"Artebella Daily" Arrives: New Online Showcase for Local Artists

By Carmen Marti

Entire contents copyright ©2012 Carmen Marti.  All rights reserved.

When Artebella Daily, a website devoted to showcasing Louisville visual artists, launched just more than a month ago, artist Suzi Zimmerer signed up to receive the daily email once a week – who needs more messages Monday through Friday? 

But next thing she knew, Zimmerer “wanted [Artebella] every day,” she says. “I find it really fun. I’m having a terrific time reading everyone’s profile and seeing their work.”

That’s the point, says Shannon Westerman, executive director of the Louisville Visual Art Association, which sponsors the site [Artebelladaily.com]. “LVAA is very much a grass roots, artist-driven organization.” When former board member Meg Higgins suggested the Artebella concept, it matched the organization’s goals. “We were looking for a progressive, cutting-edge way to use the potential of technology to help increase the visibility of local artists,” he says. “We have a bevy of creative artists in Louisville, and we wanted to promote that to our city as well as to the world.”

Artebella Artist and collector Jacque Parsley with her husband Dr. Robert Sollinger.

And, if a viewer wants to buy a piece of art, all the better. Just ask Jacque Parsley. A long-time Louisville artist, member of LVAA and artist on Artebella, Parsley had been thinking of the site as “an easy way to see the new work of established artists and the work of young emerging artists in the comfort of my home,” she says. But when Kelly Rains’s mixed media painting popped up on day two of the website’s existence, Parsley “saw it, loved it, and called them up,” she recalls. (Actually, she emailed and a representative from Artebella called her.) “I don’t know how I’ll react when I see the real thing, but I thought it had good color and good composition. It looked well constructed…. I gave them my Visa card.”

Parsley and her husband have collected art together for 15 years; she’s been collecting since the 1970s. They are not afraid to buy artwork off the web. “One of our favorite pieces we got over the Internet and we’ve loved it,” says Parsley.

Carlos Gamez de Francisco – French Radical Fashion VI in 1789.

Selling art over the Internet is a way of life for Carlos Gamez de Francisco, another artist represented on Artebella. While he is represented by galleries across the country, Gamez de Francisco says, “I like to have art on web sites. I try to use the Internet a lot to promote my work.” He also likes Artebella because it means he sees art even when he’s too busy making it to go to the galleries. “When you make art, you want to see what other people are doing,” he says. “Now I’m closer to knowing what’s out there.”

This is true for more than just working artists holed up in their studios. Westerman says Artebella has the potential to “change how Louisville views visual art and how the world views Louisville artists. This is a contemporary way to view art. It’s not an online gallery. Ninety-nine percent of online galleries fail. That’s not our objective. We want to be sustainable.”

Toward that end, Westerman spent three years developing the Artebella concept and mapping a phased approach to its rollout. In phase one, the focus is Louisville artists. To join the site, locals must be members of LVAA ($40/year, with scholarship money increasingly available) and submit their portfolios for consideration by a panel of arts professionals. “We want it to be inclusive, but also to maintain a high standard of quality,” Westerman says. If an artist isn’t initially accepted, they are encouraged to try again. “We may even offer critiques,” he says. “This can be an education tool for artists as well.”

In phase two, artists around the state of Kentucky will be invited to submit work, and in phase three, the pool will be open to artists in the region. In the meantime, Westerman has begun talks with Jefferson County Pubic Schools about using the site in classrooms, and he hopes to develop additional programming to integrate into school curricula. “This is a very well-thought-out program,” says Westerman. “We’ve put a lot of time and energy into the design and infrastructure, and we’ve barely scratched the surface. The site will evolve. If we add value with each phase, that’s the point. And in phase one, so far so good.”

Indeed, early analytics show a distribution list of 6,000 email addresses, a boon for artist exposure. “When could I ever say 6,000 people saw my art?” asks Parsley. And that’s across 12 countries. Parsley didn’t necessarily sign on to sell her work, but she says, “I think selling is a real possibility.” 

Artebella artist Suzi Zimmerer. Photo courtesy of the artist.

