Carlos Acosta at the Royal Ballet

A wonderful new dance book http://www.sydneyartsguide.com.au/carlos-acosta-the-royal-ballet/ here's my thoughts for Sydney Arts Guide Carlos Acosta is one of the most well known dancers of our times, famous internationally. This book is published to mark Acosta’s farewell season, and is a very exciting retrospective seeking to preserve and capture most of what are regarded as his greatest performances with The Royal Ballet. Released in Australia by Currency Press, the book is a tribute to his popularity and success with international audiences since 1998 . A large, beautiful coffee table book it documents Acosta’s seventeen year career with the Royal Ballet. There are over 150 assorted photos of Acosta on stage and in rehearsal. The photos are spectacular and show him in dynamic, striking poses from his performances, in leading roles, as Basilio in Don Quixote, as Des Grieux in Manon, Romeo in Macmillan’s Romeo and Juliet, Albrecht in Giselle, and Siegfried in Swan Lake in which he danced the principal roles. It also features photographs of Carlos on stage with the world’s leading ballerinas of recent years including Darcey Bussell and Alina Cojocaru as well as shots of Acosta with The Royal Ballet’s current dazzling stars; Sarah Lamb, Marianela Nuñez and Natalia Ospiova. There are lovely passages, one might perhaps call them mini essays, from three artistic directors of the Royal Ballet- Sir Anthony Dowell, Dame Monica Mason, and the current artistic director Kevin O’Hare as well as Associate Director Jeanetta Lawrence. The book also includes plenty of wonderful quotes from his co -stars, designers and conductors with whom Acosta has worked with over the years. The range of roles Acosta has performed in is astonishing : from the ‘classics’ ( such as Swan Lake, Giselle, Coppelia, La Fille Mal Gardee) to challenging ultra–contemporary works such as Forsythe’s In The Middle. Being the Royal Ballet, Acosta has performed in many Macmillan ballets. The photos are bold and striking.There is a section of Acosta in rehearsal and some productions have black and white photos of rehearsal interwoven with colour photos of performance. Some capture his incredible flying leaps and soft ballon, others his sinuous, sculptural ‘line’ , huge smile and charismatic presence. There is a helpful table of contents at the front of the various productions, which complements the useful listing of the many roles Acosta has performed as a time line at the back of the book. The time line also lists the photographer credits and the various partners in the photos. This is a captivating, visually stunning book that will delight dance lovers. Title: Carlos Acosta @ The Royal Ballet Author: Royal Ballet. Binding: HardBack ISBN: 9781783198900 Publisher: Oberon Press

Royal Ballet Quadruple Bill

http://www.sydneyartsguide.com.au/palace-opera-and-ballet-season-the-royal-ballet-quadruple-bill/ here's my thoughts for Sydney Arts Guide Raining roses and with emotional speeches at the end this was a very special screening. Part of the Palace Opera And Ballet season, the Royal Ballet’s Quadruple Bill was filmed at Carlos Acosta’s farewell to the stage. The film’s presenters were Darcy Bussell and Fiona Bruce with interviews before the show and during the intervals. The clean crisp photography translated the show very well from stage to screen. The programme began with Liam Scarlett’s Viscera. A sparse, abstract ballet (think similar to Forsythe or McGregor in style),the rippling, tumultuous score by Lowell Liebermann was replete with very complicated rhythms and juxtaposed melodies. The work had three sections. The middle part, to a slower, more serene section of music, featured an extraordinary pas de deux that was mesmerising. The other two bookend sections were very sharp and spiky, full of striking, unusual and acrobatic lifts and very demanding jumps for the men.The final section had a cool elegant feel to it. At times, the dancers looked like flocks of birds, a little menacing in