2006-12 Vital Source Mag – December 2006
A Cudahy Caroler’s Christmas
By Russ Bickerstaff Stasch, Pee Wee, Zeke, Nellie and the rest of the Cudahy Carolers return again this Christmas as In Tandem Theatre presents another holiday season of regional musical comedy with A Cudahy Caroler’s Christmas. Having been unduly bounced out of the intimate performance space at the Walker’s Point Center for the Arts, In Tandem launches the hit holiday musical in the much more luxurious space that is the Marcus Center’s Vogel Hall. This year’s Cudahy Caroler Christmas is the same show that Milwaukee audiences have come to know and love in a substantially bigger space. However, the same show Anthony Wood wrote nearly half a decade ago struggles a bit to fill a bigger auditorium, suffering some small amount from the extra space. Lost somewhere in the transition to Vogel is the sense of immersion in musical comedy that is far bigger than the space it fills. While the auditorium has changed, the show’s content hasn’t. The show features all the old favorite Cudahy Caroler songs with the same old story. Chris Flieller returns to play old Stasch Zielinski who sets aside his differences with former best friend Pee Wee (the returning Joel Kopischke) to get the many estranged Cudahy Carolers back together for one more concert to be televised on local access cable. Other welcome returns to the cast include Kristen L. Pawlowski as Nellie,the lovely, aspiring Tommy Bartlett water ski queen and Ken Williams as as big, shy Zeke who has a tremendous, mildly perverse crush on her. As with previous seasons, the show sounds distinctly different than it has in the past as several new faces lend their voices to this year’s production. Linda Stieber makes a thoroughly enjoyable In Tandem debut as lonely stylist caroler Wanda. Far and away the most impressive is Alison Mary Forbes in the role of young, alcoholic librarian Trixie Schlaarb. The character always seemed to be the weakest one in the entire cast. A prim and nervous librarian who gets extremely wild when she gets drunk feels like something of an uninspired comedic space-filler. This is not Anthony Woods at his most inventive. However, Forbes takes Wood’s weakest character a lot further than she deserves to go. Forbes’ performance of the “God Rest Ye Merry Gentlemen” parody is one of the more memorable performances from this year’s production. Wood gave the librarian some of the least funny moments in the musical, but Forbes manages to be staggeringly funnier than the material she’s given to perform here. Vogel Hall itself (its interior bearing some resemblance to the set of a 1970’s game show) seems slightly out of step with the production onstage. Chris Flieller’s set, which worked so well for so many years on a smaller stage, doesn’t work as well in Vogel. The set of rotating walls represent a number of different locations, but here they point forward at skewed angles, revealing other locations just as clearly to people near the far edges of the auditorium. Most of the […]
Dec 1st, 2006 by Vital Archives
Dickens In America
By Russ Bickerstaff As respected as authors are onstage, they are rarely thrown directly into the spotlight. When they are given the stage, the results can be disastrous. It may be a bit extreme and overly dramatic to say that lead actor James Ridge has to achieve the single best performance of the 2005 – 2006 Milwaukee theatre season in order for Dickens In America to be any good at all, but I just did. (And he does.) Seeing as how Ridge is the only actor performing in Milwaukee Chamber Theatre’s mid-season show, he has to be entertaining enough to carry an entire production. The fact that he’s playing Charles Dickens means that Ridge also has to live-up to the stature of a literary legend without looking exceedingly foolish. Ridge manages both of these feats, almost single-handedly providing a substantially hipper holiday alternative (or supplement, if you will) to the Milwaukee Rep’s annual mega-production of Dickens’ A Christmas Carol. Written by accomplished actor/playwright James DeVita, Dickens In America is a touching bit of historical drama surmising a public performance by the famous author in Milwaukee on his last tour of America. Nathan Stuber’s set is a lush, mid-19th century theatre setting. Red curtains and glass chandeliers reminiscent of the Pabst Theater adorn the stage. Footlights provide a striking effect as thick curtains draw back to reveal Ridge, buried somewhere beneath the distinctive hair and beard. Hovering visually somewhere between himself and his character, Ridge resembles a somewhat gaunt, hauntingly intense image of Dickens – the kind you’d see after reading a tattered copy of A Tale of Two Cities all night for a high school literature class. Ridge’s personal charisma as an actor fuels the performance. His eyes dart around the audience, drawing deep and disparate attentions to him with a gentleman’s charm. He recites Dickens’ work with an authors’ passion for and pride of his own work. He pauses at nearly perfect moments to affect intensity. Ridge delivers Dickens’ love of storytelling and theatrics in with infectious passion. There really isn’t anything that fans of Dickens aren’t already familiar with, but it’s a great pleasure to sit back, tilt the head, squint the eyes and picture that Ridge really is Dickens giving one last performance before he retires from the stage. Ridge brings a panoramic range of different British accents to the stage as he plays the theatrically inclined Dickens performing scenes from Pickwick Papers, David Copperfield, Oliver Twist and more. Ridge plays Dickens performing a rather large cast of distinctly different characters, as well. There may not be enough plot development in any given scene to provide Ridge the opportunity to portray much depth in any individual character, but the real accomplishment here is that none of them blur together. As with any show, however, some characters are more memorable than others. When Ridge performs bits from A Christmas Carol, clever ears may hear something familiar in Ridge’s portrayal of Scrooge. It may be coincidence or fanciful hearing […]
