Everything I learned about rockets as a kid came from a Kiss song. That's rather unfortunate because I found out much later that "Rocket Ride" was not, in fact, about space travel but rather very Earthy matters.
If you don’t necessarily consider Michigan a hotbed of the modern design movement, you’re not alone. But two recent books aim to change that perception, and their authors will appear in Ann Arbor this weekend as part of the Kerrytown Bookfest.
“People do not think of Michigan as a design center," says Brian Conway, Michigan’s state historic preservation officer. "They think of New York or Los Angeles but skip over the Midwest. But there was this very strong design industry here in Michigan, and it actually still exists.”
Saxophonist Kenji Lee is a final year University of Michigan student who is entering his third year as Concert Series coordinator at Canterbury House, the home of U-M’s Episcopal Chaplaincy, and a welcoming space in which U-M music students, their friends, and local and touring musicians can share their work and have fellowship amongst themselves and the broader community.
Journey to U-M Ann Arbor
For the group that puts the Ann Arbor Russian Festival together every year, it’s about much more than simply having a fun time, it’s about sharing their culture.
“Nobody knows what is Orthodox church,” laughed Leta Nikulshina, the festival’s entertainment director. “People think, ‘Are you Catholic?’ ‘No, we’re not.’ Or, ‘Are you Jewish?’ ‘No, we’re not.’
“Its kind of the way to open up who we are and bring us closer to everyone else,” she said.
The festival’s beginnings also had a slight ulterior motive.
After directing seven serious dramas in a row, including Jean-Paul Sartre’s vision of hell, No Exit, Glenn Bugala was ready for some laughs.
Bugala is directing the musical comedy version of Dirty Rotten Scoundrels for the Ann Arbor Civic Theatre. Bugala, who has a Master of Fine Arts in acting from Purdue University, has performed and directed numerous productions at Civic since he became involved with the theater in 1997. His credits include directing Rent, Chess, Tommy, A Midsummer’s Night’s Dream, and Front Page.
Scoundrels, with book by Jeffrey Lane and music by David Yazbek, is based on the 1988 movie starring Steve Martin and Michael Caine as an odd couple of conmen engaged in fleecing rich women on the French Riviera. Caine played a smooth-talking gentleman who cons wealthy women to Martin’s rowdy, lowbrow who is happy snagging $20 from anyone he can.
“I think these days, with the news cycle, we could all use a comedy,” Bugala said. “I’ve known the movie since it came out, and I’ve kept a VHS tape of it since then.”
Art forms will interconnect during "Poetry Through the Ages," one of the many events of the second Rasa Festival, which goes from September 1 to October 7. Visual art, dance, and music are to embody the words of Indian poetry in this new addition to the festival on Saturday, September 15, from 8-9:30 pm at the Arthur Miller Theatre in Ann Arbor.
Sreyashi Dey is a conceptual artist, choreographer, and dancer for this event, as well as director of the Rasa Festival and president and artistic director of Akshara, the organization producing the festival. She described the concept of "Poetry Through the Ages" by saying "words of the poetry will find expression in the diverse art forms that will work together to create a new aesthetic tapestry."
Without a doubt, Laura Palmer’s corpse remains one of the most enduring images to come out of ‘90s television.
Anyone who has watched the Twin Peaks premiere (either at the time of its airing or as part of the younger, revivalist crowd) is certain to recall the eerie impression that Laura is simply sleeping, bound to wake up any minute -- this despite, of course, the fact that she is quite clearly “dead, wrapped in plastic.”
The shot is memorable, perhaps, not so much because of any particular aspect of the composition, but because of the horrible incongruity of its visual and dramatic elements. The viewer is presented with a face apparently at peace, the only hints of death’s presence being the pallor of Laura’s flesh and the slight blue tint of her lips. Faraway from the brutality of Laura’s murder, the image is at such a great remove from the horrific violence behind it that it sits with us in a way that is particularly uncomfortable. But more than that, the image is important for its symbolic significance, for what its very presence on our TV screens says about the way we think and the stories we tell ourselves as a society.
Alice Bolin takes the idea of this symbolic significance as her jumping-off point in a remarkable new collection of essays -- aptly titled Dead Girls -- which she read from on August 17 at Literati Bookstore. A sprawling mosaic of analysis, cultural criticism, and memoir, Bolin’s collection touches on much more than the phenomenon of the “Dead Girl” in the American popular imagination, despite its title.
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.”