Dec 04

“Waitress, The Musical” Soon Available at the Movies

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Those of us who’ve never seen the hit musical theater adaptation of the movie Waitress will soon have the opportunity to see a filmed version starring the writer of the score, Sara Bareilles. Check your local listings for Waitress, The Movie—Live on Broadway! Showings begin December 7th and run “for five nights only”—though I did find one theater that adds a mid-afternoon.

As described by Filmed On Stage, this version “celebrates the power of friendship, the pursuit of dreams, the families we choose, and the simple joy of a well-baked pie.”

The 2007 Movie (Not a Musical)

Waitress initially was a 2007 movie written by Adrienne Shelly (who also plays a friend of the lead character), who was murdered before the movie even came out.

In brief, Jenna (Keri Russell) the Southern “pie genius” works at Joe’s Diner and is unhappily married to Earl (Jeremy Sisto), who’s controlling and abusive. Making a bad situation worse, there is the misfortune of Jenna unexpectedly becoming pregnant. She then gets involved with her obstetrician (Nathan Fillion), who’s also married. Jenna’s support network are her two female coworkers and the owner of the diner.

Most of what the audience sees about Earl’s behavior is emotional abuse, though there is an instance of physical abuse as well. Many have perceived this portrayal of domestic abuse as realistic.

Waitress has been a crowd-pleaser–and it stands at a very respectable 89% on Rotten Tomatoes. Dana Stevens, Slate, declared that Waitress is a “feminist fairy tale about a woman learning to develop her creative gifts while trapped in a stifling marriage.” In other words, a woman you can root for.

Waitress, The Musical on Film

Or, as Allegra Frank, The Daily Beast, calls it—Waitress: The Musical: The Movie.

Featuring such Broadway hits as “She Used to Be Mine” and “You Matter to Me,” the stage version of Waitress ran for several years. Critical reviews of the filmed version of the musical are scarce. However, when screened at the Tribeca Film Festival this past June, at least two critics weighed in and found the almost two-and-a-half-hour movie worthy.

An excerpt from Damon Wise, Deadline.com:

…Bareilles takes the lead and holds the stage effortlessly as Jenna Hunterson, pastry wizard at Joe’s Pie Diner…Becky (Charity Angél Dawson) and Dawn (Caitlin Houlahan) are her co-workers and confidantes, and it is to them she reveals that, at a time when she’s getting restless with her inattentive and sometimes violent husband Earl (Joe Tippett), she’s pregnant (‘Funny how one night can ruin your whole life’). A visit to Dr. Pomatter (Drew Gehling, a 180-degree contrast to the film’s more stereotypically attractive Nathan Fillion) tells her that not only is she eight weeks gone, she is also perilously attracted to the equally married physician.

As in the movie, there are certain customers that stop by — like the scene-stealing Ogie (Christopher Fitzgerald), Dawn’s eccentric date…and the plot hinges on Jenna’s wistful wish to win the upcoming pie competition and leave Earl. But though, like the movie, the musical doesn’t sugarcoat a bad marriage, there’s some sympathy for Earl — like almost everyone else in this town, he’s a character shaped by disappointment and disillusion.

Although Frank (Daily Beast) found the film version wanting, she does recommend it.

The actual attempts at framing this film like a film range from successful to less-so…

But even if the musical’s attempt to give back to the medium that birthed the source material is uneven, it accomplishes its main, important goal: It will help more people see this wonderful piece of musical theater.

Nov 29

“The Holdovers”: New Holiday Film Is Special

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If there’s a theater movie I’ve enjoyed more than The Holdovers this past year, I don’t remember it.  And I’m not the only one praising this story that on varying levels—but not heavy-handedly or without humor—involves issues of grief, loneliness, secrets, anxiety, depression, and alcoholism.  A sampling of critical reviews:

  • Johnny Oleksinski,  New York Post :  “…the warmest cinematic experience you’ll have all year.”
  • Leonard Maltin: “…the year’s best movie to date.”
  • Jackson Weaver, CBC: “…best movie of the year.”
  • Peter Travers, ABC News: “…has all the makings of a new holiday classic.”
  • Maureen Lee Lenker, EW.com: “…the closest thing we’ve had to a new holiday classic in quite some time.”
  • Brian Truit, USA Today: eighth of 20 “best Christmas movies ever.”

