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<FONT FACE="Verdana"><B>Continuing this week at the Kenworthy Performing Arts Centre...<BR>
</B><BR>
<FONT COLOR="#800000"><FONT SIZE="5"><B><I>Sirius Idaho Theatre</I></B></FONT></FONT><FONT SIZE="5"><B><I> </I></B>presents <BR>
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<FONT COLOR="#000080"><H2><I>Sight Unseen<BR>
</I></H2></FONT>by Donald Margulies<BR>
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<B>Thursday, February 9 at 7:30 PM<BR>
Friday, February10 at 7:30 PM<BR>
Saturday, February 11 at 2:00 PM<BR>
Saturday, February 11 at 7:30 PM<BR>
</B><BR>
<U>Tickets available at BookPeople of Moscow</U><B> </B>(521 S. Main St.)<BR>
<B>$15 Adults, $10 Seniors, $5 Students<BR>
</B>Tickets also available an hour before each performance at the Kenworthy Performing Arts Centre box office. <BR>
If you would like to purchase tickets and have them sent to you, email or call John Dickinson (<FONT COLOR="#0000FF"><U>johnd@moscow.com</U></FONT>, 208-301-4361).<BR>
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<U>CAST<BR>
</U><BR>
Jonathan - Donal Wilkinson<BR>
Nick - Peter Aylward<BR>
Patricia - Sally Eames-Harlan<BR>
Grete - Anna Cottle<BR>
<BR>
Directed by Pam Palmer<BR>
<BR>
<I>Sight Unseen</I> is the story of an American mega-artist so successful he's had the obligatory profile in Vanity Fair and can claim astronomical prices for his works sight unseen from a waiting list of wealthy patrons. In England for a retrospective of his paintings, the artist goes into the countryside to visit his original muse and lover, the "sacrificial shiksa" whom he abandoned in his quest for the opulent life which now devours him. Donald Margulies won the Pulitzer Prize in 2000 and <I>Sight Unseen</I> won the Obie Award for best new American Play in 1992.<BR>
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"<I>…you can tell when a play has gripped its audience, for no one seems to breathe, let alone shift in his seat. This phenomenon can be observed…at Sight Unseen....</I>" —NY Times.<BR>
<BR>
<B>Sign up to usher for a performance and see the play for free....</B> <BR>
Call or email Pam Palmer, Managing Artistic Director, at 208-596-2270 <<FONT COLOR="#0000FF"><U>siriusidahotheatre@gmail.com<BR>
<BR>
</U></FONT><I>Sight Unseen </I>contains language that may offend some audience members.<BR>
<B>* * *<BR>
<BR>
</B><FONT COLOR="#800000"><H2>Good Night, and Good Luck (PG)<BR>
</H2></FONT><B>Sunday, February 12<BR>
4:30 & 7:00 PM<BR>
</B>$5/adult, $2/children 12 and younger<BR>
KFS passes accepted for Sunday showings<BR>
<B>(see Review below)<BR>
* * *<BR>
<BR>
Next week at the Kenworthy Performing Arts Centre-<BR>
</B><BR>
<B>Pride & Prejudice (PG)<BR>
</B>February 17 at 7:00 PM<BR>
February 18 & 19 at 4:00 & 7:00 PM<BR>
<B>* * *<BR>
<BR>
Also in February-<BR>
</B><BR>
<B>Walk the Line (PG-13)<BR>
</B>February 24 at 7:00 PM<BR>
February 25 & 26 at 4:00 & 7:00 PM<BR>
<BR>
International Jazz Collections<BR>
2006 Lecture Series<BR>
<B>Mark Cantor<BR>
Celluloid Improvisations: <BR>
Black, White, and Technicolor<BR>
</B>February 25 at 12:30 PM<BR>
Free<BR>
<BR>
<B>Coming in March: </B>Auditorium Chamber Music Series presents <I>Masters of Persian Music;<B> </B>Capote</I>; <I>U of I Women’s Center Lunafest</I>; U of I American Indian Film Festival; Grangeville Bluegrass Company<BR>
<BR>
Kenworthy Performing Arts Centre presents Grangeville Bluegrass Company and Prairie Flyer in an evening of bluegrass music on Friday, March 24, 2006 at 7:00 PM. Tickets will go on sale March 1 for $12/ general admission and $8/child under 13 years</FONT><FONT FACE="Courier"><TT>.<BR>
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Regular movie prices: $5/adult, $2/children 12 and younger<BR>
KFS passes accepted year-round for Sunday movies!<BR>
<BR>
For more information, go to www.kenworthy.org or call 208-882-4127.<BR>
<B>* * *<BR>
This week’s movie review-<BR>
<BR>
</B><FONT COLOR="#800000"><H2>Good Night, and Good Luck<BR>
</H2></FONT><BR>
<B><U>Academy Award Nominations for “Good Night, and Good Luck”<BR>
</U><BR>
<I>Best Picture<BR>
Best Director: George Clooney<BR>
Best Actor: David Strathairn<BR>
Best Original Screenplay: George Clooney and Grant Heslov<BR>
Best Art Direction<BR>
Best Cinematography<BR>
</I></B><BR>
Directed by George Clooney; written by Mr. Clooney and Grant Heslov <BR>
Running time: 1 hour, 30 minutes <BR>
This film is rated PG (Parental guidance suggested). Apart from a little rough language, it is as clean as the television broadcasts it describes.<BR>
<BR>
<BR>
<B><I><U>As reviewed by A. O. Scott writing for the New York Times<BR>
</U></I></B><BR>
Shot in a black-and-white palette of cigarette smoke, hair tonic, dark suits and pale button-down shirts, "Good Night, and Good Luck" plunges into a half-forgotten world in which television was new and the cold war was at its peak. Though it is a meticulously detailed reconstruction of an era, the film, directed by George Clooney from a script he wrote with Grant Heslov, is concerned with more than nostalgia.<BR>
