Categories
Arts

Film Review: Amour

Final verses: Amour is a beautifully complex and compassionate look at love at the end of life

A loving married couple, Anne (Emmanuelle Riva) and Georges, (Jean-Louis Trintignant), both retired music teachers in their 80s, find their marriage taking a markedly different turn when Anne suffers a stroke. At first, Anne is able to retain something of her former self. She’s confined to a wheelchair, but has control of one side of her body.

Then things get worse—and quickly. What makes this end-of-life story different from all the cheery and stupid end-of-life stories out there (such as, say, The Bucket List) is its unsentimental take on Anne’s condition. There are no wistful visits to the beach or goodbyes from the grandchildren. There is deterioration. And then there’s Georges’ devotion, determination, and ambivalence.

The following sentence is not hyperbole: Amour is the best movie of 2012. Nowhere will you find a more honest and complex story told with such ease, care, and compassion.

Writer and director Michael Haneke is best known for films that deal with the extremes of human behavior. Anyone who has seen either of his movies titled Funny Games (one in German, one in English) knows that, and has seen his nasty streak. Haneke’s Caché deals with decades old betrayals, and The White Ribbon is, among other things, an examination of cruelty.

So to those viewers familiar with Haneke’s work, fear not. No one bursts into the home unannounced and then tortures the family to death. The drama all comes from within, as bodies fail and people react.

The performances go a long way in making a beautifully written screenplay come to life on screen. Riva is as wonderful as you’ve heard, capturing Anne’s physical breakdown so naturally that it sometimes seems as if Riva is suffering the same ailment as her character.

Trintignant’s performance has been eclipsed somewhat by (deserved) praise for his co-star. But this is a movie about two people living out their final days, and Trintignant complements Riva. That odd combination of simmering anger and tenderness that he uses so well in Trois Couleurs: Rouge is on display here, as Georges struggles to maintain his partnership with Anne while protecting her dignity (or at least that’s what he intends to do), and maybe his.

Amour takes place almost entirely inside Georges and Anne’s Paris apartment, and what could be a stifling cinematic trap becomes another character thanks to smart production design and deceptively simple camera work. The apartment, once a wonderful home, slowly becomes a tomb, but we don’t realize it until Georges does.

One of the remarkable things about Amour is the way it seems familiar but still takes unexpected turns. The opening scene tells much of the story (and is a reason I don’t feel too badly about giving away some plot points), but like any marriage, you only know everything about it when you’re in it. And we’re in Georges and Anne’s marriage.

The awards season is absurd, but if was any justice in arts and culture, Amour would’ve won Best Picture at the Academy Awards. See it. Now.

Amour/PG-13, 126 minutes/Vinegar Hill Theatre

Playing this week

A Good Day to Die Hard
Regal Stonefield 14 and IMAX

Argo
Regal Downtown Mall 6

Beautiful Creatures
Regal Stonefield 14 and IMAX

Dark Skies
Regal Stonefield 14 and IMAX

Escape From Planet Earth
Regal Stonefield 14 and IMAX

The Guilt Trip
Carmike Cinema 6

Hansel & Gretel:
Witch Hunters
Regal Stonefield 14 and IMAX

A Haunted House
Carmike Cinema 6

The Hobbit:
An Unexpected Journey
Regal Downtown Mall 6

Identity Thief
Regal Stonefield 14 and IMAX

The Impossible
Regal Downtown Mall 6

The Last Stand
Carmike Cinema 6

Life of Pi
Regal Downtown Mall 6

Quartet
Regal Downtown Mall 6

Rise of the Guardians
Carmike Cinema 6

Safe Haven
Regal Stonefield 14 and IMAX

Side Effects
Regal Stonefield 14 and IMAX

Silver Linings Playbook
Regal Downtown Mall 6

Snitch
Regal Stonefield 14 and IMAX

Twilight: Breaking Dawn Part 2
Carmike Cinema 6

Warm Bodies
Regal Stonefield 14 and IMAX

Wreck-it Ralph
Carmike Cinema 6

Zero Dark Thirty
Regal Stonefield 14 and IMAX

Movie houses

Carmike Cinema 6
973-4294

Regal Downtown Mall
Cinema 6
979-7669

Regal Stonefield 14
and IMAX
244-3213

Vinegar Hill Theatre
977-4911

Categories
News

Green happenings: Charlottesville environmental news and events

Each week, C-VILLE’s Green Scene page takes a look at local environmental news. The section’s bulletin board has information on local green events and keeps you up to date on statewide happenings. Got an event or a tip you’d like to see here and in the paper? Write us at news@c-ville.com.

