Arts

Arts

Popular Songs' promises to be a crowd-pleaser

September 22

A lot of what could be said about Yo La Tengo's twelfth studio album, "Popular Songs," could be said about any Yo La Tengo album since the band really hit its stride backin 1993 with "Painful." "Popular Songs" holds up well against a strong and remarkably consistent back catalogue. In terms of quality and consistency, it's solid, akin to its predecessor "I Am Not Afraid of You and I Will Beat Your Ass" (2006). However, it's not the undeniable classic of 1997's "I Can Hear the Heart Beating as One."     Yo La Tengo begins "Popular Songs" on an apprehensive note: "I know you're worried / I'm worried too / But if you're ready / I'll take the fall with you," Ira Kaplan moans on opener "Here to Fall." "Here to Fall" starts the album in an up-tempo and edgy mood, but the album's vibe quickly shifts to the safe and comforting.     On a strong Yo La Tengo album, the warmth and fuzz does not turn into a thick and obtuse mess. Rather, it is shaped by strong melody and song-craft into something intensely memorable. The band knows how to focus on and expand a good idea; when the band members focus on a key part, they add strength and nuance to it instead of drowning it in pointless musical acrobatics. This is the case with most of "Popular Songs." The album is soothing but not directionless.     Yo La Tengo's other gift is a musical versatility that allows the band to borrow from and integrate different pop styles into its own work. Listeners may think, "Hey, is that My Bloody Valentine?" ("Nothing to Hide") or imagine that they're hearing vintage Belle and Sebastian ("If Its True"). Yo La Tengo can go from shiny noise-rock to peppy and clean duets with ease. Of course, a lot of the time band members sound like themselves: experimenters and art-rockers who, despite their innovations, write songs that remain grounded in experiences the listener can relate to.     Yo La Tengo's ability to experiment while still maintaining an identifiable and attention-worthy sound is put to the test on the second half of "Popular Songs." The band passes with flying colors, fully capitalizing on the opportunities afforded by musical experimentation. The last half-hour of the band's 72 minute album is devoted to three songs, all of which top nine minutes. The charm of these long, slow-building behemoths is the way they manage to corner and expand on a theme over a long period of time. Despite repetition, none of these songs ever sits in one place or fails to reward attention. Thematically, the second half of the album gives a cozy feeling that will put the listener in a good mood.     "Popular Songs" consists of thoughtful and tuneful experimentation. It is rock with a wholesome spirit behind it and promises to please both the old fan and newly converted.  

