Koresh & Company by: Jim Cryns

 

Dancing is a sexy form of art. An exhilarating mode of artistic expression. The choreography allows performers to demonstrate their innate skills, presented as an appealing visual experience.

Philadelphia's Koresh Dance Company, nurtured by the creative skills of Artistic Director Roni Koresh, knows how to package skilled dancers into a tasteful form of 'eye candy.' Professionals who haven't seen the company in person are familiar with its reputation. "I've not had the pleasure of watching the company,"

comments Wild Space Dance Company Artistic Director Debra Loewen, "but I do know they are quite diversified." Loewen uses terms such as "flashy," "seductive," and "crowd pleasing stuff," when referring to Koresh's approach to the craft.

Local audiences will have the opportunity to see Koresh's company perform December 1 at the University of Wisconsin-Whitewater's Irvin L. Young Auditorium, a venue dedicated to presenting a wide range of performing arts experiences--from traditional to cutting edge.

By any account, the Koresh Dance Company possesses a powerful stage presence, chock-full of energy and, as one reviewer commented, "jaw-dropping velocity." The troupe presents its audiences with an exciting and emotional blend of ballet, modern, and jazz dance styles.

"I don't consider myself as having a particular style," explains Koresh, a former dancer who hung up his dance shoes about four years ago. "Style is a difficult thing to do. The way I create is by seeing things, and it changes all the time. As a person, I'm constantly changing and liking different things. I present things designed to wow me, not the audience. I do something because I like it."

Koresh is unabashedly honest about his love for sexy and exciting images onstage. "It's a reflection of who I am," he reveals. "I'm a man who enjoys visions that can be executed through something appealing. With these elements, you can create some of the most dramatic statements in the world, they don't have to be unattractive."

Each of his company's presentations has its own story, its own life. "None are connected to one another," he contends. "Each piece is a world by itself. I always try to include a message, and I take images and develop them into a story, or take a topic that is well known and give it our signature. Koresh has created a multitude of different productions and says he loves them as a parent loves their child. "I think of all of my work as 'my babies.' I love them all equally."

Koresh says he comes up with the language and idea for characters and allows the dancers to imbue the performances with their vision as well, encouraging a collaborative effort. "If a director allows the actor to include their voice, it helps. I tell them what I envision, then allow them to present the way they view something, and it's from this point we can work."

Koresh developed a love of dancing early, a vocation encouraged by his mother, a folk dancer in the Yemenite tradition and with a local Tel Aviv folk dance group. He immigrated to the United States in 1983 and began training with the legendary Alvin Ailey American Dance Theater in New York City. These auspicious beginnings provided a glimpse into dance as both an art form and a business. Koresh says there is always the issue of whether a dance company is connecting with the benefactors and audience. He admits it's a topic that influences his art. "Most of us who are in the dance world are struggling every day, trying to make our thing more stable," he confides. "Particularly with dance, you have to fight for work, fight for grants. You're lucky if you're offered a production, so, at times, you have to adjust or tailor your message for the audience. Give the presenter what they want."

Koresh says he's occasionally surprised when a presenter asks for his most challenging piece. There are also presenters who are more direct. "In a round about way they kind of say, 'don't you dare bring me something that isn't light. We don't want any sexuality.' Even if the piece is brilliant, it's not their fault if the audience is not interested."

The dancers who make up the Koresh Dance Company are part of a permanent company, contracted to Koresh for 34 weeks a year. "Some have been with me for more than 14 years," he says. The average time spent with the company, however, is about eight years. The company prides itself on community involvement through their performances, dance instruction, and community outreach programs. "What we do is a commentary about our society," Koresh observes. "I try to let our shows and programs provide something for everyone. I want you to leave with something."

It's a good bet you most certainly will.

COYOTE ON A FENCE: True Grit

by: Jim Cryns

Inadvertently crossing paths with a wild animal can stir emotions of panic, trepidation, and fear. You're seemingly helpless as your instincts suddenly kick-in, commanding you to flee, but, in the back of your mind, you keep hearing the maxim, 'keep still and maybe it will go away.' This is a contradiction we're faced with when considering Next Act Theatre's first show of the season. The subject matter is like a car wreck; we regret it happened, yet find ourselves morbidly compelled to glance at the carnage.

Next Act Theatre opens its 2005/06 season with Bruce Graham's Coyote on a Fence, a production guaranteed to challenge your innate sense of right and wrong, good and bad, fight or flight. The story focuses on two prison inmates facing the death penalty in association with crimes for which they've been convicted. We are relegated to observe, learn, and hopefully reserve judgment long enough to recognize that these are human beings (John Brennan and Bobby Reyburn) who ultimately made some horrific choices in the course of their lives.

"We try to find stories that make a real life connection," explains Next Act Artistic Director David Cecsarini, who portrays John in the production. "If it doesn't read as real life to me it doesn't seem important enough to put on stage. The play has to have some real engaging issues."

Cecsarini says John is an educated guy, who, despite being in prison for 10 years, believes he's innocent, and that speaks to the complexity of the character. "It's based on a true story," Cecsarini notes. "One of our missions at Next Act is to enlighten our audiences, bring issues into the community, give them things to talk about in the lobby and beyond." He says the company consciously mixes entertainment with edification. "You want them to carry their experiences with them long after they leave their seats so it activates them in some way." As artistic director, part of Cecsarini's job is to hire directors for the shows, and, in this instance, he'll be acting for that director.

Cecsarini says the first consideration must be to hire a director who is a good fit for the material. "We chose Ed Morgan to direct this play because he tends to like stories with grit," reports Cecsarini, who acts in or directs several productions each season, contending, artistically, it's the best way to lead. "From an audience point of view, they tend to identify me with the company and, to a point, it's quality control. It's easier to influence from within."

Cecsarini admits that the play has some volatile components and urges audiences to ingest the subject matter in small doses, and with a critical and sympathetic eye. "I think there will be some startling moments as the play delves into the Aryan Nation material. The play tends to humanize criminals so that we're not able to dismiss these people just because they're behind bars."

For his character, John, Cecsarini says he has to keep a range of emotions accessible, on a warming burner. "I don't think the emotional range of John is very wide, but most of his experiences are on an intellectual level. As an actor, you're conscious of how the audience reacts to your character, you can hear reactions from the audience." Coyote on a Fence will mark the first time that director Ed Morgan has worked with Next Act, but he has worked with Cecsarini before. "I directed him at the Milwaukee Repertory Theater," Morgan relates. "I'd been wanting to do another piece with David, something that was more gritty. David is quite versatile and good. He brings a lot of weight to a character and this may have to do with an affinity for gritty stuff."

Morgan says Bobby, the character played by Jonathan Wainwright, is a white supremacist who the audience is asked to believe and sympathize with. In short, a lot to ask from a law-abiding citizenry. "John is obviously the larger role," Morgan says, "but the first question you ask yourself as a director is, 'Who is going to play Bobby?' We had a couple of actors from Chicago who auditioned for the role, but ultimately I thought Jonathan Wainwright was the man for the part." Morgan says he's known Wainwright's work for a long time, but he was still amazed by the actor's intuitive and organic feel for the character. "This stuff is so subjective," Morgan offers. "You see an actor and the way they approach the material. Sometimes it comes down to whether I like them personally." Morgan says directors tend to resort to a mental Rolodex' of actors when casting a role. "You need to recall an actor's sensibility. I've gone back to people five years after seeing them in a particular part and recommended them for a different role."

Despite its inflammatory theme, Morgan insists he's not trying to change the world--or public opinion-- regarding capital punishment. "I'm not interested in the play as an issue play, polemic, or message play nearly as much as I'm interested in the people in it," Morgan contends. "I think a debate or lecture is a better forum if that's what you have in mind. A play is about telling a story and portraying the people in that story. It's a human situation, rather than arguing any one point of view."

So, how do you direct a cast member who just happens to be the boss of the theater? When Morgan considers working with an actor who is also the artistic director of the company, he admits there exists the potential for sticky situations. "It could certainly get in the way," Morgan reveals. "The issue would be mutual respect and strong personalities. Personally, I'm comfortable with strong opinions."