Currently at 96% approval from Rotten Tomatoes critics, the following is the site’s description:

From acclaimed director Alexander Payne, THE HOLDOVERS follows a curmudgeonly instructor (Paul Giamatti) at a New England prep school who is forced to remain on campus during Christmas break to babysit the handful of students with nowhere to go. Eventually he forms an unlikely bond with one of them — a damaged, brainy troublemaker (newcomer Dominic Sessa) — and with the school’s head cook, who has just lost a son in Vietnam (Da’Vine Joy Randolph).

Here’s a preview:

THE THREE MAIN CHARACTERS

Maureen Lee Lenker, EW.com: “There is something so relatable, so deeply human about their pain and their circumstances — there’s a startling honesty in the kaleidoscope of emotions they all are experiencing at any given time.”

Oliver Jones, Observer: “None of these characters ask for sympathy, but command it nonetheless.”

Tomris Laffly, The Wrap: “…three broken misfits lifting each other up.”

THE STORY

Brian Tallerico, rogerebert.com:

Hollywood has a long history of stories of ‘makeshift families that learn something,’ but then why does ‘The Holdovers’ feel so fresh? It’s probably because it’s been so long since one of these stories felt this true. Payne and his team recognize the clichés of this life lesson, but they embed them with truths that will always be timeless. Everyone has that unexpected friendship or even mentorship with someone who forever altered their direction in life. And everyone has that young person who has shocked them out of their stasis, either through revealing what they have become or failed to be. ‘The Holdovers’ is a consistently smart, funny movie about people who are easy to root for and like the ones we know. Its greatest accomplishment is not how easy it is to see yourself in Paul, Angus, or Mary. It’s that you will in all three.

Nick Schager, The Daily Beast: “…a story about the lies we tell ourselves (for good and ill) and the reality of our not-so-dissimilar human conditions. Moreover, both looking forward and behind, it’s a film that grasps that everything has been done before and that absolutely nothing is set in stone, and that what bolsters and binds us most of all is compassion for ourselves, each other, and the histories we can never truly escape and are always free to leave behind.”

Stephen Farber, Hollywood Reporter: “Both teacher and student discover secrets about the other that prove traumatic and therapeutic at the same time.”

CONCLUSIONS

Oliver Jones, Observer: “When it’s over, the chill it leaves in your spine is destined to last nearly as long as the smile on your face.”

Max Weiss, Baltimore Magazine: “Wry, funny (with some zingers that will stay with you long after the film is over), and closely observed, The Holdovers is my kind of Christmas film.”

Moira Macdonald, Seattle Times: “…gets us there with honesty rather than sweetness.”

Nov 22

Fat Phobia and Activism: Six Memoirs by Women

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Below are six memoirs by women who are fat activists. They address issues of fat phobia and fat acceptance and the various feelings and attitudes they engender. “Fat,” by the way, in the parlance of fat activists, is meant to be a relatively neutral word. It replaces such words as “overweight,” which carries more judgment.

I. Roxane Gay, Hunger: A Memoir of (My) Body (2017)

Gay self-describes as “super morbidly obese.” In Hunger she makes connections between being gang raped at 12 and her ensuing desire to build a body that would avert further assault.

But, as with most childhood defense mechanisms having origins in trauma, it no longer serves her so well. Not exactly at peace, Gay states, “I’ve told my parents many times that I’m as over being raped as I’ll ever be. It’s 30 years later. It’s not fine, but I’ve dealt with it. I’ve gone to therapy, I have worked through those issues. But I don’t know if I’ll ever overcome the ways in which I was treated for daring to be fat” (Sarah Rose Etter, Vice).

Actress Melissa McCarthy is just one of the featured subjects in this essay collection. Megan Garber, The Atlantic: “…McCarthy embodies the conflicting messages American culture sends to fat people—and fat women, in particular: You’re contributing to a nationwide health epidemic, but also love yourself! Because you’re beautiful just as you are.”

