Delicious, or, This One's for You, Megan

So a week has gone by... well, more like 9 days, and all without a post. It's amazing to me that I expect people to read this, and then never post. I actually got scolded by Cabaret's Frau Schneider for my lack of posting, though she also scolded me for my overuse of the word delicious...

As Cabaret draws to a close (tonight's the last night - so get out and see it) I am reminded why I love living in Grand Forks. Don't get me wrong, I'm as bitter as the next person about things that go on here, but I feel a sense of community.

It's been an insane two weeks. The nonprofit community was dealt a potential blow (though the other side off the issue will not see it this way) on Monday with the possible loss of $200,000. Masking it in an act of tax relief, this seems to me to be much more about holding the nonprofit community hostage. What does this translate into? (If you are lost at this point, here's the article, the follow up, and here's Tu-Uyen's blog about it)

As a theoretic part of the nonprofit community, whose stakeholders belong as well, and a part of the Northern Valley Nonprofits steering committee, I've been a fly on the wall through this process. The nonprofits have tried direct appeals, education, advocacy, and the like. We have failed to get our message across. Some members of the council seem to believe the nonprofit community harnesses a sense of entitlement, when in fact, I don't think that is the case. The city desires that nonprofits run as businesses, and many of them do, but consider the client base, and the opportunity for earned or sustainable income. It just isn't there.

We take $200,000 away from the nonprofit community and provide it back in the way of low-income housing (whether that is hidden in tax relief, et al). However, I'd be interested in tossing out the percentage of social service clientele that do not actually own homes. When you get right down to it, Earl Beal was correct. The nonprofit social services community provides an obligatory service to the city and county, and should be supported. When the client base is living at sub-poverty lines, your ability to charge for services goes, and rightfully so, right out the window. Without these services, a community fails to be "healthy" and fails to "function" in an adequate fashion.

I've never understood this relationship between the council (albeit the previous one) and the nonprofit sector. In many ways, the council seemed to want to take a parental role for the nonprofits, in almost a micromanigerial fashion. I do not think this attitude is malicious at all, but perhaps it is this air of benevolence that causes some of the tension. Take the personalities out of the equation, and what it boils down to is this: Social service nonprofits engage our communities and give back to them the sorts of social capital that allows problems to be solved, visions to be created, and transformations to occur. Period.

They deserve support. They deserve this funds that were set aside for them.

Again, don't get me wrong. I've had good dealings with the city. I've had great dealings with Council President Gershman. Here is an area where we do not see eye to eye.

My larger concern is how this bleeds over to the arts community. Unfortunately we live in a society, in a region, where the community may not consciously realize the value the arts bring. We live in a region where arts are not considered an economic indicator, though nationally, they are one of the most important. We live in a community where people do not understand the difference between SPA and Crimson Creek (one being high school, one being professional...) As the community focus on art change from that of education to one of social positioning, we will need to force a paradigm shift in this respect.

Statistically speaking, the arts are a primary force for relocation of a quality workforce (so are appropriate and strong social service offerings). The arts are one of the strongest catalysts for urban growth, and in the case of physical arts structures, urban development. The arts are important for social dialogue and political health. Especially so in Grand Forks. (For more information, I encourage you to read "Themes on Arts Participation in Grand Forks and Region" or the actual "Arts Participation Research")

The city currently gives money to the North Valley Arts Council, which is then re-granted to the community. This support is amazingly appreciated. However, with the position the city has taken on the nonprofits, I can't help but wonder how secure that potential funding is. Without the support of our city, our arts community would cease. As we have a very small amount of philanthropic giving to the arts, a severe lack of foundations, and a business community that is tapped is so many other ways, the lack of funding for programs is shocking, and a bit scary. At this point, is it then entitlement that we feel, or is it, rather, a sense of urgency.

I know that just like any other issue the council faces, there are going to be people on both side. I realize that. I understand that not everyone feels the arts should be supported. That's fine. It's nice to hear people that do, though. Last week, one of the surveys returned after Cabaret said "As a tax payer, I'd like to see more city money put into endeavors such as Crimson Creek." That is nice to hear. Though it wouldn't be a popular idea, it's good to know that what we do is appreciated.

Look for very cool things to come from the arts community in the next year. Look for a heightened sense of collaboration. Look to the future with idealism. Though I'm being intentionally vague, there is something a brewin', and I think it's going to be cool.

Until then, lets plug forward, and hope for the best. After all, our lives not determined by what happens to us, but by how we react to what happens. Our lives are not determined by what life brings to us, but by the attitude we bring to life. Positive attitude causes a chain reaction of positive thoughts, events, and outcomes. It is a catalyst, a spark that creates extraordinary results. (anonymous)

Peace::Ben::Team CulturePulse

Traffic Jam, or, There's Scanty on DeMers

ic "There was a cabaret and there was a master of ceremonies and there was a city called Berlin in a country called Germany. It was the end of the world...and we were fast asleep...."

It's been 20 hours since Cabaret opened. In that 20 hours, I haven't been shot yet, or forced to pack my bags and leave town, so that is a good sign.

