Sept. 28, 2017 Print Issue by Shepherd Express

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SEPTEMBER 28, 2017 | 5

::NEWS&VIEWS DAVE ZYLSTRA

FEATURES | POLLS | TAKING LIBERTIES | ISSUE OF THE WEEK

Construction of the new Bucks Arena

Building the Bucks Arena Milwaukee team scores high for wages and good corporate citizenship ::BY ELIZABETH ELVING he new home of the Milwaukee Bucks has already made its mark Downtown. The arcing roof of the 714,000-square-foot arena is now part of the city’s skyline, and the rest is quickly taking shape. Construction passed the halfway mark over the summer and is on track to wrap up before the start of the 2018-’19 season. The stadium is part of a 30-acre Bucks-owned development that will include a parking structure, multipurpose entertainment “live block” and the newly opened Froedtert & Medical College of Wisconsin Sports Science Center. As the centerpiece of this project, the arena is costing more than $500 million to build. Half of that is covered by current and former Bucks owners, the other half by taxpayers. Not everyone supports this funding model. When lawmakers were debating the plan in 2015, many held that public money shouldn’t be going toward a privately owned sports complex. But others saw an opportunity— not only to revitalize Downtown Milwaukee, but to drive growth in ways that could reverberate throughout the city. When the public-private arrangement was finalized, the pressure was on the Bucks leaders to make sure this development would truly benefit the state and the people who live in it. Bucks Senior Vice President Alex Lasry says the added scrutiny is a good thing, noting that “there should be more of a watchdog feeling when you’re using taxpayer dollars.” Still, he says their priorities would be the same regardless of how the project was financed. “Whether we were doing a public-private partnership or not, our intention has always been to be good corporate citizens,” he says. The Bucks have demonstrated as much by working hand-in-hand with local labor organizations and community groups throughout the arena’s construction. These partnerships have enabled them to hire qualified local workers, pay a fair wage and create opportunities where they’re needed most. The arena district is part of a major construction boom in Milwaukee’s Downtown area, and the next few years will bring many more developments across the city and state. Notably, the legislature just passed a $3 billion incentives package for Foxconn to build a factory in Wisconsin, with supporters claiming the project will bring thousands of family-supporting jobs. This promise echoes the Bucks’ own commitment to family-supporting jobs, and the arena is a blueprint for how it can be done.

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Project Labor Agreements

The development of the arena district was a complex, high-profile endeavor with an ambitious timeline. To meet that challenge, Bucks leaders reached out to the Milwaukee Building & Construction Trades Council (MBCTC), which supports the union construction industry. “The Bucks knew that the only workforce around to get that done for them was going to be the union building trades,” says MBCTC President Dan Bukiewicz. “Long before they decided on a site, they came to the building trades and said, ‘We need to accomplish these goals, and we need your help.’” Those early steps led to a Project Labor Agreement (PLA) between lead construction company Mortenson Construction and local unions. Announced in July 2016, it set terms for worker wages and protections, as well as guidelines for safety, quality and dispute resolution. It communicates expectations so that all contractors commit to an established set of criteria. “You have to meet the provisions of what’s asked, and make sure you’re paying the correct wage,” says Bukiewicz. “Basically, we’re leveling the playing field to bring up worker standards all the way around.” He says the agreement also includes provisions that “go above and beyond” the baseline standards—such as enhanced safety provisions and hiring goals for women and minorities.

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Workforce Development

Milwaukee projects that receive taxpayer money are required to hire a certain percentage of individuals certified by the Residents Preference Program (RPP), which promotes hiring of local unemployed and underemployed workers. As part of their agreement, the Bucks and Mortenson committed to a 40% RPP requirement and to a 25% threshold for working with Small Business Enterprise (SBE) firms. Since beginning construction, the arena development has surpassed its goals on both fronts. “I think the fact that we’re above our numbers on RPP and SBE shows our dedication,” Lasry says. “But it’s important to remember that there’s a human side to the numbers. These are people. These are lives and careers.” To that end, the Bucks have invested in workforce development, putting $375,000 (which the city matched) toward finding and training qualified staff. They partnered with the tech company SkillSmart, whose software connects jobseekers with employment. They also worked with several aldermen to host hiring town hall meetings in neighborhoods throughout the city. “We wanted to go into the communities instead of asking them to come to us,” Lasry says. At

the town halls, prospective employees could sign up for SkillSmart, pursue RPP certification and network with representatives from Mortenson Construction and other companies. Lasry estimates they found from 5 to 10% of their RPP workforce through these efforts. Funding also went toward training programs for Milwaukee Public Schools and MATC students to jumpstart careers in construction. The Bucks partnered with the city to offer a stipend for some trainees, making it possible for more young people to take advantage of the program. Bukiewicz says that creating entry-level opportunities was a top priority for all the new Bucks facilities. “The project opened up loads of opportunities for people to begin their careers in the trades,” he says, “and the PLA helped ensure that, because there are built-in apprenticeship ratios already in the contracts that have to be abided by.”

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Community Building

Overall, the Bucks arena construction is expected to create more than 3,000 jobs; thousands more will likely be needed once it’s finished. Working with the Alliance for Good Jobs, The Bucks reached a separate community benefits agreement for end-use positions (such as food service, landscaping and cleaning) at the arena and related facilities and established a minimum wage of $12 (which will go up to $15 by 2023). The agreement includes provisions to hire locally from high unemployment areas and protects workers’ ability to unionize. Supporters hope that this influx of good paying jobs will have a ripple effect—both strengthening neighborhoods and spurring economic growth. “When workers are paid a good wage with good benefits, they put those hard-earned dollars back in the community,” Bloomingdale says. “That, in turn, creates stable, vibrant communities that last.” The language of community building is often applied to the new facilities themselves. Bucks President Peter Feigin has spoken of how the arena will draw people from throughout the Milwaukee area and beyond. Lasry envisions the future live block as a “living room of the city,” with Saturday night socializing, Sunday morning farmers’ markets and weekday business lunches. He describes the arena hosting not just basketball games but other sports, music and comedy shows—the kind of attractions that will “really bring Milwaukee together.” Building a space like that is a lofty goal. Reconciling private objectives with public needs in a trusting, transparent partnership might be even loftier. But for some supporters, the Bucks arena is already proof that it’s possible. “The Bucks’ development is a shining example of what can be done when communities, developers, contractors, the state, taxpayers and workers come together,” Bloomingdale says. “It’s something we can all be proud of for years to come.” Comment at shepherdexpress.com. n

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PLAs are a common tool for aligning the interests of contractors, workers and developers at the beginning of a project. AFL-CIO secretarytreasurer Stephanie Bloomingdale says they have been used for many Wisconsin projects from Lambeau Field to Miller Park, as well as national landmarks like Disney World. She calls them a “tried-and-true method” for ensuring fair wages and worker protections, while keeping projects on time and on budget with high-quality results. “It really is a win-win for all parties,” Bloomingdale says, “and the end users are also benefiting because they’re getting a good product at a quality price that they can be proud of.” Still, these agreements are controversial. Opponents say they discourage competition and give unfair advantage to union contractors. In April, Gov. Scott Walker signed into law a bill banning municipal governments from requiring contractors to enter into PLAs for publicly funded projects (more than 20 states have similar bans in place). Proponents of the ban say it would save taxpayers money by allowing more contractors to bid on these developments. To the contrary, Bloomingdale argues that PLAs prevent the sort of cost cutting that can diminish quality and lead to more expenses down the line. Additionally, she says, they require all parties to complete negotiations in advance, avoiding costly disputes and delays. Such has been true for the Bucks. Lasry says using a PLA helped develop good working relationships and avoided the “strain” that can sometimes exist between labor and management. “We were able to build trust very quickly, which makes for a smoother project,” he says.

