...even though The Sky is Crying, it's time to shift focus a bit. George T. and the Destroyers have just reminded me that Fringeaholics can get more of That Same Thing, year-round, right here in the Twin Cities:
Jane and I went to Pillsbury House Theater last night (one of the Fringe venues, where Narcisso Lobo had captivated us with "Please Don't Eat the Dogs" two weeks earlier). We sat front row center in a pretty full house, and were thrilled to experience the music and spoken word and wisdom of Oliver Lake, up close and personal. Mr. Lake is one of the members of the World Saxophone Quartet, and has been artist-in-residence at Pillsbury House this summer, where he wrote the (solo violin!) music for Carlyle Brown's outstanding six-short-play production,"Talking Masks", performed earlier this year. (Shades of "Fast Fringe"!)
In last night's solo show "The Matador of 1st and 1st", which he wrote and performed, Oliver Lake wowed us with 70 too-short minutes of non-stop conversation, in song and rhyme and rap, through voice and saxes and flute, about the power of music. His message was unity: All music, from rap to reggae and bop to Beethoven, is about That Same Thing: the expression of human emotion. And he told us that god breathes the same breath into ALL of us humans. (But DAMN, Jane and I marveled afterward, some people are way better at breathin' it back out!) Jane said she had never heard musical instruments actually SPEAK to her in the way that they did that evening. Thank you, Oliver!!!
Saturday, August 21, 2004
Monday, August 16, 2004
Falling Down
That's what I feel like I'm doin' today -- riding the roller coaster with a load of post-Fringe depression in my gut.
Ending the Fringe -- It's just an Invitation to the Blues.
BUT... I had a great time in the last few days, which I'll talk about after this ride is over. And I'm actually groovin' right now to Holly Cole's "Temptation", from which the above two titles/sentiments derive. (No, I didn't get the blues from Holly, but she's absolutely the best company I could have with me on this ride.)
"They broke all the windows,
took all the doorknobs,
and they hauled it away
in a couple of days."
... and I've only been Fringing for a couple of weeks, as your audience representative on the blogger team. I can't imagine how performers and producers and administrators and support staff must feel. (Actually, I hope they're deliriously tired and happy!)
If you want to fall down deep and rise way up, listen to Holly's amazing voice interpret Tom Waits' gritty, carnival lyrics. The whole album is her singing Tom's songs, and it moves mountains in me every time I listen to it.
Ending the Fringe -- It's just an Invitation to the Blues.
BUT... I had a great time in the last few days, which I'll talk about after this ride is over. And I'm actually groovin' right now to Holly Cole's "Temptation", from which the above two titles/sentiments derive. (No, I didn't get the blues from Holly, but she's absolutely the best company I could have with me on this ride.)
"They broke all the windows,
took all the doorknobs,
and they hauled it away
in a couple of days."
... and I've only been Fringing for a couple of weeks, as your audience representative on the blogger team. I can't imagine how performers and producers and administrators and support staff must feel. (Actually, I hope they're deliriously tired and happy!)
If you want to fall down deep and rise way up, listen to Holly's amazing voice interpret Tom Waits' gritty, carnival lyrics. The whole album is her singing Tom's songs, and it moves mountains in me every time I listen to it.
Saturday, August 14, 2004
Dai...sy, ... ... Dai... ... ...sy
Dave? What are you doing, Dave?
Like HAL, I'm slowing down and my memory is going. But my bicycle built for town (a 1984 BMX Mongoose -- one of the first "mountain" bikes) is working wonders, getting me across town and back again. I've lived in St. Paul for 20 years, and have often ventured across the river. But I feel like I know Minneapolis far better now, having cruised it on my bike. Would you believe I found riding in Friday night downtown Minneapolis traffic to be exhilirating? I went from 25th and Nicollet to Bunkers at 7th and Washington, then back to Fringe Central. And parking was just a lamppost away, every time.
