The title of the show is interesting. When I read it, I thought the creators were being playfully nonchalant.. I imagined someone uninitiated to the blues being blown-away by this new sound, and when the musician is asked, "What IS that?" he would respond, "It ain't nothin' but the Blues," and this interpretation would of course imply a focus on that genre. So, I was pleasantly surprised to learn that the show's Two Acts would trace the evolution of the genre, from slave-songs to an unexpected trace of Country, and therefore enlighten us to its roots which would in-turn inform other styles of music that came after it, and in that way, nearly everything is nothing more than altered Blues....
The show is narrated by Sugaray Rayford. What struck me most about him, beyond the power of his voice, was the sheer amount of sweat that poured from him during the show. That man puts everything he has into the songs he sings. The Gospel numbers were my favorite, particularly "Catch on Fire," which was the Act I finale. The highlight of Act II was a song called "Crawlin' King Snake." The actor who sings that song looks positively reptilian, it's actually a little unnerving.....
"It Ain't Nothin' But the Blues" has a few things in common with "Black Pearl Sings!" the show still running in the basement Studio, they both trace musical history, they even share "Goodnight Irene," (although the two versions are radically different), but most importantly, they both make the walls quake.....
Saturday, May 26, 2012
Wednesday, May 9, 2012
Crippled Critic Theatre Review: "Next to Normal" @ Artists Rep 5-8-12
It's really almost cruel, the trick that "Next to Normal" perpetrates on its audience-- the fact that it seems so innocuous at first glance... We know going in that it's about mental illness, but we are led to believe for awhile that we're talking about depression and anxiety... Even when Diana, (Sussanah Mars) makes sandwiches on the floor, she pulls-off the "oh silly me" response so well, that we allow ourselves to think that her brain must play little games with her--there's probably enough story there to sustain a musical; a family dealing with one member who isn't in full control of herself, and we all learn we are not as normal as we think we are.......
"Next to Normal" is not that musical, and sometimes things get so intense that you may wish it were....
My first exposure to Susannah Mars was one of her holiday cabarets at Artists Rep, my second was her performance as Becca in "Rabbit Hole." Seeing her in two wildly different roles made me wonder what it might be like if she combined her amazing vocal talents with the nearly palpable grief she exhibited in "Rabbit Hole". "Next to Normal" is the answer.
Diana has very vivid delusions, and she slowly sinks deeper and deeper into them. If you are not prepared to see a woman almost audibly crack in front of you, do not see this show. However, if you do possess the stamina to withstand such an emotionally exhausting experience, you are in for an exhilarating, enlightening ride.
The music assists in transporting you into raw and real madness. It's loud, sometimes blaring and you feel as though it might mirror what it feels like inside Diana's mind.
Willam Wadhams does a wonderful job as Diana's lost, flailing husband Dan, and the couple's neglected daughter Natalie is portrayed by supremely talented high school senior Meghan McCandless.
Everything is still tattered and frayed after the somewhat upbeat finale, you will likely be drained from the experience, but it is one that is worthwhile.....
"Next to Normal" is not that musical, and sometimes things get so intense that you may wish it were....
My first exposure to Susannah Mars was one of her holiday cabarets at Artists Rep, my second was her performance as Becca in "Rabbit Hole." Seeing her in two wildly different roles made me wonder what it might be like if she combined her amazing vocal talents with the nearly palpable grief she exhibited in "Rabbit Hole". "Next to Normal" is the answer.
Diana has very vivid delusions, and she slowly sinks deeper and deeper into them. If you are not prepared to see a woman almost audibly crack in front of you, do not see this show. However, if you do possess the stamina to withstand such an emotionally exhausting experience, you are in for an exhilarating, enlightening ride.
The music assists in transporting you into raw and real madness. It's loud, sometimes blaring and you feel as though it might mirror what it feels like inside Diana's mind.
Willam Wadhams does a wonderful job as Diana's lost, flailing husband Dan, and the couple's neglected daughter Natalie is portrayed by supremely talented high school senior Meghan McCandless.
Everything is still tattered and frayed after the somewhat upbeat finale, you will likely be drained from the experience, but it is one that is worthwhile.....
