Gloria

For every actor, musician, writer and artist who has become a wealthy and enduring celebrity, exponentially more of them have enjoyed a brief, shining moment, never to be heard of again. What separates those who last from those who fade away? Is it luck, talent, drive, destiny? All of the above?

It’s an intriguing question that may have no definitive answer, but one that director Kent Jones (2018’s acclaimed “Diane”) and Oscar-nominated screenwriter Samy Burch (“May December”) lovingly and lyrically consider in the often first-rate “Late Fame.” The film is based on an 1895 novella by Arthur Schnitzler (also author of the book that became “Eyes Wide Shut”), which went unpublished until 2014.

A quietly captivating Willem Dafoe plays Ed Saxberger, a New York post office veteran of 37 years in a seemingly satisfying if decidedly low-key existence. For him, it’s work, then maybe a game of pool with his blue-collar buddies at a local bar (though he’s six years sober) and a solo return to his Greenwich Village walk-up.

That is, until one night, he’s approached outside his apartment building by a somewhat affected but seemingly earnest young man who goes by his last name, Meyers (Edmund Donovan). With his elevated speech, tony air and throwback attire, he’s like someone from another era; you could see him as one of Jay Gatsby’s pals or a bon vivant who drops by on “Downton Abbey.”

Meyers proceeds to tell an astonished Ed that he’s a huge fan of his long-forgotten 1979 poetry collection entitled “Way Past Go,” the postal worker’s fleeting brush with literary success. “They just slap you across the face with their style and with their relevancy,” extols Meyers of the poems. “They’re timeless.”

Really, what writer, no matter how detached from their past, could resist that kind of sweet talk?

A meet-up with Meyers’ “artistic community,” a circle of so-called intellectuals known as the Enthusiasm Society, leads Ed to humbly dip a toe back into his vanished creative side. He’s not unaware that Meyers’ mostly 20-something male friends have — like many — romanticized the gritty abandon of lower Manhattan’s bygone literary scene and perhaps Ed’s tenuous place in it. They might be poseurs tossing around references to Ginsberg and Bukowski, but the welcome mat the group offers Ed is enticing and inspiring.

Still, a visit to Meyers’ sleek apartment, admittedly paid for by his parents, confirms for Ed the kind of youthful privilege at play here, so unlike the scrappier downtown bohemia of his own artistic heyday.

The wild card in the Society is Gloria (Greta Lee, dazzlingly good), an impish sprite who’s hard to pin down. Is she really a working stage actor? Ed gets swept up in her performative antics and elusive, larger-than-life allure. (She’s older than her fellow Society members but decades younger than Ed.) When they develop a teasing flirtation, it’s one of the less credible turns here, given how authentic Ed is — and how dubious she appears (though some truth on that front will later unfold).

This tilt toward Gloria causes the film to lose its way a bit, pulling focus from the more potentially vital mentor-disciple dynamic between Ed and the anxious, navel-gazing Meyers. Plus, Donovan is excellent here, so less of him is, well, less.

That said, there’s a bravura second-act scene that finds Gloria performing an impassioned version of the 1929 Bertolt Brecht and Kurt Weill torch song “Surabaya Johnny” for an appreciative cabaret audience, one that includes a rapt Ed. It verifies Gloria’s singing talent and proves a perfect match for her showy, cagey persona: the love child of Marlene Dietrich and Sally Bowles.

If the story has a through line, it concerns the planning and execution of an evening of live readings from the Society’s works, with a new poem from Ed as its centerpiece. A few of the obstacles layered in — Ed’s struggle to write and some show-night personality conflicts — feel a tad obligatory. But the event itself has its high points, including the piece Ed finally reads.

In addition, an awkward meeting between Ed and a smooth literary agent (Jake Lacy), along with a mini-subplot involving phone calls from Ed’s frustrated sister about their dying brother, come off slightly wedged in. Not much payoff there.

No matter. There’s wisdom and depth to the film’s themes of growing old, dashed dreams and the magic of rediscovery, plus a deliciously ironic final twist. Jones manages his superb cast with aplomb and cinematographer Wyatt Garfield evocatively captures lower Manhattan’s wintry, burnished glow.

SACRAMENTO — State Treasurer Fiona Ma and former California Senate Majority Leader Gloria Romero have been declared the two winners of a crowded primary election for lieutenant governor, securing themselves spots on the November ballot.

