2007-02 Vital Source Mag – February 2007
Allen Toussaint @ The Pabst Theater
By Blaine Schultz After an quick instrumental tune to warm up, Allen Toussaint ran through a medley of some of the hits he wrote and produced for other artists – just in case you didn’t know who he is. In 2006 Toussaint collaborated with Elvis Costello on a post-Katrina album and tour that refreshed the public’s memory that since the 1950s Toussaint has written and produced a swath of music that remains quintessentially New Orleans. “A Certain Girl,” “Mother In Law,” “Fortune Teller,” “Working in a Coalmine,” “Lipstick Traces,” “Brickyard Blues,” “What Do You Want the Girl to Do?,” “Yes We Can” and “Southern Nights.” While fire engines swarmed City Hall Saturday night at the Pabst Theater, Tousaint and his four-piece group moved seamlessly from regional hits to blink-and you-missed-it classical interludes to anecdotes introducing many of the tunes. In his double-breasted suit and Birkenstock shoes, Toussaint comes off as the personification of erudite and just plain cool. As a vocalist he’s laidback and funky. It’s easy to see him as living through vocalists like Lee Dorsey and Ernie K-Doe while settled into the studio life of a writer/producer/arranger. But this night’s rare performance proved he’s equally adept on stage. The audience could have used a dance floor. As a musician, Toussant’s piano playing is heir to the great Professor Longhair, and it is that rolling lefthand rhumba that anchors many of the tunes. But he also exhibits his genius in re-imagining Longhair’s rollicking “Tipitina” in a minor key as “Ascension Day” on the Costello collaboration, The River in Reverse. At the Pabst Toussaint alternated between the two. While he’s been covered by everyone from The Yardbirds to Devo to Warren Zevon (not to mention arranging horns for the Band), arguably Glen Campbell’s cover of “Southern Nights” is where most listener’s have come into contact with Toussaint’s music. He ended his set with long spoken introduction to the song, reminiscing of family trips out to the Louisiana countryside as a child to visit relatives, all the while playing variations on the tune’s melody. The band members listened with their heads bowed as if transported as well. It was one of the few moments all night the audience was still. Opener Pieta Brown played a short set of her folk and blues tunes accompanied by guitar guru Bo Ramsey. As the daughter of esteemed songwriter Greg Brown, Pieta is challenged to move away from the old man’s shadow – but she is well on her way. Her singing coupled with Ramsey’s filigrees created some hypnotic moments that took the listener into movies her lyrics created. Songs about escaping small-town life and characters with a “train in his head just looking for a track” suggest her career is moving in the right direction. VS
Feb 19th, 2007 by Vital Archives
Almost, Maine
By Russ Bickerstaff As temperatures climb after some of the coldest days of the year, the Boulevard Theatre opens a wintery romantic comedy set in frigid rural Maine. Almost, Maine is a series of short dialogues between eight pairs of people who all have different relationships with love. It’s a pleasant evening in the intimate space of the Boulevard that is well worth going out into the cold to enjoy. The stage is a deep blue decorated in white. A few evergreens inhabit the tiny space accompanying a huge snowman holding cards that state the title of each short. It’s an interesting effect coming in from the authentic cold of Bay View in February to arrive in the warmth of an artificial winter onstage in the fictional space known as Almost, Maine. It’s explained relatively early on that the name is used to identify a section of the state that never quite gained its own name. In the cold of rural America in the dark of winter, people struggle to make and keep romantic connections through the course of eight different stories. The opening bit also closes the show. Liz Mistele and Siddhartha Valicharlavenkata play stereotypical young lovers working out a geographical paradox of intimacy. It’s a somewhat clever bit that establishes Mistele as the woman who sets the stage in a variety of different costumes. It also establishes Valicharlavenkata as a pretty solid actor. He last showed up as a waiter in Boulevard’s production of Beyond Therapy this past August, but here he is given the center of the stage and takes to it pretty well. While it’s pretty safe to say that playwright John Cariani probably wasn’t imagining a deep