, a portrait of Weill in song written and performed by Robert Sinn, is filled with many small pleasures; David Geist accompanies Sinn on piano. The performance, at 7:30 p.m. Thursday, Oct. 18, is a benefit for Teatro Paraguas, at its studio (3205 Calle Marie). Admission is by donation; call 424-1601.

Composer by rail: Dan Deacon

Touring in support of America, his most powerful and insightful album to date, Baltimore-based composer Dan Deacon blends melodic orchestral arrangements with synths, pizzicato strings, squeaky voices, electronic beats, and samples to conjure up soundscapes that

Kings of Museum Hill: Jazz in the café

The latest in this year’s KSFR Music Café Series features New York jazz guitarist Joshua Breakstone playing with New York bassist Earl Sauls and Santa Fe drummer John Trentacosta (formerly of New York). Breakstone has played since the 1970s; among the stellar sidemen on his more than a dozen albums are pianists Kenny Barron and Tommy Flanagan and bassist Dennis Irwin.

The gig takes place Friday, Oct. 12, at the Museum Hill Café, 710 Camino Lejo, and the music starts at 7 p.m. Tickets are $20 (428-1527); dinner is available à la carte (for dinner reservations, call the café at 984-8900). straddle the fence between straightforward electropop and the avant-garde.

America the album is much like America the country: a complex and erratic thing prone to both frustrating contradictions and triumphs. And Deacon, who earlier this year participated in a performance at Carnegie Hall to honor John Cage’s 100th birthday, traveled the country by car and rail for inspiration when composing the album. Catch Deacon at 8 p.m.

Tuesday, Oct. 16, at Molly’s Kitchen & Lounge (you read that right), 1611 Calle Lorca. Tickets, $12, are available from Tickets Santa Fe at the Lensic, 988-1234, www.ticketssantafe.org.

PASATIEMPO

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Bill Kohlhaase I For The New Mexican

COGNITIVE DISSONANCE

Clarinetist Eddie Daniels and pianist Roger Kellaway make the wrong note right We bring in some dissonance, so in that way it transcends a lot of different styles. It ends up being a sort of history of music, a history of the world, really.

— Eddie Daniels

Stephen Hassay

eed player Eddie Daniels and pianist Roger Kellaway already had strong, decades-long careers going before they met. Daniels had spent six years with the famed Thad Jones-Mel Lewis Orchestra beginning in 1966, mostly playing saxophone (he’s now best known for his clarinet work).

That same year, he won the saxophone prize at the International Jazz Competition in Vienna. Daniels played an integral role in trumpeter Freddie Hubbard’s acclaimed 1969 recording The Hub of Hubbard. In addition to recording his own albums for the Muse, Prestige, Columbia labels, he worked with distinguished bassist Richard Davis, guitarist Bucky Pizzarelli, and vocalist Morgana King. Kellaway made recordings with jazz greats Ben Webster, Maynard Ferguson, Wes Montgomery, and Sonny Rollins as well as serving as musical director for singer Bobby Darin in the late 1960s. In the ’70s, he toured with popular saxophonist Tom Scott’s L.A. Express and with Joni Mitchell. He scored a handful of movies, including 1976’s A Star Is Born with Barbra Streisand and Kris Kristofferson, which earned him an Oscar nomination. His closing theme for the popular television series All in the Family, “Remembering You,” was familiar to the entire country, even if Kellaway’s name wasn’t.

The two came together sometime in the mid-’80s — neither remembers the exact year — at the urging of Jack Kleinsinger, the promoter of New York’s longrunning, now defunct concert series Highlights in Jazz. “Jack said you have to play with this guy Roger Kellaway,” Daniels, now a Santa Fe resident, explained. “So I went over to Roger’s house and we played a tune together and went, Holy cow!

This is amazing. There was some kind of magic between us.”

“I don’t remember if it was at the house,” Kellaway added in a phone call from his home in Ojai, California. “But as I recall, we bonded immediately. It was very comfortable working together right from the start.” Since then, the two have 26

October 12 -18, 2012

teamed up on a number of projects, including the recently released recording Live at the Library of Congress, which features the duo romping through jazz standards (Thelonious Monk’s “Rhythm-a-Ning”), tunes from the American songbook (Gershwin’s “Strike Up the Band” and “Somewhere” from West Side Story), the unexpected jazz treatment (“America the Beautiful”) and originals. The disc gives a glimpse into what concertgoers will hear when Kellaway and Daniels play at the Lensic Performing Arts Center on Sunday, Oct. 14, in a benefit for the New Mexico Center for Therapeutic Riding and the Santa Fe Symphony’s music-education programs. But unlike the Live at the Library of Congress recording, the show features selections from Duke Ellington with a third group member, cellist James Holland.

Working with strings, especially cello, is nothing new for both men. Kellaway’s early-’70s recordings Cello Quartet and Come to the Meadow, both with cellist Edgar Lustgarten, maintain something of a cult status. He won a Grammy for his string arrangements on Daniels’ 1988 recording Memos From Paradise. For the Lensic concert, “we wanted to bring in that other dimension of what Roger and I do,” Daniels explained. “It’s a kind of improvised chamber music, music which has all of American music in it. What we play swings; it has classical, 12-tone stuff in it. We bring in some dissonance, so in that way it transcends a lot of different styles. It ends up being a sort of history of music, a history of the world, really.” Both men have worked and held an interest in classical music, especially 20th-century classical music. Earlier this year, Daniels performed Aaron Copland’s Clarinet Concerto in London with the London Symphony Orchestra conducted by Kristjan Järvi. Kellaway, who spent time studying at the New England Conservatory in the late ’50s, has written commissions for the Los Angeles Philharmonic, the New York Philharmonic, and the Juilliard String Quartet, among many other ensembles. “I’ve spent most of my life listening to

[classical music],” Kellaway said. “So it’s possible at any point during a performance, I’ll decide — it’s not really even a decision, it just happens — to superimpose material not based on the form we’re playing but something from Messiaen or Stockhausen or Stravinsky or Prokofiev.”

“Sometimes Roger will play wrong notes,” Daniels said of the pianist’s 12-tone tendencies, “just to show you there are no wrong notes. That’s a good thing for the audience to know, that any note will work if it’s in the right context. Sometimes [the audience] gets so relaxed with our playing, our having so much fun in the sandbox, that they need something like dissonance to shake them up. And then it’s resolved in such a beautiful way — a beautiful consonance — that it makes the audience enjoy it even more.”

Though both men have never been purists when it comes to jazz, it’s jazz that defines their performance and careers. Kellaway has a long history of duo collaborations with such musicians as bassist Red Mitchell, cornetist Ruby Braff, and fellow keyboardists Dick Hyman and Bill Charlap. Daniels’ clarinet solo on “Little Pixie” (a variation on “I Got Rhythm”) from the Thad Jones-Mel Lewis Orchestra’s 1967 recording Live at the Village Vanguard immediately established him as one of the jazz world’s leading virtuosos on the instrument, even as he’d earned accolades as a saxophonist. “I was supposed to play sax on that number but picked up the clarinet,” Daniels recalled. “I heard that Thad later asked Mel, Why the hell did he do that?” (Daniels promises to break out the saxophone for at least one number during Sunday’s performance.) Listen to his tenor on The Hub of Hubbard, and it’s clear that he was up to the tempo challenges that Hubbard created, despite the difficult circumstances presented by the recording. “[The Jones-Lewis orchestra] was on a tour with Freddie’s group in Germany,” Daniels explained, “and this company wanted to record Freddie, and his saxophonist, Joe Henderson, didn’t want to do it — not enough money. Of course, I didn’t care how much it paid, I was just anxious to play with Freddie. So we had this long bus ride at night through the Black Forest to the middle of nowhere to record. And I came into the studio and right away Freddie counts this tune off — one, two, three — and it was one of the fastest tempos I’d ever heard. I jumped in out of sheer desperation — there was no rehearsal — and became a nominal hero for doing it. Freddie was sweet about it and said he was shocked that I jumped in. He didn’t expect me to hold my own.”

Kellaway is also known for his virtuosity and an ability to pack harmonics into each and every solo. But he said he’s now backed off his density-heavy playing. “I remember in my youth, one of the things I loved doing was playing a million notes,” he laughed. “But it’s not as big a thrill to me anymore.

I remember putting on a recording of [trombonist Bob ] Brookmeyer’s, [Kellaway spent a couple years in the early ’60s playing in the BrookmeyerClark Terry band] and it was a very uptempo piece, and he was playing quarter notes. I thought, what an interesting idea — doing more with less.”

Kellaway is writing out parts for the Ellington pieces that include cello.

“The idea of using cello to add color was Eddie’s. I like writing out the parts for someone who doesn’t improvise. Getting a cellist with a feeling for jazz has always been a problem. So these tunes have to be charted, and to some extent that takes away the freedom that [Eddie and I] have interacting with each other. That’s what makes them jazz chamber pieces.”

But that doesn’t mean the musicians’ Santa Fe concert will be a laid-back, formalized performance. “We don’t always start out exactly on the tune,” Daniels said. “We start off throwing ideas around, throwing a ball back and forth on some subliminal, subconscious plane in a way that will lead us to the place we want to go.” Kellaway explained the process further. “We may start on a free improvisation, a couple of horses running together, and we might not even know where we’re going. Somehow we’ll just land on the tune. The interaction and the joy we have playing together is a great part of the experience, for us and the audience.” ◀

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details ▼ Eddie Daniels and Roger Kellaway with James Holland ▼ 4 p.m. Sunday, Oct. 14 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $25-$45; 988-1234, www.ticketssantafe.org

PASATIEMPO

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Rob DeWalt I The New Mexican

CAPITAL 5

Mayor’s Awards for Excellence in the Arts Emmy Grimm

Susan Contreras

Eric Swanson

ounded in 1989, the Mayor’s Awards for Excellence in the Arts — presented by the Santa Fe Arts Commission — recognize people, corporations, and organizations in Santa Fe that have made major contributions to the local arts and culture scene.

On Thursday, Oct. 18, at an awards dinner and ceremony at the Santa Fe Community Convention Center, Mayor David Coss and others honor this year’s five recipients.

The evening includes a meal prepared by chef Lane Warner and the kitchen staff at La Plazuela, the restaurant inside La Fonda recognized for its updated Northern New Mexico classics. Flamenco guitarist Jose Valle Fajardo, known as Chuscales, performs, and during award presentations, video profiles of each recipient are screened.

A companion exhibit in honor of the recipients is on display in the convention center’s Community Gallery through Oct. 19. This year’s honorees are:

SUSAN CONTRERAS

Born in Mexico City to a portraitist and a jeweler, painter Susan Contreras moved to Santa Fe with her family in 1968. It was here that she took up photography in high school before studying at the Brooks Institute in Santa Barbara, California, where she earned a photography degree. She later received a B.F.A. and M.F.A. from the University of California at Santa Barbara and studied at the Skowhegan School of Painting and Sculpture in Madison, Maine. Contreras is perhaps most readily known for her ultra-colorful portraits of people wearing Latin masks with emotional expressions. In an artists statement, she writes,“I am not concerned with the persona beneath the mask or the psycho-drama that may exist between the real and the unreal. What fascinates me is the transformation that occurs when the mask is donned and the magic begins.” Contreras’work can be seen in many public collections, including those of the National Hispanic Cultural Center, the New Mexico Museum of Art, and the Albuquerque Museum of Art and History.

MARY-CHARLOTTE DOMANDI

Mary-Charlotte Domandi

Talk-radio maven Mary-Charlotte Domandi, host and producer of KSFR-FM 101.1’s daily talk show Santa Fe Radio Café, began her popular morning program in 2003. Since then she has developed and participated in many creative partnerships and collaborative projects within the community. Her ceaseless curiosity about the world and its inhabitants is infectious, and whether she’s exploring the intricacies of climate change with www.350.org founder Bill McKibben, talking politics with locals in the know during a legislative session, interviewing a poet, playwright, or gallery curator, or mediating a panel on ... well, you name it, Domandi asks questions and offers insights that always point back to Santa Fe. Domandi received a B.A. in art history from Yale and a master’s degree from the St. John’s College Graduate Institute in Santa Fe. She could be called the host of a“listening”show, because to her, every voice matters.

EMMY GRIMM

Dancer Emmy Grimm is this year’s Melissa Engestrom Youth Artist Award recipient. Grimm began studying flamenco at the María Benítez Institute for Spanish Arts at the age of 4 and joined the institute’s youth company when she was 10 years old. She was 12 when she began teaching at the institute’s summer program in Truchas, New Mexico. Performances throughout the state and instruction at the hands of celebrated flamenco artists such as Antonio Granjero and Estefania Ramirez have established Grimm as an up-and-coming world-class dancer. Grimm receives the award for her performances and dedication to passing on the art and history of flamenco.

SANTA FE PERFORMING ARTS

Santa Fe Performing Arts

Santa Fe Performing Arts is on the verge of rolling out a new work in collaboration with local arts collective Meow Wolf. SFPA was founded in 1988 to provide all-ages education about social issues that affect the community. With outreach programs for children and teens using youth and adult performers, SFPA is dedicated to making inclusiveness a large part of its everyday work, providing culturally relevant theater throughout Santa Fe that is both bilingual and family-friendly. Recent SFPA productions and collaborations include the sci-fi play Unit-113, produced in conjunction with Meow Wolf; Love & Emma Goldman: A Rock Opera, presented with Wise Fool New Mexico; and an unusual version of A Christmas Carol that included an appearance by Bob Marley.

JERRY WEST

In a 2010 interview with Pasatiempo, painter and printmaker Jerry West said,“For a long time when I was younger, I struggled with loving this place while entertaining a strong interest in getting the hell away from it. There was a sense of never being able to figure out how to sever myself from the world I was living in.” It’s a good thing he stayed put; West’s paintings convey Santa Fe’s unusual psyche and cultural history in a unique way. In the 70-plus years West has called New Mexico home, he has witnessed and shared through his singular artistic vision the landscapes, oddball characters, and distinctive (if sometimes misguided) architecture and design of the city. ◀

details ▼ Mayor’s Awards for Excellence in the Arts, dinner & presentation ▼ 6:30 p.m. Thursday, Oct. 18

Jerry West 28

October 12 -18, 2012

▼ Sweeney Ballroom, Santa Fe Community Convention Center, 201 W. Marcy St. ▼ $65; 955-6710, www.santafeartscommission.org

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James M. Keller I The New Mexican

First glimpses oF old New mexico

A

s the 19th century unfurled and the United States relentlessly filled in the empty spaces toward the left-hand side of its map, works of art played an essential role in forming the nation’s impression of what the American West was all about. Expeditions were dispatched to chart the landscape, and artists sometimes tagged along with the geologists and map makers to capture scenes along the way. Among the master artists who made the trek west was Thomas Moran, whose acclaim continues to resound today, and his younger brother Peter Moran, whom history has largely relegated to a footnote.

The Zaplin Lampert Gallery celebrates both brothers in an exhibition, opening on Friday, Oct. 12, that will confirm art lovers’ high regard for Thomas and undoubtedly win new friends for Peter, who emerges as one of the earliest champions of New Mexico subjects.

In fact, there were seven Moran siblings, and five of them were artistic. The eldest, Edward, also pursued painting, and the next oldest and the youngest, John and short-lived William, became active photographers; but none of them figures in this show. They were all born in England, but in 1844, when Thomas was 7 and Peter was 3, the family immigrated to America and settled in Philadelphia. Thomas served an apprenticeship in a wood-engraving firm, Peter one with a lithographer.

Paintings by Peter and Thomas Moran Both traveled back to England for advanced art study, as did their brother Edward, and once they returned to Philadelphia they all began to make strides in the city’s art circles. Thomas and Peter exhibited at the prestigious Pennsylvania Academy of the Fine Arts, and Peter’s works popped up regularly at the Philadelphia Artists’ Fund Society, where he ascended to a position on the board of directors.

In the end, Thomas would gain his greatest acclaim as a painter and Peter would excel as an etcher, a field he accosted in earnest in 1875.

By 1880 Peter and four fellow artists founded the Philadelphia Society of Etchers, which would remain active for 23 years. By that time he had already gained first-hand experience of the American West.

Thomas was the first of the brothers to trek westward. He undertook his initial trip in 1871, journeying to Yellowstone on commission to provide illustrations for an article in Scribner’s Monthly. His paintings were included in the report that led directly to President Grant’s creating Yellowstone as the nation’s first national park, in 1872. He returned repeatedly in ensuing years, and in 1879, on his fifth westward expedition, he was joined by Peter, their travel (which was underwritten by the Union Pacific Railroad) taking them to northeast California and the Territories of Nevada, Utah, Idaho, and Wyoming.

The following summer, Peter headed west from Philadelphia again, now accompanied by his pupil Henry Rankin Poore. This time the train headed to the New Mexico Territory, where the pair arrived on July 29, 1880, intending to continue on to Tucson and Guaymas, Mexico. They found that New Mexico offered more than enough to keep them busy. Rather than continue along their itinerary, they spent more than a month sketching in Santa Fe as well as at the pueblos of Zia, Jemez, Santo Domingo, and Taos. The following summer they were back again, and after spending further time in Santa Fe and the pueblos, Peter accompanied an ethnological expedition to

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October 12 -18, 2012

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Peter Moran: Burros (detail), oil Opposite page, Peter Moran: watercolor sketch of Santa Fe looking east from lower Water Street near Sandoval Street, circa 1880 Opposite page, below, Thomas Moran: Yellowstone Lake, Yellowstone National Park, 1876, chromolithograph

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Hopi villages in Arizona. Other artists also converged on the region that summer of 1881, including Alexander F. Harmer (another Philadelphian), the Boston artist Willard Leroy Metcalf, and Thomas Moran, who in his first trip to New Mexico sketched landscapes in the area of San Juan Pueblo (now called Ohkay Owingeh), Española, and the Los Piños valley. The oft-repeated lore is that the art scene really got rolling here only in 1883, when Joseph Henry Sharp paid his first visit to New Mexico. In fact, artists from the East were already documenting the region through paintings and prints of artistic quality before that.

“Peter Moran was the first guy who really documented this area,” said David Gilmore Wright, a Baltimore architect who has obsessively filled in the record on the artist over the past decade and created an elegant two-volume study titled Domestic and Wild: Peter Moran’s Images of America (published in 2010 by Creo Press). “He was the first who came back on a repeat visit for artistic purposes. It was a time when the government was sending out people in an effort to document and understand the territory. The expeditions were partly Smithsonianbased and partly railroad-based, since they were trying to figure out how to get tourists to head west and fill up the trains, once the rail lines were built.” Wright grew intrigued by the disparity that separated continued on Page 32

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Thomas and PeTer moran, continued from Page 31

Peter Moran’s prestige during his lifetime from his oblivion in posterity. “As an etcher he was incredibly facile in terms of technique,” he said. “He used it in a variety of ways and wasn’t just stuck in one mode of expression. He did reproduction etchings based on other artists’ work; he did replica etchings based on his own paintings; he did entirely original etchings including some done en plein air — on the spot. During his life he was tremendously recognized and appreciated, but after his death in 1914 he was just forgotten and never received lasting recognition. In the 1920s, ’30s, ’40s, if books mentioned him it might be in just a sentence or a short paragraph. I thought that warranted a change.”

For the most part, the artist spent his time in New Mexico accumulating material that he would then take home to Philadelphia to work out in detail in etchings, oil paintings, or watercolors. A large cache of his sketches ended up in Roswell, and Wright was fascinated to explore how these on-site sketches evolved into the finished artworks. Although the Roswell sketches are not included in the exhibition, Wright includes a number of them in a presentation he is giving at the exhibition’s opening. Such on-the-spot drawings served the artist for years. Although Peter Moran seems not to have returned to New Mexico after his visit of 1881, he kept producing New Mexicothemed paintings and etchings for decades, deriving them from his trove of sketches. This exhibition argues that he should be recognized as the first true New Mexico artist apart from Native Americans — the figure who produced the first extensive body of work on New Mexico subjects.

Wright has been on the qui vive for Peter Moran’s work for some years and occasionally finds examples on offer from auction houses with the artist misidentified or completely unidentified. “There was another artist named Percy Moran — a nephew of Peter’s — and it was not uncommon for Peter’s works to be identified by auction houses as by Percy,” Wright said. “Even today, about a third of the collection of Peter Moran pieces in the collection of the Boston Museum of Fine Arts are misidentified as being by Percy.”

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October 12 -18, 2012

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Another aficionado of Peter Moran’s work is David Clemmer, a curator at the Zaplin Lampert Gallery, who has sometimes found himself bidding against Wright when pieces show up in the sales rooms.

“Even before he came to the American West,” Clemmer observed, “Peter Moran was famous as a painter of animals — particularly of cows, donkeys, horses. He really loved the donkeys. You find them all the time in his paintings of the Southwest. He’s painting Pueblo scenes, but even then he often includes his donkeys, horses, and cattle.”

Clemmer pointed to an oil titled Burros, in which one burro carries a load of green hay while its foal walks beside it and a farmer follows behind, mounted on a third burro. “This is good, detailed painting,” he said. “The hair on the main burro’s forehead has a realistic quality, almost as if you could touch it and feel how rough it is.” He thinks visitors to the show will be interested to see how Peter Moran incorporated regional artifacts in his paintings, such as the Native textiles in his oil painting A Moqui Trader, similar to the textiles one spots in a photograph of his Philadelphia studio.

One of the prize pieces in the exhibit is a watercolor sketch of very early Santa Fe, looking east from lower Water Street near where it

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Thomas Moran: Green River, ink wash Opposite page, above, Peter Moran: Building Features, Mishognovi, AZ, 1881, pencil and Chinese white sketch on paper Opposite page, below, Peter Moran: Harvest at San Juan, New Mexico, circa 1883, print; all images courtesy Zaplin Lampert Gallery

intersects today with Sandoval Street. The street is rough, the adobes lining it look none too permanent, and a woman clad in black walks down the road balancing a vessel on her head. Clemmer saw a tiny reproduction of it in the catalog of a small auction house and got out his magnifying glass. He spotted in the distance a familiar outline: the Loretto Chapel — perhaps in its first representation in a work of art, since the watercolor sketch probably dates from 1880 and the chapel was completed only two years before that.

The show is unusual for Zaplin Lampert — a commercial art gallery rather than a museum — in that practically nothing in it is for sale, at least not officially. It brings together about 30 pieces, mostly on loan for this exhibition: 13 by Peter Moran, the rest by Thomas Moran.

Among the Thomas Moran pieces are chromolithographs of images that exalt the grandeur of the American West, breathtaking vistas of Montana, Utah, and, above all, Yellowstone. These were printed by the Boston lithography firm of Louis Prang & Company, which developed techniques that made its finest prints almost indistinguishable from oil paintings. “There’s a letter from Thomas Moran where he says Prang has reached the pinnacle of what can be done in lithography, and I think he was right,” Clemmer said. “Prang pushed that technique about as far as it could go.”

