Monthly Archives: March 2016

NYBG Orchidelirium: The Victorians’ Obessession for Orchids and Profits

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Phalaenopsis at NYBG Orchidelirium Photo by Carole Di Tosti

Phalaenopsis orchids, the most ubiquitous of flowers, hardly garner a second glance when we stroll by the myriad colored hybrids that adorn restaurants, homes, offices, and flower sections of grocery stores.

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Opsistylis Mem. Mary Nattrass NYBG Orchidelirium Photo by Carole Di Tosti

 

However, in 19th century Victorian England, if you had orchids in your parlour, you were most probably a member of the upper class. Orchids were a costly rarity, and for much of the 19th century, these plant gems remained in the domain of aristocrats, whose adoration of spectacular orchid originals epitomized the genteel display of power, status, and luxury.

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Phalaenopsis I-Hsin Sun Beauty at NYBG Orchidelirium  Photo by Carole Di Tosti

In celebration of those passionate Victorians whose obsessions spawned perilous journeys and whose collectors’ cultivations helped to transform the field of plant research, propagation, and conservation, this year’s theme of the NYBG Orchid Show, is “Orchidelirium.”  Representative of all that is exceptional and dynamic about this monumental flowering plant family Orchidaceae (over 30,000 naturally occurring species from tiny to large, with over 150,000 man-made hybrids), NYBG “Orchidelirium” in its intense visual design and intriguing tour layout circumscribes the trending mania that burst onto the scene in Victorian England. The exhibition highlights the finest and most innovative creative impulses of the time and recalls some of the most nefarious of human activity before profiteering, exploitation, and habitat destruction became the anathema they are today.IMG_3048

Marc Hachadourian (NYBG orchid curator) holding the beloved Psychopsis papilio that whetted the Duke of Devonshire’s obsession for more rare beauties. Photo: Carole Di Tosti

The euphoria began when the Duke of Devonshire fixated upon a dazzling, most singular orchid, Psychopsis papilio. Enchanted, he lusted for more “living jewels” and commissioned explorers to travel the continents and bring back obscure treasures. They did. His addiction grew. Word spread. London’s upper class’ fanaticism was set ablaze, and the orchid craze catapulted into hyper-drive.

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Close up of the Psychopsis papilio that started orchid mania and determined the  British Duke of Devonshire to amass the largest private orchid collection in the world at his Chatsworth House estate in Derbyshire which you can visit today. Photo Carole Di Tosti

The Duke’s head gardener Joseph Paxton revolutionized greenhouse design and orchid cultivation for the Duke whose expanding collection (eventually his greenhouses were over an acre under glass), inspired his wealthy friends to also display their unrivaled orchid prizes. Soon hundreds of adventurers were commissioned to travel on the high seas and bring back all the obscure, unparalleled beauties they could find. In 10 years the Duke possessed the largest private orchid collection in the world centered at his Chatsworth House estate. The grandiloquent gardens, greenhouses, and impressive buildings in Derbyshire, which recall the wealth and splendiferous  grounds of Mr. Darcy’s estate in Pride and Prejudice, are worth the visit if you are traveling to the UK.

20160226_113919Fragrant Dancing Ladies Orchid, Oncidium, Rosy Sunset ‘F’  NYBG Orchidelirium. The oncidium orchids carry a lovely fragrance of roses or chocolate. Photo:  Carole Di Tosti

 

 

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Miltoniopsis Herralexandre (pansy orchid) NYBG Orchidelirium Photo:Carole Di Tosti

Our love of orchids has been tempered with an ethical imperative about conservation and preservation of habitats that was absent back in the time of the exploitative, predatory Victorians. Throughout, this prodigious show highlights the extent of the Victorians’ often piratical obsession, not only through its exquisite, floral pageantry but by showcasing the historical artifacts, books, pictures, narratives that adorn the pathways where the lusciously fragrant Oncidium Rosy Sunset ‘F’ orchids dance (they smell like chocolate), and the Miltoniopsis Herralexandre (pansy orchids) charm with their smiling faces that bloom with scintillating color. The narrative discloses “movers and shakers like Benedikt Roezl, the “Prince of Orchid Hunters,” who was the most famous and successful orchid collector of the era.

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Featured display introducing Orchidelirium in the Palms of the World Gallery and Reflecting Pool.  Photo by Carole Di Tosti

The exhibition is breathtaking in its conceptualization, scope, design, and presentation. It is partly conceived as an expeditionary journey that snakes through the greenhouse galleries and suggests the diversified habitats that recall the various continents spanning rain forests, mountains, and deserts (orchids live in all continents with the exception of Antarctica), where orchids luxuriate. One first enters the conservatory’s Palms of the World Gallery Reflecting Pool and is struck by the explosion of whites,  fuscias, variegated roses, pinks, and maroons of reigning Phalaenopsis which cascade dripping Spanish moss from elevated dispositions in the trees. The featured display symbolizes how far orchid cultivation has come from hunters poaching species in the wild to the massive hybridization and cultivation of Orchidaceae it is today.

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Oncidium Irish Mist ‘Big Hot Sun’ Photo by Carole Di Tosti

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Bratonia Kaui’s Choice-note the long petals. NYBG Orchidelirium Photo by Carole Di Tosti

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Vanilla orchid not in bloom, pods visible. Photo by Carole Di Tosti

Around each turn is the unusual, like the vanilla orchid whose pods are not beans and which is the only orchid of natural economic value from which we derive all our vanilla flavoring. According to Marc Hachadourian who walked with us along the orchid trail, the vanilla seed pod of the orchid is what is taken, dried and cured and as a result of that curing process or fermentation, that’s where natural vanilla comes from.  So the Madagascar and Tahitian vanilla which is the real vanilla extract, comes from the seed pod of an orchid. Marc referred to the black flecs in Vanilla Haagen dazs ice cream which are from the vanilla orchid seed pod. “You see, you’ve been eating orchids your entire life and didn’t know it.”

