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Intermission Impossible Theater

Funny Things: GCT’s Colorful “Forum” Has a lot of Heart and a Few Good Gags

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Germantown Community Theatre’s A Funny Thing Happened on the Way to the Forum presents its audiences with an interesting question to ponder: just how good can a canned ham be?

The material is time-tested and maybe a little shopworn, but the comic foundations remain solid. The cast, if somewhat streamlined, has a good sense for the material, and also the good sense to take ownership of what can be a predictable night full of predictable gags. As Pseudolus, the slave who’ll do anything for his freedom, Wesley Barnes is all ham (in the best way) and although he may never quite rise to the acrobatic heights or sink to the lewd, appetite-driven depths of a true Arlecchino, Barns is a fearless performer, very funny clown, and taken on its own, his energetic performance is a perfectly good reason to recommend the show.

That’s how I feel about a lot of the very funny performances and jokes here, although they collectively add up to something less than the sum of their parts.

“You know, a funny thing happened on the way to [fill in the blank]” is to comedians what rhyming moon with June is to songwriters. And true to form, Forum, Stephen Sondheim, Burt Shevelove, and Larry Gelbart’s 1962 musical comedy, is filled with jokes that were old when the concept of comedy was still relatively young. A loving tribute to historical burlesque the show borrows plot devices from Plautus, the popular Roman author whose plays were essentially an excuse for one naughty joke after the other. Since mating hasn’t changed all that much in the last 2000 years, they’re essentially the same naughty jokes told by the baggy-pants comedians of burlesque who were famous for their lack of originality. After all, in burlesque, the content of the joke itself is relatively unimportant. As with the tease before the strip, it’s all about how you present the material.

When were sunglasses invented?

  • When were sunglasses invented?

Plautus is the spiritual father of Commedia dell’arte, which took stock characters, and stock stories and loaded them up with timely topical references and improvisational gags called lazzis. Attempts to mine this history result in some of the night’s most jarring notes (lazzi of the cell phone), and some of its biggest laughs (lazzi of mourning).

The plot (more or less): Pseudolus, a slave, has been promised his freedom if he can deliver to his master the love of his life, a young virgin who has, much to the slave’s dismay, already been purchased by the pompous war-hero Miles Gloriosus. The rest is a breakneck mishmash of sight gags and mistaken identities, bolstered by 16 of Sondheim’s typically literate tunes.

In addition to Barnes’ admirable go at Pseudolus there are some fine comic turns by Greg Alexander (Senex), Mary Buchignani (Domina), Justin Willingham (Lycus), Brent Davis (Hysterium), and Chad Hoy (Erronius), who manages to make one of the script’s most worn out gags funny again with the sheer force of silliness.

Andy Saunders stylized set depicts an Athens so garishly colorful it just might make your eyeballs bleed. While it’s right on target in so many ways, sometimes it’s best to remove a piece of jewelry before going out. When all of the equally colorful costumes parade across the stage it’s almost too much too for tired eyes.

Alas, unless you’re working with an incredible recording and a state of the art sound system (and even then…) it’s hard to make canned music sound like anything but canned music. And that, ultimately, is what keeps a potentially stellar, and for GCT, a fairly progressive interpretation of this Funny Thing from ever taking us all the way to the Forum.

For ticket information, here you go!

Categories
News

Avenue Coffee

Hannah Anderson has the story of Avenue Coffee — a coffee house with a cause.

Categories
Intermission Impossible Theater

Slipping Into the New Hattiloo

Ekundayo Bandele is going to be so mad at me.

Oof!

  • Oof!

The Hattiloo’s founding director took a bit of a spill today while attempting to strike a heroic pose inside his new theater.

Ek: Tell me you didnt take a picture of that.

  • Ek: “Tell me you didn’t take a picture of that.”

Thankfully he was uninjured and he’s got good comic timing so it was kind of awesome.

Me: I did. Im sorry.

  • Me: “I did. I’m sorry.”

In a week the Midtown Hattiloo will be complete, opening a new chapter in the history of Memphis theater and Overton Square.

Today carpet went down in the lobby and sprung floors were installed in the black box. Tomorrow the trees arrive and landscaping gets serious. Any momentary loss of composure was, if anything, a case of overly excited expectant father jitters.

Bandele does a neat trick where he mimes giving a tour of the old Hattiloo inside the larger of the new Hattiloo’s two performance spaces, showing how you can fit the whole thing on the stage: bar, box office, balcony, and bathrooms.

And once he gets things under control he looks completely at home in his fantastic new digs. And pretty heroic.