One of Thomas Moran’s most acclaimed chromolithographs occupies a dominant place in the exhibit: The Grand Canyon of Arizona From Hermit Rim Road. The Atchison, Topeka and Santa Fe Railway operated the only rail line to the South Rim of the Grand Canyon, and in 1912 — seven years before the place was named a national park — the company purchased Moran’s oil painting and had it reproduced

by Prang’s lithographic process. “They sent it to ticket offices and train depots throughout the country in order to promote the Grand Canyon as a tourist destination,” Clemmer said. “Very often the prints were trimmed down to fit into an available frame. But the one we’re displaying is untrimmed, with its full title printed at the bottom, and with great color. It’s a real icon of the American West.” ◀

details ▼ Thomas Moran/Peter Moran: West by Southwest ▼ Opening reception 5 p.m. Friday, Oct. 12, with a presentation by David Gilmore Wright on the work of Peter Moran; exhibit through Nov. 10 ▼ Zaplin Lampert Gallery, 651 Canyon Road, 982-6100

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ART IN

REVIEW Dancing With the Dark: Joan Snyder Prints 1963-2010, University of New Mexico Art Museum, Center for the Arts (corner of Cornell Drive N.E. and Redondo Drive N.E., Albuquerque), 505-277-4001; through Dec. 15

J

My Work … , 1997, five-color etching, soft ground etching, aquatint, spite bite, scraping, and color woodcut, 15.75 x 19.75 inches Top, Joan Snyder: Madrigal X from 33 Madrigals, 2001, monoprint (color lithograph, monotype, and color wood cut), 40 x 42 inches

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October 12 -18, 2012

oan Snyder is an accomplished printmaker, working with monotypes, lithographs, etchings, and woodcuts. More than 80 of her prints — from her early, expressionist-style woodblock prints to her looser, more contemporary abstractions — are included in Dancing With the Dark.

Snyder’s vibrant colors and often startling figurative imagery, combined with words and text, merge into a body of work that is accessible and highly personal. The best retrospectives offer some insight about the context in which the art was created. For Dancing With the Dark, which comprises work spanning 47 years, the context is the intimate moments of Snyder’s life, which at times enter into her prints as expressions of joy and pain.

A late etching from 1997 titled My Work ... epitomizes the autobiographic nature of Snyder’s art. The statement “My work has been absolutely faithful to me” is emblazoned across the bottom of the print. Other words in the piece refer, apparently, to events (“birth”), emotions (“fear”), art materials (“oil, glue”), and imagery common to Snyder’s work (“blossoms”). The central image is ambiguous enough that it resembles both a heart and female genitalia. My Work ... is a microcosm of the world of the artist.

Often in museum exhibitions, descriptive text is so prevalent that art serves as little more than illustrations for the written word. But in Dancing With the Dark, the images are not overwhelmed by explanatory text. The type on the descriptive title cards is small, allowing the viewer to engage with the work on his or her own terms first before considering curatorial input. The descriptions are helpful in terms of explaining Snyder’s motivations, but they are sometimes so precise that they intrude on the subjective experience of the viewer.

In the end, adding the statements in small print was a wise decision. It is not necessary to read them all to get a full experience out of your visit, but they are often insightful, underscoring the self-referential nature of Snyder’s work.

Love’s Deep Grapes, a woodcut, contains words that Snyder attributes to Virgil: “There is a sadness in things apart from connected with human suffering.” The text suggests that sorrow is a pervasive presence in the world, independent of human experience. The print was made at a difficult time in Snyder’s life, according to the description on the title card. Beyond amounting to a personal statement, Love’s Deep Grapes is transcendent, a work to which anyone who has felt that the world cries with them in their despair can relate. The dynamism of works such as this — where the impetus to create stems from individual experience but the result is one that many can appreciate — is a defining characteristic of Snyder’s prints.

— Michael Abatemarco

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35

Declaration of independents 36

Festival’s growing pains

Rob DeWalt I The New Mexican

IN

Into Eternity

Santa Fe Independent FIlm FeStIval

Love Story

This This Ain’t Ain’t California California

October 12 -18, 2012

2009, Santa Fe Independent Film Festival executive director and filmmaker Jacques Paisner and festival co-founder and actor David Moore launched the festival in response to what they described as a growing need for more inclusiveness for independent filmmakers in local festivals. It was, Paisner told Pasatiempo during a late-September visit to the SFIFF office inside the Lensic Performing Arts Center, a chance to highlight original modest-to-lowbudget films in the tradition of Slamdance, the annual festival in Utah that runs simultaneously with the Sundance Film Festival, in the hopes of offering a more grassroots independent-film experience.

As the official story goes, when Paisner’s own film, titled Rejection, was not accepted into the Santa Fe Film Feastival in 2009, he and Moore — an actor in the production — used poker-tournament winnings to establish their alternative to the long-standing festival.

The first year out, SFIFF took place the first week of December, putting it in the direct path of the long-standing Santa Fe Film Festival, which ran at the same time. Either for logistical reasons or in the spirit of non-competition, Paisner and company moved their festival to October in 2010 and have kept it there ever since. On Wednesday, Oct. 17, the fourth incarnation of SFIFF gets underway and runs through Oct. 21 at venues throughout Santa Fe. Since its inception, SFIFF has seen steady growth, not only in audience participation but also in sponsor and filmmaker interest. In 2011, more than 100 films, documentaries, and shorts were screened, and this year, similar numbers apply. The festival expands its screenings to four venues, including The Screen, the Center for Contemporary Arts, and Warehouse 21. Paisner has also secured three days of screen time at the Lensic. “About 90 percent of the films are New Mexico premieres,” Paisner said, “and as we grow, it’s not as easy to get films into the festival.

Movies are on our radar today that we wouldn’t have had access to when we first started, and it’s not a matter of filmmakers returning our calls.

It’s a matter of filmmaker interest. Submissions were high this year, and we still go through a screening process. We’re paying much closer attention to quality.”

Enter Lauren Wissot, the festival’s 2012 director of programming.

A filmmaker, freelance film and theater critic and contributing editor for Filmmaker Magazine, Wissot delivered high praise of SFIFF 2011 in the magazine, writing, “I often felt like I was at an all-inclusive resort for cinephiles rather than attending a mere film festival.”

During an interview with Pasatiempo, it was evident that Wissot’s enthusiasm for the festival remains high and that her verve is matched by an eagerness to “raise the bar” on programming and include films that have shown well at other festivals and forums, including the East German skate doc This Ain’t California, the dreamy Danish nuclearstorage doc Into Eternity, the Ugandan gay-rights exposé Call Me Kuchu, and Mosquita y Mari — a drama from Santa Fe producer Chad Burris that had its premiere in January at Sundance.

The buzz surrounding the festival’s features swarms around two films with New Mexico ties. Bless Me, Ultima, an adaptation of Rudolfo Anaya’s influential 1972 novel, was filmed in Las Vegas, Rowe, Abiquiú, and Santa Fe and brought work to more than 150 New Mexicans in the film industry. It had its world premiere in El Paso in September. Anaya and his family are scheduled to attend the New Mexico premiere, as are 100 members of the cast and crew.

Filmmaker Lawrence Blume, son of former New Mexico resident and celebrated novelist Judy Blume, brings his family-drama feature, Tiger Eyes, to Santa Fe for its New Mexico debut. Based on his mother’s novel of the same name, the film was shot in New Mexico and stars

Willa Holland of Gossip Girl, Amy Jo Johnson of Felicity, and Tatanka Means, son of veteran actor and activist Russell Means (who also appears in the film).

This year offers up nine shorts programs that range from familyfriendly viewing to the environmentally conscious to the art-centric, with a little bit of the outré thrown in for good measure. For example, the 2010 short How Much for My Brother? follows a 10-year-old English boy named Oscar as he tries to get rid of his little brother — by selling him to a pedophile. A local favorite of the shorts program will undoubtedly be Jill Sharpe’s Bone Wind Fire, a 30-minute film celebrating three iconic artists — Frida Kahlo, Georgia O’Keeffe, and Emily Carr — and using their own words.

Parties should never be considered the linchpin of a film festival, but it’s much easier to network and schmooze with a little food and booze at your disposal between screenings. Each night during this year’s festival, SFIFF and sponsors present the opportunity to do so, starting with the Bless Me Ultima party at Zia Diner (326 S. Guadalupe St., 988-7008) at 9 p.m. Wednesday, Oct. 17. Zia owner Beth Koch plans to serve hors d’oeuvres based on recipes mentioned in Anaya’s novel.

At 7:30 p.m. Thursday, Oct. 18, Santa Fe’s nonprofit Farm to Table program (www.farmtotablenm.org) hosts a catered reception of local foods in Studio C at Garson Studios (Santa Fe University of Art and Design, 1600 St. Michael’s Drive) following the 6:30 p.m. screening of Andrew Beck Grace’s eye-opening, locavore-minded doc Eating Alabama at The Screen. Later that night, burn the calories away at The Ore House at Milagro (139 W. San Francisco St., 995-0139) in downtown Santa Fe during DJ Dynamite Sol’s reggae party.

Since its debut in 2009, the Santa Fe Independent Film Festival has integrated a series of panel discussions, lectures, and workshops into its annual repertoire, and 2012 sees the educational outreach of the festival expand radically, according to Paisner.

“The inclusion of [panels with local nonprofit] New Mexico Lawyers for the Arts in the educational program is huge this year,” Paisner said, “and covers everything from censorship and distribution to navigating social media and fair use, Creative Commons. We can talk about film incentives all day, but we also need to get down to the business of making actual films. We have great filmmakers in the state, and academic programs to keep that going. It’s important to bring more filmmakers here for the festival, not only to show their own work, but to have them see ours.”

Visit www.santafeindependentfilmfestival.com for a full schedule of screenings, lectures, panels, workshops, parties, and film synopses.

A free SFIFF app that guides visitors through the festival’s schedule and lineup is also available through the iTunes store. ◀

S

ince the Santa Fe International Film Festival’s humble beginnings in 2009, some things have changed in terms of the who, where, and how.

Co-founder Jacques Paisner remains a visible and active leader of the proceedings, and more important, a hopeless cinephile. But the scope of the festival four years in is much larger than it was during the early days.

Cash and company sponsorships, especially those coming from local hoteliers, are on the rise. Programming has taken a larger lean toward features with a proven track record at other festivals and forums. Lauren Wissot, an out-of-town curator who also works as a filmmaker and nationally recognized freelance film reviewer oversees the programming (albeit at Paisner’s final word). But let it be said: the programming is top-notch, and Wissot brought years of experience to the table to make it happen.

As he began organizing this year’s festival, Paisner knew things were different. The festival — the fruits of a vision realized on a literal gamble — and a love of the cinematic arts — wears big-boy pants now. How does Paisner plan on adhering to the festival’s founding mission, highlighting, modest-to-low-budget indie films made in the tradition of Slamdance? How will the organizers keep the fest from becoming too “mainstream”?

“It’s important to us to embrace the fringe and remain an indie festival,” Paisner said, “but our mission has always been to bring more independent cinema to Santa Fe and give people access to films they might otherwise not see, wherever it comes from. Our focus on New Mexico film hasn’t changed. We have New Mexico debuts and features, big ones, and a New Mexico shorts program. These are films a lot of people in New Mexico would otherwise not know existed.”

With few exceptions, every film accepted into the festival will be seen.

The makers of Blaze You Out, a feature-length drama that deals with heroin addiction in Northern New Mexico, bowed out of SFIFF because they sought distribution before the festival, Paisner said. The producers of Winter in the Blood, a feature based on a novel by Montana writer James Welch, chose to focus on other festivals.

When it comes to growing pains, Paisner points to the festival’s commitment to the larger community, not only in terms of financial gain, but also in terms of creative investment. If some New Mexico filmmakers are leaping out of the gate reaching for Sundance or Tribeca instead of local festivals, more power to them, he said. Paisner and his collaborators have been studying events such as the Edinburgh International Festival in Scotland, the largest cultural festival in the world, for inspiration in moving forward. But smaller festivals like SFIFF still matter, Paisner said, because it’s not always about taking an indie to the finish line of distribution. It’s about bringing good films to people who actually want to watch them.

— R.D.W.

details ▼ Fourth annual Santa Fe Independent Film Festival ▼ Wednesday, Oct. 17, through Sunday, Oct. 21 ▼ Venues: The Screen (Santa Fe University of Art and Design, 473-6494); Center for Contemporary Arts (1050 Old Pecos Trail, 982-1338); Warehouse 21 (1614 Paseo de Peralta, 989-4423); and the Lensic Performing Arts Center (211 W. San Francisco St., 988-1234) ▼ Bless Me, Ultima $15; other individual screenings $10 (discounts available); day passes ($15-$40) and all-festival passes ($100) may be purchased from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org); see www.santafeiff.com or call 505-349-1414

Putting it together: from left, Jacques Paisner, Layla Tobol, Liesette Paisner, Lauren Wissot, Lela Dawkins, Kim Ginoza, and Dave Moore

PASATIEMPO

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Family ties Judy Blume’s Tiger Eyes, made in New Mexico

Santa Fe Independent FIlm FeStIval

Jennifer Levin I For The New Mexican

38

S

ay the name Judy Blume to an American woman in her 30s or 40s, and chances are you will hear a version of the following response: “I couldn’t have grown up without her books!”

Blume is the author of such classic children’s and young adult-novels as Deenie, Blubber, Otherwise Known as Sheila the Great, and Are You There God? It’s Me, Margaret. She doesn’t write solely for girls — Tales of a Fourth Grade Nothing and Superfudge have male protagonists, and books like Tiger Eyes, about a 15-year-old girl dealing with her father’s murder, crossed gender boundaries because the subject matter was relevant to kids everywhere. Tiger Eyes was first published in 1981. Judy Blume’s son, Lawrence, was in his freshman year as a film student at Hampshire College when it came out, and he read it straight through.

“I found it extremely emotional,” he recalled in a conference call with Pasatiempo — his mother was also on the line. “It mirrored my experience to some extent, because it was about a young person moving from one life in New Jersey to a new life in New Mexico. I knew all the locations in the book, and the sensibility, and it was very cinematic in the use of the landscapes and the canyons. It read like a movie to me, more than any of her other books at that point, which appealed to me as a young filmmaker.”

A little more than 30 years later, the film version of Tiger Eyes is a reality.

Mother and son wrote the screenplay together, and Lawrence directed the movie, which has its New Mexico premiere at the Santa Fe Independent Film Festival on Sunday, Oct. 21. The film stars Willa Holland (Gossip Girl, The O.C.) as Davey and Tatanka Means as Wolf. Russell Means, Tatanka’s father, plays Willie Ortiz. Both Blumes are scheduled to attend

October 12 -18, 2012

Lawrence Blume (second from left) and Judy Blume (far right) during the filming of Tiger Eyes; top, Willa Holland and Tatanka Means

the screening at the Lensic Performing Arts Center; they take part in a question-and-answer session afterward.

Judy Blume married a man who worked at Los Alamos National Laboratory when Lawrence was in junior high school, so the family moved to Los Alamos from the East Coast, but the marriage didn’t last. She wrote Tiger Eyes just after moving from Los Alamos to Santa Fe. (Lawrence graduated from Santa Fe Prep; Judy now lives in Key West, Florida.) “I was writing about a young girl who lost her beloved father. The same thing happened to me. Not in the same way, but the father I adored died suddenly,

and I was with him when he died. I was also writing about a place that at the time I found difficult. When I went back for the shooting of the movie, it was the first time I’d been back to Los Alamos in all those years. I was unhappy when I lived there, in an unhappy relationship, and I think that had a lot to do with where I was when I wrote the book.”

In the book, there is a subplot about the homogenous nature of Los Alamos and the residents’ fear of New Mexicans who are not Anglo and/or do not live on “the hill.” Lawrence was aware that Los Alamos has become more multicultural since he was a kid, so the plotline was made more subtle. Because of Lawrence’s personal interest in Native American religion, the character of Wolf is now American Indian rather than Spanish, which provided an opportunity to delve into Pueblo culture and ceremony. Tiger Eyes was not made as a period piece, though Judy originally advocated for that route, but the updates are minimal — there is perhaps one cellphone in the entire movie — and mostly concern modern hiking boots and water bottles for Davey and Wolf. Many small changes were made in the adaptation from the novel for reasons of time, sense, and dramatic compression, but Davey’s friendship with her Los Alamos High School classmate, Jane (Elise Eberle), is intact, as are Davey’s familial relationships, including the warmth between her and her little brother, Jason (Lucien Dale), and the growing tension between her and her uncle Walter (Forrest Fyre).

“I know sometimes we see movies that are based on books that we loved and sometimes we get angry, but sometimes it’s even better than the book,” Judy said. “I remember two specific instances when you were young, Larry, where you were so upset [about unfaithful adaptations]. There was an after-school special you couldn’t wait to see, one of your favorite books.

You got so upset that you threw something at the TV and ran to your room in tears because the book was so important to you.”

Almost all of the actors in the movie were cast in New Mexico. (Holland, as well as Cynthia Stevenson, who plays Aunt Bitsy, and Amy Jo Johnson, who plays Davey’s mother, are exceptions.) Elise Eberle was a student at Albuquerque Academy. Too young to stay in a hotel by herself during filming, she stayed with Judy and her husband, George. “We had a really good time with her,” Judy said. “One day she just sat there and did every role in the movie for us. She could play one right after the other.” Judy was especially taken with Lucien Dale, who she said became very close with Holland during the filming and was not “a Hollywood cutesy kid,” but Judy and Larry agree the most excellent casting coup was Tatanka Means, who lives in Albuquerque.

“The most anxiety I had in preproduction was whether we’d be able to find our Wolf,” Lawrence said. We needed a New Mexican, Native American, kind of hunky, of a certain age, who could act. There is nobody in the database of L.A. and New York casting agents who can play that part.” The filmmakers lucked out. Means is New Mexican down to his body language and the expression in his eyes. It is a thrill to behold on-screen. (In a ceremony preceding the screening of Tiger Eyes, Tatanka Means will be awarded the festival’s first annual Tamalewood Award.)

“Place is such an important part of Tiger Eyes,” Judy said. “New Mexico was always a character in the book. To be back in that canyon, it was a fantastic experience. It was one of the most wonderful experiences of my professional life.”

“Wow,” Lawrence said. “Really? You know you’re being quoted.”

“I loved it,” she said. “I got to enjoy the whole thing — the actors, the way a movie is made, and the beauty of the landscape.” ◀ “Tiger Eyes” screens at 4 p.m. Sunday, Oct. 21, as part of the Santa Fe Independent Film Festival. The screening takes place at the Lensic Performing Arts Center, 211 W. San Francisco St. Tickets are $10 (discounts available) at the door; advance tickets and festival passes may be purchased from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). See www.santafeiff.com.

Bless Me,Ultima: a Southwestern classic

I

n lesser hands, the film adaptation of Rudolfo Anaya’s 1972 novel Bless Me, Ultima could have been a victim of the cloyingly precious magical realism often inflicted on stories of Spanish and Mexican folk traditions and Catholic mysticism. Directed by Carl Franklin, the film was shot in and around Santa Fe with Spanish-speaking actors, which imbues the story of murder and witches in World War IIera Northern New Mexico with authenticity. And the rough-hewn landscape of chamisa and sun-bleached dirt makes it clear just how often other states such as California and Arizona stand in for New Mexico in the movies.

Young Antonio, played with preternatural sensitivity by Luke Ganalon, is 6 years old when the curandera who oversaw his birth, Ultima (Miriam Colon), comes to stay with his family. His mother, Maria (Dolores Heredia), and his father, Gabriel (Benito Martinez), each have different hopes for Antonio, and he is pulled between the lure of life as a Catholic priest and a future as a vaquero on the llano. In the wake of the return of shell-shocked veterans of the war, including his three older brothers, Antonio sees too much for a kid his age, but he is brave in the face of grown-up pressures.

The performances in Bless Me, Ultima are mostly strong. Although the villain, Narciso ( Joaquín Cosio), does little more than snarl menacingly, he is convincingly menacing. The children in the movie deserve special praise for their relaxed, natural portrayals of another era’s youth. It is also refreshing for the title character of a movie to be an elderly Hispanic woman. (One wonders if she would have been made young and beautiful in a mainstream Hollywood adaptation.)

Like the novel, much of the dialogue is in Spanish, and there are no subtitles. Unlike on the page, where an English-only reader can glean context clues or go back and re-read, the movie does not afford viewers the same opportunity, so those who speak Spanish will get twice as much from the film as those who don’t. The action moves rather quickly, and though there is some voice-over narration from an adult Antonio, some of the emotional complexity of his experience is lost in translation from page to screen. Nevertheless, the film captures the spirit of the book, and if advance buzz is any indication — the venue for the New Mexico premiere was changed to accommodate a larger crowd — it will be embraced by Santa Fe audiences for its unsentimental but loving portrayal of Norteño history and culture.

Bless Me, Ultima screens at 7 p.m. on Thursday, Oct. 18, at the Lensic Performing Arts Center. Tickets are $15 (discounts available); call 988-1234 or see www.ticketssantafe.org and www.santafeiff.com.

— Jennifer Levin Top, Luke Ganalon and Miriam Colon in Bless Me, Ultima

PASATIEMPO

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Funeral Kings

Andrew Bird: Fever Year

The short version Pasatiempo viewed most of the features and shorts included in this year’s Santa Fe Independent Film Festival and selected a handful of must-see New Mexico premieres for capsule review.

FEATURES Consuming Spirits

Call Me Kuchu

The Atomic States of America

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October 12 -18, 2012

Bless Me, UltiMa In lesser hands, the film adaptation of Rudolfo Anaya’s classic novel could have been a victim of cloyingly precious magical realism. Bless Me, Ultima, directed by Carl Franklin, was shot in and around Santa Fe with Spanishspeaking actors, which imbues the story of murder and witches in World War II-era Northern New Mexico with authenticity. Antonio (played by Luke Ganalon), is 6 years old when his grandmother, Ultima (Miriam Colon), a curandera, comes to stay with his family. Antonio sees too much for a kid his age, but he is brave in the face of grown-up pressures.

Performances are mostly strong and the dialogue moves quickly, as does the action. 7 p.m. Thursday, Oct. 18. Rated PG-13. 105 minutes.

In English and Spanish, no subtitles. Lensic Performing Arts Center. ( Jennifer Levin) See story, Page 39.

Call Me KUCHU In this provocative debut documentary

by U.S.-based filmmakers Katherine Fairfax Wright and Malika Zouhali-Worrall, a handful of Ugandan “kuchus,” or “queers”— meaning anyone in the GLBTQ community there — rise up to demand their civil rights in a society that shuns and persecutes them.