From a technical aspect, Morgan says the set for this production was an issue he and Cecsarini quickly agreed on. "It's always about what's the best way to tell this story in this space," Morgan explains. "You've got to do this one in a small space. The challenge for us was to evoke the world of the prison. Theater should not attempt to compete with film in terms of realism, but, at the same time, we believe it can work well in this type of space. You've got to be up close to these people on various levels."
 

Solo Voices, Multiple Talent

by: Jim Cryns

Performing arts venues are contemporary society's fishermen of culture, purveyors of enlightenment, and we're lucky to have them. In this environment, intriguing and electrifying talents are netted from around the country and delivered to your figurative doorstep.

Dan Schmal, director of arts programming at Wisconsin Lutheran College, is one of the more experienced talent curators in the Milwaukee area. His vision is largely responsible for Solo Voices, a new series comprised of three vibrant and stylistically diverse performances. The series includes veteran stage actors Franc D'Ambrosio and Susan Egan, as well as an evening of Gershwin songs.

"Overall, this series isn't really something we've seen in this town for some time," observes Schmal. "We've had the big Broadway shows, but not the showcases that highlight individual stars."

Schmal mentions that he had the pleasure of seeing Susan Egan perform in New York and discovered that she was planning a national tour. "I played around with this in my head," he explains. "I had a cabaret-type performance in my mind. I reviewed some material on Franc D'Ambrosio and I was aware of his stellar voice." Schmal says he knew other artists were involved in solo tours, but he believes the concept is a breath of fresh air in Milwaukee.

One of the unique aspects of the series is that audience members will have the option of enjoying a professionally catered dinner in the theater lobby prior to each of the performances. Of course, ticket holders may also choose to attend the show only.

On November 18, Wisconsin Lutheran College presents one of the most versatile performers in show business. Franc D'Ambrosio has made a name for himself on stage, in film, and on television. For more than six years, he portrayed the lead role in Andrew Lloyd Webber's Tony Award-winning musical The Phantom of the Opera. After an international search, D'Ambrosio was selected to play Anthony Corleone in Godfather III, and Barry Manilow chose him as the lead in the touring company of Copacabana, a production D'Ambrosio says was quite a learning experience.

"I worked directly with Barry for five weeks," D'Ambrosio reports. "He taught me how to relate directly to an audience. In a Broadway show, you play a character. In Copacabana, you don't. You're compelled to interact as yourself with the audience. That was one of the highlights of working with Barry."

Although D'Ambrosio has earned a good living on Broadway, he's done close to 100 solo shows on the road. "My current show was written and directed by Abe Reybold and John Boswell, both from New York," D'Ambrosio says. "I'd been approached to do solo shows since the '80s, but, for me, it had to be special. I didn't want it to be just another evening of Broadway songs." D'Ambrosio agreed to tour as a solo act if he could work directly with the writers and composers to come up with the show. "It starts out with songs, some banter that leads into the next song," he relates. "All of the songs are Broadway hits, but they're presented in a much more intimate manner."

The proof of the success of his show is reflected in how well it sells: the show is booked months into 2006. "I look forward to the show in Milwaukee," contends D'Ambrosio. "Each audience has its own energy. You never know how uniquely an audience will react, and that makes it special."

If you're lucky, you may have had the pleasure of seeing Susan Egan on Broadway in the title role in Thoroughly Modern Millie. She also originated starring roles in Triumph of Love and State Fair, and, most notably, received both Tony Award and Drama Desk nominations as the original Belle in Disney's Beauty and the Beast, a role that involved a huge commitment. "I did that show for three years," Egan recalls. "I broke my arm, my leg, and, during one show, the Beast pulled my wig off." According to Egan, it's those kind of experiences that make her touring show so enjoyable. "I like being able to interact with the audience, tell different stories, see how they react. When I see a performer, I like to know what goes on behind the scenes, and I give the audience those glimpses."

Egan says it's also important to expose her audiences to new songs and composers. "I get to do the songs that I love to do," she offers. "The Broadway tunes people love, and some they haven't heard before." Among Egan's favorite contemporary composers are Marcy Heisler and Zina Goldrich, whose music she includes in her show.

"When you get hired for your solo show, they want to see your song list," Egan explains. "Sometimes they'll say, 'we don't know this song.' I tell them if they want me, they're going to have to trust me. Usually it's the new songs that people leave the theater humming."

When asked by students what it's like to perform on Broadway, Egan says she's struck by a common misconception. "The idea that it's glamorous is funny to me. Picking fuzz off the Beast's tongue offstage because he can't do it with his own paw is not glamorous," she jokes. "I liken being on Broadway to being an athlete. It takes stamina, training. Every day I have to wake up to see if I have what it takes."

On Valentine's Day of next year, the WLC presents Simply Gershwin, a cabaret-style show featuring recitalist Paul Bisaccia and tenor John Whitley. "We do a wide variety of shows and we thought Gershwin would fit well for Valentine's Day," reveals Schmal. "With a show like Gershwin, I like to sit in the back of the auditorium and watch as people have a good time. That really does it for me, seeing a lot of pleased faces." 

 

 

Kurt Elling: Made in America by: Jim Cryns

Before you begin an exhaustive search for your dictionary, keep in mind the term scat has several definitions. The citing we're concerned with here is the lyrical ramblings of a singer, most commonly a jazz artist. "Technically, scatting is speaking an improvised melody with nonsense syllables," explains multiple Grammy nominee Kurt Elling. He refers to his voice as an instrument with which he can improvise a melody and lyric at the same time. Elling has been nominated for five Grammy Awards, and yet, by some strange twist of fate, his mantle remains bare. Despite never winning a Grammy--a bridesmaid each and every time--Elling insists he isn't bitter. "I've got one on backorder," he jokes. Four Brothers and The Kurt Elling Trio will perform at the Sharon Lynne Wilson Center for the Arts in Brookfield on May 6, 2005. This marks Elling's second appearance at the Center; his first booking was as a solo artist. Elling says when he plays a venue like the Wilson Center, as opposed to a jazz club, he's cognizant of some subtle differences. "The audiences in performing arts centers tend to be a little more grown up. Of course," confides Elling, "we like to have a good time everywhere we go." Elling admits it's tough for jazz to find new listeners with so much other music to choose from. "I try to present something that is friendly and intriguing, something that somehow keeps their attention in the set," he says. Many of today's younger artists convey a degree of inaccessibility, and that translates to a minimal effort to engage the audience. That's not the case with Elling. "I'm a singer, so I'm already opening my mouth anyway," quips Elling. "I like to interact with the crowd and cultivate a good feeling." As a bonafide star at the tender age of 37, Elling is good-natured and doesn't appear to be above his audience. "I'm of the opinion that jazz audiences need to feel welcomed. Jazz is going to be difficult enough for those unfamiliar with the music. It requires focus and each performance is unique. That's part of the definition of jazz, you're going to 'hook them up.'" Jason Koransky, editor of DownBeat magazine, is quick to point out Elling's gifts. "Kurt Elling speaks the language of music," Koransky observes. "He is one of the artists keeping the art form of vocals alive. The Four Brothers tour is a great collaboration between some of the best male jazz vocalists in the world." Koransky says Elling is one of the true movers and shakers in the entire music industry. "He's an intelligent guy with a good sense of humor. We know he can scat, but he's really got a great voice too, he really has his own voice and some good chops." Koransky marvels at the innovative nature of Elling's work and his ability to put together large projects. "He takes chances," Koransky says of Elling. "He has big ideas and he has his steady working group that performs a lot locally. His band is tight and his rapport with the audience is amazing. Kurt likes to perform and he represents Chicago well." The current tour takes him and the other three 'Brothers,' around the world, yet Elling says he enjoys playing Wisconsin. "I think the people in the Midwest are very welcoming of our music," Elling notes. "It seems to be more of a special occasion when they come out to hear us and they're into it. They find out what we've got to offer them, and audiences here are more enthusiastic than crowds in New York." Growing up in Rockford, Illinois, Elling says he listened to jazz 'peripherally,' but wasn't all that familiar with the music. "My father was a church musician who didn't play a lot of jazz. When I left to go to college, cats there were playing all kinds of jazz music," Elling recalls. "This was the first time I was consciously listening to the music, people like Grover Washington." While jazz is admittedly his bread and butter, Elling doesn't like to limit himself creatively. "I have a show in my mind to do in Chicago. It's a holiday-oriented show with great arrangements, a small string section, and woodwinds. We'd do traditional Christmas tunes and spiritual stuff." When he decides to work with new artists, Elling says the city of Chicago has a wealth of talent from which he can choose. "There are a plethora of great guitarists on the scene," he points out. "All of whom are great writers. There's John McLean, who is really an intense and beautiful writer, John Moulder, Bobby Broom." A long tour can take the figurative wind out of an artist's sails, but Elling says it isn't all bad. "There's a lot of joy on the road and a lot of freedom," he contends. And, he jokes, "I don't have to clean my office." The other 'Brothers' on the current Four Brothers tour include Jon Hendricks, Mark Murphy, and Peter Eldridge, all accomplished singers in their own right. Jon Hendricks perfected the art of "vocalese" by the late '50s, and has worked with Joni Mitchell and other pop stars. Sammy Davis, Jr. discovered the young Mark Murphy in 1953 at a jam session in Murphy's hometown of Syracuse, New York. Peter Eldridge has two solo CDs and has performed with Bobby McFerrin, Nancy Wilson, and David Byrne. "The reason I put the Four Brothers show together was to create a chance to spend some quality time with Mark and Jon," Elling reveals. "As a solo artist, I rarely get called on for other people's gigs and that quality time." Elling says he also wanted to create a forum where he and the other 'Brothers' could be heard. "It's worked out splendidly. We first did the show at the Park West in Chicago, then Europe, Spain, the North Sea." "Jazz is the greatest," Elling reflects. "There's the U.S. Constitution, baseball, and jazz." You can't make your case much clearer than that. Four Brothers and The Kurt Elling Trio will perform May 6, 2005 at the Sharon Lynne Wilson Center for the Arts, 19805 W. Capitol Drive, in Brookfield. For tickets and information, call 262/781-9520 or visit www.wilson-center.com.

