Taking a wrong turn on Sesame Street – ‘Avenue Q’

From childhood, I’ve had an affinity for puppets. There’s a wonderful anarchy that puppets seem to inspire that can result in moments that are engaging and absurd at the same time. Throw in the element of music and the potential for joyful chaos is maximized. It’s the chance to create work that tells a story in a very unique way.

“Avenue Q,” the musical by Robert Lopez, Jeff Marz and Jeff Whitty, is that sort of work. A production of the Tony-winning show is currently being mounted by the University of Maine’s School of Performing Arts. The show is directed by Sandra Hardy and musically directed by Danny Williams; it is being performed in Hauck Auditorium and runs through February 19.

It’s the story of a neighborhood – Avenue Q – in New York City. It’s a ramshackle, run-down place, populated by people who have struggled to make their way in the world. They include engaged couple Brian (Jason Pulley) and Christmas Eve (Janice Duy) and roommates Rod (Jeremy Walsh) and Nicky (Ryan Jackson) and an assortment of other down-on-their-luck-types, including two monsters – Trekkie (Jackson McLaughlin) and Kate (Allison Smith). Oh, and Gary Coleman (Nestor Simon-Gonzalez) is the super.

With me so far?

Into this world wanders Princeton (Edward Benson), a recent college graduate with no job, no skills, a useless degree and a huge debt. He moves to Avenue Q because he can afford it, but he quickly becomes friends with his neighbors. He becomes especially close with Kate, and the two of them soon enter into a relationship. However, Princeton is obsessed with figuring out what his purpose in life is, which causes friction not only with Kate, but with his new friends on Avenue Q.

Think of “Avenue Q” as Sesame Street, only aimed at the person just ending his or her time in school rather than the one just beginning. It’s got all the pieces – the free intermingling of characters both puppet and human, with no distinction made between them; lessons being taught by the interactions between the various characters; songs that reinforced the lessons being put forth by the scenes – of classic Children’s Television Workshop formula.

Only it’s dirty. And awesome.

The story arc of Princeton and Kate is the foundation of the show, with everything else springing out of their relationship. Benson and Smith have a genuinely likeable chemistry, one that shines through even the layer of puppet between them. They create well-rounded characters – people with hopes and dreams, loves and fears – that just happen to be made out of felt.

Of course, that’s the case with just about every actor-puppeteer on stage. Walsh and Jackson are delightful as the Bert-and-Ernie-esque Rod and Nicky. Their relationship takes that familiar dynamic and amplifies it with hilarious results. The upstairs-dwelling, porn-obsessed Trekkie is played with goofy, growly enthusiasm by McLaughlin, while the Bad Idea Bears (played by Andrew Silver and Nellie Kelly) are a ray of sociopathic sunshine periodically appearing to guide Princeton down the wrong path.

However, there are some great performances in this show that don’t involve puppets at all. Duy and Pulley bring a warm antagonism to the relationship between Christmas Eve and Brian. These two help serve as a sort of anchor, keeping us locked into the reality of Avenue Q. And lest we forget…Gary Coleman. Gonzalez is a talented singer, to be sure, but what he’s done here is more than that. Yes, this Gary Coleman is intended as a caricature – and he is – but we still feel for him, even as we laugh. That’s due in no small part to Gonzalez’s performance.

And the songs. Oh, the songs. “It Sucks to Be Me;” “If You Were Gay;” “Everyone’s a Little Bit Racist;” “The Internet is for Porn;” “Schadenfreude” – the list goes on and on. These songs are clever and well-written while also being crass – the combination of musicality and attitude makes this one of the more entertaining shows I’ve seen in ages. And hearing puppets sing them? Magnificent.

Sandra Hardy has never been afraid to push the envelope, and this show is no exception. The goal of academic theater should be twofold; the students should learn something and they should have fun. A show like ‘Avenue Q’ succeeds on both counts. Hardy has created a bustling, albeit rundown city neighborhood, complete with homeless guys and beat cops. It’s a rich world that draws us in.

Williams and the band sound wonderful – the music isn’t particularly complex, but the small ensemble (there’s only half a dozen of them) creates a big, rich sound that underscores and holds aloft the performers onstage.) And as far as production design, designers Dan Brunk (lighting) and Tricia Hobbs (scenic) nailed it. Brunk’s lights did well in capturing the constantly shifting moods of the show, while Hobbs created a stylized city block that was both aesthetically engaging and extremely functional.