Toxic traces: The UVA Food Collaborative will screen the documentary movie Living Downstream at 6:30pm Monday, March 4 at Charlottesville’s Central Library. The film follows the journey of author Sandra Steingraber as she explores the link between environmental toxins and cancer. Whole Foods will provide healthy refreshments prior to the screening. Stay after for a panel discussion with Dr. John Peterson Myers from UVA’s Environmental Health Sciences Department and biochemistry and molecular genetics professor Dr. Emilie Rissman.

History in the hills: On Saturday, March 2, the Piedmont Environmental Council will host a “Mountain Heritage Day” event at Edgar Meadows Cabin in Syria. The free, open house-style event runs from 10am-4pm and will highlight what life was life in an isolated Madison County mountain hollow cabin in the early 1900. Visit www.pecva.org/events to register.

Wilderness wanderings: As part of a long lead-up to a celebration of the upcoming 50th anniversary of the Wilderness Act, Wild Virginia is organizing visits to some of the 23 designated wilderness areas within the nearby George Washington and Jefferson National Forests. On Sunday, hike into 5,963-acre Priest Wilderness in Nelson County via the Appalachian Trail. On Thursday, March 14, join volunteers to help remove invasive plants from an area just outside the Ramseys Draft Wilderness Area. And on Sunday, March 17, explore the Devils Marbleyard in the James River Face Wilderness. Trip size is limited; visit www.wildvirginia.org for more info and to sign up. 

Categories
Arts

R.I.P. Bruce Willis

Welcome to C-Listed, a new pop culture column from a person obsessed with that world. Every other Tuesday I’ll provide an over-analysis of subjects that don’t really matter, followed by a related list. Hopefully you’ll enjoy that I’ve thought too much about things like why Michael Jackson’s “Jam” is important to his discography regardless of the video, which unfortunately features Jackson teaching Michael Jordan how to dance and a Kriss Kross cameo.

Let’s begin with an end. The end of Bruce Willis, that is. I went to see A Good Day to Die Hard, the fifth Die Hard, last week at the Regal Stonefield 14 theater. (Side rant: The Stonefield theater is great; Stonefield’s layout isn’t. Driving around Stonefield is like slamming your fingers in a drawer. It’s hard to believe something so mundane can be so painful. The complex’s tagline should be “Stonefield: Welcome to Hell. But Hey, Trader Joe’s!”)

The movie was awful. The original Die Hard—a fantastic film—came out 25 years ago, and somewhere along the way Willis and others decided that each installment had to be more ridiculous than the last. Good Day fits that criteria. As my friend noted, a car chase scene—in which Willis drives on top of several cars and his vehicle emerges without a scratch—cost $11 million to film.

Absurdity instead of an intriguing (or even understandable) plot was Good Day’s downfall. And if this is how Willis treats John McClane, the role that made him a star, then what does that say of Willis? It was uncomfortable watching him run around like he’s still 32 when he looks every bit of 57. Also, part of Die Hard’s brilliance was that Willis nailed the “I’m just a good guy in a bad situation” role. His ease at creating McClane made audiences believe there was a little of the rough and tumble cop inside all of them. But Good Day’s Willis? Unrecognizable. Forced. It was like Willis was screaming that he was still worth watching, yet no words came out. But Good Day was such a mess that it might not have mattered anyway. I’m not alone in that thinking, as critics have blasted the film.

Despite my concern for Willis, Good Day is making money. It won its opening weekend and in its first five days raked in 37 million. So while critics are destroying Good Day and I’m calling for Willis’ funeral, most people feel that’s premature. It seems that even a terrible Willis dies hard.

Three Die Hard franchise facts:

Die Hard with a Vengeance was 1995’s highest grossing film.

Die Hard was based on the novel Nothing Lasts Forever, a sequel to the book The Detective. Frank Sinatra starred in the movie verision of The Detective but said no to doing the film adaptation of Nothing Lasts Forever, thus eventually opening the door for Willis.

For more Die Hard, there’s a comic book series created as a prequel to the original movie. But maybe just consider letting five movies be enough.

 

Categories
Arts

ARTS Pick: Ashley McMillen

Notable artist

After starting out with a few scribbles on paper napkins, local singer/songwriter Ashley McMillen is proving that inspiration combined with perspiration breeds success. Influenced by country music of all generations, the bootstrapping McMillen has worked diligently for her fast-growing audience, and frequent radio airplay. The rising musician refuses to slow down after years of gigging everywhere from diners to Disneyland.