Same for Zimmerer, who also shows work on the site but didn’t sign up to sell. “I wanted to be on Artebella to be supportive of it and LVAA. And to be supportive of Louisville,” she says. “It shows that Louisville is diverse and vital and has contributed to the whole art world. If I can share what I do and make people happy, I’m for that.”

Funders have also been supportive of Artebella. Westerman says he was able to secure significant funding from a local foundation, from patrons, donors and a grant from Louisville’s External Agency Fund. “We have a nice mix of investors,” he says.

There’s also a nice mix of art, says Parsley. “Sometimes I like it, sometimes I don’t. Everybody has different taste. Most of it I like. And I like the variety.” Plus, she says, it’s “coffee and art in the morning. What better way to wake up in the morning than to see a new piece of art?”

Adds Zimmerer, “The site is really good. Everyone’s images look nice. It’s easy to use – well designed. Whoever was involved, I say ‘Bravo!’”

http://www.artebelladaily.org/

“Compelling” Jersey Boys Is an Inspired Jukebox Musical

Michael Lomenda, Nick Cosgrove, Miles Jacoby and John Gardiner
in Jersey Boys. Photo by Jeremy Daniel.

Jersey Boys

Book by Marshall Brickman and Rick Elice

Music by Bob Gaudio

Lyrics by Bob Crewe

Directed by Des McAnuff

Reviewed by Craig Nolan Highley

Entire contents copyright © 2012 by Craig Nolan Highley. All rights reserved.

Jukebox musicals come and go a lot these days, but very few of them carry the heart and soul of a show like Jersey Boys. Unlike other popular examples of the genre like Across the Universe or Mamma Mia, this winner of the 2006 Tony Award for Best Musical doesn’t just take the song catalog of a beloved music group (in this case The Four Seasons) and create a new story around them. This time the songs are used to tell the group’s true story, and the result is a fun and uncomplicated musical that plays like an ’80s-era TV biopic set to music.

One of the show’s many clever touches is its story structure, broken up into four parts, each represented by a season and each narrated by a different member of the band. We start with Spring, as told to us by Tommy DeVito (Colby Foytik), the group’s founder, and learn of their beginnings and their ties to the mafia and other skirmishes with the law. Next we get Summer, narrated by Bob Gaudio (Jason Kappus), the songwriter of the group, and chronicling their rise in popularity. Nick Massi (Brandon Andrus), the group’s quietest but surprisingly most profound performer, then takes us through Fall, in which things start to fall apart for the group. And finally, Frankie Valli (Brad Weinstock), the silver-throated lead singer, gives us Winter, filling us in on how the band became basically a solo act: Frankie Valli and the Four Seasons.

It’s compelling stuff, though it occasionally gets a bit too melodramatic. When one character loses a loved one, for example, he breaks into the song “Fallen Angel,” which I’m sure was intended to be a heartbreaking moment but just seemed a bit too calculated.  On the other and more light-hearted hand, another character’s loss of virginity during the “Oh What a Night” number is inspired. But for the most part, it all works – and works very well.

All four of the lead performers are fantastic in the roles, even if they don’t necessarily resemble the real people their playing. Weinstock in particular is truly incredible, playing Frankie from his shy teenage years through his sixties. Andrus also makes quite the impression as the soft-spoken (until he is outraged) Nick, and nearly steals every moment he’s on stage.

Director Des McAnuff (who mined similar ground when he turned a Who album into the show-stopping Broadway show Tommy) has done an incredible job of staging all this on a deceptively simple stage (as designed by Klara Zieglerova) and complimented by Howell Binkley’s fantastic lighting design. And speaking of the lighting, be warned:  It does get blinding at times; the transition lenses in my glasses darkened several times!

If for any reason you miss the Louisville performances of this show, it might be worth your while to seek out this touring show’s next stop. It’s worth seeing and fodder for a fantastic evening of theater. “Oh, What a Night” indeed!

Jersey Boys

Featuring Barry Anderson, Brandon Andrus, Thomas Fiscella, Colby Foytik, Natalie Gallo, Jason Kappus, Christopher Messina, Rachel Schur and Brad Weinstock.

