Blog

  • Transgendered Germans and Hair Metal

    From now until August 31st, Hedwig and the Angry Inch will be playing at the Jungle Theater. Featuring a cast of local talent, including Jairus Abts as Hedwig and Ann Michels as her husband Yitzhak, the production is most comfortable during the music numbers and flounders some during monologues. Though shrill and sluggish at times, it builds toward an emotionally fulfilling conclusion.

    The Obie-winning musical is a 4th-wall breaking fusion of rock songs and monologues featuring the heartbreaking story of Hedwig, an "internationally ignored" rock goddess and victim of a botched sex change operation in East Berlin. Left with an "angry inch," the story chronicles her rise and fall in a thought-provoking search for acceptance and individuality.

    For the most part, the show’s worst gaffes are made up for by the great music. Abts plays Hedwig more pathetically washed up than resigned, delivering one-liners often not for comedy, but to underline the character’s disdain for himself and the audience. This "walling-in" of Hedwig is made worse by an ill-executed "German" accent, which careens around the world from Europe to Minnesota. The result makes Hedwig more of a caricature than someone to be identified with. I was hoping for ’80s hair-metal Scorpions, but the result is more Max Mosley and the BDSM porn dungeon, which is to the detriment of the show. Thankfully, the dopey accent is dropped almost entirely during the musical numbers and Abts is noticeably more comfortable. His forceful baritone is able to shine, though his limited range feels a bit constricting at times. Michels also shines during the musical sections, her effortless soprano emphasized by great sound design. Like Abts, Michels is weakest when the music isn’t playing and her monotone portrayal of Yitzhak is, at times, really painful.

    Visually, the production is masterful. The light design is clever without overshadowing the performances and builds the intensity of the climax until its breaking point. Near the end, Yitzhak flings a stack of paper at the audience, the harsh strobe light making tangible the simmering, tumultuous anger of the show before its satisfying conclusion. When the lights return, the paper turns out to be bingo cards. Points for attention to detail.

    The production isn’t perfect, but by the end you’ll find yourself tapping your foot along with the band and thrusting your arms skyward like the rest of the audience. The silly, 4th-wall-breaking energy is thrilling, and the Jungle is intimate enough to make it work. If you have any interest in the sweet harmony musicals and hair metal can create, this one is well worth your time.

  • White Bear Thai, Fun Times at Victor's, Wine Classes at Dancing Ganesha

    Notes
    From the (e) Mailbag:

    Subject:
    Ban Thai.

    "I went to the most wonderful Thai restaurant
    in White Bear Lake last night," wrote Julia Barton recently. "I live in White
    Bear Lake and I found out it’s been open and I’d never even heard of the
    place. I talked to the waiter/husband of the chef/owner and he was
    telling us that the restaurant has received the Thai Select award from the Thai
    government that certifies the food, hospitality and atmosphere is
    authentic…They said they’ve never been reviewed. I know I sound
    like I’m advertising for them but I’m really not. I was just
    amazed at how good the food was. I’m a former chef and love finding
    places where the chefs care about their food. They have a website http://www.banthaionline.com/ if
    you’re interested."

    I
    plan to check it out soon, but if any readers get there before I do, please
    drop me a note (Iggers@rakemag.com) and
    tell me about it, or just post a comment on this blog.

     

    Subject: Viva Victor’s! 

    "We
    kicked off the summer with a visit from the Food Network!" reports Niki Stavrou
    of Victor’s 1959 Café. "You may be familiar with the show called Diner’s
    Drive-Ins and Dives
    , hosted by Guy Fieri. Well, he visited and cooked
    with us at Victor’s 1959 Cafe back in early June and our episode will air some
    time in September. I’ll be sure to let you know when I learn the exact
    date so you can watch! …

    We
    have also started a happy hour with drink specials from 4:30pm-6:30pm Tuesdays
    – Saturdays. We feature a different red, white and rosé by the glass each
    week so you can try some different wines for $4 a glass, or beer for
    $3 a bottle, or a tropical mimosa for $4. We also are featuring a
    special bottle of rosé at half price during happy hour. I’m on a bit of a
    personal campaign for rosé wines this summer. My motto is DON’T BE AFRAID
    OF PINK WINE!!

    Also,
    we are now open on Mondays for breakfast and lunch. We haven’t changed
    the sign yet so I wanted you to know. Our hours now are: Sunday and
    Monday 8am-2pm; Tuesday thru Saturday 7am-2:30pm and
    4:30pm-9pm.

    We
    have a Bombazo scheduled for Tuesday August 19th at 6pm. This will be a
    fun music and dance event and a portion of the dinner sales that evening will
    go to El Arco Iris, to help them continue their work with Caribbean dance
    education and performance. I’ll send more info about that soon, but you
    might want to mark your calendar now!

    Last
    but not least, we have a dinner special for Friday and Saturday night this
    week. It’s called Potajé and is red beans cooked with Spanish chorizo,
    smoked ham, potatoes – it’s a savory, hearty red bean dish served with white
    rice and plantains, accompanied by our ensalada completa on the side, for only
    $11. Make your reservations now!

    Victor’s 1959 Cafe, 3756 Grand Ave. S., Minneapolis, 612-827-8948

     

    Subject: Get Beyond Winey.

