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<FONT FACE="Verdana"><B>This week at the Kenworthy Performing Arts Centre...<BR>
<BR>
<FONT COLOR="#800000"><FONT SIZE="5">The Devil Wears Prada (PG-13)<BR>
</FONT></FONT>Friday & Saturday, September 8 & 9<BR>
7:00 PM<BR>
Sunday, September 10<BR>
4:20 & 7:00 PM<BR>
</B>$5/adult, $3/child 12 or younger<BR>
KFS pass accepted for Sunday movies<BR>
<B>(See movie review below)<BR>
</B>* * *<BR>
<BR>
<B>Next week at the Kenworthy Performing Arts Centre...<BR>
</B><BR>
<FONT COLOR="#000080"><H2>Wordplay (Not Rated)<BR>
</H2></FONT><B>September 15 & 16<BR>
7:00 PM<BR>
September 17<BR>
4:45 & 7:00 PM<BR>
</B>* * *<BR>
<BR>
<B>Also in September at the Kenworthy Performing Arts Centre:<BR>
</B><BR>
<I>Sirius Idaho Theatre</I> presents the<BR>
<B>World Première</B> of<BR>
<FONT COLOR="#800080"><H2><I>Cow-Tipping and Other Signs of Stress<BR>
</I></H2></FONT><B>by Gregory Fletcher<BR>
<BR>
</B>Directed by Stan Brown<BR>
<B><BR>
Thursdays, Fridays & Saturdays, September 21 - 23 & 28-30<BR>
7:30 PM<BR>
</B><BR>
$15/adult, $10/senior, $6/student<BR>
Tickets and season passes available at:<BR>
BookPeople, Farmers’ Market and KPAC box office<BR>
<BR>
After years of perseverance and rejection letters, undiscovered playwright Christopher Post asks for a sign from the universe confirming that he’s on the right path. The signs flood in, each contradicting the next. When Christopher runs into an old college buddy who works for role model and star playwright Ward Edington, Christopher begins sneaking, stealing, hiding, conniving, teasing, fighting, and his life continues to snowball from there. Saving his marriage and career will be the hardest rewrite of his life. A romantic dramedy laced with farce and cows. (Adult themes)<BR>
<BR>
<I>Cow-Tipping and Other Signs of Stress</I> won the 2005 American College Theatre Festival Mark Twain Prize for Comic Playwriting.<BR>
<BR>
<B>If you wish to usher and see the show for free,</B> <BR>
email SIT’s House Manager, Cindylou Ament <cindylouament@moscow.com><BR>
<BR>
<FONT COLOR="#800000"><FONT SIZE="5"><B><I>Sirius Idaho Theatre</I></B> 2006-2007 season passes<BR>
</FONT></FONT><BR>
<I>Sirius Idaho Theatre</I> (SIT) announces their third season of plays, with three productions scheduled at the Kenworthy Performing Arts Centre in Moscow. <I>Cow-Tipping and Other Signs of Stress</I>, the world premiere of a new comedy by Gregory Fletcher, opens September 21. <I>Touch</I>, by Toni-Press Coffman, opens January 25, 2007, and <I>Breaking the Code</I>, by Hugh Whitemore, opens April 12, 2007. In addition, SIT presents a staged reading of <I>The Oldest Profession</I>, by Paula Vogel, as a special fundraising event on November 10 & 11.<BR>
<BR>
<I>Sirius Idaho Theatre</I> is offering a significant savings to patrons who purchase a 2006 – 2007 season pass. Passes are now available at the Moscow Farmers’ Market, BookPeople of Moscow, the Kenworthy Performing Arts Centre box office, or by contacting a SIT board member (John Dickinson, Pam Palmer, Andriette Pieron) www.SiriusIdahoTheatre.com<BR>
<BR>
Adults - $15 per show or <B>$40</B> pass<BR>
Seniors - $10 per show or <B>$25</B> pass<BR>
Students - $6 per show or <B>$15</B> pass<BR>
<BR>
For more information, visit www.SiriusIdahoTheatre.com <<FONT COLOR="#0000FF"><U>http://www.siriusidahotheatre.com/</U></FONT>> or call Pam Palmer, Managing Artistic Director at 208-596-2270.<BR>
<B>* * *<BR>
</B><BR>
<B>More movies in September at the Kenworthy-<BR>
</B><BR>
<B>Sopie Scholl: The Final Days (not rated)<BR>
</B>September 24<BR>
4:15 & 7:00 PM<BR>
<BR>
Back by popular demand:<BR>
<B>An Inconvenient Truth (PG)<BR>
</B>October 1<BR>
2:30, 4:45 & 7:00 PM<BR>
<BR>
<B>Coming in October:</B> Who Killed the Electric Car?; Little Miss Sunshine<BR>
<BR>
Regular movie prices: $5/adult, $3/child 12 or younger<BR>
KFS series pass prices: $30/10 films, $75/30 films. KFS pass good only for Sunday movies.<BR>
<BR>
For more information on movies, events, rental rates, and/or to download a schedule, visit our website at www.kenworthy.org<BR>
<B>* * *<BR>
<BR>
This week’s movie review-<BR>
</B><BR>
<FONT COLOR="#800000"><FONT SIZE="5"><B>The Devil Wears Prada<BR>
</B></FONT></FONT><BR>
Directed by David Frankel; written by Aline Brosh McKenna, based on the novel by Lauren Weisberger; <BR>
Rated PG-13 (Parents strongly cautioned). It has strong language and sexual situations.<BR>
Running time: 1hour, 46 minutes<BR>
<BR>
<B><I><U>As reviewed by Steve Persall, the St. Petersburg (FL) Times Film Critic<BR>
</U></I></B><BR>
The Devil Wears Prada may be too "out there" for mass consumption, like the haute couture and fashionistas it comically deflates with sharpened, painted nails.<BR>
