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Fall Arts Gui de • Historic

theaters get new life • Set designers up the eye candy ante • • Supporting the visual art community • And more •

| cl clevescene.com lev eves esce esce es cene ne.ccom ne.c om | September Sep epte ptteember 28 - October 4, 2016

3%04%- "%2 /#4/"%2 s 6/,5 - % . O 13 Dedicated to Free Times founder Richard H. Siegel (1935-1993) and Scene founder Richard Kabat Publisher Chris Keating

CONTENTS

Editor Vince Grzegorek

5PFRONT

Editorial Managing Editor Eric Sandy Music Editor Jeff Niesel Staff Writer Sam Allard Writer-at-large Kyle Swenson Web Editor Bliss Davis Dining Editor Douglas Trattner Contributing Dining Editor Rachel Hunt Stage Editor Christine Howey Visual Arts Editor Josh Usmani

Pop/soul/R&B singer and model Yuna in Cleveland this week.

Ending the voter purge, rethinking the death penalty in Ohio, and more

Advertising Senior Multimedia Account Executive John Crobar, Shayne Rose Multimedia Account Executive Kiara Hunter-Davis

Framed

Feature

Get Out!

Film

A selection of our favorite photos from the past week

Creative Services Production Manager Steve Miluch Layout Editor/Graphic Designer Christine Hahn Staff Photographer Emanuel Wallace Business Asst. To The Publisher Angela Lott Sales Assistant/Receptionist Megan Stimac Staff Accountant Kristy Dotson

Welcome to Scene’s Fall Arts Guide

Circulation Circulation Director Don Kriss Euclid Media Group Chief Executive Officer Andrew Zelman Chief Operating Officers Chris Keating, Michael Wagner Human Resources Director Lisa Beilstein Digital Operations Coordinator Jaime Monzon Chief Financial Officer William Mickey

Dozens of events spanning the next week in Cleveland

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Miss Peregrine’s Home for Peculiar Children channels Harry Potter, X-Men

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Jill Vedaa dishes up a unique roster of small plates and the perfect setting for sharing at Salt in Lakewood

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| clevescene.com | September 28 - October 4, 2016

UPFRONT OHIO’S ‘VOTER PURGE’ RULED ILLEGAL

THIS WEEK

THE SIXTH CIRCUIT COURT of Appeals last week reversed an earlier ruling that had shot down a lawsuit against Secretary of State Jon Husted. The target of the lawsuit: Husted’s process of eliminating the names of registered voters from the state’s voter rolls. It’s a process called “purging,” and it’s meant to clean up state databases and delete the names of voters who have moved out of the state or died. It also leaves the door open to negligence and political machinations. As PBS’s Chris Bury once put it, “When it comes to the right to vote, Ohio is a ‘use it or lose it’ state.” Today’s ruling sides with the plaintiffs who brought the case against Husted and originally sought an end to this purging practice. The lawsuit will likely head to the U.S. Supreme Court now. Husted’s policy is twofold: There’s the typical matter of comparing voter rolls with the National Change of Address database (and eliminating the names of voters who’ve moved out of state), and then there’s the matter of deleting the names of voters who haven’t engaged in “voter activity” for the past two years. (“Voter activity” means registering to vote or actually voting.) Those who fall into that second category are sent a notice and then given four additional years to vote. If after six years there’s no “voter activity,” that person is scrubbed from the database, despite possibly still being an eligible voter. It’s less complicated than it sounds, but the policy’s many nuances are mostly unknown and,

Photo by Erik Hersman

from what little the public has gleaned, quite concerning. Under Husted, there seems to be something of an overreach. It’s one thing to get rid of the names of the deceased; it’s another thing to just delete countless names of eligible voters from the record. For now, no one can really say how many names have been scrubbed. Estimates vary from “tens of thousands” to “hundreds of thousands.” It’s an interesting and noteworthy election cycle to confront this policy, what with two of the most polarizing presidential candidates in history vying for the ofﬁce. Anecdotally, news reports have pointed out how many voters will be returning to the polls for the ﬁrst time in a long while

MULTIPURPOSE MESSAGE Wellington police issue warning on “clowning,” pseudo fad where people dress up in costume and jump out at unsuspecting passersby. Warning doubles as message to Cleveland Browns.

to cast a vote in this historically wild-ass election. A Cincinnati Enquirer/ USA Today investigation this year raised questions about the murkiness behind the policy. The Sixth Circuit Court of Appeals found that Husted’s office is in violation of the National Voting Rights Act. “We don’t believe that any voters should be removed from the rolls simply because they haven’t voted in a few elections,” Mike Brickner, senior policy director at the ACLU’s Ohio chapter, said in a statement. “We hope that a plan will emerge soon to allow the tens of thousands of voters illegally purged from the rolls to

LIKE NEW Cleveland Ritz-Carlton to undergo massive renovation to compete with newer downtown hotels. Promises best vacant rooms this side of E. 9th.

| clevescene.com | September 28 - October 4, 2016

vote in the upcoming presidential election.”