    Cathy
    Simonson, former owner of Willie’s Wine Bar, reports that she is now teaching
    wine classes at the new Indian restaurant, Dancing Ganesha, that occupies the
    space at 1100 Harmon Place, Minneapolis, where Willie’s once operated. We had a mediocre dining experience at
    Dancing Ganesha when we visited recently, but the next two
    classes combine wine tasting with Indian appetizers, so you probably can’t go
    too far wrong.

    Aug
    3: Get
    Beyond Winey 102: Everything That Really Matters About Wine But You Were
    Afraid to Ask. Indian Appetizers. 1:00 p.m. $45

    August
    10: Get Beyond Winey 101: How To Be a Wine
    Snob. Indian appetizers. 1:00 p.m. $45.

    Get Beyond Winey 102 is repeated on August 17, with appetizers only, for $45, and Get Beyond Winey 101 is offered again on August 24, with a full Indian dinner for $59.

    To sign up, send Cathy an email at GetBeyondWiney@comcast.net.

  • Fringe Me Baby, 156 More Times!

    FRINGE FESTIVAL
    Dying in Public Places


    Lust. Terror. Violence. Outbursts of Song. All of these can happen when
    stuck in an invisible box… cannibalism too. Dying in Public Places: a
    darkly comic new musical
    , written by Keith Hovis and directed by Jenna
    Papke, premieres August 1st at 10:00 pm as part of the Minnesota Fringe
    Festival. 60 minutes of new musical hilarity ensue as five strangers find
    themselves trapped in an invisible box. They soon learn that they must
    discover what they have in common if they want to survive. And as the
    minutes tick by, each person becomes more desperate and tries to find
    another way of escaping, no matter how devastating or bloody the
    results may be. –Andrew Newman

    FRINGE FEST ROCKS: This is just ONE of 156 plays showing over the next 11 days as part of
    the Minnesota Fringe Festival. Make sure to get out and see some independent theater this week!

    Dying in Public Places performs on Friday, August 1st at 10pm; Saturday, August 2nd at 1pm; Sunday, August 3rd at 7pm; Monday,
    August 4th at 10pm and an audio-described performance on Sunday,
    August 10th at 7pm.

    Minneapolis Theater Garage, 711 Franklin Avenue, Minneapolis, Tickets available at www.fringefestival.org

    To read brief reviews of 19 other Fringe shows, click here.

    ART
    The Revolution Will Not Be Televised

    The biggest global and political issues of today will be responded to
    through artwork when The Revolution Will Not Be Televised opens tonight at Altered Esthetics. Continuing its mission of proclaiming
    artists as the historical voice of society, the nonprofit community
    gallery accepted submissions from the artists whose work will be on
    display in the gallery through August 30th. -Andrew Newman

    SAVE THE DATE: On Thursday, August 7th join your pals at The Rake for a special edition of Gallery Grooves at Altered Esthetics as part of the Twin Cities Pan African Fest featuring The Revolution Will Not Be Televised exhibit, as well as art by African Sculptor Rabi Sanfo, live jazz and more.

    Friday, Reception 7-10pm, Altered Esthetics Gallery, 1224 Quincy Street NE, Northeast Minneapolis, Free

     

    FILM
    Political Scenes Series: Mr. Smith Goes to Washington

    Take a siesta from ranting about the election to simply enjoy this
    politically charged outdoor film series at the St. Paul Central
    Library. Political Scenes screens each Friday throughout August and
    includes a classic lineup of award winning flicks that will entertain
    lefties and righties alike. Tonight will feature Frank Capra’s classic comedy-drama Mr. Smith Goes to Washington, a
    story of a naive man, who on a lark, is appointed to fill a vacancy in
    the U.S. Senate. Want to make it a date? Grab a pre-flick bite and pint
    at nearby Great Waters Brewing Company where their numerous handcrafted beers and eclectic menu will delight most anyone with taste buds.

    Friday, Dusk, Central Library Courtyard, 90 4th Street West, Downtown St. Paul, Free



    FESTIVALS
    Loring Art Festival

    While the Powderhorn Art Fair is in full swing over in South, and the Uptown Art Fair
    takes over Lake & Hennepin, my personal recommendation would be a
    jaunt over to Loring Park for less pomp and more local sass. You’ll not
    only be near such cool post-art nosheries as Bar Lurcat and Nick
    & Eddie, but the vibe at the Loring Art Festival
    has the right balance of quality, originality, and gypsy-esque pizazz
    to entertain serious art buyers and starry-eyed youngsters alike. Be
    sure to stop by the Somi Tileworks
    booth to visit with fun mother-daughter team Norma Hanlon and Kirsten
    Walstead whose thoughtfully handmade ceramic tile art is as pretty as
    it is functional. Want to hit all three art fests? Jump on the
    Target Art-Hop bus for free, air conditioned transport to and fro.

    Saturday, 10am-6pm and Sunday 10am-5pm, Loring Park, Hennepin & Oak Grove Street, Minneapolis, Free



    ART
    Off Register

    Forgive
    me for being such an art-pusher this weekend, but I just can’t help it
    – the city is bustling with an over-abundance of art-activity that I think you simply must
    know about! Tonight stop in the hip art spot that is Umber Studios
    for yet another super-fly show that will give you a glimpse into how
    graphic design and fine art intersect in the most aesthetically pleasing
    ways. Featuring print-work by a bevy of brilliant local,
    national and international artists who are connected through the
    professional practice of print design, but do not consider themselves
    printmakers. This
    traveling exhibition, put on by L.A.’s Foundation Project,
    explores the artists’ relationship with design and how fine art and the
    commercial trade play off each other. While you’re there, make sure to
    check out the amazing work of locally-based design group WeWorkForThem!

