Felix Humble is a troubled man. At 35, he’s made only small progress in academia as an astrophysicist; he’s overweight and stutters when under pressure; he’s worn out; and he’s very angry about the missing bees.
Charlotte Jones’ dramatic comedy Humble Boy opens with Felix searching with rising frustration for the colony of bees tended by his father, a gentle but distant biology teacher in the rural Cotswolds of England. It matters because Felix is home for his father’s funeral and the bees seemed to be everything to his father.
Ypsilanti’s PTD Productions presents a warm, gently funny and sometimes magical staging of Humble Boy at the Riverside Art Center.
There’s an interesting look that Freddy Cole sometimes gets when he’s playing. It’s not a faraway look, exactly, but it’s as if he’s not fully present, not completely in the moment. Sitting behind the keyboard, he stares off into the audience, looking at them but not really seeing them. His hands move across the piano keys seemingly with a mind of their own, coaxing out chords and picking out melodies. It’s like he’s somewhere else.
At least that’s the impression I got last Thursday at Kerrytown Concert House, where the Freddy Cole Quartet gave a pair of evening performances. Made up by Cole on piano and vocals, Randy Napoleon on guitar, Elias Bailey on bass, and Jay Sawyer on drums, the quartet offered a refreshing and skillful taste of straight-ahead classic jazz.
This my not seem an obvious time for a play titled Humble Boy -- ahem -- but Ypsilanti-based community theater company PTD Productions will be presenting Charlotte Jones’ award-winning 2001 comic drama at the Riverside Arts Center nonetheless.
“I love plays that are both funny and poignant at the same time, and this certainly qualifies,” said director Laura Bird. “The main character is grieving the loss of his father, but he’s also getting grief from other people about how he’s grieving. And this is a subject I’m passionate about -- that there’s no wrong way to grieve. ... Plus [the play] has these great characters, and flirts with Hamlet in a lighthearted way.”
The crowd for the third annual Community Sing with Matt Watroba at The Ark on August 16 was not large -- maybe 50, 60 people -- which was perfect. It allowed Watroba to invite us all to bring our chairs to the flat area in front of the stage and form a large circle. It also allowed him to ignore the microphone that had been set up on the stage and instead move around inside that circle, and lead us in singing without using any amplification.
He didn’t need it.
Every August for the last 12 years, a bit of Nashville has visited Ann Arbor for the Kerrytown District Association’s Nashbash music festival.
Thursday’s edition of the event coped with extensive road construction around its location at the Ann Arbor Farmers Market, along with threatening weather for much of the day. But by the time the festival kicked off, the weather was flawless, the fans dodged the construction barrels, and the smell of barbecue filled the air.
There’s a moment near the end of Laura Bernstein-Machlay’s new book of essays, Travelers, in the middle of the author’s conversation with a friend on page 163, when she makes the comment, “I’m a liar … I’ve lied to everyone I know. I lie to myself every damn day.”
Out of context this excerpt might seem to cast the speaker in an uncharitable light -- an appearance that is ameliorated by having come to know the narrator as a genuine and warm person over the course of the previous 15 essays -- but it’s worth mentioning because it speaks to the heart of one of the challenges inherent in the genre Bernstein-Machlay has thrown herself into with this book. When taking oneself as a subject, how can you ever be sure that the truth is what you think it is? How can you weed out the false from the real in the stories we tell about ourselves, reinforced through repeated use?
“I had to be as honest with myself as I possibly could,” Bernstein-Machlay said in an interview. “And that meant moving past the lies I was so easily telling the world. So much that I was telling them to myself. And they weren’t big lies, they were just the stories about yourself that get you through the day.”
There ain’t nothin' like the blues.
Perhaps that is why in 1969, a group of University of Michigan students created a gathering in an open field on the banks of the Huron River to listen to some blues from the likes of Otis Rush, Howlin’ Wolf, Big Mama Thornton, T-Bone Walker, Lightnin’ Hopkins, B.B. King, and Muddy Waters.
They created not only the first blues festival in Michigan but the first electric blues festival ever.
Is it almost over? It’s almost over.
But you still have time to enjoy some good summer books.
Still searching for the perfect beach read? Look no further than Michigan mystery writers Darci Hannah (Cherry Pies & Deadly Lies), Pamela Gossiaux (Trusting the Cat Burglar), Greg Jolley (Malice in a Very Small Town) who are appearing at Nicola’s Books on August 16 at 7 pm for "a late-summer mystery event, filled with great beach reads for your last summer gasp."
Hannah began her writing career with historical fiction, penning 2010’s The Exile of Sara Stevenson. But when her agent recommended writing in another genre, Hannah started Cherry Pies & Deadly Lies and knew just where she’d start.
While the exact origins of Morris dancing are not clear, historians do know that people have been participating in this lively step dance for centuries. Shakespeare mentioned it in his plays. Peasants enjoyed it along with their summertime ales in the 1600s. The first known written reference dates to 1448 when Goldsmiths’ Company in London paid seven shillings to Morris dancers for a performance.
And in the Ann Arbor area, dancers have gathered since 1976 to engage in this energetic form of folk dancing. Ann Arbor Morris dancer Carol Mohr enjoyed international folk dancing and fell in love with Morris in the late 1970s.
For anyone who believes in the power of pop music to communicate in a powerful, even transcendent way, the idea of Bettye LaVette singing the songs of Bob Dylan creates some pretty high hopes. On August 9, the Sonic Lunch concert series brought that pairing to downtown Ann Arbor, and the results were just as good as expected.
Local singer Antwaun Stanley and his tight band opened the show with a sharp, energetic set that brought a modern spin to a 1970s soul/funk sound. A couple of terrific covers -- Maze’s “Running Away” and Al Green’s “Simply Beautiful” -- demonstrated his compelling stage presence and showcased his vocal range.
But the highlight of Stanley’s set was “Where Are We Now?,” a song he wrote with Tyler Duncan and Theo Katzman in the wake of the 2016 presidential election. Something of a modern-day “What’s Going On,” the song drew a huge response from the crowd. “Are we breaking through, or are we breaking down?” Stanley sang. “We’ve got to be the change; we’ve got to preach the change.”
LaVette opened her set with the title song of her recent Dylan album, Things Have Changed. One of the best of Dylan’s latter-day works, it carries a new, ominous impact in the current social climate, and LaVette brought all of that to her performance.