‘The Farnsworth Invention’ @ Albany Civic Theater, 5/5/12

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ALBANY — Aaron Sorkin earned his claim to fame with quick and punchy dramas such as “A Few Good Men” and “The West Wing.”

The Albany Civic Theater’s production of Sorkin’s “The Farnsworth Invention,” which opened Friday night, nails his trademark speed with a gripping and satisfying tale of two self-made men whose powerful intellects set them on a collision course.

Philo Farnsworth, a precocious self-taught inventor in Utah, came up with the idea of transmitting live images over the air in real time — while still a teen. Yes, the play doesn’t stint on using correct terminology — electrons and dissector tubes, for example — but his invention is repeated enough that all audience members should get a basic understanding of the science as well as its importance.

David Sarnoff, meanwhile, was an immigrant who taught himself English, started as an office boy at Commercial Cable Company and later led RCA and NBC, because he was able to pursue the idea that radio transmissions (and, later, television) could be used to communicate not from just one person to another, but from one person to a mass audience.

Part of the fiction of the play is that Farnsworth and Sarnoff, who never met in real life, trade off duties of telling each other’s stories — and they often argue about the tales. The drama at the center of their lives is not just the pursuit to create a workable television, but also a patent lawsuit to determine who gets the credit — and the financial reward — for inventing television.

Isaac Newberry as Sarnoff stands out for his strong and convincing performance as a smart and charming, though sometimes smug, executive. He is well matched with Tom Templeton as Farnsworth, who captures the manic joy of brilliance set loose on a quest of discovery.

Director Aaron Holbritter deserves much of the credit for this production, for getting his cast of 17 (most playing multiple players) to maintain the play’s demanding pace. Also of note is his sound design, with music and effects that enlarge the space and intensify the drama.

Among the ensemble, Ken Goldfarb (as Zworykin and a radio announcer in particular), Briavel Schultz (as Betty) and Adam M. Coons (Crocker) stand out for being consistently engaging.

One of the big criticisms of the play (it ran on Broadway in 2007) was how much Sorkin reworked the facts. Spoiler alert: Perhaps the biggest reworking is that Farnsworth lost the patent dispute and died penniless, drunk and obscure; whereas in real life, he won and RCA had to pay him royalties.

Is the art worth such sacrifices of truth? The Albany Civic Theater’s production seems to be a resounding yes; however, an uneasiness lingers in the irony that an inability to work with the truth comes from a writer whose most famous line, from “A Few Good Men,” is: “You can’t handle the truth!”

Perhaps Sorkin was talking to himself?

Theater review
“The Farnsworth Invention”

When: 8 p.m. Saturday
Continues: 8 p.m. Friday and Saturday; 3 p.m. Sunday; through May 20
Where: Albany Civic Theater, 235 Second Ave., Albany
Length: 2 hours with one 15-minute intermission
Tickets: $15
Info: 518-462-1297; http://www.albanycivictheater.org

From the archive: Bruce Springsteen and the E Street Band @ Times Union Center, 4/16/12

 

Albany
Bruce Springsteen and the E Street Band’s concert Monday night at Times Union Center started nearly an hour late, but all was forgiven once the 16 musicians took the stage and gave the packed house a night of power, emotion and showmanship.

Highlights included a video tribute to saxman Clarence Clemons, who died last June; the many sax solos by Clemons’ nephew Jake Clemons, which often left Springsteen’s face beaming with pride in classics such as “Thunder Road”; Springsteen’s solo performance of his rarely played “Janey, Don’t You Lose Heart,” an outtake from 1983’s “Born in the U.S.A.,” which began with his tentative finger picking on his guitar, as if trying to relearn the song; the dueling guitar leads between Stevie Van Zandt and Springsteen during “Murder Incorporated”; hits such as “Badlands,” “The Promised Land,” and the evening ending string of “Born to Run,” “Dancing the Dark” and “Tenth Avenue Freeze-Out”; and 62-year-old Springsteen’s amazing energy and connection with his fans, pulling three people out of the audience to dance or sing with him.

