Roundup: Pop Culture & the Arts ...
Movies, Documentaries and Museum Exhibits
This page features links to reviews of movies, documentaries and exhibits with a historical theme. Listings are in reverse chronological order. Descriptions are taken directly from the linked publication. If you have articles you think should be listed on the Pop Culture page, please send them to the editor editor@historynewsnetwork.org.
SOURCE: BBC (9-13-07)
A Noel Coward play which had been untouched for almost 90 years has been rediscovered by Welsh academics.
Two University of Glamorgan professors found the one-act play among archives in the British Library during research for a book they were writing.
The Better Half, was last performed in 1922 by the London-based Grand Guignol company, but never published.
The play is described as "a comedy of manners" which focuses on a husband and wife and her best friend.
Professor Mike Wilson, who found the play, explained: "The husband and wife are in an unhappy relationship and he is about to embark on an affair, but he is an honourable man and refuses to consummate it.
Two University of Glamorgan professors found the one-act play among archives in the British Library during research for a book they were writing.
The Better Half, was last performed in 1922 by the London-based Grand Guignol company, but never published.
The play is described as "a comedy of manners" which focuses on a husband and wife and her best friend.
Professor Mike Wilson, who found the play, explained: "The husband and wife are in an unhappy relationship and he is about to embark on an affair, but he is an honourable man and refuses to consummate it.
Friday, September 14, 2007 - 17:18
Comments
SOURCE: NYT (9-12-07)
... A few months ago the director of the Panhandle-Plains Historical Museum in Canyon, Tex., told me in passing how his museum was frequently overrun by visiting Germans, so the curious German obsession with the Wild West — which newly arrived Americans repeatedly discover to predictable eye-rolling from Germans, for whom it’s hardly news — was not exactly unknown to me. Still, the extent of it is a little astonishing.
At powwows — there are dozens every year — thousands of Germans with an American Indian fetish drink firewater, wear turquoise jewelry and run around Baden-Württemberg or Schleswig-Holstein dressed as Comanches and Apaches. There are clubs, magazines, trading cards, school curriculums, stupendously popular German-made Wild West films and outdoor theaters, including one high in the sandstone cliffs above the tiny medieval fortress town of Rathen, in Saxony, where cowboys fight Indians on horseback. A fake Wild West village, Eldorado, recently shot up on the...
At powwows — there are dozens every year — thousands of Germans with an American Indian fetish drink firewater, wear turquoise jewelry and run around Baden-Württemberg or Schleswig-Holstein dressed as Comanches and Apaches. There are clubs, magazines, trading cards, school curriculums, stupendously popular German-made Wild West films and outdoor theaters, including one high in the sandstone cliffs above the tiny medieval fortress town of Rathen, in Saxony, where cowboys fight Indians on horseback. A fake Wild West village, Eldorado, recently shot up on the...
Friday, September 14, 2007 - 10:00
SOURCE: AFP (9-12-07)
China's terracotta army is set to invade Britain on Thursday as some of the famous warriors go on show in London in a hotly-anticipated exhibition.
The British Museum is hosting "The First Emperor: China's Terracotta Army" until April 6 and advance ticket sales are already breaking box office records, according to The Times newspaper.
About a dozen warriors are set to go on show. Around 100,000 tickets have already been sold and the exhibition could outstrip the Treasures of Tutankhamun display in 1972, seen by 1.7 million people.
The terracotta warriors will be shown alongside more than 100 other objects, forming the most important exhibition relating to China's first emperor, Qin Shihuang (259-210 BC), ever seen outside his homeland.
The British Museum is hosting "The First Emperor: China's Terracotta Army" until April 6 and advance ticket sales are already breaking box office records, according to The Times newspaper.
About a dozen warriors are set to go on show. Around 100,000 tickets have already been sold and the exhibition could outstrip the Treasures of Tutankhamun display in 1972, seen by 1.7 million people.
The terracotta warriors will be shown alongside more than 100 other objects, forming the most important exhibition relating to China's first emperor, Qin Shihuang (259-210 BC), ever seen outside his homeland.
Thursday, September 13, 2007 - 11:41
SOURCE: Historian John Dower in the AHA's Perspectives (9-1-07)
In February 1945, a U.S. force of some 70,000 Marines invaded Iwo Jima, a tiny volcanic island 522 miles south of Tokyo defended by over 22,000 Japanese. American intelligence expected the island to fall in five days. Instead the battle lasted seven times as long—from February 19 until March 26—ending in 6,800 U.S. fatalities, close to 20,000 U.S. wounded, and the death of 20,700 defenders. Twenty-two Marines and five Navy personnel received Medals of Honor from this ferocious engagement.
