Lifestyle
Walk into August Wilson’s life and plays in immersive new exhibit
August Wilson
August Wilson Legacy LLC
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August Wilson Legacy LLC
August Wilson
August Wilson Legacy LLC
Tony Award and Pulitzer Prize-winning playwright August Wilson, who died in 2005, is likely one of the prides of Pittsburgh – but till this week, there was no website in his hometown the place followers might go to expertise the breadth of his legacy as a chronicler of the Black American expertise by means of his monumental, 10-play Century Cycle.
Now there’s “August Wilson: The Author’s Panorama,” a everlasting immersive and interactive exhibition at – the place else? – Pittsburgh’s August Wilson African American Cultural Middle. The middle, which opened in 2009, is positioned only a half-mile from the brick rowhouse that was Wilson’s personal first dwelling, within the traditionally Black neighborhood referred to as the Hill District.
Wilson solely lived in Pittsburgh till 1978, earlier than transferring to St. Paul, Minn., after which Seattle, however the metropolis he grew up in continued to tell his work for the remainder of his life.
“It was vital to have a website the place folks might stroll and immerse in August Wilson’s work, find out about his influences, find out about how he labored and why he did the issues that he did, why he wrote about particular matters in a selected manner,” stated Middle govt director Janis Burley Wilson, who oversaw the four-year undertaking from begin to end. .
“Author’s Panorama” consists of 13 separate walk-through installations. Ten are dedicated to the works within the Century Cycle, every of which is ready in a unique decade of the twentieth century. The performs discover the injury wrought by racism in addition to the resilience and triumphs of Black People. Most highlight working-class characters like trash collectors (“Fences”), current migrants from the agricultural South (“The Piano Lesson”), blues musicians (“Ma Rainey’s Black Backside,” “Seven Guitars”), mill staff (“Gem of the Ocean”), and unlicensed cab drivers (“Jitney”).
All 10 performs made it to Broadway; “Fences” and “The Piano Lesson” gained Pulitzers. And all however one of many performs are set within the Hill District of Pittsburgh, the place Wilson partly grew up after which got here of age as a younger man. The installations function Wilson’s private results together with costumes props and furnishings from productions of the performs, together with a 1956 Rock Ola jukebox from the 1990 Broadway staging of “Two Trains Operating.” There are additionally brief movies about every play, with historic context and dialogue carried out by the actors like Phylicia Rashad and Ruben Santiago-Hudson. One other set up honors Wilson’s autobiographical monologue, “How I Discovered What I Discovered.”
Two different sections within the exhibit summon his writing life. One recreates Eddie’s Restaurant, a now-vanished hang-out of Wilson’s within the Nineteen Sixties and ’70s; Wilson, famously, did plenty of writing in diners. The opposite immerses guests in his dwelling workplace, full with huge writing picket desk, books, and favourite blues information on vinyl – all donated by his spouse, Constanza Romero-Wilson, from the couple’s residence in Seattle, the place Wilson lived the ultimate 15 years of his life.
Constanza Romero-Wilson (l.), chief curator, and August Wilson African American Cultural Middle President and CEO Janis Burley Wilson.
Tara Geyer/AWAACC
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Tara Geyer/AWAACC
Constanza Romero-Wilson (l.), chief curator, and August Wilson African American Cultural Middle President and CEO Janis Burley Wilson.
Tara Geyer/AWAACC
Romero-Wilson, who heads the August Wilson Legacy LLC, served because the exhibit’s chief curator. She stated the workplace was her favourite a part of the present. “I can nearly really feel him when I’m within the room,” she stated.
Wilson was born Frederick August Kittel. His father was a German immigrant whom Wilson by no means actually knew; he and his 5 siblings had been raised by their mom, Daisy Wilson, who was Black.
He dropped out of highschool at age 15, after a trainer accused him of plagiarizing a paper he’d written on Napoleon. Whereas that concluded his formal education, he started spending his days on the Carnegie Library of Pittsburgh’s foremost department, in Oakland, studying all the things he might.
“He was an autodidact,” stated Romero-Wilson, herself an artist and costume designer. “He learn incessantly. And he all the time tried to excellent all the things, he was his personal finest critic. In order that persistence to me and the triumph of his life, is what I need folks to see after they come to this exhibit.”
In 1965, at age 20, Wilson adopted his mom’s maiden title and declared himself a poet. The newly minted “August Wilson” had moved again to a Hill District devastated by metropolis redevelopment initiatives. However as “Author’s Panorama” makes clear, he nonetheless discovered inspiration within the folks he met whereas hanging out (and taking notes) in espresso retailers, cigar shops and jitney-cab stations.
“He grew up observing the folks right here. Listening to the best way they communicate, their tonality, their musicality,” stated Romero-Wilson. “He picked up the philosophy about proper and fallacious, about justice, about race, all right here, with the folks of Pittsburgh. So the spirit of Pittsburghers lives in all of August’s performs.”
Wilson’s 1956 Rock Ola 1448, which was featured within the 1996 Broadway manufacturing of “Seven Guitars.”
Tara Geyer/AWAACC
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Wilson’s 1956 Rock Ola 1448, which was featured within the 1996 Broadway manufacturing of “Seven Guitars.”
Tara Geyer/AWAACC
The exhibit additionally evokes different formative influences by means of touch-free interactive video and audio shows. In archival interview clips, as an example, Wilson discusses the significance of such keystones of his worldview because the Black Energy motion and blues music. Wilson’s significance to Black theater artists is huge, stated Ruben Santiago-Hudson, a stage and display actor who has carried out in and directed quite a few productions of Wilson performs on Broadway and Off Broadway. He additionally scripted the 2020 display adaptation of “Ma Rainey’s Black Backside.” “As a substitute of Black life being within the periphery, he put Black folks’s lives in … the middle of what’s Americana,” he stated.
