Vietgone at A.C.T.’s Strand Theater – A Story of Love and Loss

The American Conservatory Theater is presenting Qui Nguyen’s “Vietgone,” at the Strand Theater until April 22. The story revolves around how two Vietnamese refugees fall in love, one is a fighter pilot, Quang (James Seol) and the other a U.S. Embassy worker, Tong (Jenelle Chu). In the beginning, Nguyen slyly alludes to the characters being based on his parents, “Any resemblance to real persons, living or dead, is purely coincidental. That especially goes for any person or persons who could be related to the playwright. Specifically, his parents. Who this play is absolutely not about”.

VTG_215Tong is given the opportunity to escape the violence and politics caused by the Vietnam War via her job at the embassy, she’s allowed to take one other person with her. She chooses her mother (Cindy Im), forcing her to leave her brother behind. Quang has two children and a wife he’s barely seen as his pilot duty calls, but he intends to be with them as soon as he can. Unfortunately, his plane is discarded and they force him to stay in the U.S. Tong and him both end up at the same refugee camp and that’s where the emotional rollercoaster begins.

The story is told through a mix of humor, intermittent musical set changes, and rap numbers. The dialogue is also sprinkled with a little bit of “shade” towards racist tropes and the fake “woke”. No matter what one believes about a situation or history, there’s nothing more important than having the perspective of a person who’s directly affected by it.  Our parents, and how they tell their story becomes our history.

VTG_171Quang first meets Tongs mother who relentlessly flirts with him and lies about her age, one of the more comedic parts of the show. They establish a friendly relationship and while looking for her, Quang meets Tong. Tong likes to pretend she’s unaffected by emotions and lives as detached as possible, and immediately has a fling with Quang. Her mother walks in conveniently after they’re done and Quang is gone in a flash. And that’s how their love story begins.

VTG_014However, Quang is on a mission to go back to his family in Vietnam and exposes this truth right when Tong is starting to have feelings for him. The story then takes us to the motorcycle adventures of Quang and his friend Nhan (Stephen Hu) on their way to California to catch a flight back “home”. Nhan questions that belief, is it still home after all it’s been through, all that’s been lost? After all they’ve been through, and all they’ve lost?

Although, the story centers around commonalties that we share as humans like love and friendship, the main crux of the story is to not assume that you know what someone feels about their history and experience. This is pointed out when Quang and Nhan meet a couple of hippies on the road and when Quang is being questioned by his son.  

VTG_047People don’t choose to be in a country torn by war. It happens to them not because of them. This harsh reality is one people don’t seem to quite understand. Two people fall in love in this story but two people also have great losses in this story. They were torn apart from their families, their home, everything they’ve ever known.

In situations like this, people are left behind and the only way one can move forward is by accepting the choices that one was able to make regardless of how hard they were, and the ones forced upon you. Through humor, Nguyen explores romance, family, tragedy, regret, abandonment, guilt, and pain. Vietnam was not a “mistake,” Quang tells his son, it is a country. Catch it while you can as this is not a perspective you’ll read in your history books.  

Tickets and Info: 

A.C.T.’s Strand Theater (1127 Market St., San Francisco)
$25–$90

415.749.2228 | act-sf.org
Tuesdays–Saturdays at 7:30 p.m. Wednesdays and Saturdays at 2 p.m.

Sundays at 2 p.m.
*Ticket prices are subject to change without notice


 

 

 

 

 

WalkOut at SDLFF

walkout 1Walkout first premiered in 2006 on HBO and is directed by Edward James Olmos, considering the current struggles the world is facing today and in commemoration of the landmark event, it was added as part of the films shown for the 25th anniversary of the San Diego Latin Film Festival. Walkout is about the 1968 high school walk out that occurred in East Los Angeles, helping propel education in the Chicano community and the Chicano civil rights movement forward.

Honor student Paula Crisostomo (Alex Vega) becomes outraged when she begins to realize after attending a Chicano leadership camp and upon seeing other schools in Los Angeles, that the poor conditions, treatment, and education offered to Chicanos was sub-par to the rest. She gets involved in the activist community and along with her fellow Mexican-American friends, teacher Sal Castro (Michael Pena) and activist leader Moctesuma Esparza (Bodie Olmos), they begin a campaign, and demand changes are made to the educational system for Chicanos. 

walkout 3 1968 picThe students form a set of 3 walk outs, which end up attracting the attention of law enforcement and the news. The students are beaten and treated like dogs on the street, but what ends up being shown on national television is nothing of the sort. Instead the event was painted as being peaceful and as if nothing significant happened. Eventually the walk outs gain so much attention, that the leaders of the groups and some of the brown berets, get taken to court and charged with conspiracy to commit a misdemeanor, and if convicted a 60-year jail sentence. 

