Spring ARts 2013

ART by Dan Duray, Andrew Russeth

and Sarah Douglas

BOOKS by Michael H. Miller

MUSIC by Carl Gaines

FILM by Drew Grant

THEATER by Jesse Oxfeld and Harry Haun

“PUNK:

CHAOS TO

COUTURE AT

THE MET”

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Directed by Daniel SullivanBy Lyle Kessler

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Alec Baldwin: Photo by Mary Ellen Matthews Ben Foster: Photo by Jerry Avenaim/Creative 24 Tom Sturridge: Photo by Julian Broad/Contour by Getty Images

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10ART 4Dan Duray on Llyn Foulkes, a Los Angeles artist making his overdue New York museum debut.

BOOKS 11Michael H. Miller on Rachel Kushner’s new novel, which revisits Soho in the ’70s.

THEATER 19Harry Haun on Breakfast at Ti� any’s on Broadway, and a brand new Holly Golightly.

ON THE COVER

Publisher JARED KUSHNER

CEOJOSEPH MEYER

President MICHAEL ALBANESE

EDITORKEN KURSON

CULTURE EDITOR SARAH DOUGLAS

PRODUCTION AND CREATIVE

DIRECTOR ED JOHNSON

ART DIRECTOR LAUREN DRAPER

CONTRIBUTORS DAN DURAY

CARL GAINESDREW GRANTHARRY HAUN

MICHAEL H. MILLERJESSE OXFELD

ANDREW RUSSETH

PHOTO EDITOR PETER LETTRE

ADVERTISING PRODUCTION

LISA MEDCHILL

PUBLISHERSPENCER SHARP

THE NEW YORK OBSERVER321 WEST 44TH STREET, NEW YORK, NY 10036

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A CHRONICLE OF THE ART WORLD IN NEW YORK AND BEYOND

GALLERIST ny

Karl Lagerfeld for House of Chanel, Vogue, March 2011.

Courtesy the Metropolitan Museum of Art

Photograph by David Sims

If you think our snazzy cover image—a Karl Lagerfeld-designed outfit for Chanel—is about a fashion show, you’re right, but it’s no runway show. In May, the Metropolitan Museum of Art opens what promises to be the most talked-about exhibition of the season, “PUNK: Chaos to Couture,” devoted to the styles associ-ated with the punk movement. The Costume Institute’s annual show is one of the Met’s glitziest (the gala attracts the likes of Anna Wintour and Jessica Chastain)

and best-attended (remember the lines for McQueen?). Contem-porary art, like fashion, has a mind-boggling amount of hype be-hind it these days—and that’s not necessarily a bad thing. Also in May, the Frieze Art Fair will gather over 100 international gal-leries under a big top on Randall’s Island, bringing the art world out in droves. But we urge you to, from time to time, turn away from the glitz and glamour this season, especially when you’re at the Met. Running concurrently with “PUNK” is “Photogra-phy and the American Civil War” (April 2–September 2), an ex-hibition that will show you the real story behind movies of the era, like the recent Lincoln and Django Unchained. Photography

was young in the mid-19th century, and journalists were eager to document one of the bloodiest episodes in American history, one that resulted in over 700,000 deaths. To honor the 150th year of the Battle of Gettysburg, the Met has mined its collection for a number of important photographs from the period, ranging from wrenching corpse-strewn post-battle landscapes to medical studies of survivors to portraits of both Lincoln and John Wilkes Booth. You just might find yourself experiencing the shock of the old.

—Sarah Douglas (For more on visual art, visit GalleristNY.com)

ART by Dan Duray,

Andrew Russeth

and Sarah Douglas

BOOKS by

Michael H. Miller

MUSIC

by Carl Gaines

FILM by

Drew Grant

THEATER

by Jesse Oxfeld

and Harry Haun

“PUNK:

CHAOS TO

COUTURE AT

THE MET”

march 18, 2013

Museum Shows by Sarah Douglas 8Gallery Shows by Andrew Russeth 9Books by Michael H. Miller 12Films by Drew Grant 14Theater by Jesse Oxfeld 22Classical Music & Opera by Carl Gaines 24

The Lost Frontier (1997-2005) by Llyn Foulkes. 101010TOP1010TOP10TOP

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Claude Monet, Luncheon on the Grass (left panel; detail), 1865–66, oil on canvas, Musée d’Orsay, Paris, Gift of Georges Wildenstein, 1957.

IMPRESSIONISM, FASHION, AND MODERNITY

metmuseum.orgThrough May 27

The exhibition is made possible in part by The Philip and Janice Levin Foundation, the Janice H. Levin Fund, and the William Randolph Hearst Foundation.

Additional support is provided by Renée Belfer.The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

The exhibition was organized by The Metropolitan Museum of Art, New York, the Art Institute of Chicago, and the Musée d’Orsay, Paris.

“Dazzling”—New York Times

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AT DOCUMENTA 13 LAST SUMMER, the rotunda of the Museum Fridericianum in Kassel, Germany, served as the nexus for the town-sized show, a tightly curated “brain” that featured Giorgio Morandi still lifes hung near actual bottles from Mr. Morandi’s stu-dio and Man Ray’s Object to be Destroyed, a metronome embellished with a photograph of Lee Miller’s eye. Lodged somewhere in the Documenta skull, then, was new work from Los Angeles-based artist Llyn Foul-kes, whose art showed in a dark upper hall in the Fridericianum. His retrospective at L.A.’s the Hammer Museum comes to New York’s New Museum on June 12.

At Documenta there was The Awaken-ing (1994–2012), a tableau of a naked, elder-ly couple who look like figures from Munch, in a lonely bedroom that could have been painted by Hopper. Nearby The Lost Fron-

tier (1997-2005) showed a Los Angeles that looked like a garbage dump, patrolled by a guard with a Mickey Mouse head. Though they look like paintings, both were sculptur-al in nature, mixed-media pieces that project

some 8 inches from the wall, which is part of why they take so long to produce. They were lit in a way that produced actual, deep shad-ows within the works.

The Machine, a drum set-like assemblage of cymbals, horns and cowbells, sat between those two works, and for the first three weeks of Documenta Mr. Foulkes, 78, would play it several times a day. A base string near his foot lent a jazzy feel to the songs he’d written, like “A Smoggy Day in Old L.A.,” which is old-school and talky, in the mode of Tom Waits. There is one about Mickey Mouse that in-cludes the verse, “He’s not even a real mouse / he’s that rat that lives in your house.”

“Maybe it’s just the times now,” Mr. Foul-kes said of his newfound popularity in a phone interview from Los Angeles. It’s cer-

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American Drawingsfrom the Brooklyn MuseumDrawings and sketchbooks from artists including Thomas Eakins, Georgia O’Keeffe, and Winslow Homer.

FINE

Generous support for this exhibition was provided by Leonard and Ellen Milberg. Additional funding was provided by the Robert E. Blum Fund.

J. Carroll Beckwith (American, 1852–1917). Portrait of Minnie Clark (detail), circa 1890s. Charcoal and pastel on blue fibered laid paper. 22 3/8 x 18 1/4 in. (56.8 x 46.4 cm). Brooklyn Museum, Gift of J. Carroll Beckwith, 17.127.

718-638-5000 www.brooklynmuseum.orgExpanded hours – open until 10pm every Thursday

LINESOn view through May 26

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Llyn Foulkes is bringing his Los Angeles style to New YorkBy Dan Duray

Llyn Foulkes.

4 MARCH 18, 2013

S P R I N G A R T S P R E V I E W | Art

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András Schiff, pianoTHE BACH PROJECT

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András Schiff, whose interpretations of Bach earned him a spot on the New York Times’s list of the best classical music recordings of 2012, continues his exploration of these enduring, lyrical compositions.

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Untitled-73 1 3/4/13 4:29:15 PM

6 MARCH 18, 2013

tainly nothing he’s sought. “My work is very much about myself and how I feel about things. There’s a lot of narrative in it, and I think a lot of young people have been discov-ering what I was doing way back and they saw they had to catch up with me.”

Mr. Foulkes’ work was included in Paul Schimmel’s famous 1992 exhibition “Hel-ter Skelter” at the Los Angeles Museum of Contemporary Art, but it has only just now begun to receive widespread attention fol-lowing his appearance at Documenta and the 2011 Venice Biennale. His body of work is eclectic—part of the reason he’s been off-ra-dar—and it doesn’t come quickly. He shuns studio assistants. “I have a feeling that a lot of people use so many assistants that it takes away the whole process,” he said, “so you don’t ever discover new things.”

