BOSTON — The Tent at the Mandarin Oriental Hotel is the new, pulsating heart of Boston Fashion Week. For three runway shows on one night, local designers take fashion forward.

One of the hallmarks of Boston Fashion Week is that it offers opportunity for emerging designer talent. Susanne Hatje is the general manager at the Mandarin Oriental Boston. "We have people who got a chance who might not have been seen and give them the platform in a beautiful environment, a beautiful setting, which is high quality and show it to the public. And maybe you see something which you have not seen before," Hatje said.

For the first time in Boston Fashion Week's history, much of the runway action happens at The Tent at the Mandarin Oriental: A 3,000 square foot tent evocative of shows in New York, London and Milan. Twenty designers will unveil their collections here — each presenting 15-minute shows offering around 24 different looks.

Designer Victoria Dominguez-Bagu was the first to show her collection. "I have a little bit of '70s inspiration, I was around in the late 1970s and I just love the pop of color with the teal and the yellow. I want people to see the collection and say, 'I can wear this. I'd really love to wear it because it's so sophisticated and classy and it makes you feel good when you wear it,'" Dominguez-Bagu said.

Backstage where all the hair and makeup was happening, each of the designers that was showing during Boston Fashion Week had met with their stage, lighting, sound, hair and makeup people to decide what their looks were going to be for the week.

Next up on the runway, showing his couture collection, was one of Boston's most iconic designers, Daniel Faucher.

"I wanted to take you through all the different aspects of a woman's dressing, for special occasion, from a fun dinner out and a luncheon, to obviously the ultimate walk down the aisle as a bride," Faucher said.

One of the striking things about Faucher's collection is the drama he creates for a woman just in the architecture of the dresses he designs. "That's actually what we sort of pride ourselves on. I'm a technician and it's true couture. It's built from the inside out and there's nothing that looks like that or fits like that and the dress walks on its own. And the woman's in there," said Faucher.

And just how much work goes into one of his pieces? Faucher said the average dress takes between 100-150 hours to create. "But the dresses with elaborate beadwork go much more," Faucher added.

For the final runway show, changing fashion from the top, was designer Marie Galvin and her Galvinized Headware collection.

Galvinized Headware offered a deliciously divergent show drawing its own über chic audience. The line's blend of grace and sculpture suggests that every woman should be wearing hats. Its designer disappeared before I could grab an interview — we'll excuse her though. Perhaps after such a successful show, she had nothing left to give.

Susanne Hatje thought the night was a success. "The pieces which came out, the craftsmanship, the elegance, it was flawless. There were so many pieces where you said 'please, I want to wear it, I want to be part of it,'" Hatje said.

For Faucher's part, he said he was relieved it was over. "Oh my God you have no idea! I hate runway shows. They're just too stressful!"

BOSTON — As he and his sad sack team limped into the 2002 baseball season, Oakland A's General Manager Billy Beane was desperate for a new winning strategy. In Moneyball, a film adaptation of Michael Lewis's 2003 book of the same name, Beane (played by Brad Pitt) realizes baseball has become a game of Moneyball.

Given that the A's have little money compared to the major market teams, his new Assistant GM Peter Brand (played by Jonah Hill) devises a system of Sabermetrics — assembling a team by statistics, not salaries. "I see it as a movie about challenging the system and being undervalued and being an underdog and thinking differently," Hill explained during a recent stop in Boston. "That's the element I related to the most."

Hill's character, a Yale-educated economist, is actually an amalgamation of several number-crunching baseball brainiacs not unlike Red Sox GM Theo Epstein, whom Hill met in prepping for the film. "[The GMs Hill met with] felt the system was archaic and things hadn't changed in 150 years and maybe it was time to try something different," Hill said.

It worked for the A's who wound up pulling off a 20-game winning streak that season, an American League record. "I just looked at it as Billy was the bazooka and Peter was the ammunition," Hill said. "Billy acts on raw emotion and Peter's the most logical person in the entire world so together we form one perfect person to start something new, like Frankenstein."