iPhone 8 is a new generation of iPhone. Designed with the most durable glass ever in a smartphone and a stronger aerospace grade aluminum band. Charges wirelessly.1 Resists water and dust.2 4.7-inch Retina HD display with True Tone.3 12MP camera with new sensor and advanced image signal processor. Powered by A11 Bionic, the most powerful and smartest chip ever in a smartphone. Supports augmented reality experiences in games and apps. With iPhone 8, intelligence has never looked better. Promotional pricing is net $0. Requires select Postpaid Plan, new customer port-in, credit approval, Device Protection+, qualifying Smartphone turn-in and a 30-month Retail Installment Contract. Net zero offer comes via a monthly bill credit of $19.97 plus a $100 U.S. Cellular Promotional Card. Things we want you to know: Offer valid on base-memory model. New consumer or small business (20 lines or less) port-in and a select Postpaid Plan required. 2GB Total Plan and 3GB Shared Connect Plan excluded. Purchase of device via 0% APR 30-month Retail Installment Contract, credit approval, qualifying Smartphone turn-in (for “On Us” promotional pricing) and Device Protection+ required. A $25 Activation Fee may apply. Tax due at sale. A Regulatory Cost Recovery Fee (currently $2.02) applies; this is not a tax or government required charge. Additional fees (including Device Connection Charges), taxes, terms, conditions and coverage areas may apply and vary by plan, service and phone. Offers valid at participating locations only and cannot be combined. See store or uscellular.com for details. Minimum monthly price of Device Protection+ is $8.99 ($9.99 on/after 11/2/2017) per Smartphone. A service fee/deductible per approved claim applies. You may cancel anytime. Property insurance is underwritten by American Bankers Insurance Company of Florida and provided under a Master Policy issued to U.S. Cellular. You will be the certificate holder on U.S. Cellular’s Master Policy for loss/theft benefits. Service Contract Obligor is Federal Warranty Service Corporation in all states except CA (Sureway, Inc.) and OK (Assurant Service Protection, Inc.). Limitations and exclusions apply. Ask an associate for more details. Smartphone turn-in: Smartphone must power on and cannot be pin locked. Device must be in fully functional working condition without any liquid damage or broken components, including, but not limited to, a cracked display or housing. Qualifying turn-in devices include: iPhone 6 or better, Samsung Galaxy S® 6 or better or Note 5. Offer with qualifying turn-in: “On Us” iPhone 8: Full price is $699. Customer will receive a $100 U.S. Cellular Promotional Card at the point of sale, balance of $599 comes via a monthly bill credit of $19.97 on a 30-month Retail Installment Contract; 0% APR. Bill credit applied within three bill cycles and ends when balance is paid. Line must remain in good standing. In the event of cancellation of service, customer will be responsible for the entire Retail Installment Contract balance. Available on new line activations. Early upgrade eligibility is forfeited if offer is taken. $100 U.S. Cellular Promotional Card given at point of sale, or mailed with device via direct fulfillment orders. Promotional Card issued by MetaBank,® Member FDIC, pursuant to a license from Visa U.S.A. Inc. Valid only for purchases at U.S. Cellular stores and uscellular.com. Card must be used by expiration date shown on card. Limited-time offer. Trademarks and trade names are the property of their respective owners. © 2017 U.S. Cellular 1Charging mat sold separately. 2iPhone 8 and iPhone 8 Plus are splash, water, and dust resistant and were tested under controlled laboratory conditions with a rating of IP67 under IEC standard 60529. Splash, water, and dust resistance are not permanent conditions and resistance might decrease as a result of normal wear. Do not attempt to charge a wet iPhone; refer to the user guide for cleaning and drying instructions. Liquid damage not covered under warranty. 3Display size is measured diagonally.

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NEWS&VIEWS::FEATURE

UPAF Beats the Drum with Fall Arts Awareness Campaign

::BY DAVID LUHRSSEN

his June, the United Performing Arts Fund (UPAF) capped its 50th anniversary campaign by setting a record for dollars raised and then breaking that record. “The number we announced at our finale event—we exceeded it!” says Dave Fantle, UPAF’s chief marketing officer. A total of $12,312,885 was raised through workplace giving, fundraiser events and the UPAF Ride for the Arts. Some 85.28% of this year’s allocation will go to UPAF’s six “Cornerstone Groups:” the Florentine Opera, First Stage, Skylight Music Theatre, Milwaukee Repertory Theater and Milwaukee Ballet. The remaining 14.72% will be presented to the Bel Canto Chorus, Danceworks, Milwaukee Chamber Theatre, Milwaukee Children’s Choir, Milwaukee Public Theatre, Milwaukee Youth Symphony Orchestra, Next Act Theatre, Present Music and Renaissance Theaterworks. Each year after its 15-week spring campaign, UPAF has gone dark for eight months, until now. “Our member groups asked us why UPAF goes quiet at the time when the arts season kicks off,” Fantle continues, referring to the traditional post-Labor Day start to Milwaukee’s performing arts season. This fall (Oct. 1-Nov. 17), UPAF intends to make some noise, not by passing the hat and asking for money, but by sponsoring something new—the Performing Arts Awareness Campaign—to beat the drum for local arts. “We’ve always had a gentleman’s agreement with the United Way to not compete with their fall fundraising campaign,” Fantle says. “What we’re doing is making our member groups the stars for six weeks in order to put the spotlight on them for the fall season.” The goals of the Performing Arts Awareness Campaign are to find new audiences by attacking the “not for me” mentality of folks who assume they won’t like theater, dance or classical music, and by reaching people who intensely engaged in other aspects of the local community—supporting Milwaukee businesses, eating food grown nearby—just not the arts. The effort includes several facets: Pop-up performances in the Third Ward by UPAF member groups during the Fall Gallery Night (Saturday, Oct. 21). Working with 88.9 Radio Milwaukee to sponsor MKE Arts Live, a series of live podcasts involving panel discussions on Milwaukee arts education, prop design for theater, arts administration and other topics. The podcasts are open to the public and will be held at Radio Milwaukee (6 p.m. on Mondays Oct. 2, 9 and 30) and the Milwaukee Institute of Art and Design (Thursday, Oct. 19). Facebook Live, in which volunteers from theater appreciation classes and other novice artgoers attend a play, an opera or a symphony and post their unfiltered responses. The website mkearts.com, “celebrating the stories behind Milwaukee’s arts community.” “We have evolved,” says Fantle, reflecting on UPAF’s half-century history. The primary goal remains to provide financial support for a select roster of performing arts groups, but recent years have seen greater emphasis on filling the gap left by declining funding for arts education in primary and secondary schools. Partnering with 10 local nonprofit organizations, the UPAF Connects initiative brings the arts to “underserved populations,” Fantle explains. The project pays performers to visit sites across the city and purchases tickets that allow members of participating nonprofits to attend performances in concert halls and theaters. “It’s all about reaching people who are likely to be receptive, but have not had exposure to performing arts,” Fantle concludes. He hopes this fall’s awareness campaign will lead to the first Milwaukee Performing Arts Month—an annual event modeled after Downtown Dining Week and other local promotional events—possibly as early as September 2018. For more information, visit upaf.org or mkearts.com. Comment at shepherdexpress.com. 8 | SEPTEMBER 28, 2017

NEWS&VIEWS

::SAVINGOURDEMOCRACY ( SEPT. 28 - OCT. 4, 2017 )

ach week, the Shepherd Express serves as a clearinghouse for all activities in the greater Milwaukee area that peacefully push back against discriminatory, reactionary or authoritarian actions and policies of the Trump administration and other activities that seek to thwart social justice. We will publicize and promote actions, demonstrations, planning meetings, teach-ins, party-building meetings, drinking-discussion get-togethers or any other actions that are directed toward fighting back to preserve our liberal democratic system.

Saturday, Sept. 30

Black Women’s Empowerment March @ Victory Over Violence Park (2615 N. Martin Luther King Jr. Drive), 9:30 a.m.-2 p.m.

In solidarity with the March for Racial Justice in Washington, D.C., on the same day, Uplifting Black Liberation and Community is planning a march in Milwaukee. “We will not end our work the day of the march, but will continue to stand in solidarity and work within our own communities,” per the event’s Facebook page.

Voter and Civic Engagement Campaign @ Acción Ciudadana de Wisconsin (221 S. Second St.), 10 a.m.-1 p.m.

Acción Ciudadana de Wisconsin, Latino Voting Bloc of Wisconsin and Citizen Action of Wisconsin have come together to organize a weekly Saturday campaign of knocking on doors and phone banking to get people thinking about the 2018 elections. Volunteers can go out and talk to voters about the issues that they care about and get them involved in different events happening in the community.

Social Justice Education Movement @ UW-Milwaukee Union Room 191 (2200 E. Kenwood Blvd.), 4-6 p.m.

The Social Justice Education Movement from Minneapolis/St. Paul, Minn., will make a special presentation in Milwaukee to share their experiences organizing for K-12 schools in a presentation and Q&A.

Peace Action Wisconsin: Stand for Peace @ The corner of Farwell and North avenues, noon-1 p.m.

Every Saturday from noon-1 p.m., concerned citizens join with Peace Action Wisconsin to protest war. Signs will be provided for those who need them. Protesters are encouraged to stick around for conversation and coffee afterward.

Sunday, Oct. 1

Immigration Panel with Voces de la Frontera @ Plymouth Church (2717 E. Hampshire Ave.), 9:30 a.m.

This panel, which is a part of the Adult Education Series on Immigration at Plymouth Church, features personal stories from a Deferred Action for Childhood Arrivals (DACA) recipient, and someone who has faced deportation. Nayeli Rondin-Valle of Voces de la Frontera’s New Sanctuary Movement has organized the panel.

Monday, Oct. 2

Zonta Says No to Violence Against Women Walk @ Milwaukee City Hall (200 E. Wells St.), 11:55 a.m.-1 p.m.

This silent walk around Downtown Milwaukee is to remember those in Wisconsin who fell victim to domestic violence last year. The one-mile walk is anticipated to take about 30 minutes.

Freedom Walkers Screening and Discussion @ Yours Truly (833 E. Center St.), 6:30-8 p.m.

Yours Truly will host a screening and discussion of Freedom Walkers, a short documentary film about the fair housing marches in Milwaukee of some 50 years ago. Several people who participated in the marches will be there to facilitate discussion.