III. Gabourey Sidibe, This Is Just My Face: Try Not to Stare (2017)

Sidibe is another actress who’s been targeted with fat phobia. One notable quote: “It seems as though if I cured cancer and won a Nobel Prize someone would say, “Sure, cancer sucks and I’m glad there’s a cure, but her body is just disgusting. She needs to spend less time in the science lab and more time in the gym!”

IV. Lindy West, Shrill: Notes from a Loud Woman (2016)

West, whose memoir was adapted into the series Shrill, states: “To be shrill is to reach above your station; to abandon your duty to soothe and please; in short, to be heard.”

“For me, the process of embodying confidence was less about convincing myself of my own worth and more about rejecting and unlearning what society had hammered into me.”

V. Jes Baker, Things No One Will Tell Fat Girls: A Handbook for Unapologetic Living (2015)

In the following book description the publisher challenges fat phobia. Things No One Will Tell Fat Girls is “…an invitation to reject fat prejudice, fight body-shaming at the hands of the media, and join this life-changing movement with one step: change the world by loving your body.”

“We don’t need to stop using the word ‘fat,’ states the author in The Huffington Post, “we need to stop the hatred that our world connects with the word ‘fat.’ So I use it, because I have decided that it’s my word now. And the more I use it positively, the more stigma I smash.”

VI. Lesley Kinzel, Two Whole Cakes: How to Stop Dieting and Learn to Love Your Body (2012)

States the book’s publisher: “…Lesley Kinzel tells stories, gives advice, and challenges stereotypes about being and feeling fat. Kinzel says no to diet fads and pills, shows by example how to stop hating your body, celebrates self-acceptance at any size, and urges you to finally accept the truth: your body is not a tragedy!

One of the myths that fat activists face is that they disapprove of people trying to lose weight. On the contrary, Kinzel, for example, just wants people’s decisions, whatever they are, “to come from a place of self-love, and not self-loathing.”

Nov 15

Joan Baez: “I Am a Noise”–Anxiety, Trauma/Dissociation

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As Kenneth Womack, Salon, has stated, the new documentary Joan Baez: I Am a Noise is “…one of the most intimate and revealing documentaries of its kind. In one sense, it chronicles Baez’s preparations for her final tour; yet at the same time, the film underscores the singer-songwriter’s lifelong search for the truth about the overarching depression that has marked her life.”

But depression is just one aspect of her mental health issues. Her anxiety and panic attacks began in childhood, leading to therapy in her teens. These conditions, moreover, continued to plague her throughout her career.

And that’s not all. Peter Bradshaw, The Guardian: “(T)his intimate and painful documentary… brings us to the brink of a terribly traumatic revelation that it can’t quite bear to spell out.” We get just enough, though, to understand that she has disturbing childhood memories–“though she says she cannot recall definitively whether her father sexually abused her” (Deadline).

What Baez can be clearer about, though, are her experiences of dissociation. Matthew Carey, Deadline: “For the first time, Baez speaks in detail about experiencing multiple personalities, among them someone she describes as ‘Diamond Joan.’ The condition, known clinically as dissociative identity disorder, typically results from long-term trauma in childhood featuring abuse or neglect.”

The following are revealing quotes from recent interviews conducted with Joan Baez.

I. Scott Simon, NPR”

“And my sister Mimi just called one day and said, you know, I think something terrible happened in our childhood. Do you want to look into it the way I will in therapy? And eventually I said yes. And we both discovered some very deep trauma from childhood. And we were – our bodies and brains were reacting to that our whole lives without our knowing it because it was all unconscious, subconscious.”

“And I believe with all my heart that he and my mom have no memory of it at all. The mind is an extraordinary thing to have blocking something out if you really don’t want to deal with it. I mean, I had blocked it out for 50 years. And then the journey was really quite something.”

II. Walter Scott, Parade

Regarding her dissociation, or DID: “[Mine] was many splits and each one had a reason for being there—each little entity that’s born is there for a reason—when I was trying to grow up. By recognizing these little entities and then nurturing them, that nurtured a part of me that needed that. I loved all the little people in there and they’ve held me together and taught me a lot.”