The film was provocative and entertaining, and I felt ashamed that I had never heard about this story. It made me realize how much none of this is taught in our schools and how it is hidden from history. It was a wonderful movie to watch and I hope that this film can be shown in schools to inspire all students to stand up for their beliefs.

walkout 2Executive Producer Moctesuma Esparza opened the screening by providing a brief history of the film. He mentioned that over 20 thousand students participated in the walk out and how after the protests there was a huge increase from only 2 students in LA attending college to over 1,000 Mexican-Americas. At the time, Chicanos were discouraged to attend college, and instead were told to become mechanics or secretaries, and for those numbers to increase was phenomenal and shows that what they did make a difference to the world. Esparza built much of his career on telling the history of others, from Roosevelt to Gettysburg, but once he was settled as a producer, he was able to finally tell his story. He told audiences that being an activist is a lifetime commitment and said, “a singular moment does not change things, but years of commitment.” In today’s ever-changing political landscape and upheaval, especially against immigrants and Mexicans, his words resonate deeply. 

The San Diego Latino Film Festival runs from March 15 – 25.

For more info and tickets go to: 2018.sdlatinofilm.com


 

Bamboozled – Kicks off Central Works 2018 Season

Central Works opening production of its 2018 season, Bamboozled by award-winning playwright Patricia Milton, has been extended through March 25th (originally scheduled to close March 18). Milton is a Resident Playwright for Central Works and a long-term member of the Central Works Writers Workshop. Bamboozled is Central Works 58th world premiere.

Jeunée Simon as Abby

Jeunée Simon as Abby

Bamboozled tells the story of Abby (Jeunée Simon), a black appraiser from Los Angeles who’s touring with the show “Antiques Roadtrip.” While traveling in the south – Shelby County, Tennessee, she becomes involved with a man who’s Aunt, Opal Anne (Susan Jackson), accuses her of defrauding the family by appraising her family heirlooms (Confederate artifacts) at 60,000 and then selling them for a million to a museum.

Opal Anne, manages Civil War reenactments and sees the Confederacy and her family’s involvement as a positive legacy. She justifies her family history of slave ownership by claiming they were treated nicely and were simply “field hands” who were provided with food and clothing. In her mind, they were the ones that suffered during the war and are being attacked in current times.

Abby is looking to trace her roots and ends up meeting Savannah (Chelsea Bearce) at an archive library. When Savannah is made aware of Abby’s lawsuit she refers her to her place of work where she ends up with Rochelle (Stacy Ross) as her lawyer. Savannah does minimal tasks for Rochelle due to her being barred after being a target of racism at a nightclub that Rochelle represented her and her partner in.

Stacy Ross as Rochelle & Chelsea Bearce as Savannah

Stacy Ross as Rochelle &
Chelsea Bearce as Savannah

Rochelle is interested in gaining a public personae a la Gloria Allred and makes excuses for the negative results of her approach to Savannah’s case. Rochelle faces prejudices of her own as a lesbian but it was nice to see the fact pointed out that white gay women may face prejudice but it’s not the same prejudice that a person of color faces, even worse for gay women of color, you can’t take off or cover up your skin. For instance, there’s a protest outside by white supremacists and it would be a risk for Abby to get to her car however, Rochelle can get it for her without incident.

Another topic not often touched upon is how black women from different regions deal with racism. The two black characters in the play have different views of what is and isn’t important. Abby believes historical items should be preserved and Savannah thinks they should be taken to the trash and forgotten. Savannah has less expectations of white people than Abby seems to. There’s several microaggressions realistically infused into the show and Abby’s reaction is one of shock but Savannah’s reaction is one of no surprise at all. 

