THEATER

Telluride Theatre Company
Nosferatu

HERE Arts Center Dracula has served as both a landmark of literary and cinematic horror as well as a philosophical icon of the universal battle between good and evil. Rene Migliaccio's stage version, Nosferatu the Vampyre, running for two weeks at the HERE Arts Center in early June featuring actors from the Telluride Theatre Company, reinterprets the legend as a spiritual lesson in redemption and love, with mixed results.

Drawing on Irishman Bram Stoker's 1897 novel, Drucula, and EW. Murnau's 1922 film, Nos~mtu, Migliaccio successfully blends the book's florid Victorian language with Murnau's stark expressionistic images of fear and death. Since most of the lines are delivered in either flattened monotones or shrieks, all the characters come across as haunted beings trapped on a plain of crippling fear and spiritual disembodiment--the living dead. The chorus (their faces caked in black, white and red makeup) grimace, bug their eyes and lurch about the stage like zombies in a chilling recreation of silent film acting. In this context, Migliaccio's Count Dracula (played by Nikolai Kinski, son of Klaus Kinski--star of Werner Herzog's 1979 film version, Nosferatu) materializes in a realm that almost seems to welcome him. Real estate agent Ellen (played by Suzan Beraza) travels to Transylvania and unwittingly aids the malignant Count in his campaign for new jugulars on the virgin shores of England. Beraza's acting is somewhat wooden, and doesn't warm to either the camp or the horrific elements of the part. Annie Alquist as Mina,(Ellen's sister) brings an engaging Theda Bara-esque melodrama to her role.

"Blood is too precious a thing in these dishonorable days of peace," says the Count, reminiscing his ancient family's glory days of war and carnage. Kinski's Count is a complex creature, a bloodthirsty warlord one moment--a sensitive wraith the next. He digs deep into the poetry of the lines, bemoaning his world weary immortality in long, passionate speeches, then balances the purple prose with mournful understatement. In the director's notes, Migliaccio states that Ellen and Mina's ultimate destruction of the vampire represents a rebirth of the "feminine spiritual experience" in the world. His readings of Mina and Ellen as beacons of love that release Dracula from his undead bondage are not apparent in the script, and the ending is no different from that of the novel. The original score by Amaury Groc, Toidoi and Beru blends brooding synthesizers with jarring sound effects. Stephanie Johnson's layered slide show conjures up powerful images of gothic horror and sublime natural beauty. --Terry Roethlein

Edna O'Brien
Wild Decembers (Houghton Mifflin)

The final book in the trilogy begun with House of Splendid Isolation returns to Ireland's most common themes: sex, war and land. The focus this time is on land although O'Brien (one of Ireland's most famous and equally controversial authors) said that all three themes were of equal weight throughout. Set on a mountain in Cloontha, the story revolves around a brother and sister, Joseph and Breege Brennan, both Cloontha natives, and an outsider, Mick Bulgar. Fresh from Australia he has arrived to claim his late uncle's farm--which neighbors the Brennan's. Haunted by age-old family feuds, the two men fight over land boundaries while young Breege falls for her brother's tormentor. O'Brien paints a small Irish town full of memorable characters bursting with life and personality not often seen. O'Brien's thick, lush use of language and prose captivates, breaking the heart as the inevitable tragedies unfold. One's hope that the outcome might be different is preserved somehow. Much like her idol, James Joyce, (whose biography she has written), O'Brien is successful in portraying the vivid subtleties in human lives. --Ona Rynearson

Victoria Golden McMains
The Readers' Choice: 200 Book Club Favorites
(Quill/Harper Collins)

Capitalizing on the recent surge in book clubs popularized by Oprah's Book Club on TV, this book offers a howto guide on starting and operating a local club; it then follows with 200 reviews of popular book club reads compiled by book club expert McMains--chair of the Bay Area Book Reviewers Association. Asserting that these clubs don't want to read New York Times best sellers only--declaring them to be formulaic--clubs generally read the not-well-known-outside-the literary-world "mid-list" books. These more thoughtful, wellcrafted volumes steer away from what she calls the "MMMSS" of best sellers: murder, mayhem, millions, shopping, and sex. This could very well have been part of the "Idiot's Guide" or "for Dummies" series, instead McMains chooses the Zagat format to compile her reviews from 70 book clubs nationwide. Each review is formatted with questions to help new clubs generate comment. For those not interested in the clubs themselves, this guide still offers a great way to find interesting books whose movie rights haven't been snapped up yet. --Ilana Schweber

ART

Elizabeth O'Reilly
Paintings From Ireland
(George Billis Gallery-Chelsea)

