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Sally Bowles (Kira Lace Hawkins) and dancers in "Cabaret." The Theater Latte Da production features choreography by Michael Matthew Ferrell. Photo by Michal Daniel.
POST BY CAROLINE PALMER, SPECIAL TO THE STAR TRIBUNE
Choreographing for “Cabaret” must feel exhilarating and daunting. After all, whoever tackles this job is following in the footsteps of first Ronald Field and then Ron Marshall on Broadway, not to mention the legendary Bob Fosse on film. But Ivey award winner Michael Matthew Ferrell proves he is up to the task in the new production of the famed John Kander and Fred Ebb musical now playing at the Pantages Theatre.
“Cabaret” captures a specific moment of time – the blinkered days leading into Hitler’s cruel domination of Germany and Europe. Berlin has an atmosphere of thrilling sleaziness but something far more ominous is brewing, and there’s nothing fun about it. The story evolves from carelessness into darkness, as if the entire city itself transitions from a playful dream into a years-long nightmare. Ferrell picks up on this pivotal transition in his choreography for the Peter Rothstein-directed staging, produced by Theatre Latte Da and Hennepin Theatre Trust.
Because “Cabaret” takes place in a underground nightclub, the dancing is sexy-as-all-get-out, propelled by pelvic thrusts, swaying hips and nearly bare bottoms. It would be easy to rely on a stock bump-and-grind approach for the early musical numbers but Ferrell’s movement choices consciously hint at the danger to come.
Tyler Michaels as the Emcee is a sneering, audience-teasing, glittery dynamo and often joins in with the bawdy chorus who stomp through their paces with a frankly impatient sensuality. They aren’t in jackboots (yet) but there’s clearly a force afoot to transform these hedonists into either enemies or allies of the state (“Mein Herr” with its militaristic forcefulness, led by the gutsy Kira Lace Hawkins as Sally Bowles is a prime example).
Ferrell completes these connections with his movement choices in the second act. A high-kicking chorus line devolves into goose-stepping and Nazi salutes. Partygoers waltz prettily before joining in with Fraulein Kost’s (Aeysha Kinnunen) rendition of the chilling hymn “Tomorrow Belongs to Me.” Michaels and a monkey-suited dancer happily hoof toward a horrific climax: “If you could see her through my eyes … she wouldn’t look Jewish at all.” The Emcee can only make such a joke in a society primed to accept it so the combination of the upbeat tap dancing and the deadly statement is all the more rattling.
Ferrell, along with Rothstein, exposes the beating heart of “Cabaret.” It’s a story about transitory liberation, about abandoning troubles at the door, about being true to one’s self, others be damned. But of course we all ignore our surroundings at our own peril. We can only dance so long before the music stops playing.
“Cabaret” ends February 9. For further information visit www.hennepintheatretrust.org.
Katy Perry/ Associated Press
You can hear Katy Perry roar in person when she brings her Prismatic World Tour to Target Center on Aug. 22. It’s part of her 46-city North American tour, which starts June 22 in North Carolina.
The voice behind “Teenage Dream,” “Firework” and “Roar” will be joined by rising country star Kacey Musgraves, who is also opening for Lady Antebellum on Feb. 7 at Target Center. In some markets, Tegan & Sara or Capital Cities will open for Perry.
Perry last performed in the Twin Cities on Aug. 23, 2011, at Xcel Energy Center.
No ticket details for Minneapolis have been announced except for Citi card holders, who can get advance access starting Jan. 21 at www.citiprivatepass.com.
Photo by Al Powers/ Associated Press
Bruno Mars is not only playing the Super Bowl halftime show but he’s coming back to Xcel Energy Center in St. Paul on June 21.
The pop star behind such Grammy-nominated hits as “Locked Out of Heaven” and “When I Was Your Man” has announced a new leg of his Moonshine Jungle Tour. He performed a soldout concert at the X in July 2013.
Tickets will go on sale Feb. 3. Aloe Blacc will open.
Though it doesn't look like the chilly North Atlantic of Iceland, where American violinist Hilary Hahn and German pianist Hauschka recorded their 2012 CD "Silfra," this music video (by Hayley Morris) from one of the album's tracks has a captivating, stop-action charm that matches the music's forward-spinning energy.
The two musicians discussed the CD for two years, but when it came time to record it with producer Valgeir Sigurðsson in Reykjavik, they did it without scores, and mostly in single takes. In all but one of the CD's tracks, Hauschka plays a "prepared" piano, with various objects and dampers placed on the strings.
Hahn and Hauschka (born Volker Bertelmann) will perform "Silfra" at a show Sunday evening at Aria in Minneapolis, the opening date of a new concert series presented by the Schubert Club. Called Mix, the series (being done with Liquid Music) presents two more shows this winter/spring, including pianist Anthony de Mare (April 13) and alt-chamber group Ethel (June 3). De Mare will reinterpret songs by Stephen Sondheim for solo piano. Ethel will present works by contemporary composers, including Mary Ellen Childs, as well as video projections.
The Hahn/Hauschka show has just a few standing-room tickets remaining, which will be sold at the door on Sunday. Tickets for the two later shows are still available.
(Note: this trailer contains fleeting partial nudity.)
Some thrillers set out to move you and others aim to mess you up. “Bastards” (***, unrated, in subtitled French and English) the prestige shocker from director Claire Denis, is a ravisning example of emotionally assaultive moviemaking. Its fact-inspired story about recent French sex ring scandals fuels a tense, fatalistic film noir to haunt your darkest nightmares.
The film’s elliptical editing fragments the story into a jigsaw of disorientation. With an eerie electronica score by the British indie pop band Tindersticks, the film weaves together themes of corporate greed, revenge, incest, infidelity and suicide.
Craggy, handsome Vincent Lindon plays Marco, an oil-tanker captain who abandons ship after receiving an SOS from his family. His brother-in-law has jumped to his death, the family shoe factory is in ruins, and his teenage niece (the luminous Lola Creton) has been hospitalized following a sexual assault. The man at the center of these sprawling events appears to be a tycoon (Michel Subor). Marco, determined to probe beyond the cursory police reports, sets out to seduce and entrap the man’s much younger mistress (Chiara Mastroianni.)
Literally and figuratively in the dark for much of the film, Marco gropes toward answers that elude us as well. Swaths of story don’t make sense, but neither do the daily headlines. But Denis creates an immersive sense of dread that’s hard to shake. Her work here combines the masterful visual control of Michael Mann, the creepy atmospherics of David Lynch and the labyrinth plotting of Stanley Kubrick’s “Eyes Wide Shut.” She conjures a world where an unguarded moment of emotion can be as dangerous as a bullet. “Bastards” is an imperfect film but a perfectly mesmerizing one.
(7 and 9 p.m., Dec. 16-17, Trylon Microcinema, 3258 Minnehaha Av., Minneapolis. Admission: $8, Call 612-424-5468.)
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