Susan Jackson as Opal Anne

Susan Jackson as Opal Anne

There are many things touched upon on this show in addition to racial bigotry in the United States, the legacy of slavery, and prejudice against gay women. There’s a moral component that touches upon self-interest and how each person rights a wrong. “Most of my plays deal with what we value, and what it costs us,” says playwright Milton. “The premise of Bamboozled is simple: we live in a country haunted by slavery and the Civil War. The nation emerged from conflict burdened with trauma and resentments. We have, in the generations since, continued to sustain unjust systems directly traceable to the institution of slavery. I wanted to write a play that challenged stereotypes we hold of the South, North, and West. I wanted to write a play about Southern women that didn’t erase women of color. I wanted to write a play that might start a conversation about our nation’s systemic economic injustice, stemming from our cotton slavery past.”

The cast was great but Chelsea Bearce and Stacy Ross really made the show. Their characters were also fleshed out more than the others as we learned about their past, their struggles, their various viewpoints and their sense of humor. The play is a perfect conversation piece about where we are today. It’s funny without devaluing the countries current truth, racism is alive and kicking, not in the past. Don’t miss it!

 

BAMBOOZLED

A new comedy about family valuables

written by Patricia Milton and directed by Gary Graves

Feb 17 – Mar 25  EXTENDED Central Works opening production of its 2018 season

(originally scheduled to close March 18).

At: The Berkeley City Club, 2315 Durant Avenue, Berkeley.

Performances: Thurs, Fri & Sat at 8 pm, Sun at 5 pm

Ticket prices: $30-$35 online at centralworks.org, $35–$15 sliding scale at the door.

Previews and Thursdays: available seats are pay-what-you-can at the door.

Tickets & info:  510.558.1381 or centralworks.org


 

SDLFF Kicks Off 25 Years

The annual Media Arts Center San Diego Latino Film Festival (SDLFF) kicked off this year’s event with their opening media party on February 22nd. Rich in culture and history, the SDLFF has been delighting and engaging fans for 25 years, and the media party did not disappoint. Hosted at One Bunk in Barrio Logan, the festivities featured legendary actors such as Pepe Serna, tequila infused cocktails, delicious food from Cocina 35, live music, and silk-screeners making festival shirts on site.

SDLFF

The 2018 film festival will run from March 15-25, 2018 and will feature movies at both AMC Fashion Valley and North Park’s Digital Gym Cinema. This year’s celebrations will include tributes to filmmakers and actors, a Virtual Reality Lounge, and live performances at the Sonido Latino stage. The Sabor Latino, food, beer, and wine festival, will also be returning with celebrated Latino chefs cooking up traditional and new Latin food, along with craft beers on tap, and Latin wines to sip on. All proceeds from Sabor Latino go to the Media Art Center San Diego’s youth education and outreach programs.

SDLFFThere were many filmmakers and actors in attendance at the party and I had the opportunity to speak with Patricia Chica. She directed the LGBTQ-centered film Morning After, which will be featured at the festival. The film is a coming of age drama about sexual fluidity and depicts a group of millennials who refuse to define themselves with the labels that society has put on them. As Patricia mentioned, this film is important in the environment we are living in now and is especially important for Latinos who may have traditional upbringings to understand that labels do not have to define them as a person. The film sounds exciting and an important one to watch, get your tickets and check this one out.

Festival passes are now on sale, along with a special edition 25th Anniversary VIP Pass for $325. Regular single tickets can be purchased starting March 1st, either on-site at the theaters or online. This is an enlightening and fun experience not to miss.

http://2018.sdlatinofilm.com/tickets/

SDLFF

 

Ragtime – The Berkeley Playhouse

The Berkeley Playhouse has brought one of the most acclaimed American musicals of the last twenty years to their stage, Ragtime, based on the celebrated novel by E. L. Doctorow. The story includes a multitude of perspectives all looking for the same thing, the American dream. America is changing at the turn of the 20th century and many are fearful of their privilege being diminished. Unwelcoming to Immigrants and/or trying to take advantage of them and continued racism and violence towards African-Americans. You’d think the story was based on today.

BP's_Ragtime_2We’re presented with three evolving stories on the East Coast that interconnect in time, although it ends in song and dance one story still ends somberly.  We meet an affluent white family led by “Mother” (Mindy Lym)  from suburban New Rochelle, New York; an African American musician, Coalhouse Walker Jr. (Dave J. Abrams) part of the Renaissance in Harlem; and Jewish immigrants, Tateh (Mischa Stephens) and his daughter (Molly Graham) who initially start out in the tenements of Manhattan’s Lower East Side.

