Welcome to Artcetera. Arts-and-entertainment writers and critics post movie news, concert updates, people items, video, photos and more. Share your views. Check it daily. Remain in the know. Contributors: Mary Abbe, Aimee Blanchette, Jon Bream, Tim Campbell, Colin Covert, Laurie Hertzel, Tom Horgen, Neal Justin, Claude Peck, Rohan Preston, Chris Riemenschneider, Graydon Royce, Randy Salas and Kristin Tillotson.
Photo by David Joles
For many years, there has been idle chatter about how smaller performance groups and venues could somehow leverage their disparate values into something greater.
The Southern Theater has put that concept to work in ARTshare, a new program that uses the subscription model to let audiences sample work from 15 resident theater and dance troupes. Patrons buy an $18 monthly membership and then are all set to pick and choose. Memberships go on sale July 22 for calendar year 2015. The Southern hopes to sell 1,500 memberships and will stop at 2,100.
At the same time, the Southern will change how it schedules performances and allow several companies to run in repertory.
“When multiple resident companies perform in the same week, audiences have more opportunities to see new work,” said Damon Runnals, the Southern’s executive director, in a statement.
The program provides stability for the companies involved, variety for audiences and a much stronger sense of purpose for the Southern, which has in recent years had financial and programmatic issues. The 200-seat theater on Washington Av. now has something that loosely resembles an eclectic season that relies on the strengths of the producing companies.
“The end result is hopefully a better fulfillment of The Southern’s mission: to foster a community of exceptional artists,” Runnals stated.
There will be 15 productions, according to the press release, with 144 performances through 2015. A partial list of the companies includes: Black Label Movement, Four Humors Theater, Live Action Set, Mathew Janczeski’s ARENA DANCES, Sandbox Theatre, Savage Umbrella, Swandive, Sossy Mechanics, TigerLion Arts, Workhaus Collective.
Memberships and information will be available at the Southern’s website, starting at 2 p.m. on July 22.
Three theater artists will test drive new work next Monday at The Southern Theater in Minneapolis. The three are current Playwrights’ Center McKnight fellows Sun Mee Chomet, Denise Prosek and Stephen Yoakam.
The show is 7 p.m. Monday at the Southern, 1420 S. Washington Av., Mpls. Tickets are free but you should reserve, either online or by calling 612-332-7481.
A couple weeks in advance of the happy chaos that the opening of the Green Line will create, Bedlam Theatre opens the door on its new digs in Lowertown St. Paul (213 4th St. E.) on Saturday with a day-long party from noon till after midnight. The festivities begin with kid-friendly puppet activities, followed by cabaret performances, live bands and wee-hours dancing to vinyl spun by KFAI music director Miguel Vargas.
In keeping with Bedlam's philosophy of putting the community in community-based theater, the space will serve food and drink daily from 11 a.m. to 2 p.m. to encourage residents and visitors to stop in, share ideas and be part of whatever creative process might be going down at the moment. The same concept was behind their popular happy hour at the former West Bank location in Minneapolis, but they're opting for midday this time around because the lunch hour is more of a peak activity time in downtown St. Paul, said director John Bueche.
Bedlam's first Lowertown show opens June 13, the night before the new Green Line brings thousands of Minneapolitans who hate driving on 94 pouring into St. Paul's streets. Titled "The Beast," the play written by Ryan Underbakke follows events leading up to a fictional massacre of an immigrant family in northern Minnesota.
For now, the theater's website is calling for deep-pocketed beer drinkers to fork over $1,000 to help them stock up for tomorrow's party, with the payback being free beer through 2020. Good luck with that, guys -- we're guessing there might be a few takers. See more info here.
Bedlam Theatre held its first performance Saturday night at its new Lowertown space in St. Paul and what good fortune to kick things off with the premiere of Morgan Thorson’s “YOU.” Thorson and her crew showed off some of the many possibilities for the big, airy refurbished room with a view of the Union Depot and waiting-to-be-used light rail tracks right outside the window. After the curtain call Bedlam co-founder Maren Ward thanked everyone for attending the “soft opening” (bigger festivities are planned for later this spring, when the space will open its accompanying bar and restaurant).
“YOU” explores the dynamics of a dance ensemble as well as the different personalities that emerge over the course of the creative process. This particular work delves into the positive aspects of interplay and how individuality sparks a collective goal. Joined by the terrific cast of Jessica Cressey, Genevieve Muench, Max Wirsing and special guest Emma Barber, Thorson (a two-time Sage Award-winner) has once again illustrated how a simple concept like collaboration can lead to a much deeper exploration of relationships and movement.