November 20 –December 2, 2012

PNC Broadway in Louisville

The Kentucky Center

501 West Main Street

Louisville, KY, 40202

502-584-7777

http://louisville.broadway.com/

Interview with Seth Rudetsky

Interview by Scott Dowd

Entire contents copyright ©2012 Fearless Designs, Inc.  All rights reserved.

Describing Seth’s Big Fat Broadway Show is like trying to nail gelatin to a tree! His latest venture, Sethtv.com, is a video diary that allows Rudetsky to explore his many interests and share both the process and the result with his audiences. The network features short films from a variety of characters, including a brilliant feature written by Varla Jean (who will be performing live at The Kentucky Center’s Bomhard Theater on February 2, 2013, as part of the next LEO A Little Off Center presentation). I first heard Seth Rudetsky on Sirius/XM satellite radio, where he is an afternoon host for On Broadway (channel 72). I was impressed with the depth of his immersion in the genre and the passion he projects. I had actually seen him before then playing himself on comedian Kathy Griffin’s reality show Life on the D-List. Rudetsky has also appeared on Law and Order and All My Children and served as the music director/coach for another reality show, Legally Blonde: The Search for Elle Wood.

SD:  I read the “long bio” you posted on Sethtv.com. It looks like you have done just about everything there is to do.

SR:  Yeah. I sort of describe myself as an entertainer – I’ve gone into many different fields in entertainment. I started doing musical theatre when I was little. I did chorus, band, orchestra – all that kind of stuff – and then I began being a professional when I was a teenager.

SD:  You make that sound like such a natural progression: “I was a kid and then I became a professional entertainer.”

SR:  It was just like that. I don’t know what I was thinking when I went to Oberlin Conservatory. I mean, I knew I was going to go into Broadway, but there was just no program when I was in college that exactly fit me. There were few musical theatre programs – certainly not music directing. I had stopped acting right around that time, and I was auditioning as a classical pianist as a way to get into college.

SD:  Did you ever think you might become a concert pianist?

SR:  I had no intention of ever being a classical pianist. I was just so excited to get in and I loved the school, so I went. I was happy that I could keep up. I passed all my juries, but it wasn’t like that was going to be my field. I still don’t completely understand my reasoning, but I’m glad that I went that route.

SD:  Conservatories are so competitive. Your attitude must have set you apart.

SR:  Well, I was always an outcast, but a well-tolerated outcast. For the concerto competition, everybody was doing Prokofiev and I did “Rhapsody in Blue.”

SD:  How did that go over?

SR:  When I made it to finals, everyone was saying, “Oh, Seth is always breaking boundaries…adding his own spin on things.” I was definitely not the serious classical musician. I was just always considered the edgy, comedic, classical pianist.

SD:  You said you had stopped acting at that point, but you came back and did, among other things, Sheldon in Joe Mantello’s The Ritz at the Roundabout Theatre, and had a recurring role on All My Children as well as your own one-man show, Rhapsody in Seth, at Actors Playhouse.

SR:  I was really serious about it when I was younger and then had a horrible experience with my high school theatre teacher, who was just horrific and really pushed me away from acting. I went back to it eventually, but the good news is that I pursued music so much on Broadway that when I went back to acting, I was kind of well-known. So it was easier for me to get auditions because people knew me on the Broadway scene. I think if I had started as just an actor, it would have been harder for me to break in, whereas I had broken in as a musician so I already knew people.

SD:  So the piano was the key.

SR:  Yes – I started as a pianist and began adding on everything else – acting, writing, comedy. I kept expanding the circle.

SD:  Certainly writing for The Rosie O’Donnell Show is full bore comedy writing.

SR:  That was a good gig. I lasted two years and it led me to write for the Tony Awards, which was probably the highlight of the whole thing. I was still doing Broadway at the same time – I guess I was playing the piano for Ragtime and Phantom of the Opera in those days. But it wasn’t really what I wanted to do and, eventually, I just had to get the hell out of there.

