Thursday, March 11, 2010

Posted on Thu, Mar 11, 2010 at 1:39 PM

... that is, unless chandeliers and soaring violins are involved.

The recent London premiere of Andrew Lloyd Webber's Love Never Dies — the sequel to Phantom of the Opera in which the Phantom, Christine and Raoul find themselves at Coney Island in 1907 — has been tagged by some wags with the so-boring, such-a-travesty nickname of "Paint Never Dries."

The reviews of Michael Billington in The Guardian and of Ben Brantley in the New York Times, though, follow a shared theme that suggests why Spokane will feel the Love in a touring version some years from now: a poor book featuring flat characters caught in unlikely situations, but — and here's the point — soaring melodies and lots of spectacle.---

If you can hum the tunes on the way out and retain memories of a spectacular coup de theatre or two — well, that justifies the top ticket prices. All that other stuff is just filler. Billington and Brantley both emphasize that while the songs and spectacle are frequently effective, the story lags far behind.

This is exactly the wrong path for theater to follow. Especially in the impending era of 3D, we cannot compete with the movies on spectacle or soundtracks. 

Do you want theater that's like an amusement park ride or like adult conversation? There's room for both, of course — but over-emphasis on the former will only drive up ticket prices, make "going out to the theater" a rare treat instead of a habit, and play into the hands of those who ratchet up the excitement factor until all entertainment relies on sensation instead of thought.

Trodding on plain boards, few special effects, appeals to the imagination, verbal exchanges, psychological insights, enough plot twists to keep it interesting ... if it was good enough at the Globe circa 1600 — and in Athens a couple of millennia before that — it should be good enough for us today.

But then Phantom first reached Spokane 11 years after its 1988 Broadway premiere; perhaps we have some time yet before the paint starts drying here.

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Posted By on Thu, Mar 11, 2010 at 11:32 AM

If indie movies have taught me anything, it's that the correct response to a big blow to your psyche — say, losing your job — is an existentially-tinged road trip across America. Along the way you'll make new friends, take in the beauty and oddity of the great American landscape, have comical car trouble, and maybe, just maybe, learn a little something about yourself.

At least that's what Conan O'Brien's decided to do after NBC fired him for Jay Leno's 10 pm failure.

Legally, he can't perform on television until September. He's wasted some of his time on Twitter, capriciously lifting Sarah Killen (@lovelybutton), randomly chosen from one of his hundreds of thousands of followers, from obscurity.

But now he's planning to take his mix of absurdity, oddity, and self-deprecation across America in "The Legally Prohibited from Being Funny on Television Tour: A Night of Music Comedy, Hugging, And The Occasional Awkward Silence."

“It was either a massive 30-city tour or start helping out around the house” the O’Brien press release says.

One of his first stops? Spokane.

On Friday, April 16, the INB Performing Arts will get the full tall n' gangly orange-haired treatment.

Go to www.teamcoco.com or ticketswest.com for tickets.

INB prices run $39.50 for balcony tickets, Orchestra rows K-CC are $59.50, and rows A - J are $79.50. As of posting, tickets nationally were going so fast second shows had to be added in New York, Boston, Chicago, Vancouver, San Francisco and LA.

Get to-the-minute TV news and commentary on Twitter by following @danieltwalters

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Wednesday, March 10, 2010

Posted on Wed, Mar 10, 2010 at 2:54 PM

A year from now (evidently in March 2011), William Marlowe plans to direct Shakespeare's Richard III at the Falls, with Damon Curtis Mentzer (most recently, A Tuna Christmas and Shakespeare in Hollywood at the Civic; but also The Importance of Being Earnest at Actors Rep; and Irma VepOthello and Woman in Black at Interplayers, along with many others) in the hunchback title role.

Mentzer's on a hot streak, since he's getting married on March 22 (a Monday, natch -- we are theater people, after all).

And all Bobo has to say is that if Damon proposed to Kari McClure in anything like the way that Richard of Gloucester woos Lady Anne in the play, then he's very lucky that Kari said yes.

We wish the soon-to-be-married couple much happiness and (if they so choose) many little thespians, clustered 'round the hearth for familial readers theater performances. (To be held, of course, on Monday nights.)