The New Museum show will be pared to 100 works from the 140 at the Hammer, but every aspect of Mr. Foulkes’s work will be represented, from his early drawings and eerie postcard paintings to his rock paint-ings, his bloody head series and his work with Mickey Mouse.

Ali Subotnick, who curated the Hammer show, said she’d wanted to do a show of Mr. Foulkes’s work since 2007, when she visited his studio to see if she wanted to include him in an upcoming group show at the museum. She ended up staying for four hours, and was part of the reason Mr. Foulkes appeared in the two international shows. When Carolyn Christov-Bakargiev of Documenta and Bice Curiger of the Venice Biennale came to town and asked for recommendations, she sent

them straight to Mr. Foulkes’ studio.Ms. Subotnick was particularly drawn to

the way “he wears his heart on his sleeve,” she said. “I think most people are used to art that’s cool, high-concept and distant. For him it’s totally about his perspective.”

LLYN FOULKES EMERGED from the Army in 1956, not terribly eager to listen to anyone else’s ideas or join any artistic cliques. He studied at the University of Washington and then the Chouinard Art Institute in Los An-geles, but dropped out. For money, he drove

taxis and worked in a Thomas Kinkade-like picture factory. He wasn’t the type to hang around after openings.

“I’ve just never been interested in hanging out with artists,” he said. “Like the whole thing where they go the cafe and they all start talking about art, I never had any desire to do that.”

He liked Rauschenberg and Johns, though, and wanted to make their collages in a way that was relevant to Los Angeles, so he began making portraits of rock piles, in-spired by Chatsworth, where they shot the old cowboy movies.

The rocks became popular with collec-tors, but, for Mr. Foulkes, they started to feel hollow, so he moved on to portraits of people with bloody holes in their heads. Anything might creep out of the holes: memories, in the form of window shutters or a letter, money. In 1976, the New York Times praised this series’ “ghoulish wit.” “The frame may even portend an act of aggression against us,” John Russell wrote of a self-portrait, in which Mr. Foulkes appears to be creeping off the wall.

His Disney obsession began after his former father-in-law, who worked at Dis-ney, gave him an internal company pam-phlet from 1934 describing how the Mickey Mouse Club indoctrinates its members. Mickey started showing up in Mr. Foul-kes’s paintings, freshly killed, or torment-ing him. Mr. Foulkes isn’t anti-Hollywood (he says his hero is Charlie Chaplin, and Brad Pitt owns The Awakening), but he still feels the same way about Disney, thinks it actively seeks to reshape the brains of America’s children to devious ends with shows like Hannah Montana. “My God,”

he said, “if you look at the Disney Channel now, they’re teaching children to be rock stars.”

After curating this show, Ms. Subotnick said seriously, “I’ll never see Disney the same way again.”

Mr. Foulkes has played music throughout his career, sometimes writing lyrics on the back of his works. In the 1960s he played in a band called City Lights that would hit the same places as the Doors, like Whiskey A-Go-Go. Back then, he noticed that music was growing ever louder. He thinks that trend may be on the wane, though, and was heart-ened by Justin Timberlake’s relatively sub-dued performance at the 2013 Grammys. (That Mr. Timberlake is a former Mouseke-teer may have escaped his notice.)

IF PART OF THE REASON HE’S GAINED attention is because his work borders on installation and performance, two genres currently valued by younger artists and cu-rators, he said he hopes they’ll glean from his New Museum show the idea that paint-ing isn’t dead. He also hopes to show them that you can have success without playing the game.

He was ambivalent about coming to New York. “My feeling has always been that New York is about New York,” he said. If you’re not New York, not here all the time and a part of the scene, you have no hope of earning re-views or attention. And he could never be anything but Los Angeles.

If the museum can raise the money, The Machine may join him out East, though, and that seemed to spark something in him. “If I do play out there,” he said, “I’ll play ‘Give My Regards to Broadway.’”

ONE MAN BAND from page 4

‘I’ve just never been interested in hanging out

with artists. Like the whole thing where they go the cafe

and they all start talking about art, I never had any

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The Awakening (1994-2005) by Llyn Foulkes.

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8 MARCH 18, 2013

10TOP TEN MUSEUM SHOWS

What we’re most looking forward to in museums By Sarah Douglas

Nighthawks (1942) by Edward Hopper.

‘THE IMPRESSIONIST LINE FROM DEGAS TO TOULOUSE-LAUTREC’THE FRICK COLLECTIONMarch 12-June 16The Frick saves museumgoers a trek to the Clark Art Institute in Williamstown, Massachusetts, to see its magnificent holdings of works on paper by bringing 58 of them into its own galleries for an exhibition that highlights the aesthetic innovations of the sec-ond half of the 19th century, from Degas’s masterful figure studies to Toulouse-Lautrec’s rowdy cab-aret dancers, with showstoppers like Millet’s Sower and Pissarro’s Paris street scenes in between.

‘JOHN SINGER SARGENT WATERCOLORS’BROOKLYN MUSEUMApril 5-July 28The Brooklyn Museum joins forces with the Museum of Fine Arts, Boston, for this exhibition of nearly 100 water-colors. Part of the ap-peal of these pictures is their immediacy: follow Sargent on his travels from Venice to Corfu to Lucca to Car-rara. For those who can’t go without the artist’s gorgeous oil paintings, never fear, nine of them will be on view, including Brook-lyn’s An Out-of-Doors Study, or Paul Helleu Sketching With His Wife (1889), and Boston’s The Master and His Pupils (1914).

‘CLAES OLDENBURG: THE STREET AND THE STORE’‘CLAES OLDENBURG: MOUSE MUSEUM/RAY GUN WING’THE MUSEUM OF MODERN ART

April 14–August 5Claes Oldenburg may be known for monumental public sculp-tures, but it’s tough to walk down East Second Street in New York and not think of The Store. In 1961, he rented a storefront and displayed in it rough-hewn

sculptures mimicking things like dresses, cakes and cigarettes. A few years earlier, he’d made his sculptural piece The Street. MoMA is recreating and show-ing elements of these works in its sixth-floor galleries, and filling its atrium with two other clas-sic Oldenburgs: the Mouse Mu-seum (readymades he displayed in his 14th Street apartment) and its Ray Gun Wing (exactly what it sounds like).

‘PUNK: CHAOS TO COUTURE’THE METROPOLITAN MUSEUM OF ART

May 9–August 14Fans of safety pins, leather and ripped T-shirts, rejoice! The Met’s annual Costume Institute presen-tation—in recent years, among its most well-attended exhibitions (see: Alexander McQueen)—is devoted to the sartorial influ-ence of punk rock, starting with

the raucous 1970s. There will be mul-timedia elements, which in this case should translate to a terrific soundtrack. Azzedine Alaïa, Yohji Yamamoto and Vivi-enne Westwood are among the designers featured. The most pressing question: what to wear to the gala?

‘SUBLIMING VESSEL: THE DRAWINGS OF MATTHEW BARNEY’THE MORGAN LIBRARY & MUSEUMMay 10-September 13Ten years ago, a big Guggen-heim show introduced viewers to Matthew Barney’s mythologi-cal Cremaster series of films. What remained to be mined was his prodigious work as a drafts-man, and the Morgan Library has stepped in with the first show de-voted to that. There will be some 100 pieces, starting with his work as a Yale undergrad and ranging through the intricate studies for Cremaster, including storyboards.

Mr. Barney has selected rare books and medieval manuscripts from the Morgan’s collection to hang alongside his own pieces to create a display likely similar in spirit to his acclaimed show at the Schaulager in Basel, Switzerland, a few years ago.‘EXPO 1: NEW YORK’ MOMA P.S.1May 12–September 2Given the untiring efforts of its curator, Klaus Biesenbach, on behalf of the Rockaways, in the wake of Hurricane Sandy, it should come as little surprise that the theme of this exhibi-tion—or at least of the portion of it that takes over P.S.1’s build-ing—is “dark optimism.” But this show, billed as a “festival-as-institution” (biennial fans, rev your engines), spreads far beyond the museum, to other off-site locations. There will be con-temporary artworks, but there will also be lectures, group ex-hibitions-within-the-exhibition and that favorite activity in con-temporary art: interventions. ‘HOPPER DRAWING’WHITNEY MUSEUM OF AMERICAN ARTMay 23-October 6You think you know Edward Hopper’s famous 1942 painting Nighthawks, but do you know how it was made? The Whitney aims to answer that question—and not just for that painting—by bringing together some 200 drawings and studies by Hopper in the most extensive exhibition to date of his works on paper. The Whitney’s own collection of some 2,500 Hopper works on paper has been mined, the holes filled in with significant loans. The exhi-bition promises to have a particu-larly New York angle, looking at some of the New York City build-ings that inspired Hopper.‘LLYN FOULKES’NEW MUSEUMJune 12–September 8The New Museum has two exhi-

bitions opening in mid-June—the other is a well-deserved one for Ellen Gallagher. Llyn Foulkes is the older of the two artists, but less known to most New Yorkers. It’s hard to be-lieve that the Los Angeles art-ist, who has been making work since the early 1960s, has never had a major New York museum show. Known for paintings that are more like sculptural reliefs and feature things like land-scapes of the American West and critiques of Mickey Mouse, Mr. Foulkes has also ventured into music, with his Rubber Band (formed in 1973).

