“Yogi Bear” is an Old Friend with a New Look       

Reviewed by Jason Gregg

To bring the younger viewers up to speed - Yogi Bear has been around since the 1960s, he started as a cartoon “pick-a-nic” basket-stealing bear in Jellystone Park.  He had a good run for several years and eventually faded into the background with a few television reboots along the way.  Thanks to 3D live-action/ CGI wizardry, Yogi is back on the big screen.  In the new “Yogi Bear” movie, he appears brand new in all of his CGI magnificence yet he maintains his familiar look and catch phrases at the same time.  He’s hasn’t come back alone, he brought his old side kick Boo Boo, also in CGI, and his friendly nemesis Park Ranger Smith.  

Yogi (voiced by Dan Aykroyd) starts the movie with what he is known for - stealing picnic baskets from visitors of Jellystone Park.  In Aykroyd’s best Ed Norton impersonation (for the younger viewers that is a character from the 1950s television series “The Honeymooners”) he self narrates his strategies so not to lose the audience along the way. Yogi and his accomplice in petty thievery, Boo Boo (voiced by Justin Timberlake) are continually devising new methods to steal food from the tourists to Jellystone Park.  Yogi is the da Vinci mastermind while Boo Boo is the rational voice of conscientiousness. They opt for stealing because the alternative is to resort to foraging for food like the “average bear.” 

Word about Yogi’s pilfering gets back to Ranger Smith (played by Tom Cavanagh) who has a long history of battling with Yogi. Instead of just shooting Yogi full of tranquilizer darts and dragging his body to another park (that’s my idea, it’s not in the movie), Ranger Smith uses his sternness to reprimand Yogi therefore upholding law and order within Jellystone.  Yogi soon goes back to his cave and Ranger Smith goes back to his cabin and the cycle of picnic basket pilfering continues.

Meanwhile, back in Franklin City, Mayor Brown (played by Andrew Daly) is making plans to sell off Jellystone.  He needs the money to bring his city out of debt and with a coy evilness, he rationalizes that each resident of Franklin City will make money off the deal.  Daly was a fresh enjoyment to watch as the nemesis; delivering his role so both children and adults could pick up on the humor of a fun yet despicable character.

A three-way conflict soon begins with Ranger Smith stuck in the middle. Yogi is disrupting the tourists and the mayor is trying to close Jellystone Park. Then, in steps Rachel (played by Anna Farris) who is filming a nature documentary. On top of that Ranger Jones (played by TJ Miller) is gunning for the job of top ranger (it’s funny because there are only two rangers for the entire park). It seems like a multi-level story line but the director, Eric Brevig, presents the smaller stories in a clear-cut linear format where even the youngest viewer can pick up on what is happening.

While tension is building between Mayor Brown and Ranger Smith, the 100th anniversary of Jellystone is upon them. At the celebration, Yogi (who was only trying to help) ruins everything and the park closes.  At Ranger Smith’s lowest point, he loses not only the park and his job, but also a chance with Rachel too. Knowing that his intelligence is also a hindrance, Yogi tries a life of being an “average bear” but that doesn’t suit him. He and Boo Boo soon devise a scheme to rescue the park and to stop Mayor Brown from becoming Governor Brown.  

Should you see this movie? Yes, it’s simple yet charming. There were a lot of jokes for an older and younger audience.  You didn’t have to grow up with the cartoon to enjoy this newer version of an old classic, just be a fan of clean humor.  

“The Fighter” is This Year’s Strong Contender

Reviewed by Jason Gregg

Do we need another boxing movie? After seeing several boxing films over the years they all seem the same.  Take a story of a struggling boxer who will do anything for his shot at the title. Then through hard work and determination he earns his shot and he gets the girl. It seems like a cookie cutter format that audiences come to expect. So, do we need “The Fighter?”

Yes we do. 

“The Fighter” (directed by David O. Russell) is based on the true story of brothers Micky Ward and Dicky Eklund.  And, if it weren’t for the outstanding cast this would have been another boxing movie trying to make a buck.  