BP's_Ragtime_3Mother (her character has no name) in New Rochelle begins to understand a little bit of her privilege after finding an abandoned baby. She finds the mom, Sarah (Marissa Rudd), who’s about to be imprisoned and promises to take responsibility for her and her child. Sarah ends up being the love of Coalhouse Walker Jr. and he desperately tries to convince her to come back to him each week. We never find out what happened between them prior. Tateh finds a new way to tell stories and ends up becoming successful. He eventually ends up meeting Mother after her family ends up in Atlantic City, New Jersey due to racist tensions at her New Rochelle home. They end up being the only two who move towards the American dream of infinite possibilities. 

BP's_Ragtime_4Interwoven into the story is the innocence of the children. We see the young boy (Elijah Cooper) observing the adults but not understanding their issues, he’s still open and honest with his observations. It’s interesting to think about where adults lose that innocence. Adults often admire it in young people as if they had not been that young once. When and where is that acceptance lost?

The Berkeley Playhouse does a great job bringing this to the small stage. We continue to be impressed by their casting, lighting, sound and show choices. They are inclusive, timely, and well executed. 

Ragtime boasts Tony Award-winning music and lyrics by the Broadway powerhouse duo, Stephen Flaherty and Lynn Ahrens(Once on This Island, Anastasia, Seussical), book by four-time Tony Award-winner Terrence McNally (The Full Monty, Love! Valour! Compassion!, Master Class).

Details: 

February 16 – March 18
Book by Terrence McNally
Music by Stephen Flaherty
Lyrics by Lynn Ahrens
Based on the novel Ragtime by E.L. Doctorow
Director William Hodgson
Music Director Daniel Feyer
Choreographer Alex Rodriguez

Get Tickets


 

Just Between Us – Book Review

Just Between Us by Rebecca Drake tells the story of four friends, Alison Riordan, Julie Phelps, Sarah Walker, and Heather Lysenko. They live in the town of Sewickley in Pittsburg, Pa. and seem to have stable lives where their basic needs are more than just met. They have nice houses, cars, good schools, and friendship.

During school days they get together at a small cafe called Crazy Mocha to catch up with each other after dropping their kids off. Their lives change from simple conversations to a whirlwind of terrible choices after Alison spots a bruise on Heather’s wrist while handing her a cup of coffee. TFinal Cover. Just Between Ushis one incident unravels a mountain of uncomfortable truths testing their friendship and confronting their own troubled pasts. It also leads to a deadly night that all enabled in small ways.

Sarah is a former lawyer who is now a stay at home mom. She struggles with this choice from time to time, one of what could’ve been. Julie is a top realtor and often the decisive one. Heather is married to a top plastic surgeon and as the others like to point out often, is beautiful especially in comparison to themselves. She comes from humble beginnings, doesn’t have any viable skills but is continuously envied because of her looks. She also had a stint as a model during her younger years that’s often referenced. Alison is the last mom to join the group and can’t believe she has them as friends once accepted. She goes through a bunch of “what if I hadn’t” scenarios in her head as if she can’t believe her life is hers.

The story is told from each characters perspective which at times is a bit confusing as the voices were often undistinguishable. Luckily, the chapters are named after the characters. Their distinct personalities only show when they interact with each other but when talking about their everyday lives they sometimes dwell on things that don’t necessarily move the plot forward or affects them personally. It does display how concern over another person can creep up into your daily routine, it just gets to the point of fanatical in certain parts. Sadly, the concern for Heather is greater than the concern the others have for each other. For instance, Heather is treated as fragile which gets the friends to a “we must help her, even if she rejects us” motto. Yet, Sarah’s character has a drinking problem that seems to be met with anger more than compassion. Some of their “secrets” seem like open secrets that others just didn’t notice.     

The book is a good read but not consistent in its intensity. There are parts that are page turners and parts that you might want to fast forward through. However, the intense parts are enough to make you want to finish the book. If you take a break or two you will inevitably want to go back to close the loopholes thrown in here and there especially the one at the end. Skipping to the last chapter won’t suffice.   

