KC Rep Mourns Death of George Keathley, Artistic Director from 1985-2000

Kansas City, Missouri (September 14, 2010) – It is with much sadness that the leadership, staff and artists of Kansas City Repertory Theatre reflect upon the death of its former artistic director George Keathley, who died September 12, in Fort Lauderdale, Fla., at the age of 85. Keathley was artistic leader of the Rep (then called Missouri Repertory Theatre) from 1985 until his retirement in 2000, serving as the theatre’s second artistic director, immediately following the retirement of its founder.

Honoring Keathley’s request, there will be no funeral or memorial service.

“George had moved to Florida long before I moved to Kansas City, so I never had the privilege of meeting him,” said the Rep’s current artistic director Eric Rosen. “He is a legend in this community, paving the way for countless numbers of Kansas City’s outstanding actors, many of whom are still associated with the Rep. He also directed 49 plays here, many ranking among our theatre’s very best work. He will be sadly missed by his colleagues in Kansas City, and across the country.”

A member of Lee Strasberg’s Actors’ Studio, Keathley studied acting with Maria Ouspenskaya in Hollywood, and acting and directing with Strasburg and Erwin Piscator at the Dramatic Workshop of the New School for Social Research in New York. Keathley returned to his hometown, Miami, Fla., in 1950 and founded Studio M Playhouse, where he successfully produced and directed nearly 100 plays. His years there culminated in the world premiere of Sweet Bird of Youth by Tennessee Williams.

Keathley was highly regarded in the local, regional and national theatre communities. At Kansas City Rep, he directed 49 plays, and, in a 2000 article in The Kansas City Star, mentioned Three Tall Women, A Delicate Balance, The Deputy, M. Butterfly, Of Mice and Men, The Seagull and A Christmas Carol as being among his favorites. His New York directing career included the acclaimed Broadway productions The Square Root of Wonderful, starring Anne Baxter, and the 20th anniversary production of The Glass Menagerie, starring Maureen Stapleton and Piper Laurie, which gave a command performance at the White House. Later in his career, he returned to New York and directed the daytime dramas “The Doctors”, “Another World”, “All My Children”, and “One Life to Live”, for which he won an Emmy Award for best direction.

In the 1970s, Keathley worked extensively in Chicago, where he earned five Joseph Jefferson awards (Chicago’s equivalent of New York’s Tony) for directing. His productions there included stagings of The Night of the Iguana, with Barbara Rush and Ruth Roman, Long Day’s Journey into Night and Our Town at the Goodman Theatre, and The Rake’s Progress at the Lyric Opera of Chicago. He also directed at many theatres across the country including, Desire Under the Elms at the Guthrie Theater, Cause Celebre, starring Anne Baxter and Dorothy McGuire, at Ahmanson Theatre in Los Angeles; Wait Until Dark, with Betsy Palmer, at the Beverly Music Theatre; and The Heiress, starring Jane Alexander and Richard Kiley, at the Kennedy Center in Washington, D.C.

ABOUT KANSAS CITY REPERTORY THEATRE
Now in its 46th year, Kansas City Repertory Theatre is one of the nation’s leading professional theatres and a member of the League of Resident Theatres. Its artistic leadership includes founder Patricia McIlrath (serving 1964-1985), George Keathley (serving 1985-2000), Peter Altman (serving 2000-2007) and current artistic director Eric Rosen, who joined the Rep in 2008. The Rep produces a full season of plays and events at Spencer Theatre on the UMKC campus, where the Rep is the professional theatre in residence, and at Copaken Stage downtown. Its diverse repertoire includes new works, musicals and classics of literature. The theatre serves approximately 100,000 patrons annually and employs more than 250 professional artists, technicians and administrators. This year, more than 8,500 students from 150 schools in the two-state region will attend special matinee performances, and more than 1,200 students will experience the Rep’s classroom programming and workshops.

Charlotte Street Foundation’s Urban Culture Project is pleased to present

YOU COMPLETE ME
an exhibition of interactive audio and video installations by HACK.ART.LAB,
a Wichita, Kansas-based collective of artists, programmers, and engineers

OPENING: FRIDAY, SEPTEMBER 17, 2010, 6-9PM
ARTISTS’ REMARKS AT 6:30PM

+ Sneak Peak Under the Hood:
An Open House Event, Saturday, September 18, 12-5pm
Hack.Art.Lab and special guests, the Computer Cowtown Congress (CCCKC) hacker space, will teach visitors about the technical side of their projects through workshops and demos. At Paragraph, all welcome.

