Wake up to Reveillons

THEATER REVIEW/ENTERTAINMENT

SUNDAY NEWS, LANCASTER, PA.

SEPTEMBER 14, 2008

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This ‘Streetcar’ stops in darkness

BY MARTY CRISP

Sunday News Correspondent

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ew Orleans doesn’t run a streetcar down Desire Street anymore. It runs a bus — just another example of how we’re losing our sense of romance.

A Bus Named Desire simply doesn’t have the iconic ring of “A Streetcar Named Desire,� the new production from Ephrata Performing Arts Center.

The Pulitzer Prize winning, circa-1947 drama from legendary American playwright Tennessee Williams is directed by EPAC’s own legendary Artistic Director Ed Fernandez.

The 12-member cast spends three hours (not counting intermission) in a nondescript flat with a stylized background of wrought iron fence and hanging moss. It’s a place on Elysian Fields Avenue in the working class Faubourg Marigny section of N’awlins, not too far from the jazz-hot French Quarter.

And there’s hotness on stage thanks to an often shirtless Tim Reilly as the crude but smoldering Stanley Kowalski (a young Marlon Brando defined the role on Broadway and in the 1951 film version). It’s one of the most difficult roles in our theatrical lexicon, because the character is so unremittingly brutal.

Pre-Hurricane Katrina, Stanley Kowalski was caricatured annually in a spring New Orleans tradition that saw competitors ripping off their undershirts and yelling “Stel-l-la!�

But Stanley can’t be a caricature for this play to work. “Streetcar� hinges on making this wife-beating rapist in some small way both hurt and human. For all his talent, Reilly has not found a way to bring a spark of sympathy to his Stanley.

Perhaps Kristie Ohlinger as Blanche Du-

Bois, the simpering Southern Belle pretending to be a “Lady� with a capital L, has stolen every available drop of sympathy as she desperately clings to her genteel dreams. She’s lost the family plantation, Belle Reve; she’s lost her job as a high school English teacher (because she fooled around with a 17-year-old student, something that practically sounds “ripped from the headlines� today); she’s lost her true love (whom she discovered to be gay and suicidal); and she’s clearly lost her selfrespect. Ohlinger plays Blanche with a fierce power that refuses to whine or simper.

She is well matched by Kevin Ditzler as Harold Mitchell, Stanley’s unlikely friend who falls for Blanche — and represents her last hope — before Stanley crushes both friend and sister-in-law with his cruel (but true) gossip. Ditzler’s anger and helplessness in the face of despair are palpable.

Elizabeth Frank does well with the thankless role of Stella Kowalski, a one-time aristocrat embracing her inner commoner.

Trying to hold her life together, she puts up with both Stanley and Blanche, never seeming very concerned with her own dignity — a dignity that isn’t helped in Act II when her costume’s pregnancy belly seems large enough for triplets. “Death is the opposite of desire,� Blanche tells us. And “Streetcar� is the opposite of fluff. Despite some early laughs, this is a dark, deep-thinker of a piece in a thought-provoking production for all lovers of classics.

THEATER REVIEW

One-hit wonders live on, and on, and on...

BY RICHARD LEIBY The Washington Post

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arning: The next sounds you hear may hijack your brain. “In the year 2525, if man is still alive.� “Here’s a little song I wrote, you might want to sing it note for note.� “We are the world, we are the children.�

Heard enough?

We haven’t!

Please enjoy the music while your party is reached: “Dominique, nique, nique/ S’en allait tout simplement ...� ... followed by more indecipherable French sung by a high, trilling voice that drills like a demonic woodpecker lodged in your ear canal, its beak jackhammering incessantly toward your medulla oblongata ...

The Singing Nun! A classic brain-invader.

Dominique, nique, nique ...

MAKE IT STOP! Actually, today we pause not to scorn these songs, but to toast them. Because, according to Billboard magazine, which is in the thick of a 50thanniversary celebration of its Hot 100 chart, these songs are among only a dozen that claim a distinction unparalleled in the annals of musical achievement. They are, by Billboard’s determination, the ultimate one-hit wonders. Or more accurately, those who performed them are the title-holders in a rarefied category: They hit No. 1 in their first chart appearance, enjoyed fame and fortune, then never cracked the Hot 100 again.

Some faded into obscurity and live modestly on their royalties. Some still enjoy renown and remain vital artists.

There are some sad stories. The Belgian nun? Alas, Jeanine Deckers, or Sister Smile, as she was sometimes known, forsook her vows, descended into penury and committed suicide in 1985 in a pact with her lesbian lover. And Soulja Slim, a rapper on the list, was killed in 2003 — shot in front of his home near New Orleans even before his song peaked at No. 1.