As we move along the trail, Marc informs us of the tremendous diversity of orchids which are highly adaptable to all terrains and climates and are the reason why researchers use them in their plant studies. Along the pathway through the galleries that mimic the various terrains where orchids grow, you will encounter the desert orchid Eulophia Petersii.

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Photo of desert orchid in bloom in the NYBG desert gallery. Photo of photo by Carole Di Tosti

20160226_103311-001The Desert Orchid Eulophia Pettrsii has adapted to the terrain in that has stems like the swollen stems of a cactus and it has a defense; the edges of the leaves which are like a saw, may cut you. Orchids adapt to every location in the world but Antarctica.

There is also a display case filled with orchid miniatures and valuable, rare orchids from the NYBG’s permanent collection. Within the case is a yellow orchid from Southeast Asia that has the fragrance of horse manure, a scent irresistible to its fly pollinators. As he walked with us Marc Hachadourian discussed that he even  had equestrians test it and verify the scent. According to Marc, “It’s one of the things that orchids are known for, the really bizarre pollination biology sort of verging on science and science fiction.

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The Bulbophyllum orchid smells like horse manure fragrant to its fly pollinators. This may be found in the permanent orchid collection ,NYBG Orchidelirium. Photo by Carole Di Tosti

The winding trails of the rainforest gallery recall the thick jungles of an earlier time when thousands of undiscovered orchid species proliferated with abandon. Their abundance was staggering. It exists no longer, having fallen prey to wasteful plunderers. Stop to read the story synopses of collectors and nurserymen and see how the orchid hunters lived while under threat of tropical diseases (malaria, yellow fever, blackwater fever), big jungle cats, and other predatory animals. Historically recorded are some of the most dastardly examples of plant exploitation, cupidity, and habitat destruction, encouraged by the likes of self-proclaimed “Orchid King” Henry Frederick Conrad Sander.

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On the orchid trail with Marc Hachadourian who points out the typical shelter of an orchid hunter at NYBG Orchidelirium. Photo by Carole Di Tosti

Sander sent out twenty explorers at a time to South and Central America, India, Burma, etc., all in the name of possessing, monopolizing, propagating, and monetizing the most inimitable specimens. The collector amassed a fortune, grew between 1 and 2 million orchid plants in his nurseries, and was named Royal Orchid Grower to Queen Victoria. The NYBG bought orchids from Sander. One of them, a Vandopsis gigantea purchased in 1904 and on display, is almost as old as the NYBG which is celebrating its 125th Anniversary this year. The Vandopsis gigantea is in its 112th year.

Behind the scenes of the splendid  faerie blooms imperiously showcased in sedate upper class English parlours and Joseph Paxton designed conservatories (his greenhouse innovations influenced the Enid A. Haupt Conservatory design), lurked venality, bellicosity and coldblooded aggression. The orchid wilds were foreboding territories of mayhem and murder. Avaricious collectors like Sander and his competitors (Dr. John Lowe, Beechers, Veitch & Sons), hired ruthless, cutthroats to seek and discover peerless finds that would yield a veritable king’s ransom ($100,000 and more in today’s currency for a single orchid). If they could destroy their rivals’ orchid specimens, urinate on them, burn down forest habitats, cut down trees (4000 were cut during an expedition), throw competitors “off the scent” of a particularly stupendous find by slyly redirecting them, and generally assure their orchid bosses’ exclusivity in nature’s masterpieces, they succeeded. That was the “game of orchids.”

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The interior of the hut with the implements the orchid hunter used including the Wardian Case found on the orchid trail NYBG Orchidelirium. Photo by Carole Di Tosti

Along the garden tour is placed an orchid hunter’s grass hut. Inside, along with examples of his tools and implements, is his Wardian Case (an early terrarium), where he would create a kind of micro-climate for his orchids’ preservation on the long journey home. Wardian Cases were also used to display orchids. A few in this exhibition display delicate orchid miniatures.

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Photo of a sketch/photo of Benedikt Roezl, “Prince of Orchid Hunters,” an intrepid gardener, horticulturalist and orchid collector who discovered 800 different species of orchids. NYBG Orchidelirium Photo by Carole Di Tosti

The life of the orchid explorer was arduous and death-defying at every turn. One can review chronicles of those who drowned in the Orinoco (William Arnold), were attacked or mauled by jaguars and tigers, were felled by dysentery (Gustav Wallis), or yellow fever (Frantisek Klaboch), or robbed 17 times at gun or knifepoint (Benedikt Roezl). There were many who simply didn’t return. (David Burke, a Veitch hunter was murdered as many probably were). Indeed, though these brazen, plunderers might fiercely fight with spear, gun or knife, they were duty bound to come back alive with their “booty.” If they killed a rival or indigenous peoples to preserve their stash? Well…

Susan Orlean’s John Larouche of The Orchid Thief and the posse of Seminoles who were arrested in 1994 for poaching the ghost orchid from Fakahatchee Strand State Preserve are pussy cats in comparison to the wanton, fortune hunting Victorians. They were not constrained by any laws except the laws of the jungle, where only the fittest survived to plunder the precious rarities that had never been discovered before.

