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Defender Picks



August 22nd

Murder Ballads

Euclid Records, 5PM

Book signing with Dan Auerbach and Gabe Soria


DIY Fermented Foods

Rosalie Apothecary, 7PM

Fermented dairies, like kefire, yogurt, butter, buttermilk, and more


Stanton Moore Trio

Snug Harbor, 8PM

Galactic drummer's side project


Water Seed

Blue Nile, 9PM

Future funk stars


Treme Brass Band

d.b.a., 9PM

See the legendary band on their home turf


Rebirth Brass Band

Maple Leaf, 10PM

2 sets by the Grammy-winning brass band


Smoking Time Jazz Club

Spotted Cat, 10PM

Trad jazz masters



August 23rd

Wine Down Wednesdays

New Orleans Jazz Museum, 6:30PM

Free yogalates at the Mint


The Heart of Herbalism

Rosalie Apothecary, 7PM

Syrups and immune health


Trapper Keeper

Side Bar, 8:30PM

Local improv music duo, feat. Dr. Jeff Albert



Bar Redux, 9PM

Free screening of junkie masterpiece


Chris & Tami

The New Movement, 9:30PM

TNM's founders perform weekly free show


Vixens & Vinyl

One Eyed Jacks, 10:30PM

Burlesque dance party


August 24th

Summertime Blues

Shops at Canal Place, 5:30PM

Young professionals meet-up with blues, brews, and BBQ


Architecture & Design Film Festival Kick-Off

Contemporary Arts Center, 5:30PM

Opening night party and film


Yoga Social Club

Crescent Park, 5:45PM

Get sweaty and centered


Ogden After Hours

Ogden Museum, 6PM

Feat. Sweet Olive String Band


Ambush Reggae Band

Gasa Gasa, 9PM

Local roots reggae group


Royal Teeth

Tipitina's, 9PM

Feat. Merci Raines and No True Scotsman


August 25th

Friday Nights at NOMA


Feat. The Pfister Sisters


Exotic Races

Fair Grounds, 5PM

Races feat. ostriches and camels


More Lovely and More Temperate

Valiant Theatre and Lounge, 6PM

Performance of all 154 Shakespearean sonnets


Lil' WeezyAna Fest

Champions Square, 7PM

Feat. Gucci Man, Rich the Kid, Kodie Shane, YoungBoy NBA, and Lil Wayne


Drive-In On the Patio

Bar Redux, 9PM

Campy and cool movies, The Wasp Woman, Attack of the Giant Leeches, and The Giant Gila Monster


Little Maker & Mr. Universe

One Eyed Jacks, 9PM

Feat. special tribute to The Band


Rocky Horror Picture Show

Prytania Theatre, 12AM

Feat. NOLA's foremost shadow cast The Well-Hung Speakers


August 26th

It's About TIME

Studio Be, 6PM

Artist conversation about oppression via symbols like the monuments


New Pride Pageant

Cafe Istanbul, 6PM

Honoring Mr & Miss New Orleans Pride 2017


New Orleans Saints vs. Houston Texans

SuperDome, 7PM

The Saints and Texans go head to head


Rick & Morty Marathon

Bar Redux, 9PM

Outdoor binge session for Dan Harmon's animated series


Swamp Motel

Gasa Gasa, 9PM

Album release party for Louisiana rockers


Vox & The Hound

One Eyed Jacks, 10PM

Pop group, feat. psych band Midriff and Naughty Palace

The Sunday Critic

Marie Antoinette: Let Them Eat Revisionism

With Marie Antoinette, the NOLA Project twerks across the line separating hip from hipper-than-thou…then, thanks to the subtlety of its director and leading lady, pivots back to credibility again.


The playwright David Adjmi’s latest exploration of the depths of shallowness (it is his specialty, apparently) makes its area premier trailing a tin-can string of mixed reviews. Following closely in the wake of the same-name 2006 film by Sofia Coppola (to whom I hope Mr Adjmi is paying a portion of his royalties), Marie Antoinette posits – for two-thirds of its running time – that its poor-little-rich-girl got executed during the French Revolution not because of her and Louis XVI’s lavish ways during a period of high debt, unpopular taxation, and bad harvests in France; nor because of the influence of the American Revolution and the Enlightenment; nor even because of nativist resentment for the privileged Austrian, but because of awful press. The sort of anonymous Twitter sniping from the unwashed masses that, you know, Britney and Lindsay and Paris have to put up with. And she just did not deserve it, you know! 


This is the perfect history play for an ahistoric people, outfitted with a pseudo-challenging point of view that covertly caters to the predispositions of its likely audience. Who in the house for modern American theatre is going to be caught dead tweeting about the Kardashians? 