We start the story in Lowell, Mass. in 1993. Dicky (played by Christian Bale) is being interviewed by an HBO film crew for a documentary about crack cocaine users in Lowell.  All the while, Dicky has convinced himself that it is a documentary about his comeback.  Back in the 1970s, Dicky was known as the “Pride of Lowell” for his boxing career.  Thanks to Bale’s ability to become the characters that he plays, the audience is taken on a journey. First we despise Dicky for his addiction.  Then we tolerate him for his playfulness and lovability. Then finally we are cheering for his redemption.

This couldn’t be an entire movie about a crack-head ex-boxer who redeems himself.  At the start we are introduced to Dicky’s brother Micky (played by Mark Wahlberg), who is known as a “stepping stone,” in boxing terms that means other boxers fight him to move up in their own careers. This role seems to fit Wahlberg quite well.  In some of his other films he has an unintentional trademark of looking constantly perplexed. But, in this film his confused expressions play to his strength.  Micky is being torn in several directions from his brother, his mother, his sisters and his new girlfriend, Charlene (played by Amy Adams).  He needs to look confused throughout the story; he simply doesn’t know who to trust.    

While Dicky is training with Micky, their mother Alice (played by Melissa Leo) is managing Micky’s career just the same as she managed Dicky’s career.  She smokes like a chimney and lives proudly with the fact that she managed Dicky in his prime while raising nine children.  

Speaking of the nine children, the two brothers have seven sisters to contend with throughout the film.  The casting for these seven women was perfect.  It makes me wonder if a group of actresses could be nominated for Best Supporting Actress.  These women made the film fun with their heavy, snide “Bah-ston” accents, wicked glares, tough-as-nails attitudes and their hair styles which looked like they needed building permits (after all it was 1993).

We see only one boxing match in the first half of the film. Russell wanted us to focus on Dicky’s crack addiction, Micky’s struggle to find balance in his life and Alice’s determination to get her sons known in the boxing world.   At the turning point in the film, Dicky becomes incarcerated and Micky takes on a new manager and drops Dicky as his trainer.  He employs Mickey O’Keefe who was the real life mentor for Micky.  We are finally introduced to a montage of fights where Micky works his way up to and finally given his shot at the title.

Should you see this movie? Yes. Not only for the story, but because you can see about 12 performances of actors and actresses that were made for these roles.  Russell was able to bring out the strengths of each one of the cast.  In return he gives the audience a film that felt new even if we have seen it before.  

Reviewed by Kellie Houx, Editor of KC Studio

How about a holiday cocktail of merriment, music, mistletoe and a little mayhem thrown in for good measure? That’s exactly what the creative minds at Musical Theater Heritage have offered up this Christmas season. So try a little holiday magic called “A Spectacular Christmas.”

It’s a terrifically sweet and sentimental show. For those who are in the arts or cover the arts as I do, the show’s first half is that sort of tongue-in-cheek humor that erupts when people are being clever. The first act is about a troubled theater group wrangling to raise enough money to stage the holiday show. Of course, if the deeper meaning is analyzed, one might see the troubled times that arts organizations go through, but rather I looked at a quaint cast aimed at having fun without being sanctimonious. There are the sort of archetypes that make theater fun – the dashing lead tenor, the overly cute and devoted-to-the arts married couple, the good-as-gold waitress who just happens to carry a lovely tune, the gay Jewish character, the stalwart theater leader, the theater angel and a streetwise homeless girl. The story is charming, as I wrote.

Let’s look at these singers a little closer. Nathan Granner plays Mel. The character isn’t as important as the fact this man is an amazing tenor and happens to be one third of the American Tenors. His voice has that uniqueness that fits just about any genre of music. It impressed me. Of course, he is affable and handsome. I also got a kick out of Tom Lancaster as Gaby, the gay Jewish performer. I have not seen Tom in a show before, but he has a charm that is just so much fun. “Christmas Envy,” was just delightful.

