VITAL Source, Vol. 7 Issue 3

Vol VII • Issue 3 • April 2008

2 | Vital Source

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inside Vital

April, 2008 | vol. 7 issue 3 | vitalsourcemag.com

COVERED

6 VITAL’S 2008 -09 SPRING FINE ARTS PREVIEW A first look at all the glory of Milwaukee’s upcoming performing arts season. jon anne willow & lindsey huster

14 Purveyors of low frequencies

MSO bassists Roger Ruggeri and

Zach Cohen take tea and talk shop >> amy elliot t 16 Give them the remote

MAM’s Daniel Keegan wants to put

you in control >> bridget brave

this month’s cover Faythe Levine is currently working on the documentary Handmade Nation: The Rise of DIY Art, Craft & Design, due out in 2009, and has co-authored a book of the same title to be published in November 2008 by Princeton Architectural Press. She is the co-owner of Paper Boat Boutique & Gallery and the founder of Art vs. Craft.

VITAL CULTURE 18 Stages A wild garden >> russ bickerstaff 20 REEL Milwaukee Let it Breathe >> howie goldklang 26 music reviews Kevin Ayers, The Gutter Twins, The Felice Brothers, The Matches, Stükenberg 28 record releases Moby, Portishead, M83, REM, The Black Keys and many more 30 Subversions 400 years in a convent, three nights at Rooters >> mat t wild

NEWS+VIEWS 4 The Editor’s Desk New model army >> jon anne willow 29 The Funny Page

VITAL LIVING

ONLINE @ VITALSOURCEMAG.Com All of VITAL, every month, plus...

Milwaukee’s most interesting bloggers REEL Milwaukee: the blog >> Howie Goldklang takes on film Gray Matter and The Free Speech Zone >> Politics as unusual with Ted Bobrow and Michelle Tucker Between Stages >> Russ Bickerstaff between scenes in the performing arts

Dem Bones >> Everything art from Stella Cretek Please Send Help >> Matt Wild’s nightlife/ publicity stunt/weekend music reports

22 Slightly Crunchy Parent Chomp! When toddlers bite >> lucky tomaszek 24 Vital’s Picks Where VITAL will be in May >> amy elliot t and lindsey huster 31 puzzles Plus March crossword answers

Love Letters >>Wanderings and wonderings from Amy Elliott ALSO! Reviews and criticism; feature articles, local events and news headlines REMEMBER! Subscribe to eNews for important updates and fabulous prizes.

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Vital Source | 3

Vital source The editor’s desk New model army

>>words by jon anne willow

started writing my column this month on booze in the newsroom and other lost traditions. In my 21 years in journalism, I’ve witnessed the devolution of media culture from free-wheeling hotbeds of professional tension and excessive living into hushed, corporate cubicle warrens, with reporters and sales folk alike watching their companies’ stock prices as a key indicator of success or failure. I find this development counterproductive, unnecessary and possibly even fatal. Bloggers, gun-for-hire correspondents and foreign news agencies like the BBC and Al-Jazeera have become the new vanguard, and their work constitutes most of the heavy lifting in global coverage. The biggest loss is at the local level, where panicking publishers retire their most experienced newshounds in favor of cheaper, younger labor (or nobody at all), compromising our access to the information that affects us most directly by eliminating the beat reporter with intimate knowledge of the players. Experience has been devalued into obsolescence: a strong statement where exceptions are surely demonstrable, but generally true in my opinion.

As a publisher, I absolutely understand the financial travails of forprofit journalism. I know that lifestyle sells to advertisers better than news coverage and that bills must be paid. I know that print is on the wane and web is on the rise, and that the big challenge is monetization of web opportunity. I also understand that the digital democratization of information is one of the greatest blessings of this modern age, but that as a result, it is increasingly difficult to be the exclusive source for anything.

It’s a conundrum of biblical proportions and it’s threatening to take down the existing structure of the Fourth Estate. The New York Times and Washington Post are two excellent examples of locally-based daily newspapers that successfully serve an enormous national and international audience on the web, yet haven’t built enough web revenue to close the gap on lost print dollars. It’s democratization again; once online, news outlets compete with everyone else on the web for ad dollars and it’s no longer enough to send sales reps to every business and agency in town to exact the formerly customary pound of flesh. Advertisers now have the same limitless choices as media consumers, plus a long-standing bad taste in their mouth from the extortionary tactics previously employed by daily newspapers and the Yellow Pages.

It’s a big mess, that’s for sure. High-quality local news coverage is an absolute must in every community. On the other hand, a long-term soft retail economy and broader competition for ad dollars has local

news organizations stuck between a rock and an even harder rock. So, what’s the answer?

I’m just one small publisher and I can’t solve all of the world’s problems – I can barely even keep up with my own stuff. But I have seen a few agile publishers here in Milwaukee do some pretty smart things to connect with their constituencies. The Small Business Times was started in 1995 by a group of Business Journal expatriates discontent with the lack of attention paid to the concerns of small to medium-sized local businesses. They pushed the boulder uphill for years, growing slowly, fighting for every ad dollar and relying, like so many do, on the old model of creating content for the reader and selling readership to the advertiser in the form of print advertisements.

How did that go for them? I only worked there for a short time, but in my experience it was tight in the way that private small businesses often are, with old computers, shared workspaces and very limited page counts. But they’re smart over there; they figured out that the golden rule of business pertains to publishing, too; instead of insisting that people buy what you’re selling, find out what they’re excited to pay money for and give them that, even if it means changing your structure.

Now they run several successful annual conferences and trade shows, push out an e-newsletter with truly useful information and proactively find new ways to connect businesses (their constituency) to other businesses and the community. As a result, they’re growing in both size and influence where others are withering. Shepherd Express founded, initially produced and has its branding fingers all over the Milwaukee International Film Festival, and I bet it’s been good for business. There are other examples, including VITAL, which has taken a broader approach to covering local culture by integrating print stories with web content and hosting (really fun) monthly events to release our issues.

We also distribute literature for local arts and community-based groups as well as niche magazines from other publishers like WELL Magazine, Experience Milwaukee, Alcoholmanac, ArtsScene and more.

How does this apply to funding quality news coverage? I’m not suggesting an all-church bake sale to pay for the daily’s religious beat, but I believe large news institutions could take a page from the little guys’ playbook. We all need for local news outlets to succeed, but they have to find their focus and meet their communities half way. The rebels beat the redcoats by challenging the conventions of warfare, and that’s what’s called for here. It’s a big challenge, but there’s no reason why it can’t work. Anyone know how to sew a flag? VS

Producer Mehrdad J. Dalamie mjdalamie@vitalsourcemag.com

Dramaturg Russ Bickerstaff rbickerstaff@vitalsourcemag.com

Flymen Zach Bartel, Erin Petersen, Andy Zupke

Director Jon Anne Willow jwillow@vitalsourcemag.com

Wardrobe Lucky Tomaszek ltomaszek@vitalsourcemag.com

Stage Manager Amy C. Elliott aelliott@vitalsourcemag.com

Property Master Matt Wild subversions@vitalsourcemag.com

Set Designer Tony Bobrov tbobrov@vitalsourcemag.com

Production Assistant Lindsey Huster lhuster@vitalsourcemag.com

Stagehands Troy Butero, Bridget Brave, Jason Groschopf, A.L. Herzog, Charlie Hosale, DJ Hostettler, Erin Landry, Faythe Levine, David Rees, David Schrubbe, Scott Winklebleck, Erin Wolf

Front-of-House Ryan Findley rfindley@vitalsourcemag.com

Followspot Dwellephant

I

Sound Engineer Pete Hamill music@vitalsourcemag.com

4 | editor’s Desk | Vital Source

Lighting Designer J. Swan

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Most material herein belongs to Vital Publications, LLC, and cannot be reproduced without the written consent of the publisher. Reprint and copyright inquiries must be made in writing.

Subscriptions are available for $27 per year. Send check or money order, attn: Subscriptions, to address below.

VITAL Source Magazine 133 W. Pittsburgh Ave., Ste. 409 Milwaukee, WI 53204 Phone: 414.372.5351 Fax: 414.372.5356 On the Web www.vitalsourcemag.com www.myspace.com/vitalsource

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VITAL’s 2008 – 2009 Spring Fine Arts Season Preview

By Jon Anne Willow and Lindsey Huster pring brings a sea change in our fair city. Longer days, warmer nights and anticipation of the summer’s inherent ease all conspire to turn the tide of a particularly grueling winter. Yes, change is in the air in so many ways. From the White House to Wall Street and the Calatrava to Canal Street, seismic shifts in management, economics and principles are destined to affect us all in the foreseeable future.

We have so much as consumers of local culture to keep track of with this ascent of the mercury.

The Milwaukee Art Museum recently welcomed Daniel Keegan to the helm as Executive Director, replacing the highly successful and sometimes controversial David Gordon. He brings a love of new technology and multimedia to MAM; expect to tap into a guided tour from your cell phone, download a podcast about the latest exhibit and engage with your collection in new ways. Up the road and a few blocks from the lake, Milwaukee Symphony Orchestra Music Director Andreas Delfs conducts his last season (and the MSO’s 50th) as Edo de Waart prepares to take the helm. By reputation, de Waart’s choices tend to be riskier and more contemporary than his predecessor. He also comes with an extensive collection of recordings, so look for MSO performances to be more readily available for download or CD purchase. This month he’ll conduct his first concert for the MSO, Holst’s The Planets, on April 18. The performance includes space exploration video footage provided by the Jet Propulsion Lab and NASA.

Milwaukee gets another dose of fame from the MSO with new Pops conductor Marvin Hamlisch. He’s one of only two people in history to win an Emmy, a Grammy, an Oscar, a Tony and the Pulitzer Prize, not to mention a clutch of Golden Globes. On the funding and advocacy side, funding powerhouse Christine Harris, formerly President of UPAF, steps into a parallel role at the Milwaukee Cultural Alliance. Her UPAF shoes were filled by former Journal Sentinel Inc. VP Christy Garcia Thomas, who brings media savvy and a strong background in sales and marketing to her new role. Both will try to shake the money tree to ensure ongoing funding for a city with incredibly rich and diverse cultural offerings.

There are other changes, of course. Some have gone unreported, some are less glamorous in print but of equal impact in their own way. As a loosely defined collective, the arts face their own sea change. Technology is changing the way we interact with art; a slow economy could change the way current and prospective arts consumers consider discretionary spending. On the upside, the increasing sophistication of local audiences and an ever-more conducive environment for ambitious young artists to produce – and market – quality performances on a small budget bodes well for the health of our vibrant artistic scene. We’re also blessed with unparalleled generosity in private and corporate support of the arts for groups of all sizes and stripes. So without further ado, let’s see what we have to look forward to when summer turns to fall and all eyes turn to local stages.

ACACIA THEATRE COMPANY Integrating art and faith, Acacia provides opportunities for all to consider their lives in relation to God.

Alamo Basement specializing in short plays that incorporate drama, improv, puppetry and dance.