LE CORBUSIER: AN ATLAS OF MODERN LANDSCAPESTHE MUSEUM OF MODERN ARTJune 15–September 23Fans of architecture and design are waiting for this one with bated breath. It’s the largest show ever in New York devot-ed to the modernist multitask-er (he also worked as an artist, city planner, writer and pho-tographer) and the first com-prehensive one at MoMA, the only U.S. venue for the show, which will range from early watercolors to architectural plans for Rio de Janeiro and de-signs for the new Indian city of Chandigarh.JAMES TURRELLTHE SOLOMON R. GUGGENHEIM MUSEUMJune 21–Sept. 25, 2013For the past 37 years, James Turrell has been transforming a land formation in the desert of Arizona into a massive earth-work—the Roden Crater. It’s been almost as long since he’s had a major museum exhibition in New York, so the Guggen-heim’s rotunda-filling extrava-ganza will be quite the event. The rotunda will play a starring role in Mr. Turrell’s show, as he transforms it into one of his sig-nature “Skyspaces,” artworks that produce a sublime experi-ence of light and space.

Bedouins (1905) by John Singer Sargent.

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‘JUSTIN MATHERLY: ALL INDUSTRIOUS PEOPLE’ AT PAULA COOPERMarch 22-April 27The body’s return to sculpture in recent years has led to plenty of obnoxiously grandiose work; Justin Matherly’s art is the anti-dote. He mounts figurative con-crete forms—sometimes copped from classical sculpture—atop ambulatory equipment. Sym-bols of power are translated across time, and rendered hum-ble, maybe even precarious. For this exhibition, his Paula Coo-per debut, he exhibits works informed by stelae found in Nemrud Dagi, an excavated tem-ple in Turkey devoted to the late Hellenistic king Antiochus I.

ELIZABETH PEYTON AT GAVIN BROWN’S ENTERPRISE

March 29-May 14This year marks the 20th an-niversary of Elizabeth Pey-ton’s career-defining New York show, in a Chelsea Hotel room rented by Gavin Brown. That setting is a perfect metaphor for her mature work: intimate, domestically scaled paintings of people—both friends and the famous—at ease, lounging or relaxing. This is Ms. Pey-ton’s first gallery show in the city since 2008. ‘BLINKY PALERMO DRAWINGS 1976–77’ AT DAVID ZWIRNER

April 25-June 29The German painter Blinky Palermo died young, only 33, in 1977, but in his short life, he managed to produce some of postwar art’s most urbane abstractions—monochromes made of sewn fabric and bright fields of color on aluminum sheets. They offer a confident but laid-back sophistication. Zwirner will present his late works on paper.

MATHIEU MALOUF AT REAL FINE ARTS

April 27-June 9With luxurious paintings bear-ing gothic imagery, Mathieu Malouf has outclassed other ambitious artists in high-profile group shows the past few years. Burying mushrooms, spider

webs and transistors in irresist-ible flavors of resin or latex (a wave of delicious mint, a galaxy of hallucinogenic purples), he conjures the hard-won grit—and glamour!—of midcareer German Michaela Eichwald and the relentless, seemingly effort-less inventiveness of the late Sigmar Polke. Humor lurks, hor-ribly. Brace yourself.

SARA VANDERBEEK AT METRO PICTURESMay 2-June 8Three years after her quiet, modest show of just a hand-ful of spare photographs at the Whitney and a full seven years after her last solo gallery ef-fort in New York, at D’Amelio Terras, the photographer Sara VanDerBeek will have her first show with Metro Pictures. Ms. VanDerBeek’s images show

sculptural assemblages that she makes in her studio, but they transcend documentation. Carefully posed in shadow and light, the objects attain all the nuance of a human being.

WOLFGANG TILLMANS AT ANDREA ROSEN GALLERY

May 3-June 8When historians are trying to piece together how people hoped to feel, in their best mo-

ments, in this mad era, Wolf-gang Tillmans’s inimitable photographs will provide vital clues. His offhand moments embody dignity and grace, em-phasized by his preferred mode of display, arraying the pho-tos across gallery walls with pushpins.

‘PAUL MCCARTHY: REBEL DABBLE BABBLE’ AT HAUSER & WIRTH AND THE PARK AVENUE ARMORY

May 10-July 26May is looking like a wild, crowded month, with the second Frieze New York fair and the count-less high-profile gallery exhibitions concurrent with it, but Paul McCa-rthy is almost certain to be crowned one of the season’s kings. At the Park Avenue Armory, the master of every kind of debased grotesque-rie will show some sort of fantastical wonderland involving Grimm fairy tales. Meanwhile, Hauser & Wirth will tackle him in both of their New York spaces. Expect mayhem.

JULIE MEHRETU AT MARIAN GOODMAN

May 10-June 22This will be Julie Mehretu’s first gallery show of paint-ings in 11 years. Her intricate, often-febrile tangles of shapes, lines and architectural render-ings have grown more intri-cate, layered, nuanced over the years. The subject here, loosely speaking, is the Arab Spring, with under drawings that show buildings in Cairo, Tripoli and elsewhere.

CECILY BROWN AT GAGOSIAN

May 9–June 22 After five years mounting mu-

seum shows around the world, British painter Cecily Brown is back with a gallery show in the town she calls home. Though she once famously quipped that she is interested in the “cheap and nasty,” recent group show appearances have seen her wandering well be-yond the large, meaty, fleshy, bloody, naked bodies that made her famous. She’s work-ing small these days, tight, bravura brushstrokes coalesc-ing into abstract fields in which hints of reality always manage to sneak through. What does she have up her sleeve this time?

AMY YAO AT 47 CANAL

May 22–June 30 Amy Yao has been a teen-age rock star—as one-third of the punk band Emily’s Sassy Lime—collaborated on chic, sexy clothing with JF & Son and produced some disturb-ingly clever little works in re-cent years, like thin wooden rods set with mysterious bits of newspaper text, or umbrel-las detailed with pearls, shim-mering black sequins or, say, a bit of tape with a phone num-ber and the words: “call me.” Who would dare? Her sly art flits about so handsomely in the coded realm of poetry that it would be foolish to allow re-ality to intrude.

What we’re most looking forward to at the galleries By Andrew Russeth10TOP TEN

GALLERY SHOWS

Roman Women (2013) by Sara Vanderbeek.

Promotional Image (2013) Amy Yao.

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A FEW WEEKS BACK, WHEN I CALLED the author Rachel Kushner in Los Ange-les with the number her publicist gave me, and the voice came on the other line saying “I’m sorry but the number you are trying to reach has been disconnect-ed,” the first thing I thought—after not-ing that it’s an overly apologetic man who makes the announcement in L.A. instead of the stern-sounding woman you get in New York—was that it was all some kind of staged performance, a statement on the nature of interviews and profile writ-ing and the futility of ever really connect-ing with someone. I was primed into this mode of thinking by Ms. Kushner’s new novel, The Flamethrowers, which is about a lot of things, but most of all authenticity and its frequent absence.

The Flamethrowers is set in Soho in 1977 and follows a young artist known around town as Reno because that’s where she’s from. She falls in with a group of artists who show at the Helen Hellenberger Gal-lery, whose proprietor tends to sleep with her artists, comes from a Greek family, and resembles the real-life Mary Boone, who created a gallery empire in downtown Manhattan in the late ‘70s. Reno is intro-duced to the group by Giddie, a woman who works at a skuzzy diner on Lafayette as a kind of living performance piece, “no audience to what she was doing, since it was so much like life, and no real friends since they were merely an audience to her performance.” Reno’s attentions become triangulated by her boyfriend Sandro, an idealistic artist and, despite his disavow-als, heir to the Italian Valera tire fortune, and Ronnie, a photographer embarking on a doomed mission to photograph every living person. It’s a New York that’s fa-miliar, “a mecca of individual points,” Ms. Kushner writes, “longings, all merg-ing into one great light-pulsing mesh, and you simply found your pulse, your place.” But the author’s metropolis is slightly off, its own contained world of characters and hangers-on.

