Month: April 2003

  • Building the Boys of Summer

    There’s no tarp on the ball field at Cretin and Grand, though snow sprinkles the brownish grass and the morning promises more. A white portable fence arcs in awkward sections from the right to leftfield foul lines, where orange foul poles stand uncertainly against a wicked northwest wind. For a clueless pilgrim seeking the heart of American small-college baseball, it’s all a bit underwhelming.

    I’ve crossed the river on this early April morning in search of everything that is pure and wholesome in the world of college sports, a place where students go to school to learn, and where they play ball for fun. It’s a world completely foreign to followers of March Madness and the Bowl Championship Series, recruiting wars, and academic scandals. Casual readers of the sports pages would know little of this universe, but hardcore fans may get an occasional glimpse, as some of us did last fall when the Johnnies of St. Johns University played for the Division III football championship, or in 2001 when the University of St. Thomas baseball team beat Marietta (Ohio) 8-4 to become only the second Minnesota team to claim a national college baseball championship (the Golden Gophers did it in 1965).

    But I’m not here at McCarthy Gym to rehash past glory. I’m looking for edification—enlightenment even—on the sticky subject of college athletics. I want to know what can be done to unravel the tightening knot of money, media, and malfeasance that plagues major college sports. And Tommies baseball coach Dennis Denning may be one of the only guys in town with an answer that makes any sense.

    Dennis Denning stands at the front desk in corduroys and a sweatshirt. He extends his hand—a fleshy, gnarled mitt that betrays a lifetime of foul tips and bad hops—and shows me to his office. I notice the framed and autographed photos on the wall of the cramped room, and the stocky, white-haired coach describes some of the more notable of the batch: Tommies alum Buzz Hannahan in a Philadelphia Phillies uniform (“Three for five in his first spring training game this year”); Twins farmhand Jake Mauer (“Only four errors last year at Quad Cities”); son Wes wearing the Montreal Expos colors (“He’s a St. Paul cop now and doing great”). I remark innocently on the potential of Jake’s brother Joe Mauer, the Cretin-Derham Hall phenom whom the Twins drafted out of high school, and Denning launches into a detailed explanation of Joe’s batting stance and swing—neglecting only to mention that the young Twins catcher may have picked up some tips at Denning’s long-running summer baseball camps.

    Before we can get to the exploits of his other star pupils, guys like Paul Molitor, Chris Wienke, and Steve Walsh, the phone rings, and Denning is quickly pulled into what seems to be an emergency academic counseling session. “Yeah, OK, uh-huh…Well, if you drop it, you’ll be ineligible, you know…” he says. The conversation ends with instructions on where to get help. He hangs up and describes the forlorn player on the other end of the line as a junior varsity player having trouble with chemistry. “A lot of these kids come here after getting real good grades in high school, but they’re not prepared for how hard it is here,” he explains.

    It turns out that Denning’s job at St. Thomas extends far beyond running a baseball program that has become a perennial NCAA Division III powerhouse. He’s in charge of programming at the gym, acts as an informal academic counselor, and even does a little groundskeeping on the diamond outside. “It’s like running a park and rec center,” he says.

    No administrative assistants, no PR flunkies, no sycophantic boosters. It is a small-budget operation in a conference full of small-budget operations. “Our facilities are terrible,” he says, almost apologetically. “The worst facilities in the MIAC.” And yet, Denning’s baseball team can boast a national championship, two second-place finishes, and NCAA tournament berths in seven straight seasons.

    “His team consistently improves throughout the year,” says Concordia College baseball coach Bucky Burgau. “Along with getting very good players, Dennis is a very good teacher of all phases of the game.”

  • Red Fish Blue

    Forget about those suburban seafood chains where the waiters break into the macarena every half-hour. This self-described “ocean diner” (hey, a pun!) over Macalester-way has a pleasantly casual atmosphere with prices that won’t bite like a shark. The walls are dominated by solid reds and blues, getting a subtly undersea theme over without needing to nail up kitschy lobster traps and plastic octopi everywhere. The presentation is also very impressive—your meal will look beautiful, though the food itself may not be anything particularly revelatory. Our recent lunch visit consisted of the generously meaty and flavorful crab cakes and the zingy open-faced rib sandwich topped with sesame-orange slaw. Neither was a world-changing culinary event, but we’d definitely return and order them again with pleasure.

