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Longo is not without entrepreneurial desires. He staged performances, did sculpture and is producing a full-length film, Empire. His art got more ambitious, involving more people both in his pictures and as assistants in the studio. We see the results at Castelli and Metro. They include a large bas-relief in aluminum depicting a horde of struggling Wall Street types: a Roman battle sarcophagus with updated clothes, flanked by ominous, smooth, black effigies of skyscrapers in perspective that recall the architectural renderings of Hugh Ferriss in the '30s. The trouble is that the execution does not carry...
...every unseen movie is a masterpiece, as Success amiably proves. Its oafish hero Harry (Bridges) cannot seem to get the attention of his pretty, dotty wife (Belinda Bauer). They have sex every Friday; in between she chats with her cats and practices ballet before her favorite companion, a full-length mirror. So Harry gives himself another life, in the guise of a swaggering gangster named Mack. Suddenly, love and the perfect swindle are his for the daring. This is a cynical fairy tale that must be told with buoyancy of spirit; Richert's gift is for earthbound madness...
...images are familiar yet disturbing, snapshots from a country of the mind. Welcome to Laurie Anderson's United States, Parts I-IV, given its full-length premiere last week at the Brooklyn Academy of Music. Part narrative epic, part rock opera, part home movie, United States is a sharp-eyed, sharp-tongued, aphoristic examination of 20th century life in 78 segments, lasting six hours and taking two evenings to perform. Wagnerian in its scope, Carrollian in its absurdist wit, Carsonian in its deadpan, stand-up-comic timing, Anderson's work is the biggest, most ambitious and most successful...
...liquid onto his hand through his make-believe wine glass. Mostly, however, Warner plays it straight, competently choreographing MAN and WOMAN'S sexual tangle on the floor at one point and making imaginative use of trunks, screens, and mirrors. Before his first entrance, MAN can be seen in a full-length mirror at the back of the stage, an effect borrowed from cinematography...
...looming pile that is Valhalla or Hunding's chilly glass-paned palace, is gained in unorthodox but expressive detail that may be overlooked in the theater. In Wotan's sorrowfully reflective second-act monologue in Die Walküre, Bass-Baritone Donald McIntyre stands before a full-length mirror; tearing off the patch that covers his lost eye, Wotan searches for his soul and finds only an emptiness that foreshadows the twilight of the gods. For all its mythic dimensions, the Ring is basically a family tragedy, just the thing for the intimacy of the small screen. Conductor...