The 27-year-old Hill has established himself over the last seven years in a string of comedies. Moneyball is his first drama. "I happen to have done a lot of comedic movies, but I love dramas and doing this…having this be the first kind of big drama that people will see me in with Brad Pitt and Philip Seymour Hoffman is a dream-like surreal experience," said Hill.

The newly slimmed down actor stars in the film alongside a legion of legends from well-known character actors to Pitt — the icon whose stardom looms large. "After the first couple of rehearsals I was like, I need to get over that because I need to focus on just killing it in this part because these guys trusted me, they gave me an opportunity to do something different and I'm not going to let them down," Hill explained. And he doesn't — helping to transform what could have been a cumbersome story about numbers and sports clichés into one of the most engaging films of the year.

March 24, 2011

CAMBRIDGE -- Diane Paulus is the visionary artistic director of Cambridge’s American Repertory Theater who bounded in from New York two years ago with a strikingly definitive perspective of what theatre could and should be.  At no other moment has the spectrum of Paulus’ ambition been more evident or more available than in March, when she has opened three of her directorial efforts simultaneously.
 
Paulus arrived to take over the A.R.T. just as she was also shepherding a dynamic and once again relevant revival of Hairto Broadway.
 

Now the touring production of Hair, which Paulus also directs, reaches Boston with a three week run at The Colonial Theatre beginning March 22. On Broadway, the show received eight Tony Nominations, and won one for Best Revival. Set during the Vietnam War, it follows a group of counter-culture hippies as they make the passage from free spirits to the socially devastated.
 
Although set firmly in a distinct time and place—New York in the 1960s—the show has managed to transcend generations divides over the years.
 
“What the show does now,” says Paulus, “is people are moved by it across generations. You have people who have lived through the 60s who are coming back, and in many cases for the first time looking back at their youth.
 
“A lot of people get very moved and kind of sad by it, like ‘oh my god that’s who we were, what happened to out country?’ But they are bringing their kids who are 17, 18 or 15 who don’t really know about that time period, even though it is really recent American history, and saying ‘mom and dad, you were like that. You were an activist?  Wait a minute, young people cared enough about their county and loved their country enough to stand up for the values they believed in? Peace and freedom?” 
 
“What I love about it is it’s speaking to the past, but young people see it today, and think it was written yesterday for them. They put the flowers in their hair and start dancing. They wear the hippie clothes. They don’t look at it as a revival.”
 
The history of Hairincludes five distinct versions that different productions have drawn from over the years. Paulus says she went back to the original 1967 New York Public Theater version to begin crafting her production.
 
“I was reading it from a paperback pocketbook edition that was found in a second hand store,” recalls Paulus.  “I found lines that felt to me so relevant. Much more relevant than maybe the funnier lines that went on Broadway the following spring.” 
 
“So to see and hear things about red China. To hear about the military industrial complex, especially while we were doing Hair [the 2007 Broadway production] during one of the last years of the Bush administration.  I went to Jim Rado, the original writer, and I asked ‘can we put these lines back in?’ And he was delighted. He feels Hair should continue to evolve, and my partnership with him has been crafting to a version that speaks to our audience today.”
 
Through the storied history of the production, one scene continues to get a strong reaction. That would be the famous on-stage nude scene.
 
“The important thing to know about the nudity is… it has always been completely voluntary. So when you are in Hair, you choose as an actor ‘do I want to do that or not?’ It’s not like staging that you are required to do.”
 
“The purity of the audience’s gaze. That’s what that moment’s about. It’s not about looking or being voyeuristic; it’s about a kind of freedom. When you think about the fact when they did this in 1968 in Broadway, I mean certain cities this show was banned, because of the nudity. And the idea that was more threatening and more dangerous than someone with a gun killing someone. I think that was the juxtaposition that was so powerful in the late 1960’s for what that moment stood for.”
 
Back on her home stage in Cambridge, Paulus recently opened the riveting and searing rock musical Prometheus Bound.
 
This is a contemporary take on the Greek classic, with a tyrannical Zeus who exacts revenge on Prometheus for sharing fire with humans. It’s especially poignant in this age of unrest and uprising in Egypt and Libya.
 