Season/performance dates TBA Concordia’s Todd Wehr Auditorium 414-744-5995 • acaciatheatre.com AFRICAN-AMERICAN CHILDREN’S THEATRE Providing children opportunities to express creativity, nurture individuality and acquire leadership and performance skills.

Season/performance dates TBA Milwaukee Education Center 414-461-5771 • aact.us Alamo Basement Self-described “enthusiastic theater folk”,

Season/performance dates TBA myspace.com/alamobasement ALVERNO PRESENTS The series’ vision is to cultivate artists whose work exemplifies excellence, innovation and profound accomplishment.

Season/performance dates TBA 414-382-6044 • alvernopresents.alverno.edu AMERICAN PLAYERS THEATRE APT is one of the nation’s most popular outdoor classical theaters , playing to more than 100,000 patrons each season. APT brings the classics to life through skilled and reverent presentation.

Ah, Wilderness! June 21 Henry IV: The Making of a King: June 26 Widowers’ Houses: Aug. 9 The Belle’s Stratagem: Aug. 16 The Desert Queen: July 11 608-588-2361 • playinthewoods.org BEL CANTO CHORUS Bel Canto Chorus is Milwaukee’s oldest continually performing arts organization, composed of approximately 100 chorale voices.

Season/performance dates TBA 414-481-8801 • belcanto.org BOULEVARD THEATRE The Boulevard Ensemble is an established, professional theatre company that stages an eclectic range of classic plays, modern icons and alternative genres in its cozy black box studio theatre.

The Misanthrope, Aug. 08 As You Like It, Oct. 08 Blackbird, Nov. 08 Roses In December, Dec. 08 The Little Dog Laughed, Feb. 09 Nothing, March 09 You Never Know, April 09 414-744-5757 • boulevardtheatre.com BROADWAY BABY DINNER THEATRE An intimate performing space specializing in musicals, revues, comedies and farce.

Season/performance dates TBA 414-358-2020 • foodspot.com/broadwaybaby CARDINAL STRITCH UNIVERSITY THEATRE Presenting quality theatre productions for the campus and local communities.

Season/performance dates TBA 414-410-4171 theatre.stritch.edu CHORAL ARTS SOCIETY Presenting fine choral music in Southeastern Wisconsin for over twenty years, from the classics to the new and groundbreaking.

Holiday Concert: TBA Racine Symphony Orchestra: March 09 Remaining Season/performance dates TBA 262-634-3250 • choralartsonline.org CONCORD CHAMBER ORCHESTRA Founded in 1975 to offer performance opportunities to young and aspiring musicians.

Season/performance dates TBA Basilica of St. Josaphat, St. Mathew’s Evangelical Lutheran Church 414-347-0881 • concordorchestra.org

A Midsummer Night’s Dream: June 14

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CORNERSTONE THEATRE COMPANY Providing new work and classics at affordable prices for all.

Season/performance dates TBA Historic Brumder Mansion 414-342-2951 • cornerstonetheatre.net DANCEWORKS PERFORMANCE COMPANY Enhancing joy, health and creativity through performances, classes and outreach integrating dance and other art forms.

Dance on Camera Series: July 12 Rebecca Stenn Dance: July 18 – 19 Art to Art: Aug. 1 – 2 Causing Effect: Aug. 8-9 20 th Anniversary Celebration: Sept. 12 – 14 Have a Seat: Nov. 7 – 9 The Bra Project: Jan. 30 – Feb. 1 A Guy Thing: March 6 – 8 Spring Departures: June 5 – 6 414- 277-8480 • danceworks1661.org

DANCECIRCUS DanceCircus celebrates the human spirit and reflects topical concerns in compelling stories.

Season and performance dates TBA 414-277-8151 • dancecircus.org FALLS PATIO PLAYERS A community theatre company serving Southeastern Wisconsin for over 40 years.

Forever Plaid: Oct. 2, 3, 5, 10, 11, 12 Christmas Carol: Dec. 5, 6, 7 Over the River and Through the Woods: Feb. 6, 7, 13 – 15 Annie: April 24 – 26; May 1 – 3 Children’s Summer Camp June 15- 22

FIRST STAGE CHILDREN’S THEATER Nationally-acclaimed children’s theater and the 2 nd largest performance company in Milwaukee. Offering professional performances, a renowned theater training school and dynamic in-school educational programming.

Gossamer: Sept. 19 – Oct. 5 Giggle Giggle Quack: Oct. 4 – 19 Witness: Jan. 23 – Feb. 22 Henry Connick Jr.’s The Happy Elf: Nov. 28 – Dec. 24 The Dinosaur Play: Feb. 14 – March 1 The Neverending Story: March 6 – April 5 How I Became a Pirate: April 17 – May 17 Marcus Center’s Todd Wehr Theater 414-273-7206 • firststage.org FLORENTINE OPERA As one of the nation’s oldest opera companies, the Florentine Opera reflects the highest musical and theatrical standards, while supporting community and educational programs.

Studio Artist Concert: Oct. 19 Madama Butterfly: Nov. 21, 22 & 23 Semele: Feb. 27 & 28, March 1 The Magic Flute: April 27, 18 & 19 75th Anniversary Diamond Spectacular: May 29 Various Locations 414-291-5700 • florentineopera.org HANDSBERRY-SANDS THEATRE COMPANY Providing quality theatrical art forms that entertain, educate and develop individual talent and preserve our historical culture.

Insurgent Theater Producing “ bad-ass DIY” theater since 2003, featuring locally-written plays and other performance art.

Season/performance dates TBA 414-405-3576 insurgenttheatre.org IN TANDEM THEATRE Founded in 1998, In Tandem is committed to producing exciting, innovative comedy, drama, musicals, classics and original works.

All The Great Books: Oct. 9 – 26 A Cudahy Caroler Christmas: Dec. 3 – Jan. 4 The Show: Dec. 4 – 21 Old Wicked Songs: March 5 – 22 Romantic Fools: April 30 – May 17 Tenth Street Theatre 414-271-1371 • intandemtheatre.com JOHN MICHAEL KOHLER ARTS CENTER Dance and music from internationally renowned artists in two intimate performance spaces.

Season/performance dates TBA 920-458-6144 • jmkac.org

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Season/performance dates TBA Marcus Center’s Vogel Hall 414-616-7529 • hansberrysands.org

262-255-8372 • fallspatioplayers.com FESTIVAL CITY SYMPHONY FSC makes classical music accessible to everyone with casual, family-friendly classical music concerts.

Season/performance dates TBA Marcus Center 414-963-9067 • festivalcitysymphony.org FIRESIDE DINNER THEATRE One of the Midwest’s most popular professional theatres. Wed. - Sun. performances weekly.

Anything Goes: March 13 - May 18 Barefoot in the Park: May 22 - July 6 The Rock and the Rabbi: July 10 – Aug. 17 How to Succeed in Business Without Really Trying: Aug. 21 – Oct. 19 A Fireside Christmas: Oct. 23 – Dec. 21 Fort Atkinson, Wisconsin 800-477-9505 • firesidetheatre.com

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MILWAUKEE BALLET A top-ranked company nationwide, the Milwaukee Ballet attracts world-class performers and choreographers and strives to inspire audiences to think within and beyond traditional ballet.

ment for relevant artists to display and perform and provides artsrelated education.

The Sleeping Beauty: Oct. 23 – 26 The Nutcracker: Dec. 12 – 28 Fancy Free: Feb. 19 – 22 Genesis: Choreography for the Next Generation: Mar. 26 – 29 Live and Kicking: International Choreographers Series: May 14 – 17

MILWAUKEE REPERTORY THEATRE Nationally recognized company presenting compelling dramas, powerful classics, award-winning contemporary works and lively cabaret shows.

414-902-2103 • milwaukeeballet.org

Quadracci Powerhouse Theater State of the Union: Sept. 19 – Oct. 12 Eurydice: Oct. 31 – Nov. 23 The Blonde, the Brunette and the Vengeful Redhead: Dec. 12 – Jan. 4 Trouble in Mind: Jan. 23 – Feb. 15 Pride and Prejudice: March 6 – 29 The Cherry Orchard: April 17– May 10

MILWAUKEE CHAMBER THEATRE MCT is “Celebrating Family” in its 34th season with five Milwaukee premieres sharing the common theme of family.

Well: Aug. 7 – 24 Rabbit Hole: Oct. 16 – Nov. 2 The Daly News: Nov. 13 – Dec. 14 The Sum of Us: Feb. 19 – March 15 Brooklyn Boy: April 16 – May 3

Renée Fleming performs with the MSO April 30, 2009

continued from page 7 KO-THI DANCE COMPANY A dynamic, internationally celebrated African dance company dedicated to bridging gaps between cultures.

Season/performance dates TBA 414-273-0676 • ko-thi.org LATINO ARTS INC. Promoting Hispanic programming in the arts both in our community and beyond.

M&I BROADWAY ACROSS AMERICA Season/performance dates TBA Marcus Center 414-273-7206 • marcuscenter.org MARQUETTE UNIVERSITY THEATRE Moon Over Buffalo: Sept. 25-28; Oct. 2,3, 5 The Cherry Orchard: Nov. 13-16, 20-23 The Heidi Chronicles: Feb. 6, 12-15, 19-22 Spitfire Grill: March 26-29; April 2-5 Student-Driven Alternative Theatre Festival: April

Broadway Theatre Center 414-276-8842 • chamber-theatre.com

Pabst Theater A Christmas Carol: Nov. 11 – Dec. 28 Stackner Cabaret Isn’t it Romantic: Nov. 8 – Dec. 28 Dogpark: The Musical: Jan. 3 – Feb. 22 Fire on the Bayou: March 7– April 26

Winter Concert: Dec. 14 Milwaukee Youth Music Celebration: March 15 (tent.)

Roots and Wings: April 4 (tent.)

Spring Concert: May 15

414-224-9490 • milwaukeerep.com

Various venues • 414-221-7040 milwaukeechildrenschoir.org

Helfaer Theater Saints and Sinners: Oct. (Date TBA) 414-288-7504 • mu.edu/theatre A Present Music Thanksgiving:

Nov. 23 MCMANN & TATE PRODUCTIONS Magic and Enchantment: Feb 14 The Taters pride themselves on Stuff and Nonsense: April 4 high-energy, original comedies, holiday comic revues and tomato Various venues • 262-375-2952 milwaukeechoralartists.org dodgeball improv shows.

United Community Center 414-381-3400 • latinoartsinc.org

Season/performance dates TBA Cedarburg Cultural Center

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Stiemke Theater I Am My Own Wife: Sept. 12 – Oct. 5 Mirandolina: Jan. 30 – Feb. 22 In this Corner: April 10 – May 3

MILWAUKEE CHILDREN’S CHOIR In its 15 th season, MCC is 40 0 youth strong, providing Milwaukee audiences with entertaining performances.

