A look at a few episodes in the life of Poppy, a cheery, colorful, North London schoolteacher whose optimism tends to exasperate those around her.

Yeah, this is a Mike Leigh film story about Poppy, a primary school teacher in her 30s, living in London. There’s actually nothing special about her whatsoever. She’s not a celebrity or someone famous or rich -- she’s a plain commoner. But the thing that you will soon notice about her is that she always seems to be happy, overly enthusiastic, and hyper excited about almost everything. Well, no wonder the title of this movie is Happy-go-lucky. In short, you can say that she’s a happy-go-lucky woman. Just look at the permanent smile!  Genuine, too!

Along the story line, she meets some people who later make her aware of what happiness is and how it affects people’s attitudes toward life.

Maybe we need more movies like this. Just common people acting themselves, no matter how dizzy they seem.  If you see the movie, tell me if you enjoy the Spanish flamenco dance teacher as much as I do.  What a hoot!

I watched this film with a friend recently.  I liked it immensely -- she did not.  Here are excerpts from a couple of New York reviews of the film I found interesting...

Tim Burton makes fantasy movies. Stephen Sondheim writes musicals. It is hard to think of two more optimistic genres of popular art, or of two popular artists who have so systematically subverted that optimism. Mr. Sondheim has always gravitated toward the dissonance lurking in hummable tunes, and has threaded his song-and-dance spectaculars with subtexts of anxiety and alienation. Mr. Burton, for his part, dwells most naturally (if somewhat uneasily) in the realms of the gothic and the grotesque, turning comic books and children’s tales into scary, nightmarish shadow plays. And so it should not be surprising that “Sweeney Todd: The Demon Barber of Fleet Street,” Mr. Burton’s film adaptation of Mr. Sondheim’s musical, is as dark and terrifying as any motion picture in recent memory, not excluding the bloody installments in the “Saw” franchise. Indeed, “Sweeney” is as much a horror film as a musical: It is cruel in its effects and radical in its misanthropy, expressing a breathtakingly, rigorously pessimistic view of human nature. It is also something close to a masterpiece, a work of extreme — I am tempted to say evil — genius. — A. O. Scott, The New York Times

Is it the piece itself that has captivated me, or the movie Mr. Burton has made of it? Probably a bit of both. If less than perfect, this version does not diminish the impact of the historic Broadway original. My reservations are minor. It is a colossal experience—solid, shivery, multidimensional, a work of true genius. I consider it a privilege to be part of the adventure, regardless of its commercial outcome. At a time when movies feed unsophisticated and undemanding audiences Wheatena, Sweeney Todd serves a walloping bouillabaisse that just might nourish us through Hollywood famines still to come. — Rex Reed, The New York Observer

Sweeney Todd is the perfect marriage of filmmaker and material. Director Tim Burton has adapted Stephen Sondheim's Tony Award-winning musical in a darkly clever and comical fashion ... Johnny Depp is ideally cast as the barber who transforms himself from the embittered, falsely imprisoned Benjamin Barker to the demonic, vengeful Sweeney Todd. He's undeniably one of the best actors of his generation... The production design is intriguingly monochromatic and grimly gorgeous. The musical numbers play out compellingly. It's notable that some of the best musical performances are by actors who are not trained singers, such as Depp, Alan Rickman (as the nefarious judge who preys upon the barber's wife and daughter) and Sacha Baron Cohen. Cohen, as Pirelli, a flamboyant Italian barber and Todd's archrival, nearly steals the show... For the rare person who is not familiar with the squeamishly funny plot, set in the late 1700s, the real fun begins when Barker/Todd panics and slits the throat of Pirelli after he threatens to reveal Todd's true identity as an escaped prisoner. Mrs. Lovett, ever lamenting the high price of meat, sees the fleshy corpse as an opportunity to augment her pie fillings. Thus, her meat pie business is rejuvenated as a result of Todd's murderous barbering enterprise. The musical crescendos on a wave of witty cannibalistic references, including the best production number, A Little Priest. — Claudia Puig, USA TODAY