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Categories
Food & Drink Hungry Memphis

Cafe Pontotoc To Open in Corked Carrot Space

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Cafe Pontotoc, so named because it’s near the corner of Pontotoc and S. Main, will open in mid- to late-June, according to owner Milton Lamb.

Lamb says the restaurant will feature a great wine list and beer from local brewers. While the menu is still being worked out, Lamb says it will include a selection of small plates.

Cafe Pontotoc will be in the old Corked Carrot space at 314 S. Main. Lamb says that the space is much the same, though he’s brought in some new tables and redid the back bar.

Lamb says the restaurant will initially be open Tuesday to Saturday, starting at 4 p.m., and will eventually expand to 7 days a week. He’s also considering having a Sunday brunch.

Lamb calls Cafe Pontotoc a “nice neighborhood hangout.” It will be a place, he says, “to sit down and have a conversation.”

Categories
News News Blog

Comptroller: Brighton Mayor Used Public Employees for Private Work

The mayor of Brighton, Tenn., in nearby Tipton County, used city employees to help build a house for his son, according to an investigation by the Tennessee State Comptroller’s office.

Mayor Jeff Scott

  • Mayor Jeff Scott

Mayor Jeff Scott sent two public works employees to the property owned by his son, Hunter Scott. At first, the employees thought they were sent to locate a water main on the property, according to the Comptroller. Then they were ordered to remove tree stumps, do some landscaping work, and prepare and pour the house’s foundation.

The employees used a city-owned backhoe, dump truck, trailer and two other vehicles. Mayor Jeff Scott oversaw their work during most of the three days they were on the construction site, according to the Comptroller.

Jeff Scott instructed the employees to leave the hours off of their city time cards. Instead, he told them they’d be paid by the project’s private contractor.

The contractor, a friend of the mayor’s, paid the public works employees and reimbursed the city $200 for the use of the backhoe. The contractor told investigators he did not have a contracting license and was only helping the Scotts.

Investigators in the Comptroller’s office recommended Brighton’s board of mayor and aldermen calculate the city’s cost for the project and seek reimbursement from the mayor, his son, and the contractor.

“It is unacceptable for officials to use public resources for the exclusive benefit of private individuals,” Comptroller Justin P. Wilson said in a statement. “People pay taxes and fees with the expectation that money will be fairly distributed to provide services to all citizens, not just a select few who happen to know somebody at city hall. I commend our investigators for their fine work in bringing these issues to light.”

Categories
News

Black, White, and Brown: The New Reality

The recent dust-up over race at the County Commission raises larger questions that aren’t being asked.

Categories
Sports Tiger Blue

TTT Answer

Former Tiger Will Barton made a splash earlier this month by scoring 17 points off the bench to help his Portland Trail Blazers win Game 4 of their second-round playoff series with the San Antonio Spurs (the only game Portland would win). List the five Tigers below by the number of NBA playoff games each appeared in (most to least):

1) Penny Hardaway (64)
2) Vincent Askew (50)
3) Larry Kenon (31)
4) Elliot Perry (19)
5) Lorenzen Wright (15)

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Categories
Politics Politics Beat Blog

Election Commission Certifies May 6 Results, Including Disputed District 10

Election Administrator Rich Holden (left) considers a query from petitioning candidate Martavius Jones (2nd from right), as election coordinator Albert Holmes (right) and Charles Higgins, attorney for candidate Reginald Milton, listen.

  • JB
  • Election Administrator Rich Holden (left) considers a query from petitioning candidate Martavius Jones (2nd from right), as election coordinator Albert Holmes (right) and Charles Higgins, attorney for candidate Reginald Milton, listen.

Say this for Shelby County Administrator of Elections Rich Holden, often accused by his critics of being brusque and unresponsive: He was the soul of patience, candor, and good humor on Wednesday as, in conjunction with a pending post-election appeal by County Commission candidate Martavius Jones, he conducted a tutorial on the process of collecting, safeguarding, and disseminating votes in an election.

At the end of it all, which would culminate with the certification of all the May 6 election results by the Shelby County Election Commission later Wednesday afternoon, Jones still seemed ready to appeal the outcome of the May 6 Democratic primary for County Commission District 10, in which he had initially been reported the loser to Reginald Milton by 26 votes.

But Jones was no longer contending that he had received the same number of votes as Milton, as he had last week when he convinced the Shelby County Democratic Party’s primary board to intercede with the Election Commission on his behalf.