Then there is the “married” couple of Joe and Maria, played by Jeremy Watson and Lauren Braton. We have seen Lauren in several productions and her voice keeps getting more and more refined. Jeremy plays a mean piano and surprised me with an agreeable singing voice. He really added to the mix. However, I really think Nathan’s true counterpart for the show is Sarah Kleeman. When we saw her during the summer show of “1776,” I knew she was a talent. She is that gutsy pillar of strength as Madge, the waitress who still dreams of her name in lights. Another “1776” alumna, Malena Marcase, all of 14 years old, proves she can hold her own with more veteran performers.

Naturally, I am fond of Executive Director George Harter and Associate Producer Chad Gerlt. Director Sarah Crawford stayed more behind the scenes, but the two men were as enchanting as ever. Gerlt’s version of “Believe” had my family enthralled. He is just a big ol’ charmer. My daughter appreciates his quirkiness and appeal.

The second act is more the traditional stage performance audiences know when it comes to Musical Theater Heritage. The microphones and music stands went up. Personally I am always charmed by “A Charlie Brown Christmas” so “Christmas Time is Here” and the “Linus & Lucy: Piano Solo” made me smile. My daughter also smiled, but she was more enamored with Harter’s story “The Roar of the Lionel.” My father, who has been a model train enthusiast forever, seemed to relate to the story too. Harter is a master storyteller. He keeps an audience captivated by a melodious voice and a sweet story. My mother appreciated his story called “19 Cents of Christmas,” a true reminder that memories are better than expensive presents and can last a whole lot longer. Earlier that day, my mother, daughter and I made nut bread from a recipe that has been handed down from generation to generation. Sure we got messy with lots of flour all over the counter, the floor and even my parents’ dog, but we had a blast with a family tradition.

So did the family like “A Spectacular Christmas”? You bet. Nothing beats the gentle reminder through music that the holidays are about people, joy, sharing stories and enjoying good music. Take the two hours and head to Crown Center’s Off Center Theatre. You won’t regret the experience and perhaps a much-needed spiritual lift will be yours.

Run to Crown Center to catch the final performances this weekend. The show ends Dec. 19.

www.mthkc.com

By Jeff Church & Ron Megee

Due to outstanding ticket sales, A Very Joan Crawford Christmas will extend to January 2^nd.  The extension week will consist of 8:00pm shows Tuesday December 28^th – Saturday January 1^st, with a 3:00pm matinee on Sunday January 3^rd.  Tickets for the extension are now on sale by calling 816-531-PLAY or online at UnicornTheatre.org

About The Show

Ron Megee and Jeff Church are back at the Unicorn this holiday season, this time serving up a dose of classic Hollywood.  A Very Joan Crawford Christmas, featuring the incandescent Ron Megee as Joan Crawford, is the Unicorn’s irreverent nod to the holiday season.  Filled with classic Crawford movie moments, advice on how to please your man, face-offs with her mortal enemies, costume changes galore and Ron Megee’s unique brand of comedy, this is definitely not a show to miss this holiday season.  Directed by Jeff Church, A Very Joan Crawford Christmas also features Jessica Dressler as Mamacita/Bette and Jeff Smith as Carl.

Kansas City’s own Joan Crawford returns for a holiday visit along with her loyal housekeeper, Mamacita. Settle in, listen up and learn: How to keep the sensitive male ego happy (“avoid moisturizer, it just smears all over your husband’s pajamas”). How to host a dinner party with taste and texture (“put a hairdresser next to a professor of physics”). How to drink Pepsi with Vodka (“you’ll learn to love it, dammit”). And be sure to visit the craft room to decorate a wire hanger for the tree, but clean up that mess! Give Joan the respect she’s entitled to!

Come to the Unicorn Early and Visit Christina’s Craft Room

We invite you join us in “Christina’s Craft Room” one hour before the show starts to make your own wire hanger Christmas tree ornament.  Select ornaments will make an appearance in the show that night.  While the craft room is free to ticket holders, Christina does encourage you to make a donation when you come in the door.  All donations will go to the AIDS Service Foundation of Greater Kansas City.

Happy Half Hour

Enjoy drink specials from 7:00p.m. - 7:30p.m. Wednesdays - Saturdays.

