Rockin’ Bones – 1950s Punk and Rockabilly

By Blaine Schultz Everyone knows Elvis Presley, Jerry Lee Lewis, Johnny Cash and Carl Perkins, but when you think of rockabilly’s iconic image the person who comes to mind is Ersel Hickey. You might not know the name but trust me, odds are you’ve seen the photograph of this proto-rockabilly cat – all greasy pompadour, suggestive stance and hollow body guitar. It has been said that rock & roll died when Elvis was inducted into the Army. Truth be told, around the same time Little Richard saw the Light, Chuck Berry was doing time and Buddy Holly died in a plane wreck. So, yeah rock & roll had pretty much shot its wad by the end of the ‘50s. But prior to that there were untold countless backwoods wannabees, regular guys who had a little talent and inspired maniacs who were aimed like Halley’s Comet for their one shot at the big time. Rockabilly’s premise couldn’t be simpler: here’s three chords stolen from country music or the blues and some primed teenage angst. Toss in the sharpies at small record companies looking to make a buck, a handful off green pills and more attitude than Hollywood could ever manufacture and what you have is mid-20th century American History in four acts. Produced by former Milwaukeean Cheryl Pawelski and James Austin, this four disc set plays out like a soundtrack to a time when things were changing fast. For the first time in history teenagers had expendable income and were beginning to challenge the older generation in terms of popular culture. Every parent’s nightmare was that their son would end up a juvenile delinquent or their daughter would be attracted to one. (And while the title of this collection uses the term “punk,” no self-respecting JD would have been called that without a fight breaking out.) Now in a perfect world we would all have access to The Cramps’ record collection, but this will save you the time you’d spend digging up all these 45s on your knees in dusty backrooms of thrift stores (presuming you own a record player), not to mention the collector scum prices you’d fork over if you went the auction route. Consider each of these gems a musical resume whereby the artist gets to grab your attention. And usually in little over two minutes it’s the musical equivalent of 0 to 60 and a chugged Red Bull. Lightning in a bottle, even. In the world of rockabilly obscure is often better. While the Big Four are all represented – plus a pre-operatic Roy Orbison – it is not with their most recognized tunes. In Fact, Elvis’ “One Night of Sin” oozes blues. Representing what can be considered the next echelon of artists – never quite becoming household names – these folks managed to have careers in the music biz, and were often held as icons in Europe and Japan. You get a dose of Gene Vincent, Eddie Cochran, Link Wray, Johnny Burnette/Rock & Roll Trio and […]

Frozen

By Jill Gilmer A series of asymmetrical screens line the back wall of the set of Frozen. During the play, the screens project rays of blue and gray light, appropriate hues for this dark and disturbing story. But as the cast takes its bow, the screens change to a collection of light and dark still photos surrounding the single image that is in focus: a vibrant amber sunrise. Audience members who quickly exit the theatre may miss this visual synopsis of the play’s underlying theme; forgiveness causes dark experiences to fade into the light and offers the promise of hope. The light display also mirrored the journey of characters Nancy and Ralph. Set in modern day England, Frozen follows the lives of Nancy, Ralph and Agnetha over 25 years. Nancy is an angry and grief-stricken mother whose 10-year-old daughter was sexually abused and killed. Ralph is the flippant inmate convicted of the girl’s murder, and Agnetha is a quirky psychiatrist who chose Ralph as the subject of her research study. In one scene, the audience is cast in the role of students at Agnetha’s lecture on “crimes of evil vs. crimes of illness.” We are asked to consider the evidence supporting the theory that some offenders are biologically incapable of remorse, and are, thus, unforgivable. Ralph appears to be a prime illustration of this theory. Many years after her daughter’s death, Nancy visits Ralph in prison and offers her unsolicited forgiveness. The visit simultaneously leads to a life-changing emotional catharsis for Nancy while setting off a destructive wave of guilt in Ralph. In her interview with Footlights magazine, director Kate Buckley forewarns the audience, “This is not light entertainment.” Frozen explores the cheerful topics of pedophilia, suicide and psychiatric theories about the brains of criminals. It presents images that are shocking and painful. Yet, the brilliance of this play is Buckley’s ability to leave the audience with an unmistakable feeling of hope. The powerful images and topics presented in Frozen appeal more to the intellect than the heart. The characters are introduced through a string of monologs. But it is only when the live action begins that the audience begins to feel a connection with them. Laura Gordon brings a stirring complexity to Agnetha. However, the rest of the cast fails to engage the audience on an emotional level. These “frozen characters” may have been consciously built into Bryony Lavery’s outstanding script. The Broadway production was nominated for four Tony awards in 2004 and the script was a finalist for a Pulitzer Prize. Despite this shortcoming, the play soars in its ability to provoke thought on the origins of morality, the prudence of capital punishment and the limits of forgiveness. The combination of intelligent writing and the subtle spiritual message of forgiveness explain why this is a widely-produced play. Its compelling theme left me speculating whether the tragic turn in Ralph’s life would have been avoided if he had been able to forgive himself. VS Frozen runs through February 18 […]

