Arts & Culture
Robbie Fulks
By Allison Berndt The best way to describe Robbie Fulks’ new album Revenge! is to call it an eclectic hillbilly mix produced live on the road for an audience that’s looking for some good ol’ country music alongside a good laugh. Well, it’s true. Fulks, known for his catchy country songs and humorous lyrics, has put together an impressive collection of his very best. Hints of jazz, bluegrass and even a little ‘50s rock are evident in this generally hillbilly-esque compilation. Revenge! is a two-CD set of live recordings, half of which are brand-new songs. “I Like Being Left Alone” is a perfect example of a song that makes you laugh while engaging you musically with a charming melody. The best tracks on the album include previous hits “I Want to Be Mama’d” and “Cigarette State,” as well as a cover of Cher’s “Believe.” Fulks goes off on a guitar tangent that’ll take the listener through some masterful riffs in “Mama’d,” and “Cigarette State” is bound to be a crowd pleaser no matter where or when you hear it – it’s a staple in his repertoire. To hear a western cover of “Believe” is laughable in general, but even more so with the adaptation Fulks provides. Slower and more serious, “The Buck Starts Here” is a great theme that showcases a classic twangy country sound. Revenge! has a smattering of everything on it: old songs and new, covers and originals and any tempo for which you could be in the mood. It’s a solid collection with one constant element: hillbilly. VS
May 1st, 2007 by Vital Archives
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
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
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
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
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
Andrew Bird/Apostle of Hustle @ Alverno’s Pitman Theatre, April 21
Announcing that the audience at Alverno’s Pitman Theatre was about to experience the venue’s only ‘rock’ show of the season, opening act Apostle of Hustle began their set. It was filled with punchy banter from front man Andrew Whiteman, flippant statements on politics, co-eds and drug culture and lots of new material from their latest release National Anthem of Nowhere. The set swapped southwestern indie rock sounds with indie pop rock, pleasing fans, intriguing first-time listeners and warming the crowd well for the headliner. Chicagoan Andrew Bird (whose music is based on the excellent combination of big sounds and big words) returned to Milwaukee for his first ‘big-venue’ appearance at the Pitman Theatre (his previous Milwaukee shows have been at the former Gil’s Café and the Miramar Theatre). And while Whiteman may have dubbed the evening a “rock show,” true-blue Bird fans knew they were in for much more than that. Armed with his latest collection of songs from Armchair Apocrypha, his two touring pals Martin Dosh (drums, keys) and Jeremy Ylvisaker (guitar, bass) from Minneapolis and two of the coolest amps ever created by Chicago luthier Ian Schneller – a single horn shaped like a gramophone and a double-spinning-horn amp called a “Janus Horn”– Bird and company created a stunning mini-orchestra. Bird hushed the audience with his whimsical croon, sparkling, world-famous whistle and glockenspiel combination, and his amazing ability to layer guitar and violin via a sampler. Bird even shook off his shoes, giving himself easier toe-push access to the buttons on his sampler, arranging a base of guitar, then plucked up his violin, setting his Janus amp a-spinning to bow his way through renditions of “Fiery Crash” and “Imitosis.” He later took it solo with “Masterfade” (the audience helping him along with his brain-farted lyrics) and “Dr. Stringz,” dedicated to his nieces and from his television appearance on kids TV network Noggin. Bird pulled the show together by weaving in stories about his travels in France and how they were the partial inspiration for his new material. “Plasticities,” he said, is a song born from a breakfast of oatmeal and accompanied by four looped songs in a topsy-turvy French hotel, while an attempted car-parking in Bordeaux before a show gave us “Heretics.” Storytime ended and Bird finished up the set with material from The Mysterious Production of Eggs (“Skin Is, My” and “Tables and Chairs” ) and “Scythian Empires” from Armchair. The audience, picture-perfect up until now, politely hushed during songs and wildly cheering in-between, couldn’t resist any longer as a few made their way down the aisle, dancing and twirling to Bird’s literary indie symphony. VS To view more images from the show, click HERE.