“I tried to metabolize everything I knew about the 1970s and then build something from that knowledge rather than a roman a clef, where people can recognize thinly

veiled characters, or see bars and streets that they know about,” Ms. Kushner told me when we spoke. It turns out she simply forgot to pay her phone bill, and I quickly reached her at a different number.

Ms. Kushner was born in Eugene, Ore-gon, the daughter of two scientists whom she described as hippie beatniks. (The family lived in a school bus.) Her moth-er grew up an American in Cuba, on land owned by the United Fruit Company, which partly served as the inspiration for her debut novel, Telex from Cuba, about American sugar farmers driven out of the country by Castro’s revolution. Ms. Kush-ner’s aunt was friends with Gordon Mat-ta-Clark and worked for Richard Serra, so she grew up around artists. She had a “formative set of sense memories of Soho being the kind of place that’s pitch dark at night and empty,” she said. “It was a kind of abandoned place that seemed ruled by artists.”

SOME OF THE ARTISTS WHO RULE Ms. Kushner’s Soho, circling like satel-lites around Reno, Sandro and Ronnie, are John Dogg, who makes films of “white on white ... white like bandages over noth-ing”; Stanley, more of a patron, a lonely drunk who spent the previous summer in the Hamptons but never made it to the beach because he was too busy making long recordings of his intoxicated ram-blings; Stanley’s wife, Gloria, who recent-ly staged a performance in which she sat alone in a small booth with a “curtained, pelvis-level opening,” wherein Ronnie accidentally gave her a genuine orgasm while giving a contrived lecture on the gendered etymology of the verb “to fin-ger”; and Burdmoore Model, the former

leader of an anarchist group called The Motherfuckers, a gang so bad, they beat up and pissed on Iggy Pop for “having a reputation for intensity though it was unearned.”

All of these people feel that the revo-lution—artistic, sexual, psychological—will happen any day now, and that when it does, they’ll be at the center of it. It’s something like how paranoia functions in the work of Don DeLillo, whose 1997 novel Underworld is a clear influence on Ms. Kushner. There’s a common belief in that book that the apocalypse will hap-pen at any moment, a fear that seemed oddly prescient a few years later in the age of wiretapping and terrorist alerts. But in Underworld, nothing ever happens. The real apocalypse is the paranoia itself, being bogged down in it. No one wishes for the end of the world; they just want to be able to worry about it.

“I acquired Rachel’s then-untitled sec-ond novel four-and-a-half years ago, and when I read it last spring, I thought, ‘Ra-chel has written the great American novel,’” said Ms. Kushner’s editor, Nan Graham, who also works with Mr. DeLillo and edited Underworld. The Flamethrow-ers, she said, seemed to predict the New York of Occupy Wall Street the same way Mr. DeLillo “‘predicted’ 9/11.”

What sets Ms. Kushner’s book apart is that the revolution, in fact, does finally arrive, albeit slyly. Reno and Sandro trav-el to Italy so she can make a film with the Valera racing team. The anarchist Red Brigades are protesting the regime of Prime Minister Aldo Moro in the streets of Rome, chanting slogans like “Jeans for the poor!,” “We want nothing!,” “Down with the people, up with the bosses!” It’s all a joke, it seems, something performed, until they kidnap Sandro’s brother, forc-ing him to issue a statement in support of the anarchists, itself a kind of perfor-mance (“It’s not him,” Sandro’s mother says), before killing him and overthrow-ing Moro’s government. After catching Sandro cheating—with his cousin, no less—Reno joins the anarchists’ ranks, thinking half-heartedly that she’ll film their actions, only to end up accidentally destroying her Bolex camera. In the face of this, she participates for real.

WITH MS. KUSHNER’S BOOK IN MIND, I met with Ben Morea, a founding member of Up Against the Wall Motherfuckers,

revolution blues

FIERY TIMES continued on page 12

Rachel Kushner.

Rachel Kushner’s new novel examines rebellion,

both real and stagedBy Michael H. Miller

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the anarchist group that lived semi-com-munally in crash pads on the Lower East Side between 1966 and 1969, and served as the basis for the Motherfuckers in The Flamethrowers. I found an email address for Mr. Morea and didn’t expect to hear anything, but he called me on a Saturday night and said he was in New York, staying just a few blocks away from my office. We met the following Monday at a diner on Ninth Avenue. He looked the way I imag-ine Dennis Hopper would have looked if he hadn’t gone straight and become a Repub-lican. He wore a cowboy hat and a flannel shirt with a leather jacket, a belt with a big silver buckle holding up his jeans. He had long, scraggly hair and a handlebar mus-tache. The bottom row of his teeth was al-most completely missing. The real thing, I

thought. I wanted to ask him about beat-ing up Iggy Pop for being inauthentic.

“It was the MC5,” he said. “And it wasn’t ‘beat up,’ but I can see why she’d say that. The MC5 were friends of ours, and they had a line in one of their songs that went, ‘Up against the wall.’ We tried to tell them, this is not a song, this is real. There was an altercation at the Fillmore East.” The MC5, he said, showed up to the gig in a limousine. It turns out the Motherfuckers

were the wrong crowd for that display of luxuriousness.

Mr. Morea had been underground for the better part of 30 years—he left New York for Colorado in 1969 because things had gotten “too hot.” He’d only recently re-emerged, while Ms. Kushner was writing her book.

“Revolution to me was not ideology,” he told me. “I lived it. I woke up that way and I went to sleep that way. There wasn’t any other life. I didn’t have a job. This might sound ludicrous, but we believed the rev-olution was imminent. There was a point we realized it was not imminent. So what does that mean? I don’t know about ev-eryone else, but I’m not going to be a mar-tyr. In other words, I wanted to bring this down, but if I lose my life doing it, I’m will-ing to, but I’m not just going to be a mar-tyr. So I made that choice. I said fuck it. You want me? Find me.”

FIERY TIMES from page 11 ‘I tried to metabolize everything I knew about the 1970s and then build

something from that knowledge.’

SPEEDBOAT BY RENATA ADLER

(NYRB Classics, March 19)The first novel by Renata Adler, a former staff writer at The New Yorker, has been criminally out of print and over-

looked for years. The book fol-lows a disillusioned journalist named Jen Fain as she hops between parties and lovers in New York. She is happy and sad and people walk in and out of her life. There’s not exactly a plot to speak of, but the novel has a certain urgency merely on the strength of Ms. Adler’s writing. Speedboat won the Ernest Hemingway Award for Best First Novel in 1976, then fell off the map, and is finally making a comeback.

THE TRAGEDY OF MR. MORN BY VLADIMIR NABOKOV(Knopf, March 19)

Nabokov was only 24 when he wrote The Trag-edy of Mr. Morn, his first and only full-length play. Available now for

the first time in English, the play is written in verse and fol-lows a king who wears a mask while attempting to rule over

his chaotic post-revolution kingdom. He’s pining for Midia, who just so happens to be mar-ried to a banished revolution-ary who is responsible for all that chaos to begin with. Writ-ten years before any of Nabok-ov’s masterful novels, it is a portrait of a young and ambi-tious writer finding his way, and a fine prediction of all the greatness to come.

ALL THAT IS BY JAMES SALTER

(Knopf, April 2)James Salter has kept so busy with short stories, memoirs, screen-plays and at least one very charm-ing cookbook that

it’s hard to believe this is his first full novel since 1979’s Solo Faces. Set just after World War II, All That Is follows one Philip Bowman, a former naval offi-cer who fought in Okinawa and is trying to settle in at a job in publishing, as an editor. The war at home turns out to be as sordid as anything he saw in

combat—with lavish apartment parties hardly filling the gap of a failed marriage and a messy love life. Mr. Salter is one of the great American writers, and his return to the novel is nothing short of a major event.

THE WOMAN UPSTAIRS BY CLAIRE MESSUD

(Knopf, April 30)The follow up to her 2007 novel, The Emperor’s Children, a satiri-cal send up of the upper class in New York, Claire

Messud’s new novel is about Nora Eldridge, an elementa-ry school teacher with a lot of regret and frustration over her failed career as an artist. Her life has taken on a kind of dull and mediocre bliss that is interrupted by the arrival of a new student, Reza Shahid, whose parents are the kind of exotic and creative people that Nora wishes she had become. The Shahids offer Nora salva-tion as they increasingly en-thrall her.