Saturday, May 5, 2012
Crippled Critic Theatre Review: "Anna Karenina" Portland Center Stage, 5/4/12
I approached "Anna Karenina nervously, because I have not read Leo Tolstoy's gigantic tome. But, I needn't have worried, Portland Center Stage's production was very accessible, with an informative playbill and the unusual and clever structure of a "Book-It" play, (local examples include "Owen Meaney's Christmas Pageant," and "Snow Falling on Cedars"), I did fine.
The first thing you''ll notice about "Anna Karenina" is just how well it fills the stage. Everything is big, there are ice-skating scenes and grand ballroom dances, with elaborate and striking costumes. And the set! Oh, the set! Not only was it fittingly large, to match the production's epic scope, but it also had an abundance of little touches that were so cool, like twinkling lights in the houses in twilight.
There is also a smattering of humor which I enjoyed for its unexpectedness, given the sometimes crushing sadness of the story.
"Anna Karenina" is among Portland Center Stage's most ambitious productions, the climatic scene at the end was so impressive and effective that I had to resist the urge to cover my face due to the oncoming train.
On a brief personal note, I went with my grandmother who loved the show, and I had the privilege of honoring a broken promise to see a production of "Anna Karenina" made by my grandfather sixty-four years ago. During intermission, we talked about how much she identified with the female-oppression themes. This really enhanced the experience for me, and so I suggest you too attend with an elderly loved-one, you might be surprised how much you learn ....
The first thing you''ll notice about "Anna Karenina" is just how well it fills the stage. Everything is big, there are ice-skating scenes and grand ballroom dances, with elaborate and striking costumes. And the set! Oh, the set! Not only was it fittingly large, to match the production's epic scope, but it also had an abundance of little touches that were so cool, like twinkling lights in the houses in twilight.
There is also a smattering of humor which I enjoyed for its unexpectedness, given the sometimes crushing sadness of the story.
"Anna Karenina" is among Portland Center Stage's most ambitious productions, the climatic scene at the end was so impressive and effective that I had to resist the urge to cover my face due to the oncoming train.
On a brief personal note, I went with my grandmother who loved the show, and I had the privilege of honoring a broken promise to see a production of "Anna Karenina" made by my grandfather sixty-four years ago. During intermission, we talked about how much she identified with the female-oppression themes. This really enhanced the experience for me, and so I suggest you too attend with an elderly loved-one, you might be surprised how much you learn ....
Saturday, April 28, 2012
Crippled Critic Theatre Review: "Black Pearl Sings" 4/27/12
"The Crippled Critic" is now on the Official Press List of Portland Center Stage, and I doubt there could've been a better show to mark my first night as an Invited Critic than "Black Pearl Sings," which opened last night in the Ellyn Bye Studio......
"Black Pearl Sings" explores the partnership of prison inmate Alberta "Pearl" Johnson and Library of Congress musicologist Sussanah Mullally. Sussanah is searching Southern prisons for old slave songs to preserve them.
In their first meeting, Pearl sings "Trouble So Hard," the clang of her leg-irons keeping time. The scene depends upon being able to hear Sussanah's awe-struck silence, but let me tell you, it's difficult to resist the urge to applaud.... Fear not, there are many opportunities for that later in the show, and even a few audience-participation moments....
Sussanah secures Pearl's release and takes her to New York. Pearl can help Sussanah in her academic ambitions and Sussanah can assist Pearl in finding her daughter. There are many shifts of power in the show-- Pearl possesses the musical treasure-trove Susannah desperately needs, and Sussanah knows the inner-workings of the system Pearl must navigate. Along the way, the play explores issues from racism to academic politics, and its real-life inspiration is the relationship between Lead Belly and musicologist John Lomax.
The play is a fascinating history lesson, many times you'll find yourself saying, "Wow! I didn't know that song was so old, and there really was a time when no one knew it..." But, what makes "Black Pearl Sings" unmissable is of course the rollicking songs that shake the walls inside the The Studio's black-box....
"Black Pearl Sings" explores the partnership of prison inmate Alberta "Pearl" Johnson and Library of Congress musicologist Sussanah Mullally. Sussanah is searching Southern prisons for old slave songs to preserve them.
In their first meeting, Pearl sings "Trouble So Hard," the clang of her leg-irons keeping time. The scene depends upon being able to hear Sussanah's awe-struck silence, but let me tell you, it's difficult to resist the urge to applaud.... Fear not, there are many opportunities for that later in the show, and even a few audience-participation moments....