Dec 1st, 2006 by Vital Archives
Four years and a new day
By Dear Readers, This issue of VITAL marks the beginning of my fifth year as Editor. That, for the record, is longer than I’ve held any post-college job. I’ve mentioned before how I ended up here by accident at a time when I needed a new start, an opportunity to see what I was really made of. One’s perception of time is a funny, stretchy, contorted and contracted thing. On the one hand we’ve been barreling down the road at 90 miles per hour. On the other, I look at pictures of myself at my original “desk” in the storage room in the back of Bremen Café and can barely recall who I was then. I looked different (long hair, heavier, less gray), felt different (scared, excited, supremely daring) and had a different set of concerns than the woman who now resides at the big desk with the comfy chair in our groovy storefront office suite on Bremen Street. In late 2002 I was on a mission from God (to quote Elwood Blues) to bring VITAL to the people, the overwhelming majority of whom remained blissfully unconcerned with the efforts of our ragtag staff of interns and volunteers. In a way, times were simple then. And the statistical impossibility of our quest was almost comforting – who would ever blame us if we failed? Things are different now, and that’s an understatement. In four years, we have more than tripled our circulation, flipped from a tabloid to a magazine, created a truly good website that attracts readers from all over the world (check it out if you haven’t), developed partnerships in the community, gained a loyal (and, in a measure of our long-term potential, also a casual) readership and have seen many of our writers and photographers move on to tremendous opportunities that wouldn’t have been as available to them if not for their work at VITAL. I am gratefully the president of the Milwaukee Press Club, the oldest continuously operating press club in the Americas, and one of the nation’s finest. My parents are proud of me, not just for my potential, but because I’ve done something. In a way, it’s like living a dream. But with a measure of success comes exponential pressure and responsibility. There are more constituencies to satisfy, from the employees who need to get paid on time to the readers and city leaders who now expect that we actually produce something worthwhile. I even have a dress code for meetings and Press Club functions. Sometimes I bring a suit and change out of my cowboy boots in the bathroom for business functions. Who would have thought? On a very microcosmic level, my situation reflects that of the Democrats. (Bear with me; I know this is a gross oversimplification.) They needed a new start. They worked their plan amidst skepticism and even derision (sometimes from me) and they succeeded in taking the Congress. Heady stuff. But what comes next is much more important. Now they […]
Dec 1st, 2006 by Vital Archives
A Christmas Carol
By Russ Bickerstaff The Milwaukee Rep returns to another Christmas season with yet another production of Charles Dickens’ popular classic A Christmas Carol. With a cast of over 20 and enough scenery and props to comfortably furnish a rather large home, A Christmas Carol is an annual theatrical event attended by far more people than any other single show in Milwaukee. This is the Rep’s fourth outing with the shiny, new million dollar production that first graced the Pabst in 2003 and things are looking every bit as sharp as they did three years ago with a pacing that feels just a bit more streamlined than it was last year, even if they didn’t drop a single thing from the script adapted by Joseph Hanreddy and Edward Morgan. In her third year of directing the show, Judy Berdan is at the head of a fine tuned theatrical holiday behemoth. Everything seems just a bit more polished this year than it was in 2005. Even Marjorie Bradley Kellogg’s dark, moody set for Christmas Future with its dramatically forced perspective seems to have lost some graffiti since the last time it was lowered. Milwaukee Rep Resident Actor Lee Ernst resumes the role of the tight-fisted, old Ebenezer Scrooge whose cold emotional detachment was brought about by psychologically damaging formative events he experienced as a young man when he looked a lot more like Gerard Neugent. It’s probably all in my head, but the difference between Neugent as young Scrooge and Ernst as old Scrooge seemed particularly drastic this time around. Neugent comes across with energetic, youthful hard work being tempered into cold ambition. Ernst comes across as miserly old age come overcome by its own comedy. The years between youth and old age have clearly not been very kind to old Eb. Mark Corkins resumes his role as Jacob Marley, the ambitious, brutally efficient businessman who draws Scrooge into an addiction for wealth so strong that a host of spirits are forced