[Note: To view a photo of Antony Sher playing Richard III in 1984 for the Royal Shakespeare Company, included in a North Texas blog called "Art&Seek" along with a good commentary about a production of the play at the Kitchen Dog Theater -- at least for now -- you'll have to visit stagethrust.blogspot.com, where Michael Bowen's theater blog has resided since August 2005 and will remain at least for the foreseeable future.


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Tuesday, March 9, 2010

Posted By on Tue, Mar 9, 2010 at 5:33 PM

It was pure chance we happened to experience the CHECKERBOARD TAVERN. After stumbling upon their booth at the recent Shrinking Violets Birthday Bash (and networking opportunity), we found ourselves attracted like moths to the flame by any place that would put the words “vegan” and “tavern” together in the same bar concept.

It didn’t disappoint. The Checkerboard sits a block west of One World on East Sprague. The owners of One World have recently taken this place over, hence the vegan friendliness, but the décor is largely unchanged from when it was just another place on East Sprague to spend a blacked-out hour or two. (Many of the patrons from that era were still hanging around with that intent last Saturday night.)

And that was perfect. The modest roots and lofty ambitions create an atmosphere that captures everything East Sprague was and everything it hopes to be.

The Checkerboard claims it has the “longest standing liquor license in Washington state." (It procured its license in 1933, promptly following the end of Prohibition. But the Brick tavern, in Roslyn, Wash., says it's even older.) Ghosts of bygone debauchery linger in the air with decades of history spattered into the floorboards and checkers-themed booths and tables. This is complete, 100 percent genuine drunken history plus vegan food. Hipsters should be swarming. But it’s completely dead on a Saturday night.

We find that unacceptable.

Cheap beer. Cheap grub. Cheap vegan grub. Killer pinball. Nintendo Wii on Wednesdays.

We’re talking SIX DOLLAR PITCHERS of domestic, five dollars during happy hour. There are cheap savories with silly names (get a $3 “Banger in a Bun,” made with sausage from Sonnenberg’s Deli down the street), cheaper snacks with more straightforward names ($2 vegan Chips and Guac) and handful of vegan tasties. The Theatre of Magic pinball machine in pristine order.

It’s easy to see why the folks behind One World took an interest in the place. What’s unclear is why you haven’t checked it out yet.

The Checkerboard Tavern, 1716 E. Sprague, is open daily from 11 am-9 pm. Happy Hour is 4-6 pm. Call 535-4007.

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Posted By on Tue, Mar 9, 2010 at 5:30 PM

What started as a Texas twosome is soon expanding to a trio of barbecue joints in the Idaho Panhandle. Is there room for all this finger-lickin’ fare? We’ll find out in March when the new TEXAS ROADHOUSE opens, joining PORKY G’S and FAMOUS WILLIE’S BBQ, which opened last fall.

A former welder from Texas, Porky G’s owner Gary Stinnett started out doing catering, including a barbecue he made himself. His menu is simple and to-the-point: meat and sides. A pulled pork sandwich meal with a drink ($8) includes two sides, such as smoked barbecue beans or coleslaw. Hot links, chicken and spare ribs ($17, half-rack/$22, full) round out the meat offerings. Operating out of a drive-up facility (233 W. Dalton Ave., Coeur d’Alene; 208-772-6644), Stinnett will be relocating and expanding in the spring.

Willie Spradley, who’s also from Texas, might need to expand, too. All 26 seats were packed on a recent Saturday evening at Famous Willie’s (101 E. Seventh St., Post Falls, Idaho; 208-773-0000).

“I know we’re not the best,” he joked, “but we’re the best we know.”

Spradley’s humor is evident in the décor. Farm tools, a Texas longhorn rack, and clever horseshoe-turned-paper towel holders join pictures of “famous” Willies in one room, while family photos of “not-so-famous” Willies line the other.

In the kitchen, though, Spradley gets serious: Oak-smoked ribs, pork shoulder, chicken, Cajun sausage and melt-in-your-mouth beef brisket are staples of a successful catering business that eventually led to the opening of Famous Willie’s. Try the Cowboy Stuffed Potato with chicken, brisket or pork ($7), smoked chicken sandwich ($5) or fragrant red beans and rice ($4, bowl).

Spradley’s wife Debbe makes most of the sides, like regular and “Mexican” cornbread (with jalapeño and cheese), potato salad and coleslaw with little chunks of apples to surprise you. She also makes pies — varying daily, with choices like peach cobbler, apple or pecan — including the unusual buttermilk pie that had us squabbling over the last creamy bite.