Saw the opening of The Angel and the Tower at the Ice House. Good show -- I think. The seating was folding chairs on a flat floor in a very tall room. I enjoyed the aerial work a lot, but the floor work was lost on everyone behind the third row -- you could only see arms (or feet) waving and the occasional burst of flame. The music was good -- I closed my eyes and listened to that. A surprisingly delightful bit of choreography came from the third row of the audience. A woman was craning her head left and right, watching the action on the floor. In perfect synchrony, the man next to her would lift his head to the left, then slowly, with several short, sharp nods, let it sink to his chest lower right. Again! 5,6,7,8... This venue needs bleachers!
Then I took a Fringe break to listen to and visit with my sax teacher Jeff King, wailin' at Bunkers. Heard a terrific rendition of Tied to the Whipping Post, with Jeff adding a marvelous dimension on tenor and baritone sax. We're going to start lessons up again in the fall!
Back to Fringe Central and a front row seat for 10 Foot 5 doing tap and percussion from their show Buckets and Tap Shoes. Front row, so I could marvel at their amazing footwork. This was followed by some jammin', accompanied by the multi-talented Allegra Lingo on saxes! Then the audience joined the fray and began dancing. I left after 12:30, and they were still going strong.
Twenty-five shows down, and, with luck, eleven to go! Some music I'm looking forward to: John and Jen,; Sonata Blue (with classical and blues harp -- read: harmonica!); Middle Age, the Musical; Knock!; Jaws: The Musical!; and Vision's Tale, with a hip-hop score!
Speaking of hip-hop, you should have been at Fringe Central Thursday, and heard Chicago's Malcolm Palmer, from Please Come Up, rail and wail with his home-brewed testifyin', which he framed, accompanied, and enhanced with sweet, spare guitar licks. Burn me a CD, man! Check out his buddy Narcisso Lobo (Please Don't Eat the Dogs, Please Come Up) at Fringe Central tonight, doing different but equally compelling emotional, autobiographical testifying.
Later, dudes!
Like HAL, I'm slowing down and my memory is going. But my bicycle built for town (a 1984 BMX Mongoose -- one of the first "mountain" bikes) is working wonders, getting me across town and back again. I've lived in St. Paul for 20 years, and have often ventured across the river. But I feel like I know Minneapolis far better now, having cruised it on my bike. Would you believe I found riding in Friday night downtown Minneapolis traffic to be exhilirating? I went from 25th and Nicollet to Bunkers at 7th and Washington, then back to Fringe Central. And parking was just a lamppost away, every time.
Saw the opening of The Angel and the Tower at the Ice House. Good show -- I think. The seating was folding chairs on a flat floor in a very tall room. I enjoyed the aerial work a lot, but the floor work was lost on everyone behind the third row -- you could only see arms (or feet) waving and the occasional burst of flame. The music was good -- I closed my eyes and listened to that. A surprisingly delightful bit of choreography came from the third row of the audience. A woman was craning her head left and right, watching the action on the floor. In perfect synchrony, the man next to her would lift his head to the left, then slowly, with several short, sharp nods, let it sink to his chest lower right. Again! 5,6,7,8... This venue needs bleachers!
Then I took a Fringe break to listen to and visit with my sax teacher Jeff King, wailin' at Bunkers. Heard a terrific rendition of Tied to the Whipping Post, with Jeff adding a marvelous dimension on tenor and baritone sax. We're going to start lessons up again in the fall!
Back to Fringe Central and a front row seat for 10 Foot 5 doing tap and percussion from their show Buckets and Tap Shoes. Front row, so I could marvel at their amazing footwork. This was followed by some jammin', accompanied by the multi-talented Allegra Lingo on saxes! Then the audience joined the fray and began dancing. I left after 12:30, and they were still going strong.
Twenty-five shows down, and, with luck, eleven to go! Some music I'm looking forward to: John and Jen,; Sonata Blue (with classical and blues harp -- read: harmonica!); Middle Age, the Musical; Knock!; Jaws: The Musical!; and Vision's Tale, with a hip-hop score!