Sussanah secures Pearl's release and takes her to New York. Pearl can help Sussanah in her academic ambitions and Sussanah can assist Pearl in finding her daughter. There are many shifts of power in the show-- Pearl possesses the musical treasure-trove Susannah desperately needs, and Sussanah knows the inner-workings of the system Pearl must navigate. Along the way, the play explores issues from racism to academic politics, and its real-life inspiration is the relationship between Lead Belly and musicologist John Lomax.
The play is a fascinating history lesson, many times you'll find yourself saying, "Wow! I didn't know that song was so old, and there really was a time when no one knew it..." But, what makes "Black Pearl Sings" unmissable is of course the rollicking songs that shake the walls inside the The Studio's black-box....
Cast:
Chavez Ravine.......Alberta "Pearl" Johnson
Lena Kaminsky..........Sussanah Mullally
Lydia Comer.........Guard
Friday, April 20, 2012
Tuesday, August 16, 2011
Music in the Garden of Eden: Amos Lee @ The Edgefield 8/12/11
Never have I seen such a transformation as the one that occurred at The Edgefield Amphitheater..... I had a bad experience at The Edgefield last summer at the first of two Bob Dylan/John Mellencamp shows. The wheelchair seats were in the rear of the lawn and not elevated.. I brought my concerns to the attention of the management and received what was without a doubt the fastest response I have ever gotten from anyone. The response included apologies, promises to review an alternate Wheelchair location and an offer of tickets to the next Dylan/Mellencamp show!!! Truly wonderful customer service! This summer, I saw that Amos Lee was doing a show at The Edgefield. I e-mailed the person who had been so kind to me last summer and asked if the wheelchair-seats had been moved. As this was in April, days before tickets went on sale, (yes I am that big of fan) they replied that they were unsure of the plans, but that they would be happy to offer me a spot on the VIP guest list! After I recovered from euphoria-fueled shock, I gratefully accepted. The day came, and I made my way to the VIP section, en route I spotted the new location of the wheelchair-seats, on a hill just to the side of the VIP section! I couldn't believe they were improved that much! I can't wait to use them, and plan to on Sept 4th for Ray LaMontagne. I thoroughly enjoyed the VIP Experience, and Amos Lee electrified the gorgeous summer night with his unique brand of ethereal rock-soul.
I cannot tell you how great it feels to be treated the way The Edgefield has treated me. It is so refreshing to be listened to, and be valued as a costumer, after spending a lifetime running head-first into a brick wall of apathy and indifference with just about every other company in similar situations. I humbly, almost tearfully, bestow a newly created Crippled-Critic Rating on The Edgefield: The Glittering Golden Ramp of Fame!!!
I cannot tell you how great it feels to be treated the way The Edgefield has treated me. It is so refreshing to be listened to, and be valued as a costumer, after spending a lifetime running head-first into a brick wall of apathy and indifference with just about every other company in similar situations. I humbly, almost tearfully, bestow a newly created Crippled-Critic Rating on The Edgefield: The Glittering Golden Ramp of Fame!!!
Thursday, June 30, 2011
The Gospel of Marc: Marc Broussard @ The Aladdin Theater 6/24/11
I know, I know, another religion-inspired title, and this one is almost gratuitous. Marc Broussard did not sing anything explicitly religious, but the title is apt because of the way he sings--he sings like a Charismatic Preacher, one expects to see him with a cobra in one hand, and a Bible in the other. He is pure Bayou Soul. It explodes out of him, I'm not sure why an image of a snake-handling preacher enters my mind except that I think they must have a similar mindset, the same dare-devil attitude, possessed by a spirit few others understand.
I bought my ticket on the strength of his "Carencro" album. I had my appetite whet for the Aladdin show by a brief performance in the KINK Lounge. It was the most ambitious thing I have ever seen on that small stage, which usually has an artist accompanied by a pianist, if that. Broussard's performance on the other hand had 5 musicians on stage-the show was delayed nearly an hour due to set-up time. Let me tell you, it was well-worth the wait!
The Aladdin Theater show was amazing, and I first saw the image of a snake-handler when he did his best-known song, "Home," during which he executed a completely unexpected flip.
