Weekend Reviews
Dancers' talent vaults 'Movin' Out' over and above any stylistic doubts
Dance: "Movin' Out"
Pop music: Liz Phair
Performance art: "A Tom Waits Peepshow"
Reggae: Damian Marley
Comedy: "Chopper"
Dance: Miami City Ballet
Opera: "El Amor Brujo" and "La Vida Breve"
Theater: "Americamisfit"
Web updated: Nov. 2, 2005
Dance
First the news: You're not likely to see better dancing at Bass Concert Hall — ever — than what can be witnessed on those well-trod boards through Sunday. "Movin' Out," the 2002 Billy Joel/Twyla Tharp danceathon, showcases performers of raw power, strength and flexibility in a concert that, I predict, will be trumped only by "The Nutcracker" for total American attendance at a full-length dance event when the tally is done.Backing up, Joel's easily identifiable stories, muscular melodies and accessible style were destined for Broadway. Leave it to Tharp, the modern dance groundbreaker, to string the songs and some instrumental music into a story about teenage bliss, Vietnam trauma, post-Vietnam hurt and ultimate healing. Mixing ballet, modern, jazz and American social dancing with 10-for-difficulty leaps, bounds and twirls, Tharp created a genuinely engaging two-hour stage dance for almost all audiences.
Which is not to say that the story is always clear — the relationships among the teens were particularly confusing due to Tharp's all-over-the-stage choreography — or that purists will be pleased with the slick sheen that radiates commercial appeal in every scene. Also, Joel's lyrics take a backseat to Tharp's vision, often altering the emotional tone of the original songs, at least as interpreted by the composer in indelible recordings.
Tuesday, Irish pianist/vocalist Darren Holden sat with the crack band high above the action and the banks of lights that defined the performance spaces and the moods of each segment. Holden's voice (he and the hard-working dance leads alternate with other performers on the tour), is serviceable, flexible, but lacks personality.
While Tharp has drafted some of the finest dancing talent on the planet, three cast members zoomed above the pack. As Brenda, Holly Cruikshank extended her impossibly long legs in the most poised fashion, embodying a flesh-and-blood Cyd Charisse (sorry, inevitable comparison). As Eddie and Tony, Ron Todorowski and David Gomez danced so explosively, even the crowd watching was out of breath. Gymnastic tricks — Tharp's equivalent of audience goosing — were executed with an ease usually associated with circus masters.
Count me converted. Something about the not-fish/not-fowl aspect of "Movin' Out" previously kept me uneasy from the material. But this touring cast of dancers had my number from the get-go — and never let go.
"Movin' Out' continues 8 p.m. Thursday-Friday, 2 and 8 p.m. Saturday, and 2 and 7:30 p.m. Sunday. Bass Concert Hall, 23rd Street and Robert Dedman Drive. $19.50-$68.50. 477-6060, www.utpac.org.
— Michael Barnes
Pop music
YOU MISSED A FAIR SHOW FROM LIZ
So, what were you doing on a Tuesday night that you couldn't come out and see Liz Phair? And we're going to need something better here than "watching 'According to Jim.' "
La Zona Rosa seemed maybe 60 percent full for the indie-goddess-turned-pop-star's show, but we're bad at estimating things like this. Let's just say there was plenty of breathing room.
And that was a shame. Phair has alienated a lot of fans with the more mainstream approach she's taken on her past couple of albums, but Tuesday's show drew heavily from her older, better material.
It's not that the new songs are terrible. "Catchy" is no sin in our book. And it's not that Phair's older work is all that musically different. The songs from her breakthrough lo-fi album, "Exile in Guyville," benefited from the full-band treatment — they'd sound right at home on the radio (that is, without the dirty words). Where she's changed is lyrically: The new songs, with lines like "baby, stick with me/we'll make it together, just wait and see" stood in sharp relief to older, more complicated Phair fare.