    Saturday, Reception 8pm, Umber Studios, 3109 E. 42nd Street, Minneapolis, Free


    SPECIAL EVENT

    Caffetto Craft Fair



    The highest concentration of uber-cool handmade wares this Sunday
    isn’t at one of the many big art fairs, it’s on the busy corner of
    Lyndale & 24th in Uptown. Some of the city’s most talented hip kids
    lay out their cute and kitschy items for public perusal and purchase.
    Expect crafty delights such as bicycle accessories by Amber Jensen;
    urban bags by nommetric 8; comic books and prints by Roger Loontine;
    plus jewelry, artwork, book art, and tons more by local designers,
    crafters and artisians. However, the most tempting to me is Annie Larson, whose super-pastel hand-dyed shoes, socks and backpacks are perfectly confectionary. And if it’s art you’re after, make sure to check out the cool cats of Hardland/Heartland, whose charmingly bizarre work is definitely on my Minneapolis Top 10 list.



    Sunday, 10-5pm, Caffetto, 24th & Lyndale, Uptown Minneapolis, Free

  • Fozzie Bear Giving it to Miss Piggy

    Local celebs in attendance tonight include Brenda Langton and some guy who’s supposed to be the funniest in the cities, whom I did see open at Acme for a genuinely funny (but non-local) guy. We three, and several others, were taking in the Fringe Festival Preview: Out-of-Towners’ Showcase at the West Bank’s Bedlam Theater. While I can’t speak for funny guy or Brenda, I offer up my synopsized reviews of the synopses we took in. Each troupe was allotted roughly five minutes to convince those in attendance they should cough up $10 to see their particular show in its entirety. Nineteen troupes in all, most from out-of-town, and a very Minnesota-nice welcome had by all.

    Reviews are short, in keeping with the spirit of abridgment in the air tonight.

    (1) "Systems: A Literal Interpretation of the Fourth Wall" –Billed as an ‘existential comedy,’ the two identically-clad Wisconsin actresses confirm this misnomer with the back-and-forth, "You’re tedious…No, you’re tedious." I’d have to say they tied.

    (2) "Karaoke Knights-A One Man Rock Opera"–This guy looks startlingly like House, MD with his same penchant (and talent) for soulful music.

    (3) "Red Tide"–Eh. Heralded as one of Miami New Times ‘Best of–,’ you know it’s sure to be alternative and original. A theater noir mystery that doesn’t leave me caring who’d committed the crime.

    (4) "Get it Off Your Chest"–Not a punny boob play, nor a women’s empowerment plea, rather the first great actress I’ve seen all night. Mary Helena plays a homeless Jamaican woman, possesses amazing stage presence, and implores the audience to share God’s love, all without sounding preachy. To the rich playground moms who clutch their children tightly as they pass by, Helena cries out, "Don’t pretend you no can see me! I’m too big; I’m too black fo’ you no to see me. I no goin’ ta eat you! I no goin’ ta eat yo’ babies!"

    (5) "How Does a Drug Deal Become a Decent 3rd Date?"–This one makes me laugh out loud, as they say in the industry. The actors are from Toronto, a city I quite like, so I admit this gives them an unfair advantage over the others from, say, Racine. The girl re-enacts a date with a sleazy blowhard who attributes his sleazy blowhardiness to not having a TV while growing up.

    (6) "Beowulf or Gilgamesh? You Decide!"–A ‘perennial Fringe favorite,’ this Charlie Bethel whom I guess I’m supposed to know, is welcomed by jolly boo’s and hisses. He eats it up, does his Gilgamesh thing, all the while reminding me a little of David Cross’ Arrested Development Tobias, though unintentionally I’m sure.

    (7) "Oens"–Holy (or wholly) creepy. The fellow’s face looks to be mime make-up that has been sweated off. He tells us of ships sailing with sturdy masts, aromatic incenses, and camphor. He wears a matador-type jacket, bike shorts, and white high tops. To be fair, his handout states the play ‘enacts the eternal wish for a better world.’ Nothing funny about that.

    (8) "Fool for a Client"–A stand-up act proclaimimg ‘Lewis Black meets Mark Twain.’ Mark Whitney works the audience, not a few times channeling Rodney Dangerfield. He tells a funny story of his privileged community and its attempt at implementing a Walking School Bus to combine fun with safety, a feat he claims "fucking impossible."

    (9) "The Attack of the Big Angry Booty" (if you click on any, click on this one)–The account of one Fringe actor’s ensuing diet rollercoaster following the tour. Delivered with the enthusiam of Jim Carrey’s Juice Man role. Upon a second look after the show, I found Juicer-Man to be quite small, in fact, lending even less validity to the lament over his Pizza Lucé addiction.

    (10) "The Cody Rivers Show: Stick to Glue"–Two talented singer/dancers performing a comedic animal number that will bring to mind summers spent at Vacation Bible School. There wasn’t actually any religious context, much like the animal songs you really did sing at VBS. These guys made you want to hold your laughs so you wouldn’t miss the next clever verse.

