2007-06 Vital Source Mag – June 2007
A crash course in teen parenting
Dear Readers, As I write my column this month, I’m sitting at my patio table in the early chill of a spring morning. I can only write when I’m alone, and today this is the only quiet corner of my universe. I am so far behind that the rest of the magazine is already at the printer, waiting for this last addition. As I shared a few months back, I am marrying a man with four children, three of them teenage girls. Until March of this year, my only child was a third grade boy and the rest of our tribe’s kids ranged in age from 2 to 11. I was still enrolled in Parenting 101: instilling values and a work ethic, providing emotional safety and stability, helping with homework and prioritizing quality time. Given this, I feel grossly under-prepared for my new parenting life. I am now a step-mom, which comes with the inherent complexities of who I am to the kids and where our boundaries lay, plus the myriad dramas that sometimes seem to dominate our lives. A few weeks ago it was the 15-year-old wanting her upper ear pierced. Last week it was the soon-to-be 13-year-old lobbying for a cell phone (and a car) for her birthday. This weekend, it was a matter of life and death. On Saturday, my fiancé and I were on our first real date in months, the younger children all safely occupied for the evening and the oldest, 17 year-old Alex, two hours north with a friend, interviewing the Amish for her senior final project. Michael had left his phone in the car, and as we got in after dinner it was ringing. It was Alex’s number, but it wasn’t Alex on the line. Her friend, a boy, had made the call, and he was clearly upset. From the passenger seat I could hear shouted fragments of his side of the exchange. “I’m sorry, Mr. Gull, I’m so sorry!” “The car flipped over three times…” “I got Alex out but the paramedic needs to talk to you…” And again, “I’m so sorry.” Michael laid his forehead against the steering wheel for a moment while the boy gave the phone to the paramedic. I could feel the blood chilling in Michael’s veins as his face turned to ash. Finally, we were informed that our daughter had sustained “a crushing injury” to her hand, a laceration of unknown severity to her foot and that further examination was needed at a hospital in Fond du Lac, over an hour from where we were. “Who’s screaming?” asked Michael. “That’s your daughter, sir, she’s pretty shaken up,” replied the paramedic. “Give her the phone, let me talk to her!” Michael’s voice was shaking, and as I write, I am reliving the panic we both felt in that moment. “Oh, Daddy, we tried to stop but we couldn’t and the car flipped over and over and over and I thought I was dead I really thought I was […]
Jun 1st, 2007 by Jon Anne Willow
Hot summer in the city
Lesley Kagen is looking out the front window of Restaurant Hama, the fine Japanese establishment her and husband Peter Knapp have operated out of the Audubon Court in Bayside for almost 10 years. But this is not a feature about the fine tempura and fried calamari we will feast on in a few minutes. “Piaskowski,” Kagen interjects with another local family name. Her voice is comforting and level as she continues to identify familiar Brew City names and places. It’s a voice perfect for radio commercials – which Kagen did on the west coast for over a decade. But this is not a feature about past successes in television and voiceover work. “I mean, this is definitely a Milwaukee book,” Kagen continues, and then wrinkles her brow within the context. The Vliet Street characters in her debut novel Whistling in the Dark, published by North American Library (Penguin Books), have remarkable depth. The languid summer of 1959 passes by typically with Popsicles, movies and neighborhood games. But this is not a book about how whimsical, simple and tranquil those times were. “A lot of people like to remember the ‘50s, and say ‘oh wow the ‘50s, it was so innocent.’ But in some ways it wasn’t, especially for girls,” Kagen says. “Girls were treated very differently back then. You were a 2nd-class citizen. Boys were important and girls weren’t. And that led to some situations that were not nice and not healthy.” The main heroine of Whistling is 10-year-old Sally O’Malley, a fiercely loyal and smart girl who becomes an unwilling shamus during one summer dotted with personal tragedy and frustration. After promising her dad before he died to always look after her younger sister, Troo, Sally’s world is thrown asunder when her mother is hospitalized, her stepfather turns to the bottle and a murderer/molester appears on the scene. Highly imaginative, Sally is pretty sure of two things: who the killer is and that she’s next on his list. Now she has no choice but to protect herself and Troo as best she can, relying on her own courage and the kindness of her neighbors. For all the dark corners and mysteries in Kagen’s seeming thriller, however, she was stunned during the many accolades the novel received when the Mystery Guild named it an alternate for book-of-the-month. “I thought why? I would say that it’s a literary novel with an element of mystery as opposed to a true genre mystery. I don’t think it has that feel to it at all,” says Kagen. “I don’t think that Sally is thinking about solving the crime. She’s more concerned with getting the information for keeping her and her sister safe. That’s a real different goal.” Another neat trick that binds the book is the committed narrative voice, which is written in the first person from Sally’s perspective and vernacular ability. “I wanted people to remember that children are different than adults,” she says. “They see things differently. The strange ways that words […]