Wow. And did I even mention Springsteen pouring a fan’s bottle of water down his back, then downing another fan’s beer before diving into the crowd and letting himself be carried back to the stage? Continue reading →

Sunset Boulevard @ Cohoes Music Hall, 4/5/12

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Call her the original Hollywood cougar.

Long before Demi Moore or the Courtney Cox TV show, Norma Desmond sunk her claws into the young struggling writer Joe Gillis in Billy Wilder’s classic noir film “Sunset Boulevard.”

Andrew Lloyd Weber’s version of “Sunset” opened Thursday night at Cohoes Music Hall in a solid production directed by Jim Charles that captures the musical’s creepy psycho-sexual tension that veers more toward the Gothic than the noir. Continue reading →

Book review: “Religious Literacy”

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The Fourth R

America has long been called a Christian nation, and most Americans identify themselves as Christian. But polls also show most can’t name the first book of the Bible. And, according to a 2005 Harper’s magazine article by Bill McKibben, 75 percent of Americans believe the Bible teaches “God helps those who help themselves.” Actually, Benjamin Franklin came up with that idea, which contradicts Proverbs 28:26, “He who trusts in himself is a fool.”

With such ignorance, how effective can Americans be as citizens confronting a Sunni-Shiite civil war in Iraq, Bush’s term “Islamofacism,” debates on intelligent design, rulings about “under God” in the Pledge of Allegiance, a so-called “war on Christmas” and community arguments over Christmas displays on public property?

“Religious Literacy: What Every American Needs to Know — and Doesn’t” by Stephen Prothero (Harper San Francisco; 296 pages; $24.95) proposes a way to counter this anti-intellectualism by making religious studies the “Fourth R” in high schools and colleges.

Although chairman of the religious studies department at Boston University, Prothero’s argument isn’t about faith, but about how knowledge of religion is vital to the functioning of a democracy that requires a well-informed citizenry. This, of course, is a key rationale for journalism, so Prothero’s book is likely to get a lot of positive press for his mission, if not always for his writing.

He is careful to stress the difference between indoctrination, or making people believe a particular religion, and religious literacy, or getting people to understand “the religious terms, symbols, images, beliefs, practices, scriptures, heroes, themes, and stories that are employed in American

public life.”

Not understanding this distinction, Prothero argues, is part of the problem. Although the Supreme Court has ruled against “Sunday-school-style religious instruction,” he writes, the high court also ruled that “the Bible may constitutionally be used in an appropriate study of history, civilization, ethics, comparative religions and the like.”

For high schools, Prothero describes two required courses: one that views the Bible in terms of its literary and religious importance, another that introduces students to “the seven great religious traditions of the world: Hinduism, Buddhism, Confucianism, Daoism, Judaism, Christianity and Islam.”

For colleges, he calls for all students to be required to take one course in religious studies, so graduates can have at least “minimal religious literacy.”

He also addresses the practical concerns about money, scheduling and the politics of educational requirements.

Trying too hard

The weakness in his writing, however, begins early on by trying too hard to prove the importance of religion in daily life. He mentions popular books like the “Left Behind” series and “The Da Vinci Code,” and rappers who invoke the name Jesus to show the currency of religious signifiers. But pointing to examples of religious names, images and even ideas doesn’t prove that these references are being used for a religious purpose as opposed to marketing.

So when Prothero dismisses the “parochial enclave” of “secularization theory” that suggested God was dead, he seems to be confusing uses and abuses of religious figures in pop culture and politics with belief.

But this is a minor part of his book, which in addition to presenting his pedagogical proposal includes a list of 100 key terms as part of a “Dictionary of Religious Literacy” — examples include the Ten Commandments, Ramadan, Hinduism and al-Qaida — and a quick history of religion in American education.