to stage a spectral intervention in order for him to regain the slightest shred of human generosity. Corkins’ stage presence is every bit as powerful as Marley’s ghost, aided by Barry G. Funderburg’s haunting sound design. As far as individual characters and performances go, this year’s production isn’t substantially different than any other in recent memory. Those who can’t make it this year are only missing out on yet another performance of an old holiday classic. The cast hasn’t changed much in the past three years, but there are always a few differences each December. For the first time, Melinda Pfundstein joins husband Brian Vaughn this year to play husband and wife Fred and Catherine. Eva Balistrieri returns for her ninth consecutive year with the show but this year’s performance as Martha Cratchit will be her last, as she is going off to college next year. Rep interns Donte Fitzgerald and DeRante Parker pick up small parts around the edges this season’s production. Laura Gordon returns to play Mrs. Cratchit […]
Dec 1st, 2006 by Vital Archives
A Winter Harvest
By Evan Solochek During the dreadfully short-lived Milwaukee summer, nestled between the bustling intersection of North Avenue and Kenilworth Place, local artists set up shop in the Beans & Barley parking lot. For many, it’s their only source of income and therefore their livelihoods depend on a strong summer return to get them through the lean, and exhaustive, winter. It was this reality that inspired Laura Richard to launch East Side Artist’s Boutique – Shop to Stop Holiday Hunger. “The idea initially came to me at the end of the East Side Open Market season as some of the artists discussed how difficult it is in the winter when there are few opportunities to show their work,” Richard says. “I wanted to do something to help them.” However, local artists are not the only group that this 32-year-old Riverwesterner has spent much of her life helping. She currently works part-time at the Metropolitan Milwaukee Fair Housing Council, a nonprofit that promotes fair housing practices in Wisconsin. She has also recently started her own business, Laura Richard Consulting, which does event planning, fund raising, marketing and promotions for nonprofits and local businesses. The East Side Artist’s Boutique will feature around 30 regional artists. In addition to offering these artists a winter market for their work, each will donate one piece for a silent auction with 100 percent of the proceeds going to the Hunger Task Force of Milwaukee; same goes for the $5 cover. Friday evening, Beans & Barley, Twisted Fork, Trocadero, Café Hollander, Balzac, Hi Hat Lounge and Ichiban will be donating appetizers while Beans & Barley will also offer wine for sale, a portion of the proceeds of which will also go to the Hunger Task Force. For the last 30 years, the Hunger Task Force of Milwaukee has been a voice for the hungry, promoting socially sound policies with the aim of ending hunger in our community. In Wisconsin, according to the Task Force, 9 percent of households are “food insecure,” which means that they are “uncertain of having or unable to acquire enough food for all family members because they had insufficient money or other resources.” Additionally, in Milwaukee, according to the 2004 U.S. Census, 26 percent of Milwaukeeans live in poverty, which ranks seventh in large U.S. cities. For Richard, supporting them was an easy decision. “Beyond the obvious that they help feed Milwaukeeans who are hungry and sometimes have to choose between rent and food, the Hunger Task Force is active in advocacy work to achieve positive and far-reaching changes in our community,” she says. “My husband and I have taken to giving to the Hunger Task Force for the holidays in lieu of exchanging gifts since they need the money more than we need the ‘stuff.’ I knew if I did a fundraiser for them, I could give them so much more this year. That‘s how I mixed it together.” Richard strives to live her life selflessly, driven by the immortal words of Gandhi: […]
Dec 1st, 2006 by Vital Archives
The Decemberists
By Nikki Butgereit Those still afraid that The Decemberists’ move to Capitol Records from Kill Rock Stars indicates a possible sell-out need listen no further than the second track. For 12 glorious minutes, “The Island – Come & See/The Landlord’s Daughter/You’ll Not Feel The Drowning” moves through musical styles and moods ranging from 70s blues to classic Decemberists shanties to close with the melancholy repetition of “Go to sleep now, little ugly / Go to sleep now, you little fool / Forty winking in the belfry / You’ll not feel the drowning.” As is common in the loosely braided indie-rock genre, The Crane Wife is organized under a concept, recreating the Japanese folk tale of the same name. Punctuated by themes of love, trust, greed and loss, the music dramatically weaves calming vocals with hammered dulcimer and hurdy-gurdy. Amidst the antiquity, modernity pops up occasionally with a catchy la-la, na-na chorus. The occasional appearance of the electric guitar stands out. “The Perfect Crime #2” sounds like a Talking Heads outtake, and though quiet enough to maintain the tone of the record, it still manages to rock. The Decemberists create such layered music that second and third listens are required to feel the full effect. And while the music might seem outmoded on the surface, deeper listening reveals a body of work that is taking indie-rock to a new level, one composition at a time. VS
Dec 1st, 2006 by Vital Archives