    (11) "The Pumpkin Pie Show"–The crowd loved this tale of a 5th-grade vagina lesson. I wish we could have seen more of the female lead (her acting, not flesh), because the resemblance to Tina Fey leads me to believe she’s darn funny.

    INTERMISSION: Audience called upon to drink more Summit (Fringe sponsor) and hob-knob with who’s who in the crowd. No more famous sightings, but several who fancy themselves so. One particularly doting mother, an honest-to-god Mel Brooks look-alike, wringing her hands in sheer joy listening to her beloved son go on and on about something surely unfunny. A lot of puffed-up chests. But what better place to try out your material? And what better audience than Mom?

    (12) "Ophelia"–Everybody likes to cuddle, but nobody likes watching other people do it. I don’t want to say this was awful, but the thesaurus keeps telling me that’s what I’m trying to say.

    (13) "Roofies in the Mochaccino"–An entry from a poetry slam, but not the ANGRY kind. This particular poem tells the age-old classic of ‘The Night Fozzy Bear Got Jiggy with Miss Piggy.’ With lines like, "This fine ass swine is mine all mine," and "Nipples tasting like bacon and sweat," you won’t be disappointed by this dirty Muppet porn. A poem whose author claims earned him both the highest- and lowest-ever recorded marks at its slam debut.

    (14) "Homecoming"–Man, it’s like this thesaurus is broken or something. My only thoughts throughout, "I should work my back muscles more. Hers look nice."

    (15) "Gone, Gone, Gone"–Great dancers. Hands clasped and masking-taped together. Set to Barry Louis Polisar’s opening credit song in über-smash- sensation Juno.

    (16) "The Thinnest Woman Wins"–Sigh. More about being fat (see #9). This time, though, with baton twirling. And awkward tumbling on the floor. I wanted to think the awkwardness
    was part of the act, I really did. But then she lost her baton behind the curtain. And I told myself, "That was written in, too." But then she says something like, "Well, my time’s probably up. Come see my show if you even want to." Looks stage left for shepard’s hook.

    (17) "Leaving Normal"–Another Torontonian. Girl grabs two "random" folks from audience to help with her McFlurry order scene. A semi-funny account of a match that almost was (because they both, uncannily, enjoy Oreo flavor).

    (18) "Boom"–One of the same funny guys as was in #10. But for something even funnier with boom in the title, click here.

    (19) "Sex Love & Vomit"–Two female storytellers. The stage lights went out prematurely and they got kind of shafted, just when it seemed they were getting rolling. I think the two would prove to be funny ladies, given more stage time (and light).

    The 15th Anniversary Minnesota Fringe Festival runs July 31st through August 10th. Read the officially submitted synopses of all 156 plays here.

    Read "Inside the Fringe: Installment One" by John Ervin here.

  • Livan's Last Start For Awhile? And The Rockets Get Artest

    Those of you who claim to have known the Twins would be playing for first place on the next-to-last night in July, please stop lying.

    Other commitments prevented me from going down to the Dome for Slowey’s shutout on Monday and the marvelous manufacture of five runs in the fifth en route to a 6-5 win on Tuesday. But tonight was the Twins’ opportunity to move ahead of the Pale Hose, and for veteran hurler Livan Hernandez to quiet the horde hollaring for him to be replaced in the rotation by Francisco Liriano. I’ve got some sentiment on behalf of Hernandez. First of all, through the first six weeks of the season, he went 6-1 with a 3.90 ERA, enabling pitching coach Rick Anderson to sort through his youngsters with a little more patience knowing that he had a veteran stopper on the mound to prevent things from going too far off track. That by itself made Hernandez a better investment than Sidney Ponson and Russ Ortiz combined the previous season. Second, although Hernandez has been increasingly hit harder, he’s been eating a lot of innings–he’s got 143 and 2/3, with Nick Blackburn’s 127 next-most and the rest of the starters not yet at 100. That means if the Twins stay in the pennant race and need to tax their young arms, they may be able to do so (with the possible exception of Blackburn) without worrying about blowing them out. Glen Perkins has never pitched more than 132 innings in a season at any level and Blackburn’s career high is 160. Baker has gone 190 and between Rochester and Minnesota last year, Slowey reached 200. With 55 games left to play for the five-man rotation and hopes that they’d average at least six innings per start, that’s an extra 66 innings apiece (if they each start 11 times). Baker and Slowey can handle it, Perkins, maybe. But without Livan’s 144 (minus 1/3), a bunch of pitchers in their mid-20s get pushed, and the odds of arm injuries rise.

    Hernandez gets by on guile, not a bad role model for a bunch of hurlers without mediocre stuff (with the exception of Perkins). I know I enjoyed watching him befuddle the young Diamondbacks when I went to the Dome late last month. Plus, on a more personal level, as a blogger on the back side of middle age, I’ve got some empathy for an aging guy trying to wheedle his way along in a young man’s game. And a part of me resents picking up my latest Sports Illustrated and reading:

    Whether because of an egregious error in evaluating Livan Hernandez or decisions of a financial nature, the Twins have continued to start Hernandez (a 5.31 ERA and fewer than a strikeout every two innings, despite his 10-7 record through Sunday) even as Liriano (10 straight victories) destroys Triple A hitters in the International League. According to Baseball Prospectus’s projections, replacing Hernandez with Liriano would save the Twins 15 to 20 runs down the stretch, making them two games better in a division race that may well be decided by less than that.

