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Austin360 blogs > Austin Arts: Seeing Things > Archives > 2007 > July > 24
Tuesday, July 24, 2007
Review: ‘An Almost Holy Picture’
Heather McDonald’s ‘An Almost Holy Picture’ is meditation on the nature of faith — a slippery slope that the character of Samuel Gentle, a lapsed Episcopalian priest, slides on for almost two hours as his extended monologue unravels the tale of his journey from naive belief to doubt to only slightly wiser belief.
And while it’s a tale that initially engages, it ultimately doesn’t take us much beyond the place it starts from.
An orderly upbringing in Massachusetts doesn’t seem to have prepared Samuel for the brutal spiritual honesty of his poor New Mexico parishioners. And when his actions lead to a tragic school bus in which nine children are killed, Samuel abandons the priesthood to become the groundskeeper at a Massachusetts cathedral.
Digging in the dirt distracts but fails to provide answers especially after his wife gives birth to a little girl, Ariel, struck with a genetic affliction that leaves her covered in fine, downy hair.
‘Holy Picture’ unravels the first nine years of Ariel life as Samuel recounts it with Job-like pondering. A father’s love might be a powerful thing indeed, but it can’t shield from all the evils of the world. And isn’t what we should treasure most right at hand and not down some allusive path?
Unfortunately, McDonald’s story doesn’t lead us over any new ground to answer those questions. And neither Austin Chronicle arts editor Robert Faires’ sensitive direction nor actor Jamie Goodwin’s nuanced performance can save McDonald’s script from drifting into dullness even though it’s to Faires’ and Goodwin’s credit and talent that you want to follow along as long as you do.
It’s hard to pinpoint exactly why McDonald’s tale thuds at points. Does it overextend itself as a monologue? Is it the lack of poetic bright flashes or sufficient dramatic moments? Is it the somewhat predictable epiphanies and transparent plot devices?
That’s not to say there aren’t some striking points: Samuel’s instant and profound love for his newborn daughter endears. And McDonald’s slightly off-beat details combined with the comforting cadence of her prose initially appeals. But ultimately, thoughtfully presented as this production is, there are almost no surprises in ‘An Almost Holy Picture.’
— Jeanne Claire van Ryzin
‘An Almost Holy Picture’ continues 8 p.m. Thursdays-Saturdays, 2:30 p.m. Sundays through Aug. 26 at Whisenhunt Arena Stage, Zachary Scott Theatre, 1510 Tommey Road, $28-$37. 476-0541.
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Review: American Repertory Ensemble
It’s not a secret anymore: American Repertory Ensemble is no longer the hidden gem of Austin arts scene.
With ‘Lingo,’ which opened Friday at McCullough Theatre, the organization’s clever combination of live chamber music performed on stage with modern ballet proved that it had arrived: American Repertory Ensemble is what fans of spirited yet meticulously-presented dance and music programming can look forward to in the off season.
Co-artistic directors David Justin and Rob Deemer wisely served up a stylistically inclusive program. With its humorous, casual choreography, Yuri Zhukov’s lively ‘No Time Jazz’ started things off with a welcoming, entertaining tone.
Deemer, artistic director of music, premiered his valentine to Austin, ‘Hot, Crazy, Fun,’ Performed without any dance accompaniment it inventively captured the city’s eclectic personality through a series vivid musical images. Scored for a string trio and piano, the piece ricocheted from a rich, energetic jumble of tones to a dreamy, almost melancholic mood — a rich aural impression of a long summer afternoon. Also getting its first audience was Deemer’s ‘Memoirs,’ a peppery, dynamic piece for solo clarinet commissioned by Austin arts patron Pete Schnekkan for his wife Frances.
Dancers Christine Winkler and John Welker of Atlanta Ballet were riveting yet graceful in ‘Already Dusk,’ an introspective, abstract pas-de-deux set to the Brahms’ unusually syncopated F Major Cello Sonata, expressively performed by cellist Sara Nelson. Crystalline and gemlike, Balanchine’s ‘Duo Concertant’ was neatly danced by Oregon Ballet Theatre’s Kathi Martuza and Artur Sultanov. But the standout was violinist Leigh Mahoney deft handling of the complex Stravinksy score.
There was no mistaking that Justin’s ‘Ascendant’ brought it all together at the end. Danced to new music by jazz composer Dave Douglas — a tribute to Aaron Copland, commissioned by American Repertory Ensemble — the piece teased delightfully with a few quirky gestures layered on top of plenty of elegant athleticism and neat partner work. If with six dancers and six musicians, the stage seemed a bit busy at times that’s only because we’e too often used to the usual huge gap between ballet and music. With American Repertory Ensemble, it’s one big live energetic, entertaining jam.
—Jeanne Claire van Ryzin
‘Lingo’ continues 8 p.m. Friday and Saturday, 2 p.m. Sunday at McCullough Theater, University of Texas campus, 23rd Street and Robert Dedman Drive. $12-$22. 477-6060.