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Rare orchid in the glass display case as part of the permanent collection. NYBG Orchidelirium   Photo by Carole Di Tosti

Is it any wonder that Charles Darwin, Victorian contemporary and “fantastic observational botanist” (quote from Marc Hachadourian NYBG orchid curator), who was all too familiar with the rapacious frenzy of orchid collectors and the lurid stories of explorers’ dire misfortunes in jungles, high plains, mountains, and plateaus, that the notion of predatory survival in nature spoke to his heart and perhaps added weight to his evolutionary theories?There is a nod to Darwin as an aficionado of orchids with a marvelous explanation and illustrations of an ingenious discovery Darwin intuited about the Darwin Star Orchid and its pollinator that you can see on your way through the galleries.

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Paphiopedilum (lady slippers) and Nepenthes (pitcher plants) in a gallery before the final exhibition centerpiece. NYBG Orchidelirium Photo: Carole Di Tosti

In the gallery just before reaching the finale you will find an interesting display of the unusual that Christian Primeau (see previous articles on this site) designer of Orchidelirium really enjoy: Paphiopedilum and Nepenthes which also can be found in the centerpiece where they are quietly tucked in and create uniqueness and an innovative touch to the usual gorgeous and brilliant displays.

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A view of the orchid mountain from the previous gallery. NYBG Orchidelirium Photo by Carole Di Tosti

On the final expeditionary leg one reaches the centerpiece of the exhibition, and the apotheosis of Victorian orchid frenzy, a 360 degree supernal, floral prominence rising over 8 feet tall in glittering, vivid technicolor. This otherwordly mountain is awash with orchids of varying species, Phalaenopsis, Oncidopsis, Oncostele, Oncidium, Vandas, Paphiopedilum (lady slippers). The hundreds of orchids vibrate a multitude of colors-fuscias, yellows, variegated pinks, roses, tricolors, whites, pale yellows, maroons, and more.

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Another view of the orchid mountain with waterfall at the far side NYBG Orchidelirium Photo: Carole Di Tosti

They are a massive profusion, with smaller, quiet vignettes of orchids here and there on rocks clinging as orchids do. This splendid proliferation evokes what orchid hunters may have seen  at the dawn of their exploration before the craze was underway and many had been ripped from their centuries old habitats. Jewels, they drape the mountain and create its texture rising up to the summit, sported by staghorn ferns and weird hanging Nepenthes (pitcher plants). Paphiopedilum, sit on rocks at the bottom of the two waterfalls planted with striking orange blooming bromeliads and Tacca chantrieri (black bat flowers) luxuriating in the water shallows.
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Another view of the mountain NYBG Orchidelirium Photo: Carole Di Tosti

Christian Primeau, the designer of the exhibition, was inspired into the mountain creation by an engraving of James Bateman’s (Victorian horticulturist and collector), naturalistic display in a conservatory at his country mansion, Knypersley Hall. The illustration appears in a two volume tome commissioned by James Bateman, The Orchidaceae of Mexico and Guatemala, (1843).
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A studied vignette of the mountain with Bromeliads and Phalaenopsis NYBG Orchidelirium. Photo by Carole Di Tosti

This  mountain created with volcanic rock, steel cubes, and chicken wire with a secret door to water the plants from the inside is “an homage” (Primeau’s words), to those who have gone before…to the avid collectors who endured the wrath of indigenous peoples, poisonous serpents, insects the size of birds, predatory animals, and murderous rivals in their exploits to scour unknown terrain, even lava-spewing volcanoes (Roezl did this), for the most exquisite and valuable of Orchidaceae. Despite the negatives, we have the Victorians to thank for their remarkable finds and innovations in cultivation and propagation.

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Illustration of a potting bench with a variety of orchids one might find in an orchid collector’s greenhouse. NYBG Orchidelirium Photo: Carole Di Tosti

Victorian Orchidelirium gave birth to the billion dollar orchid industry that abides today. It even gave rise to the New York Botanical Garden’s ornate Victorian Enid A. Haupt Conservatory and its missions of research, preservation and protection of orchid species and hundreds of other plants that are becoming extinct because of illegal poaching, habitat destruction and climate change. With every delicate bloom, every fern, every pitcher plant, “Orchidelirium” is a bedazzling, live horticultural spectacular, a sterling exhibition to celebrate the NYBG’s 125 Anniversary.

The NYBG Orchid Show 2016 concludes April 17th.  Check the Garden website for details about Orchid Evenings on Saturdays (March 12, 19, 26, April 2, 9, 16), as well as Friday (April 15), and Thursday (March 24, LGBT night). On select evenings visitors can also upgrade to V.I.P. status and enjoy an Orchid Lounge.

A shorter version of this article appeared on Blogcritics.

 

 

How I Saved Hundreds of Dollars On Editing

Great article.

Jens Thoughts

More moneyEveryone loves saving money, but sometimes I don’t want to go the extra effort to do so. This time, however, I did take the extra steps and I saved hundreds of dollars. I was thrilled!

If you’re following my posts on Facebook (facebook https://www.facebook.com/JAOwenby/) you know my upcoming novel was sent to my editor January 15th. I sent her 75 pages of my manuscript in order for her to present a scope of work and price. This is what she wrote back:

“I’ve spent some time with chapters of Tears in the Sun, and overall your development and plot are strong. You’re a good writer, and the story is intriguing. You only need light developmental editing.”

editor

I was so excited I didn’t sleep that night! The next day I finally got over myself and looked back at what I did that saved me money, and I laughed. The one thing…

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Mark Twain in Damascus

Interesting post by Barb Drummond.

texthistory

Some more from Charles Glass, in his ‘Tribes with Flags’. I knew Train travelled to Britain, but I had no idea he had done the Grand Tour to the Middle East as well:

This is Twain on Damascus in 1867:

“She measures time not by days and months and years, but by the empires she has seen rise and prosper and crumble into ruin. she is a type of immortality. She saw the foundations of Baalbek and Thebes and Ephesus laid; she saw these villages grow into mighty cities and amaze the world with their grandeur – and she has lived to see them desolate, deserted, and given over to the owls and the bats. She saw the Israelitish empire exalted, and she saw it annihilated. She saw Greece rise and flourish two thousand years and die. In her old age she saw Rome built; she saw it overshadow the…

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Interview With Christian Primeau Designer of NYBG Orchidelirium, Part II

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Dendrobrium Red Emperor Prince (cane orchid) NYBG Orchidelirium. Photo: Carole Di Tosti

In continuing my discussion with Christian Primeau, designer of NYBG Orchid Show, Orchidelirium, Christian discussed details about orchids and specific information about the show’s design and his background.