Jun 1st, 2007 by Brian Jacobson
To be young and Polish on a summer evening
Lidia Sobierajski has possibly the coolest job held by any young professional in Milwaukee. At the tender age of 34, she’s Director of Polish Fest, the nation’s largest Polish cultural festival. That having been said, it’s among the smaller of the often-Titanic ethnic festivals that descend upon the Maier Grounds in the summer, drawing diverse crowds from all over the country. That’s a shame, because in addition to truly exposing our city’s proud Polish cultural traditions to those unfortunate enough to never have lived on the South or East sides, Polish Fest is not only a great time, but the first cultural festival of the summer. It also has the benefit of being a bit less crowded, for those of us who prefer traversing the park from end to end in less than two hours. At least that’s the case for now, unless Lidia has her way. The daughter of Polish immigrants (her father came to the U.S. after WWII), Lidia Sobierajski grew up in Milwaukee immersed in both her parents’ native culture and her own American lifestyle. A classically trained musician with a degree in Mathematics and Piano Performance/Pedagogy from Alverno College, she and her sister approached Polish Fest’s organizers in 1998 to hold a Chopin youth piano competition. It’s been a great success, and in 2004 she realized her dream of overseeing the entire festival. “I felt like I had a million ideas,” she explains, “and thought that if I was just given the chance, I could help Polish Fest grow.” And so, armed with a mission and leading an army of dedicated volunteers, Lidia is working day and night to craft a new image for Polish Fest. Seated in the conference room of the Polish Heritage Alliance’s gorgeous new center in Franklin, Lidia looks more like an intern than an executive – but the resemblance is only skin deep. Dressed in black pants and a black t-shirt with POLISH FEST emblazoned in rhinestones across the chest, the blonde-haired, blue-eyed young woman bristles with energy and intelligence as she relates all Polish Fest has to offer. She’s the real deal, and under her guidance Polish Fest may just come into its own in its 26th year. Musically, the fest is known mostly for polka, native folk music and cultural dance demonstrations. This is an important element of a genuine cultural festival, and Polish Fest will always remain true to its mission (unlike a few others that shall remain nameless). After all, it just wouldn’t be Polish Fest without Jimmy Sturr and his Orchestra or the Polish Connection on the Non-Stop Polka Stage. And then there’s the often underrated (though actually quite delicious) food that will always be a mainstay. But Lidia has been slipping in new stuff, geared toward a younger crowd, as well as running vodka and spirit tastings through Stawski Imports that feature some of Eastern Europe’s finest offerings. This year, Friday is the night for the young to come out, with the return of the […]
Jun 1st, 2007 by Jon Anne Willow
Lilly’s Purple Plastic Purse
“I am Lilly. I am Queen. I like everything,” says Lilly as she roller skates on stage to the surprise of her two mouse friends, Chester and Wilson. In Lilly’s Purple Plastic Purse, which opened May 4 at First Stage Children’s Theater, Lilly is indeed queen of this enchanting, eye-catching production. Kevin Kling, who adapted the play from award-winning author Kevin Henke’s popular book of the same name, has blended timeless pre-school tales into one 90-minute play of Lilly’s mishaps and adventures. In this retelling, a carousel of cotton candy colors and a spectrum of patterns, shapes and textures surround Lilly and the large children’s cast of mice. Stars, checks, polka dots and ribbons fall from the ceiling and saturate the stage. Sarah Hunt Frank and Kristina L. Van Slyke, scene designer and costume designer, respectively, breathe life into Henke’s mice. The children in the audience were mesmerized by the visual array, attentively keeping eyes and ears on the show. Kurt Schnabel, lighting designer of Suessical fame, again delights with technical details and special effects. When Henke’s illustrations are added to some of the sequences, the results affectionately remind