sábado, 5 de febrero de 2011

Driving Through Cambodia: A Road Trip Through Ruins and Unexplored Highways


JOURNEYS

Driving Through Cambodia: A Road Trip Through Ruins and Unexplored Highways

Vikas Bajaj
Nicolas Rapp fix- es a flat tire on his Land Cruiser at the entrance to Bokor National Park; transporting chickens; roadside cooking.
A LIGHT rain started to fall as we drove up to the entrance of BokorNational Park in southern Cambodia. Up ahead lay the decaying remnants of a French hill station where colonists used to while away their weekends when they ruled this Southeast Asian country.
But a comedy of errors ensured that we wouldn’t get to see the ruins, which comprise the once-grand Bokor Palace hotel and a Romanesque Catholic church. The first obstacle we faced was a guard for a Chinese construction company that was reconstructing the road up to the old hill station, as part of a major renovation project there. Although other tourists had used the road just moments before we arrived, the guard wouldn’t let us pass, nor would he tell us when the road might reopen.
A heated argument ensued between the guard and my French travel companion, Nicolas Rapp, who had been driving a dark-green 1996 Toyota Land Cruiser around the globe for the last year. After several days of traveling with him, I had realized that this was part of his strategy for dealing with difficult officials — if he argued loudly and long enough he often persuaded them to let him pass just to be rid of him.
But the guard stood his ground. As we headed back to Nicolas’s car, we noticed a flat tire. No problem, he assured me, he would have it fixed in no time. But no sooner had Nicolas plugged the leak than the tube that connected his portable air compressor to the tire tore. He cut off the torn section and started again. After a minute, there was another tear. And so it went for an hour until we finally had enough pressure in the tire to drive to a gas station.
Though the afternoon was frustrating, it was also revealing. These things are bound to happen when road-tripping in a country like Cambodia, one with a limited driving culture. There’s no AAA to call, and bicycles and scooters are more common than cars — something Nicolas may have gotten used to, but that required some adjustment on my part.
As chronicled on his blog, Trans World Expedition, Nicolas had stared down many such challenges. A bad car accident stranded him in Honduras for two weeks as that country was going through a major political crisis. In Africa, he drove in intense heat with a broken air-conditioner.
In late November, I had met up with Nicolas in Bangkok, the city where I grew up, to join him for a weeklong loop through Cambodia, a country neither of us had seen but one that I had long hoped to visit.
In the 1980s and 1990s, Cambodia was widely known as a place from which hundreds of thousands of refugees fled the killing fields of the 70s. In 1997, when I was an intern at The Associated Press’s Bangkok bureau, my editors asked if I would travel to help cover a coup there. I was living with my parents that summer, and they demanded that I turn down the offer, which I did.
But in the last decade, Cambodia has emerged as a popular destination for travelers who have wearied of more developed countries in Southeast Asia. It is perpetually referred to in guide books and travel stories as “like Thailand 10 years ago.”
And indeed, during our trip, I was struck by how reminiscent the country was of the Thailand of my childhood, before it was overrun with resorts, shopping malls and tour buses.
Cambodia’s two-lane highways were well paved and relatively empty — the upside, perhaps, to the lack of a car culture. We most often shared the roads with those scooters and bikes. Every so often, we would spot farmers transporting rice, sugar cane and other produce on carts hitched to cows or to small diesel engines fitted with truck tires and long handlebars. The other cars on the road were mostly Land Cruisers or Lexus sport utility vehicles, most likely owned by the country’s small economic elite and organizations like the United Nations, which have been helping to rebuild the country.
Some of this may soon change. Over the last few years, Cambodia, with the help of international organizations and Chinahas invested significantly in its roads, removing hundreds of land mines and thousands of rounds of ammunition to make way for miles of asphalt. But there is much more construction ahead and road culture is just beginning to catch up.
Sari, a driver and guide whom we met at the Angkor Wat complex our second day, said he occasionally saw European overland travelers, but that few foreigners, including the neighboring Thais, drove into and around the country.
We had another glimpse of this slow development at the Thai-Cambodian border, where we waited an hour for Cambodian customs officers to return to the office after lunch. They seemed utterly confused about the paperwork that Nicolas needed to bring his Land Cruiser into the country temporarily. He eventually took control, pointing out where they had to sign, stamp and tear the relevant documents — a successful example of his assertiveness.
Elsewhere, we were greeted warmly — sometimes with a disconcerting attentiveness. In the southern coastal town of Kep, where we spent the night after our luckless afternoon at Bokor, we camped near a family that lived in a shack on the coast. We arrived after the sun had set and quickly started popping up the tent, a clever contraption that Nicolas had affixed to the top of his car, complete with a built-in ladder. We poured ourselves generous glasses of rum with lime juice and soda to help make the warm and humid evening more bearable. Mosquitoes and flies buzzed around our electric lanterns.
As we worked, the men of the house stared at us and made comments to each other in Khmer, which neither of us understood. We tried to speak to them in English, but that proved unsuccessful.
Their vigil over us became unnerving after a while and I tried to break the ice by offering them some of the Thai-style chicken and stir-fried vegetables I had cooked on Nicolas’s petroleum-powered stove. They happily accepted and took the food back to their shack; we ate at a folding table Nicolas carries in the car.
Later, the family reciprocated in their own way. In the morning, when I started to head to the public toilet a few hundred yards away, the head of the family gave me a ride on his scooter.
Almost everywhere we went, people were fascinated by Nicolas and his Land Cruiser, which he bought in Brooklyn for $6,000. When we stopped by the side of the road to heat up leftover spaghetti on our way to Phnom Penh, a group of children gathered and stared at us. When we turned around, waved and said hello, they ran away, shrieking and laughing.
Nicolas says he hit the road because the financial crisis and recession had made New York, where he had lived for almost a decade, depressing. So, he quit his job as an art director at The Associated Press and drew down his savings to finance his trip. He estimates that he will spend about $50,000 on the trip. (He will likely arrive back in New York this month after driving cross-country from Los Angeles, where he has shipped his car from Asia.)
After only a week as his travel companion, I doubted that I could do what he had done. I was already aching for the creature comforts that you have to forsake when you go on the road, especially in places like Cambodia.
I couldn’t help but smile when we arrived at a small beach in Thailand 20 miles past the Cambodian border. We were greeted warmly by a family that ran a small restaurant. They showed us spots where we could camp and later in the evening they sold us beer and spicy papaya salad. Nobody eyed us suspiciously. They had seen many like us before.