For Japanese, the final year of World War II in Asia was a blur of wholesale death overseas and on the home front as well, with U.S. air raids eventually targeting 65 cities. The nation's leaders had started two wars they could not end—first in China in 1937, and then against the United States and European colonial powers ensconced in Asia in December 1941. From the emperor on down, they were caught in the coils of their disastrous wars of choice: trapped by rhetoric, paralyzed by a blood...
For Japanese, the final year of World War II in Asia was a blur of wholesale death overseas and on the home front as well, with U.S. air raids eventually targeting 65 cities. The nation's leaders had started two wars they could not end—first in China in 1937, and then against the United States and European colonial powers ensconced in Asia in December 1941. From the emperor on down, they were caught in the coils of their disastrous wars of choice: trapped by rhetoric, paralyzed by a blood...
Wednesday, September 12, 2007 - 00:51
SOURCE: Edward Rothstein in the NYT (9-11-07)
It isn’t memory that is the issue. It is commemoration. Memory, at least right now, is readily summoned. Commemoration is something else altogether.
The new exhibition at the New-York Historical Society, for example, is not a commemoration. “Here Is New York: Remembering 9/11,” which opens today, is exclusively about memory, which doesn’t diminish its power. In two galleries 1,500 inkjet-printed photos taken six years ago during those apocalyptic days are mounted with simple stationery clips. They are reminders of hidden pressure points and buried sensations.
These images will jump-start the memories of any New Yorker who smelled the white dust, saw the drifting burned scraps of paper, who ran through the streets or watched in shock, who lost loved ones or still bears searing physical or mental scars....
The new exhibition at the New-York Historical Society, for example, is not a commemoration. “Here Is New York: Remembering 9/11,” which opens today, is exclusively about memory, which doesn’t diminish its power. In two galleries 1,500 inkjet-printed photos taken six years ago during those apocalyptic days are mounted with simple stationery clips. They are reminders of hidden pressure points and buried sensations.
These images will jump-start the memories of any New Yorker who smelled the white dust, saw the drifting burned scraps of paper, who ran through the streets or watched in shock, who lost loved ones or still bears searing physical or mental scars....
Tuesday, September 11, 2007 - 22:39
SOURCE: NYT (9-11-07)
Sixty years after a Congressional panel grilled 10 uncooperative writers, directors and producers about their supposed Communist connections, Hollywood still quarrels over the heroes and villains of its Red Scare.
The propriety of giving Elia Kazan — one who “named names” — an honorary Oscar in 1999 remains a contentious subject. And only five years ago Stanley Kramer’s widow bitterly battled the makers of a television documentary that depicted her late husband using the blacklist to deny his former partner Carl Foreman a producer’s credit on “High Noon.”
But on Monday night in Toronto, one of the era’s acknowledged heroes, the jailed and blacklisted Dalton Trumbo, was expected to deliver some posthumous words that might finally put to rest the hunt for good guys and bad.
The admonition occurs in the first few minutes of “Trumbo,” a documentary directed by Peter Askin and written by Trumbo’s son, Christopher Trumbo. The film is making its debut as...
The propriety of giving Elia Kazan — one who “named names” — an honorary Oscar in 1999 remains a contentious subject. And only five years ago Stanley Kramer’s widow bitterly battled the makers of a television documentary that depicted her late husband using the blacklist to deny his former partner Carl Foreman a producer’s credit on “High Noon.”
But on Monday night in Toronto, one of the era’s acknowledged heroes, the jailed and blacklisted Dalton Trumbo, was expected to deliver some posthumous words that might finally put to rest the hunt for good guys and bad.
The admonition occurs in the first few minutes of “Trumbo,” a documentary directed by Peter Askin and written by Trumbo’s son, Christopher Trumbo. The film is making its debut as...