Friday 3/1 $8, 8pm. The Southern Café and Music Hall, 103 S. First St. 977-5590.

Categories
Living

Hidden treasures: Strip mall food joints are a unique culinary experience

Color me tacky and low-rent, but there’s just something homey and inviting about the naive optimism and dauntless ambition behind a strip mall storefront that has been transformed into an enchanting dining experience with a cozy darkened lounge. The practice must have been perfected in places like Texas, Florida, and Dubai, where the blistering heat forces people to scurry from their refrigerated cars to the comfort and safety of the nearest A/C bunker.

Sure, the Downtown Mall (so misguidedly named) is pleasant for a stroll on the way to dinner. You can window shop boutiques while giddily anticipating an after-dinner gelato. You can pass out some loose change along the way and feel good about helping some of the more consistently visible Downtown denizens get closer to their sleepy-time 40-ounce. Yeah, Downtown is special, but at a strip mall, you can park 10′ from the door, leave the rumble of four lanes of high speed traffic safely off to your side, and step into another world—a world of exotic music, aromatic herbs and incense, and luscious cuisine from distant lands.

Before the theoretical tenants of The Shops at Stonefield (who have started taunting us with signs in the windows of empty spaces that promise “gourmet burgers,” a “world class Mexican kitchen,” and an “Italian food and wine bar”) attempt to shift the center of culinary prominence toward the north side of town, there are still a few places that have been up there all along that are worth a try.

At the more affordable end of things is a place that opened last fall, El Tepeyac. It’s in a little strip of shops on Greenbrier Drive, tucked in alongside a paint store. It has big-screen fútbol rolling most of the time. If there’s no match to watch, then it’s Mexican soap operas and game shows. I ducked in with a friend the other day, sat down, and chuletas puerco ranchero jumped right off the menu and onto the table: two well-cooked boneless pork chops bathed in a spicy green rancheros sauce and flanked by refried beans and saffron rice. It was hearty and very well prepared. My buddy had the chiles rellenos: two poblano peppers stuffed with mozzarella and covered in sauce. I tried it and it’s a winner. This place has great salsas, not necessarily tempered for the gringo tongue. It also servers pupusas, a Salvadoran delight that is a kind of a thick, stuffed corn tortilla, as well as tacos. Plus there’s girl-drink booze and after-meal sweets.

At the recommendation of one of my neighborhood merchants—a native to the sub-continental region—I made it over to Maharaja, which sits along the east side of 29 North, just past Hydraulic Road, and looks out its front window at the business end of the Burger King drive-thru. The warm, inviting, madras-toned environs, detailed with tatted fabric lighting covers, is a nice respite from the asphalt sprawl outside. I got the chicken bhindi: white chicken meat that comes in an okra-heavy base with vegetables and garam masala, (spicy hot) seasoning. I was sent there to order something else (forgot my crib notes), but it was darn good and as spicy as promised. My date was well pleased with her two vegetable side dishes, mattar paneer—soft cheese chunks in a spiced creamy sauce—and vegetable masala, all with perfect rice. This place feels great.

The best spot for me on the strip mall trip this time, however, was Copacabana. It’s nestled into a little cubby, snug up against the building that Whole Foods used to occupy at Shoppers World. The menu is a tantalizing list of pastas with all manner of seafood and a large beef section. I was in for lunch and got the very simple but flawlessly prepared and presented sautéed shrimp in garlic and lemon butter with collard greens, rice, and fried bananas. It was ocean fresh, piping hot, and really, really good. The fried bananas were good enough to make me forget I ever had a plantain.

Categories
News

Waste not: Passive house movement gaining traction in local market

When Bill Jobes learned about the ultra-high-efficiency building concept known as passive house, “it was love at first sight.”

Jobes, CEO of Jobes Builders, has worked in home construction in the Charlottesville area since 1977, when he started apprenticing with Shelter Associates. He’s always been inspired by efficient home design, he said, and not just because it’s environmentally friendly. It’s something of a point of pride: If you can find a way to build a better mousetrap, why not do it?

“Really what we’re talking about is good building practices,” he said. “So much of construction has diminished to the least common denominator. It does sort of suggest a pedaling backward in quality and value.”