  • The Sound of Music

    This is, of course, the show that asked the musical question “How do you solve a problem like Maria?” What a lot of people don’t realize is that in a very early draft of the play, Rodgers & Hammerstein’s song actually asked “How do you solve a problem like multivariate normal distribution in orthagonal matrices of probability density functions?” And instead of cute kids singing about does and deers and stuff, a dozen pale grouchy mathematicians hunched silently at their desks, scribbling furiously to solve the problem before the others and thus gain tenure at M.I.T. There was no singing, and the only line of dialogue was “quit hogging the pencil sharpener.” And would you believe they were forced to rewrite this to make it more commercial? At any rate, Chanhassen will be staging the much better-known “real” version, with the singing and the Von Trapps and the Edelweiss and everything. CDT, 501 W. 78th St., Chanhassen, (952) 934-1525, www.chanhassentheatres.com

  • Perfect Crime

    At 6,000 performances and counting, the New York production of Warren Manzi’s Hitchcockian thriller is the longest-running nonmusical in Broadway history. Such longevity is doubly amazing in view of Manzi’s criminally sloppy handle on the mystery story; his script is so overstuffed with red herrings, dropped subplots, implausible twists and flat-out plot holes it could be retitled Dial I For Incomprehensible. But as the man said, 50,000 Elvis fans can’t be wrong. Perfect Crime’s perfect attendance happens for a reason—namely, its terrifically watchable and funny villain, the casually domineering femme fatale Margaret Thorne Brent. It’s a juicy role, and the Jungle’s Jodee Theleen sinks her teeth into it, playing Margaret as a self-absorbed empress for whom contempt is so second-nature that she can’t stop launching her brutally dry barbs of sarcasm even when she’s seducing their target. If you want a good reason to commit to Crime, her performance is it. Jungle, 2951 Lyndale Ave. S., (612) 822-7063, www.jungletheater.com

  • The Handmaid’s Tale

    also: Margaret Atwood on MPR’s Talking Volumes
    Fitzgerald Theater, May 8

    You most likely know Margaret Atwood from her chilling 1985 novel The Handmaid’s Tale, the book that made her modern literature’s prophetess of feminist and ecological doom. It was made into a rather dull film in 1990, but the story’s lately found new life in a surprising new medium—opera. Adapted by Danish composer Poul Ruders and librettist Paul Bentley, the all-singing Handmaid’s Tale gets its North American premiere here this month in a staging by the Minnesota Opera. This is a major new work with a chorus of international acclaim and sellout crowds behind it, and we’re privileged to have it debut in our town. (If that’s not enough reason to see it, know that there’s a scene where the heroine and villain play a game of Scrabble. Sheer drama!) May 6 will also see the publication of Atwood’s 11th novel, Oryx and Crake. It’s a highly readable, often disturbing vision of humanity engineering its own destruction; it follows a pathetic figure named Snowman, maybe the last human on Earth, who fights to survive among gene-spliced mutants in the post-apocalyptic wastelands and broods over his role in the disasters that befell mankind. Atwood talks with MPR’s Katherine Lanpher about the opera and her own work in a live radio broadcast at the Fitzgerald May 8. Ordway, 345 Washington St., St. Paul, (651) 224-4222, ordway.org

    Theater: Perfect Crime
    Jungle Theater, through June 15
    At 6,000 performances and counting, the New York production of Warren Manzi’s Hitchcockian thriller is the longest-running nonmusical in Broadway history. Such longevity is doubly amazing in view of Manzi’s criminally sloppy handle on the mystery story; his script is so overstuffed with red herrings, dropped subplots, implausible twists and flat-out plot holes it could be retitled Dial I For Incomprehensible. But as the man said, 50,000 Elvis fans can’t be wrong. Perfect Crime’s perfect attendance happens for a reason—namely, its terrifically watchable and funny villain, the casually domineering femme fatale Margaret Thorne Brent. It’s a juicy role, and the Jungle’s Jodee Theleen sinks her teeth into it, playing Margaret as a self-absorbed empress for whom contempt is so second-nature that she can’t stop launching her brutally dry barbs of sarcasm even when she’s seducing their target. If you want a good reason to commit to Crime, her performance is it. Jungle, 2951 Lyndale Ave. S., (612) 822-7063, www.jungletheater.com

    Theater: The Sound of Music
    Chanhassen Dinner Theater, opens May 30
    This is, of course, the show that asked the musical question “How do you solve a problem like Maria?” What a lot of people don’t realize is that in a very early draft of the play, Rodgers & Hammerstein’s song actually asked “How do you solve a problem like multivariate normal distribution in orthagonal matrices of probability density functions?” And instead of cute kids singing about does and deers and stuff, a dozen pale grouchy mathematicians hunched silently at their desks, scribbling furiously to solve the problem before the others and thus gain tenure at M.I.T. There was no singing, and the only line of dialogue was “quit hogging the pencil sharpener.” And would you believe they were forced to rewrite this to make it more commercial? At any rate, Chanhassen will be staging the much better-known “real” version, with the singing and the Von Trapps and the Edelweiss and everything. CDT, 501 W. 78th St., Chanhassen, (952) 934-1525, www.chanhassentheatres.com

    Restaurants: Red Fish Blue
    1681 Grand Ave., St. Paul
    (651) 699-6595
    Forget about those suburban seafood chains where the waiters break into the macarena every half-hour. This self-described “ocean diner” (hey, a pun!) over Macalester-way has a pleasantly casual atmosphere with prices that won’t bite like a shark. The walls are dominated by solid reds and blues, getting a subtly undersea theme over without needing to nail up kitschy lobster traps and plastic octopi everywhere. The presentation is also very impressive—your meal will look beautiful, though the food itself may not be anything particularly revelatory. Our recent lunch visit consisted of the generously meaty and flavorful crab cakes and the zingy open-faced rib sandwich topped with sesame-orange slaw. Neither was a world-changing culinary event, but we’d definitely return and order them again with pleasure.