MY STRUGGLE BOOK TWO: A MAN IN LOVE BY KARL OVE KNAUSGÅRD

(Archipelago Books, May 7)In his native Norway, the six books that make up Karl Ove Knausgård’s My Struggle se-ries of autobio-

graphical novels are essentially that country’s national litera-ture. As they continue to be translated into English, they’re the closest things we have to a contemporary Proust. Book One, which came out last year, followed Mr. Knausgård as he coped with the death of his fa-ther and recalled the minutiae of his childhood. In Book Two, he’s just left his wife and is liv-ing in Stockholm, infatuated with a young writer named Linda. Nothing and everything happens in Mr. Knausgård’s books, it’s all about life as it is lived.

THE UNWINDING: AN INNER HISTORY OF THE NEW AMERICA BY GEORGE PACKER(Farrar, Straus and Giroux, May 21)Journalist George Packer, au-thor of The Assassins’ Gate: America in Iraq, looks at the last three decades of Ameri-

10TOP TEN BOOKSWhat we’re most looking forward to reading By Michael H. Miller


Photo: Christopher Raynaud de Lage, Art: Tom Slaughter

where storytellers reign!THE NEW VICTORY ® THEATER

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Co-Produced by The Opera Group and Opera North in association with ROH2 and Watford Palace Theatre

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can history through the lives of a group of very different American citizens: a descen-dent of tobacco farmers from the South, a factory worker

living in a city that is rapid-ly becoming post-industrial, a Washington D.C. political idealist with a fondness for money, and a

billionaire from Silicon Val-ley who’s become disillusioned by the Internet. Mr. Packer not only examines the ways in which America is troubled, but more importantly, investi-gates the reasons why America is troubled.

TRANSATLANTIC BY COLUM MCCANN

(Random House, June 4)In his last novel, the Na-tional Book Award-win-ning Let the Great World Spin, Colum McCann took a single event,

a high-wire walk between the two buildings of the World Trade Center, and unpacked it to such an extent that he did nothing short of evoking the lofty scale of his title. His new book alternates between Newfoundland in 1919, Dub-lin in the 1840s and New York in 1998, focusing on a duo of aviators, Frederick Douglass bearing witness to the Irish famine and a young father who finds himself in the middle of the Troubles conflict and its imminent resolution.

BIG BROTHER BY LIONEL SHRIVER

(Harper, June 4)The new book by Lionel Shriver, best known as the author of We Need to Talk About Kevin, is about Pandora, a woman with

a happy family in Iowa, who goes to pick up her brother,

visiting from New York, from the airport. Ms. Shriver’s title is meant literally: Pandora dis-covers upon seeing her broth-er that he has gained hundreds of pounds since she last saw him a few years before. His diet and attitude disgust Pan-dora’s husband, and Pandora is forced to choose between her domestic life, and her brother, who is rapidly eating himself to death.

TAIPEI BY TAO LIN

(Vintage, June 4)Tao Lin, who may be known to some as a tireless self-promoter, is too often overlooked as an excel-lent writer

of avant-garde fiction. His new novel is his most mature work, and follows a young New York writer to Taipei, where he must reconcile his family’s roots with the haze of MDMA, texts and tweets that he’s been living in. Mr. Lin has refined his deadpan prose style here into an icy, cynical, but ultimately thrilling and unique literary voice.

SEIOBO THERE BELOW BY LASZLO KRASZNAHORKAI

(New Directions, June 13)The author of the classic novel Satan-tango, which focused on a few days in a bleak, pover-ty-stricken vil-lage, returns

with a new book, a series of interlocking stories about a lecture on Baroque music, An-drei Rublev, the preparations of a Noh theatre actor, and an ancient Buddha, among oth-ers. Mr. Krasnahorkai’s work is characteristically filled with loopy sentences and highly stylized prose. The titular Jap-anese goddess presides over all of the stories, coming down to earth searching for artistic perfection.

DON’T STOP BELIEVIN’: EVERYMAN’S JOURNEYDIRECTOR: RAMONA S. DIAZ

March 16th“How do you take somebody from a Third World country and throw him into this cir-cus?” asks Jonathan Cain, the keyboard player and guitar-ist for the rock band Jour-ney. He’s referring to Arnel Pineda, the 45-year-old Fili-pino singer-songwriter whom the band found on YouTube to replace former lead vocal-ist Steve Perry. Don’t Stop Be-lievin’ isn’t just the story of Pineda’s chance at fame and glory (or at least, what’s left of it after “Don’t Stop Believ-ing” became better known for being the anthem of Glee than an ‘80s mega-hit), but also a redemption tale for the band. It’s director, Filipino-Ameri-can Ramona S. Diaz, is wisely just as interested in Mr. Pine-da’s impact at home as abroad.

SPRING BREAKERSDIRECTOR: HARMONY KORINE

March 22ndIt was a bold move for Dis-ney tween princesses Selena

Gomez and Vanessa Hudgens to gamble their reputations on Harmony Korine’sSpring Breakers, a film that truly gives meaning to the phrase “Girls Gone Wild.” But it pays off: the freshest, strangest and (strangely) most femi-nist shoot-’em-up in decades, the story of four girls who rob a diner in order to fund their bikini-clad St. Peters-burg dreams is a long way from High School Musical and Justin Bieber. Subversive, po-etic and as hysterically funny as it is profoundly disturb-ing, Spring Breakers is Scar-face for chicks—the first great drug-fueled, violent American Dream film of our generation. (For more on Spring Breakers, see the interview with Harmo-ny Korine in this week’s Ob-server Culture pages.)

THE PLACE BEYOND THE PINESDIRECTOR: DEREK CIANFRANCE

March 29thOn the surface, this Ryan Gos-ling movie is just a mash-up of every other Ryan Gosling movie: Drive meets Blue Val-entine meets Gangster Squad.

10TOP TEN FILMS

The movies we’re most looking forward to watching By Drew Grant

Spring Breakers.

S P R I N G A R T S P R E V I E W | Books and Films


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Thursday, April 4 at 8 PMDaniele Gatti, ConductorAnne Sofi e von Otter, Mezzo-SopranoWomen of the Tanglewood Festival ChorusJohn Oliver, ConductorBoys of the PALS Children’s ChorusAndy Icochea Icochea, Conductor

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Friday, April 5 at 8 PMDaniele Gatti, ConductorMichelle DeYoung, Mezzo-Soprano

ALL-WAGNER PROGRAMSelections from GötterdämmerungOverture to Tannhäuser

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Rafael Frühbeck de Burgos Garrick Ohlsson Daniele Gatti Anne Sofi e von Otter Michelle DeYoung

Tickets start at $23.

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Instead of a car driver, now Gosling is a motorcycle stunt-man. And instead of a tortured relationship with Michelle Wil-liams, Mr. Gosling’s traveling carnie is in a tortured relation-ship with Eva Mendes, who has just given birth to their son while he’s been on the road. After a gig at the mechanics leads to a string of high-wire bank heists, Mr. Gosling’s Luke is forced to face off not with Sean Penn, but with a white-knight cop played by Bradley Cooper, an honest man with a wife and infant of his own. We’ll put some money down on Pines making it into next year’s Os-cars lineup.

TRANCE DIRECTOR: DANNY BOYLE

April 5thBefore Slumdog Millionaire and 127 Hours, 28 Days Later and yes, even Trainspotting, Brit-ish director Danny Boyle made a very dark comedy by the name of Shallow Grave. Starring a young Ewan McGregor, the 1994 cult comedy is a gruesomely funny story involving dismem-berment, drugs and murder. With Trance, Mr. Boyle seems to be returning to his twist-ed roots: James McAvoy plays an art auctioneer who steals a famous painting with the creepy instructor from Black Swan (Vincent Cassel). Double-crossed, and with a brain injury

that keeps him from remember-ing where he hid the treasure, he’s led by the nose into the arms of a hypnotist (Rosario Dawson). What follows prom-ises to be a Memento-esque mi-rage of the mirrored halls of human memory.

TO THE WONDERDIRECTOR: TERRENCE MALICK

April 12thCan anyone really describe the plot of a Terrence Malick film? If this was Mr. Malick’s last masterpiece, Tree of Life, we’d at least be able to tell you it had dinosaurs. But To the Wonder does not have such bold tricks up its sleeve. Instead, it relies on its cast: Javier Bardem as a priest, Ben Affleck as the lover who goes home to Oklahoma after a sojourn with his wife in Mont Saint-Michel, and Rachel McAdams as the one who got away. If that sounds frustrat-ingly vague, perhaps this is not the movie for you.