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Arts

Love' is hate worthy

September 22

We've all heard the saying "s--t happens," and after watching the clichéd "Love Happens," it's clear that the saying is true. A second-rate film that attempts to differentiate itself from run-of-the-mill Hollywood productions, "Love Happens" begins with potential but fizzles into disappointing confusion.     "Love Happens" stars Burke (Aaron Eckhart), a famous author of a self-help book who leads a touring seminar for people who have suffered the death of loved ones. At one of these seminars, he meets Eloise, (Jennifer Aniston),  who is a florist working in the sponsoring hotel. Though he is still coping with the death of his wife, Burke is forced to confront the scars of his past and open himself up to love again.     At first, "Love Happens" appears to be just another boy-meets-girl flick, but with some promise. Cinematographically interesting title credits are followed by dryly comedic scenes with well-established characters and conflicts. Burke's hypocrisy as he tosses back drinks before stepping on stage to tell seminar attendees "alcohol is a mask" intrigues viewers, who hope for an exploration of his character as the plot unfolds. The emotional backdrop of dealing with the death of loved ones provides for some powerful minor characters, including Walter (John Caroll Lynch), who is battling internal demons created by his son's death.     However, for this movie, it's the title, not the alcohol, that's the mask.     As "Love Happens" unfolds, it is as if writer/director Brandon Camp was suddenly struck by the possibility of creating an emotional drama instead of a romantic comedy halfway through shooting the film and decided, "Let's do it!" This wouldn't have been so bad if Eckhart's lackluster presentation of a tortured soul didn't pale in comparison to Lynch's touching performance.     After the film deviates from its initial progression, Burke's confrontation with the memory of his wife is increasingly front and center. His emotional turmoil proceeds to drag out over the next hour, overshadowing the plot's other elements. Even Aniston, with her all-American cuteness, can't save the film from being one long requiem for Burke's marriage. For example, the first date between Burke and Eloise is dominated by Burke's awkwardness about dating for the first time since his wife's death, instead of establishing a chemistry that allow the couple's subsequent love interest to ignite.     The rest of the duo's interactions are nothing more than that: interactions. As their romance is supposedly blossoming, Burke and Eloise's ‘chemistry' just becomes more confusing as the audience is constantly reminded of how brokenhearted Burke is. After 80 minutes, the audience is still wondering when love is actually going to happen.     Eckhart's formulaic acting aside, "Love Happens" fails both as a romantic comedy and as an emotional drama. Whenever Burke takes a sentimental moment to share his struggle, the scenes are comically awkward and destroy any possibility for Eckhart to give more than a mediocre performance. Other non-constructive sub-plots are edited in arbitrarily for ill-timed comic relief, further shooting the film in the foot. Moreover, the film's clichéd origins keep reminding audiences that they signed up for a romantic comedy, not drama.     If viewers haven't already left the theater with a headache, the plot may re-engage the audience after the typical "boy-girl fight," as each character conflict comes to a climax after an unexpected revelation. But again, the plot cannot decide which theme to develop and a misplaced and corny bond between Burke and his father-in-law (Martin Sheen) leaves the audience groaning again. In the end, the film stays true to its romantic comedy roots as Burke and Eloise finally get together.     "Love Happens" suffers greatly from an identity crisis, quickly squandering what potential it had by meandering through myriad themes and conflicts. Mediocre acting and bad editing don't help, either. If the previews made the film seem like a flop, that's because it is.  

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Arts

Popular guilty pleasure returns to the CW for third season

September 21

Like any juicy gossip, the buzz about The CW's hit show "Gossip Girl" has spread faster than flu through a freshman dorm. "Gossip Girl" continues to entertain fans as the show enters its third season,which promises to be just as scandalous, outrageous and undeniably addictive as ever.

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Arts

Jennifer's Body' is a confusing buffet of genres

September 21

Advertisements and media hype have given viewers mixed messages about "Jennifer's Body." In the trailers, the film comes across as a gory thriller with the added bonus of Megan Fox sexiness. But since the movie is penned by Diablo Cody, the Academy Award-winning screenwriter of the indie hit "Juno" (2007), it's expected to be wittier and include more social commentary than a run-of-the-mill bloodbath. This contradiction is present in the movie as well; "Jennifer's Body" is a horror film that attempts to be something more. Unfortunately, its attempt to rise above the typical thriller fails. It is ultimately confusing and distracted.

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Arts

Stories unfold behind one family's 'Fences'

September 20

"Fences" was one of August Wilson's ten-part cycle of plays detailing the African American experience of the 20th century, but the story it tells and the characters it showcases resonate well into the future.

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Arts

Vampire Diaries' deserves stake to the heart

September 20

The CW's fall offering "The Vampire Diaries" comes from creator Kevin Williamson

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Arts

Bright Star' shines

September 20

As boring as John Keats' odes may have seemed back in high-school English class, "Bright Star," a film about the author's life, makes viewers care about the man behind the verse. Set in 19th century England, this film brings Keats (Ben Whishaw) to life. His story will captivate, as long as poetry recitations do not chase viewers out of the theater. For all of Keats' fame as a writer, the movie centers not on his literary work, but on the powerful and ultimately doomed romance between protagonists Keats and Fanny (Abbie Cornish).