When the show was over, I raided the merchandise booth and bought every CD I didn't already own, and a T-shirt. Someone passed me the set-list and because I was still so amped-up from what I had just witnessed, I decided to hang-out for a while by the tour bus. The drummer came out and asked if I would like to meet Marc, and I said 'yes.' He told us to wait a little bit while Marc finished his meet-and-greet with contest-winners. We waited, and soon the drummer emerged again, this time he went back in and pulled Broussard away from the meet-and greet (ain't I special?) He signed a lot of my stuff, and was an incredibly cordial, and down-to-earth person, (I always expect musicians to be somewhat lost in their own head, how else could something so otherworldly emanate from them?)
I left The Church of Rock & Roll once again with my soul satiated and refreshed until next time.....
I bought my ticket on the strength of his "Carencro" album. I had my appetite whet for the Aladdin show by a brief performance in the KINK Lounge. It was the most ambitious thing I have ever seen on that small stage, which usually has an artist accompanied by a pianist, if that. Broussard's performance on the other hand had 5 musicians on stage-the show was delayed nearly an hour due to set-up time. Let me tell you, it was well-worth the wait!
The Aladdin Theater show was amazing, and I first saw the image of a snake-handler when he did his best-known song, "Home," during which he executed a completely unexpected flip.
When the show was over, I raided the merchandise booth and bought every CD I didn't already own, and a T-shirt. Someone passed me the set-list and because I was still so amped-up from what I had just witnessed, I decided to hang-out for a while by the tour bus. The drummer came out and asked if I would like to meet Marc, and I said 'yes.' He told us to wait a little bit while Marc finished his meet-and-greet with contest-winners. We waited, and soon the drummer emerged again, this time he went back in and pulled Broussard away from the meet-and greet (ain't I special?) He signed a lot of my stuff, and was an incredibly cordial, and down-to-earth person, (I always expect musicians to be somewhat lost in their own head, how else could something so otherworldly emanate from them?)
I left The Church of Rock & Roll once again with my soul satiated and refreshed until next time.....
Monday, April 18, 2011
I have Glimpsed Heaven: Paul Simon @ The Showbox at the Market, Seattle WA, 4/17/11
We arrived at the box office early. They passed out wristbands, one blue, and most importantly for your Crippled Correspondent, one orange ADA wristband... We dined at the pub inside the theatre, I had to use the weirdest lift I've ever seen to get down to the dining area, a flat platform that flipped-out over the stairs.... It took a long time to figure out how to make the return trip, I thought for one horrible moment I was stuck downstairs. They got it working, and awhile later they asked people wearing the ADA wristbands to come forward. I couldn't resist, I said "ADA, the three sweetest letters in the English language." The crowd laughed.
We entered the showroom, I'd say its closest Oregon equivalent would be The Crystal Ballroom in both layout and vibe, funkiness combined with old-world class-- there was a beautiful chandelier.... Best of all, there was an open-floor, which meant that I got to park my lucky butt front-and center!!!!!!
Simon's set began slowly, "Boy in the Bubble" seemed a little more down-tempo than usual, a good stylistic choice to match the intimacy of the venue, I thought. He did a cover of Jimmy Cliff's "Vietnam" and told us that it was what inspired "Mother and Child Reunion." (Only a genius like Paul Simon could combine a reggae protest-song with a Chinese restaurant menu item and come up with "Mother & Child Reunion.") He played the two songs back-to-back and by-God, we mere mortals could glimpse the influence...... He also covered "Mystery Train" and I was hoping he'd stay with the train-theme and play "Train in the Distance", but alas. However, he did play "Hearts & Bones" and ripped my soul in half.
He mixed in some cuts from his new album, "Dazzling Blue" and "So Bueautiful or So What" and they sounded even better live.
Then he tore the roof off with "Diamonds on the Shoes of Her Shoes" and "The Obvious Child." "Obvious" transported me somewhere else, it was like an out-of-body experience....
There is no way I can recall all of the twenty-odd songs he played that night. "Sound of Silence" "That was Your Mother" "Still Crazy" and "Crazy Love Vol. II" were among them.... I'm still not over the high of repeating a front-row experience I haven't had in twenty-one years (!) He is a master, that's all I can say.....