The audience is seated at each end of the space, so some of the experience depends on your location. Thorson plays with this dynamic, running the dancers around the space (and even some of the back rooms) but also experimenting with perspective, constantly shifting the front of the work so that it no longer seems necessary. The movement is pedestrian but when set to everything from Michael Jackson, Bee Gees and experimental harpist Zeena Parkins it acquires an extra level of confidence and showmanship.
Thorson injects several eclectic references to the work. There is a tiny twerk here and there, coupled with a skittering shuffle. All of the dancers don red velvet costumes with gold brocade, as if they ripped down the curtains from a Summit Avenue mansion (Cressey still wears the rod across her shoulders). They dance with determination and a high level of physical propulsion while looking like outcasts from a very peculiar marching band. It’s an excellent visual.
Midway through “YOU” the dancers chant “We trust that things are coming together,” reminding us that they are good dancers, we are “good lookers” and they look good in their costumes, too (created by Merrill Stringer and Thorson). As in many moments throughout the evening, Thorson uses self-reference to shift the perspective again. She and the other dancers work with such focus and commitment, that even the most lighthearted moments unfold with the same sort of care. This is a fine example of how five people can truly become one – or even one another.
Who: Morgan Thorson
When: 8 p.m. Mon. & Thu.-Sat. Ends Mar. 29
Where: Bedlam Lowertown, 213 E. 4th St., St. Paul.
Tickets: $12-$18 (Mar. 24 pay-as-able). 612-341-1038 or www.bedlamtheatre.org
POSTED BY CAROLINE PALMER, SPECIAL TO THE STAR TRIBUNE
When Myron Johnson, artistic director of Ballet of the Dolls, took the Ritz Theater stage on Saturday night to introduce Ashwini Ramaswamy, he reminded the audience that a dancer’s first solo show is a “rite of passage.” It’s an opportunity, he said, “To do your own thing.” And Ashwini, a member of Ragamala Dance, did just that in “Swarupa (Revelation).”
A live Indian orchestra accompanied Ashwini, who was dressed in a costume of brilliant red and gold, as she performed the south Indian dance form known as bharatanatyam. Vocalist Lalit Subramanian, Rajna Swaminathan (percussion), Anjna Swaminathan (violin) and Ashwini’s mother, Ranee Ramaswamy (co-artistic director of Ragamala with Ashwini’s sister Aparna Ramaswamy), chanted the spoken syllables that add another layer to the complex rhythms. Dance and music have a strong bond in bharatanatyam, and this symbiotic relationship was on display throughout the evening.
Ashwini performs with all the grace and beauty commonly associated with bharatanatyam, but she also brings a level of athleticism, ferocity and even a touch of mischief into her dancing. In “Pushpanjali, Manikya Veena, and Alarippu,” choreographed by bharatanatyam luminary Alarmél Valli (guru to all the Ramaswamys), Ashwini showed her maturity with the difficult choreography but as her eyes darted side to side playfully she also demonstrated the extraordinary physical control required of her craft.
Ashwini also shared her lyrical side in “Bho Shambho” and “Alaipayuthe” (both choreographed by Valli). During the former she covered the stage with her joyful steps in celebration of the Hindu deity Shiva while the latter was marked with moments of stillness.
The evening concluded with Ashwini’s own creation, “Thillana,” which showed her light-hearted side in full effect. Dancing with confidence, joy and, always, control, Ashwini delivered a complex and exciting work that perfectly reflects her outgoing personality. It is always special to see an artist coming into her own. The standing ovation Ashwini received was a fitting salute to all of her hard work.
|Books (199)||Architecture (56)|
|Movies (187)||Music (2695)|
|Classical (245)||Theater (647)|
|Culture (305)||Minnesota History (32)|
|Tickets (388)||People (713)|
|Style (11)||Holidays (17)|
|Openings + closings (54)||Awards (240)|
|Behind the scenes (830)||Book news (108)|
|Casting news (71)||Celebrities (342)|
|Clubs (98)||Concert news (906)|
|Dance (136)||Design + Architechture (53)|
|Funding and grants (59)||Galleries (83)|
|Late-night TV (38)||Local TV and radio (193)|
|Minnesota artists (281)||Minnesota authors (89)|
|Minnesota musicians (1049)||Museums (150)|
|Orchestras (115)||Red hot (61)|
|Seen elsewhere: Neat stuff (118)||Theaters (124)|
|Culture wars (28)||Entertainment (4)|
|Movies (254)||Television (473)|
|Art (277)||Photography (67)|
|Nightlife (244)||Comedy (1)|
|SXSW music festival (62)||Author events (1)|