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Arts

On new album, Jay-Z plays the elder statesman

September 17

     After the age of 30, most aging wordsmiths hobble along the side of the hip-hop expressway, searching far and wide for relevancy in the ever-evolving world of rap. These ripening luminaries are often caught in a brutal trap in which they must appeal to youth while still catering to the insatiable true hip-hop head. The code for escape is never the same and changes at a daily rate.     In the midst of this musical chaos, Jay-Z walks down the middle of the road, paving his own path while drawing on the experiences of his predecessors. A witty lyricist and a savvy businessman, Jay-Z has always remained one step ahead of his peers and adversaries on his way to commercial success.     His impeccable flow and ear for gritty yet pop-savvy beats have earned him wealth, celebrity and Beyoncé Knowles. Standing alone at a juncture that few rappers before him have reached, Jay-Z releases "The Blueprint 3" (2009) as an established and renowned artist who, beneath the surface, is engaged in a quiet struggle for relevancy.     In June of this past summer, Jay-Z came out with the single "D.O.A. (Death of Auto-Tune)." Armed with a No I.D.-produced beat based on soulful jazz samples, Jay-Z ruminates on almost every controversial hip-hop issue making headlines today — from skinny jeans to faux drug-dealer artists — with an emphasis on the advent of auto-tune.     An old man in hip-hop years, Jay-Z denounces the stylized nuance of young, upcoming rappers. He leaves behind subtlety in order to convey his message clearly: "This is anti-auto-tune, death of the ringtone/ This ain't for iTunes, this ain't for sing-alongs".     Jay-Z should be applauded for his courage in taking a stand on already divisive issues. He chose to have his second single, "Run this Town," communicate that he is acutely aware of the haggard state of hip-hop and that he's not going to sit idly by while it deteriorates.    The only problem is that he's two years too late. Auto-tune has been solidified as a crutch for lesser hip-hop artists seeking mainstream play, and artists such as Lil' Wayne and Kanye West have implemented the tool with unique and creative results.     "D.O.A." is indicative of Jay's position in uncharted waters; he attempts to create somewhat new material while appealing to the masses who threaten to abandon him at any moment.      And appeal he does. Laced with the freshest beats from the who's-who of hip-hop super producers — including Kanye West, Pharrell and Timbaland, to name a few — Jay-Z reminds listeners just why he's so rich. He maintains the smooth-as-butter flow, ostentatious tone and the drug dealer and money references that his listeners are used to hearing.     In addition, several of the tracks on the CD are tinged with the subtle electronica elements that have been infiltrating hip-hop for the last two years. It's a new sound for Jay-Z, and it's refreshing on the ears. He even manages to get some well-needed indie cred with this album by making songs with blogosphere darlings Santigold, Luke Steele of Empire of the Sun and upcoming rappers J. Cole and Kid Cudi.     Hands down, the best song on the album is "Empire State of Mind," an ode to New York featuring fellow New Yorker Alicia Keys. Keys soars on the hook while Jay-Z exalts the city that birthed him over raining piano loops.     Amidst the parade of hits on the album, however, several clunkers dull the CD's brilliance. Surprisingly, Timbaland supplies Jay with two lackluster beats, and Swizz Beatz offers Jay a semi-experimental track that sounds repetitive after two minutes. Additionally, "Venus vs. Mars" is a mess of a track in which Jay attempts to wittily dissect the differences between male and female.     Still, Jay-Z reminds the world of his greatness without too much exertion, relying on the same formula he's used throughout his career. He is relaxed in cruise control, driving comfortably down the hip-hop expressway and maintaining the relevancy that has eluded so many before him.