Many who share the attitude within the industry have rallied around the passive house movement. The standard was developed in Germany in the late 1980s and early ’90s, when a group of architects set out to build ultra-efficient housing stock that would cut energy use by 80 to 90 percent, requiring little to no “artificial” heating or cooling. The concept has finally crossed the Atlantic, and when Jobes caught wind of it two years ago, he saw it as the embodiment of everything he’d been wanting to do. “Theoretically, you could heat your house with a hair dryer,” he said. He knew he wanted to give it a try.

Jobes found a kindred spirit in Charlottesville resident Fred Greenewalt, who agreed to invest and become the owner of the first Virginia house built to the strict, official standards of the Passive House Institute. The Lankford House, located at 229 Lankford Ave. in the city’s Ridge Street neighborhood, has extra thick walls, superinsulation, double-glazed windows, and employs passive solar heating.

The key, though, is that it’s airtight. Traditionally built houses are full of air leaks, he said, and there’s a focused effort in passive building to eliminate them. That strikes some unfamiliar with the concept as strange, Jobes said.

“People freak about it, saying, ‘I don’t want to live in a balloon,’” Jobes said. But fresh air does come in—it’s just carefully controlled. An energy recovery ventilation system, or ERV, exhausts stale air from the kitchen and bathrooms and brings filtered air into sleeping and living areas, he said, creating a circular flow.

The result is a house that renders a lot of other green technology essentially irrelevant, said Jobes. Solar, geothermal heat—those are just Band-Aids for imperfect design.

But then there’s the question of selling it. Right now, building to the passive standard can drive costs up, in part because there’s not yet a critical mass of people willing to do it, Jobes said. And if you want the official Passive House Institute designation, that costs a few thousand dollars extra. That could be why the Lankford house is still on the market almost a year after it was built, despite the fact that at 2,600 square feet, it’s got an energy bill of only $50 per month.

But Jobes thinks we’re approaching a tipping point where energy costs will drive more people toward the passive movement, even if the label doesn’t move them—especially in Charlottesville, where energy experts as well as architects and builders, are buying into the idea that it’s possible to reduce energy use almost to nil. It’s sort of like the organic food movement, he said. At a certain point, do we really need a special certification to get us on board with high-performance house design?

“I do think that even if people aren’t beating down the door, there’s a heightened awareness about this,” he said. “And the more people are aware, the more open to a passive house people will be.”

 

Categories
Arts

March First Fridays Exhibits

First Fridays is a monthly art event featuring exhibit openings at many Downtown art galleries and additional exhibition venues. Several spaces offer receptions. Listings are compiled in collaboration with Piedmont Council for the Arts. To list an exhibit, please send information two weeks before opening to arts@c-ville.com.

First Fridays exhibitions: March 1

Angelo 220 E. Main St. “Venus Fly Trap”, a new series of Botanical paintings by Nancy Jane Dodge. 5:30-7pm.

The Bridge PAI 209 Monticello Rd. “Ex Ex Libris” features mosaic book quilts by Terri Long in reference to our fading book culture. 6-8pm.

Chroma Projects 418 E. Main St. “Bhutan,” paintings inspired by a visit to the remote country by David Carlson in the Front Gallery. “Layers: Scrapings,” painting experiments by Susan Crave Rosen in the Passage Gallery. “Urban Traces,” photographs by Bill Moritz 5:30-7:30pm.

CitySpace 100 Fifth St. NE. Artwork by students from Albemarle County Public Schools in celebration of “Youth Art Month” in the CitySpace Gallery. Works on paper by Janet Pearlman on display in the Piedmont Council for the Arts office. 5:30-7pm.

C’ville Arts Cooperative Gallery 118 E. Main St. “The Long View,” paintings made in plein air by Barbara Albert. 6-8pm.

FIREFISH Gallery 108 Second St. NW. “A.I. Miller,” featuring works in ink inspired by his graphic novel and “Rose Guterback,” featuring 3D works in paper collages utilizing books and book pages.

Jefferson-Madison Regional Library 201 East Market St. “Virginia Openings,” calligraphic renderings by local artist Terry Coffey. 5:30-7pm.

Kluge-Ruhe Aboriginal Art Collection 400 Worrell Dr. “We Bury Our Own,” a series of photographs and video works by artist Christian Thompson. 5:30-7:30pm.

Les Yeux du Monde 841 Wolf Trap Rd. “Art-i-facts,” a show of prints by Anne Chesnut. 5:30-7:30pm.

The Local 824 Hinton Ave. “Carrot, Kale, Leek” featuring botanical illustrations in watercolor by Lara Call Gastinger.

