2007-03 Vital Source Mag – March 2007
The Underpants
By Peggy Sue Dunigan In 1910, when this play was written, “a glimpse of stocking was shocking” and ultimately humorous. On a weekend in 2007, the shock factor may be slightly removed but the comedy continues as RSVP Productions presents a 90-minute version of The Underpants. Originally penned under the title Die Hose by Carl Sternheim, actor and comedian Steve Martin adapted the play, relieving the script of its more biting moments that had led the German government to originally ban the production. Martin infuses the original two acts with his own brand of sophisticated comedic timing and sexual innuendo while still retaining the commentary on class, feminism and fleeting fame. The company’s decision to reduce the play to one act does leave some of the impact, in both comic and social interpretation, behind. But RSVP’s performance, especially the female characters, still connects with the audience. Kelly Simon as Louise is perfect as the pretty “housfrau” who causes a stir by exposing her stockings during a parade in the park. Suddenly Louise is famous for her faux pas, which understand upsets her working class husband, Theo (Ken T. Williams). A striking, if not frightening, similarity to the tabloids today that speak to Britney Spears, sans underwear. Two men who “glimpsed this shocking event” seek to rent a room in the couple’s apartment, wishing to woo Louise as their lover. Louise’s friend and upstairs neighbor, Gertrude (Missy DeIrueste), encourages Louise in her newfound position of power and fashions even more exquisite underwear for her so she is able to optimize her options. DeIrueste’s role as Gertrude is reduced in this version, which is slightly dismaying as the two women, both in character and chemistry, create a strong presence when on stage. And the stage, for a small theatre company, sets the apartment of the German newlyweds quite appropriately giving added dimension to the production. Considering the American appetite and appreciation for lingerie, several elements in this script’s premise remain completely believable on a stage today, although subtly eccentric. Martin’s adaptation, along with the RSVP production, always extends the humor, laughs and smiles with each line. Yet the play consistently reflects, perhaps even in a more timely fashion, on the nature of fame – creating celebrities for the moment concurrent with the public’s fascination for the minuteness of events. VS The Underpants is presented by RSVP Productions in the Astor Theatre at the Brady Street Pharmacy, 1696 North Astor Street, through March 3: 414.278.0765 or www.rsvptheater.com
Mar 1st, 2007 by Peggy Sue Dunigan
Lucinda Williams
By Blaine Schultz Having followed Lucinda Williams’ career since 1988, I find it no surprise that she has moved gracefully from cult artist to icon. She has maintained a consistently high level of songwriting and her choice of musicians and band mates has been impeccable. It doesn’t matter if she wears her heart on her sleeve or writes in character, Williams delivers the goods. West is imbued with Williams’ trademark blend of weariness and grit – it’s obvious when she’s pissed off and it’s obvious when she allows the light of optimism to shine through. On the best tunes here, Williams romantic heartbreak and personal loss (the death of her mom) are grist for the mill. But philosophically, the album’s spotlight is “What If,” a tune she previewed at her last solo Pabst Theater gig. It is a list of absurdities (“… the president wore pink…God was a bum…The sky began to bleed” ) that comes to a head with a simple quest for compassion. And that is what makes any art great: the attempt at connection no matter how great or small the gulf. It’s easy to pigeonhole Williams as a hood ornament for the NPR crowd. But she’s more genuine than any marketing scheme and more complex than many of the one-dimensional artists clogging the limited airwaves and record store CD racks. She can shift like a motorcycle in a minivan culture – not that she seems to care. As easily as she could sing her poetic numbers at an open mic night (“Are You Alright?” ), Williams can go toe-to-toe with the shit-kicker honesty of “Wrap My Head Around That.” Some of these tunes are so bare-wristed that it will be interesting to see how she deals with them live. Then again, that’s pretty much how she’s lived her career so far. It’s too bad she’ll never get to be in a Robert Altman movie. VS
Mar 1st, 2007 by Vital Archives
Enchanted April
