Find A Way
In this week's issue:
* Issue 18 Profiles Art House's Sheryl Hoffman
* Cool Cleveland People Passport Project director Chloë Hopson
* BizTech Profile Findaway co-founder Christopher Celeste
* Cool Cleveland Travelogue The Wright Stuff in the OBX
* Cool Cleveland Sounds Life’s a Lonely Ride from The Rails
* Cool Cleveland Kids' Preview Boo at the Zoo
* Cool Cleveland Reads The Warrior Heir by Cinda Williams Chima
* RoldoLink Cleveland’s New Platinum World at the Q
* Cool Cleveland Kids podcast click here, CC podcast click here, CC Blog click here
Some, like Christopher Celeste, profiled in our video interview below, manage to find a way to be successful. His company Findaway has located funding, partners, and now customers. The rest of us need to be as resourceful. We'll find a way to pass the arts levy, Issue 18, with Arts and Culture Day on 10/18, a no-cost Night of Theatre on 10/19, and a sneak peek on 10/21. Did you absentee? Check out Gongtopia, 48 Hours of Making Art, and early Godard in Cleveland this week. And let's find a way to make it happen. –Thomas Mulready
Issue 18 Profile
Sheryl Hoffman
Art House
Sheryl Hoffman decided to open Art House right in the heart of Cleveland's historic Brooklyn Center district on Dennison near W. 25th Street in order to have an impact on the community with high quality visual and creative arts classes for kids of all ages. Their Urban Bright program injects art back into the public schools, and their SEAN (Supporting Educators and Artists Network) trains teachers with best practices and connects them to the world. Cool Cleveland's Thomas Mulready caught up with Sheryl to discuss the ways that Issue 18 (the arts and culture levy) would help groups like Art House. This weekend, on Fri 11/20 from 7-11PM, Art House presents its Halloween Tune-Up party at Lava Lounge to benefit their arts programming. Get tix here, or call 398-8556 ext.2, and don't forget to wear a costume! http://www.ArtHouseInc.org
WATCH THE MOVIE Art House's Sheryl Hoffman
Got an Issue 18 success story? Think your group should be profiled? Letters@CoolCleveland.com
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Scary, Fairy or Goon? Come as you want, or come as you are at Cleveland's most popular costume party with live music by The Chosen Few on Sat 10/28, 8PM to midnight at the Cleveland Museum of Natural History. Bones, Bugs and Dead Animals, the Museum’s annual Halloween Party, is brought to you by the Nature League. This annual spookfest includes lavish hors d'oeuvres and desserts. Tip and sip at the full, open bar and receive prizes for best costume with scary surprises throughout the night. Adults 21 and over only. Tickets: $30 (Nature League members receive a $5 discount), $35 at the door. For more info contact www.CMNH.org or 216.231.4600.
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Cool Cleveland NewsLINKS
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Fight Back Against Big Tobacco Our arts and culture assets are too important to lose, and now the Big Tobacco Industry is trying to stop us from protecting them. After lying to Congress and the American people, out-of-state tobacco companies have brought their big money into Cleveland to oppose Issue 18, which will preserve one of our region's most important competitive advantages – our arts and culture organizations. Don’t let Big Tobacco get even richer at the cost of our jobs, our children’s education, and our Arts & Culture. Don’t believe their lies. Support our Arts and Culture, and vote for Issue 18 on Tue 11/7. To get involved, call the Issue 18 Campaign at 216.479.0555 or visit www.issue18.org.
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Cool Cleveland NewsLINKS
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Special Sneak Preview, Saturday, of Beautiful Ohio to Benefit Issue 18! In a benefit to support Issue 18, Ohio native, director/producer/actor Chad Lowe will host a special sneak preview of his new movie Beautiful Ohio, starring William Hurt, at the Cleveland Cinematheque (11141 East Blvd.) at 3:45PM on Sat 10/21. Admission will be $9 for students and members of the Cleveland Film Society and the Cleveland Cinematheque, $18 for general admission, and $100 for both the screening and a private VIP reception with Chad Lowe immediately following the film. Seats for this very special screening are limited, so reserve yours today by visiting www.issue18.org. And remember to vote for Issue 18 on Tue 11/7. Thank you from the team at Issue 18!
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Cool Cleveland People
Chloë Hopson
Passport Project
WATCH THE MOVIE Passport Project director Chloë Hopson
Cool Cleveland This Week
10.18-10.25
Send your cool events to: Events@CoolCleveland.com
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THU
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230,000 Jobs (and Growing) Right Here in Cleveland in the healthcare industry. According to a recent Business Week story, healthcare is where all the private sector job growth has occurred since 2001. The article prominently features Cleveland as the prime example of a region that’s growing jobs in every healthcare sector from patient care and medical insurance to medical devices, biotech and health care information technology. Click here to read about four of Cleveland’s hottest healthcare job producers. You’ll also find a link there to the Business Week story.
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WCLVnotes Oh, earth, you’re too beautiful for anybody to realize you. -- Emily, Our Town. WCLV’s Bill O’Connell joins Angie Lau of Channel 5 in co-hosting the Ninth Annual “Instrumental Evening for the Earth” Thu 11/9 from 6PM to 9:30PM at Trinity Commons. Fifty bucks gets you the opportunity to nosh on delicious goodies from Mustard Seed Market while you peruse the definitely-a-step-above-average silent auction tables. And the really big treat of the evening is an all-Mozart concert presented by members of The Cleveland Orchestra - an appropriate ensemble choice. After all, some people say it is the greatest ensemble on earth. (Get it?) For more info go to www.WCLV.com. WCLV is a Cool Cleveland Partner.