The Photography of Eddee Daniel: Fall 08 Ernesto Cardenal: Fall 08 Colectivo “La Malagua”: Fall 08 Sammy Figueroa and His Latin Jazz Explosion: Fall 08 Day of the Dead Celebration: Fall 08 Latino Arts Annual Ofrendas Exhibit: Fall 08 Quetzal: Fall 08 Ramiro Rodríguez: Holiday Celebration 2009 Perform ances TBA

262-375-3676 • mcmannandtate.org

Season/performance dates TBA 414-383-3727 milwaukeegayartscenter.org

MILWAUKEE CHORAL ARTISTS MCA celebrates 11 years as one of only three professional female choirs in the U.S. Named twice in four years to the Journal Sentinel’s Top 10 Performing Arts Events.

MILWAUKEE GAY ARTS CENTER MGAC serves the LGBT community by providing a welcoming environ-

MILWAUKEE SHAKESPEARE Founded in 2000, Milwaukee’s only professional Shakespeare company presents world-class productions.

Love’s Labour’s Lost: Sept. 6 – Oct. 5 Henry V: February-March Othello: April 18 – May 17 Locations TBA 414-747-9659 milwaukeeshakespeare.com MILWAUKEE SYMPHONY ORCHESTRA Celebrating its 50th anniversary in 2008-09, the MSO is the largest professional arts organization in Wisconsin.

Warmth and Nobility: Sept. 26 – 28 Rapt and Rhythmic: Oct. 3 – 4 Journey: Oct. 17 – 18 New Worlds: Oct. 31, Nov. 1 – 2

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A World of Innocence: Nov. 7 – 8 Varied Moods: Nov. 14 – 15 Inspired: Nov. 28 – 29 Darkness and Light: Jan. 16 – 17 Romantic Journeys: Jan. 23 – 24 Modern Dance: Feb. 6 – 8, 09 A Treasure and a Discovery: Feb. 13 – 14 Beauty and Drama: March 6 – 7 In the Season of Spring: March 13 – 15 Musical Involvement: April 3 – 4 Rich and Mellow: April 24 – 26 Excitement: May 1 – 2 Musical Surprises: May 29 – 30 Grandeur and Depth: June 5 – 7 Breaking Through to Joy: Dec. 31, Jan. 2 – 3 The Earth and Heavens Move: June 12 & 14 Itzhak Perlman: Sept. 18 Renée Fleming: April 30 Marcus Center’s Uihlein Hall 414-291-7605 • mso.org MILWAUKEE YOUTH SYMPHONY ORCHESTRA Training to motivat young people from diverse backgrounds across SE Wisconsin. Programs foster

talent, build character and enhance lives by nurturing an enduring love of music.

Season/performance dates TBA 414-267-2950 • myso.org MILWAUKEE PUBLIC THEATRE MPT creates original theatre works and provides workshops and arts residencies, making the arts accessible to people of all ages and cultures since 1974.

Joey’s Lunch Money Blues Party Girl Amy’s Addiction Persuading Tiffany No Good Reason To Stay?

F.A.Q.S. (Facing Adolescent Questions About Sex) Tobaccosaurus Rex Pirates of the Caribbe Rainbow Spectacolo Unclothed, the Naked Truth: Survivor Stories of Sexual Abuse and Healing Capaz Tasawari Cuentame un Cuento

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continued from page 9 Dates and venues TBA 414-347-1685 milwaukeepublictheatre.org MILWAUKEE YOUTH THEATRE The Milwaukee Youth Theatre prides itself on being most children’s first chance to be onstage.

We involve children in all aspects of our performances.

Season/performance dates TBA 414-390-3900 milwaukeeyouththeatre.org MODJESKA YOUTH THEATRE COMPANY A vibrant musical theatre company on Milwaukee’s south side, the MYTC provides performance opportunities to youths aged 6-20.

Season/performance dates TBA 414-384-4550 mytheatercompany.org NEXT ACT THEATRE Engaging the hearts and minds of audiences with compelling theatre productions.

Lombardi: The Only Thing: Sept.

11 – Oct. 12 Murderers: Nov. 13 – Dec. 14 Going to St. Ives: Jan. 29 – March 1 The Pavilion: April 2 – May 3 Winter Tales: Dec. 16 – Jan. 4 414-278-0765 • nextact.org OFF THE WALL THEATRE Gutzman’s tiny jewel-box theater transforms its environment for each production, and the company attacks material from Shakespeare to Sondheim.

Entertaining Mr. Sloane: May Frogs: July Gypsy: Sept. 08 The Vortex: Nov. 08 414-327-3552 offthewalltheatre.com PECK SCHOOL OF THE ARTS The only school of the arts in the UW system. 2,000 Dance, Film, Music, Theatre and Visual Arts majors work in innovative programs available.

Season/performance dates TBA Various campus venues 414-229-4308 • www4.uwm.edu/psoa

Pink Banana Theater Co. Developing local talent by creating an open and collaborative environment where artists can focus on and enhance their craft.

Season/performance dates TBA The Alchemist Theater pinkbananatheatre.com PRESENT MUSIC PM is Milwaukee’s hard-core, party-based classical musical ensemble, performing a six-concert season of new music, premieres and unexpected collaborations.

Season Opener: Sept. 6 Alexandra Dubois with the Milwaukee Choral Artists and Bucks Native American Singing and Drumming: Nov. 23 Remaining season and performance dates TBA 414-271-0711 • presentmusic.org Quasi Productions A network of artists spanning 3 major U.S. cities and providing entertainment services to all sorts of ventures to support local culture within communities.

Season/performance dates TBA Bucketworks 414-455-5465 • quasi-productions.com RACINE THEATRE GUILD RTG is a professionally-managed community theatre offering plays and musicals, children’s theatre, jazz and comedy series.

Side by Side by Sondheim: July 18 – 27 The Nerd: Sept. 5 – 28 Steel Magnolias: Oct. 24 – Nov. 2 Beauty and the Beast: Nov. 28 – Dec. 21 Dearly Departed: Jan. 9 – Feb. 1 Leading Ladies: Feb. 20 – March 15 The Boys Next Door: April 17 – 26 Godspell: May 15 – June 7 262-633-4218 • racinetheatre.org RENAISSANCE THEATERWORKS Creating compelling theatre exploring the feminine voice and offering professional opportunities to emerging local artists.

The Persians: Oct. 10 – Nov. 2 The Dig: Jan. 16 – Feb. 8

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Barney & Bee: March 20 – April 12 Studio Theatre, Broadway Theatre Center 414-291-7800 • r-t-w.com RSVP PRODUCTIONS RSVP Productions offers professional theater in an intimate setting, at affordable prices.

Show People: Nov. 7 – 22 Regrets Only: May 8 – 23 Astor Theater 414-272-5694 • rsvptheater.com ST. CROIX FESTIVAL THEATRE Since 199 0, SCFT has staged over 100 productions for more than 200,000 audience members in the St. Croix Valley.

Nat King Cole Tribute: May 10 Pop Wagner in Concert: June 14 You’re a Good Man, Charlie Brown: June 19 – 29 Dates with a Nut: July 10 – Aug. 10 Phil Heywood & Dakota Dave Hull: July 18 Sea Marks: Aug. 14 – 24 The Lovers Show Concert: Sept. 6 Ama & The White Crane: Sept. 13 – 21 Tim Sparks & Michael Young: Sept. 27 Arsenic & Old Lace: Oct. 9 – Nov. 2 Robert Robinson: Oct. 18 Claudia Schmidt: Nov. 8 Ann Reed & Dan Chouinard: Dec. 6 A Christmas Story: Nov. 29 – Dec. 28 Monroe Crossing: Dec. 20 651-214-2281 • festivaltheatre.org SHARON LYNNE WILSON CENTER FOR THE ARTS For six seasons, the Wilson Center has welcomed people from Southeastern Wisconsin to witness exciting, thoughtful and entertaining artists from all over the world.

The Phantom’s Leading Ladies: Sept. 24 Stephen Schwartz and Friend: Sept. 26 War of the Worlds & The Lost World: Oct. 9 Justin Hayford: Oct. 10, 11 Steve March Tormé – Totally Tormé: Oct. 15 Marsalis Brasiliamos: Oct. 22 Jordan Baskin Trio: Oct. 24 Trey McIntyre Project: Nov 1

Sally Mayes: Nov. 7, 8 Jesse Cook – Frontiers: Nov. 14, 15 Radio”Holly” Days: Dec. 10 Gerri DiMaggio: Dec. 12 MSO Holiday Pops: Dec. 13 MSO Holiday Classics: Dec. 20 Beyond the Bog Road: Jan. 23, 24 Make Someone Happy: Feb. 18 David Burnham: Feb. 20, 21 Pete Zimmer Grou: Feb. 27 Jazz Club – Manty Ellis & Friends: Mar. 6 Nebbia: Mar. 20, 21 Classical Piano Arts: March 22 Lee Lessack & Linda Purl: March 25 Blue Note Anniversary: March 28 Anne Kerry Ford & John Boswell: April 24, 25 Jennifer Frautschi: May 1 Jim Pugh: May 8, 9 Kathy Mettea: May 16 Sharon Lynne Wilson Center for the Arts 262-781-9470 • wilson-center.com SKYLIGHT OPERA Skylight is a nationally-acclaimed professional opera and music theatre offering a tantalizing mix of musical and theatrical arts.

La Bohème: Sept. 12 – Oct. 5 The Producers: Nov. 28 – Jan. 4 I Do! I Do! Jan. 30 – Feb. 15 Blues in the Night: March 13 – April 5 The Pirates of Penzance: May 22 – June 14 Cabot Theatre 414-291-7800 • skylightopera.com SOULSTICE THEATRE COMPANY The entire 20 08- 09 season at Soulstice Theatre will be dedicated to our dear Keith Tamsett.

It’s Only a Play: Sept. 18 – 27 The Laramie Project: Oct. 2 – 11 A Tuna Christmas: Nov. 27 – Dec. 6 Soulstice Songs & Stories: Dec. 20 Guys on Ice: January 09 Another Antigone: Late February 09 The Book Club Play: March 09 Lend Me a Tenor: April 09 Children of a Lesser God: May 09 Six Dance Lessons in Six Weeks: June 09 Tony & Tina’s Wedding: Summer Soulstice Studio 414-431-3187 • soulsticetheatre.org

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SUNSET PLAYHOUSE Since 1960, Sunset Playhouse has operated as a comunity theater where emerging actors and volunteers work with professionals to create dynamic productions.

Those Crazy Ladies In The House On The Corner: Sept. 5 – 7, 11 – 14, 18 – 21, 25 – 27 Jack Wilson & Kay Stiefel: Out of a Hat: Sept. 15 Escanaba in da Moonlight: Oct. 17 – 19, 23 – 26, 30; Nov. 2, 6 – 8 It’s A Wonderful Life: Dec. 5 – 7, 11 – 14, 18 – 21, 31 Three Smart Girls: A Holiday Reunion: Dec. 15 – 16 I Love You, You’re Perfect, Now Change: Jan. 16 – 18, 22 – 25, 29, Feb. 1 Ticket to Ride: A Tribute to the Beatles: Feb. 2–3 Same Time, Next Year: Feb. 27 – March 1, 5, 8, 12 – 15, 19 – 21 Social Security: April 17 – 19, 23 – 26, 30 – May 3, 7 – 9 Four Guyz in Dinner Jackets: Dry Clean Only: April 27, 28 Noises Off! May 29 – 21; June 4 – 7, 11 – 14, 18 – 20 Broadway Currents – Recent Showstoppers from the Great White Way: June 8, 9 Fame – The Musical: July 17 – 19, 23 – 26, 30; Aug. 2, 6 – 9 262-782-4430 • sunsetplayhouse.com TEN CHIMNEYS FOUNDATION Renowned estate tours,and ten Chimneys Foundation offers engaging programs.