Gavin Creel stars as Prometheus in the ART’s rock musical production of Prometheus Bound, continuing through April 2 at Oberon. (Source:Marcus Stern)

As for connections between between her own work, Paulus says, “Prometheus Boundand Hairare both pieces that deal with issues of what it means to be alive, what it means to be a citizen, and what it means to be connected to the politics of our time.”
 
“They both yearn to break the fourth wall, and create a happening. In Hair, it’s the 1960’s being happening. In Prometheus Bound, it is a partnership with Amnesty International, and we are kind of shedding a light on prisoners of conscience… and taking an ancient Greek play, and saying this play speaks to our time, and speaks to the issues we are living in our world today.”
 
Much like Paulus’s still running Donkey Show, Prometheusis emersion theatre. The story unfolds all around. gathering us in the bliss of heaven and heaving us into the depths of hell.
 
Paul explains, “I believe in theatre being live, and pushing the aspect of the live event as far into the forefront as possible.  I just think sometimes we think theater equals ‘I sit in a chair, it’s bolted to the floor, my behavior is to be quiet’.”
 
“Theater can be ritual; theatre can be visceral as well as intellectual, and emotional. So I am trying with the A.R.T. to stay true to the mission, which is to expand the boundaries of theatre.”
 
“Theater can look like a happening. Theater can look like a rock concert. Guess what you can stand in a theatre show and put your fist in the air, and sing along. That’s theater as well.”
 
 Prometheus Boundis completing its run at the A.R.T. on Saturday, April 2.
The third act in Paulus’ theatre trifecta is the opera Death in the Powers,which just closed at the Cutler Majestic Theatre.  This is the story of a wealthy inventor, who finding himself at the end of his life, is able to download himself into his environment; into books, furniture, and walls.
 
A collaboration with the MIT Media Lab, this highly inventive piece garnered world wide acclaim after its premiere in Monte Carlo last year. Much of the action involves robotics controlled by people off stage, including nine robots, giant chandeliers that move, and walls with electronic data that are being fed off one of the singer’s body.

“The thing about Death in The Powers,” says Paulus. “It’s all-interactive with the stage action. It’s not press go and everything happens.  The robots are moving on stage with the performers.”
 
“So the attempt in Death in the Powers, how do we make technology a living partner on stage. Not something that is canned and running on it’s own track, but something that is as we know in our lives today, is becoming part of our life, becoming a part of how we live and breathe and act. That is what the opera really does with the technology.”
 
After this year’s momentous season, the A.R.T. is already preparing to go big in the future. The Gershwin Estate is allowing the company to mount the first major revival of Porgie and Bess since it’s beginning 40 years ago. Paulus is currently planning the premiere for this summer.
 

March 24, 2011

BOSTON -- F. Murray Abraham is a familar face to two generations of audiences, most prominently as Amadeus Mozart's jealous nemisis Antonio Salieri in the 1984 film Amadeus. Since winning an Academy Award for that role, Abraham has performed for both movie and theater-goers.

Abraham comes to Boston as Shylock in The Merchant of Venice, opening Tuesday, March 29 at Arts Emerson’s Cutler Majestic Theatre as part of ArtsEmerson’s season.The Oscar-winner talks with WGBH contributor Kara Miller about staying in shape, listening to Stravinsky, and eating lobster in Boston.

Q: This is an interesting time to be in a play about making loans and charging interest. Do you see The Merchant of Venicehaving particular resonance now?

A: Yes, I really do–on a couple of levels. I think that it examines the idea of justice, and it particularly speaks to our time, as there doesn't appear to be any regard for the other–which doesn't ever seem to change.

I feel very strongly about what has been happening–and helpless too. The political system feels geared towards the wealthy. In the play, Shylock represents something bigger than Jews in the world. He represents anyone who has been oppressed: blacks, Irish, Chinese, Palestinians, many groups.

Q: What is the challenge in engaging with art that is more than 400 years old?