 

One True Voice: Kathy Mattea by: Jim Cryns

In the music industry, you're often remembered for the legacy you've left on CDs and, prior to that, on vinyl records. Artists like Kathy Mattea, who is scheduled to perform at the Irvin L. Young Auditorium on the UW-Whitewater campus on March 31st, will undoubtedly enjoy a reputation as a singer who touched people with both her music and her heart. Mattea was successful in this business long before the Dixie Chicks ruled the mainstream henhouse. She admits some of her success comes from a bit of selfishness. "I decided a long time ago to choose lyrics I could stand to sing every night," she confesses. "I'm out there trying to entertain an audience, but I need to sing about something that feeds me as well." After an extensive tour throughout last fall and into the holiday season, Mattea, a two-time Grammy Award-winner and Country Music Association Female Vocalist of the Year, says the spirituality of the season made the messages of her songs easy to relate to audiences. "It's hard to be gone from home during the holidays," Mattea asserts, "but the music is what winds up carrying us through. It's challenging to be apart from people you love and it's a different show during the holidays, an energy we can't get any other time of year." Critics hailed Mattea's 2000 album, The Innocent Years, as a creative landmark in her career. Her father was battling terminal cancer at the time and she decided to write about the experience. "That's part of why the album is so close to me," she observes. "I was feeling great grief at Christmastime and today, each time I introduce songs from the album when I perform live, I recall how my dad taught me how to live." Mattea says she spent a lot of time with her father as he declined in health and remembers how he continued to teach her lessons until the end. "My Dad talked about his situation all the time. He said he had no regrets. There were things he may have done differently, but he had no regrets. I thought that was amazing. We make our own values and choices, and we always have to know where we stand with them." Known for her ability to interact with audiences, Mattea seems to strike an emotional chord with her fans. "There are many ways to connect," she offers. "Some of the satisfaction I get is between me and the other band members. There are times when the audience will need to be won over by us. Many times we've found we've been able to turn around a night by not going into automatic pilot." Mattea and her band are going to engage in some light touring through the winter and pick it up towards spring and the show in Whitewater. Mattea has enjoyed a long career in country music and says she delights in the energy of the younger acts. "I've seen a lot of waxing and waning of the industry," she notes. "It has an ebb and flow of its own. When things broke open for me, it was an era that people still speak about dreamily." "I saw the Dixie Chicks a long time ago, before their current incarnation. They have created a phenomenon that is truly amazing. Natalie Maines and her voice are incredible. I'm happy for them because they are the whole package. They have good lyrics, musical chops; they can hold their heads up." Mattea says she has personally witnessed the morphing of country music throughout the years and quietly observed as it reached a different audience. "I don't know if country music is more cerebral than it used to be," she muses. "It used to be based in rural areas and have a predominantly adult theme. As media has saturated our world, there has been a blurring of the line. Satellites have made the music more accessible than ever before and we see a lot of different influences, and I don't think it's a bad thing." According to Mattea, one of the reasons we embrace music in our world is that we understand its intrinsic ability to heal. "The way music touches us is a real mystery. The way I look at it is if I'm here in the world and I'm using my gift, I'm doing my part. I feel I was fortunate to have started at a young age." Mattea believes all of us have the potential for greatness and must recognize the talents we possess. "I recently attended a reunion with some of my college friends that I played with in a bluegrass band," Mattea explains. "I was so happy to learn that they were all still playing music. Some for fun, some for extra income, but they were still playing. I loved that." Mattea is currently signed with Narada, a Milwaukee-based company that was purchased by EMI/Virgin Records America in 1997. "Narada is well-respected and there's a lovely synergy between what I have been yearning to do and their philosophy as a company," Mattea says. Since joining the label, Mattea has released two albums: 2002's Roses and Joy for Christmas Day, her first holiday album since 1993's Grammy-winner, Good News. Mattea's husband is from Minneapolis and she has developed a great fondness for the Midwest. "Many years ago, I had heard the audiences in the Midwest were reserved, but I have never found that to be true," Mattea insists. "When I listen to music, I tend to be a little reserved, motionless. That's because I'm soaking it all in, but I let the performer know how I feel after the song has ended."

 