The film follows pro-kuchu activists such as David Kato and straight allies including Anglican Bishop Christopher Senyonjo as they navigate a Ugandan political system and media bent on demonizing and sometimes calling for the execution of homosexuals and people living with HIV and AIDS — to the delight of some Christian fundamentalists in Uganda and the United States. When Call Me Kuchu turns its focus to Kato’s brutal murder, the politicization of equal rights and protections for those seeking sexual freedom in Uganda is distilled into a heart-wrenching human story of loss, hope, and the dangers of twisted religious fervor. 6 p.m. Friday, Oct. 19. Not rated. 90 minutes. CCA Cinematheque. (Rob DeWalt)

Run Red Walk: A Navajo Sheepdog

EATING ALABAMA Andrew Beck Grace’s first-person documentary film follows Grace and his wife as they return to Grace’s native Alabama to start a yearlong project to eat only locally sourced foods. Unfortunately, small farms and family farming have all but disappeared in Alabama, replaced by big agriculture and bigger exports. With the help of a few friends, the Graces embark on a culinary adventure that’s as tasty and comedic as it is backbreaking. When a single meal begins with a 700-mile car trip to source sustainably produced ingredients, the Graces realize things are going to be more difficult than they anticipated. The director mines his family’s past (his grandfather was a farmer in Alabama) and picks the brains of area farmers, searching for answers to two pressing inquiries: Where have the old methods of production gone, and is a truly sustainable eating lifestyle possible in the South anymore? With beautiful landscapes and a regionally inspired soundtrack

by The Archibalds, Eating Alabama explores the U.S. food system at the grassroots level and doesn’t depend on locavore dogma for an audience.

6:30 p.m. Thursday, Oct. 18. Not rated. 61 minutes. The Screen. Catered reception follows the screening. (Rob DeWalt) FUNERAL KINGS This debut feature from twin brothers and writer-directors Kevin and Matthew McManus explores the lives of three foul-mouthed 14-year-old boys as they wreak havoc in their neighborhood (when they’re not attending Catholic middle school or working as funeral attendants). Cherubic-looking Charlie (Alex Maizus), schemer Andy (Dylan Hartigan), and innocent-on-the-surface David ( Jordan Puzzo) think they’re mature enough to handle cigarettes, booze, and handguns. When they attempt to cross a “connected” videostore owner and drug dealer (masterfully played by Kevin Corrigan), they learn they still have a lot of maturing to do. Blending comedy and suspense with a refreshingly honest portrayal of how young teenage boys act and talk without adults around, Funeral Kings is at once dark and enlightening. It reminds us how fast some people expect their kids to grow up these days, and how much they usually regret it when they do. 7 p.m. Saturday, Oct. 20.

Rated R. 90 minutes. Lensic Performing Arts Center. (Rob DeWalt) TIGER EyES After Davey’s father is killed, her mother moves Davey and her younger brother across the country to New Mexico for an extended stay at their aunt and uncle’s house. The beloved coming-of-age novel was adapted for the screen by the author, Judy Blume, with her son, Lawrence Blume, who also directed.

Performances are subtle, and the casting is spot-on. The film is set in Los Alamos and Santa Fe, so local actors abound, including Russell Means and his son Tatanka Means, as well as unknowns cast from Albuquerque

Little Ones

Academy and New Mexico School for the Arts. 4 p.m. Friday, Oct. 21.

Not rated. 92 minutes. Lensic Performing Arts Center. ( Jennifer Levin) See story, Page 38.

SHORT FILMS CUTTING LOOSE Screening as part of the festival’s Art Therapy shorts program, this uplifting doc probes the Scottish Prison Service’s annual hairdressing competition and the days leading up to it through the lives of prisoners serving time for murder and other offenses.

The film zeroes in on Francis, the defending champion of the competition, who is about to be reintroduced to free society. A short but engaging portrait of prison life in Scotland, the film also highlights the importance of training and inspiring prisoners before their release. 12:45 p.m. Saturday, Oct. 20.

Not rated. 5 minutes. Warehouse 21. (Rob DeWalt) LITTLE ONES Directed and written by Marc Parees, this hilarious comedy-drama centers on Gordon and Andy, a committed gay couple who have chosen to buy a vacation home instead of adopting a child. Fancy dolls help fill the void, but when a straight couple from across the street comes over for dinner and the martinis start flowing, second thoughts and regrets begin to permeate every corner of Gordon and Andy’s relationship. 10:30 a.m. Thursday, Oct. 18.

Not rated. 23 minutes. Warehouse 21. (Rob DeWalt) PAULIE When Paulie, a nerdy child prodigy and spelling-bee champ with overbearing parents, gets beaten in an essay contest by the school bully, he sets out to prove the bully is cheating. Andrew Nackman’s comedic approach to every child’s desire to feel special is lighthearted and memorable, and the film raises questions about the true nature of a bully. Screens as part of the Films 4 Families shorts program. 10:30 a.m. Saturday, Oct. 20. Not rated. 11 minutes.

Warehouse 21. (Rob DeWalt)

Santa Fe Independent FIlm FeStIval

PASATIEMPO

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Creating Art & Dinner with Barry Thomas & Chef Sparman An art influenced six course wine dinner presented with Wiford Gallery Thursday, October 25, 2012

Condé Nast Traveler’s 2012 World’s Best New Mexico’s only Gold List Award recipient

211 Old Santa Fe Trail 505.984.7915 | innatloretto.com 42

October 12-18, 2012

Double Exposure

Photographing the Places We Make Sacred

A Special Event Honoring Donald Woodman

Sunday, Oct. 14, 2 pm, NmHm Auditorium

Sunday, Oct. 28, 3 pm, NmHm Auditorium

Folklorist and photo historian John Carter speaks about the places where we find meaning and make more meaningful through photography. Part of the Contemplative Landscape programming supported by the NM Humanities Council.

Celebrate the photographer’s donation of his archive to the Palace of the Governors Photo Archives.

Woodman will speak about “My Life in Photography: A Career Overview.”

Above: The Rodeo and the West #23, Donald Woodman.

Both events free with admission; Sundays free to NM residents.

Join The Food Depot in building a new Food Distribution and Education Center.

SEMANA SANTA IN SOUTHERN SPAIN March 24 - April 1, 2013

DID YOU KNOW: • The Food Depot is forced to turn away food donations due to lack of space • The new building will allow The Food Depot to provide enough food for more than 10 million meals per year • Interested in a hard hat tour of the construction site? Contact us for a tour schedule The need is growing, and The Food Depot needs to grow with it. The Food Depot is BUILDING TODAY to feed Northern New Mexicans tomorrow.

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Holy Week in Spain is by far the most expressive liturgical experience of the Christian calendar. Semana Santa as it is called, usually begins on the Monday before Easter and continues through Resurrection Sunday. Processions featuring the hermandad or brotherhoods occur nightly all week long. Draped in austere clothing and conical hats, these “penitentes” as they are known, enact the road to Calvary in prayer and song (saetas) with floats (pasos) bearing statuary of Jesus and other religious icons associated with the passion and death of Christ. This is high drama, and the crowds that line the streets of these ancient towns are drawn inexplicably into the pageantry.

With this sacred liturgy in mind we will travel by private coach through the ancient towns of Malaga, Antequera, Cordoba and Granada in southern Spain. The art, music and cultural details of each location will be expertly detailed by our full time Spanish guide while allowing time for prayer and reflection at each of the magnificent cathedrals along the journey. Won’t you join me in this exploration of faith?

-Carol Heppenstall, MA

TOUR COST (per person)……….US$2995 based on a minimum of 15 participants

Limited to 16, full time English and Spanish speaking guides TOUR COST INCLUDES • Twin share accommodations in hotels listed or similar with meals as specified • All ground transportation by deluxe vehicle • Experienced English‐speaking guides • All entrance fees to monuments, park fees, local taxes and gratuities • Tour escorted by Carol Heppenstall and our Spanish guide

TOUR COST DOES NOT INCLUDE: • Roundtrip flight arrangements from your home to Spain • Airport transfers if arriving/departing separately from group itinerary • Beverages with meals • Travel and medical insurance • Items of a personal nature

FOR MORE INFORMATION AND TO BOOK THIS TOUR, PLEASE CONTACT: The Worldwide Quest office: 1.800.387.1483 • travel@worldwidequest.com Carol Heppenstall, Tour Director 505.988.1470 • carolheppenstall@me.com

PASATIEMPO

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Robert Nott I The New Mexican

Upstate dreaming Paul: What’s with Eileen? She walked right past me. I think she was crying.

Charlotte: Well, she was born in Buffalo. Maybe she suddenly realized she’s still here.

— from Ken Ludwig’s Moon Over Buffalo

T

he theater, playwright Ken Ludwig maintains, is a crucible that serves as a metaphor for life. “There are hierarchies, joy, arguments, goals, ambitions — it’s a wonderful world!” he said by phone from his home in Washington, D.C. And yet, like any world, there are bound to be chips, flaws, and problems, as Ludwig’s 1995 farce Moon Over Buffalo makes clear. The Santa Fe Playhouse is staging this door-slamming comedy, directed by Barbara Hatch, starting Friday, Oct. 12.

Every farce has to have a basis in reality, Ludwig said. In this case, Moon Over Buffalo starts with veteran stage actors George and Charlotte Hay — who are less like the famous theatrical pairing of Lunt and Fontanne and more like the battling Bickersons — trying to hold together a low-rent touring show of Cyrano de Bergerac in upstate New York. Their rag-tag troupe includes Charlotte’s neardeaf mom Ethel, the Hays’ daughter Rosalind — who insists she is forsaking the theater — leading man Paul and leading lady Eileen.

The Hays, who managed to break into Hollywood and then had Hollywood break them, still harbor hopes of silver-screen stardom. Word arrives that famed film director Frank Capra (of It’s a Wonderful Life fame) is coming to see the next Cyrano matinee with the hope of casting one or both of the Hays in his film production of The Twilight of the Scarlet Pimpernel after he loses stars Ronald Colman and Greer Garson. And that’s when the Hays’ company catches the fever of fame and fortune and starts acting, well, nutty. Charlotte in particular harbors unpleasant memories of shooting the low-budget Apache Woman next door to Garson’s Pride and Prejudice.

“She was cutting the crusts off little tea sandwiches, and I was boiling a pig in a teepee,” Charlotte says as she relishes the chance to one-up her old Hollywood rival.

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October 12 -18, 2012

Moon

ver Buffalo

Moon Over Buffalo premiered in New York City in October 1995 and was heralded as Carol Burnett’s return to Broadway after more than 30 years, her last Broadway show being 1964’s Fade-Out, Fade-In. She played Charlotte to Philip Bosco’s George. Filmmakers D.A. Pennebaker and Chris Hegedus covered the lengthy rehearsal period for that show in their 1998 documentary Moon Over Broadway, focusing their cameras on a very different form of behind-the-scenes angst than audiences will see in Moon Over Buffalo. “The film pretty much captured the sense of putting on a Broadway show — tons of stress, lots of money at stake, playing to an out-of-town audience and out-of-town critics, and what it’s like when you have stars,” Ludwig said. “But what I thought they did not capture is the joy of it all.”

Hatch is hoping to capture that essence of joy in this production. “There’s no great moral story here. No one will lose sleep over some great question that needs to be answered. It’s entertaining. It’s fun. But it’s also very human.” She said she didn’t so much choose the play as let it choose her: “It came from heaven.”

She cast theater veterans Alaina Warren Zachary and Mario Cabrera as Charlotte and George. Zachary, who played the role of Ethel in a summer-stock production of Moon Over Buffalo in (of all places) upstate New York some years ago, called the piece “a love letter to the theater.

“Today you just do not have very famous theater companies who once made it and are in their twilight years — or almost made it and are reduced to doing repertory — touring classic stage shows,” Zachary said. “We don’t know this format anymore. Moon Over Buffalo is set at a time when TV was just on the rise and most major cities still had theaters. It was a form of communication; people

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were able to discuss the plays that were of the day. Now we are so inundated and media-oriented with what is so loud, large, and funny on television that we just don’t really know what is going on in the theater unless we read The New York Times and are theater aficionados.”

Ludwig, who grew up in a small Pennsylvania farming town, said he chose Buffalo for the title because “it had a nice ring to it. Milwaukee would have been all right too. I wanted to place it the way I did with Lend Me a Tenor in Cleveland and Leading Ladies in York, Pennsylvania, because I like writing about localities that are not normally in the spotlight and ... the impact of stars or big art on those communities.” George, Charlotte, and the rest of their traveling company are composites of theater artists Ludwig has encountered in his career. “These are hard-working actors who give their all in each venue.

There is a comic side to their hamminess and being second-rate Lunts, but there is something very touching in their belief in the theater and their ability and desire to march on and continue carrying the great banner.”

The play, like many of Ludwig’s comedies, has been produced in other countries — somewhere between seven and 10, he noted — including an English-language production mounted by staffers at the U.S. embassy in Moldova. Many of his plays, despite their uniquely American humor, have been translated into other languages, he said. “I remember early on my agent telling me that under copyright laws I have the right to approve all translations, and he used to send them to me. It’s really silly. I mean, I can speak and read some French but when they do them in African countries, I don’t know enough to approve or disapprove. I have to assume the translator is doing his/her best to translate the humor and make the show a success.”

The theater may have its own language; actors are all, in a way, its translators. Maybe that’s why they are sometimes considered a bit eccentric.

Erin O’Shaughnessy, who plays Rosalind, said, “It’s almost a relief that a playwright like Ken Ludwig can write about how crazy we actors are. It’s set in the 1950s, and yet it still stands. Actors are still just this crazy. We all go through it. I remember starting out as an actress and people telling me, ‘It’s difficult; it’s a hard career,’ and you think, ‘Yeah, maybe, but not for me.’ So we all fall into this cliché. Our time may be past but we can not give up the torch of acting.

We can’t do anything else. As hard as it is, we all keep going — whether it be Broadway or Buffalo.” Or, she acknowledged, Santa Fe. ◀

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505-660-8793

Photos Luis Sánchez Saturno/The New Mexican

1600 Lena St. Suite A6 (In the Lena Street Lofts)

Alaina Warren Zachary as Charlotte Hay and Mario Cabrera as George Hay

details ▼ Moon Over Buffalo ▼ 6:30 p.m. gala opening (7:30 p.m. show) Friday, Oct. 12; 7:30 p.m. Saturday & Thursday, Oct. 13 & 17; 2 p.m. Sunday, Oct. 14; Thursdays to Sundays through Oct. 28 ▼ Santa Fe Playhouse, 142 E. De Vargas St. ▼ $20, $15 seniors & students; $25 gala; $10 Oct. 18; 988-4262 or www.santafeplayhouse.org

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Santa Fe Community Orchestra Oliver Prezant, Music Director 2012-2013 Concert Season

Anatomy of a Symphony Concert Preview Featured work:

Dvorak: Symphony No. 9 “New World” Commentary by Oliver Prezant, musical illustrations by the SFCO

Friday, Oct 19, 6:00 to 7:00 pm St. Francis Auditorium

Free admission Donations appreciated Then come to our

Sunday

Fall Concert

Oct 21st

2:30 pm

St. Francis Auditorium

AFTER the Oct 21st concert: Make the evening extra special AND support the SFCO!!!

Dine at either restaurant shown, Present your concert program and the restaurant will donate 20% of your food cost to the SFCO. RESERVATIONS REQUIRED: 984-2685 540 Montezuma, Santa Fe SFCO projects are made possible in by part New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts; the Santa Fe Arts Commission, and the 1% Lodger’s Tax.

Greer Garson Theatre final week!

presents

final week!

Scapin

Written by Molière (adapted by Bill Irwin & Mark O’Donnell) Directed by Jon Jory

Oct. 5–7, 12–14, 2012

This adaptation of Molière’s farce Les Fourberies de Scapin keeps the play in period setting while adding a modern spin to language and action: star-crossed lovers, kidnapping, ransom, revenge and the perfect chase scene.

“…commedia dell’arte and vaudeville have at least two things in common: baggy pants and Bill Irwin. All make for a natural fit in the celebrated clown’s entirely unconventional adaptation of Molière’s Scapin.”

—Variety

NOTE: Fri. & Sat. performances NEW TIME: 7pm | Sun. Matinees: 2pm FOR TICKETS call the Tickets Santa Fe Box Office: 505-988-1234 or www.ticketssantafe.org

1600 St. Michael’S Drive Santa Fe, new Mexico

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October 12 -18, 2012

PASA REVIEWS Working, Santa Fe Rep Warehouse 21, Oct. 4

Job corps tuds Terkel, the great American chronicler of Everyman and Everywoman, lives on in Santa Fe Rep’s musical Working, now finishing a two-week run at Warehouse 21. Terkel, the two-fisted humanist-author-interviewer, died four years ago at the age of 96, but his irrepressible spirit endures in song and dance in this adaptation, with musical numbers by Stephen Schwartz, James Taylor, Craig Carnelia, and others.

Working, the musical, opened on Broadway in 1978, a few years after Working, the book of oral histories, was published. That was a time when work and workers were on the rise. During these bumpy economic times, when work is vanishing and workers seem once again up against the wall, the Rep’s new production has a nostalgic atmosphere, populated by friendly ghosts and reassuring memories.

Santa Fe Rep’s artistic director, Kristie Karsen, who also directed the production, said that one of the cast members suggested the show, which fits well with the company’s mission to produce high-quality musicals that haven’t been done in Santa Fe. Examples include Stephen Sondheim’s Company, staged in November 2010, and Stephen Schwartz’s Pippin in November 2011.

“Santa Fe is such a literary town, with the Lannan Foundation and all the readings, and I just thought Terkel had such a beautiful message of the unsung heroes and how moving it is to have their actual words from real life,” Karsen said.

The Santa Fe show features a busy ebb and flow of movement as actors change costumes from onstage racks and carry their own props into place with precision timing, a little reminder that they are workers on the clock.

Beginning with everybody talking in a cacophony of voices, the show gives each of the characters a stand-alone moment in the spotlight.

From the beginning, it’s clear that the characters are not mainly focused on their paychecks. What they share is a desperate need for credit, and not the kind the comes from a piece of plastic. They want someone to come along and tell their stories. “Hey, somebody, don’t you want to hear the story of my life?” is an early refrain. All of us want something to show for our work, as the concluding number, “Something to Point To,” makes clear. Everybody wants recognition.

The high point in the play comes when Sarah Weiler (a veteran Rep member who also sings with the Santa Fe Desert Chorale) makes her work as a whirlwind waitress and a sassy tabletop dancer-philosopher a work of art with a beautiful voice and “an opinion on every subject.”

Individual vignettes alternate with more complex song-and-dance numbers to introduce a range of personalities and their idiosyncratic and heartbreaking stories. The isolated housewife and the scrubwoman ultimately share the same landscape with the mason, the deliveryman, the construction worker, the schoolteacher, the farmworker, and the parking-lot attendant, among others.

We’re all in this together. We all have a song to sing. And for a couple of hours, we’re all in Chicago, damning the traffic jams, pining for what could have been, and almost singing with Walt Whitman and Carl Sandburg about the (small-d) democratic country that we seem to glimpse on the horizon but never quite reach.

— Roger Snodgrass “Working” continues at 8 p.m. Friday and Saturday, Oct. 12 and 13, and 4 p.m.

Sunday, Oct.14, at Warehouse 21 (1614 Paseo de Peralta, 989-4423). Tickets are $24, discounts available; to reserve, call 629-6517 or see www.sfrep.org.

SAR

Karen Fisher—“Writers Reading/Reading Writers” Tuesday, October 16, 2012 • 5:30–7:00 PM • fisher.sarweb.org SAR Boardroom, 660 Garcia Street, Santa Fe A free event, sponsored by the Lannan Foundation

Photograph by Jason S. Ordaz

School for Advanced Research

“A deeply affecting account of the journey West … The writing is assured, and the novel succeeds in rendering not only the overwhelming landscape and the small, hard details of daily life, but monumental sorrow and the meanderings of love in its many channels."

—New Yorker Magazine

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efore writing about families devastated by the Dust Bowl in The Grapes of Wrath, John Steinbeck told a simpler tale in Of Mice and Men, a book that speaks to the pettiness and desperation of men struggling in times of social turmoil. It seems inevitable that the story’s protagonists, George and the simple-minded Lennie, will fall to tragic circumstances. But Of Mice and Men is also the story of the intimate bonds of friendship that help people survive troubled times. Of friendship, Steinbeck wrote, “Knowing a man well never leads to hate and nearly always lead to love.”

Steinbeck’s short novel and the play he adapted from it continue to resonate.

Ian Belknap, recently appointed artistic director of The Acting Company, a touring group of classically trained actors that was founded in 1972, brings his production of Of Mice and Men to Santa Fe on Wednesday, Oct. 17, at the Lensic Performing Arts Center. Belknap spoke to Pasatiempo about the production.

Pasatiempo: New Mexico has ties to Steinbeck because it was one of several states affected by the Dust Bowl. The plight of the farmworker during the Depression was keenly felt here.

Ian Belknap: We’re touring the West for that reason, to honor the author in a way. I think there’s a corollary between how poor these men were — what sort of brought them out of their despair was a great friendship — and the world we’re living in today. We thought it was perfect timing. You know, there is a parallel to the Great Depression and the economic collapse in the world right now.

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October 12 -18, 2012

Michael Abatemarco I The New Mexican

Of Mice and Menonthestage

T.C. Erickson

Pasa: You’ve been rehearsing in New York for weeks now. How much time will you have to work at the Lensic before performing in front of an audience?

Belknap: We’ll put in a few hours that afternoon. Luckily, the company has played the Lensic several times before, so our technical staff and myself are pretty accustomed to it. ... We’ll work out all the technical elements in New York. We know how big the space is and the footprint. Santa Fe is our first stop on the road, and it’s our first public performance.

Pasa: Are you using established actors or is the company composed more of emerging talent?

Belknap: One of the missions of The Acting Company is that we develop actors. So these are all actors who are classically trained, who are out of drama school only a handful of years. Touring is one of the best ways to become a better actor, especially playing larger houses, smaller houses, and doing two plays in repertory. So this play also tours with As You Like It, and those two plays have the same company of actors.

Pasa: The play is set in the 1930s, but a lot of productions of other plays change the time period or the setting, either to make a story seem fresh or to underscore its timelessness. Is that something we’ll see in this production?

Belknap: No. In this one, I think, acknowledging the Great Depression is only helpful to the story.

Pasa: In the current political climate, there’s a sentiment that the underprivileged, the working-class poor, are not the victims of the economic crisis facing us so

much as part of the cause, as though they chose or deserve their predicament.