Tuesday, Oct. 3

Defend Free Speech by Becoming a Legal Observer @ UW-Milwaukee Union Room 250 (2200 E. Kenwood Blvd.), 6-8 p.m.

This workshop is free for anyone who wants to become a “Legal Observer” for the American Civil Liberties Union (ACLU) of Wisconsin. Legal Observers are trained volunteers who are legal witnesses to political demonstrations, and who document the events of public protests—including any incidents of police misconduct or violations of the rights of protesters.

Wednesday, Oct. 4

Lead the Change! @ UW-Milwaukee Union Room 280 (2200 E. Kenwood Blvd.), 4-5:30 p.m.

Lead the Change! is a seven-week workshop, open to UW-Milwaukee students only, that focuses on social justice leadership. The series will focus on giving students of all identities the opportunity to develop skills related to being an agent of change.

Milwaukee Supports People in Prisons @ Milwaukee Public Library (2727 W. Fond du Lac Ave.), 6-7:30 p.m.

At this event—organized by Black and Pink Milwaukee, Ex-Prisoners Organizing and the Incarcerated Workers Organizing Committee—participants will process mail from incarcerated people, be matched with pen pals and more. To submit to this column, please send a brief description of your action, including date and time, to savingourdemocracy@shepex.com. Together, we can fight to minimize the damage that the Trump administration has planned for our great country. Comment at shepherdexpress.com.

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Thurs. October 5 West Allis Farmers Market 5-9pm

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‘Rent’ Twenty Years On The rock musical retains its relevance ::BY JOHN JAHN talian opera composer Giacomo Puccini knew his public. Even when critics complained that his music was prosaic and his characters superficial, he kept to his successful style. One such snarled-at work was La bohème, which had its premiere under the baton of the young Arturo Toscanini in 1896. The public immediately fell in love with its setting—the Latin Quarter of Paris in the 1830s—and its young bohemian characters. Central to the cast were the lovers Rodolfo, a poet, and Mimi, a seamstress. Their love story, both relatable and realistic, helped make the work timeless. Even so, timeless or dated, it’s no small feat getting young people to go to the opera—accessible music, identifiable characters and relevant plot notwithstanding. Enter American composer and playwright Jonathan Larson who, in 1990, scored a success with his one-man show tick, tick… BOOM! His subsequent encounter with fellow playwright Billy Aronson would prove most fortunate, indeed. Aronson, in 1988, began conceptualizing “a musical based on Puccini’s La bohème in which [his] world would be replaced with the coarseness and noise of modern New York,” according to Aronson’s website. So enthused was Larson about the idea that he took Aronson’s concept and, with the latter’s approval, made it his own. The result was Rent. Larson wrote the book, lyrics and score for Rent throughout the early-’90s while waiting tables at a New York diner. Through trial and error and much pruning (his original score contained 42 songs!) the final version of Rent took gradual shape into what Larson wanted: a rock opera “to bring musical theater to the MTV generation” (as he put it in a New York Times article). The result? Rent was a major success, to say the least. It won the 1996 Tony Award for Best Musical and the Pulitzer Prize for Best Drama (among many other accolades). Its initial Broadway run lasted 12 years—more than 5,000 performances—and grossed more than $280 million. Rent has also now been seen all around the world and, on any given week, is in production somewhere.

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Such is now the case with the “Rent 20th Anniversary Tour,” which makes a welcome stop at Milwaukee’s Marcus Center for the Performing Arts. This “20th anniversary” tag is more than just a selling gimmick; key members of its original creative team have reunited for this national tour. “It has enormously valid things to say about the ways in which we all seek out community and form families and how we take care of one another in very difficult times,” says Michael Greif, director of both Rent’s original Off-Broadway and Broadway productions. “The message of the musical is to truly appreciate the time that we have, and to truly appreciate each other—because you don’t know when someone will be gone from your life.” The production features direction by Evan Ensign, who has based his work on Greif’s original ideas. In Puccini’s story, young Mimi is afflicted with the malady of the time, tuberculosis, or “consumption” as it was then called. In Rent, the disease that haunts the characters is HIV/AIDS. Set among the young bohemians of a major urban area—gay, straight, bisexual, male, female and transgender—Rent’s story is one of great relevance for our times as much as it was for 1996—or 1896, for that matter. “I was taken to see the show for my 17th birthday, and it was seminal for me,” recalls the creator of Hamilton, LinManuel Miranda. “I’d never seen a musical that took place in the present day and in The Village. I knew I was going to be in the arts, and it meant so much to see these kids struggling with how to survive and make a living and not sell out their principles. It hit me like a ton of bricks.” Its characters are “common,” and many Americans would look down on such people. After all, none is a successful Wall Street stockbroker; none is a high-powered New York lawyer; none is a high-ranking member of the NYPD or NYFD; none shops on Fifth Avenue. Yet these young people are heroes and, yes, role models. They live their lives clinging to their dreams, be they artistic, occupational or romantic. They face more hurdles than many of their fellow Americans can imagine. They—like the show’s creator, himself—really work hard just to stay alive and to have a not-too-leaky roof over their heads, all the while dreaming big dreams. And some, like Larson, die much too young. "Rent On Jan. 25, 1996—the very day 20th that Rent premiered Off-Broadway, Anniverary just beginning its meteoric rise— Tour" Larson died alone in his bed of an Oct. 3-8 undiagnosed heart problem. He was just days shy of 36 years old. Marcus “In the past five years,” Michael Center Greif adds, “so many young composers and theater talents have told me that Rent enabled them to begin to see themselves as part of the American theater. It’s been very gratifying and moving to me and everyone associated with Rent to know the impact that the show has had on this next generation.” Hopefully, Rent will continue to do so for generations to follow. Such would have rightly made Jonathan Larson— and Giacomo Puccini—very happy, indeed. “Rent 20th Anniversary Tour” runs Oct. 3-8 at the Marcus Center for the Performing Arts, 929 N. Water St. For tickets, call 414-273-7206 or visit marcuscenter.org.

SHEPHERD EXPRESS

S E P T E M B E R 2 8 , 2 0 1 7 | 21

::THISWEEKINMILWAUKEE SATURDAY, SEPT. 30

THURSDAY, SEPT. 28

Milwaukee Film Festival Opening Night Party @ Good City Brewing, 9 p.m.

Grieves w/ Dem Atlas and Rahn Harper @ Cactus Club, 9 p.m.

TAYLOR BRIGODE

This is the moment Milwaukee film lovers dream of all year long: opening-night of the Milwaukee Film Festival. This year, the ever-growing festival kicks off with a screening of Stumped, a crowd-pleaser about a film teacher who turns to stand-up comedy after a bacterial infection forced the amputation of all of his limbs. Following the screening, attendees will head to Good City Brewing for a party that includes live music, Radio Milwaukee DJs and cold, local beer on a rooftop patio. The party is free for opening night film ticket holders and MMF2017 pass holders, $13 for Milwaukee Film Members and $15 for the general public. This year’s Milwaukee Film Festival runs through Oct. 12.

Grieves

Sometimes the label says it all. Since 2011’s Together/Apart, Seattle rapper Grieves has been part of the Rhymesayers Records roster, and sure enough, he specializes in the kind of smart, emotionally volatile hip-hop that the label has made its calling card. Like the best Rhymesayers artists, he shakes things up from album to album. On his newest, Running Wild, he finds an apt collaborator in Swedish producer Chords, whose beats are almost decadently soulful—all woozy synths and buttery bass lines with occasional licks of horns. That production tempers the bite of some of Grieves’ more intense verses.

DaNCEBUMS w/ Luxi and Ben Yella @ Riverwest Public House, 9 p.m.

Keyboardist-composer Eric Mayson is about as deeply ingrained in the Minneapolis music scene as they come, having worked with many of the scene’s most recent standouts, including Atmosphere, Lizzo, Dess and Droomtree. With his latest project, though, he looks beyond contemporary music and dips his toe into performance art. DaNCEBUMS is a five-piece modern dance ensemble that aims to bring modern dance “out of dark, stuffy theaters,” as he calls them, and to the party-minded masses. It’s dance music in the most literal sense.

FRIDAY, SEPT. 29

Chicano Batman w/ Kruangbin @ Turner Hall Ballroom

There’s so much music coming out of L.A. these days, and most of it sounds… well, like music that came out of L.A. The Los Angeles quartet Chicano Batman has never had trouble standing out from the pack, though. The band’s psychedelic fusion of soul, funk, indie and Latin music sounds like the oldies but feels indisputably new; nobody else is making music quite like this. The group’s latest album, Freedom is Free, features more of the euphoric, modernized throwbacks that have made this band such a favorite on the festival circuit.

SATURDAY, SEPT. 30 A Conversation with Stephen King and Owen King @ The Riverside Theater, 8 p.m.

Where does Stephen King find the time? That’s a question other authors have pondered for decades, as the novelist has cranked out one bestseller after another (54 novels and counting, on top of nearly 200 short stories). For his latest book, Sleeping Beauties, King worked with a first-time collaborator: His son Owen, who, like so many members of the King family, is also a novelist. Together, they’ve crafted an eerie story about a fairytale curse and the repercussions it has for a West Virginia woman’s prison. The two Kings will discuss the book and their writing habits at this sold-out appearance. 22 | S E P T E M B E R 2 8 , 2 0 1 7

SUNDAY, OCT. 1

Angel Olsen w/ Mount Moriah @ The Pabst Theater, 8 p.m.