To be sure, Jones had — in the consensus of those present for the tutorial, including representatives of the party, the Commission, the media, and Milton — gained a vote. That came from the opening and recording of the one allowable provisional ballot that was cast in District 10. (Provisional votes are those cast, on special paper ballots, by citizens whose credentials cannot be immediately established on election day.)

But Jones still faced an apparent deficit of 25 votes vis-à-vis Milton, who was not present on Wednesday but was represented by attorney Charles Higgins. The mystery of differing vote totals —between the initially reported unofficial count and that which Jones had demonstrated last week with photostats of the tape printouts posted at each precinct location — had been resolved.

The tapes publicly posted at two precincts — 29-02 (Hanley) and 31-02 (Rozelle) — had not involved all of the machines which had been used at those locations, and as a result Jones had ended up with misleadingly incomplete photostats adding up to an apparent overall tie with Milton.

Vote totals accurate; tally sheets not

The sealed machines used at Hanley and Rozelle were reopened Wednesday by election coordinator Albert Holmes, in the presence of the gathered observers, and new tapes were printed from them showing vote totals that accorded precisely with what had been unofficially reported by the Commission on election night.

One glitch remained, however. While tapes (“duplicate tally sheets” in official lingo) from all the Hanley machines were located in the Commission archives Wednesday, those from Rozelle weren’t — apparently due to an oversight by the four official pollworkers at Rozelle, who had signed and turned in a tally sheet reflecting the votes of only one of the four machines used at that location. This was the same tape that Jones had made a copy of to reach the totals he arrived at.

The discrepancy would appear to be only technical, Jones acknowledged, since the correct totals from all four machines at Rozelle had been included in the overall unofficial vote tally initially reported by the Election Commission. But he cited a provision of the state election code (#2-7-132) that includes this language: “The duplicate tally sheets shall be certified correct and signed by each judge and by the officer of elections and shall be placed in the poll books.”

The failure of this technical part of the vote-reporting process will now become the basis of an official challenge to the election outcome by Jones, especially since, as he noted, if the votes are discounted from the three machines at Rozelle that weren’t on the tally sheets signed by the pollworkers, he would lead Milton in District 10 overall by some 35 votes.

And so the controversy goes on, to be resolved — as was pointed out at the later Election Commission meeting — by the state Democratic Party primary board.

In any case, the May 6 election results, including that for District 10, have now been certified by the five-member Election Commission by a vote of four ayes (Republicans Steve Stamson, Dee Nollner, and chairman Robert Meyers and Democrat Anthony Tate), with one abstention by Democrat Norma Lester, who professed dissatisfaction with the prior briefings she and other Commissioners had received.

Election Commission employees now “at will”

Meanwhile, though, another issue of potentially greater significance, long-term, surfaced at the Election Commission meeting, stemming from a report to the Commission by assistant County Attorney Kim Koratsky that Election Commission employees, heretofore regarded as employees of Shelby County and subject to civil service guidelines, should legally be seen as employees of the Election Commission, a state-enabled agency.

The key point of Koratsky’s findings is that Election Commission employees, lacking civil service status, are “at-will” employees — meaning, it would seem, that their job security is at the discretion of the Election Administrator (Holden) or of the Commission itself.

The point is relevant to Holden’s frequently stated concern, in past moments of contention over election problems, that he has had limited control over the composition of the staff he administers. And it also prompted observer Derrick Harris, chairman of the local Democrats’ primary board, to express privately a concern that potential whistleblowers employed by the Commission might be cowed into silence with the knowledge of their at-will status.

Categories
Food & Wine Food & Drink

Guilt-Free Pastries: “Good, Real Food”

A little more than a decade ago, Brandon Thomas dropped from 300 pounds to 175. More recently, he returned home to Memphis after college to take care of his father, who is on dialysis due to diabetes. And even while he was so personally involved in health issues, he never imagined he’d launch the health-conscious Guilt-Free Pastries.

Thomas discovered he’s allergic to gluten in August and began experimenting with gluten-free recipes. As Thomas walked through a market with a cart full of avocados, someone got curious and asked why, eventually requesting an impromptu order of avocado brownies.

The request opened Thomas’ mind to the possibility of selling to friends and family on occasion, and then another customer materialized.

Justin Fox Burks

Brandon Thomas’ guilt-free treats

“He was like, ‘What’s your company name? Where’s the storefront?’ I was like, ‘You’re my second customer, man. I don’t know. … Everything’s guilt-free. They’re pastries,'” Thomas recalls. “He was like, ‘That’s a great name.’ I was like, ‘Okay. Guilt-Free Pastries it is.'”