It may get you thinking about your own life and personal relationships. How far would you go to help a friend? How often do you believe the gaps you fill in other people’s stories without knowing the whole truth? How does this change your everyday decisions and judgments? How blindly do you trust your friends and how much of yourself do you reveal? As each friend gets to know another’s secret it’s met with “why didn’t I know that” shock, even though they themselves have a secret too. People often expect those around them to be what they think they are. It’s a good casual read and would be an interesting book club choice among friends who believe they’re as close as the characters believe themselves to be.  

About the Author

Photo: Joseph Mertz

Photo: Joseph Mertz

 

Rebecca Drake is the author of the novels Don’t Be Afraid, The Next Killing, The Dead Place, which was an IMBA bestseller, and Only Ever You, as well as the short story “Loaded,” which was featured in Pittsburgh Noir. A graduate of Penn State University and former journalist, she is currently an instructor in Seton Hill University’s Writing Popular Fiction M.F.A. program. Rebecca lives in Pittsburgh, PA, with her husband and two children.

 

 


 

KDFC to Air Richard Strauss’ ARABELLA on February 4

On February 4 at 8 p.m., the Bay Area’s Classical KDFC will broadcast a 1980 San Francisco Opera performance of Richard Strauss’ romantic opera Arabella starring soprano Kiri Te Kanawa in the title role, soprano Barbara Daniels as Zdenka, tenor William Lewis as Matteo and baritone Ingvar Wixell as Mandryka, with German conductor Wolfgang Rennert. This performance from the Company’s archives will be hosted by KDFC radio announcer Dianne Nicolini.

17-18-01-MC-D-856 - Claire de Sévigné as the Fiakermilli and Tomasz Konieczny as Mandryka in the Canadian Opera Company’s new production of Arabella, 2017. Conductor Patrick Lange, director Tim Albery, set and costume designer Tobias Hoheisel, and lighting designer David Finn. Photo: Michael Cooper

Photo: Michael Cooper

The capstone of the artistic partnership between Strauss and librettist Hugo von Hofmannsthal, Arabellapremiered in 1933 and quickly joined the artists’ other collaborations including ElektraDer Rosenkavalierand Die Frau ohne Schatten in the repertories of opera companies around the world. Set in Vienna’s golden age, the opera follows Arabella, a beautiful young woman who is expected to marry for wealth to save her family from financial ruin, but she yearns for a soulmate. The opera, which features one of Strauss’ most lush and refulgent scores, premiered at San Francisco Opera on October 29, 1980.

New Zealand soprano Kiri Te Kanawa sings Arabella, one of her most celebrated portrayals, for which theSan Francisco Chronicle praised her “voice which spins lines of precious tone, soaring softly or arching out to you, always in a living, dynamic state.” A few months after her critical and popular success in Arabella at San Francisco Opera, Te Kanawa’s fame grew to unprecedented proportions when she sang at the royal wedding of the Prince and Princess of Wales, a televised event seen by an estimated 750 million people. American soprano Barbara Daniels portrays Arabella’s lovesick sister, Zdenka. Swedish baritone Ingvar Wixell, a San Francisco Opera favorite since making his American debut with the Company in 1967, portrays Mandryka and William Lewis sings the role of Matteo. German conductor Wolfgang Rennert leads the San Francisco Opera Orchestra in this classic performance. 

17-18-01-MC-D-919 – (l-r) Claire de Sévigné as the Fiakermilli, Tomasz Konieczny as Mandryka, John Fanning as Count Waldner and Gundula Hintz as Adelaide in the Canadian Opera Company’s new production of Arabella, 2017. Conductor Patrick Lange, director Tim Albery, set and costume designer Tobias Hoheisel, and lighting designer David Finn. Photo: Michael Cooper

Photo: Michael Cooper

Classical KDFC can be heard on the FM dial at 90.3 (San Francisco), 89.9 (Wine Country), 92.5 (Ukiah-Lakeport), 104.9 (Silicon Valley), 103.9 (Santa Cruz and Monterey); on Comcast Cable 981; or online at kdfc.com.  The historic Arabella performance from 1980 may also be streamed on demand at kdfc.com up to four weeks following the February 4 broadcast. 