ALREADY CONTROVERSIAL, OHIO’S DEATH PENALTY POLICY FINDS A NEW CHALLENGER Jim Petro, the state attorney general who oversaw 18 executions in Ohio, was elected to the board of directors of Ohioans to Stop Executions this weekend with his wife, Nancy. The move is a highprofile turnaround for a Republican state official. “Ohio has an unusually high number pro-death penalty government officials who have changed their positions on the

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issue, but this is the ďŹ rst time weâ€™ve had a couple with such experience join our leadership team,â€? Melinda Elkins-Dawson, board chair, said in a public statement. Petro urged â€œa re-examination of Ohioâ€™s death penaltyâ€? via OTSEâ€™s work. He said he recently arrived at the conclusion that itâ€™s time to rethink this policy arena. (Nancy has always opposed the death penalty.) In Ohio, Ronald Phillips is scheduled to be killed in January.

FRED GEIS STEPPING DOWN FROM PLANNING COMMISSION Developer Fred Geis has stepped down from the Cleveland Planning Commission after being counseled by his lawyers on the perils of

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| clevescene.com | September 28 - October 4, 2016

5 Cleveland homicides reported between 8 a.m. Friday and 8 a.m. Saturday, the highest number in a 24-hour span in 2016.

88 Total Cleveland homicides in 2016 (as of Saturday). At this point last year, Cleveland had 96. Total homicides in 2015 were 120, the highest since 2007.

conďŹ‚icting interests. The planning commission is a seven-member body tasked with guiding Cleveland development by ruling on land-use proposals and building designs, among other things. We neednâ€™t remind you that Geis is a big shot local developer. (Also a physical specimen.) His most visible downtown project is probably The 9, but his Streetsboro-based ďŹ rm has been instrumental in a number of Cleveland projects, including the transformation of Midtownâ€™s Euclid Corridor as a tech hub. In seven months on the planning commission, Geis has recused himself from decisions related to projects in which heâ€™s involved, but as an active developer, that happens quite a bit. And Geis now seems to understand that at this particular urban pastry shop, he can no longer develop his cake and eat it too. His appointment by Mayor Frank Jackson, back in February, struck many â€” even the Pee Deeâ€™s editorial board â€” as improper: â€œThereâ€™s a big conďŹ‚ict of interest here and itâ€™s far more than perception,â€? the Plain Dealer wrote at the time. â€œFred Geis, a Cleveland resident, owns several parcels of land in Cleveland and works closely with the city to craft public ďŹ nancing deals and to obtain low-interest loans for his projects. That seems at odds with a commitment to serve on an independent board that is supposed to protect the public interest...even if the interests of developers get hurt in the process.â€? And how! The project that most directly impinged on Geisâ€™s decision was reportedly the Link59 ofďŹ ce building in midtown, a building that Geis plans to open in 2017, hopefully with more than zero tenants. But the most frenzied local uproar arrived after news leaked that Geis was involved in a proposed outlet mall at Burke Lakefront Airport, a project derided by all but the projectâ€™s developers as a hideous oozing eyesore and a golf club to the temple of downtown progress. Anywho, the planning commission is now short two members. Frank Jackson has appointing authority. Geis ofďŹ cially tendered his resignation on September 12.

COUNTY MEDICAL BENEFITS SNAFU On Friday morningâ€™s Reporterâ€™s Roundtable, Cleveland.comâ€™s content VP Chris Quinn broke what may or may not be a significant story:

Cuyahoga County completed an internal audit back in February showing financial mismanagement of its health benefits program. An estimated $9.5 million budget shortfall was detected. That information, positioned as ‘Phase I’ of a comprehensive audit by the county’s internal team, was released Friday for reasons unclear. Budish visited Cleveland.com last week to announce that his finance staff had noticed something fishy in the spring of 2015 in the benefits paperwork. He immediately ordered an internal audit, he said. What the audit found — again, this was back in February — was that the county’s benefits consultant, Employee Benefits International, had been enticing regional partners to join the county’s health plan at reduced rates. EBI received a bonus every time a new partner joined — suburbs like Cleveland Heights, South Euclid, Olmsted Falls — but the low per-employee premiums meant the County was paying out a lot more than it was taking in. Compounding that issue was the simple fact that county

employees themselves spend a lot on health care, and claims have been higher than anticipated. The audit is awash in confusing acronyms and human resources mumbo jumbo, but we’re deciphering and decoding on the double and will report the latest on clevescene.com. But given that the county’s credit card is “maxed out,” as Budish likes to say, multi-million dollar oopsie-daisies like these are bad news down at the corner of E. 9th and Prospect. Though the health plan far predates Budish’s administration, given the fact that Budish has championed government efficiency as one of the hallmarks of his administration, one can’t help but wonder why the County took nearly eight months to release this critical report.