36 Hours in Santiago, Chile


36 Hours in Santiago, Chile

Tomas Munita for The New York Times
A wine tour on top of San Cristóbal. More Photos »
LIKE the on-again, off-again construction of the city’s Costanera Center, which will include South America’s tallest skyscraper, Santiago is reaching for the skies while progress moves forward in fits and starts, thanks in part to natural disasters like the 8.8 magnitude quake that rocked the country last year. Still, there’s a spirit of enterprise in the capital, which was the top destination in the New York Times Travel section’s “The 41 Places to Go in 2011” feature. From a growing fashion movement to government initiatives to create a Silicon Valley of the South, there is an energy that just can’t be suppressed. Long gone are the days when the city was derided for its food scene or seen as sleepy and staid. Arts sites like the Centro Gabriela Mistral, which opened in September, along with cutting-edge galleries, boutiques and stand-out restaurants, attest to an urban scene that has blossomed in the wake of a repressive dictatorship now long dead.
Multimedia
Friday
6 p.m.
1) CREATIVE DIVERSIONS
Santiago’s art scene has taken root in affluent neighborhoods like Vitacura, where contemporary galleries like Galería Animal (Avenida Alonso de Córdova) 3105; 56-2-371-9090; www.galeriaanimal.com) and Sala Cero (Avenida Alonso de Córdova 3105; 56-2-371-9090;salacero.cl), both housed in a raw concrete building on the city’s fashionable shopping street, specialize in art mainly from Chile. Nearby is Isabel Aninat Galería de Arte (Espoz 3100; 56-2-481-9870; galeriaisabelaninat.cl), an art space that occasionally hosts sales by fashion designers, and Galería Patricia Ready (Espoz 3125; 56-2-953-6210;galeriapready.cl), a new complex with a secluded courtyard and cafe.
10 p.m.
2) ADVENTUROUS DINING
Diners can’t go wrong with any of the high-end restaurants along the section of Avenida Nueva Costanera in Vitacura surrounding the popular Peruvian restaurant La Mar (at No. 3922; 56-2-206-7839;lamarcebicheria.com). But several young chefs have begun staking out locations farther afield in the neighborhood, including Sebastian Maturana, who ran Cucina Rustica at the Lodge in Vail, Colo., before opening Casamar (Avenida Padre Hurtado 1480; 56-2-954-2112; casamarchile.cl). The restaurant features sustainable seafood in a glass-and-bamboo framed space. Favorites include grilled octopus doused in olive oil and garlic, with tomato marmalade, sliced avocado and olives (6,500 pesos, or about $14 at 470 pesos to the dollar), and ceviche de cojinova austral, a ceviche of silver warehou with scallions, red onions, avocado, ginger and watercress (5,800 pesos).
Midnight
3) WINE BY THE GLASS
The stylish Whiskey Blue nightclub at the new W Santiago (3000 Isidora Goyenechea; 56-2-770-0000; wsantiago.cl) has quickly become a magnet for the city’s elite, but if you’re looking for a low-key alternative, head to Baco Vino y Bistro (Santa Magdalena 113/Nueva de Lyon 116; 56-2-231-4444), a new wine bar in the bustling downtown district of Providencia. It draws a mixed crowd of well-dressed residents and serious wine connoisseurs enjoying the recent trend here of wine by the glass.
Saturday
11 a.m.
4) FASHION TEMPLE
It took Jorge Yarur Bascuñán, a descendant of Palestinian textile merchants from Bethlehem, 10 years to turn the family mansion — a modernist glass construction from 1962 — into the Museo de la Moda (Avenida Vitacura 4562; 56-2-219-3623; mmyt.cl), a museum devoted to fashion and the memory of his mother, Raquel Bascuñán Cugnoni, a socialite with a penchant for high fashion. The museum’s approximately 10,000 garments include a Jean Paul Gaultier conical bra designed for Madonna, a tutu worn by Margot Fonteyn, and pieces from a recent ’80s exhibition, including early collections fromVivienne Westwood and Thierry Mugler. The museum has a delightful cafe, El Garage, with floor-to-ceiling glass walls, colorful art and light fare like salmon carpaccio (3,300 pesos) and seafood with couscous (5,500 pesos).
2 p.m.
5) HOMEGROWN TALENT
Fashion-savvy Chileans get word, often through Facebook, of temporary fashion markets known as ferias. One of the most popular is Bazar Oriente (Club Médico la Dehesa, Avenida La Dehesa 2245; bazaroriente.cl), which features smaller labels. For visitors interested in a shortcut, a stylist named Ameriga Gianonne (56-9-790-59144;agstyling.com) can help you find lesser-known ferias, as well as stylish stores like Hall Central (Merced 346; hallcentral.cl), which stocks upcoming Chilean designers, and Porquetevistes (Gertrudis Echeñique 360; 56-2-207-5525; www.porquetevistes.cl), with more established labels. You can’t say you’ve been shopping in Santiago without heading to the luxury-store-lined street of Alonso de Córdova, which looks like a toy town version of Fifth Avenue. New stores include Noon (Alonso de Córdova 4120; 56-2-723-0273;ojoconlamoda.com), which stocks coming Chilean and Swedish lines. Wool (Alonso de Córdova 4098; 56-2208-8767; alfombraswool.com), which sells carpets, displays small squares of carpet on its wall like fine works of art.