Speaking of hip-hop, you should have been at Fringe Central Thursday, and heard Chicago's Malcolm Palmer, from Please Come Up, rail and wail with his home-brewed testifyin', which he framed, accompanied, and enhanced with sweet, spare guitar licks. Burn me a CD, man! Check out his buddy Narcisso Lobo (Please Don't Eat the Dogs, Please Come Up) at Fringe Central tonight, doing different but equally compelling emotional, autobiographical testifying.
Later, dudes!
Friday, August 13, 2004
Move it or lose it!
Gotta make this fast. Want to see a popular show at 5:30: Knock!
Wish I had a William Gibson-esque chip in my head, so I could just "jack in" to the 'Net and up(down?)load my thoughts (some of them).
FANTASTIC human percussion: BE SURE to see both Buckets and Tap Shoes and Splotches of Spain. Outstanding street tap and funky, funky music in the former, fascinating flamenco mixed with fluent Spanish guitar, marvelous jazz, and very cool beat poetry in the latter. Great rendition of Ginsberg's "Howl". (I also like the Johns version from They Might Be Giants.)
I want to see the tap and flamenco folks (from these shows, and Escape, Dance Like No One is Looking, and Dona Quixote) get together, show each other some moves, have some cutting contests, and cut up a rug!
Crazy, Fringey, fascinating story, music, acting and physical theater: Before Dark.
Fantastic, moving drama about a Yank "fil-um" production taking over (and steamrolling over) a small Irish town, with outstanding seamless performances of tens of roles by two very talented actors: Stones in His Pockets.
GO GO GO!
Wish I had a William Gibson-esque chip in my head, so I could just "jack in" to the 'Net and up(down?)load my thoughts (some of them).
FANTASTIC human percussion: BE SURE to see both Buckets and Tap Shoes and Splotches of Spain. Outstanding street tap and funky, funky music in the former, fascinating flamenco mixed with fluent Spanish guitar, marvelous jazz, and very cool beat poetry in the latter. Great rendition of Ginsberg's "Howl". (I also like the Johns version from They Might Be Giants.)
I want to see the tap and flamenco folks (from these shows, and Escape, Dance Like No One is Looking, and Dona Quixote) get together, show each other some moves, have some cutting contests, and cut up a rug!
Crazy, Fringey, fascinating story, music, acting and physical theater: Before Dark.
Fantastic, moving drama about a Yank "fil-um" production taking over (and steamrolling over) a small Irish town, with outstanding seamless performances of tens of roles by two very talented actors: Stones in His Pockets.
GO GO GO!
Thursday, August 12, 2004
Music is the River of the World
...That's my tagline at another Web site where I blog about music: Low_Reed Riffs on Music.
(Thanks for the HTML tip, Blogger Buddy Caitlin!)
It's a variation on a Tom Waits song title: Misery is the River of the World, from his Blood Money album. I love Tom Waits, in general. I love this album, in particular, for two reasons:
1) "It's Waits' treatment of Georg Buchner's 1837 socio-political play, Woyzek which premiered in 2000 in Copenhagen. It's a dark morality play performed in a style where a barker from a medicine show is mysteriously transported to the Weimar Republic via Tin Pan Alley." (Quoted from Amazon.com's album description, italics mine.) Weimar Republic? Tin Pan Alley? Check it out, Bremner Duthie (Whiskey Bars) and other Kurt Weill lovers. (You know, it occurs to me that Tom Waits is the quintessential life-long Fringe performer! Does anyone have any hot tips on how to get the lowdown on his concert appearances? I hear it's really hush-hush. Write to me -- click on Wanna talk? here, or in the description below my picture. )
2) FOUR of the songs on this album have bass clarinet in the instrumentation! How could I not love it?
Speaking of things musical (how did I get on that topic? :>), I saw Dona Quixote yesterday. The music and dancing were wonderful! I've seen this troupe perform before. Really good stuff. It started kind of slowly, with a back story about being stuck in a Minnesota winter, but once they were transported to Spain and began to dance and play (and sing -- check out the amazing Maria Elena 'La Cordobesa' ) in earnest, it was great!