    Well then, there you go: Put a bullet into Livan and ship him off to the glue factory and you might win a pennant. Because the bean counters figure 15 to 20 runs, which by their pythagoreardon berenguergringo formula comes out to two games.

    Yeah, I personally resent it, but I also get the Baseball Prospectus yearbook every spring and have come to admire their scholarship, not least because they are often accurate. I was hoping to catch them badly underestimating one of the Twins pitchers who have come through for the club this season, but their thumbnail sketches of Slowey, Baker, Perkins and Blackburn are all pretty solid.

    More to the point, Hernandez got shellacked tonight: 5 runs, 9 hits and 2 walks in 4 innings’ work. The Dome has been his saving grace (he was 8-1 at home before tonight) and he’s generally been able to battle back from a wretched inning to put together a little mow-through-the-order rhythm. But not tonight. Carlos Quentin crushed a pitch for a line drive homer to left center in the first inning, then cleared the bases with a three-run double (again to left center) in the 4th, prompting manager Ron Gardenhire to say "he was missing [with his pitches] but mostly to one guy."

    Except that seven of the other eight guys in the White Sox lineup also got hits off Livan in those 4 innings, and none of them were cheap. He pitched out of a couple of jams to hold it to just 5 runs, and his ERA–at 3.90 in May, remember–is now 5.48, and his 6-1 record has slipped to 10-8. Despite the fact that I think Liriano remains an extreme injury risk (unless they have done wonders with his mechanics down on the farm) and should be traded now, while his perceived value is still pretty high, it is hard not to endorse the notion that he should be brought up and thrown into the rotation if he’s not going to be dealt, and that Hernandez should slide into the roles of long relief and informal pitching coach.

    Most of the time after a game, I listen to what Gardy has to say and then split. But tonight, I thought it would be instructive to get Hernandez’s reaction to getting shelled at a particularly delicate moment regarding his near-future role on the squad. I waited patiently while the cluster of beat writers asked him all sorts of questions, all the while ignoring the elephant in the room. They asked him about Quentin. They noted that he seemed to get upset with some of the ump’s calls and wanted to know if that were true. They asked if the size of the crowd–over 42,000, the largest non-opening day crowd since the final day of the 2006 season–affected his performance. Hernandez was unyielding, saying he made a couple of bad pitches to Quentin, that he doesn’t get nervous, that he wasn’t frustrated, etc.

    Here was a guy who everybody knows is going to get yanked from the rotation sooner rather than later unless things change, soon and dramatically, in his favor. He just crapped out and reporters were asking if it was because of the size of the crowd! So I stepped in it. "You’ve heard all the talk about Liriano I’m sure. Did that have any effect on you mentally as you pitched tonight?" I asked. He looked daggers into my eyes, his mouth somewhere between a sneer and a smirk, said something to the effect of, "Okay, that’s enough," and turned his back on the throng. Interview over.

    Now Hernandez doesn’t know me from Adam, so I get his pique at some new guy jumping his case. The question would have been better coming from someone else (and perhaps then would have been more elegantly worded). But the question had to come from somebody. And by turning his back on us, Hernandez answered it.

    People who call Ron Artest crazy aren’t exactly lacking for anecdotal evidence. My favorite Artest moment was less than three weeks into the 2004-05 season, when he told his team that he wanted to take some time off to promote his new music record. Yeah, that sounds like a plan. Of course less than a week after that, he went up into the stands and started wailing on a guy who he (mistakenly) thought threw ice at him (it was another guy, of course), precipitating the largest, ugliest, fans-players brawl in NBA history. The domestic abuse and animal neglect charges, and the destroying of a television camera, etc, etc, are also on the books. But I give him a pass for getting into a confrontation with Pat Riley, one of the few times when I understood exactly what he was thinking.

    When he wants to be and the planets are alligned, Artest is also an incredible basketball player, especially on defense, where his stuck-on-overrevved motor can change the dynamic of a game. He epitomizes the phrase, "high risk, high reward." And now that the Houston Rockets have acquired him, I can’t imagine a better place for him. Houston is the armpit of America–hot, humid, oily, and unattractive, a huge city that alternately feel like a ceaseless warehouse district and a suburb on steroids. It’s a place without much of an identity–compare it to Dallas, Austin, San Antonio–but craving a winner. Having come from the political cowtown of Sa
    cramento, Artest will enjoy the upgrade in visibility and scale. More than that, he’ll love the chance to play for a winner (and the Rockets will win if Artest doesn’t flip out), and for coach Rick Adelman. According to a story today by the Houston Chronicle‘s fine beat writer, Jonathan Feigen, Artest florished in the 40 games he played under Adelman after being traded from Indiana to Sacramento, where Adelman coached before Houston. Artest was named to the All NBA first defensive team, and offered to donate his salary to the Kings if they kept Adelman (they didn’t). The fact that Ron Artest is happy with his coach is a great first building block, if such a thing is possible in the ever-changing world Artest inhabits. One of the reasons the Kings were willing to let him go for an apparent song–Feigen is reporting the compensation is Bobby Jackson, promising rookie forward Donte Green, next year’s top draft pick and another player yet to be named–is because he had begun berating himself for not opting out of his $7.4 million contract in Sacramento. Kings management wisely gauged that as rumblings from potentially damaging volcano, and peddled him forthwith.

