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Cal Performances director Matías Tarnopolsky, who has been enthusiastically on board from the start, notes that the production posed some logistical challenges ballet shoes pointe. “It’s an enormous undertaking, with partners from around the world,” he said. But Cal Performances brings international music, dance and theater companies to Berkeley throughout the year, and as artists arrived and rehearsals began, Tarnopolsky said the production was coming together beautifully. As part of his Berkeley RADICAL initiative, the company is presenting free ancillary events: talks, dance workshops, even a Rameau listening party. Shepard will join McGegan in a discussion about the original 1745 score..
“When we set up Berkeley RADICAL last year, we never thought it would be so important in our daily lives,” said Tarnopolsky. “Cal Performances and Philharmonia Baroque are truly international organizations, and this is really the ideal of what we can do.”. Contact Georgia Rowe at [email protected] PHILHARMONIA BAROQUE ballet shoes pointe. Presents Rameau’s “Le Temple de la Gloire”. When: 8 p.m. April 28 and 29, 3 p.m. April 30. Where: Zellerbach Hall, UC Berkeley. Tickets: $30-$120; 510-642-9988; www.calperformances.org..
“Free Fire,” the latest cinematic gut-punch from Ben Wheatley (“High-Rise”), gets off to a retrotastic start with a high-energy credits sequence composed of a fat ’70s-era font and a punchy track from the Boston punk band the Real Kids. Just when the words “Martin Scorsese” begin to form in the viewer’s mind, up pops his name as an executive producer. Soon enough, though, Quentin Tarantino nudges the master aside as Wheatley’s chief influence in a film that turns out to be little more than a clever stunt — a one-room bullet ballet that plays like “The Hateful Eight.” ballet shoes pointe.
A real-time exercise in witty dialogue, cartoonish violence and aim just bad enough to leave its protagonists bloodied but alive through most of its swift duration, “Free Fire” feels like a left-handed project from a filmmaker whose gifts for staging, framing and pacing are on full display, but feel wasted in a glib, down-and-dirty bagatelle. As the film opens, Chris and Frank — IRA gunrunners played by Cillian Murphy and Michael Smiley — respectively, are sitting in a car with a go-between named Justine (Brie Larson), waiting for Ord (Armie Hammer), a frontman for a South African arms dealer named Vern (Sharlto Copley). Decked out in a suave turtleneck and heaps of facial hair that make him look like an extra from “Anchorman,” Hammer’s Ord dazzles the group with blasé, erudite commentary as he takes them to an abandoned warehouse where the deal is supposed to go down ballet shoes pointe.
Each side of the transaction has brought along some extra muscle — in Chris and Frank’s case, a strung-out junkie named Stevo (Sam Riley) and his best friend, Bernie (Enzo Cilenti). For his part, Vern has an imposing factotum named Martin (Babou Ceesay), as well as two more confederates who conveniently bring the assembled ensemble of ne’er-do-wells to an even 10 ballet shoes pointe. As absurd as it seems to invoke Agatha Christie to describe a movie propelled by searing profanity, graphic savagery and general depravity, “Free Fire” owes much of its parlor-game suspense to her cozily murder-minded mysteries. Once the gunfire inevitably commences — joined at other points by punches, a tickling, a squishy decapitation and one or two incendiary events — the movie becomes a then-there-were-two countdown..