Quest Presents Wisconsin Community Resourse Listings

When all is said and done, “Rent,” Jonathan Larson’s Pulitzer Prize-winning musical, truly is the stuff of Broadway legend. No overnight success, Larson would work for over seven years on updating Giacomo Puccini’s opera “La Bohème,” bringing it to New York’s Lower East Side during the thriving days of the drug- and AIDS-plagued Bohemian Alphabet City.

StatCounter - Free Web Tracker and Counter

StatCounter - Free Web Tracker and Counter

Then, on the eve of its Off-Broadway Opening, just as success was within his reach, Jonathan Larson died of an aortic aneurysm, possibly as a result of Marfan Syndrome. He would not hear the critics, a nearly unanimous group, singing the show’s praises any more than he would see the packed houses of a new (and younger) generation of theatergoers.

When the final curtain came down at the Nederlander Theatre on September 7 2008, “Rent” had clocked in 5,124 performances, making it the eighth-longest-running Broadway show. Along the way “Rent” would win a Pulitzer, the Tony in 1996 for Best New Musical in addition to countless other awards not to mention a legion of devoted fans.

Although many in Glenn’s acquaintance can be counted amongst this show’s most devoted legion, Glenn has remained doubtful. Too often productions simply cranked up the volume as if hoping the show’s inherent youthful exuberance would mask how shamefully Larson seemed to marginalize his LGBT characters as well as his characters of color.

Almost 15 years since its Broadway Opening Night and it would be an apprehensive Glenn approaching the Cabot Theatre for the Skylight Opera Theatre’s “Rent.” How would Larson’s vision have held up?

Glenn has often wished to have been one of those lucky theatergoers, one of those select few seeing “Rent” on its pre-Broadway run at the New York Theatre Workshop. In the intimate confines of this off-Broadway house, Glenn imagines that production to have much in common with Director Donna Drake’s revival for the Skylight than the usual eardrum-battering road shows that continue to find their way to Milwaukee.

The emphasis on Drake’s production is on revealing all of the distinct characters who comprise this urban community. Within scenic designer Lisa Schlenker’s tight, urban backdrop, Drake’s excellent cast manages to forge far more of a sense of community than on offer in previous productions.

Although Larson has undoubted drawn from Puccini for inspiration, surely it is not much of a leap to see the central duo of Mark (Rick StatCounter - Free Web Tracker and Counter

Pendzich) and Roger (Tommy Hahn) as different elements of Larson himself. In Mark we see Larson the storyteller, the outsider always looking in. In the struggling songwriter Roger (think: “One Song Glory”), there’s Larson again, this time struggling composer. No surprise then that their friends, the rather more authentic denizens of this small corner of New York’s Lower East Side, prove far more compelling.

Standout performance by Parrish Collier (Tom Collins) and especially Juan-Torres-Falcon (Angel Schunard) bring their love story center stage. Their haunting duet, “I’ll Cover You,” shines brightly; the second act reprise guaranteed to bring a tear from even the most hardened theatregoer. “Light My Candle” which should jumpstart the romance of Roger and Mimi (Lili Thomas), all but pales in comparison.

Turning Maureen into a real force of nature is the dynamic Kate Margaret McCann; her “Over The Moon” proving to be both vocally dazzling and very, very funny. Without exception, Drake’s cast brings a real freshness to the host of familiar Larson songs without, blessedly, resorting to naff “American Idol” vocal theatrics.

Glenn has a few quibbles but minor quibbles, to be sure. The production’s third performance found the cast still looking for their comfort zone on Schlenker’s (too?) cluttered stage, perhaps contributing to the occasional lapses in pacing. And although he has thought productions of “Rent” have relied too heavily upon generating a façade of youthful exuberance, here Glenn might have wished for a more youthful cast.

And finally, there’s no getting around the fact that “Rent” is dated; AIDS is no longer the death sentence it was back in the early 1990s. As “Rent” becomes increasingly less topical, if not in fact less relevant, directors must, as Donna Drake has done here on the Cabot stage, find in Larson’s vision new ways to connect to theatergoers.

“Rent” continues through June 20 at the Cabot Theatre, 158 N. Broadway. For tickets, call (414) 291-7800 or go online at skylightopera.com.

Todd Alsup debuts his self-titled studio album with the joint release of two singles: the upbeat, summer jam “Let’s Have a Party” and the lush pop ballad “You Are.” Local fans will be among the first to have the opportunity to hear Alsup live when he performs Milwaukee PrideFest at Dance Pavilion on June 13.

