Theatre Review: ‘Death Tax’ at the Humana Festival

Quincy Tyler Bernstine as Nurse Tina and Danielle Skraastad as Maxine in "Death Tax"

“Death Tax” by Lucas Hnath
Directed by Ken Rus Schmoll
Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 1, 2012

View Chuck Lavazzi and Joan Lipkin’s video blog

The synopsis: “Maxine is rich. Maxine is dying. Maxine thinks Nurse Tina is trying to kill her. When the patient confronts her caretaker, her accusations have unforeseen—and irrevocable—consequences, in this tightly-wound thriller about money, power and the value of a human life.”

Like many of the plays we saw at the Humana Festival, “Death Tax” could stand a bit of trimming, but even in its current form it has a dramatic power that can’t be denied, demonstrating forcibly the corrupting effects of money and power—and, for that matter, of want and powerlessness. It also raises disturbing questions: as medical science advances, will we become a race divided between those who can purchase virtual immortality and those who can’t? And what will that mean? “Death Tax” suggests the answers might not be pleasant.

“Death Tax” unfolds mostly as a series of monologues with a few duet scenes, and provides one of the great monstrous characters of the stage in the character of Maxine. She ruthlessly manipulates everyone around her: Nurse Tina (who is not, in fact, trying to kill her), Tina’s boss Todd, Maxine’s daughter, and even, in a chilling final scene, a social worker and Maxine’s grandson. She uses money and later guilt as weapons to prolong her life, destroying many others in the process. Like “Sunset Boulevard”, this is an American horror story without the supernatural.

The cast is tremendous. Judith Roberts is a nearly demonic figure as she rages, cajoles, wheedles and generally screws over everyone around her. Quincy Tyler Bernstine carries off the very different roles of Nurse Tina and the social worker with great skill, as does T. J. Kenneally as Todd and the grandson. Danielle Skraastad has only one major scene as the daughter, but she makes it her own.

As is the case with many Humana Festival shows, “Death Tax” has relatively modest technical demands, so it should be well within the reach of not only regional companies but smaller theatres as well. It has political and moral implications that deserve attention.

Join in the discussion on Twitter with the #hf36 hash tag and follow me @clavazzi. Look for Joan Lipkin’s reviews at The Vital Voice.

Posted by | March 25, 2012 | Culture, Video/Film | Comment 

Theatre Review: ‘Oh, Gastronomy’ at the Humana Festival

The cast of "Oh, Gastronomy" live it up

“Oh, Gastronomy” by Michael Golamco, Carson Kreitzer, Steve Moulds, Tanya Saracho and Matt Schatz
Directed by Amy Attaway
Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 1, 2012

View Chuck Lavazzi and Joan Lipkin’s video blog

The synopsis: “Food, that most delicious human unifier, is rife with contradiction. It can signal both comfort and compulsion, imply both nourishment and deprivation, and make your mouth water—or your stomach turn. Get ready to dig in, as five hungry playwrights join forces with twenty-two ravenous Acting Apprentices to serve up the pleasures—and paradoxes—of food.”

“Oh, Gastronomy” is a snappy collection of 28 short plays (and more than a few songs) all dealing with food, family, and friends.  Most are comic, a few moving, and all completely entertaining.  The program stars the company’s young interns, and they certainly shine here as their characters find love, companionship, camaraderie, and a really killer fudge recipe (the results of which were available in the lobby after the show).

There are too many performers to list individually here and, of course, too many plays to make it possible for me to go into detail on each one.  Some of my favorites were: “Ordering: Memories” in which customers at a restaurant order slices of their past from the menu; “The Family Feast”, which called to mind the massive holiday dinners with my “logical family” (to quote Mrs. Madrigal); and “The Mix”, in which both that tasty fudge and a relationship is cooked up.  Others probably had their highlights, but the bottom line is that the show was tremendous fun to watch and, I think, to perform as well.

Join in the discussion on Twitter with the #hf36 hash tag and follow me @clavazzi. Look for Joan Lipkin’s reviews at The Vital Voice.

Posted by | March 25, 2012 | Culture, Video/Film | Comment 

Theatre Review: ‘Eat Your Heart Out’ at the Humana Festival

Kate Eastwood Norris as Nance and Alex Moggridge as Tom in "Eat Your Heart Out"

“Eat Your Heart Out” by Courtney Baron
Directed by Adam Greenfield
Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 1, 2012

View Chuck Lavazzi and Joan Lipkin’s video blog.

The synopsis: “Alice and Gabe are desperate to adopt a child. Nance, a single mom just starting to date, struggles to connect with her teenage daughter Evie. And Evie wishes her best friend Colin could fall for her rather than just trying to fix things. With both humor and aching insight, these lives are woven together in a tale of parental hopes and fears, and of hearts consumed by longing.”