tone. The male dancers wore long sleeve purple leotards, the women beautifully textures bluish ones. After interval there were two pas de deux. First up was a breathtaking, hypnotic performance by Sarah Lamb and Vadim Muntgarov in Robbin’s version of Afternoon of a Faune. The set was a tent like open dance studio with barres; we, the audience, were the mirror. To the lush Debussy score Robbin’s mini masterpiece was revealed. The piece opened with a dreamily handsome Muntgarov stretching and rehearsing. His work was suddenly interrupted by the appearance of the blonde, wide eyed and innocent Lamb wearing a pale blue tunic. They rehearse a very difficult pas de deux , not looking at each other but always observing themselves in the mirror. Yes, there were allusions to Nijinsky’s Faune and, at times, Muntagrov was quite feline. The entrancing mood was shattered when he chastely kisses her on the cheek. Disconcerted, she leaves. He returns to his languid pose on the floor alone. Perhaps it was all a dream?! Balanchine’s Tchaikovsky Pas de deux, to what was once regarded as ‘lost’ music from Swan Lake) was all dazzling smiles from Steven McCrae and Iana Salenko. There were plenty of technical fireworks on display in this gala party piece. Salenko was in a lovely pale apricot floaty dress whilst McCrae in white with a beige coloured waistcoat. The traditional pas de de deux format was followed – first the couple danced exuberantly together, then their separate variations (McCrae was dazzling) and a fiery, dizzying coda to end with. A highlight was some amazing, dangerous leaps, ‘fish dives’, taken by Salenko into McCrae’s arms. Carlos Acosta’s story/journey is an exceptional one. Acosta escaped the poverty of the streets of Havana to go on to become one of the greatest dancers of his generation, and to become a great role model for the Royal Ballet. During his career, Acosta has revealed a commitment to taking risks including trying authorship, choreography, and impresario work. When he retires from the Royal Ballet next year, Acosta will take his unique experience and talent back to his Cuban homeland by establishing his own contemporary-dance school there. For this concert premiered his version of Carmen. He wanted to give the Royal Ballet a Carmen they could remember and be proud of, being his farewell to this wonderful stage. Sadly his interpretation, which closed the Roayl Ballet programme, just misses the mark. In my view the piece didn’t quite know what it was– opera, straight drama or dance. There was a guitarist and spoken Spanish, a couple of the famous pieces were sung and choreographically it tried to blend Flamenco, classical ballet, Cuban and contemporary in an uneasy mix. Whilst there was clarity in the narrative- as in one striking prison-set role reversing duet for Carmen and Don Jose– choreographically the piece felt rather flat. Visually it was stunning, with the red ring (looking almost of fire, and lowered and reversed with roses towards the end) a dramatic effect . And yes, the idea of the Minotaur like bull as a menacing shadowy figure of death was interesting . The music was a reworked version of the much loved Bizet opera. Sizzling Marianela Nuñez taunted and flaunted with her many would-be suitors in the corps with a Chippendale moment(or should that be Matthew Bourne’s Car Man?) towards the start. A later ensemble set piece with chairs on castors didn’t quite come off. Carlos Acosta as Don Jose was presented as a romantic, morally corrupted by Carmen, who loses everything. Fredrico Bonelli was a strutting , charismatic, captivating Escamillo. Whilst the piece was some bits were impressive overall it lacked cohesion and needed some editing. Acosta fans in particular will enjoy staying to see the special curtain calls and speeches at the end as he made his farewell. Running time 3 hours (approx) including two intervals. The Royal Ballet Quadruple Bill, part of the Palace Opera and Ballet season, is screening at selected Palace cinemas between the 11th and 16th December.