Barbecue also runs in the Davis family, who ran a Texas Roadhouse in Arizona before their anticipated opening on March 29 of the chain’s latest branch (402 W. Neider Ave., Coeur d’Alene; 208-664-1903). As expected, the extensive menu features meat (steaks, ribs, chicken, pork), along with seafood (salmon and shrimp), sandwiches, appetizers and a full bar.

“It’s a fun, casual, lively place,” says Annette Davis, whose husband Dan is managing partner. The 300-seat capacity is ideal for large gatherings — for birthdays, “They’ll put you up on the Texas Roadhouse saddle,” explains Annette, then take your picture and give you a great big yee-haw!

So who will be the barbecue champ of the Coeur d’Alene area? Find out for yourself at the first-ever 2010 Inland Northwest BBQ Championship on June 19-20 at Kootenai County Fairgrounds (smokinidaho.info). Until then, stock up on dental floss and check out what’s smokin’ in the Panhandle.

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Friday, March 5, 2010

Posted on Fri, Mar 5, 2010 at 6:03 PM

The Comedy of Errors offers wacky misunderstandings and madcap hijiinks at Spokane Falls Community College's Spartan Theater, Bldg. 5, on March 4-7 and March 11-14 — Thursdays through Saturdays at 7:30 pm, and on Sundays at 2 pm. Tickets: $8, suggested donation; or bring two cans of food for the SFCC Food Bank. Call 533-3592.

[ photos for The Inlander by Tammy Marshall. (1) Michael Brannan as Sir Nicholas of Hillyard, Christopher Lamb as Yoyo of Hillyard, Jamie Smith as Fat-Ass Nell, Geoff Lang as Sir Nicholas of Kennewick and Tony Morales as Yoyo of Kennewick. (2) Rushelle Provoncha as Adriana of Hillyard and Merrin Field as Lucy-Anna Hillyard-Clark. ]

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Posted on Fri, Mar 5, 2010 at 6:01 PM

Portraying “laughter through tears” is a tough proposition: Highlight the one-liner comedy too much, and it’s vaudeville; over-emphasize the pathos, and it’s saccharine.

That’s the challenge taken on by an accomplished ensemble of half a dozen actresses working with Robert Harling’s time-tested camaraderie-plus-tragedy play, Steel Magnolias. Their efforts lead to a good but imperfect production at the Civic (through March 21).

Spoiled, perhaps, by the 1989 movie, viewers may forget how difficult it is to get the tone of Harling’s play just right. His dialogue teeters between being delightfully heightened for the stage and being too clever to be credible: “The only thing that separates us from the animals is our ability to accessorize.” “We went skinny-dipping and did things that frightened the fish.” “The nicest thing I can say about her is all her tattoos are spelled correctly.” “An ounce of pretension is worth a pound of manure.”

Homophobes and zealous Christians come in for some spoofing in Steel Magnolias, but it’s gentle nudging, really. Conversational topics hop around, following their non sequitur paths only to dead-end in realistic ways. Director George Green keeps the six-way conversations going at a lively pace, even if he succumbs to some static blocking in the second act, when everyone stays rooted to the same spots for quite a spell. Green’s production steers a mostly humorous course. The cast members, in their various ways, are all willing to make themselves look and sound ridiculous. (And that takes some bravery.) The payoff is the solidarity among them, the sense that these six women, over and above all the joking and sniping at each another, really do care for one another.

... with half a dozen more paragraphs in Thursday's Inlander.

[ photo by Young Kwak for The Inlander; Kelsey Strom (left) as Annelle and Molly Parish as Truvy ]

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Posted on Fri, Mar 5, 2010 at 5:58 PM

Jeff Sanders, who’s directing Romeo and Juliet at EWU’s University Theater (March 5-7, 11-13), is married to assistant professor of theater Sara Goff. For more than four years, he acted with the Cincinnati Shakespeare Company, an Equity acting company in which, in addition to roles in King Lear and other Shakespeare plays, he also performed in three separate productions of Romeo and Juliet (as Mercutio, as Prince Escalus, and then — tripling roles in a daily educational outreach touring show that had only half a dozen actors in all — as the Prince, Paris and even the Nurse). He has worked his way up from adjunct professor to full-time lecturer in Eastern’s theater department.