Highlights of the 90-minute concert came mostly from "Guyville." "Divorce Song" got even more sad and brittle live, while "6'1" " and "Help Me, Mary" took on a swagger that reminded you that "Guyville" was conceived as an answer record to the Rolling Stones' "Exile on Main Street." "Flower" was a show-stopper. Its forthright smuttiness still jolts, and Phair and her band gave it a hard-rocking treatment that was surprisingly fitting: After all, the song is a declaration of prowess that makes Robert Plant and Steven Tyler seem like victims of low self-esteem. Phair also soared with songs from "Whitechocolatespaceegg" like "(Expletive) of Money," "Only Son" and "Polyester Bride," and amped up the energy on "Supernova" and "Cinco de Mayo" from her second album, "Whip-Smart."
With newer material, the only really unfortunate moment was a messy and overdone "Rock Me" from her self-titled album. "Lazy Dreamer" from the new "Somebody's Miracle" (which Phair mostly ignored in her set) was fun, lush '80s-style pop. And in the encore, Phair slowed down "Why Can't I" to play up the sweet yearning even more. If she could revive her lyrical originality and pair it with melodies that addictive, there would be no more half-full houses in her future.
— Sarah Lindner
Performance art
'PEEPSHOW' INTO TOM WAITS' BESTS
The opening night of "A Tom Waits Peepshow" got off to a scintillating start with burlesque dancers successfully making grandma underwear look sexy. An orchestra followed with Waits' "In the Neighborhood," while the actors — Escapee Hog, God's Bouncer, Old Movie Star Whore, etc. — who played out 13 more of his songs from albums "Swordfishtrombones" through "Blood Money" invaded the Victory Grill stage. Their individual interpretations, as directed by Ellen Stader and Rick McNulty, were loosely unified by the narration of the lecherous Ringmaster (Shane Kullberg) in his pursuit of air-headed actress Irene Goodnight (Megan Knotz). In appearance and demeanor, the Ringmaster recalled Waits, though he relied on a flask for confidence rather than his subject's inherent coolness.
The mini-performances turned out either literal or vague. The Mad Inventor (Leonel Garza), donning goggles, lab coat and galoshes, and toying with a beheaded baby doll, among other curiosities, was a no-brainer for "What's He Building?," a spooky, spoken-word song about an industrious recluse. Why not let the irony be that he's making arts and crafts as part of an audition tape for "The Apprentice: Martha Stewart"? During "Jesus Gonna Be Here," three of the show's countless interpretive dancers rotated masks from sheep/cow/rooster to Reagan/George H.W. Bush/Nixon to members of Kiss. What exactly was that supposed to mean? Stealing the show was Table Top Joe (David Lampe), during the song of the same name, as a man with a box for a lower body whose inconvenience was counteracted by two showgirls rolling him around on casters.
Visualizing a menagerie of Waits-ian oddities and pairing it with well-executed renditions of his songs, especially those featuring Victor Salazar of Waits cover band Box Spring Hogs impeccably belting out lyrics, will for sure sucker in diehards and locals who've participated in Tom Waits Hoot Night. But beyond that, the plot line needs to be fleshed out and characters developed. Or get Jon Dee Graham involved.
"A Tom Waits Peepshow" continues 7:30 p.m. Friday, 7:30 and 10 p.m. Saturday. Arts on Real, 2826 Real St. $13. 480-0799, www.brokenclockcabaret.com.
— Michael Hoinski
Reggae
CLAN MARLEY'S LATEST SCION HAS CHARISMA
For anyone who went to college in the '80s, '90s or even now, the sheer ubiquity of Bob Marley, Inc. could put one off of reggae for the rest of one's life. Stoner idiots glommed onto reggae's devotion to pot, Marley's "Legend" became one of those albums that even people who don't actually like music own, and anyone who went to college in the South was confronted at least once by the mind-bending sight of a Marley poster next to a Confederate flag. Marley's kids started appearing in the '80s, first Ziggy, clearly the Julian Lennon of the bunch, trading on his dad's image for light, sunny reggae.
The newest member of the clan to break out is Damian Marley, Bob's youngest, only two when his father died in 1980, but working in the family business since he was 13 and opening the 1982 Reggae Sunsplash concert. (Think of him as Jakob Dylan.) Damian's hit single "Welcome to Jamrock" is a juggernaut, a perfect fusion of roots-reggae consciousness and dancehall reggae's big beat pound and hip-hop-esque toasting. No wonder his show at La Zona Rosa was filled with everyone from lifelong reggae fanatics to obvious newbies there to hear the single. And plenty of blond gals with dreadlocks; this is Austin, after all, and those kids are among our biggest exports.
