The Republican National Convention landed in the Twin Cities. The narratives that have emerged are naturally varied and often inaccurate (in print anyway).  Bedlam Theatre is bringing these various stories together asking for first hand accounts and performance September 18^th—20^th for Because We Still Live Here.

Because We Still Live Here: September 18-20 at Bedlam

This is what I saw:

On Monday Jeffry and I were part of a performance installation at the Capital.  It was put together by the Unconvention, Creative Time (a NYC producing agent specializing in public art experiences) and the Walker Art Center.  It was a magical queer love letter to the RNC spoken by a congregation of queer performers in the spirit of the first Christopher Street Liberation Day (with pink and yellow balloons).

The creator, performance artist Sharon Hayes, used 70 queer voices to speak a text of political, sexual and romantic desire.  In Denver the piece was call Revolutionary Love 1: I Am Your Worst Fear.  In St. Paul the piece was called Revolutionary Love 2: I AM Your Best Fantasy.

Revolutionary Love

The performance took place after the Stop the War march, a mostly peaceful collection of 10,000 (my favorite marchers were the Missile Dick Chicks).   

These ladies come from Texas.

Following the march and the performance at 4:00 Jeffry and I attempted to head through downtown to Harriet Island and KFAI’s Take Back Labor Day event.  As the delegate busses were pulling in, downtown St. Paul was completely sealed off by troopers.  We followed the flow of pedestrians around downtown to a beautiful park off of Shepard Road opposite Harriet Island where we could hear Atmosphere crank and the crowd roar across the river. Ahead of us we could see the Wabasha Bridge—our ticket across the river, or so we thought.

Marking the scene were small handfuls of masked protesters, volunteer medics tending to those who were sprayed by police and many would-be concertgoers and park strollers.  We turned around quickly and soon a line of police on bikes and horseback were closing us in. The police were joined by nearly 100 troopers in full riot gear and nine coast guard boats with what looked like missile launchers on deck.   

This loosely connected group of about 100 was now isolated as other bystanders on the other side of the barricade looked on and the concert raged on across the river. Delegates from the Science Museum plaza had a bird’s eye view of the theatrical maneuvering.  From an unmarked white van a megaphone stated clearly, “You are all under arrest, this a crime scene, sit down and put your hands above your head.”  Jeffry and I immediately locked up our bikes. 

We sat for an hour as individuals were violently pulled out of the crowd without resistance.  Eventually the troops expedited the process by surrounding small clusters and escorting them off premises, arresting some.

As we were detained, a large two level river barge joined the company of nine coast guard boats, with guns drawn in the river.  The river barge was adorned with a DFL flag at the stern and a large “Stop torture now” banner along its side.  The two senior couples on board were making “see I told you so” gestures to the detained crowd. 

Aggressive River Boat approaches detailed crowd

Jeffry and I were detained for an hour and then separated from our bikes for three hours.   But the strangest thing (and what’s gone unreported) was the coast guards seizure of the river barge.  I guess they were making their intentions to clear One of the coast guard boats was cruising along side the boat river barge, and eventually the two coast guard officers jumped onto the river barge and ran to the upper level where a new confrontation began. 

Mos Def, Steve Earle and Atmosphere provided the soundtrack across the river

This opens up a wide debate about the nature of protest, anarchy, security and free speech.  The week of the RNC anarchist groups made several bold moves to break the security stronghold, but they were met with concussion bombs and tear gas and were kept completely out of site of the delegates.  The local press lumped the anarchists and the protestors into one group as though there are not separate agendas among the progressive movement.

My favorite comic element incident: the police invading a punk house and mistaking their gray water system for preserved shit (naturally to throw at the delegates).

Unfortunately the poor rhetoric of the McCain camp, the anarchist tactics and storm troopers have dominated the reporting, rather than the very radically progressive and positive work of thousands of artists and activists.  

Such a masculine/theatrical display on the part of both the anarchists and the troopers jeopardizes free speech for all.  There’s a great recap on PRI’s “On the Media” debriefing the RNC.  They comment pointedly on the Republicans’ aim at the media and alternative press and the blunders of the police state.  Check out the podcast from September 5th. 

(Check out NYC Indymedia for more great shots, thanks for letting me use them!)      