Apr 24th, 2007 by Erin Wolf
A Walk In The Woods
A park bench seems innocent enough until you get it on stage. What might casually be seen as an unsuspecting piece of furniture in its aural habitat takes on a whole new personality when it is placed in front of an audience. In Edward Albee’s Zoo Story, a bench is a silent witness to murder; it may as well be an accomplice. In Mark St. Germain’s Ears On A Beatle a park bench bears witness to meetings between FBI agents whose values slowly shift. And in Lee Blessing’s Walk In The Woods, a park bench takes center stage in the impressive space of the Broadway Theatre Center’s Cabot Theatre. The bench in question is Swiss. It sits on the outskirts of Geneva, Switzerland in the mid-1980s. Scenic Designer R.H.Graham sculpts the ample space of the Cabot’s stage into a grand sylvan setting. The ground is very earthy and organic. The trees are stark vertical lines far in the background and there is a winding path leading off the stage on the left. It is here that two men meet, away from the conference, to hammer out a few agreements involving weapons that could wipe out most of the life on the face of the planet. Peter Reeves plays John Honeyman, an American. Robert Spencer plays the Soviet Andrey Botvinnik. Relying entirely on two actors playing two characters for an entire story can strain any feature-length play. Thankfully, Reeves and Spencer develop a rapport within Graham’s script that is interesting enough to swiftly carry four scenes with relatively few tiresome stretches. At the beginning of the first scene, we are seeing two people who have just met and begun working with each other. They’ve been hired by opposing employers and both want to work out an agreement. Honeyman is a young, lean and bureaucratic man who seems to want to meet success in negotiations for the sake of his own achievement as a professional negotiator. Botvinnik is an older gentleman who has been working away at brokering an arms agreement between the U.S. and the USSR for a number of years. He wants to get to know Honeyman as a human being. Much of the appeal of the play unfolds in the first scene as Botvinnik tries desperately to reach Henyman’s human side so that they can talk like normal human beings. Any appeal that the rest of the play holds resonates from that first scene. Spencer’s charisma here is much the same as it was in the Milwaukee Rep’s production of Tuesdays With Morrie some time ago. Spencer has a gift for portraying wise older man with diligent ethics and complex personalities. Reeves plays the straight man with such ferocity here that his suspicion of Botvinnik is palpable. With Spencer’s precise execution of Honeyman’s smart professionalism, it’s easy to side with his suspicions. Maybe Botvinnik’s efforts to reach a more friendly level of rapport with him are actually an attempt to control him. As the conversations play out, it is […]
Apr 23rd, 2007 by Russ Bickerstaff
Ears on a Beatle
John Lennon mastered the deceptively simple genius of finding his own voice and speaking with it. He spoke it deftly and frequently enough to have made quite a few people uncomfortable over the years and some of these people were in rather prominent positions in the U.S. government. As a result, Lennon was trailed by the FBI for a number of years. Agents were assigned. Reports were written. A stage comedy about this could be done a lot of different ways. With Ears On A Beatle, playwright Mark St. Germain delivers a competent script that mixes some clever bits of comedy with an overall natural sense of drama about two FBI agents assigned to trail John Lennon. Under the direction of frequent Rep actor Jonathan Smoots, Next Act Theater closes its season with an enjoyable production of the hit comedy. St. Germain chose for the play to follow the two FBI agents over an extended period of years. Next Act Producing Artistic Director David Cescarini plays Howard Ballentine, the older, more cynical agent who’s been on the job for a very long time. Ryan Schaubach plays younger, more idealistic FBI agent Daniel McClure, who goes undercover as a young hippie. This sets up a youth/experience theme that sees cynicism slowly change hands between generations as the ‘70s slowly fade-out into the ‘80s with the death of Lennon. The story is painted in fairly broad strokes, but that doesn’t make it any less compelling than a more intricate plot might have been. For the most part, we focus on the two agents and their lives and their interactions with each other. Other characters appear in the production as rendered in dialogue. J. Edgar Hoover is a silent character in the play, making his presence known subtly throughout the story. It was Hoover’s FBI that opened the file on Lennon in the first place. Dialogue ranges from very obvious jokes about the nature of work at the FBI to very, very subtle moments passing between two agents in idle conversation. Lennon himself is evident in so much of the dialogue, but nowhere is he more present than St. Germain’s depiction of the era of which he was a part. Cescarini brings his usual charisma to the role of Agent Ballentine. It’s a sympathetic portrayal of a public servant who just happens to be following around one of the most popular musicians of the 20th century. Cescarini has an impressive presence in any role and his performance here is no exception. His sympathetic portrayal of a practical conservative who comes to an understanding about the man he’s being paid to follow has a great deal of depth to it. Schaubach plays McClure as the nice guy who comes from a proud military family but gets shifted off to the FBI instead. He seems to believe in the idealism of his country, but understands that there’s a moral code that it doesn’t always live up to. His idealism outweighs his patriotism, leaving his personality […]
