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An Afternoon Adventure in High Rise Living and Midtown Lifestyle
The Midtown Museum Neighborhood Association is proud to announce the first Annual Midtown Urban Living Tour. Slated for November, 2nd from 3:00 pm to 7:00 pm, the tour will feature some of Midtown’s finest high rise buildings.
The Urban Living Tour will showcase homes in seven celebrated Midtown communities. Tour goers will have the rare opportunity to explore: Artisan Lofts on Central, Chateau on Central, Villa del Coronado, Regency House, Tapestry, One Lexington and Executive Towers.
In true urban fashion, we encourage tour goers to enjoy the convenience of riding the Light Rail for travel between communities. There will be bike racks at each property for cyclists and pedi-cabs available for easy transportation. After exploring high-rise living stop for a bite at one of the many excellent restaurants found in Midtown.
As significant as it is in the development of Phoenix, Midtown gets less attention in the history books, perhaps because it represents an “in between” phase between the city’s original settlement and the tremendous outward growth that followed. Today, this sector of Downtown is home to a bustling business district, world-class museums and culture, fine restaurants, lush parks and a diverse mix of housing options. We invite you to see for yourself why Midtown is the crossroad of live, work and play in Phoenix.
Images courtesy of Midtown Museum Neighborhood Association
If You Go
Where: Park your car at Park Central Mall and walk, bike or take light rail.
When: Saturday, November 2, 3:00 p.m. – 7 p.m.
Cost: Before Saturday, buy your tickets online for $12.00. Day of event tickets will be available for $15.00 at Park Central Mall.
Although the new venue’s gala grand opening isn’t until October 26, Phoenix Theatre opens the doors of its 250-seat black box theater for the off-Broadway hit Ruthless! The Musical this weekend, turning the spotlight on a split-personality child star.
“Outrageous, but in a funny way” is how Phoenix Theatre Producing Artistic Director Michael Barnard describes the campy show. “It’s done with such a heightened style…it sort of parodies those great old films,” he says. “Part of it’s like the movie The Women, or like Gypsy, or…All About Eve…or Mommie Dearest…so they were smashing all of these different shows together.”
“So if you know those movies,” he continues, “…it’s really fun on that level. It’s not offensive in any way…but it’s quirky and it’s bizarre, and it’s more of a black comedy humor than straight-across humor, because…I mean, the little girl is a little demon child …she’s like The Bad Seed.”
The comically disturbing role of Tina Denmark is shared by 11-year-old Riley Glick and 12-year-old Alex Kirby, both sixth-graders at Arizona School for the Arts and past veterans of Valley Youth Theatre. Glick also landed a role in the national tour of the Broadway show Dr. Seuss’ [sic] How the Grinch Stole Christmas! The Musical, which she’ll repeat this holiday season.
Invited to join the cast of Ruthless by Barnard, who knew her work from Phoenix Theatre’s production of Gypsy, Glick plays a character described as “adorably diabolical.” Is it fun to portray a monster? “Yeah, I like it a lot,” she says with a laugh. “I mean, she really has a sweet vs. evil side, and she can flip any second, so it’s…fun because you get to show a lot of different emotion while you’re playing the role.” Glick continues, “It’s kind of Gypsy, but opposite…so it’s the little girl that’s pushing it rather than the mom.”
With a concert producer and an art director for parents, Glick was accustomed to behind-the-scenes creativity when she began her career in the role of a baby spider in Charlotte’s Web at Desert Stages Theatre. “She went to a play when she was three,” explains her mother, Ronna Glick. “Yeah, and I was like, ‘I want to do that,’” says Riley. “But then my parents made me wait ‘til I was four.”
More than 30 shows later, Glick enthusiastically describes a few special effects from her role in Ruthless. “So I baton-twirl in the show, and I do a couple of tricks…that’s a lot of fun, and that’s more on the sweeter side of Tina,” she says. “But when she gets to the more evil side, I throw a knife.” In a somewhat regretful aside, she reassures me, “Not really, though.”