“He was enormous in his concepts and his ideas, in creating an area for us,” he provides. “So we did not want permission to be part of America. With August Wilson, we’re America.”
Extra Wilson is on its manner. This fall, LaTanya Richardson Jackson is predicted to direct a Broadway revival of “The Piano Lesson,” starring John David Washington, Danielle Brooks and Samuel L. Jackson. And actor Denzel Washington is dedicated to carry each installment of the Century Cycle to the massive display.
“It is past my creativeness how vital August has change into in our consciousness, in our American consciousness,” stated Romero-Wilson.
“August Wilson: The Author’s Panorama,” is a everlasting exhibit on the August Wilson African American Cultural Middle in Pittsburgh. Tickets are free.
Nathalie Emmanuel and Adam Driver star as Julia and Cesar in Megalopolis.
Courtesy of Lionsgate/Courtesy of Lionsgate/Courtesy of Lionsgate
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Courtesy of Lionsgate/Courtesy of Lionsgate/Courtesy of Lionsgate
In the early 1980s, Francis Ford Coppola, with classics like The Godfather and Apocalypse Now under his belt, set his sights on his next magnum opus: an ambitious, fable-like drama that would draw parallels between the U.S. and ancient Rome.
But after the costly flop of his 1982 musical, One From the Heart, Coppola wasn’t able to get another big-budget labor of love off the ground, and Megalopolis languished for decades. It was only a few years ago that he returned to the project, selling off part of his wine business and putting up $120 million of his own money. Even after production wrapped, setbacks continued, from challenges finding theatrical distribution to reports that Coppola had behaved inappropriately with women on the set, which the director has denied.
Now, against considerable odds, Megalopolis has arrived, and whatever you have or haven’t heard about it, I urge you to see it for yourself. You might conclude, like some of the critics at this year’s Cannes Film Festival, that Megalopolis is an unholy mess, full of disjointed plot points, didactic ideas and muddled historical allusions — an epic folly from a once-great filmmaker who long ago lost his mojo and possibly his mind. To which I can only say that every folly should have as much guts and passion as Megalopolis. I’ve seen it twice now, and both times I’ve come away dazzled by its beauty, its conviction, and its moments of brilliance.
The story takes place in a city called New Rome, which looks a lot like New York, but with Roman flourishes, from the classical architecture to the bacchanalian parties and even a Colosseum-style sports arena. The plot essentially updates a famous Roman power struggle from 63 B.C.
Adam Driver plays Cesar Catilina, an architect and designer who longs to transform New Rome into a dazzling futuristic utopia. But Cesar is challenged by the cynical mayor, Franklyn Cicero — that’s Giancarlo Esposito — who sees Cesar as a delusional dreamer. Furthering the conflict is Cicero’s daughter, Julia, a hard-partying medical-school dropout played by Nathalie Emmanuel, who asks Cesar for a job.
There’s a speechy stiffness to Coppola’s dialogue that takes some getting used to. But the story itself is a fairly straightforward mix of romance, sci-fi noir and political thriller. Cesar does hire Julia as an assistant, and they become lovers. But many complications ensue.
There’s the mystery of Cesar’s late wife, who died years ago under strange circumstances. There’s also much dysfunctional-family drama involving Cesar’s filthy-rich banker uncle, played by Jon Voight, and a ne’er-do-well cousin — that’s Shia LaBeouf. Both men have their own sinister designs on the city’s future. And in the borderline-cliché role of an unscrupulous TV reporter, Aubrey Plaza steals every scene, as Plaza usually does.
There’s more, much more: horse-drawn chariots and nightclub unicorns, Old Hollywood-style film techniques and kaleidoscopic visual effects, wild sex and startling violence. There are also references to Pygmalion, Marcus Aurelius, Sapphic poetry and Hamlet, whose “to be or not to be” soliloquy Cesar at one point performs. He’s in the throes of an existential crisis, fearful that humanity’s time may be running out.
And if Megalopolis has one subject, it’s time. The characters talk about time constantly. The trippy production design is full of clocks and sundials. Cesar has the supernatural ability to briefly freeze time in its tracks, but even he cannot halt its forward march for long. Watching the movie, I couldn’t stop thinking about Coppola, who’s now 85, and his own battle with time, including the four decades he spent trying to get Megalopolis made.
But whatever resentment Coppola may feel toward an industry that has both honored and shunned him over the years, there isn’t a trace of bitterness in the movie. Cesar believes in the future, and so does Coppola. Just because Rome fell, he seems to say, doesn’t mean the world has to. Wars can end, the planet can be saved and people can choose to live in a more inclusive and equitable society.
Most of all, Coppola clearly believes in the future of movies, and that, in a medium overrun with franchises, streaming junk and AI technology, there’s still room for a big-screen work of art as grandly improbable and deeply human as Megalopolis. Like so many of Francis Ford Coppola’s movies, it truly is one from the heart.
The Major League Baseball team the Athletics played their final games this week in the Oakland Coliseum, which has been their home base in California for the past half-century. They’re expected to relocate to Las Vegas for 2028 at the whim of their billionaire owner, John Fisher, and in the meantime play in a minor-league ballpark in Sacramento. Jack Nicas of The New York Times explains how the plan to build a stadium in Las Vegas is driven by a single factor — money — and what it’s meant to Oakland.
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