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Arts

Sorority sisters kick the bucket in a horror flick that's frighteningly mediocre

September 17

     College graduation should be an unforgettable day. The problem for the girls of Theta Pi is that they might not survive it. The latest in the endless run of horror remakes being cranked out by the Hollywood assembly line these days, "Sorority Row" (2009) offers up a fun, but ultimately unsatisfying addition to the "slasher" genre.     "Sorority Row" features largely unknown actresses who try their best to make an impression on audiences while running, screaming and delivering witty one-liners. Despite the actresses' best attempts, the sisters' personalities fall into easily identifiable stereotypes, including queen bee Jessica (Leah Pipes), nice girl Cassidy (Briana Evigan) and nerdy and insecure Ellie (Rumer Willis). And director Stewart Hendler seems content to leave the character development at that. The sorority sisters never become more than flat characters reduced to their most basic attributes.     The movie begins with the girls attempting to pull an overly elaborate prank on an ex-boyfriend who has wronged one of them. When the prank takes a turn for the worst and one of the sisters is killed, all involved decide that it's best to hide the body and never speak of the incident again. Flash forward eight months later: It's graduation and the girls' sorority, Theta Pi, is throwing one last party-to-end-all-parties. Trouble starts when people begin disappearing and the girls receive threatening text messages on their phones.     What follows is standard horror fare, complete with false scares, subplots that go nowhere and a number of red herrings, each one more implausible than the last. The girls are slowly killed off one by one, with a few extra casualties thrown in for good measure. Unfortunately, the plot faces a dilemma: If the girls are killed off too fast, they won't be able to argue with each other, which would deprive the film of most of its comic relief. On the other hand, if they stay alive, the film begins to drag.     The by-the-numbers approach to each of the murders keeps the movie from being very scary, and the final identity of the killer seems arbitrary given the four or five other suspects who have more believable motives for the killings. There's not much of a point to this movie, since it's not scary enough for cheap thrills and the plot is too full of holes for decent entertainment.     The movie suffers from too many horror clichés and, oddly enough, over plotting. What should be a simple, straightforward horror flick gets bogged down with trying to fool the audience with too many possible killers.     Even the style is distracting. Murder scenes are carried out with slick choreography, but general conversations are constructed with haphazard handheld camerawork and choppy editing.     That is not to say that "Sorority Row" has no redeeming factors. Despite the lack of character development, most of the girls are well cast and seem to have fun with the script, which gives them plenty of insults to hurl at each other in a style reminiscent of "Mean Girls" (2004). Carrie Fisher also has an amusing role as the no-nonsense house-mother who goes after the killer with a shotgun.     Horror fans will also enjoy the variety of the kills in the movie, which range from traditional stabbings to a more gruesome death involving a bottle. They are well done, for the most part, and thankfully don't get too caught up in an overabundance of gore like other recent horror movies.     In the end, "Sorority Row" is a standard thriller with a pretense that promises more fun than the movie delivers. While its lively cast and inventive murders provide a decent amount of fun, the movie really doesn't have anything to distinguish it from any other horror film that might be showing at the local theater.

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Arts

New doc has insights into fashion industry

September 17

    As New York's Fashion Week comes to an end, few people will have watched the designers' collections more closely than Anna Wintour, editor-in-chief of "Vogue." Wintour is widely considered to be the most influential individual in the fashion industry because her decisions to include or exclude designers' looks from "Vogue" can make or break a career.     Creating each month's "Vogue" is an enormous undertaking, and R.J. Cutler's new film "The September Issue" follows Wintour and other editors as they assemble the magazine's biggest annual issue.     This process is obviously stressful for designers because they all hope to be included in the pages of the influential publication. But it is also nerve-racking for employees of "Vogue" because of Wintour's demanding management style.     Wintour has been editor-in-chief of "Vogue" since 1988, and in that time she has earned a considerable reputation for her signature look, strong opinions and decisiveness. Some see these characteristics in a less-than-positive light, including Lauren Weisberger, whose novel-turned-movie, "The Devil Wears Prada," (2006) depicts a hardnosed fashion editor purported to be modeled after Wintour.     In "The September Issue," however, Wintour is not depicted as the far-from angelic character in "The Devil Wears Prada." Make no mistake, Wintour is startlingly forthright. She tells designer Oscar de la Renta in a pre-show display of his work that he shouldn't include a look in his fashion show, and says that another designer, Stefano Pilati, from Yves Saint Laurent, might want to rethink his collection.     The film, however, offers insight into Wintour's life in a way that "The Devil Wears Prada" does not. It begins with an interview with Wintour that is interspersed throughout the film. Through the editor's answers, viewers get a sense of Wintour's perspective on the magazine as well as her family life.     It may come as a surprise that the editor's family is not fashion-centric. Wintour's siblings are engaged in very different lines of work than her own, and she says they are "amused" by what she does. Wintour's daughter is also interviewed in the film, and despite her mother's hopes, she indicates that she has no interest in pursuing fashion in the future.     The majority of the film focuses on Wintour as she assembles the September issue of "Vogue." At over 800 pages long, the issue is their largest each year. It features a number of elaborate photo shoots.     Among the most important editors who work with Wintour is Grace Coddington. As Coddington explains in the film, she began her career with the publication as a model for British "Vogue," and eventually began working for American "Vogue." Now, as creative director of the magazine, she is one of Wintour's most trusted aids and one of the few who is willing to challenge the editor-in-chief.     Coddington oversees many of the magazine's photo shoots and is the creative force behind some of the setups. "The September Issue" takes a unique behind-the-scenes look at several of these imaginative photo shoots.     After the shoots are completed, the photos are brought back to the New York office where they are — like much of the magazine's content — rearranged, reduced and at times pulled entirely from the issue by Wintour. This is one of the most frustrating parts of the publication process for "Vogue" employees because some features are eliminated entirely. Some of Coddington's photo shoots are among those that get rearranged and reduced by Wintour, and the film makes it clear that this is an emotional process for Coddington.     Because Coddington is so open and because she represents many "Vogue" employees, the film becomes as much about her as it is about the famed Editor-in-Chief.     Wintour and Coddington have clearly forged a strong working relationship. At one point in the film, Wintour says, "Grace is a genius." This is high praise from Wintour, known for her tolerance of nothing but perfection.     Like so many fashion films, "The September Issue" is replete with footage of designers, shows and elaborate gatherings in Paris. But this film is unique in that it offers unprecedented access to "Vogue," one of the most influential publications in the multi-billion dollar fashion industry.