A versatile songwriter with the wounded, otherworldly voice of an old blues singer, Angel Olsen made a mark with a series of haunting, strippeddown small releases that put that voice front and center, but she really came into her own with her 2014 Jagjaguwar Records debut, Burn Your Fire for No Witness. Produced by John Congelton, it was a more traditional indie-rock record than what came before, but its rough and tumble guitars complemented Olsen’s edgy songwriting. On last year’s My Woman, she pivoted, trading the moody folk and terse rock ’n’ roll of yore for a rich, expressive palette of synthesizers and pop hooks. For her upcoming album, Phases, due out Nov. 10, she digs through the vault, sharing a selection of B-sides, rarities and demos that span years. The sensational North Carolina indie-Americana act Mount Moriah opens.

K COUTTS

Chicano Batman

Angel Olsen

SHEPHERD EXPRESS

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“ANDREW LLOYD WEBBER HAS BROADWAY ROCKING!” – REUTERS

“AN EXUBERANT FEEL-GOOD MUSICAL. ROCK ON!”

MONDAY, OCT. 2

– VARIETY

Gogol Bordello w/ Lucky Chops @ Turner Hall Ballroom, 8 p.m.

VICTORIA SMITH

New York’s Gogol Bordello, one of the wildest world-fusion acts, fuses the accordions and fiddles of traditional Romani Gypsy music with the combustible energy of punk rock. Their 2005 album coined a fitting term for their hybrid: Gypsy punk. Think of theirs as international drinking music: a hodgepodge of Bulgarian and Slovakian sounds with crashing percussion and a Pogues-like love for call-andresponse with the crowd. Their latest album, 2017’s Seekers and Finders, features guest vocals from Regina Spektor on the title track, as well as some lively first-time production from frontman Eugene Hütz.

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Tommy Castro and the Painkillers

WEDNESDAY, OCT. 4

Tommy Castro and the Painkillers @ Shank Hall, 8 p.m.

Evoking the spirit of guitar great B.B. King, Tommy Castro belts out soulful R&B tunes that run the gamut from downtrodden blues to upbeat funk. Castro began his music career by playing with cover bands in the San Francisco Bay Area, which he followed with a short stint with The Dynatones. After 1991, Castro decided to front his own bands and, a decade later, he was invited to tour and perform with his muse, B.B. King. For this show, Castro is celebrating the release of his latest album, Stompin’ Ground, a record that looks back to his youth with covers of songs that inspired him in the earliest years of his career, in addition to six new songs.

Explosions in the Sky w/ Holy Fuck @ The Pabst Theater, 7 p.m.

Like most instrumental post-rock bands, Explosions in the Sky risk allowing their music to fall into an easy formula: build, build, build, crescendo, repeat. The novelty could wear off mighty fast, but on their latest album, 2016’s The Wildness, the Austin quartet continually finds new ways to keep their compositions fresh—fleshing them out with cinematic flourishes and rock-star grandiosity. The band nails all the big payoffs, of course, but some of its best moments are the small ones, when the album turns down the volume and gives listeners time to luxuriate in how intricate it all sounds. Explosions in the Sky share this bill with another instrumental band with a very different vision, Toronto’s Holy Fuck, whose electronic-leaning songs are more direct and overtly whimsical than most anything you’ll find on a post-rock record. SHEPHERD EXPRESS

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A&E::PERFORMINGARTSWEEK

THEATRE

MORE TO DO

Hot Mikado

Haydn, Mozart, Ives

This is not your great-grandfather’s The Mikado by the superb operetta-producing team of W.S. Gilbert and Arthur Sullivan. As adorably funny and tuneful as their original work is, its over-the-top characters and send-up of not only grand opera but Japanese culture are fodder for revamping and reimagining. Skylight Music Theatre has just done so with Hot Mikado. “Skylight has done the original The Mikado 10 times in its history—including the year the Skylight opened, 1959,” says Artistic Director Ray Jivoff. “This is the first time we have ever presented Hot Mikado,” which he describes as “a fun and non-traditional homage to Skylight’s past.” One thing totally new about it is Austene Van, who will be making her company debut herein as the production’s stage director. “I think Skylight audiences will be thrilled by this updated version of Gilbert and Sullivan’s comic masterpiece,” remarks Van. In her vision, all things late-19th century Japanese are transformed into all things African American in the 1940s. “[Hot Mikado] takes a fresh approach to address some of the outdated dialog and stereotyping that makes audiences wince,” she says, while retaining the original’s hidden “political and cultural messages.” (John Jahn) Sept. 29-Oct. 15 at the Cabot Theatre of the Broadway Theatre Center, 158 N. Broadway. For tickets, call 414-291-7800 or visit skylightmusictheatre.org.

Silent Sky

“I think the author has written a play about science that romances its audience; not an easy thing to pull off,” says Next Act Theatre Producing Artistic Director David Cecsarini of Lauren Gunderson, Silent Sky’s creator. “Gunderson has taken a fascinating time in astronomy, combined it with real people and events, and developed an evocative fable about an actual sky-shattering discovery made by Miss Leavitt,” Cecsarini says of this play. Henrietta Swan Leavitt (1868-1921) was a pioneering American astronomer and would undoubtedly be better known today were it not for the fact that she labored behind the scenes—this being somewhat de rigueur given the times in which she lived and the utterly male-dominated profession in which she worked. That said, she made a crucial discovery that, after her death, Edwin Hubble would use to work out his theory of the expanding universe (“Hubble’s Law”). “Silent Sky is a celebration of scientific curiosity, the search for truth and the triumph of a woman’s vision in the achievement of Man,” explains Cecsarini. “We’ve billed it as a romance due to the passion with which Henrietta Leavitt pursues her ambitions in the realm of astronomy, and most anyone who looks up at a dark night countryside’s starlit sky can’t help but be taken by the wonder, the splendor and mystery of those billions-plus points of light. Romantic.” (John Jahn) Sept. 28-Oct. 22 at Next Act Theatre, 255 S. Water St. For tickets, call 414-278-0765 or visit nextact.org.

I Am My Own Wife

This Pulitzer Prize- and Tony Award-winning play is an examination of the life and times of German antiquarian Charlotte von Mahlsdorf (19282002), who was born Lothar Berfelde in Berlin-Mahlsdorf. She had the terrible misfortune to be growing up as a young boy who felt much more like a girl in Hitler’s Germany. Through an unfortunate quarrel, she killed her father and was sent to prison, emerging early therefrom owing to the fall of the Third Reich. However, she then faced an uncertain future in communist East Germany as a transgender woman. Theatre Gigante, now in its 30th season, presents Doug Wright’s I Am My Own Wife, a “saucy, sagacious and entirely fascinating solo play,” as The Village Voice once remarked. With direction by Isabelle Kralj and Mark Anderson and lighting design by Leroy Stoner, this one-man show features Theatre Gigante regular Michael Stebbins. Stebbins not only embodies Charlotte von Mahlsdorf, but also takes on 34 other characters as well. Wright’s play, based upon interviews conducted with Mahlsdorf over her long life, is, as Kralj says, “a surprising and provocative weave of history, sex and politics.” (John Jahn) Sept. 28-Oct. 7 at Kenilworth 508 Theatre, 1925 E. Kenilworth Place. For tickets, call 414-961-6119 or visit gigantewife.brownpapertickets.com. 24 | S E P T E M B E R 2 8 , 2 0 1 7

The Milwaukee Symphony Orchestra welcomes its former music director, Edo de Waart, back to conduct Joseph Haydn’s bright and beautiful Sinfonia Concertante in B-Flat Major (1792); Wolfgang Mozart’s Symphony No. 39 in E-Flat Major (1788); and Charles Ives’ instrumental conversation, The Unanswered Question (1906). Sept. 29-30 at Uihlein Hall of the Marcus Center for the Performing Arts. Call 414-291-7605 or visit mso.org for tickets.

Wittenberg

Windfall Theatre presents the first of two shows billed as a “Reformation Double Play.” This is Wittenberg by David Davalos, in which we find Hamlet, Prince of Denmark, attending classes at Wittenberg U. His philosophy professor is Dr. John Faustus, and his theology professor is Martin Luther. As you can tell, we’re clearly dealing with alternative facts! Sept. 29-Oct. 14 at Village Church. Call 414-332-3963 or visit windfalltheatre.com for tickets.

Spookley the Square Pumpkin “Spookley is an adorable tale that reminds us that it doesn’t matter what you look like; we are all special and meaningful to each other,” says the director of this First Stage production, Jeff Schaetzke. Obviously, this is a story worth telling and a lesson worth learning—especially for the young ones in your life. This play is based upon a film of the same name and a book titled The Legend of Spookley the Square Pumpkin. Oct. 1-29 at Milwaukee Youth Arts Center. For tickets, call 414-267-2961 or visit firststage.org.