Apr 2nd, 2007 by Russ Bickerstaff
April 2007
Thoughts on “Low Numbers” Your “Strength In Low Numbers” [Covered, March 2007] piece was a good read, one of the more comprehensive looks at WYMS that has appeared in the local press. I started working there in late 1981, and saw my 21-year career end rather unceremoniously in April, 2004. In between I hosted talk shows and jazz programs, provided commentary for Spelling Bee broadcasts, built an absolutely one-of-a-kind jazz library from scratch, suffered through agonizing fundraisers (or Begathons, as the staff referred to them privately), watched on-air technology change from turntables to CDs, endured countless summer weekends when the heat and humidity in the studios was so bad the equipment would sweat (they turned the AC off on Friday afternoons…), and took out the trash when necessary. I also had the privilege of serving a unique audience that was fanatically devoted to jazz, and that made it all worth while. But the 88.9 radio torch has been passed, and time will tell if RFM’s grand experiment succeeds or fails. Thanks to your article, I now know more about what that experiment entails than I ever did before. Thank you for writing it. Bill Bruckner Former WYMS Music Director In your latest issue, your “Left of the Dial in Milwaukee” states MPS could no longer afford to support the station. What is little known is that when WYMS went to pre-programmed JAZZ, all donations dried up, and MPS ended having to budget almost twice as much to run the station! (I know as I saw the budget). Spence Kortze or whatever his name can stick it where the sun doesn’t shine. Dan in Milwaukee Ed. Note: I actually stated that “MPS announced that it could no longer afford…,” which is different from me stating it as fact. In a shorter piece it’s hard to go into depth on every point, but I saw the same budget and – Wow! What a mystifying choice the Board made… Jon Anne … More “thoughts” from our online readers: Even after reading the above story of the evolution of your new format on WYMS, I still say, “Bring back our jazz, man.” —Marilyn Holbus You need to consider not throwing out the baby (JAZZ) as you continue to format and develop your programming. I hope there is still someone out there protecting this vital part of distinctly American, music culture.—Paul Carlson The new music is a big mish mash of too many types of music. Milwaukee is a very provincial town with peoples’ tastes pretty well set. The jazz format worked. It is the only music that is truly indigenous to America. Bring it back and dump the musical smorgasbord that can not appeal to anyone. Thanks—Chuck Sable I was skeptical at first, and for the first few weeks it was clear the station was searching for its “special something,” but I think it’s got it now. It works, surprisingly well. This is a station for people who just love music plain and simple: […]
Apr 1st, 2007 by Vital Archives
The Arcade Fire
“World War Three, when are you comin’ for me?” Win Butler of the Arcade Fire poses the question in Neon Bible, which is saturated with natural disasters, social unrest, fundamentalist discontent and the toxic emissions from celebrity culture. Arcade Fire opens its mouth to the world, attempts to swallow it, digest, then spit it back out for our benefit. Fortunately, they pull off the huge feat of addressing cultural and global issues without needing to be punk and without sounding anthematically ridiculous. Stadium act they still are not. Rather, the band has worked on crescendo-ing their status and sound not by venue, but by orchestrating the music into sweeping, gothic proportions which, given their choice of instruments – a pipe organ, accordion, hurdy gurdy and the addition of a military choir and a Hungarian orchestra – seems perfectly appropriate. With a grandiosity that exceeds the debut, Funeral, Neon Bible sweeps in with the sinister staccato rumblings of a piano akin to a cold front before a summer storm, thundering alongside windy string arrangements. Tracks dodge between orchestra pit pop and rock epics, finding gospel-influenced ballads tagged with southwestern brass along the way. As Neon Bible reflects on the situation of “us versus the world,” it comes dangerously close to compacting too much doom and gloom into an album that was definitely meant to deliver a blow, not a nudge; after awhile, the same bruise gets punched. The only respite from the global explosion of chaos is the closing track, “No Cars Go” (re-recorded from a previous EP). The Arcade Fire may have favored ending high and hopeful with a message more about running to freedom than running from global assault.
