Bertold Loffler’s most important painting, Youth Playing the Pipes of Pan (1912), reveals his passion for classicism, from the garlanded youth and draped female attendants to the vase at their feet, depicting Pan, the Greek god of untamed nature, playing a double flute. The flat, stylized composition and the bold patterns on the women’s cloaks reflect Loffler’s work as a designer for the cutting-edge Austrian artists’ association the Wiener Werkstätte. Eduard Ast, a major patron of the group, acquired the canvas and hung it in the dining room of his newly-built villa in Vienna, across the hall from Gustav Klimt’s painting of the mythological heroine Danaë(1907 – 08), which is in a private collection.
Photographed in the Metropolitan Museum of Art in NYC.
Kandler’s brilliantly composed figural group, The Judgement of Paris (1762) was intended as a table centerpiece that would appear with dessert. It depicts the story of the shepherd Paris awarding the golden apple to Venus, whose charms he preferred to those of Minerva and Juno. The splashes of color add a frivolous note, in tune with the frothy rococo spirit of the sculpture. Moreover, hints of naturalistic coloring deny these goddesses the timelessness of idealizing sculpture, making them instead into modern beauties who perform a titillating after-dinner entertainment.
Photographed in The Met Breuer (Now Closed) as Part of the 2018 Exhibit, Like Life: Sculpture, Color and The Body.
Above Photo and Playbill Image By Gail. All Other Performance Photos By Jeremy Daniel.
You just can’t keep a good thing down. Nine years after it debuted as a major motion picture, The Lightning Thief: The Percy Jackson Musical – based on the New York Times best-selling book, The Lightning Thief by Rick Riordan, is back with a national theater run. The two-act rock musical, written by Rob Rokicki and Joe Tracz (Be More Chill), first played in NYC in 2017 for a short run. Due to the show’s popularity, fans of the book series demanded that the play be available to a larger audience, and a National Tour was launched in January. This past week, the tour made a four-day stop at NYC’s Beacon Theatre, and I was able to check it out.
Fans of the book, and those who have seen the 2010 movie adaptation, already know how things play out, but for the sake of avoiding too many big spoilers for those who are coming into the story fresh, I’ll give you a Reader’s Digest Condensed version of the plot. Percy Jackson (Chris McCarrell) is a teenager from Long Island, NY who struggles with ADD and Dyslexia, has a knack for unwittingly causing drama at school, and can’t figure out why he feels like such a misfit among his peers (“The Day I Got Expelled”).
Percy (Chris McCarrell) is Comforted by his Mom, Sally (Jalynn Steele)
Percy’s mom, Sally (Jalynn Steele), who has raised him mostly on her own, has a pretty good idea of what the issue might be, and it has a lot to do with who Percy’s father is. Unwilling to directly address the identity of her son’s progenitor, she encourages Percy to embrace his unique attributes (“Strong”), reminds him that “normal is a myth,” and signs him up to attend a special summer camp, which turns out to be Camp Half-Blood. Arriving at camp, Percy discovers that the one trait he shares with his fellow campers is that they’re all demigods – kids with one mortal parent and one parent who is a Greek god (“The Campfire Song”). That’s right; it’s heavy.
Annabeth (Kristin Stokes), Percy and Grover (Jorrel Javier) Begin The Quest!
Requesting a sign from the Universe to reveal his divine parent, Percy discovers that his dad is not just some dude his mom hooked-up with on the beach, but Poseidon, god of the sea. While act one serves to set Percy up with his de rigueur epic quest (“Killer Quest”), the real action takes place in act two. Our hero is told that he must retrieve Zeus’s lightning bolt – which Percy himself is suspected of having stolen – in order to prevent a war among the Greek gods. Percy and his two close friends – Grover (Jorrel Javier), a satyr who is the son of Pan, and Annabeth (Kristin Stokes) daughter of Athena – set out on a cross-country journey (“Lost”), during which the trio must battle a variety of monsters on their quest to discover who the real Lightning Thief is. Eventually, they arrive at The Underworld, which just happens to be located in Los Angeles – appropriate! To find out how the showdown goes down, you will have to see the play for yourself!