Courtney Baron’s “Eat Your Heart Out” starts as a fast-paced and somewhat superficial comedy but eventually turns into something much more serious and even tragic. It’s a show that begins with a series of declarations but ends with a question. Adam Greenfield’s direction is crisp and brisk—perhaps a bit too much so, resulting an a rapid-fire exchange of dialog that might be more appropriate for video than live theatre. Still, it’s a play and a production that provided much fodder for discussion in the bar afterwards and ultimately deals with very real issues of pain, rejection, and the difficulty of real-world love, even if it does sometimes feel more like the unfinished first act of a more substantial work.

Any reservations about the script do not, however, extend to the performers, all of whom were fine.  Kate Eastwood Norris is all edgy energy as Nance and while Alex Moggridge’s Tom was a bit bland, that appears to be exactly what the script calls for.  Sarah Grodsky showed a heartbreaking vulnerability as Evie.  Jordan Brodess brought out all the pain and flip attitude of Colin.  Kate Arrington and Mike DiSalvo was a great team as the increasingly desperate Alice and Gabe, whom Nance treats with far less sympathy than they seem to deserve.

Upon reflection, I’m not sure that “Eat Your Heart Out” is quite ready for prime time yet.  As it stands, the characters aren’t as fully realized as they could be and something really needs to be done with that ending.  Still, it shows promise, and that’s part of what Humana is about.

Join in the discussion on Twitter with the #hf36 hash tag and follow me @clavazzi.  Look for Joan Lipkin’s reviews at The Vital Voice.

Posted by | March 23, 2012 | Culture, Video/Film | Comment 

Video Premiere: Pretty Little Empire’s ‘All I Know’

Pretty Little Empire - "All I Know" Video

Video still by Joseph Fitzgerald

Pretty Little Empire is a force in the St. Louis music scene. The affable quartet’s sophomore release “Reasons and Rooms” was one of the best locally-produced records of 2010, and their inspired, rock-solid live sets have only been getting better over time, with no bound in sight.

The band is currently hard at work on LP number three, with recording taking place at Cherokee Street’s Native Sound studio. While we wait to hear what they’re cooking up, perched at the edge of the seat, they have been kind enough to temper our thirst by releasing a video for their non-album cut “All I Know.” The song has been a staple of their live shows and was released in 2011 on the “STL LOUD Vol. 2″ compilation.

This burning, mysterious track is a keeper, and it gets proper visual treatment thanks to a few of the band’s talented friends. I recommend that you experience it with headphones on, video set to full screen.

Posted by | February 3, 2012 | Local, News, Video/Film | 1 Comment 

Michael Dauphin’s top 10 tracks of 2011 (video playlist edition)

Justin Vernon of Bon Iver. Photo by Nate Burrell.

While 2011 certainly provided plenty of top-shelf records, I want to do KDHX readers a solid, and as opposed to you running out and buying every album I mention, like I know you certainly would, I put together a cheat sheet of some of my favorite songs. That way, you can save your hard-earned cash, and bypass seeking out the complete albums, in favor of just buying the individual tracks. 

In the end, you get a serviceable mix of killer tunes from 2011, you save a couple bucks — and maybe donate those extra bucks to KDHX — and everybody wins. And heck, who knows, maybe one of these songs will motivate you to go and buy the whole album. So the artist wins, too. Everybody wins!

Happy holidays, friends.

“Ache With Me” – Against Me!: Perhaps one of the most subdued tunes so far outta Gainesville’s rock ‘n’roll punkers. Tom Gabel trades in his topical, guttural growl for a breezy stroll as a wallflower. A welcomed departure with excellent results.

“Black Hills” – Gardens & Villa: This track comes from one of the most underrated albums from 2011. Anchored by layered synths, bells and vibraphone chimes ring along as Chris Lynch hits Prince-like high notes. Commingling textures of plush, orchestral indie and pure pop melody, “Black Hills” showcases all of G&V’s strengths packed into three romantic minutes.

“Black Betty and the Moon” – Horrible Crowes: Gaslight Anthem singer, Brian Fallon, is an undeniable talent. If you don’t dig his music, you have to at least hand it to the guy for his passion. He also wears his influences boldly on his sleeve. With Horrible Crowes, Fallon channels the spirits of Tom Waits, Greg Dulli and, of course, Bruce Springsteen.

“Blue Tip” – The Cars: Like all great songs by the Cars, you can tell this is one of its songs within the first few seconds. The muted chug and beepy-boopy melody instantly has you grabbing for your shades bobbing your head. Ric Ocasek is back, and new wave music has finally been put back in its place. It’s no wonder why the Strokes were thinking about hanging it up.

“The Bump” – Deer Tick: With enough jangle and slop to make the ‘Mats jealous, 2011 saw Deer Tick come through with its finest album yet. “The Bump” harnesses everything the band does best: fucking off with reckless disregard for anything except providing a rock ‘n’ roll party.

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Posted by | December 24, 2011 | Music, Video/Film | 1 Comment 

They Might Be Giants return to St. Louis and the Pageant, tonight

facebook.com/theymightbegiants

They Might Be Giants know a thing or two about staying power. With a fun and arty sound the band continues to pull out surprises and memorable pop songs.