MYSO: On the Move by: Jim Cryns

Moving can be a simultaneously exhilarating and exhausting experience. However, once the boxes are unpacked and the pictures are hung, you get the chance to meet your new neighbors and check out the local flavor and surroundings. In January, the Milwaukee Youth Symphony Orchestra (MYSO) moved into their new home--the Milwaukee Youth Arts Center at 325 W. Walnut, which is also home to First Stage Children's Theater. Everyone associated with the Milwaukee Youth Symphony Orchestra seems to be thrilled with the new address. According to MYSO Executive Director Fran Richman, the new digs are exactly what they wanted. "The kids have responded enthusiastically," she observes. "They love the fact that they feel like it's their place. The rehearsal halls are larger and the students say they don't feel squished in." Additionally, Richman says the sound in the new halls is excellent. "Everyone can hear each other and the conductors say they're getting more done." The Milwaukee Youth Art Center grand opening gala was held on January 29, a culmination of a facility search project that took root as far back as 2000. Richman recalls that the committee saw many buildings before coming across the Walnut location. "We purchased the building in January of 2003, and construction began in late April of 2004." Richman continues, "The added space has allowed us to implement programs we've had on the back burner for years, but have been unable to add." Located in the historic Haymarket area, a neighborhood widely regarded as the leading area of downtown expansion, plans call for a number of exciting commercial and residential developments. The Milwaukee Youth Arts Center promises to become a hub for arts education activity in Southeastern Wisconsin. The area is already home to the Golda Meir School for the Gifted and Talented, Roosevelt Middle School for the Arts, and Elm Creative Arts School. MYSO provides training in orchestral and ensemble musicianship, utilizing an extensive program of rehearsals and performances, and is open to musicians aged 8-18 throughout Southeastern Wisconsin. Musicianship, however, is not the only lesson taught at the MYSO. "A lot of these kids turn out to be the audiences of future performances," Richman notes. "The students that don't go on to professional careers in music will ultimately go to the theater, opera, and ballet for enjoyment in their own lives, for enrichment." MYSO has enrolled approximately 700 students, and a high percentage of the kids are very serious about their music and hope to have a career in the music industry. Others are looking for a well-rounded high school experience. "It's more about using music and music education to enhance their lives in some ways," contends MYSO Program Manager Amber Oosterwaal. "We teach life skills, while having fun and introducing students to new people and new situations. It's more about that than actual performances." Oosterwaal says the peers of students currently enrolled at MYSO view a lot of them as 'cool.' "They think it's kind of a special thing to be in MYSO." Evidence of the MYSO's work ethic can be found in two upcoming spring concerts. On May 15, the orchestra presents Spring Serenades I, which is comprised of three ensembles and features concerto winners for each ensemble. "We have a large group of young string players in our entry-level program," remarks Richman, "but they're pretty advanced for their ages." MYSO Spring Serenades II on May 22 will include Sinfonia, Jr. Symphony Orchestra, Jr. Wind Ensemble, and Senior Symphony. The Flute Chorale will provide pre-concert music. This performance features the Senior Symphony winner of the Carrie Rondeau Concerto Competition and Scholarship. "We have soloists performing here that have won competitions and have therefore won a right to solo with the group," Richman explains. Many MYSO students will go on to careers in music therapy or some form of music education. "What I hear over and over again is, 'I had no idea these kids were so talented,'" Richman says. "Most of our top group members are juniors and seniors in high school, but they can compete with a lot of regional orchestras. To the untrained ear, they will sound like a professional symphony." Oosterwaal and Richman have formed a successful partnership in regards to running MYSO. Oosterwaal mentions that she's fortunate to work with someone like Richman who is so involved in all aspects of the business "As a musician, I can appreciate Fran's level of participation," she offers. Richman and Oosterwaal maintain that the education received at MYSO gives students a chance to improve time management skills and self-esteem. "They learn teamwork," Richman says. "Most of the kids who graduate have been in for four, five, six years and once they join, they tend to stay. They find they've developed relationships and associations with kids they may have not had the chance to know under different circumstances." MYSO's Spring Serenades I and II will be performed at the Elmbrook Church Auditorium, 777 S. Barker Road in Brookfield. For tickets and information, call 414/267-2950.

 

Alverno Presents by: Jim Cryns

One of the city's more venerable performing arts venues continues to attract and book an engaging selection of talented performers. Alverno Presents, the performing arts series of Alverno College, is one of Milwaukee's long-standing traditions, currently in its 45th season. A trio of upcoming performances comprise the "American Originals" series, a celebration of African-American artists in the fields of jazz, R&B, and hip hop. Jimmy Scott, Irma Thomas, and Russell Gunn perform separately, yet one can't help think of what a tremendous, electrifying show they'd put on if they appeared on stage together. "There are definitely some fans who will want to see all three performers, and the fan of one should certainly be interested in the other," points out David Ravel, the director of Alverno Presents. "As a presenter, I think the notion of education and entertainment are inseparable. Sure, we try to sell tickets, but we also try to educate. As a member of the audience, there's some stuff you're going to know and some you're not. We're hoping to expand appreciation, and our ticket prices are certainly cheaper than what you'd expect to pay at a lot of other venues." Ravel had been primarily involved in theater before moving to Alverno more than a year and a half ago. He is a former producing director of Milwaukee's Theatre X and ran Brooklyn Playworks from 1984-90, a group he founded with his wife, Phylis, that presented new plays by American artists. "It really has a national presence and was founded by Sister Laura Lampe, who was a presenting genius," Ravel explains about the history of Alverno Presents. Ravel says Lampe orchestrated a performing arts series at Alverno until the mid-'80s. "She goes back to 1960; that's before the performing arts center. She had a phenomenal track record of spotting important artists on the cusp of a career." When he first took the job at the college, Ravel spoke with other presenters around the country. "I really found that Alverno's reputation preceded me in many ways. I've been trusted with something precious." The first performer in the "American Originals" series, Jimmy Scott has been referred to as 'perhaps the most unjustly ignored American singer of the 20th century.' "He's 84 years old, and has been doing this over 50 years," Ravel notes. "When you asked Billie Holiday who one of the greatest jazz performers of all time was, she'd tell you Jimmy Scott." Scott isn't allowed to hide in anonymity any longer. Ravel mentions that advanced ticket sales for the January 29th show are "going gangbusters." "The show began selling heavily in October, three and a half months before the performance. Clearly, he is well known amongst jazz aficionados; he's had a very long career. I believe he was working at a hotel for a while until he was 'rediscovered,' if you want to call it that." On February 12th, the 'soul queen of New Orleans' takes the stage at Alverno College. According to jazz legend, a bandleader discovered Irma Thomas while she was working as a waitress at a New Orleans club in 1959. Ravel says he was working out a contract for another performer when he realized the same agency represented Irma Thomas. "I said, 'oh my god they represent Irma Thomas' and I knew I had to have her. For those unfamiliar with her work, she is a New Orleans R&B artist, that's different from the type that most people are familiar with." Jazz reviewers say Russell Gunn, who performs on February 26th, carries on the traditions of Scott and Thomas, but in a different way, 'inventively marrying the rhythmic music of his youth with a head-turning combination of brass-driven jazz, blues, funk.' "The focus of this series of artists was designed to take a look at jazz and its offshoots--R&B and hip hop, Ravel offers. "Most of the art we appreciate began elsewhere. We look at how it took shape here, it's the American art form." According to Ravel, there is a relationship between the three artists--Scott, Thomas, and Gunn. "The series started off as dumb-luck. Once dumb-luck manifested itself, we recognized there was a larger theme here. One of the goals of a presenting series is the understanding that each concert is great within itself, but all of the concerts together become something else. What do you gain when you put them together?" The guiding philosophy behind Ravel's presentations seems to be the experience of the whole as opposed to the sum of its parts. "I'm really interested in not just presenting the individual artists, but making the case for the context of the artist, making the experience all the richer. I'd like our programming to be what you might call a mini-festival." "Milwaukee is lucky to have Alverno Presents as a venue for presenting live jazz," says Mark Davis, jazz department chair at the Wisconsin Conservatory of Music. "As a jazz educator, I encourage my students to listen to music as much as possible. Hearing live jazz is one of the best ways to learn about the music. It can also be a thrilling experience, since the improvised nature of jazz always allows for the unexpected. The upcoming concerts by Jimmy Scott, Irma Thomas, and Russell Gunn provide terrific opportunities for our students and the community to hear great live jazz." The evidence of jazz crossing age barriers hit home when Ravel visited his barber. "It's not just jazz people who are excited about this series," he observes. "My hair stylist is in her early-20s and exclaimed, 'You're bringing Jimmy Scott to Milwaukee! It's incredible.'" For tickets to Jimmy Scott (January 29), Irma Thomas (February 12), and Russell Gunn (February 26), call the Alverno Presents box office at 414/382-6044 or visit www.alverno.edu for more information

 