Manu Propria Photographic Studio 609 E. Market St, Ste. 210. Platinum and palladium prints by Richard Pippin. 5:30-7:30pm.

McGuffey Art Center 201 Second St. NW. “Simply Flowing,” clay and metal works by Cri Kars-Marshall in the Sarah B. Smith Gallery. “Sculpture & Paintings” by Frederic Crist and Renee Balfour in the the Lower Hall Galleries. “Charlottesville in 2 Dimensions,” an exhibit curated by ArtInPlace in the Upstairs Galleries. 5:30-7:30pm.

Milli Joe Coffee 400 Preston Ave #150. “Color & Space,” a combined show featuring mixed media by Lauren McQuiston and acrylic on glass by Todd Starbuck. 5:30-7pm.

OpenGrounds Corner Studio 1400 University Ave. A group exhibit sponsored by the Student Hip-Hop Organization at UVA

Random Row Books 315 West Main St. “ACRJ Inmate Art,” oil paintings by artists/Inmates from within the walls of our ACRJ Jail. 5:30-8pm.

Second Street Gallery 115 Second St. SE. “The Stand (Possessing Powers)” a project by Lily Cox-Richard. Videos by Joey Fauerso are on display in the Dové Gallery. 6-7:30pm. Artist Talk at 6:30pm.

Spring Street Boutique 107 West Main St. “Spring Tones” a show of paintings and drawings by Joanne Coleman, Trilbie Knapp, and Edward Mochel. 6-8pm.

Telegraph 110 4th St NE. “Monstrous,” a group exhibit of screenprinted posters from the brand-new boutique and gallery.

Top Knot Studios 103 5th St SE. Photographs and digital art by Robert Fehnel. 5-7pm.

The Virginia Arts of the Book Center 2125 Ivy Road, Suite 5. “The Monumental Ideas in Miniature Books, MIMB II,” a traveling exhibition that will be featuring “object-books” done by 86 visual artists. 10am-6pm.

WVTF and Radio IQ Study Gallery 216 W. Water St. “Behind Pillars of Smoke,” features new paintings by Matt Kleberg. 5-7pm.

Warm Springs Gallery 103 Third St. NE. “Color Fields,” oil paintings by Jane Schmidt.

WriterHouse 508 Dale Ave. “Edge of Reality,” featuring pen and ink drawings by Chris Butler and encaustic paintings by Jeannine Regan. 5:30-7:30pm.

OTHER EXHIBITS

FIREFISH Gallery 108 Second St. NW. “Lost and Found,” a show of found objects by Sam Pagni.

Jefferson-Madison Region Library 201 East Market St. “The Photography of Ed Roseberry,” a slideshow presentation of photographic works of Charlottesville from 1940’s to 1970’s. 3pm.

Jefferson School African American Heritage Center 233 Fourth St. NW “Jefferson Pinder: Civic Meditations,” is a series of video work that begins with Passive/Resistance (2008).

King Family Vineyards “Out and About: Plein Air Paintings of Albemarle County,” paintings made in plein air of Albemarle County by Meg West.

UVA’s Fralin Museum of Art 155 Rugby Rd. “Becoming the Butterfly: Landscapes of James McNeill Whistler,” featuring Whistler’s etchings and lithographs from the late 1850s; “STrAY: Found Poems from a Lost Time,” featuring work by the contemporary artist Suzanne McClelland; “Corot to Cézanne,” featuring French drawings from the collection of Mr. and Mrs. Paul Mellon; “Traces of the Hand: Master Drawings from the Collection of Frederick and Lucy S. Herman.”

UVA’s Ruffin Gallery 179 Culbreth Rd. “Terrestrial Transmissions,” an exhibition of recent videos by artists who play with the tropes of science fiction in relation to femininity.

PVCC Gallery 501 College Dr., located in the V. Earl Dickinson Building. A photography exhibit featuring photographs by Tom Cogill in the North Gallery and a group show entitled “Phoning It In” in the South Gallery.

Check out PCA’s Google Map of local galleries and cultural hotspots to plan your visit.

View Charlottesville Arts & Culture Map in a larger map.


Categories
News

Dumler issues statement of apology, says he won’t resign

Despite escalating pressure to resign from office—including from all five of his fellow Albemarle County supervisors—embattled Scottsville representative Chris Dumler released a statement today apologizing for his actions and saying he does not intend to step down following his guilty plea on a sexual battery charge stemming from an arrest for forcible sodomy late last year.