Special Events

Celebrity Bar Tender Open Bar Night

Saturday December 18^th 9:45p.m. - 11:00p.m.

Join the fabulous Missy Koonce, actress, singer and director at the Unicorn bar after the 8:00p.m. show and before the 11:00p.m. show on December 18^th.  $20 gets you all the drinks Missy can sling at you in that time.

Pro Wire Hangers Art Opening

Monday, December 20^th 6:30p.m. - 7:30p.m.

Joan Crawford might hate them, but some local artists love them.  The Unicorn has asked distinguished local artists and friends of the theatre to make art out of wire hangers.  Come and see the results at this special reception and silent auction.  Artists and friends include Peregrine Honig, Tyson Schroeder, Peggy Noland, Ann Brown, Bernie Koehrsen, Annie Cherry and the Kansas City Burlesque Society, Andrew Chambers, Hector Casanova and more.   Benefits for the silent auction will go to the AIDS Service Foundation of Greater Kansas City.  This event is free to the public.  Light appetizers will be served and there is a cash bar.  While you are here, make your own wire hanger Christmas ornament in “Christina’s Craft Room”.

Joan Crawford X-MAS Eve CELEBRITY-ation

Friday, December 24th 7:00pm

Kansas City’s two favorite Ron’s come together for this very special X-MAS eve event.  Join us at 7:00pm for hors d’oeuvres, cocktails, crafts and Ron Simonian in the lobby as Santa Claws.  He’ll even let you sit on his lap, but only if you’ve been naughty.  At 8:00pm join Joan Crawford (Ron Megee) on The Jerome Stage for a production of A Very Joan Crawford Christmas.  After the show, join Santa-Ron and Joan-Ron for a champagne toast to health, prosperity and NO MORE WIRE HANGERS EVER!  Single Tickets for this one-night event are $40 per person or a $10 upgrade for season ticket holders who pre-ordered Joan tickets when they bought a subscription.  Purchase on the phone at 816-531-7529 ext. 10 or online at www.UnicornTheatre.org.

More information online at www.UnicornTheatre.org

About Unicorn Theatre

Founded in 1974, Unicorn Theatre exists to enhance the cultural life of Kansas City by producing professional contemporary, thought-provoking theater, which inspires emotional response and stimulates discussion.  Unicorn Theatre is under the artistic and executive leadership of Producing Artistic Director Cynthia Levin, who joined the company in 1980.  From a newly expanded home in the Midtown neighborhood of Kansas City, Missouri, the Unicorn houses two stages--The Mainstage and The Jerome Stage (added 2007). A fully professional not-for-profit theatre, the theatre operates under agreement with Actor’s Equity Association, the union of professional actors and stage managers in the United States.  The Unicorn is a founding member of the National New Play Network, an alliance of not-for-profit professional theatres that champions the development, production and continued life of new plays for the American theatre; and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre.  Financial assistance for this theatre has been provided by The National Endowment for the Arts, a federal agency; the Missouri Arts Council, a state agency; corporate and foundation gifts; and the generous individuals throughout the community we serve.

For full class descriptions, event details and samples of artwork, please visit our website at www.artichokeskc.com or call us at (913) 322-9481.

DECEMBER OPEN STUDIOS:
NOTE:  No Friday Open Studios this month due to Private Parties!
There are still a few open studios left in December!  Printed schedules are available at ARTichokes.  This schedule is also available on our Upcoming Events page on the website, www.artichokeskc.com. 

Sat, Dec 18, 12-4
Tues, Dec 28, 12-4
Wed, Dec 29, 12-4
Thurs, Dec 30, 12-4

REMINDER:  ARTichokes will be closed Dec 25-27 for Christmas and Dec 31-Jan 2 for New Year's.

JANUARY CLASSES:
January classes are posted online!!  This 4-week class session starts the week of January 3rd.  All art supplies will be provided and are included in the class cost.  Classes are listed at the bottom of this email.  Just click on a class name to get full class descriptions, class costs and instructor bios.  Printed copies are available at ARTichokes.

See you at ARTichokes!! 