Kimberly Akimbo by: Jim Cryns

The convincing portrayal of a teenager who is beyond her years, both physically and emotionally, requires an actor who transcends temporal boundaries. In Chamber Theatre's production of Kimberly Akimbo, the actor chosen for the role possesses a wisdom and grace forged by the breadth of her stage experience. "The playwright, David Lindsay-Abaire, had specifications written in the cast listing," explains Ruth Schudson, a mainstay of the Milwaukee theater scene for the past three decades. "The author says Kimberly is to be played by a woman in her sixties or seventies." Schudson's contribution to Milwaukee theater is well documented. She participated in her first play during the third grade. "Acting made me happy and my parents were supportive," she remembers. Schudson has worked with regional theaters and numerous Milwaukee theaters, including the Milwaukee Repertory Theater, Skylight Opera Theatre, and Next Act Theatre. In Kimberly Akimbo, Schudson plays Kimberly, a 16-year-old girl who suffers from a form of Progeria, a rare condition that causes her body to age four-and-a-half times faster than normal. It's a malady that affects about one in five million people. Kimberly is forced to grow up quickly. Not solely because of her disease, but due to the inadequacies of her extended family as well. She is required to deal with 'adults' who don't have a modicum of the sense and composure Kimberly possesses--'a hypochondriac mother, a rarely sober father, and a scam artist aunt.' Schudson says the physical appearance of Kimberly as an aged person is absolutely necessary to the success of the play. "If you wanted to depend on makeup, that's one thing, but this way you get the benefit of someone who's been there and lived it. Kimberly operates on an entirely different level. She's one of the strongest characters I've ever seen." According to Schudson, it's Kimberly's story that prompted her to pursue the role. "I was completely caught up by the story, even before I read the script. In addition to her physical affliction, Kimberly is saddled with a father who can't run his own life and a needy mother. She's confronted with so many things to deal with. I think Kimberly's sense of humor is one of the major things that has saved her," Schudson notes. "It's given her the ability to live a life in that type of family. For some people, depending on your own strength makes you stronger still." Playwright Lindsay-Abaire, whose recent works include FUDDY MEERS, WONDER OF THE WORLD, A DEVIL INSIDE, and DOTTING & DASHING, has received widespread praise for KIMBERLY AKIMBO, including the 2001 Los Angeles Drama Critics Circle Award. The Chamber Theatre production, which will mark the premiere of the show in Milwaukee, runs from November 26-December 19 in the Broadway Theatre Center's Studio Theatre. It will be directed by Gareth Hendee, who also directed the Chamber Theatre's 2002 production of DIRTY BLONDE. Additional cast members include Dan Katula and Carol Hirschi. Along with Artistic Director Montgomery Davis, Schudson is a founding member of the Chamber Theatre. "It's almost 30 years ago," Schudson recalls. "Most of my work has been with the Chamber. It seems it's always been a part of my life. Who would have 'thunk it?' We used to rehearse in my living room. 'Two boards and a passion,' as the expression goes." It was never Schudson's intention to participate on the administrative side of the Chamber, and she's been true to her word. "I chose not to by design," she says. "From the beginning, I asked Monty to hire me as an actress when he felt he needed to. In that respect, I've always been lucky." Young, aspiring actors and those considering theater have been quick to seek out Schudson's advice. "When I get calls from teenagers who say they want to be in the theater, I tell them to be in a play to see if they really like it. They will understand that it's a lot of hard work." Schudson believes experience in theater can be helpful to an individual regardless of their career choice. "Even if they never go into theater or acting, they get a chance to work through problems--half a step back and two steps forward--and experience it all in front of a group. It's wonderful." A search for fame and fortune shouldn't be the motivating factor in wanting to become an actor, Schudson urges. "The thing that attracts so many people to the stage is the feeling of being bigger than life," she remarks. "You must have the stuff that's necessary to want it in the face of all the obstacles." Unlike other modes of self-expression, Schudson observes that an actor is ultimately responsible for their own performance, either good or bad. "It's one of those things where you can't blame your violin or piano if something goes wrong," Schudson says. On her long and illustrious career, Schudson eschews anything that doesn't look towards the future. "I don't stand back and look at what I've done, that's so dangerous. If you start to look at it, it means you're second guessing yourself." The Chamber Theatre's production of KIMBERLY AKIMBO runs November 26-December 19 in the Broadway Theatre Center's Studio Theatre. For tickets and information, call 414/291-7800.

 

Cultivating Kids: Modjeska Youth Theatre Co. Nurtures Young Artists by: Jim Cryns

The Modjeska Youth Theatre Company represents the cornerstone of an idea, an attempt to bring arts to the children of Milwaukee. Judy Smith has been the executive director of the Modjeska Youth Theatre Company since last October and believes she's following a life mission. "There's a lot of call for people who can market and develop the arts," Smith observes. "There are two key areas: learning how to raise money for the non-profits and having a passion for the arts. For some people it's innate. I constantly tell my interns that the most important aspect of this kind of venture is the passion." Smith says she discovered that she had a knack for marketing the arts while in school. "I got my master's at Marquette, and learned to do evaluations and audience surveys. In July of 2003, my role with this company was to make recommendations on how the organization should look. Clearly, they didn't have the right plan. In September of last year, they were considering dropping a show because there wasn't enough money." The Modjeska Theatre has a rich Milwaukee heritage dating back to its opening in 1924 as a vaudeville house, then as a talkie-house, Smith notes. "It was built by a polish architect and named for a polish actress named Helena Modjeska." Throughout the '70s and '80s, the theatre primarily offered movies and an occasional concert. In 1991, Stewart and Diane Johnson discovered it was for sale, took it over with the help of a grant from the city of Milwaukee, and began refurbishing it. "The building was a wreck, very dilapidated," Smith explains. She says former Milwaukee Mayor John Norquist supported the project because it brings arts to an urban area. "He helped Stewart get the grant. For the first few years, they tried to generate money by bringing concerts into the building. The roof was leaking and, at times, the floor was covered in water." In 1999, the Modjeska Youth Theatre Company was born. Diane and Stewart Johnson wanted to create a non-profit theatre, a live venue for the performing arts in a community setting. Smith says the theatre was formed to provide resources and activities for children, youth, and families at the neighborhood level so they would be better able to achieve their goals. "The idea was to make it more of a community center, so that's where we've landed." All Youth Theatre activities are conducted at the Modjeska Theatre, located at 12th and Historic Mitchell Street. According to Smith, the impetus for the Youth Theatre stemmed from the reality that Milwaukee Public Schools were in the process of cutting programs for students. "There were fewer and fewer opportunities for kids," Smith states. She also believes it's difficult for a lot of kids in the area to attend a show downtown, thus limiting their exposure to the arts. "The history of this building is what helps keep this theatre alive. We started with musicals, which are the most expensive to stage, but also the most effective to reach kids." Smith says a recent musical at the theatre called for 71 actors and an additional 20 kids for technical support. "We had about 200 kids show up to audition, so what happens to the other 110 kids who we were unable to utilize?" These students are required to contribute eight weeks of rehearsal for the show. For those who are unable to work on a production, the Youth Theatre provides a summer camp. "A tuition is involved, but a good portion of our kids get some kind of scholarship," Smith stresses. Many of the kids who land parts haven't had a stitch of prior acting experience. "They get up onstage and display a quality where the staff says, 'Hey, I can work with that.' We're using the arts to reach youth. We'll get about 25% of the kids back for other productions," Smith mentions. "That's a pretty good return rate." Commitment and hard work aren't the only requirements demanded of the actors. "Our students have to be drug, alcohol, and gang-free," Smith reveals. "The parents and guardians of our actors have been very supportive of this agreement. The kids also have to attend school. We'll monitor their grade point average and actually make them present a report card. We've even helped students increase their G.P.A. If they want to be a part of the group, they have to toe the line." But where does the money come from to keep this type of effort in motion? "We've been largely supported by grants," Smith explains. "Organizations such as The Betty Brinn Foundation and Northwestern Mutual Life believe our program is phenomenal." Estimates have the rehabilitation of the Mitchell Street building at between six and eight million dollars. "We have to discover partnerships and we're actively looking for other non-profit groups to get in the building," Smith notes. "There is a retail end to the building that houses four different shops. The Mitchell Street Association is looking for more of a theatre district. They look at the Third Ward and say to themselves, 'why can't we do that?'" Smith says the process of obtaining money is always difficult, but things are progressing. "We'll be able to enhance the building, while continuing to build programs," she observes. "We definitely need new studio space." Smith estimates approximately 2,000 youth performers and more than 50,000 students have participated in or attended performances by the Modjeska Youth Theatre. Currently, movies are shown at the Modjeska, which is operated by the Modjeska Theatre entertainment center. The venue seats up to 1,500 people and is available for films, live performances, and concerts, and recently highlighted a comedian. Smith concludes, "Milwaukee has made a lot of progress in the last few years regarding its artistic communities. That's what drew me and others like me into this business." Modjeska Youth Theatre Company opens their 2004/05 season with Seussical, October 1-10th. For more information, call 414/384-4550.