JOBSDIRECTOR: JOSHUA MICHAEL STERN

April 19thThe movie that closed Sundance this year will undoubtedly be polarizing: in deciding to tackle a cow as sacred as Steve Jobs, you have to wonder who the hell signed off on giving the lead in the bio-doc to Ashton Kutcher, a man more famous for his off-screen dramas than his acting chops. Still, early reviews have deemed him passable, with the material and supporting cast more than capable of doing whatever heavy lifting Mr. Kutcher can’t handle.

IRON MAN 3DIRECTOR: SHANE BLACK

May 3Tony Stark (Robert Downey Jr.) is back, for the fourth time (counting last summer’s The Avengers). We’re to believe he’s up against his greatest foe yet—the Bane to his Batman, if you like—in a giantly outfitted, Vader-voiced Sir Ben Kingsley, playing Mandarin. He’s a su-pervillain born in Communist China who gets his powers from 10 alien rings that he wears on each finger. Also starring Guy Pearce, the voice of Paul Bet-tany and the body of Gwyneth Paltrow.

THE GREAT GATSBYDIRECTOR: BAZ LUHRMANN

May 10thIf anything, the fifth cinematic adaptation of the Great Ameri-can Novel is a testament to our country’s ever-changing value structure—its versions chang-ing to reflect what it means to be American, great and/or novel. Not to mention those malleable differences between wealth and class, as exempli-fied (at least this time around) by the no-longer-so-young-and-scrappy Leonardo DiCaprio, and the waifish Carey Mulli-gan. With Moulin Rouge direc-tor Baz Luhrmann behind the camera, expect to see some razzle-dazzle in the Hamptons. Kanye West accompanies Zieg-feld dancers, souped-up can-dy-colored Rolls-Royces speed through the city and fireworks fly hot and fast. “You can’t re-peat the past?” an incredulous Gatsby repeats back to Nick Carraway (Tobey Maguire) in the trailer. “Why, of course you can.”

STAR TREK INTO DARKNESSDIRECTOR: J.J. ABRAMS

May 17thMore than any other director alive today—possibly except-ing Joss Whedon—J.J. Abrams knows what buttons to push to get a direct flow of dopamine into the pleasure centers of a fan-geek’s brain. With his first

Star Trek reboot, he added in all the appropriate self-referential winks and nods in both story (written by Lost’s Damon Lin-delof) and casting choices. (See: British Spaced star Simon Pegg as Scotty, Harold and Kumar’s John Cho as Sulu and Heroes’ villainous Zachary Quinto as the calm, collected Mr. Spock.) But Mr. Abrams may have out-done himself by casting the BBC’s hottest new commod-ity, Sherlock’s Benedict Cum-berbatch, as a mysterious new character who may or may not be the eventual disposed dicta-tor Khan.

MAN OF STEELDIRECTOR: ZACK SNYDER

June 14thIt boggles the mind that Warner Brothers has given the green light to yet another stab at the most-boring-boy-on-Krypton story, when just six years ago, Bryan Singer was unable to re-vive the franchise with Super-man Returns. Determined not to learn from their mistakes, Zack Snyder, the man who infa-mously ruined the graphic novel adaptation of Watchmen, has been given the reins to the new incarnation. This Superman will be played by an unknown quantity, Henry Cavill, another piece of Kryptonite to cripple the hulking production. If Man of Steel succeeds, you can thank producer Christopher Nolan, or the brilliant casting of Michael Shannon as General Zod.

Ryan Gosling in The Place Beyond the Pines.

Rosario Dawson in

Trance.

Henry Cavill as Superman in Man of Steel.


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MARVELOUS! S U B L I M I N A L LY E R OT I C .

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Sun, March 17, 20131 pm Conductor’s Notes Q&A2 pm Concert

Leave your garlic at home for this opera-in-concert about a vampire who can only stay alive for another year if he murders three virgins in one day.

HEINRICH AUGUST MARSCHNER Der Vampyr Sung in German

LEON BOTSTEIN, MUSIC DIRECTORpresents

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Thu, May 2, 2013 7 PM Conductor’s Notes Q&A8 PM Concert

This concert pays tribute to a few of the young Hungarian Jewish composers who met a tragic end in WWII, featuring their works alongside pieces by fellow compatriots who survived.

OEDOEN PARTOS In MemoriumLÁSZLÓ WEINER “Overture” U.S. PremiereMIHÁLY NADOR Violin Concerto World PremiereLÁSZLÓ GYOPÁR Credo from “Missa” World PremiereERNO DOHNÁNYI Szeged Mass U.S. Premiere

at Carnegie HallStern Auditorium/Perelman Stage

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VAMPIREHUNGARY

TORNShoes on the Danube holocaust memorial in Budapest

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IN THE CARLYLE HOTEL’S ROYAL SUITE, Tiffany’s iconic crack-of-dawn window-shopper was having her theatrical coming-out party. We’re talkin’ Broadway here—the belated stage bow of Breakfast at Tiffany’s—and Sean Mathias, the British director who’ll bring it to pass March 20 at the Cort, was holding forth.

“This will be like seeing a new play,” he promised a group of journalists. “That is the excitement of this.”

It’s not a musical, though it has musical el-ements. “Holly Golightly sings a song—just not ‘Moon River,’” he said. “It’s a surprise what she sings. It’s not Audrey Hepburn. It’s not George Peppard. It’s not Blake Ed-wards. It is Truman Capote, by way of Rich-ard Greenberg.”

Mr. Greenberg, a no-show with three shows about to open, was presumably deep in rewrites in some urban cave somewhere. But Mr. Mathias proved more than an able spokesman for Breakfast at Tiffany’s, hav-ing helmed another version of it at London’s Haymarket in 2009, starring Anna Friel of Broadway’s Closer and Joseph Cross of Lin-coln, Milk and Running With Scissors.

“I’ve had the title in my pocket now for five years so I have a real relationship with this property,” he declared. “Samuel Ad-amson, an Australian who lives in London, wrote that one. The Greenberg one is quite different: it’s the New York version.”

The Golightly According to Greenberg, he said, “was instigated by producer Colin Ingram—actually, it was his wife’s idea—so here we are.” For stars, he hired two precise-ly cast Broadway novices and surrounded them with 13 fairly familiar stage faces.

Holly is Emilia Clarke, currently lord-ing over HBO’s medieval fantasy, Game of Thrones, and the Capone-facsimile sideline-observer (here called Fred) is Cory Michael Smith, the Mormon house-caller of The Whale at Playwrights Horizons.

A gangling youth along the jagged lines of early Anthony Perkins, Mr. Smith said he was shooting for a Capote-Peppard blend in his role. “I like to think Fred is an amalgam of both—a leading man like George and an art-ist like Truman. He has had an abandoned, neglected childhood so he’s a similarly dam-aged individual, coming to New York young, running away from something.”

Fred and Holly come together like or-phans of the storm. A relationship, and some love, ensue—but it’s hardly as romanticized as the movie. “It’s so daring to try to tell this

story and do it on stage.” Mr. Smith ven-tured. “I appreciate the courageousness of it because I think the play is very much in the spirit of Truman and Holly. It’s a tragic story in a way, but it certainly has elements of com-edy. Truman loved big characters, and those are the ones who bring levity to the story. I would like to think that it’s as complex a play as Holly is a character.”

Ms. Clarke said, “The play’s more dramatic than the film was. There’s more heartbreak and soul to it here. I’m Holly Goheavily.”

How really different, Mr. Mathias was asked, are his Hollys? “Every actor is unique,” he tactfully noted, “and what Emil-ia brings to it more than anything is youth, freshness—I mean, she’s totally charming, incredibly talented, all those things.”

He had seen her at work tending dragons and such on HBO before a casting director suggested she’d have enough crust to re-quest “$50 for the power room” as Holly did on dates. “I thought [Game of Thrones] was very striking, and she was rather wonderful, but that wouldn’t necessarily be a good au-dition for Holly, so they sent her to me, she auditioned, and I just loved her.”

On Thrones, Ms. Clarke’s character, Dany, is “an exiled princess who turns into a war-rior queen—in a sentence,” she said with a giggle. This somehow seems to put her on an equal footing with Holly Golightly in the concrete jungle of Gotham. “What they do have in common is they’re both, fundamen-tally, survivors.”