    People have already started to wonder if Artest and shutdown forward Shane Battier are redundant talents. But if you like defense, that is akin to somebody wondering if an art collector’s Monet is now redundant because the collector just purchased a Renoir. No, while Battier and Artest are similar, and have overlapping strengths, the defense they can play together will only seem redundant to the opponents they are smothering.

    Of greater concern is how well Artest will mix with center Yao Ming. The men are polar opposites in terms of temperament. Yao is deferential, overrated on defense, and slow. Artest is egotistical and ball-hungry, overrated on offense and very quick. If they are both Rockets, I think they will move in different orbits. As a longtime Yao hater, I see all the ways Yao’s game could get under Artest’s skin, even as Yao is being accorded his usual global veneration, upping the resentment ante. And we won’t even go into all the ways Artest could be the problem.

    I am falling prey to the trite temptation to make trades for other ballclubs. I believe it is a trade that would make both participants at least co-favorites to win their respective conferences. It won’t happen for a boatload of reasons I won’t go into now (like the commercial power of Yao’s nationality), but it would be of enormous benefit to both teams: Send Yao, the expiring contract of Steve Francis, and a sign-and-trade deal with Dikembe Mutombo to make the sides match, all to Philadelphia in exchange for center Samuel Dalembert and a sign-and-trade contract for Andre Iguodala.

    Philly would have Yao to pair with Elton Brand on the front line, with Mutombo as a backup and Andre Miller still running the point, with emerging scorers like Thaddeus Young in the mix. That is a team that could make some serious noise in the East. Meanwhile, Houston would have a front line of Dalembert, Artest and Battier, with Luis Scola and Carl Landry if you needed to get bigger at the 4, and a backcourt of Iguodala and T-Mac swinging with Rafer Alston at the point. And that is a team that would sit beside the Hornets and the Lakers as monster conference contenders.

    Even if they stand pat, Houston is suddenly very much in the championship conversation. No team in basketball has quality muckers the likes of Artest, Battier, Scola, Landry and Chuck Hayes–that’s sweat equity by the gallon, and doesn’t even include your two superstars. And looking at San Antonio and Dallas right now, they’ll own Texas.

  • Ten Ways to ______ Your Congresswoman

    flickr/lloydletta

    **While there are scores of bloggers out there committed solely to Fringe Festival reviews, The Rake is striving to offer you a unique, insiders’ perspective. We won’t tell you, "Be sure not to miss…!" What we will provide is a behind the scenes glimpse of life as a local actor, director, everyday- theater-goer. The Rake will be featuring interviews, personal accounts, reviews by wholly unqualified theater reviewers (aka Spazz Dad) and maybe even a guest appearance or two on Dude Weather.**

     

    In the aftermath of the 2004 Presidential election, I determined to write and produce a political satire entitled "Ten Ways to ________ George W. Bush." I did not, in the end, pursue production on or even write this live musical comedy, in which various members of Bush’s cabinet hatch competing plots to do in the old man (full disclosure: I did not vote for George W. Bush). This was partly because friends and family warned that the title alone might earn me a one-way ticket to one of Dick Cheney’s waterboarding chambers. The other reason was that I figured, by the time this work saw the light of stage, it would be too stale for satire since many members of the Administration would be out of office due to scandal, litigation or sweet book deals like Scott McLellan’s. It turns out I was right about most of the main characters, except for Bush, Cheney, and Bush’s homicidal ex-lover, Condeleezza Rice.

    As luck would have it, during the 2006 mid-term election, I discovered a far more spoof-worthy public figure. Though not a member of the Administration, she is such a panting admirer of the Chief Executive that she surely must regret never having served with him. Or, as the most famous news clip of her and the President shows, under him. As people who’ve read my columns for The Rake know, I have been endlessly entertained by 6th District Congresswoman Michele Bachmann, ever since first learning about her during her run for U.S. House in ‘06. Though she is an attractive woman who looks far younger than her 52 years, this obsession is not sexual (I think Jason Lewis, KTLK ‘s pathetic answer to Rush Limbaugh, has the hog’s share of those feelings). It, instead, derives from how shamelessly Mrs. Bachmann embodies every stereotype of the culturally illiterate, socially paranoid, antigay Christian conservative – the type who has been the bane of this country’s existence since Ronald Reagan and Jerry Falwell joined hands to ________ America.

    Which leads to the political musical comedy that I will be launching after all these years. That production, "Catfight!", part of this year’s edition of the Minnesota Fringe Festival, does not, in the end, involve most of the story elements I had originally envisioned. In fact, it doesn’t even concern any actual figures from real political life, including the object of Jason Lewis’ darkest fantasies. However, one of the main characters happens to be an evangelical Republican who’s devoted her adult life to all the favorite hobbyhorses of the God squad: most importantly, the fictitious gay menace that threatens to destroy marriage and turn our children into leather-clad, pool-cue wielding Cruising extras.

    This woman, Mindy Bishop, played Vagina Monologues veteran Kristen Strissel, also happens to be making her first run for Congress in the same part of the Minnesota tundra Michele currently melts or freezes hearts in. In another nod to real life – though it would be that of another prominent Republican now thankfully put to pasture – she is followed at every campaign stop by a pair of documentary filmmakers who work for her very liberal opponent, Stephanie Leary. Hoping to catch her in the type of "macaca" moment that made George Allen history, these brave young souls still manage to post embarrassing clips of Mindy on Leary’s website.

