In my early 20s, when I was living in Boston, I had a dream about my home town. I dreamed that I was on a black sand beach in Hilo, but ash and rock fell all around me. I tried to run to save myself, but I couldn’t run fast enough — and I heard a voice speaking, and it came from the falling rock. “Your father is in my protection,” the voice said. “He is doing my work.”
I remember the dream still, because whether or not the dream held any truth, my father’s work was, in fact, Madam Pele’s work.
The work that Dr. Fred Stone did was this: he explored and surveyed many, many of the lava tubes in Hawaii, so that they could be protected from development and saved for future Hawaiians. He took me on these journeys with him during my years growing up in Hilo, under the land and deep into its veins, stepping where only the Hawaiians stepped before us.
Once again, Late to the Theater was very graciously invited to the Orlando Ballet. For a write up of Romeo and Juliet, go here. For a write up of Beauty and the Beast, go here.
For the final performance of Orlando Ballet’s 2017-2018 season, Artistic Director Robert Hill decided to do something more experimental than the season’s previous offerings: three different styles of performance. Although they ranged from modern/experimental to classical, all were united by the common theme of love.
Some guest artists also lent their considerable talents to the show: New York based choreographer Jessica Lang, and local chanteuse Sisaundra Lewis.
By now Infinity War is on track to possibly have the best opening of all time. No one is surprised, but people are walking out of the theater shook, and for good reason.
The spoiler-free review is: Oh man, that was amazing with all the fight scenes and effects and great character moments and whatnot. Casual viewers of Marvel films will be able to keep up, and anyone who’s seen at least half of the 19 Marvel films will also be fine. People who’ve never seen a Marvel movie will more than likely be entertained in between action set pieces and character building.
I’ve been to the Dali museum in St. Petersburg, Florida, twice. It’s a small gem of a place nestled onto a point of the town’s little bay, right next to a marina. The landscaping is wonderful, and stepping inside the glass-globed building is like walking into the landscape of your own dreams and nightmares.
On my second visit, though, I had the misfortune to be trapped behind a tour group, just as the guide began to describe Salvador Dali’s deep insecurity about his “little Salvi,” both its size and its performance, and how this insecurity informed his art and caused him to mistreat the people around him.
Achariya: I’m a sports writer for my other-other job, and there are serious issues to discuss when talking about the coverage of women’s sports in popular culture. I was quite excited about the chance to watch The Miracle Season because I thought maybe it would bring a positive spotlight to women’s indoor volleyball.
And I found myself slightly disappointed that what could’ve been a great documentary about a fraught moment in the sport was turned into an after-school special about model/actresses who never were not in their tiny uniform shorts, even for walking around town.
Here’s a short synopsis: the film was based on the true story of Caroline Found, a high school volleyball player, and the events that happened to the team in her senior year. Plot spoilers after the warning.
Jen: In looking over the description and cast, several signs jumped out at me. One was the PG rating, which indicated a family-friendly sports movie; which is fine, not all sports films require steroid use or other challenging material. Another sign was the tagline ‘based on a true story,’ and a sense that the filmmakers were going to present a very specific type of sports movie – uplifting and crowd-pleasing, but lacking in depth.
Achariya: When you mention crowd-pleasing, I’m struck by a memory — as we were walking out of the theater, we overheard a man say, “I cried through the whole thing.” I admit that I also cried, it was hard not to simply due to the subject matter. It felt pretty manipulative, though. Perhaps the filmmaking itself was clunky and heavy-handed — the second we saw the slow-motion farewell smile from one of the initial main characters, we turned to each other in our seats and said…