But before we plumb other odd tales of One Hit Wonderdom, let’s get the Billboard list out of the way, in chronological order, with dates the songs peaked: The granddaddy is a doowop number by the Elegants, “Little Star,� Aug. 25, 1958; then comes “Dominique,�

Dec. 7, 1963; Zager & Evans’ weird sci-fi excursion, “In the Year 2525,� July 12, 1969; M’s electro-yet-retro “Pop Muzik,�

Nov. 3, 1979; USA for Africa, “We Are the World,� April 13, 1985; Jan Hammer’s synthmad “Miami Vice Theme,�

Nov. 9, 1985; Bobby McFerrin’s a cappella “Don’t Worry, Be Happy,� Sept. 24, 1988; Sheriff’s love song “When I’m

serious-cool way at a Berlin disco if you squeezed your eyes shut and ignored the prom-night streamers. “Seasons in the Sun,� “Who Let the Dogs Out?�: Squintyeyed hangover music straight from hell’s own jukebox.

But wait! There’s more: “Pass the dutchie on the left-hand side.� “It’s raining men, hallelujah.� “You can ring my bell.�

How do musicians follow a monster song that will end up in the first sentence of their obituaries?

Maybe they make more.

Maybe they give up and make peace with their career apogee. In literature, Harper Lee never followed up “To Kill a Mockingbird.�

Robin Scott, the musician behind the peppy “Pop Muzik� — signature line, “New York, London, Paris, Munich, everyone’s talkin’ ‘bout pop muzik!� — offers a reflective assessment over the phone from his home south of London. “It’s a With You,� Feb. 4, 1989; the commercial success that has Heights’ love song, “How Do somehow eclipsed everything You Talk to an Angel,� Nov. 14, else that I’ve been doing,� he 1992; Crazy Town, “Butterfly,� says By his count, the song March 24, 2001; Soulja Slim, reached No. 1 in 14 countries. “Slow Motion,� Aug. 7, 2004; As the copyright holder, Daniel Powter, “Bad Day,�

Scott, 61, notes, “I did quite April 8, 2006. well out of it. ... It still generAdmittedly, we’ve had little ates income, which is great, exposure to the last half-dozen and it makes it possible for me except for “Bad Day,� which to explore other areas musigrew massive as the drumcally.� ming-off music on “American He’s also an artist and Idol� and is probably destined a glider pilot, and recently to be featured in dandruff bought a place in France shampoo and mouthwash com- where he is building a recordmercials forever. ing studio. Yet for him the song “Wooly bully, wooly bully, remains “a two-edged sword: wooly bully.�

People want to see a formula “Does that make me crazy? played out again and again, Maybe I’m crazy.� and that wasn’t my interest.� “Hey, Macarena!�

Same dilemma for GreenWe hear you asking: baum, now 65 and retired in Where are the other hits that Northern California. “Spirit in you, personally, remember the Sky� hit No. 1 in “practical— the songs that still glow like ly every country in the world,� embers on the banked fires of Greenbaum says proudly, but memory? its legacy is bittersweet.

Like, what about Norman “That song was so powerful Greenbaum’s “Spirit in the it became evident it was the Sky,â€? with its Jesus freak ethos only thing I could ever do,â€? he and honking fuzzy-reverb says. “At clubs we’d play that hook? How can that not be a song for over a half-hour. And one-hit wonder? then they’d want an encore of Or “Der Kommissarâ€? from the same song!â€? ď Ž 1982, which made you think you were dancing in a very

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‘Wake Up!’ to RĂŠveillons! plays accordion. The family “It is a mix of French and parties are still very tradition- Irish way of marking the al, mixing songs and dances all rhythm. It was very important evening long.â€? in the music, because in dance hen the Canadian The band’s second album evenings there were only one province of Quebec was fiddler for all the dancers. To founded 400 years ago, will be released in Montreal dance on the beat correctly, it gradually developed a this October.

RĂŠveillons! meaning, “wake the fiddler had to tap his feet so distinctive blend of European upâ€? in French, speaks to the that the people in the back who cultures. French customs intermixed with those of Scot- group’s mission to raise aware- did not hear the fiddle, heard tish and Irish settlers and soon, ness for the sounds of French- at least the feet marking the Canadian heritage. However, rhythm. In many cases, they the new province had its very Maziade said they also aim to had to put the fiddler chair on a own repertoire of song and keep their music fluid, steering table so that the feet were loud dance that filled the kitchens clear of any single time period enough for the dancers.â€? and dance halls with energy. and incorporating modern day The group hopes the audiNow, that same dynamism influences into their songs. ence will be up on its feet, too. is displayed on stage to audi“It’s a play on words,â€? said “The communities were ences throughout Canada and mostly isolated from each oththe United States. Through its Maziade, about the group’s name. “In Canada, it also er,â€? said Maziade, regarding interpretation of traditional means New Year’s Eve parties Quebec’s founding. “It meant French-Canadian folk song for French-Canadians. Tradithat some of the melodies got and dance, RĂŠveillons!, a four-man band from Montreal, tional music is a lot associated crooked. There’s so many with holidays and family parversions when you don’t share is on a mission to awaken the them in day-to-day life.â€? musical memories of Quebec’s ties in Quebec. But it’s world music everywhere else.â€?