“This is definitely an adult show,” Glick continues. “I mean, there are bad words in it.” Says Barnard, “The worst word that’s used is ‘bullsh*t’…and somebody gets called a b*tch once, and somebody gets called ‘assh*le’ once.” He pauses for a moment to consider. “I would totally say that an 11-, 12-, 13-year-old could find it funny…it’s just quirky fun…and the characters are very colorful.”
The cast of Ruthless includes longtime Valley favorites like Johanna Carlisle, Debby Rosenthal as stage mother Judy Denmark, and Rusty Ferracane in the drag role of flamboyant manager Sylvia St. Croix. A four-piece cabaret band plays just offstage — still clearly visible in the cozy confines of the black box.
Glick declares, “I promise you, when you walk out of that theater, you will not regret coming to see the show.” Barnard agrees. “If you’re looking for some laughs and…not just the same old fare…just when you think you’ve figured it out, it…keeps changing gears on you.” He concludes, “So it’s really not quite ‘til the bitter end that you know exactly what all’s happened and what transpired.”
“And I think you’ll really dig the black box,” Barnard adds. “We want to do…sort of like an off-Broadway type of material [in the new venue]…the gamut from quirky little musicals to aggressive niche musicals, comedies, or dramas; performance art, little musical revues, cabaret-style stuff…sometimes very heart-wrenching pieces that are…not for the masses…really interesting, provocative.” He cites productions like Bloody Bloody Andrew Jackson and Spring Awakening as recent examples.
“There’s a whole different kind of energy that happens…off-Broadway…. There’s usually a whole different kind of audience there, too…whether they’re a thrill-seeker, whether they’re a risk-taker, whether they’re politically-minded, whether they’re romantically inclined…” he says. These are audiences willing to venture beyond traditional shows.
“I think also half the fun or enjoyment of seeing an off-Broadway piece…is the conversation that’s stimulated by it.” Barnard continues purposefully, “And Lord knows…that’s one thing that theater can do…to provide reasons for communication and socialization in conversation, because we’re becoming so much more…isolated as we go into our telephones, into our computers…” He smiles and tips his head slightly. “It’s nice when you can put that phone down and just talk face to face…’Well, why’d you think that?’ or ‘I didn’t understand this part’…it asks you to have a reaction to it, so that you can converse about it.”
Managing Director Vincent VanVleet explains that the company’s carefully planned ongoing capital building campaign funded the new black box and the airy atrium connecting the two performance spaces.
He reminds me that, after 93 years, Phoenix Theatre is “one of only three professional theaters left in Phoenix presenting local productions.” Growth is vital, and audiences expand in more comfortable surroundings.
Other improvements and plans accompany the new black box: a private donor lounge, a small area set aside for group ticket patrons, an inviting 45-foot bar, and the atrium’s huge glass wall, which can be fully opened to the courtyard.
Staggered curtain & intermission times will optimize use of the expanded bathrooms. “It’s not lost on us that women are the primary purchasers of beverages and gift cart items, so if they’re standing in line they’re also not buying,” says VanVleet. “They’re the primary buyers of tickets, too.”
Theatergoers will take advantage of additional opportunities to attend performances, he says, especially expertly-staged off-Broadway-style productions. “People who buy the arts buy more arts, so we’re not in competition with any of the other companies in town,” VanVleet continues. “The data suggests that the more you go, the more you go.”
If you go:
- Phoenix Theatre’s Ruthless! The Musical continues through September 29 — tickets at phoenixtheatre.com or 602-254-2151
- Bonus: The Broadway Brat Karaoke Party on Wed., Sep. 18, at 6:30PM — free, but tickets required (also at phoenixtheatre.com or 602-254-2151)
- Phoenix Theatre’s season in the Black Box Theatre:
Theater-goers looking for fresh repertoire sated their hunger earlier this month with a daring, historically-based production justifiably billed as “sexy-pants.” Phoenix Theatre pushed beyond its standard line-up of expertly-staged Broadway musicals to offer Bloody Bloody Andrew Jackson, giving audiences a sample of the provocative works planned for the troupe’s new black box venue in the coming season.