PARMA CITY SCHOOL BOARD DIGS INTO $15-MILLION DEFICIT In what certainly sounds like an emotional and complex school board meeting this past Monday, the top brass at Parma City Schools unveiled a plan to tackle a looming — and growing — budget

deficit. What is now a $15-million hole, board members stated this week, could become a $60-million hole within four years if drastic steps aren’t taken now. And so the proposed cuts include: Five schools being repurposed or closed entirely (Green Valley, Parma Park, Renwood, Hanna and Pleasant View), dozens of staffers being laid off and certain programs being cut from the balance sheets. How the cards fall precisely remains to be seen — although, with such a budget disparity confronting board members, it’s hard to envision a path forward without at least some of the above taking place. It’s a public morass in Parma this week, with parents and community members trying to figure out what led the city to this brink. The superintendent, for instance, said on Monday that even he hadn’t known of the magnitude of the district’s debt until this spring. He acknowledged how profoundly these cuts could impact thousands of current and future students in this seventh largest city in Ohio Take the STEM program as

an example. It’s an annual cost of $153,461 on the books — not necessarily a drop in the bucket — and it’s also a pathway toward university-tier education for many Parma students. (STEM, which gets talked about frequently in NPR news reports, stands for science, technology, engineering and math — the silos of a new American jobs economy and vital components of public education in the U.S.) That’s one proposed cut on the table. Other proposals: eliminate all school field trips and double the pay-to-play fees for district extracurriculars. Those two measures alone indicate how different the Parma City Schools experience would be for future students. Combined, they would also level the balance sheets by nearly $400,000. It’s a sure bet that the weeks to come will be filled with hearty public debate. The budget plan is due to the state in less than three weeks. The board will meet Oct. 4 and 10 at Parma High School.

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FRAMED!

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FEATURE

ALL FOR GOD Lafayette Carthon’s gospel shed session brings together singers and musicians to entertain and teach By Afi Scruggs traditional edifice. It’s on the top floor of the Glenville Enterprises Building at 540 E. 105th St. On Mondays, starting around 9 p.m., the space becomes home to a workshop where performers explore all kinds of sacred and secular music in the name of God. So no one blinks when a singer called “Summertime” belts out a tune or when boogiewoogie and blues riffs bounce off a wall decorated with slogans proclaiming “God reigns!” The rhythm section joins in. That’s entertainment. Worship reigned a week later, when a mother-daughter duo sang the first song of the night. As the music ebbed, Carthon led the audience in prayer, hands raised and swaying. Then he flowed into another song, calling out chord changes between the lyrics.

“I’m lost without you,” he chanted to the singers. “Go to the six... Now repeat the pattern,” he told the musicians following his lead. One by one, he pulled singers from their chairs, giving them different chants with distinct melodies. By the time the song ended, four vocalists stood in the center of the room. That’s when he turned the fugue he’d created into a lesson and a sermon. “All these different songs in one song, that is where God is taking the body of Christ,” Carthon said. “You can be doing something different over there, and I’m doing something totally different over here, but God knows how to make harmony, even though we have these separate melodies. “That’s the art of the fugue,” Carthon said. That kind of mashup – where pop and jazz turn in up in a form dating back to Bach, where classical cuddles up to contemporary --

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PIANIST LAFAYETTE CARTHON, JR. has condensed his artistic philosophy to small and direct list. “There are three things you can do with music,” he said, ticking off points with his ﬁngers. “You can worship with it. You can entertain with it. And you can teach with it.” At his weekly Gospel Musicians Shed session, he combines them all. A musical shed is a safe space where vocalists and instrumentalists can learn techniques and repertoire, stretch out or fall ﬂat without judgment. Carthon’s workshop is only three years old, a youngster when compared to the others around town. Alan Greene hosts a weekly session at Cebars Tavern on E. 185th St. in Euclid. Lonnie Reid has been running a musicians night at the House of Swing in South Euclid for about 20 years. But Carthon’s is unique. It’s probably the only workshop that has a Christian focus. That makes sense: Carthon grew up in the church and followed his father’s lead into the ministry. Still the younger Carthon does things his way. His church isn’t housed in a