Tuesday, September 11, 2007 - 22:37
SOURCE: Gary Leupp in Counterpunch (9-11-07)
[Gary Leupp is Professor of History at Tufts University, and Adjunct Professor of Comparative Religion. He is the author of Servants, Shophands and Laborers in in the Cities of Tokugawa Japan; Male Colors: The Construction of Homosexuality in Tokugawa Japan; and Interracial Intimacy in Japan: Western Men and Japanese Women, 1543-1900. He is also a contributor to CounterPunch's chronicle of the wars on Iraq, Afghanistan and Yugoslavia, Imperial Crusades.He can be reached at: gleupp@granite.tufts.edu.]
I have in my CD collection a recording of a performance of Puccini’s La Bohème staged in the northern Italian city of Reggio Emilia on April 29, 1961. The mono album which I acquired secondhand preserves for history a mixed, generally unremarkable presentation of the opera. But it also preserves the voice of Luciano Pavarotti at the age of 25, making his debut as Rodolfo. Once an aspiring professional soccer player, he had worked...
I have in my CD collection a recording of a performance of Puccini’s La Bohème staged in the northern Italian city of Reggio Emilia on April 29, 1961. The mono album which I acquired secondhand preserves for history a mixed, generally unremarkable presentation of the opera. But it also preserves the voice of Luciano Pavarotti at the age of 25, making his debut as Rodolfo. Once an aspiring professional soccer player, he had worked...
Tuesday, September 11, 2007 - 21:59
SOURCE: NYT (9-9-07)
ON the kind of humid summer day that sends visitors to Washington running for cool cover, not even free air-conditioning could lure more than a trickle of tourists into the art museums lining the National Mall.
But 35 miles south at the National Museum of the Marine Corps near Quantico, Va., visitors in a virtual boot camp tested their mettle against drill instructors and their marksmanship on an M-16 laser-rifle range.
Up the Potomac at Mount Vernon, crowds spilled onto a four-acre replica of George Washington’s working farm, while inside the Revolutionary War Theater the rumble of cannons and the cold prick of snow falling overhead lent verisimilitude to the re-enactment of his troops crossing the Delaware River.
And at the International Spy Museum in downtown Washington, visitors with $16 advance tickets snaked out the door as they waited their turn to practice fantasy espionage, complete with assumed identities, pen cameras, shoe phones and the...
But 35 miles south at the National Museum of the Marine Corps near Quantico, Va., visitors in a virtual boot camp tested their mettle against drill instructors and their marksmanship on an M-16 laser-rifle range.
Up the Potomac at Mount Vernon, crowds spilled onto a four-acre replica of George Washington’s working farm, while inside the Revolutionary War Theater the rumble of cannons and the cold prick of snow falling overhead lent verisimilitude to the re-enactment of his troops crossing the Delaware River.
And at the International Spy Museum in downtown Washington, visitors with $16 advance tickets snaked out the door as they waited their turn to practice fantasy espionage, complete with assumed identities, pen cameras, shoe phones and the...
Sunday, September 9, 2007 - 14:16
SOURCE: A.O.Scott in the NYT (9-7-07)
“The Unknown Soldier,” a new documentary by Michael Verhoeven, takes on one of the comforting myths of postwar Germany: the idea that ordinary German soldiers were for the most part unaware of and uninvolved in the worst crimes of the Nazi regime.
In a version of history held by many Germans, the SS and other specialized organizations conceived and carried out policies of extermination against civilians, while the Wehrmacht rank and file went about the usual business of fighting the enemy. It was thus possible, after the war, to commemorate the service of fathers and grandfathers, and even to treat them with a measure of sentimental reverence, without condoning the atrocities of the Third Reich.
An exhibit that opened in Munich in 1997 explicitly challenged this view of history, and the controversy it provoked is the subject of Mr. Verhoeven’s film. Though his sympathies are clearly with the historians and curators who presented the German public with...
In a version of history held by many Germans, the SS and other specialized organizations conceived and carried out policies of extermination against civilians, while the Wehrmacht rank and file went about the usual business of fighting the enemy. It was thus possible, after the war, to commemorate the service of fathers and grandfathers, and even to treat them with a measure of sentimental reverence, without condoning the atrocities of the Third Reich.
An exhibit that opened in Munich in 1997 explicitly challenged this view of history, and the controversy it provoked is the subject of Mr. Verhoeven’s film. Though his sympathies are clearly with the historians and curators who presented the German public with...
Friday, September 7, 2007 - 20:55
SOURCE: Reuters (9-7-07)
Oscar-winning director Oliver Stone said he wanted his film portrayal of the 1968 My Lai massacre by U.S. soldiers in Vietnam to serve as a reminder of war atrocities, newspapers reported on Friday.
