2007-05 Vital Source Mag – May 2007
A Shot in the Dark
The Boulevard Ensemble closes its 21st anniversary season with a murder-mystery comedy by Harry Kurnitz, adapted from an original French work by Marecl Archard. It’s a fun, well-balanced comedy adeptly directed by the Boulevard’s Mark Bucher. Bucher has assembled a surprisingly good cast for the final show of a memorable 21st season of theatre in Bay View. I believe it was Alistair Cooke who said that a shot in the dark doesn’t take much time. Well, the Boulevard has certainly taken its time in getting to this one, ending its latest season with a production that feels deftly aimed. The talented Joe Fransee holds together the center of the play as Magistrate Paul Sevigne, who is investigating the death of a Spaniard (Cesar Gamino). The action of the play takes place in Sevigne’s office as he interviews people who might’ve been involved in the murder and is aided in this work by Morestan – his chief clerk played by the ample Al Dobyns. Fransee’s charisma goes a long way here, but it’s the timing between Fransee and Dobyns that really pulls together the center of the play. All of the usual mucking about with exposition that goes on in a mystery is made all the more palatable by the interaction of Fransee and Dobyns. In places, they almost seem to be fencing with the dialogue, which isn’t done enough in local theatre. Fransee has a tight, crisp precision to the delivery of his lines that woks well with Dobyns overall affability. The chief suspect in the murder of the Spaniard is his lover: parlor maid Yvette Lantenay, played by Anne Miller. Lantenay was found at the scene of the crime holding the gun that killed the victim just moments after his death. The Spaniard’s last words even implicated her as the murderer. In spite of all the evidence against her, it is clear that Lantenay did not commit the crime and a good portion of the play rests on the audience’s acceptance of this. We must not think for a second that Lantenay is the murderer; otherwise all of Sevigne’s work to find the true murderer would seem remarkably tedious. Here, the casting of Anne Miller is crucial. To her credit, Miller has a sweet, innocent stage presence; it would be very difficult to imagine Miller as a killer. This is staggeringly important, as the same could not be said of every actress in town. Bucher’s choice in casting Miller does wonders for the production. Other notable performances here include Liz Mistelle as Sevigne’s beautiful wife and Jennifer LaPorte as a wealthy lady of high society. The decision to split the play’s three acts with two intermissions would seem a bit indulgent, but so much of the play relies on plot points revealed solely in the dialogue that two intermissions are welcome. Each intermission allows the audience some distance from the plot to turn it around and possibly figure out who the actual killer is. Bucher and company keep the […]
May 1st, 2007 by Russ Bickerstaff
Tartuffe
The con is on once more. Moliere’s classic tale of deception through feigned piety climbs the stage again in a glossy, big-budget Milwaukee Rep production. Just months after the Skylight Opera closed its production of the musical adaptation of Moliere’s comedy, The Rep opens a more traditional interpretation of the story. Director Joseph Hanreddy has opted for a highly kinetic slapstick approach that engages the audience without any real attempt to find any deeper insight into Moliere’s masterpiece. Longtime Rep Resident Acting Company member Lee Ernst plays the title role of a religious hypocrite who schemes his way into the household of a wealthy man in the interest of taking him for as much as he can get. Ernst is explosively over the top. He’s taken the role to the edge of physical comedy and beyond. Rarely has he been so animate on stage. It’s the type of performance that bigger audiences adore, but it leaves something to be desired from jaded theatre critics. Moliere’s script leaves an impressive amount of room for plumbing the subtle depths of human manipulation with the title character. Ernst’s performance here possesses a manic disregard for subtlety. It may be fun to watch, but it’s a guilty pleasure. The decision to do Tartuffe as somewhat highbrow slapstick doesn’t drown ALL the subtleties of the play. Marianne, daughter of Tartuffe’s victim, is played here with an insightful flourish by Emily Trask. When Orgon (played here by Peter Silbert) offers Tartufe her hand in marriage, it complicates things considerably for Marianne, whose heart belongs to another man. In so many productions this role gets played simply as the comedy of over-emotional youth being hopelessly dramatic about young love. Trask’s performance goes way beyond this. Her rendering of the character has a playful kind of sympathy for it. Trask