JANUARY 4-WEEK CLASS SESSION:
*Kids classes are in green

TUESDAY
Oil Sketches, Samantha Buller, 18 & up, 10-12, $180
Draw with Holly, Holly Swangstu, 6-12 yrs, 4:30-6, $125
Beginning Photography, Angie Jennings, 18 & up, 7-9, $125

WEDNESDAY   
Master Strokes, Ada Koch, 18 & up, 10-12, $185
Adult Drawing, Mimi Taylor, 18 & up, 1-3, $170
Creative Kids, Rebecca Pashia, 4-7 yrs, 4:30-5:30, $85
Acrylic Abstracts, Jenny Meyer, 18 & up, 7-9, $200

THURSDAY   
Colorful Acrylics, Claudia True, 18 & up, 10-12, $160
Mix It Up with Kristin, Kristin Goering, 8-14 yrs, 4:30-6, $135
From Start to Finish, Rebecca Pashia, 18 & up, 7-9, $115  *2 week class

FRIDAY    
Little Hands, Caryl O'Shaughnessy, 3-6 yrs, 12:30-1:30, $75
OPEN STUDIO & LIVE MUSIC, ARTichokes Staff, for all ages, 6–9

SATURDAY
Watercolor, Johne Richardson, 16 & up, 10-12, $165

“The Tourist” Should Have Stayed Home This Year.

Reviewed by Jason Gregg

“The Tourist” is a European romantic-comedy-action-espionage film starring Angelina Jolie and Johnny Depp.  Taking a simple story the director, Florian Henckel von Donnersmarck, focuses on too many genres. He adds in a plot twist that the average movie watcher will figure out within the first 15 minutes of the film.

Beginning in Paris we watch as an entire team of Interpol field agents follow a graceful, mysterious woman, Elise (played by Jolie), from her apartment to an outdoor cafe to order her morning tea. This shot only took a couple of minutes and was comparable to watching paint dry.  Elise has a secret contact who is wanted by both the Russian mob and Interpol.  This secret contact, Alexander Pierce, has embezzled a large sum of money from the mob.  It only makes sense that Elise is romantically involved with him. 

At the cafe Elise receives a courier message from Pierce ordering her to go to a train station.  There she must find a man that looks similar to Pierce in order to throw Interpol off his trail.  With about as much action as reading an instruction manual, she makes her way to the train station and loses her Interpol tail.  Through surveillance wizardry Interpol finds out what train she will be on and already has agents following her.  

Once on the train Elise picks a random man out of all the passengers on this particular train and takes seat in his booth.  Elise seductively introduces herself to Frank (played by Depp), a meek math teacher from Wisconsin who enjoys spy novels and smoking electronic cigarettes. Elise insistently yet seductively tells Frank how to talk to women and how to ask her to dinner on the train.

Once they arrive at Venice Frank becomes a perfect decoy for Elise’s plan. In the one evening they spend together Frank starts to develop feelings for Elise while they share a hotel room (don’t ask why they didn’t rent two rooms).  The story line does have some class; Frank sleeps on the couch that night.  

The next morning Frank finds himself being chased over the Venice rooftops by the Russian mob as they think Frank is Pierce. He eventually ends up in the hands of a dirty cop.  Elise reappears to save Frank through a slow boat chase.  I have seen swimmers do the breast stroke faster than these boats move on the Venice canals.

The couple parts ways but find each other at a grand ball.  Frank shows Elise how assertive he can be, but at the wrong time because he's destroying her plan to reunite with her old flame.  They share a dance, and while they have an intimate conversation these strangers both know every dance step needed at this grand ball. 

Eventually the paths of Frank, Elise, Interpol, the mob and Pierce all cross paths in a hotel room.  By the time the groups meet, the audience should already have seen what is going to happen about an hour earlier. 

Should you see this movie?  No.  The story refused to challenge the viewer.  The acting was fine, unfortunately there was little on-screen chemistry between Jolie and Depp. You might want to see it if you have never been to Italy and want to see some beautiful shots of the canals and the architecture. But, you could also flip through a travel magazine to see those images.    