 

Turning Dreams into Reality by: Jim Cryns

At some stage of existence, there comes a time when you need to spread your wings. You reach a point where the dynamics of what you are and what you do require a change, or, in this instance, more elbow room. Collectively, First Stage Children's Theater and the Milwaukee Youth Symphony Orchestra (MYSO) have been conducting business, instructing our children, and, ultimately, changing lives for generations. In a unique collaboration that has captured the eyes and ears of some of the nation's larger cities, the two distinguished groups have jointly purchased a building on West Walnut that will ultimately be converted into the Milwaukee Youth Arts Center--a youth arts rehearsal and educational facility. "The original driving force was that both organizations desperately needed space in order to serve the kids that want to be a part of our programs," says Fran Richman, executive director of the MYSO. "It's a question of needing good, educationally-appropriate earsal and administrative space, but probably the most important aspect of the decision [to go ahead with the project] is that we couldn't implement new programs in our existing space. We've had programs on the back burner for years that we've been unable to add." MYSO provides training in orchestral and ensemble musicianship, utilizing an extensive program of rehearsals and performances, and is open to musicians ages 8-18 years of age throughout Southeastern Wisconsin. Richman says one of the wonderful aspects of the collaboration is the requirement of each organization. "MYSO is largely an after-school activity during the school year," Richman notes. "The theater is largely a summer activity, so we're able to accommodate each other in terms of space." A group of people looked at more than 40 buildings before they came across the structure at 325 W. Walnut, at which point they all breathed a sigh of relief. "Both performance groups were committed to the city and being located near the downtown area," Richman explains. "A lot of the buildings we looked at had low ceilings and no parking. When we entered the building on the corner of Walnut and King, there was a collective gasp from the group. It was exactly what we wanted: a place to provide endless opportunities for the kids in Milwaukee, and it fit nicely with our desire to reach out into the community." According to Richman, a grand opening is planned for January 2005, with the two groups hoping to move in later this year. In April of this year, a $12 million capital campaign was launched. "It's really going quite well," Richman says, "especially when you consider the type of economy we encountered when we started. This campaign and the new structure have given us a higher profile in the community and we're confident that we're creating a national model for this type of effort." Richman cautions, however, that they are still a couple of million dollars away from their goal. "We're really looking forward to involvement by everyone associated with MYSO and First Stage," she stresses. As far as the student base at the MYSO, Richman says of the approximately 700 students, a high percentage of the kids are very serious about their music and hope to have a career in the music industry. Others, she adds, are looking for a well-rounded high school experience. Rob Goodman is the managing director of First Stage Children's Theater, a company he helped found 17 years ago. "We're excited about the fact that we will finally have our own building," Goodman enthuses. "We'll have the space to accommodate children that haven't been able to get in. Currently, we have nearly 300 people on a waiting list." Goodman says the space limitations have hindered development of programs. "The new space is absolutely perfect and it will help us reach new students," observes Goodman. "I often tell people I have just about the best job you can get in Milwaukee. I get the most approbation for what I do. We constantly have people tell us about the impact on their lives, and it's all about teaching life skills through stage skills." Goodman says First Stage's goal is to build character and develop leadership skills in children, and the new facility will go a long way toward that goal. "The self-esteem, self-control, and personal responsibility we teach will help them lead a more productive life as they go forward. I've discovered a whole lot about it; you cannot separate children's theater from education." According to Goodman, First Stage provides a safe, constructive environment where kids can enjoy the discovery of themselves and others. "We're dealing with children who are always in a formative mindset," Goodman remarks. "It might not be didactic, but it has a lot to do with education." The new facility is located in the historic Haymarket area, a neighborhood widely regarded as the leading area of downtown expansion; plans call for a number of exciting commercial and residential developments. The Milwaukee Youth Arts Center promises to become a hub for arts education activity in Southeastern Wisconsin. The area is already home to the Golda Meir School for the Gifted and Talented, Roosevelt Middle School for the Arts, and Elm Creative Arts School. For more information on the Milwaukee Youth Arts Center, call 414/273-2314, ext. 287.

 

CYRANO Revs Up Rep Season by: Jim Cryns

We've all faced rejection. The pain is arguably more acute when you are rejected because of your face. The story of Cyrano De Bergerac has withstood the test of time due to its enduring theme. The story is not relegated to one individual's love for another, but for the sake of all love; love as an entity. You get the feeling that Cyrano would rather see love exist somewhere, anywhere, even if it excludes him. The Milwaukee Repertory Theater opens their 2004/05 Stiemke Theater season on September 10 with a three-person production of Cyrano. Artists associated with the play speak of the dignity and clarity of its message. "Cyrano exists in a world in which the precise and imaginative expression of love was most important," says Jim Edmondson, director of The Rep's production. "He can do that because he has such imagination and soul. He's trapped in a body he feels no woman could love." Edmondson is an associate artist at the Oregon Shakespeare Festival, where he has been an actor and director since 1973. The adaptation of Edmond Rostand's classic French play, Cyrano De Bergerac, being used by The Rep utilizes only three actors. "I've directed the full version with a large cast," Edmondson relates. "This is like a distillation of the story, where many characters are omitted or combined, but the essence of the love story is stronger in a way. The best stuff is included. The famous balcony scene, for example, is in tact, which tells me the adapter felt it was an important component of the play." Cyrano is a true renaissance man. All at once he's humble, arrogant, a soldier, a fencer, and a great poet, and he sees himself as flawed. "We all have something or several things that make us feel unworthy of love. In this instance, it's his nose," Edmondson observes. "It's a question of self-worth." For the plum role of Cyrano, Edmondson says Ted Deasy was the right choice. "Ted is someone who can handle language well, someone who can handle elevated emotion. Also, because Cyrano is such a romantic guy, I wanted someone with a lot of heart." "It was an unexpected surprise to get the role," Deasy remarks. "I've had such a good time working with the Milwaukee Rep in the past. The role is attractive to me personally and emotionally." Deasy says the role of Cyrano is monumental and carries the weight of a Shakespearean character. "I think the absolute selfless act that he performs makes him appealing. He has so much love and so much self doubt, he has this huge contradiction. I see him not so much in love with love, but what love can do. The beauty that it can exist as a beautiful, pure thing." Deasy mentions that he's had the pleasure of working with Jim Edmondson before. "He directed me a couple of times in Oregon. He was kind and he guided me through some great roles. He's one of the most giving directors I've ever met." The relationships developed while working with a company are a particular source of joy for Deasy. "In a company, you make friendships and connections with directors, playwrights, and other actors. We have a common desire to create together." Deasy says working with just two other actors presents an appealing challenge. "The idea of it being so intimate is a reason why it's so attractive. The idea of doing it pared down is a window to make the story more clear." "The play can hardly be more lovely," comments Tim Shields, Milwaukee Repertory Theater managing director. "It's a terrific adaptation and I like that it's done in smaller scale for three actors. This story is one of the most abiding love stories, and one of the most tragic, I know of in the dramatic canon. Three actors is great fun, great emotion." It has been more than 20 years since The Rep toured with a production. That will all change on October 19 when CYRANO begins a three-week tour. According to Edmondson, the name recognition of Cyrano will help fill the seats. "It's not an obscure play, it's one of the great ones that has been translated into many languages and it's a role all great actors want." During the '70s and early '80s, Shields says there was more funding for touring from foundations and governmental sources. "Money started to dry up after that period. This tour of Cyrano would not have been possible without WE Energies, which came out in a major way to help support this tour," he explains. Shields notes that this production and tour has been a year and a half in the making. He says he'll make the rounds to all of the destination cities on the tour to help the cities promote the show and make sure all goes according to planned. "I've had some experience in touring with other venues and, believe it or not, there are some people still with the Milwaukee Rep who did a lot of touring 20 years ago, so I'll have a lot of help." The Rep will perform CYRANO in the Wisconsin communities of Appleton, Black River Falls, Eau Claire, Fish Creek, Lake Geneva, Madison, Marshfield, Niagara, and Oconto Falls, as well as Winona, Minnesota. "We need to reach out to the community," Shields observes. "The colleges and high schools are where you find some of your best audiences." The Milwaukee Repertory Theater's production of CYRANO runs September 10-October 17 in the Stiemke Theater. For tickets, call 414/224-9490. The Rep's tour of Cyrano will take place October 19-November 7 in the above-mentioned cities.