But they are not on the bottom by choice.

Belknap: That’s absolutely the case. They’re not there by choice, and there are greater forces. Certainly, Steinbeck addresses that probably in more accurate detail in The Grapes of Wrath, and Of Mice and Men is more focused on these two men and how they change the lives, even if it’s briefly, of people on this farm.

Pasa: It is a character-driven tale about the bond between George and Lennie, but as small as the world it envisions seems at first glance, it’s clear that Steinbeck was wrestling with universal themes.

Belknap: It shows us our humanity, but ultimately it’s a love story. You never see two men care for each other this way. I don’t mean in a literal sense that they’re lovers, but they care about each other, and that’s so rare. Despite that they’re in these dire circumstances, they’re there for each other in such profound ways.

I think that’s what’s so appealing about this. It’s one of the greatest friendships you’ll ever see on stage. ◀

details ▼ Of Mice and Men ▼ 7 p.m. Wednesday, Oct. 17 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $15-$35, discounts available; 988-1234, www.ticketssantafe.org

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The Met: Les Troyens; photo Marty Sohl

James M. Keller I The New Mexican The Met: Parsifal

The Met: The Tempest

hen the Metropolitan Opera launched its series The Met: Live in HD in December 2006, its producers can not have imagined how pervasive the incentive’s influence would become in so little time. This week the broadcasts enter their seventh season, and the company projects that nearly 3 million tickets will be sold this year. Twelve productions will be beamed into more than 1,700 theaters in 54 countries. “Our live transmissions continue to transform the public’s perception of opera and to excite our performers and our audiences around the world,” stated Peter Gelb, the Met’s general manager, in the press release announcing the latest offerings — and he is right. Where the big issues that surfaced at opera-oriented cocktail parties in recent decades focused on whether amplification of singers’ voices would lead to the end of the art form, or whether the size of a diva’s waist should have a bearing on casting decisions, the topic that is more likely to surface these days is how highdefinition broadcast transmissions effect audience expectations about live opera and whether the tail has come to wag the dog, with directors and performers playing more to the camera than to the live bodies on the other side of the footlights.

Santa Fe’s opera-lovers will converge on the Lensic Performing Arts Center on occasional Saturdays through the end of April to watch productions unfold in real time from the Met’s stage at Lincoln Center. The first presentation of the year takes place on Saturday, Oct. 13, at 11 a.m., and as with most of the Met HD broadcasts, viewers who prefer not to give up their mid-days can attend a rebroadcast at 6 p.m. — not live, but only seven hours old. The opening presentation is a new production of Donizetti’s comedy L’elisir d’amore, with soprano Anna Netrebko as the heroine who must choose between two suitors, one a bumbling peasant (tenor Matthew Polenzani), the other an arrogant sergeant (baritone Mariusz Kwiecie´n, much appreciated in this past summer’s Santa Fe Opera production of King Roger).

Tenor Johan Botha and soprano Renée Fleming hold promise as Verdi’s Otello and Desdemona on Oct. 27, and on Nov. 10 Santa Feans can take a trip down memory lane to revisit Thomas Adès’ The Tempest, which received its American premiere at Santa Fe Opera in 2006. A lot of familiar names from the local stage inhabit that production, including tenor Toby Spence (bouncing back after surgery for thyroid cancer), mezzo-soprano Isabel Leonard, tenor Alek Shrader, and tenor William Burden. December is a busy month for everybody, and the schedule gets dense with Verdi’s Un ballo in maschera on the 8th (in a new production), the same composer’s Aida on the 15th, and Mozart’s La Clemenza di Tito on the 29th (a performance that will have taken place earlier in the month).

The Met: Rigoletto NT Live: The Last of the Haussmans; photo Catherine Ashmore

ne of the most anticipated of the season’s offerings takes place on Jan. 5 beginning at 10 a.m. because of its unusual length, and repeated on Jan. 6, at 2 p.m. The opera is Berlioz’s massive Les Troyens, a daring work based on Virgil’s Aeneid that brought its composer unending hassles, to the point that he never saw it performed in its entirety in his lifetime. Mezzo-soprano Susan Graham, in the role of Dido, stands at the heart of this Francesca Zambello production. She is likely to provide the most memorable performance in this cast, which also includes the frequently one-dimensional soprano Deborah Voigt and the vocally unpredictable Marcello Giordani. continued on Page 52 The Met: La Clemenza di Tito

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Paris Opera Ballet: La Bayadère; photo Christian Leiber

Nederlands Dans Theater: Move to Move; photo Rahi Rezvani

HD opera, dance, and theater, continued from Page 51

52

Shakespeare’s Globe: Much Ado About Nothing; photo Manuel Harlan October 12 -18, 2012

Mezzo-soprano Joyce DiDonato takes the title role in Donizetti’s tragedy Maria Stuarda on Jan. 19; Santa Fe Opera audiences will welcome her back this summer in Rossini’s La donna del lago. Verdi’s Rigoletto holds promise on Feb. 16, with tenor Piotr Beczala as the misbehaving Duke of Mantua; this new production transposes the action to Las Vegas in the ’60s, so don’t say we didn’t warn you. One of the most promising presentations in terms of allaround casting will be Wagner’s Parsifal on March 2 — again a long opera, so no encore screening that evening. Golden boy tenor Jonas Kaufmann sings the title role, and the cast also includes Katarina Dalayman as Kundry, Peter Maffei as Amfortas, and the marvelous bass René Pape as Gurnemanz, with Daniele Gatti presiding at the podium. This could be worth a detour.

Zandonai’s Francesca da Rimini, airing on March 16, is a lesser-known title that the Met brings back for the first time in a quarter century. Santa Fe’s beloved soprano Natalie Dessay and countertenor David Daniels head the roster for Handel’s Giulio Cesare on April 27, with the conducting entrusted to Harry Bicket, who has a winning way with Baroque scores. Not very many weeks later, Daniels will head to Santa Fe to prepare the inaugural production of Oscar, by Theodore Morrison.

So there’s the Met season for those who stay at home in Santa Fe, and among the good news, said Lensic executive director Robert Martin, is that tickets are still available for every date, both live streamings and encore rebroadcasts.

At the beginning,” he recalled, “when we first started presenting these Met broadcasts, people bought the entire series. Now they’ve grown selective, and they go to maybe 6 instead of all 12. We loved selling out the entire house, of course. But it’s also good that people should be able to get in.” Still, it might not be wise to wait until the last minute for the top picks on your list, and it’s hard to think that seats will not be scarce for such of the offerings as Maria Stuarda and Parsifal, which look particularly promising on paper.

“This is such an opera town,” Martin said, “and from day one our audiences have been captivated by The Met: Live in HD.” The equivalent series for theater-goers is NT Live, which beams out performances from the National Theatre of London. “That has proved tougher,” Martin observed. “I understand this is the case in other cities, too. It’s just having a harder time catching on. Sometimes people haven’t heard of the play that’s being given, or there’s not a big-name person in it, so they may be reluctant to go. But if the National Theatre is doing it, chances are better than even that it’s going to be good.”

In truth, the series, which was gangbusters in 2010-2011, proved more irregular in quality last season, and the National Theatre now seems to have taken a long hard look at its offerings and set the bar higher for 2012-2013.

Its first presentation, The Curious Incident of the Dog in the Night-Time (which

was shown last month), displayed a memorable level of theatrical creativity. On Friday, Oct. 12, at 7 p.m., the season continues with The Last of the Haussmans, a new dysfunctional-family play by Stephen Beresford that the British critics have admired. Julie Walters, Helen McCrory, and Rory Kinnear (the splendid Hamlet in NT Live two seasons back) add up to a stellar ensemble cast. This will be the final performance in the play’s London run, so they should have everything down pat.

Next up on the series will be Timon of Athens by Shakespeare (probably with help from Thomas Middleton), in a production by Nicholas Hytner. The play, which charts a generous philanthropist’s growing disillusionment with the sycophants who surround him, is not often produced, and the opportunity to see Simon Russell Beale in the title role, on Nov. 8, makes this offering an obvious recommendation. The Magistrate, an 1885 farce by Arthur Wing Pinero that will star John Lithgow and Nancy Carroll, is slated for Jan. 17, and you wouldn’t want to miss that. We’ll be watching to see if further productions will be added to the winter-spring season. ore opera, theater, and ballet continue this season at The Screen, on the campus of the Santa Fe University of Art and Design. Peter Grendle, The Screen’s manager, said that the past couple of seasons have been an enjoyable learning process. “The opera and dance crowd really wasn’t much our audience before we began showing performances from major international companies. We’ve been learning what they like, what they don’t like — and then we always want to challenge them with something they may not be expecting.

When we started these programs, we were looking for the biggest-name operas we could find. And some of those still figure on our schedule. For example, we’re giving Figaro this season, which is our third year. But there’s also something to be said for programming titles of things you’re not going to see anywhere else, as we often do in dance.”

On Sunday, Oct. 14, at 11 a.m., audiences in The Screen will see a production of Shakespeare’s Much Ado About Nothing, starring Charles Edwards, that was captured at Shakespeare’s Globe in London. This is not a live or almost live broadcast, but rather a performance that was given nearly a year ago. Although The Screen has presented some simulcasts, none are included in this year’s schedule. “We’re very, very excited to bring back the Shakespeare’s Globe productions,” Grendle said. “We gave some right at the beginning, but for the past couple of years the rights to these performances have been juggling around. Finally we have the Globe back in our hands: Much Ado About Nothing and [on Nov. 25] All’s Well That Ends Well.”

World-class dance arrives via the La Scala Ballet (L’altra metà del cielo, choreographed by Martha Clarke, on Oct. 21), the Paris Opera Ballet (La Bayadère on Oct. 28, La Source on Nov. 11), Nederlands Dans Theater (Move to Move, on Nov. 18), the Bolshoi Ballet (The Pharaoh’s Daughter on Dec. 2, La Sylphide on Jan. 6), and London’s Royal Ballet (The Nutcracker on Dec. 23).

Nederlands Dans Theater pushes into the world of modern dance, as will a program choreographed by Jirˇí Kylián, Johan Inger, and Medhi Walerski on Jan. 27. “A lot of our dance crowd aren’t all that used to these modern approaches,” Grendle said, “but at these presentations, we hear people say, ‘Well, finally something I haven’t seen before!’”

The opera productions shown at The Screen give viewers access to some of the world’s major houses, and these screenings have the added advantage of often spotlighting singers who may have impressive careers in Europe yet little or no presence in the United States. In addition to Le nozze di Figaro from the Royal Opera House, Covent Garden ( Jan. 20, repeated Feb. 3), the schedule includes L’italiana in Algeri from the Teatro Comunale di Bologna (Nov. 4) and, on Jan. 13, Rossini’s La Cenerentola from — from where? “This will be an amazing one,” Grendle said. “It’s a filmed opera, produced by Andrea Andermann — a live movie-opera, performed for the camera. They filmed it traveling around to different European locations, in castles and in cities and in the countryside. This one is going to be a lot of fun.” ◀ The Lensic Performing Arts Center is at 211 W. San Francisco St. Tickets for The Met: Live in HD are $22 to $28 (discounts available). Tickets for NT Live are $22. Tickets are available by calling 988-1234, from www.ticketssantafe.org, and at the door.

The Screen is at 1600 St. Michael’s Drive on the campus of the Santa Fe University of Art and Design. Performance tickets, $20 (discounts available), can be purchased by calling 473-6494, visiting www.thescreensf.com, and at the door.

JOIN US

aDULT LearNING PrOGraM: IN MY VOIce, MeMOIr WrITING WITH Sara eYeSTONe Don’t miss this two-session creative workshop whose theme is My Heart’s Home, writing memoirs inspired by the places you have lived. Led by artist, curator, and writer Sara Eyestone, who believes that the difference between writing your autobiography and writing your memoir is your voice.

When: Where: Cost:

Fridays, October 19 & 26, 9 - 11 AM Museum Education Annex, 123 Grant Avenue $25 for the series; Members and Business Partners, $20 Reservations required: 505.946.1039 or online at okmuseum.org

aDULT LearNING PrOGraM: SeMINar IN MODerNISM, “THe GreaT aMerIcaN THING”: MODerNIST LaNDScaPeS Georgia O’Keeffe and others of the Stieglitz circle were determined to create a distinctively American modern art independent of European modernism. This seminar analyzes the American landscape tradition, and how the importance of place guided O’Keeffe as she created simplified, particular, and personal landscapes. Her individual visual vocabulary, powered by her strong and startling compositions, set a new direction for landscape painting. Led by Carolyn Kastner, Associate Curator, Georgia O’Keeffe Museum.

When: Where: Cost:

Wednesday, October 24, 6 - 7:30 PM Museum Education Annex, 123 Grant Avenue $5; Members and Business Partners, Free Reservations required: 505.946.1039 or online at okmuseum.org

PUBLIc LecTUre: O’Keeffe aND Her HOUSeS Enjoy a talk about O’Keeffe’s home and life in the northern New Mexican village of Abiquiu by the Museum’s Director of Historic Properties, Agapita Judy Lopez. Architect Beverley Spears follows with an account of adobe building and the artist’s home at Ghost Ranch. Both speakers are contributors to the book Georgia O’Keeffe and Her Houses: Ghost Ranch and Abiquiu (Abrams, 2012).

When: Where: Cost:

Monday, October 29, 6 PM St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Avenue $5; Members and Business Partners, Free Reservations suggested: 505.946.1039 or online at okmuseum.org

217 J OH N SO N ST re eT, S aN Ta fe, NM • 5O 5 .94 6.1 OO O • O K M USeUM. O rG OPeN DaILY 1O aM – 5 PM • OPeN LaTe, UNTIL 7 PM, frIDaY eVeNINGS LaST WeDNeSDaY Of eacH MONTH OPeN NOON—5 PM, UNTIL MaY 1, 2O13

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MOVING IMAGES pasa pics

— compiled by Robert Ker

THE MET LIVE IN HD: L’ELISIR D’AMORE Anna Netrebko and Matthew Polenzani star in this staging of Donizetti’s opera, which is broadcast live from the Met. The cast also includes Mariusz Kwiecien and Ambrogio Maestri. 11 a.m. Saturday, Oct. 13, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NATIONAL THEATRE LIVE: THE LAST OF THE HAUSSMANS Howard Davies directs this staging of Stephen Beresford’s play, which is about an aging, high-society matriarch ( Julie Walters) who retreats to her coastal house following an operation, only to find her life upended by family and guests. 7 p.m. Friday, Oct. 12. Lensic Performing Arts Center, Santa Fe. (Not reviewed)

Oh, and all these people are just extras: Ben Affleck in Argo, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week ARGO One of the opening salvos of Oscar season comes from Ben Affleck, who directs and stars in this based-on-true-events picture about a CIA agent named Tony Mendez (Affleck) who must rescue American refugees in 1979 Tehran after Iranian revolutionaries take over the U.S. embassy. Mendez accomplishes this by posing as a Hollywood producer toting the refugees around as his crew. Alan Arkin and John Goodman co-star. Rated R. 120 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Not reviewed) ATLAS SHRUGGED PART II Audiences shrugged at the 2011 adaptation of Ayn Rand’s novel, but that hasn’t stopped its makers from producing a sequel.

Not all of the makers, that is: every role was recast.

Dagny Taggart, played by Taylor Schilling in the first film, is replaced by Samantha Mathis. Henry Rearden, played by Grant Bowler, is now embodied by Jason Beghe. Who is John Galt? That depends on which TV-movie actor responded to the latest casting call.

Rated PG-13. 112 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Not reviewed) DECODING DEEPAK This documentary follows the world-famous self-help guru Deepak Chopra around the world and shows a different side of him — in 54

October 12 -18, 2012

large part because the filmmaker is Deepak’s son, Gotham Chopra. Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) HERE COMES THE BOOM Kevin James plays Scott Voss, a teacher so devoted to his pupils that when the school faces budget cuts, he embarks on a mixedmartial arts career to raise funds. He gets beaten up pretty badly, presumably to comic effect, but will this sacrifice also help him land the girl (Salma Hayek)?

Rated PG. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Not reviewed) LIBERAL ARTS Attempting an emotional rebound after his relationship goes sour, bookish middle-aged college admissions advisor Jesse, played by writer and director Josh Radnor (How I Met Your Mother), travels to his alma mater in Ohio to lend friendship and support to a retiring professor, rendered masterfully by Richard Jenkins (The Visitor, Six Feet Under). While there, Jesse meets Zibby (Elizabeth Olsen), a 19-year-old sophomore and classical-music buff — and sparks fly. Unfortunately, this 2012 Sundance selection has an identity crisis and can’t decide whether it’s supposed to be funny or should be played straight. The writing is mediocre and slow-paced, and Radnor and Olsen deliver tepid lead performances, leaving graciously competent secondary players holding the bag. But the bag doesn’t have much in it worth holding. Not rated. 97 minutes.

The Screen, Santa Fe. (Rob DeWalt)

PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of William Shakespeare’s Much Ado About Nothing, from Shakespeare’s Globe Theatre in London. Eve Best and Charles Edwards star. 11 a.m. Sunday, Oct. 14, only. Not rated.

180 minutes (including intermission). The Screen, Santa Fe. (Not reviewed) 2012 SANTA FE INDEPENDENT FILM FESTIVAL On Wednesday, Oct. 17, the festival gets underway and runs through Oct. 21 at venues throughout Santa Fe. This year’s program of more than 100 features and shorts includes films that have shown well at other festivals and forums, such as the East German skate doc This Ain’t California, Danish nuclear-storage doc Into Eternity, and the Ugandan gay-rights exposé Call Me Kuchu. The buzz surrounding the festival’s features centers on two films with strong New Mexico ties: Bless Me, Ultima, an adaptation of Rudolfo Anaya’s 1972 novel, and Tiger Eyes, an adaptation of a Judy Blume book directed by her son, Lawrence Blume. See stories, beginning on Page 36.

SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named Sixto Diaz Rodriguez is a portrait of a humble man, a rock documentary, and a detective story all in one. The film follows the triumphs and frustrations of a journalist and record-store owner in their efforts to shed light on the mystery surrounding Rodriguez, a superstar in South Africa but virtually unknown in his native United States. The film packs an emotional wallop.

Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) See story, Page 60.

SEVEN PSYCHOPATHS Writer and director Martin McDonagh landed a cult hit in 2008 with In Bruges, in part by putting snappy, darkly comic dialogue into the mouths of Colin Farrell and Brendan Gleeson.

This time, he’s working with a much bigger roster of quirky, cult-favorite actors, including Michael Pitt, Sam Rockwell, Christopher Walken, Harry Dean Stanton, Woody Harrelson, Tom Waits, and Farrell. The characters chase one another around over a dognapped Shih Tzu; expect many puns. Rated R. 109 minutes.

Regal Stadium 14, Santa Fe. (Not reviewed) SINISTER Halloween scares are just around the corner, or hiding in the closet, or under the bed, waiting for just the right moment to jump out and say, Boo! There are plenty such moments in this film, by director Scott Derrickson (The Exorcism of Emily Rose).

Ethan Hawke plays a writer who finds himself in a house haunted by some kind of demon that’s coming after his kids. Boo! Wait, it was just the cat that time.

Rated R. 110 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Not reviewed)

now in theaters ARBITRAGE This is a thriller in the Hitchcockian mold, with clever writing despite a few bothersome split ends and plot contrivances. Richard Gere plays a high-rolling Wall Street trader who gets in trouble on a couple of fronts, one involving cooked books, the other involving a dead body. Writer-director Nicholas Jarecki offers an ambiguous moral tone in this well-crafted first narrative feature. Whom audiences find themselves rooting for, and how they feel about the story’s outcome, may reflect something of their political philosophies. Rated R. 100 minutes.

The Screen, Santa Fe. ( Jonathan Richards) BEASTS OF THE SOUTHERN WILD Benh Zeitlin’s delirious debut feature transports viewers to a magical world conjured up by its 6-year-old heroine, Hushpuppy.

She lives with her father in the Bathtub, a community in the Louisiana bayou that’s about to be slammed

by Hurricane Katrina. The storm unleashes fears, emotions, and reveries for Hushpuppy, who clings to her dreams as the devastation mounts around her.

One of the most inventive and visually stunning films you’ll see all year. Rated PG-13. 93 minutes. Center for Contemporary Arts, Santa Fe. ( Jon Bowman) END OF WATCH Filmmaker David Ayer’s childhood experiences in South Central L.A. inform his work as a writer (Training Day) and a writer/director (Harsh Times). He hits the streets again with this story of two cops ( Jake Gyllenhaal and Michael Peña) who make enemies of a drug cartel. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed)

FINDING NEMO That little clownfish (voiced by Alexander Gould) has gotten himself lost on the big screen again, and this time daddy (Albert Brooks) has an extra dimension to try to find him in. That’s right: with the official sequel still years away, Pixar brings one of its most beloved movies back to theaters.

“Gnarly, dude,” Crush the sea turtle (Andrew Stanton) might say, if he wasn’t too busy grooving on all those 3-D effects. Rated G. 100 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Not reviewed) FRANKENWEENIE After adapting existing properties for the better part of the last 15 years (aside from 2005’s Corpse Bride), director Tim Burton returns to his roots with a beefed-up version of the animated short he created in 1984. Frankenweenie is the story of a boy who brings his dead pet back to life, and Burton resurrects the concept as a 3-D, featurelength production with the vocal talents of Catherine O’Hara, Martin Short, and Winona Ryder. Was Johnny Depp busy? Rated PG. 87 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) HOTEL TRANSYLVANIA Welcome to the Hotel Transylvania — such a scary place (thanks to Dracula, voiced by Adam Sandler), such a hairy place (thanks to Wayne the Wolfman, voiced by Steve Buscemi).

Andy Samberg voices Jonathan, a human who crashes this animated monster mash — the hotel was created to give monsters sanctuary from people — and falls in love with Drac’s daughter (Selena Gomez).

Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) HOUSE AT THE END OF THE STREET This horror flick was supposed to come out earlier in 2012 but was bumped so star Jennifer Lawrence’s stock could rise with The Hunger Games. Now fans of that film can see Lawrence bound and gagged in the basement of some creepy dude named Ryan (Max Thieriot). This comes after her character delves too deeply into Ryan’s family history. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE INTOUCHABLES François Cluzet stars as Philippe, a wealthy man who loses his wife and the use of his arms and legs in an accident. He hires Driss (Omar Cy), a Senegalese ex-con, to be his caretaker.