<BR>
Yet there's a little something for both bargain-bin shoppers and Neiman Marcus regulars in David Frankel's film version of Lauren Weisberger's bestselling novel, based on her experiences working for Manhattan fashion maven Anna Wintour.<BR>
<BR>
Frankel crafts a classy satire of superficiality, sharply adapted to retain the book's cattiest aspects, presented with near-perfect timing by the cast and editor Mark Livolsi.<BR>
<BR>
Moviegoers who don't know Wintour's reputation can still relish the way her doppelganger, Miranda Priestly Meryl Streep reveals personal and ethical warts under all that makeup and ritzy clothing. Anyone that rich, haughty and callous deserves to be ridiculed.<BR>
<BR>
At the same time, Frankel's movie establishes an elegant culture that could seduce anyone from their principles. It is the department store window through which some see glamour while others see garbage.<BR>
<BR>
Miranda lords over Runway magazine with an aura so intimidating that nobody will share an elevator or hallway with her. From her steel tower she doles out the future rules of fashion through sycophants, never masking her disdain for mainstream clothing, like the style worn by Andrea Sachs (Anne Hathaway) as she interviews for an assistant's position. Andy, as she prefers to be called, is beautiful but not by Miranda's standards, so she isn't. Andy's bank account isn't in any position to complain.<BR>
<BR>
What the movie has that even viewers in T-shirts and shorts can appreciate are good performances and acerbic banter, making the slim plot feel richer. Since Miranda is atop the fashion world, her closest targets are also trendy and still get hammered; people we're expected to look up to get the snobby treatment rather than us. Streep delivers each sideways glance and tart remark with confidence that would make Cruella De Vil wilt, especially when explaining why what she does for a living really does matter to bargain shoppers.<BR>
<BR>
<BR>
<B><I><U>As reviewed by Mick LaSalle writing for the San Francisco Chronicle<BR>
</U></I></B><BR>
There are two moral seductions in "The Devil Wears Prada," a temptation saga about a young woman who takes a job in the fashion industry. The first seduction, the least satisfying, is contained within the movie. It's the story of how our heroine begins to become seduced by the glamour and the distorted values of the people around her. That seduction is arbitrary, necessary to the story but never completely convincing or even important in the grand scheme.<BR>
<BR>
The second seduction is what makes the movie. That's our seduction, as an audience watching "The Devil Wears Prada." We come into it, most of us at least, in a state of innocence, knowing little about the ways of New York's fashion oracles. We're immediately shocked (though amused) by the rudeness, the cutthroat cruelty and the callousness. And then about three-quarters in, we understand it. Their behavior makes sense, not just in a psychological sense but also in a twisted moral sense. We grasp the life view and the code of behavior, and in doing so realize we've just completed our own journey to the dark side.<BR>
<BR>
Thanks to Meryl Streep, whose performance as the editor in chief of the world's most influential fashion magazine is eerie perfection, "The Devil Wears Prada" is often quite funny. But it's more than that, a film that reveals an entire vibrant and sleazy world that most viewers would never have a hint of, much less experience. Based on the novel by Lauren Weisberger, "Prada" just feels authentic, from its glossy look to the specific and sometimes curious behavior of the secondary and tertiary characters. To watch it is like being entertained while getting an anthropological crash course.<BR>
<BR>
The fashion-world rudeness seems to derive from a belief (or recognition) that people are as replaceable as styles, and that, just as only a few styles are acceptable at any given moment, the same could be said for individuals. The practitioners of this philosophy accept that these rules apply to themselves as well, and so they feel no impulse for phony courtesy in dealing with others. To be nice would only encourage weakness or instill a false assurance. Thus, when young Andy (Anne Hathaway) shows up for her interview at Runway magazine, she's met with a barrage of insults and snide comments by the boss' first assistant, Emily (Emily Blunt) -- though the contempt is curiously without any particular malice, as though the assistant has learned the drill without feeling it.<BR>
<BR>