Only for two-thirds of its running time, as I said. Once Marie and her family are recaptured following an escape attempt and confined to a cell, the play turns thoroughly conventional. The post-mod gimmickry is dropped. Marie’s already-begun process of maturation accelerates, so that she can die a misunderstood but admirable heroine. (The process gets badly derailed by the linchpin escape scene which features a terrified Marie’s being recaptured on a accunt of a sudden determination to hang with the locals and understnad their lives.) Supporting characters make quickie reappearances so that Adjmi can shoehorn in all of the actual history that he neglected in the early going. The Revolutionary who guards her becomes Marie’s special sounding board…for the info that she is nearly illiterate, for the revelation that she was born for nothing else, et cetera. “Why are you telling me this?” he asks her, not gently. “Do you think I can save you?” 


“No,” Marie replies, in a small voice…followed in my head by Adjmi’s voice, still smaller, “but I had to fit in this research somewhere.” Had he the nerve to leave Marie unchanged by suffering, a resentful and uncomprehending ditz to the end, or, even bolder, to argue that the French hoi polloi should have been happy to put up with a little privation in support of such fabulously entertaining creatures (he comes close to that stance, a few times) Adjmi would have had an annoying but genuinely provocative play. But this is not a brave writer, and he has only an annoying one.


I do not apologize for spending this much wordage on the play apart from its production. Unless locally created, straight plays of less than five years’ vintage are rare as hen’s teeth in New Orleans. Only the NOLA Project, Southern Rep and, occasionally, for new comedies, Rivertown Theatres, have the resources, followings, and will to regularly mount them. And as the Project’s season opener, Marie Antoinette enjoys pride of place.


So if it’s dubious as history and useless as social commentary, reliably snicker-inducing but unremarkable as comedy, what is the appeal here? Costume pageantry, for one. Shauna Leone’s mash-up of Park Avenue hot-mess fashions with 18th-century court opulence is pitch-perfect, as are Christopher Arthur’s yowza wigs. (Bill Walker’s set design is as well-composed as was his work on Cuckoo’s Nest, but this one doesn’t remain “a character its own right” as that design did. After a vivid first impression, it turns into background.) Mostly, though, Marie Antoinette demands attention as a star vehicle.


Cecile Monteyne is at the center of every scene. An admitted admirer of “big” acting – bravura, over-the-top, call it what you will – it’s taken me awhile to appreciate what the NOLA Project’s de facto leading lady does: Accrete size, and force, by layering one carefully chosen and subtle choice atop another, until the effect is the same as if she’d just let ‘er rip. (Even in her “mad scene” solo Monteyne doesn’t let it rip, delivering most of her lines to herself rather than to the room.) It’s an acting style that on paper sounds more suited for film, but it’s been powerful every time I’ve seen it. Even when particular moments here don’t click – and given the sketchiness of Adjmi’s relationships, there were several – Monteyne uses her sad eyes to anchor them in something like reality.


Let me put it more simply. No actor has ever aged twenty years before my eyes more believably.


In her soft-spoken approach Monteyne has her perfect director. Mark Routhier’s guidance is as seamlessly invisible as it was on Cuckoo’s Nest. The stage picture is alive and in constant motion, yet not once did a cross, a turn, or a reaction shot call attention to itself.


In the second-trickiest role, A.J. Allegra goes for the broad and goofy with great deftness, leaving his Louie just enough room for us to buy his eventual growth-under-duress, even though he has much less give in his role than Monteyne does in hers. In the first-trickiest role – by that I mean “most awful po-mo device imaginable” – as the Cassandra-like Sheep who counsels Marie, James Bartelle is reliably terrific. Bartelle has mastered the projection of invisible “just go with me on this, okay guys?” supertitles without winking at the audience. Amongst the rest of the excellent supporting cast, Julie Dietz, unknown to me, made the brightest impression as Therese De Lamballe, one of Marie’s bubbly confidantes.  (The program timeline notes that Therese was murdered and beheaded herself, for refusing to denounce the King and Queen. Were the play not so Mariecentric, that is a scene I would have liked to see.)


There’s real pleasure in the moment-to-moment entertainment of Marie Antoinette, and if you can leave the theatre satisfied with the so-tired closing notes of “Kill me now, yes, but then I will live forever!” (not an actual quote) all is well. But her fully realized embodiments of Marie and the not-quite-as-mechanically-assembled angsty teen in Shiner make me hope that someday someone sees fit to wrap Cecile Monteyne in the work of a playwright whose depth and subtlety match her own. She was born to wear Chekhov.

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Renard Boissiere, Evan Z.E. Hammond, Naimonu James, Wilson Koewing, J.A. Lloyd, Nina Luckman, Dead Huey Long, Joseph Santiago, Andrew Smith, Cynthia Via, Austin Yde


Art Director

Michael Weber, B.A.


Alexis Manrodt

Listings Editor

Linzi Falk

Editor Emeritus

B. E. Mintz

Editor Emeritus

Stephen Babcock

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