the audience of Lilly’s artistic beginnings. But the queen of the performance is Lilly herself, Clarise White, an 11-year-old from the Colby Cast that performed opening night. White bursts on to the stage, making believable this Lilly who likes everything, with charm and chutzpah. Thaddeus Bruno as Chester and Henry Ballesteros as Wilson are credit worthy as Lilly’s friends, forming the central three-some. The entire ensemble creates an animated world that plays like a merry-go-round as Lilly lives through all the missteps and fears of a child, yet continually inspires the viewer with her bravery. Such tribulations include surviving a new baby brother, bullies and a mishap at school with her infamous purple plastic purse. Mr. Slinger, her favorite teacher, helps Lilly overcome her misguided feelings and saves the day, even though Lilly saves Mr. Slinger in her imagination. The script is sprinkled with lovely lines and situations from a child’s point of view, dealing with their often unspoken feelings, that Lilly gives voice to and helps them identify. Children repeated these special phrases very softly, showing that the characters truly connected with them. First Stage Theater’s Lilly’s Purple Plastic Purse continues through June 17 and is recommended for those over 3, although anyone who is a fan of Henke’s books will appreciate this entertaining real life version of their favorite stories. Adults will also enjoy some of the layered references used throughout the performance. But the true star is Henke’s little mouse Lilly, undoubtedly Queen of the production, bringing a bit of childlike magic to the stage. And to quote Lilly’s favorite teacher, Mr. Slinger, “All I can say is WOW.” VS Lilly’s Purple Plastic Purse continues at the Todd Wehr Theater in the Marcus Center for the Performing Arts through June 17. For tickets and information call 414-273-7206 or visit www.firststage.org.
Jun 1st, 2007 by Peggy Sue Dunigan
Vital’s 2007 Farmers Market Guide
By Amy Elliott, Evan Solochek, Jon Anne Willow In the urban epicenter of metropolitan Milwaukee, it’s far too easy to forget that we live in Wisconsin, a major player in the nation’s agricultural life and a leading producer of cranberries, corn, oats, potatoes, cherries, green beans and, of course, fresh dairy. Enter the farmers market – arguably the best way for urbanites to participate responsibly in our rich agricultural infrastructure. While some markets still feature trucked-in fare, more are focusing on what we have right here. There aren’t many downsides to buying locally. Healthier produce raised with fewer chemicals comes to us across far less distance and with shipping costs minimized and no middle man to pay off costs are drastically reduced, and the effect on the environment is alleviated. But most of all, it’s good to know where your food comes from, how it gets here and who’s dealing with it. And with lots of markets offering flowers, baked goods, coffees and teas, artwork and even live music, you’d be hard-pressed to find a more pleasant way to spend a few precious summer hours. NOTE: Some information is unconfirmed and noted with an (*). Bauer’s Farmers Market 11813 7 ½ Mile Rd., Caledonia 9 a.m. – 6 p.m. daily, July through November. 262-835-4386. Brown Deer Farmers Market Bradley Commerce Center, N. 43rd St. and Bradley Rd. 9 a.m. – 6 p.m., Wednesdays through October. Annuals and perennials, herbs, roses, and fruits and vegetables. 414-354-6923. Brookfield Farmers Market City Hall, 2000 N. Calhoun Rd 7:30 a.m. – noon, Saturdays through October. Flowers, fruits and vegetables, Piedmontese beef, maple syrup, chickens, eggs, bison meat, baked goods, dried floral, garden art and much more. Weekly entertainment and demonstrations. 70th annual Dahlia Show September 23, with more than 600 blooms on display for judging. 262-784-7804 or brookfieldfarmersmarket.com. Burlington Farmers Market Echo Park, 588 Milwaukee Ave. 8 a.m. – noon, Saturdays through November. 262-342-1171. Cudahy Farmers Market 4700 S. Packard Ave. 10 a.m. – sold out, Fridays through November. Locally grown and produced baked goods, fresh produce, apples, honey, flowers, crafts and more. ci.cudahy.wi.us. Delafield Farmers Market 514 W. Main St. 7 a.m. – 1 p.m., Saturdays through October. Producer-only market; locally grown vegetables, fruits, herbs, honey, cider, flowers, annual bedding and perennial plants, ironworks, homespun woolen yarns and other locally handcrafted items. 262-968-4471. East Side Open Market 1901 E. North Ave. 10 a.m. – 2 p.m., Saturdays, June 30 through October. Produce, agricultural products, flowers, herbs, CSA, amazing artists and marvelous local musicians. theeastside.org. East Town Farmers Market Cathedral Square Park, 520 E. Wells 7:30 a.m. – 12:30 p.m., Saturdays through October. Farm-grown produce, baked goods, specialty foods and arts & crafts. Free entertainment and children’s activities. easttown.com. Elmwood Plaza Farmers Market Durand Ave., Racine 8 a.m. – noon, Tuesdays and Fridays through November 2. Seasonal asparagus, rhubarb, beans, tomatoes, corn, melons, bedding plants, apples, baked goods, chickens, eggs and fresh flowers. 262-886-3284. Fondy Farmers Market 2200 W. Fond du Lac Ave. 7 […]