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Send your cool events to: Events@CoolCleveland.com
Tech:Cleveland
BizTechNEWS
BizTechEVENTS
BizTech Profile
Christopher Celeste
Findaway
WATCH THE MOVIE Findaway co-founder Christopher Celeste
Know a cool NEO business that should be profiled? Letters@CoolCleveland.com
Cool Cleveland Travelogue
Orville & Wilbur: Vacation's Wright Stuff in the OBX
And for many Northeast Ohio natives, "there" means places beyond pre-packaged Disney amusement. "There" refers to places filled with nature and contented connectedness, with names like Duck (not Donald). Kill Devil Hills. Kitty Hawk. Corolla. Nags Head. Cape Hatteras. Ocracoke Island. Carova Beach.
Take a peek around you in rush hour traffic some morning, or even down the driveways a block from you. Undoubtedly, ubiquitous white oval "OBX" stickers have turned up on your neighbors’ vehicles. They know why. If you're reading this, you might even have a hunch, or have been there yourself with friends and family.
Northeast Ohio residents are generally creative, genuine, heartfelt and family-oriented folks rooted in tradition and history and love connectedness and rivalry. The allure of a family-friendly “beach haven” and that local level of comfort (usually reserved for home) is why Northeast Ohioans love it so. That’s what separates it from other beach-based holiday spots.
I'm talking about the Outer Banks of North Carolina. Unlike many of its sandy counterparts, the collective OBX are a sunny proposition for smart road trippers: sand, great outdoor sports options (canoe, kayak), wildlife refuges, lighthouses, clean scenic coastlines and rich history are all only a day’s travel away. Families who go there travel in groups and split the rental of a spacious beach house, which often ends up costing less than forking out for a nearby hotel.
The memories from the Outer Banks, however, are priceless.
When I was growing up, some neighbors of mine went to the Outer Banks every year and came back as tanned, rested and ready as anyone I've ever seen. They had been to Manteo's North Carolina Aquarium, went bird watching at Pea Island and Cape Hatteras Seashore, visited the historic Wright Brothers Memorial and Currituck Environmental Education Center, went gliding on Jockey's Ridge and always came through with a Brew Thru t-shirt for their pet sitter (me).
The Outer Banks are now a key destination known for great weather and huge outlays of open beachfront. I always wondered why else such a place would warrant repeated visits, until I started visiting with my own family a couple short years ago. We always have a great time. And after being there, I can't imagine spending a week on any other beach in the country. I've seen my share of 'em, filled with strip clubs, meat markets, delirious booze stops and the like... so believe me when I tell ya.
So who to thank? Northeast Ohio should thank Virginia Dare, Blackbeard, the Lost Colony, a slew of Civil War vets and (of course) Orville and Wilbur for pinpointing such a relaxing oasis. But I'm getting ahead of myself... it's an easy thing to do when you've been to the OBX and attempt to explain it to others.
The area also includes the site where British colonists (now coined as "the Lost Colony") vanished from Roanoke Island in 1587, and where the first Brit, Virginia Dare, was born on American soil. And as natives ("Bankers," as they are called) will tell you, Ocracoke Island was a hideout for the notorious pirate, Edward Teach, aka Blackbeard. You can scope it out with a ferry-powered island hop.
You can easily spend a week or two down in the Outer Banks and never see it all. And there's no worry of having your kids (or parents, for that matter) getting restless and thinking there's nothing to do. For all the intellectual pursuits, amazing vistas and oceans that seem to go on forever, you're only bored if you're not looking. And if you want to unplug, read a book, or find a sunny spot for thinking by the sea, you can do that, too.
All that aside, I still think the fascination with the OBX might just come down to rivalry. Nothing as deep as Browns/Steelers... but hang with me here. See, Ohio and North Carolina are both known as the Birthplace of Aviation and the Wright brothers developed their revolutionary invention in Ohio; their design was constructed in Dayton, near Wright-Patterson Air Force Base. North Carolina ended up as the site of the first flight.
Anyway, a friendly rivalry has since developed between Ohio and North Carolina over bragging rights to being the Birthplace of Aviation; slogans have recently graced state license plates and quarters. Both states play a significant role in the history of flight, but neither is the undisputed winner. But in terms of that needing to "get away," the flight advantage will always go to North Carolina and the Outer Banks.
Some say better winds drew the brothers down there. I say, these two needed a break from Ohio and longed for a fresh place to show off their brand new "heavier-than-air" technology. Maybe Dayton just wasn't pretty enough... and hey, if you think you see a lot of OBX stickers up here, you should see the number of Ohio plates down there.
When I’ve had it up to here, I go down there. It's that simple. You need a vacation. Your family does, too. Go and blissfully occupy your time. Fly into Norfolk and coast the rest of the way, or pack up the car and make it a ideal road trip with thousands of possibilities. You'll love it.
For more information, visit the Outer Banks online at http://www.outerbanks.org/
From Cool Cleveland Managing Editor Peter Chakerian peterATcoolcleveland.com
Cool Cleveland Sounds
Life’s a Lonely Ride
The Rails
Self-released
In "Ready to Fly" and the jangly "Blue Collar Town," you can hear that Peter-Buck-channeling-Weezer stimulus, laced with a less-cheerful hint of Beatlesque shimmer. On "One in a Million" and "Mother, Games, and School," the trio offers up a pinch of Get Up Kids, but toys with the balance by injecting some sort of southern rock ethos. Elsewhere on "Everyone's Son," "Missed Connection" and the questionably tongue-in-cheek "I'm in Love with Misery," it's hard to tell who the band loves more: Dave Pirner or Jeff Tweedy. Or maybe they're mocking them both...? Either way, the songs have a fair amount of body and structure to merit Soul Asylum and Wilco (albeit scaled-back) references.