isn’t surprising from an Oberlin graduate who has played for music’s most demanding artists, including Michael Jackson, Celine Dion, and Paula Abdul, just to name a few. “Lafayette knows music and he knows how to interpret all types of music,” said his mentor, Dr. William Woods, who directs the renowned Nathaniel Dett Choir at Cleveland School of the Arts. Carthon started out on a toy piano. He learned his first song from his mother. By the time he enrolled at Cleveland School of the Arts, Carthon was playing and teaching around the city. That’s where he met Woods. “I knew he was gifted the minute I heard him, “ Woods said. The choir director mentored the young pianist, arranging for him to represent Cleveland schools in a national competition in Miami. But Woods believes a turning point came when Carthon was 16. “I took him to Severance to hear the great Oscar Peterson,” said Woods, who has a deep love for jazz. “[Carthon] patterned his style after Peterson and Art Tatum.” That style took him in another direction. Just days after turning 20, Carthon got a phone call from the musical director of The Winans gospel quartet. Turned out the man had heard him play at gospel competition a few months earlier. “[The musical director] said the Winans were going on tour and asked me if I wanted to play. So I was 20 when I got my break – whatever that is,” he said with a chuckle. Carthon became the principal keyboardist for one of the country’s most successful crossover artists. The quartet of brothers from Detroit won six Grammys for sacred and secular music that got heavy airplay on urban radio. From there, Carthon made a connection that led to another big job: musical director for RnB artist R. Kelly. Carthon didn’t see it as a sell out then. Nor does he now. “I believe the first thing every musician needs to do is honor God first. Then you’ll have a moral center by which to approach doing music,” he said. His antidote is creating an accessible space where folks can learn the ropes and hone some values. “Otherwise, you’re out there with your behind hanging out, your chest hanging out,” Carthon said. “I mean, anything goes in entertainment now.”

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| clevescene.com | September 28 - October 4, 2016

Photo by Steve Wagner

Celebrate Fall

FEATURE

at the

FARMERS MARKETS! Cleveland Clinic, Public Square, (YEAR Chagrin Falls, Crocker Park ROUND!) (YEAR & Shaker Square ROUND!) Visit the North Union Farmers Market booth and use your Ohio Direction Card to purchase tokens for a dollar-for-dollar match (up to $10) in “Produce Perks” tokens for fresh fruits & veggies!

northunionfarmersmarket.org Station Hope

FOUR THEATERS ON A QUEST By Christine Howey AS MUCH AS WE ALL ENJOY seeing the classics on stage—from Romeo and Juliet to The Odd Couple—we are fortunate to live in an area where local theater companies are eager to venture out in new and compelling directions. This season, four such companies are proving that Northeast Ohio is fertile ground for theaters that are interested in trying new things, and challenging their audiences with theatrical experiences far from the “normal” fare. At Cleveland Public Theatre in Gordon Square on the near west side, there always seems to be something new brewing. And this season is no exception. As executive artistic director Raymond Bobgan says, “We are eager to change the context of theater, to see how we can

get more involved in the community and serve as the nexus point for social justice and change.” As an example, he cites the Station Hope series of “block parties with a purpose.” These events, now in their third year, celebrate Cleveland’s role in the Underground Railroad and take place in various community locations around Cleveland. As Bobgan notes, “We’ve learned that there’s a huge number of people who won’t walk into a theater. So we want to bring theater to them and demonstrate how theater can change lives—for the audience and for the creators.” This also speaks to another mission of CPT: Increasing the diversity of the people who create theater. The theater has long been a

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| clevescene.com | September 28 - October 4, 2016

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Local innovative theater companies are exploring exciting possibilities

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| clevescene.com | September 28 - October 4, 2016