PARAGRAPH GALLERY / 23 E 12th Street, KCMO 64106
Exhibition runs through November 6, 2010
NEW! Expanded gallery hours:
12-5pm Wednesdays, Fridays, & Saturdays; 11-6pm Thursdays

You Complete Me is an exhibition of interactive audio and video installations by HACK.ART.LAB, a Wichita-based disciplinary collective comprised of artists, programmers and engineers. Members are Ann Resnick, Kristin Beal-DeGrandmont, John Harrison, Ivy Lanning, Lauren Hirsh, and Tom McGuire.

Through a series of audio and video installations, which also incorporate sculptural elements such as plastic flowers, found objects, glitter, water, motors, and glass jars, You Complete Me explores relationships between viewers and technology, and the role that cooperation plays in creative endeavors. Viewers are invited to be active collaborators in the creation of several interactive audio and video installations. While the pieces have their own internal logic, they also present infinite possibilities and enable viewers to share authorship as they influence outcomes.

Central to HAL’s work is the use of Pure Data (a real-time graphical programming environment for audio, video, and graphical processing), so that the viewers can see exactly what impact they’re having on the patch and the audio. A GEM (graphical environment for multimedia) window tracks the movements of the viewer in real time and in a measured way, providing a tracing of their steps.

From Ghost in the Machine, which plays with viewers’ temporal and spatial perceptions through a series of live, recorded and delayed playback using a webcam, Pd and a tv; to June, Kristin Beal-DeGrandmont’s self-lit, modular, kinetic, relief sculpture that references the cinematic experience of riding in the car along Kansas highways; to Hello, Stranger, which creates a call from beyond one’s own address book to offer some surprising exchanges—the works by this multi-talented collective promise to create an immersive environment appealing to audiences of all ages and backgrounds, actively involving viewers in a process of learning and discovery.

HACK.ART.LAB is a Wichita, Kansas-based collaborative team of artists, educators, technologists and engineers that provides an environment for learning and exploration through nonconvention. By connecting professional and nonprofessional artists, technologists and youth, they explore learning models, then create projects offering new perspectives in art, technology, and society. HACK.ART.LAB strives to develop activities that encourage their natural curiosity and playfulness through creative engagement with science and technology. For more information, visit www.hackartlab.org. HACK.ART.LAB received funding for this exhibition from the Wichita Arts Council.

Urban Culture Project is an initiative of the Charlotte Street Foundation, an organization dedicated to making Kansas City a place where artists and art thrive. Urban Culture Project creates new opportunities for artists of all disciplines and contributes to urban revitalization by transforming spaces in downtown Kansas City into new venues for multi-disciplinary contemporary arts programming. For more information, visit www.charlottestreet.org.

Images below:
Ghost in the Machine (2 views), TV, Pd/pdp (Pure Data/Pure Data Packet), computer, webcam, rug; Secret Garden (detail), 2005-2010, found plastic flowers, foam, microcontroller, light sensors, mp3 players, speakers, birdsong.

Machete

A film review by Alexander Morales

A few years ago, (three to be exact), the world was introduced to one of the coolest trailers ever made for a movie that did not exist. Sandwiched in-between the genius that is “Grindhouse,” Danny Trejo (“Heat,” “Desperado,” and pretty much everything else) made his scratchy, rough edited debut as the iconic brownsploitation character Machete. Surrounded by a host of notable actors, Machete’s few seconds of film lit a fire under the fannies of fanboys everywhere, putting director Robert Rodriquez (“Sin City,” “El Mariachi”) in a position to make his dreams a reality.

Fast forward to now. Machete is here. Machete is mad. And Machete don’t text.

Once the bane of all crime in Mexico, Mexican Federal Officer, code-named Machete was disgraced and left for dead after falling into a trap left for him by his drug dealing nemesis Torrez (played by the one and only Steven Segal). With his family murdered, Machete goes like Kane from “Kung Fu” and begins wandering his way to the north. Unfortunately, he wanders into the wrong place. Now a day laborer in Texas, Machete gets caught up in an immigration war. Let the blood, body parts and badassness flow.

Filmed, somewhat in the grindhouse style of the 1970s and early ’80s, Rodriquez has produced one roller coaster of a movie. Using the hot topic of immigration, that is eating up headlines throughout the United States, “Machete” skewers through stereotypes and puts the issue in your face in a way that is entertaining, ironic and honestly pretty funny. Clearly, this is Rodriguez’s comfort zone – surrounded by his film regulars and making a film that is a mirror image of the man himself – fast, fueled and flippin’ fun.