Local writer Jeremy Willets (a contributor to the Free Times) started the Rails in 2001 with his high school guitar teacher, Drew Doman. Eventually Jeff Harmon was added on drums. Together, the three of them seem to play well together. And with Life’s a Lonely Ride, the group has identified what they like listening to and playing together. Pairing that knowledge with some blend and balance, and an original slant to their guitar angst, will help on a follow-up release. But in all, the Rails are a fairly likeable act with "good bones." Let's see what the future holds for 'em.
The Rails perform at the Grog Shop on Coventry Rd. in Cleveland Heights Monday, October, 23. They share the bill with Maritime (featuring members from Dismemberment Plan and Promise Ring) and the Bound Stems. For more information, visit the Rails online at http://www.railsrailsrails.com/ or the Grog Shop at http://www.grogshop.gs/
From Cool Cleveland Managing Editor Peter Chakerian peterATcoolcleveland.com
Cool Cleveland Kids' Preview
Boo at the Zoo
"It really is an institution now," the Zoo's Event Manager Bek Mitchell-Kidd told Cool Cleveland earlier this week. "This is our the 17th year of the event and I would say our location, the ability to roam the Zoo at night and catering to our younger audiences all suggest why both Saturday nights for the event are sold out already!" (You read correctly. See below.)
On average, the event draws some 35-40,000 patrons every year... and it ain't because of the children's complimentary treat bag either. "Boo at the Zoo" has thrilled Northeast Ohio children (and parents alike) and developed a reputation for selling out quickly because of family-friendly programming including a dance party, "Not-So-Haunted" greenhouse, "Jack-O-Lantern Express" Train Ride, hay maze, puppet and magic shows. Kids and their parents are also encouraged to wear fun (read: not so scary) costumes to conjure the All Hallow's Eve spirit.
The event continues to bring joy to the staff of the Zoo as well. "What's really joyful for all of us here at the Cleveland Metroparks Zoo is that you really get to see some of the same kids come back each and every year," Mitchell-Kidd said. "They start out in their strollers and stay with us for years, which is wonderful. It makes putting on the event every year great fun for us."
Mitchell-Kidd encourages everyone considering attending the Boo at the Zoo Festivities to "make sure to get your tickets in advance." Both Saturday dates (October 21 and October 28) are already completely sold out. Planning ahead on travel is also key -- the Fulton Road Bridge over the Zoo is closed, so be sure to follow detour signs and allow extra travel time to get there.
For more information and tickets, please visit http://www.clemetzoo.com/
From Cool Cleveland Managing Editor Peter Chakerian peterATcoolcleveland.com
Cool Cleveland Interview
Tricia Applegate
Ashland Community Arts Center
WATCH THE MOVIE Tricia Applegate of Ashland Community Arts Center
Cool Cleveland Reads
The Warrior Heir
Cinda Williams Chima
Hyperion
Wizardry comes to mythical Trinity, Ohio, through the storytelling skills of Cinda Williams Chima in her fantasy novel The Warrior Heir. The ordinary life of Jack Swift, a kid growing up in a small college town on the shores of Lake Erie, changes as he topples a bully on the soccer field. When he ends up in combat fresh from digging behind the grave of his great grandmother, it’s hard to tell whether the villains are overthrown by a mystical inborn power within Jack or from the finely-wrought sword Shadowslayer...
Read the review by Claudia Taller here
RoldoLink
Cleveland’s New Platinum World at the Q
By Roldo Bartimole
The growing inequities of America keep showing up most conspicuously in American sports where tax-subsidized venues tilt more and more to the pleasure of the wealthy.
The publicly subsidized basketball arena – now called the Q, formerly the Gund – has several new loges available. Don’t rush to buy.
Cost: $900,000 each, a five-year deal.
The price does not include required event tickets.
The $180,000 a year loges also require purchase of eight to 12 floor seat tickets per game.
It will cost you, depending on the seats, another $500,000 or $1.5 million, according to an article in Crain’s Cleveland Business.
So let’s round off to a million bucks...
Read RoldoLink here
Your thoughts? Letters@CoolCleveland.com
Emissions from the blogsphere
NEO bloggers tackle Issue 18 by interviewing Eric Fingerhut and Tom Shorgl in addition to reframing the dialogue with filmmakers Kate O'Neil and Kevin Kerwin. Chris Varley explains what innovation is. One of the companies JumpStart invested in, Embrace Pet Insurance, has started selling its product. Steve Rucinski wonders if the headlines in the paper reflect the business climate. Check the Cool Cleveland weblog here, where Peter Chakerian covers the Vice Squad/Church quandary, cheers Dennis Kucinich's "TopEagle" move, predicts Connie Pulitzer's future, ponders the death of CBGB's, loves on Associated Press' gushing over the city, and wonders if weather played a role in a CLE meterologists' convention. And then he polls the audience about his new role in fatherhood. When you're through, add your own comments, questions and attitude. Letters@CoolCleveland.com.
Instant Karma
Quick reviews of recent events
Going out this weekend? Take along your PDA and your digital camera. Scratch out a few notes to send us with a picture of it for our Instant Karma real-world reviews of what's really happening. We'd love to hear from you. Send your stuff to Events@CoolCleveland.com
My Fair Lady @ Cleveland Play House 10/11 It’s strange to think that somehow the Cleveland Play House had missed presenting one of the best-written, most-produced pieces of American musical theater of the last 50 years. Fortunately, that little bit of history is no longer valid. However, the version of My Fair Lady, which is now on-stage in the Bolton Theater until November 5, is not quite the one of Broadway or the movies. It’s a stripped down, almost chamber version, which works wonderfully well in the smaller confines of the Bolton, compared to the usual, larger New York theaters. Except for one quibble, which I’ll get out of my system now, and then get on with the show.