In chapters with names that unfortunately conflate religiousness with religious literacy — the titles are “Eden (What We Once Knew)” and “The Fall (How We Forgot)” — Prothero traces America’s religious literacy from Colonial-era laws requiring parents to teach their children about religion, usually through the Bible, to such contemporary debates as a gay Episcopal bishop.

Losing specifics

Prothero locates the decline in religious literacy not in secularism, but in religious movements.

In the 19th century, Christians of different sects worked together to promote religion in schools, but to do so they had to find a “lowest common denominator” of belief, which meant teaching about “moral character” — often the Golden Rule — instead of doctrines that differentiated the sects. Therefore, specifics about belief and the Bible were no longer being taught in public schools.

Also in the 19th century, evangelical Christianity gained in popularity, attracting members from various Protestant sects. The evangelical emphasis on being “born again” over doctrine, however, meant a diminishment of religious literacy. “In the name of heartfelt faith, unmediated experience, and Jesus himself, they actively discourage religious learning,” Prothero writes. “It is to evangelicalism, therefore, that we owe both the vitality of religion in contemporary America and our impoverished understanding of it.”

So why is now the time to try to teach religious literacy? Prothero suggests there has been a trend to move away from the kind of sameness that highlighted the multicultural movement and toward the more difficult, but more accurate, ability to understand and respect radical differences of particular beliefs — both among Christian sects and among other traditions.

“Tolerance is doubtless a necessity for civil society,” he writes. “It is enshrined in the First Amendment and should be taught (and celebrated) in public school social studies courses. But a commitment to tolerance by no means entails indifference to either religious doctrines or religious differences. In fact, tolerance is an empty virtue in the absence of firmly held and mutually contradictory beliefs.”

Prothero should be applauded for undertaking the task of inserting religious literacy into public debate, and his book would make a good beginning as a text for teaching religious literacy. After all, it does teach about constitutional debates. But it doesn’t always go far enough.

Not challenging

His “Dictionary of Religious Literacy” is limited to terms currently used in U.S. discourse. For example, it includes Hanukkah but not the more important Jewish holiday of Yom Kippur, because Hanukkah comes into debates about religious displays around Christmastime.

In other words, his dictionary highlights the provinciality of American discourse.

So even though Prothero is challenging Americans to open up schools to studies of religious literacy, he isn’t challenging the status quo in terms of content, which would be mostly biblical and Christian.

A possible problem with this is that it would do nothing to locate America’s place in the world in terms of religion, allowing Americans to complacently accept its sense of exceptionalism, which could lead to things like wars in places where the belief systems of others are poorly understood.

The advantage of Prothero’s approach, though, is that it could be politically viable in a purportedly Christian nation with a public school system often fraught with contentious battles over the content of what children are taught.

Banks on Milan Kundera

From a review in the International Herald Tribune, Russell Banks writes about Milan Kundera’s third book of essays on the novel, “The Curtain.” And though the review is generally positive, Banks’ one criticism seems rather damning, as if he is suggesting the Kundera is out of touch with our times.

Here are excerpts:

“The novel alone,” he says, “could reveal the immense, mysterious power of the pointless,” in opposition to the “pre-interpretation” of reality. The novel, in Kundera’s view, is not a genre; it’s a way of busting through the myriad lies regarding human nature and our collective and individual fates, lies that serve the purposes of bureaucracy and greed and the joyless quest for power. The “pre-interpretation” of reality is the curtain referred to by the book’s title, “a magic curtain, woven of legends … already made-up, masked, reinterpreted. … It is by tearing through the curtain of pre-interpretation that Cervantes set the new art going; his destructive act echoes and extends to every novel worthy of the name; it is the identifying sign of the art of the novel.”

and then this:

If I have any quarrel with Kundera’s description of the history of the novel, it’s that he’s not inclusive enough. He does not discuss a single female novelist, even in passing. It’s as if no Western woman has ever tried writing a serious novel in 400 years. And, in his appreciation of non-European novelists like Fuentes, García Márquez and Chamoiseau, he colonizes them, as if culturally they gazed longingly toward their European mother- and fatherlands instead of their homelands. But then, he’s not writing literary criticism; he’s writing the secret history of the novels of Milan Kundera and teaching us how to read them.