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Christian Primeau designed Orchidelirium and overseas the tropical/subtropical plant collections at the NYBG.

How did you know which orchids you were going to select for the show? There are a lot of different orchids that I’ve never seen before.

That was our main focus with this show as opposed to many others. It’s always a spectacle. We wanted to really represent the scope of the orchid family as a show theme. The Victorians were passionate about finding super rare orchids. We wanted to show what that orchid geek’s greenhouse would look like and what a really passionate orchid collector’s greenhouse would look like. So we have the bulk orchids. The beauty in bulk is there to show people that range of how different the orchids can be. Their diversity is fantastic. A lot of people are familiar with the Paphiopedilum (lady slipper orchids). You can buy them at the grocery store. But we’re hoping to show people orchids and plants that they may not have seen before. It was easy too because we’re nerds and we might pick things that we might want in our greenhouse as well.

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Cattlianthe Trick or Treat Fuchs Orange Nugget Orchids Photo by Carole Di Tosti

 

Did you find a lot of orchids that you had never seen before?

I was not familiar with a lot of the orchids. Marc is the orchid fanatic. He’s the curator. So he would come to me and say look at this and I would say that’s, fantastic, we have to have that in the show. So I did lean on Marc a lot for his expertise. And that was fun for me, too, because I learned a lot as we went along, too. It was great.

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Nepenthes-tropical pitcher plants at NYBG Orchidelirium  Photo by Carole Di Tosti NYBG

 

Which one of the smaller touches in the show did you appreciate?

Well, the vignettes. When I drew the actual design sketches, I knew the things that I wanted the most were the Nepenthes, which is not an orchid it’s a tropical pitcher plant. In my mind when I drew the sketches I had these tropical pitcher plants incorporated in with the orchids.. It’s ironic. People from year to year will target plants that are not orchids and say, “Look at those, that’s beautiful.” And we explain, “Yeah it’s not an orchid but it is beautiful.”So I wanted those Nepenthes. They grow on little pieces of tree fern that we have and that I’ve incorporated to grow over rocks. I think they go beautifully with the orchids. They give a little added touch and a little change in texture. So I do like those.

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A vignette with Bromiliads and Paphiopedilum, NYBG Orchidelirium Photo: Carole Di Tosti

 

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Another vignette with a Paphiopedilum, water, mosses, rocks, maidenhair fern and other Victorian plants (pothos). NYBG Orchidelirium Carole Di Tosti

In my head I wanted small. We never really showcased paths, the Paphiopedilum. I mean we have small pots, and we have little groups, but I wanted to show how they might grow. I incorporated flat rocks and put paths (lady slippers) on them and a bit of moss, something very simple but might make people stop and look and see that it is beautiful in its simplicity and appreciate those on their own. That way they wouldn’t get lost. But if you notice in front in the pool the little rocks that were put there to show people that vignette. That concept was mine, too. Given the scope of the project they are fairly inconsequential but I just wanted to incorporate them.

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The greenhouse potting bench suggesting that of a Victorian “geek” collector with different orchids and prayer plant. NYBG Orchidelirium Photo by Carole Di Tosti

 

Are you amazed?

I am amazed at what my staff was able to do and I feel uncomfortable taking any credit. They are my guys. I can draw a picture, but without them there is no way this is getting done. There are 8 staff members and without them, no way. To their credit they stayed happy and positive. It was actually a pleasure. We were all exhausted but when they stepped back and looked and saw the little things that they had done and how they contributed to the entire show, I think they were really proud and I was proud of them. It was nice for me to see, even more so, I think, viewing the vignettes than the totality of it. It was great that all of my staff was represented. They’re passionate. They’re plant people. That’s what it’s all about and it was fun for me to see them work.

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Bromeliad Aechmea Patricia’s Secret NYBG Orchidelirium Photo by Carole Di Tosti

 

 

How many orchids do you have in your collection?

The NYBG? The official line is thousands.

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Zygonisia Cynosure ‘Blue Bird’ NYBG Orchidelirium Photo by Carole Di Tosti

 

What about in your personal collection? A few?

I have a select few but I’m more of a succulent person. It’s funny because they asked me to design the Orchid Show. I like cacti and succulents and my area of expertise is actually Madagascan aloes. But I do have some paphs (Paphiopedilum). I have a soft spot in my heart for the paphs, lady slipper orchids. In my personal collection there are six or seven of those but I do have a lot of the other plants that we show with them, the Epiphytic Cacti, Nepenthes (pitcher plants), the weird things. The weirder it is, the more I like it.

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Tacca Chantrieri “Bat Flower” NYBG Orchidelirium Photo by Carole Di Tosti

You must know the medicinal properties of those plants.

One of my favorites points of information when I give a tour of the conservatory is I love to stop and ask people if they have any chemistry backgrounds. I’m fascinated by alkaloids. You know what alkaloids are. Basically, a naturally synthesized pesticide. So if it affects an insect, it affects a human system as well.

