Kay Bourne Arts Report – Issue #63

October 31st, 2008  |  Published in Kay Bourne Arts Report


by Kay Bourne
555 Kay Bourne Arts Report   Issue #63Pianist, composer, educator MICHELE ROSEWOMAN, praised by “Downbeat” magazine as “a star of American music,” has a dueling pianos duet in mind that would be a sight for the eyes as well as a treat for the ears.

An admirer of master pianist Randy Weston, whom she describes as attacking the keyboard “at a high level with his two handed approach instead of those endless bebop runs, his rhythmic approach” is the jazz artist she’d like to be paired with someday. “I feel legitimized” by his playing in my similar approach to the piano, Rosewoman says. That Weston is a giant of a man, 6’8″ while Rosewoman is a diminutive 5’2″ Rosewoman adds “would be a treat! He comes down with a big paw on the keys, while I have to throw my whole body into my approach to get as big a sound. It would be a sight!”

In the meantime, Rosewoman brings her rhythmic style, a uniquely “New Yor-Uban” sound (chants sung to the orishas in the Yoraba spiritual tradition) to Jazz @ Union‘s second annual “WOMEN IN JAZZ” concert Saturday, NOVEMBER 1, at 7 pm. The solo appearance at Union United Methodist Church‘s highly regarded presentation of important jazz artists will showcase her fusion of Afro Cuban styles with intelligent and modern post-bop that integrates Cuban spiritual music (Santaria) into the mix. Rosewoman can also be counted on to swing. This concert is Rosewoman’s first significant appearance in Boston. “I’m looking forward to this,” she said in a recent phone conversation.

Rosewoman was given the name she uses as a last name now, as a nickname when she was a teenager by the cornet player and band leader Butch Morris who said the Native American appellation was her “rightful name.” A native of Oakland, California, she started playing piano at age six and began her studies of the jazz tradition with pianist/organist Ed Kelly. When Rosewoman relocated to New York, she began playing with Cuban bands and soon formed an important association with the Cuban master drummer/vocalist Orlando “Puntillo” Rios, a bata and conga player who became a mentor and a member until his recent death of her 14-piece ensemble New Yor-Uba, which reflects the progression of the music of the ancient Yoruba people from Nigeria through Cuba to present day New York.

The acclaimed Jazz@Union concerts, produced by T. Brooks Shepard, draw sizeable audiences to the church at 485 Columbus Avenue, Roxbury. Rosewoman will have her CD’s on sale following the concert, including her most recent album “The In Side Out” which fuses jazz with Afro Cuban rhythms, R&B, and funk, and features Michele’s ensemble Quintessence. For samples of Rosewoman’s music visit her website. For more info about the concert or to buy tickets, you can phone 617-536- 0872.

Michele Rosewoman’s website

by Kay Bourne
(Kortney Adams as Sara Washington with Nathaniel Taylor as James Bradsford.)

556 Kay Bourne Arts Report   Issue #63LYDIA R. DIAMOND candidly admits she once had the wrong idea about audiences. The playwright, whose theatrical version of Toni Morrison‘s “The Bluest Eye” has earned her countless admirers, says that way back she “used to think I understood everything about everything.” A more mature Diamond believes, “I don’t know what people see.”

She says her goal now is, “never to make people feel a certain way but to create an experience that is moving and entertaining.”

“VOYEURS de VENUS” surely will also set people to thinking. Company One presents the Boston Premiere of Diamond’s “Voyeurs de Venus” opening OCTOBER 31 at the Boston Center for the Arts, Plaza Theatre in the South End. For more info about the show, which runs through NOVEMBER 22, phone 617-933-8600.

The provocative story interfaces two women of African descent, a contemporary scholar of pop culture and a captive South African who was a side show attraction in 19th century England. Sara is writing a book about Saartjie Baartman, better known as the Hottentot Venus whose prominent buttocks made her a sexual oddity in the eyes of white British voyeurs. While Sara attempts to balance her own life which is complicated by her having a white husband and a black lover (who is also her publisher), and as she delves into the tragedy she’s writing about, her own racial identity becomes an issue of paramount importance to her.