By Peggy Sue Dunigan Enchanted April opened on Broadway in April 2003 and was nominated for four Tony awards and two Drama Desk Awards, including best play. Based on the novel by Elizabeth Von Armin, and adapted by Matthew Babel, Enchanted April, which opened at the Acacia Theatre Company this past weekend, is the story of four women who plan to escape from war torn England in 1922 and rent a castle in Italy for a “month of heaven, a paradisio.” Each of the four women in the play – Lotty Wilton, Rose Arnott, Lady Caroline Bramble and Mrs. Clayton Graves – have a distinctive reason for running from England, including the continual, depressing rain and the uncertain future. Unhappiness pervades their lives and optimism has dissipated with the aftermath of World War I. Lotty, the woman who plans and envisions this escape wonders: “For every after found, a before must be lost. And loss is, by nature, an unbalancing thing.” Lotty befriends and convinces Rose, suffering her own unique loss, to join her. But to make their escape affordable the pair encourages two other women, Bramble and Graves, to become additions to the Italian holiday. Escaping your husband for an entire month was indeed a formidable risk in 1922 – especially when the landlord of the castle, Anthony Wilding, decides to inhabit the castle during the same month. But the pleasures of the sun and blue sky in Italy transform each of these unique women. All achieve a greater understanding of their own ever after: “How can you go forward when so much is lost?” Lotty explains, “We can’t go back.” Each discovers they can only go forward by experiencing this Enchanted April in Italy. Acacia’s Janet Peterson (Lotty Wilton) and Maureen Dornemann (Rose Arnott) engage the title roles completely. Peterson is a captivating personification of Lotty, balancing her enthusiasm and exuberance with genuine emotion. Anne Miller (Lady Bramble) and Elaine Wyler (Mrs. Graves) are less developed as characters, but compliment Wilton and Dornemann in the cast. The male leads remain in the background, even as actors, letting the four women shine on stage. The stage in the second act, depicting Italy complete with wisteria, is delightful, especially with the reality of snow outside the theatre. Costume designer Marie Wilke also captures England and Italy in 1922. Watching the costume changes for Lady Caroline and Mrs. Graves adds charm to the performances. The evening production has every character uncovering an “ever after” filled with hope, despite the losses coming before and possible rainy days ahead. Lotty and Rose both realize that with risks come rewards. This theme resonates all through an evening in Italy at Acacia Theatre’s Enchanted April, a true reward and respite from winter weather. VS Enchanted April is presented in the Todd Wehr Auditorium at Concordia University by Acacia Theatre Company through March 4. Contact: 414.744.5995 or www.acaciatheatre.com.
Mar 1st, 2007 by Peggy Sue Dunigan
March 2007
By Erin Wolf March 6th Air Pocket Symphony Astralwerks Antibalas Security Anti-/Epitaph Apostle of Hustle National Anthem of Nowhere Arts and Crafts The Arcade Fire Neon Bible Merge Patti Austin Avant Gershwin Rendezvous Bright Eyes Four Winds EP Saddle Creek Mary Chapin Carpenter The Calling Zoe/Rounder Cheeseburger s/t Kemado !!! Myth Takes Warp Ry Cooder My Name is Buddy Nonesuch John Frusciante Ataxia II Record Collection Guns N’ Roses Chinese Democracy Geffen Albert Hammond Jr. Yours to Keep Scratchie/New Line Illinois What the Hell Do I Know? Ace Fu Lovedrug Everything Starts Where it Ends The Militia Group Son Volt The Search Transmit Sound/Legacy The Stooges The Weirdness Virgin Maria Taylor Lynn Teeter Flower Saddle Creek Mary Weiss Dangerous Game Norton March 13th Aqualung Memory Man Columbia Death By Stereo Death Alive Reignition The Dollyrots Because I’m Awesome Blackheart The Innocence Mission We Walked in Song Badman Recording Graham Parker Don’t Tell Columbus Bloodshot Jon Rauhouse Steel Guitar Heart Attack Bloodshot The Tragically Hip Sinners Stick Together Universal March 20th Andrew Bird Armcahir Apocrypha Fat Possum Merle Haggard, Willie Nelson & Ray Price Last of the Breed Lost Highway I’m From Barcelona Let Me Introduce You to My Friends Mute LCD Soundsystem Sound of Silver DFA/Capitol Ted Leo and The Pharmacists Living With the Living Touch & Go Low Drums and Guns Sub Pop Modest Mouse We Were Dead Before the Ship Even Sank Epic The Ponys Turn Out the Lights Matador Joss Stone Introducing Joss Stone Virgin March 27th Good Charlotte Good Morning Revival Daylight/Epic Macy Gray Big Will.I.Am Kaiser Chiefs Yours Truly, Angry Mob Universal Klaxons Myths of the Near Future Rinse/DGC Prodigy Return of the Mac Koch Timbaland Shock Value Interscope
Mar 1st, 2007 by Vital Archives