Puppets cursing and songs about porn, people – do you really need me to tell you more than that?

‘The Book of Drugs’ an atypical rock memoir

I’m not much of a music guy, to be honest, but there are a few performers and bands out there that resonate with me for whatever reason. Mike Doughty is one of them. I’ve been engaged by his music since his early days fronting the band Soul Coughing. There is a literateness to his songwriting that I’ve always appreciated.

So when I heard that he had written a memoir, my interest was piqued. Was his journey even going to be an interesting one? And would the odd poetry of his lyrics translate into the realm of autobiography?

The answers? Yes and kind of.

“The Book of Drugs” (Da Capo; $16.00) is Doughty’s story told through the lens of his lengthy love-hate relationship with drugs. A military brat who came of age growing up at West Point (his father taught in the History Department), Doughty’s distant relationship with his family would color the rest of his life.

We see him work his way through the New York City music scene, finally putting a band together – the band that would become Soul Coughing. However, from the beginning, Doughty is clear in both his dislike for and distrust of his bandmates. And (at least from his perspective), he was correct to do so.

As the band succeeds despite much internal turmoil, Doughty is also evolving from a recreational drug user into a full-blown addict. He unspools his struggles, personal and professional alike. We see him become disillusioned with the business of selling creativity and withdraw. And when the inevitable happens, Doughty reinvents himself as a grassroots solo performer.

And he’s been clean for a decade.

These rock and roll autobiographies are often a bit overwrought – glossily ghostwritten things filled with stories of sleazy sexcapades and wanton debauchery. Titillating, yes, but interesting? Engaging? Not so much. But “The Book of Drugs” – despite its seemingly simplistic title – is so much more than that.

Mike Doughty is not your typical rock star author. Doughty is unflinching in relating the tales of his difficulties. No punches are pulled. His vulnerabilities and self-doubt are on display in his steadily deteriorating relationship with his bandmates. His stories from the road are particularly sad, recounting awkward conversations or worse, no conversation at all. It’s a window onto the isolation Doughty was feeling despite his success.

Doughty proves to be a talented memoirist. His prose is surprisingly straightforward considering the general surreality of his lyrics, but he proves quite evocative. He captures the emotions behind moments adeptly. Truthfully, the one biggest similarity between Doughty’s songwriting and his autobiography is that tendency to wear his heart on his sleeve.

“The Book of Drugs” is emotionally honest, perhaps one of the most honest examples of its kind. Doughty reveals his struggles frankly and truthfully and skillfully. All in all, an excellent memoir.

Kicking it with the Dropkick Murphys: An Interview with Ken Casey

Most of the time, labeling a band is fairly easy. As a rule, music tends to settle into an easily defined genre. Sure, there are a wealth of subgenres, but the majority of bands can still be painted with the broad strokes of “rock” or “folk” or “country” or what have you.

Then there are the bands that simply refuse to be pigeonholed quite so easy. Bands like the Dropkick Murphys. Yes, they’re a punk band, but they’re so much more than that – they’ve achieved a unique synthesis of punk rock, Celtic folk and power-to-the-people sensibility.

And they’re coming to the Bangor Waterfront.

The Dropkick Murphys are headlining the Shamrock-N-Roll Festival, a daylong extravaganza featuring Stiff Little Fingers, Street Dogs, Chuck Ragan, the Mahones and the Parkington Sisters among many others. This show hits the Waterfront Stage on September 10 – it’s the second stop on the tour after opening with two (long sold-out) shows at Boston’s Fenway Park.

Ken Casey, bass player, vocalist and founding member of the Dropkick Murphys was nice enough to spend a few minutes talking with The Maine Edge about Shamrock-N-Roll, coming to Bangor, the band’s newest album and assorted other topics. We started by talking about the festival.

“It’s important to the band to keep things fresh and interesting – both for us and for the audience,” Casey said. “It’s a good opportunity for more bang for the buck; hopefully, it makes for a good day.

“All of the bands have been friends for a long time,” he continued. “It’s nice for the band to play with a bunch of groups that we respect. It’s great to have the chance to spend time with bands that we like and enjoy.”