Recollect the Snow was next - a gripping portrayal of a man clutched in the dual grips of hypothermia and memories. Jane's comment this morning: "That show made me thankful that you're not a Minnesota man!" ( OK, I'm a zealous 20-year immigrant who loves it here -- but I don't fish!). Very well done.
Next I heard a delightful set of stories by five local authors at Agog!, part of the Spoken Word Fringe at MCTC Whitney Studio. Funny, moving, and very entertaining.
And speaking of Ochen K., who did the soundtrack for Agog!, I am now listening to David Byrne's "Grown Backwards", whose music was featured in Everything and Nothing All at the Same Time, which I saw on Monday and then blogged about. I had seen a preview for this show at Ball's Cabaret last Saturday night, and asked Ochen (who is the tech director there) about that album. He said I should really check out the tune "Tiny Apocalypse", which he loved. Well, Ochen, I just heard it, and it was instantly familiar and wonderful. Have I perhaps heard you play that song before?
And speaking of Jon and Blythe and the gang at Everything and Nothing..., I just found out that Blythe knows Jeff King, an outstanding local sax player and teacher. I've been taking lessons from him on and off for five years, and really like his music. He's having a fairly rare public gig at Bunker's (716 N. Washington, Mpls.) this Friday evening, with the Kurt Jorgensen band, playing "a mix of original pop music with some cool covers". So I've invited aliens #1-5 (and the Big Guy) to come hear Jeff with me tomorrow night (after Fringing, of course!). [Jon Ferguson -- if you read this, be sure to ask Blythe to check her Walker e-mail!]
I'm about to stop speaking and start listening and watching: my schedule today includes Mary Kelly Sunshine Box (surreal), Buckets and Tap Shoes (high energy dance and music), Before Dark (cello, off-kilter dance, and more), and Splotches of Spain (flamenco dance and music, seasoned with Miles, Coltrane, and beat poetry!). See you around!
(Thanks for the HTML tip, Blogger Buddy Caitlin!)
It's a variation on a Tom Waits song title: Misery is the River of the World, from his Blood Money album. I love Tom Waits, in general. I love this album, in particular, for two reasons:
1) "It's Waits' treatment of Georg Buchner's 1837 socio-political play, Woyzek which premiered in 2000 in Copenhagen. It's a dark morality play performed in a style where a barker from a medicine show is mysteriously transported to the Weimar Republic via Tin Pan Alley." (Quoted from Amazon.com's album description, italics mine.) Weimar Republic? Tin Pan Alley? Check it out, Bremner Duthie (Whiskey Bars) and other Kurt Weill lovers. (You know, it occurs to me that Tom Waits is the quintessential life-long Fringe performer! Does anyone have any hot tips on how to get the lowdown on his concert appearances? I hear it's really hush-hush. Write to me -- click on Wanna talk? here, or in the description below my picture. )
2) FOUR of the songs on this album have bass clarinet in the instrumentation! How could I not love it?
Speaking of things musical (how did I get on that topic? :>), I saw Dona Quixote yesterday. The music and dancing were wonderful! I've seen this troupe perform before. Really good stuff. It started kind of slowly, with a back story about being stuck in a Minnesota winter, but once they were transported to Spain and began to dance and play (and sing -- check out the amazing Maria Elena 'La Cordobesa' ) in earnest, it was great!
Recollect the Snow was next - a gripping portrayal of a man clutched in the dual grips of hypothermia and memories. Jane's comment this morning: "That show made me thankful that you're not a Minnesota man!" ( OK, I'm a zealous 20-year immigrant who loves it here -- but I don't fish!). Very well done.
Next I heard a delightful set of stories by five local authors at Agog!, part of the Spoken Word Fringe at MCTC Whitney Studio. Funny, moving, and very entertaining.
And speaking of Ochen K., who did the soundtrack for Agog!, I am now listening to David Byrne's "Grown Backwards", whose music was featured in Everything and Nothing All at the Same Time, which I saw on Monday and then blogged about. I had seen a preview for this show at Ball's Cabaret last Saturday night, and asked Ochen (who is the tech director there) about that album. He said I should really check out the tune "Tiny Apocalypse", which he loved. Well, Ochen, I just heard it, and it was instantly familiar and wonderful. Have I perhaps heard you play that song before?