As a testament to the degree of talent in the cast, each actor — except for Chris McCarrell, because he is in every scene — handles two or more roles in the play. On the technical front, this production of The Lightning Thief is creatively staged, making clever use of its minimal sets and lighting. Particularly visually impressive is a backdrop of programmed strip-lights used to recreate various environments, from the dripping walls of a damp cave, to the flames of lapping fire that fill The Underworld. Resourceful use of props to create fun special effects include using unspooled rolls of toilet paper and a leaf blower to simulate storms, which also elicits big laughs from kids in the audience. The show is also performed with the added energy of a live band, for a real Rock & Roll feel!
Ryan Knowles as Medusa
The Lightning Thief’s mythical theme lends the play a crossover appeal for fans of Harry Potter, and it’s a great companion piece to young adult-focused musicals with storylines more grounded in reality, such as Dear Evan Hansen and the off-Broadway production, Out Of My Comfort Zone. The Lightning Thief also offers a terrific crash course in Greek mythology (Percy is actually short for Perseus), which is always fascinating. Ultimately, The Lighting Thief: The Percy Jackson Musical conveys a strong message of claiming one’s own destiny. Even if, as the lyrics to “Campfire Song” suggest, “Things couldn’t be worse, when your parents run the universe,” the sins of the father are not necessarily to be laid upon the children. It’s possible to transcend the circumstances you were born into, no matter what “monsters” you may face.
Luke (James Hayden Rodriguez) and Percy Do Battle!
As an aside, I feel compelled to include information about a fan-driven campaign currently taking place on Twitter. When the show kicked off in Chicago this past January, there was great excitement created via social media. Fans were thrilled that the show was going to be seen by so many but, sadly, not everyone has the means to afford a ticket. A group of loyal fans stepped up and created #HalfbloodsHelpingHalfBloods, a campaign which has so far raised over $2000 to help dozens of Percy Jackson fans, who otherwise would not have the opportunity, to attend a performance. Here’s how it works: first sign onto Twitter. If you’re a fan (a ‘half-blood‘) in need of a ticket, tweet the city/date for which you need a ticket using the hashtag #HalfbloodsHelpingHalfbloods. If you’re a fan who can sponsor a ticket, reply to a tweet under the hashtag and pair up! This heartwarming grassroots effort speaks volumes about The Lightning Thief and its community of devoted fans.
Upcoming stops for The Lightning Thief: The Percy Jackson Musical include cities in North Carolina, California, Louisiana, Washington, Oregon, Nevada, Texas, Wyoming, Oklahoma, Georgia and Florida, with performances scheduled through Mid-July. This play is suitable for all ages, and has a two-hour runtime, including a 15 minute intermission. Visit Lighting Thief The Musical to learn more about the show and purchase tickets at a theater in your area!
The diminutive nude female figure in the upper right area of The Nymph Echo (1936) is often identified as Echo — a mountain nymph of Greek Mythology. Far more dominant, however, is the monstrous green vegetal creatures — or is it creatures — in the foreground. This wildly imaginative hydra-headed creation may represent Narcissus, whom Echo loved. Famously, Narcissus fell in love with his own beautiful image reflected in a pool and wasted away from unsatisfied desire, whereupon he was transformed into a flower. The various delicately colored floral effusions in Ernst’s painting recall this moment of metamorphosis.
The Belgian artist Jean Delville (1867 – 1953) was among the participating artists that feverishly shared Josephin Peladan’s beliefs in the spiritual power of art. Delville exhibited in the first four Salons de la Rose+Croix, earning particular admiration in 1894 for The Death Of Orpheus (1893). During the 19th century, Orpheus, the supernaturally talented poet of classical Western mythology, was a popular paradigm for the artist as enchanter, seer, and martyr whose creations transcend death. In one myth, after Orpheus is dismembered by wild female followers of Dionysus — the god of wine, fertility and madness — his head floats downriver, still singing, and becomes an oracle. Orpheus’s androgynous features, reportedly modeled after the artist’s wife, manifest the Symbolist belief in androgynes as ideal beings that represent the synthesis of opposites into a beautiful and perfect whole.
Photographed as part of the exhibit Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897, at the Guggenheim Museum in NYC.