{"id":1495,"date":"2012-04-07T10:55:11","date_gmt":"2012-04-07T15:55:11","guid":{"rendered":"http:\/\/bourdaghs.com\/blog\/?p=1495"},"modified":"2012-04-11T08:25:39","modified_gmt":"2012-04-11T13:25:39","slug":"a-few-days-in-new-york-city","status":"publish","type":"post","link":"https:\/\/bourdaghs.com\/blog\/?p=1495","title":{"rendered":"A Few Days in New York City"},"content":{"rendered":"

I flew into New York City on Wednesday afternoon. Right after checking into my hotel, headed over to the Barrymore Theatre on West 47th to catch “Death of a Salesman,” directed by Mike Nichols with Philip Seymour Hoffman playing Willy Loman. Hoffman’s portrayal has elicited a wide range of reactions, from gushing celebration (e.g. John Lahr’s review in the New Yorker<\/em><\/a>) to puzzled dissent (e.g. Chris Jones’ review in the Chicago Tribune<\/em><\/a>). <\/p>\n

After seeing the production, I understand the uneven reaction. There’s a mannered quality to Hoffman’s acting here: several times in the evening, he falls silent for four or five seconds, and it’s not clear what’s going on behind Loman’s blank face: confusion, doubt, rage? If you can accept the mannerisms, you begin to accept Hoffman’s Loman, even as you never quite identify with him. The supporting cast is generally strong, and the set uses the classic original design by Jo Mielziner. But ultimately I find myself thinking that I don’t much like this script. It’s celebrated as one of the great American plays, and yet I find it forced, humorless, and altogether too pleading in its earnestness. I find my response odd. I’m usually a sucker for Cold War liberal humanism and its middlebrow masterpieces: I could sit and watch Rodgers and Hammerstein musicals all day. But Arthur Miller leaves me cold.<\/p>\n

Thursday morning, I headed over to the Japan Society to catch the excellent “Deco Japan: Shaping Art and Culture, 1920?1945” exhibit. The show is, I think, mistitled–perhaps intentionally, to capture the attention of a certain audience who might not come if it were more properly called “Japan’s Modern Moment.” But lots of excellent pieces–in particular sculpture and (a pleasant surprise) covers of popular sheet music books for harmonica players. The show continues until June 10.
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