Indian accent mixing in and amongst the locals in rural Maine, Valicharlavenkata has such an engaging presence that it seems natural. The introductory bit is followed by a short entitled, Her Heart. It’s a piece about a lost woman (Jan Nelson) and the stranger (Michael Weber) whose lawn on which she has pitched a tent. Weber puts in a solid performance here and later on in Where It Went – the programs most intense bit of drama. Cynthia L. Paplaczyk was originally cast as the woman in this piece, but had to drop out of the performance on Friday night of opening weekend. Jan Nelson was acting with a script, but she managed a compellingly heartfelt performance nonetheless. Nelson’s performance in The Story of Hope a little later on in the program is a bit more intense as she plays a woman attempting to confront a romance she turned away from years ago. Beth Monhollen also makes quite an impression in a couple of bits about friendship becoming something more intense, first with Valicharlavenkata in Seeing the Thing and then with Kirsten Mulvey in They Fell. Monhollen brings the same sweetness to the stage that she did in Boulevard’s production of Marion Bridge last month. Love that had been cast away is looked at from a completely different […]
Feb 19th, 2007 by Vital Archives
From the flood waters
By Jon M. Gilbertson Allen Toussaint is one of those legends whom not a lot of people know – by name, that is. They might, however, be familiar with songs he wrote: “Working In a Coalmine,” “Lipstick Traces (On a Cigarette).” They have probably heard songs he produced: the original version of “Lady Marmalade,” Lee Dorsey’s “Ya Ya.” They even might have noted his piano playing: as a session man for Joe Cocker and Albert King, among others. He doesn’t seem to mind being a relatively anonymous individual. “It merely is my life’s vocation to be a producer,” he says in the mildest of tones. “I’ve been happy to do what I’ve been doing, by being so satisfied and so much in the comfort zone that I never thought much more about that. I don’t really regret or feel anything that should’ve happened didn’t happen thus far.” Nevertheless, Toussaint has recently experienced greater visibility, in substantial part because in the summer of 2005, Hurricane Katrina flooded his home in New Orleans (the city of his birth in 1938) and washed him out of a lifetime of memories. He moved to New York City and began playing there – in fact, he still does a club residency there. In New York he encountered an acquaintance, Elvis Costello. Toussaint had worked with him just a little bit before, and on Costello’s 1989 album Spike had played lovely, dexterous piano during the ballad “Deep Dark Truthful Mirror.” Costello had an idea. “He told me he always wanted to do an Allen Toussaint songbook,” Toussaint says. “And with the timing as it was, we decided to see about bringing that to fruition. It was his brainchild.” Ah, but children do often surprise us in delightful ways, and so it was with The River in Reverse, the album that Costello and Toussaint released last spring. As fans of either would expect, each brought incredible musicians to the collaboration: Costello the Imposters, Toussaint the Crescent City Horns and guitarist Anthony Brown. And Costello delved well into the Toussaint songbook, narrowing his broad enthusiasm down to seven classics. Then Costello and Toussaint wrote five songs together, and as a further surprise, the new and the old material coalesced beautifully, as did the musicians. Costello, famously a first-rate singer with a third-rate voice, didn’t so much rise to the occasion as bound up to and vault over it. For Toussaint, The River in Reverse modified an old adage: when one door is submerged, another crests the surface. “I must say with the displacement of Katrina, working with Elvis has sort of launched a different career for me that’s still going on,” Toussaint says. “Touring is very much a part of my life now, and it’s quite a lesson to be there right with the people, because you can feel the pulse of them all, as opposed to being in the studio waiting for the red light to come on.” He says this pleasurably, as though the pulse is […]
Feb 15th, 2007 by Vital Archives
Honor Song