La Scala Gala des Etoiles

Some absolutely amazing dancing here's my Sydney Arts Guide review http://www.sydneyartsguide.com.au/palace-opera-and-ballet-presents-gala-des-etoiles-from-la-scala-milan/ PALACE OPERA AND BALLET PRESENTS GALA DES ETOILES FROM LA SCALA MILAN Part of this year’s Palace Opera and Ballet season we were very privileged to be able to see this special screening from La Scala, to celebrate the closing of the 2015 Milan World expo, bringing together some of the world’s finest ballet dancers. The Orchestra of the Teatro alla Scala played magnificently under the dynamic baton of David Coleman. The complex program blended a mix of American, French, Russian and English choreographic styles. In my view, the ‘English’ school, as represented by the MacmIllan pas de deux, was the least successful of the collection. Traditional Russian ( Le Corsair, Spartacus , Don Quixote) was mixed with neo-classical and ultra contemporary styles. Technically the dancing was brilliant, at times jaw-droppingly so, featuring very demanding leaps, turns, and some exhilarating lifts in yhe pas de deux. The female dancers were presented beautifully. The screening opened with exciting glimpses of the show in rehearsal and marvelous, sweeping overhead shots of the architecture of the theatre and of the city of Milan. The show featured very little set, mostly just a simple cyc background in an appropriate wash of colour, and some giant chandeliers in a couple of the scenes. The first piece was Three Preludes, music by Rachmaninov and choreography by Ben Stevenson with a single piano on stage, played by Roberto Cominati. A feature was the stark, dramatic lighting. The two dancers, wearing grey, were terrific. Stevenson’s very demanding choreography was intensely neo-classical and the first prelude had the atmosphere of Robbin’s Afternoon of A Faune crossed with Balanchine. In the first prelude there was the use of a ballet barre slid/stood upon .The second prelude featured some amazing lifts – Claudio Coviello was wonderful- and Lucia Lacarra showed great control in the adage. There were plenty of swoops and swirls in the choreography for this section, with circular portes des bras. The third prelude featured plenty of sculptural partnering and flurries of movement, showing off the ballerinas. The pas de deux from Macmillan’s Manon was exuberantly performed by Melissa Hamilton and Claudio Coviello, featuring tricky lifts, swoops and scissoring legs. La Rose Malade was an elegiac yearning pas de deux by Petit, to music by Mahler, which began with a voice over of a poem by Petit. Maria Eichwald as the sick rose has a flying , floating entry in the arms of Mick Zeni. Her hair was in a twig like style. This piece featured plenty of arcing, anguished back-bends and angular enfolding and difficult high lifts as well as swoops and passionate emoting, including a ‘broken wrist’ death. The Grand Pas Classique, as choreographed by Gsovsky to music by Auber, was distinctly of the ‘Russian’ school. Leonid Sarafanov, wearing dark blue, starred with some exceptional solos including some blistering brise voles and cabrioles. Alla Somova’s solo in a blue tutu was very Petipa in style. Somova had a very elegant, regal carriage and dazzled with some very tricky footwork, though I didn’t like the distracting blue floaty arm frills. One of the great highlights of the evening was the sizzling sensational selection from Petit’s Carmen as performed by the amazing Roberto Bolle as Don Jose and Polina Semionova as Carmen. Seductive Semionova was slinky, dazzling and hypnotic. Bolle’s solos were powerful and dramatic, including plenty of pirouettes, some ‘moonwalking’ and even a time where he pretends to be a bull in a bull ring. This duo were simply mesmerising. Next came Svetlana Zakharova channeling her inner Pavlova in an exquisite,heartfelt, exquisite rendering of The Dying Swan (choreography Fokine, music St Saens), featuring wonderful bourees and rippling, fluid elegant arms . To take us to interval we saw an extraordinary performance of the famous pas de deux from Don Quixote. Nicoletta Manni, in a white bell like tutu with an unfortunate ruffled neckline, was superbly balanced in her extended balances and amazing backbends. Manni was also suitably flirtatious in her fan solo. Still it was Vasiliev who was jaw droppingly explosive with his tousled hair, intensely passionate eyes, split jumps and other