Amplification in smaller theaters seems overdone these days. In my opinion, it keeps the actor/singer from using true expression and emotion, as most systems cannot distinguish between the singer’s power range or what should be hushed for emphasis. Everything comes out in the good-old fashioned high-volume ‘belt’ which frequently destroys the mood and the effect of the song. Love songs aren’t usually shouted.
That said, this two-piano version (rather than with an orchestra) is a real charmer. One’s first glimpse at the stage makes you blink. Where’s the set? But it’s there, designed by David Jenkins, cleverly concealed by bleachers and stairways and balconies. Actually, it is the bleachers and stairways and balconies. Everything needed for the telling of the story is readily available, if a tad limited in floor space. The director, Amanda Dehnert and choreographer Kelli Wicke Davis make the very most of what’s available, using the stage, the wings and the house to good effect. The dancing is superb throughout, even on occasion winding between the two pianos set almost center stage. Even the pianists—Bill Corcoran and Tim Robertson—sometimes find themselves as part of the action.
Wordsmith Alan Jay Lerner and composer Frederick Loewe used the movie version of George Bernard Shaw’s play Pygmalion as the basis for their musical, telling the tale of Eliza Doolittle. She is a Cockney flower girl transformed into someone who could easily pass for a high society lady, all thanks to the brow-beating of one Professor Henry Higgins.
Rachael Warren is perfect as Eliza, visually stunning, fleet of foot in the big ball scene especially, and possessed of a glorious voice. It’s easy to see why Freddy Eynsford-Hill (Michael Hance) would fall for her. His big tune, On the Street Where You Live was full of youthful exuberance and charm. George McDaniel was a warm and sometimes bumbling (on purpose) Colonel Pickering, and Timothy Crowe was entirely obnoxious as Higgins. Larry Daggett’s Alfred P. Doolittle was not what you might have been expecting, but his rather earthy performance soon made you forget about that and just enjoy his singing and dancing anyway.
Greg Schanuel whirled Eliza around the stage in the ball scene, and made you wish there was more of such dancing to be seen. The housekeeper, Mrs Pearce (Navida Stein) did double duty, filling in on violin occasionally—a nice addition.
The costumes of Devon Painter were clever, colorful and versatile. Seeing the cast changing costumes and roles right in front of your eyes added a rather different dimension to the enjoyment. The lighting of Amy Appleyard was fascinating to watch, as the overhead lights were all visible from the house, including the lighted name of the play on the back wall of the stage.
This is not your father’s My Fair Lady, but this version certainly does prove that a classic can be updated without lessening the content. You shouldn’t miss it. My Fair Lady runs through November 5. For tickets or other information, call 216-795-7000 or visit the web-site at: http://www.clevelandplayhouse.com.
From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net
Cleveland Orchestra @ Severance Hall 10/12 This week’s concerts by the Cleveland Orchestra at Severance Hall offered several unusual, small pleasures along with the regular full-sized treats.
To begin with, although not exactly a small pleasure, the Overture to La gazza ladra(The Thieving Magpie) by Rossini was indeed unusual—the last time it had been presented here was in 1964. 1964?! Unless you want to count the special benefit concert in 1975, that’s a long time for such a charming and invigorating piece to be ignored. One of the unusual effects was the off-stage drum roll with which it begins. Other instruments are frequently performed off-stage for certain effects, but not often does one find a snare drum in that strange position. At any rate, Music Director Franz Welser-Möst affectionately unveiled the work with its tuneful, sunny Italian sound, and its splendid simultaneous crescendo and accelerando, both essential ingredients for any Rossini overture.
Continuing in the not-so-often heard category—this time it was 1981—was the Variaciones concertantes of the Argentinian Alberto Ginastera. This is really a concerto for an orchestra, but for multiple performers, ranging from single soloists to duos and trios. Now that the work is more than 50 years old, it’s no longer such a thorny, hard-to-appreciate piece of music. In fact, it’s almost tuneful!
Thursday evening’s performance was a vibrant, full-bodied rendition, spotlighting various members of the orchestra in its series of variations. Ginastera employs unusual small groupings of instruments (trombone, trumpet and piccolo, for instance) or syncopation, or perhaps a slight bit of discord to make his point. His use of native rhythms and sonorities make his music instantly identifiable in a pleasurable fashion.
While all the soloists were excellent, one solo in particular stood out for me. There must be more than two feature-type solos in the orchestral literature for double bass (not of concerto status) but how cool is it that principal bass Max Dimoff got to play two of them in the same concert? He demonstrated a sensitive and awesome control of his instrument, producing a lovely mellow sound in the next-to-last variation here, as well as in the third movement of the Mahler Symphony No. 1, which followed after intermission.
Mahler was 25 when he began his first symphony, and the result reflects his youthful exuberance and masculinity in every note. Beginning with the off-stage trumpets, the highs and lows of the composer’s tempestuous emotions run rampant through the four movements. There is raucous humor immediately adjacent to gorgeous sentimentality or lilting waltzes—with the delicious Viennese after-beat—followed by the not-quite vulgar and klezmeric funeral march.
From beginning to end, Mr. Welser-Möst allowed the work to breathe easily, never rushing the tempos. If there was a little extra joy here and there throughout the evening’s music-making, perhaps it was also due to the warm feeling of being home once again. The orchestra season is off to an excellent start!
This week’s concerts (Oct. 19 & 21) feature Matthias Pintscher conducting his own music as well as an early (non-scary) work of Webern plus the Cleveland Orchestra Chorus and soloists in a work by Debussy. For tickets or information about these or other upcoming concerts, call (216) 231-1111, or visit the orchestra’s web-site: http://www.clevelandorchestra.com
From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net
Batsheva @ Palace Theatre 10/12 We went to see Batsheva Dance Company on Thursday night. Batsheva is an Israeli modern dance company, appearing in Cleveland for one night at the beginning of a US tour. The spacious Palace Theatre was fairly full and many in the audience shouted loud bravos at the conclusion of the 60-minute, no intermission concert. We weren’t quite that enthusiastic but we’d definitely like to see more.