And speaking of Jon and Blythe and the gang at Everything and Nothing..., I just found out that Blythe knows Jeff King, an outstanding local sax player and teacher. I've been taking lessons from him on and off for five years, and really like his music. He's having a fairly rare public gig at Bunker's (716 N. Washington, Mpls.) this Friday evening, with the Kurt Jorgensen band, playing "a mix of original pop music with some cool covers". So I've invited aliens #1-5 (and the Big Guy) to come hear Jeff with me tomorrow night (after Fringing, of course!). [Jon Ferguson -- if you read this, be sure to ask Blythe to check her Walker e-mail!]
I'm about to stop speaking and start listening and watching: my schedule today includes Mary Kelly Sunshine Box (surreal), Buckets and Tap Shoes (high energy dance and music), Before Dark (cello, off-kilter dance, and more), and Splotches of Spain (flamenco dance and music, seasoned with Miles, Coltrane, and beat poetry!). See you around!
Tuesday, August 10, 2004
"Clarinets and Accessories"
You got it in one, pal!
Bloggers Kate Hoff and Chris Kidder have both commented on the Blog*Spot banner ads that appear at the tops of their blogs. I hadn't noticed mine until this morning, when the above peeked out at me. *Spot on! I consider myself an essential (bass) clarinet accessory -- where would my horn be without its bellows? And where would I be without its seductive low murmerings in my ear?
Had a highly enjoyable Monday night at the Fringe. At the BLB, I huddled around the fire, entranced by its flickerings and the deft use of language, gesture, and expression by Todd Conner as he regaled us with tales from Ovid's Metamorphoses. I had some trepidation that, not being steeped in the classics, these tales might be over my head. Howver, Todd brought to life legends and goddesses and gods with whom I had previously had only a passing acquaintance. He periodically plucked a lyre and sang melodies that were in keeping with his tales. But his best instrument is his spellbinding, tale-weaving speaking voice. If you were enchanted by Charlie Bethel's "Beowulf" in 2002 or 2003, or if you just love language and storytelling, go immerse yourself in Todd's and Ovid's stories!
Next, I went to Fringe Central and enjoyed several good conversations and some good music, provided by Ochen K. Fringe Central is a great concept -- it's delightful to talk Fringe shop with friends and strangers.
Capped off the evening with a delightful visit with a pod of brothers and sisters from another planet: Jon Ferguson channeled David Byrne's offbeat sensibilities in Everything and Nothing All at the Same Time, and provided us with some of Byrne's latest music as well. As we left the theater, Jane mused that, though she couldn't pin down the concept of "fringe", she was sure that this was the Fringiest show she had seen so far -- something that you just won't see in other theater venues. She delighted in the cast's frequent forays through the fourth wall, as I did. Go learn something about the uniqueness of the human condition, as inquisitive aliens try to figure out what our emotions are all about.
I had been intrigued by an earlier Fringe preview of "Everything and Nothing", where I learned that Jon had flown over from England and recruited a local cast for this play. Then I had a chance encounter with one of the cast members yesterday, after a play at another venue. Blythe was initally completely puzzled (behaving much like her alien character!) by my out-of-context query: "Have you discovered any emotions yet?" Then she told me that, shortly after Jon's arrival, they had seen David Byrne perform at the Walker's Rock the Garden, which provided inspiration for their play. This spirit of adventure and improvisation was carried right up through showtime, as they had audience members write out definitions of several emotions, which they used during the performance. I highly recommend this piece -- it's funny and immediate and offbeat and thought-provoking: Pure Fringe.
Oh, I almost forgot to metion another music tie-in: In an earlier blog, I had mentioned Devil's Tower and mashed potato sculptures. Well, "Everything and Nothing" brought me another close encounter of the Fringe kind, as one of the characters picked up a brass euphonium (an instrument that looks like a small tuba) and played the 5-note communication ice-breaker from the mother ship. I laughed aloud -- what a hoot!