It speaks highly of the reputation that Waterfront Concerts has built in the short span of its existence that they managed to land a show like this. Even more impressive is the fact that they landed this show right at the beginning of the tour. As it stands, with the two Fenway shows sold out, this is the earliest ticket you can get. So what made the band decide to make their way north?

“We love Maine,” said Casey. “That area has always been near and dear to our hearts. Northern New England has always been great to us. Our last time here was in Portland a while back; we were definitely due to come back. [Plus] we heard some really good things about the space and location.”

The Dropkick Murphys have been bringing their unique blend of punk rock and Irish folk to audiences for a long time now. The development of their sound was a gradual process, according to Casey. He might be the only remaining ‘original’ member of the band in a technical sense, but he doesn’t see it that way.

“It seems like [it’s been] ages,” he chuckled. “We started up about 16 years ago. Matt has been with us since we started being a serious band, maybe nine months to a year after we started.

“The inception of the band was something very natural,” continued Casey. “I grew up in a household where Irish music was prevalent. So I rebelled against it; as a teenager, I listened mostly to punk and hardcore. Turns out, the structures are kind of similar; they blend together. Irish music and punk go hand in hand as far as I’m concerned.”

In truth, there are a lot of people who have discovered that connection thanks to the music of Casey and his cohorts. And lest we forget, this is a band that is just as popular overseas as it is here – perhaps even more so. In fact, they will have only been back in the country for less than a month when this newest tour kicks off.

“We’ve got a [significant] international following. We’ve spent a lot of time in Europe,” Casey said. “We tour overseas just as much as we tour the United States. Central Europe might even be our biggest fans. It’s a vehicle to play for a lot of people.

“We definitely climbed the ladder over there; it reached the point where we were closing festivals over better selling bands.”

Of course, no conversation with a member of the Dropkick Murphys would be complete without some discussion of the connection that has sprung up with the Boston Red Sox over the past decade.

“It all started in 2004 with the remake of ‘Tessie,’ which is an old Irish fight song,” Casey said. “The Red Sox approached us because we had done modernizations of plenty of Irish songs. When we debuted the song at Fenway, it was the Varitek/A-Rod game.”

(For those who aren’t fans and have somehow never seen the iconic photo, this was the July 24th  Red Sox/Yankees game where Jason Varitek and Alex Rodriguez got into it at home plate. Many consider this the singular turning point that led to 2004’s delightful championship results.)

“[After the song’s success], we played during the playoffs,” he continued. “We picked a good year to get involved. They called again in 2007. We played again and they won again.

“We’re two for two. After that, it naturally became sort of a thing. We played in the 2007 parade after the championship. We have a real history with the team in its biggest moments.”

He paused.

“I hope the fact that we’re playing Fenway Park again this year might bring back the magic. Maybe we can go three for three.”

We also talked a little bit about the band’s latest album “Going Out In Style.” It was the band’s best debut ever, reaching number six on the Billboard charts upon its release. It’s their second studio release on their own Born and Bred Records label.

“This is our second studio album [on the new label],” said Casey. “It’s been great. [But] we’re not the Rolling Stones, you know? We’re not about quantity, we’re about consistency. The older albums are just as popular as ever. Epitaph [the band’s previous label] says that we’re the biggest catalog seller that they’ve got.”

There’s no doubt that the Dropkick Murphys are one of the most energetic, enthusiastic and unique musical acts out there. Their fan base is a fanatically loyal one. Living where we do, it makes sense that that regional connection would simply enhance our passion for the band. For instance, each and every Red Sox fan among us – whether we actually like the songs or not – instantly recognizes the opening strains of “Tessie” and “Shipping Up to Boston.”

Again, there are few – if any – bands out there that can match the Dropkick Murphys in terms of the quality of their music, the energy of their performances and the uniqueness of their sound. They are a punk band and an Irish folk band. They are an excellent live band and they are an excellent studio band. In truth, there is only one label that can reliably be applied to this band.

Great.

You’ll love “I Love You, You’re Perfect, Now Change’

As we’ve all been constantly learning since we first thought the opposite sex was anything other than “icky,” the romantic entanglements between men and women are unending. The quest to find love can be one of the most harrowing, yet ultimately rewarding journeys that we ever embark upon.

Not to mention the sheer volume of comedy gold there to be mined.

So we get shows like “I Love You, You’re Perfect, Now Change,” a musical written by Jimmy Roberts and Joe DiPietro and currently being produced by the folks at Winterport Open Stage. Their production is running through May 8.