seems to have brilliant instincts for subtle physical comedy. At one point, she’s face down on the floor center stage in emotional grief. All is silent. She raises her head ever so slightly and lets it fall. The audience laughs. The production lingers on this moment for just a bit longer. Dorine (a sharp Elizabeth Ledo) cautiously says a few more things to her. Marianne ever-so-delicately pounds her head into the floor a couple more times. It’s never overdone. Trask’s timing is perfect. We feel just a bit more for Marianne than less accomplished productions have managed in the past. Most of the rest of the people in the cast follow their usual strengths in roles that they fall into quite nicely. Rose Pickering carries her considerable stage presence to this production in the role of Orgon’s respected mother who has nothing but respect for Tartuffe. Deborah Staples is charming as Orgon’s wife Elmire, who is forced into the unenviable position of having to attempt to snare Tartuffe to reveal his hypocrisy. Jonathan Gillard Daly is shrewd as the honest, respectable Cleante. This is a thoroughly professional cast putting in a thoroughly professional production, but it’s moments like […]
May 1st, 2007 by Russ Bickerstaff
Wrong is wrong
Dear Readers, Freedom to say what you want, smoke where you want and carry a gun in your jacket pocket are all under loud discussion at the moment. The question of how much restraint is appropriate in our local schools should also be near the top of the list, though public outcry on this matter is grossly under-reported for reasons that should be obvious to all but the most insulated or ignorant of us. Also not in the headlines is proposed state legislation that would prohibit municipalities from requiring revenue-sharing with cable companies to fund public access television programming. Passage of the bill, co-proposed by our own Jeff Plale, a Progressive in name only, would radically reduce public access programming, the last bastion of equal time broadcasting. With so many axes to grind and fortuitous access to the the Fourth Estate, I’m weighing in this month on several issues in list form. I apologize in advance for the inelegance of the format, but I am limited in word count exactly as anyone else who writes for VITAL. 1. The statewide smoking ban. Guess what? It’s happening. It’s time to stop whining and meet up with modern thinking. To say that a person has the right to fill another person’s space with life-threatening toxins is like saying, to paraphrase smoker Angie Miller, quoted in Ted Bobrow’s cover story this month, that because you choose to hit yourself in the head with a hammer, you should be allowed to hit other people in the head with a hammer. Wrong is wrong. Smoke outside. 2. Handcuffs in Milwaukee Public Schools. Teachers are being assaulted in their classrooms at alarming rates. School safety officers sometimes have to physically restrain students for up to an hour while they wait for police to arrive. I don’t necessarily disagree that these adults need more effective tools to deal with their daily reality. My problem is with the discourse. To pretend this solves any problem is foolhardy, if not downright disingenuous. It’s a band-aid on a massive head wound. We wouldn’t be in this position if the mental and physical well-being of so many of our MPS students wasn’t in such jeopardy. School Board Director Charlene Hardin suggested recently on WNOV AM 860 that what students, teachers and staff need in the schools is parental presence, a whole other can of worms with causes rooted far outside MPS. It needs to be possible. Wrong is wrong. Peel the onion, don’t pretend to patch the missing roof. 3. The right to bear arms. At the time of the framing of the Constitution, the right to bear arms was tantamount to the right to survive. With no organized police force and high consumption of wild game as a food source, a gun in every home was necessary. And I bet they were rarely concealed. But in the wake of the Virginia Tech shooting tragedy, some pundits have suggested that if concealed weapons had been allowed on campus, Cho Seung-Hui might […]
May 1st, 2007 by Jon Anne Willow
The Nerd
