Tag Archives: Childe Byron

A Feast for the Eyes

Movie night!

Flicks a la Francais.

It’s been a week of French cinema pour moi.

Janie and I have practically forsaken physically going to the movies. Since the spawning of covid, I don’t think we’ve been in a movie theater more than five or six times. Why should we? We have a big screen, various fire-sticks and subscriptions, a critter, and a convenient parking place at home. Door-Dash and/or the fridge are near to hand.

But a phone call from a wise friend who understands real priorities in life pointed out that Juliette Binoche continues to be fine to observe on a big screen. A date night at the Kentucky Theater ensued.

THE TASTE OF THINGS (2023) is delicious to watch. It’s fun to see Madame Binoche cooking again. I first saw her in Krzysztof Kieslowski’s 1993 mesmerizing film; THREE COLORS: BLUE, and then his earlier THE UNBEARABLE LIGHTNESS OF BEING (1988). A couple of years later I won a huge lobby poster of BLUE on eBay. I still haven’t found a space of suitable vastness to hang it, but I harbor hopes…perhaps a new wing to a house already too roomy for two dreamers. She cooked beautifully for Johnny Depp, Judy Dench, and Alfred Molina in CHOCOLAT (2000). Hell, I even thought she was the best thing in the 2014 GODZILLA – better than the big guy himself.

And THE TASTE OF THINGS is a nice film itself, but like some of Akira Kurusawa’s flicks, perhaps a battle too long. The ballet of the preparation of the opening feast lingered on every step in the kitchen.

Lingered…

Every step…….

I fear I had enough time to tally the pots and pans and utensils with the weary eyes of one whose main contribution in our kitchen is the post-prandial clean-up.

However, if you’re a member of the seemingly burgeoning crowd of people who take pictures of their food, this is the film for you.

I must fess up: I have been charmed but bewildered by this phenomenon.

I wonder…

The glory of a memorable restaurant meal is a recipe with multiple ingredients.

The food is one ingredient, but only one.

The setting is another. Is the room dramatic? Cozy? Huge? Is there a view of the ocean…mountain…desert…skyline…rings of Saturn? Is it on the roof…on the street…by the fireplace…in the kitchen?

Is the company good?

I have had memorable restaurant experiences.

  • Calamari and six vintage ports overlooking the Bay Bridge in San Francisco…
  • A Nighthawk Special in a cavern-like Columbia Steak House at 2am on Limestone Street.
  • Chateau Ausone 1978 in Yvette Wintergarden’s in Chicago.
  • Hot cross buns and café au lait in the snug of the local at Hever Castle on a grey morning.
  • Eggs Nova Scotia in a booth with a wall juke box at the Bungalow across the street from the Nu-Way Boot Shop on Mill Street.
  • Huevos Rancheros in in a sunny diner in Salinas.
  • A Caesar Salad lovingly assembled tableside in Denver.
  • Hot dogs off the right field line at Wrigley Field on a sunny Saturday afternoon. (Phillies lost).
  • Shrimp and grits on an overturned cable spool table, watching a shrimp boat unloading its restaurant resupplies at the neighboring dock in Charleston.
  • Green Chile Won Tons at the Bristol in Louisville after a stunning performance of “Child Byron” at Actors Theatre.
  • Coq au Vin at Café Chantant before slipping downstairs to Le Cabaret on Vine Street.

The food, the time, the place, and most of all the company, is what made these experiences memorable. I wanted to capture each of them forever, recreate the moments for myself, and be able to share them with others. Perhaps that’s why we take our meal photos.

No photo is up to such a task, but the urge to share and relive the good stuff is nothing but admirable.

Droning Tonto and the Atomic Bic

I’m reading a script these days that was originally performed to some acclaim as part of the Humana New Play Festival at Actors’ Theatre Louisville. It reminded me of another Humana New Play Festival experience Janie and I had years ago that was, shall we say, “differently acclaimed.”