Breakfast at Tiffany’s marks Ms. Clarke’s stage debut—although she asterisked, “I trained at Drama School for three years. That was the last time I did a proper play.” Stepping from Dany to Holly has been head-swimming. “As in a fairy tale, it just sorta happened. I got the call. I got incredibly ex-cited. I met Sean. We had a very decadent four-hour lunch, followed by an audition the next day, which was wonderful, but the day after the audition, I told a friend, ‘I feel like Wendy, and he’s gone back to Never Never Land.’”

Now, Ms. Clarke must face down the Gren-del’s Mother of movie memory. “Audrey Hepburn is Audrey Hepburn, and she is un-touchable, isn’t she?” said Mr. Mathias, as-sessing the battlefield.

“We never refer to the movie,” he said. “Never. I’ve never even discussed it with Emilia. I’ve never even asked her if she’s seen the movie because it would not be helpful. We are concentrating purely on the book.”

Returning to the roots of Holly Golightly is like returning to the roots of Cinderella, as we’ve already seen this season. The pub-lic is reluctant to buy it because they have already bought the movie version, and they cling to it.

Mr. Capote acknowledged that the im-

HOLLY GOHEAVILY continued on page 20

Emilia Clarke plays Holly Golightly in Breakfast at Ti�any’s.

A hardly-free spirit makes her belated

Broadway bowBy Harry Haun

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mediate mythology of the movie pretty much covered the trail back to his novella and to the Holly Golightly of his own cre-ation. (That character was supposedly in-spired by the personality of Carol Grace, an actress-author who was whispered to be the illegitimate offspring of Leslie Howard and who subsequently wed William Saroyan

and Walter Matthau.) “The screenplay of Breakfast

at Tiffany’s seems to me excellent,” assessed Mr. Capote at the time, “but more as a creation of its own than an adapta-

tion of my book—no com-plaints, however ... and,

anyhow, Holly is still Holly, except once or twice.”

Audrey Hepburn entered the film aware that she was miscast in a part fashioned for Marilyn Monroe. Never mind that Holly is 19 in the book and she was 31. Also, never mind her English affectations disguised a Texas accent. Having long ago said adieu to realism, Hubert Givenchy was allowed to give new meaning to the phrase “high-end hooker”; in fact, the black frock he

whipped up for her entrance in the opening credits is the second most expensive piece of movie memorabilia ever sold at Christie’s London Auction House.

The truest note in the film was struck by Henry Mancini’s sad, surging “Moon River,” which caught the melancholy of the Capote

book. Musically, he was merely playing it close to the vest, using only one octave and sculpting the song to Hepburn’s untrained voice.

Breakfast at Tiffany’s may not be Hep-burn’s personal-best performance, but it’s the one you want to take to the desert is-

land. The Capote roots got upstaged, lost in all that starry screen stuff, and there have been a few theatrical expeditions to unearth these treasures. Infamous-ly, producer David Merrick tried to bring a stage version to Broadway in 1966 with Mary Tyler Moore, Richard Chamberlain and a Bob Merrill score, and some major scribes tried to break the Capote code—to name names: Nunnally Johnson, Abe Bur-rows and Edward Albee. The latter killed “Cat,” and Mr. Merrick killed the show after Preview Four—a big million-dollar misunderstanding.

With this new Breakfast at Tiffany’s, Mr. Mathias finally gives Mr. Capote his day in court and lets him make his own music. He reminded the press: “Holly Golightly, at the end of the story, says of New York—the city in which she lives and loves—‘this town is dead to me. Certain shades of limelight wreck a girl’s complexion’—and, of course, that’s exactly what happened to Truman Capote himself many years later. Certain shades of limelight wrecked his complexion.

“We’re not here to restore Truman Capote to you. ... We are here to share our version of this story with you—and one that we think is very touching, very compassionate, full of style and glamour and wit.”

HOLLY GOHEAVILY from page 19

‘We never refer to the movie. Never. I’ve never

even asked [Emilia] if she’s seen the movie because it would not be helpful. We are concentrating purely

on the book.’

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“The adventurous conductorless orchestra”—THE NEW YORK TIMES

CHAMBER ORCHESTRA4O

40TH ANNIVERSARY SEASON

Saturday, March 23 at 7PM

MendelssohnSymphony No. 4, ItalianAt 20, Mendelssohn embarked on a “grand tour” through Europe. This vibrant work was inspired by the young composer’s travels.

Schumann Piano Concerto in A minor, Op. 54This piece marks a new chapter for Orpheus and Richard Goode as they offer their �rst joint performance of Schumann’s Piano Concerto, a passionate work created for the composer’s virtuoso wife, Clara.

Stern Auditorium | Perelman Stage at Carnegie Hall

With Richard Goode, Piano

Tickets from $29Box Office: 57th St & 7th AveCarnegieCharge: 212.247.7800carnegiehall.org

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HANDS ON A HARDBODYBROOKS ATKINSON THEATRE Opens March 21The weird, charming 1997 documentary about a group of Texans competing in an endurance contest to win a pickup has become a—hopefully—weird, charming Broadway musical. The creative team augurs well for charming weirdness: the book is by I Am My Own Wife author Doug Wright; the music is by Phish frontman Trey Anastasio. Even weirder: it ís by all accounts a sympathetic, insightful commentary on financially struggling contemporary Americans—and when do you ever see that on Broadway?

LUCKY GUY BROADHURST THEATRE Opens April 1Sure, The Wood, last season’s bioplay about the controversial, beloved late Daily News columnist Mike McAlary, written by PR mogul Dan Klores and staged at the Rattlestick, was a bust. Which might not suggest we needed another version a year later. But this season’s take on the crusading, flawed journalist o�ers a Nora Ephron script and the Broadway debut of yet another Hollywood star: Tom Hanks. KINKY BOOTS AL HIRSCHFELD THEATREOpens April 4La Cage Aux Folles meets Billy Elliot, with a Harvey Fierstein book and music and lyrics by Cyndi Lauper, plus Jerry Mitchell directing—of course this is a hugely anticipated new musical. Based on the

2005 film, it’s the no-doubt heartwarming story of a struggling small-town shoe factory saved by the brilliant idea to start making women’s shoes designed for cross-dressing men. Drag queens, after all, just want to have fun.

MATILDA THE MUSICALSHUBERT THEATREOpens April 11The Roald Dahl children’s book—about a little girl unloved at home but wildly successful in

school and life—is coming to town as a big Broadway

musical. First, though, it played London’s West End, where last year it won a record-setting seven Olivier Awards.

Matthew Warchus directs a rotating group of four girls in the lead role, but don’t be misled into thinking it’s just a kids’ show. Word from

London is that it’s fantastic—one of those Oliviers was for Best Musical.

THE NANCELYCEUM THEATREOpens April 15The nance, in early-20th-century burlesque, was a campily gay stock character, typically played by a straight man. In The Nance, Nathan Lane plays a closeted gay man,

pretending to be a straight man, who plays a gay man. The Victor/Victoria-ish premise is scripted by the hilarious Douglas Carter Beane, and Jack O’Brien directs. Cady Hu�man, Mr. Lane’s Producers Ulla, is in the cast, too.

ORPHANS GERALD SCHOENFELD THEATRE Opens April 18If your only goal was to see Shia LaBeouf on Broadway this season, then Orphans is no longer your show. But the young movie star’s dramatic departure, and its epistolary fallout, only makes the production—a revival of Lyle Kessler’s 1983 drama about two orphaned brothers who kidnap an older man—more intriguing. Alec Baldwin, who may or may not have incited Mr. LaBeouf’s departure, still stars as the older man, Tom Sturridge still plays younger brother Phillip, and Ben Foster has joined the cast as younger brother Treat. Daniel Sullivan directs.

HERE LIES LOVETHE PUBLIC THEATEROpens April 23Four names: Imelda Marcos, David Byrne, Fatboy Slim and Alex Timbers. Here Lies Love was a concept album about the shoe-loving life of Mrs. Marcos, released in 2010 by Mr. Byrne, the onetime Talking Head and current downtown fixture, and Fatboy Slim, the British “Praise You” DJ-producer. With Mr. Timbers, the director who created Bloody Bloody Andrew Jackson, they’re turning it into a dance-music musical.

I’LL EAT YOU LAST: A CHAT WITH SUE MENGERSBOOTH THEATREOpens April 24One name: Bette Midler. The Divine Miss M is coming back to Broadway for the first time in more than 30 years, in a one-woman show about the Hollywood super-agent Sue Mengers. Ms. Mengers, who died two years ago, remained a power player even after her retirement, hosting legendary,

intimate weekly dinner parties in her Beverly Hills home. Joe Mantello directs, and the playwright, John Logan, knows a thing or two about capturing larger-than-life personalities: he wrote the Mark Rothko bioplay Red.