An unwanted houseguest can make for good comedy so long as it isn’t your house. Put such a houseguest onstage and, ideally, no one has to suffer. It’s comedy for everybody because no one actually has to live with the person. Such is the case with the late Larry Shue’s smash hit The Nerd. The Milwaukee Rep returns once more to the play it debuted over two decades ago in a production directed by original Nerd star James Pickering. Looking into Geoffrey M. Curley’s set, one sees the ‘70s slowly bleeding out into the ‘80s – a distinctly awkward time for popular aesthetics. It’s the house of Willum Cubbert, a successful architect who is nevertheless living in Terre Haute, Indiana. Cibbuert is a single guy with friends who include Tansy McGinnis, a soon-to-be-ex-girlfriend leaving for the east coast, played by Melinda Pfundstein and a theatre critic named Axel Hammond played by Torrey Hanson. (The Hammond thing throws me a little. Precisely how big is the theatre scene in Terra Haute, Indiana in 1979? Do they really need a full-time professional theatre critic?) Shue’s dialogue, always predictably witty, gradually sketches out the casual conflicts of the play until the subject of the title character finally surfaces. As it turns out, the man who saved Cubbert’s life in Viet Nam is in town and just might be stopping by for a visit. He’s a guy from Wisconsin who works in quality control at a chalk factory. Hs name is Rick Steadman and he’s played here by accomplished local comic actor Gerard Neugent. Rick is abrasively difficult to be around, which makes things difficult for Cubbert as he is in negotiations with a client named Warnock Waldgrove (Chris Tarjan). Waldgrove and his wife Clelia (Laura Gordon) are visiting Cubbert to discuss the hotel he is designing for them. As a whole, the production is solid. Pacing and delivery are every bit as impeccable as one would expect from the Rep. The script my be a classic, but it’s not particularly provocative comedy. The play’s comedy relies pretty heavily on the weird. At one particular high point, Steadman leads the cast in a nearly indecipherable game of “Shoes and Socks.” Nugent is great in the role, carrying it off with a nasally whine that is both annoying and endearing. Shue hands some of the best lines in the play to the critic Axel Hammond. If you’re going to be handing most of the best comic lines in a play to a single actor at The Rep, you’d better be handing them to Torrey Hanson. Hanson is brilliant here, throwing wry lines out from the corners of the script. This is a comedy that doesn’t take itself seriously and Hammond is the vice it uses to mock itself. Laura Gordon also puts in a notable performance here as Waldgrove’s librarian wife. A meek woman with some strange habits, Clelia would be all too easy to play as a comic prop. Gordon’s performance feels natural enough […]
May 1st, 2007 by Russ Bickerstaff
Bridging the gap
Photo by Kat Jacobs Pieter Godfrey and Ken Leinbach have more in common than first glance betrays. Pieter, in corduroy slacks and vintage frames, looks like someone who would refurbish warehouses and watch silent horror movies on the weekends. Ken is more of a jeans and hiking boots kind of guy; he looks like he’d be most comfortable helping kids identify unusual plant species out on the trails. Pieter does like silent films, and Ken does teach little kids about nature’s awesome rarities. But Pieter and Ken – a restorations and reclamations professional and the executive director of the Urban Ecology Center, respectively – have forged an unlikely marriage of offbeat equals in the service of a common goal. Together, Pieter and Ken are building a parking lot. And it may just be the noblest parking lot ever built. A brief history of the Milwaukee River Corridor The 5.5 mile stretch of the Milwaukee River that flows through the city proper was the most vibrant corridor of the city at the turn of the century. Dense with boathouses, swim clubs and biergartens, it was a year-round recreational Shangri-La: pleasure cruises in the summer, ice-skating and curling in the winter. But heavy traffic and rapid development in an industrial city led to pollution and, without a comprehensive sewage system, the river gradually became contaminated. Several large dams built to staunch floods collected runoff and waste and choked off surrounding ecosystems. The beaches and swim clubs were closed, the arch tunnels and stone bridges abandoned and the river corridor fell into ruin. Starting in the 1970s, the city began to consolidate its sewer strategies, a multi-million dollar undertaking several decades in span. In 1986, Pieter Godfrey bought and refurbished his first warehouse when the river was still smelly and the surrounding park was still littered with the detritus of crime and drugs. Then in 1989, the Department of Natural Resources discovered a rare species of fish that spurred widespread discussion of the river’s devastated ecological condition. In 1990, the North Avenue dam – the largest on the river – was removed. In 1991, the Urban Ecology Center was founded. Today, where there were once NO fish, there are at least 33 different species. The Urban Ecology Center features a green roof garden, the largest solar panel array in the state of Wisconsin and furnishings crafted from Pieter Godfrey’s salvaged wood. The UEC sees 30,000 students from 30 area schools a year and a total of more than 50,000 people. In the city of Milwaukee alone, there are 794 acres of green space along this recovering river “that hardly anybody knows is there,” according to Ken. Pieter and Ken may be looking at this verdant stretch from different angles, but what they see is essentially the same. “This is a tremendous asset for the city,” says Pieter, “and the reason it’s there is because nobody wanted it – because it was abused for so long.” Parking: the great equalizer The Park Place project […]