Bloggers Kate Hoff and Chris Kidder have both commented on the Blog*Spot banner ads that appear at the tops of their blogs. I hadn't noticed mine until this morning, when the above peeked out at me. *Spot on! I consider myself an essential (bass) clarinet accessory -- where would my horn be without its bellows? And where would I be without its seductive low murmerings in my ear?
Had a highly enjoyable Monday night at the Fringe. At the BLB, I huddled around the fire, entranced by its flickerings and the deft use of language, gesture, and expression by Todd Conner as he regaled us with tales from Ovid's Metamorphoses. I had some trepidation that, not being steeped in the classics, these tales might be over my head. Howver, Todd brought to life legends and goddesses and gods with whom I had previously had only a passing acquaintance. He periodically plucked a lyre and sang melodies that were in keeping with his tales. But his best instrument is his spellbinding, tale-weaving speaking voice. If you were enchanted by Charlie Bethel's "Beowulf" in 2002 or 2003, or if you just love language and storytelling, go immerse yourself in Todd's and Ovid's stories!
Next, I went to Fringe Central and enjoyed several good conversations and some good music, provided by Ochen K. Fringe Central is a great concept -- it's delightful to talk Fringe shop with friends and strangers.
Capped off the evening with a delightful visit with a pod of brothers and sisters from another planet: Jon Ferguson channeled David Byrne's offbeat sensibilities in Everything and Nothing All at the Same Time, and provided us with some of Byrne's latest music as well. As we left the theater, Jane mused that, though she couldn't pin down the concept of "fringe", she was sure that this was the Fringiest show she had seen so far -- something that you just won't see in other theater venues. She delighted in the cast's frequent forays through the fourth wall, as I did. Go learn something about the uniqueness of the human condition, as inquisitive aliens try to figure out what our emotions are all about.
I had been intrigued by an earlier Fringe preview of "Everything and Nothing", where I learned that Jon had flown over from England and recruited a local cast for this play. Then I had a chance encounter with one of the cast members yesterday, after a play at another venue. Blythe was initally completely puzzled (behaving much like her alien character!) by my out-of-context query: "Have you discovered any emotions yet?" Then she told me that, shortly after Jon's arrival, they had seen David Byrne perform at the Walker's Rock the Garden, which provided inspiration for their play. This spirit of adventure and improvisation was carried right up through showtime, as they had audience members write out definitions of several emotions, which they used during the performance. I highly recommend this piece -- it's funny and immediate and offbeat and thought-provoking: Pure Fringe.
Oh, I almost forgot to metion another music tie-in: In an earlier blog, I had mentioned Devil's Tower and mashed potato sculptures. Well, "Everything and Nothing" brought me another close encounter of the Fringe kind, as one of the characters picked up a brass euphonium (an instrument that looks like a small tuba) and played the 5-note communication ice-breaker from the mother ship. I laughed aloud -- what a hoot!
Sunday, August 08, 2004
I'm So Glad, I'm So Glad
I'm glad, I'm glad, I'm glad...
I'm sitting outside Calibanco Theater (entrance on Garfield!), with a half-hour before showtime. Ticket in pocket, pen and notebook in hand: I'm going to try some virtual blogging this afternoon. Tonight I'll transfer it from this ephemeral hard copy to the permanence of the Web. :>) I hope I can read my own writing!
This day didn't start out so damn glad: I woke up too late (after a late, great night at Leslie Ball's Cabaret's Out-of-Towners' Fringe Showcase). (How's that for possessive?) Agonized over my obligation to dash off a blog, then decided that writing, for me, is a labor of love, not an obligation. I need to write when I'm moved to write, as I am now.