pyrotechnical skills. He was also great as the devoted partner in the supported turns and fish dives. Another Arpino work Light Rain was the first piece after interval. The piece was reminiscent of some of Bejart’s work. The dancers wore revealing, shimmering blue costumes. The work featured an unusual and intense beat and rhythm, demanding a long, sinuous stretched line .There was plenty of sculptural entwining for Lucia Lacarra and Marlon Dino. Laccarra showed off her amazing angular extensions and backbends and the piece ended with a sense of flying. The balcony pas de deux from Macmillan’s Romeo and Juliet was well done though it lacked a sense of theatrical magic and left me a bit cold. The fiendishly difficult choreography was very well performed by Maria Eichwald and Massimo Murru. The pas de deux from Spartacus with Maria Vinogradova as Flavia and Vassiliev as Spartacus was wonderful. The next piece Prototype was in a very different style. A solo for Bolle, this was very contemporary wellnigh futuristic with plenty of computer generated effects. For example , there was one scene where Bolle danced with multiple images of himself, and even at one point fighting these images. Then came a return to the 19th century withPetipa’s scintillating Le Corsair pas de deux, featuring Zakharova and Sarafanov. Zakharova was in a purple and gold tutu and wore a tiara , Sarafanov wore green. Sarafanov channelled his inner Nureyev and was thrilling in his flashy, show stopping solo , featuring amazing split jumps. Zakharova showed off her skills performing many fouettes in her solo. Both dancers wore dazzling smiles. The evening finished with La Danza delle Ore, a series of choreographed curtain calls as the audience cheered on. This was a dazzling night of dance, a grand ‘Gala of stars’ indeed. Running time- 3 hours 20 mins including one interval. The Palace Opera and Ballet screening of the Gala des Etoiles from La Scala, Milan screened at Palace cinemas between the 4th and the 9th December. 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Pinchgut L'Amant Jaloux

Musically and vocally glorious : here's my Artshub review http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/lamant-jaloux-250062 Monday 7 December, 2015 Great fun with terrific performances and a rare chance to see this now almost never performed opera. Alexandra Oomens (Isabelle) Jessica Aszodi (Jacinte) and Celeste Lazarenko (Léonore); photo by Prudence Upton. As usual, this enchanting performance by Pinchgut was fabulously sung. Erin Helyard and the Orchestra of the Antipodes gave a splendid performance at times lush and sensuous at others light, crisp and delicate. Gretry’s bubbly, light tres Francais score, with its hints of early Mozart (yet written a decade before Mozart began composing) was first performed in 1778/9. With its quite weak plot, the opera is still full of elegant music, some of it quite demanding technically. Mention must be made of the instrumental entr'actes – a delightful mandolin solo for the scene change in-between Act1 and 2 by Stephen Lalor and the extended Baroque flute solo ( by Melissa Farrow) against a very romantic, starry background. There is rather minimalist staging – one set for the entire opera, with a slide out bed, tables, chairs and other hand props, (a ladder, dusters, brooms, fans, extraneous clothes, etc) and detachable curtains on the large window stage right as well as assorted necessary nooks, crannies and doors. The ‘outside courtyard’ for Act 3 is represented by a single ‘tree’, in a wheelbarrow. I also quite liked the use of the blizzard of rose petals in Act 3. The stunning period costumes by Christie Milton are also magnificent and tiny Alexandra Oomens as Isabelle looks like a Dresden shepherdess. The plot is typical of opera of the period, including a series of mistaken identities, lovers tiffs and stormy reconciliations, serenades to the wrong woman, a dominating father and a last minute twist putting all to rights. The small, excellent cast of six have to be trilingual and as the dialogue is spoken in English ​and the arias sung in French (with subtitles). ​This is at first a bit disconcerting. David Greco as Don Lopez was in fine form and splendid, pure yet deep voice as the pompous, self-centered and controlling almost villainous father. Jessica Aszodi as Jacinte was a nosy fusspot making wry comments about her betters and the opening almost sarcastic