Around 1:45, I was finally able to leave. My friend Josh and I 
winded through the grid of St. Paul and found the Gateway Trail
off of Arlington Avenue, 15 blocks north of the Capital. The 
Gateway trail cuts smoothly the northeastern suburbs, nearly 
uninterrupted by the suburban traffic (I had more encounters 
with horses than Hummers and Sedans).

Arriving at Square Lake, many small tents had already popped 
up like an expanding colony of forest fungus. Three bands had 
already played, and Regassa was setting up on the wooden stage. 
The crowd was chill, absorbing the summer sun on blankets, 
stretching their calves and perusing the grounds, which included
 a “screening barn” where intervals of locally produced films 
were shown, including selections from the 48 Hour Film Festival. 

As the moon moved higher in the sky, the films moved outdoors
for the Square Lake Film Showcase. These pieces were dense and 
delightful shorts. Ranging from the time folding, western melodrama
of “The Yellow Bird” by Tom Schroeder to the hilarious Animal Planet
fantasia (circa the desolate forest of central MN) “The Arctic
Quadrangle” by Carmichael Lynch.

The Yellow Bird

Following the films, Fort Wilson Riot took the stage, and the crowd
was greeted with the greatest spectacle of the evening,
complete with fog, colored light and dizzying go-bos. This band
has moved up the ranks to become one of my favorite live acts
in Minneapolis (next to Chooglin’).  Playing with a mostly new
combination, lead singer/songwriters Amy Hager and Jacob Mullis,
were backed by a trio of new musicians. The result was a full
throttle chronicling of their synth-pop baroque fables. Amy Hager’s
light and lyrical sound cut through the darkness like Lindsey
Buckingham, mixing with Jacob Mullis rock and roll tenor. Together
they provided multiple voicings for unique theatrical impact. The
band also presented a new score for the classic silent film, “The
Devilish Tenant” suiting their sound to the big screen action. 

Fort Wilson Riot

Other musical highlights were the Spaghetti Western String Company
(who have added wind instruments to their quartet). I
also loved Nicholas Lemme's vocal lines, lulling tired, sun soaked
campers back to their tents.  I expected headliners Happy Apple to
be a grass thumper summer jam band, instead it was more along
the lines of dull experimental jazz. Black Blondie maintained their
usual excellence with Samarah on sassy lead vocals. I would have
been nice to see more dancing and grooving (but that's a usual
complaint of mine). I even liked the stand-up comedy between sets!

I regret missing the earlier band, Lucy Michelle and the Velvet
Lapels, with the lead singer on ukulele. I’ve been playing the
uke since mid July. My greatest joy is playing music that people
can sing along to (Magnetic Fields and Lou Reed have been great
starters). I thought I was on the verge of something new, but
as I carried the ukulele around in my Crumpler bag, the more
I found others who also play the ukulele. And by the end of the
month, the Style section of the New York Times, had written an
article on the ukulele and its burgeoning popularity.  It’s an
amazing instrument.

Square Lake Beach

My housemates and I put a cap on the weekend by taking dip in
Square Lake (just a 5 minute bike ride from the festival) before
our 40-mile track back to Minneapolis. Though we were in the
middle of Michelle Bachman-land, I thank Washington County
for maintaining such wonderful beaches (I guess the National
Parks are a legacy of the Regan era as well, I can't substantiate that).

All in all, the Square Lake Music and Film Festival represents
the type of community event outside of the bounds of corporate
sponsorship and $4 bottle of water, where like minded (though
a bit homogenous) folks can chill and enjoy the best of what's out
there in one beautiful dose.  There was no media sponsorship
(except my favorite volunteer radio station).  There were no
digital cameras and no flickr documentation to prove how cool
the event was. I speculate if this era of recession and high media
access will create the perfect conditions for such events (low
environmental impact, high in cultural density, short on dollars,
long on cache).  Next year will be the 8th year of the festival.
Let's try to keep it a secret.
 

Come enjoy the upper patio and the skyline view at 1501 South 6th Street.

TC Daily Planet was kind enough to write a little feature about the Bedlam Social (scroll to the bottom and you’ll see me).

One of my summer projects has been planting and tending to the patio garden at Bedlam.  My favorite plant is the oregano (it’s even a perennial)!