Sunday, February 4, 2018 at 8 p.m. – Richard Strauss’ Arabella (1980)

Kiri Te Kanawa (Arabella), Barbara Daniels (Zdenka), William Lewis (Matteo), Ingvar Wixell (Mandryka), Alexander Malta (Count Waldner), Sona Cervena (Countess Waldner), Michael Ballam (Count Elemer), John Brandstetter (Count Dominik), Kevin Langan (Count Lamoral), Erie Mills (Fiakermilli), Rebecca Cook (Fortune-Teller), Lee Woodriff (Djura), Karl Saarni (Jankel); conducted by Wolfgang Rennert. Recorded November 1980.


 

A Wrinkle in Time – Behind the Scenes

One of this year’s most anticipated movies opens nationwide on March 9, “A Wrinkle in Time”. Disney debuted this behind-the-scenes look during TV One’s broadcast of the 49th Annual NAACP Image Awards. 

This epic adventure directed by Ava DuVernay, is based on Madeleine L’Engle’s classic book of the same name, “A Wrinkle in Time”, which takes audiences across dimensions of time and space, examining the nature of darkness versus light and, ultimately, the triumph of love. Through one girl’s transformative journey led by three celestial guides, we discover that strength comes from embracing one’s individuality and that the best way to triumph over fear is to travel by one’s own light.

Directed by Ava DuVernay from a screenplay by Jennifer Lee based upon the beloved novel by Madeleine L’Engle, “A Wrinkle in Time” stars: Oprah Winfrey, Reese Witherspoon, Mindy Kaling, Gugu Mbatha-Raw, Michael Peňa, Storm Reid, Levi Miller and Deric McCabe with Zach Galifianakis and Chris Pine.

Wrinkle in Time

 

The 59TH ANNUAL WHITE ELEPHANT SALE IS HERE!

White Elephant SaleIt’s that time of year again! The 59th annual White Elephant Sale in Northern California returns to Oakland March 3 and 4, 2018. It will feature 19 departments in a 96,000 Square Foot Warehouse. Items include, furniture, artwork, household goods and china, sporting gear, fine jewelry, collectibles, tools, music, books, vintage and contemporary clothing.

A preview sale will take place on Sunday, January 28 from 10 am to 4 pm. The event is organized and presented by the Oakland Museum Women’s Board and benefits the Oakland Museum of California. For the past three years, the Sale has raised over $2 Million. The event is made possible by donations from the public and is run by more than 1,000 volunteers.

Antiquers and bargain hunters often look forward to this event all year. It’s not uncommon to see rented trucks outside the door. You’ll want to wear comfortable shoes and arrive early. You can easily spend all day there looking for treasures for your home.

There will be a complimentary shuttle service from the Fruitvale BART to the WES warehouse provided for the January 28 Preview Sale and on the March 3 and 4 White Elephant Sale days.

Preview Sale tickets are $15 in advance at the OMCA Store, $16 online through the WES website, and $20 at the door. Tickets can be purchased in advance starting December 13. More information on how to purchase tickets can be found at WhiteElephantSale.org. Children under 12 are admitted free to the Preview Sale but must be accompanied by an adult at all times.

Admission is free for the main event on March 3 and 4.

DONATION INFORMATION

Donations of gently used good quality items are accepted year-round. For free van pickup call 510-839-5919. Visit WhiteElephantSale.org for donation information, including on which days drop-off donations are accepted at the warehouse at 333 Lancaster Street in Oakland, and a list of items that cannot be accepted.

ABOUT THE OAKLAND MUSEUM WOMEN’S BOARD

The sole purpose of the Oakland Museum Women’s Board (OMWB), a dedicated group with 114 year-round members, has been to raise money to support the Oakland Museum of California acquisitions, exhibitions, educational programs, capital improvements, and more. Since 1959, the OMWB has contributed over $22 million to the Museum. With the help of a thousand dedicated volunteers, they work year-round to organize and present the White Elephant Sale held annually during the first weekend in March which attracts shoppers from the Bay Area and beyond.

ABOUT THE OAKLAND MUSEUM OF CALIFORNIA

The Oakland Museum of California (OMCA) brings together collections of art, history and natural science under one roof to tell the extraordinary stories of California and its people. OMCA’s groundbreaking exhibits tell the many stories that comprise California with many voices, often drawing on first-person accounts by people who have shaped California’s cultural heritage. Visitors are invited to actively participate in the Museum as they learn about the natural, artistic and social forces that affect the state and investigate their own role in both its history and its future. With more than 1.9 million objects, OMCA is a leading cultural institution of the Bay Area and a resource for the research and understanding of California’s dynamic cultural and environmental heritage. 