May 1st, 2007 by Amy Elliott
Who I Was Yesterday
Moct Bar sits in an area just south of downtown that is rapidly being carved into an upscale, trendy haunt for the young, wealthy and reasonably hip. Amidst shiny new condos and expensive restaurants, nestled in a space that apparently is a converted machine shop, Kurt Hartwig’s theatre outfit Bad Soviet Habits is staging a trippy little show involving stilts, puppets, the number 93 and quite a few other things. Who I Was Yesterday is a dreamlike neo-mythic fairy tale that touches on quite a few things without much regard for depth or coherence. To be fair to Writer/Director Kurt Hartwig, Who I Was Yesterday is a very ambitious project. The story goes a little something like this – twin humanoid sons of a Manticore (face of a woman, body of a lion, tail of a scorpion) are being raised by their towering humanoid grandparents. Their fate as offspring of an evil monster is to be hunted by it until they reach the age of 18. Apparently Manticores are quite insistent about eating their children. It’s a mythic coming of age story fitting somewhere between the age of fairy tales and the contemporary world. A story such as this could be produced for the stage in a variety of different ways. Hartwig’s vision as realized here is incredibly complex. The twins are whimsically presented as Andy North wearing one mask and holding another, occasionally switching them for effect, which is simple enough but there’s a lot more going on here. The twins’ grandparents are played by Amie Segal and Kurt Hartwig himself. On stilts. In makeup. Susan Currie plays Mother Manticore by wearing a huge, bulky metal mask complete with glowing eyes. While this probably takes a great deal of focus and concentration, it may be the single greatest waste of acting talent to make it to the local stage this season. Currie is a remarkable actress; she can do a lot more than serve as support for a metal mask onstage. Aside from the main characters, there are a lot of puppets. Some of them are effective. Some of them aren’t. And some of them meet with mixed results. The bedbugs that haunt the twins, for instance, make a clever rattling, scratching sound as their thin metal bodies scrape across the bar’s stage, but they don’t offer much of a visual impact. For the most part, all we’re seeing of them is the puppeteer pushing them across the floor. It looks a bit silly unless you make a conscious effort to focus on the puppets. One of the more effective puppets in the show is The Marionette, a character which acts as sort of a narrator who sometimes interacts with the twins. A puppet sits high above a curtain that covers the puppeteer. The apparatus holding the curtain and the puppet are harnessed to the puppeteer (Tom Thoreson) who is free to walk around the stage. It’s a lot more effective than it sounds, even if the puppet itself […]
May 1st, 2007 by Russ Bickerstaff
Up in smoke
When Michael Bloomberg became mayor of New York following 9/11, there was concern that the terrorist attack would harm the city’s economy. Bloomberg and the New York City Council, with help from the state and federal governments, enacted a wide variety of tax incentives and other programs designed to support businesses and save jobs. But Mayor Bloomberg also pursued another policy that some regarded as anti-business. Bloomberg was relentless in his support of a ban on smoking in all public areas and workplaces including restaurants and bars. This was just plain common sense, Bloomberg, a Republican, said. The evidence was overwhelming that secondhand smoke is a public health hazard and one of government’s key functions was protecting the health of its citizens. Despite the objections of some business owners who feared customers would stop frequenting restaurants and bars if they could no longer smoke, the policy passed and the impact on the hospitality industry has been negligible. Few businesses closed, net revenue grew and the policy has been replicated in many other places. The entire state of New York soon followed the city’s lead and other states including California, Connecticut and Georgia and cities ranging from Chicago, Madison and Appleton have gone smoke-free. Ireland, Italy, Norway, Sweden, Spain and New Zealand are among the countries that have enacted smoke-free workplace legislation nationwide. The war at