“Why do we tell such stories?” repeats Diamond in a recent conversation. Her response: “They’re healing unless you wallow in it or exploit the topic (as does Sara). Not debilitating but empowering. By giving the issue a voice and a context, so it will be healing.”

Directed by Summer L. Williams (who directed last season’s “The Bluest Eye”), the drama stars IRNE Best Actress winner Kortney Adams as Sara and Marvelyn McFarlane featured in Company One’s production of “The Bluest Eye” as Saartjie Baartman. Doug Cochrane, Michael Steven Costello, Quentin James, Becca A. Lewis, Bob Schwalbach, and Nathaniel Taylor complete the cast.

Diamond feels comfortable with Williams at the helm of a story that is “structurally complicated, yet not self consciously structurally crafted, but where the characters dictated the play.”

“I didn’t attend many of the rehearsals for ‘The Bluest Eye,’ but when I did she was so lovely at making me feel welcome. She has an aesthetic that matches mine. She’s smart. She asks challenging questions. She knows how to read a play and then realize it on stage. And the icing on the cake is that she’s wonderful with people and has the respect of her actors. She knows how to hold a room with gentle and firm guidance. When I would walk into a rehearsal, it felt healthy and happy.”

Diamond says that Company One had asked to do “Voyeurs de Venus” first but “I wanted to give myself the time to learn the company before I would release it to them. They were gracious and did a winning production with another play (“The Bluest Eye) which Summer also directed. I really have come to trust them.”

Company One website

(MFA release)
(image of Norman Lewis’ Untitled (courtesy of Swann Galleries).

557 Kay Bourne Arts Report   Issue #63THE MUSEUM OF FINE ART BOSTON has purchased three paintings from the Swann Galleries auction of African-American Fine Art including NORMAN LEWIS’ Untitled (about 1960-1964) for $312,000 — the highest price ever realized at auction for an abstract work by an African-American artist.

The MFA also purchased The Juggler #1 (about 1964) by Hughie Lee-Smith and 715 Washington Street (1947) by Walter Simon.

The Museum has acquired numerous American works over the last few years as they move closer to opening the new American Wing and the Linde Family Wing for Contemporary Art (in late 2010). Highlights include John Axelrod‘s collection of American Modern decorative arts, Daphne Farago‘s collection of studio jewelry and fiber arts, Ron and Anita Wornick‘s collection of contemporary craft and the Wein collection of African-American works.

The Museum of Fine Art Boston website

by Josiah Crowley © 2008
(l to r: Mather Zickel as Kieran, Anne Hathaway as Kym, Rosemarie DeWitt as Rachel and Tunde Adebimpe as Sidney)

558 Kay Bourne Arts Report   Issue #63An accomplished, tough film written by Lena Horne‘s granddaughter, JENNY LUMET (whose father is director Sidney (“Serpico”, “The Wiz”, “Dog Day Afternoon”) Lumet, RACHEL GETTING MARRIED brings Oscar- winning director Jonathan Demme back to his roots as the director of low-budget filmmaking. He started out helming Roger Corman films like “Big Bird Cage,” then went on to indie comedies such as “Melvin & Howard” before hitting it big with “The Silence of the Lambs.” With RACHEL, Demme brings his skill to the indie drama genre and produces a difficult, but intense, tough and well-done film.

RACHEL revolves around Kym, a lifelong screwup/drug addict, out on a weekend pass from a long-term rehab facility to attend her sister’s wedding. Long held family resentments raise their ugly and painful heads at the wedding rehearsal and nuptials.

But this is no mediocre, predictable TV movie that ties up a family’s issues in a neat bow by the film’s conclusion. There are no easy resolutions, in some instances, no resolutions at all, in this family’s issues with the destruction that one family member’s drug addiction has caused. Some of Kym’s past actions have proved irreparable. Sorrow and pain seem to be uninvited, but clearly present guests at this wedding.

