Show got core facts on Ap­ple wrong

Per­former backs off fac­tory claims

The Washington Times Daily - - Life - BY MARK KENNEDY

MNEW YORK ike Daisey, the of­fBroad­way per­former who ad­mit­ted he made up parts of his one­man show about Ap­ple prod­ucts be­ing made in Chi­nese sweat­shops, has cut ques­tion­able sec­tions from the mono­logue and added a pro­logue ex­plain­ing the con­tro­versy.

Oskar Eustis, artis­tic di­rec­tor of the Public The­ater, where the mono­logue is be­ing per­formed, said Satur­day that Mr. Daisey has “elim­i­nated any­thing he doesn’t feel he can stand be­hind” from the show and added a sec­tion at the be­gin­ning in which he ad­dresses the ques­tions over how he has been por­tray­ing the work to the me­dia.

Mr. Eustis called the pro­logue “the best pos­si­ble frame we could give the au­di­ence for the con­tro­versy” and said Mr. Daisey agreed to make the changes — which are “his and his alone” — him­self.

“Mike is a great sto­ry­teller, not a jour­nal­ist. I wish he had been clearer about that dis­tinc­tion in the mak­ing of this piece,” Mr. Eustis said. “If we had un­der­stood the rules Mike was us­ing to make the show, we would have framed it dif­fer­ently from the out­set.”

Mr. Daisey por­trayed his work as fact dur­ing a me­dia blitz to pro­mote his crit­i­cally ac­claimed show, and he mis­led dozens of news and en­ter­tain­ment out­lets, in­clud­ing the pop­u­lar public ra­dio show “This Amer­i­can Life,” the As­so­ci­ated Press, The New York Times, MSNBC and HBO’S “Real Time with Bill Maher.”

But in an in­ter­view with “This Amer­i­can Life” host Ira Glass broad­cast Fri­day, Mr. Daisey ac­knowl­edged that some of the claims in his show, “The Agony and the Ec­stasy of Steve Jobs,” weren’t true. The show re­tracted its Jan. 6 episode be­cause Mr. Glass said he couldn’t vouch for the truth of its claims.

Mr. Daisey, who ad­mit­ted Fri­day on his web­site that the work is a mix of fact and fic­tion, did not respond to ques­tions sent to his per­sonal email ac­count, and his publi­cist did not respond to a re­quest for com­ment Satur­day.

The con­tro­versy is un­likely to lessen the me­dia scru­tiny of the Chi­nese fac­to­ries that make Ap­ple prod­ucts, since news out­lets in­clud­ing the Times have re­ported about the dan­ger­ous work­ing con­di­tions in them, in­clud­ing ex­plo­sions in­side ipad plants where four peo­ple were killed

Be­sides the West End run, the Broad­way run, the three Tony awards and the fre­quent in­ter­na­tional tours, Mr. Bourne’s show also earned a place in pop cul­ture when it was ref­er­enced in the final scene of the 2000 film “Billy El­liot.” As Billy’s fa­ther ar­rives to see his grown-up son per­form, it turns out Billy has be­come a Bourne swan.

“That was a great end­ing, and it’s done us a lot of good,” Mr. Bourne said. He ex­plained that it wasn’t a to­tal sur­prise, since he’d been sent the orig­i­nal script of the film for com­ments — a script that had grown-up Billy danc­ing the tra­di­tional prince role. He men­tioned it might be bet­ter if Billy grew up to do some­thing a lit­tle more, well, re­bel­lious.

For NCM Fathom, which is pre­sent­ing the screen­ings along with More2screen, Mr. Bourne’s “Swan Lake” was a par­tic­u­larly apt choice to in­tro­duce more peo­ple to 3-D bal­let — a con­cept it ob­vi­ously hopes will take off. (Fu­ture screen­ings are planned for other coun­tries.)

“This par­tic­u­lar ver­sion has some very spe­cial qual­i­ties about it,” said Dan Di­a­mond, se­nior vice pres­i­dent of NCM Fathom Events. He added that of all the art forms, bal­let fans have re­sponded most en­thu­si­as­ti­cally to the con­cept of 3-D, ac­cord­ing to the com­pany’s re­search and its pi­lot screen­ings last sum­mer of “Giselle,” an­other clas­sic.

“First of all, bal­let on a big screen is beau­ti­ful,” Mr. Di­a­mond said. “What 3-D does is ac­cen­tu­ate the nu­ances — the depth of field, the height of jumps. It just brings the au­di­ence closer. Our goal isn’t to use 3-D as a gim­mick, but to en­hance the ex­pe­ri­ence.”

Mr. Bourne said he ini­tially feared it could feel gim­micky, but was de­lighted with how it all came out. And, he added, imag­ine the pos­si­bil­i­ties.

“The po­ten­tial for the per­for­mance of dance is thrilling,” he said.

She may be doomed to a life­time of recog­ni­tion as the girl who stole the best new artist Grammy from Justin Bieber, but Esperanza Spald­ing proves she de­serves the award with this breezy solo record al­bum. Come for the unique cover of Michael Jack­son’s “I Can’t Help It.” Stay for Miss Spald­ing’s orig­i­nals, which blur the lines be­tween jazz, fu­sion and cross­over pop.

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