champion of women as playwrights and directors. And they are expanding their roster of creators in interesting ways. After the holidays they will stage a production of I Call My Brothers by Jonas Hassen Khemiri, a Swedish playwright whose father is from Tunisia. His play is about a car bombing and the main character, who is Middle Eastern, who is trying to navigate his way through the city during the chaos. CPT also launched Teatro Publico de Cleveland in 2013, a Cleveland-based Latin American theater ensemble involving about 30 theater artists whose work reflects the artistic goals and ideal of its members. There are two of these productions each year, along with workshops for the community. “Overall,” says Bobgan, “our mission is to foster compassion, but always with the goal of increasing the quality and depth of our work. We want to develop and produce great new plays with an ensemble that has the space to grow and thrive.” A sometime collaborator with CPT is Theater Ninjas, which is going even farther in its quest for finding new theatrical pathways. In short, they’re backing away from scripts…and actors. As artistic director Jeremy Paul explains, “We are interested in shifting towards a broader type of theater, one where there is more interaction among audience members in a more flexible environment.” In their first production of the season, The Last Day, there are actually no actors. The audience enters into an immersive storytelling experience where they are challenged to solve puzzles, manipulate arcane machines, and investigate the magical past of a mysterious woman. As Paul says, “It’s like walking inside a threedimensional novel. This is not a passive experience for the audience, you have to turn the crank to make it go.” Indeed, patrons are encouraged to attend in pairs or even in groups, so they can help each other figure out where they are and who was there before. Will this experience work for everyone? Hard to say, even for Paul. “We’re finding our way with these productions. There’s never been anything quite like this, although many people have had similar experiences with new media, such as with the video games “Myst” and “Gone Home.” Down in Akron, the None Too Fragile Theater is still using scripts

and actors. And since they’ve developed a strong following, they are expanding their season to six shows in 2017. True to their mission, NTF will stage off- and off-off-Broadway shows that are new to the area, with some challenging themes. For instance, the first show of the 2017 season will feature a 600 lb. man in The Whale by Samuel D. Hunter. The play is a compassionate look at what it means to be a gigantic misfit. As co-artistic director Sean Derry states, “The Whale is just one of several kickass shows we’ll be doing next year.” Also on the schedule is the dark comedy An Impending Rupture of the Belly—apparently not a comment on their first show of the season— by Matt Pelfrey, who penned Pure Shock Value, which NTF did last February. Derry adds that the experience at None Too Fragile is different for many reasons. “Since our theater is attached to a restaurant (Pub Bricco), the audience and the cast and crew often hang out after a show, sharing their thoughts about the production that night. That’s a cool bonus when you come here.” While NTF is comfortably ensconced in their home in Akron, there’s a drama of a different kind going on in Tremont. That neighborhood’s only live, fulltime theater, convergence-continuum, may be in peril. Since co-founder and artistic director Clyde Simon is no longer able to continue as building owner and operator, the company has instituted a capital campaign to purchase the building from him. Founded in 2002 by Clyde Simon and Brian Breth, con-con has produced more than 70 shows in their tiny, wonderfully intimate space. Plus, they have become the home to the annual Playwright‘s Festival sponsored by NEOMFA (the Northeast Ohio Masters in Fine Arts in Creative Writing). So far, they’ve raised $82,000 of the needed $130,000. If raised by the end of 2016, Simon will be able to focus his energies on the creative aspects of the theater, If not, the property will be put on the open market and the future of convergence-continuum as a theater may be in jeopardy. If you would like to donate to the cause, visit the con-con home page at convergencecontinuum.org.

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| clevescene.com | September 28 - October 4, 2016

convergence-continuum CROSS THE THRESHOLD INTO ALTERNATIVE THEATRE!

FEATURE EYE CANDY Projection designers are bringing new looks to local stages

At The

LIMINIS THEATER

By Christine Howey YOU NEVER SEE THEM. THEY DO all their work before you ever arrive at the theater and by then they’re gone, off on another gig. But boy, do they leave their mark on the plays you’re seeing. These mysterious folks are the projection, lighting and scenic designers who are utilizing modern technology to give new and old plays a fresh and often stunning look. By employing advanced computer programs, lowcost projectors, and LED lighting, many shows benefit from a visual landscape on stage that was never possible before. Trad A Burns, who spins his magic at many theaters here and elsewhere, is fascinated by the new possibilities. “The range of color, texture and movement designers can access now is really amazing. We can project on multiple screens of different sizes from just one computer, or we can project an image on a giant drop that measures 32 feet tall and 70 feet wide. “In the past, those backdrops were hand painted and hugely expensive. But now, technology enables them to be printed, not painted, saving time and money. As the lighting designer for American Idiot at Beck Center last year, Burns channeled the raucous energy of the rock group Green Day in projections that were as edgy and hyper as the music itself. As he says, “It was time consuming to find all the source material and then mask the images.” But that effort paid off in a visual display that was every bit as ferocious as the performances themselves. Perhaps the most jaw-dropping example of theater design is on display in award-winning The Curious Incident of the Dog in the Night-Time, which combines a