Stone has been visiting central Vietnam since Wednesday and went to the site of the killing of 500 civilians, mostly women and children, on March 16, 1968, the worst recorded U.S. war crime committed in Vietnam.
Two dailies, Thanh Nien (Young People) and Tuoi Tre (Youth), quoted the director as referring to the U.S. war in Iraq when he talked to survivors of My Lai on Thursday. Americans serving in Iraq have been accused of torturing prisoners in Abu Ghraib prison and of the November 2005 killing of civilians in Haditha.
"Iraq is a terrible nightmare but we have to be reminded of what happened in My Lai, otherwise we would repeat our mistake," Stone told Thanh Nien in My Lai, a hamlet in Son My village in central Quang Ngai province.
...
Stone has been visiting central Vietnam since Wednesday and went to the site of the killing of 500 civilians, mostly women and children, on March 16, 1968, the worst recorded U.S. war crime committed in Vietnam.
Two dailies, Thanh Nien (Young People) and Tuoi Tre (Youth), quoted the director as referring to the U.S. war in Iraq when he talked to survivors of My Lai on Thursday. Americans serving in Iraq have been accused of torturing prisoners in Abu Ghraib prison and of the November 2005 killing of civilians in Haditha.
"Iraq is a terrible nightmare but we have to be reminded of what happened in My Lai, otherwise we would repeat our mistake," Stone told Thanh Nien in My Lai, a hamlet in Son My village in central Quang Ngai province.
...
Friday, September 7, 2007 - 17:46
SOURCE: Telegraph (UK) (9-7-07)
The Night Watch by Rembrandt has perplexed scholars for centuries with its array of hidden clues and coded messages. Peter Greenaway uses his new film, Nightwatching, to claim that the artist used the painting to expose a murderous conspiracy amongst Amsterdam's ruling classes.
Completed in 1642, The Night Watch was commissioned by local militiamen who wished to be immortalised on canvas. Rembrandt was then one of Europe's most celebrated artists.
According to Greenaway's film, the artist discovered that the militia captain had been murdered and his colleagues made his death look like a training ground accident.
The Night Watch contains this hidden message and also mocks the militiamen, insinuating that one is gay and another is a womaniser, Greenaway believes.
Completed in 1642, The Night Watch was commissioned by local militiamen who wished to be immortalised on canvas. Rembrandt was then one of Europe's most celebrated artists.
According to Greenaway's film, the artist discovered that the militia captain had been murdered and his colleagues made his death look like a training ground accident.
The Night Watch contains this hidden message and also mocks the militiamen, insinuating that one is gay and another is a womaniser, Greenaway believes.
Friday, September 7, 2007 - 17:45
SOURCE: NYT (9-5-07)
One from the heart, “Salvador Allende” is the Chilean filmmaker Patricio Guzmán’s plaintive look back at the rise and violent fall of the world’s first democratically elected Marxist president. Mr. Guzmán, who went into exile after the Sept. 11, 1973, coup that led to Allende’s death, has returned to the country of his birth with a camera in hand and a storehouse of passionate memories. Alas, little of that passion informs the filmmaking in this documentary dirge, a memento mori about “the other Sept. 11” that’s drenched in revolutionary tears but lacking much in the way of historical and political insight.
In the movie’s eloquent opener Mr. Guzmán speaks in voice-over while he rifles through a battered wallet. This, he explains, is almost all that remains of Allende. In the scenes that follow, the documentarian restlessly circles back to Allende, envisioning him as a structuring absence that hovers over the country like a ghost, shaping even its troubling silence about...
In the movie’s eloquent opener Mr. Guzmán speaks in voice-over while he rifles through a battered wallet. This, he explains, is almost all that remains of Allende. In the scenes that follow, the documentarian restlessly circles back to Allende, envisioning him as a structuring absence that hovers over the country like a ghost, shaping even its troubling silence about...
Thursday, September 6, 2007 - 18:19
SOURCE: NYT (9-5-07)
A rust-red I-beam from the World Trade Center. A battered landing gear. A melted ribbon of aluminum skin from the twin towers.
Hour by hour, working through the night in his studio in Greenpoint, Brooklyn, to forge elegant black steel mounts for these and other tortured artifacts from Sept. 11, 2001, the sculptor Richard Webber started “communing with them,” he recalled. In their presence, “you could almost hear what happened that day.”