We entered the showroom, I'd say its closest Oregon equivalent would be The Crystal Ballroom in both layout and vibe, funkiness combined with old-world class-- there was a beautiful chandelier.... Best of all, there was an open-floor, which meant that I got to park my lucky butt front-and center!!!!!!
Simon's set began slowly, "Boy in the Bubble" seemed a little more down-tempo than usual, a good stylistic choice to match the intimacy of the venue, I thought. He did a cover of Jimmy Cliff's "Vietnam" and told us that it was what inspired "Mother and Child Reunion." (Only a genius like Paul Simon could combine a reggae protest-song with a Chinese restaurant menu item and come up with "Mother & Child Reunion.") He played the two songs back-to-back and by-God, we mere mortals could glimpse the influence...... He also covered "Mystery Train" and I was hoping he'd stay with the train-theme and play "Train in the Distance", but alas. However, he did play "Hearts & Bones" and ripped my soul in half.
He mixed in some cuts from his new album, "Dazzling Blue" and "So Bueautiful or So What" and they sounded even better live.
Then he tore the roof off with "Diamonds on the Shoes of Her Shoes" and "The Obvious Child." "Obvious" transported me somewhere else, it was like an out-of-body experience....
There is no way I can recall all of the twenty-odd songs he played that night. "Sound of Silence" "That was Your Mother" "Still Crazy" and "Crazy Love Vol. II" were among them.... I'm still not over the high of repeating a front-row experience I haven't had in twenty-one years (!) He is a master, that's all I can say.....
Sunday, January 23, 2011
I Worshipped at The Church of Rock & Roll: Amos Lee @ The Crystal Ballroom 1/21/11
Between this post and my last one: "Praise Be to The Concert God" I run the risk of over-using religious language.... Well, that's I risk I'm going to have to take, because I have come to believe that live music is indeed akin to a "religious experience." A musician has the ability to connect your soul to his, and you share a transcendent feeling....
I feel that way at every Amos Lee show, I've been to so many I've lost count. I have been to every formal performance in Portland, (and even a few radio sessions) ever since seeing him open for Bob Dylan in '05. However, Friday's show at The Crystal Ballroom was by-far the best.
Amos Lee's new album, "Mission Bell" will be released this Tuesday, the 25th. I believe it is his best offering yet, and its Gospel-infused songs certainly contributed to the jubilant Church-like atmosphere.
Friday's performance held particular significance for me personally. Weeks ago I posted a photo of Amos & myself on his Facebook page, with a caption asking him to please sing the Paul Simon songs he had sung at The Brooklyn Academy of Music tribute show. On the night of the concert I ran into Amos's drummer, Freddie Berman, who recognized me from previous performances, he told me that he had seen the caption and would "put in a good word" to Amos.
Sure enough, the first song of the encore was a soul-stirringly beautiful version of "Peace Like a River" I hope from the bottom of my heart that he will record that song, along with "Homeward Bound." (The other song from the BAM tribute is "Nobody", and it is included on an I-Tunes exclusive EP.) It too is wonderful beyond description. Hearing the words of one hero in the mouth of another is truly something to behold.
The night was unforgettable, I will treasure it forever.
I feel that way at every Amos Lee show, I've been to so many I've lost count. I have been to every formal performance in Portland, (and even a few radio sessions) ever since seeing him open for Bob Dylan in '05. However, Friday's show at The Crystal Ballroom was by-far the best.
Amos Lee's new album, "Mission Bell" will be released this Tuesday, the 25th. I believe it is his best offering yet, and its Gospel-infused songs certainly contributed to the jubilant Church-like atmosphere.
Friday's performance held particular significance for me personally. Weeks ago I posted a photo of Amos & myself on his Facebook page, with a caption asking him to please sing the Paul Simon songs he had sung at The Brooklyn Academy of Music tribute show. On the night of the concert I ran into Amos's drummer, Freddie Berman, who recognized me from previous performances, he told me that he had seen the caption and would "put in a good word" to Amos.
Sure enough, the first song of the encore was a soul-stirringly beautiful version of "Peace Like a River" I hope from the bottom of my heart that he will record that song, along with "Homeward Bound." (The other song from the BAM tribute is "Nobody", and it is included on an I-Tunes exclusive EP.) It too is wonderful beyond description. Hearing the words of one hero in the mouth of another is truly something to behold.
The night was unforgettable, I will treasure it forever.