The film suggests one can overcome any differences to bond with another person, especially if you totally rely on that person. Rated R. 112 minutes. In French with subtitles. Regal DeVargas, Santa Fe. (Not reviewed) KILLER JOE Director William Friedkin (The Exorcist) and writer Tracy Letts team up on a film noir adaptation of Letts’ first play. It’s a murder plot featuring some low-wattage types conniving to get at life-insurance money. As the

Here Comes the Boom

hired killer who is yards cooler and smarter than the people engaging his services, Matthew McConaughey confirms his midcareer resurrection with a smoothly electric performance that commands the attention of everyone on both sides of the screen. Friedkin wastes it a bit with some over-the-top violence and depravity, but it’s still a stylish, violent, and darkly comic noir thriller. Rated NC-17. 103 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) LAWLESS Tom Hardy plays a Prohibition-era bootlegger in Virginia. He and his brothers, played by Shia LaBeouf and Jason Clarke, try to keep their business running in the face of crooked authorities (led by Guy Pearce) and rival gangsters (led by Gary Oldman).

Writer Nick Cave (yes, the musician) and director John Hillcoat, who teamed on 2005’s The Proposition, collaborate on this tommy-gun-and-fedora picture.

Rated R. 115 minutes. Regal DeVargas, Santa Fe. (Not reviewed) LOOPER Writer and director Rian Johnson and actor Joseph Gordon-Levitt collaborated on the 2005 high-school noir Brick. They reunite for this time-travel tale — more noir than sci-fi, alternating locales between a futuristic urban jungle and a Midwestern cornfield — in which Gordon-Levitt plays Joe, a hit man who murders chumps that the mob from the future sends continued on Page 56 PASATIEMPO

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MOVING IMAGES pasa pics

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back in time to him. One day, however, the chump from the future turns out to be Joe (now played by Bruce Willis), and he gets away. Questions of fate and consequence arise artfully throughout the chase.

The prosthetics and acting tics Gordon-Levitt uses to embody a young Willis can be distracting, but everything else is engrossing. Rated R. 118 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) THE MASTER After World War II, emotionally troubled Navy vet Freddie Quell (Joaquin Phoenix) is taken under the wing of Lancaster Dodd (Philip Seymour Hoffman), the charismatic leader of a spiritual group known as The Cause. This long-awaited film from the masterful Paul Thomas Anderson poses heady questions about belief, religion, mental health, and whether humans really can — or want to — change.

It’s intense, ambitious, majestic, and visually luminous. Phoenix and Hoffman deliver two of the finest screen performances this year. Still, the film lacks a cohesive plot, and you may leave the theater wondering what, exactly, Anderson was trying to say.

Rated R. 137 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Laurel Gladden) THE PERKS OF BEING A WALLFLOWER Stephen Chbosky’s beloved young-adult novel gets an adaptation of such high-polished twee that it can only have come from the production company behind Juno. Chbosky wrote and directed the film.

Charlie (Logan Lerman) is new to his high school and a bit shy. He receives some guidance from Sam (Emma Watson, Hermione in the Harry Potter films) and her half-brother, Patrick (Ezra Miller). Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed) PITCH PERFECT The Breakfast Club meets Glee in this likable adolescent romp, but doesn’t quite meet it halfway. The plot is as predictable as a calendar, and the characters are drawn from columns A and B like items from a menu.

The excellent Anna Kendrick, who was all grown up a couple of years ago in Up in the Air, has here been demoted to college freshman as Beca, who only wants to be a DJ but has to go to college. She joins a sorority-like a-cappella group and drags it kicking and screaming into the 21st century. There’s some

spicy bland

medium

mild

heartburn

Send comments on movie reviews to pasamovies@sfnewmexican.com.

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October 12 -18, 2012

nice group singing, although there could be more and better, and the same goes for the gags. Elizabeth Banks and Michael Higgins add some fun as announcers, although they’re carbon copies of the team in Best in Show. Rated PG-13. 112 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jonathan Richards) SAMSARA This is a documentary without narration, without characters, without a formal story. Its narrative and message, driven by a hypnotic Michael Stearns score, are conveyed by director Ron Fricke’s (Baraka) sequence of stunning images, filmed in 70 mm and gathered from 25 countries on five continents. The visuals are extraordinary, but much of the time you may find yourself wondering where the heck you are, even as you bathe in the beauty of nature’s abundance and culture’s triumphs or squirm at the robotic cruelty and soullessness of the modern world. But for all the negatives, the beauty ultimately trumps the squalor. It’s a fascinating planet. Rated PG-13. 99 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) THE STORY OF FILM: AN ODYSSEY This is the Lord of Film Histories, its 900-minute running time eclipsing the combined duration of Peter Jackson’s Lord of the Rings trilogy by four hours. But if you have a weak bladder, have no fear. The Screen presents it in installments through Nov. 17. Breathtaking and audacious, it boasts more depth and breadth than any previous effort to chronicle the history of cinema. Mark Cousins is the originator and narrator, scouring the planet like Captain Ahab in search of unsung masterpieces.

Episodes 6 and 7 screen at 11 a.m. Saturday, Oct. 13; episodes 3 and 4 are shown at 7:15 p.m. Sunday, Oct. 14. Not rated. Each episode runs approximately 60 minutes. The Screen, Santa Fe. (Jon Bowman) TAKEN 2 Liam Neeson’s second career as a take-nobull, bankable action star got a big boost with 2008’s Taken, in which he played a man who kills everyone in between him and his kidnapped daughter. But if this character is so tough, then why does his family keep getting taken? This time, it’s his wife (and him).

Rated PG-13. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) TO ROME WITH LOVE Nobody can make love to a city like Woody Allen.

When he was young, his heart belonged to New York. Then it was London, and then Barcelona. After the heady triumph of Midnight in Paris, To Rome With Love is a grab bag of mini plots and wisecracks, a Fontana di Trevi of humor spewing cool, refreshing gags. This is Allen in his comic wheelhouse, spinning the kind of yarns he started his career with. There are several different stories,

the gags come thick and fast, and Rome never looked better. Rated R. 112 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) TROUBLE WITH THE CURVE Clint Eastwood stars in this tale of a father (Eastwood) and daughter (Amy Adams). Daddy is an aging baseball scout who takes his daughter on a recruiting trip; they reconnect, and she meets a possible love interest ( Justin Timberlake).

Rated PG-13. 111 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) UNFORGIVABLE Novelist Francis (André Dussollier) and his wife, Judith (Carole Bouquet), live together on Sant’Erasmo, an island off the Italian coast near Venice. When Francis’ daughter and granddaughter come for a vacation, Alice, who is separated from her husband and has a drug-dealing aristocratic ex in the city, disappears.

You’d be forgiven for thinking that this is a thriller, but the man behind this movie is French screenwriterdirector André Téchiné. His focus is human behavior, and the fact that we always hurt the ones we love.

Not rated. 111 minutes. In French and Italian with subtitles. The Screen, Santa Fe. (Laurel Gladden) WON’T BACK DOWN Inspired by actual events, but not inspired, this corny feel-good movie follows the efforts of a disillusioned teacher (Viola Davis, who delivers a fantastic performance despite the mediocrity of the script) and an activist mom (Maggie Gyllenhaal) who work against all odds to turn their failing Pittsburgh public school around. At times it comes off as a 1980s TV-movie, but it does have some beautiful acting moments, and you will probably want to like the movie despite its many flaws. Rated PG. 121 minutes. Regal Stadium 14, Santa Fe. (Robert Nott)

other screenings Center of Contemporary Arts 7 p.m. Wednesday, Oct. 17: Memento. Neuroscientist Chris Wood speaks. Part of the Santa Fe Institute’s Science on Screen series.

Museum of Contemporary Native Arts 108 Cathedral Place, 983-1666 Grab.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, Oct. 14-16: Hermano.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111 3 p.m. Saturday, Oct. 13: California Clay in the Rockies. No charge. ◀

EVERYBODY LOVES “SUGAR MAN!”

ASTONISHING! A SENSATION ”“

What’s shoWing Call theaters or check websites to confirm screening times.

CCA CinemAtheque And SCreening room 1050 Old Pecos Trail, 982-1338, www.ccasantafe.org Beasts of the Southern Wild (PG-13) Fri. to Sun. 12:15 p.m.

Decoding Deepak (NR) Fri. to Sun. 1:15 p.m.

Memento (R) Wed. 7 p.m.

Samsara (PG-13) Fri. to Tue. 3:15 p.m., 5:15 p.m., 7:15 p.m. Wed. 1 p.m. Thurs. 6:30 p.m., 8:30 p.m.

Searching for Sugar Man (PG-13) Fri. to Sun. 2:15 p.m., 4:15 p.m., 6:15 p.m., 8:15 p.m. Mon. and Tue. 2:45 p.m., 4:30 p.m., 6:15 p.m., 8 p.m. Wed. 12:30 p.m., 2:30 p.m., 4:30 p.m. Thurs. 1:45 p.m., 4 p.m., 6 p.m., 8 p.m.

We Need to Talk About Kevin (R) Fri. 8 p.m.

Sat. 10:30 p.m. Sun. and Mon. 8:30 p.m. regAl deVArgAS 562 N. Guadalupe St., 988-2775, www.fandango.com Atlas Shrugged: Part 2 (PG-13) Fri. and Sat. 1 p.m., 4:20 p.m., 7:20 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 4:20 p.m., 7:20 p.m.

The Intouchables (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m.

Killer Joe (NC-17) Fri. and Sat. 1:40 p.m., 10:05 p.m.

Sun. to Thurs. 1:40 p.m.

Lawless (R) Fri. to Thurs. 4:40 p.m., 7:30 p.m.

The Master (R) Fri. and Sat. 1:05 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1:05 p.m., 4 p.m., 7 p.m.

The Perks of Being a Wallflower (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs.

1:30 p.m., 4:30 p.m., 7:40 p.m.

To Rome With Love (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. regAl StAdium 14 3474 Zafarano Drive, 424-6296, www.fandango.com Argo (R) Fri. to Thurs. 12:45 p.m., 2:50 p.m., 4 p.m., 7 p.m., 7:35 p.m., 9:55 p.m., 10:25 p.m.

End of Watch (R) Fri. to Thurs. noon, 2:30 p.m., 5 p.m., 7:40 p.m., 10:20 p.m.

Finding Nemo 3D (G) Fri. to Thurs. 4:35 p.m.

Frankenweenie (PG) Fri. to Thurs. 12:10 p.m., 4:45 p.m., 9:25 p.m.

Frankenweenie 3D (PG) Fri. to Thurs. 2:25 p.m., 7:05 p.m.

Here Comes the Boom (PG) Fri. to Thurs. noon, 2:35 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m.

Hotel Transylvania (PG) Fri. to Thurs. noon, 12:25 p.m., 2:10 p.m., 2:50 p.m., 5:15 p.m., 7:10 p.m., 7:40 p.m., 9:30 p.m.

Hotel Transylvania 3D (PG) Fri. to Thurs. 10 p.m.

House at the End of the Street (PG-13) Fri. to Thurs.

12:10 p.m., 5 p.m., 10:10 p.m.

Looper (R) Fri. to Thurs. 12:40 p.m., 4:25 p.m., 7:25 p.m., 10:20 p.m.

Paranormal Activity 4 (R) Thurs. 10 p.m.

Pitch Perfect (PG-13) Fri. 4:25 p.m., 7:30 p.m., 10:15 p.m.

Sat. 12:50 p.m., 7:30 p.m., 10:15 p.m. Sun. 4:25 p.m., 7:30 p.m. Mon. 4:25 p.m., 10:15 p.m. Tue. to Thurs.

12:50 p.m., 4:25 p.m., 7:30 p.m., 10:15 p.m.

Pitch Perfect (PG-13) open captioned Fri. 12:50 p.m. Sat. 4:25 p.m. Sun. 12:50 p.m., 10:15 p.m. Mon. 12:50 p.m., 7:30 p.m.

Seven Psychopaths (R) Fri. to Thurs. 12:30 p.m., 4:30 p.m., 7:30 p.m., 10:15 p.m.

Sinister (R) Fri. to Thurs. 12:15 p.m., 4:15 p.m., 7:15 p.m., 10 p.m.

Taken 2 (PG-13) Fri. to Mon. 12:05 p.m., 12:35 p.m., 2:30 p.m., 3 p.m., 4:55 p.m., 5:25 p.m., 7:20 p.m., 7:50 p.m., 9:45 p.m., 10:15 p.m. Tue. 12:05 p.m., 12:35 p.m., 3 p.m., 4:55 p.m., 5:25 p.m., 7:20 p.m., 7:50 p.m., 10:15 p.m. Wed. 12:35 p.m., 2:30 p.m., 3 p.m., 4:55 p.m., 5:25 p.m., 7:50 p.m., 9:45 p.m., 10:15 p.m.

Thurs. 12:05 p.m., 12:35 p.m., 3 p.m., 4:55 p.m., 5:25 p.m., 7:20 p.m., 7:50 p.m., 10:15 p.m.

Taken 2 (PG-13) open captioned Tue. 2:30 p.m., 9:45 p.m. Wed. 12:05 p.m., 7:20 p.m. Thurs. 2:30 p.m., 9:45 p.m.

Trouble With the Curve (PG-13) Fri. to Thurs.

2:30 p.m., 7:25 p.m.

Won’t Back Down (PG) Fri. to Thurs. 12:05 p.m.

the SCreen Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Arbitrage (R) Fri. and Sat. 8:15 p.m.

Mon. to Wed. 6 p.m.

Liberal Arts (PG-13) Fri. and Sat. 2:15 p.m., 6:30 p.m.

Sun. 2:45 p.m. Mon. to Wed. 2 p.m., 7:45 p.m. Thurs.

4 p.m.

Shakespeare’s Globe Theatre: Much Ado About Nothing (NR) Sun. 11 a.m.

The Story of Film (NR) Ep. 6 & 7 Sat. 11 a.m.

Ep. 3 & 4 Sun. 7:15 p.m.

Unforgivable (NR) Fri. and Sat. 4:15 p.m.

Sun. 4:45 p.m. Mon. to Wed. 4 p.m.

Storyteller dreAmCAtCher CinemA (eSpAñolA) 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com Argo (R) Fri. 4 p.m., 6:55 p.m., 9:30 p.m. Sat. 1:15 p.m., 4 p.m., 6:55 p.m., 9:30 p.m. Sun. 1:15 p.m., 4 p.m., 6:55 p.m. Mon. to Thurs. 4 p.m., 6:55 p.m.

Atlas Shrugged: Part 2 - Either-Or (PG-13) Fri. 3:55 p.m., 6:35 p.m., 9:25 p.m. Sat. 1 p.m., 3:55 p.m., 6:35 p.m., 9:25 p.m. Sun. 1 p.m., 3:55 p.m., 6:35 p.m.

Mon. to Thurs. 3:55 p.m., 6:35 p.m.

End of Watch (R) Fri. and Sat. 3:40 p.m., 9:40 p.m.

Sun. to Thurs. 3:40 p.m.

Frankenweenie (PG) Fri. 4:20 p.m. Sat. to Thurs.

4:20 p.m.

Frankenweenie 3D (PG) Fri. 6:40 p.m., 8:50 p.m. Sat. 1:20 p.m., 6:40 p.m., 8:50 p.m. Sun. 1:20 p.m., 6:40 p.m.

Mon. to Thurs. 6:40 p.m.

Here Comes the Boom (PG) Fri. 3:50 p.m., 6:15 p.m., 8:55 p.m. Sat. 12:55 p.m., 3:50 p.m., 6:15 p.m., 8:55 p.m.

Sun. 12:55 p.m., 3:50 p.m., 6:15 p.m. Mon. to Thurs.

3:50 p.m., 6:15 p.m.

Hotel Transylvania (PG) Fri. to Thurs. 4:10 p.m.

Hotel Transylvania 3D (PG) Fri. 6:50 p.m., 9 p.m.

Sat. 1:10 p.m., 6:50 p.m., 9 p.m. Sun. 1:10 p.m., 6:50 p.m.

Mon. to Thurs. 6:50 p.m.

House at the End of the Street (PG-13) Fri. 7:05 p.m. Sat. and Sun. 12:50 p.m., 7:05 p.m.

Mon. to Thurs. 7:05 p.m.

The Master (R) Fri. 3:45 p.m., 6:45 p.m., 9:50 p.m.

Sat. 12:45 p.m., 3:45 p.m., 6:45 p.m., 9:50 p.m.

Sun. 12:45 p.m., 3:45 p.m., 6:45 p.m. Mon. to Thurs.

3:45 p.m., 6:45 p.m.

Pitch Perfect (PG-13) Fri. 4:30 p.m., 7:15 p.m., 9:45 p.m.

Sat. 1:30 p.m., 4:30 p.m., 7:15 p.m., 9:45 p.m.

Sun. 1:30 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs.

4:30 p.m., 7:15 p.m.

Sinister (R) Fri. 4:25 p.m., 7 p.m., 9:20 p.m.

Sat. 1:25 p.m., 4:25 p.m., 7 p.m., 9:20 p.m. Sun. 1:25 p.m., 4:25 p.m., 7 p.m. Mon. to Thurs. 4:25 p.m., 7 p.m.

Taken 2 (PG-13) Fri. 4:15 p.m., 7:10 p.m., 9:35 p.m. Sat. 1:05 p.m., 4:15 p.m., 7:10 p.m., 9:35 p.m. Sun. 1:05 p.m., 4:15 p.m., 7:10 p.m. Mon. to Thurs. 4:15 p.m., 7:10 p.m. mitChell Storyteller CinemA 110 Old Talpa Canon Road, 575-751-4245 Argo (R) Fri. 4:25 p.m., 7 p.m., 9:35 p.m. Sat. 1:55 p.m., 4:25 p.m., 7 p.m., 9:35 p.m. Sun. 1:55 p.m., 4:25 p.m., 7 p.m. Mon. to Thurs. 4:25 p.m., 7 p.m.

Frankenweenie (PG) Fri. 4:30 p.m. Sat. 2 p.m., 4:30 p.m.

Sun. 2 p.m., 4:30 p.m. Mon. to Thurs. 4:30 p.m.

Frankenweenie 3D (PG) Fri. and Sat. 7:05 p.m., 9:30 p.m. Sun. to Thurs. 7:05 p.m.

Here Comes the Boom (PG) Fri. 4:35 p.m., 7:10 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:35 p.m., 7:10 p.m., 9:55 p.m.

Sun. 2:10 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs.

4:35 p.m., 7:10 p.m.

Hotel Transylvania (PG) Fri. 4:40 p.m. Sat. and Sun. 2:20 p.m., 4:40 p.m. Mon. to Thurs. 4:40 p.m.

Hotel Transylvania 3D (PG) Fri. and Sat. 7:15 p.m., 9:40 p.m. Sun. to Thurs. 7:15 p.m.

Pitch Perfect (PG-13) Fri. 4:45 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:05 p.m., 4:45 p.m., 7:25 p.m., 9:50 p.m.

Sun. 2:05 p.m., 4:45 p.m., 7:25 p.m. Mon. to Thurs.

4:45 p.m., 7:25 p.m.

Sinister (R) Fri. 4:55 p.m., 7:35 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:35 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m.

Taken 2 (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:45 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m.

SOUNDTRACK AVAILABLE ON

WWW.SONYCLASSICS.COM

Santa Fe EXCLUSIVE ENGAGEMENT THE CENTER FOR

STARTS TODAY

CONTEMPORARY ARTS (505) 982-1338

VIEW THE TRAILER AT WWW.SEARCHINGFORSUGARMAN.COM

“ S IMPLY

U NMISSAbLE! ” -Peter Bradshaw

Written and Directed by

PAUL THOMAS ANDERSON

PHILIP AMY JOAQUIN PHOENIX SEYMOUR HOFFMAN ADAMS

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RADNOR AND OLSEN ARE SO FUNNY AND TOUCHING. Peter Travers, ROLLING STONE

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Sometimes students make the best teachers.

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JOSH RADNOR

EXCLUSIVE ENGAGEMENT STARTS TODAY THE SCREEN 1600 ST. MICHAEL’S DRIVE (505) 473-6494

SANTA FE

Poesía de México Teatro Paraguas performs in Spanish, English and Náhuatl, a selection of the best Mexican poetry from over five centuries.

Directed by Crawford MaCcAllum

Teatro Paraguas

3205 Calle Marie St. Reservations 424-1601

10/12-13 10/14 10/19-20 10/21

7 2:30 7 2:30

Admission $10/$8 (Sundays, pay what you will). teatroparaguas.org

Made possible in part by New Mexico Arts, a division of the Dept. of Cultural Affairs, National Endowment for the Arts, Santa Fe Arts Commission, the 1% Lodgers’ Tax, and the Santa Fe Community Foundation.

PASATIEMPO

57

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Come Enjoy Our Newly Remodeled Dining Room.

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59

moving images film reviews

Now you see him, then you don’t Michael Abatemarco I The New Mexican Searching for Sugar Man, documentary, rated PG-13, CCA Cinematheque, 3.5 chiles “The sweetest gift I ever got is the one I’ve never tasted.”

— from the song “Cause” by Sixto Diaz Rodriguez You have probably never heard of the American musician Sixto Diaz Rodriguez, but he is big in South Africa. Thanks to Malik Bendjelloul’s new documentary, Searching for Sugar Man, he is about to get bigger. Rodriguez’s music provides the soundtrack for the film, and his lyrics and music have a poetic folk sound that lingers after the end of the movie.

The most obvious comparison to make for a singersongwriter such as Rodriguez is to Bob Dylan, but his slightly mystic lyrics might remind you more of British folk-rock singer Donovan. Interviews with record producers and other professionals in the music industry suggest that Rodriguez could have been and should have been an international rock superstar.

How that actually happened without anyone in America knowing about it — least of all Rodriguez, who faded into obscurity in the United States just as his star was rising overseas — is part of what makes Searching for Sugar Man so intriguing.

Rodriguez recorded only two albums in the U.S., 1970’s Cold Fact and 1971’s Coming From Reality.

During the ’70s, the song “Establishment Blues,” from the first album, became an anthem to the socially conscious, anti-apartheid youth of South Africa. His records sold roughly half a million copies there, while in America, they barely sold at all. The low sales here left co-producers of the first album, guitarist Dennis Coffey and keyboardist Mike Theodore, scratching their heads. Rodriguez’s talent was such that he was more esteemed, in their eyes, than Dylan (as they

Lost and found: Rodriguez 60

October 12 -18, 2012

Guy incognito: Rodriguez

recount in the film) and Coffey and Theodore, who performed on the album, were willing to promote him. Between them, they had worked with Marvin Gaye, The Supremes, and The Four Tops, among others, but no one was buying Rodriguez’s records.

It might have been the name; people may have assumed he performed Latin music. Rodriguez left an incomplete third album in production before disappearing from pubic view, never having made the slightest dent in the music scene.