Thursday’s offering, Deca Dance, was a sort of greatest hits selection, excerpts from the works of Ohad Naharin, the company’s choreographer and artistic director since 1990. Deca Dance is only one of several programs the company is performing on its tour and a small sample of a company repertoire which includes not only more Naharin works but choreography by important European modern dance innovators like Jiri Kilian and William Forsythe, artists we’ve seen far too little of here in Cleveland.
If you ask us what the Israeli company was like, we’d say it’s modern dance but not like modern dance made in the USA; Batsheva bears closer comparison with what little European modern dance we’ve seen. The dancers demonstrated high levels of proficiency at the eclectic mix of skills that Artistic Director / choreographer Ohad Naharin demanded of them; their impressive mastery of fluid modern technique would have made any of them valuable additions to the American dance companies of, for instance, Jose Limon, one of Naharin’s teachers at Julliard; the dancers weren’t afraid to show glimpses of ballet technique but also made calculated lapses into what American postmodern dance calls pedestrian movement, walking, for instance, with a slouching heel-toe gait. Batsheva bears comparison with the other Israeli modern company we’ve seen in Cleveland recently, Koresh, but the latter’s repertoire was accompanied by nothing but the world’s most monotonous pounding disco music whereas Batsheva’s recorded musical accompaniment was nothing if not entertaining, varied and eclectic.
The episodic structure of Deca Dance was highly reminiscent of Stolen Show, the evening-long work performed in Cleveland 2/25/05 by BJM Danse, formerly known as Ballet Jazz de Montreal. Stolen Show began with 24 one-minute bullets, which, like Deca Dance, sometimes played with undercutting audience expectations in the manner of the European circus.
One thing that sets Batsheva somewhat apart from others is Naharin’s choreographic method, the playfully named “Gaga,” part meaningful innovation and part hype. Gaga at its best is apparent in the explosive improvisational moments, which Naharin’s dancers excel at. In the first short dance of the evening, for instance, an excerpt of Naharin’s Virus (2001), 11 of the company’s dancers dressed in white long-sleeved leotards over black tights perform a 6-minute dance whose pattern is simplicity itself: standing in a line facing the audience, the dancers take turns delivering explosive 2-second improvisations; with the choruses of Habit Allah Jamul’s music the dancers break into unison choruses of percussive contractions on a downstage diagonal; for the finale the dancers walk upstage facing the audience, intermittently shouting a unison “Hookah”. While any neighborhood troupe of 8-12 year-old dancers could handle that assignment, Batsheva’s dancers made it into fascinating fireworks show. How do they get so many explosions into 2 seconds? How do they get between such big shapes so quickly? Answer: Gaga!
The second dance of the evening was apparently less improvisational; a man and a woman in black corset-like garments performed a pas de deux with a clear ABA structure to the music of Vivaldi. In the third dance, 5 men in wide legged white pants performed an excerpt from Black Milk (1985) with black mud from the Dead Sea smeared down their faces and bare torsos. Then a stilt-walking dancer done up as a Latin bombshell lip-synched to Dean Martin and Yma Sumac for about 60 seconds. Then the first of 2 women’s ensemble pieces, the first of 2 disco dances WITH Exemplary Audience Participation, a reprise of the Vivaldi but as a pas de trios, and so on. Like a lot of the better shows we’ve seen, we were struck by how entertaining the recorded soundtrack was in itself.
Some found fault with aspects of the Batsheva concert. A review by Janice Berman in the San Francisco Chronicle opined that Deca Dance did not show Naharin’s dances as he intended, a strange thing to say when Naharin himself has excerpted his work to create Deca Dance. True, a program of excerpts is likely to leave hard-core dance geeks like us wanting more depth, but it’s an accessible program that provides a succinct overview of the choreographer’s work.
A negative remark we overheard opined that the company’s women were not as good as the men. True, the Black Milk excerpt performed by the men was one of the stronger pieces in the program; it gave the men more to do and was more interesting in itself than either of the women’s ensemble pieces. But the company’s women acquitted themselves extremely well in other ensemble and solo sections; as dancers, the women do not suffer in comparison with Batsheva men.
Our only quibbles with the Batsheva concert arose during the post concert question and answer period in which the company spokesman described Gaga as a new dance technique (“Riiiiiight. Totally new,” we said to each other warily, having heard this line so many times before) and over-hyped the improvisational aspects of the evening’s performance. Josephine Baker, Merce Cunningham and now Ohad Naharin. Dancers and choreographers apparently cannot resist reducing otherwise sophisticated audiences to a state of “Gee-whiz! So it’s all improvised.” Sure it is, folks.
Wishing to learn more about what Gaga actually is (as opposed to what Batsheva wants us to believe), we called up a hard working young dancer, Jennifer Lott of Ground Works Dance Theatre, who took time out from her busy schedule (10 hours of rehearsal on Sunday) to describe a master class she took from a Batsheva company member on Thursday afternoon.
“Gabriel led the class through an hour long improvisation. First he helped us to cultivate a feeling of floating in all our joints, then taking movement from the fingers to the elbows to the shoulder blades and through the whole body. It was all very structured, very meditative. It incorporated the ways in which we were accustomed to moving but it also asked us to apply Gaga to move outside our comfort zones.
