Geoffrey Rush, past winner of Oscar, Tony, and Emmy awards, in a stage adaptaion of Gogol’s Diary of a Madman, gives an astonishing bravura performance that sold out the month-long run that ends at Brooklyn Academy of Music this weekend. But his over-the-top comedic interpretation of the tragic protagonist, while wildly entertaining, leaves the audience emotionally unmoved.
John the Baptist’s tooth, the arm of Saint George and the head of Saint Sebastian are currently at the Walters Art Museum in Baltimore as part of “Treasures of Heaven: Saints, Relics and Devotion in Medieval Europe,” a rich exhibition on view until May 15 that brings together 130 golden sculptures, jewel-encrusted and enameled boxes and crosses, paintings and illuminated manuscripts.
Whether a memoir or an act of romantic self-mythologization, Patti Smith’s book is a sensitive evocation of her and Robert Mapplethorpe’s entwined histories in the sixties and seventies as they struggled to make their way as artists. The Bildungsroman seems destined for the screen.
The National Gallery of Art in Washington, DC has borrowed the painting “Saint Sebastian Tended by Irene, 1625,” a religious scene by the Dutch artist Hendrick ter Brugghen, from the Allen Memorial Art Museum at Oberlin College, to show alongside the gallery’s own ter Brugghen, “Bagpipe Player, 1624,” a major recent museum purchase.
The erosion of copyright protection in the age of rampant theft of intellectual property over the internet is a serious problem, but an op-ed in the NY Times written by officials of The Authors Guild provides a poor argument for action.