There are plenty of people blogging about Fringe Festival.  And It’s a bit redundent, but I can concur that The Cody Rivers Show is wonderful and The Gypsy and The General (the 3 Sticks Theatre Company) is stunning.

My show, In Dreams Being Responsibilities, is based on a short story by Delmore Schwartz:

The show is a delicate chamber music piece with gorgeous music by Marya Hart.  

We have four more performances at the Ritz.  

Wed., Aug. 6 @ 10:00 p.m. 
Fri., Aug. 8 @ 8:30 p.m. 
Sat., Aug. 9 @ 5:30 p.m.
Sun., Aug. 10 @ 1:00 p.m.

Check out this great 4 minute clip from Broken Brain Summit–the best musical about brain injury you’ve ever seen!

I am in great debt to the talent and commitment of videographer Kevin Obsatz.  Please check out the clip and check out Kevin’s stuff!

Broken Brain Summit has performed for the Mental Health Consumer/Survivor Network, the Hennipen County Integrated Care Initiative and the Hennipen County Bar Association.  The show is available for touring!

A certain cross section of the US went crazy for Mamma Mia a couple weeks ago.  I’m sure it’s box office flame will fade quickly, but it’s a good reminder that certain Vegas style theatrical entertainment is perfectly suited for the big screen (especially if there’s Greek Mediterranean scenery, beautiful men singing ABBA and Meryl Streep!).  

It’s redundant to call Meryl Streep the greatest actress of modern film.  Her talent is deep and rich.  I recently discovered a lovely gem of a piece featuring a very young Meryl Streep performing at the Public Theatre in the late 70s (it was filmed in 1982).

I shamelessly adored this musical.  The songs are elliptical, magical, with text lifted directly from Lewis Carroll’s Alice’s Adventures in Wonderland.  Elizabeth Swados wrote the music and script. 

Meryl Streep perfectly portrays Alice’s fiery and curious temperament.  In addition the cast is amazing, featuring Mark Linn-Baker, Betty Aberlin (of Mr. Roger’s Neighborhood), Debbie Allen and Michael Jetter (who is absolutely amazing as the Dormouse).

The staging makes this musical a timepiece of the 70s (much like Godspell, the actors play multiple roles and the ensemble morphs to create multiple environments using a variety of theatrical motifs… puppets, ballet, clowning).  

So to reinforce Meryl Streep’s place among the greats of film and stage, please check out this little gem. 

The film is also available on Netfliks!

It’s listed on the Internet Movie Database as “Alice at the Palace”… though the musical is frequently called Alice in Concert.  

Here are some You Tube Clips. 

This cooking stud is my hero

The line-up will include a wide range of acts, including ballet, ariel dance and gender bending performance.  Here are my cohorts: 

Justine Leaf, Mistress Ginger (our MC), Irita Foucoult, Irita Foucault, Nicolas Lincoln, Kenny Kiser and Kats Fukasawa.  

Please check it out!

July 25th and 26th at Patrick’s Cabaret (3010 Minnehaha Avenue South) 

Tickets are $10 at the door.   (contact me if you want a break on tickets)

Speaking of thrilling cooking demonstrations–check out Jaime Oliver’s live act.  Jamie is the sexiest man in food… (this is an experiment in uploading) 

The saw the Friday night performance of the Momentum: New Dance Works at the Southern Theatre.  This is a program of dance pieces commissioned by the Walker Art Center to showcase emerging choreographers and dance theatre artists. 

This weekends program featured Chris Schlichting’s love things and Maia Maiden and Ellena Schoop’s The Foundation, et cetera. 

love things opened the evening dressing the southern theatre like a billowing wedding chapel circa 1981.  My experience of the piece was my personal journey attempting to discern the disconnect between the content rich design and the lukewarm composition.

The tone of the piece brought images of Falcon Crest and Andrew McCarthy movies (privileged, optimistic, sunny).  The costumes were perfect day dresses and athletic wear of the era (though the hair seemed to be distinctly 90s).  Elliot Durko Lynch’s sound design was thrilling, breathing into the space like a living entity, bringing tension to the naïve dialogue of the dancers.    

The company of 6 danced youthfully and exuberantly, each uniquely articulating the gestures of giddy romance.  The choreography borrowed heavily from each dancers unique vocabulary and the ensemble moments were fascinating to watch.  Several the love duets also “popped” including the extension and longing of Jessica Cressey and Justin Jones and the cautious sensuality of the Hannah Kramer and Morgan Thorson. 

