2007-06 Vital Source Mag – June 2007
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
What should have happened
What should have happened One of the perks of writing a column like SubVersions – aside from being able to indulge your love of pointless Saved By The Bell references – is that it constantly forces you out of the house and into the wide, wacky world of Milwaukee’s Kinda-Sorta-Thriving Night Life?. At least once a month, you’re compelled to throw yourself willy-nilly into the sinuous arms of the city – forgoing yet another night of watching Cheaters in your underwear – in search of beauty, cheap booze and an event deserving of 1,000 words. The downside, of course, is that these events usually turn out to be complete busts. For every life-affirming rock show and spontaneous dance party, there’s at least one tepid burlesque show and a good ol’ fashioned random mugging. Nevertheless, a breathtaking column is usually formulated beforehand, and an appropriately poignant conclusion is strived for (friends! city! redemption!). Of course, after about a half-dozen drinks and a knee to the groin, things usually tend to fall apart. What follows are two such events attended in hopes of some sort of bittersweet, revelatory moment that instead ended in crushing despair and ill-advised trips to gay bars. Each one will be divided into three parts: what happened (the mostly-true account of the event), what should have happened (the hoped-for outcome that inevitably never came to fruition) and a few sample lines from the breathtaking, yet ultimately abandoned column. Hallowang What happened Through a bizarre set of coincidences, I learn of a fabled “Hallowang” party being thrown somewhere on Water Street. The idea – a costume party exactly six months before and after Halloween – is a noble one, and along with that machine that can launch a Busch Light clear across your living room, certainly represents frat-boy ingenuity at its finest. I soon discover a group of attractive lady friends will also be attending said festivities. They’re going as Ghostbusters – complete with jumpsuits and inflatable proton-packs – prompting me to stick some batteries and stereo wire to a metal colander, put in on my head and go as Louis Tully, a.k.a Vince Clortho, Keymaster of Gozer. Arriving at the pre-determined Water Street bar (Mel’s? Art’s?), we find the number of costumed attendees lacking. Though we receive our fair share of confused looks – along with a large number of people who mistake me for Doc Brown from Back to the Future – the night nonetheless proceeds swimmingly. Things turn quickly tragic, however, after I accidentally thrust a lit cigarette into my friend Kelly’s open eye; following some worried fretting and a few more drinks, she’s fine, and the entire Hallowang contingent hops on a chartered school bus headed for our final destination, Cans. Once there, awards are given out for the best costumes, and we end up losing to two chumps dressed as Fred and Velma from Scooby-Doo. The night concludes at Foundation (more confused looks), where a drunken, nonsensical argument over a deflated proton-pack signals an […]
Jun 1st, 2007 by Matt Wild
The Sea and Cake
Since their debut in 1993, Chicago’s The Sea and Cake have quietly grown into hometown favorites alongside Tortoise, creating pop that’s one part ambient, one part jazz, one part rock and all parts pure. This unique sound, anchored by guitarist Sam Prekop’s trademark wispy-as-clouds vocals, has evolved from notional indie pop into this consistently eclectic mixture since their first electronic dabblings on the 1997 album, The Fawn. Flash forward to the new millennium. 2003’s One Bedroom, which perfected jazzy indie-tronica, was adored by fans who were left to hang thereafter with a band hiatus. Thus, their newest, Everybody, is not only welcomed personally by fans who have longed to hold another Sea and Cake concoction in their hands, but also in general, because the band is showing their ability to grow without completely abandoning their sound circa 1997-2003. With Everybody, the band builds on past musical success by boomeranging back to their roots and catching some of the fundamental aspects that first garnered it attention. Perhaps this was possible due to the help of producer Brian Paulson (Slint, Wilco) who took the reins so the band could concentrate fully in the studio (drummer John McEntire previously did all the band’s production work). Outlining the songs with the organic elements of a true rock outfit such as fuzzed-out guitars ( “Crossing Line” ), clean beat-keeping drums ( “Middlenight” ), filling in the lines with the pretty-as-bells guitars of Prekop and Archer Prewitt and then mixing it up with subtle syncopation and glossing it over with Prekop’s melody-challenged but soothing voice, The Sea and Cake take us back to their beginning. McEntire and Erik Claridge (bass) still manage to add the signature noodling ( “Exact to Me, “Left On” ) that makes this band sound so much like…well… themselves. Everybody hits that gratifying sweet spot. It’s got enough ‘oomph’ not to wimp out yet retains the subtle jazzy elements that will make this album one of the most delicious slices of pop baked goods to satisfy fans in years. VS
Jun 1st, 2007 by Erin Wolf
The road to hell by, by any other name