Play Readings: The Guardsman: May 13 Play Readings: Arms and the Man: May 12 Music in the Drawing Room; (Eric Comstock & Barbara Fasano:) April 19 Fashion Forward: The Gowns and Garments of Lynn Fontanne: May 6 – Nov. 15 Conversations at Ten Chimneys: The Letters of Noel Coward: May 2 Celebration of Ten Chimneys Day, Five – Year Public Opening Anniversary: May 23 Conversations at Ten Chimneys: Steve Ross: June 14 Lunt-Fontanne Program Center 262-968-4110 • tenchimneys.org WALKER’S POINT CENTER FOR THE ARTS WPCA exhibits art, provides theater and multi-purpose space and offers art education programs throughout the year.

Paper Politics: Sept. 7 – Oct. 13 15 th Annual Día de los Muertos: Nov. 1 – Dec. 1 Annual Hands – on Youth Program Exhibit: Dec. 7 – Jan. 12

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2008-09 spring fine arts preview | 11

continued from page 11 Minneapolis Exchange Show: Jan. 25 – March 1 414-672-2787 • wpca-milwaukee.org WAUKESHA CIVIC THEATRE WCT provides quality live theatre performances and educational programs.

Season/performance dates TBA Margaret Brate Bryant Civic Theatre 262-547-0708 waukeshacivictheatre.com WINDFALL THEATRE Seeking out little-known gems from well-known playwrights, bringing many premieres to Milwaukee.

The Vast Difference: Sept. 26 – Oct. 11 When I Give My Heart: Feb. 20 – March 7 Betty’s Summer Vacation: May 1 – May 16 Village Church Arts 414-332-3963 • windfalltheatre.com

WILD SPACE DANCE COMPANY Merging dance with art, film and architecture to create inventive choreography and site-specific performances.

Season/performance dates TBA 414-271-0712 • wildspacedance.org WISCONSIN CONSERVATORY OF MUSIC Wisconsin’s oldest and largest non-profit independent music school, WCM strives to provide the finest musical education and performance opportunities for both aspiring professional performers and individuals seeking cultural enrichment.

Prometheus Trio Series: Sept. 15, 16; Dec. 8, 9; Feb. 9, 10; April 20, 21 We Six Series: Oct. 2, Nov. 20, Jan. 29, March 26 Conservatory Nights Concert Series: Oct. 23, Dec. 3,5; Feb. 5, March 12, April 16, April 30 Sunday Concert Series: Sept. 28, Oct. 12, 19; Nov. 2, Feb. 15, 414-276-5760 • wcmusic.org

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WISCONSIN CREAM CITY CHORUS A member-run community chorus of mixed voices celebrating our diversity for over 20 years through quality choral music, choral theatre and cabaret-style performances.

One World: December 2008 Whirled Music: April 2009 It’s a Small World: June 2009 Unitarian Universalist Church West 414-276-8787 • creamcitychorus.org WISCONSIN LUTHERAN COLLEGE The Center for Arts and Performance at Wisconsin Lutheran College offers distinguished guest artists, outdoor summer events and excellent college performing arts groups for all types of audiences.

Jeffrey Siegel: Sept. 24 Paragon Ragtime Orchestra: Sept. 27 La Musgaña: Oct. 7 Cypress String Quartet: Oct. 17 Charlotte’s: Oct. 19 – 20 Hungarian Virtuosi Chamber Orchestra: Nov. 12

New Christy Minstrels: Nov. 21 The Plant that Ate Dirty Socks: Dec. 9 Jeffrey Siegel: Dec. 10 Silver Bells & Diamonds: Dec. 12 – 13 Einstein Alive: Jan. 25 – 26 Barrage: Jan. 30 Harriet Tubman and the Underground Railroad: Feb. 7 Nate the Great: Feb. 26 Jim Witter: The Piano Men (Music of Billy Joel & Elton John): Feb. 27 If You Give a Pig a Pancake: Mar. 2 Music at the Crossroads: Mar. 10 Jeffrey Siegel: Mar. 18 Opus Two: Mar. 30 Blue Suede Shoes: Apr. 5 James and the Giant Peach: Apr. 6 Legend in Black: Apr. 17 Jeffrey Siegel: May 6 The Marlins: May 10 Schwan Concert Hall 414-443-8802 • wlc.edu/arts

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Vital source iNTERVIEW

Purveyors of low frequencies MSO’s past and present principal bassists take tea and talk shop

By Amy Elliott + Photos by Scott Winklebleck Roger Ruggeri might be right about that, but his warmth and easy laughter belie the deeper notes of our conversation.

Roger and his colleague, the handsome and affable Zachary Cohen, are taking tea with me at the Anaba Tea Room to talk about the Milwaukee Symphony Orchestra – where the Symphony has been, where it’s going and why music is important.

The mood is excitable – almost electric – and completely contagious.

In 1962, at a fresh 23 years old, bassist Roger Ruggeri moved to Milwaukee to join the MSO, then just four years old.

He never intended to stay here for his entire career – “Hell no,” he says.

“But things kept developing. The situation kept getting better, and more vital.”

After almost 43 years as Principal bass, Roger stepped down to make way for a younger guard. His successor: Julliard-educated New York native Zachary Cohen, who joined the MSO in 2005 at the age of 22. That makes Zach one of the country’s youngest principal musicians – in one of America’s youngest major orchestras.

“In the first round of my audition – Roger was obviously leading it – I remember playing a wrong note, actually,” Zach says. “And if you don’t know Roger, and you just hear his voice, [he] can sound very intimidating. I remember him saying, ‘Would you like to reconsider this note?’

“When I met him, I was really surprised that he wasn’t that scary, boom-y voice that I heard from the other side of the panel. When you’re taking an audition, you project. You think they’re all out for blood.”

“There’s no point in torturing people,” Roger says.

“Other people feel differently,” says Zach.

“I’ve always been in the minority,” Roger concedes.

Zach found the MSO’s auditions to be among “the fairest in the country”; it was his first inkling that the orchestra had an uncommon energy at its heart.

“The energy in New York – because of the intense competition – people are waiting for you to fuck up. Here, I really do believe that people want you to do the best you can do. That alone, I think, is one of the greatest things about this orchestra.” he says. “A friend in New York heard that this orchestra was a ‘happy band.’”

“Not ecstatic,” Roger says, “just happy. It sounds kind of new-agey to value something like that – but it really is significant, and it comes across in the way the orchestra plays.”

The questions I’ve prepared for our conversation are pat and practical – they’re about repertoire, perspectives and the relevance of symphonic music in contemporary culture. But something changes – maybe the mystical properties of the tea are taking hold – and our interview turns toward more metaphysical matters. In a Zen (and low battery) moment I shut off my laptop and abandon my notes.

“I ended up in classical music because I felt like there’s subtlety to it that no other type of music can provide,” Zach says. “There are moments

This is heavy-duty stuff here. We’re talking about the meaning of life.

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Zachary Cohen (above) and Roger Ruggeri (below)

It’s never just about the music, as lovely as that might seem. that can happen – and more times than not, they don’t – but … there’s this hope that they will.”

“Peak moments,” says Roger.

“Peak moments,” Zach agrees. “Sometimes it doesn’t make any sense why they happen the way they happen. But for whatever reason, lots of things align, and it creates a feeling of euphoria in the same way that praying or mediating brings you to a deeper state that you can’t control.”

Roger works to translate that ineffable euphoria into lay terms; he teaches, serves on committees, and writes most, if not all, of the MSO’s program notes.

“There are a lot of challenges which exist for the orchestra on a lot of different levels … It’s never just about the music, as lovely as that might seem. It’s always about life; it always hooks into the bigger things … It’s not just because it feels good to play.”

Zach feels differently. “I guess at my naïve young age, there’s nothing but [the music]. I get very wrapped up in that.”

“At a certain point you’re more involved with that,” Roger agrees. “[But] I became very aware – at your stage of the game – that my colleagues and I were out there trying to do something, and nobody understood what the hell we were trying to do.”

With writing and lecturing, he’s “trying to bridge the gap between the land that you’re speaking of, the land of music, and the land of other human experience. I’m trying to build bridges so that people can get over there.”

“How do you keep things fresh?” Zach asks Roger.

“I have a profound awareness that it is never the same,” he says.

“Even playing Beethoven’s 5th, I am still in awe. It’s not same old, same old … Sometimes you’re into the rhythmic drive, the harmonic shift, sometimes you’re into the contrasts. Sometimes one of your colleagues [does] something beautiful. (My God, the violas were fantastic in that!)

[But] it’s fleeting – you have to keep moving with the pack, keep the balls in the air. You can’t luxuriate in that feeling without the responsibility of making sound. But [that responsibility] gives you an entré to a level of perception that is unique.”

Bringing people closer to that experience, both musicians agree, is a challenge for symphonies – and arts organizations in general – in contemporary culture. How do you quantify something ephemeral into subscription sales or donations?

“Sometimes we have donors come on stage and sit in extremely close proximity to the musicians,” Zach tells me. “I think one of the things about classical music that is a deterrent is that sometimes there is a huge disconnect between the players and the audience. Actually bringing people on stage to sit next to you and feel that kind of intensity – that makes it closer.”

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“It’s really mainline. It’s enormous,” Roger says. “When it really rears up – it’s something else.”

“Sound is almost like a feeling, because of how lush it is,” Zach continues. “If a whole string section is playing together, you can almost wave your hand through the air. It would be like swatting mist. That’s how heavy it is.”

Our tea glasses are long empty by the time our interview wraps up, and Roger and Zach are both starving. I ask them what they’re looking forward to in the coming season.

“I’m really excited about the 50th anniversary,” Zach says. “This should be the hot topic of the town. To me – what else is more important?

It’s the 50th anniversary. All guns blazing.”

“Will there be fireworks every night?” I ask him.

“Every night,” he says.

“And if your enthusiasm dampens,” Roger says, “just come back and listen to the bass section.”

“Toscanini said, ‘Give me a great bass section, and I’ll build you a great orchestra,’” Zach tells me. “That’s coming from the man.”

“You can’t pile it up very high if you don’t have the bottom,” says Roger. “It’s like architecture.”

“You can never have enough bass,” Zach says.

Roger laughs. “Yes you can. But that’s another story.” VS Read an extended version of this interview online at vitalsourcemag.com

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“Give them the remote” Daniel Keegan wants to put you in control

By Bridget Brave + Photos by Erin Landry

D

aniel Keegan doesn’t want to be a casual observer. “Don’t just give me a TV monitor with something playing. Give me the remote. Give me the options, give me the control.”