In South Africa things were different. There, according to Stephen Segerman, who runs a record shop in Johannesburg, everyone growing up in the early ’70s had copies of The Beatles’ Abbey Road, Simon and Garfunkel’s Bridge Over Troubled Water, and Rodriguez’s Cold Fact. Under apartheid, “Establishment Blues” was banned from the airwaves. Radio stations even went so far as to scratch the vinyl records to ensure the song could not be played. This was at a time when engaging in public dissent and protests could get South African students barred from attending college.

The facts of Rodriguez’s life were shrouded in mystery in those days. The only known photos of him showed him with dark sunglasses, often under a broad-brimmed hat. He had stopped recording, and stories about his demise took on the flavor of urban legend. Some believed he died of a drug overdose, others that he killed himself on stage in front of his adoring fans, either by a single gunshot to the head or by self-immolation. These stories could never be verified. The mystery of what happened to Rodriguez intrigued journalist Craig Bartholemew, who (along with Segerman) began an investigation. Following the money seemed like a good idea as a place to begin. Scenes in the movie depicting Bartholemew’s frustration at getting answers from a former chairman of Motown Records with whom Rodriguez had been working, hint at the corruption in the music industry. Despite high sales in South Africa, Rodriguez never saw a dime from royalties. Working from a clue in Rodriguez’s lyrics — a reference to a girl from Dearborn, Michigan — the music sleuths guessed, correctly, that Rodriguez was from the Detroit area.

Bendjelloul takes his time telling the story of the reclusive songwriter’s rediscovery in 1997. The film is half over by the time we meet Rodriguez in the present day. Searching for Sugar Man then takes an intimate and touching turn. Not only did Rodriguez live in Detroit at the time he recorded his first album, but when the filmmakers contact him, he is still living there — having occupied the same house for more than 40 years. He continues to wear his dark glasses and hat but gave up performing and became a manual laborer, doing home renovations and demolition work. A co-worker mentions his eccentricities — he sometimes shows up for demo jobs wearing a tuxedo.

Rodriguez raised beautiful daughters who grew up unaware of his fame overseas. It seems inevitable that we will see Rodriguez staging a comeback. The irony is that there was never a success story from which to come back in the first place. As a musician, all of his success is recent.

In moving scenes from his 1998 tour of South Africa, Bendjelloul incorporates shots of audiences in thrall to his voice and guitar. He was booked at sold-out venues and, in time, performed more than 30 concerts in South Africa. We share in Bartholemew and Segerman’s excitement during the performance footage, as we do in an earlier scene, when they hear his voice on the phone for the first time.

Insight into Rodriguez’s humble character comes when he suggests that, had he known about his rockstar status from the beginning, the outcome to his life would have been different but not necessarily better.

According to his daughters, who accompanied him on the 1998 tour, he is modest in his habits and has little taste for monetary wealth (he gives the money he earns on tours away to his friends and family).

Despite his unexpected fame, Rodriguez remains a manual laborer in Detroit. It is likely that Bendjelloul’s shots of Rodriguez, coat pulled tight against the cold, walking through the city’s slums, are the images you’ll be left with after watching Searching for Sugar Man, a good rock doc with evocative songs and a thoughtful, satisfying end. This is a story that few know but most will be inspired to learn. ◀

T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !

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61

RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican

I love yuca

Babaluu’s Cocina Cubana 3810 N.M. 14, 471-1100 Lunch noon-2 p.m. Wednesdays-Fridays, noon-4 p.m. Saturdays; brunch noon-6 p.m.

Sundays; dinner 5:30-8 p.m Wednesdays & Thursdays, 5:30-9 p.m. Fridays & Saturdays; closed Mondays & Tuesdays Beer & wine Noise level: moderate to party hardy Credit cards, no checks

•

The Short Order Amaury Torres’ Babaluu’s Cocina Cubana is a remote outpost of Caribbean influence, serving fine Cuban-inspired dishes with nouvelle flair. Lunches show the most island influence, and weekend evenings, sometimes with live music, offer a lively party atmosphere. Roast pork and seafood rule the menu with fried yuca, plantains, and black-bean soups all done exceptionally well. Service is efficient though seemingly chaotic when busy, relaxed and friendly when not. Recommended: Cuban panini, sautéed clams, crab empanadas, breaded halibut Parmesan, shrimp ajillo, yuca frita, green-chile sopa, and guava galette.

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.

62

October 12 -18, 2012

When Amaury Torres set out from Havana on a raft in 1994 he probably didn’t expect to land in New Mexico.

But here he is, after stints in Miami and Portland, Oregon, opening his own restaurant, the excellent Babaluu’s Cocina Cubana, in rural San Marcos. You’d have to look hard to find a more unlikely location for Cuban dining; but then the food isn’t authentically or strictly Cuban. Torres spent his time in Portland working in the city’s sophisticated restaurant scene, and his ever-changing dinner menu reflects nouvelle as well as Caribbean and New Mexican influence. Lunches, with their Cuban sandwiches (though not quite like the pressed Cuban sandwiches expatriates build for their American clientele in cities across the country), fried yuca (cassava root), and black-bean salsa, harbor the most island influence.

The place sits just off Turquoise Trail across from the Lone Butte General Store. It’s easy to miss, the entry nondescript.

But drive around to the other side of the building and there’s a bright mural depicting a Cuban street scene and a couple of palm trees silhouetting the entrance. It’s an attractive setting.

Sunsets are stunning, visible from the patio, and there’s an outdoor dance floor in the works. Dining here can sometimes mean more fun than you bargained for.

The first time we traveled to Babaluu’s we followed not one but two large looping rainbows. No, we didn’t find a pot of gold — the rainbows seemed anchored further south — but we did get a cup of gazpacho worth treasuring.

There was no music that night (infrequently, a guitarist and percussionist entertain, and dancing is encouraged), but the scene was still lively, even chaotic, as servers rushed between the dining room and patio, and dishes were whisked out of the kitchen by anyone available. Hostess Mary Torres, the owner’s wife, claims an affinity with Lucille Ball (you’ll see Lucy’s photo near the entrance), and the scramble sometimes resembles an I Love Lucy sketch.

The rustic dining room has plank floors and a large stone fireplace hosting fat candles. The room can feel tight when crowded, and don’t be surprised if you’re bumped by a server as they hurry by. It’s all part of the fun.

You can check Babaluu’s website — the weekend dinner menu is usually posted on Thursday — to know what to expect. That first Saturday visit was a joy, starting with a savory pair of crab empanadas matched with a spirited mango sweet-and-sour sauce, and a garlicky bowl of steamed clams swimming in a complex broth with white wine, peppers, and herbs, perfect for dunking the homemade Cuban bread. The unusual chilled green gazpacho was rich with avocado and slightly tangy. A summer salad entrée was a heaping bowl of greens and peaches, roasted pecans, and blue cheese sweetly dressed with a raspberry dressing (Babaluu gets its seasonal fresh, organic fruit and vegetables from the nearby Synergia Ranch). A lightly breaded halibut Parmesan was a standout, its crisp coat tastefully seasoned, its insides flakey and flavorful. Havana Seafood Delight, a large bowl of clams, prawns, sea bass, and crimini mushrooms in the same broth that came with the clams, was spiked with fresh pesto. The roast pork seemed dry in comparison to the well-marinated, shredded Cuban

pork we were familiar with but came alive in a dusky barbecue sauce that carried mango and whole cherries.

On a quiet Sunday evening visit, accompanying dishes were the focus. Soupy black beans were served in a cup. Stirring in jasmine rice gave them texture. Our only complaint with the fried yuca was that there wasn’t more. A scoop of maduros (mature plantains) shredded and spiked with other vegetables was uninteresting and in need of a lift.

Best was the green chile stew, not thick with chile but full of potatoes and shredded pork and deliciously spicy. The beef brochette was smoky from the grill and perfectly done; shrimp ajillo were delightfully garlicky.

Lunches here are leisurely affairs. The Cuban sandwich had first-rate components, the havarti cheese gracing the house-roasted pork and ham, all just moist enough to contrast with the crispy bread. The muffuletta sandwich adds a spunky tapenade and salty capicola. Sandwiches offer a chance to try some of the unusual sodas offered, including the deeply malty Malta or the Iron Beer, not a beer at all but a fruity soda that hides its copious sugars behind a wall of flavor. Desserts are standout, the orange flan putting a citrusy twist on a favorite, but especially the guava galette, tart enough that you’ll need a bit of the crispy pastry to even out the flavor. Want a special treat? Ask the bus boy for a dance. You won’t believe his moves. ◀

Check, please

Dinner for four at Babaluu’s Cocina Cubana: Crab empanadas ............................................$ 9.00 Sauteed clams ................................................$ 14.00 Gazpacho .......................................................$ 4.00 Summer salad entrée .....................................$ 14.00 Pesto seafood linguine ...................................$ 21.00 Roast-pork platter ..........................................$ 17.00 Side cherry, mango, red chile barbecue sauce $ 1.50 Halibut Parmesan ..........................................$ 28.00 Guava galette .................................................$ 7.00 Orange flan ....................................................$ 7.00 Malta soda .....................................................$ 2.00 Hibiscus iced tea ............................................$ 2.00 Guava juice ....................................................$ 2.00 TOTAL ...........................................................$ 128.50 (before tax and tip)

Lunch for two, another visit: Cup, black-bean soup ....................................$ 4.00 Green chile mussels .......................................$ 10.00 Muffuletta plate with Jamaican slaw ..............$ 13.00 Cuban panini .................................................$ 9.00 Two hibiscus iced teas ...................................$ 4.00 TOTAL ...........................................................$ 40.00 (before tax and tip)

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New Mexico Lawyers for the Arts • Second Annual Legal and Business Issues in Film Summit Wed-Sat Oct 17-20 • See full schedule at nmlawyersforthearts.org • First come first served seating Fri-Sun Oct 12-14 12:15p - Beasts of the Southern Wild - FINAL SHOWS! 1:15p - Decoding Deepak* 2:15p - Sugar Man 3:15p - Samsara* 4:15p - Sugar Man 5:15p - Samsara* 6:15p - Sugar Man 7:15p - Samsara* 8:15p - Sugar Man

Mon-Tues Oct 15-16 1:15p - Decoding Deepak* 2:45p - Sugar Man 3:15p - Samsara* 4:30p - Sugar Man 5:15p - Samsara* 6:15p - Sugar Man 7:15p - Samsara* 8:00p - Sugar Man * indicates shows will be in The Studio at CCA, our new screening room for $7.50.

Wed Oct 17 12:30p - Sugar Man 1:00p - Samsara* 2:30p - Sugar Man 3-4:30p - NMLA: Understanding Film Budgeting 4:30p - Sugar Man 4:45-6pm - NMLA: Business of Film Production 7:00p - Science on Screen: Chris Wood presents MEMENTO 7:30p - Decoding Deepak*

Thurs Oct 18 1:45p - Sugar Man 2-3:30p - NMLA: Fair Use Without Fear 3:45-4:45p - NMLA: Business of TV 4:00p - Sugar Man 5-6:00p - NMLA: Conscious Social Media 6:00p - Sugar Man 6:30p - Decoding Deepak* 8:00p - Sugar Man 8:30p - Samsara*

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63

pasa week 12 Friday

BooKs/TalKs

Confronting inequity Creative Time Summit simulcast, part of the Santa Fe University of Art & Design’s Artists for Positive Social Change series, 8 a.m.-4 p.m., The Forum, 1600 St. Michael’s Dr., no charge, visit creativetime.org for full speaker schedule. exhibit talk Artists Tom Miller, Luis Schalk, and members of the artist collective Scuba discuss their works in Alcove 12.5, 5:30-7 p.m., New Mexico Museum of Art, 107 W. Palace Ave., no charge, 476-5072.

Jimmy santiago Baca The poet discusses and signs copies of The Lucia Poems, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. mending the sacred Hoop Spoken-word performers and poets celebrate Indigenous poetry, art, and music, 6-8 p.m., presented by Memoria Colectiva and Poetry Perpetrators Ink, Lucky Bean Café, Sanbusco Center, 500 Montezuma Ave., 438-8999.

gallery/museum openings

arte Bella 235 Don Gaspar Ave., Suite 5, 983-1726. Group show, reception 5-7 p.m.

Bill Hester Fine art 830 Canyon Rd., 660-5966. Sea Moods, work by Susanna Hester, reception 5-7 p.m., through Oct. 26.

Chalk Farm gallery 729 Canyon Rd., 983-7125. Matrix of Love, paintings by Vladimir Kush, reception 6-8 p.m.

Delgado street Contemporary 238 Delgado St., 982-6487. Sculpture by Tor Archer, reception 5-7 p.m., through Nov. 17. mclarry Fine art 225 Canyon Rd., 988-1161. New works

by Johanna Harmon, reception 5-7 p.m., through Oct. 26. mclarry modern 225 Canyon Rd., 983-8589. New abstracts by Enrico Embroli, reception 5-7 p.m., through Oct. 26. noiseCat on Canyon 618 Canyon Rd., 412-1797. It’s Fair Time!, new works by Ryan Singer, jewelry by Samuel LaFountain, reception 4-7 p.m., through Nov. 8. red Dot gallery 826 Canyon Rd., 820-7338. Born Under What Star?, 1960s-present retrospective of mixed-media works by Linda Vi Vona, reception 5-8 p.m., through Nov. 11.

Tai gallery 1601-B Paseo de Peralta, 984-1387. Plastic Garden, sculpture by Ai Krasner, reception 5-7 p.m., through Oct. 20.

William siegal gallery 540 S. Guadalupe St., 820-3300. Reconstructing Lives, photographs by Tom Emerson, reception 5-7 p.m., today only, proceeds benefit the Tessa Foundation and Life Link.

Zaplin lampert gallery 651 Canyon Rd., 982-6100. Thomas Moran/ Peter Moran: West by Southwest, paintings, prints, and works on paper, reception and presentation by David G. Wright, author of Domestic and Wild Peter Moran’s Images of America, 5-7 p.m., through Nov. 10 (see story, Page 30).

ClassiCal musiC

TgiF epiK artists of the santa Fe Concert association recital Students ages 8-17, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544.

in ConCerT

KsFr music Café series Jazz guitarist Joshua Breakstone, with Earl Sauls on bass and John Trentacosta on drums, 7 p.m., Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527, proceeds benefit the radio station.

Pasa’s Little Black Book......... 65 Exhibitionism...................... 66 At the Galleries.................... 67 Libraries.............................. 67 Museums & Art Spaces........ 67 In the Wings....................... 68 64

October 12-18, 2012

compiled by Pamela Beach, pambeach@sfnewmexican.com

evenTs

international mountain Bicycling association’s biennial World summit Vendors’ Expo (Santa Fe Community Convention Center, 201 W. Marcy St.) daily group rides, events on the Plaza, and workshops, visit imba.com for details and schedule of events, continues Saturday, Oct. 13. petchesky awards New Mexico Land Conservancy’s 10th anniversary celebration honoring William deBuys, reception, dinner, silent auction, and music by pianist Faith Amour and the Luminous Jazz Experience, 6 p.m., Bishop’s Lodge Ranch Resort & Spa, 1297 Bishops Lodge Rd., $125, 988-1234, ticketssantafe.org.

nigHTliFe

Carrer del Bisbe, Barcelona, Spain, by Michael Crouser, Verve Gallery of Photography, 219 E. Marcy St.

THeaTer/DanCe

antonio granjero and entreFlamenco Aire, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21. ‘moon over Buffalo’ opening-night gala Ken Ludwig’s comic play presented by Santa Fe Playhouse, reception 6:30 p.m., curtain 7:30 p.m., 142 E. De Vargas St., $25, 988-4262, ThursdaySunday, through Oct. 28 (see story, Page 44). national Theatre of london live in HD The season continues with The Last of the Haussmans, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $22, discounts available, 988-1234, ticketssantafe.org (see story, Page 50).

Elsewhere............................ 70 People Who Need People..... 71 Under 21............................. 71 Short People........................ 71 Sound Waves...................... 71

‘poesía de méxico’ Teatro Paraguas presents five centuries of Mexican poetry, 7 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $8 and $10, 424-1601, FridaySunday through Oct. 21. ‘scapin’ The Greer Garson Theatre presents a burlesque-like adaptation of Molière’s comedy Les Fourberies de Scapin, 7 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketssantafe.org, 988-1234, final weekend.

‘Working’ Santa Fe REP presents Stephen Schwartz and Nina Faso’s musical based on Studs Terkel’s book, 8 p.m., Black Box Theatre, Warehouse 21, 1614 Paseo de Peralta, $24, discounts available, 629-6517, sfrep.org, final weekend (see review, Page 46).

(See Page 65 for addresses) ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30 p.m., no cover.

Cowgirl BBQ Singer/songwriter Chris Jamison, 5-7:30 p.m., no cover. Broomdust Caravan, juke joint honkytonk and biker bar rock, 8 p.m., $5 cover. el Farol Boulevard Lane, rock/blues/folk, 9 p.m., $7 cover.

Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Rock and blues trio The Attitudes, 8-11 p.m., no cover. la posada de santa Fe resort and spa Nacha Mendez Trio, pan-Latin chanteuse, 6:30-9:30 p.m., no cover.

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 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 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. Follow Pasatiempo on Facebook and Twitter.

Le Chantilly Café at Garrett’s Desert Inn Equinox, Lou Levin on keyboard and Gayle Kenny on acoustic bass, 6:30-9 p.m., no cover.

The Mine Shaft Tavern Open-mic night, 8 p.m.-midnight, no cover.

The Palace Restaurant & Saloon The Strange, rock and funk, 5-7 p.m., no cover.

Pranzo Italian Grill Pianist David Geist, show tunes, 6-9 p.m., $2 cover.

Second Street Brewery Theatrical jazz quartet Le Chat Lunatique, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Americana band Boris McCutcheon & The Saltlicks, 6-9 p.m., no cover.

Taberna La Boca Accordionist Pedro Romero, 6-8 p.m., no cover.

Tiny’s Chris Abeyta Duo, 5:30-8 p.m., no cover.

Forty Miles of Bad Road, classic country/ rockabilly, 8:30 p.m.-12:30 a.m., no cover.

Vanessie Pianist Doug Montgomery, Great American Songbook, 6-8 p.m., no cover. Latin-groove band Nosotros, 9 p.m., call for cover.

13 Saturday In ConCeRT

Round Mountain and Rebecca Sanborn Folk-rock duo Round Mountain, Char and Robby Rothchild and the singer/songwriter, 7 p.m., O’Shaughnessy Performance Space, Benildus Hall, Santa Fe University of Art & Design, 1160 St. Michael’s Dr., $5 and $10, 473-6196.

Pasa’s little black book nt & Bar anasazi Restaura Anasazi, the of Inn d Rosewoo e., 988-3030 113 Washington Av nch Resort & Spa Ra e dg Bishop’s Lo ., 983-6377 Rd 1297 Bishops Lodge ón es ¡Chispa! at el M e., 983-6756 213 Washington Av Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Dinner for Two , 820-2075 106 N. Guadalupe St. lton el Cañon at the hi 811 8-2 98 , St. al ov nd Sa 0 10 Rd., 983-9912 el Farol 808 Canyon ill el Paseo Bar & Gr 848 2-2 99 , St. teo lis Ga 208 evangelo’s o St., 982-9014 200 W. San Francisc erging arts high Mayhem em 7 04 8-2 43 ., 2811 Siler Ln Santa Fe hotel Chimayó de 988-4900 e., Av 125 Washington hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina La Casa Sena Cant 8-9232 98 e., Av e 125 E. Palac

TheaTeR/DanCe

antonio Granjero and entreFlamenco Aire, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21.

The Met Live in hD The 2012-2013 season opens with Donizetti’s L’Elisir d’Amore, 11 a.m. and 6 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, encores $22, advance tickets and full schedule available online at ticketssantafe.org, 988-1234 (see story, Page 50).

‘Moon over Buffalo’ Ken Ludwig’s comic play presented by Santa Fe Playhouse, 7:30 p.m., 142 E. De Vargas St., $15 and $20, 988-4262, Thursday-Sunday, through Oct. 28 (see story, Page 44).

‘Poesía de México’ Teatro Paraguas presents five centuries of Mexican poetry, 7 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $8 and $10, 424-1601, teatroparaguas.org, Friday-Sunday through Oct. 21.

‘Scapin’ The Greer Garson Theatre presents a burlesquelike adaptation of Molière’s comedy Les Fourberies de Scapin, 7 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12-$15, discounts available, 988-1234, ticketssantafe.org, final weekend.

‘Working’ Santa Fe REP presents Stephen Schwartz and Nina Faso’s musical based on Studs Terkel’s book, 4 and 8 p.m., Black Box Theatre, Warehouse 21, 1614 Paseo de Peralta, $24, discounts available, 629-6517, sfrep.org, final weekend (see review, Page 46).

La Fiesta Lounge at La Fonda 100 E. San Francisco St., 982-5511 La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 986-0000 Le Chantilly Café at Garrett’s Desert Inn 311 Old Santa Fe Trail, 984-8500 Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 992-5800 The Matador 116 W. San Francisco St., 984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Museum hill Café 710 Camino Lejo, Milner Plaza, 984-8900 ore house at Milagro 139 W. San Francisco St., 995-0139 osteria d’assisi 58 Federal Pl., 986-5858 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 Pizzeria da Lino 204 N. Guadalupe St., 982-8474 Pranzo Italian Grill 540 Montezuma Ave., 984-2645

BookS/TaLkS

harlan Flint The author discusses and signs copies of Hispano Homesteaders: The Last New Mexico Pioneers, 1850-1910, 2 p.m. Garcia Street Books, 376 Garcia St., 986-0151.

Jane Lipman and Gary Worth Moody The poets read from their collections, 6 p.m., open-mic readings follow, Lucky Bean Café, Sanbusco Center, 500 Montezuma Ave., 438-8999.

Joel-Peter Witkin The photographer signs copies of Vanitas, Heaven or Hell, and Joel-Peter Witkin, 3-5 p.m., Photo-eye Gallery, 376 Garcia St., Suite A, 988-5152, Ext. 112. national novel Writing Month writers’ meet-and-greet Kickoff for a writing challenge and nonprofit literary crusade beginning Nov.1, 3-5 p.m., Santa Fe Public Library, La Farge Branch, 1730 Llano St., details available online at nanowrimo.org. opera Breakfast Lecture Tom Franks and Mary Kime discuss L’Elisor d’Amore, part of an ongoing series of pre-opera lectures in conjunction with The Met at the Lensic season, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 988-4226.

ouTDooRS

Tarantulas Guided walk/talk through Cerrillos Hills State Park, 10 a.m., 16 miles south of Santa Fe off NM 14, parking area about a half mile north of the village of Cerrillos, $5 per vehicle, 474-0196.