dialogue between her and her employer Don Lopez was one of the more humorous moments. Celeste Lazarenko, as Léonore was given many reasons to show her pearl like purity of tone, blended with a great vocal control for both coloratura fireworks and soft pianissimo. Ed Lyon as Don Alonze, the eponymous 'jealous lover', piratical in his black and gold bandana, was feverishly passionate with a splendid clean tone – the duets for him and Leonore are particular highlights. Deliciously handsome and French to the hilt, Andrew Goodwin as Florival caught terrifically his magnified sense of honour and his love-struck desperation - the off-stage aria Tandis que tout sommeille at once delicate, ravishing and delightful. Alexandra Oomens as Isabelle is enchanting and her arias were very poignant and touching. Great fun with terrific performances and a rare chance to see this now almost never performed opera. Rating: 3½ stars out of 5 L'amant Jaloux by André Grétry Directed by Chas Rader-Shieber City Recital Hall | 2-12 Angel Place Sydney 3 – 8 December 2015

SHerlock : The Abominable Bride

A wonderful BBC release .Here's my thoughts for Sydney Arts Guide http://www.sydneyartsguide.com.au/sherlock-the-abominable-bride/ SHERLOCK : THE ABOMINABLE BRIDE January 5, 2016 Lynne Lancaster Leave a comment John Watson and Benedict Cumberbatch play the master duo. The BBC has given us a fabulous holiday treat with this magnificent one-off screening taking place in cinemas around the world. Sherlockians will rejoice not just at the return of Cumberbatch as Holmes– cold , aloof, detached and enigmatic- but will enjoy picking up the references to various Holmes stories ( ie The Five Orange Pips , A Study in Scarlet…). This particular episode includes time travel to 1895, the period in which the original Holmes stories took place. It also includes references to the Paget illustrations. The Victorian period is lovingly, lavishly recreated in exquisite detail. It is also much fun comparing and contrasting the contemporary and Victorian 221B’s (and yes there is the Persian slipper, the VR bullet holes – and even a moose head with an ear trumpet! ). This is a ghoulish, gothic horror tale of murders, switched corpses, enigmatic, mysterious cults, and exhumations, where precise timing is critical. Straight at the beginning of the show, we see Victorian Holmes and Watson in their momentous first meeting ( ‘’You have been in Afghanistan I perceive’) and the duo are soon off solving mysteries. The game is afoot from the start… The narrative hinges on the following : a blood-spattered bride who has blown her brains out returns as a gun-wielding vampire like ghoul and kills her husband – after which several other husbands die in a chilling fashion. Defying logic, Emilia Ricoletti has apparently overcome death and, Houdini-like, mastered the secret of bilocation (her corpse was in the mortuary at the time of her husband’s killing). Holmes refuses to believe in a supernatural explanation … It is a case that had been unsolved for over a century and which contemporary Sherlock had tried to solve by journeying deep into his “mind palace” which we learn after an imaginary confrontation with his devilish foe Moriarty (chillingly , creepily played by a sinister Andrew Scott), who had shot himself through the mouth and yet lived. The tense confrontation scenes are marvelously played out. Plunging back to reality, Holmes finds himself on the plane into which he’d been unceremoniously bundled at the end of Sherlock series three. He now has a real mystery to solve – the apparent return of Moriarty – but is unable to give up his obsession with the Ricoletti deaths. Spoiler alert ! – Another twist is provided by Holmes as he disrupts and distracts a gathering of the female cultists (vengeful Suffragettes ) behind the Ricoletti killings. The “corpse bride”, he informs us, was created via lookalikes, effective make-up, and drawing room reflection magic. We are provided with another twist as Sherlock unfortunately digs almost too far into his ‘mind palace’ (drug induced ?) and finds himself caught in tense stand-off with Moriarty, at the fateful, iconic Reichenbach Falls. “When it comes to unarmed combat at the edge of a precipice you’re going into the water,” insists Sherlock. However it is mind-palace Watson who intervenes whilst Holmes drags himself out of his mind- palace (dream ?) by following Moriarty hurtling over the edge. Now almost traditional elements of the contemporary Sherlock were included such as Watson’s failed attempts, as they sat waiting for the ghostly bride to appear, to get Sherlock to talk about his feelings. Highlights include the beautiful simplicity of Sherlock’s searching for clues and summing up of his deductions (“Poetry or truth?” “Many people would say they’re the same thing.” “Yes. Idiots.”)