And he’s not letting you slack off, either. “That’s what [the museum experience] needs to be: visitor options, visitor choice. Give them the remote.

Tell them to direct their own experience.”

His audience-enabling attitude speaks volumes about his vision for the Milwaukee Art Museum. “I’ve always felt that art is really cool,” Keegan says. A Green Bay native, he took the reins as director of the Milwaukee Art Museum in March after more than six years as executive director of the San Jose Museum of Art. Now he wants to introduce that “cool factor” to Milwaukee’s urban population through a stepped-up commitment to a changing audience.

“We’ve all become multi-taskers,” Keegan says. “We’re expecting the experience to be much more multi-dimensional. We have been conditioned by the amazing dynamic energy of the mass media: HDTVs, TiVo, iPods, everything … it definitely changes the way we experience life on a daily basis.”

He references a recent New York Times article detailing the challenges museums face as new, younger, more plugged-in consumers begin to demand a say in their experiences. “Cell phone-ready audio guides are one way to put control into the hands of the visitors,” Keegan says. “Handheld devices such as Blackberries or iPods can offer additional text, video clips and interviews, all at the push of a button.”

“The first thing people ask when they see or hear about a piece of art is ‘What’s the relevance? How does this impact me?’ If the connection isn’t clear, they’re going to move on and not become engaged in the piece.”

Engaging a visitor is one thing, but maintaining engagement is a big hurdle. “We’re the sixteenth largest museum in the country – but that doesn’t necessarily translate into visitors spending quality time with the art.” Keegan says. “What we need to do is figure out a way to slow visitors down, give them access to the information behind each piece, and then find a way to keep them engaged with that work, even after they leave.” The problem is “center tracking,” a phenomenon prevalent in museums across the world: most visitors are not drawn to a particular piece or exhibit but simply dash through the galleries at a fast pace, roaming the halls without sticking to anything.

Less static, more active He also recognizes that museums tend to keep static collections even in the midst of dynamic, growing communities. Answering the question of relevance is difficult for most cultural institutions today, but Keegan believes the way to get people to appreciate art lies in giving them a broader range of access and letting them find what speaks to them.

“What we’re looking for is the Google experience,” he said. “Imagine taking a group of kids into the museum and saying, ‘Okay, what is your favorite thing in nature?’ They respond ‘Trees!’ and then are able to use these little hand-held guides to look up things related to trees in the museum. Maybe it’s abstract art meant to symbolize a tree, or it’s one of

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One thing we discount, as an older generation, is that this is a new reality. the great Dutch masters paintings of people under a tree, or something related to trees in nature. Give them that ability to instantly engage.”

The use of shiny gizmos to introduce people to established art has been met with skepticism, distaste or flat-out rejection, but it doesn’t faze the new director. “It’s just the kind of society we live in,” Keegan said. “With your home theater, comfortable surroundings, microwave popcorn … you don’t have to leave home. Rather than go somewhere where you have no control, like a theater, you can hunker down at home around your own media and have a more quality experience. We welcome this mentality.

We acknowledge it. We accept it. And we think that will be the experience that generations to come will demand. We’re ready.”

The college set in particular is a highly-courted – and tricky-to-woo – demographic, and Keegan discusses a number of new programs and approaches that will help them relate to the Museum in their own way.

“Where are they? Where do they learn?” he asks. “They’re online. [And] I think we’re moving beyond the MySpace mentality, the individualized online presence where you have to individually invite and allow each person to see your own little individual page. Now people want more of the Facebook approach, where there’s a whole community and multiple ways to build inroads and improve access.”

The museum is currently part of a program that allows users to “hang” their favorite works of art on their Facebook profiles.

“One thing we discount, as an older generation, is that this is a new reality. We discount it by saying, ‘Oh, that’s not the real thing, that’s just online.’ Well, for the younger generation, that is real, and our opportunity exists when, at the end of the day, we can provide this historical link to

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the human experience through art, and give them instant access to that link in a medium they relate to.”

Art-smart consumers His ultimate hope is to create informed “consumers” of the arts. “When you come to the museum the first time,” he said, “you race through. The second time you look at the things you enjoyed during the first pass, and experience the new stuff. The third visit,” he smiles, “the third visit is my favorite. You go in and you have this more developed encounter with the art. You have become a smart shopper. You gravitate instantly toward what you like, what you’ve developed a taste for, and you end up leaving with a much more fulfilling experience … That’s what we’re trying to encourage people to do: to find new layers.”

Think you’re ready for the Daniel Keegan Art Museum Experience? It might be time for you to invest in a membership – an easy way to guarantee yourself multiple visits for the best possible value.

“Museum memberships are the best entertainment deal we’ve got going,” Keegan says. “Seventy bucks for a family for a year? And you could go every single day if you wanted to? A single membership is cheaper than two pizzas and a pitcher of beer… and it lasts all year long.”

“The museum belongs to the community,” he says. “And it must be supported by the community for it to continue to work … Milwaukee is exceptional. There are few cities on the planet who would not only build an addition [like the Calatrava], but make a commitment to have it paid off in six years.” Keegan says. “That’s staggering. It’s unbelievable.” VS

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Vital culture stages

MONTY PYTHON’S SPAMALOT 4/29-5/4

BABYLON CIRCUS 4/19

ALPIN HONG 4/12

A WILD GARDEN The rush of spring brings a flowering of artistic offerings – some buoyant and fresh, some perplexing, dense and metaphysical. UWM stages the play within the play of Bertolt Brecht’s Caucasian Chalk Circle. The Rep premieres Armadale, starring Deborah Staples as one of the strongest female villains in English literature. Meanwhile, Milwaukee Chamber Theatre brings us Talley’s Folly, a sweet two-person romance co-starring Artsy Schmartsy blogger Jonathan West. Music gets visual this month as the Milwaukee Symphony Orchestra plays the live score to Chaplin’s City Lights. Alverno Presents welcomes the French-gypsy/ska-punk explosion of Babylon

THEATRICAL PREVIEWS THE MYSTERY OF IRMA VEP: A PENNY DREADFUL Milwaukee theatre vets John McGivern and Christopher Tarjan play the entire cast in this outlandish comedy by Charles Ludlam. The Next Act production at the Off-Broadway Theatre runs April 3-May 4. 414-278-0765 or nextact.org A YEAR WITH FROG AND TOAD First Stage Children’s Theatre presents the Robert and Willie Reale musical based on the beloved books by Arnold Lobel.

April 4 – May 18 at the Marcus Center.

414-273-7206 or firststage.org 1000 CHANNELS Music and live improv meet video in a late-night sketch comedy series every Friday night at the Alchemist Theatre. April 11- June 27. 414-426-4169 or alchemisttheatre.com A STREETCAR NAMED DESIRE Tennessee Williams’ classic drama comes to the Sunset Playhouse. Blanche DuBois’ struggle plays out in Elm Grove April 11- May 3. 262-782-4430 or sunsetplayhouse.com DEAD MAN WALKING The true story of Sister Helen Prejean’s experience with death row inmates plays on the stage of the Raabe Theatre. Wisconsin Lutheran College, April 11 - 19. 414-443-8702 or wlc.edu/arts

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Circus, which should prove to be sumptuous, spellbinding fun. To observe the shifting season in a more pensive manner, see the MSO tackle Stravinski’s eternally challenging Rite of Spring. Audiences interested in something a little safer may prefer Beauty and the Beast (at the Waukesha Civic Theatre) or the really silly the touring production of Monty Python’s Spamalot (at the Marcus Center). In dance, Milwaukee Ballet takes the stage at The Pabst for some new work while Alverno Presents hosts New York’s Armitage Gone! and DanceCircus presents Wade in the Water – an ambitious tribute to the Great Lakes.

TALLEY’S FOLLY An old accountant woos the young Sally Talley in this Lanford Wilson romantic comedy. Milwaukee Chamber Theatre, April 17 – May 4 at the Cabot Theatre. 414-291-7800 or chamber-theatre.com TWO ONE-ACTS Insurgent Theatre’s Cracks in the Floor, an experimental work about a voyeur drawn into the lives of his neighbors, pairs with Alchemist Productions’ 31, the story of a detective losing track of his identity on the trail of a serial murderer. April 18 – May 4. 414-426-4169 or alchemisttheatre.com

ARMADALE Milwaukee Rep presents the world premiere of a Victorian drama based on the novel

by Wilkie Collins, adapted for the stage by Jeffrey Hatcher. Love, deception and ambition burst onto the stage April 23 – May 25 at the Quadracci Powerhouse Theatre. 414-224-9490 or milwaukeerep.com

FAT PIG Renaissance Theaterworks closes its season with Neil LaBute’s romantic comedy about a witty plus-size woman negotiating the many turns of her relationship with an attractive man. April 25 –May 18 at the Studio Theatre. 414-291-7800 THE EFFECTS OF GAMMA RAYS ON MAN- or r-t-w.com IN-THE-MOON MARIGOLDS The Racine Theatre Guild presents Paul Zindel’s MONTY PYTHON’S SPAMALOT drama of a widow and her two young daughters. Eric Idle continues to cash in on one of the most enduring films of his old comedy April 18 – 27. 262-633-4218 or racinetheatre.org troupe with thisblockbuster Broadway musiLAURA INGALLS WILDER cal at the Marcus Center April 29- May 4.

Artspower presents a one-hour stage adapta- 414-273-7206 or marcuscenter.org tion of Wilder’s Little House on the Prairie series.

April 18 at the Schauer Center. 262-670-0560 MUSIC OF NOTE or schauercenter.org CONTRASTS CAUCASIAN CHAULK CIRCLE Andreas Delfs conducts the Milwaukee The UWM Department of Theatre pres- Symphony Orchestra in a concert featuring ents Bertolt Brecht’s play-within-a-play about Beethoven’s Fifth, Stravinsky’s overwhelming The how best to use land in Russia that was aban- Rite of Spring and a jazz symphony by Antheil. doned after World War II. April 22- 27 at the April 3 -5 at the Marcus Center. 414-291-7605 or UWM Mainstage Theatre. 414-229-4308 mso.org or uwm.edu/arts

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stages Vital culture BEAUTY AND THE BEAST The Waukesha Civic Theatre presents its own production of Alan Menken’s glossy, beloved musical. April 4-20. 262-547-0708 or waukeshacivictheatre.org BACK BY POPULAR DEMAND: DUFOUR AND THE 80’S Chicago Symphony principal flute Mathieu Dufour joins The Waukesha Symphony Orchestra for a concert featuring works by Haydn, Mozart and Corigliano. April 6 and 8 at The Chapel at St. John’s Northwestern Military Academy in Delafield. 262-547-1858 or waukeshasymphony.org CHARLIE CHAPLIN – CITY LIGHTS The Milwaukee Symphony Pops presents one of the year’s classiest cinematic evenings with a performance of Charlie Chaplin’s score set to the original 1931 film City Lights, starring Chaplin and Virginia Cherril. April 11 -13 at the Marcus Center. 414-291-7605 or mso.org ALPIN HONG The talented young pianist plays classics from Bach to Stravinsky to Gershwin in concert April 12 at the Schauer Center. 262-670-0560 or schauercenter.org ANYTHING GOES Milwaukee Choral Artists performs a “people’s choice” repertoire for the final concert of its 10 th anniversary season. April 12 at The Women’s Club Of Wisconsin. 262-375-2952 or milwaukeechoralartists.org JOURNEYS Guest Conductor and Music Director-elect Edo de Waart joins the Milwaukee Symphony Orchestra for a concert featuring Argento’s Seven Songs for Orchestra and Holst’s The Planets. April 17 – 20 at the Marcus Center.