4 p.m.
6) PAINTERS AND A PARK
In November, Santiago’s newest museum opened: the Museo de la Chilenidad (Padre Hurtado Sur 1155; lascondes.cl), surrounded by a sprawling park. The permanent collection includes works by Chilean master painters from the 19th and early 20th centuries, including Pedro Lira.
6 p.m.
7) SHOE FIESTA
Every month or so, two shoe aficionados, Marcela Strika and Lorena Muñoz, otherwise known as Tacón Zapatos (Monjitas 537, Dpto 74, Bellas Artes; 56-9-9159-8995;taconzapatos.blogspot.com), invite customers to Ms. Strika’s apartment or a rented hotel suite to sip Champagne and check out the flamboyant shoes they sell from Luz Principe, an Argentine designer of frilly, floral slip-ons and sexy black ankle boots. From 63,000 to 110,000 pesos a pair.
10 p.m.
8) TUDOR TEMPTATIONS
For a local dining experience somewhat removed from the high-end restaurants of Vitacura, Casa Lastarria (Lastarria 70; 56-2-638-3236; casalastarria.cl), in the artsy downtown district of Lastarria, offers home-cooked meals in a 1930s Tudor-style building that is filled with vintage furniture. Frequented by artistic types, this new addition to the Santiago dining scene offers dishes like congria eel in almond sauce (5,000 pesos) and chicken with Cognac (5,900 pesos).
Midnight
9) ALL IN ONE PLACE
Multifaceted night spots, offering entertainment, dancing, drinks and food, have become popular in Santiago. Bar Constitución (Constitución 61; 56-2-244-4569;barconstitucion.cl) has indoor and outdoor spaces, including a bar, terrace, lounge and dining area, and attracts a young, fun-loving, casual crowd. Live music ranges from Nufolk to R&B and electroclash. For club listings in English, see Revolver Santiago Magazine (santiagomagazine.cl).
Sunday
9.30 a.m.
10) MEMORIALS FOR MISSING
When it opened last year, local residents flocked to the Museum of Memory and Human Rights (Matucana 501; 56-2-365-1165; www.museodelamemoria.cl). The contemporary concrete, glass and copper structure, designed by the Brazilian architect Marcos Figuero, covers an entire block in downtown Santiago. Inside are photographs of victims of Gen.Augusto Pinochet’s brutal dictatorial rule, video footage of protesters and other documentation of his 17 years (1973-1990) in power, when more than 3,000 people lost their lives, or disappeared, following his crackdown on dissent. Another memorial site is Londres 38, housed in a building that was previously used as the municipal headquarters for the Socialist government of Salvador Allende and then as a torture center under the Pinochet regime (Londres 38; www.londres38.cl). On a cobbled street in the historic Paris-Londres district, it offers free guided tours on the history of the building.
2 p.m.
11) ON TWO WHEELS
Rent bikes at La Bicicleta Verde (Santa María Avenida 227, office 12; 56-2-570-9338;labicicletaverde.com) and explore the nearby vineyards of the Maipo — a region of winding roads and wineries some 30 miles from the city. Rentals are 12,000 pesos a day; vineyard tours available. Among the vineyards worth visiting (book in advance): La Montaña (Fundo el Peumo, Camino Santa Luisa, three miles south of Huelquen; 56-2-264-9846; vinalamontana.cl), with a wine store and hiking opportunities, and, a few miles farther, Pérez Cruz (Fundo Liguai, Huelquen; 56-2-655-1318; perezcruz.com), which has an unusual winery building with curved pillars. Two and a half miles down the road is Huelquen (Camino Padre Hurtado 4595, Huelquen; 56-2-822-1264; huelquen.com), an organic winery.
IF YOU GO
Opened in 2010, The Aubrey (Constitución 299-317; 56-2-940-28-00; theaubrey.com) is a 15-room boutique hotel in the artsy area of Bella Vista, with doubles from 118,000 pesos, about $252. Its restaurant, Pasta E Vino, is one of the most popular hangouts in the city with a three-week waiting list.
Also opened last year, the Hotel Boutique Le Rève (Orrego Luco 023; 56-2-757-6000;lerevehotel.cl) is in historic central Santiago, with 31 rooms starting at 121,000 pesos.
The W Santiago (3000 Isidora Goyenechea; 56-2-770-0000; wsantiago.cl), opened in 2009 with 196 rooms starting at $299 for a double.