When I suggest that choreography was lukewarm, I don’t mean to suggest that the piece lacked passion, tempo or precision (I didn’t look at my watch once!).  I feel the boundaries of the piece were set very early and no moments exploded beyond those boundaries.  Though rich in ideas and talent, my experience of the piece was rather, pale pink (and this view of romance may have been exactly what was intended).

The second piece was a huge contrast in volume and clarity of intention.  The choreographers drew heavily on a variety of influences, including hip-hop, African American history, West African dance and mask, generation dialogue, and spoken word.

The opening was very provocative as Maia and Ellena descended from the audience interrogating the space with questions about the future of the black community given the end of the Black Panther era and our modern urban segregation.  Gender, race and class issues were also at the forefront of the dialogue as the piece moved back and forth between the 70s and today. 

Given the wide range of aesthetics used in this piece, and the nature of premiering a new work, it makes sense that some of the ingredients didn’t fully gel (and a couple seemed under rehearsed).  But the content was powerful and specific, including the spoken word performances of Tiyo Siyolo and Selfish and the powerful dancing of Roxanne Wallace and Aneka McMullen. 

I don’t know much about how the program is managed by the curators, but I feel some of the flaws of The Foundation, et cetera could have been corrected by an outside eye prepared to adapt the staging to the Southern stage.  Many of the scenes took place so far up-stage it was difficult to engage in the drama.  There was one false ending that could easily have been corrected. 

The Foundation, et cetera brought a lot to the table in terms of discussion.  Selfish addressed the audience directly about his identity.  The dialogue was timely given the prospect of a black man entering the white house and the proposed end of the hip-hop era.  The potential of this company as a catalyst for thrilling dance, storytelling and provocative politics is just beginning (I’m very excited for what they do next).

The piece harkened in my memory one of my favorite performance pieces of all time, Con Flama.  Con Flama was a production of Penumbra Theatre Company drawing on a range of aesthetics.  It was ritten by poet Sharon Bridgforth and directed by Laurie Carlos.  It was also a beautifully woman-centric, gesture rich, musical and lyrical theatrical event. 

It was nice to see a full house at the Southern for these new pieces.  A few people had on “Where’s Jeff?” stickers in reference to the sudden outsting of Artistic Director Jeff Bartlett.  Is this just an artistic turn over, or the beginning of a huge real estate turn over on the West Bank?  When will artists have a hand in the leadership and management arts organizations? 

It seems the current state of arts organizations creates a lot of opportunities for consultants and administrators, but provides less and less money for the people who are the meat of the field… artists. 

(This will be interesting to observe.)

Number six and number seven in the WFTDA rankings met July 12^th at the Cicero Stadium as Windy City (7) hosted the Saddletramps of Tucson (6).   The rankings predicted a tight match up, but the motivation of the Windy City Rollers told the story for the hungry crowd.  Coming off back-to-back losses at the East Coast Extravaganza, the all-stars from Chicago were determined to show their hometown crowd that their home team would remain a top contender in roller derby world.

Captain Belle Diablo motivated her ranks to not only dominant the play, but also run up the score mercilessly.  Blocking combinations, like the steely Megan Formore and Malice with Chains, put the breaks on the Tucson jammers in the rear of the pack.  Belle Diablo and Blossom Bruisin’ reinforced their efforts at the front of the back.  Crowd favorite Varla Vendetta helmed several jams as pivot and maneuvered expertly to paralyze nearly every Tucson jammer who made it to the front.   The pack action was so fast and tight it was easy to forget the vigorous jammers Athena De Crime, Eva Dead and Shocka Conduit (an impressive newcomer to the line-up, formerly of the Chi-Town Sirens)

Memorable highlights include the three-peat jamming performance of Beth Amphetamine.   She was sent to the box on accumulated minors, re-entered the rink just to be sent back to the box on an illegal procedure, all to claim lead in the next jam and rack up impressive points.  The Windy City blockers were well prepared for these power jam situations with reservoirs of speed, even when they too had players in the box.  The mounting point spread finally capped at 138-19.  