Maziade said although this rich past.

For David and Jean-Franseparation gave birth to tra“If we’d have one thing to çois Berthiaume, the group ditional Quebecois music, it’s say to people about Quebec, is a throwback to childhood also a driving reason for the it’s ‘come and dance with us, and then you’ll know what you traditions. David plays the jaw group’s desire to keep it alive. harp and concertina, while “Some people don’t know need to know,â€? said guitarist Jean-François champions French-Canadian culture.â€?

Marc Maziade. percussion, dance calling and Local audiences can take step dancing.

Maziade up on his invitation.

Performance time Sept. 20 Besides the bodhrĂĄn, an is 7:30 p.m. at Stage Two of the The group will perform SaturWhitaker Center, Third and Irish frame drum, Jeanday, Sept. 20 at the Whitaker Market streets, Harrisburg.

François excels with perhaps Center, as presented by the Contact the Whitaker Center at the most famous Quebecois Susquehanna Folk Music Sowww.whitaker.org or call 214instrument — his feet, using ciety. A second show Sunday, 2787. Performance time Sept. them to tap along to the gloriSept. 21, is also planned at 21 at Lehr Room, Gordinier ous harmonies of the songs.

Millersville University.

Hall, Millersville University, is “The feet are ‌ the most Incorporating reels, jigs 7 p.m. Call 872-3663 or log on to distinctive instrument in and dances into its perforwww.millersville.edu/calendar/ traditional French-Canadian events. For more information on mances, the group creates a RĂŠveillons, visit www.reveillons. music,â€? explained brother multi-sensory experience for qc.ca.

David. its audiences.

Although part of the group’s mission always includes spreading awareness about Quebec’s unique history, Maziade said the music drives the lesson home. “It’s the energy people remember more,â€? he said. “When you see it, everyone is Sď?ľď?łď?Ąď?Ž Lď?Šď?Žď?¤ď?´, Iď?Žď?´ď?Ľď?Źď?Źď?Šď?§ď?Ľď?Žď?Łď?Ľď?˛ Jď?Żď?ľď?˛ď?Žď?Ąď?Ź electrified! It’s not a contemplation thing. It’s something you have to participate in, and I think it’s missing in some [other music].â€?

Music by Brothers David and JeanRichard Rodgers François Berthiaume founded Book & Lyrics by RĂŠveillons! in 1996, as a way of Oscar Hammerstein performing their family’s own Based on the Play stock of traditional melodies. “Green Grow the Lilacsâ€? by The band grew to include Lynn Riggs Maziade and fiddler Richard Forest. They released their Original Dances by first album, QuiquequoidonAgnes de Mille toĂš, in 2003.

Directed by “Jean-François and I were Michael D. Mitchell born in the traditional FrenchChoreographed by Canadian music in the sense Tyce Diorio that my family has kept her roots in the tradition,â€? David Sept. 4 – 28 Berthiaume said.

Season Co-Sponsors Production Co-Sponsors “My grandfather was a singer well-known for his large repertoire; he was also a fiddler that animated the TICKETS: (717)397-7425 dance evenings. My father himself is a good singer and he OR WWW.THEFULTON.ORG

BY KRISTY BULLER

Sunday News Correspondent

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Pictured: Nathaniel Shaw and Stephanie Youell.

Photo by Craig Leaper.

“A Streetcar Named Desire� runs through Sept. 20. Shows are Wed.-Sat. 8 p.m. and 2 p.m. Sept. 20. Ephrata Performing Arts Center, Tom Grater Memorial Park, Ephrata, 733-7966, or log on to www.ephrataperformingartscenter.com.

RĂŠveillons! will bring the sounds of their native Quebec to Harrisburg and Millersville.

12 N O R T H P R I N C E S T R E E T, D OW N TOW N L A N C A S T E R , P E N N S Y LVA N I A

LANCASTER SYMPHONYORCHESTRA STEPHEN GUNZENHAUSER MUSIC DIRECTOR

Only in Lancaster!

2008~2009

The Masters: Beethoven & Mozart Tickets $25 to $62 (717) 397-7425 or

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www.thefulton.org

October 3, 4 and 5, 2008 Opening Night Friday at 8 pm Saturday at 3 and 8 pm

Beethoven Symphony No. 7

Sunday at 7:30 pm

Mozart Symphony No. 32 Hubay Violin Concerto No. 3 Hagai Shaham, violin

Free Friday Post-Concert “Meet the Musicians� Reception!

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PROGRAMS AND PERFORMERS SUBJECT TO CHANGE. MR. SHAHAM PHOTO BY ARTO TULIMA. MAESTRO GUNZENHAUSER PHOTO COURTESY OF LORI STAHL PHOTOGRAPHY.

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