The following is an edited mashup of interviews by phone and e-mail.

Bobo: So why return to Romeo and Juliet? Aren’t you sick of it by now?

Jeff Sanders: It’s such a humbling bear of a play. It’s kind of like Our Town — everyone thinks that they know it, but it’s so difficult to pull off.

He’s not excessively demanding on the actors who are playing the roles he played, mostly because he didn’t specify which roles he had taken, just that he’d been in the show professionally.

“I’ve been most sensitive about Juliet, just because I think she’s one of the finest creations in Shakespeare,” he says. “If the ensemble were polled, they’d say, ‘He’s really big into that Juliet role.’ But that’s because, for an act and a half, Romeo goes off to Mantua and has pina coladas.”---

And then there’s that great irony in the play, when she takes the potion and goes under like death [at the end of 4.3], he enters and relates his beautiful dream, in which he dreams "my lady came and found me dead — ... / And breath'd such life with kisses on my lips/ That I reviv'd and was an emperor" (5.1.6-9).

Bobo: How much of the text have you cut? rephrased? rearranged?

Sanders: Quite a bit. I have no idea how a full text version of this play could be “two hours traffic." However, we have it down to two and a half hours with intermission. The are some surprises to the cutting and rearrangement of the script that I think will be provocative to audience members no matter what their level of familiarity is with the play. But it would be buzz-kill to ruin the surprise, so you must come to the theater.

Bobo: What's the chief way in which this R&J is distinct from all the many other R&J's that have ever been performed?

Sanders: It’s dark, hip, and provocative. We use classic Italian Renaissance silhouettes blended with contemporary gothic fashion to create a world that is both classic and contemporary. The show charts the distance between Shakespeare’s time and our own.

Bobo: What's the set design like, and what ideas are you trying to convey with the set?

Sanders: First, I needed it to be functional for Shakespeare’s play. I wanted lots of open space with areas that could be defined in many different ways. I didn’t want scene changes — you can hear in the text how each scene springboards into the next — so I wanted a space that could help drive the play.

Also, I was attracted to having something that was once beautiful but is now decaying because the “ancient grudge” has taken its toll. Also, I see R & J as a corrupted world filled with hate and violence — and in the midst of this darkness, something incorruptible is born. The reason Shakespeare says “There never was a story of more woe” is because something perfect dies.

Shakespeare would be pretty surprised that we sit around and read plays silently. The Elizabethans said that they were going to hear a play, not see a play.

Tybalt will be very striking-looking. The Capulet side will be more goth, with more makeup and crazier hair. The Montagues will show more skin and be earthier.

Without billboarding the Capulet-vs.-Montague thing — I don’t want this to become black vs. white or Israel vs. Islam — I wanted to create a world that is dark and decaying and corrupted — and out of that, something incorruptible is born.

The image that I shared with our designers was two torches in the darkness.

Sanders acknowledges the influence of Sofia Coppola in Marie Antoinette — “how she mixes classical with contemporary in both music and clothes.”

Bobo: We don't have arranged marriages anymore. So isn't R&J more of a cautionary tale against teen suicide than it is any kind of statement about parent/child relationships?

Sanders: I think we like to make this play about teen suicide because it’s a hot-button topic of today. For me, I think Juliet looks at suicide like a Roman falling on his sword — it’s an honorable testimony to her Romeo. I like this idea because it gives her strength and doesn’t victimize her.

Parent/child relationships have a great influence on this play but in a surprising way. Friar Laurence is really Romeo’s father and the Nurse is really Juliet’s mother. Romeo and Juliet's parents are always confused and left in the dark when it comes to the children because they have no idea what’s going on. And due to this distance, they react emotionally, irrationally.

Bobo: What's the Queen Mab speech about? And how are you staging it?

Sanders: For the Elizabethans, "queen" (or "quean") meant "a degraded woman, a harlot." Mab is the fairies' midwife and helps give birth to dreams. Mercutio is a hard-core sexual realist and characterizes love as nothing but fantasy brought about by an evil hag fairy who comes to men and women in their sleep and plants these vain fantasies.

Elizabethans thought of fairies as evil little creatures who could do you grave harm — when it came to fairies, they didn't think of Tinker Bell.