“ILYYPNC” is a series of musical vignettes, songs and sketches poking fun at the all-too-complex world of dating. We bear witness to relationships in their various stages of being; we see beginnings, middles and ends both good and bad. There are victories and defeats galore. But through it all, we see the one constant – the search for love. We wouldn’t try so hard if it wasn’t worth it, right?

We see two people have an entire relationship in two minutes. We see people accept themselves as lovable. We see marriages. We see babies. We see divorces. Funerals, too. We see all the places that love rears its head along life’s journey. All of it truthful and sweet and poignant.

And very, very funny.

The fate of a show like this rests on the shoulders of its cast. This is a four-person show; these two men and two women need to be energetic, charismatic and extremely quick on their feet. Luckily for all of us, WOS has as good a cast as our area has to offer for this show. Brianne Beck, Christie Robinson, Ben Layman and Dominick Varney (who also directed) are well-known and beloved members of our artistic community. It’s a genuine pleasure to see them all working together.

I’m not telling you anything you don’t already know when I say that this cast is first-rate. They’ve all got absolutely lovely voices, voices that fit together like some sort of auditory jigsaw puzzle. And they’ve all got serious comedic chops, too – there’s not a one of them who won’t make you laugh and laugh and laugh again. Not to mention the simple fact that they are plainly and clearly having the time of their lives on that stage. These are four friends doing something that they love with people that they love. It’s palpable. And wonderful.

Every number has something to offer, but as far as personal favorites, I had a few. The schticky comedy of Layman and Beck talking lasagna transitioning into Beck’s sweetly enchanting “I Will Be Loved Tonight.” Layman as a “Scared Straight”-style convict. The elaborate rolling chair choreography of “On The Highway Of Love.” Robinson as Rosie Ritz, divorcee. Beck and Varney finding love in their twilight years.

I could honestly go on and on. Varney’s direction is spot-on, as is the musical direction of Phil Burns. Stephanie Erb’s choreography, too. And the wonderful work of the cast – both musically and comedically – is well worth the price of admission. Put it all together and you’ve got love’s story, a story with good bits and bad bits, highs and lows. But high or low, good or bad, there’s humor in all of it.

Go see it. You’ll love “I Love You, You’re Perfect, Now Change.”

Set sail with ‘The Pirates of Penzance’

There’s nothing quite like the energy and enthusiasm that you find when you see a theatrical production done by college students. It’s just so infectious, the joy that so many of them feel with regards to what they’re doing. Getting to see that love of the process is a wonderful addition to the theatergoing experience.

The University of Maine’s School of the Performing Arts is presenting Gilbert and Sullivan’s classic comic opera “The Pirates of Penzance” at UMaine’s Hauck Auditorium.

Singing and pirates? Who wouldn’t be intrigued?

“Penzance” is the story of Frederic (Alan Sevigny), a young man who is approaching the end of his indentured servitude to a band of pirates – said servitude being the result of incompetence by his nanny Ruth (Brinee Martin). The band of pirates, led by their King (Matt Bessette), wish Frederic well and sail away as he makes his way back to civilization.

Ruth wants to marry Frederic, but her attempts are thwarted by the arrival of a gaggle of young girls, wards of the Major-General (Jason Wilkes). One of the wards, Mabel (Jennifer Beasley) falls for Frederic. Of course, it isn’t as easy as all that.

Suffice it to say, there’s plenty of silliness to come. Lovestruck pirates, dodgy astronomical math, incompetent policeman – this show’s got it all.

In all seriousness, the concern with something like Gilbert and Sullivan is that, despite the quality of the music, the story will feel stale and dated. Happily, the goofiness inherent to these performances easily overcomes any potential dustiness. This production felt very fresh and vibrant, bursting with energy.

The show’s music was perhaps the strongest aspect of the proceedings. The orchestra, led by Ludlow Hallman, was spot-on and sounding absolutely beautiful and bouncy. The cast’s vocals were a delight; the songs were impressive across the board.

There were some really wonderful individual performances. Bessette’s voice, timing and character are all excellent. He’s funny, engaging and just the right amount of ridiculous. Sevigny’s Frederic alternates rapidly from sweet to sulky and back again; his poutiness in particular elicits some laughs. Martin’s Ruth has a powerful set of pipes and a massive capacity for self-delusion – an entertaining combination.