 

A Jazz Singer For the 21st Century: Karrin Allyson by: Jim Cryns

Her voice seems to seep and slither from audio speakers like smoke making its way through a crowded room. Karrin Allyson, a jazz vocalist and accomplished musician, brings her sultry and somewhat intimidating sound to the Pabst Theater on May 29th. From Midwestern roots, Allyson studied classical piano and developed a love of jazz in college. After finishing school, she quickly found work performing in restaurants and lounges in Minneapolis. By the early '90s, she was signed by Concord Records and subsequently expanded her audience throughout the world. Fans and critics put her in the rarified company of such vocal legends as Billie Holiday, Sarah Vaughan, and Frank Sinatra. She is a favorite of Michael Cudahy, owner of the Pabst Theater, and a personal friend of Gary Witt, executive director of the Pabst. "She's considered a jazz musician first, then a singer," notes Witt. "She's done the work and the study required to be a jazz singer." Witt says Allyson's latest album, Wild for You, is an interesting record. "Karrin is doing a lot of material written by people doing pop from other eras. Her unique voice is what enables her to put her own identity on these songs. She's a jazz performer first and foremost." Allyson possesses an animated stage presence and her repertoire is amazingly vast. Allaboutjazz.com says, "she can move from Bud Powell to Lennon and McCartney and make it sound perfectly logical and she can scat with considerable aplomb, navigating even the most tortuous bebop tunes with poise and surety." Accompanying Allyson for her show at the Pabst are Danny Embrey on guitar; Steve Houghtson, drums; Paul Smith, piano; and Tom Warrington on bass. "There's a chasm between jazz fans and jazz vocal fans," explains Witt. "Some jazz fans don't like jazz vocals. Karrin has the ability to bridge the gap, as she's rooted in jazz, lived the life." The intimate environment provided by the Pabst Theater is the perfect venue for Allyson, Witt adds. On her CD, In Blue, Allyson gives the impression that she's a bit of a bad girl with songs like "Moanin'" and "West Coast Blues," where she seductively intones she has 'a baby on the East Coast.' Emusic says of Allyson's efforts, "feeling blue is truly one of the great human equalizers. It is an undeniable element of life that everyone either has, or will, experience at some point in time. Choosing to embrace that fact head-on, critically acclaimed jazz vocalist Karrin Allyson decided not only to celebrate, but revel in, every facet of having the blues." Witt's friendship with Allyson preceded his arrival at the Pabst. "She's the reason why I'm here," he explains. "I was working with Karrin, and Mike Cudahy had the desire to bring her to Milwaukee." As incredible as it may seem, Witt says Cudahy contacted him through Allyson's website. "I found Mike Cudahy to be absolutely amazing, an incredible guy," Witt comments. "He's forward thinking and so open to possibilities, and that lends itself to bringing someone like Karrin Allyson to Milwaukee." Earning a living in jazz is not an easy task these days, remarks Witt. "If you understand jazz and try selling jazz, you understand it's easier to sell the vocalist than the music." Witt says jazz musicians and vocalists just don't get the same type of exposure and hyperbole as many other artists. "They don't get to appear at the Superbowl. Being a jazz musician on the road is a hard life." In an interview with Jam magazine, Allyson takes umbrage with the uninitiated media that lumps her together with artists like Nora Jones. While Allyson is quick to acknowledge Jones' talent, she says Jones is not a true jazz vocalist. "We need to be a little more educated before we throw the word 'jazz' around," Allyson warned. "My repertoire spans the gamut. I feel like I'm a jazz singer." While in Milwaukee, Allyson has agreed to teach a master class at the Wisconsin Conservatory of Music, in conjunction with her concert at the Pabst. The master class will help provide educational outreach to Milwaukee area jazz students at the Conservatory. Mark Davis is the chair of jazz studies at the Conservatory and has worked with jazz legends such as Barry Harris. He's performed with many nationally known musicians, including Jimmy Heath, Brian Lynch, Frank Morgan, and Jeff Hamilton. Davis echoes Witt's assessment of Allyson's immense talent. "Karrin Allyson is certainly one of the top jazz singers on the scene today," remarks Davis. "Having had the pleasure of hearing her live and on recordings, I know her upcoming workshop at the Wisconsin Conservatory of Music will be a marvelous experience for vocalists, instrumentalists, and jazz fans who want to gain insight into the style of a great performer." Davis says jazz, perhaps even more than other styles of music, relies upon the personal exchange of knowledge and experience. "It is a rare treat to be able to interact with an artist of this caliber," he comments. Witt says Milwaukee doesn't get enough credit as a city that appreciates jazz. "We cherish our ability to bring these kinds of shows to the city where I think there is great jazz support," he notes. Karrin Allyson's performance on May 29th is part of the 2004 Hal Leonard Jazz Series at the Pabst Theater. For tickets and information, call 414/286-3663 or visit www.pabsttheater.org.

 

The End of Empty Seats by: Jim Cryns

An artist tends to execute at the top of their game when they're playing to a full house. It doesn't matter whether we're talking about a rock band, an athlete, or a ballet troupe, the electricity generated by filled seats lends itself to the intensity of the performance. Starting on March 1st, a new business that will attempt to pack the collective recital halls, theaters, and stadiums throughout Milwaukee will open in the Center Court in the Grand Avenue Mall. Half-Price Tickets opens its figurative doors with the intent, as the name implies, to make tickets available to all income levels throughout southeastern Wisconsin. "It's a simple process that's been successful in other cities," notes Don Hoffman, owner, implementer, and spokesman for Half-Price Tickets. Hoffman says cities like San Diego, Boston, Chicago, New York, and others have utilized this concept for quite a while. "It has really helped groups that have same-day tickets available and ultimately helps them with their bottom line." Hoffman, a former theater owner in Milwaukee, is perhaps best known as the former spokesperson for Milwaukee Public Schools. As of this writing in January, Hoffman is reluctant to name specific groups who have signed on as clients of the service. He prefers, instead, to release a list that is as complete as possible, rather than a partial list. "I think it's fair to say when we open in March, we're confident there will be everyday names within the Half-Price family, as well as smaller groups throughout Milwaukee," Hoffman comments. "We've been overwhelmed that so many people are excited about our service. When I started this effort, I had hoped we would get 24 groups. Right now, we have more than 30 groups on board, and the list is still growing." Hoffman explains how Milwaukee is a much different arts community than it was just two years ago. "When you look at the number of open seats every night it's staggering," he says. "There are so many seats out there that need to be filled. This idea is going to help those that live and make their living here, and tourists will be able to experience more from Milwaukee when they visit." How does a potential customer know what tickets are available on any given day? The process is simple, Hoffman says. "There will be a callboard at the booth that tells them what's available that day only." Tickets cannot be purchased for a future event, only for the same date as the sale. The customer will receive a voucher from the booth that is redeemable for specific seats they've chosen at the particular venue. Half-Price Tickets will charge a $3.00 service charge in addition to the half-price ticket. There is no initiation fee for participating venues. The participating venue is charged 50-cents per ticket redeemed. "If, in some instance, the cost of the ticket is not very high, the fee will never be more than 10% to the customer," Hoffman says. "I cannot stress this point enough," Hoffman continues, "this service allows people who live in the city who cannot regularly access arts and sporting events to afford them the opportunity to do so. This booth is about filling empty seats." Hoffman notes it's more than a ticket booth, "it's also a clearinghouse for information for groups that have direct access to tourists." In some cases, small groups will use it as a place to pass out free tickets. "They can get people into their theater without charging them." The idea of a half-price ticket booth, according to Hoffman, caught on like wildfire in the city. "Daily, we receive phone calls and e-mails from people chomping at the bit. I received a phone call from a mother who told me she wanted to take her teenage kids to see more theater in the city. She said she believed as a result of the service, they'd have more of an opportunity to do so now." With Milwaukee's recent artistic resurgence, the city may finally be able to support an effort that attempts to perpetuate the love of art for art's sake. "My goal is to get every single seat in Milwaukee filled," Hoffman enthuses. The visibility provided by the location of the booth at the Grand Avenue Mall isn't lost on Hoffman. "It will not only attract thousands of business people and tourists downtown, but will invite cost-conscious southeastern Wisconsinites, especially from the surrounding suburbs, to visit our emerging downtown renaissance."