By Milwaukee’s theatre season has been host to a higher than normal concentration of single-person shows, and some rather lofty figures have been conjured to the stage this season including Charles Dickens (James Ridge in Milwaukee Chamber Theatre’s Dickens In America) and Harry S. Truman (Don Devona in Boulevard Theatre’s Give ‘em Hell Harry). Single-person autobiographical monologues can be really tricky to pull off, requiring the right actor matched up with the right historical figure animated by the right script in the right space. It’s a tall order. If it works, there’s an alchemy between actors, stage an audience that is among the most primal theatre experiences imaginable. If it doesn’t, it’s an audience trapped in a room with a single actor for a period of time no watch could accurately quantify. Thankfully, In Tandem Theatre has found a satisfying combination of the right elements with its production of Honor Song: The Dr. Rosa Minoka-Hill Story. In the cozy basement of the historic Brumder Mansion, Laurie Birmingham stars as Wisconsin’s first female Native American doctor. Only the second Native American ever to receive a medical degree, Dr. Rosa Minoka-Hill spent much of her time with the Oneida in northern Wisconsin in the first half of the 20th century. Birmingham cleverly delivers the thoughts and feelings of Minoka-Hill as carefully written by local playwright Carol O. Smart, Minoka-Hills granddaughter, who used to spend summers with her. The life of one of the country’s first female doctors has got to hold many more fascinating stories than could fill a single monologue. Smart’s composition here is well thought-out and well paced. The script has been evolving since it was first produced in 1993 in collaboration with Carroll College, and when Minoka-Hill speaks through Birmingham, one gets a sense of that journey peering out between Smart’s words. There are only a few dry stretches in the story, which covers the events of Minoka-Hill’s life played out steadily with no intermission. The historic Brumder mansion’s basement is an excellent space for this production. One has a sense of walking into history when entering a place contemporary to the real Minoka-Hill. The modest set amidst much grander trappings from the same era is a bit disorienting at first, but once Birmingham takes the stage the illusion begins to settle in. The audience loses itself in the story of the many difficulties of being a doctor for the poor and the impoverished in the rural Midwest from the perspective of a very, very compassionate woman. It’s a thoroughly engrossing, compellingly concise single-person drama. Actor and character mesh, with Birmingham dedicating more than enough of herself to the role to capture the audience’s attention for the entire length of the monologue. VS In Tandem Theatre’s production of Honor Song: The Dr. Rosa Minoka-Hill Story runs now through February 11 at the Brumder Mansion. Tickets can be purchased by calling In Tandem at 414-444-2316. Form more information, visit In Tandem Theatre online at www.intandemtheatre.com.
Feb 5th, 2007 by Vital Archives
Tartuffe
By Russ Bickerstaff Based on the original play by Molière, Kirke Mechem’s Tartuffe is one of the most successful contemporary American operas ever written. A competent realization of Molière’s classic tale, the Skylight Opera Theatre’s production closes this coming weekend. Set in ancient France, the story tells the tale of a wealthy man named Orgon (David Barron) who has befriended a man named Tartuffe (John Muriello) whom he believes to be a thoroughly pious man of God. His family tries its best to convince Orgon of his foolishness as he heaps wealth praise on Tartuffe and generally makes a colossal fool out of himself. It’s a long and twisting plot that lends itself well to modern opera. The excessive dramatics and overarching themes of deceit, love and such all work exceedingly well in opera. While some of the finer, more subtle moments in Molière’s brilliant comedy are lost in the adaptation, the story gains a certain emotional depth in song that isn’t explicit in dialogue alone. The Skylight cast deliver on some of the stronger moments Mechem has adapted for the opera. David Barron makes for a likeable Orgon. Alice Berneche is quite brilliant as his daughter Mariane. The scene between the two of them when he asks her to marry Tartuffe is one of the most memorable in the entire production. A lot of its strength rests quite squarely in the anxiety pouring out of Berneche as she directly faces the audience in not so subtle reaction to what her father is asking of her. Berneche’s voice is beautiful, but it’s the rest of her performance that beautifully rounds out a role that isn’t nearly as impressive in previous non-musical productions. Danielle Hermon Wood also puts in a memorable performance as Dorine, Orgon’s