home If we shift our lens to Milwaukee we see a different picture. Early in the administration of Mayor Tom Barrett, his newly appointed health commissioner, Bevan Baker, was quoted in an article on the proliferation of smoking bans in support of them. Unfortunately, he made the mistake of saying what he believed before checking with his boss. Barrett distanced himself from Baker’s position and dropped the hot potato into the lap of the Common Council. The Mayor stated that he would sign a bill banning smoking in workplaces if the council passed it, but he felt a ban probably should include an exemption for bars and taverns, where people expect to be able to smoke. When Alderman Joe Davis introduced a comprehensive workplace smoking ban for Milwaukee, he urged his colleagues to support it as a public health imperative. The proposal was assigned to the council’s Public Safety Committee, chaired by Ald. Bob Donovan, a smoker and outspoken opponent of restrictions on tobacco use. The hearing attracted hundreds of people who spoke passionately on both sides. It got off to a contentious start when Donovan restricted Davis to the same three-minute limit placed on all members of the public who wished to speak. Davis objected that the customary practice was to permit a bill’s sponsor to speak at greater length, but Donovan stuck to his guns and Davis left angrily. Health advocates, students, people with asthma and other chronic conditions were among the bill’s supporters while bar and tavern owners and their customers argued passage would drive customers to establishments in West Allis, Cudahy, South Milwaukee and other communities. Donovan’s committee eventually tabled the […]
May 1st, 2007 by Ted Bobrow
1 Henry IV
Sometimes theatre hurts. Milwaukee Shakespeare’s production of 1 Henry IV can attest to this, having suffered a few minor injuries early in its run. When Jeffrey Withers sustained a show-stopping injury to his lower back, it was only a short while until someone else had suffered a minor broadsword wound to the hand. After a few days, however, the show was back on its feet to start the second weekend with a flourish. Milwaukee Shakespeare continues its multi-season staging of The Henriad, closing its 2006-2007 season with 1 Henry IV. Jeff Allin stars as King Henry IV, the consummate politician who has taken over a tumultuous empire. Allin’s performance echoes that of any contemporary politician in poise and presence. As the play opens, the audience is made aware of an uprising against him in the south lead by Welshman Owen Glendower (an intense Lawrnce O’Dwyer). Meanwhile, supposed Henry loyalist Henry Percy (a charismatic Brian J. Gill) is refusing to send reinforcements from the north that Henry had requested. As the play opens, the King is summoning Percy back to the court to explain his actions. The play’s center rests with Henry’s son, Prince Hal (Jeffrey Withers), who has taken in with bandits and highwaymen. Some of the production’s most intense moments happen at a tavern between Hal and the thieves. Hal is caught somewhere between royalty and thievery as he associates himself with the likes of the rotund rogue Sir John Falstaff (Richard Ziman). Hal and Falstaff play an intricate game of subtle wits at the tavern that plays out particularly well in the intimate space of the studio theatre. Shakespearian subtleties that don’t normally get rendered in all that much detail burst with texture here. Milwaukee Shakespeare further ratchets up the intensity by having the audience flank the stage. Actors play between halves of the audience in a captivating 3-dimensional space that lends the play a very accessible earthiness. Action is particularly intense in the tiny space. The fight scenes are meticulously choreographed with painstaking attention to detail. Careful thought was put into the psychology and motivations behind aggression and it all comes through with a remarkable degree of clarity. Fights are played out in epic slow motion, which runs the risk of seeming silly in such close quarters were it not all so well executed. The interaction between Withers and Ziman is particularly captivating. Both perform with a style and poise that serve as a memorable high point of the production. The production leads directly into part two without much of a feeling of finality. Local theater audiences will have to wait until next season to see Henry IV wrap up at the Broadway Theatre center. It’s a bit of a strange experience sitting through something like three hours of Shakespeare and not having it reach a final conclusion, but there’s more than enough that reaches some form of resolution to satiate audiences until next season. VS Milwaukee Shakespeare’s production of 1 Henry IV runs through May 20th […]
May 1st, 2007 by Russ Bickerstaff
Amandine