O'Reilly's latest exhibition displays paintings completed during her most recent visit to County Mayo. Born in Treland and residing in NYC since '86, O'Reilly regularly returns to home to paint at an artists' retreat in Ballycastle, Co. Mayo. Her paintings reflect a unique perspective that both envelops and expands, encompassing the remote countryside and windswept coastal areas. The high horizon lines and seemingly endless views of ocean, sky and land evoke a sense of place that is vast, stark and ultimately timeless. The compositions are highlighted by her facile manner of fluid and loose brushstrokes. Her work conveys a deep appreciation and understanding of the sea, peat bogs and fields that comprise Country Mayo. Fortunately these paintings invite viewers to immerse themselves in moments of poignant reflection. --Elizabeth Martin

MUSIC

Medieval Baebes Worldes Blysse
(Nettwerk)

Using music and words from as early as the 12th Century, these Babes put their modern stamp on music of another time and place. These girls (all 12 of them) are in control of not only the sometimes eerie sometimes ethereal vocals evoke sound of another era through pipes, tambourines, tithers and the like. The tunes vary from Gregorian chant-like vocals on "C'est Latin" to quick upbeat Irish songs like "Love me Broughte". They slow it down a few times so individual singers can showcase their wonderful voices. Throughout this CD, this gaggle synchronize their voices and different sounds they use to mesh together seamlessly. Overall a relaxing soothing ambient item to suggest thoughts of medieval times but with a modern twist. --BE

John O' Conor
My Ireland (Sin-drome)

This internationally renowned Irish pianist has created a comprehensive volume of well-known tnaditional Irish melodies, brilliantly adapted to showcase his style and pianistic virtuosity. Arranged by Mitch Farber and supported by the Irish Chamber Orchestra--widely regarded as Ireland's most accomplished performing ensemble--O'Conor breathes new life into old classics. He draws on his extensive traditional music and Irish dance training to accurately execute his native music, infusing his own particular style and classical music background. While his impeccable technique is both inspiring and admirable, his range of keyboard dynamic leaves a little to be desired, lacking the power and depth more serious numbers such as "Fantasy on the Irish Washerwoman" seem to call for. However, the enthusiasm and skill with which he tackles the lighter numbers, especially the jigs--"The Rocky Road to Dublin" and "Haste to the Wedding"--will be entertaining to anyone interested in well-performed classic Irish music. --Michal Towber

Paddy Casey
(Amen) So be It (Columbia)

After years husking on the streets of his hometown Dublin since slinging the guitar at 12, Casey has honed his song writing style into a fairly crisp presentation that uses a few signature phrases to make his music recognizable. Combining elements of folk with touches of rhythm & blues, rock, jazz, funk, electronics and even hip-hop, an introspective air pervades his most extroverted songs. Yet even his quietest possess a certain internal intensity with that ragged vibrate (sounding at time like Loudon Wainright III). With his tousled hair and pixie-esque presence, his image is deceptive as the songs have harder edge throughout than one would first suspect. Here's a youthful performer whose progress is worth staying on top of. --BE

Tommy Fleming
The Contender (Dara)

Having been challenged to produce an album of Irish ballads, this Sligo native and former De Dannan singer relished the idea. Fleming drew inspiration from both old and new ballads focusing on freedom, sorrow and love. Well-loved tunes that define the traditional period and flavor of Irish music include "Only Our Rivers Run Free" and "Galway Bay." Fleming heard Irish Tenor Anthony Kearns sing a new introduction to "Danny Boy" and incorporated it into the famous ballad. Not neglecting new music emerging from Ireland, "Black Is The Colour" features the duo virtuosity with acoustic bassist James Blennerhassett and saxophonist Richie Buckley. Usually a slow song, this combo provides a jazzlflamenco patina. Ever since Bill Whelan's Riverdance surge, everyone is singing the music. For this tribute, Fleming chose the duet "Lift The Wings," while Margaret Brennan lends a soft touch as the backing vocalist. The mood here is slow and sensual, with an occasional mood spoiler such as "Hard Times." --Kathleen Troy

Deckard
Stereodreamscene (Reprise)

This tight Scottish quartet isn't changing any rules, but on this CD they deliver 11 well-crafted songs. Vocalist Chris Gordon offers a palate ranging from delicately melodious (think Them Yorke of Radiohead) to the guttural cigarette-abraded growl of Billy Corgan. Grant McFarlane's guitars recall in tone and force the early '90s alt-rock sound of Sunny Day Real Estate, but the rhythmic chugging suggests far more primitive influences harkening back as far as T-Rex. Bassist Bobby Dunn and drummer Gen Matthews round out the sound. Having known each other most of their lives, these Scot natives present a natural and obvious musical symbiosis delivering power rock/pop at its best. With producer Nick Launay at the helm (the vet who propelled Semisonic, Girls vs. Boys and Silverchair into the spotlight), catchy tunes such as "What Reason" and "Once There Was a Girl" stand a chance of reaching mainstream ears. --MT