“The class was like some things I’d done before but it was also different because he was so patient – you had time to experience the things he was talking about. The class started in place but progressed to moving through space. I left feeling very grounded and comfortable in my own skin and that’s one of the things that struck me about the Batsheva dancers in their concert. They didn’t seem to be trying to outdo each other. They seemed comfortable in their own skins.”
And so we look back on another Cleveland concert that affords us a tantalizing glimpse of European modern dance, a form that seems largely synonymous with the search for the next big thing in contemporary ballet.
From Cool Cleveland contributors Elsa Johnson and Victor Lucas vicnelsaATearthlink.net
Fab Faux @ Allen Theatre 10/14
Apollo’s Fire @ St. Paul's Cathedral 10/14 To celebrate the opening of their fifteenth season, Apollo’s Fire and Music Director Jeannette Sorrell, who also serves as translator and writer of program notes, turned to the two stalwarts of early music—J. S. Bach and W. A. Mozart. This feat was made considerably easier due to the fact that both composers wrote a piece in honor of Apollo.
Last year, we learned that Bach frequently re-cycled his music, and the opening work on this program was such an example. Here it was called Sinfonia from Cantata 174, complete with horns and oboes plus extra strings, and perhaps a more dignified demeanor, due to the reverberation time in large cathedral. The very familiar-sounding music was originally a portion of the Brandenburg Concerto No. 3, and in that version, which did not have horns and oboes or very many strings, either, skittered along quite briskly. Always obliging, and after some prompting from the previous nights’ audiences, Ms. Sorrell and her reduced troops gave us the finale to the Concerto as an early encore. It was blissful.
It should be noted that Jennifer Roig-Francoli served as Concertmaster for these concerts, and thus as one of the two soloists—along with Carrie Krause—in the Concerto for Two Violins in d minor, BWV 1043. Once again Ms. Sorrell was at the harpsichord leading a brisk and melodious performance. The middle movement, Largo ma non tanto was sublime.
Soprano Sandra Simon was joined by tenor Scott Mello and baritone Sumner Thompson for The Contest Between Phoebus (Apollo) and Pan, Bach’s BWV 201. This delightful miniature comic opera presented a singing contest between the stalwart, god-like Apollo, as portrayed by Mr. Thompson, and the capricious, joyful Pan of Mr. Mello. Ms. Simon served as judge. Certainly Apollo was a trifle stiff, shall we say, which greatly bored Pan, and although Ms. Simon greatly adored the god of music, Pan was soon snoring. When it was Pan’s turn to sing, (after they’d awakened him) he was bouncy and silly, rather bumpkin-like. Although he was accompanied in his bouncing by the enthusiastic cellist René Schiffer, Apollo was declared the winner. And a good time was had—and heard—by all!
Mozart, who was born six years after Bach had died, wrote his short cantata, Apollo & Hyacinthus, K. 38 in actuality an Intermezzo, when he was just eleven. It is based on a slightly different telling of the Apollo/Hyacinth legend, incorporating Hyacinth’s sister and father as well. As in the Bach, Mr. Thompson was Apollo, Mr. Mello was Hyacinthus and Ms. Simon was (I believe) everyone else. At times, she sang in a marvelous breathy voice, fully able to be heard in the large sanctuary of St. Paul’s Church in Cleveland Heights. Her lover-like duets with Mr. Thompson were ravishing.
Once Mozart discovered Bach, he was enraptured by the use of fugues in Bach’s music. Accordingly, Mozart used two of them, from Bach’s Well-Tempered Klavier, BWV 877 and 874—rearranged—in his own work, K. 405. A smaller contingent of strings brought them to vivid life.
Rounding out the evening of enchanting music-making was Ballet Music from Mozart’s opera Idomeneo, K. 367. The addition of horns, oboes, trumpets and tympani to the resplendent strings added fullness and vigor to the imagined, stately scenes of the dance moments. As always, Ms. Sorrell conducted with passion and precision.
Do NOT miss their next series of concerts, titled: Pluckfest! November 16-19, at various locations, featuring Steve Player, guitar/dancer and Nell Snaidas, soprano. At last fall’s Mediterranean Bonfire concerts, these two nearly burnt the place down with their flirtatious manner and sizzling intensity—for the music, of course! For tickets or information about these or other upcoming events by Apollo’s Fire, call (216) 320-0012, or visit the web-site at: http://www.apollosfire.org
From Cool Cleveland contributor Kelly Ferjutz artswriterATadelphia.net
Burn This @ Charenton 10/12
"The show must go on" was the Charenton cast's battle cry, as their sultry production of Burn This got moved at the last minute from its sexy Painters Loft location to an armory with card tables. But the strong performances make you realize that Peter Brook was right: all you need is actors, audience, and an empty space.
What's hot: Lanford Wilson's play is fueled by sexual magnetism, and Jason Markouc has it in spades -- his Pale is crazy, vulnerable, and sexy enough to majorly mess with the mind of grieving Anna (Liz Conway). Chris Johnston gets some fine work out of his cast, miraculous given the challenging circumstances. Dan Kilbane is charming as her tart-tongued gay best friend, and Andrew Narten has his own appeal as screenwriter Burton.
What's not: Backstage drama led to Charenton's opening night expulsion from its ideal loft location. The official version was a city zoning permit problem, but scuttlebutt had a complaining tenant with a whining hand on the red phone -- thanks for nuthin', ya big baby.
Local heroes: The Beck Center's Scott Spence stepped in as white knight, and the plucky cast moved the performance to the Beck's Armory, with virtually no rehearsal. Marcus Bales' Gallery 324 is hosting the rest of the run.
Details: Upcoming performances Thurs-Sat. thru 10/28 at Gallery 324, the Galleria. FREE. http://www.charenton.org.
from Cool Cleveland contributor Linda Eisenstein LindaATcoolcleveland.com
GOSPEL! GOSPEL! GOSPEL! @ Karamu 10/15
WHAT: A new musical based on gospel music, that ties the music to the 20th century struggles of African-Americans: an outstanding concert that is part history lesson.