complex choreography of lighting combined with pulsing graphic images and a techno score to fashion a breathtaking experience. (This show will arrive here in late March on its Broadway tour at Playhouse Square.) And in the recently touring Kinky Boots, a brick wall was printed on a scrim so that lights could bleed through and the audience could see the shoe factory interior through the “brick wall.” But it turns out the new projection and lighting technology is quite democratic, allowing even small theaters to create visual effects that were never possible before. T. Paul Lowry, a projection designer, was able to bring cinematic tools to a show at a small theater space at Waterloo Arts on the east side. Thanks to the new computer software and hardware, he was able to project on four walls with 3D hyper-realism, and even show rain splashing on the projected windows. As Lowry notes: “All designers want to tell stories and be as creative as we can be. The technology these days enables us to work at a higher level so we can make live stage shows edgier and cooler to look at. Projections and lighting design are actually now becoming a dramaturgical element in many productions. We can now think beyond just the place where a play is happening and provide more visual information.” And by merging multiple design elements in one computer program, the finished effect is seamless. This opens a threshold of new possibilities for designers. In 2015, Lowry designed the projections for The Turing Machine at Theater Ninjas, and 13 small screens came alive, each

THE KNIFE IS MONEY, THE FORK IS LOVE

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World premiere directed by Geoffrey Hoffman

GIVE ME THE MAP

Dec 2 - 17

by Robert Hawkes

It’s 1932, and Tobias, a young man enamored with pulp ﬁction, receives a package which leads him on a search for the members of a secret society. It’s also present day in the theater, where the actors are trying to work out Tobias’ strange story.

World premiere performed by Robert Hawkes and Ray Caspio

Nov17 – 19, one weekend only The ﬁrst scene of King Lear goes badly for the old man, as we know. But what the heck was he expecting anyway? This one-act prologue with the King and his Fool seeks to ﬁnd out.

2438 Scranton Rd, Cleveland 44113 in the historic Tremont neighborhood Tickets $15 gen,. admission, $12 seniors, $10 students at convergence-continuum.org / 216-687-0074

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with different images all cut to size, while larger projections washed over the set. It was set to a compulsive electronic beat designed by Eric M. Gonzalez and it all meshed perfectly. Mike Tutaj is a freelance projection and sound designer based in Chicago, and has worked on several shows in the Cleveland area. As he notes, “I love the challenge of working in live theater. But we have to remember, the tools are so powerful it’s easy for projections to steal the focus of the show. So we need to collaborate closely with the director so that we can help energize the piece without becoming a distraction.” You might have seen Tutaj’s handiwork in Mary Poppins at the Beck Center, where he projected images on 45 white umbrellas. “But that was easy compared to what’s coming down the road. For instance, there is now motiontracking software that will enable the projections to move in response to activity on the stage.” Also, some of the technology advances are affecting how work is done behind the scenes. For example, being able to draft in 2D and 3D helps the designers see the actual height and overall

American Idiot arrived with its impressive projection design last year at the Beck Center for the Arts.

dimensions of their ideas. Isometric drawing empowers designers to try more difficult designs, enhancing the impact these designs have on the shows. And 3D printing is aiding in the creation of models of set designs in

less time and at lower cost. Indeed, projection design is becoming its own respected discipline in theater, and the future for theater design overall has never been brighter or more exciting. That eye candy will make

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the experience more rewarding for everyone who loves live theater.

scene@clevescene.com t@clevelandscene

T H R O U G H J A N U A R Y 15 , 2 0 17 Intersections: Artists Master Line and Space is organized by the Akron Art Museum and generously supported by the Lehner Family Foundation, National Endowment for the Arts, Elizabeth Firestone Graham Foundation and by the Ohio Arts Council. Special thanks to Hilton Garden Inn – Akron.

Elizabeth Firestone Graham Foundation

One South High I Akron, OH 44308 I 330.376.9186 I AkronArtMuseum.org

2016-17 SEASON OCTOBER 14, 2016 Ballet Up-Close DECEMBER 16-18, 2016 Ohio Dance Theatre in collaboration with Verb Ballets presents The Nutcracker JANUARY 27, 2017 Ballet Up-Close FEBRUARY 17, 2017 Continuing the Legacy of Heinz Poll MARCH 25, 2017 30th Anniversary Celebration APRIL 28-30, 2017 Mix + Multi Arts Festival in Taiwan

Melissa Mendise

MAY 11-13, 2017 Cleveland Public Theatre DanceWorks’17 MAY 19, 2017 Ballet Up-Close

| clevescene.com | September 28 - October 4, 2016

Laura Perrotta

Photo courtesy of Ensemble Theatre

Photo by Eric Skarl

David Anthony Smith

Photo by Roger Mastroianni

FEATURE

Greg White

THE MOST VERSATILE ACTORS IN CLEVELAND? Hard to say for sure, but these four are certainly in the running By Christine Howey