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Cymbidium orchids and Lomandrace Burgandy Frutica Codyline NYBG Orchidelirium Photo by Carole Di Tosti

Caffeine is one of my favorite alkaloids, and quinine. I tell the story of how gin and tonic (quinine) was invented. Being in the tropics, the British learned to take quinine to stave off the malaria that was rampant from the mosquitoes. When they colonized India, British would mix their quinine dose with a little bit of sugar and a little bit of water and a little bit of lime. All they needed was to add the gin and that’s how they created a gin and tonic. Fantastic. (Apparently, Christian is a kind of alkaloid guy) All I need is gin and tonic at night and coffee in the morning and I’m ready to go.

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Phalaenopsis with Bromeliads NYBG Orchidelirium Photo by Carole Di Tosti

Yeah, I’m fascinated by the chemistry of plants. Of course rain forest plants are in such a competitive environment, that these plants, all these beautiful orchid plants that you see and delicious fruit that you see at the grocery store are a product of that competition. Competition for pollinators, competition for seed disseminators. Every day you learn something new and that’s what I like about all of this. You can never know it all. It’s like a road that doesn’t end. And I have people ahead of me on that road that teach me things. Then, I can teach those coming up behind me. I enjoy it. I’m not the biggest orchid fanatic but I certainly can appreciate what Marc knows and what Marc does. He’s an encyclopedia. I joke with these guys about Marc. You flick a switch and he just goes and you try to keep up. I learn something from him every time.

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Bromeliad Aechmea ‘Tropic Torch’ NYBG Orchidelirium Photo by Carole Di Tosti

Where did you work before the NYBG?

I was the Conservatory Manager in Bolyston Mass, Tower Hill Botanical Garden. It is smaller than this. The shows we did were far smaller in scale. But don’t you know, that’s where I cut my teeth. I learned a lot from Marco Polo Stefano. He’s had an incredible career. He was at Wave Hill Botanical Garden. Fantastic man. Still lives right around here. He gave me so much encouragement and I learned so much there and he actually encouraged me to come here. And I did and I never looked back. And I love it.

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Vandas NYBG Orchidelirium Photo by Carole Di Tosti

You have to be a special person to love plants. Creative, unique a different sensibility.

Don’t you think, though, that many people can love plants?

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Christian’s orchid mountain (see Part I) Don’t miss the yellow Paphiopedilum and Cymbidium orchids. NYBG Orchidelirium Photo by  Carole Di Tosti

Yes. But what I mean is to have the sensibility and creativity to work here is great.

There is no where else I would rather be.

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Another view of the orchid mountain designed by Christian Primeau Photo by Carole Di Tosti (see part I for his inspiration)

I can understand.

And I think part of this, too, when I was doing the show. You know the Dieffenbachia?

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Pansy orchids, Moth orchids, Onicidium, Bromeliads, Staghorn Ferns and more in another view of the orchid mountain. NYBG Orchidelirium Photo by Carole Di Tosti

Yes.

The Dieffenbachia is a Victorian plant that has been around for hundreds of years. It’s the kind of thing my grandmother grew or people who don’t grow plants, if they get something for their windowsill, usually a Dieffenbachia or something along those lines that is fairly standard. I wanted to incorporate those, but I wanted to give it a little bit of a twist to show people how far we’ve come. So I used those traditional Victorian plants but I used modern cultivars. So these Bromileads are just wild, crazy, the Aglaonemas, the Aechmeas, the crazy variegation and crazy colors. So there’s the thing that somebody can recognize and say, “Yes, I grow that.” But they also can see the potential. My hope is that I hook people. Whether you’re an expert like Marc or just a casual grower, I wanted to get somebody interested. What’s the saying, “You can’t please everyone all the time?” Well, I wanted to try.

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I don’t know what orchids these are but I love them. NYBG Orchidelirium Photo: Carole Di Tosti

Well, I think you definitely did. It’s a magnificent show.

We shall see. (Christian Primeau smiles)

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One side of the entrance to the mountain: Moth orchids and Cymbidium. The bright green plants in decoration with the brown plants are mosses. Photo by Carole Di Tosti

The NYBG Orchid Show 2016 “Orchidelirium” concludes April 17th. Check the website for details.

Orchid Evenings  Come for a nighttime cocktail experience on Saturdays (March 12, 19, 26, April 2, 9, 16), as well as Friday (April 15), and Thursday (March 24, LGBT night). On select evenings visitors can also upgrade to V.I.P. status and enjoy an Orchid Lounge.

World Beat: Music and Dance Around the World of Orchids  Live performances from cultures around the world we be held on Saturdays and Sundays throughout the exhibition.

NYBG Orchidelirium Designer Christian Primeau Talks Orchids, Part I

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Beloved Phalaenopsis are one of the most popular of the thousands of man-made orchid hybrids. Orchidelirium at the NYBG. Photo Carole Di Tosti

Orchidelirium, the theme of the NYBG Orchid Show for 2016, refers to the Victorian period in England when there was a renaissance in the collection, research, propagation and cultivation of rare and exotic plants which eventually morphed into an obsessive craze for orchids. The selection of the theme dovetails with the 125th Anniversary of the Garden because the Victorians’ orchid obsession spawned many innovations in propagation and cultivation and hybridization of orchids that has continued to this day. The Victorian passion for illimitable orchid gems even improved trends in greenhouse design and helped inspire the Victorian design for the Enid A. Haupt Conservatory.