Working Marquette University Theatre presents Working, a musical play that pays tribute to the hard-working average American through a series of vignettes that explore the lives of 26 people. In fact, part of the play consists of the very actors and technical people behind the scenes functioning—and being seen as—working people, themselves. Working’s musical score features songs by Stephen Schwartz, Craig Carnelia and James Taylor. Sept. 28-Oct. 8 at the Helfaer Theatre. For tickets, call 414-288-7504 or visit showclix.com (search “working”).

Cooke and Hathaway: A Soulful Celebration Sam Cooke (1931-1964) acquired the moniker “The King of Soul.” Donny Hathaway (1945-1979) was labeled as “a major force in soul music” by Rolling Stone magazine. Both had multi-music-genre appeal; both died much too young; both remain legends. Milwaukee’s Chris Crain and a full cast of musicians pay tribute to Cooke and Hathaway in this show. Sept. 29-30 in Vogel Hall at the Wilson Theater. Call 414-273-7206 or visit marcuscenter.org for tickets.

Chris Crain stars in ‘Cooke and Hathaway: A Soulful Celebration’ SHEPHERD EXPRESS

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All shows at 8 pm unless otherwise indicated Tickets available at Shank Hall Box Office, 866-468-3401, or at ticketweb.com

FRI 9/29

SAT 9/30

RIK EMMETT FROM TRIUMPH

PHISH TRIBUTE

ACOUSTIC DUO PERFORMANCE WITH DAVE DUNLAP

$35

PHUN

TUES 10/3

WED 10/4

TWRP,

TOMMY CASTRO AND THE PAINKILLERS

PLANET BOOTY

$12 ADV $15 DOOR

STOMPIN’ GROUND RECORD RELEASE TOUR

$20

FRI 10/6

TRISTEN, JENNY O $10 ADV $12 DOOR

HENHOUSE PROWLERS $13

SAT 10/7

SUN 10/8

TALLAN NOBLE LATZ $12 ADV $15 DOOR

POPA CHUBBY $20

WED 10/11

THURS 10/12

TRASHCAN SINATRAS $20

STANLEY JORDAN Mrs. Fun

$30

Photos: Amy Guip

THURS 10/5

10/1 CORNELL THIGPEN 10/13 LIL’ ED AND THE BLUES IMPERIALS 10/14 ANIMATION 10/15 JARED JAMES NICHOLS 10/17 MARTHA WAINWRIGHT 10/18 MARTIN BARRE BAND 10/19 NORA JANE STRUTHERS 10/20 NICK MOSS 10/21 THE STONE FOXES 10/22 The Tangent, Nick Turner’s Hawkwind, Karmakanic SHEPHERD EXPRESS

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$8 ADV $12 Door

OCT 3-8 Marcus Center MarcusCenter.org . Ticketmaster.com . 414-273-7206 Groups 10+ Save! Call 414-273-7121 ext 210

OPENS TUESDAY! S E P T E M B E R 2 8 , 2 0 1 7 | 25

MICHAEL BROSILOW

A&E::INREVIEW

The Rep’s ‘Guys & Dolls’’

THEATRE

The Rep’s Spectacular ‘Guys & Dolls’

::BY HARRY CHERKINIAN

he Milwaukee Repertory Theater rolled the dice last weekend and came up a big winner with its spectacular production of the classic 1940s New York underworld musical, Guys & Dolls. Based on short stories and characters by Damon Runyon, The Rep has set the bar very high for its lead-off show as this production has it all: uniformly excellent cast, spot-on direction by Mark Clements, dazzling choreography by Stephen Mears, smart period costumes by Alexander B. Tacoma and the bright lights-dark city set design by Scott Davis. There’s good reason that Guys & Dolls has been a timeless crowd-pleaser for the past 67 years; the book by Jo Swerling and Abe Furrows is as clever and entertaining as the music and lyrics by Frank Loesser and as firmly ingrained in the memories of devoted theatergoers. “Luck Be a Lady,” “Bushel and a Peck,” it’s all there, and it’s a complete joy to watch from start to finish. In the gritty gambler’s lair of midtown New York City, everything has a price, and a bet to go along with it. The stage is literally set when Nathan Detroit (Richard R. Henry) bets Sky Masterson (Nicholas Rodriguez) $1,000 if he can get a prim-and-proper Salvation Army missionary, Sarah Brown (Emma Rose Brooks), to travel with him to Cuba. Then there’s Detroit’s perpetual fiancée, Miss Adelaide (Kelley Faulkner), who’s been waiting 14 years for that trip down the aisle. The role of Miss Adelaide perfectly fits the multi-talented Faulkner who brings much to the show’s main comedic role, giving Adelaide an added depth and dimension with alternating moments of vulnerability and toughness. Once the repressed soul-saving façade is removed (Sarah “discovers” alcohol), Brooks turns missionary Brown into an absolute comic delight (spoiler alert: it happens in Havana), and we see her character blossom and grow along with the too-handsome and dashing Masterson, served well by Rodriguez. Nathan Detroit is an engaging, charismatic and marriage-averse schemer, thanks to Henry’s fully realized portrayal. All four actors excel vocally and make this production a real show-stopper at times. Guys & Dolls is a sure bet. Through Oct. 29 in the Quadracci Powerhouse, 108 E. Wells St. For tickets, call 414-2249490 or visit milwaukeerep.com.

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THEATRE

Company of Strangers Produces a High-Energy ‘Ideal Husband’ ::BY ANNE SIEGEL

oung actors often make up in enthusiasm what they lack in experience, and such is the case with Oscar Wilde’s An Ideal Husband, in a high-energy production by The Company of Strangers Theater. Director Jessica Sosnoski has her hands full with moving more than a dozen actors around the Underground Collaborative’s postage stampsized stage. She does so effectively once the opening party scene concludes. During the party, characters are so cramped that they fail to move with the necessary grace that this upper-society “dance” requires. The audience also has difficulty focusing on the main conversation with so many distractions. A nicer distraction are the show’s steampunkinspired Victorian costumes, many of them crafted by costumer Barb Hummel. Production notes reveal that some actors, too, had a hand in creating these colorful and complex outfits.

Wilde would have been mad for them. The cast list is too long to allow special mention, but several characters rise above the rest. As Sir Robert, owner of the estate where most of the action takes place, actor Ralph Williams comes close to hitting the nail on the head. He seems a bit forced at times, but one expects him to sufficiently loosen up throughout the run. Sir Robert is also the virtuous “ideal husband” of Lady Chiltern (Karen Elizabeth Sharkey). She has possibly the most difficult role in the play. How could a woman have so much blind faith in a man? Yet Sharkey manages to convey this character’s innocence. Sir Robert has never given his wife any reason to suspect his long-ago misstep that launched his wealth and career. In a hushed conversation, Sir Robert tells a friend he has “paid” various charities several times the amount of cash he once received for selling state secrets. It’s easy to see similarities between Sir Robert’s predicament and current political themes. Two of the youngest cast members, Noelle Thompson and Rob Schreiner, are credible as Mrs. Chevely and Lord Goring. The former is an old classmate of Lady Chiltern’s who seems even more adept at doing whatever is necessary to get her way. Thompson is a scene-stealing presence whenever she’s onstage, rivaled only by Schreiner’s Lord Goring, memorable as a sly “slacker” who pulls the strings to make all that’s wrong right again. An Ideal Husband gives this cast a chance to expand its acting muscles as well as lend another line to each actor’s performance credits. The play requires a great deal of restraint and subtlety to be effective, and this production seems headed in the right direction. Through Sept. 30 at the Underground Collaborative, 161 W. Wisconsin Ave., on the lower level of the Shops at Grand Avenue. For tickets, call 414-221-7498 or visit thecompanyofstrangerstheater.com.