Ultimately, he fashioned seemingly delicate mounts that supported these impossibly heavy objects of disaster for a forthcoming exhibition at the New-York Historical Society, “Here Is New York: Remembering 9/11.” It will be the city’s first major trade center retrospective, and opens next Tuesday, the sixth anniversary, and continues through Jan. 1.
The show includes more than 1,500 photographs documenting the tragedy and its aftermath, as well as 10 carefully chosen artifacts touched by history that exemplify the...
Hour by hour, working through the night in his studio in Greenpoint, Brooklyn, to forge elegant black steel mounts for these and other tortured artifacts from Sept. 11, 2001, the sculptor Richard Webber started “communing with them,” he recalled. In their presence, “you could almost hear what happened that day.”
Ultimately, he fashioned seemingly delicate mounts that supported these impossibly heavy objects of disaster for a forthcoming exhibition at the New-York Historical Society, “Here Is New York: Remembering 9/11.” It will be the city’s first major trade center retrospective, and opens next Tuesday, the sixth anniversary, and continues through Jan. 1.
The show includes more than 1,500 photographs documenting the tragedy and its aftermath, as well as 10 carefully chosen artifacts touched by history that exemplify the...
Thursday, September 6, 2007 - 18:10
SOURCE: NYT (9-5-07)
It was one of Israel’s dirty little secrets. In the early 1960s, as Israelis were being exposed for the first time to the shocking testimonies of Holocaust survivors at the trial of Adolf Eichmann, a series of pornographic pocket books called Stalags, based on Nazi themes, became best sellers throughout the land.
Read under the table by a generation of pubescent Israelis, often the children of survivors, the Stalags were named for the World War II prisoner-of-war camps in which they were set. The books told perverse tales of captured American or British pilots being abused by sadistic female SS officers outfitted with whips and boots. The plot usually ended with the male protagonists taking revenge, by raping and killing their tormentors.
After decades in dusty back rooms and closets, the Stalags, a peculiar Hebrew concoction of Nazism, sex and violence, are re-emerging in the public eye. And with them comes a rekindled debate on the cultural representation...
Read under the table by a generation of pubescent Israelis, often the children of survivors, the Stalags were named for the World War II prisoner-of-war camps in which they were set. The books told perverse tales of captured American or British pilots being abused by sadistic female SS officers outfitted with whips and boots. The plot usually ended with the male protagonists taking revenge, by raping and killing their tormentors.
After decades in dusty back rooms and closets, the Stalags, a peculiar Hebrew concoction of Nazism, sex and violence, are re-emerging in the public eye. And with them comes a rekindled debate on the cultural representation...
Thursday, September 6, 2007 - 15:00
SOURCE: Anne Applebaum in Slate (9-3-07)
"She was the people's princess. And that's how she will … remain." I
marked the 10th anniversary of the death of the princess of Wales by
watching Tony Blair's sob-choked 1997 tribute to Lady Diana on YouTube.
Like some 89 percent of Britons, I can, of course, remember where I was
when the BBC announced her death in a car crash in Paris, where I was when
I saw Blair's tribute the first time around, and where I was when Elton
John sang"Goodbye England's Rose" at her funeral in Westminster Abbey.
Though outside the country for the first two events, I flew back to London
(where I then lived) in time for the third and arrived in a country where
everyone had apparently gone insane.
Famously, there were mountains of flowers everywhere, not only in front of Kensington Palace and Buckingham Palace but in front of the various gyms and restaurants Diana was so often photographed entering and leaving. Something like hysteria reigned in newsrooms too. An editor of my acquaintance told me...
Wednesday, September 5, 2007 - 22:23
SOURCE: NYT (9-4-07)
They are old men now. That much is obvious from the tight camera shots. Nonetheless, it is hard to fathom: has it been 38 years since the first of them set foot on lunar soil?
“In the Shadow of the Moon,” a documentary that premieres this week in New York and Los Angeles, tells the story of the Apollo program and the race to reach the moon, as President John F. Kennedy declared in 1962, “before this decade is out.” And so, on July 20, 1969, we did.
Note the “we.” It is from one of the most powerful, lump-in-the-throat moments of this exceptional film. Michael Collins, who orbited the moon during the Apollo 11 mission while Neil A. Armstrong and Edwin E. Aldrin Jr. took their lunar module down to the surface, said that after the flight, on the around-the-world tour that NASA sent them on, “Wherever we went, people, instead of saying, ‘Well, you Americans did it!’ — everywhere, they said, ‘We did it! We, humankind, we, the human race, we, people, did it!’ ”...