The actors are superb. Starting with the lead actress, ANNE HATHAWAY (star of THE PRINCESS DIARIES) as Kym, proving she has strong dramatic skills, all the way to a strong supporting performance by ANNE DEVEARE SMITH, as Kym’s stepmother. The standouts here include IRNE area theater award winner BILL IRWIN (WHO’S AFRAID OF VIRGINIA WOOLF?) as Kym’s co- dependent, guilt ridden father – always trying to make things right, even when he’s not at fault. ROSE MARIE DeWITT, superb as the accomplished bride Rachel, the polar opposite of her little sister; and in what may be one of the greatest comeback performances of all time, 1980′s leading lady DEBRA WINGER, repressed and angry as the girls’ estranged, grief-stricken mother.

One of the best aspects of the film is how the screenwriter bi-racial JENNY LUMET never makes a point of the two inter-racial marriages in the film (both Rachel and her father have Black spouses, so the wedding party is filled with as many Black as White people); most studio films would be ALL about an inter-racial marriage; here, there are no references to it. The reggae music of recording artist SISTER CAROL brings yet another effective aspect to the film, bringing pain and joy and celebration to the spirit of the film, appropriately, for a film revolving around a family’s pain and passages.

RACHEL GETTING MARRIED is a very good film – moving; at times almost too painful to watch and always well-acted by a large supporting cast of impressive character actors. A film to see by adults AND their teen aged children, since it could lead to some great discussions about life, choices, addiction and personal accountability. Highly recommended.


by Kay Bourne
559 Kay Bourne Arts Report   Issue #63WILLIAM GIBSON‘s enduring drama, “THE MIRACLE WORKER,” is based on the early life of a deaf, mute, and blind child when she first meets with the teacher who awakens her intellectually. Written originally for TV, then redone for the theater, the now classic story based on Helen Keller‘s autobiography got a stage production from the Roxbury Repertory Theater (RRT) so gripping that the inner city teen-agers who made up most of the audience at a recent matinee whistled and cheered at the curtain call to express their enthusiasm. In an instance of unusual casting, the production incorporates five children from the Perkins School for the Blind into the show. RRT will give a performance of the show at Perkins School for the Blind, NOVEMBER 6 at 6:30 pm to which the public is welcome.

The play, which was originally a teleplay in 1957, then was adapted by Gibson for a Broadway production in 1959, became a feature film in 1962. The stage version which is perhaps the most celebrated of the drama’s many iterations, starred Patty Duke as Helen Keller, a wild child without the means to connect her intelligence with the world she navigates, and Anne Bancroft as Annie Sullivan, the feisty teacher determined to awaken her young charge to learning. Sullivan, unsure really how to go about the task at hand, begins by taming the feral Helen, realizing, as she says, “discipline is the way knowledge enters the mind of a child.” The parents are delighted to leave matters at that since they now have a child who is controllable. Sullivan, however, recognizes that unless the child understands the world around her, she has been consigned to being an automaton, not a person whose intelligence can provide a life worth living.

This engaging, dynamic production of “The Miracle Worker” has been imaginatively directed by MARSHAL HUGHES , working closely with light and set designer MIRTA TOCCI to give the show both realistic and abstract dimension. The Keller’s dining room, Sullivan’s bedroom, the interior of the garden house and yard where the water pump sits all look very much like Ivy Green did at the turn of the 1800s, the Keller home in Tuscumbia, Alabama which is now maintained as a registered historical site. By contrast, scenes from Sullivan’s traumatic childhood years in a Massachusetts institution for defectives which continue to haunt her are staged by back lighting actors to give the eerie effect of a giant shadow puppet play.

JULIE DAPPER plays the determined, sensitive Annie Sullivan, who is “the miracle worker” of the title, with every bit of the panache and fire that gives the young teacher a chance at teaching her rebellious, crafty little charge. Young actor ELISE HANA, who has a black belt in karate, gives an excellent portrayal of the flaying, high energy Helen whose innate high intelligence has turned her into a menace.

The supporting cast brings a lot of interest to the story as well. Among the principals, CHRIS WRENN is fine as Helen’s father, a small town newspaper editor and Victorian style head of the household, who is cynical about the possibility anything much can be done for Helen whom he dearly loves. NORA O’REILLY is touching in her portrayal of Helen’s mom who proves to be stronger willed than her husband had guessed, while GIDEON BAUTISTA gives a good performance as Helen’s older brother who can’t get his dad to pay him the attention he longs for while the focus of the Keller family is on the obstreperous child. WANDA SMALLWOOD is excellent as the Keller’s housekeeper who is also skeptical that the child can progress.