Wells Petroglyph Preserve tours Two-hour guided tours in steep and rugged terrain (not open to children ages 9 and under), 9:30 a.m., Mesa Prieta north of Española, minimum $25 donation, information and directions upon reservation, 852-1351.

eVenTS

Contra Dance New England folk dance with live music by Megaband and calls by Will McDonald, beginner classes 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $8, students, $4, 820-3535.

Glamour & Gauze Christus St. Vincent Hospital Intensive Care and Critical Care Unit expansion fundraiser; dinner, music by Soulstice, and stand-up comic Paula Poundstone; also, silent and live auctions, 6 p.m., Eldorado Hotel & Spa, 309 W. San Francisco St., $250, presented

by St. Vincent Hospital Foundation, 913-5209, stvinfoundation.org.

Institute of american Indian arts 50th anniversary Campus tours, foundry bronze pour, experimental art and video presentation in the Digital Dome, food, music, and games, 10 a.m.-5 p.m., 83 Avan Nu Po Rd., 424-2300.

International Mountain Bicycling association’s Biennial World Summit Vendors’ Expo (Santa Fe Community Convention Center, 201 W. Marcy St.) daily group rides, events on the Plaza, and workshops, visit imba.com for details and schedule of events.

Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.

Santa Fe Public Library’s main branch book sale Hardcovers $1, paperbacks 50 cents or 3/$1, noon-4 p.m., 145 Washington Ave., continues Sunday, Oct. 14.

Santa Fe Society of artists Show 9 a.m.-5:30 p.m. in the First National Bank parking lot, off West Palace Avenue, across from the New Mexico Museum of Art, weekends through Oct. 21.

nIGhTLIFe Rouge Cat 101 W. Marcy St., 983-6603 San Q Japanese Sushi and Tapas 31 Burro Alley, 992-0304 Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030 Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & nightlife 135 W. Palace Ave., 982-7265 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 The underground at evangelo’s 200 W. San Francisco St., 577-5893 Vanessie 434 W. San Francisco St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

(See addresses to the left) ¡Chispa! at el Mesón Jazz pianist Bert Dalton and his trio, 7-10 p.m., $10 cover.

Cowgirl BBQ Folk/rock band RAB4, 5:30-7:30 p.m., no cover.

Honky-tonk-tinged rock band The Far West, 8:30 p.m., $5 cover. el Farol Blues/rock guitarist Alex Maryol, 9 p.m., $5 cover. hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. high Mayhem emerging arts Post-punkers Grass Is Green, 8 p.m., $5 requested donation.

La Fiesta Lounge at La Fonda Rock and blues trio The Attitudes, 8-11 p.m., no cover.

The Mine Shaft Tavern Country-rock guitarist Gary Gorence, 2-6 p.m., no cover. Classic-rock band The Jakes, 8 p.m.midnight, no cover.

Pranzo Italian Grill Pianist David Geist with vocalist Julie Trujillo, show tunes, 6-9 p.m., $2 cover.

Santa Fe Sol Stage & Grill Bavarian polka band Die Polka Schlingel, 7-9 p.m., $8 cover.

Second Street Brewery Oktoberfest with polka band Swing Shift, 1-4 p.m., no cover.

pasa week

continued on Page 69

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65

exhibitionism

A peek at what’s showing around town

Vladimir Kush: Planet Sunflower, 2012, giclée print. Matrix of Love is an exhibition of paintings, giclées, and sculptures by Vladimir Kush, who is known for his surreal landscapes and fantastical imagery. The show opens at Chalk Farm Gallery (729 Canyon Road) on Friday, Oct. 12, with a reception at 6 p.m.

Call 983-7125.

Kenneth noland: Mysteries: Midnight Red, 2000, acrylic on canvas. Yares Art Projects (123 Grant Ave.) presents Mysteries: Full Circle, an exhibition of paintings of circular imagery by Kenneth Noland (1924-2010). Noland was a Color Field painter known for minimalist abstractions of geometric forms. The show continues through Dec. 8. Call 984-0044.

Ryan singer: The False Community, 2012, acrylic on canvas. NoiseCat on Canyon presents It’s Fair Time!, an exhibition of work by Native artists Ryan Singer and Samuel LaFountain, an award-winning Diné and Chippewa silversmith. Singer is a Diné painter and sculptor whose subjects include Native themes and popular culture. The show opens Friday, Oct. 12, with a 4 p.m. reception. The gallery is at 618 Canyon Road. Call 412-1797.

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October 12 -18, 2012

Ai Krasner: Time Capsule, 2011, plastic, toy, wire mesh, rubber balls, and plastic bag.

In the exhibition Plastic Garden, Ai Krasner combines synthetic resin with plastic objects in a series of translucent sculptures. Krasner calls plastic a “new natural material.”

Plastic Garden opens at Tai Gallery (1601-B Paseo de Peralta) on Friday, Oct. 12, with a reception at 5 p.m.

Call 984-1387.

enrico embroli: Essence of Evolution, 2012, mixed media on canvas.

A show of new work by Enrico Embroli opens at McLarry Modern on Friday, Oct. 12, with a reception at 5 p.m. Embroli’s abstract paintings are a confluence of color, line, pattern, and texture. The gallery is at 225 Canyon Road. Call 983-8589.

At the GAlleries Andrew Smith Gallery 122 Grant Ave. The Jungle at the Door: A Glimpse of Wild India, photographs by Joan Myers, through Monday, Oct. 15.

Axle Contemporary 670-7612 or 670-5854.

The Art of the Chair, group show, visit axleart. com for van locations through Oct. 28.

Blue Rain Gallery 130 Lincoln Ave., 954-9902. Primitive — Elegant II: A Collaboration Between Preston Singletary and Dante Marioni, art glass, through Oct. 20.

Chiaroscuro Contemporary Art 702½ Canyon Rd., 992-0711. Cause & Effect, work by Nora Naranjo Morse, through Saturday, Oct.13.

Commissioner’s Gallery — New Mexico State Land Office 310 Old Santa Fe Trail, 827-5762. New Mexico Connections, paintings

by Mary Helen Follingstad, through October.

Ed Larson Gallery 229-C Johnson St., 982-9988. Works by Ed Larson and Thomas E. Larson, through Friday, Oct. 12.

LewAllen Galleries Downtown 125 W. Palace Ave., 988-8997. Home, paintings

by Jesse Blanchard, through Oct. 28.

Meyer East Gallery 225 Canyon Rd., 983-1657. True Lies: The Art of Deception, tromp l’oeil paintings by Natalie Featherston, through Friday, Oct. 12.

Patina Gallery 131 W. Palace Ave., 986-3432. Speaking of Klee, ceramics by Sheryl Zacharia, through Sunday, Oct. 14.

Peyton Wright Gallery 237 E. Palace Ave., 989-9888. The Constant Line, paintings by Sewell Sillman (1924-1992), through Wednesday, Oct. 17.

Santa Fe Art Institute Gallery Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. The Very Rich Hours, sound installation by Steve Peters, through Oct. 26.

Santa Fe Community College, School of Arts and Design Visual Arts Gallery 6401 Richards Ave., 428-1501. Familia, Hogar, Fe: Día de los Santos + Día de los Muertos, works by members of Sangre Fuerte, through Nov. 2.

Santa Fe University of Art & Design 1600 St. Michael’s Dr., Mixed-media work by student Chelsey Danielson, Thaw Lobby Gallery; work by Vice President of Academic Affairs, Gerry Snyder, Visual Arts Center; through Saturday, Oct. 13.

Verve Gallery of Photography 219 E. Marcy St., 982-5009. A Sense of Time, works by Susan Burnstine, Michael Crouser, and Douglas Ethridge, Saturday, through Saturday, Oct. 13.

Yares Art Projects 123 Grant Ave., 984-0044. Mysteries: Full Circle, paintings by Kenneth Noland, through Dec. 8.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. The Importance of Being, photographs by Christopher Felver; Excavations, paintings and drawings by Jean Arnold; Letting Go of the Piano Top; through Oct. 24.

liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only.

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours.

Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours.

Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $20 fee to nonstudents and nonfaculty.

Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday.

Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264.

Open 1-5 p.m. Monday-Friday, by museum admission.

New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday.

Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours.

Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours.

Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Visit santafe.edu/library for online catalog.

Open 1-5 p.m. Monday-Friday to current students (call for details).

Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday.

Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday.

Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday.

Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at supremecourtlawlibrary.org.

Open 8 a.m.-5 p.m. Monday-Friday.

MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events.

Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Dust in the Machine, group show, through Nov. 25 • Rhythms of Life, images of global stone sculptures by Andrew Rogers, Spector Ripps Project Space, through Oct. 21. Gallery hours available by phone or online at ccasantafe.org, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe and the Faraway: Nature and Image, through May 5, 2013. Open 10 a.m.-5 p.m. SaturdayThursday, open 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; NM residents free, 5-7 p.m. first Friday of the month.

paintings by ed sandoval, Governor’s Gallery, state capitol Building, Old santa Fe trail and paseo de peralta

Governor’s Gallery State Capitol Building, fourth floor, Old Santa Fe Trail and Paseo de Peralta, 476-5058. Works by recipients of the Governor’s Awards for Excellence in the Arts, through Dec. 7.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. 50/50: Fifty Artists, Fifty Years • Dual(ing) Identities, work by Debra Yepa-Pappan • Grab, screenings of a film by Billy Luther • Red Meridian, paintings by Mateo Romero • Vernacular, work by Jeff Kahm; all exhibits through December. Open 10 a.m.5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250.

Woven Identities: Basketry Art From the Collections • They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 • Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200.

New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through Feb. 28 • Young Brides, Old Treasures: Macedonian Embroidered Dress • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday.

NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays.

Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226.

San Ysidro Labrador/St. Isidore the Farmer,

bultos, retablos, straw appliqué, and paintings on tin • New Deal Art: CCC Furniture and Tinwork; Transformations in Tin: Tinwork of Spanish Market Artists; through December • Recent Acquisitions, Colonial and 19thcentury Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200.

Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 • Native American Portraits: Points of Inquiry, through Nov. 4 • 47 Stars, tongue-in-cheek installation and items from the collection in celebration of New Mexico’s Centennial, through Nov. 25 • Illuminating the Word: The St. John’s Bible, 44 pages from two of seven volumes, a page from the Gutenberg Bible, and early editions of the King James Bible; Contemplative Landscape, exhibit featuring work by photojournalist Tony O’Brien; through Dec. 30 • Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present. Open 10 a.m.-5 p.m. TuesdaySunday. No charge on Fridays 5-8 p.m.; Open 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Chromatic Fusion: The Art of Fused Glass; Emerge 2012: A Showcase of Rising Talents in Kiln Glass; through Jan. 6 • Alcove 12.5, ongoing series of revolving exhibits, through Oct. 21 • Treasures Seldom Seen, works from the permanent collection, through December • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday. Open 5-8 p.m.

Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; free for NM residents over 60 on Wednesdays; NM residents free on Sundays.

New Mexico National Guard Bataan Memorial Museum and Library 1050 Old Pecos Trail, 474-1670. Housed in the original armory from which the 200th Coast Artillery Regiment was processed for entry into active service in 1941. Military artifacts and documents. Open 10 a.m.-4 p.m.

Tuesday-Saturday, by donation.

Poeh Museum 78 Cities of Gold Rd., 455-5041. 3-D: Nah Poeh Meng (The Continuous Path), installation tracing the story of the Tewa people. Open 10 a.m.-4 p.m. Monday-Saturday, donations accepted.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. More Real?

Art in the Age of Truthiness, group show, through Jan. 6. Open 10 a.m.-5 p.m. TuesdaySaturday; 10 a.m.-7 p.m. Friday; noon-5 p.m.

Sunday. $10; seniors and students $5; Fridays no charge.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Cabot Wheelwright Collects the Southwest, 75th anniversary exhibit • New work by Orlando Dugi and Ken Williams, Case Trading Post.

Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

PASATIEMPO

67

In the wings MUSIC

Charlie Christian Project Tribute to guitarist Charlie Christian with Michael Anthony on guitar, Bobby Shew on trumpet, Micky Patten on bass, and John Trentacosta on drums, 7:30 p.m.

Saturday, Oct. 20, Gig Performance Space, 1808-H Second St., $15 at the door.

Santa Fe Community Orchestra Santa Fe Opera soloists and Santa Fe Public School music students join the orchestra to open the 2012-2013 season with music of Verdi, Bach, and Dvoˇrák, 2:30 p.m. Sunday, Oct. 21, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, 466-4879.

Serenata of Santa Fe Chamber music ensemble in Rhapsodic Spin, music of Loeffler, Hindemith, and Schumann, 3 p.m. Sunday, Oct. 21; Classic Drama, featuring pianist Norman Krieger, music of Bach, Mozart, and Beethoven, 6 p.m. Friday, Nov. 16; Scottish Rite Center, 463 Paseo de Peralta, $20, serenataofsantafe.org.

Hélène Grimaud Solo piano recital, 7 p.m. Tuesday, Oct. 23, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org. VIP tickets available through the New Mexico Wilderness Alliance, 505-216-9719, nmwild.org.

The Met Live in HD The season continues with Verdi’s Otello, Saturday, Oct. 27; Adès’ The Tempest, Saturday, Nov. 10; both screenings 11 a.m. and 6 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, encores $22, discounts available, ticketssantafe.org, 988-1234.

Santa Fe Symphony Orchestra & Chorus Fall Fantasy, music of Mussorgsky, Dvoˇrák, and de Falla, 4 p.m. Sunday, Oct. 28; Handel’s Messiah, 4 p.m. Sunday, Nov. 18; pre-concert lectures 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

Academy of St. Martin in the Fields British chamber ensemble, 7:30 p.m. Tuesday, Oct. 30, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

Mike Watt & The Missingmen Punk-rock band, Heapin’ Helpin’ opens, 7:30 p.m. Thursday, Nov. 1, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

Santa Fe Pro Musica Per Tengstrand: solo piano recital, Beethoven’s Piano Sonatas, 7:30 p.m. Friday, Nov. 2; SFPM Orchestra featuring Tengstrand, music of Grieg, Schubert, and Beethoven, 3 p.m. Saturday, 6 p.m.

Sunday, Nov. 3-4, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org.

Henry Mancini tribute Bobby Shew, trumpet, John Proulx, vocals and keyboard, Michael Glynn, bass, and Cal Haines, drums, 4 p.m. Sunday, Nov. 4, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $25 in advance at brownpapertickets.com and at the door.

Notes on Music: The Life and Music of Debussy Musical lecture by Santa Fe Concert Association artistic director Joseph Illick and soprano Gina Browning, 7:30 p.m. Monday, Nov. 5, United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20, discounts available, 988-1234, ticketssantafe.org.

68

October 12-18, 2012

Parkington Sisters Acoustic experimental-folk band, 7:30 p.m.

Thursday, Nov. 8, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

KSFR Music Café The radio station’s series continues with tenor Saxophonist Brian Wingard, with John Rangel on piano, Colin Deuble on bass, and John Trentacosta on drums, 7 p.m. Friday, Nov. 9, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.

Canticum Novum Chamber Orchestra & Chorus The Chamber ensemble opens its ninth season with music of Geminiani, Mozart, and Mendelssohn, 5 p.m. Saturday, Nov. 10, 3 p.m. Sunday, Nov. 11, pre-concert lectures by Oliver Prezant precede both concerts, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20 and $30, discounts available, ticketssantafe.org, 988-1234.

Lúnasa Acoustic Irish quartet, 7:30 p.m. Thursday, Nov. 15, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, discounts available, 988-1234, ticketssantafe.org.

Reverend Peyton’s Big Damn Band Americana and blues, 8 p.m. Friday, Nov. 16, Santa Fe Sol Stage & Grill, 37 Fire Pl., $14, 988-1234, ticketssantafe.org.

Red Elvises Russian-American theatrical rock band, 8 p.m. Saturday, Nov. 17, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, solofsantafe.com.

David Hidalgo and Alejandro Escovedo Singer/songwriters, 7:30 p.m. Thursday, Dec. 6, Lensic Performing Arts Center, 211 W. San Francisco St., $32-$62, 988-1234, ticketssantafe.org.

Upcoming events Chanticleer A cappella men’s chorus, 7:30 p.m. Friday, Dec. 7, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $10-$50, 988-1234, ticketssantafe.org.

Horse Feathers Acoustic folk band, 7:30 p.m. Saturday, Dec. 8, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

Washington Saxophone Quartet 7 p.m. Sunday, Dec. 9, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$30, 988-1234, ticketssantafe.org.

Sutton Foster Broadway performer, 7:30 p.m. Thursday, Dec. 27, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

THEATER/DANCE

‘Elect to Laugh’ Political satirist Will Durst’s one-man show (with special guests), 7:30 p.m. Friday, Oct. 19, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$20, discounts available, ticketssantafe.org, 988-1234.

‘Eleemosynary’ Theaterwork opens its 17th season with a play examining the relationships between a grandmother, mother, and child, 7:30 p.m.

Thursdays-Saturdays, 2 p.m. Sundays, Oct. 1928, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799.

National Theatre of London live in HD The season continues with Shakespeare’s Timon of Athens, 7 p.m. Thursday, Nov. 8, Lensic Performing Arts Center, 211 W. San Francisco St., $22, discounts available, ticketssantafe.org, 988-1234.

‘Freud’s Last Session’ Fusion Theatre presents Mark St. Germain’s play centered on a meeting of the minds between Sigmund Freud and C.S. Lewis, 8 p.m. Friday, 2 and 8 p.m. Saturday, Nov. 16-17, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$40, 988-1234, ticketssantafe.org.

Circus Luminous Circus-arts troupe Wise Fool New Mexico’s 10th annual Thanksgiving tradition, 7 p.m.

Friday, 2 and 7 p.m. Saturday, 4 p.m. Sunday,

British ensemble Academy of st. martin in the Fields performs oct. 30 at the Lensic.

Nov. 23-25, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$30, discounts available, 988-1234, ticketssantafe.org.

‘Count Dracula’ Greer Gason Theatre presents an adaptation of Bram Stoker’s tale of horror, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Nov. 30Dec. 9, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ticketssantafe.org.

Golden Dragon Acrobats Chinese troupe in the premiere Cirque Ziva, 7 p.m. Thursday and Friday, 1 and 7 p.m. Saturday, Dec. 20-22, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$35, discounts available, 988-1234, ticketssantafe.org.

HAPPENINGS

Lannan Foundation Cultural Freedom Event Poet/playwright Nathalie Handal with Naomi Shihab Nye, 7 p.m. Wednesday, Oct. 24, Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org.

Council on International Relations event Latin-cuisine buffet and screening and discussion of the film The Secret in Their Eyes, 5-9 p.m.

Tuesday, Oct. 30, La Plancha at La Tienda, 7 Caliente Rd., Eldorado, $35 in advance includes buffet and film, $15 film only, 982-4931, sfcior.org.

Recycle Santa Fe Art Festival Friday-Sunday, Nov. 2-4, the annual event includes the Trash Fashion & Costume Contest, juried adult and kids’ art exhibit, kids’ make-and-take recycled-art activities, and art market, Santa Fe Community Convention Center, 201 W. Marcy St., recyclesantafe.org.

Lunafest: Short Films By, For, and About Women 11th annual national touring film festival, panel discussion 4 p.m.

Saturday, Nov. 3, screening 4:45 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $15 and $25, 982-2042 or girlsincofsantafe.org, proceeds benefit the Breast Cancer Fund and Girls Inc. of Santa Fe. Wordharvest: 2012 Tony Hillerman Writers Conference Annual event, ThursdaySaturday, Nov. 8-10, faculty members include Santa Fe historian Thomas E. Chávez, Western Writers of America award-winner John D. Boggs, New Mexico author Steve Brewer, film/TV director Chris Eyre, Hotel Santa Fe, 1501 Paseo de Peralta, visit wordharvest.com for registration and full schedule.

Holiday Pie Mania 2012 Santa Fe Harvest Festival presents cooking demonstrations, a pie auction, and a raffle in support of The Food Depot’s Building Hope Project, 2-5 p.m. Saturday, Nov. 10, Builders Source Appliance Gallery, 1608 Pacheco St., no charge.

24th annual AID & Comfort Gala Celebrity-chef dinner 7 p.m. Saturday, Nov. 17, performances by Frenchie Davis, Donna Sachet, Burlesque Noir, and DJ Austin Head, 8 p.m., Hilton Santa Fe Golf Resort & Spa at Buffalo Thunder, Pojoaque Pueblo, off U.S. 84/285, $50-$300, tickets available online at southwestcare.ejoinme.org, proceeds benefit Southwest CARE Center’s AID & Comfort fund.

13th annual Santa Fe Film Festival Thursday-Sunday, Dec. 6-9, visit Santafefilmfestival.com for details.

pasa week

from Page 65

13 Saturday (continued) Second Street Brewery at the Railyard Oktoberfest with polka band Swing Shift, 5:30-9 p.m., no cover.

The Starlight Lounge Jazz and Bossa Nova quartet Body & Soul, 8:30 p.m., $10 cover.

Taberna La Boca Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover.

Tiny’s Showcase karaoke with Nanci and Cyndy, 7-11 p.m., no cover.

Vanessie Pianist Doug Montgomery, 6-8 p.m., no cover. Andy Kingston and friends, jazz, 8-11 p.m., call for cover.

14 Sunday gaLLeRy/muSeum openingS

eggman & Walrus art emporium 130 W. Palace Ave., second floor, 660-0048.

Nine Muses, word art by Vivian Gordon and Robert Bern, reception noon-6 p.m. spokenword readings by Gordon 1:30, 3, and 4:30 p.m.

cLaSSicaL muSic

concordia Santa Fe The wind ensemble in Soaring, music of Björk, Stravinsky, and Dagenais, 2 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations welcome, 913-7211.

in conceRT

eddie Daniels and Roger Kellaway The clarinetist and pianist pay tribute to Duke Ellington in a benefit concert for the New Mexico Center for Therapeutic Riding and the Santa Fe Symphony Youth Music Program, 4 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $25-$45, 988-1234, ticketssantafe.org (see story, Page 26).

TheaTeR/Dance

antonio granjero and entreFlamenco Aire, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21. ‘moon over Buffalo’ Ken Ludwig’s comic play presented by Santa Fe Playhouse, 2 p.m., 142 E. De Vargas St., $15 and $20, 988-4262, Thursday-Sunday, through Oct. 28 (see story, Page 44). performance at the Screen The HD series continues with the premiere of Much Ado About Nothing at Shakespeare’s Globe Theatre, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494 (see story, Page 50). ‘poesía de méxico’ Teatro Paraguas presents five centuries of Mexican poetry, 2:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, pay what you wish, 424-1601, teatroparaguas.org, Friday-Sunday through Oct. 21.

‘Scapin’ The Greer Garson Theatre presents a burlesque-like adaptation of Molière’s comedy Les Fourberies de Scapin, 2 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12-$15, discounts available, 988-1234, ticketssantafe.org, final weekend.

