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June 23, 2006     Barnstable Patriot
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The apron as battle gear n T hi r* r A R T ' D Vonnegut brings women into 21st century with exhibition at Cahoon By Heather Wysocki hwysocki@barnstablepatnot.com Edith Vonnegut'snew show, "Heavy Machinery, Weber Grills, and Dainty Things," is a masterful juxtaposition of things not often thought of in con- junction with one another. In almost every painting, a woman, protecting her child and her environment , seems to be the focus. But anyone expecting the "Dainty Things"of the title to be these women, and from time to time angels, will be sorely mistaken. Although her work references Renaissance masters, no- where is found a woman who needs to be helped. Vonnegut's women are strong and capable. In paintings such as "Nude Pushing Backhoe " and "Nude in Ex- cavator," Vonnegut's women single- handedly fight off the garish orange machines threatening the thingsthese women hold dear. Whether subtle or spelled out , Vonnegut' s paintings convey the idea that natural resources are being destroyed , and that there are those , especially women, who can and will fight for them. Although they fight to save the world , the women and angels in Vonnegut's paintings are not the tra- ditional picture of strength. Instead , Vonnegut looks to challenge that idea and shows them with rosy cheeks and made-up hair, wearing aprons and car- rying babies. These Raphael-inspired domestic goddesses are meant to show that women in their normal states can be just as strong as anyone else. "Saving the Sapling,"alarge piece at the exhibit, shows one of Vonnegut's women who.along with prot ecting her child from a monstrous machine, is at the same time protecting an innocent young tree from the same destruction. It is a piece that defines the theme of the show: women protecting the things they love that cannot protect CONTINUED ON PAGE C:Z Swept away by ©lAffi if PAULFRAZEE PHOTO YOUNG LOVE - William Gard Diggle and Holly Holcomb find true love in Rodgers & Hammerstein's Oklahoma! Now appearing at the Monomoy Theatre in Chatham, the show will run through July 1. Monomoy Theatre 's season opener a true smash By Kathleen Szmit Manwaring kmanwanng@barnstablepatnot com When I was asked to re- view the Monomoy Theatre production of Oklahoma 1. I admit I was less than thrilled. Much less. "It' s so high school!" I whined, the word "hokey" bumping around in my mind. I sit here now.post-perfor- mance,with alargehelping of crow before me. which I will wolf down with glee. Monomoy 's Oklahoma! is a far cry from those done- to-death school plays with their off-key singers and cheesy sets. When you fac- tor in that the cast and crew put it all together in just two short weeks, the show becomes that much more impressive. Oklahoma! is certainly a classic with a familiar theme, pleasant music, and true-to- life characters. A particularly striking element of this show is its timelessness. Although the play takes place in 19'" century America just as Oklahoma is gaining state- hood, its events could easily occur in today 's world. At the heart of the play is a tumultuous love triangle of the sort seen throughout history right up to Must Love Dogs . Boy likes Girl, Girl likes Boy: both are too stubborn to reveal their true feelings until an outside com- ponent threatens to disrupt everything. Naturally, chaos ensues, the lovers must con- CONTINUED 0N PAGE C:2 Gone with the Wind meets The Goon Show Moonli g ht and Magnolias provides laughs at Cape Play house By Melora B. North arts@barnstablepatnot.com JERED FOURNIER PHOTO ASSORTED NUTS - Writer Ben Hecht (Dan Butler), director Victor Fleming (Mark Zimmerman), and movie mogul David 0. Selznick (Brad Oscar) drive each other nuts rewriting the screenplay of Gone with the Wmd m the Cape Playhouse production of Moonlight and Magnolias. They say it takes a vil- lage to raise a child. In the case of the screenplay for Margaret Mitchell's Gone With the Wind , it took but three men and five days to create what some consider the greatest film ever made. Check out the story at the Cape Playhouse in Dennis, where Moonlight and Mag- nolias is playing. Louis B. Mayer 's son-in- law at the time, David 0. Selznick (Brad Oscar), was under the gun to prove him- self to Mayer and Hollywood. In an attempt to do so he pulled director Victor Flem- ing (Mark Zimmerman) off the set of The Wizard of Oz to hunker down with writer Ben Hecht (Dan Butler) for a rewrite that would turn the popular novel into an Academy Award-winning blockbuster. In this comedic version of the marathon , written by Ron Hutchinson , the trio holed up in Selznick's office is sustained by ba- nanas and nuts provided by a middle-aged secretary, Mrs. Poppenghul (Kathel Carlson), who stands by her men as only a secretary from the 1930s would have. She makes the calls they ask her to. she bringsfresh water and does their bidding with a dedication