By Manning Harris

In 2010 John Logan’s play “Red,” about American artist Mark Rothko, won Broadway’s Tony Award for Best Play; Theatrical Outfit is now presenting “Red” at the Balzer Theatre through March 11, directed by David de Vries, and it’s a riveting theatrical experience that should not be missed.

I’ve been aware of the peculiar power of two-character plays ever since I saw Edward Albee’s “The Zoo Story” many years ago and was knocked out.  To me they have a primitive, almost primeval power that can overwhelm; they can produce an experience of pure theatre that is uniquely bracing and cathartic—that is, with the right play and the right actors.

Happily, “Red” has those ingredients; more about actors Tom Key and Jimi Kocina in a moment.

“A difficult and enigmatic artist” was the way a 1978 article in the New York Times described Mark Rothko.  He was a major figure in the Abstract Expressionist movement who became one the most prominent American artists in the early and middle 20^th Century.   In the 1950′s he received a lucrative commission to paint some murals for the Four Seasons restaurant in New York.  In “Red,” a fictionalized account of this period, Rothko (Tom Key) takes on an apprentice-helper-student-gofer named Ken (Jimi Kocina); in the play they work closely together for two years.

It’s one thing, if you’re an artist, to take your art seriously; it’s quite another to take yourself and your audience equally seriously.  This is a recipe for serious unhappiness.  It’s worse when the artist starts asking such questions as:  Who will see my work?  Who will understand it?  Who is worthy to see and exhibit it?  The French author André Gide said, “Do not understand me too quickly.”  Neither Gide nor  Rothko needn’t have worried.

But Rothko wants to be understood; and much of “Red” is a fierce, Socratic dialogue between him and Ken: a uniquely intense father-son, master-servant, mentor-student relationship.  “Art is not a handicraft; it is the transmission of feeling the artist has experienced,” said Tolstoy.  Rothko doesn’t quote that particular line, but he throws intellectual references from Freud, Nietzsche, Jung, and others at Ken and the audience like poisoned arrows.  If you have a pedantic bent, you’ll have a field day.

If all this sounds a bit tedious, I assure you it’s not:  The play takes off like a shot, and for 90 breathless minutes we are mesmerized in the assured hands of Mr. Key and Mr. Kocina.  Mr. Key has never been more masterful; he finds depths of darkness, anger, paranoia, and yes, humor, that I’ve never seen him explore.  His voice is an instrument of power and subtlety, always guided by the text.

Jimi Kocina gives a finely calibrated, beautiful performance as Ken, progressing from tentative, soft-spoken student to assured, challenging fellow artist, unafraid to face the “sacred monster” and call him on his imperious edicts.  I love it when Rothko dares him to define the color red, and Ken coolly meets his eye and says, “Sunrise is red, and red is sunrise,” silencing the older artist’s protestations.  If Mr. Kocina isn’t already Atlanta’s finest young actor, he’s well on his way.

There’s a beautiful use of music in the play and a perfect set, so let us praise composer/sound designer Kendall Simpson and set designer Lee Maples.  Wonderful lighting by Joseph A. Futral.  And there’s a thrilling moment when both actors show us some of the physical labor that goes into creating art as they prime a canvas.

“These pictures deserve compassion, and they live and die in the eye of the sensitive viewer,” booms Rothko.  Are you that viewer?  Of course you are.  In this unusually rich season of fine theatre in Atlanta, “Red” is can’t-miss drama.  It runs through March 11.

For tickets and information, visit www.theatricaloutfit.org.

The 13^th annual Art Papers Auction will be held at the Mason Murer Fine Art gallery in Atlanta on Feb. 11 from 7 to 9 p.m. The event benefits the participating artists and Art Papers magazine, exhibits and education programs. An impressive showcase of work by famed and emerging artists from around the world will be featured at the event.

A cash bar with complimentary light hors d’oeuvres and desserts will be provided by Condesa Coffee, Escorpión, Fritti, Sotto Sotto, Sound Table, Sugar Coated Radicals, The Sundial Restaurant, Bar & View, TOP FLR, and more.

Photo courtesy The GA Voice

By Collin Kelley
Editor

A reward of $11,000 is now being offered by the City of Atlanta for information about the perpetrators who brutally attacked a young gay man last weekend and posted the video online for the world to see.

Brandon White, 20, was set upon by three men as he was coming out of a convenience store on McDaniel Street last Saturday. The attackers used homophobic slurs while punching, kicking and throwing an abandoned tire at White’s head. During a press conference yesterday, White came forward  after initially being too frightened to call police. The video went viral online and gained the attention of both the Atlanta police and the FBI, which is now investigating the incident as a potential federal hate crime.

“I was appalled and saddened when I heard that this young man was accosted so viciously in our community,” said Atlanta City Councilmember Cleta Winslow, who represents the Pittsburgh community where the attack took place. “I am also encouraging residents of Pittsburgh to come forward with any information about the perpetrators.”

Anyone with information on the Saturday incident is asked to call Zone 3 police officers at (404) 624-0674 or call anonymously to Crime Stoppers Atlanta at (404) 577-8477.