414-291-7605 or mso.org BABYLON CIRCUS Alverno Presents welcomes the renowned French ska/punk circus show April 19 to the Pitman Theatre. 414-382-6044 or alverno.edu ROMEO AND JULIET The Florentine Opera closes its season with Vincenzo Bellini’s adaptation of the classic Shakespearian drama. April 25 – 27 at the Marcus Center. 414-273-7206 or florentineopera.org

with a concert of orchestral music inspired by Spain and Latin America, including Rodrigo’s Concierto de Aranjuez, CoplAn’s El Salon Mexico and Gould’s Latin American Symphonette.

April 27 at the Pabst Theater. 414-286-3663 or festivalcitysymphony.org

DANCE WADE IN THE WATER: THE 70 % SOLUTION DanceCircus’ ambitious exploration of the problems facing the Great Lakes, this show combines dance, poetry, music and video projected on sails. April 3 – 6 at Humphrey Masonic Center.

414-277-8151 or dancecircus.org MILWAUKEE BALLET AT THE PABST The Ballet’s annual evening of premieres, including new work by acclaimed choreographer Jessica Lang and pieces by company member Petr Zahradnicek. April 3 - 6 at the Pabst Theatre.

414-902-2103 or milwaukeeballet.org ARMITAGE GONE! DANCE Alverno Presents brings the eclectic dance of this accomplished choreographer, who has worked with Baryshnikov, Nureyev, Madonna and Michael Jackson. April 12 at Alverno’s Pitman Theatre. 414-382-6044 or alverno.edu HAVING AN AFFAIR! Contemporary, original companies Danceworks and Present Music fuse for a series-stand of original, premiere performances April 25 - 27 at the Danceworks Studio Theatre. 414-277-8480 or danceworks1661.org

ONGOING Mass Appeal, In Tandem at the Tenth Street Theatre though April 13. 414-217-1371 or intandemtheatre.com The Night Is A ChilD with the Milwaukee Rep through April 13. 414-224-9490 or milwaukeerep.com Endgame, Milwaukee Rep at the Stiemke Theatre through April 20. 414-224-9490 or milwaukeerep.com Cymbeline, Milwaukee Shakespeare through April 20. 414-291-7800 or milwaukeeshakespeare.com Hula Hoop Sha-Boop, the Milwaukee Rep through May 25. 414-224-9490 or milwaukeerep.com

“HOLA, COMO ESTAS?” Festival City Symphony closes its season

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Vital Source | stages | 19

and good. The Milwaukee International Film Fest means well, but when there are more films from Sundance 2006 than local and regional works, it makes you wonder what their direction is – or whether they have one. Resolved: We need to take this film movement into our own hands, get our united arms around this inspired time and prop our scene up on our own.

What can we do? That’s not rhetorical, people! The more >>By Howie Goldklang of a groundswell we create by supporting our film community, t’s hard to write about a “scene,” especially a local “film creating online buzz and attending indie fests, the more real scene.” So hip and cool, right? What’s crackin’? Who’s energy there will be. Hollywood will sense it and it will “make a doing what? Who’s got the friend with that cousin in LA meeting” of our underground and their commercial film worlds. who knows people who make things happen? And what are And it’s the collision of environments that makes a real scene. those happenings, anyway?

So enough safe and sane – its time for dumb and dangerous.

Recently, Wisconsin has rolled up her creative sleeves and Charge your cameras, write that scene and film it. Post it. Everyone done a Warhol Art and Commerce move that could catapult us would love to meet you. Just do what you do and let it breathe. into the national “film scene.” In a time of dwindling production Go to REEL Milwaukee: The blog at vitalsourcemag.com and post budgets and on the heels of the writers strike comes the Film your script ideas, YouTube/MySpace links, email video clips from Wisconsin Bill: that tax-incentive-Johnny Depp-Matthew your cell phone, ask questions, write comments or smack downs McConaughey-Jennifer Garner thing we keep hearing about. or party info, or anything popping. We need to know! VS Goodwill from Wisco to the film industry! It’s already cheaper to do just about anything here on any given day, and we’ve got Howie Goldklang is a filmmaker, DJ and cuts hair. Peep him at establishmentproductions.com the scenery and the talent to back up Hollywood.

Cash is king, no doubt about it. Big productions shot in Wisconsin will get the hotels changing sheets, AV rental houses buzzing and Jimmy John’s delivering 150 sandwiches at a time to odd places at odd times of day. If Film Wisconsin does its job, we’ll be raking in the dough – and kick-starting that “creativeclass economy” we keep hearing about. Fresh. So, now what?

How do we collectively avoid being a one-film stand?

It’s simple. Film workers: keep it real and do what you do.

Milwaukee is lit to pop. There has always been a film network churning away here, but now it’s more active than ever.

The task at hand, then, is to support locally-sourced film – as well as homegrown art and music – as much as possible. Sounds like a fragment from a speech at some ribbon-cutting, but we really need to get out and see films in any way, shape or form and do our part to make that scene real. Gallery Night is all well

LET IT BREATHE

I

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Chomp!

When toddlers bite

A

friend of mine is a stay-at-home mom to a four-year-old and a two-year-old. Her days are full of the minute-to-minute care of little ones, the way mine were just a few years ago.

Most mornings, we enjoy 15 minutes on the phone while I drive to school and she makes breakfast.

Understandably, there are frequent interruptions.

Usually, it’s a minor thing. The four-year-old wants a drink of water or the two-year-old gets a bonk on the head. The other day, though, I heard through the phone an unmistakable high-pitched shriek from the four-year-old. That particular sound can only mean one thing: the child has been bitten.

I’ve never heard of a toddler who hasn’t bitten at least a few times, and I can’t think of a single parent who doesn’t react strongly. It’s a hot button for adults. When your child gets bitten, you want to take down the biter! And when your child has sunk her pearly whites into another, it’s even worse.

Because biting seems to be a constant of early childhood, it’s important to look at what motivates little ones to clamp down, so the behavior can be corrected as quickly as possible. I think what makes adults so angry about biting is the same thing that causes it – it’s a very animal thing to do. Despite the fact that toddlers are small people, they are also very animal. Those instincts have not yet been replaced with more socially acceptable behaviors.

The biggest thing we do as parents is guide our children through their first 18 years, raising compassionate, empathetic adults who feel the difference between right and wrong in their hearts. Most of us know this starts at birth. We interact with our babies in ways that affirm “people skills.” We are delighted when the baby smiles at us; we videotape

those first laughs. We teach manners by example, and then by reminding.

As adults, we have to remember the reason toddlers bite and work from there. Most young children bite because they don’t have the words to express their feelings. They experience all the same emotions that you and I do, with the same intensity. But they don’t have any way to talk about it. So those feelings well up, just building up inside the chest of the toddler, and they have to be let out!

The question for the parent is how to bring a swift and sure end to biting before it really takes hold. It seems best toimmediately employ a strategy that combines lessons of empathy and vocabulary.

Empathy is largely learned, and it’s important to start early. When your child hurts another through biting (or hitting, pushing, or any other wonderful, typical toddler interaction), it is important to point out the other child’s pain. It’s also important to be honest about the source of the pain. As cliché as it sounds, saying “Sarah is crying because you bit her! Biting hurts,” goes a long way toward ending the problem.

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Vocabulary seems to be the more effective tool in ending biting. When your child bites, give her the name for the emotion that is overwhelming. “You are very angry about that toy!” Naming the emotion for her gives her context for what she’s feeling. As she begins to talk more, she will know how to use her words instead of her teeth.

The final – and really important – thing to do is to set limits that are clear and direct. Remove your child from the situation while saying, “You may not bite!” This is a firm statement. It leaves nothing open to interpretation. If the biting was triggered by desire for a particular toy or snack, remove that from the situation as well. Make it clear she won’t get what she wants by biting.

With patience, structure and persistence, your child can begin to learn self-control and empathy.

Like all of the unpleasant parts of childrearing, biting is transient. Most kids only bite a few times over the course of several months. And while each of these few times will be startling, even shocking, the good news is that like all toddler naughtiness, it will pass. VS

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Vital’s Picks

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FTAM presents: Deep Jew, God Willing, Half Gorilla and An Atheist’s Last Rites April 6 – The Borg Ward For the lover of the extreme, the avant-garde and the just plain noisy, the DIY Milwaukee music scene has put together something special for you. Courtesy of musical mastermind Peter Woods, FTAM presents Deep Jew, God Willing and Half Gorilla, bands that span the perimeters of this symphonic music genre. California natives Deep Jew and God Willing each bring a cultish following to their brand of sound; local grindcore four-piece Half Gorilla is known for its high energy and high volume, which can turn even the gentlest music lover into a head-banger. To top the night off, a special performance by Insurgent Theatre brings this somewhat religious experience to a close with a performance of An Atheist’s Last Rites. experimentalmilwaukee.com

Harper’s Weekly: Illustrated Themes of the Nineteenth Century April 3-13 – Haggerty Museum of Art Take a first-hand look at one of the most pivotal periods of American history through the political cartoons and illustrations of Harper’s Weekly, one of America’s most influential magazines – period. Selected lithography of Harper’s Weekly Journal of Civilization will be on display throughout this month at Marquette’s Haggerty Museum of Art. Founded in 1857, during the Civil War, the magazine has a long history of tackling social controversy with intelligence and aplomb. The high point of the exhibit features work by highly influential Thomas Nast, the grandfather father of political cartoons. Nast is known for his creation of the modern day version of Santa Claus, the Elephant and the Donkey and America’s Uncle Sam. 414-288-1669 or marquette.edu/haggerty.

>> By amy elliott and lindsey huster

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Updated all month long at VITALsourcemag.com

“Light Shower” by MIAD senior Katelynd Donoghue. See it on Gallery Night on April 18.

Vampire Weekend April 5 – Pabst Theater So what’s with the hype surrounding Vampire Weekend?

Together only two years, these former Columbia University students were already the talk of the town before they even released their self-titled 2008 album. And in only a few months’ time, they have made guest appearances on David Letterman and Saturday Night Live – hype is an understatement, obviously. Their unique “Upper West Side Soweto” has been dubbed the most impressive of recent years, claiming influences in African popular music and Western classical music. Regardless of genre, however, it appears that Vampire Weekend is something you can really sink your teeth (or ears) into. 414-286-3663 or pabsttheater.org.