“I have learned the hard way that I must be more considerate of the feelings of people who I have close interpersonal relationships with, and I am upset with myself, and very sorry to those whom I have been discourteous towards,” Dumler said in the statement.

He said the accusation of anal rape came from a woman he was sexually involved with in Scottsville. “The legality or illegality of any of this notwithstanding, I acted inappropriately and I would like to make a formal apology to her,” he said.

Dumler, 27, gave press interviews about his decision to stay in office Wednesday, two days after a raucous outburst over his continued presence on the board resulted in one person being removed from a budget hearing. Yesterday, two former allies—supervisors Ann Mallek, a Democrat, and Dennis Rooker, an independent—both said they thought Dumler should leave the Board.

But Dumler said that while he understands his colleagues’ concerns about vocal opposition to his serving becoming a distraction, he’s staying the course, because he owes it to those who elected him in Scottsville.

“Some of those speaking out are understandably confused, disappointed, and hurt that they supported me, trusted me, and voted for me because of the positions and ideals I said I would represent on the Board me in light of my lapse of judgment, and to you, I apologize,” he said.

“On the other hand, many of the contacts that my Board and I have received are affiliated with interests that are ideologically opposed to the side of the current 3-3 split that I am on the [Board of Supervisors].  Currently, the Board is in the middle of important budget negotiations, a comprehensive plan update that happens once every five years, and other critical issues, such as the creation of our stormwater management program to comply with federal mandates. I have been a moderate and an important voice on behalf of the residents of Southern Albemarle when it comes to these issues, and a change in the composition of the Board resulting from an unelected interim Supervisor replacing me would likely be the difference on a number of votes and issues affecting growth area expansion, rural area preservation, investment in education, and the funding of important capital improvement projects that help us maintain our quality of life here in Albemarle County.

“I feel that it is my responsibility—my obligation—to honor the commitment that the majority of voters in my district asked of me and represent them on issues like holding the line on growth area expansions and maintaining our commitment and loyalty to our small public schools. The people of the Scottsville District should not be punished for my lapse in judgment. Therefore, I have no intention to resign my position. To the many, many constituents who have sent me e-mails of support, encouragement, and well-wishes in this difficult time, I thank you for having the faith in me to continue serving you. I know I have many fences to mend, and [much] trust to regain.  I would also like to take this opportunity to apologize to my colleagues on the board. They have been tossed into the middle of an unfortunate and emotionally charged scene, and that is something I never wanted and I deeply regret that they were forced to get involved.”

Dumler indicated in his first public appearance less than a week after taking the plea deal that he could not afford to fight the felony charge, despite wanting to clear his name of a crime he claimed to be innocent of. He alluded to financial barriers to going to trial in a brief interview following the release of the statement.

“While I can’t comment on why prosecution offered the plea deal or go into too many details of the evidence or facts that might impact my decision, I will note that the criminal justice process can be fairly onerous, and at the end of the day, I was not prepared to suffer some of those consequences to follow this through to trial,” he said.

Rooker said that while the Board of Supervisors doesn’t have the power to push Dumler out—only a felony charge would force a resignation—he felt his colleague should reconsider his intentions to stay on the board. He said he’s received more e-mails calling for Dumler’s departure than supporting him.

“I think it would be in Chris’ best interest and in the county’s best interest for him to resign,” Rooker said. “I do think this will make it very hard for him to perform his job, and I also think the impact on his life is greater the longer he stays in office.”

Categories
Arts

Noises on: Live Arts’ Julie Hamberg throws the switch on The Vibrator Play

Early February. Three and a half weeks before the opening of Live Arts’ new main stage production, In the Next Room (or The Vibrator Play), and a major scenic element for the climax of the play was not coming together well at all. The design called for the climactic sequence to be played in front of a backdrop, but the lighting was all wrong and the sight lines wouldn’t work. What was intended to be a magical coup started to look more like a major distraction. “I was not happy,” said Julie Hamberg, who is not only director of the piece but also Live Arts’ newest artistic director.

Well, newish. Hamberg was hired in mid 2011 and started the job in September of that year, taking the reins just as a new season, put together by the Live Arts programming committee, was being launched. One of her first tasks was to begin the long process of talking to volunteers, talking to staff, talking to the board, and to start building the first Live Arts season that would bear her stamp. That season opened one year later, in October 2012, with a slate that included the first ever amateur production of Pulitzer Prize winner Clybourne Park and one of the most lauded musicals of all time, A Chorus Line.