maid and Mariane’s friend who schemes to stop the wedding arrangements with Tartuffe and decisively rid the household of him. Dorine is often quite clearly the sharpest character onstage. Wood makes this intelligence seem organic and effortless. The title role of Tartuffe can be played in a million different ways. John Muriello plays it with intriguing texture. His long, disheveled hair and ragged clothing don’t just look shabby . . . the way Muriello carries himself, they actually look unhealthy. He’s playing a comic villain in a way that’s almost sympathetic. It makes for a surprising depth at the center of the production when Muriello finally appears on stage in the flesh well into the story. Lee Ernst takes the stage with the role in a couple of weeks with the Milwaukee Rep. It’ll be interesting to see what he’s going to do with the character. Production elements of Tartuffe are everything one would expect out of a big budget Skylight production. Costuming is lush without being overpowering. Lighting by Cynthia Stilllings provides the comfortable illusion of physical depth that is not actually present on stage. Van Santvoord’s set design adds considerably to the illusion of depth as well as scenic elements rotate to change settings. […]
Feb 4th, 2007 by Vital Archives
Hat Trick – Third time’s a charm for Al and Susie Brkich
By Catherine McGarry Miller + Photos by Kevin C. Groen Cranky Al’s Bakery, Coffee & Pizza 6901 W. North Avenue 414-258-5282 Hey, Mikey, I got your pizza ready,” Cranky Al Brkich hails a customer. “I only dropped it twice!” Mikey shrugs his shoulders and smirks, “That’s better ‘n last time.” There’s a round of giggles from patrons steaming up the windows at Cranky Al’s this winter night with animated conversations over pizzas and garlic bread. I’m not one to go around outing people, but the truth is Cranky Al is a phony. He’s about as cranky as Rachel Ray accepting applause for yet another miracle recipe. A small warning sign on the door hints at Al’s true nature. It reads, “All unattended children will be given two shots of espresso and a free puppy.” Al is loath to admit it, but “cranky” actually references the hand-cranked donuts he turns out every morning for lines of neighborhood enthusiasts. For owners Susie and Al Brkich, this bakery and pizzeria is a hat trick. They’ve had two other successful eateries. The first was Crabby Al’s, a seafood shack that lit up the dark skies of the Menomonee Valley and then tumbled into a dissolved partnership. Second was Mrs. Java and Company, just four doors down from the new Cranky Al’s, which died last year when the building was sold to another restaurateur who wanted the space for a bistro. The news was sudden and devastating to the couple, who had hoped to buy the building themselves. “We didn’t know if our customers would come back,” Susie says with her chin crumbling and eyes moist with deep appreciation for the support of the community. It took the Brkichs the better part of a year – and every penny of their resources – to relocate, gut the property and install a kitchen in two storefronts that had formerly housed a used auto parts and a vacuum cleaner store. It was a stressful time for the Brkichs, not knowing if their new enterprise would fly. But just a few months into it, this place has all the signs of being yet another success for the hard-working restaurateurs. High windows fill the spacious room with light, the dark woodwork, molded ceilings and pews from Pius X Church – which serve as bench seating – all lend an air of comfortable charm, as do the smells of fresh-brewed coffee and handmade donuts and pastries. This, as everything in their lives, is a joint venture. After two decades of marriage, Al and Susie are still thick as thieves. Al insisted that Susie be there for our interview and every time Al got up during our chat to attend to the business, Susie gushed about him. For their opening in December, she bought him his first chef’s coat. “Same old Cranky with a new coat on,” he boasts. “That’s right, kid, I’m fancy now.” Al, who grew up near State Fair Park and attended Solomon Juneau High School, met Chicago […]
Feb 1st, 2007 by Cate Miller
The Early Years