Erotic Writing Workshop April 9 – A Woman’s Touch SEX! – Okay, maybe that wasn’t too much of an attention grabber. If you ever thought you had the “write stuff” when it comes to writing about the aforementioned act, or if you’d like to bone up, try your hand at the Erotic Writing Workshop. Sponsored by Body Heat: Femme Porn Tour 2008, this workshop is open to anyone, regardless of experience (writing, that is). Topics covered include performing and publishing erotic work, and common questions and concerns will also be covered in depth. So bring a pen, some paper and a few of your dirtiest thoughts to see if you have a hidden talent that lies beyond the sheets of the bedroom. 414-221-0400 or a-womans-touch.com.

Tranny Road Show April 12 – Gay Arts Center For those who believe that gender and sexuality are both a just a straight line, prepare to be turned on to the gender bender variety of the Tranny Road Show. For another

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vi t al livi n g

year, the Gay Arts Center hosts this nationally-recognized performance that gets at the heart of self-identity and sexuality. With the help of artists, filmmakers and storytellers, this live show puts a new twist on the term “variety show,” offering an event of both entertainment and education for everyone – transgender, nontransgender, gender-queer and no gender alike. Join forces! 414-383-3727 or milwaukeegayartscenter.org.

Kimya Dawson April 15 – Pabst Theater If New York native Kimya Dawson has taught us anything, “loose lips might sink ships,” but a best-selling soundtrack to a quirky Academy Award-winning flick will get you much, much more. With the success of Juno under her belt and some previous experience with her former far-from-rotten group, the Moldy Peaches, it only makes sense that the anti-folk Dawson has decided to continue to spread her lo-fi message past the tire swings of her back yard. The harmonious blend of simple melodies fused together with a child-like stream of conscious provides the perfect mix of sound, which has caught on with even the most callous musical crowds. 414-286-3663 or Vampire Weekend - see what all the fuss is about. pabsttheater.org.

Gallery Night & Day April 18 – 19 Various venues Can you believe it’s already here? Yep, it’s time again for the always-anticipated Spring Gallery Night and Day, brought to you by the Historic Third Ward Association but virally accessed by virtually every quarter of the city. From Walker’s Point to Riverwest and Washington Heights, if you want to see art of this month, you won’t have to look far. Of course we’re excited about VITAL’s own gallery show, Sinners+Saints, Friday night at our posh office/ gallery space in the Arts Building at 133 W. Pittsburgh.

Confront your personal monsters and angels as you take in a reading by poet Eddie Kilowatt and listen to Joe White and Andrew Falk acoustically render your fave 70s and 80s metal tunes. Feed your soul with original works on iconography by Kristopher Pollard, Kat Berger, Adam Werther (of AdamBomb), Brandon Minga, Jeff Kenney, Scott Van Vreede, Judith Ann Moriarty and intriguing newcomer Ken Pitts. While you’re in the Arts Building, visit four floors of galleries, all open for your browsing pleasure. A short walk to 273 E. Erie takes you to the MIAD senior show, featuring works in a variety of media and perspectives from 145 seniors in MIAD’s 11 B.F.A. programs. Ready to graduate?

Stroll two blocks into the Ward to the Tory Folliard Gallery at 233 N. Milwaukee for its 20th Anniversary exhibition, showcasing popular Folliard artists including John Wilde, Tom Uttech, Fred Stonehouse, Patrick Farrell, Charles Munch, Bill Reid, Dennis Nechvatal, T.L. Solien, Marion Coffey, Mark Mulhern, Janica Yoder, Richard Taylor, Flora Langlois, Terrence Coffman, Jason Rohlf and others. Over on the west side, Luckystar Studio holds its first Mail Art Show, the result of an open call for artists and interested parties to mail virtually anything to Luckystar on the chance that it would be used for the exhibit. The whole affair is so vast that one website can’t encompass it, so

vital living

we’re giving you options for planning your evening. vitalsourcemag.com, historicthirdward.com, luckystarstudio. com, theartsbuilding.net.

In Celebration of Trees April 19, 20 – Whitnall Park Billed as a “tree-mendous” event for the whole family, this celebration is the perfect way to see the spring (and perhaps advent of summer) in full swing. Hosted by a slew of environmental-friendly Milwaukee organizations, this event combines the global awareness of Earth Day with the tree emphasis of Arbor Day – the kind of compromise that offers environmental education and fun for everyone. Take a nature hike, plant a tree and learn about your carbon footprint; this weekend will leave most with a greener heart, firmly planted in environmental values. 414-525-5601 or boernerbotanicalgardens.org.

Alliance Francaise’s Cabaret April 25 – Alliance Francaise What’s the best way to learn French? Beyond the dictionaries, books and tapes, Alliance Francaise offers a number of events and programs to help the French followers of Milwaukee become tres bonne. This month, Alliance Francaise hosts Cabaret, a fun way to connect English and French with the bridge of music. Hosted by Celiane Labouret, all levels of French speakers are welcomed to this cultural event. Whet your palette with a glass of wine and some cheese, and then prepare to croon with some of the best singers of France, including Edith Piaf and Jacques Brel. This is sure to be an experience of which you can say later, non, je ne regrette rien! Call 414-964-3855 or go to afmilwaukee.org.

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Vital culture music reviews Kevin Ayers • The Unfairground Gigantic Music • kevin-ayers.com Comeback records are usually terrible, but it’s a relief that Kevin Ayers was willing to try anyway. After founding the Soft Machine in the late 1960s with Robert Wyatt and maintaining a steady and influential solo career through the 1980s, Kevin Ayers opted out of an active musical career and chose instead to turn out a number of live records, along with a handful of studio recordings, over the last 15 years or so.

Now, called out of retirement obscurity by some of today’s indie rockers (Teenage Fanclub and The Ladybug Transistor, to name two admirers), Kevin Ayers has returned to us with The Unfairground. The record, at a crisp 34 minutes, consists of ten light, airy, 1960s- and 1970s-style pop songs.

It’s a classic: short, sweet, and to the point. But most impressively, The Unfairground makes simple, traditional pop songs sound refreshing and new. Ayers’ deep and soft Scott Walker-esque vocals float sparingly over catchy wall-of-sound instrumentation. Nothing sounds over-produced or overwhelming; it just sounds like fun.

The Unfairground could be an unearthed, long-lost 1960s studio gem, but really, all that returned to the surface was Kevin Ayers – in top form. – Charlie Hosale

The Gutter Twins • Saturnalia Sub Pop • theguttertwins.com Saturnalia arrives amidst some very high anticipation. The stellar careers of Greg Dulli and Mark Lanegan, each spanning decades, evoke lofty expectations.

They certainly need no historical introduction.

All 12 songs on this CD are incredible.

Taken as a whole, the aesthetic – from songwriting to production to track listing to artwork – is exceptionally crafted, with a cohesiveness that shows the true strength of this pairing. Individually, every single track connects to and transports the listener. What makes this more remarkable is the depth of subject matter and the emotional mining that must’ve gone on during writing. Both voices not only weave with one another effortlessly, but actually carry the weight of the dark lyrics and melodies.

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Within these dozen songs, rock, blues, soul, folk and spiritualism are stripped to the core: naked, confused, perhaps weary, searching for warmth and shelter, utterly vulnerable. “Stations” establishes an immediate mood, while “All Misery/Flowers” is outstanding with Dulli’s drumming providing ample groove.

“Who Will Lead Us?” is Lanegan’s search for the here & now as well as the eternal. The last track, “Front St.,” doesn’t tie everything together, but it does leave you with the understanding of exactly what muse inspired these two artists.

Simply stated: lay down your ego and let the songs possess you. – Troy Butero

The Felice Brothers • S/T Team Love • team-love.com Recalling early Dylan and Woody Guthrie is certainly laudable; vacuously mimicking them, however, isn’t. On their self-titled debut release for Team Love Records, the Felice Brothers craft laid-back, charcoal-mellowed drinking shanties that recall the earthy backwoods Americana of Dylan and Guthrie, right down to the nasal whine of the vocalist.

Unfortunately, instead of bringing a new take to the genre, they opt to coast on what came before them, supplementing their sleepy delivery with equally lazy songwriting. They follow the blueprint so closely that it begs the question: why bother writing songs? Why not be a Dylan cover band? At least then the material would be stronger.

All the elements that bring the over-50 NPR set and the under-30 last-week-I-was-listening-to-metalcore-but-now-I’mdating-a-Decemberists-fans together in charming table-seating venues are here: mid-tempo sentimentality, premature worldweariness, and plenty of those “unconventional” instruments (banjo, accordion, horns, Wurlitzer organ) that are losing their novelty faster than the 2003 post-punk revival (hey, remember The Rapture?). No doubt, this stuff is big business right now, and the Felice Brothers are likely to blow up bigger than their Haystacks Calhoun-esque accordionist (a recent high-profile opening slot with the Drive-By Truckers was an obvious win).

But instead of expertly painting with the varied palate of their heroes, the Brothers swirl their colors into a homogenized, taupe-ish brown — all earth tones and no variety. In today’s musical climate, it’s easy to imagine the Felice Brothers with huge bags of cash being thrown at them, like Ron Howard at the end of that episode of the Simpsons where he steals Homer’s movie pitch. Like Ron, the Felice Brothers are capitalizing on someone else’s ideas. Who knows what’ll happen once they run out? – DJ Hostettler

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music reviews Vital culture The Matches • A Band In Hope Epitaph • thematches.com In the present state of predictable punkpop music, an enigma is rare, but A Band In Hope, the third release from Oakland quartet the Matches, mystifies.

Just as easily as he can change holiday costumes — a duke one year, James Dean the next (“Between Halloweens”) — vocalist Shawn Harris slips between musical identities from a deadringer for Chris Carrabba to a channeler of Freddie Mercury.

Though the Matches’ influences are eclectic and apparent, the album is seamless from track to track. Yes, shockingly, ‘90s ska revival-revival “If I Were You” and Andrew-Lloyd-Webberaspirant “Darkness Rising” are like peas and carrots.

The acoustic coming-of-age number “Clouds Crash” is succinct, pleasant and a fast favorite. So is “Yankee in a Chip Shop,” a playful rally song about curing a hangover across the pond (“get greased to sober up”). But along with the highs, according to “To Build A Mountain,” you also “gotta dig a hole.” One-liner “We Are One” and hot air “Point Me Toward the Morning” set the low bar, while “Wake the Sun” and “Future Tense” are more like rolling hills.

They are great actors, but it’s hard to put a finger on who the Matches are and whom this ageless, faceless, music-withoutborders is for. A Band in Hope is mysterious, interest-piquing and most importantly a call to action for a more distinguishing and less evocative follow-up release. – A.L. Herzog

many, many more years to hatch. It’s no doubt that Stükenberg’s life-schooled, gospel-tinged pop comes from his unconventional upbringing. His vocals are the centerpiece of the music – equal parts jazz and soul, Stükenberg’s boyishly pleasing voice adds a winning element to the soft soul revival and bouncy piano pop. Rhodes piano, harmonica, cellos, banjos, toy pianos, trumpets and guitars build up songs backed by solid gospel choir vocals, creating a jaunty effect. Mountain of Pieces comes off as a Spoon-ish-sounding work, minus the smarminess, turning more toward folk and soul tendencies.