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Phalaenopsis Shu Long Beauty, NYBG Orchidelirium. Photo by Carole Di Tosti

Indirectly, it is because of Victorian orchid mania that the NYBG has one of the largest institutional orchid collections in the world with over 7,000 individual specimens as a part of its entire collection, a fact which Marc Hachadourian orchid curator reinforces. The family Orchidaceae is the largest and one of the most varied of blooming plant families in the plant kingdom and as a result it has been used to conduct research and encourage efforts toward conservation and habitat preservation. Additions from the historic, permanent orchid collection are included in the Orchidelirium exhibition.

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Angulocaste Red Jewel, NYBG Orchidelirium. Photo by Carole Di Tosti

Christian Primeau, the show designer and manager of the Enid A. Haupt Conservatory oversees the extensive tropical/subtropical plant collections housed in 11 unique environments in the Conservatory. Primeau reinforced the tremendous influence the Victorians had and continue to have today. It is because of them that orchids are the most charismatic and popular of plants. As NYBG orchid curator Marc Hachadourian says, “They are the pandas of the plant world.” It is their popularity that has encouraged growers and cultivators to create over 150,000 man-made hybrids for us to enjoy.

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The many varieties of orchids at NYBG Orchidelirium galleries. Photo by Carole Di Tosti

Christian Primeau talked to a group of us about his design inspiration for the show and clarified that the two week installation period was a high pressured and frenetic but absolutely enjoyable time.

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Christian Primeau, Orchidelirium’s designer

Orchidelirium has a whole different meaning for my staff and me because we’ve been working 13 hour days including weekends. We were pretty ambitious with the design and we hope you like it. But we’re all hallucinating at this point. I think I’m one of those rare people and I think Marc probably shares the same feeling of love for our jobs. It’s  my hobby and my career. And it’s just what I’m passionate about. I hope that’s not the case, but loving one’s job seems like a rarity these days. I owe everything around me, this entire beautiful collection, this palate of plants that we get to work with, we owe all that to the people who came before us who were passionate. As Marc explained their motive may not always have been so pure, a lot of time it was a passion for personal glory or for profit, but in any case we owe what we have now, where we are today in this industry, everything around you that you see to that passion.

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Introductory display in the Palms of the World Dome. NYBG Orchidelirium. Photo Carole Di Tosti

This is a celebration. We’ve been here 125 years. Orchid collecting has been going on for longer than that. So we owe this to the passion of those people. It’s an homage to those guys and ladies and people who sometimes gave up their lives so that we can enjoy these plants. And we also give them a nod because in terms of breeding and conservation, we’ve come a long way. We’re much more responsible, hopefully, nowadays in regard to collecting. Not always, but we’re trying. Of course, the mission of the garden is to move that along and to show the public these plants that they wouldn’t have access to see 125 years ago. Orchid collections was only accomplished with those who had the wealth to fund orchid expeditions for themselves or orchid collectors.

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Orchid Mountain and waterfall at NYBG Orchidelirium. Photo by Carole Di Tosti

This is the centerpiece of the collection. (Christian points to the magic mountain of orchids towering above us.) When the Victorians obtained these beautiful plants, they would bring them into their greenhouses and try to stage them basically to reproduce nature. We found this incredible drawing. I think you all have access to it. It’s an 1837 sketch of the Epiphyte house at Knypersley Hall. (The illustration appears in a two volume tome commissioned by James Bateman, The Orchidaceae of Mexico and Guatemala, 1843). It’s about a 5-6 foot mountain they built at the center of the greenhouse, beautifully covered with ferns and orchids.

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The orchid mountain rises above 8 feet at NYBG Orchidelirium. Photo by Carole Di Tosti

I thought, wouldn’t it be great to take this and put it on steroids? So I asked, “Hey, can you build me a fake mountain? And they came back and said, ‘No, that would cost as much as a vacation home in the Hamptons. But what you can have is a bunch of four foot by four foot cubes.’ So the bones of this mountain are four by four steel cubes stacked on top of each other. It looked great on paper. But when I saw them stacked I wondered, how are we ever going to make that look like a mountain? Hours later and many rolls of chicken wire later, we were able to mount it and plant it to look much like the mountain in the picture but just on a grander scale. It’s hollow and we have a little access door. I won’t tell you where it is. So it’s on the mountain and we can go inside and water it from the inside. All the orchids are wrapped by hand in moss so we can actually water them from the inside through the chicken wire. It looks like a beast to water but it’s fairly simple to do.

It’s an homage to those guys who really were so passionate and built these structures. It is naturalistic but that’s what they were going for and it is the inspiration for our centerpiece mountain. I really let my staff loose in terms of creativity. I cannot thank them enough because I really worked them to the bone. So as you walk around, you are going to see lots of little moments and vignettes so the character of each one of my staff members is actually reflected in certain moments in the display. I hope that people will find the moments that appeal to them whether it be the really intense colors or delicate colors or the moss areas or the small areas of the Paphiopedilum, the Lady Slipper orchids, to find something they can grab onto. My hope is that the orchid enthusiasts will be as psyched about the show as the people who are general plant growers. They’ll find something they can recognize or something that will spark that passion that we all have here. I mean that’s what it’s all about. We want to share what we love and ignite this love in them as well.