Thomas soon found a market for his products at Miss Cordelia’s Grocery, Stone Soup Café, Phillip Ashley Chocolates, and even a few gyms.

The brownies, $29 for one dozen, are his staple product, though he’s since expanded to caramel and vegan versions of the brownie, as well as several cookie options: cinnamon banana, white chocolate chip, and vegan avocado.

Thomas uses coconut flour instead of bleached flour, avoids hydrogenated oil, substitutes avocado for butter, and sources local eggs, honey, and vanilla extract.

Some of the recipes took experimenting. “When I made that first batch of brownies, it was not the prettiest picture. I had to throw them away,” Thomas says.

Starting with $500, he’s shown an acumen out of the kitchen as well, winning a Start Co. speed-pitch contest, connecting with mentors and securing a grant.

The advice he gets? Set higher price points.

“Right now organic foods are priced for a certain demographic. I don’t want that to be the case. I want everyone to be able to eat good, real food,” Thomas says.

Though he eventually wants his own store, for now Thomas still accepts orders via email for a single cookie or brownie and will deliver for free.

guiltfreepastries@gmail.com; 326-8482

Categories
Art Art Feature

The Brooks’ “The Eclectic Sixties”

courtesy Philip Pearlstein

Philip Pearlstein’s Female Model On Bed, Hands Behind Back

Of the roughly 9,000 works in the Brooks Museum collection, only about 3 percent are on display at any given time. Of that displayed 3 percent, fewer than half of those are delicate works on paper that are only allowed (by curatorial dictum) to see the light of day once a decade. A fraction of that fraction are contemporary and modern works on paper.

Courtesy Red Grooms / Artists Rights Society (ARS)

Red Grooms’ Portrait Of Paul Suttman

With this circumstance in mind, you should really make a trip to see the masterful 1973 Philip Pearlstein drawing Female Model on Bed, Hands Behind Back, currently on display in the Brooks exhibition “The Eclectic Sixties.” It is not one of Pearlstein’s more famous works (the artist is better known for his mammoth and psychologically rigorous nude oil paintings), but it is a candid and beautiful example of what simple line work can do to describe the human body.

The Pearlstein drawing, along with other works in the “Sixties” exhibition, is on display through September as part of the Brooks’ summer focus on the decade. “The Eclectic Sixties” and another small show are intended as support for an important retrospective of the works of mid-century artist Marisol, set to open in June. Marisol’s work will dominate the museum’s lower galleries with “The Eclectic Sixties” operating as a descriptive entry-point to the retrospective.

Courtesy Estate of ted faiers

Ted Faiers’ Woman With Cat

“The Eclectic Sixties” is entirely comprised of works culled from the Brooks’ permanent collection, including a loosely brush-worked portrait of sculptor Paul Suttman by Red Grooms, a 1971 psychedelic bust of a woman holding a cat called Woman With Cat by Memphian Ted Faiers, and a neon Andy Warhol series, “Electric Chair.” There is a cool 1966 “photolithography concertina” — an accordian-style photo book — by Edward Ruscha titled Every Building on Sunset Strip.

Courtesy David Parrish

John Parrish’s The Eagle Has Landed

The exhibition is almost evenly divided between collage and assemblage-based works — the sort that might have been made from Alphabet City garbage and old Polaroids — and colorful pieces in the Pop Art canon. Most works are from the ’60s or early ’70s, though a few pieces are from much later and reflect a strong period influence. One of these later works, John Wesley’s 1998 Showgirls, is the purest Pop piece in the entire exhibition; it would be difficult to guess that it was painted 35 years after the peak of the style.

The inclusion of later works and the exhibition’s loose approach to hard genres (Pop! Op! Surrealism! Assemblage! et cetera) is refreshing. Too often, work from the period is curated with stiff reference to over-defined mid-century art movements or with reductive historical explanation about American counterculture and societal shifts. The Brooks exhibition sidesteps that. The works in the show feel intimate, left to their own devices.

Courtesy Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York

Andy Warhol’s Electric Chair

The Eagle Has Landed, a large photorealistic oil painting by John Parrish, is the poster-child for the exhibition, not only because it is dominant and flashy (it depicts a greaser with his motorcycle on the moon), but because it brings together many of the other works in the show — it is figurative, accessible, and very human but has a hard-edged chromatic coloration that seems advertising-inspired. The headspace of the painting also seems dead-on: a moon that is a fantasy landscape that is the desert, somewhere between Las Vegas and the stratosphere.

“The Eclectic Sixties” at the Brooks through September 21st.