 

Weaving Art's Colorful Tapestry by: Jim Cryns In only its second year, the Dark Pearl Festival seems destined to become one of the jewels in Milwaukee's performing arts community. It's been described as a coming together of various groups for one event to promote and foster a broad-based interest in art. "We have some of the top African American dance, theater, and poetry groups in one spot," says Bonita Berrios, marketing director of Ko-Thi Dance Company, one of the organizations participating in Dark Pearl, and one of Milwaukee's most established arts groups. "It's our collective goal to educate the African American community about the quality of performing arts in the city in which they live," remarks Berrios. Dark Pearl is comprised of some of Milwaukee's top African American performing arts companies: Hansberry-Sands Theatre Company, Art in Motion, Milwaukee Dance Connection, City Ballet Theatre, African American Children's Theatre, Ko-Thi, My Window Productions, and Inner City Arts Council. "Traditionally, the African American community in Milwaukee has not been involved or educated about the arts," Berrios notes. "We want to let them know about the quality of the artists in their community and the quality of the shows." Despite a concerted effort to attract a particular demographic to the shows, Berrios points out that attendance at most events is not what it should be. "Ko-Thi was specifically created to reflect the African American community, and it's difficult to do that when representatives of the African American community are not in the audience." According to Berrios, a grass-roots effort has been made to reach out to business groups and church organizations regarding the Dark Pearl Festival, which ultimately pays homage to African American artists. Milwaukee is experiencing an era of unprecedented growth in its arts community. "It's great and getting better," comments Berrios, "but it hasn't caught up with the love of the arts experienced by other cities." Dark Pearl organizers are hoping the event will help with that effort. Berrios says the arts groups must apply a bit more pressure. "The first and ultimate goal is to re-educate the African American community; they need to know there is quality in our community. Our first event last year was fabulous. We put together a "Ma-and-Pa" marketing effort. We were given a grant that required us to bring in people from out of state," Berrios explains. "It was tremendous. We had little kids dancing in the aisles. That was an unforeseen benefit." Milwaukee's African American artistic community is way behind Chicago and Minneapolis, remarks Berrios. "But people are talking about it. Hopefully, this year we will be able to bring in more people from Chicago." "It would be a definite bonus for the art groups if people attended the event and then decided they would like to join one of the groups and participate. We need to do more of what patrons of Caucasian groups do," Berrios says. "We need people to come to our organizations and say, 'I saw you guys at Dark Pearl, where can I see you again?' They begin to love the arts for the sake of loving the arts." Crossover won't be an issue, Berrios notes. "I want to see tradition change. We are asking them to come out of the box. We need patrons to encourage nieces and nephews that are not currently going to ballet. We're trying to get a new generation interested. Maybe it's grandma that gets the family excited." The festival will be presented on February 6 at the Milwaukee High School of the Arts, 2300 W. Highland Boulevard. "I think it's going to take a little time until we are a part of the fabric of peoples lives," Berrios remarks. "We got a bonus seeing those kids dancing in the aisles last year. It was a pretty sight." Tickets will once again be sold only at the door, with no advance sales or reservations. Last year, officials estimate about 500 people attended the show. Participating groups will have 10 minutes to perform, with minimal sets and props. Marjorie Yoshida is the managing director of City Ballet Theatre, a group that offers modern, jazz, and ballet classes to students ages four through adult. Yoshida says the exposure for each of the ensembles participating in Dark Pearl is important. "So many of our arts groups are not known in the community...this is a way of presenting all of the groups and a sampling of our works," comments Yoshida. "We were very happy last year with the attendance and we were able to draw people over. All of the groups worked together, which I think is great." Yoshida explains that last year's show was part of the International Arts Festival and was included in the festival's advertising. This year, Dark Pearl had to rely heavily on word of mouth and some advertising of their own. "So many people think that art isn't needed," Yoshida says. "We have three or four dance groups, and some people still think dance is just for the rich. That's not so at all. We're all trying to do work for our community."

 

Recovery Through Rememberance by: Jim Cryns

You can't ignore pain, and hope it will go away. Catharsis is recognized as the working through of emotions after a particularly trying and emotional time. Aristotle spoke of the theatre as the epicenter of an emotional purging after a tragedy. Theatre may very well be one of the least recognized forms of psychotherapy in the business. Chamber Theatre's production of Anne Nelson's THE GUYS, which runs November 28 through December 21, provides an opportunity for a nation that has been emotionally scarred by the September 11th terrorist attacks to examine, reflect, and ultimately confront their feelings in a safe haven. This analysis takes place among other audience members engaged in a similar perusal of their emotional Rolodex. The play originally opened at off-off-Broadway's The Flea Theater in 2001, shortly after the attacks. THE GUYS is comprised of monologues and dialogue between a New York Fire Department captain (Nick) and a writer turned editor (Joan). Nick was off duty when his unit was called into the World Trade Center, and he lost 14 of his men in the attack. Joan helps the NYFD captain write the eulogies by listening to him recount personal memories of the fallen men. At the same time, Joan is struggling to come to terms with the ramifications of the atrocities. She too has suffered through the loss, along with the rest of the country. Joan reshapes and rearranges Nick's thoughts and memories; she doesn't put words into his mouth. James Tasse, who will direct the Chamber Theatre's production, sees THE GUYS as a "memory play" that will measure just how much our collective memories have changed in two years. "I did have some fears when I first agreed to do the project that the impact of the event may have paled somewhat," Tasse admits. "But I don't think that's the case. By this time, we should have some level of having approached our own ground zero. After all, this was something we were all a part of." Surprisingly, Tasse finds the messages from the play to be bright and hopeful. "There's a certain lightness and humbleness being in the middle of the universe," Tasse shares. "This sort of play is very different. The space between the actors and the audience is different. When you have only two actors, you have to be clearer in defining the space between them." Tasse says his production will ultimately be very sparse in terms of set, props, and enhancement. "We will honor the gravity of the event and not attempt to create a visual background." The playwright even makes this request to directors in the introductory remarks of the script. Monty Davis, artistic director of the Chamber Theatre, says he had no reservations about broaching the potentially volatile and delicate subject matter. "I think those are reasons you should choose a play. The topic is on one's mind," Davis comments. "The theater isn't a place for amnesia. The beauty of this play is that it doesn't rub our faces in it; it's actually a very tender play. It unsentimentally reflects the memories of these guys who were doing their job. They were trying to fix things, trying to make everything right." Davis says that through the writer onstage, audience members might recognize their own attempts in dealing with the situation. "You see a lot of things occurring, an unveiling," Davis comments. "This play informs us, and the audience ends up thinking 'what would I do?' It's ideal for our studio situation. I saw the play in New York, then walked a couple of blocks to the disaster sight and saw the lights of the rescue efforts. It was still a fresh wound." In Chamber Theatre's production, Mary MacDonald-Kerr takes on the role of "Joan" (opposite Brian Robert Mani's "Nick"), who engages in numerous monologues throughout the play. Joan acts as the voice for all who helplessly watched the attacks on television, wanting to help, but not having the opportunity. "My character is a woman who is trying very hard to find a way to be a part of the solution," she says. "Joan describes the ripple effect, how the pebble is represented by the people in the buildings, rings are the degrees of involvement and proximity to the event." MacDonald-Kerr says she's astounded at how the country has achieved a sense of "normalcy" so soon after the event. "As humans, we want to put pain away. I think we've healed too fast. I want the audience to walk away from the play talking, reawakened. Maybe we can reopen the discussions and have a greater understanding of what happened." As the play unfolds, we see the men who died as real people, not as a statistic or hero. "These two characters found each other, and she ends up learning a lot," MacDonald-Kerr shares. "That's one of the great things about the play; you see/feel a very quick reaction. I think our responsibility as human beings is to have a point of view. If you're an artist, you're lucky to have a forum to express it."

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