In the fledgling years of the United States of America, the hot-tempered and fiercely patriotic Andrew Jackson rose from obscurity to become the seventh President, following John Quincy Adams and preceding Martin Van Buren. Along the way, Jackson’s controversial path included defeating the British as a general in the War of 1812, serving as first governor of Florida, fighting accusations of an adulterous relationship with his own wife, establishing the Democratic Party, defending his contentious policies leading to the forced relocation of Native Americans, and representing Tennessee in Congress.
Impressively, he was also beloved by the American public, winning the popular vote. Jackson was elected by a tremendous margin in 1828, but his victory in the Presidential race was overshadowed by the death of his beloved wife Rachel.
Jackson’s action-packed life story is fascinating, but is it the stuff of theater? Phoenix Theatre took a well-justified, successful gamble with its run of Bloody Bloody AJ performances, which ended June 23. “This isn’t an encyclopedic account of Jackson’s life,” said director Ron May. “You’re not getting a stage version of a Wikipedia page. There are a handful of blatant anachronisms cozied up right next to historical fact,” he continued. “But for the most part what happened, what he did, is dead-on.”
May has made his name in the Valley theater scene both as an actor in shows like Nearly Naked Theatre’s Fuddy Meers – including ovation-winning scenes with a sock puppet — and as Stray Cat Theatre’s founding Artistic Director, offering works like The Dianalogues, columbinus, and Learn to be Latina. May has also directed for Actors Theatre and Black Theatre Troupe.
Bloody Bloody AJ is an emo rock play with music (as opposed to a full-bore musical), peppering action, quirky narrators, and impassioned monologues with “angry young men singing about how unfair life is, and angsting and angsting and angsting” — the very definition of the genre, according to May.
He’s always drawn to the works of Alex Timbers and Michael Friedman, who also wrote Very Merry Unauthorized Children’s Scientology Pageant and Heddatron for their theater troupe Les Freres Corbusier in New York. ‘They have a wicked sense of humor, an enormous awareness of pop culture, and an off-the-wall sense of theatricality,” declared May.
“[Bloody Bloody AJ]…does for history what ‘The Daily Show,’ for me, did for daily news — made it accessible, interesting, relevant, and a hell of a lot of fun,” said May. “America at the time was a young nation — kind of prepubescent, still trying to find its footing.” He continued, “Andrew Jackson ultimately becomes its mouthpiece — the best front man you could possibly have for an ‘emo nation.’” May added, “The show is like an insane mash-up of ‘Schoolhouse Rock,’ ‘South Park,’ and a Fall Out Boy concert.”
Actor Joe Kremer described the play as “like a parallel universe. It’s in the history, but it’s all these modernizations of language…. He [Jackson] says stuff like ‘This sucks!’” (some of the most PG-rated dialogue in the show, which carried provocative “mature audience only” warnings).
At the same time, the piece revealed glimpses of Jackson’s personal and ideological vulnerabilities, bolstered by the pleasantly enjoyable shock of Caleb Reese’s clear, melodic voice in the title role, which pointed to his nine-year run with busy local cover band The Instant Classics.
Joe Kremer played multiple parts in Bloody Bloody AJ, including Jackson’s political rival Henry Clay and the Native American statesman Black Fox, who negotiated many of Jackson’s treaties.
“Henry Clay’s just kind of funny, and just like an old, grumpy politician…I would call it ‘My dad in a bad mood on a Sunday morning,’” he said, laughing. “Black Fox is a lot more stoic, and…at the end of the show, very serious.” Kremer concluded, “Black Fox is more me, where Henry Clay is more of a portrayal of a character — let’s put it that way.”