Bobo: You’ve had a lot of experience with the play. Did anything surprise you during rehearsals?

Sanders: Yeah, the importance of hope in the piece, especially in the second half. With all young actors, the temptation is to play it tragic, because we all know how it turns out. But I keep saying, ‘Don’t play the tragedy before it turns tragic.’

Shakespeare is a master at sprinkling in hope. At any moment, this train wreck may not wreck. So in Act Three, scene two — the “Gallop apace” speech, Juliet is waiting for news of the massacre, and she’s ready to kill herself. And the Nurse says, I know where Romeo is. And it’s a light bulb moment of hope. I want to have the actors really believe in that.

Or when the Friar is breaking down this building that is Romeo, and he’s a mess — and he adds, “Hello, my comfort is revived by that.’

It’s one thing to say that aloud. It’s another thing to feel it down to your feet.

Bobo: We all have an over-idealized view of the star-crossed lovers — impossibly attractive, incredibly articulate, hopelessly in love, tear-jerkingly tragic. It's an ideal that no production, not really, can attain. So why even attempt it? Isn't R&J, as one of his early, very poetic tragedies, better when read and studied than performed?

Sanders: In my estimation, nothing can touch a theatrical event. Shakespeare was meant to be performed. These plays were never written for a desk but for a theatre. Seeing an actress take on Juliet’s poison speech is a thrilling event that can’t be touched in a classroom. I want to hear her breathe — I want to see tears well up in her eyes. Nothing can touch the immediacy of theater.

Sanders also points out that while colleges may strain to cast middle-aged and older parts, that Prince Escalus can be almost any age, and that Lady Capulet, Juliet's mother is only 28.

Sanders and EWU are also working hard to sprinkle some Shakespeare magic on the younger, non-graybeard crowd: An Intro to Lit course with 300 students this quarter is coordinated with the production, and a morning performance on March 12 for high school students is already sold out.

[ photo: Olivia Hussey, 15, and Leonard Whiting, 18, in Franco Zeffirelli's 1968 film — still the most commercially successful Shakespeare film of all time. Hussey was not allowed to attend the London premiere, because the film contained glimpses of nudity. That would have been, by the way, her own nudity. ]

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Posted on Fri, Mar 5, 2010 at 5:53 PM

At West Central Community Center, tonight and next Saturday, March 6, at 3 pm and 7:30 pm. Tickets: $10.

Director Sandy Hosking's Blackbird, both in the fact of its production and in the quality of its performances, is the kind of show that Spokane ought to see more often.

In an intense drama about sexual abuse and its tragic results, Jamie Flanery gives a nervous-fingers, eyes-welling-with-anguish portrait of vulnerability and shame, while Emily Hiller brings on the flirtation, resentment and manipulation. David Harrower's poetic-but-colloquial dialogue and Pinteresque situations, combined with Hosking's direction, add up to believability that's significant and thought-provoking.

The premise involves the meeting of a middle-aged man and late-20s woman, 15 years after he was convicted of sexually abusing her. It takes place in an actual meeting area with kitchen facilities, and the actors are up close and personal, lending the proceedings verisimilitude. It takes place, in other words, in exactly the kind of sterile, fluorescent-lit, unloved room in which Harrower set his play -- maybe not an employee break room exactly, but close.

Both actors delivered some speeches literally within arm's reach of the front row. (There were only two rows. They only set out a couple of dozen chairs. Theater-lovers ought to flock to this show and make them put out twice as many seats, if not more.

It's gripping, it's only 70 mins. long, and it involves two actors doing exceptional work that ought to be rewarded with attention from their fellow actors and theater folks.)

It's not for kids. Not only are there sexual situations, there's some simulated sex. It's disturbing, even perplexing material, and words like "fuck" and "cum" are uttered. Perhaps some will let it pass for just those reasons.

But consider what the script accomplishes: Making the creep human, making the victim more than merely victimized.

---

Having sex with a 12-year-old girl is wrong, period. I think the play makes that point — then goes on to make the situation more complex than a moralistic, legalistic approach would assume. What if she were mature beyond her years? What if both were attracted to one another? And why exactly has she sought him out, 15 years later, when both of them have very different and (until now) very separate lives?