Banjo. Strings. Piano. Guitar. Maybe the occasional trumpet. The acoustic over the electric; the organic over the synthetic. This is the shape of indie-pop today. From Songs:Ohia to The Mountain Goats to Paige France, Americana and folk have spread across the countryside in a blaze of unconventional instrumentation and unshaven singer-songwriters. If quiet is the new loud, a mountain-man beard is the new trucker hat. Apparently the Atlantic Ocean didn’t stop this wildfire from besieging Europe. Amandine have checked in as Sweden’s offering to this renaissance with their sophomore release, Solace in Sore Hands. Unfortunately, they journey across the pond to offer nothing new to the mix, and instead deliver a homogenized blend of formulaic indie-pop. “Faintest of Sparks” opens the album with banjo and glockenspiel and the lyrics “Started a fire with the faintest of sparks/sprung from the friction of two empty hearts.” Amandine don’t waste time setting a mood, instead opting to spin dark, pretty yarns of lovelorn weariness. The second track, “Chores of the Heart,” features the album’s high point – a waltz melody crescendos and fades with choruses that resemble many a standout Decibully track. But from there on the disc suffers from suffocating sameness. The tempo rarely varies; the mood never changes. It’s a trap that ensnares many an aspiring indie band – develop a formula, write a few songs, record them, forget to pursue variety. This being Amandine’s second release, they’ve already spent their one pass in that department. Solace in Sore Hands has its moments, but they’re lost amidst the 6/8 tempos and acoustic strings. Perhaps if Amandine hit upon a mood other than “wistful,” that’ll change. VS
May 1st, 2007 by DJ Hostettler
Patti Smith
The word “mulatto” jumps from Nirvana’s “Smells Like Teen Spirit,” the National Anthem for the blanker than blank generation. And until all the kids memorized the lyrics and drove Kurt Cobain over the edge it was that one word that hung like cool, moist ground fog on a hot summer night. But before Nirvana there was Big Joe Turner. In fact before just about everything there was Big Joe Turner. One might even argue plausibly that Big Joe was the real nirvana when it came to rock & roll. In his book Where Dead Voices Gather Nick Tosches writes: But enough of color. I tire of every race. I shall, however, here glance for a moment in this context of color and auditory evidence and speculation, to the bellowed words of Big Joe Turner’s “Tell Me, Pretty Baby” of 1948: They say brown-skinned women are evil. And yellow girls are worse. I got myself a mulatta, boy; I’m playin’ it safety first. Or is there no comma intended between the penultimate and ultimate words of the third line of this quatrain? – I got myself a mulatta boy Has the question of a solitary punctuation mark…, ever before or since presented an ambiguity of momentousness such as this? Get thee, then, a mulatto, regardless of gender, punctuation or pronunciation; and proceed, then, behind me, together as one. While the Cobain saga proves once again, sadly, that rock & roll eats its young, what is more vexing is just how many generations it took for mulatto to resurface in a lyric. Twelve, then, is Patti Smith’s twelfth album. (Longtime collaborators Lenny Kaye and Jay Dee Daugherty are still riding shotgun.) It is an album of cover tunes. She has earned the right to coast, pay tribute, have fun – whatever the explanation of this album may be. She is the ultimate case of the fan who made the leap of faith to the stage. (She behaved admirably when she was recently inducted into the Rock & Roll Hall of Fame because her late husband Fred Sonic requested she do so.) Twelve gives us an even dozen snapshots paying tribute to The Beatles, Rolling Stones, Bob Dylan, Jimi Hendrix, the folky Neil Young, Jefferson Airplane and The Doors. Paul Simon and Stevie Wonder, too. The most interesting tune is an odd old- timey take on “Smells Like Teen Spirit” itself, with playwright Sam Shepherd on banjo. We may never know Smith’s reason for covering Gregg Allman’s “Midnight Rider,” but Tears For Fears’ “Everybody Wants to Rule the World” always sounded to me like it was writ for Muzak from the gitgo. Friends, we are currently living in modern times. Some Old Testament types may even vehemently suggest the end is near. So what better time to sidestep the laws of The Man and track down bootleg recordings of Patti Smith’s real covers. Her first single was turning “Hey Joe” into a heavy liquid ballad, and along the way she’s covered The Velvet […]
May 1st, 2007 by Blaine Schultz
Lady Day