A One Night Stand and Something More

::BY RUSS BICKERSTAFF

wo people in 1987 engage in a one-night stand that might be something more in Milwaukee Chamber Theatre’s presentation of Terrence McNally’s Frankie and Johnny in the Clair De Lune. Marcella Kearns is beautifully, brutally open and engaging as Frankie; she’s an aspiring teacher somewhere in the vicinity of her 40s who has brought home a cook from the place where she works. Todd Denning has a fractured charm in the role of the cook—a guy somewhere in the vicinity of his 40s named Johnny who risks losing everything in hopes of having something. He’s passionately embracing his experience with her in a way that makes her uncomfortable. They fight. They hold each other. There’s injury and lovemaking. They’ll work it out. They might not be in one piece when it’s all over, but they’ll work it out. Scenic designer Brandon Kirkham brings a very distinct ’87 look to the stage for the production. From the boom box and a few cassette cases on the far shelf to the missing kids on a milk carton, this show feels quite vividly like a couple of hours between two people getting an encore 30 years later. It’s a very intimate couple of hours, too. The two characters lounge around in very relaxed and honest postures. Very informal. (They even brush their teeth.) This sort of thing can be maddeningly tricky to bring into a theater: that feeling that two people are alone onstage baring their souls to each other. Under the direction of Mary MacDonald Kerr, Kearns and Denning are so convincing that it’s easy to forget that there’s a whole audience watching them. Through Oct. 15 at the Broadway Theatre Center’s Studio Theatre, 158 N. Broadway. For tickets, visit milwaukeechambertheatre.com. SHEPHERD EXPRESS

JASON KRUKOWSKI

A&E::INREVIEW

MUSIC

Compelling Works Elicit Compelling Performances by Prometheus Trio ::BY JOHN JAHN

Boulevard’s ‘Small Things’

THEATRE

Humor and Heart in Boulevard’s ‘Small Things’

::BY SELENA MILEWSKI

oulevard Theatre’s 32nd season opens with Canadian playwright Daniel MacIvor’s gracefully written and insightfully performed Small Things. The setting is modern and the piece is staged in Plymouth Church’s intimate Graham Chapel with minimal set and lighting and plenty of room for audience imagination. The plot is a slice of life: Mrs. Branch, an elderly widow, has moved from the city to a small town where she hires a housekeeper, the spirited, middleaged Birdy, who is herself a widow also contending with the fact that her adult daughter Dell’s young son is now insisting he be called “Alice.” The three women—inescapably the ancient archetypes of maiden, mother and crone— are believable and compelling as regular 21st-century folk driving a plot based on discussion and a journey toward acceptance. MacIvor’s writing is notable, not just for its realism, but for its unassuming humor (in a moment of frustration with her mother’s nosiness, Dell asks “If we didn’t have other people to talk about, what would we talk about?”) and its focus on ideas. Together, these three very different personalities plumb everything from the difference in definition between “person” and “human” to tentativeness as a form of passive aggression. Donna L. Lobacz’s Birdy is a tour de force for her simultaneous consistency (Birdy will always be opinionated, talkative and deeply in need of a listening ear) and dynamism; her character arc is perhaps the most dramatic of the three. The actress does an especially impressive job in her vocal work, delivering a pronounced northern dialect that avoids stereotype while still precisely conveying the character’s location and social class. Christine Horgen’s Patricia Branch is elegant, snobbish, mutable and ultimately quite complex. Horgen is a master of silence; watching this character think is one of the most riveting aspects of the play. Finally, as Dell, Nicole Gorski is stately and powerful. Although her very precise elocution occasionally sounds odd when applied to informal dialogue, her commanding presence serves the story well. She is the youngest and also, in many ways, the most openminded and compassionate of the three, and Gorski’s delivery certainly serves this end. The greatest joy in this play is in realizing that none of these characters are what they first appear to be, that all are multifaceted and that, in the end, their differences might be considered simply “small things.” Under Mark Bucher’s direction and Jessica Principali’s stage management, Small Things is a smashing success. The 90-minute, no-intermission piece flies by in a whirlwind of perfectly executed transitions and captivating conversations. MacIvor’s humane and often hilarious exploration of forgiveness, intergenerational dialogue and the human condition itself is in very good hands. Through Oct. 8 at Plymouth Church, 2717 E. Hampshire St. For tickets, call 414-7445757 or visit boulevardtheatre.com. SHEPHERD EXPRESS

hree seasoned musicians—violinist Margot Schwartz, cellist Scott Tisdel and pianist Stefanie Jacob—showed a large and enthusiastic audience Tuesday evening (Sept. 19) why the Prometheus Trio has been so successful for nearly two decades and counting. Their performance of three very different trios not only displayed their fine individual talents, but also their seamless perfection as an ensemble. They started with a tight take on Joseph Haydn’s early Trio in G Minor, a pleasant but otherwise unremarkable work rendered here with clarity and attention to detail. The star of the show was definitely the least known: Trio Concertant (1928) by Hungarian composer László Lajtha. This is a remarkable, challenging work in which cadenzas appear for each instrument in the first and last movements. Nowhere else in the program did each player get to shine quite so brilliantly. The second half of the concert was the loveliest: Johannes Brahms’ Trio in C Major. Of note here were Jacob’s rich chords and graceful tremolandos and Schwartz’s complete control over the very meaty passages Brahms wrote herein for the violin. A brief encore, a thorough delight, indeed, ended the evening’s music: a transcription for trio (by Jacob) of a piece for bassoon and piano by Camille Saint-Saëns.

Classical Jazz at the Symphony ::BY RICK WALTERS

he Milwaukee Symphony Orchestra did a European-style entrance on Friday night— entering en masse rather than all being on stage warming up—for the first piece of the program: Darius Milhaud’s La création du monde (The Creation of the World). Composed in 1922-’23, Milhaud’s ballet music may be the first classical piece to use jazz as its inspiration, though that is impossible to know. He had heard jazz on a visit to Harlem in 1922. There are certainly bluesy jazz sounds and rhythms in the score for 18 players— each a soloist on an instrument. One of the players was the guest conductor, Jeffrey Kahane, who led from the piano. I loved the giddy sounds of the last movement, which softened and then faded into a subdued ending. A quiet finish to a piece usually creates a subdued audience response, and that was the case here. The jazz influence continued with George Gershwin’s Concerto in F Major, composed in 1925, a year after his Rhapsody in Blue. Kahane was soloist and conductor; quite a challenge, which he admirably fulfilled. It’s impossible to resist Gershwin’s lushness and energy; a foundation of what the entire world thinks of as American music. Kahane’s musicianship and fluency at the keyboard were remarkable. Principal trumpeter Matthew Ernst’s beautiful sound was showcased in a big solo in the second movement. Apparently, Sergei Rachmaninoff was at the premiere of Rhapsody in Blue in 1924 and later settled in the U.S. The last music he wrote, Symphonic Dances, ended the program. The strengths of the woodwind section were on display in a featured section of the first movement. The smoothly blended sound of the first violins could be heard in a section of the same movement. Kahane drew the very best playing from this excellent orchestra. The most complex emotions came from the encore Kahane played after the concerto. A poetic arrangement (by Kahane himself?) of “America the Beautiful” slowly emerged; it felt like a balm in troubled times. Like many people, I don’t know what to feel when patriotic music is played these days. I saw many wiping away tears.

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A&E::FILM

A SMASHING

SUCCESS ~ Selena Milewski, Shepherd Express

Christine Horgen

~ Photo Credit: Jason Krukowski

Nicole Gorski & Donna L. Lobacz ~ Photo Credit: Troy Freund

‘Battle of the Sexes’

Directed By: Mark Bucher

“...priceless...vibrant...magnetic...” ~ Russ Bickerstaff, thesmallstage.weebly.com/blog/depth-in-small-things-with-boulevard

“simply breathtaking...poignant...” ~ Mike Fischer, the Milwaukee Journal Sentinel, www.jsonline.com

September 30, October 1,7 & 8 @ Plymouth Church, 2717 East Hampshire www.boulevardtheatre.com Twitter & Instagram: @BLVD_MKE Facebook.com/boulevardtheatre 414. 744. 5757

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get your tickets at theshepstore.com 28 | S E P T E M B E R 2 8 , 2 0 1 7

Emma Stone and Steve Carell Replay the ‘Battle of the Sexes’

that the King-Riggs bout was seen at the time as a titanic struggle between opposing worldviews. King embodied the feminist ideal of women making it on their own terms in a man’s game—a man’s world. Riggs represented the backlash. King’s victory punctured a lot of windbags and drove women’s sports to greater prominence. Since the outcome is a matter of record, Battle of the Sexes is a drama mainly for representing the awakening of King’s lesbian sexuality after an erotically charged trim by hairdresser Marilyn Barnett (Andrea Riseborough). Aside from fear of being ostracized, King risks her ::BY DAVID LUHRSSEN marriage to a man she apparently loves. Battle of the Sexes is a comedy largely because of t was a media spectacle that accu- Riggs, depicted not merely as a gambling admulated importance and became an dict but a proponent of calculated risk—an inevent—a watershed moment. In 1973, veterate hustler with a geometrician’s eye for a retired tennis champ, Bobby Riggs, measuring angles. His vociferous male chaugrabbed the media megaphone, shout- vinism is for show. He muscles into the news ed aspersions against women athletes (and cycle and prime time by being outrageous and, “women’s lib”) and challenged tennis star Bil- like some political ﬁgures nowadays, he ﬁnds a lie Jean King to a match. Male fan base eager to cheer him for chauvinism tumbled when even the most shocking asserKing trounced Riggs before a tions. television audience of millions. The movie’s real villains are Drawing from the outline of Battle of the overlords of professional the King-Riggs match, British tennis, who refuse to pay fethe Sexes screenwriter Simon Beaufoy male athletes commensurate Emma Stone and American directors Jonawith their male counterparts Steve Carell than Dayton and Valerie Faris and embrace Riggs as an op(Little Miss Sunshine) comDirected by portunity to put down the upposed Battle of the Sexes. The start King. Jonathan Dayton true story behind the movie is The screenplay folds comand Valerie Faris interesting but the movie deplex issues into neat squares, Rated R pends on great acting to keep Hollywood fashion. Battle of the ball in play. Emma Stone the Sexes would be left with slips comfortably into her role nothing but feel-good talking as King, looking born to wear points if not for superb perforthose big John Denver glasses and that Mup- mances by Stone and Carell as well as supportpet hairdo. Steve Carell has the tougher part ing roles ably handled by Sarah Silverman as by making Riggs sympathetic, a heartbroken King’s outspoken advocate, Alan Cumming as clown going for the brass ring one last time. her fashion designer friend and Bill Pullman as Battle of the Sexes is correct to remind us the smugly condescending boss of tennis.