SD:  At what point did Seth’s Big Fat Broadway Show begin to come together?

SR:  I had been doing a lot of stand-up comedy. I used to play funny video clips for my friends showing vocal mistakes and people cracking – that kind of stuff. So I slipped one into my stand-up acts at the big Barbra Streisand “Gypsy of the Year” benefit – which, by the way, I have now hosted for the past five years. Back then I was just one of the acts. When Rosie saw me do that, she encouraged me to make an entire show based on the idea. Then she said, “And I’ll produce it.” So I put together this entire show and, P.S., she never produced it. Anyway, whatever…the good news is I put together this entire show that is really called Deconstructing Broadway, but that sounds too educational on the marquee. So I retitle it wherever I go. I’ve been doing it now for at least five years.

SD:  I noticed you had other shows along this line. Are they distinct productions?

SR:  I have three shows that I rotate:  My off-Broadway play Rhapsody in Seth – an actual autobiographical play about me and my childhood; Deconstructing Broadway (the show that is coming to Louisville as Seth’s Big Fat Broadway Show); and then there is a branch of that one called Seth’s Big Fat ’70s Show.

SD:  How did that one come about?

SR:  There’s one segment in the original where I deconstruct The Brady Bunch Variety Hour. I’ve made a whole show that also includes Donny and Marie and stuff like that.

SD:  What can people expect when they come to Seth’s Big Fat Broadway Show?

SR:  Think of it as “America’s Funniest Home Videos/World’s Greatest Broadway Bloopers/The Daily Show.” It’s very hard to describe, but that’s what it is. I am a comedian presenting funny video and audio clips accompanied by my own commentary. It is a hard show to explain, but it is a comedy show.

SD:  Maybe audience response would be a simpler metric. How do people respond to the show?

SR:  It always does phenomenally well. This show never bombs. With other shows you have to be careful who your audience is. This one I’ve taken to Amish country; to Waco, Texas; I’ve gone on the high seas. There is very little stress for me to do this show because it appeals to everyone.

SD:  How much video do you have to watch to cull enough for the show?

SR:  The show is three-quarters audio and one quarter video. When people say, “You’re so knowledgeable about Broadway,” I say, “That’s what I do in my life!” It’s not like I’m researching – I listen to music all the time and I watch videos all the time. I say in the show, “When you watch a video 23 times per day, you notice these things. I’ve done the work for you and brought my deconstruction.” They say, “Write what you know.” This is my life and I’ve put it in a show.

SD:  You’ve also written a book about Broadway.

SR:  I wrote a non-fiction book of inside scoops and gossip stories, which CDs to own – it’s called The Q Guide to Broadway. I also wrote a fiction book, Broadway Nights, about a character who is not successful on Broadway and can’t figure out why. I actually did an audio book of that one with Kristin Chenoweth, Jonathan Groff and Andrea Martin.

SD:  Your latest book actually has nothing to do with Broadway.

SR:  That’s the young adult book I wrote for Random House, My Awesome/Awful Popularity Plan, which is loosely based on me. It’s about a fat, Jewish 15-year-old with a “Jew-fro” who is not popular in high school. There is a sequel to that one coming out next year.

SD:  The way you talk about your transitions is so fluid and effortless. You seem to choose a new goal and just head in that direction.

SR:  That is the way I work. I’m not interested in asking permission. You’re right. I was in a bookstore and I saw The Nanny Diaries and I thought, “I’ll just write a book.” I remember going home that night and writing it. I showed it to my boyfriend and asked, “Is this fun?” and that was about it. I mean it wasn’t easy to get published, but I just wrote it. Why not?

SD:  You also write for Playbill and Playbill.com. How did that come about?

SR:  That started when the Grease reality show was on TV. I did Grease on Broadway and they were doing a reality show to pick the new Danny and Sandy. I had two books out at that point, and Playbill asked if I would do a weekly recap of the show for the online magazine. I guess it was pretty popular, because when that show went off the air, they asked if I wanted to write a weekly column about my life on Broadway. About a year later they asked if I could write a monthly column for the playbills in the theatres. It’s a fun little side gig.