Lady Bird – Film Review

4stars

LB5Lady Bird is a thoughtful and engaging coming of age story that depicts the melodrama that occurs in some teenager’s lives. It shows a time when most adolescents are self-absorbed, yet still dependent on their relationships with their parents. As much as they think they have it figured out; they don’t at all. The film Lady Bird is actor and screenwriter Greta Gerwig’s directorial debut, and from what I saw this is certainly an entrance into what will one day be a well-versed filmography to look back upon.

The story is told from 2002-2003 a time that felt much different than today’s social media driven world. Considering it was post-9/11, when fears were being inbred into society, people were still not yet tied to capturing every moment of the news, nor were teenagers tied to their cellphones. Lady Bird is the name that high school senior Christine McPherson (Saorise Ronan) gave to herself because her given name just didn’t feel like her. She is filled with bravado, yet completely vulnerable to the realities of adolescence like heartbreak, rejection, and trying to fit in.

LB2The film is set in Sacramento, CA, an agricultural sleepy city, where Lady Bird feels like nothing happens, she wants to move to New York City, “where the culture is,” as she tells her mom when she tries to convince her to let her apply to colleges on the East Coast. Her mother Marion (Laurie Metcalf) wants her to stay in California, where in-state tuition will be cheaper and where she can stay close to the family. Marion is one of the most passive-aggressive mother’s I have ever seen on screen. She loves Lady Bird, we can feel it, but she never tells her she looks pretty or that is she doing great with her life. Instead it is a constant barrage of comments that she is not smart enough to get into a good school, an unappreciative brat, and lacks any grasp on the realities of the world.

One of the best scenes in the film is when Marion tells Lady Bird to fold her catholic school uniform and to take care of it because they cannot afford to buy more clothes because her father just got laid off. Who would want to hire a man with a family who looks disheveled, she tells her. Lady Bird says to her that wouldn’t it be great to have a mom who wouldn’t always make you fold your clothes, to which her mother retorts with “well my mother was an abusive alcoholic,” and walks away. In that moment we see the whole reason perhaps why her mother behaves the way she does and in a sense Lady Bird feels, but doesn’t really get it yet because she is too young. It is a defining moment in understanding the paradigm in her relationship with her mother.

LB3The film takes us through Lady Bird’s senior year, coupled with laugh out loud moments with her best friend, tenuous talks with school counselors, priests, and the head nun, and romantic possibilities and heartbreak. Gerwig gives us some teenage movie clichés, but she finds a way to mix them into feeling much more real and visceral, than other ones we have seen before. 

Ronan carries the film differently than she did last year with Brooklyn, where with that character she was innocent and longing, here she is completely vulnerable and somewhat extreme. She pushes the envelope because her character demands it, to have held back too much, or in the hands of another actress, the character could have been unlikeable and maybe even a bit annoying. Instead Ronan infuses her as the girl we have sometimes felt like, the one who says awkward things and tries too hard, yet also the girl who knows how to say just the right thing. 

LB4Metcalf was brilliant, I could see both actresses getting an Oscar nomination. The rest of the supporting cast played beautifully against the two women, Tracy Letts as the father, compassionate and soft against two forceful women, and Lucas Hedges (from last year’s Oscar nominated Manchester by the Sea) as Danny, and Timothee Chalamet as Kyle, her two pseudo-love interests. There was also her best-friend Beanie Feldstein as Julie, the shy and quirky best-friend who shone much brighter than she did as the ditzy sorority girl in Neighbors 2. I enjoyed the fact that not once did the movie make any note of Julie’s weight, it was never an issue brought to light as it so many times in movies. Instead it was never even a point of distraction or mention, which lent to the way the story was told.

By the end we see that Lady Bird can fly, she just needs to learn how to navigate her wings properly along the way. I would recommend this film to viewers and believe that it is worth seeing over some of the big blockbuster hits that will be coming out soon. Definitely one to watch in my book.

LB1Starring: Saoirse RonanOdeya RushTimothée Chalamet ,Laurie Metcalf, Kathryn Newton, Jake McDorman, Lucas Hedges, Danielle Macdonald, Lois Smith

Directed by: Greta Gerwig

Written by: Greta Gerwig

MPAA rating: R

Running time: 94 minutes

Rating: 4