Audiobooks review: “I Like You”

“I Like You: Hospitality Under the Influence” by Amy Sedaris. Read by the author. Unabridged, 5 hours, 4 CDs. Hachette Audio. $29.98.

Early in this book about entertaining at home, Sedaris says, “Even though the word entertainment is commonly used today, to me it sounds charmingly old-fashioned, like courtship or back-alley abortion.” Those words give a pretty good sense that you are far from the world of Miss Manners.

Or are you? A lot Sedaris says is practical. She suggests that, when grocery shopping, you should buy things in boxes instead of bags, because boxes can be reused. Then again, one of her tips for a children’s party sounds like “Survivor”: drive them blindfolded about an hour away and see who could be the first to get back to the party.

Included in the book (and as a PDF) are her “self-award winning recipes.” Quirky if not always laugh-out-loud funny, “I Like You” is pleasantly twisted.

Sedaris, an accomplished performer, gives an assured reading.

Note: Can’t get enough of the Sedarises on audio? Hachette has also recently released “The Ultimate David Sedaris Box Set,” 20 CDs and 22 hours of Amy’s brother’s previously released audiobooks for $99.98.

Amy Sedaris’ official Web site.

Audiobooks review: “Lisey’s Story”

“Lisey’s Story” by Stephen King. Read by Mare Winningham. Unabridged, 19 hours, 16 CDs. Simon & Schuster. $49.95.

In ancient Greek drama, deus ex machina was used when the plot got so out of control that only divine intervention could resolve it. “Lisey’s Story” is the opposite.

Lisey is the widow of a famous author still dealing with grief two years after his death. Her loneliness is convincing, as is the magical place — Boo’ya Moon — where her husband found inspiration and confronted horrors.

What bedevils the plot, though, is an insane stalker who terrorizes Lisey for her husband’s papers. This one-dimensional, inexplicable character clearly arrives for some anti-divine intervention to create chaos. King, however, eventually keeps the plot tidy and unsurprising.

Winningham does a winning job of conveying Lisey’s melancholy as well as other characters’ madness.

Official Stephen King Web site.

Audiobook review: “Echo Park”

“Echo Park” by Michael Connelly. Read by Len Cariou. Unabridged, 10.5 hours, 9 CDs. Hachette Audio. $39.98.

Connelly succeeds once again with his latest Detective Harry Bosch thriller, the second one to feature the L.A. cop working in the Open-Unsolved Unit. This time, a killer caught with body parts in his van agrees to confess to seven other killings, including that of Marie Gesto. She’s a woman who had disappeared 13 years before in a case that Bosch never solved.

Bosch doesn’t believe the new confession, especially since the suspect isn’t the man who has been a “person of interest” over the years.

When the suspect leads a heavily armed group of police and lawyers deep into the woods to show them Marie’s body, things go terribly wrong and the novel’s suspense only deepens.

What makes this book among Connelly’s best is its realism and its patience, as it moves logically through police procedures and Bosch’s decision-making process.

Cariou’s tough, assured performance proves why he is the definitive voice of Harry Bosch.

The novel’s official Web site — including audio excerpts — is here.

News of LA Times book review

In what appears to be another sign of the downsizing of books coverage at daily newspapers, here’s a blog speaking about the transformation of a biggie:

The LA Times book review section is a changin’?

For further info, here’s a Salon.com article from 2001.

Or check out this previous post of mine.

And don’t forget National Book Critics Circle President John Freeman’s essay on why book reviews matter. The link is here.