    Which leads to the main reason I chose to make the conservative in my cat fight a fictional character. Mindy Bishop, unlike Michele Bachmann, actually allows the public and the media, friend and foe alike, to videotape her public appearances. Michele, as I found out from two of her goons at the 6th District nominating convention this spring, has somehow managed to prevent anyone – either freelance schlubs like myself or major media outlets like Minnesota Public Radio – to bring a camera into any public gathering where she plans to open her mouth. The reason for this is that the Congresswoman, like the fallen Virginia senator, has been the unwilling star of many classic YouTube clips – a particular favorite being one in which she gushes like a schoolgirl to the faithful at the Living Word Church that she is "hot for God!"

    As the red, or rather, blue, hot Stephanie Leary, Marmy Nelson brings good, left-wing outrage to the proceedings – even if Marmy, herself, is a Christian conservative and lifelong Republican (don’t ask me whether or not she supports Michele)! In another nod to casting against type, I will portray right-wing radio blowhard Bill "Kill" Sargent. Not only will this acting turn offer me a chance to plunder the bilious depths of these losers’ souls, but to also utilize the "voice of God" I have been blessed and cursed with all my life. I will hasten to add that the bloviater I portray more closely resembles Limbaugh than Jason Lewis – while Rush has some finesse with the English language, Lewis possesses the oratorical skill (not to mention physique) of a ballpark drunk.

    Similarly, "Catfight!" would not be complete without a representative of the televangelists and other stumpers for God who are an important part of the fundamentalist universe. A local influence on this character is the man who vies with Jason for Michele’s affections: Living Word Church Pastor Mac Hammond who, though he nearly lost his church’s tax exempt status – and his private jet – due to his endorsement of her during sermons, couldn’t vote for his star devotee because he didn’t live in her district!

    Big Mac’s doppelganger, Dr. Augustus Fairchild (Dan Fuller, who possesses his own Godlike voice that could shake church walls) is not only a pastor of the Gift of Devotion church but a licensed therapist, as well. In this latter calling, he shares much with the religious right’s biggest icon, Dr. James Dobson, as well as Michele’s own husband, Dr. Marcus Bachmann, a counselor whose chief practice is making gay men and women as straight as John Wayne (or, at least, Rock Hudson). Hardhearted atheist that I am, I do tip my hat to true believers in one respect, in that all of "Catfight!" is overseen by one of God’s most beloved, cherished and swinging angels, played by the eminently swinging Michael Cooperman.

    Unlike many of the characters who gave rise to my first production, most of the real-life folk who inspired "Catfight!" are still in office or otherwise on the radar screen. Unfortunately, one of them, former pastor Ted Haggard, has been conspicuously silent, ever since he pronounced himself "cured" of his addiction to hunky masseurs like his longtime male escort, Mike Jones. Luckily, one of Jones’ other clients, Idaho senator Larry Craig, is still sitting in Congress, if not in a certain rest room, and will soon be treating us to a book told from his side of the stall.

    So, if you want to know what makes people like Larry and Ted and Michele tick – and need a break from watching Barack become the 44th President of the United States – come on down and check out "Catf
    ight!" at the Ritz Theater (times and ticket info listed below). And if you think "Ten Ways to ________ George W. Bush" should, indeed, be displayed for the masses, I’m certainly open to any offers of financial backing. Just make sure you also have enough dough for legal protection against Dick Cheney’s waterboard.

    "Catfight" will be presented at:
    Ritz Theater
    345 13th Avenue, NE
    Minneapolis, MN 55413

    Performances:
    Friday, August 1 – 7:00 pm
    Monday, August 4 – 10:00 pm
    Wednesday, August 6 – 5:30 pm
    Thursday, August 7 – 7:00 pm
    Saturday, August 9 – 8:30 pm

    Tickets: $12.00 – Adult
    $10.00 – Students (with ID)
    $5.00 – Seniors (with ID)
    Tickets available only at Uptown Tix
    www.uptowntix.com
    651-209-6799

  • The Guthrie Serves Up 2-for-1 Tickets for "Caviar on Credit"


    THEATER

    Caviar on Credit



    Caviar on Credit, directed by Marcela Lorca (The Secret Fall of Constance Wilde),
    casts 14 players in the comedic mystery of swindler Walter Jackson
    Junior. A case of masked identity and repeat suckers, the actors take
    turns playing the protagonists, lending a Bourne Identity feel
    to it all. Perhaps the most impressive aspect of the show, which was
    written by the cast itself, is the physicality: Each member has equal
    billing in dance numbers, most of which are cleverly choreographed, not
    campy, borrowing moves from eras long (and not so long) ago. With a
    heavy film noir influence, Caviar on Credit has fun playing
    with time period (jaunty fedoras, but also cell phones). Keep an eye on
    Laura Esposito who plays (among other characters) the
    spiritually-wandering Feta Karakas. A master of Cheri Oteri-like
    cuteness and facial contortion, Esposito doesn’t disappoint, even when
    focus is meant to be elsewhere on stage. Runs through August 3rd. -Jill Yablonski



    SPECIAL TICKET OFFER:
    The Guthrie is offering Rake Readers a special 2-for-1 ticket deal on performances of Caviar on Credit tonight at 7:30pm, Saturday at 1pm, and Sunday at 1pm. Call the Guthrie Box Office at 612-377-2224 and quote price code "HR".