Flanery is a revelation: Overwrought, nervous, ashamed, angry. Hiller prods and cajoles him; she has pounced on him out of the past, and we see glimpses of how seductive she can be, and what a lost soul she is.

There are flaws, of course. Hiller, directed by Hosking into flirtatious, come-hither poses, isn't entirely convincing in her anger. An outburst of violence was pretty darn good for a confined space but still stagey. The Portland production I saw created more menace just outside the room, and left much more ambiguity about Ray's and Una's future choices. (There's a major plot point near the end, and we ought to be left wondering more what decisions Ray and Una will make, and why, and how we feel about those.)

But when she kneels before him; when she bends over for him; when he towers over her; when they stand side by side, nostalgic for what they shared, fingers searching for a hand-hold, then realizing that their relationship was wrong, is doomed, and has ruined lives all around them and left their existence like the strewn garbage of their pig-sty break room environment; when he bows his head in shame as she pounds on his chest; when she stares daggers into his back during a long confessional speech ... those are the moments when being in a tiny, makeshift theater really pay off.

Blackbird highlights solid performances, and in closeup. Hiller and Flanery's performances will stick in your mind for days after. And then, after next Saturday, they'll be gone.

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Posted on Fri, Mar 5, 2010 at 5:50 PM

continues Monday, March 1, at the South Hill Library, 3324 S. Perry St. and on Wednesday, March 3, at 7:30 pm at the Barnes & Noble just east of the Spokane Valley Mall Free

(See Feb. 18 Inlander, p. 55, and the Calendar of Events)

One of the revelations of a streamlined readers theater version of To Kill a Mockingbird is its emphasis on plot and action: no time for the adult Scout’s narrative voice, ma’am -- or for a few of the characters and several episodes.

All sacrificed for the sake of intro / trial scene / aftermath.

But there were gains, too: Atticus’s appeal is directed right at us, the virtually all-white audience. Scout, Jem, Dill and the Reverend all sat in the “courtroom’s Negro balcony” in the row right in front of me inside Wolff Auditorium inside Gonzaga’s Jepson Hall.

Director Brian Russo had actors entering and exiting through all four available aisles. The impact of being in the room when a white man stands above Tom Robinson, glaring at him and repeatedly calling him “boy.”

The reminder, which you get in performance and not in reading the book, of Tom’s crippled left arm (a crucial plot point, you’ll recall) -- sitting there, stoic and silent.

Well-acted, costumed and blocked. No weaknesses in the cast at all; if I had to pick standouts, I'd select Nate Clemons' marked, younger-version resemblance to Gregory Peck as Atticus, and Kiki Wright's impassioned fear of being humiliated when on the witness stand as Mayella Ewell, the girl who accuses Tom Robinson of rape.

---
In the novel, Miss Maudie (here, Lindsay DeLong) delivers the title speech about one-third of the way through; in Christopher Sergel's stage adaptation, it comes almost at the top of the show -- pointing a big index finger toward the interpretation that the generosity of Boo Radley (Ryan Knowles) is the kind of thing that is beautiful and should never be dismissed, and that the dignity of Tom Robinson (Christian Santa Maria, who's not black, but then this is readers theater) likewise is a rare and beautiful thing. It is indeed a sin to kill (or want to kill) either one of them.

It was like watching the novel, all sped up, and also more visceral: Bob Ewell (Chris Wheatley, effective as a racist hillbilly, and then, in quite a contrast, remarkably articulate during the post-show discussion) spitting in Atticus' face; Atticus leaning into the faces of witnesses; seeing the final attack and rescue in the light, and not imagining it in some dark field at night; and so on.

Bobo co-led a talkback afterwards (with some interesting audience comments) along with Prof. Vik Gumbhir, who specializes in sociology and criminology and who set forth the details of the Scottsboro Boys case (nine black youths accused of raping white girls in 1931 Alabama -- a notorious case that Harper Lee is clearly alluding to in her novel).

These are the kind of events that the NEA's Big Read brings to our community -- and next year, while it's not yet official, it looks as if we have a good chance to have the Big Read again, with a more recent American novel, accompanied by the novelist himself making an appearance. But that's for more than a year from now.

[ photo: Harper Lee in Aug. 2007; from msnbc.com ]

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Global Food & Art Market @ The Gathering House

Tuesdays, 3-7 p.m. Continues through July 29
  • or