Next to Trejo is a gaggle of good actors and actresses. Michelle Rodriguez, Jessica Alba and Lindsey Lohan play the tough, but hot as hell ladies of action (well, sort of, two out of three ain’t bad – sorry Lohan) that can’t help themselves around the legendary hero. On the flipside, Robert De Niro (as a diabolical politician), Don Johnson (as a border enforcing hate monger) and Jeff Fahey (the conduit between all things sinister) round out the evildoers set at stopping the mythical man of Mexico. At the same time, Cheech Marin and Tom Savini lend their support to the project adding to the overall coolness of the effort. Marin, playing a priest with a connection to Machete and Savini (the legendary horror film effects wizard) stops by to add some mayhem as an assassin for hire.

As the leading man, Trejo does extremely well. Always a bridesmaid in other films, this is Trejo’s chance to shine and luckily, rather than trying to be something he is not, he allows his consistent toughness and mythos to seduce and earn respect with the audience. He’s scarred. He’s brutal. He is Machete.

It’s pretty obvious that everyone involved is there to ham it up. Using the cult classic blaxploitation films of old as inspiration, everyone goes all out and does the one thing that everyone hopes to be able to do – have a whole lot of fun at work. Ghastly at times with the blood, but hilarious in its ability to be over the top, “Machete” delivers much more than your average late summer movie.

However, not everything is all sunshine and lollipops with this film. Like all of Rodriguez’s films, this movie has a fast, unfinished feel to it at parts. It kind of works since it is supposed to have that grindhouse tone, but when it doesn’t, it just looks hurried. You could even say that it’s a little awkward at times. A strange edit here, bad dialogue there. Most people don’t know the speed with which he makes his films, but, in my opinion, this is something I think all of his films suffer from. At the same time, while the smaller, more intimate action scenes really work, the bigger scenes where lots of people are shooting and attacking each other feel extremely silly and unfocused. This film is full of cool gags (take the death by lowrider example) but once the action widens too much, it looks uncontrolled and a little unappealing.

Overall, “Machete” is both a surprise and hit in my book. I was shocked at how funny this film was and at how much I enjoyed it. With the stereotypes flying and the actors giving it their all, “Machete” is a quality, adult time at the movies. ¡Viva Machete!

3.75 out of 5 Yards of Electrified Border Fencing

“Machete” Kills and Kills Again

Reviewed by Jason Gregg

Merriam-Webster.com defines campy as “something so outrageously artificial, affected, inappropriate, or out-of-date as to be considered amusing.”

Campy is the blatant theme throughout the movie “Machete.” The directors (Robert Rodriguez and Ethan Maniquis), the several big name actors (Michelle Rodriguez, Jessica Alba, Robert De Niro, and Cheech Marin) and the rest of the crew were all on board to deliver this nostalgic, over-the-top film.  It seemed that they wanted to make a fun film where the audience could shut their minds off for two hours to watch outrageous fight scenes, drug use, and the occasional nudity scene without feeling guilty about being politically incorrect.  

Why “Machete” though? Where did it come from?  To give you the background story - Robert Rodriquez and Quentin Tarantino teamed up a few years ago and made a grindhouse film, named, well, “Grindhouse.” A grindhouse, according to Merriam-Webster.com, is “an often shabby movie theater having continuous showings especially of pornographic or violent films.” The Rodriguez/ Tarantino collaboration weighed more on the violent side.  Rodriguez had his film, “Planet Terror,” at the beginning and Tarantino had his film, “Death Proof,” at the end.  Sandwiched between these two films were trailers for fictional movies.  One of these fictional trailers was for “Machete.”

“Machete” played by Danny Trejo (“Heat,” “Spy Kids,” “Predators,” you will know his face when you see it) plays the title character who starts the film as a Federale in Mexico that is double-crossed by his agency and loses his family to a ruthless Mexican overlord, Torrez (played by Steven Segal, remember him?).  

Three years later Machete is in Texas looking for day work while the immigration wars are heating up among Texans, mainly Robert De Niro and Don Johnson (remember him?) and the rest of the illegal Mexican population. Machete is hired by Booth (played by Jeff Fahey, does that name ring a bell?)  to assassinate Sen. McLaughlin (De Niro). After another double cross, Machete is on the run.  But, he is in luck; there is an underground Mexican network to help him out of almost any jam where he finds himself. 

Have you ever heard that coincidence doesn’t work in fiction? It’s a shortcut through the thinking process. That rule doesn’t apply when it comes to campy, B-movies. Out of all the illegal immigrants and high power officials in Texas it just so happen that everyone is connected. No worries though, the story line isn’t as important as the bad acting which will stick in your head if you think about it too much. Heck, even Lindsay Lohan (I won’t bother to ask if you remember her) has a part in this melee. And, she doesn’t even have to act, she only has to play her own drug-addicted starlet self and it still comes off as bad acting.

