Isabella Dawis as Edith in the Mu Performing Arts production of "Edith Can Shoot Things and Hit Them"
Photo by Michal Daniel
Blair was reporting on Rey Pamatmat's play "Edith Can Shoot Things and Hit Them," which premiered last year at the Humana Festival in Louisville, Kentucky.
Showing those experiences on stage is important to Pamatmat -- and to [Humana director] May Adrales, who says that, for her, "seeing Filipino actors onstage and hearing them tell their story is always moving to me."
Adrales and Pamatmat are part of the Asian American Performers Action Coalition. A recent study by the group found that last year just 2 percent of the roles on Broadway and major Off Broadway shows went to Asian American actors.
"You go to shows and everyone in the cast is of the same ethnicity," Pamatmat says, "when in reality, almost all Americans live their life and encounter people of various ethnicities everyday. Whether it's your co-workers or people at the grocery store."
His plays will always have diverse casts, he says, because "that is the way my world actually is."
Isabella Dawis as Edith and Alex Galick as Kenny in the Mu Performing Arts production of "Edith Can Shoot Things and Hit Them"
Photo by Michal Daniel
All the reviews I found were clear to note that this is a play still in its formative stages, and it needs some work. For some, the experience was still worthwhile.
From Rob Hubbard at the Pioneer Press:
Mu Performing Arts' production of this 2011 drama deserves to be seen, for the author has fashioned an intriguing coming-of-age story, one in which three youths try to figure out how to live without adult supervision. It's far from a perfect script, and the performances lose some steam in the second act, but when it's good, it's very good.
Mu gets a gold star for giving a playwright a look at his work. Gold is not cheap, though, and it comes at our expense... bring pillows and board games.
Isabella Dawis as Edith in the Mu Performing Arts production of Edith Can Shoot Things and Hit Them
Photo by Michal Daniel
Edith Can Shoot Things And Hit Them wants to be a movie. Much of what we hear about in A. Rey Pamatmat's play - Edith's armed "securing the perimeter" of the house, the shooting of Dad's girlfriend Chloe, Benji's fraught confrontation with his homophobic mother, Dad waiting in his car, unwilling/unable to enter the house - would be, in a film, seen, and to excellent effect.
...but too often the play has a choppy and often uncomfortable rhythm. Just as a scene develops power, it ends, and then we wait, with growing dissatisfaction, for the next one.
Have you seen "Edith Can Shoot Things and Hit Them" by Mu Performing Arts? If so, what did you think? Leave you review in the comments section.(3 Comments)
Mike Doughty made a name for himself as front-man of the band Soul Coughing, but it's a period of his life that was marked by insecurity and heavy drug use. He describes these struggles in his new memoir, "The Book of Drugs."
Image courtesy of the artist
Doughty spoke to Kerri Miller this morning about his addiction. He says he doesn't regret his drug use.
"I can't renounce drugs," he wrote in his memoir. "I love drugs."
And yet--he's well-acquainted with the chaos, destruction and despair that addiction causes. He confesses: "I loathe myself in a lot of these stories."
When asked if he ever thought about what the drugs might have done to his brain, his answer is blunt: "No."
"It was basically all I had - the only worthwhile thing in the world for me. There were instances where it was clear that I might have died - and that wasn't an enticement to stop because if you've only got one good thing in life - you've gotta live for it."
Doughty says the drugs shut off what he called a "core of self-loathing," but ultimately it stood between him and the music he wanted to make.
You can hear the entire interview by clicking on the link below:
Under Kate Nordstrum's reign, the Southern Theater became the place to see performances of new music by some of the genre's biggest names.
When the Southern Theater hit upon hard financial times it was forced to lay off almost all of its staff, and no longer curates artistic performances.
Curator and producer Kate Nordstrum has carved a niche presenting live concerts of new music which don't fit neatly into established musical genres. (Photo courtesy of Stacy Schwartz)
According to Kerr, it's the latest step in her evolution from arts administrator to curatorial powerhouse.
Originally a dancer, Nordstrum focused on the growing number of talented performers slipping between genres. While there are numerous places to see live music in the Twin Cities, most present just one style: classical, jazz, rock, or folk.
Nordstrum recalls seeing Wilco drummer Glenn Kotche perform a solo percussion set at First Avenue one night. She left feeling it deserved a slightly more serious setting.
"Where people were listening intently and there weren't beer bottles clanging in the background necessarily; where people were still feeling really relaxed and feeling like they are at a night out and having a good time with their friends, but that was a little bit more focused," she said. When Nordstrum realized the size and acoustics of the Southern Theater lent themselves perfectly to such concerts, she began to book shows. "At the Southern, it was wonderful to use the space that way," she said. "To showcase music with good lighting, with good atmosphere, with glasses of wine in people's hands in a space that kind of allowed people to let down their guard and be adventurous."
While prospects for Nordstrom looked bleak for a while, the SPCO recently offered her a part-time position curating new works. Details won't be revealed until August, but Nordstrum said SPCO musicians will likely work with developing composers in a way which will allow audiences to become familiar with their work.
You can find out more about Nordstrum's work by reading the full story here.(1 Comments)