Prepare to be amazed, scared and delighted by the reimagining of “A Christmas Carol” at the Kansas City Repertory Theatre. This production, which runs through Dec. 26, marks the 30^th anniversary of the first staging of the play at the Rep.

First and foremost, let me offer a small caveat to this review. I have a degree in English literature as well as my journalism degree. So I really tend to be a tad biased when companies stage Shakespeare, Dickens and the like. However, I was excited to see the play. I took my husband and daughter. She’s a fifth-grader who revels in ghost stories. We talked before hand that Director Kyle Hatley had warned that his imaginative directing was going to take Ebenezer Scrooge on a darker journey than perhaps other directors offer up.

That sort of inky terror is made rather clear from the beginning. The set is almost charcoal in nature, mirroring the words of Charles Dickens and his description of the bleak and dark December streets of London. It’s a great rotating set that offering ease in scene changes and heightens  the drama. Even the act of Charles Fugate, who plays Dickens and narrates the play, lighting his candle made me applaud the tiniest flame in such a dreary world. By the way, my daughter enjoyed his narration and voice. The illustrious Gary Neal Johnson, sitting there at his desk, as Scrooge, miserable in his greed echoes the coldness, which tortures his warm-hearted employee Bob Cratchit, played by Walter Coppage. The mood and the lead characters were well established.

Now let’s get to Jacob Marley. Mark Robbins was scary. His face appears on the door as Scrooge turns the key to enter his own house. My daughter turned into my shoulder and I knew we were in for a more sinister take of Marley. I must have blinked at just the right moment because Marley was suddenly there on the stage, in front of Scrooge. While his chains weren’t the typical money boxes and larger chains that I think of and that Dickens describes, the chains are many and rattling. Robbins swung them with ferocity. At one point, Marley even extends his point by wrapping one of the chains around Scrooge’s neck to keep the miser’s attention. It sure got mine.

Katie Kalahurka plays the Ghost of Christmas Past. She has the ethereal quality that so many women have offered up before her when they have played this role. The images of the past are haunting and I enjoyed the take on the heartrending thread that runs through Scrooge’s past. The boy child who says he doesn’t mind being alone. The young man who also makes the same comment after his first love leaves and then the petulant adult loner who seems to reassure himself that he needs no one.  It was an impactful thought that as much as the man has shut out the world, perhaps some shut him out too.

My daughter adored the Ghost of Christmas Present. We sat close enough that when he takes his stroll through the audience, we got a good look at him. Jim Gall embraces that green robe and the almost brandied-warming laugh that one expects from the Ghost of Christmas Present. One of my favorite scenes is the visit with the Cratchit family. The meager family dinner and the joy of simply being a family are cherished concepts. I couldn’t help but think about how we need to do better to enjoy being with those we love and care for rather than stockpiling up things and trinkets, especially during Christmas. It’s true that Dickens and his social justice still ring as true in 2010 as the words did in 1843. Again, Want and Ignorance are hidden under the Ghost of Christmas Present’s robe. It still is a scene that should stick in any audience member’s mind.

The Ghost of Christmas Future, played by Matthew Rapport, proved just as chilling as the grave scenes created on the stage. At one point in the scene where the Cratchit family visits Tiny Tim’s grave site, the sound seemed to fade out. It might have been my ears, but the scene didn’t lack as Coppage pulled out the grief of a father who had to bury his frail little boy. I will admit that I had a few tears trailing down my cheeks. Rapport is also a big enough man, in the black hooded robe of the Ghost of Christmas Future, to hide Scrooge’s tombstone so when the ghost  moves asid e, the  audience seems to see it right along with Scrooge. It’s a powerful scene.  

So did I like the play? You bet. My own holiday spirit has been lacking some, but the play helped rekindle some spirit. I picked up another copy of the novella so my daughter and I can read it before bed. Something tells me that we have started a new tradition with her – here’s looking forward to another 30 years of “A Christmas Carol” at the Kansas City Repertory Theatre.

Reviewed by: Kellie Houx, editor for KC Studio 

www.kcrep.org