HAMISH, a handsome golden retriever trained by LARAH LUFT, made his theatrical debut as Belle in this production having already had success as a dog model for magazines. He trotted amiably across the stage at several intervals, tail held high.

That a story that revolves around the empowerment possible through language and learning would be received with such gusto by school aged youngsters is heartening indeed. Kudos to the Roxbury Repertory Theatre for making that theatrical experience available to them and audiences generally.

“The Miracle Worker” closed last week at Roxbury Community College’s mainstage. The Roxbury Repertory Theatre is a cooperative venture between Emerson College and Roxbury Community College where Hughes directs the visual, performing, media arts program.

by Josiah Crowley © 2008
560 Kay Bourne Arts Report   Issue #63CLINT EASTWOOD directs another home run (after Mystic River and Million Dollar Baby) with this true story in THE CHANGELING. In 1928 Los Angeles, the working class, single mother Christine Collins comes home one day to find her son missing. After several months, the LAPD returns to her a child. She states he is not her son!

What happens after this would be unbelievable if one read a novel with this plot. The fact that this is a true story, and that Eastwood makes a powerful film out of this material, makes the film both sadder and more outrageous than if it were fictitious. To give away too much of the plot would be unfair to the viewer. Suffice it to say, you will be glued to the screen as this fascinating story unveils itself. There are many twists and turns in this film. It shows us police corruption at its most inhumane, some tragic segments of life most people in society never see.

The film boasts superb performances by all. ANGELINA JOLIE reminds us she’s much more than just a regular occupant of the tabloid press: she turns in her best performance to date. AMY RYAN, (Oscar-nominated as the drug addict mother of the missing girl in GONE, BABY, GONE) appears here (strangely enough, this is her second film where the plot hinges on a missing child) with a strong, small role as a very unglamorous Hollywood prostitute institutionalized in a mental hospital. JOHN MALKOVICH is very good as a local minister out to help the bereaved, confused mother (Jolie). And there are outstanding supporting turns by MICHAEL KELLY as the film’s lone honest cop; JEFFREY DONOVAN as a devious, ambitious LAPD detective; and stage actor JASON BUTLER HARNER in a great turn as a serial killer.

Strong material, done with taste and great storytelling by Eastwood and Company.

THE CHANGELING official website

by Lisa Simmons
(Dakota Fanning and Queen Latifah)

561 Kay Bourne Arts Report   Issue #63THE SECRET LIFE OF BEES is a film that will wash over you. It’s slow rhythm is paced perfectly with the southern town where the story takes place. There are some moments that disturb the tranquility but we find ourselves back swinging on the porch swing taking in whatever lessons the day has to provide.

THE SECRET LIFE OF BEES is based on the New York Times best selling novel and set in South Carolina in 1964. It is the touching story of Lily Owens (DAKITA FANNING) a 14 year-old girl who is haunted by the the death of her late mother and a troubled relationship with her father, she runs away with Rosaleen (JENNIFER HUDSON) who is her caregiver to a South Carolina town and a family of beekeepers (QUEEN LATIFAH, ALICIA KEYS, SOPHIE OKONEDO), that holds the secret to her mother’s past.

“Bees” is incredibly well cast and beautifully acted. GINA PRINCE-BYTHEWOOD(Love and Basketball) adapted the book for the screen. The characters are passionate and compelling and their stories told with care and understanding.

A sweet film (no pun intended). You will weep at moments and be insensed at others, but you will most likely be glad to see these beautiful black woman on the screen telling you their story.

THE SECRET LIFE OF BEES official website

(photo credit: Office of Communications, Princeton University)
563 Kay Bourne Arts Report   Issue #63African American historian, KWAME ANTHONY APPIAH has received the $25,000 Joseph B. and Toby Gittler Prize, the financially largest academic prize awarded to a U.S. or international scholar writing about race, ethnic, and/or religious relations.