Leona Naess
Comatised (MCA)

This twenty-five year old's debut is both impressive and unusual. Think Mazzy Star meets Joni Mitchell, she sings about love and life gone astray in her soothing whispery voice. Although the music's themes are not unusual, her dark humor and witty lyrics are fresh and honest, like selfaware confessions. Mostly acoustic guitar with various other instrumentation thrown in, this CD features both subtle rock and cool folky tunes including her song "Charm Attack" from the recent film Whatever It Takes. A well rounded initiation, this youthful performer is well worth checking out. --OR

Bob Dorough
Too Much Coffee Man (Blue Note)

Not quite a crooner nor a belter, this 76 year-old jazz singer--with his rough, crackedactor voice in full flush--still lays on the tunes with more verve than many other singers half his age. Given that this Irish American has a whole community of African American singing stylists to be compared to, Dorough does little to ape anyone else. On this disc with its off beat title track and other distinct Dorough penned tunes, as well as a few covers ("The Coffee Song"), Dorough's peculiar off key style shines through. Such a distinct way of songwriting poked its way through when he was music director of School House Rock, the kids' animated series of shorts that made his sound recognizable. Now his full flushed performance makes this CD noteworthy listening. --RE

Liz Carroll
Blarney Star (live)

Lost in the Loop (Green Linnet) All-Ireland Fiddle Champion Carroll gave a stunning live performance displaying her mastery to the standing room crowd in the smoky, packed Blarney Star. Joined by Guitarist John Doyle (of Solas fame), Carroll offered two long sets of classic tunes as well as songs from her new CD Lost in the Loop (Green Linnet). Carroll's calm upbeat personality gave way to her intense concentration as she delved into each song. Carroll masterfully changes tempo seguing from the slow plodding of "Air Tune" into the rapid "Cutting the Waves" and even quicker "Cliff Dweller." Despite taking a l0-year break for motherhood, she retains her mastery of her instrument whether she is playing at breakneck speed tearing through some of the quicker songs such as "The Silver Spear" or slowly working through a more langorous song such as "The Didda." In the end, Carroll leaves an audience gasping for breath (partly due to the smoke in the air of the club) whether it be a live one or just upon hearing her on a CD, all due to her facile skill of playing the fiddle. The songs from her CD made a masterful transition from recording to this live setting, making this a truly memorable performance. --Kevin Smith

LIVE

The Beat Goes On Series
Nuggets / The Beat Goes On goes Mod
(The Bottom Line)

The masters who conceived rock music rarely had a theatrical vision in mind. But local performer coalitions have created tribute shows for certain artists (Mere Bolan), musical styles (glam) or eras (70's pop) which are almost like theatrical pieces, musical revues rather than performances by a tribute band. We're not talking "Beatlemania" here! An excellent example of this phenomenon The Beat Goes On, series are produced at the Bottom Line by Jeanne Stahlman and Edward Rogers. They emphasize recreating certain styles/eras from the pop music catalogue of the past 40 years. Incorporating the highest standards of musicianship may have featured this years first, The Nuggets Show, pulling songs that were on one of the greatest rock compilations ever--l\ruggets (Vol. I) (once assembled by former rock guitarist/producer Lenny Kaye, songwriter and co-founder of the Patti Smith Band). More recently, The Beat Goes On Goes Mod recreated the sound of popular 60's British TV series called Ready Steady Go!

The Nuggets collection represented a pinnacle in crudely-made buzz rock (which influenced many groups including Ireland's favorite sons, U2). Hosted by Kaye as the legendary Link Cromwell whose performance was that of a comedic MC interjecting hip patter ("It's a nugget if you dug it") between songs. That evening's house band featured vocals on certain numbers. Bassist Tony Shanahan (Patti Smith Group) performed "Dirty Water" by the Standells. Lead guitarist Andy York (John Mellencamp) sang the opener of the original album, "Too Much to Dream (Last Night)" by the Electric Prunes. The keyboardist/music director Andy Burton (Curtis Stigers, Amy Rigby) did Little Bit of Soul. Rhythym guitarist Kris Woolsey worked up The Count Five's great "Psychotic Reaction" and drummer Rich Pagano (Willie Nile, Freedy Johnston) performed "Lies" by The Knickerbockers. Rogue's March Joe Hurley's version of "Strychnine was a vocal tour de force. Other notable performances were by Evan Dando (Lemonheads) doing The Shadow of Night's "I'm Gonna Make You Mine", Annie Golden's version of "Invitation to Cry" and there could have been no better ending to the show than Carlton Smith's version of "Nobody But Me.