I subscribed to Actors Theatre of Louisville for about 24 years. I love this theatre and have enjoyed a number of transcendent evenings over the years. Susan Kingsley and Ken Jenkins in “Childe Byron” was magical. Likewise, “Tobacco Road”, “The Three Musketeers”, “The Sea Gull”, were wonderful, and their production of “The Tempest” was the best I’ve ever seen. There were some head-scratchers along the way (“King Lear” in burkas plumb bewildered me), but overwhelmingly most of the shows were inspiring and entertaining.

So…why did we stop subscribing?

I was working almost every Saturday then. The only performance we could count on attending was the nine o’clock curtain on Saturday nights. I would get away from work about five, we would drive to Louisville, have dinner at the Bristol, make the curtain at nine, get out of the theatre about midnight, and drive home.

Ah, there’s the rub.

That late night drive home became increasingly burdensome. Before dogs took control of our lives and clocks, sometimes we would snuggle in after the show at the Seelbach, have a languorous brunch, and get back home sometime Sunday afternoon. Well-l-l-l, you can fergit dat, O Keepers-of-the-Kibbles!

Janie and I began to question how much pleasure we were getting out of our Louisville theatre habit. Impetuous kids that we are, we debated it for a couple of years. Then there were two productions in that last subscription season that finally convinced us to drop the commitment.

The first production was actually quite well done. It was a gospel concert nominally disguised as theatre. Now, I can enjoy gospel music (or bluegrass, or German lieder) for about fifteen minutes just as well as the next guy, but this was two hours and forty-five minutes more gospel music than the Geneva Conventions probably allow. That night’s drive home was glazed in bitterness and that is the gospel truth.

The other show…

(…shudder, squint, tears begin to flow…)

The other show…

The other show was titled “Beyond Infinity”. It was part of the Humana New Play Festival.

The play consisted of three intertwined (sorta) stories set in the same desert at three different times in history.

One story was of an ill-fated wagon train. Beyond sad. I found myself expecting Ward Bond to come out wailing “Bring out your dead!” (100 trivia points for identifying the geezer reference.)

Mr. Silverheels

The second story was told in a sporadic monologue in monotone by one of ATL’s regular actors whose name eludes me at the moment. He was a gaunt, Sam-Waterston-Abe-Lincoln-Harry-Dean-Stanton-looking fella. For this show he was dressed like Tonto. I don’t mean he was dressed like a Native American. I mean he was dressed like Jay Silverheels in “The Lone Ranger.” Whenever the show’s innate hilarity moaned towards out-of-control, the lights would come up on Tonto. He would gaze at a spot about ten feet over my head (looking for what?…inspiration?…his light?…his lines?…his agent?) and drone. I caught occasional words (kemo sabe, walla wah walla walla walla wah, bibbity bobbity boo) but we were never EVER in the same time zone as a coherent thought.

The third story…

Ah YES-S-S-S-S, the thir-r-rd story…

(Imagine that having just been said by Christopher Lee as Fu Manchu. Go on. Go back and repeat it just that way. You’ll love the way it feels and sounds and you’ll work it into your personal dialogue tomorrow. You’ll owe me.)

Ah YES-S-S-S-S, the thir-r-rd story…

Mr. Oppenheimer

The third story involved J. Robert Oppenheimer and his merry pranksters in the desert working on the atomic bomb. At one stretch in the second act (second act of twelve, as I recall), Oppenheimer is standing in the desert night, holding an address-book-sized volume of the Bhagavad Gita (you can’t make this up!) and a cigarette. His assistant is standing next to him. For ten minutes Oppenheimer reads aloud, translating on the fly, from his tiny book by the light of his assistant’s Bic lighter…you can’t make this stuff up!!

1940’s translation tool

Wait…someone did, didn’t they?

About this moment, Janie, who had shed her shoes and was curled up in her seat in the fetal position, tugged on my sleeve, leaned near and whispered “there are 87 lights up there.” Why not count the lights? What else was there to do?

It ended…as all things eventually must (except baseball games).

We shook the sand from our shoes and shuffled out of the theatre.

