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The New York Times examines how a developer is destroying murals painted by Ted DeGrazia in downtown Phoenix:
The 65-year-old mural, a tribute to alcohol, depicted guards armed with shotguns overseeing a still; women hovering like ghosts, a glass in each hand; and a dancer with one leg raised high, bloomers in full view. Even to the best-trained eye, it did not look like much. But the work represented a rare link to its creator, Ted DeGrazia, a wildly prolific artist born when Arizona was just a territory, whose career followed a trajectory that in many ways paralleled the ascent of the region that served as his muse.Just as Mr. DeGrazia’s legacy faded after his death in 1982, the mural, along with a smaller one in the same building, was largely ignored for years. But the murals began to draw attention recently when the building was condemned to make way for new construction. The developer plans to turn the site into a luxury apartment complex, loaded with amenities like a fitness center, a pool and rooftop decks with sweeping views to entice the millennials who have been flocking to the city’s downtown.
PhotoIn the district here known as Roosevelt Row, an eclectic enclave where neglected warehouses have been transformed into art galleries and bungalows into bookshops, this shoe box of a building, adorned with a trio of colorful birds on an outer wall, long fit right in. Threatened with its loss, longtime residents mobilized, determined to keep out what they saw as an outside business trying to capitalize on their neighborhood’s homegrown appeal.
The building, which served over the years as one of the city’s first drag clubs and years later as the headquarters for a mayor’s re-election campaigns, was an artifact well worth saving, said Bob Diehl, a neighborhood resident who started a petition to block demolition.
“We have to stop destroying history in order to put up boring stuff,” Mr. Diehl said. “We’re replacing interesting, funky urban stuff with dead sidewalks.”
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ATC’s first ever production of Shakespeare’s poetic masterpiece.And and excerpt from our review of the play:
Jealousy. Prejudice. Betrayal. And the chance that true love could actually conquer all. Romeo and Juliet comes to vibrant life through the inventive talents of award-winning director Kirsten Brandt and designer David Lee Cuthbert, whose state-of-the-art scenery, lighting and projections bring new life to the warring world of the Capulets and Montagues. Romeo and Juliet like you’ve never seen before!
“Bold, ambitious, and stirring...Brandt has become a disciplined and inventive theatrical storyteller.” – San Diego Union-Tribune
Brandt's places the tale in the 1960s, a time of cultural revolution in the United States and in Europe as it was rebuilding after WW II and forging an identity less closely associated with the Roman Catholic Church. It seems legitimate enough, and the new context does allow for some touches many of us recognize (and are actually quite fun, like the bright orange Vespa that silently motors across the stage from time to time.)
But the story works here, as it would in many settings, because it is a universal one. Young love rashly crosses boundaries set by parents; the lovers challenge the feuds of families they had no part in creating; the blood-bought and blind loyalty to familial or political or sectarian alliances set us against each other and inevitably cause us great harm. It is always tragic, just as it is in the particular story of "Romeo and Juliet."
Overall, this is a fine production which allows the story to unfold in all its horrors: brutal murders taking the lives of members of both the Montague and Capulet clans; Romeo's avenging the death of his cousin and being banished just after he and Juliet have been married in secret; and the plot hatched by the Friar that goes horribly awry, resulting in the deaths of two teenagers who have vowed to look to the future, refusing to cling to the past.
Tags: Arizona Theatre Company , ACT , Romeo and Juliet , Vespas
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