A: That's what makes our production [from New York’s Theatre for a New Audience] so exciting. It's perfectly clear. I'm hoping people will drop down and see it because I think they'll be blown away. It was a big success in New York City and [England’s] Stratford-upon-Avon. Sold out in both venues. I can't wait to get to rehearsal– we're really rediscovering the piece.

When people see the show, I would like them to drop us a note or a line. The play might be life-changing. I really mean it.

Q: Do directors approach Shakespeare differently than they did when you first started acting?

A: I think so. The conceptual director has become very prominent. In some ways, that's unfortunate. They have sacrificed communication through the actor for a concept. Our director [Darko Tresnjak] is different. But I do think that some directors now think of actors as something to be moved around–I don't work with them again.

Q: When you're not acting, what kind of art do you indulge in? And what do you look forward to doing in Boston?

A: I really love art. My closest friend is a painter, and we visit museums at least once a week. Stravinsky is my favorite composer–I can't imagine a world without music. I'm also very defensive about Salieri and his music, and Mozart, who I listen to a lot, is a constant surprise. [Abraham won the Best Actor Oscar for portraying Salieri in the 1984 movie Amadeus.]

In Boston, I intend to take a look at some of the best places to get lobster. Also, I have friends in Cambridge. I did King Lear there one time, and it was the first place I encountered three 24-hour bookstores. I was really impressed. I will probably also teach a master class or two.

Q: How tough is it to do eight performances a week in a theatre production?

A: It's what I've been doing all my life. My work is to stay in shape–I am my instrument. I'm 71, and I don't think I've been in better shape. I thought I'd be dead at 60. I once did a show where I performed 16 times a week, but I don't think anyone in history has ever loved acting as much as I do. Maybe as much, but not more.

Watch a preview of The Merchant of Venice

The Grammy Awards are this Sunday and among the nominees is Bostonian and Berklee College of Music alumnus Danilo  Pérez, nominated for Best Jazz Instrumental Album for his latest release Providencia.
 
With a career that spans more than two decades, Pérez’s journey has taken him from his native Panama to stages all over the world. Perez’s latest release finds him crossing musical genres from around the globe, combining elements of jazz, classical, and Latin American folk music.
 
Pérez has played on several Grammy Award-winning albums before, as part of bands backing up Arturo Sandoval and Dizzy Gillespie. This is his first nomination under his own name and as his own producer.
 
“It's very exciting… this is very special for me…for many years, with my name, I'm supposed to be playing and producing only things that are related to Latin music. So in a sense, it’s new to have a Latin name in the jazz category,” says Pérez.
 
Providencia opens with a piece inspired by Pérez’s oldest daughter, which he plans to develop into a longer symphony.
 
“I started with the emotion I felt when she was born. My wife and I just looked at her and we started crying,” says Pérez.
 
“There are six years of her life in the music, and my youngest one is also a part of the piece. I'm committed to developing this piece. They have brought so much Inspiration to my life, and I feel so energized and so creative when I'm around them.”

Maria Hinojosa: One-On-One: Danilo Pérez
In this interview with María Hinojosa, Pérez talks about what he learned from Dizzy Gillespie, his creative process, and the future of jazz. The broadcast include a perform taped in our studios.
 

Greater Boston: Grammy-nominated musician Danilo Pérez
Jared Bowen sits down with Danilo  Pérez to talk about his latest release and his Grammy nomination.

Maria Hinojosa: One-On-One: Danilo Pérez in Concert
In 1993, a young Danilo Perez came to our WGBH studios, then located on 125 Western Avenue, to tape a music special for our series La Plaza. This wonderful special features Danilo performing some of his early compositions.
 

Jazz with Steve Schwartz: Only on 89.7
Host Steve Schwartz plays recordings made here at WGBH during live performances in our studios. This music can be heard no where else! Listen to Danilo  Pérez, Fred Hersch, Greg Abate, and George Garzone.

