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While “Olga” remains a work-in-progress and the thematic connections to Chekhov need far more grounding in the music, it’s hard to resist the truthfulness of the piece, which was conceived as well as performed by Wilmurt. Olga tends to the audience as if we were all chummy guests in her parlor, pouring the vino and playing the piano. Her sisters have all fled their provincial town, leaving her alone to play schoolmistress to other people’s children and stew in her own regrets.

Sitting at the piano, staring off into a film grishko pointe shoes price of snow falling on trees, perhaps a cherry orchard, Olga welcomes us into her inner circle, A spinster at 28, Olga bemoans that the trio of her sisters has broken up and now she must fly solo, but here the band always has her back, particularly Gabe Maxson, who holds his own on the harmonica, This is a sort of American fantasia on Russian themes as seen through the prism of the pop songbook, Wilmurt first caresses the piano keys and then dances around the mike, vamping her way from Stevie Wonder’s “Yester-Me Yester-You Yesterday” to Los Lobos “I Got Loaded.”..

All of the songs feel surprisingly fresh here, stripped of their familiar arrangements and harmonies. Wilmurt is a stealthy songstress, never calling attention to her voice or her showmanship, but rather slowly inhabiting each melody as if she were simply talking to us about her life. One of the most beautiful moments occurs during Johnny Cash’s “A Legend in My Time.” Shedding tears as the soldiers take their leave, Olga retreats into her solitude. The sharpness of her pain cuts to the bone. Wilmurt is also devastating in a version of “Illusions.” If you didn’t recognize it as a Marlene Dietrich favorite, you might think it was a new song, written by Wilmurt. That’s how much unassuming emotional candor she brings to each lyric.

An intimate gathering held in the tiny Harry’s UpStage, the 60-minute piece is small and vivid, the perfect holiday elixir for drama junkies addicted to the pleasurable pangs of existential yearning, The intensity of the staging is its magic, although in the opening moments, the film may detract from the performers, There are also too many moments of stillness where the quiet doesn’t seem entirely filled, As the evening unfurls and the music seduces the ear, the show gains grishko pointe shoes price a sense of its own voice..

We’ve been trained to expect the unexpected from Guillermo del Toro. The Mexican auteur has infused his unique vision and intelligence into movies about bizarre comic book antiheroes (“Hellboy” I & II), giant battle robots (“Pacific Rim”) and gothic horror (“Crimson Peak”), while investing the most of his singular design genius and psychological insight into smaller, more personal and historically informed pieces such as “Cronos,” “The Devil’s Backbone” and “Pan’s Labyrinth.”.

Now del Toro has taken all of his creative passion to the wall with “The Shape of Water.” A fable like no other, it’s a Cold War-era tale of a mute janitor named Elisa Esposito (English actress Sally Hawkins) who falls in love with a recently discovered half-fish, half-man thing (del Toro’s go-to creature player Doug Jones in the scaly suit) being held at the secret government facility she cleans, With the help of her neighbor Giles (Richard Jenkins), work partner Zelda (Octavia Spencer) and Soviet mole Hoffstetler (Michael Stuhlbarg), Elisa plots the manimal’s escape from the unforgiving control of government agent Strickland (Michael grishko pointe shoes price Shannon)..

And then discovers that she wouldn’t want to live without the creature. Dizzyingly romantic and dazzlingly gorgeous, the movie, which picked up 3 awards (including for del Toro’s direction and Hawkins’ performance) at the L.A. Film Critics Association awards, addresses eternal American issues while staging sequence after sequence that only del Toro could have imagined. We talked to the filmmaker about what looks like the ultimate expression of his lifelong monster love. Q: “The Shape of Water” seems like a culmination of all the themes, loves and obsessions from a quarter century of your work.

GdT: I feel it’s a strange synthesis and reformulation, because it’s the first vitalist movie that I’ve made, All the other movies have a sense of loss and melancholy, with the exception of the big ones like ‘Pacific Rim” and “Hellboy,” y’know? But this is the first of the smaller, more personal, stranger movies that I’m talking about leaving the theater not with a sense of crushing beauty, but with hopeful beauty, By the way, the other part of that answer is that it requires 25 years as a filmmaker to grishko pointe shoes price pull this off, The ever-shifting genres in the movie, the tonal difficulty of a piece like this, there are 50 reasons why it shouldn’t work, I’m pretty sure that if you get 49 right, it still doesn’t work, you need to get all 50, It’s a triple somersault with a very difficult landing..