DAVID ANTHONY SMITH Now in his 13th season at Great Lakes Theater, David Anthony Smith has had the opportunity to crawl inside a multitude of different characters. As he remembers, “I played the brother in Arsenic and

Old Lace who thinks he’s Teddy Roosevelt. That was a tricky one, since I didn’t want it to become a caricature. This person had to be larger than life, yet still sympathetic. It was an interesting balancing act.” For Smith, it’s vital to keep the truth of the characters he plays, even when they verge on the extreme. In last season’s mystery And Then There Were None, he portrayed William Blore, a gruff and corrupt former British cop who is working as a private detective. In the play, Blore has gone undercover and is affecting a South African accent. That was a double whammy for Smith to tackle: “First I had to get Blore’s British accent right, and then try to ﬁgure out how he would fake a South African accent. From that standpoint, it was

| clevescene.com | September 28 - October 4, 2016

probably my most challenging role.” When it comes to crafting a character, Smith doesn’t start with the words. “I like to determine what the character looks like: What’s his hair like and how does he move? Is he ﬁt or out of shape? How does he speak, in clipped phrases or is he relaxed and gregarious?” All these elements lead Smith to the discovery of the character as a whole. Even though he’s played many roles, there are some characters out there that he’d like to try. “I’d love to play Cyrano de Bergerac, since he carries himself with such panache. And in the works of Shakespeare, I want to try my hand at King Lear and Macbeth. The great thing about playing Shakespearian roles is that they’re so much smarter than me. The language is wonderful.”

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WITH ALL THE SHOWBIZ AWARDS ﬂoating around these days, there is oddly no Meryl Streep Award for the most versatile actors. This seems strange, since one of the hallmarks of a talented thespian is the ability to take on widely different roles and deliver each with credibility. In order to correct this oversight, I hereby nominate the following four local actors for versatility that goes above and beyond the call of duty. But ﬁrst, I must note that actors generally detest talking about acting, believing that doing so well somehow damage the magic that happens when they hit the stage. Still, I persevered and found these performers to be open and honest about their processes. Here, then, are the Four Most Versatile Actors in Cleveland:

Of course, Smith always enjoys his recurring role as the towering ghost of Christmas Present in GLT’s annual production of A Christmas Carol. “Hey, I get to act on stilts! Not every actor can say that.” ANNE MCEVOY When it comes to range as an actor, it doesn’t get much wider than playing Anne Frank’s mother in The Diary of Anne Frank and then playing Nurse Ratched in One Flew Over the Cuckoo’s Nest. But Anne McEvoy has done that, along with a ton of other roles at theaters throughout the area. These have included the acid-tongued Violet Weston in August: Osage County and sweet Lily Dale Kidder in The Young Man From Atlanta. As she explains, “I love trying things I’ve never done, with the hope I can learn something new. For that reason, I don’t like repeating roles. I prefer taking on new challenges and exploring the character for myself.” But she does wish she had a more consistent approach to developing her parts. “I

Photo courtesy of Blank Canvas Theatre

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tend to ďŹ‚ounder a bit at the start of rehearsals, and Iâ€™m uncomfortable until I can ďŹ nd my way into a character. As for her dream role, itâ€™s clear: â€œI would love to play Countess Aurelia in The Madwoman of Chaillot. Sheâ€™s an elderly idealist who seems like an outcast from society. But she comes up with a way to rescue humanity from the clutches of corrupt businesspeople. What a great part!â€? GREG WHITE As an African-American actor playing Willy Loman in Death of a Salesman, Greg White explored some very new territory. As he says, â€œThe challenge was racial, in part. But also, the character of Willy felt very foreign to me. He didnâ€™t understand his kids at all, so out of touch. Because of all of that, I wasnâ€™t sure I could do it. But my director said, â€˜You want the role or not?â€™ So I took it, and I guess it worked.â€? Whiteâ€™s excellent rendition of Willy Loman was preceded by another challenge, playing another white man, the crusty sea captain Kris Kristofferson in Anna Christie. Of course, White has played many black characters as well, including his superb one-person performance as Supreme Court Justice Thurgood Marshall in the play Thurgood. As White recalls, â€œI loved playing that role, since I could ad lib with late arrivals to the theater, as if they were students in my lecture hall. I like to have fun with the audience.â€?