During depressions and recessions, good times and bad, Americans go to the movies. With 1.3 billion movie tickets sold, 2010 was another banner year for Hollywood. It’s precisely that infatuation with the big screen that makes the Academy Awards one of the year’s truly momentous events. The Emily Rooney Show’s Jared Bowen and Thomas Doherty, film buff and American studies professor at Brandeis University, walk us through the snubs, surprises, and predictions.
 

Best Picture:

 Jared Bowen: It’s predictable straight down the line. For Bostonians, it was a mixed bag. While The Fighter was nominated, there was only one nomination for The Town(Jeremy Renner for Best Supporting Actor).
 
Thomas Doherty: It was predictable... but these are ten really worthy films. There may be one or two that are not your cup of tea, but there a lot of good films from a lot of different genres. One thing that’s missing are comedies. It’s a really somber list.
 
JB: I think it’s going to go to the King’s Speech… either that or True Grit.
 
TD: I know King’s Speech is the middlebrow pick, but I still really enjoyed it.
 
Emily Rooney:True Grit was pretty predictable. It was just straight western with no Coen Brother twists or weird plotting.
 
TD: This might be why it’s the Coen Brother's most successful movie. It’s sort of the anti-No Country for Old Men. They were really smart to stick with the original literary voice of the girl from the book.
 
JB: Despite getting no attention from Golden Globes or other awards shows, it was the second most highly nominated film by the Academy. Whatever the Coen Brothers do, they have such an eye for everything. The music always work, the costumes are great, and the cinematography is always beautiful.
 

Best Actor

TD: I bet you both dinner that Colin Firth will win this category.  

ER: I thought 127 Hours was just a fantastic movie, and I really liked James Franco.
 
TD: What’s strange is that he’s also hosting the Academy Awards.
 
JB: This has happened before. Michael Caine hosted the Academy Awards years ago when he was nominated (in 1973, Michael Caine was nominated as Best Actor for Sleuth). History shows that if you are hosting, you will not win… I’m not sure he will win, but I really liked Jesse Eisenberg will win. I usually get to interview all the nominees, but this year he’s the only one I’ve interviewed.
 
TD: I thought Bridges mumbles too much in True Grit.
 
ER: Christian Bale was great, but the movie was just okay.
 

Best Actress 

JB: This is Annette Benning’s fourth nomination and she completely deserves to win it for The Kids Are Alright… but there is also Nicole Kidman in Rabbit Hole. Kids was so original, and so basic. It’s a simple movie that has a great exploration of traditional family dynamics.  

TD: I think Kids is weirder than that. It’s one of the few movies where the heterosexual sex is hotter than the homosexual sex. Julianne Moore has this great hetero sex, but then she returns to being in this boring homosexual couple. The gender dynamics are really curious.  

JB: I really loved Black Swan.
 
TD: I like Black Swan but it’s a film that really divides people. People who like ballet tend to not like it, while those who don’t know ballet tend to really like it.
 
JB: You’re not really supposed to be paying attention to the ballet, you’re supposed to be paying attention to Natalie Portman’s descent into madness. It’s born out her obsession with her art. It really works for me. I think she will win best actress over Annette Benning.
 
TD: It scores very well with the young female demographic. It was surprised how at the screening I was at, the audience was much younger than I expected.
 

Best Supporting Actor

 JB: Christian Bale will get best supporting actor. I thought Geoffrey Rush played the part as fairly creepy, which I don’t think was the intention, so it didn’t really work for me.
 
TD: I agree.
 

Best Supporting Actress

JB: I was a little surprised by Hailee Steinfeld’s nomination for best supporting actress. Mellissa Leo from The Fighter is my pick, and she’s up against Amy Adams from the same movie. As the mother, Leo is indomitable.
 

Glaring Omissions

 JB: What’s missing is Mila Kunis from Black Swan and Julette Lewis from Conviction, who had about 4 or 5 minutes of screen time but she gives a master-class in acting.
 
TD: For me, it was Never Let Me Go, which had Keira Knightley and Andrew Garfield, who was in the social network. That movie really got to me, but it slipped under the radar.
 

Greater Boston’s Jared Bowen and film critic Joyce Kulhawik give Emily their take on what Oscar night might bring.