    7:30pm, Guthrie Theater, Dowling Studio, 818 2nd Street N., Downtown Minneapolis





    DISCUSSION

    Solutions for the Other 90%



    If you missed last year’s Solutions event,
    which was pretty amazing, here’s your chance to educated yourself on
    the latest ideas in sustainable design in the realms of water, energy,
    education, health care, and
    transportation shortages. Billed as an evening of "short, rapid fire,
    media-rich presentations" by a number of innovators
    in their fields, this presentation will bring to light thoughtful
    solutions to many problems that affect 90% of the worlds population. In
    conjunction with the Walker’s exhibit Design for the Other 90% and curated by bright minds Troy Gallas and Colin Kloecker, Solutions will make you think twice and may even have you changing the way you use our resources. Not to mention, it’s Target Free Thursdays
    at the Walker so admission to the museum is free, and if you stick
    around after the presentation, free food, drinks and music will abound.
    All in all, the perfect "solution" to an otherwise bland Thursday
    evening at home.



    7pm, Walker Art Center Cinema, 1750 Hennepin Avenue, Minneapolis, Free (Tickets available in the Bazinet Lobby starting at 6pm)





    PERFORMANCE

    Raven’s Manor



    A haunted mansion on the Louisiana bayou plagued for 200 years. A girl
    in search of love, knowing that she is cursed to lose it. Three
    malevolent spirits who will do anything to make sure that no one in the
    house marries for love. The legends of New Orleans have inspired the
    Circus Juventas to create Raven’s Manor,
    a Cirque du Soliel-style
    production that will have audiences on the edge of their seat. A young
    girl wants to marry, but her family was cursed many years ago;
    any girl who marries for love will lose her groom to the house.
    Determined to break the curse, the girl calls on all the spirits of the
    house in a thrilling event to banish the evil. Incorporating thrilling
    new acts, including a wall trampoline, the
    production will also feature the talents of Peter Ostroushko,
    continuing his collaboration with Circus Juventas, and local actor Ansa
    Akyea. -Andrew Newman



    July 31st-August 17th, Showtimes vary, Circus Juventas Big Top, 1270 Montreal, St. Paul, $20 Adults, $15 Children, $25 VIP, Click HERE to order tickets online.

  • The Votes Are In

    For nearly a month you’ve waited to learn who the newly
    crowned royalty of Minnesota
    politics might be. Exhibiting saint-like patience and a knack for painting profoundly inappropriate pictures and imagery of your favorite GOP
    Representatives
    , your votes have piled up in comments and emails,
    displaying a passion
    heretofore unknown for anything but basketball
    in the hallowed electronic pages of The Rake. And last night, at The Liffey, at a raucous gathering of
    friends, colleagues, and assorted hangers on, gift packs were doled out and the announcements were made.

    So, without further ado, I introduce you to the 2008 readers’
    choice (by a landslide) for Most Beautiful Man and Woman in Minnesota Politics — Peter Brickwedde and Rachel Hicks!

    Thanks to all who participated and helped with the contest, especially all our nominees who performed with humor and aplomb! And for those of you who wonder why some other Capitol-based beauty/stud didn’t get the call — hold those nominations for next year.

  • Melissa Etheridge

    Award-winning musician and cancer survivor Melissa Etheridge will rock
    the O’Shaughnessy at the College of St. Catherine on Saturday, August
    9th at 8 pm. Etheridge, whose hits include "Come to My Window", is a
    celebrated gay rights and environmental activist who has two Grammy
    Awards to her credit. She also recently won an Academy Award for the
    song "I Need to Wake Up," which appeared in the 2006 documentary *An
    Inconvenient Truth.* Of her ten studio albums, five have gone platinum
    (including three that have gone multi-platinum) and two gold albums.

    Tickets range from $36 to $101. They can be purchased at www.ticketmaster.com
    or by visiting or calling The O’Shaughnessy box office at (651)
    690-6700. The O’Shaughnessy is located on the College of St. Catherine
    campus in St. Paul at 2004 Randolph Avenue. For more information, visit
    www.oshaughnessy.stkate.edu.

  • Books and Bars: Anansi Boys

    Want to join a book club, but not exactly thrilled by the idea of
    having gabby TV talk show hosts telling you what to read? Try Books
    & Bars, a literary club that meets every month to read and discuss
    with good food and good drinks. All are welcome, even if you haven’t
    read the book.

    Striving to get more people reading and talking about books, the club
    is now in its fourth year. Past selections vary from new bestsellers
    like *Water for Elephants* to classics like *Cat’s Cradle* and
    *Lolita.* The club will meet next on Tuesday, August 12th to discuss
    Neil Gaiman’s bestseller *Anansi Boys.* The meeting will take place at
    the Nomad World Pub on Cedar Avenue South in Minneapolis. The doors
    open at 6 pm for the 7 pm discussion. There will be a Happy Hour
    2-for-1 deal before the meeting from 4 – 7 pm.

    Books & Bars otherwise meets the second Tuesday of every month at
    Bryant Lake Bowl. Upcoming books include *Zeroville* by Steve Erickson
    and recent Pulitzer Prize-winner *The Brief Wondrous Life of Oscar Wao*
    by Junot Diaz. For more information, visit www.booksandbars.com.