Beasley shows off an impressive vocal range and brings an interesting prim and properness to her portrayal of Mabel. Meanwhile, Jason Wilkes nimbly tongue-twists his way through one of the icons of the G&S catalog and then harrumphs his way through a sweet (and slightly befuddled) portrayal.

Not to mention that one of the great things about a show such as this one is that it goes far toward proving the importance of a strong ensemble. Some of the absolute highlights of the experience were the little bits of business happening on the periphery, moments brought to life by actors who could have safely assumed that no one was looking, but instead committed to the moment. That’s what makes a stage really come alive. Not to mention an indicator of good direction, courtesy of Tom Mikotowicz.

From the moment I first saw the pirate ship [SPOILER ALERT: There are pirate ships in “The Pirates of Penzance”], I was in love with Dan Bilodeau’s busy, brightly colored set. Kathleen Brown’s rich and colorful costume design meshed beautifully with Bilodeau’s set. Dan Brunk’s lighting design nicely tied the elements together and energized the stage.

Take a lot of catchy tunes, throw in some garishly-clad pirates and a whole lot of energy and put them together, you’ll have something that looks a lot like “The Pirates of Penzance.” Check it out – my guess is that you’ll walk away humming.

Having my Cake: An Interview with Vince Difiore

The band Cake has been a mainstay in the world of alternative music since the mid-1990s. Their mainstream breakout came with the release of their second album “Fashion Nugget” in 1996. Their idiosyncratic, non-traditional approach has caused them to develop an impressive fan base.

Their newest album, “Showroom of Compassion,” recently debuted at the top of the Billboard charts. The band is currently touring and making the late-night talk show rounds promoting the album; one of those tour dates includes an April show at the State Theater in Portland.

Cake’s trumpet player Vince Difiore was kind enough to spend a few minutes talking with the Edge, sharing some thoughts on the band, the album and the nature of making music.

“We got to hold the Billboard championship for a week,” Difiore said in a phone interview. “It’s receiving a lot of attention.

“Showroom of Compassion” is Cake’s first studio album in seven years. A lot happened over that time, according to Difiore.

“We toured for two or three years,” he said. “We also ended our contract with Columbia Records and decided to do our own thing. Our first experiment [along those lines] with Upbeat was a B-sides compilation [“B-Sides and Rarities” in 2007]. It was the first one we did on our own.

“And here we are, seven years later. That’s what happens when you’re left to your own devices.”

He likened the extended stretch to a trip to Walgreen’s.

“It’s like when you leave a Walgreen’s. You look at your receipt, see that it’s for $40 and ask yourself ‘How did I spend that much?’”

Still, in his eyes, the time was worth spending.

“You want to make sure it’s a good record,” said Difiore. “We needed to make a good record for our fans. It’d be lousy to throw something out there that isn’t fully realized.”

Difiore went on to share his thoughts about returning to our region.

“New England is a pretty special part of the country. I like the quiet of New England.

“It’s all about being out there and communicating with people all over the United States. It adds to your knowledge, gives you more information. It’s a never-ending quest to complete your world view.”

Talking about the band, Difiore explained “We appreciate the fundamentals of American music. We’re somewhat of an experimental band – we use a lot of non-conventional arrangements – but we consider the tried and true music forms of the twentieth century to be the most valid forms.

“That approach leaves us lots of room for growth. We’re unafraid to try many different sounds. It’s an effort not to be pigeonholed.”

Difiore also revealed some of his influences, not to mention an unexpected childhood dream.

“I always wanted to be Doc Severinson, the bandleader for ‘The Tonight Show.’ As far as music I liked, I was into hard rock as a kid. Some metal. That’s what floated my boat.

“[It was great] to have a chance to play the trumpet, the instrument I played in middle school, in a band that sounded like AC/DC.”

Cake has been around for many years and, by the sound of it, they’ll be around for many more. I’ll leave you with one final thought from Difiore with regards to ‘Showroom of Compassion.’”

“It’s a good musical effort by the whole band,” he said. “That’s why we can feel good about it.”

Still monkeying around: An Interview with Mickey Dolenz

On Saturday July 3 at 9 p.m., a pop culture icon will be taking the microphone at the Sound Stage Lounge at Hollywood Slots here in Bangor. That’s right, folks; Micky Dolenz of the Monkees will be gracing our fair city.