Ma is a Democrat. Romero is a former Democrat who said she registered as a Republican after splitting with Democrats over the push to oust President Biden as the party’s presidential nominee in 2024.

Both were declared as the top-two winners by the Associated Press. Under California’s primary system, the first and second place finisher advances to the November general election, regardless of their political affiliation.

Ma is a certified public accountant serving as state treasurer. She previously sat on the California Board of Equalization and the San Francisco Board of Supervisors. She also served three terms in the California Assembly.

Romero is an adjunct professor at Pepperdine School of Public Policy. She served as a Democrat in the Assembly and state Senate, becoming the Senate’s first woman majority leader in 2005.

Other notable candidates included former Stockton Mayor Michael Tubbs and Josh Fryday, a member of Gov. Gavin Newsom’s cabinet. Both are Democrats.

The position is largely ceremonial. The lieutenant governor serves on various boards that oversee the University of California, California State University and community college systems, and can be called upon to break a tie in the state Senate. If the sitting governor dies, resigns or is removed from office, the lieutenant governor would assume the role.

Ma and Romero have offered some similar viewpoints. Both candidates previously expressed support for the death penalty and opposition to the state’s plan to ban the sale of new gas-powered cars by 2035.

Neither candidate supports the controversial Billionaire’s Tax Act. Romero, however, has further vowed to shun all potential tax increases.

Ma and Romero will now face off in November. The winner will replace Lt. Gov. Eleni Kounalakis, who is finishing her second term and could not seek reelection. Kounalakis instead ran for state treasurer.

May 28 (UPI) — The story of the Cateura Recycled Instruments Orchestra, a Paraguayan music project born in a vulnerable community surrounding the Cateura landfill in Asunción, will reach U.S. stages this Saturday with the world premiere of Basura, a musical produced by Gloria Estefan at the Alliance Theatre in Atlanta.

The production, inspired by the internationally recognized group led by Favio Chávez, tells how children and young people from low-income backgrounds learned music using instruments they built themselves from recycled materials recovered from the landfill.

“Taking the story of real people and of a country like Paraguay here in the United States are stories that are still waiting to be discovered, so it remains an important undertaking,” Chávez said in a recent interview with Paraguayan news outlet NPY.

“We have to understand that this musical is also a major risk for these producers,” Chávez said.

The musical will feature original music by Gloria Estefan and her daughter, Emily Estefan, as well as elements connected to Paraguayan culture, including phrases in the Guaraní language, one of the most widely spoken Indigenous languages in South America, and compositions in 6/8 rhythm, characteristic of Paraguayan polka.

“These people are placing Paraguay on one of the best and most important artistic stages in the world,” Chávez said.

The production is based on the story of the Cateura Orchestra, founded by Chávez in 2006 in an area marked by some of the country’s highest levels of poverty.

The community is home to nearly 150,000 people, and residents face extreme vulnerability, periodic flooding caused by overflows of the Paraguay River and a lack of basic services and adequate infrastructure.

The project uses recycled instruments that imitate violins, violas, cellos, double basses, guitars, saxophones, trumpets and percussion instruments, all made from waste recovered from the landfill.

“The world sends us trash, we send back music,” became one of the project’s emblematic phrases.

In addition to teaching music, the initiative seeks to provide educational and social opportunities to vulnerable youths.

According to Chávez, the program also includes scholarships and academic support so members can continue their studies and gain access to better job opportunities.

“We do not stop at simply bringing the kids onto a stage to receive applause, but we also support them so they study something,” he explained. “Most of them maybe music, but if not music, then another career that allows them to have a better future.”

The Cateura Orchestra gained international recognition following the 2015 documentary “Landfill Harmonic” and shared stages or collaborations with artists including Metallica, Megadeth, Stevie Wonder and Damon Albarn, leader of Gorillaz and Blur.

Metallica invited the Paraguayan group to open part of its South American tour in 2014, while members of Megadeth participated in project activities and presentations connected to the documentary.

Basura will run from May 30 through July 12 in Atlanta. The production is directed by Michael Greif, known for productions such as Rent and Dear Evan Hansen, with a script by Karen Zacarías and musical supervision by Alex Lacamoire, a Grammy and Tony Award winner for Hamilton.

Gloria Estefan said in previous interviews that she was deeply moved after watching Landfill Harmonic and decided to become personally involved in the project because of its message of resilience and social transformation through music.