Originally a duo of John Flansburgh and John Linnell, They Might Be Giants has remained a pillar in indie rock over the last three decades. The band has maintained a hefty cult following since the mid-’80s with their nerdy personas and smart songwriting. Eccentricity also largely contributed to the band’s popularity. When the duo first started writing together, they used their original songs on a Dial-a-Song phone line’s answering machine in an attempt to share their music. Odd and memorable videos accompanied the group’s popular songs such as “Don’t Lets Start” and “Ana Ng.”

The band flirted briefly with the mainstream with their early ’90s albums and adopted a full live band. Many devoted fans felt estranged and betrayed that their band appeared on MTV and changed up their less conventional sound. But They Might Be Giants were always a little too quirky to do what’s expected of an alternative band; and that was quite clear when the band began releasing children’s albums such as “Here Comes the 123′s,” “Here Comes the ABC’s” and “Here Comes Science” throughout the last decade.

After creating original music for animated movies and collaborating on children’s books They Might Be Giants return to the adult-oriented rock with 2011′s “Join Us.”

KDHX welcomes They Might Be Giants to the Pageant on Saturday, September 24.

They Might Be Giants: Live at KDHX 10/9/09

This div will be replaced

Launch player

Posted by | September 24, 2011 | Concerts, Video/Film | Comment 

With ‘Pearl Jam Twenty’ Cameron Crowe composes a love letter for fans

A young Eddie Vedder / pj20.com

A young Eddie Vedder / pj20.com

After standing in a line that extended around the side of the Tivoli Theater in the U-City loop clear to the back of the adjacent parking lot and into the alley Tuesday evening, we finally took our seats for the sold-out, one-night-only theatrical premiere of the highly anticipated Cameron Crowe documentary “Pearl Jam Twenty.”

This film is essentially a two-hour love letter to one of the greatest rock bands of the last two decades on their 20th anniversary, directed by one of the most beloved rock journalists and filmmakers of our time. This is quite simply a movie for the fans. It almost assuredly wouldn’t have been as effective in any other hands but Crowe’s. A rock journalist and contributing editor for Rolling Stone since the tender age of 18, as well as the director of popular films like “Fast Times at Ridgemont High,” “Say Anything,” “Singles,” “Jerry Maguire” and “Almost Famous,” Crowe has deep ties to Seattle and its legendary music scene.

Crowe moved to the Emerald City (home of his now ex-wife Nancy Wilson of the rock band Heart) in the mid-’80s, as the legendary grunge scene was just burgeoning with bands like Green River and Mudhoney. Crowe is wise in paying tribute to Pearl Jam’s true roots in the beginning of “Pearl Jam Twenty” highlighting the rise and fall of Mother Love Bone, the beloved Seattle band that included future Pearl Jam bassist Jeff Ament and rhythm guitarist Stone Gossard. The film shows some rare early live footage of Mother Love Bone and its tragic hero, lead singer Andrew Wood, who died suddenly of a heroin overdose in 1990 just before the band released its acclaimed debut album, “Apple.”

It’s fair to say that without Mother Love Bone, there would be no Pearl Jam, and Crowe digs deep with Gossard and Ament, as well as Soundgarden front-man Chris Cornell, who lived with Wood and was a close friend, getting them to open up and speak candidly about how Wood’s death affected them. Crowe was known in his early days at Rolling Stone for being a reporter who was trusted by bands that trusted no one, getting them to show their true selves in ways that other reporters just couldn’t. He succeeds in the same manner with these interviews.

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Posted by | September 22, 2011 | Music, Video/Film | Comment 

An Under Cover Weekend video playlist

In anticipation of seeing some excellent St. Louis artists cover some of the best artists on the planet during An Under Cover Weekend (an event welcomed by KDHX), I threw together a list of favorite songs by the artists who will be honored on September 9 and 10 at the Firebird.

September 9

AC/DC “Back in Black”

Aside from the fact that it contains one of the most recognizable riffs that ever exited a Marshall stack, the story behind “Back in Black” is what makes it my favorite AC/DC tune. It was written as a tribute to former vocalist Bon Scott, who had died six months prior to its release and was sung by new vocalist Brian Johnson, whom Scott had previously requested replace him if something should ever happen to him.

Marvin Gaye “Mercy Mercy Me (The Ecology)”

Although this song was written in 1971, the words sound as if they were pulled from today’s news stories. As timeless as Marvin Gaye’s tunes are, I almost wish this one was a relic of the past.

Cake “Short Skirt Long Jacket”

Cake is one of those bands that you can’t truly appreciate until you see them performing live. This ode to workplace lust has everything you need: A catchy hook, driving drums, and a vibraslap.

Stevie Wonder “Superstition”

Stevie Wonder is a master at everything he does, but his funkier works are my favorites. This song always reminds me of the silly superstitions that my grandmother used to believe.

Electric Light Orchestra “Do Ya”

I don’t think it’s possible to hear an ELO song without nodding your head. The crunchy guitar riffs in this one get me every time.

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Posted by | September 8, 2011 | Concerts, Video/Film | 2 Comments 

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