Black-Magic Woman


HEATER REVIEW: ‘THE WITCH OF EDMONTON’

Black-Magic Woman

That dog is the very Devil. No, seriously. That shaggy black mongrel is Satan incarnate, and he wants to buy your soul. Kind of cute, though, isn’t he, the way he perks up at the least sign of affection? You don’t know whether to scratch his belly or make the sign of the cross.
Sara Krulwich/The New York Times
Derek Smith, left, as Dog, and Charlayne Woodard as Elizabeth Sawyer in “The Witch of Edmonton,” a Jacobean drama at Theater at St. Clement’s.
Sara Krulwich/The New York Times
Clockwise from top, Derek Smith, in the shadows, Justin Blanchard and Christina Pumariega in a scene from the Red Bull Theater Company’s production of “The Witch of Edmonton.”
Shakespeare’s Hamlet observed that “the Devil hath power to assume a pleasing shape.” But he probably didn’t envision the scruffy canine form adopted by Mephistopheles in “The Witch of Edmonton,” a fascinating and seldom-seen Jacobean drama, which has been given a sturdy, insightful production by the resourceful Red Bull Theater company.
As inventively embodied by Derek Smith — who wears a jaunty highwayman’s hat with a snarling face hidden in its folds and uses a pair of sticks for front legs — the character bluntly called Dog is both really creepy and sort of endearing. You can see why a lonely, demented old woman and a simple-minded lad would take pleasure in his company and feel bereft without it.
Though it deals with the supernatural, natural human urges are at the forefront of “The Witch of Edmonton,” which opened on Thursday night at Theater at St. Clement’s. A collaboration among (at least) Thomas Dekker, John Ford and William Rowley, this 1621 workmay have the bloodstains and body count of a typical revenge tragedy.
But inspired by real events of the recent past in an English village, the play is homier and humbler than the usual Jacobean fare. There are no arrogant duchesses or swaggering, poison-wielding princes in Edmonton. The people who commit the play’s central crimes are of the everyday variety. And though Dog is around to whisper dark motivating words into their ears, it is intriguingly open to debate as to whether the Devil really made them do it.
Since its establishment in 2003, the Red Bull Theater has specialized in Elizabethan-Jacobean potboilers that New Yorkers rarely get a chance to see these days, including “The Revenger’s Tragedy” and “Women Beware Women.” But “Witch” — staged by Jesse Berger, the company’s artistic director — is of an even rarer stripe than usual.
Though the acting in this interpretation is variable, the play still emerges vividly as a singular blend of psychological realism, naturalistic detail and lurid, black-magic-shadowed sensationalism. A multilevel tale related with few of the flourishes of fancy poetry, “Witch” has the magnetic pull of a broadsheet ballad of murderous love.
The play follows two main stories, which are only tangentially linked: that of Frank Thorney (Justin Blanchard), an irresolute young man who finds himself inconveniently married to two women, and that of Elizabeth Sawyer (Charlayne Woodard), the title character, a ragged and desolate woman who is scorned as a witch by the people of Edmonton well before she becomes one.
It is Elizabeth who summons the Devil Dog into being, after which the sly cur attaches himself to Cuddy Banks (Adam Green), a simpleton. Dog is also on hand when Frank plants a knife in the breast of the doting Susan (Christina Pumariega), his second bride, so he can be with Winifred (Miriam Silverman), a pregnant serving girl whom he married previously.