As for using Kremer in the role, May said, “The show was written so that non-Native actors could play the Indians, but…[the] biggie is making sure we represent the Indians in the show in a way that isn’t offensive, doesn’t simmer in stereotype.”
Regarding the production as a whole, Kremer said, “It’s tight jeans, big boots…. When you wear it [the costume]…it’s this eyeliner feeling.” He continued, “I think that’s the big difference — I mean, you could do a show about Andrew Jackson and the 1800s…just based on what’s there…but how fun would it be?”
Kremer said, “I have a 16-year-old daughter…there is no way I could get her to sit…and watch a documentary about Andrew Jackson. It just wouldn’t happen.” He chuckled wryly. “But I could get her to sit in the show and…actually be interested in who he is and what he did and…‘Wait a minute – what did he do? Indians? Why would you do that to people?’”
He started his acting career in Nearly Naked Theatre’s 2002 production of Equus, starring with May in Fuddy Meers and Take Me Out and working under his direction in The Laramie Project and other shows. The actor’s credits include Noises Off, Dead Man’s Cell Phone, Much Ado About Nothing, [sic], and, most recently, Phoenix Theatre’s run of Our Town.
It was a bit of a jump turning from Thornton Wilder to Andrew Jackson, admitted Kremer. “How different is it? Uh, wow… I don’t know how to describe it without some drug reference,” he said with a grin, “because…it’s kind of going from this realm of seriousness…to just this constant thing of laughter…so it’s a very different vibe.”
“Going from drama to comedy…it hits a tightrope, because you come into it still in that dramatic role. It’s difficult, but it’s doable,” continued Kremer. “One of the things we did with Our Town…we took away a little bit of the reverence,” he said. “So once the reverence is gone, going between those two is pretty easy, because they’re [both] shows, they’re just a little different, and you have to just pay attention to what’s in the text, and that’ll guide you into good places.”
Watch for May’s upcoming productions at Stray Cat Theatre and other venues around the Valley. In October, you’ll have a chance to see Joe Kremer as a conflicted Chicago police officer in the dark, gritty comedy A Steady Rain by Keith Huff, produced by Actors Theatre.
- More about the historical Andrew Jackson from the University of Virginia’s Miller Center
- Phoenix Theatre’s upcoming 2013-2014 season
- Stray Cat Theatre
- Actors Theatre
Summer can be a great time for experimental arts — audiences are receptive and fewer performances compete for attention. Last weekend’s Kick-A 2 Dance Showcase at Phoenix Theatre’s Little Theatre turned the spotlight on 20 talented choreographers assembled for a second year by Lisa Starry, director and choreographer of Scorpius Dance Theatre.
“We want it to expand to workshops next year,” says Starry, “get more people from outside of Arizona…turn it into a festival. These things just take time.”
In the meantime, she raised visibility by inviting special guest artist Lauren Froderman, a Phoenix-born graduate of Greenway High School and the seventh-season winner of the television show “So You Think You Can Dance,” who joined the showcase for two performances.
Starry’s goal was to create an opportunity for choreographers to gain exposure. The roster mostly included experienced artists, but also featured an 18-year-old newcomer.
“Nope, they don’t have to be established,” Starry explains. “They (had) to submit their video or do a live audition by the deadline, and…I have a panel of judges. At this point, I’m only looking for modern, contemporary, jazz, or hip-hop. There are no tutus or ballet shoes.” She continues, “Contemporary is usually where you see your most versatile choreography…things that have to be highly entertaining and strong technically.”
Several candidates particularly appealed to Starry. “Chase Jarvis and Lindsay Green…are not dancers,” she says, “but they are kind of specialty act aerial artists.” Starry explains, “They said that they work with a pole, and I was a little hesitant because most people think ‘that’s what strippers use.’”
“So I tested them out,” she continues, “and they blew everybody away…it was awesome. It was like a male and female duet acro-pole performance…she’s like a toy ballerina, and he comes in and kind of tortures her, and she’s all over the pole, and…the first time I saw them my mouth just dropped.” Starry laughs. “It’s pretty cool. Major strength and flexibility.”