The Saddletramps, though depleted by the humidity and struggling with the speed of Cicero’s vinyl surface, still fought hard for the eager crowd.  Sloppy Flo kept her head high throughout, searching for holes in the Windy City defense, but she was never able to exhibit the speed that made her a legend.  Deadlock Doe Holiday had many well-timed blocks that sank jammers to the far corners of the rink.  Sami Automatic had a cocky stride and the daring to never give up for the sake of the crowd.   Defensively the Saddletramps seemed out of synch.  Surely they’ll head west with new tactics to apply to their next bout (they play the Gotham Girls next month)

A personal highlight of the weekend was seeing Helen Wheels on the Tucson line-up.  I was lucky to be in the crowd for the one of the first inter-league matchups in the mid-west.  In January of 2006 the Tent City Terrors of Phoenix traveled to Madison to play the Dairyland Dolls.  Both brawny teams put on a strategy clinic, and there Helen Wheels (formerly Sheriff Shutyerpaio)  tore up the rink with whip smart hustle.  In jam after jam she demonstrated the quick four, in and out of the pack in a blink.  She’s been a favorite of mine ever since.  

The Cicero crowd was also treated to a clear adherence to the new WFTDA rule set, especially those rules addressing player rotation in the penalty box.  

There is debate about Windy City’s home rink advantage, but the team will next take on the Minnesota Rollergirls (13) who play on the polished concrete at the Roy Wilkins Auditorium.  They are certainly adapt at maneuvering on a slick surface.  On August 16th they may answer the Windy City defense with steady and surefooted skating.  

I love checkin’ facts on the derby news network (check it out for lots of great derby stuff).

I’m a long time resident of the Twin Cities.   I am lucky to be able to see things evolve in the city.  I’ve seen buildings burn down, restaurants close, bridges collapse, city council people go to jail, and houses foreclose…

I’m 27 years old.  Certainly not old enough to see neighborhoods turnaround or see a reduction in car traffic or see public transportation become fashionable.  But I have seen social scenes develop and change.  One of the highlights of Minnefabulous emerging fashion and arts scene is the almost annual VOLTAGE FASHION AMPLIPHED show at First Avenue. 

This event is a fine example of the Minneapolis arts and commerce scene working together.  The leg work it takes to produce this show is impressive and the results are theatrically and musically satisfying—dozens of models, make-up artists, stylists, public relations people, an avalanche of photographers, six bands—and it all adds up to a perfect venue for showcasing the niche market of local design.

So, the following is my run down of the amazing proceedings.  Granted, I’ve never wrote about fashion or music, so my critique will represent solely my sensibilities, informed very little by the standards of the profession. 

I missed the first band, Zibra Zibra (I’ve seen these young dandies MANY times, but I just found out they are of my same sexual persuasion).   I’m bummed that I missed the futuristic athletic wear designed for the band by everyone’s favorite 19 Bar bartender, Ivan.

My pal Lola and I came in as The Haves Have It were playing their set.   This mostly female punk quartet had a thrashing style reminiscent of The Soviettes, a bit more down tempo, but a lot more head thrashing as their blonde tresses cascaded in the lights.   I liked the spring dresses and combinations created by Belle, and the short jumpers by Calpurnia Peach.  They were very youthful, high-waisted combinations, frequently using straps, bright colors and cut-outs.  Both collections looks marketable, creative and well made.

The next band was a complete turnaround.  Bella Koska was very B(roing)jorkish (I’m trying to create a word combining borking and Bjork).  They were neither fun or challenging or interesting.   This is not to say that they weren’t great musicians or dynamic singers—and they looked great on the cover of Vita.mn in Laura Falk’s boxy silhouettes.

Visually, however, designers Max Lohrbach and George Moskal provided a back to back watershed of visual delights.   In Lohrbach’s collection the models floated down the runway like a parade of wistful Zelda Fitzgeralds in delicate summer wear.  Most pieces had whimsical embroidery; I saw tropical fruits on the drape of one of the gauzy dresses.   Interspersed throughout his collection were men in stripped tight fitting athletic swimwear, evocative of a production of Anything Goes set in an asylum.

George Moskal answered Lohrbach’s Zelda Fitzgerald with something along the lines of Grace Kelley.  The film noir inspired collection used a stunning palate of rubies, burgundies and chocolates.   They were extremely well excessoried with shoes and purses.   I nearly expected the models grab a microphone and purr out “The Man That Got Away” or some torch song of lost love and gun smoke.