…The in-jokes regarding the difficulties of writing people in and out of stories…The deerstalker becoming an expected, acknowledged prop. The script is excellent, the banter between Holmes and Watson terrific, with comic misunderstandings and wry exchanges, at times very barbed and sarcastic and at others quite revealing . “There is a woman in my sitting room – is this intentional?”, “Suicide street theatre, murder by corpse – Lestrade you’re spoiling us”, “It is NEVER twins Watson!” Martin Freeman as Watson is splendid, supportive and energetic. Benedict Cumberbatch as Holmes is superb in a definitive performance. It is interesting to note the two different period Mycrofts (Holmes’ brother, who ‘ IS the British government”) as played by Mark Gatiss. In the Victorian era segments he is , as stipulated by Conan Doyle , enormously toad like and fat , in the contemporary segments far slimmer and more refined. I liked the way in the Victorian segments that Mary Watson (delightfully played by Amanda Abbington)was also working for him. And the interactions between the two brothers was great fun. Una Stubbs revels playing Mrs Hudson. I also liked the ‘comic relief’ of Watson’s use of incorrect BSL at the Diogenes club. A new series of Sherlock is scheduled for release in 18 months or so. Holmes had a vision of the challenges to come . “Of course Moriarty is dead,” he said. “And I know exactly what he’s going to do next.” The credits began and we can’t wait for 2017 …. Running time just under two hours as there is a brief introduction and guided tour of the Victorian 221B by Steven Moffatt before the feature and interviews with the cast and ‘the making of ‘ afterwards. SHERLOCK : THE ABOMINABLE BRIDE screened at selected cinemas world wide cinemas last Sunday.

Ming Cho Lee - A Life in Design

This is a superb book .Here's what I said for Sydney Arts Guide http://www.sydneyartsguide.com.au/ming-cho-lee-a-life-in-design/ MING CHO LEE : A LIFE IN DESIGN December 30, 2015 Lynne Lancaster Leave a comment Inset Pic- The book cover. Featured pic- Ming Cho Lee receiving his Tony Lifetime Achievement Award. This is a lavish, fascinating, glorious ‘coffee table ‘’ book that celebrates the life and artistry of one of the most important American designers of the 20th century, Ming Cho Lee.The book has won the The 2014 TLA Book Awards’ George Freedley Memorial Award and deservedly so. Sometimes nicknamed the ‘Dean of American stage design ‘, Lee developed his reputation via 300 productions of theatre, opera and dance at venues across the country, and is credited for reshaping the aesthetics of American scenic design. Since 1969, Lee has taught at the Yale School of Drama, where he is currently co-chair of the Design Department. Now in his eighties, Lee was inducted into the American Theatre Hall of Fame in 1998, and was awarded the National Medal of Arts in 2002. The over 500 images for the book, which is based on hundreds of hours of interviews, were chosen personally by Lee from thousands of photos, drawing, sketches, renderings and models, all carefully catalogued by Betsy, Lee’s wife and lifelong archivist. Lee’s awards include a Tony Award for best scenic design of a play, an Outer Critics Circle Award, three Drama Desk Awards, a special Tony Award for lifetime achievement and the National Medal of the Arts . Lee, whose father was a Yale University graduate, moved to the United States in 1949 and attended Occidental College. However, it was his mother that encouraged his love of the arts. He first worked on Broadway as a second assistant set designer to Jo Mielziner on The Most Happy Fella in 1956. Lee’s first Broadway play credited as scenic designer was The Moon Besieged in 1962; he went on to design the sets for over 20 Broadway shows, including For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf, The Glass Menagerie, King Lear, Mother Courage and The Shadow Box. He has won the Drama Desk Award for Outstanding Set Design, a Helen Hayes Award, and in 1983 he received a Tony Award