Anal Vice

Rule 11: Do not bother children when they are skateboarding
—-Jordan Peterson, 12 Rules for Life – An Antidote to Chaos

Back a few months, with Mother’s Day approaching, I was struggling with figuring out what to do.

I checked the Alamo Drafthouse app on my phone and discovered they were having a Mother’s Day brunch along with a showing of “The Sound of Music.” I remembered that Candy had said once, years ago, that this was one of her favorite musicals. It seemed a little pricey (at first) but I went ahead and bought three tickets. Nick would be up from Houston to visit and that would be a nice mother’s day.

I told Candy (couldn’t really keep it a surprise) and she was worried about Nick.
“I don’t think he’ll like the movie,” she said.

She reminded of one time, years ago, when She, Lee, and I were watching The Sound of Music on TV and Nick walked through the living room.

“What are you watching? What kind of sick stuff is this? What are they singing about? Anal Vice?” he said.

The song, of course, was not “Anal Vice,” but “Edelweiss.”

Alamo Drafthouse is the only movie theater chain we will frequent. The food (and drafts) are good, I love the bits they show before the films, but the real attraction are their policies. One, if they catch you talking or using your phone during the film, they throw you out. Two, and the big one for me, is they do not allow anyone to arrive late. It drives me nuts how, at a regular movie theater, people keep streaming in, searching for their seat, twenty minutes after the show starts. Assigned seats and these policies are the only way to make movie-going worthwhile.

I texted Nick to ask if it was OK for him to see The Sound of Music.

“Y’all paint me as some uncultured brute,” he replied. So he was good to go.

As it turned out, the thing was fantastic. It had seemed pricey at first – but the food was amazing and way more than worth the cost all by itself. The staff came out before the film and explained how hard they had worked on the menu (Austrian themed) and hoped we enjoyed ourselves. The film was sold out and the logistics of getting four courses of food (and wine) out to all those seats in the dark, during a film was incredible.

One good thing is that the film had an intermission and that was when they brought out the main course (Schnitzel, poached eggs, asparagus, tomato) so we could eat that with the house lights up a little. Of course, the movie was fantastic. Your forget how much these classic films were designed to be seen in a theater, on a big screen, and not on a television. Really enjoyable.

So, I’m going to keep an eye on the Alamo Drafthouse to see when they will do something like this again. A close eye – this one sold out in hours. It’s a really special special treat.

Just don’t forget to turn your phone off.

The Fortress of Solitude

The Wyly Theater in the Dallas Arts District

The Wyly Theater in the Dallas Arts District

The Dallas Theater Center has this thing, these “pay what you can” nights. These are opening performances where you can get a ticket for whatever you want. These are great for me, because I couldn’t afford to go to the Wyly otherwise.

So far, I’ve seen King Lear, The Tempest, Red, and The Elaborate Entrance of Chad Deity, at the Wyly and enjoyed the hell out of every one. This time it was the premiere of The Fortress of Solitude – a new musical adapted from the bestselling book by Johnathan Lethem. The show will run here in Dallas and then move onto New York.

I have never read the book, so I knew nothing of the story. There was nothing on the web about the musical – which isn’t surprising, because this is the premiere. That was actually sort of exciting – other than workshops and previews and such, this was the first time anyone had seen The Fortress of Solitude.

My son Lee is in town after graduation, staying for a few days before going back to New Orleans to work. We took the DART train downtown and walked over to the Wyly. Before the curtain came up, Lee asked, “Where is the orchestra pit?” I said there wasn’t one and I guessed they would use tape. Once the play started, however, a screen rose to show the musicians up on a scaffold above most of the action. There was a conductor down in front, facing a blank wall, directing into a small video camera – and her image was displayed on several carefully placed screens for the musicians and singers.

The musical was crackerjack. I imagine the source material isn’t the most obvious place to pull song and dance – and that made the story a lot more subtle and complex that the usual “girl meets boy” plot. The songs were great, especially when they were used to give a sense of time passing from the 1970’s to the turn of the century – from rock to soul to folk to rap to punk and finally, even a little Talking Heads thrown in.

It was a good time.

Our original seats were up on the third balcony (all good – there isn’t a bad seat in the Wyly) but a numbering mess-up had us move down into the orchestra level. I noticed a man sitting next to Lee holding a small notepad and scribbling all through the first act. During intermission I looked through the program and realized that the man was Daniel Aukin (I think), who conceived and directed the play. It must have been exciting for him to see his creation in front of a full audience for the first time.

Later, after the ovation died down, he asked Lee, “Well, how did you guys like it?” Lee said it was awesome. And it was.

Now, the next play is Sherlock Holmes and pay what you can tickets will be sold on April 21. Get in quick, they go fast.