<BR>
Burnishing the legend of Edward R. Murrow, the CBS newsman who in the 1940's and 50's established a standard of journalistic integrity his profession has scrambled to live up to ever since, "Good Night, and Good Luck" is a passionate, thoughtful essay on power, truth-telling and responsibility.<BR>
<BR>
And be prepared to pay attention. "Good Night, and Good Luck" is not the kind of historical picture that dumbs down its material, or walks you carefully through events that may be unfamiliar. Instead, it unfolds, cinéma-vérité style, in the fast, sometimes frantic present tense, following Murrow and his colleagues as they deal with the petty annoyances and larger anxieties of news gathering at a moment of political turmoil. The story flashes back from a famous, cautionary speech that Murrow gave at an industry convention in 1958 to one of the most notable episodes in his career - his war of words and images with Senator Joseph R. McCarthy.<BR>
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While David Strathairn plays Murrow with sly eloquence and dark wit, Mr. Clooney allows the junior Senator from Wisconsin to play himself (thanks to surviving video clips of his hearings and public appearances), a jolt of documentary truth that highlights some of the movie's themes. Television, it suggests, can be both a potent vehicle for demagoguery and a weapon in the fight against it.<BR>
<BR>
Mr. Clooney, who plays Murrow's producer and partner, Fred Friendly, has clearly thought long and hard about the peculiar, ambiguous nature of the medium. It is a subject that comes naturally to him: his father, Nick, was for many years a local television newscaster in Cincinnati, and the younger Mr. Clooney's own star first rose on the small screen.<BR>
<BR>
"Good Night, and Good Luck" brilliantly recreates the milieu of early television. (Robert Elswit's smoky cinematography and Stephen Mirrione's suave, snappy editing are crucial to this accomplishment.) It also captures, better than any recent movie I can think of, the weirdly hermetic atmosphere of a news organization at a time of crisis.<BR>
<BR>
When Murrow, in March 1954, prepares to broadcast his exposé of McCarthy's methods, the suspense is excruciating, even if we know the outcome. Because we do, it is possible to view "Good Night, and Good Luck" simply as a reassuring story of triumph. But the film does more than ask us, once again, to admire Edward R. Murrow and revile Joseph R. McCarthy. That layer of the story is, as it should be, in stark black-and-white, but there is a lot of gray as well, and quite a few questions that are not so easily resolved. The free press may be the oxygen of a democratic society, but it is always clouded by particles and pollutants, from the vanity or cowardice of individual journalists to the impersonal pressures of state power and the profit motive.<BR>
<BR>
Mr. Clooney does not simplify. The scenes between Murrow and Paley, taking place in the latter's cryptlike office, have an almost Shakespearean gravity, and not only because Mr. Strathairn and Mr. Langella perform their roles with such easy authority. McCarthy may serve as the hissable villain, but Paley is a more complicated foil for Murrow - at once patron, antagonist, and protector.<BR>
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Most of the discussion of this movie will turn on its content - on the history it investigates and on its present-day resonance. This is a testament to Mr. Clooney's modesty, but also to his skill. He has found a cogent subject, an urgent set of ideas and a formally inventive, absolutely convincing way to make them live on screen.<BR>
<BR>
<BR>
<B><I><U>As reviewed by Mick LaSalle writing for the San Francisco Chronicle<BR>
</U></I></B><BR>
"Good Night, and Good Luck" dramatizes a key moment in the history of television news, the standoff between newsman Edward R. Murrow and red-baiting Sen. Joseph McCarthy. <BR>
<BR>
In the course of three broadcasts in 1954, one of which McCarthy had all to himself, Murrow went up against one of the most powerful and feared men in the country and, by assembling facts and using the senator's own statements against him, more or less took him down. Those three episodes of "See It Now" marked the beginning of the end of McCarthy's influence in America. <BR>
<BR>
Yet in the midst of what is widely considered an exalted period in TV news history, undermining changes were taking place on the network level. The movie dramatizes that, too -- the beginnings of news as a money-making enterprise, as a ratings grabber, as a form of entertainment. Part drama and part civics lesson, "Good Night, and Good Luck" is an entertaining slice of American political and cultural history, enhanced by faithful period detail and energized by urgent parallels that George Clooney, as director and co-writer, wants to stress about the present day. <BR>
<BR>