Jun 1st, 2007 by Amy Elliott
Patience
For as long as there has been art, there have been those who have taken the love of aesthetics and beauty to nauseating extremes. In 1881, Gilbert and Sullivan took a satirical jab at artistic pretentiousness with Patience. Today, 126 years later, The Skylight Opera Theatre revisits this classic musical in a production that carries into June. It’s a pleasant, fast-paced staging that the Skylight has polished quite nicely. The radiant Niffer Clarke stars as the simple milkmaid after which the show is named. Patience knows little of and cares little for romantic love yet is nonetheless pursued by two different men. The effeminate Reginald Bunthorne (Gary Briggle) is a poet of extreme pretentiousness who quite readily captures the attentions of all the wealthy girls in the tiny village, but he longs for the one who has no interest in him. Briggle is memorable as the ostentatious poet who cares more for the attentions of his audience than his art. Unable to feel anything but confusion for the deliberately obtuse Bunthorne, Patience talks of love with a friend. She seems to be the only single woman in town who doesn’t know what it is firsthand. In the course of the conversation, Patience remembers a time when she had feelings for a slightly older boy she used to play with as a child. As luck would have it, he shows up and she is smitten with romantic feelings for the first time in her life. His name is Archibald Grosvenor (Norman Moses) and he has loved her since he was a child. However, all who lay eyes on him have an inflated sense of his beauty. Like Bunthorne, Grosvenor is a poet of the highest imaginable aesthetics who is, of course, a cripplingly beautiful person. It is with great disappointment that Patience begins to question her love for Grosvenor. True love, she believes, must be truly selfless and one could never be selfless when loving someone of such overwhelming beauty. His beauty must belong . . . to the world. It would be an act of selfishness to demand his exclusive attentions and so Patience’s first love is a tragic one. Grosvenor is crestfallen, but the stress of the plot works in his favor, as his beauty is, of course, at odds with Bunthorne’s. The two are thus embroiled in a conflict that carries much of the rest of the story. It’s all a great deal of fun. The Chamber Theatre delivers deftly on the wit and speed of Gilbert and Sullivan in song and dialogue. Costuming by Karin Kopischke is impressive here and there is an elaborate simplicity in the design, which compliments the ornate, yet functional set by Peter Dean Beck. As entertaining as it is, the production as a whole feels a bit held back. This is really written to be a Gilbert and Sullivan with teeth and there are moments that are designed to really skewer the lofty insincerity of those who use art as a status-inducing […]
Jun 1st, 2007 by Russ Bickerstaff
VITAL’S 2007 Photo Contest Winners
I think photography as the America of “Art.” It is not a perfect analogy; photography doesn’t arrest undocumented artworks and detain them indefinitely, nor is it engaged in an endless quest to start wars against developing art forms whilst alienating and disenfranchising photographs at home. Photographs are sometimes bought and sold to the highest bidder, but that’s not what I mean, either. Photography is a highly democratic art form. Not everyone is born with the fine motor skills to learn how to draw or the craftsmanship necessary to sculpt or carve wood. But most people can figure out how to press a button on a camera. With a light meter and a little practice, even a manual camera is intuitive enough to understand. The ever-expanding accessibility of digital equipment has even made it possible to eliminate the complicated and costly process of developing your own prints. Now all you need is a printer, or someone whose printer you can use and – voilà – a masterpiece. The ease of photography invites experimentation and ingenuity. Like America, nothing is guaranteed – not everyone can afford those fancy macro lenses, and not everyone has an eye for composition – but photography strives for equality of opportunity. And frankly, that makes the old institutions a little bit nervous. If you were an oil painting, you’d be nervous, too. Look at what happened to Great Britain. And in the grand scheme of things, photography is a pretty young way to make art, and even though a photograph is one of the world’s most powerful tools for telling a story or conveying an image, photography is still fighting for its credibility in the art world. Not everyone trusts photography. It’s too instant. It’s too mechanical. The artist is too far removed from the art. Or so it is still sometimes