Furthermore, the bad acting isn’t even comparable to the gore and violence. The folks at Looney Tunes couldn’t have come up with better cartoonish violent acts. The violence in “Machete” does add in the excessive blood and guts factor (and when I write guts I really mean GUTS, you will see actual guts).

The cartoonish violence doesn’t take away from the focus of the racial stereotyping. The writers (Robert Rodriguez helped pen the screenplay along with Alvaro Rodriguez) left no stone unturned when thinking of any Mexican cultural stereotypical reference. Illegal Mexican workers - check. Mexicans with lots of tattoos and wrap-around sunglasses - got ‘em. Mexicans with low riders and the hydraulics to boot - wouldn’t forget those. Mexicans in a Catholic Church - why, of course, aren’t all Mexicans Catholic? Mexicans working a taco stand - yep, all Mexicans eat tacos. The entire film was overrun with so many outrageously artificial scenarios that the audience was given no other choice but to accept this as an action/ satire film.  

Should you see this movie?  Only if you know what you are getting yourself into.  If you are politically correct, don’t have a sense of humor, don’t like violence of any kind, haven’t seen or didn’t like “Planet Terror” then stay away, go see “Eat Pray Love” one more time. For the rest of us, take a little trip and see it.

Don’t waste your frequent flyer miles on Going the Distance

Reviewed by: Heidi Nast

Boy gets dumped and boy gets laid all within the same night!  That's Hollywood for you.  Boy falls into a six-week-long-NYC intern romance and finds himself traveling coast to coast to keep the relationship afloat, something in the past he's clueless about.  This movie "Going the Distance" has all the reminders for any of us who have been in long distance relationships stuck between airports, on phone calls, encouraging phone sex, emails, sexting and Internet Skype into the wee hours of the night. It's exhausting, frustrating and both gets tired of missing each other vis a vis NYC and San Francisco.

The problem is that this movie is so predictable.  It's only lucky that it opens while still under the guise of stupid summer movies 2010 and just under the wire, now we're done watching mindless, aimless dialogue for the season.  My question is, are these two leading stars, Drew Barrymore (Erin) and Justin Long (Garrett) a current item, because if they are and based off this movie, I sure hope they live in the same proximity, otherwise, they're in serious trouble.

I had to ask myself during the film, "How old are these people?" because they acted just like my high school friends I left behind years ago, due to their level of immaturity and the reason why I’ve never wanted to go back to attend a reunion. Please understand, I am NOT the faint of heart; in fact I have my own personal repertoire of slang words that I use on a daily basis, but this script became ridiculous.  The "F" bomb is used ad nauseam, dry-humping verbal and visual, Bxxx Jxx's, masturbation, the "F"-it List (a play on words from a previous movie that had relevance) irritating fantasies that didn't match up betwixt the two and bowel movements on the toilet while belching beer.  Do you get the picture? 

I suppose if I skimmed the surface, there were some moments about how hard it is (no pun intended) to keep a long-distance relationship going while feelings and misperceptions get lost in translation.  But really...............................

Going the Distance was predictable and quite honestly, a silly movie for grown-ups to watch and I think it should have a “hard R+ rating” for those audiences that this movie would appeal to.   Was I surprised — not at all? Was I disappointed —not at all. Was I glad when the movie was over; you bet!           

Art Opening Reception

Landscape Paintings by Anne Garney

Friday, September 3, 2010
6:00 PM - 10:00PM

The b Gallery 2016 Main
816.994.8995
Directions: just North of Union Station

Anne Garney will be showing 20 paintings from various travels including some recently finished Kansas City paintings "Plaza Corner", "Loose Park Fountain" and "Monet's Garden" (seen below).

Websites:

To see more Paintings:
http://www.annegarneypaintings.com/

To see Facebook event page:
http://www.facebook.com/event.php?eid=153581101321794

For more information re. The b Gallery:
http://photostudiob.com/TheBGallery.php

Unicorn’s 37^th Season opens with a new musical about a new musical

[TITLE OF SHOW]
Music & Lyrics by Jeff Bowen
Book by Hunter Bell

Unicorn Theatre opens the 2010-2011 Season with a unabashedly self-aware and totally unique new musical creation that played on Broadway last Fall, [title of show]—and yes, that really is the title. With music and lyrics by Jeff Bowen, book by Hunter Bell, direction by Missy Koonce and musical direction by Anthony T. Edwards, the Unicorn production features Kansas City favorites Seth Golay, KC Comeaux, Jessalyn Kincaid and Natalie Weaver.