‘Working’ Santa Fe REP presents Stephen Schwartz and Nina Faso’s musical based on Studs Terkel’s book, 4 p.m., Black Box Theatre, Warehouse 21, 1614 Paseo de Peralta, $24, discounts available, 629-6517, sfrep.org, final weekend (see review, Page 46).

BooKS/TaLKS

a Dialogue With new mexico State house Representative Brian F. egolf A discussion of local, regional, and national election issues, presented by JourneySantafe, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. elaine pinkerton The local author reads from The Goodbye Baby: A Diary About Adoption and leads a free memoir-writing workshop, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Ritualized naming of the Landscape Through photography John Carter speaks in conjunction with the New Mexico History Museum exhibits Illuminating the Word: The Saint John’s Bible and Contemplative Landscapes, 2 p.m., museum auditorium, 113 Lincoln Ave., by museum admission, 476-5200.

ouTDooRS

Leonora curtin Wetland preserve Open 9 a.m.-noon, guided tours 10 a.m., 27283 Interstate 25 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, call Santa Fe Botanical Garden for details, 471-9103, weekly through October 28.

eVenTS

international folk dances 6:30-8 p.m. weekly followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.

Railyard artisans market 8 a.m.-1 p.m. weekly. Live music: balladeer Gerry Carthy, tenor guitar and flute, 10 a.m.1 p.m.; guitarist David Williams, 1-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 670-6544.

Santa Fe artists market 8 a.m.-2 p.m. Saturdays through December, Railyard Park, across from the Farmers Market at Paseo de Peralta and S. Guadalupe St., 310-1555.

Santa Fe public Library’s main branch book sale Bag day, $3 per bag, 1-4 p.m., 145 Washington Ave. Santa Fe Society of artists Show 9 a.m.-6 p.m., in the First National Bank parking lot, off West Palace Avenue, across from the New Mexico Museum of Art, weekends through Oct. 21.

nighTLiFe

(See Page 65 for addresses) cowgirl BBQ Gerry Carthy, tenor guitar and flute, 8:30 p.m., no cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7-10 p.m., no cover.

La casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 6-9 p.m., no cover.

The underground at evangelo’s The Independents, punk ska, 9 p.m., $5 cover.

Vanessie Pianist Doug Montgomery, Great American Songbook, 7-11 p.m., no cover.

15 Monday in conceRT

Black Joe Lewis & The honeybears Blues/funk/soul band, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $13, 988-1234, ticketssantafe.org.

Chairs, by DeeAnne Wagner, Axle Contemporary, visit axleart.com for van locations

TheaTeR/Dance

antonio granjero and entreFlamenco Aire, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21.

BooKS/TaLKS

early 20th century Funiture From the museum of Fine art Lecture by New Mexico Museum of Art guest scholar Penelope HunterStiebel, 2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 982-2226. galisteo Basin and Santa Fe River canyon archaeological Sites Paul Williams speaks as part of the Archaeological Society of Santa Fe’s monthly series, 7:30 p.m., Courtyard Marriott, 3347 Cerrillos Rd., no charge, 982-2846 or 455-2444. nancy hunter Warren and Jill Sweet The photographer and the anthropologist discuss and sign copies of Pueblo Dancing, refreshments 2 p.m., program 2:30 p.m., Wheelwright Museum of the American Indian library, 704 Camino Lejo, Museum Hill, $10, presented by Friends of the Wheelwright, 989-1777.

Sun Sticks & mud: 1,000 years of earth Building in the Desert Southwest Slide presentation and discussion by Bart Kaltenbach and Barbara Anschel, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

eVenTS

Sound control with moldover Free workshop on controllerism and music creation with Ableton Live music software, 7 p.m., Lecture Hall, Room 216, Santa Fe Community College, 6401 Richards Ave., 577-8036, all ages.

Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.

nighTLiFe

(See Page 65 for addresses) cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover.

La Fiesta Lounge at La Fonda Singer/songwriter Zenobia, R & B/gospel, 7:30 p.m., no cover.

Taberna La Boca Flamenco guitarist Chuscales, 7-9 p.m., call for cover.

Tiny’s The Santa Fe Great Big Jazz Band, 7-9 p.m., no cover.

Vanessie Pianist Doug Montgomery, Great American Songbook, 7-11 p.m., no cover.

16 Tuesday in conceRT

Dan Deacon Theatrical electro-pop DJ/producer, 8 p.m., Molly’s Kitchen & Lounge, 1611 Calle Lorca, $12, 988-1234, ticketssantafe.org.

BooKS/TaLKS

Jeremy Thomas The artist/blacksmith discusses his work, 11:30 a.m., Q & A follows, Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge.

Karen Fisher The author reads from and signs copies of A Sudden Country and Heart of the Monster, 5:30 p.m., School for Advanced Research, 660 Garcia St., no charge, 954-7203.

eVenTS

Beginners’ mind + creativity Workshop by architect Michael Rotondi, 9:15 a.m.-12:45 p.m., Warehouse 21, 1614 Paseo de Peralta, $25 in advance at aiasantafe.org, student discounts available, 983-6966. international Folk Dances Lesson 7-8 p.m., dance 8-10:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.

Santa Fe Farmers market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098, through November.

nighTLiFe

(See Page 65 for addresses) cowgirl BBQ Anthony Leon and The Chain, rockabilly, 8 p.m., no cover. el Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover.

La Fiesta Lounge at La Fonda Singer/songwriter Zenobia, R & B/gospel, 7:30 p.m., no cover.

Stats Sports Bar & nightlife Reggae Dancehall Tuesdays with Brotherhood Sound and DJ Breakaway, 10 p.m., $5 cover.

Tiny’s Open-mic night with John and Synde, 7-11 p.m., no cover.

Vanessie Pianist Doug Montgomery, Great American Songbook, 7-11 p.m., no cover.

17 Wednesday in conceRT

Sean hayes Folk singer/songwriter, Birds of Chicago opens, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $18, brownpapertickets.com. ▶▶▶▶▶▶▶▶ PASATIEMPO

69

From darkness to light Pianist David Geist and singer Robert Sinn pay tribute to composer Kurt Weill, 7:30 p.m., Q & A follows, Teatro Paraguas Studio, 3205 Calle Marie, pay what you wish, 424-1601, teatroparaguas.org.

The lady Is 80 Sue Fox Lovitz and Campbell Martin in their two-person show accompanied

by Charles Tichenor on piano, 6 p.m., La Casa Sena, 125 E. Palace Ave., $25, 988-9232, continues Saturday and Sunday, Oct. 18.

TheaTer/dance

antonio Granjero and entreFlamenco Aire, 8 p.m. María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21.

‘Moon Over buffalo’ Ken Ludwig’s comic play presented by Santa Fe Playhouse, 7:30 p.m., 142 E. De Vargas St., $10, 988-4262, ThursdaySunday, through Oct. 28, (see story, Page 44).

bOOkS/TalkS

Sunshine, by Beatrice Mendelman, in the exhibit Collage, closing Sunday, Oct. 14, Harwood Museum of Art, 238 Ledoux St., Taos

Sean Tyrrell Irish balladeer, 7 p.m., O’Shaughnessy Performance Space, Benildus Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $15, 473-6196.

TheaTer/dance

antonio Granjero and entreFlamenco Aire, 8 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 988-1234, ticketssantafe.org, WednesdayMonday through Oct. 21.

‘Of Mice and Men’ New York-based troupe The Acting Company presents the drama, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $15-$35, discounts available, 988-1234, ticketssantafe.org (see story, Page 48).

bOOkS/TalkS

Friends of the Wheelwright Museum book club Discussion of S.C. Gwynne’s Empire of the Summer Moon: Quanah Parker and the Rise and Fall of the Comanches, 1:30 p.m., Wheelwright Museum of the American Indian library, 704 Camino Lejo, Museum Hill, no charge, 474-3315.

John Sandford The author signs copies of his thriller Mad River, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

School for advanced research lecture The Politics of Life and Livelihood on the American Factory Farm, by Alex Blanchette, noon-1 p.m., SAR Boardroom, 660 Garcia St., no charge, 954-7203.

The Volunteers of the Spanish-american War: new Mexico and Its rough riders Paul Hutton speaks, noon-12:45 p.m., part of the monthly Brainpower & Brownbag Lecture series, Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5090. Bring your lunch.

Wild and cultivated Plants in native american cuisine Local chef/author Lois Ellen Frank speaks, 6:30 p.m., part of the Santa Fe Chapter of the Native Plant Society of New Mexico’s lecture series, Morgan Hall, New Mexico State Land Office, 310 Old Santa Fe Trail, no charge, 690-5105.

World War II and Santa Fe Part of New Mexico Museum of Art’s docentled gallery talks, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075.

70

October 12-18, 2012

eVenTS

Santa Fe Independent Film Festival opening day The fourth annual event screens films through Oct. 21 at various venues, all-festival passes $100, day passes $15-$40, individual screenings $10 (discounts available), ticketssantafe.org, 988-1234, visit santafeiff.com or call 349-1414 for schedules (see stories, Pages 36-41).

nIGhTlIFe

(See Page 65 for addresses) ¡chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover. cowgirl bbQ Pop-country vocalist Sarah Peacock, 8 p.m., no cover. el Farol Salsa Caliente, 9 p.m., no cover. la boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover.

The Palace restaurant & Saloon Bluegrass band Free Range Ramblers, 7:30-10:30 p.m., no cover.

Taberna la boca Jazz guitarist Pat Malone, 7-9 p.m., no cover.

The Underground at evangelo’s British punkers The Vibrators, with These Charming Cobras and DJ Zara, 9p.m., $5 cover.

Vanessie Pianist John Rangel and friends, 7-11 p.m., call for cover.

18 Thursday Gallery/MUSeUM OPenInGS

Santa Fe University of art & design Visual arts center 1600 St. Michael’s Drive, 473-6560. Hush, Honey, I have a Plan, paintings

by Cody Berry, reception 5-7 p.m., through Nov. 10.

In cOncerT

capleton & The Prophecy band Jamaican reggae, Kulcha Knox opens, 7 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $25, ticketssantafe.org, 988-1234.

anne lacy and anne Valley-Fox The writers discuss and sign copies of Stories From Hispano New Mexico and Lost Treasures & Old Mines, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. rebuilding new Orleans With Music Lecture by Nick Spitzer, 6:30 p.m., New Mexico History Museum auditorium, 113 Lincoln Ave., $10, presented by the School for Advanced Research, 954-7203.

eVenTS

2012 Mayor’s recognition awards for excellence in the arts Honoring Susan Contreras, Mary-Charlotte Domandi, Santa Fe Performing Arts, and Jerry West; in addition, Emmy Grimm will receive the Melissa Engestrom Youth Artist Award; dinner and ceremony 6:30-9:30 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $65 in advance, 955-6710 or santafeartscommission.org (see story, Page 28).

Santa Fe Independent Film Festival Continuing with the New Mexico premiere of the adaptation of Rudolfo Anaya’s book Bless Me, Ultima, 7 p.m., $15, Lensic Performing Arts Center, 211 W. San Francisco St., allfestival passes $100, day passes $15-$40, individual screenings $10 (discounts available), ticketssantafe.org, 988-1234, call 349-1414 or visit santafeiff.com for schedule through Oct. 21 (see stories, Pages 36-41).

nIGhTlIFe

(See Page 65 for addresses) ¡chispa! at el Mesón The Gruve, soul and blues duo Ron Crowder and Steve O’Neill, 7-9 p.m., no cover. cowgirl bbQ Americana band The Attitudes, 8 p.m., no cover. el Farol Rockabilly group Rob-A-Lou, 9 p.m., no cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la Posada de Santa Fe resort and Spa Pat Malone Jazz Trio, with Mark Tatum on bass, 7:30-10:30 p.m., no cover.

The Palace restaurant & Saloon Dance band Controlled Burn, 6:30-9:30 p.m., no cover.

The Starlight lounge The Jazzbians, Gayle Kenny on bass, Joseph Salack on piano, and special guest vocalists, 7-9 p.m., no cover.

Taberna la boca Nacha Mendez, pan-Latin Chanteuse, 6:30-9:30 p.m., no cover.

Tiny’s Broomdust Caravan, juke joint honky-tonk and biker bar rock, 8 p.m.-midnight, no cover.

▶ Elsewhere albuquErquE Museums/art Spaces

The anderson abruzzo albuquerque International balloon Museum 9201 Balloon Museum Dr. N.E., 505-768-6020.

Aerial Perspectives, silk batiks by Mary Edna Fraser • Federal Aéronautique Internationale Hall of Fame, portraits and artifacts on more than 40 inductees • International Symposium of Electronic Art ISEA2012 exhibits: Ulises 1, installation by Juan José Díaz and the Mexican Space Collective; Beluga, installation by Antony Nevin. Balloon Fiesta hours: 6 a.m.-6 p.m. through Oct. 14; regular hours Tuesday-Sunday 9 a.m.-5 p.m. $4; New Mexico residents $3; seniors $2; ages 4-12 $1. national hispanic cultural center 1701 Fourth St. S.W., 505-246-2261. Nuestros Maestros: The Legacy of Abad E. Lucero (19092009), paintings, sculpture, and furniture, through January 2013 • ¡Aquí Estamos!, items from the permanent collection. Open 10 a.m.-5 p.m.

Tuesday-Sunday; adults $3; seniors $2; under 16 no charge; Sundays no charge. new Mexico Museum of natural history & Science 1801 Mountain Rd. N.W., 505-841-2804. ISEA2012 Albuquerque: Machine Wilderness, international group show of prints, interactive installations, and sculpture, part of the International Symposium of Electronic Art, through Jan. 6 • Dinosaur Century: 100 Years of Discovery in New Mexico, showcases of new finds change monthly through 2012.

Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors 60 and over no charge on Wednesdays.

UnM art Museum Center for the Arts Building, 505-277-4001. Dancing in the Dark, Joan Snyder Prints 1963-2010, exhibit of prints spanning 47 years of moments in Snyder’s life, through Dec. 15 (see review, Page 34) • The Transformative Surface, film and digital works by faculty; through Dec.15. Open 10 a.m.-4 p.m.

Tuesday-Saturday; $5 suggested donation.

events/Performances

Sunday chatter Cellist James Holland performs Beethoven’s variations on The Magic Flute and violinist David Felbert performs Wieniawski’s Faust Fantasy followed by tenor Rodrick Dixon, 10:30 a.m. Sunday, Oct. 14, poetry reading

by Logan Phillips, Factory on 5th, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door.

los alamos

cuarteto alejandro Ziegler The quartet in Pasión de Tango, tango music and dance, 7:30 p.m., Thursday, Oct. 18, Los Alamos Little Theatre Performing Arts Center, 1670 Nectar St., $20 in advance, $22 at the door, discounts available, 662-5493.

dixon

doggie Styles Fundraiser for rescued dogs; silent auction 3-5 p.m. Saturday, Oct. 13, Vivác Winery, 2075 NM 68 at the Dixon turnoff, no charge; dog fashion show 5:30-7 p.m., Tool Shed Theatre, a half-mile down NM 75, $25, VIP tickets $50, visit dapsnm.org for a map and details.

el rito

studio tour

October Skies, by Jurgen Wilms

el rito

El Rito Studio Tour 10 a.m.-5 p.m. Saturday and Sunday, Oct. 1314; more than 50 artists at 21 locations offer contemporary and traditional works, 50 miles north of Santa Fe along U.S. 84/285, visit elritostudiotour.org for a map and artists’ websites.

madrid

Madrid/Cerrillos Studio Tour Self-guided tours 10 a.m.-5 p.m. Saturday and Sunday, Oct. 13-14; features jewelry, sculpture, paintings, and photographs by 29 artists; visit madridcerrillosstudiotour.com for a studio map and artists’ directory; for additional information call 470-1346.

taos Museums/Art Spaces

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m.

Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Bea Mandelman: Collage • Bea Mandelman: The Social Realist Prints; works by Beatrice Mandelman (1912-1998) • Suspension of Disbelief: The Fantasy Worlds of Stella Snead, Barbara Harmon, Frieda Lawrence, Gisella Loeffler, Ila McAfee, and Millicent Rogers • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art; all through Sunday, Oct. 14. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Cultural Threads: Nellie Dunton and the Colcha Revival in New Mexico, through Jan. 30. Open 10 a.m.5 p.m. Monday-Saturday, noon-5 p.m. Sunday.

Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Unknown Was a Woman, group show of pottery, baskets, and weavings, through December.

Open 10 a.m.-5 p.m. daily. $8, Taos County residents with ID no charge on Sunday.

Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Fifty miles of Northern New Mexico scenery north of Santa Fe takes you to the 26th annual El Rito Studio Tour where more than 50 artists offer a wide array of contemporary and traditional works from 10 a.m. to 5 p.m. Saturday and Sunday, Oct. 13-14. Cafés, the El Rito Library, and the Northern New Mexico College are included in the 21 stops in the small community located at the base of the Sangre de Christo foothills. A map and artists’ websites are availalbe online at elritostudiotour.org.

Events/Performances

Taos Chamber Music Group For the Young & Young at Heart, compositions written with children in mind, 7:30 p.m. Thursday, Oct. 18, Arthur Bell Auditorium, Harwood Museum of Art, 238 Ledoux St., $20, discounts available, taoschambermusicgroup.org, 575-758-9826, $22 at the door, discounts available.

▶ People who need people Volunteers

Street Homeless Animal Project Pick up collars once a week from various local pet supply stores for collar drives; staff information tables at community events, and help at fundraisers; call Karen Cain, 501-4933.

Artists/Craftspeople

Santa Fe Plaza Park Artist/Artisan Program The city is accepting applications from Santa Fe County residents for license terms valid from January 2013 through December 2017; handcrafted art only; pick up forms at City Hall, 200 Lincoln Ave., or download at santafenm.gov; hand deliver by 5 p.m. Wednesday, Oct. 31; call the office of Constituent Services, 955-6949.

Santa Fe Society of Artists Oct. 27 Jury Santa Fe County resident painters, photographers, and sculptors sought; for details and application forms visit santafesocietyofartists.com, 424-9414.

Actors/Performers/Filmmakers

Santa Fe Playhouse Submit 15-minute scripts for Benchwarmers 12; February 2013 performances; must be new or not yet produced; email playhouse@santafeplayhouse.org or call 988-4262 for submission packet and protocols; postscript deadline Monday, Oct. 29, or drop off at 142 E. De Vargas St.; for more information visit santafeplayhouse.org.

▶ Under 21 Into the Prime Hip-hop cultural event showcasing break-dancing and spray-painting competitions with cash prizes, live music, and children’s activities, doors open at 4 p.m. Saturday, Oct. 13, events run 5-10 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, donations appreciated, 204-1765 or 913-1607.

▶ short People Bee Hive Kids Books Story time for all ages with Papa Dave, 4 p.m. Thursday, Oct. 18, 328 Montezuma Ave., no charge, 780-8051. ◀

Feast of the fuzznuggets Autumn leaves and local indie albums seem to be dropping at an equally rapid pace in Santa Fe these days, and the most recent batch of music to hit the streets has been six degrees of hella sweet.

Although local art-rock trio Pitch & Bark announced the digital release of its three-track album Nowhere Near Ohio in August, it’s taken that long for me to soak it all in. I’m glad I did. It’s a compelling little nugget of fuzzed-out, angst-ridden rock with high production values, recorded at Uneven Studios in Denver. Vocalist Luke Carr has one of those matter-of-fact-toyelp-in-seconds singing voices cum Fugazi’s Ian MacKaye that says, “I love you, but I’m going to burn all your stuff anyway,” while bassist Peter Duggan keeps dirge-worthy time to the rising flames. Check it out at www.pitchandbark.bandcamp.com.

P&B is taking the album and a few new tunes to the stage to officially roll out its new band lineup. And they’re bringing some other bands along for the ride. At 8 p.m.

Saturday, Oct. 13, Pitch & Bark and Boston postpunkers Grass Is Green get wicked loud at High Mayhem Emerging Arts (2811 Siler Lane, www.highmayhem.org) for a fall concert that downtown Santa Fe only wishes it had mustered the wisdom and cojones to embrace. (Sorry folks, but within earshot of the Plaza — unless it’s at The Underground at Evangelo’s — things still sound like a Bain Capital recruitment mixer.)

P&B drummer Tommy Archuleta, also of These Charming Cobras, has left the band but not the local-music scene, and you can hear his percussion prowess in full force on Nowhere Near Ohio, which P&B plans to give away for free as a link to a digital download at the Oct. 13 show. Archuleta, one of the most intense poets I’ve ever heard, brings the same level of energy and focus to the skins. While he’ll be missed in the Pitch & Bark lineup, vocalist/guitarist Carr tells me that new recruit, drummer Will Dyar, “is a really killer drummer and has picked up on our wavelength pretty damn quickly.”

Dyar, a Pittsburgh expatriate who gained attention as part of art-rock ensemble Host Skull only after moving to Santa Fe (Dyar worked with his faraway band mate, David Bernabo, over the internet, sending him percussion files digitally), certainly has the intuitional chops to take up the reins. Check out his work in the official Ghost Skull video for “Totally Fatalist,” which is streaming on YouTube.

Boston’s Grass Is Green is in the middle of a coast-to-coast tour, spreading its infectious, punk-riddled tuneage like an rampant zombie virus. March saw the release of GIG’s latest full-length, Ronson, a 12-track cherry featuring the addictive two-minute body bouncer “Dance Punk Revival School for Kids.” Have a listen at www.grassisgreen.bandcamp.com.

In September, the boys from Bean Town unleashed their first vinyl effort, a 7” split with Maryland-based postpunk jazz heads Two Inch Astronaut. If you love the idea of Helmet and the Dead Milkmen morphing into a drooling rock beastie with serious instrumental game — the Grass Is Green, indeed.

Admission to the all-ages show is pay-what-you-can with a suggested minimum $5 donation. But remember: there’s a free Pitch & Bark EP in it for you. No tricks, just treats.

As it should be.

Midweek mosh I told you Tommy Archuleta was a great drummer, but figure that out for yourself at 9 p.m. Wednesday, Oct. 17, when his postpunk outfit These Charming Cobras gets down to business at The Underground at Evangelo’s (200 W. San Francisco St., 577-5983).

Headlining the night is legendary first-wave Brit punkers The Vibrators, a band that has been at it for more than 35 years. The Vibrators played at the renowned 100 Club Punk Special music showcase in London in 1976 alongside bands like Siouxsie and the Banshees, The Clash, The Damned, and the Sex Pistols.

DJ Zara is also on the lineup at The Underground, and there’s a $5 cover. And sorry teens, this is a 21-and-older show.

— Rob DeWalt rdewalt@sfnewmexican.com Twitter: @Flashpan @PasaTweet

A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.

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