The stage is set for Streep's entrance as the dreaded boss, Miranda. Word gets out that she has arrived in the building early, which creates pandemonium in the office as desks are cleared, hair and clothing are primped and comfortable shoes are replaced with high heels. We're led to expect a screaming harpy, but Streep is too smart an actress for that. She's the boss, and the boss doesn't have to raise her voice. Instead, she speaks in a quiet monotone, complaining and giving orders with an air of mildly pained bewilderment. Her most vicious comments begin in seemingly innocuous ways, with "Why is it impossible that ..." or "I really don't understand why ..." Miranda is much scarier than a demanding, screaming boss. She takes pleasure in slipping inside her employees' minds and torturing them.<BR>
<BR>
Beneath Streep's coldness, there's more coldness, and beneath that coldness is something worse. She makes you feel that the devil really does wear Prada.<BR>
<BR>
<BR>
<B><I><U>As reviewed by Jon Niccum writing for the Lawrence Journal-World (KS)<BR>
</U></I></B><BR>
Meryl Streep may be one of Hollywood’s most revered dramatic actresses, but she is a natural born comedian.<BR>
<BR>
I’ve generally preferred the more down-to-earth Streep who lets her innate charm and humor define a role. Her performances in offbeat comedies such as “Postcards from the Edge” and “Defending Your Life” have always seemed impressive turns.<BR>
<BR>
Streep has scored her best comedic showcase yet in “The Devil Wears Prada.” Although the film itself is somewhat conventional, the 57-year-old actress transforms the production into a memorable affair.<BR>
<BR>
While Streep is top-billed, the film is told through the eyes of Andy Sachs (Anne Hathaway), an aspiring journalism grad who moves to New York City. Unable to find a job in her field, Andy applies for a “temporary” one as the second assistant to fashion magazine editor Miranda Priestly (Streep).<BR>
<BR>
Andy is told, “You work a year for her, and you can get any job you want.”<BR>
<BR>
Trouble is that the infamous Priestly is absolutely terrifying. Part Leona Helmsley and part Veruca Salt, she is sadistic, demanding and takes the term “passive-aggressive” to a whole new level. <BR>
<BR>
“The Devil Wears Prada” is based on the novel of the same name by Lauren Weisberger, who did a stint as assistant to Vogue editor Anna “Nuclear” Wintour. The movie offers nice behind-the-scenes tidbits about the fashion world, but it’s really more of a case study in how those at the height of success can justify their cruelty.<BR>
<BR>
How good a performance does Streep give?<BR>
<BR>
Just look at two scenes: In the first, Andy defends why she buys cheap, comfortable clothes that aren’t designer brands. Miranda counters by explaining how Andy’s cerulean blue top is the trickle-down effect of millions of hours and dollars spent in the high-end industry. But what the woman is really doing is systematically detailing why she is smarter, classier and more motivated than those around her. Streep could have played the scene with yells or glares. But it is her very subtlety that makes the situation so insulting.<BR>
<BR>
In the second example, Streep utters a throwaway line of dialogue that absolutely brings the house down. On paper it simply reads, “Why is no one ready?” But Streep’s pinpoint inflection transforms it into something as powerful as “To be or not to be.”<BR>
<BR>
The movie (directed by TV veteran David Frankel) eventually turns into a more formulaic morality play, with a not very awe-inspiring love triangle thrown into the mix involving Andy and a prominent writer (Simon Baker).<BR>
<BR>
But it’s in this latter portion where we become privy to the depth of Miranda’s character. I was reminded of a scene in “Swimming with Sharks” — also an assistant’s tale about the world’s worst boss — in which Kevin Spacey’s blockbuster producer confesses what sent him down such an inhumane path.<BR>
<BR>
There’s no moment in “The Devil Wears Prada” quite so shattering, but there is a scene where Miranda lets down her guard to discuss her failing home life. It’s handled with immense subtlety (there’s that word again), and is no less effective at conveying that this monstrous person is still a person.<BR>
<BR>
Streep has never won an Academy Award for one of her lighter roles. (Of her 13 nominations, she’s only taken home the statuette twice, for the dramas “Kramer vs. Kramer” and “Sophie’s Choice.”) Come February, it might be very fashionable to present Streep with another Oscar.<BR>
<I><BR>
</I><BR>
<I>Film reviews researched and edited by Peter Haggart<BR>
</I><B>* * *<BR>
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<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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