Now it’s Hamberg’s turn to step to the plate, taking on the first play she’s chosen to direct in her new artistic home. She comes to Live Arts with a 25 year history in the theater. She trained at the legendary Circle Rep in New York. The LAB program there was a veritable boot camp for bringing new work to the stage, and her career has borne that out. She’s been involved in over 75 productions of new work in one form or another—producing, directing, or assistant directing—in significant venues from New York to New Orleans to Ann Arbor, Michigan, 15 miles from the small town where she grew up.

The Vibrator Play, which opens on March 1, fits her M.O. It’s written by Sarah Ruhl, one of the current favorites of daring theater companies everywhere. Live Arts has produced two of her plays in recent years—The Clean House in 2007 and Eurydice in 2009. The Vibrator Play is a rich, poetic, funny, humane, and moderately shocking meditation on desire, propriety, and the barriers that separate us from what we want, and from the people to whom we are closest. It takes place in the home and office of Dr. Givings, a physician in the late 1800s, who uses the new convenience of electricity not only to illuminate his home but to treat his patients. He has invented an electrical device to stimulate “a paroxysm” in his female patients, to release “the pent-up emotion inside the womb that causes [their] hysterical symptoms.” As a doctor, he’s compassionate but aloof. But as a husband, he is completely insensitive to the emotional needs of his wife, Catherine, who is condemned to hear and wonder about the tantalizingly intimate sounds coming from her husband’s office.

Ruhl is a canny playwright. She uses the layout of the stage to help dramatize her story. On one side of the stage we have the doctor’s office, on the other, the Givings’ drawing room—one the most private, the other the most public—space in the house. Each room is served by a door, which becomes the focus of the action. One leads into the husband’s inner sanctum, a world where the clinical and the passionate are all mixed up. The other leads out to the wide world of freedom. Which one will they take? Will they choose together, or alone?

With the themes of the play inscribed so starkly in the stagecraft, the setting for the climax (no pun intended) needs to be just as clear. So here is Julie Hamberg, 17 months into her tenure as artistic director, in the throes of directing her first piece at Live Arts, and the damned backdrop for one of the critical moments of the play is just not going to work. “This fits my general philosophy of theater,” she said, with a shake of her abundant dark hair and an easy laugh. “Expect the unexpected. How do you embrace it?”

How? Acceptance is the key, according to her colleague and counterpart, executive director Matt Joslyn. The two are equals at the head of the organization, each answering directly to the board. He is tasked with the business side, she with the creative. Joslyn has had a chance to see up close that Hamberg has what it takes to embrace the unexpected. “Julie is an absolutely excellent artistic director,” he says “She has an incredible sense of craft, an incredible sense of theatricality. She knows how to solve problems, she knows how to talk to people, and she knows when to push and when to accept—and I say ‘accept’ and not ‘settle’—the knowledge that ‘this is where it’s going to get, and I can accept that.’”

So the decision is made. The backdrop is cut from the final scene. Another direction provides another, better, opportunity to serve the play, to serve the characters, and to serve the audience. The final scene, she says, “will be as simple as we can make it. I would rather have simplicity and beauty and clear focus on the actors than some distracting scenic element.” Virtue, meet necessity. Charlottesville, meet Julie Hamberg.

The Vibrator Play is a rich, poetic, funny, humane, and moderately shocking meditation on desire, propriety, and the barriers that separate us from what we want, and from the people to whom we are closest.

In the Next Room (or The Vibrator Play)/March 1-23/Live Arts

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Rent hikes force local businesses out of Barracks Road Shopping Center

Local merchants at Barracks Road Shopping Center are trying to stay optimistic about their future. But mom-and-pop shops are dropping like flies at the city’s oldest shopping mall. Lloyd’s Hallmark, after more than 40 years at Barracks Road, closed in January to make way for PeachMac, an Apple resale store. Peace Frogs, Shenanigans, and Lynne Goldman Studio have all packed up and left, Blue Ridge Mountain Sports is moving to Stonefield, and even business owners who can still afford the rent are keeping cheaper options in the back of their minds.

Federal Realty Investment Trust acquired the property in 1985, and has recently been making gradual changes, bringing in franchises like Ulta and Chipotle. Senior Director of Asset Management Deirdre Johnson said the company is only responding to customers’ needs.

“For more than 50 years, Barracks Road Shopping Center has been the top destination in Charlottesville for shopping and dining. As the community has evolved, so has our customer’s desire for popular, new retail and restaurant concepts,” she said. “We value our relationship with our merchant community and endeavor to create a retail environment that supports their long-term success.”