Already in play to sell Nike shoes, the single “All Ones & Zeros” gets The Early Years’ debut out of the blocks at lightning speed; but it’s false advertising for the record as a whole. Although the intro song is a propelling dash, what follows lacks similar kinetic force. Intentionally. This three-piece, comprised of a drummer and pedal-happy guitar duo, adamantly refuse to chase after the skinny-tie, post-punk revivalist trend. Instead of worshipping Gang of Four, the self-proclaimed “experimental” band cite Neu!, Television and Mogwai as influences. If experimental means ambience, feedback and droning, and the preceding bands were reputably boring and uninventive, then these guys are spot on. The Early Years sound more confident when they aren’t trying so hard. The majority of songs, including the utterly beige “Brown Hearts,” are like a game of hot/cold (getting warmer…even warmer… ). The musicians find direction as the tracks count down, leaving questions as to how much improvisation they employed while recording. Likewise, the last two and a half minutes of “High Times And Low Lives” show potential and should have been the project’s starting line. Here, parts move – the darling avant-garde electronics live rightfully among the twangy guitar and incisive percussion. Regrettably, the disc’s closers, though pretty, deflate any remaining hope of resurrecting the buzz. The Early Years live up to their name; they play a diluted imitation of art rock’s early years, contributing little more than better technology. They’re on the heels of something good, but until their sophomore release, why buy a knock-off when you can just as easily listen to the real thing? VS
Feb 1st, 2007 by Amber Herzog
The Shins
The advent of the Shins’ latest sees them with not an entirely clean bill of health. They’ve paled from the short-term convalescence that the indie film and television world has bled them into. Yet they’ve somehow grown a muscular sonic extroversion from this bloodletting, while still managing to leave their lyrical core of persistent pathos intact. James Mercer’s sweet tenor will never quite echo the nerviness of The Fall’s Mark E. Smith, but it’s more of a “hell yeah” than an “oh, hell.” “Sleeping Lessons” is a fantastic kickoff, much in the way “Kissing the Lipless” was for Chutes too Narrow. Creeping in quietly, it assaults the unsuspecting listener’s ears with the volume cranked up to catch the Lewis Carroll references, blasting a train-chugging bass and a quick-click drumbeat with upswept, Beach Boy vocals. “Phantom Limb” catches the band at their wistful best, creating an atmosphere of ‘60s jangle-pop with an ‘80s bass line often associated with teen films, and a plotline to match. To hear Mercer sing the oh-wah-oh chorus is swoonable. The album is sonically variant starting with “Phantom Limb;” that track, “Sea Legs” and “Turn On Me” are all illuminating. The best surprise is “Sea Legs.” Containing a prominent Beck-ish bass line, flute and lounge piano chords, it features a smokier-voiced Mercer. “Red Rabbits” is another variation, but simple innovation and keyboardist Marty Crandall’s keyboard noodling is not enough to create a decent song. Wincing amps the listener up first with its familiarity, then further with a swing into the new, but fails to push through at the end. It’s promising, but The Shins are apparently still in that awkward stage; they still have plenty of room to grow. VS
Feb 1st, 2007 by Erin Wolf
Your last/next month
By Matt Wild Your last month has been rife with unexpected changes, moments of self-loathing and at least one severe car accident. The New Year – still so new! – has left you reeling. It would be easy, therefore, for us to look back and catalog your last month, to dredge up and analyze its highs and its lows. But let’s be honest; the past is for suckers. Instead, let’s pretend your last month is your next month; let’s rewind the Cassingle? of your life all the way back to the first yawning minutes of 2007. There you are – bleary-eyed, drunk and hopeful – kissing the strange/familiar boy/girl next to you, blissfully unaware of what will happen over the course of the next 31 days. This, in fact, is what will happen: You will make a trek back to your hometown to spend time with your family. You will go bowling, smoke some shitty cigarettes and drink an alarming amount of alcohol. One night – while rocking out to William Shatner’s version of “Common People” – you also manage to rear-end another driver, nearly totaling your girlfriend’s car. In the ensuing 48 hours, you will learn a series of valuable lessons: 1). Never give a fake name, number and address to the 17-year-old girl you just hit. 2). Never assume, in a town of barely 5,000 people, that the cops won’t somehow track you down and impound your car at 5 in the morning. 