long forgott en. And she too hangs in there for the duration , a fatigued smile always on her face , respect for the three studio icons paramount. Brainstorming and dra- matizing the highlights of CONTINUED ON PAGE C:2 r Dy Nicholas Smith arts@barnstablepatriot.com Elvis Costello & Alan Touissant The River in Reverse Verve Forecast It's true , Elvis Costello and Alan Touissant are sepa1 ratedbyageneration of musical tastes. Touissant's, the spicy Cajun, is the put-y our-finest- clothes-on jazz generation with a mean horn section, and Costello's, the singer-songwriter'swear-your-heart- on-your-sleeve-and-dance-like-nobody's-watchmg-with- a-mean-guitar-solo generation. However, Costello and Touissant aren't the unlikeliest ofmusicalpartners.In the mid-1980s,Touissant produced a couple of songs for Costello and also contributed some of that New Orleans flavor horn section to Costello's album Spike. We have Hurricane Katrina to thank for this recent partnership.As the story goes, Touissant fled his native New Orleans after the Katrina devastation north to New York City, where Costello was looking for someone with whom to play and write music. The River in Reverse , as the title suggests, flows from south to north. The result is a masterful album that contains seven songsfrom the Touissant collection, five songs writtenin NYC by the two, and one song, the title track, authored by Costello himself. Touissant leads the instrumental on his piano and Costello takes a step back, offering the occasional guitar lick, and focusing primarilyon vocals, which are consis- tently solid like the album itself. There 's energy in the album. The coincidence of the partnership can be heard in the passionate renderings of the songs and it could be the last of its kind. Bobby Previte Coalition of the Willing Ropeadope Records Bobby Previte is a jazz drummer with a reputation for delicate and poi- gnantdrumming.His longtimepartnership witheight-string gui- tar player Charlie Hunter brought him out of the purely jazz category a while back, inviting some hip, always funky music with a guitar- driven, rock n' rollish, dance-till-your-shoes-fall-off edge. Coalition of the Willing features Hunter on every track, and much to the surprise and perhaps the chagrin of many Hunter fans, the guitar master trades in his self-designed eight-string axe for the more traditional six-string model. No matter really, but the difference can be heard in the absence of Hunter's signature bass line riffs which the eight-string guitar makes possible. Much like the music that Previte and Hunter have cre- ated over the past few years, the music on Coalition of the Willing is jazz-based instrumental that doesn't fit nicely into the jazz category. Some of the tracks resemble surfer rockabilly and others cast a strange spin on mood pieces, somethingyoumighthear inamovie, perhaps aJames Bond flick.And others are outright odd, a dash back to the heavily experimentaljazz-rockfusion days,whichdon't necessarily need to be remembered. In short, Coaltion of the Willing is not for the experimental music faint of heart. Perhaps the CD cover'stheme willcatch your eye,though. It's hard to say what Previte is driving at with the all-red cover, adorned with the anarchist's fist and a title that al- ludes to communistic subservience, although something tells me he's striking irony. The quote from Orwell's 1984 on the inside covers is more evidence to the fact. Like most classyreferences, the insinuation iswithout finger-pointing. And at the end of the day, Previte's music has class. Keb Mo' Suitcase Epic Records Keb Mo' is the kind of musicianwhocaneasethe pain. He sings the blues. He often sings about the pain of love and career and money and his latest album,the seventh studio release, is no exception. Can't be sure why singing about pain can easeit,but Keb Mo' certainly lends some ideas to the conversation. Suitcase isnot atraditionalblues album,bythe way,inthe raw sense of the category. There's not much raw, scratchy blues bar ambiance.Noris there lots of howlingguitar solos and heartbroken vocals. The album is more smooth than anything else, most often highlighted by Keb's delicate fingerpicking acoustic guitar style and that deep velvet voice.Those familiarwith Keb Mo'sstyle won't be surprised by the lack of thoroughly downtrodden romanticism and those that could use a little heart-warming spice to their blues music diet, well, look no further than Suitcase. Of course, that's not to say that blues music doesn't belong somewhere down and out, in between feeling bad and feeling real bad. After all, there's a good reason why the music is called blues. And that's not because blues singers often sing about how great life can be. Keb sings blues on Suitcase, appropriately painful to ease the pain, and rightfully bereft of the beautiful things. It'sjust that his blue hue isa little lighter and brighter, and who's to say that's a bad thing? Ofl Music mmmm. ^ \ \Cj l "i ^ r ^arntftable patriot JUNE 23, 2006