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Paphiopedilum (lady slipper orchids) Photo by Carole Di Tosti

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Vignettes of Paphiopedilum  by the waterfall. Photo by Carole Di Tosti

I planned for a large waterfall in the front, and in the back something a little more peaceful. So we just wanted to have a mossy grotto of water, taller in the back and a bit crazier in the front. In the sketch there’s actually a bird’s nest fern at the top of the mountain. I thought it would be great to take a little license. So we took bromeliads up there and again on paper it looked great. But when we actually had to climb up the mountain carrying a 70 pound bromeliad, it became less fun but we got them up there and we got everything planted. And are fairly happy with the way things turned out. So that’s it. So this was based on that illustration that we talked about. And then we head into what I imagine Marc Hachadourian’s greenhouse looks like. For the crazy plant nerd, orchid geek, this would be the greenhouse that you see. And again we took license and as I said we’ve come a long way in terms of breeding and cultivars. What you see here crazy color, lots of contrast, lots of strange plants and again a huge, huge variety of orchids that we have in this section.

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Orchids are epiphytic and grow on trees and rocks. Others are terrestrial orchids, depending on where they grow. Lots of plants will be epiphytic. Note the walls. They are reproductions of the walls that are actually in that scene from Knypersly, so we had those reproduced. A working greenhouse would be dingier and a little less densely planted. We have the potting benches where people can learn a little about propagating orchids and what a working greenhouse would be like but this section of the display it’s predominately ornamental. We tried to load it up with a diverse selection of orchids. The Phalaenopsis (moth orchid) on the mountain everyone is familiar with but you come in here and even if you’re a serious orchid aficionado, you will see a lot of interesting orchids you may not have seen otherwise. The more expensive orchids come from our permanent collection.

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The Wardian Case with a variety of orchids of different sizes and shapes. Photo by Carole Di Tosti

Explorers and others used the Wardian Cases to transport orchids back in the Victorian era. They created and maintained that micro-climate to keep them alive. The show also highlights the history of Ward and the invention of the Wardian case wonderfully. The Wardian Case is a symbol of the Victorians.

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An example of an orchid geek’s potting bench with orchids in a greenhouse. Photo by Carole Di Tosti

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Another example of a potting bench displaying a variety of orchids. Photo by Carole Di Tosti

 

The majority of the orchids that people buy are from Florida, Hawaii, California. The bulk orchids come in from nurseries around the country. And the rarer ones come from our collection. (What happens to the orchids after the show?) We all have plenty of orchids in our houses after the show. But we donate the rest to schools and societies and give them to people who use them to teach so they don’t go to waste. If they are degraded then we compost them. They have their own value and come back into the greenhouse or into the vegetable garden as they are recycled. So that’s what we tried to do with the show. It turned out to be more ambitious than we thought in terms of numbers of orchids, but I’m happy it doesn’t look like Q*bert the game. That’s what it looked like before we planted. I think we succeeded. We took Q*bert out of it, making it look natural.

Orchidelirium, The NYBG Orchid Show 2016, concludes April 17th.  Check the Garden website for details about Orchid Evenings on Saturdays (March 12, 19, 26, April 2, 9, 16), as well as Friday (April 15), and Thursday (March 24, LGBT night). On select evenings visitors can also upgrade to V.I.P. status and enjoy the Orchid Lounge.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

‘Buried Child’ The New Group Production Starring Ed Harris and Amy Madigan

Ed Harris, Paul Sparks, Sam Shepard, “Buried Child,” Scott Elliott, The New Group.

(L to R): Ed Harris and Paul Sparks in Sam Shepard’s “Buried Child,” directed by Scott Elliott, Off-Broadway at The New Group. Photo credit: Monique Carboni.

Secrets are the bricks that layer the foundations of family histories. Such secrets may serve as supportive bonds to keep a family together through trials and catastrophes. They may spur families to create protective walls against a foreboding and nullifying social order. They also may imprison family members in a bottomless well of pain. What is hidden often then develops a dark, spiritual life of its own to create havoc until family members finally confront its reality.

Sam Shepard’s profound, Pultizer Prize-winning tour de force Buried Child is The New Group’s new production directed by Scott Elliott, currently at The Pershing Square Signature Center. It explores the devastation when what lurks underneath becomes an implement family members use to hack at each others’ souls. As they provoke one another and stir up whirlpools of misery, what has been concealed is eventually unearthed and they must confront the fear of its loathsomeness. Only then can they employ their strength to either reconcile with the past and heal, or die.

Paul Sparks, Ed Harris, Amy Madigan, Sam Shepard, Buried Child, Scott Elliott, The New Group

(L to R): Paul Sparks, Ed Harris, Amy Madigan in Sam Shepard’s “Buried Child,” directed by Scott Elliott, Off-Broadway at The New Group. Photo credit: Monique Carboni

At the outset, we are introduced to the paterfamilias, Dodge (ironic name choice), sitting on the sofa as if he occupied this space without purpose and there is nowhere else for him to go. Dodge (Ed Harris) is nearly invisible.

Certainly he melds into the shabby interior of the house and the worn furniture. Except for the occasional cough and accompanying sip of whiskey from a bottle he hides under his blanket, we wouldn’t notice anything significant about his presence until he converses with his wife Halie (Amy Madigan), who is upstairs getting ready for an outing. Their exchange becomes funny when Dodge mocks her pretensions and her suggestions, i.e. for their son Bradley to cut Dodge’s hair, which Bradley always butchers. Dodge’s wit and clever personality indicate that though he may now appear to be down-and-out, he once may have been a man to be reckoned with. He well plays the role of nagged husband, tolerant of Halie’s persistent, shrill commentary about everything from the weather to son Tilden, who makes his entrance soon after Halie tells Dodge to take his pill.

The brilliance of this play is in its suggestive, interpretative aspects; it is opaque and ambiguous, yet clearly sounds a bell of alarm. Characters present bits and pieces of information like a reversed puzzle. Truths slip in and out like whispers. Unveilings abide in the off-beat comments and actions of Tilden (a terrific Paul Sparks) and Bradley (the fine Rich Sommer), and in the contradictions posed by Dodge about the past and present. Glimmers of light reveal key themes about the flawed nature of human beings and their unsatisfying relationships, of the oppressiveness of fearful secrets that are not allowed to be uttered or expurgated, of the resulting soul sickness that chokes off vitality.