O resto é mar, e tudo que eu não sei contar
São coisas lindas que eu tenho pra te dar
Vem de mansinho a brisa e me diz
É impossível ser feliz sozinho

Da primeira vez era a cidade
Da segunda, o cais, a eternidade

Agora eu já sei, da onda que se ergueu no mar
E das estrelas que esquecemos de contar
O amor se deixa surpreender
Enquanto a noite vem nos envolver
                            ~Antonio Carlos Jobim

(English version...)
So close your eyes
For that's a lovely way to be
Aware of things your heart alone was meant to see
The fundamental loneliness goes whenever two can dream a dream together

You can't deny
Don 't try to fight the rising sea
Don't fight the moon, the stars above and don't fight me
The fundamental loneliness goes whenever two can dream a dream together

When I saw you first the time was half past three
When your eyes met mine it was eternity
By now we know
The wave is on its way to be
Just catch the wave don't be afraid of loving me
The fundamental loneliness goes whenever two can dream a dream together.

Today, I attended a recital by Lu Wang in Baltimore. He performed with power and moving intensity the Franz Liszt Piano Sonata in B minor, S. 178.  Time well spent, indeed, and a chance to unwind from some of the heavy mental concerns that have plagued me of late.  I will get out more for this kind of thing in the days and weeks to come. Mr. Wang won first prize at China's National Competition for Young Artists (one of the other finalists was renowned Chinese pianist Lang Lang of recent Beijing Olympics Opening Ceremony fame...)

Lu Wang

Acclaimed as “one of the 10 Promising Future Stars in China” by the People’s Daily News, pianist Lu Wang has established a career performing throughout the U.S., China, and Europe. His concretizing career has brought him to many prestigious halls, including Alice Tully Hall at Lincoln Center, New York’s Steinway Hall, Hong Kong’s Performing Arts Center, People’s Palace in Beijing, Beijing Central Concert Hall, and Xinghai and Shanghai Music Halls. In 2000, he was invited to play recitals at the Glinka Choir College and Chamber Music Concerts at the Composers’ Union in St. Petersburg, Russia. His establishments in China include collaborations with China’s National Symphony, the National Ballet, Shanghai Symphony Orchestra, Shanghai Radio Symphony Orchestra and the Guangzhou Symphony Orchestra.

Mr. Wang received many awards and scholarships in his native China as well as in the United States. Those include First Prizes in the 13th Hong Kong International Open, Stravinsky International Competition, Woodmere Music, and China’s National Piano Competitions. Mr. Wang made his debut at age 8 with Shanghai Conservatory Symphony and in the same year recorded his first commercial CD under the Singapore Recording Label.     

At present, Mr. Wang studies in the prestigious Artist Diploma Program at the Peabody Conservatory with Yong Hi Moon. He holds a Bachelor’s Degree from The Manhattan School of Music, where he studied with Nina Svetlanova, and obtained his Master‘s Degree from The Juilliard School under the tutelage of Yoheved Kaplinsky and Jerome Lowenthal. Mr. Wang has also worked with Ariel Vardi and attended piano workshop of Klaus Hellwig. Master classes he has played in include those of Leon Fleisher, Elisso Virsaladze, Karl Heinz Kammerling, Cecile Ousset, Stefano Fuizzi, Oxana Yablonskaya, Vladimir Feltsman, Christopher Elton, and Byron Janis. During the summers, he has participated in festivals such as Music Academy of the West, the Cliburn/TCU Young Artist Program, Bowdoin International Music Festival., Piano Fest and Hamamatsu International Academy.

Born in 1982 in China, Mr. Wang started studying piano at age four with his mother. He then continued his studies with Zeng Ming Qiang in the preparatory division of the Shanghai Conservatory. At age 9, Mr. Wang was accepted on a full scholarship to the Shanghai Conservatory of Music to study under Wang Jiang Zhong, Yang Yan Ru, and Wu Ying. In his free time, Mr. Wang enjoys teaching piano to young students. He has taught master classes in HangZhou and Taian Universities, China. His performances are regularly broadcast on TV and radio stations in China.

