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The big BSFC winner was “12 Years a Slave,” which beat “The Wolf of Wall Street” for Best Picture, Best Director (Steve McQueen), and Best Actor (Chiwetel Ejiofor).
Think of these novellas as variations on a common theme: a complicated world is scrutinized through the elemental viewpoint of one of the most memorable characters in American fiction over the past quarter-century.
The more I hear performed by the BEMF, especially their operas, the more deeply impressed – and thankful – I am.
“Becky’s New Car” turns out to be a ride worth taking, especially if we suspend our disbelief long enough to embrace the notion that malice is not necessarily aforethought even though our actions might be construed to suggest otherwise.
“Le Joli Mai” is serious and sober, a bit of a downer, climaxing in a lengthy interview with a dullard union official about why he supports the French Communist Party.
There will be readers who appreciate Daniel Menaker’s brevity and lack of emotional engagement, but for me, much of “My Mistake” reads like notes for a memoir.
In her compelling deconstruct/rewrite of “Miss Julie,” set in South Africa 18 years after the end of apartheid, director/dramatist Yaël Farber doubles down on the elemental energies of Greek tragedy.
“I like singing live; I try to sing well live, I try to prepare myself for the audience, for that room. And I care a great deal about singing live, because I think that’s the experience of jazz. Even if I’m singing Brazilian music.”
Benjamin Evett as Arthur and Erica Spyres as Guenevere turn in solid performances, dependable anchors for a cast that does the best that it can in a drab, bargain basement production.
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