3). Never drive a vehicle off a tow lot – even if it’s your own – without politely asking first. By the end of the weekend you will become small town gossip fodder and rack up nearly $3,000 in damages and fines. Nevertheless, you’re thankful no one was hurt and that your arresting officer graduated high school with your younger brother. Back in Milwaukee, you will decide to keep your nose clean and your head down, your chin turned away in anticipation of the next blow. You will attend any number of dreadful events: hipster dance parties, adult spelling bees, trivia nights. You will make a vow to forever avoid any event prefaced by the word “adult” (kickball, dodge ball, lawn darts). You will start taking more cab rides and keep feeling bad about your girlfriend’s car. Your long-time East Side neighborhood continues down the fast track to becoming a condo-littered strip mall, leaving you bitter and disenchanted. You fall out of love with your city and consider hopping on the “We’re moving to Portland!” bandwagon popularized by that one Dead Milkmen song. You will go out and see some rock shows (the excellent Candliers prove to be a revelation), smoke some shitty cigarettes and drink an alarming amount of alcohol. In spite of all this (or perhaps because of this), you feel bad for yourself a great deal, and often contemplate running yourself through with a 10-inch railroad spike. A concerned friend will eventually calm you down and tell you that trying to off […]
Feb 1st, 2007 by Vital Archives
Liberty and injustice for all
By Cole J. White If there is ever to be equality in this country, surely it must begin in our courts of law. If we are to believe all men are created equal, then shouldn’t they be judged equally as well? –Thurgood Marshall It has been 43 years since the passage of the Civil Rights Amendment, and still we have crushing poverty, humiliating discrimination, demoralizing racism and a legal system that sees color as an indictable offense. Every night on the news, we hear about another “brown” person committing another crime, another arrest, another conviction, another… another… another. Why? Because the civil rights movement of the 1960s didn’t create a utopian melting pot, where justice is even-handed and equality is equal. Because, in America, if you’re black you have a greater than 1 in 4 chance of going to prison; you have a higher likelihood of being the victim of violence (sometimes, believe it or not, at the hands of the police) and nearly a 40 percent probability that you will live your entire life in poverty. The sheer lack of options makes an “average American life” little more than a fairytale for many “urban” kids. For them, slangin’ and gangin’ have become a means of survival, of pride, of identity. This puts many of these at-risk children on a disastrous collision course with a criminal justice system that has been co-opted by legislative hypocrisy and duplicative agenda-setting. Retired judge Phillip Seymour said, “Playing politics with the law is a dangerous, dangerous thing to do. And every time I hear a politician talk about getting tough on crime, I know someone’s getting screwed.” The class-A rodgering begins with the draconian Mandatory Minimum Sentencing (MMS) guidelines. Trickle-down sentencing Ostensibly, mandatory minimum sentences were designed to target “kingpins” and high-level dealers – a trickle-down drug policy. But these laws almost never nab kingpins. More times than not, addicts and – worse still – innocent people are the ones who wind up in prison. And those people are mostly black. Why? Because mandatory minimums disproportionately target minorities, a claim substantiated by the FBI, which reports that 60 percent of those prosecuted (and convicted) for drug crimes are black; while most drug users – some 74 percent – are white. Intentional or not, these laws are racist. The racial divide is highlighted by the crack and powder cocaine guidelines. A majority of crack users are black. A majority of powder cocaine users are white. Five grams of crack will get you five years. It takes 100 times as much – 500 grams of powder cocaine – for a five-year sentence, effectively creating a generation of young black men who will spend the rest of their lives on the wrong side of the law. Despite the obvious problems with sentencing laws and the objections of the legal and civil rights communities, some members of Congress, like Rep. James Sensenbrenner of Wisconsin, have fought to make mandatory minimums even more stringent – all to appear “tough […]
Feb 1st, 2007 by Vital Archives