Temporarily mollified, I sat down to read the paper for a bit, then realized it was noon in St. Paul, and I had a date with a must-see show in Minneapolis. Shit!... Shit, shower, and shave, and run out the door. Let's see -- I wanna go from A to B to C to D (out, out, damn Left Brain!), and my bike would really help. Throw the bike in the back of the car. Where's the cable lock, damn it! Did I leave it in Jane's car? But she and her car are already at another show. OK. Just drive. Leave the bike in the car; deal with it later. Just as I approached the I-94 on-ramp, I checked my purs... Shit, and double shit -- I left my Man Purse at home, complete with wallet and Fringe pass. There's no WAY I'm gonna make the 1:00 show now. You bloomin' IDJIT!
... It's now Sunday evening, and I'm doing some REAL blogging from home. Just typed in the above, and left it pretty much alone, but Bowdlerized the last expression. But to continue: Even as I was writing this this afternoon, I realized that it was a good thing that I had forgotten my purse. When I went back to get it, I immediately found my bike lock cable. Then I got back in the car and realized that there would be more opportunities to see that 1PM show, and that I had a leisurely hour and a half to get to the 2:30 show. Halfway down Hiawatha, "I'm So Glad", by Cream, worked its way into my head, and eventually into this blog. Drove to a central location, parked, got out my bike and had a pleasant and leisurely ride to the 2:30 show. Go with the flow!
Saw an OUTSTANDING hour of multi-character storytelling done by two young women from out of town. The show was called "The Superbowl and Other Stories". I had seen a segment of it at the BLB Fringe preview. Donna, the author of three very different, very well-written short stories, brought them beautifully to life with the help of her friend Jo. They changed, even traded characters effortlessly during the telling, even moving from 1st person narrative to first person in-the-moment, in mid-sentence. They were just mesmerising. Go see it!
Yesterday I saw a WONDERFUL show at Pillsbury House -- "Please Don't Eat the Dogs" -- a solo, autobiographical show by Narcisso Lobo from Chicago. It was the story of his growing up, learning a love of music from his father, suffering through troubles, depression, and a not-very-meaningful job, and coming back to find himself as a musician and actor. EXTREMELY beautiful and heart-felt lyrics in several self-penned songs he sang and played on acoustic guitar, and an abiding love of family. Go!
Ari Hoptman was great in "Delaware and Other Lies". See his show, then re-read his self-penned capsule description. Ari in a nutshell!
Other shows I've seen and recommend:
"Mouth" -- warm, insightful, improvisational. Conversational jazz, good intro music, and tasty treats!
"Does This Monologue Make Me Look Fat?" -- beautifully done, with a great eye for detail. Funny, fascinating, and poignant.
"Escape, Dance Like No One is Looking" -- inspiring dance, from ASL-as-dance through tap and hip-hop.
"Tasteless..." -- riveting, emotional, raw modern dance.
"The Van Gogh Exhibit" -- blogger Matt F. as a fetching pin-up boy. Hilarious interplay between two brothers.
Others I've seen previews of and am looking forward to:
"Before Dark"
"Agog"
"Vision's Tale"
"Ludiker"
"Axis Mundi"
"Metamorphoses"
"Everything and Nothing All at the Same Time" -- inspired (and accompanied by!) the new music of David Byrne!
And finally, my musical high for today: "Whiskey Bars" -- The music of Kurt Weill, magnificently delivered by the deep, rich, raw, plaintive voice of Bremner Duthie, who, with his whole being, channels a washed-up cabaret singer. And he has a CD, too! Terrific singing and acting, both. And the final clinchers: A full and powerful rendition of "Mac the Knife", sung like Bobby Darin never imagined, and a brief yet provocative foray into "Alabama Song", which I first learned to love as rendered, bleakly and powerfully, by Jim Morrison and the Doors. (Omaha boys -- I said, don't be dissin' the Doors!)
I'm sitting outside Calibanco Theater (entrance on Garfield!), with a half-hour before showtime. Ticket in pocket, pen and notebook in hand: I'm going to try some virtual blogging this afternoon. Tonight I'll transfer it from this ephemeral hard copy to the permanence of the Web. :>) I hope I can read my own writing!
This day didn't start out so damn glad: I woke up too late (after a late, great night at Leslie Ball's Cabaret's Out-of-Towners' Fringe Showcase). (How's that for possessive?) Agonized over my obligation to dash off a blog, then decided that writing, for me, is a labor of love, not an obligation. I need to write when I'm moved to write, as I am now.