青年钢琴家王鲁八岁和上海音乐学院交响乐团首次登台表演钢琴协奏曲，并在同年为新加坡唱片公司灌制个人专辑。他曾与中国交响乐团，中国芭蕾舞乐团，上海交响乐团，上海广播乐团，广州交响乐团等合作演出。王鲁在中国香港各地举办音乐会，被人名日报称为‘未来十大希望之星’。王鲁曾获得全国宏艺杯儿童钢琴比赛第一名，珠江杯钢琴比赛第二名,香港国际钢琴公开赛第一名，美国Woodmere国际比赛第二名和斯塔拉文斯基国际钢琴大赛第一名。

王鲁四岁起学琴，九岁考入上海音乐院副小，师从王建中，杨宴如，吴迎教授。十岁代表音乐院与

交响乐队在上海兰新大剧院表演莫扎特钢琴协奏曲。王鲁2000年在美国林肯艺术中心首次登台亮相，和纽约交响乐团演奏肖邦第一号钢琴协奏曲，并在斯坦威大厅举行独奏音乐会。时代周刊称赞他的表演“成熟，热情，像一个钢琴界的老手，而不是一个仅仅17岁的少年”。之后王鲁被邀请到美国各地表演，并在俄罗斯举行独奏和室内乐音乐会。他也多次在国际著名音乐节和大师班中表演学习。

王鲁2003年以全额奖学金毕业于美国曼哈顿音乐学院，师从俄国著名钢琴家斯瓦拉诺娃.2008年取得朱丽亚音乐院硕士学位,师从罗文多尔和卡普林斯基。王鲁目前在著名的皮把第音乐学院攻读艺术家

表演学位，师从Yonghi Moon 教授。王鲁的音乐会曾多次被中国各大电视台和电台转播

As local throngs shopped for Black Friday bargains at local retailers, I managed to obtain a discounted ticket to this afternoon's matinee of Shakespeare's misogynist comedy The Taming of the Shrew at the acclaimed Washington Shakespeare Company (Lansburgh Theatre). After reading some very positive reviews, and knowing the play about as well as any of the Bard's works, I decided to see director Rebecca Bayla Taichman's hip approach to this classic romp up close and personal in her WSC debut. The afternoon was a total hoot from start to finish.

Another reason for my interest in seeing this show was that the male lead, Christopher Innvar, played a powerful Javert in the last Broadway production of Les Miserables I managed to see about 10 years ago in New York.  Innvar played opposite Audra MacDonald in the Broadway revival of 110 In the Shade to mixed reviews last summer.  Among his other musicals credits are included Roger in William Finn's A New Brain, Georgio in Sondheim's Passion, and the title role in Floyd Collins, three  of my personal favorite musical shows.  So I wanted to see how this seasoned, well-known Broadway musicals performer could handle the acting demands of a Shakespearean role.  In short, his playing of Petruccio opposite firebrand Charlayne Woodard as Kate, was spectacular for its energy, comic timing, and solid line readings. Innvar dominated his nearly every scene (when not being upstaged by his sidekick Grumio, played hilariously as close to over-the-top as one can get away with by Louis Butelli).  The remaining cast was also outstanding, with particular kudos to longtime high octane local comic interpreters Bruce Nelson as Tranio, and J. Fred Shiffman as Gremio.  A treat that made 2 1/2 hours race by much too quickly. And Mr. Innvar -- you're  an amazingly talented person!

Attended last night at the Baltimore Hippodrome the Cameron Mackintosh and National Theatre of Great Britain’s new
production of Lerner & Loewe’s My Fair Lady, direct from Great Britain and its successful West End engagement and U.K. tour.  In the lead roles were Christopher Cazenove (known to American TV audiences as Ben Carrington on Dynasty) in the role of Professor Higgins, and Lisa O'Hare as Eliza Doolittle.