Appiah, a Ghanaian philosopher, cultural theorist, and novelist, has taught at Harvard, among many prestigious universities. His most recent book “Cosmopolitanism: Ethics in a World of Strangers” (2008) dealt with the inherent conflict humans face in a global, technological society as “free and independent, yet increasingly dependent on one another for survival.” He has been called a “post modern Socrates.” Appiah accepted his prize at Brandeis University October 27, after which he delivered a lecture, “Ethics of Identity.”
Kwame Anthony Appiah website

(Makanda Ken McIntyre on flute)
562 Kay Bourne Arts Report   Issue #63The 12-piece jazz orchestra devoted to playing the unrecorded compositions of Roxbury son MAKANDA KEN McINTYRE presents a free concert Saturday, NOVEMBER 8, from 2-5pm at the Dudley Branch of the Boston Public Library in Dudley Square.

The effort to get this music heard, known as THE MAKANDA PROJECT, is led by pianist JOHN KORDALEWSKI, who studied with Dr. McIntyre and who has arranged this music. The members of the orchestra are outstanding players, some of them well established, others new to the jazz community: KURTIS RIVERS, alto sax; SEAN BERRY, tenor sax, flute; LANCE BRYANT, tenor sax, flute; CHARLIE KOHLHASE, baritone sax; JOSIAH WOODSON, trumpet, flute; JERRY SABATINI, trumpet; CRAIG HARRIS, trombone; BILL LOWE, bass trombone, tuba; DIANE RICHARDSON, voice; LARRY ROLAND, bass; and YORON ISRAEL, drums.

Makanda Ken McIntyre achieved international renown first through seminal early 1960′s recordings with Eric Dolphy and Cecil Taylor, and then as a bandleader and jazz educator. When Makanda died in 2001, he left 400 compositions yet to be recorded.

(pictured: Jesse Boykins III and band in NY)
564 Kay Bourne Arts Report   Issue #63After a successful October 24 debut, ORGANIX SOUL Boston invites you to its next LIVE music showcase, the day after Thanksgiving, on Friday, NOVEMBER 28.

Last month’s showcase featured the soul-blues-Cape Verdean style of New Bedford’s CANDIDA ROSE, as the highlighted local talent. Followed by Brooklyn’s LaSONYA GUNTER who was warmly welcomed by an eager roomful of about sixty at the Madison Room in the Sheraton Braintree Hotel, where the November showcase will also take place.

Between each act, the audience was entertained by the comedy of JUST AL. The two hour set which started promptly at 8pm, concluded with L.B. from Kansas City, MO who included in his set the now-more-than-ever popular, Sam Cooke title, A CHANGE IS GONNA COME, (which I suspect is due to the current political climate. SEAL put out his summer release of it with the music video for it in a stark black & white, and more recently WAYNE BRADY released an equally amazing rendition on his new album, yes! comedian WAYNE BRADY.)

The founders of ORGANIX SOUL Boston, CHARLES CLARK and NIA IMANI are enthusiastic about the November and December line ups.

“Oh, you wait ’til you hear GORDON JAMES at the November showcase! He plays a funky trumpet and really connects with his audiences. He’s worked with Weather Report and Spyro Gyra‘s percussionist, and knows his jazz ” says Clark.

Also in the November showcase is JESSE BOYKINS III and his band to support their new cd. A brother in his early twenties, but don’t let his age mislead your ears. His musical maturity is obvious as soon as he begins his flow. His influences include Stevie Wonder, Marvin Gaye, Donny Hathaway, Jimmy Cliff, Bob Marley, Sizzla, Bilal, D’Angelo, and Musiq Soulchild. He was recruited by NYC’s New School University where he honed his skills as a vocalist, performer, writer, arranger, and producer, studying with classical trainer Kamal Scott and Universal Music recording artist, Bilal. Although Jesse is only 23 years old, he has been singing, writing and recording for more than half of his life. His voice spans a 5-octave range and his sound draws upon his eclectic taste, creating a style that is not bound by generations or time.

Doors open at 7pm, with a networking mixer (bring business cards or flyers to promote whatever you got going on) and then the LIVE music showcase starts on time at 8pm until 10pm.