Temporarily mollified, I sat down to read the paper for a bit, then realized it was noon in St. Paul, and I had a date with a must-see show in Minneapolis. Shit!... Shit, shower, and shave, and run out the door. Let's see -- I wanna go from A to B to C to D (out, out, damn Left Brain!), and my bike would really help. Throw the bike in the back of the car. Where's the cable lock, damn it! Did I leave it in Jane's car? But she and her car are already at another show. OK. Just drive. Leave the bike in the car; deal with it later. Just as I approached the I-94 on-ramp, I checked my purs... Shit, and double shit -- I left my Man Purse at home, complete with wallet and Fringe pass. There's no WAY I'm gonna make the 1:00 show now. You bloomin' IDJIT!
... It's now Sunday evening, and I'm doing some REAL blogging from home. Just typed in the above, and left it pretty much alone, but Bowdlerized the last expression. But to continue: Even as I was writing this this afternoon, I realized that it was a good thing that I had forgotten my purse. When I went back to get it, I immediately found my bike lock cable. Then I got back in the car and realized that there would be more opportunities to see that 1PM show, and that I had a leisurely hour and a half to get to the 2:30 show. Halfway down Hiawatha, "I'm So Glad", by Cream, worked its way into my head, and eventually into this blog. Drove to a central location, parked, got out my bike and had a pleasant and leisurely ride to the 2:30 show. Go with the flow!
Saw an OUTSTANDING hour of multi-character storytelling done by two young women from out of town. The show was called "The Superbowl and Other Stories". I had seen a segment of it at the BLB Fringe preview. Donna, the author of three very different, very well-written short stories, brought them beautifully to life with the help of her friend Jo. They changed, even traded characters effortlessly during the telling, even moving from 1st person narrative to first person in-the-moment, in mid-sentence. They were just mesmerising. Go see it!
Yesterday I saw a WONDERFUL show at Pillsbury House -- "Please Don't Eat the Dogs" -- a solo, autobiographical show by Narcisso Lobo from Chicago. It was the story of his growing up, learning a love of music from his father, suffering through troubles, depression, and a not-very-meaningful job, and coming back to find himself as a musician and actor. EXTREMELY beautiful and heart-felt lyrics in several self-penned songs he sang and played on acoustic guitar, and an abiding love of family. Go!
Ari Hoptman was great in "Delaware and Other Lies". See his show, then re-read his self-penned capsule description. Ari in a nutshell!
Other shows I've seen and recommend:
"Mouth" -- warm, insightful, improvisational. Conversational jazz, good intro music, and tasty treats!
"Does This Monologue Make Me Look Fat?" -- beautifully done, with a great eye for detail. Funny, fascinating, and poignant.
"Escape, Dance Like No One is Looking" -- inspiring dance, from ASL-as-dance through tap and hip-hop.
"Tasteless..." -- riveting, emotional, raw modern dance.
"The Van Gogh Exhibit" -- blogger Matt F. as a fetching pin-up boy. Hilarious interplay between two brothers.
Others I've seen previews of and am looking forward to:
"Before Dark"
"Agog"
"Vision's Tale"
"Ludiker"
"Axis Mundi"
"Metamorphoses"
"Everything and Nothing All at the Same Time" -- inspired (and accompanied by!) the new music of David Byrne!
And finally, my musical high for today: "Whiskey Bars" -- The music of Kurt Weill, magnificently delivered by the deep, rich, raw, plaintive voice of Bremner Duthie, who, with his whole being, channels a washed-up cabaret singer. And he has a CD, too! Terrific singing and acting, both. And the final clinchers: A full and powerful rendition of "Mac the Knife", sung like Bobby Darin never imagined, and a brief yet provocative foray into "Alabama Song", which I first learned to love as rendered, bleakly and powerfully, by Jim Morrison and the Doors. (Omaha boys -- I said, don't be dissin' the Doors!)
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