I know this all sounds a shade byzantine. (Did I mention that Winifred is disguised as a man and was previously the lover of a foppish knight, portrayed with relish by Christopher Innvar?) But twists of story line are remarkably easy to follow in Mr. Berger’s version, which eliminates a festive subplot involving Morris dancers to focus on matters of the heart.
Mr. Berger elucidates the play’s suggestion that hearts are often divided, and that a devil’s easiest mark is an ambivalent soul. We are always aware of a tantalizing ambiguity as to why these people commit the crimes they do. And in the case of Elizabeth, we’re not entirely sure what crimes she is responsible for, or the extent to which the townspeople turn her into the vengeful harpy she becomes. Guilt, it seems, is a gray zone in Edmonton.
The production has been handsomely designed, with period costumes by Cait O’Connor, evoking the time in which it takes place without being overly literal. Anka Lupes’s stark, subtly symbolic set borders a gaping pit of dirt with a wooden walkway and two houselike frames on either end. Civilized folk mostly stick to the walkway, but you’re aware that one slip of the foot, and they could be in the dirt, where Elizabeth and Dog spend most of their time.
Though the production features two grisly executions and several bloody apparitions, it is strongest in its more prosaic moments, especially in the first half. Mr. Blanchard is very good at summoning Frank’s troubled passivity, if less convincing in the tragic heroics required at the end. Ms. Woodard portrays Elizabeth on a single note of angry, beleaguered dignity, but that note serves the play’s purposes.
Among the rest of the cast — which includes the familiar faces of Everett Quinton and André de Shields — I was particularly struck by Sam Tsoutsouvas, who, as the father of the murdered Susan, displays a grief that is a compound of shifting elements. Emotions are neither pure nor simple in this play.
Even the Devil, as Mr. Smith reminds us, has a human longing to be loved. On one perfectly entertaining level, “The Witch of Edmonton” is like a 17th-century edition of The National Enquirer. But its portrayal of startlingly mixed motives and responses adds a depth rarely found in tabloids.

The Witch of Edmonton
By Thomas Dekker, John Ford, William Rowley, etc.; directed by Jesse Berger; costumes by Cait O’Connor; sets by Anka Lupes; lighting by Peter West; music by Daniel Levy; sound by Elizabeth Rhodes; violence by Rick Sordelet; movement byTracy Bersley; projections by Dan Scully; voice and speech by Diego Daniel Pardo; hair and makeup by Erin Kennedy Lunsford; aerial effects by Paul Rubin; production stage manager, Damon Arrington; production supervisor, Production Core / James E. Cleveland; associate producer, Renee Blinkwolt. Presented by the Red Bull Theater, Mr. Berger, artistic director. At the Theater at St. Clement’s, 423 West 46th Street, Clinton; (212) 352-3101, redbulltheater.com. Through Feb. 20. Running time: 2 hours 20 minutes.
WITH: Craig Baldwin (Warbeck/Countryman), Justin Blanchard (Frank Thorney), Adam Green (Cuddy Banks), Christopher Innvar (Sir Arthur Clarington), Christopher McCann (Thorney), Carman Lacivita (Somerton/Countryman), Christina Pumariega (Susan), Amanda Quaid (Katherine), Everett Quinton (Old Ratcliffe/Anne Ratcliffe), André de Shields (Old Banks), Miriam Silverman (Winifred), Derek Smith (Dog), Raphael Nash Thompson (Justice), Sam Tsoutsouvas (Carter) and Charlayne Woodard (Elizabeth Sawyer).