The charismatic Marley performed with a full band, including two powerful backup singer-dancers and a gentleman who should receive some sort of award for waving a Jamaican flag by hand the entire night. Working the crowd like an old pro, Marley played much of the "Jamrock" album, and older pieces of his own material ("Mr. Marley"), but wasn't shy about breaking out revamped versions of his father's legendary songs — "War" and "Could You Be Love" both got some love. Oddly, the least powerful tune was the last one: "Jamrock," whose relentless groove seemed mutated into something less potent by the otherwise crack live band.
— Joe Gross
Comedy
WITH STRONG CAST, 'CHOPPER' TAKES FLIGHT
Once engaged, a helicopter's rapidly rotating main rotor creates the illusion of an uninterrupted circle. When it stutters to a stop, that perfect 360 degrees reveals its true form: four imposing, unconnected blades. And so it is with "Chopper," Leah Ryan's play about disenchanted post-adolescence in upstate New York at the dawn of the 1980s. "Chopper," as impeccably directed by Ken Webster for Hyde Park Theatre, exists much like the gyrating blades; its fluid presentation and ostensibly simplistic plot collaborate to make accessible an intentionally fragmented script.
In grossly oversimplified terms, "Chopper" is about two lifelong friends, Kathleen and Emily, who are struggling to maintain financial commitments on the salaries of a Rite Aid clerk and a dishwasher. They have only a couple of days to account for almost $1,000 in back rent. Despite promises of help from an unreliable ex-boyfriend and a recently acquainted college student, the girls realize too late that they can only depend on themselves.
Webster's cast — just four actors — excelled without exception. Kelsey Kling, last seen to great comedic effect in Hyde Park's "Pageant," here proved a worthy successor to the band geek from the "American Pie" movies. Her inquisitive intonations, especially when unwarranted, supplied some of the evening's biggest laughs. As the more rational half of the central equation, Heather Huggins embodied Kathleen with unflinchingly fierce resolve. Shanon Weaver's portrayal of Fred, Kathleen's ex, slimed the audience appropriately. And Noah Neal's evolution from cherubic naiveté to enlightened rage mirrored the implied progression of Kathleen and Emily's back story.
Taken for its parts, this play could be one helluva snoozer. But with Webster's efficient hand on the controls, this "Chopper" soars above its own potential.
"Chopper" continues 8 p.m. Thursdays-Saturdays through Nov. 19. Hyde Park Theatre, 511 W. 43rd St. $15-$17 on Fridays and Saturdays, Pay What You Can on Thursdays. 479-PLAY.
— Tommy O'Malley
Dance
SLEEK MIAMI DANCE MACHINE RUNS LOW ON ENERGY
Showcasing choreography by Twyla Tharp and George Balanchine, the Miami City Ballet swooped and flitted across Bass Concert Hall stage Friday. Competent, but not awe-inspiring, the company seemed a bit road-weary in their Austin debut.
Best thing about this concert was the choreography. Austin is accustomed to strong dancers, but seldom sees vintage Balanchine ballets or Tharp's quirky creations. A little Tharp goes a long way, however, and the popular "Nine Sinatra Songs" looked repetitious after a few sections. Sleek and sexy dancers — in Oscar de la Renta dresses and tuxedos — pushed and pulled through nine ballroom dance routines, each peppered with modern and jazz dance moves. But the constant run-catch-clutch-swirl of bodies grew tiresome.
The Balanchine ballets fared better. Jeanette Delgado's unwavering megawatt smile and perkiness highlighted "Donizetti Variations," nicely paired with partner Renato Penteado. This fast-paced work from 1960 had the dancers whizzing across stage.
In "Stravinsky Violin Concerto," 20 dancers pirouetted through Balanchine's signature neo-classic moves of asymmetric limbs, with idiosyncratic touches in the duets (turned-in knees, flicks of the wrists). Deanna Seay, Kenta Shimizu, Jennifer Kronenberg and Carlos Guerra ably led the group.