Apr 1st, 2007 by Erin Wolf
The 2007-2008 Fine Arts Season Preview
By Russ Bickerstaff and Evan Solochek Having survived the uncertainties of a Milwaukee winter, things settle down as our performing arts groups begin to look forward to next season. As usual, 2007-08 events closest to the present happen to also be the furthest from Milwaukee, as spring pushes performances further away from the theatre district for the summer. West of Madison, The American Players Theatre in Spring Green is one of the most consistently satisfying theatre companies in the state. The outdoor repertory group starts its season this June with a production of Shakespeare’s Much Ado About Nothing, which may have a difficult time topping Milwaukee Shakespeare’s outstanding production of the same play earlier this season. With a talented APT cast including Michael Gotch and James DeVita, it’s definitely going to be good. Along with the usual Shakespearian bits, the APT will be performing Shaw’s Misalliance and Tennessee Williams’ Night of the Iguana. To the north and east, The American Folklore Theatre in Fish Creek starts its season in June as well with the world premiere of A Cabin With A View. It’s a musical romantic comedy based on E.M. Forster’s novel of the same name, with the AFT’s usual touches of Wisconsin charm. AFT’s season also includes reprisals of two of its biggest hits: Belgians in Heaven and the irrepressible Guys On Ice. Further in the future but closer to home, Milwaukee Chamber Theatre opens its season in August with a production of Ron Hutchinson’s comedy Moonlight and Magnolias. The impressive cast of Michael Herold, Marcy Kearns, Daniel Mooney and Gerard Neugent relate the story of those strange hours that passed as the script for Gone With The Wind was written. The Chamber’s season also includes performances of short monologues (with Talking Heads, which opens in October) and a play based on the very, very long Dostoyevsky novel Crime and Punishment. The Boulevard Theatre opens its 2007-2008 season in August with David Mamet’s brilliant dramatic tribute to the art of the sale with Glengarry Glen Ross. The Boulevard’s freshly announced season features some clever choices for its tiny space, including the holocaust drama The Last Letter, a play about Clarence Darrow, a romantic French farce and Shakespeare’s All’s Well That Ends Well. Shakespeare continues to catch the stage in rather unexpected places as The Milwaukee Ballet’s upcoming season features graceful interpretations of both Hamlet (in November) and A Midsummer Night’s Dream (in April). In keeping with the production standards of the Ballet, set and costuming for April’s show should be every bit as impressive as the performance itself. In addition to the familiar standards of the Nutcracker and the annual trip to the Pabst, the Milwaukee Ballet’s season also includes what should prove to be a lavish production of La Bayadere, a sumptuous tale of love and jealousy. And now to raise the curtain on the coming season…. ACACIA THEATRE COMPANY Integrating art and faith, Acacia provides occasion for all to consider their lives in relation to God. Season […]
Apr 1st, 2007 by Russ Bickerstaff