Paradise

By Russ Bickerstaff As complicated and as brutal as things have been in the West Bank over the years, it seems incredibly mundane to mention that people actually live there. This fact is important though, because without it, none of the bloodshed or brutality that’s gone on over the course of the past several decades makes the slightest bit of sense. Shedding light on the human element of the West Bank conflict, playwright Glyn O’Malley’s controversial Paradise is a very human drama about two girls living on the opposite sides of a river while dealing with the problems that go along with the distance that separates them. Next Act continues its season with a thoughtful production of O’Malley’s very human political drama. Leah Dutchin plays a 17-year-old Palestinian girl named Fatima living in a refugee camp with her family. She’s irrepressibly human in a place that threatens to tarnish that humanity with duty that is bound to history. Dutchin talks with friend and relative Omar (Joseph Fernandez), a boy who dreams of getting out of the West Bank and into a decent college on a soccer scholarship. Her human side comes out in the dialogues with Omar. There is something other than basic humanity in her interactions with a darker figure known as Bassam (Luke Leonhardt). Leaonhardt cuts a particularly memorable performance out of relatively little stage time. When a cell phone goes off in the audience at the opening of the play, it’s his. Placing a character like Bassam in the audience at the beginning of the play is an intriguing way of bringing the reality of the drama into the audience before the story starts. It’s a bit unnerving considering the last conversation he has with Fatima. Bassam instructs Fatima in something chillingly foreign to the minds of most Americans. It’s a simple moment, unclouded as it is by the complexity of human pretense, but Dutchin and Loenhardt fashion fascinating tension out of the simplicity. On the other side of the river, Sarah (Emily Trask) lives with her mother (Mary MacDonald Kerr) in a Jewish Israeli settlement. It’s an entirely different kind of life for Sarah than it is for Fatima, but they both share themes of trying to grow up human in a world shaped by a history that goes back to a time long before either were born. Sarah’s mother has a sense of belonging in the West Bank that Sarah lacks. It’s an interesting interaction between Trask and Kerr. Aside from staged internal monologues, we only ever see Sarah interacting with her mother, which makes for a particularly focused dramatic energy. Trask has a sophisticated stage presence that seems at odds with the youthful inexperience of the character she’s playing here, but measured against someone who has been performing for as long as Kerr, the illusion is complete. For her part, Kerr shows the kind of textured performance that has made her such a pleasant and entertaining addition to Milwaukee stages for the past 11 […]

