The Arts & Entertainment world is a many-splendoured thing in Western Mass, Southern VT, and North Eastern NY. What are you're interested in? Send an e-mail to arts@greylockglass.com.
The Absence of Eddy Table, by Rune Spaans, is a short animated flick that contains some of the exact elements that inspired the “What Did I Just Watch” series. It’s twisted. It’s dark. Its brilliant. Enjoy!
The Absence of Eddy Table from Rune Spaans on Vimeo.
Editor’s Note: This independent, original article generously sponsored by Jacob’s Pillow.
An Arapaho proverb says, “All plants are our brothers and sisters. They talk to us, and if we listen, we can hear them.” It’s an elegantly simple explanation of the interconnectedness of life on and with earth—a central belief in most, if not all, indigenous traditions.
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The pretty and petite Village of Kinderhook in Columbia County, New York, is a place where you’d expect to find historic buildings, vintage-inspired restaurants, and well-groomed, flower-lined streets. And it does have all of those things—plus an unexpected, worth-the-detour extra: The School, Jack Shainman Gallery, which hosts the world-class Basquiat x Warhol exhibit through September 7.
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We spoke this week with DJ Oli Real about the first ever Summerfest Talent Show taking place at Pittsfield’s Durant Park on August 18 from 2:00 p.m. – 6:00 p.m. This community event is family friendly and hope to amuse, entertain, and showcase some of the best sides of West Side.
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No youth with a shred of decency or self-respect should seek to emulate Sir John Falstaff. On the other hand, if you happen already to be plump and middle-aged, yet randy as ever despite increasingly rusty charms, you could be forgiven for taking some winking inspiration from the dissolute knight’s bacchanalian habits. Cantankerous and crafty, Falstaff, dubbed “Shakespeare’s greatest creation” by Orson Welles, is the rotund and besotted hub of The Merry Wives of Windsor, on stage now through September 1 in the Roman Garden Theatre at Shakespeare & Company in Lenox.
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Kyle Abraham is looking for something. The multi-award-winning choreographer and MacArthur Fellow, whose company, A.I.M by Kyle Abraham, makes its mainstage debut at Jacob’s Pillow this week, brings his signature search for identity and struggle with personal and societal emotional trauma to a packed, five-dance program.
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Not much gives away what a slap across the psyche a drama is going to be, what a shish kebob skewer in the heart, what a sap in the kidney, like a funny first act. And the first act of The Children, an Obie Award nominee by Lucy Kirkwood, is really, really funny.
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By Robin Catalano
Happiness is tricky. It’s something we all want, but it often feels just out of reach—that if we do this, buy that, go there, we’ll find it, wrapped and waiting like a birthday gift. The fleeting, often elusive quality of happiness lies at the center of The Happiness Project, a 2016 work by Dutch-born choreographer Didy Veldman, whose company, Umanoove, makes its U.S. debut at Jacob’s Pillow this week.
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My son is a slug. If he were left to forge his own life choices, I think many of those choices would involve reclining—specifically, reclining in front of a video game. Like a lot of kids, he rejects every alternative I throw at him: How about practicing karate in the living room? Taking the dog for a walk? Playing basketball in the schoolyard? Going for a bike ride? No, nope, no thanks, nuh-uh. Occasionally I can talk him into a stroll if I slap five dollars into his palm and tell him to treat himself to ice cream along the way, but my parental conscience tells me that negates the point of walking.
On the other hand, when I drag him away from the screen and insist that he do something that causes him to use a few voluntary muscles, he becomes a ball of kinetic energy. Everything is a party. It’s not unusual for him to have a fantastic and memorable time at the grocery store. The grocery store. He’s like a party waiting to happen.
But the reclining.
Recently on a quest to find a new and unusual activity that he would get excited about, I did a search on escape rooms, thinking that he might enjoy the challenge of using his noggin. I came across 5 Wits in Albany and read that it’s less of an escape room and more of an immersive experience. It seemed like the best of all worlds: high-tech video game appeal combined with the kid getting off his keister. His birthday was the perfect excuse for giving it a try.
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Hey, Greylock Nation!
This is TLC, Number 73, here at the Greylock Glass. I’m your host Jason Velazquez, and I hope your Independence Day week is shaping up nicely. I am very pleased to say that this episode is sponsored by the Hancock Shaker Village’s Shaker Barn Music Series, presenting The Mammals Saturday, July 27.
Sometimes fantastic interviews just sort of drop in my lap. Fascinating people I’d LOVE to hear from that I know you’ll enjoy hearing from to. Such is the case with Michael Plante, Senior Programmer for Short Films at the Sundance Film Festival. I had the good fortune of speaking with Doug Jones, Director of Images Cinema in Williamstown about the Sundance Film Festival Short Film Tour which lands at Images Cinema for one day only — July 4 at 2:30 p.m. Turns out, Doug and Mike are friends from way back. Then Boom! I’ve got one of the countries foremost experts on short films on the line a few days later.
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We’ve had a running joke in our house about much how we enjoy a production that’s “ultimately life-affirming” after seeing one billed that way years ago. The show was superb, and I wanted to scrub the depressing, kinda icky residue out of my memory with a pumice stone and some strong lye soap for a few days afterwards. The life-affirming part, I think, was that none of the lives portrayed was my own. So I’m going to be cautious in describing The Waverly Gallery, on stage now at Shakespeare & Company.
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![Barbara Ernst Prey, School Room, 2019, watercolor on paper; [source Hancock Shaker Village].](https://i0.wp.com/www.greylockglass.com/wp-content/uploads/2019/05/School_Room.jpg?resize=150%2C150&ssl=1)
A folksy, daydream quality suffuses about half the frames of The Biggest Little Farm, out now from NEON, and showing in artsier cinemas and festivals around the country.
This cinematic pixie dust is the film’s greatest strength. It also risks placing the picture, written and directed by acclaimed wildlife photographer, John Chester, precariously at the edge of fictionalized memoir — not through untruth or exaggeration, but omission and artifice.
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