Regarding her son, musician Gabriel Harris, age 53: “That’s where this terrible sadness comes in that I wasn’t there for him. I didn’t realize the extent of it until I saw the film and I hear him talking. I salute him for being honest and loving and caring but saying what his truth was about growing up with a mom who basically wasn’t there. A lot of times I was there, but I wasn’t there.”

III. Bobbi Dempsey, AARP  

“First of all, I don’t think the ending in the film really, really shows the amount of peace that I came to. I’m not sure why. But all of that came through deep therapy. I put off deep therapy for half a lifetime. And clearly figured out why: It was too scary to deal with. But no, I don’t have those demons now. Occasionally there’s a little pop-up, but basically, no. Therapy is hard work and it’s a lot of emotional excavation.”

“If somebody [asked] what am I proudest of, I would say getting through that tunnel. It was pretty dark when I entered it, and I entered it on faith. And then by the end I was really back in the light — or in the light, in a way, for the first time.”

Nov 08

Books About Dying: Five Selections

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Five important books about the topics of dying, living well before dying, and living well while dying.

I. The End of Your Life Book Club by Will Schwalbe

When humanitarian Mary Anne Schwalbe was living with terminal cancer, her son Will came up with an unusual idea for an activity for them, which is chronicled in this memoir.

II. Exit Laughing: How Humor Takes theSting Out of Death, edited by Victoria Zackheim

From the publisher’s blurb: “As painful as it is to lose a loved one, Exit Laughing shows us that in times of grief, humor can help us with coping and even healing.”

In this collection, various authors tell true stories about dying and loss. For example: “…Amy Ferris explains how her mother’s dementia led to a permanent ban from an airline…Bonnie Garvin even manages to find a heavy dose of dark humor in her parents’ three unsuccessful attempts at a double suicide.”

III. Natural Causes: An Epidemic of Wellness, the Certainty of Dying, and Killing Ourselves to Live Longer by Barbara Ehrenreich

Ehrenreich addresses our often futile attempts to prolong life via food, exercise, health, and various medical crazes and procedures.

San Francisco Review of Books: “That doctors have begun having themselves tattooed with ‘DNR’ (Do Not Resuscitate) is a clue how extending life a few days or weeks in intensive care is of little benefit.”

The quest to prolong life usually becomes particularly amped up as we age. Results vary and are iffy. Publishers Weekly:

Ehrenreich’s core philosophy holds that aging people have the right to determine their quality of life and may choose to forgo painful and generally ineffective treatments. She presents evidence that such tests as annual physicals and Pap smears have little effect in prolonging life; investigates wellness trends, including mindfulness meditation; and questions the doctrine of a harmonious ‘mindbody’ and its supposed natural tendency to prolong life. Contra the latter, she demonstrates persuasively that the body itself can play a role in nurturing cancer and advancing aging.

IV. The Art of Dying Well: A Practical Guide to a Good End of Life by Katy Butler

The Art of Dying Well follows Butler’s previous Knocking on Heaven’s Door: The Path to a Better Way of Death.

In a piece Butler adapted from Knocking on Heaven’s Door (“The Ultimate End-of-Life Plan“), the author states:

Why don’t we die the way we say we want to die? In part because we say we want good deaths but act as if we won’t die at all. In part because advanced lifesaving technologies have erased the once-bright line between saving a life and prolonging a dying. In part because saying ‘Just shoot me’ is not a plan. Above all, we’ve forgotten what our ancestors knew: that preparing for a ‘good death’ is not a quickie process to save for the panicked ambulance ride to the emergency room. The decisions we make and refuse to make long before we die help determine our pathway to the final reckoning.

V. The Unwinding of the Miracle: A Memoir of Life, Death, and Everything That Comes After by Julie Yip-Williams

The author of The Unwinding of the Miracle, the most personal of these books about dying, died at the age of 42 from advanced colon cancer. (You can read the obituary her husband Josh wrote about Yip-Williams’s incredible life here.)

Kirkus Reviews“: “Along the way, the author considers a fundamental question: Is it more courageous to keep struggling (trying new meds and procedures, seeing new specialists) or to surrender to the inevitable? Eventually, she realizes, she will have to do the latter, and she enters hospice care.”