Be on time and be prepared. You’ll probably want to buy all the featured cd’s of the night, and that’s the goal of ORGANIX SOUL Boston, to get you face-to-face with today’s roster of soulfully contemporary artists seeped in Jazz, R&B, World Music, Funk, and Blues, so you can support them directly, cutting out the middleman of corporate labels and booking agents. ORGANIX SOUL Boston artists jam for a full 2-hour session, followed by an afterparty, and for November, DJ Nelski will keep the dancefloor hot from 10pm – 1am. (Also on hand are arts & crafts vendors. If you get hungry before or after the showcase, there’s a TGIF Friday’s right next door.)

Tickets are $25 in advance and $30 at the door, available on line next week when the site gets updated, or call Nia at 617-296-5976 and myself at 617-282-1234. Watch my ROOTZ TO RHYTHMtv on Tuesday, November 11 from 10 – 11pm on Boston Comcast ch. 23, for highlights from the October ORGANIX SOUL Boston showcase.

ORGANIX SOUL Boston website


GUYANA IMMIGRANTS SOCIAL CLUB, Inc. presents its 29TH ANNIVERSARY DANCE with music by Sounds Inc. and Sound Vibration, on Saturday, NOVEMBER 1 at the Unity Sports and Culture Club, 10 Dunbar Ave Dorchester, $10 befpre 10:30pm, $20 after. For information call Jim at 617-921-2789. Tickets available at Nikki’s Roti, Ali’s Roti and Lorenz Island Kuisine.

DAVID MAXWELL’s MAXIMUM BLUES featuring Nicole Nelson (vocals), Sax Gordon (tenor sax), Kevin Barry (guitar), Marty Ballou (bass), Per Hanson (drums), and David Maxwell (keyboards). performs NOVEMBER 7, 7:30 pm and 10 pm. at the Regattabar in the Charles Hotel, One Bennett Street, Cambridge. For tickets and information call 617-661-5000. David Maxwell has played keyboards with some of the greatest and most well-known musicians in the blues, including John Lee Hooker, Bonnie Raitt, Buddy Guy, Freddie King, Muddy Waters, James Cotton, Hubert Sumlin and Otis Rush, among others. Maxwell is often compared to the great blues pianist Otis Spann (of the Muddy Waters band), for his ability to resurrect the spirit and sound of the master of post-war Chicago Blues Piano.

Every Thursday night between 7 – 10:30pm, enjoy dinner and jazz at RESTAURANT LAURA, located at 688 Columbia Road, Dorchester. featuring John Kordalewski (piano) with a variety of vocalists each week. For more information call Restaurant Laura at 617-825-9004.

Have you marked your calendars? The 2008 edition of Boston’s livliest and most elegant benefit night, Steppin’ Out, honors great women in jazz and R&B. Lalah Hathaway, Julia Nixon, Amel Larrieux, Esperanza Spalding, Terri Lyne Carrington, and Wannetta Jackson perform NOVEMBER 8 at the Westin Boston Waterfront Hotel. Proceeds from the gala go to support The Dimock Health Center‘s many health and human service programs from adult and pediatiric medical care to eye and dental exams and care, HIV/AIDS services, child and family development services, behaviorial health, and adult basic education. For more info about The Dimock Center you can go on-line to www.dimock.org. For complete event info, call 617-442-8800×1006.

THE DRUM EXPERIENCE program, “Play It, Say It, Sway It” is every Saturday 12 – 1:30pm at Dudley Branch Library, 65 Warren Street, Roxbury. “Play It” with DRUMS: Learn to play African drums, learn the history of rhythms and broaden your knowledge about drums in relation to various cultures. Taught by percussionist Salim Rahman, Open to all ages. “Say It” SPOKEN WORD: What did Zora said to Langston? Poetry, Presentation, Creative Writing, Individual Expression. Open to ages: 8 to 18, taught by Fulani Haynes. “Sway It” DANCE: Learn about meditation and dance origins from Africa and Latino countries. Taught by Ilanga, open to all ages. This program is free and open to the public. Call 617-427-8320 for further information.

Massachusetts College of Art and Design seeks an innovative filmmaker for a full-time tenure-track position in the Film/Video Major of the Media and Performing Arts Department, starting immediately. For a complete job description, click here and apply online.

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