7pm last evening was marked by a new addition to the sidewalks outside the Empire. In a move of either brilliance or stupidity, we sent the Kit Kat Girls and Boys to the streets to mingle, flirt and welcome the throngs of people we expected for opening night.

While our audience was slightly above average on the age charts, they still seemed to enjoy the debauchery that was presented. Little old ladies greeted women leaving nothing to the imagination with smiles and novelty. Some of those same little old ladies greeted our Kit Kat Boys with wondering eyes... or so I was told.

While my favorite part of the evening (absent of the show) may have been Kit Kat Boy Herman unknowingly hitting on UND President Charles Kupchella, the looks of people driving past the Empire was priceless, and probably good for publicity of the show.

Often times, I think people are so unaware of options unless you find a way to be brutally in their face. Perhaps this will help. It was fantastic to watch, none the less. Perhaps delicious is a better word.

As for the show itself, a strong opening (with tweaking to be had), was met with an audience who may have not known what they were in for. Perhaps expecting a stage version of the movie Cabaret, people came in full force to our little number - giving us a great house for a Tuesday opening night. The crowd seemed a bit amused at the antics of Willkommen, thinking that may be the last of the daring Fosse styled moves... not knowing the racy was yet to be unleashed.

Amusement turned a bit to shock when Allison Brooks (Sally Bowles) came out for her first number. Many, perhaps even attending because of Allison, know her as the music leader from Calvary Lutheran Church... and let's just say Sally Bowles is no choir girl... That being said, Allison's tasteful portrayal of debutramp Bowles was appropriate and thoroughly enjoyable. Audiences seemed hooked.

It wasn't until after the boy-boy-girl dance masterpiece Two Ladies that we lost our first audience member.

Three others didn't return from intermission (not that I was watching the front door... but I was - of the three, two were a mother/daughter combo where the mother seemed to seriously be questioning why she had purchased a ticket for her apparently 13 year old daughter against the better recommendation of the disclaimer).

Other than that, the audience returned in full force for the much less sexual, much more poignant second act. The buzz I've heard was good, and the reviews have been strong.

I should let you know: I do not think the show is that racy. Compared to the 1998 revival of Cabaret, we're giving you nothing. There is simulated sexual situations. There is simulated drug/alcohol use. There is innuendo. There are boys too close to other boys and girls too close to other girls. You know... nothing worse that the modern day soap opera.

What is different, is this is a live theatre. Once seated, in a dark, full auditorium, it is uncomfortable to get up and leave. Beyond that, live theatre is an emotional experience, and very much the role of Cabaret is to challenge people's comfort zones. Beyond all this talk of racy sexuality lies a story that is touching and tragic. A story that has contemporary relevance. A story that we can all relate to, on either side of the equation.

My mother called me today to ask how opening went. I told her people left over content. She thought it was rude and closed minded. That got me thinking about the market for art in middle America.

While leaving a theatre is rude, and something I've never done (and trust me, this isn't out of lack of opportunities - when I was in L.A. this spring, a friend and I sat through the travisty that was Puna the $#%& Dog, some tragic effort to try shock theatre that overshot and under impressed... thank God for the boxed wine), some people just can't/won't/don't handle the content of the theatre, and I think that is okay.

After all, this was an audience whose shock at the atrocities of the holocaust (as presented in the play) was much more calm then when there was a boy-boy smooch on stage (now to all you out there that don't wanna see any of that, it's about a fraction of a second, and not even really a kiss... and you can allow yourself to be distracted by the 8 half naked women on stage).

Grand Forks responded well and I'm proud to be a part of it. I think we as a community understimate our audience. Just because we are in the midwest and harness a bit more conservative ideology, it doesn't make us all that closed minded.

In anycase, it's a show you must see. Absent of the scandel and the fact that there are moments of "hot, hot, hot" - the story is brilliantly written. If you want to know more, visit culturepulse.org.

Beyond the debauchery of the Kit Kat Club, which is metaphoric, we follow the lives of two pairs: Sally Bowles (who represents the British) and American Cliff Bradshaw (played by Mike Stromenger), and German Frau Schneider (Played by Megan Gredesky), and her beau German Jew Herr Shultz (Played by Adam Feguson). Their lives serve as the window through which we see the effect of the rise of Nazism. Their lives serve as the mirror through which we must reflect our own personal ties to the story's lessons.

Guided through the tragedy, the debauchery, and the lessons themselves is the emcee: chalk white face, crimson lips, and easily as menacing as he is fascinating. (Casey Paradies)

Don't come expecting the movie, however. When Bob Fosse grabbed ahold of Cabaret to adapt it to film, he created much more a spotlight for Liza (are you there mama? it's me, Liza) Minilli than a true-to-script adaptation. This is no more apparent than the number "Cabaret", which Minilli used as a show stopping number, but originally was the anthem of her vournerability

Cabaret runs through this Friday, and again the 8th through the 11th. Tickets are a mere $18 ($15 for students), and the show runs from 7:30-10:00pm at the Empire. See it. Be there.

After all, what good is sitting alone in your room? Come hear the music play. Life is a Cabaret, old chum, Come to the Cabaret.

Peace :: Ben :: Team CulturePulse