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Have I always been this grumpy around the holidays? It seems like a
fairly recent phenomenon. I'm so down I don't even really feel like
writing. But I'm going to write anyway. So there.
First of all, there's this amazing piece of art at SFMOMA right now
by Fischli/Weiss, a duo of Swiss artists who like to take everyday
things and put a slight twist on them. It's called "Busi (Kitty)"
and it's merely a home video of a kitty cat lapping up a saucer of
milk. A huge furry black and white kitty cat. Drinking milk.
That's it. It's brilliant. Apparently it played on the Jumbotron in
Times Square for a bit, and I'm sorry I missed it in that context.
As it was I kept disrupting the gallery with my giggling.
I took Brent to Frjtz Saturday night because I knew he'd like it. I
ordered a Duchamp crepe this time instead of a Munch, and we split a
large order of garlic fries. After dinner we went and parked at the
Civic Center and made it all the way to the door of the Orpheum
Theatre before realizing it was completely deserted. Oops, guess I
got the theater wrong for Proof. I knew it was the Curran but
somehow I was thinking the Curran was the Orpheum...very
embarrassing. We jumped back in the car and hauled ass over to Union
Square and ran to the Curran and got into our seats with not a moment
to spare.
Proof itself was incredibly good. With a mere four members in
the cast and no scenery shifts, it almost felt too intimate to be
playing in a theater the size of the Curran. Chelsea Altman was
fantastic as Catherine, a young woman struggling with the recent
death of her mathematician father and her own descent into depression
and possible illness. It sounds heavy, but writer David Auburn gave
these characters real sass and snap. Proof's Tony for Best
Play in 2001 was well-deserved. It was the first play Brent had
seen since I took him to the Donmar Warehouse in London five years
ago, and he was especially pleased to find out it was a geek play.
SFMOMA
Curran Theatre
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Heidi J. De Vries