By Jill Gilmer It’s hard not to have a great evening at the Stackner Cabaret. The nightclub-style setting creates a relaxed and festive atmosphere and the well-heeled crowd doesn’t seem to mind sharing tables with strangers and chit-chatting over cocktails or coffee and dessert. Add to this backdrop the wonderful music of Billie Holiday performed by Grammy award-winning singer Regina Marie Williams and you have the recipe for a string of sell-out performances, which Lady Day has enjoyed since it opened on March 16. But theatre-goers hoping to learn more about the life and legacy of this jazz icon may leave the Cabaret disappointed. Like many theatrical productions that examine a celebrity figure, Lady Day focuses less on Ms. Holiday’s life and career and more on her personality. While this in itself is a worthy endeavor, director David Hunter Koch’s obsession with her surprising dark side nearly overshadows both her story and her talent. The story takes place at the Emerson Bar & Grill, a hole-in-the-wall jazz club in Philadelphia and the actual site of one of Holiday’s last performances before her death in 1959, at age 44. Emerson was, apparently, one of the few clubs in the U.S. where she was still welcomed. A series of temperamental incidents – most likely exacerbated by alcohol and heroin abuse – had tarnished her reputation and limited her performance venues. Regina Marie Williams delivers a riveting enactment of Ms. Holiday’s descent into a drunken trance over the course of her 1-hour and 15 minute performance. At least, we can only hope it was alcohol that fueled the seemingly-endless string of expletives that dotted her performance and the insults she hurled at her unsuspecting audience. This drunken rant was a stark contrast from the image of graciousness suggested by her strapless white satin gown, elbow-length gloves and trademark gardenia in her hair. Leaving the show, audience members who are unfamiliar with her contributions to jazz might even question whether the accolades history has bestowed on her are justified. These thoughts were sufficiently disturbing to send this writer surfing the in search of “the real Billie Holiday.” The artist I read about online seemed to bear little resemblance to the obnoxious faded starlet portrayed in Lady Day. The lack of balance in this portrayal of Ms. Holiday leaves an unwarranted black eye on this great artist. Despite her unbalanced portrait of Ms. Holiday, Regina Marie Williams does a superb job capturing the emotional intensity and famed uniqueness of Ms. Holiday’s voice, if not its exact tone quality. A highlight is a soul-stirring rendition of “Strange Fruit,” her classic song about Jim Crow-era lynchings. The song is a fitting conclusion to Ms. Holiday’s account of a racist incident she experienced while touring with Artie Shaw. That story reminds us of the difficult era (the 1930s, ‘40s and ‘50s) during which she succeeded in establishing herself as an African-American singer with a ground-breaking sound. The enormous obstacles she had to overcome are proof that this lady […]
May 1st, 2007 by Vital Archives
Falling in love with Roberta
As I sit to write this, I am surrounded by half-full boxes and piles of things for Purple Heart. The Slightly Crunchy Parent has bought a new house, and we’ll be moving very soon. The house my partner and I found was a foreclosure and in desperate need of much work before being habitable and, as a result, we have spent the last three weeks just getting it put together enough to move in. I wrote the following poem while I was working and falling in love with our new home. This four-bedroom, four-square colonial is all I’ve been able to think about for weeks. I would like to take this opportunity to thank everyone who has helped during this process, because contrary to the way it sounds when you read the poem, I did not do the work on the house by myself – there is simply no way one person could have done it all and, as usual, my friends and family stepped up and lent more than a hand. My sisters have been there for us every step of the way, encouraging and cleaning, sanding, painting and cleaning some more. Michelle and Mrs. Jesi have fed us and listened to us cry and worked at our side. My parents Jude, Kenny and John have been instrumental with the greenbacks and I am grateful to have come from such great people. Allen, the wood guru, walked us through doing the floors and logged uncountable hours managing that monstrous project. My secret connection at the paint store made it possible for us to repaint the entire interior of the house before we moved in and gave us solid counsel about just how to manage the minor mold problem in the basement. As always, my little Lena has showed up to work every day she wasn’t in school, and has made me more proud than I’ve ever known I could be. There were more people who helped and more people who have promised their services than I can name here, and we are thankful to each and every person. VS
May 1st, 2007 by Lucky Tomaszek