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Arts

Melrose Place' remake collapses

September 17

    Hot off the success of the  teen soap remake "90210" that aired in 2008, the CW brings yet another ‘90s remake to their schedule this fall, this time chronicling the lives of hot, young, Californian twenty-somethings in "Melrose Place." The combination of sexy actors and no small amount of drama is the key to success for many shows, but "Melrose Place" fails to entertain. The dialogue and acting make the show straight-up boring; the only joy to be had in watching this show comes from laughing at its mediocrity.     While the show's mediocre acting could amble its way through some standard, prime-time soap opera plot, it falls completely flat when faced with anything more challenging, a problem when the main focus of the series is a grisly murder.     Intrigue begins for the new incarnation of "Melrose Place" when Sydney, the infamous landlord of the titular apartment complex, played by original series member Laura Leighton, is murdered. David, the son of another original Melrose Place character, is a rich-boy-gone-cat-burglar and the prime suspect in the murder case though his friends believe the violent, former-drug-dealing bad boy incapable of the crime.     Among these skeptical friends is Ella Simms (Katie Cassidy) a take-no-mercy publicist with a hidden romantic side, as evidenced by her not-so-secret love for Jonah Miller (Michael Rady), an aspiring filmmaker. Jonah's morals prevent him from blackmailing his way to success, but win him a tardy "yes" to his marriage proposal from the mysteriously reluctant Riley Richmond (Jessica Lucas).     Meanwhile, Lauren Yung's (Stephanie Jacobson) father leaves her to foot her own medical school bills, rendering her vulnerable to a proposition by an out-of-town businessman to have sex with her for money. She insists that she is "not a prostitute," leading to the most unintentionally funny scene in the pilot episode when she explains the situation to the slightly loony Violet Foster (Ashlee Simpson-Wentz.) All that the audience can gather about Violet is that she may be Sydney's daughter, and that she has some serious crazy eyes.     Simpson-Wentz brings the only relief from the series' generally boring and tiresome characters, though only because her breathy line renderings and lack of acting skills are positively hilarious. The weakest link in the chain, Simpson-Wentz makes the show almost worth watching, inspiring a kind of sick fascination in viewers.     The new "Melrose Place" goes wrong where its precursor must have gone right. The show's first problem, setting aside the alternately wooden and melodramatic acting, would be the unsympathetic characters. Why should the audience root for Jonah and Riley to overcome a vague and inconsequential obstacle to their relationship when they make such a boring couple? Lauren's dilemma between her unpaid school loans and her insistence on not becoming a call girl could have been fun. But she transforms from an interesting character in the first episode to an almost completely unlikeable one in the second.     Viewers can't even root for the villainous Ella even though she is almost convincing gutsy witch the series evidently wants her to be. Ella needs to up her bad-girl quotient and get some better catty lines — or at the very least improve her fashion sense and wear something more flattering than the lumpy white sheet she tries to flaunt in the second episode. She does have potential, though, and has already shown signs of becoming a deliciously fun character to watch — maybe the show's saving grace in the future.     This murder-on-the-Orient Express-meets-SoCal revolves around callously self-absorbed characters that aren't even interesting, which is really the show's central problem. At least other CW shows such as "Gossip Girl" present audiences with morally repugnant characters who also happen to be incredibly fun.