Now, I wasn’t around for the original run of “The Monkees” television show, but their songs have been a part of my life for as long as I can remember. And between syndication and MTV’s mid-80s revival of the show, I’m proud to say that I have seen all 58 episodes. The show remains great fun and the music holds up to this day; no small feat, especially considering the age of disposable entertainment in which we live.

Mr. Dolenz was generous enough to take a few minutes out of his busy touring schedule to talk to us here at The Maine Edge. We led off by talking about the show he’s bringing here to Bangor.

“I’m going to do all of the big Monkees hits,” said Dolenz. From the mid-70s to the mid-80s, Dolenz was living in England, producing and directing television and film projects. He hadn’t sung in some time, but that all changed with a trip to a concert.

“I went to an Everly Brothers show; I was always a big fan,” Dolenz said. “I hoped for the big hits – ‘Wake Up Little Susie’ and the like – and I got them, just as I remembered. After that, I said to myself, ‘If I’m ever asked to go back, I’ll do the big songs, and do them just as they’re remembered.

“I’ve seen shows with big names – who shall remain anonymous – where they didn’t do any of their hit songs. Very disappointing. Or they’d do one of their hits and then all new stuff.”

And a lifelong performer such as Dolenz is would clearly be loathe to disappoint his audience like that. He’s all about giving the people a great experience. As part of that attitude, Dolenz has a little something special for the non-Monkees songs in the show.

“People love stories. If I do a song that isn’t from the Monkees [catalog], then it’s something that relates to my life,” said Dolenz.

Such a song might be Chuck Berry’s ‘Johnny B. Goode,’ which was the song with which he originally auditioned for the show, so he’d share that story with the audience. Or he might do a Beatles tune in tandem with a story about how he was at Abbey Road when said song was being recorded.

When asked about his feelings with regards to touring, Dolenz offered this gem.

“I hate traveling and love the shows. I always tell people that they pay me to travel and I sing for free. Most artists feel that way, I think. It comes with the territory.”

While Dolenz spent his years living in England immersed in TV and film production work, his return to the road has resulted in less of that in his life.

“There hasn’t been much [TV/film work] since I moved back to L.A.,” Dolenz said. “But I have started doing a lot of musical theater. I just finished doing a production of ‘Hairspray’ in [London’s] West End, and I’m going back to the show for a national tour. I’ve done ‘Pippen,’ ‘Aida,’ ‘Grease,’ ‘A Funny Thing Happened on the Way to the Forum.’

“A director or producer needs to always be there. I go out of town so much these days that it’s hard to commit to that level of involvement.”

And as far as his former bandmates?

“We don’t see each other all that much these days; we all live so far apart,” he said. And even before the next question – the obvious question – could be asked, he answered it.

“There are no immediate plans for any sort of a reunion. But I will say that I’ve learned to never say never.”

And when an attempt was made to determine Dolenz’s favorite Monkees song, he had something to say.

“Favorite? I’ve got a lot of favorites. We had so many incredible songwriters writing stuff for us – Carole King, Neil Diamond, Neil Sedaka, Boyce and Hart. The ones that really stick out in my mind are the Carole King songs. ‘Pleasant Valley Sunday,’ for instance. That’s why I did the album.”

The album, which is titled “King for a Day,” will be coming out in August and features Dolenz singing Carole King songs.

Micky Dolenz and the Monkees are a part of music history, and an important one. Not too bad for a group once decried as the “Pre-Fab Four.” Dolenz is still bringing the music he loves to all the fans, fans that clearly still matter very much to him. He’s a good singer and a good guy.

Suffice it to say, I’m a believer.

All hail ‘Hedwig’

Sometimes, we get the opportunity to experience something artistically unique. These opportunities are occasional at best, not to mention fleeting. So when they come along, we must embrace them and take advantage of them when we can.

 

Penobscot Theatre Company is offering area audiences exactly that sort of opportunity with their production of “Hedwig and the Angry Inch,” by John Cameron Mitchell and Stephen Trask, running through May 2 at the Bangor Opera House.

 

Part theater, part concert and all rock and roll, “Hedwig” takes us onstage with the transgendered singer Hedwig and her band The Angry Inch. Hedwig tells us the story of her journey from “East German girly boy” to the “internationally ignored” music phenomenon we see before us.