The dancers hail from across the globe but are surprisingly similar in physical stature and style. Unfortunately, the company seemed to lose energy in the expanse of Bass Concert Hall, despite their collective talents and the supportive audience, who applauded loudly throughout the show.
— Sondra Lomax
Opera
PASSION LINKS SPANISH BALLET, OPERA
When it hit me — about 30 minutes into the University of Texas Butler Opera Center's production of Manuel de Falla's "El Amor Brujo" and "La Vida Breve" — what exactly was going on, I thought "Uh-ohhh." These two pieces, composed 10 years apart, were being played on the same set without an intermission. For anyone worried about it, that's about 105 minutes with the house lights off.
Basically, if the pieces weren't designed to be linked, I don't want them linked. (I also confess that as a child I couldn't stand vegetable juices running into the gravy on my plate.) But by the end of the evening, I was thinking, "This is an interesting concept": a very short ballet with singing about Spanish Gypsies that's a love story with a happy ending juxtaposed with a short opera with dancing about Spanish Gypsies that's a love story with a sad ending.
What you really need for this is singers who can dance and dancers who can sing. Ay, there's the rub! At one extreme on Friday was Manuel Castillo in the minor role of the wedding singer, who sang up a storm and then was one of the principal dancers in the succeeding dance. The pitches weren't real clean in his cadenzas, but I'll forgive that to have his energy and style. On the other hand, Soo-Ah Park in the principal role of Salud in "La Vida Breve" sang passionately, but her movements and stances hardly expressed any character, let alone a Spanish Gypsy character.
I barely have space to applaud Alta Boover, who sang heartily in the vocal movements of "Amor" and as the grandmother in "Vida"; Gerardo Ramos, singing with fire covering two offstage voices; and conductor David Neely, who got accurate playing from the student orchestra. And the first half of the wedding scene is worth the price of admission.
"El Amor Brujo" and "La Vida Breve" continue 8 p.m. Friday, 7 p.m. Sunday. McCullough Theatre, University of Texas, 23rd Street and Robert Dedman Drive. $10-$17. 477-6060, www.utpac.org.
— David Mead
Theater
NOT ENTIRELY YANKEE DOODLE DANDY
"Americamisfit," the new play by Austin writer Dan Dietz now receiving its premiere by Salvage Vanguard Theater, is a two-and-a-half hour whirl of many parts. At the center there's the story of Big and Little Harpe, Tory-sympathizing brothers, who in post-Revolutionary War America embarked on a horrific killing spree through the then-frontier state of Tennessee (the Harpes' tale is documented history). Little (Travis York) is the wily mastermind of the duo, Big (Brent Werzner) the loyal, simple-minded giant. It's never clear if the brothers' murderous motivations stem from a politically charged desire to unsettle the new democracy or psychotic violence fed by their preternatural attachment to each other. Or maybe both.
Along the way, the Harpes' tale is interrupted by monologues from an amalgam of American mavericks: atom-bomb progenitor J. Robert Oppenheimer, automobile pioneer Henry Ford and President Ronald Reagan. George Washington (cleverly portrayed by a very droll Garry Peters) also drifts in and out. At one side of Chase Staggs' simple set (a bunting-festooned dance hall), a rockabilly band with a caricature of a lead singer (Jason Newman) acts as part Greek chorus, part live entertainment, charging out songs for a few frenzied swing dance interludes.
Unfortunately, all these parts never quite coalesce. The psychologically intense scenes between the Harpes seem to head in an opposite direction from the monologues. The musical interludes extend too far and the dance scenes feel superfluous.
Of course, terrific moments pop out. York's Little Harpe is as intense and nuanced a performance as it gets. And as the crazed Roberts sisters who join the Harpes in their killing spree, Jenny Larson and Andrea Skola seem to shape-shift into a two-headed Medusa with eerie and humorous effect. And as he proved in previous scripts, Dietz is a powerful, thoughtful writer with deft verbal timing. However, not quite everything in "Americamisfit" fits together.
"Americamisfit" continues 8 p.m. Thursdays-Saturdays through Nov. 19 at the Off Center, 2211-A Hidalgo St. $12-$35. 472-SVT6. www.salvagevanguard.org.
— Jeanne Claire van Ryzin