It’s time for me to admit it – I am one of those moms. By that, I mean I make mistakes with my kids. And the mistakes I make are classics – the ones we all swore we would never make. When you’re pregnant with your first baby, you make a list of things you know you will do for your child. And most of us make a list of things that will never happen. In light of a few particularly painful recent gaffes on my part, now may be a good time to remind us all that the road to hell is paved with good intentions. Last weekend we celebrated Emma’s 9th birthday. She had a fairy party with a few of her friends on Saturday. Sunday evening, we had a big family birthday dinner for her, complete with ice cream cake and presents. I felt like we had covered it all. I felt like a good mom. But then she came home from school with a giant “Happy Birthday” sticker on her shirt. Her brother said, “Whose birthday did you have at school today?” and I heard Emma answer, “It was supposed to be mine.” That’s when I realized I had forgotten birthday treats. Completely forgotten – didn’t even register on my radar. Of course, today I tried to make it up to her by supplying enough Pudding Pops to feed a small army. She seems to be okay with this, but I am traumatized. Earlier this month, my first grader Jeffrey had to make his “All About Me” book to present to his class. He needed a collection of pictures of himself, starting from when he was a newborn and spanning his short little life. I pulled out the box of family photos (all jumbled and unorganized – another confession for another time) and went through nearly a hundred packets of photos. To fill the page titled “When I was born,” I was able to produce a picture of Jeffrey taken when he was 9 minutes old, a studio photo of him when he was two months old and then some photos of his first birthday party. He had a good time looking at the thousands of pictures of his older sisters, but he did wonder out loud where all the pictures of him were – several times. I wondered, too, and told him that I was sure I had just packed them in a different box. The truth is I’m not sure there are any more pictures of his first year. But wait, there’s more! 1. I don’t always make the kids eat vegetables. Every night at dinner, they are offered fruit and veggies. They have to pick one and they have to eat what they pick. But it often happens that for several days in a row no one picks a vegetable. I don’t push it. I didn’t like vegetables as a kid and I do now. I’m hoping they grow into it. 2. I […]
Jun 1st, 2007 by Lucky Tomaszek
June 2007
June 5th The Aggrolites Reggae Hit L.A. Hellcat/Epitaph Belly The Revolution CP Marilyn Manson Eat Me, Drink Me Nothing/Interscope Paul McCartney Memory Almost Full Hear Music/Concord O.A.R. Life From Madison Square Garden Atlantic Rihanna Good Girl Gone Bad Def Jam Bruce Springsteen Bruce Springsteen With the Seeger Sessions Band Live in Dublin Columbia Swizz Beatz One Man Band Universal Motown Tiger Army Music From Regions Beyond Hellcat/Epitaph Various Artists We All Love Ella: Celebrating the First Lady Of Song Verve June 12th John Doe A Year in the Wilderness Yep Roc The Mission, U.K. God is a Bullet Cooking Vinyl Sinéad O’Connor Theology Koch Mark Olson The Salvation Blues HackTone Queens of the Stone Age Era Vulgaris Interscope Mark Ronson Version RCA June 19th The Chemical Brothers We Are the Night Astralwerks Maps We Can Create Mute The Mooney Suzuki Have Mercy Elixia The Polyphonic Spree The Fragile Army TVT Two Gallants The Scenery of Farewell Saddle Creek The Unseen Internal Salvation Hellcat/Epitpah Matt White Do You Believe Geffen The White Stripes Icky Thump Third Man/Warner June 26th Ryan Adams Easy Tiger Lost Highway The Automatic, Automatic Not Accepted Anywhere Columbia Bad Brains Build a Nation Megaforce Beastie Boys The Mix-Up Capitol Marc Broussard S.O.S.: Save Our Soul Vanguard The Click Five Modern Minds and Pastimes Lava/Atlantic Editors An End Has a Start Kitchenware Nick Lowe At My Age Yep Roc Meat Puppets Rise to Your Knees Anodyne M.I.A. Kala Interscope Mya Liberation Motown Steve Vai Sound Theories Vols. 1 & 2 Epic
Jun 1st, 2007 by Erin Wolf
Starting Here, Starting Now
By Tracy Doyle If you’re looking for some light, summertime musical fare, check out In Tandem Theatre’s production of Starting Here, Starting Now, which captures the many phases of romantic involvement, everything from waiting for the love of your life to come along to the wretched throes of the breakup. A musical revue written by long time collaborators Richard Maltby Jr. and David Shire, Starting Here, Starting Now is a collection of songs about love written by the duo and compiled in 1977. Maltby and Shire’s collected body of work include the Broadway musical Baby, the Fats Waller revue Ain’t Misbehavin’, and the score to cinematic success Saturday Night Fever. This is the first time this show has been staged in its entirety in Milwaukee, and director Jane Flieller did an amazing job rearranging the order of the songs to give it a semblance of a dramatic arc. The songs were grouped into categories such as dating, proposing, parting and starting, which let the audience identify with the storyline and take us on an emotional roller coaster of love. The night opened with surprising David Lynchian flair. The stage has been beautifully transformed by set designer/ stage manager Chris Flieller into a giant piano, with a trio of musicians set in the upper right corner. The lights were dim and the show hadn’t started yet but Mr. Flieller, probably after performing some of his stage managerial duties, sauntered across the room in his dashing tuxedo, snapping his fingers to the beat of the band and brought to life a two minute scene straight out of Twin Peaks. Mr. Flieller was a staple throughout the production, moving set pieces and also functioning as bartender, drunken confidant and purse snatching comic relief. An ensemble of only three singers, these performers filled the room with their light and cheery voices and smiles. Taking turns with the songs, Mary C. DeBattista, Marty McNamee and Kathleen A. Miller brought to life a wide variety of music with consistent performances. The section titled “Parting” was the most impassioned, with stellar performances of “Autumn” and “Crossword Puzzle.” A night sprinkled with polite applause from audience members after each rendition, I let out a grand “whoo-hoo!” after McNamee’s bitter, heartfelt “I Don’t Remember Christmas.” The ensemble harmonized well and the choreography was simple but appropriate for the space and breadth of songs. Overall the show was enjoyable although it ended with a whimper compared to the bang of the mid-section. For a night of good music and light-hearted fun, go check it out. And congrats to In Tandem’s recent acquisition of their own performance space, look for them next year at Tenth and Wisconsin. VS In Tandem Theatre’s production of Starting Here, Starting Now runs thru June 10 in Broadway Theatre Center’s intimate studio theatre. Tickets and information can be found at www.intandemtheatre.com or by calling 414-444-2316.
Jun 1st, 2007 by Vital Archives