said. This year, in the spirit of opportunity, we awarded two different awards for each category – Best Professional and Best Amateur. The judges – Cori Coffman, Executive Director of the Eisner Musuem of Art and Design; Deone Jahnke, a local professional photographer who works all over the country and Sonja Thomsen, adjunct professor at MIAD and head of Milwaukee’s Coalition of Photographic Arts – swore to be fair and impartial administrators of their duties. They rated each photograph blind before the law (well, they could see, but it was anonymous) and on video camera themselves, for all to witness at our second Random Exposure opening on June 14 at the Eisner, which will include over 60 of our favorite entries, democratically displayed for your viewing enjoyment. There will also be music, food and more. Look for details on page 18. In your winners, you will see testament to the radical and boundless fruits of this art for the people: color, shadows, truth, comedy, tragedy, apathy and beauty. PORTRAIT BEST IN SHOW Best Professional Jessica Kaminski “Girl in Doorway” Jessica Kaminski received her BFA in Fine Art Photography from MIAD in 2001. Since then, she […]
Jun 1st, 2007 by Amy Elliott
Long Day’s Journey into Night
Humor can draw anyone into a theatre, but it’s the darkness that really excites the imagination. Eugene O’Neil’s Long Day’s Journey Into Night is one of the great classics of dark American theatre. Under the direction of Heidi Mueller Smith, Cornerstone Theatre Company presents the classic in the basement of the Brumder Mansion. As everyone settles into their seats for the evening, Ruth Williams and Sandy Stehling animate the space with a traditional Irish tune. Gradually, the play settles over the stage. There’s no mistaking that this is going to be a long, dark journey into the inner social dynamics of a particularly dark, iconic American family. Thankfully, with Cornerstone Theatre it’s a trip to the theatre featuring some of the best acting in one of the smallest performances spaces in greater Milwaukee. Cotter Smith stars as family patriarch James Tyrone – an aging actor past his prime who has made a small fortune for himself, but nonetheless tours during the theatre season. It’s August of 1912 and it would appear to have been a very long summer. Smartly dressed with sharp features and meticulously manicured facial hair, Smith cuts a darkly charismatic figure in the role. There’s a mixture of weariness and restlessness in the way Smith carries himself here. Smith’s apparent darkness as James is offset by Michelle Waide’s performance as his wife Mary. O’Neil places Mary as something of a central enigma in the script. Waide’s performance here is particularly clever. She seems to hold a great deal of casual poise, but we can tell that somewhere in the background of her apparent stability lies the hazy static of unhealthy disorder. She’s swept it all into the background of her personality, but it gradually comes to prominence as the play progresses. Waide deftly rides the emotional contours of O’Neil’s script, only letting enough emotional distress slip out to make it to the next scene. Ken T. Williams and Steven Strobel play James and Mary’s sons, Jamie and Edmund. Williams is pleasantly cynical as the older son who has returned home to help out around the house. Being fully aware and at least marginally open about all of the negativity floating around in the family’s closets, Jamie comes across as being one of the darker people in the play. Williams lends a considerable amount of depth and compassion to that darkness, which holds up his end of the play quite well. Edmund, the younger brother, is suffering from a potentially life-threatening ailment. Strobel plays Edmund with the overwhelming presence of a turn of the century slacker. His polite, unassuming presence makes it easy to sympathize with him. Rachel Williams rounds out the cast as Cathleen, the young, Irish housekeeper with a serviceable Irish accent. She plays off the rest of the family dynamic quite well as a disinterested third party. O’Neil has Cathleen surfacing from the rest of the family on brief occasions. On the whole, the ensemble plays out the emotional landscape of the play with more […]
Jun 1st, 2007 by Russ Bickerstaff
Fixing MPS