“In the Shadow of the Moon,” a documentary that premieres this week in New York and Los Angeles, tells the story of the Apollo program and the race to reach the moon, as President John F. Kennedy declared in 1962, “before this decade is out.” And so, on July 20, 1969, we did.
Note the “we.” It is from one of the most powerful, lump-in-the-throat moments of this exceptional film. Michael Collins, who orbited the moon during the Apollo 11 mission while Neil A. Armstrong and Edwin E. Aldrin Jr. took their lunar module down to the surface, said that after the flight, on the around-the-world tour that NASA sent them on, “Wherever we went, people, instead of saying, ‘Well, you Americans did it!’ — everywhere, they said, ‘We did it! We, humankind, we, the human race, we, people, did it!’ ”...
Wednesday, September 5, 2007 - 16:28
SOURCE: Discovery Channel News (9-4-07)
Leonardo da Vinci did not mix colors on a palette, but
directly on the canvas he was painting, Italian researchers have found.
The discovery occurred when one of the Renaissance master's artworks was bombarded with a narrow beam of high-energy ions.
Presented at Ecaart 2007, an international conference running in Florence, Italy, until September 7, the study decodes for the first time Leonardo's painting technique.
Researchers at the Nuclear Techniques Laboratory for Cultural Heritage in Florence used a nuclear accelerator device that launches particles at high speed to determine the composition of the oil-on-wood painting Madonna of the Yarnwinder, completed in 1501.
"This non-destructive technology not only made it possible to identify pigments in the various paint layers, but also allowed us to decipher how Leonardo created his works. It was as if we were watching him while he painted," Cecilia Frosinini, an art historian at the Opificio delle Pietre Dure...
Tuesday, September 4, 2007 - 15:43
SOURCE: PRWeb (9-4-07)
September 11 marks the 130th
anniversary of the Battle of Brandywine, the largest battle of the
Revolutionary War when General George Washington had more troops under his
command than he ever would have again. Among them may have been Molly
Pitcher, America's most famous military woman, says Professor Linda Grant De
Pauw, author of In Search of Molly Pitcher
(http://www.lulu.com/content/948354), a mystery story combined with an
historical research guide for middle schoolers, which will be published in
October.
"Mary Hays McCauley, who is usually considered the real Molly Pitcher, is identified with the Battle of Monmouth, fought in June 1778," says De Pauw."But there is no contemporary evidence to confirm that. Her obituary notices do not mention any military service beyond support for her soldier husband, and the pension she received from the Pennsylvania legislature mentions 'services rendered during the Revolution,' but doesn't specify what those were. There is,...
Tuesday, September 4, 2007 - 15:40
SOURCE: NYT (9-2-07)
IN the fall of 2002 the composer Richard Danielpour was in residence at the American Academy in Berlin, orchestrating the first act of his first opera, “Margaret Garner” but still awaiting the words for the final scenes. For weeks, in calls to Princeton, N.J., he had been hounding his librettist, the Nobel Prize-winning novelist Toni Morrison, who would answer quietly: “Good things take time. You have to wait.”
Finally, in late October, the fax machine began disgorging pages. Mr. Danielpour scooped them up, drove to the palatial Hotel Adlon Kempinski, ordered lunch, began reading and soon found himself in tears. As he told the story the other day in Manhattan, where “Margaret Garner” was in rehearsal for its local premiere, at the New York City Opera on Sept. 11, a waiter noticed that Mr. Danielpour had stopped eating. “Excuse me, sir,” the waiter said, “is anything wrong with your risotto?”
In her time Margaret Garner was a cause célèbre. In 1867, within a...
Finally, in late October, the fax machine began disgorging pages. Mr. Danielpour scooped them up, drove to the palatial Hotel Adlon Kempinski, ordered lunch, began reading and soon found himself in tears. As he told the story the other day in Manhattan, where “Margaret Garner” was in rehearsal for its local premiere, at the New York City Opera on Sept. 11, a waiter noticed that Mr. Danielpour had stopped eating. “Excuse me, sir,” the waiter said, “is anything wrong with your risotto?”
In her time Margaret Garner was a cause célèbre. In 1867, within a...
Sunday, September 2, 2007 - 19:49
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