2009-01 Vital Source Mag – January 2009
Service, art and self-expression
In these troubled economic times, the news reports are full of dire predictions about the fate of non-profits of all types, from the organizations supported by United Way to arts organizations of all descriptions. The Baltimore Opera recently declared bankruptcy and the New York Metropolitan Opera has been having a tough year. Here at home, our own Milwaukee Shakespeare has closed its doors after funding bottomed out, and the Greater Milwaukee Committee says that its grant levels this year will be below those of last year. And these are just the most transparent examples of the tightening atmosphere. So it’s remarkable that the Shorewood Players Theatre’s upcoming production of The Women, written by Clare Boothe Luce, is also a fundraiser for Gilda’s Club of Southeastern Wisconsin, a cancer support organization serving communities all over the United States. Gilda’s Club is named for comedian and actor Gilda Radner, who died of ovarian cancer in 1989. The club takes its name from a quip attributed to Radner: “Having cancer gave me a membership in an elite club I’d rather not be a part of.” The philosophy behind the club was developed by Radner, her husband Gene Wilder and Radner’s cancer psychotherapist, Joanna Bull. The support structure that the club is committed to providing is extremely important to surviving any type of cancer, for all involved. All of the club’s services and activities are free, so its survival absolutely depends on outside funding. Gilda’s Club of Southeastern Wisconsin is located in a storefront on Oakland Avenue in Shorewood and provides emotional support, educational programs and social activities for men, women and children facing cancer, as well as their families and loved ones. One of Gilda’s Club’s key philosophies is that this kind of support must take place in a warm, welcoming and non-institutional environment – somewhere away from the hospital. Appropriately, one of the central themes of The Women is the support that the main characters provide to each other. Through all the challenges that the women of Luce’s modern, cosmopolitan world face, they have each other as an antidote to the roles they must assume to the outside world. While many have criticized the play as depicting vain and shallow women with no sense of how privileged their lives are, the Shorewood Players under the direction of Carol Zippel, Windfall Theatre’s Artistic Director, find something very different in the story. Zippel’s vision is of our modern world and the challenges that it poses to all of us, seen from the viewpoint of women and told in spectacularly entertaining fashion. The entire ensemble is female, and no male characters appear on stage. Both film adaptations of the play (1939 and 2008) have gone so far as to only show pictures of women and to clear the street scenes of all men. Major productions of The Women attract A-list talent, from Norma Shear to Annette Bening and Jada Pinkett Smith. The show holds the record for longest-running non-musical show on Broadway and has […]
Jan 1st, 2009 by Ryan Findley
Ben Nichols
Ben Nichols, frontman for gritty rebel rockers Lucero, presents his first solo release, Last Pale Light In the West, a self-dubbed “mini-LP.” The mini LP is seven story-songs, pulling their tales from Cormac McCarthy’s Blood Meridian (1985), a bleak, violence-ridden novel, packed full of historical and religious references. Each song Nichols pens in Last Pale Light in the West is built around the novel and its characters; the title track sets the scene as Nichols leads, “Dark clouds gather round me / to the West my soul is bound.” The next introduces the novel’s protagonist, The Kid. In “The Kid,” Nichols sings, “Your mother died night you were born / her name you never knew / look away, look away / nothing to lose / left East Tennessee at fourteen / wandered to the West / look away, look away / born into death.” With Lucero, Nichols has proved himself a natural-born storyteller, tales of bars and brawls narrated by his raspy drawl. This time around, his stories are not just of bars and brawls; those bars and brawls are scenes for something far deeper and more sinister, echoing McCarthy’s unblinking, soulless style. The music itself bucks up and simply tells the tales, not overdrawing a dark mood but lending a stripped down and plainly pretty backdrop, letting the lyrics do all of the novel’s dirty work. Nichols, on acoustic guitar, paired with Rick Steff (Cat Power) on accordion and piano and Todd Beene (Glossary) on pedal steel and electric guitar, rolls ballads out slow and sure, like the rising and setting of the sun in a dusty Western sky, while the musicality of the songs shine up the rough pages within. Although more of a novella in terms of length, Last Pale Light in the West is all-encompassing of its original source, embodying a sense of history and depth and issuing an effect that’s fresh and endlessly intriguing, as the best stories often are.
Jan 1st, 2009 by Erin Wolf
Dumb Milwaukee
For all its charming neighborhoods, diverse ethnic fests and numerous places to get shitfaced, Milwaukee remains a uniquely dumb city. Just look back at 2008: between fighting off “hordes” of tourists pouring in by the hour to catch a glimpse of the Bronze Fonz (thanks, Visit Milwaukee!), and playing host to the “countless” not-shot-on-crappy-digital-video films starring non-local, non-crappy actors (thanks, Film Wisconsin!), Milwaukee still found time to let its residential streets go to hell, mull a city-wide smoking ban and continue to employ both Scott Walker and Gus Gnorski. Truly a banner year. So, as we roll up our collective sleeves and prepare for yet another year in our dear city, I thought it might be useful to provide a preview of a few dumb things Milwaukee will almost surely have in store for us in 2009. Please note that the following are more of the “roll your eyes and gently shake your head” variety of dumb, as opposed to downright evil (New Land Enterprises building more condos) or aggressively stupid (oh, I don’t know, Riverwest printing its own money). More dumb events A surefire way for Milwaukee to remain dumb in 2009 is to continue appropriating dumb events that other cities started doing five or ten years ago. This isn’t to say Milwaukee is “behind the times” in any way; I’m just suggesting that stupid shit like bondage shows and the thing where people read from their junior high school diaries should stay in the stupid cities from whence they came. Like Chicago. So for coming year, get ready for a whole lotta dumb: drunken spelling bees, warmed-over trivia nights, headache-inducing burlesque shows, and – God help me – Pecha Kucha. What’s Pecha Kucha, you ask? (Believe me, in about two minutes, you’ll wish you hadn’t.) Basically, it’s your once-in-a-lifetime opportunity to pay $15 to watch a bunch of slide shows. Yup. Slide shows. There are a bunch of dumb rules involved, though the only one you’ll be interested in is the one that limits each presentation to six minutes. What’s more, Pecha Kucha is a trademarked, nationally-branded event, making it something of a T.G.I. Friday’s in the realm of homebrewed hipster slide shows. (Unlike similar columns of the past, I’m not including roller derby in this list, a phenomenon I once wrote off as “ridiculous” and “not a real sport.” After some first-hand research throughout 2008, I can now attest that roller derby is indeed a real sport, partly because of the tremendous amount of athletic talent on display, and partly because attending a single bout costs about as much as a real sport.) More cool places closing, more dumb ones opening By now, we’ve all heard that after nearly three decades of service, Atomic Records will close up shop this February. While this is undoubtedly a tragedy (albeit one in which we have no one to blame but ourselves), it still pales in comparison to the knowledge that a criminally stupid place like Farwell Avenue’s Shag can […]
Jan 1st, 2009 by Matt Wild