But business owners and customers fear that rising rents and a lack of communication between the landlords and merchants is robbing Barracks Road of its traditional character and turning the 55-year-old shopping center into just another strip mall.

Keith Rosenfeld has been serving up baked goods, coffee, and gourmet meals at HotCakes since 1992. The cafe is located between CVS Pharmacy and Kroger, which he said is an ideal location for foot traffic and return customers. Like most of his neighboring merchants, Rosenfeld said he can’t imagine working anywhere other than Barracks Road. But as pained as he is by the recent exodus of his peers, competitors, and friends, he said he understand why the changes are happening.

He said Charlottesville’s supply of independently owned shops has exceeded the demand, which he described as a “microcosm for what’s happening all over the country.” Local shops are being driven out by the big guys everywhere, which he said is definitely a problem, but may be unavoidable.

“There’s no question that Federal Realty runs a great shopping center,” Rosenfeld said. “And for now at least, it’s got a lot of character from some of the independent speciality stores. But when you have chain after chain, you could wake up and not tell if you’re in New Jersey, Long Island, or Charlottesville.”

Disputes between merchants and their landlords are certainly not new in the retail business, Rosenfeld said, and tensions began rising with the recession four years ago. Federal Realty appointed Rosenfeld as a consultant, in hopes that a liaison between them and the business owners might be able to smooth things out and improve communication. And for a couple years, he said, it worked.

“They developed an ear to listen for that period of time, communication was much better, and merchants felt more appreciated,” he said. “At the same time, I think the merchants got exposed to some of the issues that Federal has, and the realities of being a New York Stock Exchange listed company.”

Unfortunately, it didn’t stick. Communication between business owners and Federal Realty, according to some tenants, has again diminished, leaving businesses both frustrated and frightened.

For now, Rosenfeld and his chocolate tortes are safe. Rent has increased significantly, he said, but the store has survived by cutting employee hours, using fewer phone lines, and scrimping wherever possible. Leaving Barracks Road is the last thing he wants to do, but he said it’s “certainly something to think about.”

Rosenfeld said property owners like Federal Realty need to “face reality” and decide what they want their shopping centers to look like so merchants and customers can adapt.

Steven Metz, co-owner of Lynne Goldman Elements* (formerly Lynne Goldman Studio) believes his former Barracks Road landlords have made it pretty clear what they want the shopping center to look like.

“I don’t think Federal Realty has local businesses in their long-term plans,” Metz said. “They’re putting their money where they feel is best.”

Metz and his partner Lynne Goldman opened the doors of their new Downtown Mall location in early February, a move that he said wasn’t easy but was probably for the best.

“We didn’t find them very easy to work with,” he said of Federal Realty. “We’ve been so welcomed and supported Downtown, and we’re really happy with the choice we made.”

Mitch Diehl ran London’s Bathecary, located next to Banana Republic, for four years.

“For the first year and a half, we did phenomenal business,” he said. “And then they opened a 16,000 square foot Ulta Beauty right in front of our face.”

Diehl said Federal Realty charged the shop more than $5,000 a month for 1,200 square feet of space. Between the rent and the new nearby competition, remaining in Barracks Road is no longer an affordable option, and the shop’s windows are covered in “Everything must go” signs.

The decision to leave wasn’t easy, Diehl said, but the process of finding a new home has been smoother than expected. Property managers of the Downtown Mall and West Main have been great to work with, he said, and negotiating for a spot at Stonefield has been surprisingly easy.

“Stonefield is really receptive to small local businesses,” he said. “I’m just happy to see that there’s opportunity for local businesses right now.”

The shop has a new lease in hand, he said, and is just waiting on paperwork from Federal Realty.

Diehl said he can’t imagine how the old-timers must feel now that they’ve been pushed out.

“To have Hallmark out after 40 years, and Shenanigans out after 35—those stores wouldn’t be leaving if it were possible to survive,” he said.

Deirdre Johnson said Federal Realty still values diversity in the shopping center, despite all the changes.

“We strive to provide our customers with a unique balance of local, regional and national retailers and the property is currently 97 percent leased,” she said. “We will continue to offer the Charlottesville community shopping and dining options that fulfill their needs while creating a destination for everyone to enjoy.”

 

Lynne Goldman Elements was incorrectly identified as “Lynne Goldman Suites” in the 2/26 print issue of C-VILLE Weekly.