for Best Scenic Design for the icy play K2. Lee has also designed sets for the Opera, (including the Met and the Royal Opera at Covent Garden), Ballet, (including the Martha Graham Company, Pacific Northwest Ballet and Elliott Field in the US and the Cloudgate Dance Theatre in Taiwan) and regional theatres such as Arena Stage, the Mark Taper Forum, and the Guthrie Theatre. Of particular note are his designs for the 1973 production of Boris Godunov for the Metropolitan Opera, and Electra, a 1964 Public Theater production at the Delacorte Theatre. Australian opera devotees might be interested to learn that Lee designed some productions starring Dame Joan Sutherland and Luciano Pavarotti as well as others featuring Placido Domingo. Lee designed over 30 productions for Joseph Papp at The Public Theatre, including the original Off-Broadway production of the musical Hair. From 1962 to 1973, Lee was the principal designer for what is today the Public Theater’s Shakespeare in the Park program at Central Park’s Delacorte Theater. One of his final designs before officially retiring in 2005 was for a national tour of the musical Annie. Lee is perhaps the only person in Broadway history to have a Tony nomination for a show that opened and closed the same night. It was for Billy, a 1969 musical based on Billy Budd, and the set was as remarkable as the show unfortunately wasn’t. Lee might have set a record of another sort: three of his seven musicals closed on opening night, the other two being Here’s Where I Belong and La Strada. All three within just under two years. As a designer, Lee drew upon his training in Chinese watercolour, the aesthetics of his two major mentors, Jo Mielziner and Boris Aronson, and the post-war developments in German design (especially Brecht) to develop a new approach to stage design that radically changed American stage design. Breaking new ground, Lee blended existing motifs in startling new ways and continued to explore new ideas throughout his entire career. Aronson examines how Lee changed style over his career – Lee first introduced a sculptural style with a sparse, soaring verticality that until then had been largely unknown in American theatre. The painterly image was replaced with a decidedly modern and industrial scenic vocabulary that emphasized stage-as-stage and particularly, at first, a scaffolding look that became almost a trademark effect. The book is divided into sixteen chapters, with a preface by Aronson, is arranged chronologically, and looks at most of the important productions Lee designed in a particular year. It is an analysis of and conversation with Lee. Stunning photos of his designs are beautifully positioned to show how the designs sometimes changed and what the end product was compared to the original doodled idea. Candid commentary by Lee on many of his designs is also included providing fascinating insight into various difficulties with some of the productions, and his thoughts on various productions and collaborations. Aronson attempts to show where Ming Cho Lee is positioned in the history of American theatre design in relation to his predecessors and mentors and also future generations – his many students. Mention is also made of the famous Ming’s Clambake an annual event that grew and grew for two decades until it became overwhelming and was sadly discontinued in 2009. The final chapter is a selection of some of Lee’s stunning watercolour paintings from 1950 to 2007.There is also an excellent time line with a list of each production Lee designed for that year and a comprehensive index . Aronson also talks about the importance of Lee’s work in the cultural landscape. “And his influence goes beyond set design,” Dr. Aronson said. “Costume and lighting designers, playwrights, directors, architects, artists have taken his classes. His aesthetic and ideology have seeped into the very fabric of American theatre.” A visual and intellectual feast, this fascinating book will interest anyone involved in the performing arts and should be in the libraries of our leading arts institutions. Product Identifiers ISBN-10 1559364610 ISBN-13 9781559364614 Key Details Author Arnold Aronson Number Of Pages 336 pages Format Hardcover Publication Date 2014-12-09 Language English Publisher Theatre Communications Group, Incorporated Additional Details Copyright Date 2014 Illustrated Yes

Happy New Year

Hi everyone Best wishes for a great 2016 Lynne