SD:  I’ve got to tell you how much I love Sethtv.com. “Varla Jean and the Mushroom Heads” is one of the funniest things I’ve seen in a long time.

SR:  He wrote the whole thing in about a week. He’s a crazy genius and I’m so happy with the way it came out.

SD:  How long has Sethtv.com been up?

SR:  We started it in June. After two weeks we were on the Entertainment Weekly “Must List.” We have just finished the first “season” of my reality show, and the big thing we’re adding now is the Patti LuPone concert we filmed in Provincetown. We’ve combined all four of them into one mega concert that we are editing now. It’s really an exciting time as the network is just beginning. It feels very cutting edge because people are just learning how to plug their computers into their TVs. It’s a whole new field, and I feel like we are on the edge of what Broadway entertainment is going to be in the future.

SD:  Let’s talk about that. You are so intimately involved with Broadway. What changes do you see coming?

SR:  The big change has been – and it’s truly up to people to stop it – the destruction of the orchestra. It’s mindboggling to me that critics haven’t been more vocal about it and that audiences are so stupid. People are paying $350 for VIP seats and yet Mama Mia! has nine people in the band. It’s in the same theatre where Funny Girl and West Side Story were with thirty-piece orchestras. You are paying more money than you ever have before for nine people. This is supposed to be the top entertainment in the world, but the band on Broadway is smaller than the bands in regional theatres. It’s so horrific sounding, but people don’t realize it. David Merrick said, “An audience doesn’t realize what it didn’t get, but they do know when they get it.” That is the biggest shonda [shame] on Broadway and it’s just getting worse and worse. Once in a while they’ll bring back a thirty-piece orchestra for a revival of West Side Story or South Pacific and people say, “Isn’t this special.” But why should it have to be special? I’m just devastated about that. The rest of Broadway is the same. The big thing, of course, is making a movie into a musical. Producers assume that will be a hit, but fifty percent of them fail. It has to be a good show to be a hit. But there are still great little shows, and that’s the way Broadway has always been. The frustrating thing is the radical change in the sound.

SD:  Is that the natural result of audiences listening to everything through headphones and TV speakers?

SR:  Yes. Things are so over-amplified now, and these so-called Broadway shows on TV are obviously lip-synched. Everything on TV and film is pretty much lip-synched, so people are used to this fake electronic sound that is auto-tuned on top of that. People don’t realize how beautiful an orchestra can be until they actually hear it. People have been trained to listen to crap and think that is what it is supposed to sound like.

SD:  It sounds like your next move could be into the orchestral world.

SR:  I’ve been looking for a way in. I don’t have any connections yet.

SD:  Back to Seth’s Big Fat Broadway Show. Is this something that people who don’t know Patti LuPone are going to enjoy?

SR:  This show is for people who know nothing about Broadway and for people who are obsessed with Broadway – The Boston Globe said that. I did not write a show just for insiders. I wrote a show that insiders will love and a show for people who literally know nothing about the genre. That’s why it’s called a comedy show!

To follow the perpetual mitosis of Seth Rudetsky, tune into Sethtv.com. While you are there, be sure to get a preview of The Kentucky Center’s next act on the LEO A Little Off Center series:  Varla Jean will appear with Leslie Jordan February 2, 2013, in the Bomhard Theater. The Kentucky Center presents an outstanding variety of music in 2013 beginning January 29 with Yo La Tengo & Calexico at the Brown Theatre. These two high-energy eclectic bands are sure to heat up the evening. Over the past 30 years, Yo La Tengo has built one of the largest followings of any indie band because of their consistently good music. A little newer on the scene, Calexico combines precise instrumentals featuring violins and mariachi horns with intricate background vocals. On the following weekend, February 5, the Brown Theatre hosts another group using traditional Bluegrass instrumentation to create a sophisticated new sound – former Nickel Creek mandolinist and 2012 MacArthur Foundation Fellow Chris Thile joins Punch Brothers. The Russian National Orchestra conducted by Patrick Summers performs in the newly renovated Whitney Hall on February 23. Their program opens with Smetana’s Overture from The Bartered Bride. Acclaimed young pianist Daniil Trifinov displays his virtuosity with Prokofiev’s Piano Concerto in C major No. 3, Op. 26.