  • Embodied Spirits Revisited: Ritual Carvings of the Asmat

    There are very, very few cultures left even partly free from the homogenizing touch of the modern world. The Asmat people are one of them. A tribal culture of about 65,000 from the rainforests of New Guinea, they only recently stopped practicing headhunting and ritual cannibalism. The St. Paul museum’s current “Embodied Spirits” exhibition of carvings takes its title literally—the Asmat believe that invisible spirits with great power are all around them, and that human artists can actually force the spirits into a tangible shape and thus make them less dangerous. The museum’s overall collection of 2,500 pieces is one of the largest around, and it plays a crucial role in preserving Asmat artwork, often made of soft wood and perishable matter that doesn’t last long in a tropical climate. The AMAA is hosted at the province headquarters of the Crosier Fathers and Brothers, an order of Catholic missionaries who have been working on New Guinea to help preserve Asmat culture for nearly 50 years.
    AMAA, 3510 Vivian Ave., St. Paul, (651) 287-1132, www.asmat.org

  • Art-a-Whirl

    Man, we’re getting old. It seems like just yesterday that Art-a-Whirl was the fresh-faced l’il whippersnapper of a neighborhood arts festival, a new hip event in a rather stodgy part of town that nobody was really sure would see a second year. Now, in year eight, it’s well past the point of becoming an expected (and most welcome) annual tradition, especially for those of us who live in the area. Lotsa open studios, lotsa gawkin’ at art, lotsa kids’ events and bands. Several artists will give live demonstrations of their disciplines all weekend long, the coolest of which is a tie between Tyler St. Studios’ aluminum pour (noon-4 pm Saturday only) and the Island Glass folks’ glass-blowing demos—they’ll even let the kids try it. There are more than 300 artists in this year’s show, which fans out for miles across Northeast. You can pick up brochures listing individual studios at kiosks all over the neighborhood or at the fest’s website. Our recommendation is to start over at the Northrup King building, 1500 Jackson St.—the three-story warehouse space has by far the highest concentration of studios at a single location. (612) 788-1679, art-a-whirl.org

  • Stuart Pimsler Dance & Theater, Hidden Places

    Sometimes great artists move from New York to Minneapolis—no kidding! Stuart Pimsler relocated his company here in 1999, and now he opens his 25th season with this exciting trio of pieces; Rooms of Disquiet, Islands, and Total Surrender. If this performance stacks up to SPDT’s platinum reputation, it will be as moving as it is funny, as personal as it is political. Southern, 1420 Washington Ave. S., (612) 340-1725, southerntheater.org, www.innerart.com/SPDT

  • Suzanne Vega

    Lyrically and vocally reminiscent of an acerbic but less rough-edged Lou Reed, Suzanne Vega first made her mark in the mid-80s among the Edie Brickell/Natalie Merchant crowd of earnest female folk-rockers. Even in her mawkish breakout hit, the anti-child abuse ode “Luka,” she had an almost hidden steely edge that set her apart from her peers. An unlikely techno adaptation of her “Tom’s Diner” became a surprise hit, leading to edgier production on her 1990s albums—a couple of interesting singles resulted, including the buzzily paranoid “Blood Makes Noise,” but often her writing style was too intimate for the clanky signature sound of producer (and husband) Mitchell Froom. Their bitter divorce led to the deceptively still, emotionally turbulent Songs of Red and Gray, her strongest album in years. Last year she executive-produced Vigil, a compilation of Greenwich Village songwriters dealing with 9/11. Her current tour’s in support of the new best-of set Retrospective.

  • Kurt Elling

    That decision to drop out of divinity school looks like the right one. As far as record sales go, Kurt Elling has yet to crack the Billboard Jazz Top 10. Nevertheless, he’s widely considered one of the hottest things going in male jazz vocalists, and with five Grammy nominations on five CDs, he must be doing something right. The Gustavus alum has a pleasing baritone and a fine sense of tonal control, and his instincts are spot-on. He’s accomplished at the slow burn of a romantic ballad, and can switch gears in an instant to pop into one of his self-described improvisational “rants.” His savvy sense of experimentation helped make his reputation, yet his love for the classics is self-evident—as is his appreciation for Frank Sinatra, whose voice and phrasings he mimics with proficiency. Dakota, Bandana Square, St. Paul, (651) 642-1442, www.dakotacooks.com