As Shepard brings this family to us through their conversations and clashes, we divine the background story, of a brokenness that overwhelms all of the sons and Dodge, and of a protective, hard lacquer that glistens from Halie’s persona as she steps quickly through time without looking to the right or left and especially not into the past.

Rich Sommer, Taissa Farmiga, Paul Sparks, Buried Child, Sam Shepard, The New Group

(L to R): Rich Sommer, Taissa Farmiga, Paul Sparks in Sam Shepard’s “Buried Child,” directed by Scott Elliott, Off-Broadway at The New Group. Photo credit: Monique Carboni.

Tilden, once an All-American halfback, is child-like, dense, withdrawn: these may be weaknesses caused by that “trouble in Mexico” a while ago. The obstreperous Bradley was careless with a chainsaw and chopped off his leg.

Bradley’s movement “to go far” has ended; he must wear a prosthetic device to go anywhere. The most promising son, Ansel, died in the military, and Halie, who meets with inoffensive, smarmy Father Dewis (Larry Pine) to discuss the placement of his statue in the community, brings the priest in for tea and stirs havoc. Clearly, Halie has sought religion to stave off the darkness.

Shepard’s writing is precisely rendered. He wanders his characters through a filtered catastrophe that they have long suppressed. Their meanderings with each other are filled with humor, thematic layers, poetry, and symbolism. The dramatic action is interior; when Tilden, Bradley, or Halie appear, disappear, and interact, the molecules have been stirred, the atmosphere changes, and tensions strain. There is the sometimes gentle, sometimes antagonistic sparring among the four. And Dodge is central; he grounds all who enter and leave with brusque ease. He is the family linchpin, and only he will be able to exhume what sickens in all of them when the time is ready.

Paul Sparks, Ed Harris, Rich Sommer, Amy Madigan, Larry Pine, Buried Child, Scott Elliott, Sam Shepard, The New Group

(L to R): Taissa Farmiga, Ed Harris, Rich Sommer, Amy Madigan, Larry Pine in Sam Shepard’s “Buried Child,” directed by Scott Elliott, Off-Broadway at The New Group. Photo credit: Monique Carboni.

That Dodge ignores the signs of the times is an irony. When Tilden brings in freshly picked corn cobs (a heady symbol) that he proceeds to shuck, Dodge stubbornly claims that the corn which Tilden says has been growing out back cannot be real, even though Tilden cleans the corn and throws the leavings on him to prove it. When Tilden later brings in carrots, we begin to realize the momentous symbolism. Tilden’s wisdom is bringing a form of truth to bear on the family, a truth long overdue. And eventually, with the prompting of grandson Vince’s girlfriend Shelly, Dodge embraces the signs and reveals why the fields may have produced in abundance.

Shepard’s grand metaphor of the harvest, sown in the past and now ready to be picked and enjoyed, is spiritual, interpretive, and surreal. It is a harvest seen and recognized by some in the family and not others, much as truth and circumstances are perceived and interpreted individualistically. Shepard combines this metaphor with an even greater one, a human embodiment of the harvest in the characterization of Vince (Tilden’s son whom no one initially acknowledges or seems to remember), and his girlfriend Shelly (Taissa Farmiga is appropriately sharp and intrusive), whose curiosity eventually prompts Dodge to reveal that which has been rotting the foundations of their family relationships and particularly Dodge’s soul.

Buried Child, Sam Shepard, Scott Elliott, Ed Harris, Amy Madigan, Paul Sparks, Rich Sommer, Taissa Farmiga, Larry Pine, The New Group

(L to R): Taissa Farmiga, Nat Wolff, Ed Harris in Sam Shepard’s “Buried Child,” directed by Scott Elliott, Off-Broadway at The New Group. Photo credit: Monique Carboni

That Vince (a portentous and dangerous Nat Wolff) and Shelly appear at precisely the right moment when the crops are ready to be harvested is a singular mystery answered by the play’s conclusion. Dodge finally discloses the secret of the fields and acknowledges that he is no longer afraid; it is then that the reckoning comes. Shepard emphasizes in Buried Child that there indeed is a season for everything. And regardless of whether we want to acknowledge it, the ripeness of fulfilled truth eventually is visited on a family, though it may skip a generation or two.

This is a magnificent production, prodigiously acted by the ensemble cast and brilliantly conceived, staged, and designed by Scott Elliott and his team. The production throbs with tension. The undercurrents vibrate throughout. Above all the character portrayals balance evenly to create a living portrait of the poignancy of human families.

Ed Harris resides in Dodge with sustained concentration and moment-to-moment precision, even as the audience shuffles in and fumbles around for their seats (before the play begins). Harris embodies the character’s rough-edged, blunt and ironic persona and it is difficult to take one’s eyes off of him. His seamless sliding underneath Dodge’s skin is without equal. Amy Madigan as Halie is his perfect counterpart, striking and glorious one moment and in the next shrew-like and high-pitched as if stretched to the point of breaking.

Indeed, Elliott has guided this cast into taut perfection; Ed Harris, Amy Madigan, Paul Sparks, Taissa Farmiga, Rich Sommer, Nat Wolff and Larry Pine would not be as alive in their characters as they are if the balance and the pressure were not tuned to a proper pitch by each actor’s work.

Buried Child is beyond memorable. It is is one for the ages. The New Group production runs until April 3 at Pershing Square Signature Center.

 

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