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Arts

Half the Sky' captures global heroism of women

September 15

This is not a story about victims. It is not the story of thoughtful Westerners out to save the foreign underprivileged. Instead, "Half the Sky" is an account of some of the greatest heroes of our generation — women in Asia and Africa who are fighting for the right to own their own bodies, and the economic and social prosperity that has and will come from their self-empowerment.

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Arts

Humbug' turns even diehard fans into Scrooges

September 15

Arctic Monkeys do not seem content with what they have accomplished so far. With "Humbug" (2009), they attempt to develop a new sound for the band. However, they fall into a common trap: confusing maturation with being boring and depressing.

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Arts

Cafe Review | Barismo boils coffee down to a science

September 15

Logan Hudson works swiftly and deliberately, carefully packing the metal filter with espresso grounds until the surface is level and smooth. He attaches the filter to the machine, hits a button and mentally calculates the time it should take for the espresso to start dripping. As it pours, Hudson keeps a keen eye on the color and texture, acutely aware of any variation. Finally, the cup is filled with rich, deep-brown liquid. "Nope, not quite right," says Hudson, promptly tossing the creation into the sink. He begins again.

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Arts

'Sacred Monsters' run wild at Tufts' Tisch Gallery

September 15

Without a doubt, the first thing visitors will notice upon walking into the Tufts University Art Gallery's new exhibition is a group of five prominent sculptures with bright, synthetic fur and heart-shaped faces made of vinyl.

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Arts

"9" leaves viewers counting the minutes until credits

September 13

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Arts

Concert Review | Ingrid Michaelson rocks the Paradise

September 13

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Arts

Supernatural' soars into its fifth season

September 13

In 2005, "Supernatural" debuted with a simple pitch: hot guys in a hotter car, cruising around America and fighting demons along the way. The show knew what simple pleasures it offered, and it wielded them wisely. The writing was full of humor, containing somewhat more wit and emotion than the concept demanded. As the series matured, it gradually evolved in mythology and tone, becoming one of the more reliable sources on TV for crackling action and fun, as well as a few genuine frights.

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Arts

Jet rocks softer but soundly with 'Shaka Rock'

September 9

    After almost three years out of the public eye, Jet is back with a statement: Our domination of the blazing neo-classic rock scene is far from over.     With their new album, "Shaka Rock," out last month, the boys from Melbourne, Australia, have their work cut out for them as they look to follow their hugely popular debut, "Get Born" (2003), and the platinum "Shine On" (2006).     The first two albums were internationally well-received and helped the band fashion a niche among classic rock lovers jonesing for a throwback. "Shaka Rock" is sure to satisfy the fan base, and it's probably the Jet LP most reminiscent of the Rolling Stones.     The third album has a softer edge than "Shine On" and "Get Born," but it's still a solid effort that shows a subtle evolution. Album opener "K.I.A." starts things on the right foot, reaffirming the band's commitment to a crunchy guitar sound and snarling vocals. The song that follows, "Beat on Repeat," is a catchy song that's a bit more toned down than "K.I.A." but doesn't lose any of the latter's energy. The first two songs on the album are among the strongest. They show off the band's versatility and incorporate the aspects that make Jet unique.     Other highlights include "La Di Da," "Seventeen" and "Goodbye Hollywood." The first is a prime example of the influence that the Stones have had on Jet: Its intro and verses sound like an update to the Stones' hit "Paint it Black."     Just because the song is influenced heavily by the British classic rock band does not mean it lacks original compositional elements. "La Di Da" emerges from darkness into lighter, upbeat choruses, and Jet weaves together these disparate parts effortlessly.     "Seventeen," the fifth song on the album, is its best. Instrumentally, "Seventeen" is one of the album's most interesting mixes, with a driving piano part meshing seamlessly with Jet's typical overdriven guitar riffs. "Seventeen" also boasts a catchy melody and strong backup vocals, making the song incredibly fun to listen to.     "Goodbye Hollywood" is about the band leaving southern California to go back home, a common Jet motif that ties "Shaka Rock" back to Jet's other albums.     It's in the consistency category that "Shaka Rock" fails to carry on the tradition of Jet's first couple LPs. The lowest lows are "Black Hearts," "Walk" and "Times Like This."     "Shaka Rock" represents a commendable comeback from a three-year hiatus. It's not their best work, but the album does merit its spot in Jet's discography, and will no doubt help define the rest of the band's career. The somewhat softer side of Jet represented by "Shaka Rock" is a step back from previous works but is by no means a poor move. In fact, "Shaka Rock" has the potential to appeal to a very large audience of both old fans and people discovering Jet for the first time.