 

Understand this: this is a rock show, and it is fronted by a rock star. Scoop Slone is mesmerizing as Hedwig, bringing a sensuality to the role that manages to somehow be over-the-top and genuine at the same time. Slone vamps, pouts and gyrates his way across the stage; his raw charisma is flat-out magnetic. We’d be fascinated by him simply by his sheer presence.

 

Only it turns out the guy can sing. I mean, really sing. Whether he’s roaring through the powerful “Angry Inch” or tenderly explaining “The Origin of Love,” Slone’s voice rises (or falls) to each and every occasion.

 

But Hedwig doesn’t go it alone. No matter how great a lead singer might be, they are nothing without their band. And the Angry Inch is every inch the band that Hedwig needs.

 

Sasha Alcott is wonderful as lead guitarist/back-up vocalist/Hedwig’s husband Yitzhak. The dynamic of Yitzhak’s relationship with Hedwig is a vital part of the proceedings; from the occasional monosyllabic outbursts from behind the microphone to the truthful tenderness of the show’s final moments, their relationship is key to helping Hedwig become a genuine character rather than a caricature.

 

The rest of the band is excellent as well. Gaylen Smith and Chris Viner, as Jacek the bassist and Schlatko the drummer respectively, form a solid rhythm section, setting the tempo, driving the beat and basically embodying everything rock and roll rhythm should look and sound like. Chad Arsenault shines as Skzsp, the keyboard player, guitarist and back-up vocalist; he wears multiple hats and shifts between them effortlessly.

 

The production elements are what really help this show become great. Lex Liang’s scenic design embraces the space, proudly displaying the brick walls and rock backdrop of the Opera House, adding scaffolding and creating a wonderful underground club vibe. Liang’s costume design is also very rock and roll; Hedwig’s various costumes are especially effective.

 

And PTC veteran lighting designer Jonathan Spencer really outdid himself. No rock show can achieve truly epic status without the right lighting, and Spencer just flat nails it. Some of his best work in a history of strong stuff.

 

Director Scott R.C. Levy, along with musical director Nathan Halverson, should be proud of the show they’ve put together. Daring to challenge an audience takes a certain blend of confidence and chutzpah – a pair of qualities that both men have in abundance.

 

Go. Just go. “Hedwig and the Angry Inch” is a show unlike any other you’ve seen. It’s powerful, it’s poignant. And it is very, very rock and roll.

‘Spunk’ an experience worth sharing

One of the wonderful things about live theatre is the constant possibility that you will see something that you have never seen before. As a longtime lover of the art form, I’ve had the opportunity to see a lot of interesting things onstage. Broadway blowouts and backroom experiments; professional farces and the academic avant-garde.

 

And yet, Penobscot Theatre’s production of “Spunk” manages to be something unlike anything I’ve ever seen before.

 

The production, adapted by George C. Wolfe from a trio of short stories written by Zora Neal Hurston, is a stylized snapshot of African-American life in the first half of the 20th century. These stories – “Sweat;” “Story in Harlem Slang;” “The Gilded Six Bits” – offer us glances at some of those very different experiences.

 

The production, directed by Donya K. Washington, is in the vein of “story theatre.” That is, rather than presenting a typically dramatic piece, “Spunk” is more of a hybrid, bringing that traditional sense of drama together with storytelling, drawing the power of Hurston’s words into the narration of the play. The result of that blending is a piece of theatre that, while perhaps unorthodox, is undeniably powerful, engaging and just as truthful to the author’s words than a traditional adaptation would have been. Perhaps more so.

 

Tackling a piece like this is no easy task, but Washington proves up to the task, creating a spellbinding narrative that is constantly engaging despite its nontraditional format. Eliciting real connections with a stylized piece can be difficult, but there’s a boldness to the proceedings that really draws the audience in.

 

Of course, a lot of the credit for that power must be laid at the feet of the cast. The players in “Spunk” are exceptional across the board. Washington has built a tight, solid ensemble. Each of the actors is invested wholeheartedly in his or her respective performance, with each playing multiple characters throughout the three tales.

 

Angie Browne’s Delia in “Sweat” is sympathetic without being pitiable, taking us along on a woman’s discovery of her own inner strength. Eric Lockley and Alan Tyson bring the colorful vernacular of Harlem to life in “Story in Harlem Slang;” the pair share a slick back and forth that produces a deeper understanding of the lifestyle of the hustler. And Jonathan McCrory strikes an excellent balance between sadness and scorn as the cuckolded Joe in “The Gilded Six Bits.”