The Greek myth of Sisyphus tells the story of a man condemned by the gods to roll a rock up a hill only to have it roll back down each time, forcing him to repeat the task over and over again for eternity. Some might argue that Sisyphus is the perfect metaphor for the vexing problem of education reform, particularly in Milwaukee. The performance of many urban public schools has been abysmal for decades. And it seems that every few years a new set of reforms are announced with great fanfare. But the results have generally been the same or worse. Same as it ever was. So it was with a good deal of skepticism that I attended an announcement last fall of a new initiative designed to finally address the problems facing Milwaukee Public Schools. I showed up at the news conference prepared to hear the latest school reform flavor of the month. Would it be smaller classes and more teachers, a revamped curriculum, a new set of high stakes tests or a combination of all of the above? I was wrong on all counts. What was unveiled that day wasn’t a plan, but a new process for involving the entire community in developing a strategic plan for MPS. “For the first time ever,” the news release trumpeted, “leaders from Milwaukee Public Schools, the Milwaukee Board of School Directors, the Milwaukee Teachers Education Association and the Greater Milwaukee Committee have joined together to focus the community’s attention on higher expectations for student achievement in MPS.” Better late than never Sister Joel Read, former president of Alverno College and chair of the GMC’s education committee, said the announcement represented “a turning point for MPS, for the children of Milwaukee and the entire community.” This is a sad statement, though true. MPS leadership, the teachers union and civic and business organizations have indeed failed previously to successfully come together to sort through the problems of the school district, whose concerns they all inherently share. In a combined statement, the groups said “MPS’ current student achievement results are unacceptable. MPS can and must do a better job educating students and preparing them for college and career.” Since that day last fall, nearly 20 public hearings were scheduled to solicit input from parents and other members of the community. An organization called Focus on Results was brought in, with support from local businesses, to assist in the development of a new strategic plan for MPS. The result is a “draft action plan” organized around a set of principles so basic as to be inarguable, which was unveiled in May. Sister Joel said the collaboration between MPS Superintendent William Andrekopoulos and WTEA Executive Director Sam Carmen was unprecedented, and called the 35 page document a “good first step.” I must admit that I didn’t feel like breaking out in a chorus of “Kumbaya” when the superintendent of Milwaukee Public Schools and the leader of the teachers union reached an agreement on a set of […]
Jun 1st, 2007 by Ted Bobrow
Five Women Wearing the Same Dress
Writer/Director Alan Ball has met with considerable success in film and TV. His film American Beauty won an Academy Award while his TV series Six Feet Under garnered him two Golden Globes and no less than six Emmys. Before any of that, however, Ball earned a degree in theatre. In 1993 he wrote a comedy for the stage about a group of bridesmaids in Tennessee and Sunset Playhouse presents its production of that very play as the penultimate show of its season. Bialystock and Bloom co-founder Jonathan West directs the Sunset production of Ball’s Five Women Wearing the Same Dress. It’s the story of five bridesmaids who seek refuge from a wedding reception in an upstairs bedroom. There’s very little plot here beyond the personalities of each of the women as they become better acquainted. While the character development feels a bit forced and an amateurish attempt to tie everything together with some of moral about the nature of love stains the ending, for the most part Ball lets the conversation between the five women become the play. Ball has a particularly shrewd sense of humor in language that is the real center of the comedy. Everything beyond the dialogue is just there to give it a place to be. A clever writer in his own right, West’s direction here has an interesting attention to detail and a particularly deft sense of how dialogue-centered comedy works on stage. The cast consists almost entirely of the five young bridesmaids. Actresses reflect the relative ages of their characters pretty well, but there is a bit of confusion as to how old everyone is, as they all appear to be pretty much the same age: quite young, but not in high school. Southern accents also mar things a bit, as no one here manages an authentic accent for the entire length of the play. Other than that, the performances here are all noteworthy with a few instances of real comedic inspiration. The bedroom belongs to Meredith Marlow: sister of the bride played by Victoria Hudziak. Hudziak is bitter and annoyed with the whole wedding and has escaped to her room in an effort to get at least mildly stoned so that the whole affair can be a bit more bearable. Hudziak holds the comedy of bitterness quite well, but very little can be done when Ball tries to fuse too much darkness into the character. Before Meredith enters, Frances, the innocent, religious cousin of the bride, sneaks into the room to engage in a bit of physical comedy. Ball doesn’t provide very convincing depth for what is essentially a generic religious stereotype. Actress Nikki Hoch finds a sweet humanity in the character, nonetheless. Hoch’s comedic presence is subtle but powerfully effective whenever she’s onstage. Not long after we meet Frances and Meredith, Trisha enters. Trisha is an old friend of the bride who is fiercely independent. Elizabeth M. Keefe plays Meredith in a magnetic performance. She’s had many men, but has never felt […]