FAR FROM HEAVEN PLAYWRIGHTS HORIZONSOpens June 2Todd Haynes’s 2002 movie was a critical darling, a look behind the sunny façade of 1950s conformity, with a secretly gay suburban husband and his wife striking up a doomed interracial friendship, all filmed in a glossy, Douglas Sirk style. Take Me Out playwright Richard Greenberg has adapted it for a musical, with music and lyrics by the Grey Gardens team of Scott Frankel and Michael Korie. The very accomplished Michael Greif directs, and—even better—Kelli O’Hara stars.

NATASHA, PIERRE, AND THE GREAT COMET OF 1812TBA Several critics and editors will tell you that immersive-theater experience—a musical adaptation of a bit of War and Peace—was the best thing they saw in 2012. (They all told this reviewer, who never got to it.) But after a month and change last fall at Ars Nova, the show disappeared. Now there are reports of a casting notice, with performances scheduled to begin April 1. There was no theater, and no specifics as of press time—but let’s hope this Comet returns.

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Celina Carvajal and Stark Sands in Kinky Boots.

Allison Case in Hands on a Hardbody.

TOP TEN PLAYS & MUSICALSWhat we’re most looking forward to in theaters ByJesse Oxfeld

Bette Midler in I’ll Eat You Last.

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THE COMPLETE QUARTETS

WWW.CHA MBERMUSICSOCIET Y.ORG 212-875 -5788

JERUSALEM QUARTET

SUNDAY, MARCH 17 // 5:00 PMQuartet Nos. 1, 5, 6, and 12

TUESDAY, MARCH 19 // 7:30 PMQuartet Nos. 4, 8, 10, and 11

FRIDAY, MARCH 22 // 7:30 PMQuartet Nos. 3, 7, 13, and 14

SUNDAY, MARCH 24 // 5:00 PMQuartet Nos. 2, 9, and 15

TICKETS: $35–$68ALL CONCERTS AT Alice Tully Hall, Starr Theater, Adrienne Arsht Stage

SHOSTAKOVICH

CYCLE I

SHOSTAKOVICH

CYCLE I I

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SHOSTAKOVICH

CYCLE IV

WWW.SHOSTAKOVICHQUARTETS.COM

Performed by the

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10TOP TEN CLASSICAL CONCERTS & OPERAS

What we’re mostlooking forward to in the concert hallsBy Carl Gaines

Isabelle Faust performs with the New York Philharmonic at Avery Fisher Hall.

CHAMBER MUSIC SOCIETY OF LINCOLN CENTERSHOSTAKOVICH: THE COMPLETE QUARTETS, CYCLE 1THE JERUSALEM QUARTET

ALICE TULLY HALL

March 17-24It’s not often that part of a chamber music series is pre-ceded by the launch of its own multi-feature, interactive web-site. However, Shostakovich’s string quartets were composed between 1934 and 1974 under the constraints of Soviet Social-ist Realism and are rife with embedded codes and symbols. So it seems appropriate that audiences would be invited to participate in some type of in-teractivity in addition to lis-tening. The Jerusalem Quartet performs the complete cycle of the quartets over four concerts.

SAN FRANCISCO SYMPHONY CARNEGIE HALLMarch 21The San Francisco Sympho-ny Orchestra, which won a Grammy last month for Best Orchestral Performance for its recording of several John Adams works, performs Mahl-er’s Symphony No. 9. The com-poser’s last fully completed symphony, the work pre-miered on June 26, 1912—after Mahler’s death in May of the previous year. Music director Michael Tilson Thomas made his San Francisco Symphony debut conducting the work in 1974 when he was just 29. Here he conducts the SFO’s final Carnegie Hall appearance of the season.

NEW YORK PHILHARMONICLINCOLN CENTER, AVERY FISHER HALLMarch 20-23German violinist Isabelle Faust, something of a hid-den gem for American audiences, performs Bach’s violin concer-tos in A minor and E major, as part of the or-chestra’s The Bach Variations festival. Ms. Faust is a fre-quent performer of contemporary music, but here

turns her attention to two Ba-roque concertos—conducted by Bernard Labadie, himself an early music expert.

LOS ANGELES PHILHARMONICLINCOLN CENTER, AVERY FISHER HALLMarch 27The New York premiere of John Adams’s The Gospel According to the Other Mary, directed by the composer’s frequent col-laborator Peter Sellars, takes center stage under the baton of conductor Gustavo Du-damel. With Easter just a few days later, there’s no pressure! Mr. Adams’s oratorio, com-missioned by the Los Angeles Philharmonic and premiered earlier in the month, tells the New Testament stories of both Lazarus and Jesus’s Passion. A post-performance discussion with Messrs. Adams and Sell-ars and Ara Guzelimian, pro-vost and dean of the Juilliard School, follows.

ORCHESTRA OF ST. LUKE’SCARNEGIE HALLMarch 28After last year’s performance of Mozart’s Requiem, in which con-ductor Iván Fischer interspersed the chorus with the OSL to in-volve the instrumentalists with the text, Mr. Fischer returns with Musica Sacra for Bach’s St. Matthew Passion. The group has a warm and long-standing rela-tionship with Mr. Fischer, which is sure to make this perfor-mance of the choral masterpiece well worth catching.

METROPOLITAN OPERARIGOLETTO

METROPOLITAN OPERA HOUSE

April 13-May 1Sometimes the oper-atic reinterpretations

coming out of General Man-ager Peter Gelb’s Met garner headache-inducing reviews. But director Michael Mayer’s 1960s “Rat Pack” setting of Verdi’s tragic tale has gotten accolades. It’s certainly a vi-sual spectacle—thanks in large part to the work of set design-er Christine Jones, who brings familiar Vegas kitsch to life. A new cast takes over for the April and May performances—with Vittorio Grigolo, Lisette Oropesa and George Gagnidze.

MITSUKO UCHIDA, PIANOCARNEGIE HALLApril 18The pianist, known for her in-terpretation of works by Mo-zart and Beethoven (her Decca Classics recording of Mozart’s Piano Concerti Nos. 23 and 24 won a 2011 Grammy—her first), switches things up here with this recital program of Bach, Schumann and Schoenberg. Dame Uchida has been called “peerless and magical” by the British press. This Carnegie Hall program features two Pre-ludes and Fugues from Bach’s The Well-Tempered Clavier, Schoenberg’s Six Little Piano Pieces and several works by Schumann.

KRONOS QUARTETCARNEGIE HALLMay 3As part of its Late Nights at Zankel Hall and My Time, My

Music series, Carnegie Hall presents the Kronos Quartet, which, for almost 40 years, has tasked itself with “expanding the range and context of the string quartet.” Clearly this isn’t your parents’ string quar-tet. Fans of the San Francisco-based group, and of new music in general, should rejoice. This concert includes the world pre-miere of Missy Mazzoli’s You Know Me from Here and the New York premiere of Valentyn Silvestrov’s String Quartet No. 3, among other works.

THE PHILADELPHIA ORCHESTRACARNEGIE HALLMay 17Sir Simon Rattle will conduct—or try to, anyway—Ligeti’s Mysteries of the Macabre with soprano Barbara Hannigan. With a dearth of the unexpect-ed on the classical stage these days, the singer’s past reviews for performances of Ligeti’s work (“the singer charged across the podium in patent leather,” read a 2012 review from Münchner Merkur) sug-gest staid audiences expecting a hum-drum evening out might be in for a surprise. Relief, how-ever, is en route. The remain-der of the program features Webern’s Passacaglia Op. 1, Berg’s Three Fragments from Wozzeck and Beethoven’s Sym-phony No. 6, “Pastoral.”

BROOKLYN PHILHARMONICYOU’RE CAUSING QUITE A DISTURBANCE

BROOKLYN ACADEMY OF MUSIC June 8As part of the Brooklyn Phil-harmonic’s Bed-Stuy series, Grammy winner Erykah Badu and Bed Stuy native Yaslin Bey—known to most as Mos Def—present a program of col-laborative arrangements of songs from New Amerykah Part One: 4th World War and works by composer Ted Hearne. At a time when orchestras every-where are struggling to find ways to reach out to new audi-ences and broaden their appeal, the Brooklyn Philharmonic, under still-newish artistic di-rector Alan Pierson, is on the front lines.

Piotr Beczala as the Duke in Verdi’s Rigoletto at the Met.

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