REASONS TO GO: If you like gospel music, this is a don't miss. Director Otis Sallid's decision to keep his singers unmiked, in street clothes, accompanied more like a church service than a flashy entertainment. And when some of these huge voices connect -- especially Roslyn Pratt, Bernita Ewing, Leathia Williams, and Ra-Deon Kirkland -- it sends a powerful vibration right through your own chest.
BACKSTORY: The production's "angel" is Executive Producer James Pickens, Jr. (Grey's Anatomy), who wanted to give something back to the theatre that trained him. Pickens' TV commitments didn't allow him to perform the narrator role as planned, but he may drop in on an upcoming weekend.
CAVEATS: The narration is sometimes awkward, with a stolid Neal Hodges in the unenviable position of replacing the charismatic Pickens.
DETAILS: Karamu, 2355 E. 89th St., Cleveland, thru 2/19, http://www.karamu.com
from Cool Cleveland contributor Linda Eisenstein LindaATcoolcleveland.com
The Pillowman @ Dobama 10/13
What: The phrase "once upon a time" was never so sinister as in Martin McDonagh's provocative, strangely funny tale of a writer arrested and tortured for his grisly stories, whose details bear a resemblance to a series of child murders.
Reasons to go: The play is fascinating, and Sonya Robbins' production is compelling enough that its implications stay with you for days. Todd Krispinsky is terrific as the obsessed writer Katurian and Dan McElhaney is unforgettable as his damaged brother -- their chemistry is intimate and haunting. Joel Hammer makes detective Tupolski (the "good cop") an elegant study of menace. Robbins stages Katurian's "stories" as fractured fairytales, which make them both goofy and creepy.
Caveats: The pace starts to flag a bit in the 3rd act, when Hammer stretches out his story and John Kolibab (the out-of-control cop) loses steam.
Backstory: Even McDonagh's mother was reportedly repelled by the sick-and-twisted acts in this play, so be warned. But Robbins mostly keeps things stylized rather than realistic, which helps -- as do the surprising number of laughs.
Details: Studio One, Cleveland Play House, 8500 Euclid Ave., Cleveland Hts. 216-932-3396. Thru 11/5. http://www.dobama.org
from Cool Cleveland contributor Linda Eisenstein lindaATcoolcleveland.com
Jennifer Weiner @ Windows on the River 10/11 If you are an aspiring writer, a fan of chick lit, in need of a little creative inspiration, or someone with a pulse and a sense of humor - you missed a great event last week.
Jennifer Weiner, author of Good in Bed; In Her Shoes (the book that was turned into a movie starring Shirley MacLaine, Cameron Diaz and Toni Collette); Little Earthquakes; Goodnight Nobody and The Guy Not Taken brought her charm and wit to Cleveland on Wed 10/11 during a luncheon benefitting the Women's Community Foundation - an organization that funds programs optimizing the potential of women and girls in the Greater Cleveland Community.
Weiner was completely engaging from the moment she opened her mouth. To borrow a popular phrase, "She had us at hello." With an endearing openness she recounted the story behind the start of her writing career; the motivation for her first book and why holding true to her ideals meant saying no to that first agent. Weiner shared funny, raw stories about her family - including why you won't catch her in the pool at her local JCC - and fielded questions from the audience. Listening to her speak was like having a chat with you new best girlfriend. She was down-to-earth, funny, irreverent and motivating all at once.
Visit http://www.JenniferWeiner.com to learn more about the author. Her tips for aspiring writers are dead on and funny as hell. You'll even get to read a few of the stories she told us at the luncheon - including the one about the agent who thought that the heroine of Good in Bed shouldn't be fat because, "nobody wants to see a movie about a lonely fat girl."
Visit http://www.wcfcleveland.org to learn more about the fabulous organization that hosted the event and how you can help support solutions for contemporary women’s issues.
From Cool Cleveland contributor Roxanne Ravenel.
Yr Turn
Cool Cleveland readers write
We encourage our readers to speak out by sending us letters and commentary. Send your letters to Letters@CoolCleveland.com. You must include your full name (required) and you may include your e-mail address (optional). You may also create a new Hotmail, Yahoo or Gmail e-mail address and submit it with your letter. Letters submitted to Cool Cleveland, or edited portions, may be published in an upcoming issue of Cool Cleveland at our discretion.
Send your letters to: Letters@CoolCleveland.com
On the upcoming election (See Go Absentee here) And while you're at it, please remind your readers that - if they do go to the polls to vote on election day - the new law also requires that they show a current photo ID with their address on it. The more we can get the word out on this, the fewer frustrated voters there will be on election day.
from Cool Cleveland reader Robert O. Staib cnrosATcuyahogacounty.us
It's my understanding that absentee ballots are only counted in the event of a close election. Given this, if all people of a particular pursuation voye absentee, doesn't that effectively eliminate their vote? The vote will not be counted from the ballot box, it will not appear to be close, and so the absentees will not be counted?
from Cool Cleveland reader Debra lobelia66ATyahoo.com
Cool Cleveland Reply: This is not true. All absentee ballots are counted and are valid.