From the silent era to contemporary films, the series explores the lavish effects and subtle details of color scheme, lighting, film stock, angles and framing. Path-breaking highlights include:

• “A Midsummer Night’s Dream” (1935) with an introduction by Salman Rushdie, Emory University’s Distinguished Writer in Residence on Feb. 29.
• The crisp black and white cinematography in “Sweet Smell of Success” (1957) on Feb. 15.
• The dark brilliance of “Black Narcissus” (1947) on March 28. (pictured)
• The melodramatic Technicolor of “Leave Her to Heaven” (1945) on April 4
• Later films such as Martin Scorsese’s “Raging Bull” (1980) on March 21, Steven Soderbergh’s “Out of Sight” (1998) on April 25 and Rebecca Miller’s “Personal Velocity: Three Portraits” (2002) on April 18.

Series curator and Emory associate professor Karla Oeler says, “The art of cinematography–which stages the exact ways in which the camera frames, filters and records each image in a film–is a crucial and often neglected one. Often the full physical effect of a film is simply lost in our modern smaller formats–and along with this, the remarkable precision, power and elegance of images created only by talented cinematographers working with the best directors.”

To see the full line-up of films, visit http://filmstudies.emory.edu/home/

This year marks the second anniversary for Wedding Day Hooray, boasting over 40 vendors at the upcoming event. Not only will the vendors have the opportunity to showcase their creations, but the popular Table Decor Competition gives businesses a chance to show brides how to make their table setting pop for their special day.

“We’re looking to make this year’s Wedding Day Hooray bigger and better than the last,” said Christy Petterson, co-founder of Indie Craft Experience. “We love giving brides an alternative to big bridal expos.” Shannon Mulkey, co-founder of the Indie Craft Experience, echoes this same sentiment. “We can’t wait to make these brides’ day the most special!”

Wedding Day Hooray will feature gift bags for the first 100 attendees, a wedding goodie raffle and even a chance to win a honeymoon stay at the Artmore Hotel. A portion of the raffle proceeds will be donated to Burnaway- an online magazine for the arts. Sponsorship opportunities are available, with some that are free to participate. Visit www.weddingdayhooray.virb.com for info.

By Manning Harris

It’s every bit as good as they say it is; it deserved those seven Suzi Awards.

Last season Horizon Theatre pulled a coup de théâtre, shall we say, in not only selling out its entire run of the musical “Avenue Q,” but in knocking off the big guns of Atlanta theatre (the Alliance, GA Shakespeare, Actor’s Express) in winning all those Suzis (Atlanta’s version of Broadway’s Tony Awards).

Now awards are funny things:  The biggest coup came in 2004 when “Avenue Q” won the Best Musical Tony over the megahit “Wicked”; the showbiz world still debates that. But of course we know that all awards are subjective.

Be that as it may, the good news “For Now” is that, having a cash cow on its hands, Horizon has brought the “Avenue” back for a run through March 11.  I was tickled pink to hear this because I missed it last year, but have finally caught it—as well as a real case of Q-fever.

Although I must say up front that “Avenue Q” is a show for adults, I daresay your teenagers (savvy as they are these days, Lord knows) will thank you no end if you take them, and also think you’re very cool.  But it’s not a show for children; enough now with the caveats.

If you missed it last season, here are some pithy words from Lisa Adler, Co-Artistic Director of the Horizon:  “Avenue Q is an upbeat musical…that uses clever writing, catchy songs, funny videos, and puppets to tackle adult subjects like racism, unemployment, pornography, love, lust, and following your dreams.  Told through the eyes of a young college grad and his neighbors on Avenue Q, this is a story of finding your purpose and passion in life—and of a diverse community coming together to support each other during tough times.”

If all this seems a bit much for one show to tackle, not to worry:  “Avenue Q” works with effortless grace and wit, and a cast that makes acting and singing look easy as pie.  It didn’t win those awards for nothing.

Suzi-winning Best Actor Nick Arapoglou has more talent and charm than the law should allow, with a matinee idol’s irresistible smile.  He plays Princeton, a college grad who wonders “What Do You Do with a BA in English?”  (Anybody remember the book “Jobs for English Majors and Other Smart People”?  Hmm—I think I just dated myself.)  Princeton looks for and finds a cheap apartment on Avenue Q—and a host of colorful neighbors.

One of those neighbors is Christmas Eve (played by Suzi winner Leslie Bellair), whose “The More You Ruv Someone” is a comic highlight.  Listen, there are simply no weak links in this cast.  Here they are:  Kate Monster, Mary Nye Bennett; Lucy the Slut, Jill Hames; Rod, J.C. Long; Nicky, Jeff McKerley; Trekkie, Shane Desmond-Williams; Brian, Matt Nitchie; Gary Coleman, Bernard D. Jones.

The direction and choreography, both first-rate, are by Heidi Cline McKerley.

The excellent band (music director S. Renee Clark) is cleverly positioned upstage right; the colorful set is by Moriah and Isabel Curley-Clay.

Some of the songs (ready?):  “It Sucks to Be Me,” “If You Were Gay,” “Everyone’s a Little Bit Racist,” “The Internet is for Porn,” “I’m Not Wearing Underwear Today,” “School for Monsters,” and others.