This new production was hailed by the London Daily Mail as “The revival against which all others will be measured,” and the London Daily Telegraph as “Probably the greatest musical of all time.” U.S. critics were equally unanimous in their praise: “A joyous smash revival” hails Ben Brantley of The New York Times and Richard Christiansen of The Chicago Tribune raves “Sumptuous and stunning! An inspired revival.”

This revival of My Fair Lady originally opened at the National Theatre of Great Britain March
2001 before transferring to the Theatre Royal Drury Lane on London’s West End July 2001
where it ran for 2½ years. The show opened to record-breaking advance sales and went on to
win five Laurence Olivier Awards, including Outstanding Musical Production and Best Theatre
Choreographer for Matthew Bourne. In 2002 it received The Hilton Award for Outstanding
Musical Production.

The U.S. national tour of My Fair Lady brings together the original U.K. artistic team with direction by four-time Tony® winner Trevor Nunn, choreography and musical staging by two-time Tony® winner Matthew Bourne, production design by Anthony Ward and lighting design by David Hersey. The musical supervisor is Stephen Brooker and the orchestrations are by William David Brohn, with the dance music arranged by Chris Walker.

This production has been on tour in the U.S. since its mounting in Tampa in mid-September, and has journeyed to Pittsburgh, Cincinnati, Milwaukee, Nashville, and West Palm Beach before its debut last night in Baltimore. It will open just after Christmas at the Kennedy Center in Washington, in case you miss this current Hippodrome engagement.

My advice to anyone reading this -- do not miss this show!  The dazzling enthusiasm, rousing musical interpretations, powerful acting and choreography, not to mention the superb sets and lighting, make this an entirely new standard for what is arguably the best musical ever produced.

I have long been interested in the differences between Asian and Western cultures in the perception of beauty. This fascination was initially centered around the common disagreement between Chinese and Americans as they discuss film stars, renowned beauties like Gong Li or Ziyi Zhang  or my favorite, Maggie Cheung (Ying Xiong)... while agreements regarding scale are quite common on a single beauty among Americans or the Chinese, I have found there is seldom agreement between the two nationalities when considering the same beauty in question.

A recent exhibition at the Asian Civilizations Museum in Singapore, entitled "Beauty in Asia: 200 BCE to Today" addressed the concept of Asian beauty.  From the exhibition notes: 

"The concept of beauty is one that has been debated for centuries. The varied interpretation and evolving notion of what is beautiful has made defining beauty not just a daunting task but also one that may never be achieved. Humankind has thus found solace in the phrase ‘Beauty lies in the eyes of the beholder’ as it helps in defining the concept of beauty as one which is subjective.

"This exhibition will bring forth the many facets of beauty across Asian cultures, time and space. It is hoped that visitors will be exposed to the different notions of what is beautiful and that the experience they encounter from visiting the gallery will help them find both the outer and inner beauty of the people and things they encounter."

I for one wish I had been able to witness the Asian beauty on display. But is there (or should there be) a distinction between the beauty of timeless museum artifacts on the one hand, and the essential human beauty of popular movie idols on the other? Or does an ethnic, racial or nationalistic common aesthetic overlap from one milieu to the other?

Well, no matter -- let me lower myself to the profane.... which of these three Chinese lovelies do you consider the most beautiful?

"Shakespeare has been a constant part of my life since I was 5, when my mother read me all of his plays. Each time I direct one of those plays, I am awed by his achievement. This extraordinary playwright is credited with writing 38 plays, four long poems and 154 sonnets of astonishing psychological and philosophical insight, full of exquisite language. He created characters of great dimension, exploring the many faces of humanity without judgment. He transcended time and place by examining universal issues of family, power, first love and last love, vibrant youth and waning old age, and man's relationship to an uncertain universe."