For his album, Alsup enlisted New York producers Steve Greenwell (Joss Stone, Diane Birch) and James Walsh and Jeremy Sklarksy of Major Who Media to create a timeless album that would pay homage to the artists and styles of music he grew up listening to. A native of Pontiac, Michigan (a suburb of Detroit), Alsup took inspiration from artists like Stevie Wonder, Billy Joel, The Supremes, Elton John, and Marvin Gaye when writing the material for the record. “Some records are completed in a few weeks. Mine took much longer. We made a conscious choice to take things slowly and spent 9 months allowing things to take shape organically.” The result is a collection of lovingly-crafted hook-driven songs that seamlessly blend pop, soul, Motown, and rock.

Lead single “Let’s Have a Party” promises to be the song of the summer. It’s a celebratory shout-out, a deliciously funky track with an old-school Stevie Wonder vibe. The song features a soaring lead vocal, reggae-infused piano, Wonder-esque synths, doo-wop harmonies and horn-lines for days.

“You Are” is a classic piano love ballad in the style of Elton John’s “Your Song” and features an intimate and heartfelt lyric, intricate piano lines, and soaring strings.

“The song is something I wrote for my partner,” says Alsup, “to let him know that I couldn’t do anything I do without him. He’s my strongest support system. God knows, as a musician, it’s a bumpy road, but he has always been the one to say ‘Do what you love, that’s all that matters.’”

Todd Alsup and his partner Matt have been together for seven years. They hope to one day marry, however, New York is among the 45 states in the country that does not legally recognize same-sex unions. “The passing of Proposition 8 in California was a real eye-opener for me. It went beyond denying the gay community our rights. Proposition 8 was all about actively taking them away.” Todd cites his frustration with the lack of unification within the gay community.

“There are far too many of us who are willing to accept that change will come when it comes. Where’s the sense of urgency? Where’s the outrage?” he wonders.

On the surface, “You Are” is not politically charged. It is a love song, plain and simple. “But I wrote it for my partner and our relationship isn’t recognized legally. That’s pretty political,” he adds.

Alsup made a name for himself with the release of his 2007 debut EP “Facts and Figures.” Just after the release of his first single “The Good Fight,” he was featured in Billboard Magazine as an up-and-coming artist to watch. He later filmed a video performance of the song that aired on Billboard’s website. “To be highlighted in the music industry’s bible meant everything to me. It was incredible exposure that opened a lot of doors.”

It also yielded the attention of major labels. Todd Alsup was approached by several, but he ultimately made a conscious choice to remain an independent artist and to release the album on his own. “A label would have to present a seriously amazing offer to make me consider signing with them now,” he explains. “The beauty of today’s music world is that if you’re intelligent, driven, and surround yourself with a strong team, it is possible to make an impact without major label support. Indie artists like Ingrid Michaelson who’ve made it on their own terms inspire me and remind me that it can be done.”

He conceded it is a lot of work with an endless checklist of things to be responsible for.

“Sometimes I feel like I’m living five peoples’ lives,” he continues. “But when the product you are selling is you, who else is going represent you as authentically?”

For more information on Todd Alsup, please visit www.toddalsup.com or follow him on Twitter @ToddAlsup.

Milwaukee - Seattle artist Anomie Belle performs on the main stage at Milwaukee Pridefest at 5:15pm on Sunday, June 13th.

Anomie Belleís introspective, electronic music has garnered international acclaim, and she has been lauded for her skills as a composer, producer, audio programmer, vocalist, and multi-instrumentalist. Originally a classical violinist and also an active film composer, Anomie Belle combines experimental elements with sensual down-tempo grooves, smoky vocals, electronic programming and layered strings.

Belle has been lauded for her socially conscious lyrics, as her material grapples with social issues ranging from American political apathy to suburban alienation, passive media spectatorship, sexism, social injustice, and consumerism. She is active in encouraging young female musicians through womenís music nonprofits such as Girls Rock! Seattle, Reel Grrls, and The Rock ëní Roll Camp for Girls in Portland.

Anomie Belleís debut album, Sleeping Patterns, has received widespread media attention and radio play, and her host of collaborators is always growing. Her upcoming sophomore release will feature Jon Auer (The Posies) and Mr. Lif (The Perceptionists). She has also recently shared the stage with Tricky, The Album Leaf, Kid Koala, Bonobo, Bajofondo, The Heavy, and Little Dragon. At Pridefest, she will be playing several tracks off her forthcoming sophomore release, performing on guitar, violin, keys, vocals, and electronic programming while backed by live strings, bass, and drums.

Quest Magazine Volume 17 Issue 9 Quest Arts & Entertainment Features

Quest Magazine Volume 17 Issue 9
Quest Arts & Entertainment Features