Monday, August 30, 2010
Praise Be to The Concert God: Dylan & Mellencamp @ The Edgefield
When it comes to the existence of God I am a skeptical agnostic. However, after Bob Dylan’s show with John Mellencamp I am now a devout believer in “The Concert God”
The wheelchair section at the Edgefield turned out to be hideous. It was way too far back and not elevated at all. So, we decided to get as close as we could to the front. The spot we found was perfectly fine for the opener, but as soon as Mellencamp came out, nearly everyone stood, and thus blocked my view entirely.
Being the intrepid concertgoer that I am, I fought my way up to the stage. The best I could do was peer through the slats of the speaker tower. I was almost thwarted in my efforts by a very stupid woman who was waving a blanket for no apparent reason, right across my sightline. This was the first time The Concert God showed His mighty power because the woman inexplicably moved on.
At first the security guard hassled us, but after we explained exactly why we were there, he suddenly became my very best ally. He dutifully shooed away anyone who dared inch toward my hard-won vantage point. Was this yet another divine intervention by The Concert God ? I think so! Mellencamp was incredible. His set brought a wonderful end to the quest of fulfilling my “Bucket List”.
Bob Dylan moved center-stage, and suddenly my view from the slats went from not-so-great to completely useless, and so began our trek all the way around the venue, hampered by terribly rough terrain. We found an OK spot that provided a wide view of the stage. Dylan’s set was amazing, as always. Still, I was annoyed at having to trudge through a throng of people -twice- just to eek out a pretty poor view, especially considering the beautiful wheelchair seating at the outdoor concerts held by The Oregon Zoo.
I decided to write a brief note of complaint to The Edgefield about the location of the wheelchair section. I barely held-out hope for a response, let alone one that was nearly immediate, but that is what I got, (along with an offer of two tickets to the following night’s Dylan/Mellencamp show.)
This time we got right up front, but even then it was difficult to see when everyone gathered around the stage, and it was on this night that The Concert God showed the full range of His boundless strength. The security guard for this night was a young guy, not like the very old man from the previous night. He actually folded-up his own chair and told me to angle into his spot… This meant I had an absolutely perfect view of both Mellencamp and Dylan’s shows. Which leaves me with only one way to describe what happened: With The Concert God, all things are possible…..
The wheelchair section at the Edgefield turned out to be hideous. It was way too far back and not elevated at all. So, we decided to get as close as we could to the front. The spot we found was perfectly fine for the opener, but as soon as Mellencamp came out, nearly everyone stood, and thus blocked my view entirely.
Being the intrepid concertgoer that I am, I fought my way up to the stage. The best I could do was peer through the slats of the speaker tower. I was almost thwarted in my efforts by a very stupid woman who was waving a blanket for no apparent reason, right across my sightline. This was the first time The Concert God showed His mighty power because the woman inexplicably moved on.
At first the security guard hassled us, but after we explained exactly why we were there, he suddenly became my very best ally. He dutifully shooed away anyone who dared inch toward my hard-won vantage point. Was this yet another divine intervention by The Concert God ? I think so! Mellencamp was incredible. His set brought a wonderful end to the quest of fulfilling my “Bucket List”.
Bob Dylan moved center-stage, and suddenly my view from the slats went from not-so-great to completely useless, and so began our trek all the way around the venue, hampered by terribly rough terrain. We found an OK spot that provided a wide view of the stage. Dylan’s set was amazing, as always. Still, I was annoyed at having to trudge through a throng of people -twice- just to eek out a pretty poor view, especially considering the beautiful wheelchair seating at the outdoor concerts held by The Oregon Zoo.
I decided to write a brief note of complaint to The Edgefield about the location of the wheelchair section. I barely held-out hope for a response, let alone one that was nearly immediate, but that is what I got, (along with an offer of two tickets to the following night’s Dylan/Mellencamp show.)
This time we got right up front, but even then it was difficult to see when everyone gathered around the stage, and it was on this night that The Concert God showed the full range of His boundless strength. The security guard for this night was a young guy, not like the very old man from the previous night. He actually folded-up his own chair and told me to angle into his spot… This meant I had an absolutely perfect view of both Mellencamp and Dylan’s shows. Which leaves me with only one way to describe what happened: With The Concert God, all things are possible…..
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