Shot in a high-contrast black and white, it opens at a banquet in 1958, at which Murrow is about to be honored. As the camera floats in and out of the crowd, take a moment to look at the faces: The actors are wearing 1950s clothing and hairstyles, and yet something in the actors' essences retain the telltale suggestion of 2005. The changes in consciousness from one era to another are subtle yet unmistakable. <BR>
<BR>
At this 1958 banquet, Murrow is supposed to take his award and say something nice, but instead he uses the platform to criticize TV news for becoming a form of empty escapism. As with all of Murrow's public pronouncements in "Good Night, and Good Luck," the text is taken from Murrow's own words, and those words apply even more to today than yesterday. <BR>
<BR>
>From there, we go back another five years, to the era of McCarthyism, character assassination and loyalty oaths. Murrow is cautioned to be balanced in his coverage, to which he replies, "I can't accept the idea that every issue has two equally reasonable sides to it." It's an important point: When one side is lying and the other is telling the truth, it does the truth a disservice to present both positions as equally valid. <BR>
<BR>
Clooney lovingly re-creates the world of '50s television: The jolly cigarette commercials, the ancient technology and the primitive ways of doing things. For example, during the broadcasts, producer Fred Friendly sits under Murrow's desk and taps his leg when the camera is on.<BR>
<BR>
Clooney's point will not please everybody. Clooney is suggesting that the fear McCarthy was trading in, the fear people have of getting blown up, is pervasive today; that the spirit of McCarthy, an authoritarianism disguised in patriotic language, lives on; and that TV news is no longer a match for it. At a time when movies are straining to be innocuous, "Goodnight, and Good Luck" is a bold entry, to say the least. About half the public will also see it as patriotic.<BR>
<BR>
<BR>
<B><I><U>As reviewed by Steve Persall writing for the St. Petersburg Times<BR>
</U></I></B><BR>
Good Night, and Good Luck is filmed in gorgeous shades of black and white, but conceived in only the starkest essence of those colors. There are good people whom director and co-writer George Clooney wishes to honor, and there's one bad guy hanged by his own words. Clooney does everything he can to tighten the noose.<BR>
<BR>
Wearing the white hats, so to speak, are the employees of CBS News who challenged the divisive, bullying tactics of Sen. Joseph McCarthy during his Cold War crusade against communist infiltration of the United States. That McCarthy overstepped the bounds of decency and freedom isn't arguable; that the Red threat he railed against had any substance isn't discussed. It's the power of the press vs. the pressure of power, and only a hermit would fail to recognize contemporary parallels.<BR>
<BR>
Cloaking himself in the American flag, McCarthy pried into any private life that hinted of leftist leanings. Refusal to submit was considered a confession of guilt. Guilt was contagious: Any sympathetic person could be branded a co-conspirator. Conspiracies were so vague that any opposition could be viewed as part of a single, larger plot.<BR>
<BR>
CBS newsman Edward R. Murrow was widely viewed as the most trusted person on television, an infant medium that was capturing the mass imagination. Turning that imagination into reasonable thought was Murrow's own crusade, and opposing McCarthy's reckless tactics was his battlefield. Good Night, and Good Luck - Murrow's signature signoff line - depicts their mano a mano showdown for the nation's conscience, offering a lesson in where they succeed and fail to modern politicians and reporters.<BR>
<BR>
As a director, Clooney and cinematographer Robert Elswit revel in 1950s period detail; fashions, mores, cigarette smoke clouds and primitive technology. The film's compacted narrative keeps almost everything within CBS walls, with the exception of Dianne Reeves' interludes as a jazz club singer. Why? Because it's the sound of the era, not because she has anything to do with Murrow and McCarthy. It might seem a mistake were it not so expertly filmed.<BR>
<BR>
The Cold War had Murrow, Vietnam had Walter Cronkite and now Iraq, Afghanistan and wherever's next have Fox News Channel and Jon Stewart. Something is wrong with this picture. “Good Night, and Good Luck” is Clooney's passionate, possibly vain attempt to make it right.<BR>
<BR>
<I>Film reviews researched and edited by Peter Haggart<BR>
</I><B>* * *<BR>
<I>Kenworthy Performing Arts Centre<BR>
</I>508 S. Main Street, Moscow, Idaho<BR>
</B>208-882-4127<BR>
Sign up for this weekly email on events and movies at the Kenworthy by logging onto our website <BR>
<FONT COLOR="#0000FF"><U>http://www.kenworthy.org<BR>
<BR>
</U></FONT>~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>
PAMELA PALMER, <B>Volunteer<BR>
</B>Mailto:ppalmer@moscow.com<BR>
Film and Events Committee <BR>
Kenworthy Performing Arts Centre<BR>
<BR>
http://www.kenworthy.org<BR>
To speak with a KPAC staff member, <BR>
call (208) 882-4127<BR>
Mailto:kpac@moscow.com<BR>
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