Remember the Milwaukee rock band Hudson? There are elements of their style of funk here, too.

The best songs on Mountain of Pieces make use of Stükenberg’s energetic youthfulness, as in his solid opener “Don’t Mind,” with its crunchy organ lines and horns. The relaxed percussive soulfulness of “Hypothesis” is a sonic study of a sunny afternoon, but nicely clouds over with acid lyrics. Only slight tendencies to become too dear in some spots cause Mountain of Pieces to falter, letting the acoustic singer-songwriter moments drag down an otherwise buoyant album. – Erin Wolf

Stükenberg • Mountain of Pieces Machine Records • myspace.com/stukenberg

It’s to be expected that someone adept in the art of moving from city to city as a kid would use music as an escape hatch, and it’s no surprise to hear influences in that music as far-flung as his own travels. David Stükenberg, the kid with suitcase always in hand (he was the veritable “son a preacher man”), finally landed in southeastern Wisconsin after a long stay in the South, where his schooling in a wide range of subjects and what one might loosely term as “diversity studies.” It translates nicely into his music.

Mountain of Pieces, 21-year-old Stükenberg’s full-length debut, sounds like an album that would take other musicians

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Vital culture record releases A p r i l 1 st Anti-Flag The Bright Lights of America RCA Dave Barnes Me + You + the World Razor & Tie Black Francis Svn Fngrs Cooking Vinyl The Black Keys Attack & Release Nonesuch Lili Haydn Place Between Places Nettwerk

Gavin Rossdale Wanderlust Interscope Tapes ‘N Tapes Walk It Off XL Recordings A p r i l 1 5 th Asia Phoenix EMI America The Brian Jonestown Massacre My Bloody Underground a recordings

A p r i l 2 2 nd Tab Benoit Night Train to Nashville Telarc Blind Melon For My Friends Adrenaline Billy Bragg Mr. Love & Justice Anit-/Epitaph The Cat Empire So Many Nights Velour Music

Everclear The Vegas Years Capitol/EMI

Michael Doucet From Now On Smithsonian Folkways Recordings

Van Morrison Keep It Simple Lost Highway

Frightened Rabbit The Midnight Organ Fight Fatcat

Flight of the Conchords s/t Sub Pop

R.E.M. Accelerate Warner

The Kooks Konk Astralwerks

Jeff Healey Mess of Blues Ruf

Sevendust Chapter VII: Hope & Sorrow Warner

The Little Ones Morning Tide Astralwerks

Kerli Love Is Dead Island Def Jam

M83 Saturdays=Youth Mute

Whitesnake Good to Be Bad SPV

Phantom Planet Raise the Dead Fueled By Ramen

A p r i l 2 9 th

Moby Last Night Mute

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th

Eric Avery Help Wanted Dangerbird The Breeders Mountain Battles 4AD Nick Cave & The Bad Seeds Dig!!! Lazaruz Dig!!!

Anti-/Epitaph Clinic Do It! Domino Meat Beat Manifesto Autoimmune Metropolis Melanie C This Time Red Girl

The Plastic Constellations We Appreciate You Frenchkiss Dianne Reeves When You Know Blue Note Supergrass Diamond Hoo Ha Astralwerks Thrice The Alchemy Index: Vols. III & IV – Earth & Air Vagrant Jordan Zevon Insides Out New West

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Def Leppard Songs from the Sparkle Lounge Universal Madonna Hard Candy Warner Nerf Herder Nerf Herder IV Oglio Portishead Third Island Carly Simon This Kind of Love Hear Music Steve Winwood Nine Lives Columbia

v i t a l c u lt u r e

funny page news + Views drawing from memory

get your war on

v i t a l c u lt u r e

>>by dwellephant

>>by david rees

Vital Source | funny page | 29

wild >> words by matt

400 years in a convent, three nights at Rooters In which the author valiantly attempts – and nearly succeeds – to take in three nights’ worth of local cover bands in hopes of a bizarre, left-field musical epiphany. Minor hilarity ensues.

W

hen our charming local presses take an occasional breather from their weekly “Where to Get the Best Brunch in Milwaukee!” pieces, they sometimes find it in themselves to sit down and interview local musicians (The Red Dot has a fantastic brunch, by the way). Asked their opinion of the Milwaukee Music Scene™, the artists in question will almost always start ranting about cover bands, claiming this nefarious breed of entertainment diverts attention away from local, original music.

While certainly not without merit, I’ve always found this assessment to be a bit hollow; after all, barring Summerfest and the occasional soul-crushing wedding, when was the last time any of us have actually seen a cover band?

As the first evening approached, I found myself strangely excited: would I actually enjoy this excursion to the other side? Would I come away with a newfound appreciation for local, original music? Would I be able to sucker anyone into accompanying me? Would I be treated to at least one scorching-hot cover of “I Can’t Drive 55”? (Answers: sort of; yes; yes; sadly, no.)

NIGHT #1 – DOC HAMMER Representative Song: Pat Travers “Snortin’ Whiskey, Drinkin’ Cocaine” “It’s all about gettin’ wasted on a Friday night! YEEEAAAHHH!!!”

So proclaims the lead singer of Doc Hammer immediately after downing a shot and flipping the emptied glass through the air like a coin. To call Rooters anything less than Ground Zero for this sort of weekend-warrior debauchery would be an insult: it’s big (a second-

30 | subversions | Vital Source

story balcony surrounds an already large these qualities would usually translate dance floor), it’s loud (even the volume to “charming” and “punk rock,” in the behind the stage is ear-splitting), and it’s strange, alternate universe of cover attached to a bowling alley. It’s also in the bands they simply mean “sloppy” and middle of bumble-fuck Waukesha, and a “kind of shitty.” Realizing it impossible to total pain in the ass to find. replicate the novelty of the week before, Accompanied by two courageous friends we quickly decide to split. The deal(VITAL’s own Jon Anne Willow and Amy breaker is that fucking Green Day track, Elliott), I quickly come to the conclusion as hearing a semi-loved song from our that Doc Hammer is actually pretty fuck- youths played in a Waukesha bowling ing excellent (their take on The Police’s alley- bar proves too damn depress“Roxanne” kicks particular ass), and repre- ing. We leave drunk and disillusioned, sents everything a cover band should be: the rest of the evening playing out in big, ballsy and polished to a shine. The lead a series of impressions: a nightcap at singer looks like a shorter, stockier Brett Walter’s, Amy playing her accordion, Favre, and the drummer seems to be an me passing out while reading a book of amalgamation of every member of Motley knock-knock jokes.

Crue. What’s the appeal? Well, getting wasted on a Friday night, that’s what, along NIGHT #3 – TRUSTY KNIFE / BIG FUN with going out to see some live music and Tonight’s Rooters trip is a no - go; knowing every single word. even though I love me some Leppard, Following a blistering yet needlessly the prospect of the Trusty Knife at extended rendition of “Whole Lotta Love” the Cactus Club ultimately proves too (how much more guitar wankery does this tempting. Following a revelatory, crowdsong really need?) the band takes a break pleasing opening set from Big Fun, a and we decide to leave. On the way out, I friend asks how my cover band experispot the Brett Favre singer. Walking over ment has panned out. I relate the mixed to him, I give him a thumbs-up. results, and am suddenly reminded of “Nice set!” I offer. the phrase “400 years in a convent, 50 “Rock on, brother!” he replies. years in a whorehouse.” Used by pundits to describe the occupation of the PhilipNIGHT #2 – 76 JULIET pines by Spain and America, respectively, Representative Song: it seems to nicely parallel the worlds of Green Day, “Basket Case” original and local cover music. While A hard-and-fast rule of any cover band the whorehouse may be a nice place to featuring a female lead singer is this: visit, it’s always a relief to get back to you’re guaranteed to hear “Me and Bobby the convent.

Mc Gee” and at least one Alanis Moris- The Trusty Knife takes the stage and sette song. Unfortunately, this truism announces their first song will be brandnever gets put to the test, as tonight’s new, having only been written that expedition (now down to just me and afternoon. I breathe a sigh of relief, conAmy) quickly proves more tiresome than tent in the assurance that I’ll know none rocking, more Gary Cherone than David of the words. VS Lee Roth.

Possessing none of the ridiculous swagger that made Doc Hammer so Matt Wild has made a solemn vow stupidly fun, 76 Juliet comes off as never to drive to Waukesha again. shambling and amateurish. W hile

vitalsourcemag.com

puzzle page Vital source CryptoQuip The CryptoQuip below is a quote in substitution code, where A could equal R, H could equal P, etc. One way to break the code is to look for repeated letters. E, T, A, O, N and I are the most often used letters. A single letter is usually A or I; OF, IS and IT are common 2-letter words; and THE and AND are common 3-letter words. Good luck!

Clues: G = F

J=Y

Crossword

Across 1 H. H. Munro AKA 5 Chair 9 Arrange 12 Eager 13 Candle 15 Canvas cover 17 Distribute 18 School assignment 19 Orient 20 1976-81 distaff TV detective show 23 Store sign 24 After dinner and diving 25 Law enforcement agency (Abbr.)

28 Animated features VIPs Hanna & ___ 32 Leftover 34 Dutch city 35 Wistful word 39 1991-99 Allen sitcom 43 Barbara of I Dream of Jeannie 44 “Roses ___ red ...”

45 Rodeo rope 46 Beaver’s family name 49 Cone bearer 50 Farewell, in France

Sudoku

54 TV’s American ___ 56 1984-96 Lansbury show 62 Scratched (out) 63 Plains Indian 64 Seed cover 66 Hindu princess 67 Flirtatious spectator 68 Remedy 69 Envision 70 Horse group 71 Listen to Down 1 Cheers name 2 With (Fr.) 3 Kin’s partner 4 Notions 5 TV’s Flamingo Road actress Stevens 6 Less taxing 7 Abbey area 8 Afternoon socials 9 Chapter 10 Painter’s tripod 11 Warble 14 Swedish shag rug 16 Bridge call 21 Spiritual leader 22 Sports group inits.

25 Stomach woe 26 Stepped 27 Feel angry 29 Kentucky college 30 Tokyo, formerly 31 Gun, as an engine 33 Chess pieces 35 Fr. friend 36 Tree dropping 37 Against 38 Celestial body 40 ___ de mer 41 Before (Prefix) 42 Mistake 46 Pool tool or actor’s aside 47 TV watcher 48 Fmr. TV anchor Murrow 50 From the US (Abbr.)

51 Sorcerer’s Apprentice composer Paul ___ 52 Hillbillies actress Ryan 53 Frasier dog 55 Catfish look-alike 57 Movie co. inits.

58 Pensive sound 59 After bullet or button 60 Genuine 61 De Valera’s land 65 Conducted

MArch Answers To solve the Sudoku puzzle, each row, column and box must contain the numbers 1-9.

puzzles

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