Two goggles, one face
I read with great interest Maureen Dezell's article about those of us who partake in art and sport ("Guess what? Arts lovers and sports fans can be one and the same," Arts & Entertainment, Feb. 1). Without question, stereotypes that divide stadiums from museums and ball fields from theaters are rooted in misconception. This "crossover" is not limited to spectators.
My family is artsy. I am a sculptor, and my brother, Matt Damon, is an actor. Our days are filled with art and sport, and like many, we fall comfortably within the group Dezell identifies as "crossover" spectators. I also identify with ArtsBoston director Catherine Peterson's quote, "Both [art and sport] appeal to our visceral sense of wanting to be part of something larger than life . . . ."
I would argue, however, that the mutual appeal of the two fields is more profound when its practitioners are engaged as participants, not passive spectators. I experience a very natural transition from artist to ironman triathlete as I swap the apron and goggles for Spandex (and different goggles) and leave the studio for the pool or the open road. My brother often ends a day on the movie set by offering a crew member a shot at him on the basketball court (I tip my bike helmet to you if you can beat him).
Picasso and Bellows loved a good bullfight and boxing match. Robert Redford hits a pretty good fastball, and he went to school to be a painter. Some of my brother's actor friends would almost make better basketball players. Sport and art celebrate life in all of its beauty and meaning. They both heighten our senses and allow us to explore our deepest mental and emotional crevices in ways other things don't. They both get us dirty, tired, and fulfilled; they both engage us in a process and distill our consciousness to see only the moment in front of us.
KYLE DAMON
Boston
'Graduate' degrees
I saw "The Graduate" and couldn't disagree more with Louise Kennedy's review (" `Graduate' not in the same class as the movie," Living/Arts, Jan. 29). As a huge fan of the film, I consider myself a tough customer, and I went into the play with skepticism, especially since I saw the Kathleen Turner interpretation. Lorraine Bracco's performance was head and shoulders above Turner's. Bracco was breezy, comfortable in her own skin, and wonderful in her comedic timing. She really seemed to be enjoying herself. The bedroom scenes were playful and funny. The entire cast captured the essence of the characters' film personas.
This production has better flow, and the story progressed effortlessly. I marveled at the way they compressed the film's plot. The staging and sets were effective and stunningly simple.
BRENDA PIZZO
Brighton
Hot kettle
I enjoyed Suzanne Ryan's column ("When race enters boardroom, `Apprentice' really heats up," Living/Arts, Jan. 29). "But in 2004, why must an aggressive woman tone it down? If NBC `could disguise her, maybe with a different skin color and a male voice, would we react the same way?' " Yes we would, and many people have worked with strong African-American women without incident. At first I thought [the contestant] Omarosa exuded maturity, poise, and intelligence. But I think any justification of her subsequent behavior flew out the window when she clearly took the calling-the-kettle-black comment out of context. It's a term frequently used in situations like the one that arose. I suspect she's either very insecure or has extreme anger issues and looks to vent by preying on perceived weaknesses in people.
ELLEN ALBEE
Brooklyn, N.Y.