The Beat Goes On Goes Mod was a total recreation right down to the go-go girls, Tish and Snooky who opened the show with the series theme song "5,4,3,2,1", originally recorded by Manfred Mann. The evening's MC Owen Comansky-no stranger to this type of proceeding as he is responsible for Punk Rock karaoke night at Arlene Grocery--added his own personal childhood stories to the mix. Highlights were: Will Lee (David Letterman Band) performing the Kinks' "A Well Respected Man" in a Saville Row suit and bowler, Christine Ohlman (Saturday Night Live) wailing P.P. Amold's (former Ikette) "Would You Believe" and Curtis Stigers' "I'm A Man" (originally recorded by the Spencer Davis Group). Hurley of Rogue's March closed the individual performers section with Rod (the Mod) Stewart's "Handbags and Gladrags." The audience pulled itself together for the house band's kickin' Who medley. Instead of sitting around on a Friday night watching Behind the Music or VH-l's Legends for the 8 millionth time, come on down to the Bottom Line to realize why you got into this music in the first place. --Victoria Newman

FILM

East Is East
Damien O' Donnell (dir.)
(Miramax)

Winner of the British Academy Award for Best Picture and directed by Dubliner Damien O' Donnell, this film succeeds in being an endearing family comedy/ drama with some unforgettable performances. If you can get past the bathroom humor (cannot recall seeing this many urination jokes anywhere) and occasional clichC (note the "real" reason the oldest son has left), this touching story of a family struggling with vast culture clashes.

Opening with a religious procession through Manchester, England, streets of 1971, the shots of clergy and young girls dressed for their first communion introduce the Khan children carrying religious statues and artifacts. Suddenly they detour from the route so their Pakistani father will not see them. Somehow they manage to run through back alleys to re-enter the parade towards the end. The stage is set for this film which successfully completes its own journey after hitting a few roadblocks. The political climate is touched on briefly--there are scenes of a political campaign for a right-wing candidate; the father watches the Pakistani/Indian conflict on TV--but this is only a backdrop for their personal battles. The film raises the question of what system of values will prevail over the family and how these children will fare in the outside world. While I am certainly not one to root for sequels, I can honestly say that I would not mind seeing the further adventures of this family.--VN

Fairytale of New York
Sarah Miller
(EWE Productions)

Following the recent surge of Irish themes in American movies and theater, the recently premiered Fairytale of New York takes three American women living in the East Village and details their romantic entanglements with several Irishmen over a four-year period. Featuring several attractive, theatrically trained actors, including main characters Nicole Fonarow (Tracy), Fionn Davenport (Eoin) and Ante Howard (Aidan), this set applies their experience to film quite effectively. Both men fall in love with Tracy but are unwilling to make America their permanent home. Exploring the displacement Irish immigrants often experience, the film offers an interesting and often realistic view of the reasons behind the Americans' attraction to immigrants (and vice-versa) while encompassing the complications found in dating generally. As director Miller's first full length feature it was shot on a mere $200,000. While that is an impressive feat, the film never really resolves the characters' issues and the performances seem strained at times. Nonetheless, this debut bodes well for further efforts from this production team. -OR

Southpaw
Liam McGrath (dir)
(Shooting Gallery)

The story of a boxer who goes from second class citizen to representing his country in the Olympic Games, Southpaw is not a scripted story but rather director Liam McGrath's documentary of Frances Barrett. The young boxer is a traveler or "tinker"-part of a group of families that live below the poverty level in the countryside or 'Hillside' of Galway. While the general public believe rumors that Travelers live in pleasant government-funded houses, many of the Travelers live without electricity and running water in their run down trailers. Training in a 30 foot hollowed out shed, Barrett often spare in a common area outside the ill-equipped gym. Chick Gillen has coached Barrett since he first met him at the age of nine. Following the closure of his Olympic Boxing Club, Chick began to visit Hillside to help Barrett train. Their relationship develops to the point where Barrett even phones Chick to pass messages on to his mother. McGrath frames the issue of Travelers being treated as second class citizens with interjections by newspaper columnists about their disregard. Francis Barrett fails in his attempt at Olympic gold but wins respect for his fellow Travelers as he represents Ireland in the Olympic Games. The film ends on a positive note--class issues remain but some changes occur as individuals are forced to reevaluate their thinking.--KS