These are just a few of the diverse programs on the Kentucky Center Presents roster. You will find the remainder of their 2013 schedule at www.kentuckycenter.org, where you may also conveniently purchase your tickets. If you prefer the more traditional approach, call The Kentucky Center Box Office at 502.584.7777 for tickets and for more information about the array of talent on its way to The Kentucky Center for the Performing Arts.

Irving Berlin and Good Song and Dance Make “White Christmas” a Winner

Irving Berlin’s White Christmas

Music & Lyrics Irving Berlin

Book by David Ives and Paul Blake

Directed by Lee Buckholtz

A review by Keith Waits

Entire contents are copyright © 2012 Keith Waits. All rights reserved. 

Brian Bowman, Sarah Ann Koster, Matthew Brennan & Julie Evins
 in White Christmas. Photo courtesy of Derby Dinner Playhouse.

For me, White Christmas has always prompted comparisons. Many have seen it as a loose remake of an earlier film, Holiday Inn, which also featured Bing Crosby and the first appearance of his most famous song in a movie. His co-star then was Fred Astaire, which is about the only element that White Christmas failed to improve upon. Danny Kaye was an ingenious comic actor and accomplished dancer, but in the latter department, he was no Fred Astaire. Still, the later film, filmed many years later in a lavish Technicolor production, is by far the more developed, polished and appropriately seasonal offering.

Bringing the story to the stage seems an obvious and winning notion, although trying to fill Bing’s shoes is a tall order for any actor; and stepping up to warble the title tune is likely a daunting task, no matter how good his vocal training.

I grew up watching White Christmas as a child, and it was missing for many years from the catalog of holiday television broadcasts. Now that it has taken its rightful place among the multitude of holiday offerings, a stage version is welcome, if for no other reason than to have a reason to perform songs by one of the greatest of the great American songwriters, Irving Berlin. Not all of the original group of songs is retained:  “Mandy” and “Choreography” are missing, perhaps because they were the most lavish and complex dance numbers. But the replacements are still top drawer Berlin standards, like “Let Me Sing and I’m Happy.”

The revamped story sacrifices many details, which lent the narrative urgency and strengthened the bonds between the characters: Davis no longer saves Wallace during combat in World War II; and the two no longer rescue the Haynes sisters from the sheriff by hopping a late-night train out of town. It leaves us with relationships that seem to exist only because we expect them to. White Christmas may seem like holiday fluff to some, but these changes underscore how well crafted the original screenplay actually was.

Whatever quibbles I have about the script, the performance is up to the usual Derby Dinner standard. As Wallace and Davis, Bob Bowman and Matthew Brennan make for a winning team, even if the latter proves a sharper and more agile presence. Sarah Ann Koster and Julie Evins are also an effective team as the Haynes sisters. All four leads sing beautifully. But Mr. Brennan and Ms. Evins also are strong dancers, leading the company in several well-choreographed production numbers such as the lavish ”Blue Skies” that closes the first act, and the romantic and pas de deux, “The Best Things Happen While You’re Dancing.” Other notable turns come from David Myers as General Waverly and Carol Williams as his housekeeper Martha Watson, a character enlarged somewhat from the film and given a couple of scene-stealing musical numbers. Carolyn Dodd was an irrepressible presence as the General’s granddaughter, Susan; and Derby Dinner mainstay Cary Wiger provided solid support in several roles.

Even though I miss the story elements removed in this adaptation, this production is a highly entertaining show and features some of the best song-and-dance work I’ve ever seen on the DDP stage. Pulling off such polished and complex choreography is often a challenge for local companies. But choreographer Heather Paige Folsom has outdone herself here, helping to make this a glittering holiday entertainment that works for the whole family.

Irving Berlin’s White Christmas

November 20 – December 31, 2012

Derby Dinner Playhouse

525 Marriott Drive

Clarksville, IN 47129

www.derbydinner.com