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Monday, August 12, 2019

When is a Coca Cola Bottle?

Many years ago, as the story goes.. and I think I saw the TVcommercial... the story goes that Andy Warhol, famous Pop Artist,  was hired by the Coca Cola Company to make a thirty second spot to promote Coke. Andy was seated on a bare set facing the camera.  He simply sat there..as he had many of his Factory pals and celebrities sit for video and for Polaroid photos he made.  For 28 seconds he sat and quietly observed the camera.  Then, Warhol held up a bottle of Coke and said, "Eat Coke!" 

This moment, to me, defines what the artist was really all about. Making something out of the obvious.  With style. 

Keith Stevenson and Derek Chariton Photos by Teak Piegdon-Brainin
Quite obvious with Dana Jackson's direction of Vince Melocchi's world premier play "Andy Warhol's Tomato" produced by the Pacific Resident Theatre, is that the playwright imagines that the somewhat tentative relationship Andy has with "Bones" the bar owner, Keith Stevenson,  over the course of a summer in Pittsburgh was a major influence on the super star that Warhol became.  It's a full length one act in a somewhat cinematic style, chronicling days that dropped a very unusual young man into the realm of a working class roughneck who may have some prejudices about other guys who are, like, you know: "Funny..."  (I'd hoped for a Joe Pecci moment here and it was not included. But still.) 

Stevenson falls into the Pittsburgh sound "wid aplumb."  He plays it natural and is at a loss with what to do with this young man who is in his basement just because it was convenient to where the kid fainted.

At rise, Rich Rose's spectacular set: summer 1946, a basement store room for Mario "Bones" Bonino's pub. We discover Derek Chariton as Andy, propped up in a chair, having fainted outside the bar.  Warhol was an unusual guy from the start: a child of immigrant parents with two older brothers.The family led a simple existence, with Andy's dad saving up to send the boy to Carnegie Tech.  What should be mentioned and isn't, is that Warhol suffered from a rare disease, St. Vitus Dance, which sometimes put him on the floor which is probably what happened in front of Bonino's bar.  The first and best joke in the show refers to Andy's pallor. 

Bonino:  You're white as a sheet!  

Warhol: I'm Slavik. 

The unlikely friendship turns on a straight man,  trying to figure out what this ghost of a kid is about. Chariton plays Warhol's homosexuality with such superficial indicating that it calls attention to itself. It is a distraction. Director Jackson has either led Andy's character down this primrose path on purpose, or Chariton  has opted for the obvious, even though Warhol's sexuality was probably much more complicated than obvious gestures and tone. 

The opening night audience was thrilled with the show and probably didn't notice that the prop Coke bottle that has factored prominently in Warhol's artwork over the years was much too new.  This nitpick is because I've had a lot of experience with old fashioned Coke bottles and allowed this mistake to take me out of the play a bit.  
The casting of Chariton, who is in his late twenties as the eighteen year old is another note that rankled me. The dialogue presents a very sophisticated kid but the actor's mannerisms and speech patterns seem much more mature than one would expect even from a prodigy. The story tells that after being ejected from school, a kindly professor recognizing Warhol's innate artistic talent gave him a summer drawing assignment that would eventually re-enstate him at Carnegie.  Andy had big plans to take his illustrating talent to the Big Apple after graduation and become a star.  
That happened!

The pace of the show lacked energy.  The divergent acting styles seem more about the acting than about the characters.  Had the casting gone another way, emphasizing the feeling of post war 1940s and the suspicions about Warhol's sexual orientation been made more subtle, giving the audience an opportunity to come to a conclusion on their own, this script might have been better served.   

A World Premiere
Andy Warhol's Tomato
by  Vince Melocchi
Pacific Resident Theatre
703 Venice Blvd.
Venice, CA 
Thursday through Saturday 8PM
Sundays at 3PM
Through September 22, 2019


 





Sunday, August 4, 2019

POLITICS AND DEATH AND DEATH AND POLITICS

August 4, 2019
Give or take, thirty five funerals are being considered this morning. That's the second part of this post.  
I got a little carried away today with rhetoric in response to how the Democrats may be shooting themselves in their collective feet with the debates that seem to be about knocking one another off instead of pitching to their constituents how they might fix our country.  
So.. I wrote this today and have edited it and the only real suggestion for fixing anything is at the bottom of the page.   The death tolls from Gilroy, El Paso and Dayton may rise today. Who's next? Tomorrow? And, there will be a sad tomorrow, until this epidemic is addressed and we work to fix it. 

//
I've not had the heart to watch the debates. These politicians' snide remarks don't stab to the bone; they slice like a razor: opening up a wound that may never heal.
A Greeley friend asked whom I support (my pal, Tom Hayden was coiling for a debate)... and I said I'd vote for Al Franken. And, I would. Imagine an intelligent, effective, thoughtful and funny guy who would crash a press conference to pump up the volume and banter with those pesky reporters!

Sadly, we have a serious issue to face.
Good US citizens are rising. Our country is rising. Columbine, Sandy Hook, Las Vegas, Parkland,
Gilroy.. El Paso.. and.. this very morning, 8/4/19.. in Dayton, Ohio: the NY Times reports nine shooting deaths. Are we so inured to death? 
That's a troubling thought.
And, the sad answer may be yes.

Every report of a mass shooting (where more than three people die) emboldens another sick person with access to ammunition and a weapon to lock and load. Epidemic? This actually IS an epidemic of violence: it's a health issue.

Call the Center for Disease Control .
Call the director: 
Robert R. Redfield (404) 639-3311
Maybe better? Write a snail mail to him:
1600 Clifton Rd, Atlanta, GA 30333

Finding a cure to stem this tide of murder should be demanded by the White House. 
 And, by all of us. 
Michael Sheehan