Smokin’ Aces

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Paris Ortiz

By Blaine Schultz + Photo by Kate Engeriser Paris Ortiz’ fluid guitar sound has been integral to bands in Milwaukee from Psychedelicasi to Big Dumb Dick to his current group The Cocksmiths. If we believe the cliché that lead guitarists in heavy-leaning rock groups are typically as subtle as brontosauri, then Oritz is more like an archaeopteryx in the sky above – often less a focal point than an integrated part. With The Cocksmiths’ trio of guitars, sonic real estate is at a premium, which means listening is as important as playing. 1. What is the one piece of musical gear you find essential to your sound? My Marshall amplifier. It has such a distinctive, versatile sound. It gives me a solid, crunchy/dirty sound for my rhythms and a sweet, sustained tone for my leads. It has the most amazing feedback. I can hit a note, then stand in front of my amp and that note will sing out for as long as I stand there holding it. 2. What lessons have you learned, good or bad, that you apply to The Cocksmiths? Be true to yourself. Just go out there and play what’s inside of you. There was a point in my life where I had managers and labels telling me what to wear, how to move on stage and how long a song should be. Of course The Cocksmiths want a record deal but we don’t pay attention to who’s popular and who’s getting the most airplay. Everyone in this band has different influence from rockabilly, swing, hard rock and indie music. Yet, we all come to a common ground where no one feels cheated or like they’re playing something they don’t want to. 3. How does your heritage influence your music? I am Hispanic and Latin music is very rhythmic and percussive-oriented, but I don’t know if it’s heritage as much as environment. I grew up in a dominantly African-American neighborhood, so my early influences were Prince, Funkadelic and Hendrix. It really made me a very rhythmic player. As I got older I had friends from all walks of life. Those relationships introduced me to everything from Zeppelin to Ozzy to The Eagles. If I need to be bluesy with a country flair I can do that. I’ll have a reference and if I need to bring it and hammer out an aggressive wah-filled solo I can do that too. 4. If someone had never seen or heard The Cocksmiths, how would you describe the band? A huge wall of whiskey rock. Our bio states, “Picture if the Black Crowes and Soundgarden had a child and it was raised and beaten by Johnny Cash – that’s The Cocksmiths.” 5. Is there a solo (not necessarily guitar) that you never get tired of hearing? That’s a hard one. I would say any solo by Jimi Hendrix. They were passionate, bluesy aggressive solos that fit the song. He was the master. I always loved the solo from “Sultans of […]

Topdog/Underdog

Translations

By Russ Bickerstaff Language rarely gets the center stage in any major theatrical production. Even in the best scripts, language is far too busy conveying meaning to call much attention to itself. With Translations, Irish playwright Brian Friel (Dancing at Lughnasa) has deftly coaxed language into the spotlight with charm and passion in a story of love and loss in the slow fade out of a culture in decline. The Milwaukee Rep continues its 2006-2007 season with a powerful production of the drama on its main stage. The play is set in a meticulously detailed Hedge School in County Donegal of rural Ireland in 1833. As the lights rise to illuminate the beginning of the first act, Manus (Jonathan Gillard Daly) is working with a woman named Sarah (Colleen Madden). She has great difficulty speaking. With great struggle, she manages to whisper her name and where she’s from. Madden doesn’t speak much in the role, but she’s always saying something. Subtle glances and movements convey a great deal in an excellent performance by Madden. From humble beginnings between student and teacher, the play broadens rather quickly into a large ensemble play. A particularly sharp Torrey Hanson plays educated Irish native Owen who has moved away to England. He has returned to County Donegal with British soldiers to help them rename the geography so that it can be spoken in clear British English. As a native Irishman, he is assisting British Lieutenant Yolland (talented Chicago actor John Hoogenakker) in the job. Yolland is quite taken with Ireland’s charm, which contrasts against the more progressively minded Owen. Irishman-turned-Brit plays against the Brit-becoming-Irish in an interesting thematic dynamic. When it becomes clear that Yolland is falling in love with local woman Maire (Leah Curney), things get considerably more complicated for everyone involved. The Irish in County Donegal all speak Gaelic, so Owen is acting as translator. Friel wouldn’t have much of an audience for the play if most of it was spoken in a dying language, so everyone speaks English. This has the strange effect of making it seem like the British and the native Irish could understand each other in the play if they’d just stop and listen. It’s a casual absurdity that keeps conversations between British and Irish accents interesting for the entire length of the play. A talented cast plays out the intricate interplay between many different shades of character as one culture takes over another. James Pickering is strong as a highly educated Irishman named Hugh who teaches at the school and spends much of his spare time drunk. There’s quite a bit in this play spoken in Latin and he’s usually he one instigating it. His students include a weaselly farmer named Doalty (a clever Jonathan Wainwright), a clever girl named Bridget (Sarah Sokolovic, back from New York for the role) and, of course, the highly progressive Maire. As all struggle to be able to recite Latin etymological derivations on a moment’s notice for their shrewd teacher, Maire […]