SHEPHERD EXPRESS

A&E::FILMCLIPS

MARQUETTE UNIVERSITY 2017–18 THEATRE SEASON

Complete film coverage online at shepherdexpress.com

American Made R

Based on events transforming commercial pilot Barry Seal into a CIA gunrunner during the Reagan era, this fast-paced film does little to reveal the person behind its protagonist. Tom Cruise plays Seal, whose duties prompt daring interactions with the Medellin drug cartel and the Contras (among others). Cruise’s intensity slips nicely into his character’s favorite aviator shades. Although we can only guess at Seal’s reasons for “risking it all,” we are cajoled by this stylish probe of recent history. (Lisa Miller)

Flatliners PG-13

In the 1990 original film, Kiefer Sutherland, Julia Roberts, Kevin Bacon, Oliver Platt and William Baldwin played medical students experiencing death firsthand by stopping their hearts, then restarting them several minutes later. Unknowingly, each student inadvertently opens a portal to disturbing paranormal encounters. In this sequel, Dr. Courtney Holmes (Ellen Page) leads a new batch of students on the same near-death quest. Although special effects have improved over the nearly three decades since the original film, the novelty factor that died with the first film is virtually impossible to resurrect. (L.M.)

THE MUSICAL

Sept. 28 – Oct. 8 Working is a heart-warming musical, recently updated with music from multiple popular artists, that shines the spotlight on everyday workers. No matter the occupation, together these individual stories of real people unite us all. Evan P. and Marion Helfaer Theatre Order tickets by phone or online: 414.288.7504 marquettetheatre.showclix.com From the book by Studs Terkel. Adapted by Stephen Schwartz and Nina Faso with additional contributions by Gordon Greenberg. Songs by Craig Carnelia, Micki Grant, Lin-Manuel Miranda, Mary Rodgers, Susan Birkenhead, Stephen Schwartz and James Taylor. Working – 2012 Revised Version is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MIT. www.MITShows.com

“A Celebration of Art in Cinema”

Filmmaker and radio personality Cindy Mich fills West Allis’ Inspiration Studios this week for a mini film festival called “A Celebration of Art in Cinema.” The two-day event begins on Wednesday and features designated block hours divided up by genre: science fiction, drama and horror. The festival also includes a handful of feature films, including the premiere screening of The Man in the Red Bandana, a documentary highlighting the heroic actions of a 24-year-old man who tragically died while saving lives at the World Trade Center during the terrorist attacks of Sept. 11, 2001. For aspiring filmmakers, a writers’ and directors’ panel is being held Wednesday evening, with industry insiders giving their tips on how to succeed in the film world. (Brian Boyle) 1:30-11:30 p.m., Sept. 27-28, at Inspiration Studios, 1500 S. 73rd St. For more information, visit cin4251. wixsite.com, inspirationstudiosgallery.com or call 414-587-3474.

[HOME MOVIES/OUT ON DIGITAL] The Ghoul

A London homicide detective follows the clues to a jovial-seeming psychotherapist. Puckishly sagacious, the psychiatrist is also an occultist in a story that refuses an easy solution to the question: Is this happening in the detective’s increasingly unstable mind or in the objective world? The Ghoul by British director Gareth Tunley maintains an aura of intrigue despite a structure that loops in and around like the Mobius strip the psychiatrist offers as a model of reality.

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Behind the White Glasses

Lina Wertmüller is an Italian filmmaker who first surfaced as Federico Fellini’s assistant on 8½ (1963). A year later, already sporting her trademark white plastic glasses, Wertmüller was directing on her own. Within a decade she became a puckish cult figure, infusing social commentary with comedy. Now 89, Wertmüller is the star of Valerio Ruiz’s entertaining documentary, eagerly recounting memories and visiting the sites of past accomplishments. “I consider fun to be something priceless,” she declares.

ACADEMY AWARD WINNER ®

EMMA STONE ACADEMY AWARD NOMINEE ®

STEVE CARELL

The Birthday Party

Harold Pinter was integral to the production of The Birthday Party (1968), casting Robert Shaw and Patrick Magee in lead roles. Then relatively unknown, director William Friedkin enveloped Pinter’s Kafkaesque play in visual claustrophobia. Banality gives rise to cruelty and the quotidian is intersected by strangeness. Pinter’s language is brilliant—especially during pyrotechnic displays of the falsity of language from the mouth of an interrogator who torments the initially unlikable lodger in a grimy boarding house.

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They Shoot Horses, Don’t They?

It’s the Great Depression and couples enter a dance marathon for a $1,500 prize. The rules involve dancing around the clock with short breaks until just one couple is left standing. Sydney Pollack’s 1969 film includes outstanding performances by Jane Fonda and Michael Sarrazin as a desperate couple— she’s cynical and hard; he’s naïve and none-too-bright. The film attacks an entertainment industry producing false hopes and tawdry distractions in a world where the game is rigged. —David Luhrssen

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To enter, go to: tinyurl.com/shepex73 THIS FILM HAS BEEN RATED PG-13 BATTLE OF THE SEXES: NO PURCHASE NECESSARY. Ends 10/5/17 at 6:00pm CST. Open only to legal U.S. residents of Milwaukee, Racine, Kenosha, Walworth, Waukesha, Jefferson, Washington, Dodge, Fond du Lac, Sheboygan, and Ozaukee counties, 18 years of age or older, and is subject to complete Official Rules, available by entering at tinyurl.com/ shepex73. Odds of winning depend on the number of entries. Void where prohibited.

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IN THEATRES SEPTEMBER 29

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GERIT GRIMM’S FAIRYTALES In A Time Neither Now Nor Then

Opening Party October 7 | 2:00–5:00 Artist Talk: A Craving for Clay October 19 | 6:30–7:30

VISUALART|REVIEW West Bend | wisconsinart.org Gerit Grimm standing next to the peddler of Peddler and Female Shopper, Stoneware, 2011 All Gerit Grimm works are courtesy of the Tory Folliard Gallery

Finding Rest on ‘The Seventh Day’ at Jewish Museum Milwaukee ::BY DAVID LUHRSSEN

link and a hundred messages appear. The ring tone is seldom silent. Technology chains us to our jobs, connects us to fake “friends” and wires us to a world of bad news. In the 21st century, more than any time in history, the benefits of a regular decoupling from everyday pressures is a luxury no longer but a necessity. The demand for a drastic disconnect—a day of rest—was heard in Judaism thousands of years before the advent of the internet and smartphones and was enforced with strict yet benevolent rules for the Shabbat (Sabbath). The day of rest is the topic of the current exhibition at the Jewish Museum Milwaukee, “The Seventh Day: Revisiting Shabbat.” “You find the idea in many cultures of disconnecting from everyday details—of setting aside a point in time as a sacred space,” says Molly Dubin, curator at the Jewish Museum. Christianity shifted its Sabbath from sundown on Friday to Sunday, giving western civilization a precedent for a day of rest that would later be taken up in secular contexts by labor activists seeking to limit the hours spent in workplaces. An edited version of an exhibit originally mounted at New York’s 30 | S E P T E M B E R 2 8 , 2 0 1 7

Hebrew Union College-Jewish Institute of Religion Museum, “The Seventh Day” represents the concept from Jewish perspectives, yet the wider implications aren’t hard to envision. The exhibit includes the work of some two dozen artists from the late 19th century through the present in media ranging from painting, woodcuts and lithography through sculpture, paper cuts and photography and into the realm of digital and mixed media. Preparing for a day without work can be hard work—and was traditionally shouldered by the women who cleaned house, baked the knotted challah bread and set the table for the night and the day to come. It’s only appropriate that a preponderance of work in “The Seventh Day” is by women or comments on women’s role in Shabbat. Joan Roth’s handsome black-and-white photographs show women of multiple generations lighting Shabbat candles, a metaphor for keeping darkness at bay and bringing light into the world. Ayana Friedman’s Legend of the Soiled Shabbat Dress is a digitalized and somewhat enigmatic fairytale about a girl who dirties her white dress while performing a good deed—helping an old man haul charcoal through the forest. Will Barnet’s lithograph Saturday Afternoon, Gramercy Park illustrates the playful aspect of Shabbat. Executed in heavily outlined figures against simple color blocks are a grandfather watching his granddaughter scamper along a park bench amid birds. Their fluttering suggests souls elevated through the release of everyday cares. Archie Rand’s panels in acrylic on canvas, The 39 Forbidden Labors of the Sabbath, has fun with the rules governing no-work on Shabbat through its acid-bright colors and cartoony figuration. Judy Chicago’s self-explanatory Rainbow Shabbat is the exhibit’s deliberately ecumenical piece, showing a virtual family of humanity gathered at a Shabbat meal, heads turned toward the wife as she blesses the candles. Through Dec. 31 at Jewish Museum Milwaukee, 1360 N. Prospect Ave. For more information on “The Seventh Day” and a roster of programs accompanying the exhibit, visit jewishmuseummilwaukee.org. SHEPHERD EXPRESS