 

And no discussion of this performance would be complete without addressing the music. Portland blues guitarist Samuel James and Chicago native Chavez Ravine team up on some intense, beautifully melancholy songs throughout the piece. Ravine’s voice soars, her bluesy tone occasionally revealing just a hint of gospel undercurrents. Meanwhile, James is easily one of the most technically gifted blues guitarists I have ever seen. From the music within the show to the incidental soundtrack he provided, James is, to put it bluntly, brilliant.

 

One part of the show that proved to be surprisingly integral was choreography. There is a lot of movement in the show, movement that choreographer Nathan Halverson has stylishly constructed. The way these characters move is vital to understanding who they are, and Halverson does a fine job bringing that forth.

 

The design team has also done a fine job of creating the right space for these stories to be realized. Lex Liang’s modular set design managed to achieve the flexibility to create unique spaces without overly complicating the stage. Liang also designed the costumes, costumes that wonderfully captured the spirit of the piece. The zoot suits in “Story in Harlem Slang” were one of several costuming highlights. And Jonathan Spencer’s lighting design brings a wonderful moodiness to the proceedings, adding one more emotional layer to the proceedings.

 

Kudos to Scott R.C. Levy and Penobscot Theatre for bringing this show to Bangor audiences. “Spunk” offers area theatergoers a chance to experience something they’ve never seen before. And as an added bonus? It’s really, really good.

 

Long beautiful ‘Hair’

No matter what sort of show you choose to do, there are always going to be obstacles to overcome. There will always be something – some point to emphasize, some pitfall to avoid – and the University of Maine School of Performing Arts production of “Hair” is no different.

 

The rock musical, set amidst the turbulence of New York City in the late 1960s, is a beloved part of the American musical theatre tradition. That said, however, the piece is very much a product of its era. The potential for the show to come off as terribly dated and/or cartoonish is quite high.

 

However, director Marcia Douglas and her ensemble do a fine job avoiding that trap. What we have instead is a wonderful snapshot of a bygone era, with a message that remains relevant to this very day.

 

Not to mention some seriously kick-ass music.

 

“Hair” centers around a group of friends who call themselves “the Tribe.” These children of the peace and love era are striving desperately to find their way through a world that they can neither completely trust nor completely leave behind.

 

The Tribe is an energetic and entertaining group, physically dynamic and vocally powerful. The combination of song and choreography creates a rich sensory experience – fluid motion, beautiful sounds, the smell of smoke and sweat, the percussive thump in the chest – which envelopes the audience.

 

There are some strong portrayals by the leads as well. Matthew Bessette is wonderful as dropout Berger, mixing solid character work with his beautiful and deep vocals. Justin Zang’s Claude has some great tunes, which Zang nails. And Nestor Gonzalez shines as Hud, bringing a simultaneous sense of play and pride to his songs.

 

And this show is laden with wonderful moment after wonderful moment. Andrew Hirst has a hilarious scene as anthropologist Margaret Mead “observing” the Tribe. Drew Albert’s U.S. Grant uttered the funniest line of the evening. Anthony Arnista and Mandy Fahey share a dance filled with grace and fluidity.

 

And the band. Oh, the band. Led by musical director Danny Williams, the 12-piece ensemble tears through the music, straddling the line between raw and refined with gusto. The group is tight and talented, playing off (and with) the singers as well as one another. They’re so solid, in fact, that they even seamlessly overcame a significant technical issue on the fly. Long story short? They held it down.

 

The show looked fantastic as well. Shon Causer’s lighting design did a great job of capturing the colorful spirit of the era without turning it into a psychedelic cartoon, while Dan Bilodeau’s set evoked the urban landscape of the piece while proving functional in some unexpected ways. Kathleen P. Brown’s costumes could have been a caricature, but instead provided a colorful, yet realistic palate of that tumultuous time.

 

At a little over 2 hours, the show is longish, but not unreasonably so. Put it this way: you won’t be checking your watch.

 

“Hair” is an ambitious undertaking for any group, but the School of Performing Arts has made a fine showing. For fans of the 1960s, rock music or theatre in general, a trip to Hauck Auditorium should be in the stars.

 

After all, it is the dawning of the Age of Aquarius.