“Another choreographer is Angel Castro,” says Starry. “He works with me with Scorpius, but he’s starting to reach out…on his own right now.” She describes his all-female piece: “It’s strong, it’s very athletic…he does a lot of cool floor work. And he has…a little bit of a sexy appeal. I’m always attracted to people who bring out the sensuality in performers and make them look great — yeah.”
Starry trained at the Phoenix School of Ballet, later attending California Institute for the Arts and continuing on a six-month full scholarship to London Contemporary Dance School (now called The Place).
“Because of my education,” she says, “I started teaching and became the founder of Metro Arts, which is my full-time career. I founded the dance program…now I’m the Associate Head of School.” In that same year, 1999, Starry also created Scorpius Dance, the school’s professional residents. This August, she raises the profile of her troupe by taking Scorpius to the Edinburgh Festival Fringe, capitalizing on last year’s successful appearance in A Vampire Tale at the Bram Stoker International Film Festival.
Kick-A featured several pieces by Starry herself, including a trio titled No More Walls. “It’s a dedication that I did for some of my friends who are working very hard to become citizens of the United States, and all of the hard and long steps they’ve had to take to get there,” says the choreographer. “So it’s kind of a serious piece…but it’s good.”
Another work used music by Philip Glass recorded by the composer and the Kronos Quartet. “I’m kind of going back on my old-school days of more classical, modern work,” Starry describes, “…inspiration of Paul Taylor…all my old training that I used to have when I was a younger dancer.”
Titled Rotation, Starry’s piece featured eight members “focusing on different types of circular rotations that the body can create in different patterns,” she says.
Starry also offered a new creation incorporating Jack White’s “Love is Blindness,” from the recent film The Great Gatsby. “It’s an intense song,” she says with a smile. “I just gathered five dancers and choreographed something that matched the feeling and setting of his music.”
“I’m a fast choreographer, which is good and bad for me,” she continues. “It’s good because I can…get things done quickly, but also I’ve got to take a few steps back and try to process it more, because I can create more detail in my work.” Starry chuckles ruefully at her own impatience.
Plans for Scorpius going into next season include dancer auditions tomorrow evening, performances in Scotland, California, and Montana, and the 10-year anniversary of A Vampire Tale.
- Scorpius Dance Theatre
- Auditions for the 2013-2014 season take place on Wednesday, June 19, at 7 p.m.
The fabulous high-kicking dancers of La Cage aux Folles (which translates as The Birdcage) hang up their feather boas after Sunday’s final evening performance on April 7 at Phoenix Theatre. Known as Les Cagelles, eight gender illusionists provide flirtatious, flouncing backup for their headliner, Zaza.
Rusty Ferracane plays the role of Georges, the owner of the musical’s eponymous St. Tropez nightclub and long-time partner to Albin, who performs as Zaza. “That’s usually my most challenging part in a musical — the dance,” Ferracane confides, shaking his head in appreciation of the inimitable Cagelles.
“I always say I’m not talented enough to be in the chorus, because they have to dance and sing and act, and…that’s too hard,” continues Ferracane, downplaying his stellar performances in shows like Man of La Mancha and I Love You, You’re Perfect, Now Change. He laughs. “Poor guys! I’m really grateful I’m not doing that — I make a very unattractive woman.”
“The Cagelles are difficult to cast,” declares director Michael Barnard. “Some men’s faces just don’t translate to a female face…and yet they’re very talented. But the point is, you’re trying to create an illusion that this is actually a female.”
“The real La Cage aux Folles takes the business of being a female illusionist quite seriously,” Barnard continues, “so they’re professionals to the nth degree…part of that is to truly try to fool the audience. After a while you begin to wonder, ‘Am I really staring at a man?’”
The actors playing Les Cagelles arrive at least 90 minutes before curtain, tucking away extra bits using gaffs between their legs. They don several pairs of stockings, chest and hip padding, tape, and layers of make-up — “plus they’re dancing in high heels,” adds Barnard with a chuckle.