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A&E::BOOKS BOOK |REVIEWS

The Oxford Illustrated History of Science (OXFORD UNIVERSITY PRESS), EDITED BY IWAN RHYS MORUS

The truth is out there—a universe waiting to be discovered, but what we can or choose to see is shaped in part by the culture that shapes us. That’s one of the themes in The Oxford Illustrated History of Science, which despite its title (and many illustrations) is a collection of essays by authorities in various fields. Spanning ancient astrology and the origins of mathematics through quantum physics and the expanding universe, the OIHS strives for a global scope with chapters on China, India and the Near East. However, the book’s compact size (less than 450 pages including index) mandates many omissions. Another of the book’s themes is the inseparability of religion and magic from what we call science until the 18th century. Although science has the capacity to verify theories as factual, many fundamental ideas continued to be debated, with genetics providing a good contemporary example. According to OIHS, the question of what exactly we inherit genetically and what can be predicted from that legacy has no clear answer, despite sweeping claims heard in pop culture or made by advocates of one theory or another. (David Luhrssen)

Gene Smith’s Sink: A Wide-Angle View

(FARRAR, STRAUS AND GIROUX), BY SAM STEPHENSON Essayist Sam Stephenson’s fascination with Gene Smith (1918-1978) led him down a 20-year investigation into the photographer’s life. The resulting book, fortunately, isn’t a monotonous chronicle but a set of essays examining the subject from various angles. It’s not the first biography of Smith, whose chiaroscuro photographs were published in Life magazine before he set out on his own for an amphetamineand alcohol-fueled life on the edge. Stephenson isn’t a fawning admirer, calling out Smith for his cult of personality, and maintains a critical yet sympathetic stance toward his subject. A Wide-Angle View brings a fresh interpretation to a leading figure from photography’s heroic age. One complaint: The book includes none of Smith’s photographs. (David Luhrssen)

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A&E::BOOKS BOOK |PREVIEW

Faith and Fiction at Mythinformation Conference ::BY LORA NIGRO AND KEVIN RUTKOWSKI

ome Saturday, Sept. 30, atheist crusaders Mythicist Milwaukee, a group striving to free the world from religious oppression and bigotry, will amass its fourth annual Mythinformation Conference at the historic Pabst Theater under the shadow of recent controversy. This past month their lineup of popular YouTubers—ShoeOnHead, Armoured Skeptic and Sargon of Akkad—ignited an explosive response of “vilification and false accusations from the very far left” that blew up in the twittersphere. Attempts were made to de-platform the event, costing organizers thousands of extra dollars for security and resulted in a couple of key figures backing out. “In our press release we thought the debate about Islam in the age of Trump would be the controversy,” states Mythicist founder Sean Fracek. “It seems a small minority of fringe secularists are instigating this internet drama to create their own narrative and ploy for attention. We’re trying to bring in bigger names and brand ambassadors to help atheism grow. These young YouTube celebrities were selected because they want to reach across the aisle and have respectful discussions. Sargon has been critical of both the hard left and the alt-right.” Name-calling and “fake news citings” aside, the afternoon debate on Islam remains the roster’s focal point. Representing the secular angle is Iraqi-born human rights activist and founder of the Global Secular Humanist Movement, Faisal Saeed Al Mutar. He maintains that the only way to ensure religious freedom is to have a separation of mosque and state. Mutar will counter Asra Nomani, a Muslim reformist and author of two books, Standing Alone in Mecca: An American Woman’s Struggle for the Soul of Islam and Tantrika: Traveling the Road of Divine Love. The climactic “red carpet premiere” will be Mythicist Milwaukee and King’s Tower Productions film debut of Batman & Jesus, The Movie, a lighthearted documentary investigating the historicity or lack of evidence for Jesus of Nazareth. Top secular scholars and historians illustrate how myths evolve drawing comparisons to the comic book character hero and other pop culture icons. An after-party talk is scheduled with West Allis resident Ron Miscavige, author of New York Times bestseller Ruthless: Scientology, My Son David Miscavige, and Me. Miscavige is the father of the Church of Scientology’s leader and has received numerous character attacks since leaving the fold and publishing the book. “Atheism has unique problems all over the world and in distinct places, like Bangladesh, individuals are getting killed for their views,” remarks Brian Edward, host of Mythicist Milwaukee’s weekly podcast. “In America, we’ve created enough space so that at minimum it’s tolerated.” “We are changing the conference model as the conversation has moved to the online community with less interest in debunking religion and more focus on relevant cultural, social and political topics,” reflects Fracek. “Atheism is evolving.” The Mythinformation Conference will be held from 10 a.m.-9 p.m. on Saturday, Sept. 30 at the Pabst Theater, 144 E. Wells St. For more information and tickets visit mythicistmilwaukee.com. Enter Promo code: Myth.

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The Third Ward Will Only Continue To Grow OFF THE CUFF WITH THE HISTORIC THIRD WARD ASSOCIATION’S JIM PLAISTED ::BY EVAN RYTLEWSKI

t’s funny to think there was a time when a top goal of the Historic Third Ward Association was simply encouraging people to visit the neighborhood. “Twenty or 30 years ago it was all about, ‘Discover the Third Ward, come and find us!’” says Jim Plaisted, who took over as the organization’s executive director in July. “We used to have the jazz festival, which was all about getting a couple thousand people to come here who maybe wouldn’t have otherwise, because that used to be a concern,” Plaisted says. It’s safe to say those days are long over. The Third Ward is now one of the city’s great success stories, and one of its powerful magnets for new development. Off The Cuff spoke with Plaisted, who previously oversaw business improvement districts in Shorewood, Wauwatosa Village and Milwaukee East Side, about the Historic Third Ward Association’s vision for the booming neighborhood. Each of the neighborhoods you’ve represented faced its own unique challenge. What is the Third Ward’s? The challenge for the Third Ward right now is managing its growth via such vehicles as the Architectural Review Board (ARB), which is the first stop for any new development—and I can’t mention them, but there are probably

one or two new ones that are coming to the floor in the next few months, via the ARB, to start their public approval process. Managing growth is a big part of the Third Ward Association’s strategic plan. When they created the new job description for the executive director, they also took a really honest look at themselves and asked, ‘Is this organization serving its members the way it has for the past 20 or 30 years?’ Because they were smart enough to realize, ‘Boy, are we different than we were 20 or 30 years ago.’ So as part of that strategic plan, we created a series of what we’re calling affinity groups, that are going to meet in the next several weeks—we just had our first one last week—and they’re in five categories of stakeholders: residents, restaurants/bars, merchants, cultural arts institutions and businesses; and office professionals. What’s the top concern you hear from the people you meet with? You know, there’s general excitement about what’s going on here, both short and long term. I think there’s less concern about the next retailer to come in, or whether the next developer to come in pushes the envelope. Do we have too much national retail? Are we pricing out boutiques? Are we pricing out the arts community? Some of those concerns percolate up, but in general there’s a very positive attitude about the steps the neighborhood is taking to the future, and trusting the city, and the ARB and this organization are managing that as they have really well for the last 20 or 30 years. It’s really hard to argue the success of this organization. Through various iterations of boards and directors and turnover, it’s amazing how these guys have stayed on point and stuck to their vision for where they wanted this neighborhood to go. The Third Ward is already one of the most densely packed neighborhoods in Milwaukee. At what point does it start turning down development proposals, or become too big for what it is? I think it just comes down to parking. If you’re building an office or residential building that has a high parking demand, it’s going to have to park itself. What that means is if it’s a residential building, they need to have one and a half spots per unit, or something like that. And if it’s retail, they can’t rely on parking on the street. Beyond that, I think

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Jim Plaisted

the ARB manages well whether a development fits from a massing, materials or aesthetics standpoint. So that’s not a concern: Any project that comes through this body is going to arrive in a good shape, because developers understand that the ARB holds to its guidelines. In a decade or so, how do you imagine the Third Ward will be different from how it is today? I would assume we would just continue to grow, both in new developments and rehabbed buildings. There’s still a handful of historic buildings that could be rehabbed. So I expect continued growth. I’m not going to throw out any numbers—how many residents, things like that—but barring a really severe economic recession this is going to continue to grow, because it does have so many great assets: the lake, the proximity to Downtown, the Public Market, the Riverwalk. It’s a one-of-a kind spot, and I think that’s why the market is responding so strongly to it. This is a neighborhood with dynamite bones, and those bones aren’t going away. To learn more about the Historic Third Ward, visit historicthirdward.org.

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CHITTY CHITTY BANG BANG Music and Lyrics by Richard M. Sherman and Robert B. Sherman Music by Special Arrangement with Sony/ATV Publishing Adapted for the Stage by Jeremy Sams Based on the MGM Motion Picture Licensed Script Adapted by Ray Roderick CHITTY CHITTY BANG BANG Is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com