Jun 1st, 2007 by Russ Bickerstaff
Great Lakes Myth Society
“Girlfriends are leaving/new girls arrive/you open the circle/to be blinded by light.” This lyric from “Heydays,” the opening track to Compass Rose Bouquet, the sophomore offering from Michigan “northern rock” music “collective” Great Lakes Myth Society, perfectly summarizes the thesis being defended throughout – melancholy is meaningless unless it’s tempered by good spirits in the heart and in hand. When guitarist Timothy Monger sings “Uncertain the future/nostalgic the past/unable to recognize/moments that last,” there’s more sun in his voice than rain. That springtime disposition carries into all aspects, from production to songwriting. The tunes crackle with energy and spark, from the cavernous drums to the silvery trumpets on the psychedelic-via-”Crimson-and-Clover” tune “Raindrops and Roses.” The band isn’t afraid to explore the myriad folk influences available to their collective, either; “Queen of the Barley Fool” and “Debutante” incorporate Irish pub choruses without slipping into affectation. “Debutante” even throws indie-rock distortion into the guitars, giving the up-tempo jig some teeth. They accompany accordion-driven waltz “The Gales of 1838,” which closes the record with a slow, six-minute build that sways like the bow of a wind-blown pirate ship complete with refrains proclaiming that we’ll have “wine, wine, wine, more wine tonight.” This is Americana anyone can get behind. Great Lakes Myth Society takes the folk-infused sound with which we’ve all become intimately familiar and polish it with a pop sheen, producing earthy, heartfelt waltzes and jigs that manage to be introspective and fun at the same time. Pass the Jameson; who wouldn’t drink to that?
Jun 1st, 2007 by DJ Hostettler
Rooming House
With Milwaukee being host to so many productions of plays written by people in other parts of the country, it’s always nice to see something new written by a local playwright. Early this summer, Olsen Arts Theatre Group opened Rooming House, written and directed by local playwright Christel Olsen. The play is a comedy about a group of people living in…well…a rooming house. Kim Ballou stars as Geraldine Rennelli – a woman who runs…wait for it…a rooming house. Geraldine, who is known to her psychologically diverse boarders as “Ms. Geri,” is a tough, charismatic woman who seems to be quite respected by all who meet her. There’s a lot of comic potential in the many strange personalities inhabiting a domestic space like this. Brilliant comedy can come when the weird is juxtaposed against the equally weird but, unfortunately, Olsen and company deliver on so little of it that it hardly seems worth the effort. Sadly, Rooming House isn’t that good. Ballou performs quite well as uber-mom to a strange collection of characters, many of whom have a great deal of comedic depth. Occasionally we even see the cast of actors grasp fleeting moments of this depth. For the most part, however, the cast seems all too conscious of the fact that it is on stage and not conscious enough of what’s supposed to be going on in the play. The space at Bucketworks doesn’t help, either. The acoustics in the performance space are offensively bad. This makes it particularly difficult to hear actors who lack enough stage experience to know how to properly project their voices. If Rooming House was a straight drama, the acoustic problem would probably end there. The fact that it’s a comedy makes things all the worse. In order for comedy to work there needs to be something like a coherent punch line. If the punch line isn’t delivered with the kind of strength it needs AND the space is muffling what’s being said, there may be too many obstacles for laughter to actually occur. The lack of clarity in the dialogue is an ongoing problem throughout that affects every aspect of the story. Comedic and dramatic elements that aren’t always particularly well defined in the script are further confused by self-conscious performances that fail to deliver the right emphasis at the right times. Rooming House isn’t a play so much as the dream of one. People sleep walk through performances culled from a script that isn’t quite polished enough to develop the kind of glossy pop comedy for which Olsen seems to be aiming. All this would seem like wasted effort were it not for the fact that the dream is so clearly visible. The final significant scene between Ballou and Brenda Riley (as her next door neighbor Leslie Bufano) is the one of the best. The two characters finally connect and there’s a real feeling of genuine emotion. It should be pointed out that Rooming House is not an aggressively bad play. It’s a […]
Jun 1st, 2007 by Russ Bickerstaff