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Arts

Kiss Me, Kate' keeps audience laughing

September 9

    Western society's attitude toward women changed significantly between the debut of Shakespeare's "The Taming of the Shrew" and the end of the second World War. Though no one has been able to definitively interpret the real message in the Bard's outwardly misogynistic comedy — one that George Bernard Shaw once berated as "one vile insult to womanhood and manhood from the first word to the last" — it is clear that Cole Porter's modern version, "Kiss Me Kate," which uses an American actor/actress couple from the 1940's, took a much more nuanced view of romantic couples.     "Kiss Me, Kate," playing through Oct. 10 at the Lyric Stage Company of Boston, focuses on a divorced couple who have been a separated for a year. Actors Lilli Vanessi (Amelia Broome) and Fred Graham (Peter Davenport) find themselves in the peculiar position of playing a couple that fights bitterly on stage in a production of "The Taming of the Shrew" and quarrels just as passionately behind the scenes.     Woven throughout the play are all the usual suspects of a musical from the 1940's, including two gangsters with a flair for the dramatic, an angel-faced gambler, dancer and heartbreaker extraordinaire and a blonde bombshell who makes it no secret that she can sleep her way to the top.     Despite a few love stories that are followed from curtain to curtain, no one couple is ever depicted as conventionally happy. The opportunistic and sexy Lois Lane (Michele DeLuca) can't seem to make her lover behave or get him to quit gambling. Meanwhile, he can't keep her from running off with her sugar daddy of the hour.     Lyric's production does a wonderful job of highlighting the differences between the love stories the acted on stage and the ones they live out in their real lives. Part of the show is a play within a play: Fred Graham and Lilli Vanessi's production of "The Taming of the Shrew." The set for these scenes is brightly-colored and cartoonish, emphasizing that only in a world where there are wooden fountains in the town square do men travel to Padua and convince a woman who hates men to be a timid wife in an impressively short amount of time.     The play's ensemble is small and delightful, but it is the individual performances that really stand out. Peter Davenport delivers an energetic and nuanced Fred Graham, and Michele DeLuca as Lois Lane achieves the double victory of playing the woman every woman hates and remaining someone audiences can sympathize with. Timothy John Smith as Lilli Vanessi's new beau, General Harrison Howell, delivers a particularly wonderful comic relief in the second act when paired with the gangster team of J.T. Turner and Neil A. Casey. The song "From this Moment On" is also a hilarious highlight.     What makes "Kiss Me, Kate" more appealing to a modern audience than Cole Porter's other famous productions is the degree to which his brilliant score advances the plot. At nearly three hours long, minimal musical self-indulgence is appreciated by all. Though let's make one thing clear: This score is nothing that has to merely be sat through.     "Kiss Me, Kate" may have been Cole Porter's great integrated musical (one that uses its music to advance plot), but the inarguable highlight of Lyric's performance is the second act opener, "Too Darn Hot." Even if the song itself has no relevance whatsoever to the plot, save to remind the audience of the show's Baltimore location, Kennedy Pugh's rich solo vocals and Ilyse Robbins' inspired choreography make the number a show stopper.     Though Cole Porter's beautiful score accompanies a musical that seems more enlightened than Shakespeare's "Shrew," there are still moments that raise a contemporary eyebrow. It should be noted that women had only been voting in America for less than thirty years when the show was written, and some actions and lines reveal the prejudices of the time.     That said, the Lyric Stage Company has certainly chosen an energetic and well-cast season opener. With Tufts' first week of classes already piling on chapters of reading about oppression and war in foreign countries, a little comic relief is much appreciated.  

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