Previews for [title of show] are September 15^th, 16^th and 17^th and plays September 18^th through October 10^th on the Unicorn’s Mainstage located at 3828 Main Street, Kansas City, MO 64111. Performances Tuesdays through Thursday are at 7:30 pm, Friday and Saturday at 8:00 pm and Sunday at 3:00 pm. Join us for a talk back immediately after the show with the director and actors on September 21^st, 26^th and 28^th.

To purchase tickets, call 816-531-PLAY (7529) EXT. 10, online at www.UnicornTheatre.org or in person at the box office located at 3828 Main Street, Kansas City, MO 64111. Regular run tickets start at just $27.50. Special discounts are available for seniors (60+), Students and Patrons Under 30.

About The Show
Imagine two hyper-talented young songwriters in New York trying to write a new musical about two hyper-talented young songwriters in New York trying to write a new musical. That’s [title of show], the deliciously smart, tongue-in-cheek musical that wowed Broadway audiences and critics last fall. Share its dizzy, unpredictable and uproarious journey from unemployment to the Great White Way.

The New York Times called [title of show] “DELECTABLE ENTERTAINMENT! A postmodern homage to the grand tradition of backstage musicals like Babes in Arms; Kiss Me, Kate and A Chorus Line.” Hunter Bell likes to call it an ”autobiofictionography” because, in his words, “It really does represent our lives, our creation. And about the title was the first question on the Festival application, that’s really where it all begins.”

As the show was accepted at the Festival, then an Off-Broadway run at the Vineyard Theatre in 2006 and an eventual Broadway run at the Lyceum Theatre in 2008, it was updated to include the excitement, frustrations and experiences the team encountered. Gathering honors and accolades every step of the way, [title of show] was honored with a 2006 Obie Award Special Citation and a Broadway.com Audience Award for Favorite Ensemble Cast in 2009. Additionally, Hunter Bell was nominated for a Tony Award for Best Book of a Musical.

In addition to [title of show], Jeff Bowen and Hunter Bell have collaborated on many projects including Villians Tonight! for Disney, the web series “the [title of show] show” and a pilot for ABC. Additionally, Bowen has written music and lyrics for several shows at PS 122, as well as numerous galas, events and awards shows. As a performer, he originated the role of Jeff in [title of show] and has been seen at The O’Neill Center, Manhattan Theatre Source, Ars Nova and the Vineyard Theatre, among others. Bowen is also the co-founder of Late August Design, an internet design and marketing company that represented Wicked, Urinetown and The Full Monty.

Hunter Bell’s additional credits include the book for Silence! The Musical, the book for the 137th edition of the Ringling Bros. and Barnum & Bailey circus, Bellobration!, as well as many benefits and events. Performing credits include originating the role of Hunter in [title of show] and appearances both on and off Broadway, at The St. Louis Rep, The Muny, Cleveland Play House, Vineyard Theatre, Stages St. Louis and Carnegie Hall among many others. In 2003, he won the Connecticut Outer Critics Award for Best Actor in a Musical. Bell is also a distinguished alumnus of Webster University’s Conservatory of Theatre Arts.

The cast of [title of show] at the Unicorn is Seth Golay as Hunter (previously appeared at the Unicorn in Grey Gardens and BatBoy: The Musical), KC Comeaux (previously appeared at the Unicorn in bare), Jesslayn Kincaid (previously appeared at the Unicorn in The Great American Trailer Park Musical and Gene Pool) and Natalie Weaver who makes her Unicorn debut.

Director Missy Koonce previously directed the Unicorn production of Speech & Debate and co-directed BatBoy: The Musical, in addition to being featured in many productions such as bare, Loving Lucy, Gene Pool and How I Learned to Drive. Musical Director Anthony T. Edwards, who also plays Larry the pianist in the show, most recently musically directed Grey Gardens, bare and The Women of Brewster Place for the Unicorn.

The creative team also includes David Hawkinson for scenic design (previously at the Unicorn Miss Witherspoon), SeifAllah Cristobal for lighting design (previously at the Unicorn Miss Witherspoon), Donna Miller-Brown for sound design making her Unicorn debut, Jon Fulton Adams for Costume Design (most recently at the Unicorn: And Her Hair Went With Her, Grey Gardens and My First Time), Gary Campbell for properties design (previously at the Unicorn 9 Parts of Desire, A House With No Walls and Rising Water) and Jinni Pike as Stage Manager (recently at the Unicorn And Her Hair Went With Her, Grey Gardens, Farragut North and My First Time).

*talk back performance with the director and actors

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.