On eminent domain Where does Cool Cleveland stand on the imminent domain case? the imminent domain case of Cleveland/Cuyahoga County Port Authority (on be half of Wolstein) vs. the 8 small business and property owners on the east bank begins in December before Judge John E. Corrigan. I see the destruction of the east bank of the flats as the destruction of our heritage as Clevelanders. the Wolsteins are about to swindle Cleveland again and in one fell swoop bilk the taxpayers (for at least $150 million), destroy our history and architectural heritage, sell their own abandoned property at a profit and give themselves a tax break. i could go on forever, it is just sick. i won't even go into the evil concept of stealing private property for private use. imminent domain ... call it what it is, it is thievery! i would admire the gall of thje Wolstein operation if the whole concept wasn't so damn evil.
from Cool Cleveland reader Kiely Cronin wkielyAThotmail.com
Dear Congressman Strickland (See ODOT selects boring bridge here) Dear Congressman Strickland: I'm writing to express my concerns about the proposed new Innerbelt bridge here in Cleveland, along with the entire revamping of the Innerbelt. I think that, because you are likely to be our next governor, you may want to begin looking at this issue immediately. We Clevelanders have seen the complete subversion of public process over the last decade or so, no matter what the question or project may be. But that's an internal problem here in the city. Now, however, we are seeing ODOT evince the same total disregard for public opinion, and even for its own public development process. ODOT is planning a northern alignment for its new westbound span across the Cuyahoga River, just outside downtown. This plan will apparently be implemented, despite objections across the board from citizens and business-owners alike (our city government initially opposed the idea, but has now given in to ODOT's demands; our Congressional representatives have rubber-stamped the project, with no apparent thought to the consequences). ODOT's plans for the bridge and Innerbelt in general have been moving forward for most of this year, despite the fact that it had not completed multiple federally required studies before proceeding, and in violation of its own codified process. Gordon Proctor has publicly declared that, "ODOT has never been successfully sued, " just in case we were thinking about it. And he also made a statement to the effect that, "No other city has EVER asked us for economic studies. Every other project we've done, the community has automatically accepted it as beneficial. ODOT doesn't do economic studies." Additionally, in a line of similiar occurrences, the firm that is contracted to design the new bridge, Baker and Associates, is the same firm that coincidentally concurs with ODOT in its northern alignment plan. Previously, Baker helped torpedo attempts to rehabilitate another local bridge, the Fulton Road Bridge, and then was hired to design the new bridge there. So we are seeing instances of conflict of interest on top of disregard for the public's desires. Congressman Strickland, ODOT needs to reined in here, and needs to be made to follow regulated procedures, as well as taught that it serves the public, and not the other way around. The current plan for the Innerbelt bridge will potentially waste up to hundreds of millions of dollars of taxpayer money in the long run. Moreover, the bridge plan is contrary to the public's wishes. The overall Innerbelt plan may result in fatal consequences for local businesses when several exits are eliminated; again, over numerous protests from all sectors of the city. Please look into this situation, and when you have the authority as govenor, make sure that the public is put back into "public process." For an overview of the situation, please go here.
from Cool Cleveland reader Denise Donaldson zoonorthATnetzero.com
On the first Cool Cleveland Travelogue (Read it here) I read with great interest Claudia Taller's Travelogue on Montreal. As someone who has visited this city many times during the past decade, I looked forward to her description of its lively food culture: its superb French cuisine, diverse ethnic restaurants, and most of all its well-known farmer's markets. Imagine my surprise when I read Taller's claim that Montreal lacks anything comparable to Cleveland's West-Side Market! In fact, there are several large farmer's markets, including Le Marché Jean-Talon, located in central Montreal. This outdoor market features fresh fruits and vegetables grown locally by Canadian farmers (in contrast to the West Side Market's produce, most of which is shipped in from California), and a tremendous variety of meats, fish, cheese, condiments, and ethnic foods. Googling "Montreal food market" brings up Jean-Talon as its first result, so it is difficult to understand how Taller could miss it. Sadly, from her description, I suspect that she was directed to the downtown tourist shopping area, a "marché" of a different sort. Regardless, in her zeal to boost Cleveland at the expense of Montreal, Taller has done your readers a disservice.
from Cool Cleveland reader Nicholas King nicholas.kingATcase.edu
Send your letters to: Letters@CoolCleveland.com
Top 5
Most clicked
Here are the Top 5 from last week's issue, with one more chance for you to click.
1) Recycling guide Probably one of the most clicked links in CC history-a PDF recycling guide.
http://www.cuyahogaswd.com/pdf/PassItOn.pdf.
2) Vote by mail Vote using an absentee ballot.
http://www.sos.state.oh.us.
3) Free Night of Theatre Fourteen local professional theaters are opening their doors for a no-cost night of live theater on Thu 10/19.
www.ClevelandTheater.com.
4) Cle makes Top 10 of underrated destinations According to Trip Advisor, most people have already seen Paris, London, NYC and SF. We're one of the cities they suggest trying next.
www.FreeP.com.
5) Revive The official Grand Opening of Revive, a clothing store offering only fair trade or union made products.
http://www.ReviveStore.com.
Finding a Way Every Week With their copious weekly contributions, our Hard Corps deliver abundant events, critical reviews and cultural content with aplomb. Thanks to Peter Chakerian, Roxanne Ravenel, TL Champion, George Nemeth, Claudia J. Taller, Linda Eisenstein, Kelly Ferjutz, Roldo Bartimole and everyone who partners with us. Want to volunteer and contribute your writing to Cool Cleveland? Send your reviews, articles, or story ideas to: Events@CoolCleveland.com
Download the Cool Cleveland podcast each week at http://www.CoolCleveland.com. Click on the Cool Cleveland Blog here. Read the Cool Cleveland column each month in Cleveland Magazine here. Listen to Cool Cleveland on WCLV-FM 104.9 twice each Friday during drive time. Send your cool events to: Events@CoolCleveland.com, and your letters to: Letters@CoolCleveland.com. For your copy of the free weekly Cool Cleveland e-zine, go to http://www.CoolCleveland.com.
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--Thomas Mulready
Letters@CoolCleveland.com
all contents ©2006 MulreadyGROUP all rights reserved
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