[ThisWeek] Sirius Idaho Theatre Auditions and Junebug at the Kenworthy Performing Arts Centre

[thisweek at kenworthy.org]

This week at the Kenworthy Performing Arts Centre-

Sirius Idaho Theatre announces
Auditions for Sight Unseen, by Donald Margulies
-- Obie award for Best New American Play in 1992
(Script available for preview at BookPeople of Moscow)
Prepared monologues appreciated, but not required
7 pm - Thursday, December 8th

Rehearsals begin the first week of January; performances February 2-4 &
9-11, 2006

Characters:
Jonathan, 35-40
Patricia, 35-40
Nick, 40s
Grete, 25-30

Jonathan and Patricia are American; Nick is English. Grete is German; her
English is excellent, if accented.  Jonathan has maintained his
working-class Brooklyn accent; Nick¹s rural, working-class speech finds its
way into his University accent, particularly when he¹s been drinking; and
Patricia¹s dialect suggests that of an expatriate New Yorker living in
England.

For more information about the play or to volunteer with Sirius Idaho
Theatre
contact Pam Palmer, Managing Artistic Director, at 208-596-2270
<siriusidahotheatre at gmail.com>
or visit the web site of Sirius Idaho Theatre
http://www.siriusidahotheatre.com/

Sirius Idaho Theatre is a 501(c)(3) non-profit organization.
Tax-deductible donations are appreciated - and essential.

³Let the beauty you love, be what you do.²
~~~~~~~~~~~~~~~~~~~~~~~~~~~


Kenworthy Film Society presents
Junebug (R)
Friday, December 9
7:00 PM
Saturday & Sunday, December 10 & 11
4:15 & 7:00 PM
$5/Adults
KFS passes accepted for Sunday showings
(see Review below)
* * *

Next week at the Kenworthy Performing Arts Centre-

Serenity (PG-13)
Friday, December 16
7:00 PM
Saturday & Sunday, December 17 & 18
4:15 & 7:00 PM

Coming in January: The Squid & the Whale, Paradise Now, Oliver Twist

Check KPAC¹s web site for dates & times. http://www.kenworthy.org

Regular Movie prices:  $5 adult, $2 child 12 or younger
KFS passes accepted year-round for Sunday movies!
* * *

This week¹s review-

Junebug

Directed by Phil Morrison
Rated R for sexual content and language.
Running Time: 1 hour, 47 minutes

As reviewed by G. Allen Johnson writing for the San Francisco Chronicle

If there's any justice at all at next year's Academy Awards, we have our
first can't-miss nominee for best supporting actress: Amy Adams. As the
scatterbrained but smarter-than-you-think pregnant sister-in-law, Adams
doesn't just steal Phil Morrison's wonderful Southern comedy-drama "Junebug"
-- she outright powers it.

An independent film set in North Carolina, "Junebug" is about a Chicago art
dealer, Madeleine (Embeth Davidtz), who is chasing down an eccentric artist
(Frank Hoyt Taylor) who happens to live near her new husband's family, whom
she's never met. 

There are the parents. Mom (Celia Weston) has a clear suspicion of outsiders
and a growing sense of a wasted life, while dad (Scott Wilson) putters
around the house, saying as little as possible. Living with them is their
son, Johnny (Benjamin McKenzie), a maladjusted redneck whose life revolves
around looking for cigarettes and staying as far away as possible from his
pregnant wife, Ashley (Adams). And there is George (Alessandro Nivola),
Madeleine's husband, who is so disturbed by coming in contact with the life
he left behind that he's absent for much of the visit, until he's really
needed. 

Morrison, in his feature film debut, handles the material with just the
right delicate touch, resisting any temptation to veer into broad comedy and
remain grounded in potent observations about life, love and family.

"Junebug" immerses itself in a part of the American experience Hollywood
doesn't touch anymore, and has sharp, perceptive talents behind camera.


As reviewed by Kimberley Jones writing for the Austin (TX) Chronicle

First-time filmmaker Phil Morrison announces himself with assurance and
uniqueness of vision.

The superlative script, by the playwright Angus MacLachlan, is essentially a
tweaking of ³Meet the Parents,² in which a bride undergoes all the
awkwardness, culture clash, and failed connections attendant to that trial
by fire: the first immersion into her husband¹s family. It¹s a marital
initiation rite, and for art dealer Madeleine and new husband George, it¹s
also the first hint of marital strife in their six-month-old union.

Madeleine¹s a world traveler and consummate sophisticate who specializes in
"outsider" art, in which the artist lacks formal training. Her arrival in
George¹s tiny North Carolina town and homestead is met with trepidation by
most and outright hostility by his mother, Peg; only her eager-to-please,
pregnant sister-in-law, Ashley, is wowed by this double-cheek-kissing
anomaly. 

³Junebug² is built on a host of remarkably nuanced characters; in the push
and pull for audience sympathy, every side gets its say. As with its wholly
of-this-earth characters, Junebug presents a true portrait of the environs:
in the banquet hall of a church potluck, in Peg¹s mail-order-pretty living
room. Morrison likes to film these places when they are quiet and empty, but
even more affecting is when he captures his characters alone in these
places, when they can shake off the forced smiles and settle into their more
natural selves. There is Madeleine, desperately rummaging for a cigarette;
George, in the go-to pose for many adult children returning home, sleeping
on the couch; and Ashley, stripped for once of her über-cheer and clutching
a photo of her negligent husband who is only rooms away but, emotionally, on
an alternate plane. Small moments, all of them, but the sum is something
deeply profound: about awkwardness, culture clash, failed connections, and ­
ultimately ­ the strength that comes from surviving a trial by fire.

As reviewed by Roger Ebert writing for the Chicago Sun-Times

"Junebug" is a movie that understands, profoundly and with love and sadness,
the world of small towns; it captures ways of talking and living I remember
from my childhood, with the complexity and precision of great fiction. It
observes small details that are important because they are details. It has
sympathy for every character in the story and avoids two temptations: It
doesn't portray the small-town characters as provincial hicks, and it
doesn't portray the city slickers as shallow materialists. Phil Morrison,
who directed this movie, and Angus MacLachlan, who wrote it, understand how
people everywhere have good intentions, and how life can assign them roles
where they can't realize them.

"Junebug" is a great film because it is a true film. It humbles other films
that claim to be about family secrets and eccentricities. It understands
that families are complicated and their problems are not solved during a
short visit, just in time for the film to end. Families and their problems
go on and on, and they aren't solved, they're dealt with.

Consider a guarded moment between Madeleine and Eugene, her father-in-law.
She observes cautiously of his wife: "She's a very strong personality." This
is putting it mildly. Eugene replies quietly, "That's just her way. She
hides herself. She's not like that inside." And then he adds two more words:
"Like most." Thank God for actors like Scott Wilson, who know how those two
words must be said. They carry the whole burden of the movie.


Film reviews researched and edited by Peter Haggart
* * *
  
Kenworthy Performing Arts Centre
508 S. Main Street, Moscow, Idaho
208-882-4127
Sign up for this weekly email on events and movies at the Kenworthy by
logging onto our website
http://www.kenworthy.org

~~~~~~~~~~~~~~~~~~~~~~~~~~~
PAMELA PALMER, Volunteer
Mailto:ppalmer at moscow.com
Film and Events Committee
Kenworthy Performing Arts Centre

http://www.kenworthy.org
To speak with a KPAC staff member,
call (208) 882-4127
Mailto:kpac at moscow.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~
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