By this time I had gotten close to the stage (close enough to be completely seduced by the action) .  I credit Bella Koshka for thinning the crowd and a sweet PR intern for letting me sneak up into the VIP section.

Next onstage was White Light Riot, in their most up tempo set I’ve seen.  They were clad in Willy Wonka style Victorian velvet jackets.  On the runway were two very polished collections by

Katharine Gerdes star turn was a little underwhelming but gorgeous.  The sweeping evening wear used sustainable fabrics dyed in regal tones.  The looks were elegant, but a bit bland (they reminded me of something between Rami and Sweet Pea’s signature looks on Project Runway). 

Things amped up even further when MC/VL hit the stage.  The pair was outfitted in red and white Member’s Only jackets and impressively tight jeans.  The looks by Erin Smith did not hold back their spry athleticism.  They pounced up and down the runway.  One gal from the VIP section even climbed on to the stage to join the jam.

On the runway was a sloppy concept by Swank Dollar, but the styling and accessories amped up the theatricality and gave the look huge impact on the runway.  Gorgeous hair extensions cascaded down the backs of each model, tied on with silk flowers; each model had a satchel/backpack further adorned with quirky trinkets from some magical forest floor.  With MC/LV hip-hopping in the background and the models all in miss-matched pastels, the collection actually worked nicely.  I imagined, “This is what the Guthrie’s Midsummer Night’s Dream COULD have been.”

Red Shoe Clothing Co. had one of the most impressive collections of the evening.  Most of the looks used black complemented with jewel-toned colors on marketable silhouettes.  She made fun use of holsters, but this collection was upstaged by stunning styling and severe bangs (again, great work styling team!)

The final band of the evening was the Birthday Suits, thrashing about ferousiouly this duo nearly tore off their threads.  On the runway was Russell Bourienne men’s collection.  The well-tailored long vests and Asian inspired pants looked durable, but dull.  It was nice to see the open shirts of the male models.  

In contrast, Laura Falk’s finale collection was high on concept, weak on tailoring and weak on quality.  Swank Dollar and Laura Falk both fell into the category of Minneapolis design that fails to raise fashion expectations above that of a hipster hobbyist.   Falk’s concept was inspired by Midwest pioneer women, and they had huge visual impact, but the concept outweighed the quality of construction. 

I’m a bit late weighing in on this one.  But I totally dug it.  Thanks to the Rake for the pictures!

I’m trying to avoid self-aggrandizement.   But I REALLY want you to come see this show.  Broken Brain Summit at the Old Arizona (2821 Nicollet Ave. S. ) 

This is my big directorial debut!  Though I’ve certainly been directorial in most projects I work on, but this project has offered that challenge of synthesizing the contribution of designers, choreographers, technicians and actors.   (I even had to try and run production meetings—all the while tending to bathroom needs, “de-escalating the hot temperaments of some of our actors). 

Naturally the greatest challenge is the one posed by the actors in the cast of the show.  22 actors who live with brain injuries, mental illness, autism and developmental disabilities.   Directing at Interact frequently means finding an aesthetic that sets all of the actors up for success—and they are all so different in their approach, they have unique strengths and deficits.   Each actor has a completely unique social compass, navigating dramatic situations from a lens that is completely different than conventional actors.  

But now that opening has come and gone, I can hardly recognize the struggles.  The actors are wonderfully at ease with the material.  They will surely grow through the run of the production—deepening their characterization and selling the songs with their whole being. 

So come see it for yourself!  Audiences who attend Interact shows, especially those seeing them for the first time, frequently leave experiencing those intangible thrills of live performance… the thrill of self-actualization, the thrill of dreams realized, the risk of smashing paradigms.

We’ve also gotten some nice press from HOW WAS THE SHOW.

I’m glad Janet Preus enjoyed the show, it seems like she took in the show during a preview (referring to our show as it sort of “lurches about in a way that suggests the erratic timing of a broken brain”)… it’s become much more slick.

There’s also an interview on MINNPOST. 

(I’m trying to upload audio–thanks to the fabulous Elliot Durko Lynch) 

We’re performing at Old Arizona 

Wednesdays at NOON

Thursdays at 7:30 

Fridays at 7:30

Saturdays at 3:00 and 7:30

(I’m learning how to embed things)