Ferracane believes the appeal of female illusionists lies in what he calls the ‘wow’ factor — “you know, the glamour of a drag queen,” he explains. “You don’t have that with a woman turned into a man, because there’s no glamour there, there’s no entertainment value to that. You need the glitz.”
Traditionally, men impersonating women have always had greater entertainment value onstage than women posing as men. “I just think it’s fighting the stigma,” suggests Robert Kolby Harper, who plays Albin/Zaza opposite Ferracane in a role requiring plenty of mascara and chutzpah. “Men dressing up as women…it’s a wider gap from the typical idea of what a man is.”
“Lots of men get in touch with their feminine side in different ways, but capturing the illusion of it — it’s an art form. But think about it,” Harper continues. “It’s really no fun being a man. I mean, how fabulous is that?” He shrugs. “Not very. There’s no mystique.”
Barnard suggests that the innate allure of men dressed as women stems from the appeal of the forbidden. “I think men have a stronger sense of fascination when it comes to fantasy…so I think there’s something strangely titillating and yet at the same time dangerous…mysterious and unique.” He adds, “Any time men dress up as a woman it’s always good for a laugh.”
The comfortable, loving partnership of Georges and Albin in La Cage shows signs of stress when their son Jean-Michel asks his parents to disguise their relationship in order to pass muster with his future in-laws. Ferracane and Harper use the foundation of their own long-time friendship and previous acting collaborations to establish a credible on-stage rapport.
Says Barnard, “They’re good friends in real life… I think they play off each other and…know each other’s sense of humor well.” Harper laughs. “Oh, yes — we’ve played lovers like four billion times.”
Their first show together was Hello, Dolly. “We played lovers then too,” jokes Harper, “…Cornelius and Barnaby. I mean, they’re not really lovers, but we always thought that it could have happened.” He chortles wickedly. “That was our first romance,” agrees Ferracane with a chuckle.
“I feel so comfortable with Rusty,” Harper continues. “I’ve known him about 21 or 22 years, and we’ve worked together many times…so that’s the awesome part — that kind of camaraderie.” He and Ferracane strive to give their characters believable depth.
“It’s the warmth in the relationship,” says Harper. “Ultimately you have to get two people who make the audience forget that it’s two men. I think…why this show’s done so well in the past, even back when it opened, was that…the relationship kind of sneaks up on you.”
“Because it’s fine to be gay if you’re funny and campy,” Harper adds ruefully, “but if you get real, some people can react negatively to that. If they’re real and loving and caring and honest, it’s sometimes hard for audiences.” He continues, “You sneak up on them. It’s much harder for somebody to reject someone they adore.”
“I enjoy showing family values in a different light,” says Ferracane. “It’s not…typical, but they’re definitely a strong, loving, committed family that’s supportive.” He thoroughly enjoys the show’s music, too. “Jerry Herman is so great with a lyric and…a melody, and he really tugs at your heart.”
Is the show still relevant, despite the progress of equality since the play’s birth in 1973 and the creation of the musical ten years later? Harper has no doubt. “I think it’s totally an issue — otherwise gays would be allowed to marry,” he declares.
“There are many unconventional families,” Harper continues. “If you’re an adoptive parent, and you’ve given everything to a child, you know what that’s like. If you’re a stepparent, you know what it’s like to be accepted or not in that child’s life. So I think it’s bigger than just the ‘gay thing.’”
He elaborates, “I don’t know of anybody who has a normal family. What is ‘normal’? A child can be ashamed of one or both parents no matter who the parents are. And what is it like for that child to make you or your partner feel like you don’t have a place?”
“This piece holds up very well,” agrees director Barnard. “There’s not a doubt in my mind that the prejudices of this lifestyle and this world still very much exist today.”
If you go:
La Cage aux Folles continues at Phoenix Theatre through Sunday, April 7.