The Horizon is a perfect, intimate space for this show, and they are making the most of it.  I got the feeling the night I saw “Avenue Q” that there were a lot of repeat customers there.  That happens in a hit, which is what this is.  Go.

For tickets and information, visit www.horizontheatre.com.

By Manning Harris

The 2010 Tony-winning Best Musical “Memphis” has landed at the Fox Theatre for the first time on its first national tour, and people are ready for it.  After last night’s sold-out opening, I think it’s safe to say that “Memphis” will play in Peoria, as the old showbiz bromide goes.  It’s here only through February 5; if you want to see it, stop reading this review right now and order tickets (then come back and finish it—thanks).

Victor Hugo said, “There is nothing more powerful than an idea whose time has come.”  Please bear that in mind and picture Memphis, Tennessee, early 1950′s.  America’s booming in post war “Leave It to Beaver” time.  But underneath the white bread serenity, in Memphis’ black underground Beale Street nightclubs, an earthy, joyous, soul-stirring music is bursting to make itself heard.

Enter Huey Calhoun (Bryan Fenkart), a high school dropout, white, scrappy, eager for a different sound and a different life.  He pops into an all-black club one night, is eyed suspiciously, but begins to win the crowd over when he sings “The Music of My Soul.”  Huey has heard the beautiful Felicia (Felicia Boswell) sing and is smitten with her voice and with her.  Felicia’s protective brother Delray (Quentin Earl Darrington) is understandably wary; crossing racial lines in the 50′s was a dangerous thing; and “Memphis” does not shy away from the injustice and ugliness of racism.

Huey gets a job at a local radio station (his character is based loosely on Memphis deejay Dewey Phillips, who first got Elvis Presley played on the radio) and tells Felicia he’ll get her music played on the air.  This is a bold claim because Huey is not even a deejay yet.  But he has a crazy kind of charisma and a reckless confidence that tends to win people over, including his own mother (Julie Johnson, in a knockout performance), who is initially horrified at Huey’s fondness for “race music.”

“Memphis” has a book and lyrics by Joe DiPietro, music and lyrics by David Bryan (Bon Jovi’s keyboardist); both of these men won Tony Awards.  The brilliant choreography is by Sergio Trujillo; direction by Christopher Ashley.

The performers are top-notch, many from the “Memphis” Broadway company.  Ms. Boswell stops the show with “Colored Woman” and is radiant the whole evening.  Mr. Fenkart’s Huey is a performance of depth, fun, and complexity.  Other standouts include the aforementioned Mr. Darrington and Ms. Johnson, Rhett George, Will Mann, and William Parry.

Some critics have carped that the music is really pseudo soul-rock-blues and not the real thing, and further noted that the show is more about an era than a person.  I suppose there’s some validity in that, but I would say that as musical theatre (and that’s the medium in question), “Memphis”rocks; and it carries the audience along.  And the talent level of the performers is so high that they make a good song sound great.

The show is slick, yes, but effortlessly polished and professional.  You’ll have a really good time; and good luck getting tickets.

For tickets and information, visit www.broadwayacrossamerica.com.

By Brigette Flood

There’s a new social sharing platform on the block. It’s called Pinterest. It’s the latest shiny new object on the internets, getting a lot of users and buzz. What is it and why is it so popular?

Pinterest is a virtual pinboard, a place to organize and share online images you find interesting or inspiring. Basically, it helps you curate videos, photos, graphics, visually engaging content and things you fancy in one place. You can follow other people’s collections and see what the tastemakers find intriguing, too.

Pinterest is easy to use, easy to categorize, easy to give credit for the origin of a photo, idea, design, graphic, quote, outfit, etc. You name it, people are pinning it. There are wedding boards, food boards, home décor boards (make one for each room of your house), fashion boards, sci-fi boards, typography boards, Movember boards and there was even a SOPA protest. Multiple people can contribute to the content on a board, so you can collaborate with friends and colleagues on a project.

To get started, you either have to be invited or you can sign up at pinterest.com, (note: there’s usually a waiting period before you’re officially in). The limited sign up gives it a certain cache and likely helps Pinterest control system overload. Once you get started, you can search the Everything section to find other users and search categories you like. There’s a Best of Pinterest section that’s definitely worth checking out when you’re wondering what it all means and why everyone thinks it so neat (pinterest.com/pinterest/best-of-pinterest). Use the @mention in your descriptions to directly communicate with other users, just like on Twitter, Facebook and other social media networks.

So what’s all the fuss? Try it and see. According to Experian Hitwise, in December 2011, the invitation-only site had 40 times the number of total visits it had in June 2011. It’s quickly moving into the top 10 websites in their social networkin. Not surprisingly, Pinterest is popular with women between the ages of 25 and 44, a desired demographic for advertisers. Women comprise 59 percent of its readership, but that might change once the invitation-only barrier is removed.

If you like poster art, street art, knitting and social media, you might find me Pinteresting. You’ll find me here: pinterest.com/brigflood. Also on Twitter: @brigflood and at makingsenseofsocial.com.