Now, one of the rituals involved with living in Lexington, two glasses of wine at dinner, and attending shows in Louisville is the obligatory pre-drive-home bathroom visit. Well, I’m there, at the urinal, “inflagrante delicto” as it were, when the bathroom door is banged open by a three-piece-suit type who angrily announced to the room; “Well, I have been to the desert on a horse with no name!”

I just about missed the urinal.

A Geezer Remembers; Droning Tonto and the Atomic Bic

I subscribed to Actors Theatre of Louisville for about 24 years. I love this theatre and have enjoyed a number of transcendent evenings over the years. Susan Kingsley and Ken Jenkins in “Childe Byron” was magical. Likewise, “Tobacco Road”, “The Three Musketeers”, “The Sea Gull”, were wonderful, and their production of “The Tempest” was the best I’ve ever seen. Oh sure, there were some head-scratchers along the way (“King Lear” in burkas plumb evaded me), but overwhelmingly most of the shows were inspiring and entertaining.

So…why did we stop subscribing?

I was working almost every Saturday then. The only performance we could count on attending was the nine o’clock curtain on Saturday nights. I would get away from work about five, we would drive to Louisville, have dinner at the Bristol, make the curtain at nine, get out of the theatre about midnight, and drive home.

Ah, there’s the rub.

That late night drive home was becoming increasingly burdensome. Janie and I began to question how much pleasure we were getting out of our Louisville theatre habit. We debated it for a couple of years. Then there were two productions that last subscription season that finally convinced us to drop the commitment.

The first production was actually quite well done. It was a gospel concert nominally disguised as theatre. Now, I can enjoy gospel music (or bluegrass, or German lieder) for about fifteen minutes just as well as the next guy, but this was two hours and forty-five minutes more gospel music than the Geneva Conventions probably allow. That night’s drive home was glazed in bitterness and that’s the gospel truth.

The other show…

(…shudder, squint, tears begin to flow…)

The other show…

The other show was titled “Beyond Infinity”. It was part of the Humana New Play Festival.

The play consisted of three intertwined (sorta) stories set in the same desert at three different times in history.

One story was of an ill-fated wagon train. Bleak. I found myself expecting Ward Bond to come out wailing “Bring out your dead!” (100 trivia points for identifying the reference.)

The second story was told in a sporadic monologue in monotone by one of ATL’s regular actors whose name eludes me at the moment. He was a gaunt, Sam-Waterston-Abe-Lincoln-Harry-Dean-Stanton-looking fella. For this show he was dressed like Tonto. Whenever the show’s innate hilarity moaned towards out-of-control, the lights would come up on Tonto. He would gaze at a spot about ten feet over my head (looking for what?…inspiration?…his light?…his lines?) and drone. I caught occasional words (kemo sabe, walla wah walla walla walla wah, bibbity bobbity boo) but we were never EVER in the same time zone as a coherent thought.

The third story…

Ah YES-S-S, the third story…

The third story involved J. Robert Oppenheimer and his merry pranksters in the desert working on the atomic bomb. At one stretch in the second act (of twelve, I’m sure), Oppenheimer is standing in the desert night, holding a smallish volume of the Bhagavad Gita (you can’t make this up!). His assistant is standing next to him. For ten minutes he reads aloud, translating on the fly, from his book by the light of his assistant’s Bic lighter…YOU CAN’T MAKE THIS STUFF UP!!

At this moment Janie, who had shed her shoes and was curled up in her seat in the fetal position, tugged on my sleeve, leaned near and whispered “there are 87 lights up there.” Why not count the lights? What else was there to do?

It ended…as all things eventually must (except baseball games).

Now, one of the obligatory rituals involved with attending shows in Louisville is the pre-drive-home bathroom visit. Well, I’m there, at the urinal, “inflagrante delicto” as it were, when the bathroom door is banged open by a three-piece-suit type who angrily declared to the room; “Well I have been to the desert on a horse with no name!”

I just about missed the urinal.