8QLWDULDQ 8QLYHUVDOLVW 6RFLHW\ There is one character out there heâ€™d still like to attempt. â€œI would be eager to play George in Whoâ€™s Afraid of Virginia Woolf. I love Edward Albeeâ€™s script, the way the characters manipulate each other. That would be a treat.â€? LAURA PERROTTA She has been a collapsed, suicidal failure as Jessie in â€˜night Mother and an overbearing wife as Domina in A Funny Thing Happened On The Way To The Forum. She has been the oh-so-lovely Mother Cleveland in A Christmas Carol and a sarcastic bitch as Diane in The Little Dog Laughed. In short, Laura Perrotta has done it all at many area theaters. As Perrota says, â€œEver since I was 11 years old, growing up in New York and taking the train into the city to see shows, Iâ€™ve been in love with live theater. Itâ€™s dangerous, thereâ€™s no turning back. And itâ€™s wonderful to be able to create roles that are different from me.â€? Her biggest challenge? â€œPlaying Madame Arkadina in Chekhovâ€™s The Seagull. Sheâ€™s a complex woman, and working through the translation to ďŹ nd the reality of the character was an interesting task.â€? So there you have four immensely versatile actors, all of whom are trodding the boards this year. So go out and see what theyâ€™ve come up with next!

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FEATURE OUR FRIEND DERF From the panel to the page to the silver screen, celebrating the work of the legendary and proliﬁc Derf By Josh Usmani

4th. The sidewalks were packed and the energy of the place made a huge impression on me. It was the first step in my journey from small town kid to urban animal. That Prospect is all gone now that it’s has been cleaned up and sanitized and transformed into a restaurant district for visiting suburbanites. So I thought it would be fun to re-create it, much the same way I re-created The Bank punk club in downtown Akron in ‘Punk Rock & Trailer Parks.’ I enjoy resurrecting these lost places.” Waterloo Arts is hosting a special exhibition of 70 to 80 original pages from The Baron of Prospect Ave., as well as pencil pages and reference material. Presented in chronological order, visitors will be able to read the pages in order as they explore the gallery. The work will be for sale, as well as a full selection of his graphic novels. (Derf’s exhibition at Waterloo Arts opens with a reception during November’s Walk All Over Waterloo, 5 to 10 p.m. on Friday, Nov. 4, and remains on view through Nov. 25.) Locations are key for Derf, as inspiration and fodder. In that vein, before Marc Meyers began filming his film adaptation of “My Friend Dahmer,” Derf invited Meyers to his hometown to tour the real sites depicted in the book. “I thought it was important that Marc see the places where the story took place, since the setting plays such a big role in the book,” he says. “Not just the surreal contrast of bucolic Bath and Richfield and an emerging monster, but the distinctive topography of the area and the role that place played in Jeff’s life, and mine. Marc and I basically walked through the book, scene by scene, and followed Dahmer’s footsteps. It’s something I’d never done before either, not in order anyways. I thought it was

| clevescene.com | September 28 - October 4, 2016

A page from “The Baron of Prospect”

important for a guy from Brooklyn to get a sense of an Ohio small town, and he enthusiastically agreed.” A period piece, Meyers attempted to use as many real venues as possible. However, some were unavailable or too updated to be used. “Summit Mall, where a pivotal scene in the book unfolds, was recreated at the closed Euclid Square Mall,” Derf reveals. “Summit Mall, of course, is still open and has been remodeled too many times to use as a set. Euclid Square is empty and delightfully period. The only tenants are a bunch of ﬁre-andbrimstone black churches. Revere High School, my alma mater, wouldn’t allow any ﬁlming on its property, not surprisingly. So Berea Midpark was used instead. What I’ve seen looks great. Marc got such a bad vibe from Revere, he changed the name of

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THREE LOCAL CARTOONISTS WERE awarded 2016 Creative Workforce Fellowships, including John G. and Nathan Ward. The third, of course, went to John “Derf” Backderf. It was a long overdue hometown honor. Derf’s “The City” comic once ran in these very pages. (Ed. Note: Sorry about ever getting rid of it, Derf.) Spanning over 15,000 strips, “The City” ran from 1990 to 2014 and was nationally syndicated in more than 170 weekly publications. After nearly 25 years, Derf ended the strip to focus on graphic novels. In that area, Derf quickly found fertile ground and a bigger new audience. “My Friend Dahmer,” which cataloged his childhood friendship with Jeffrey Dahmer, became an international bestseller and award winner. Now, the graphic novel will become a movie, which was recently filming in Northeast Ohio. With all that, Derf is also touring abroad in support of his latest release, “Trashed,” (which was also optioned for a movie) and working on a sequel (“The Baron of Prospect”) to his first graphic novel (“Punk Rock & Trailer Parks”) and planning an art exhibition in conjunction with the project in the Waterloo arts district. Thanks to his fellowship grant, Derf is posting pages from his upcoming graphic novel on his website for free to the public. “The Baron of Prospect” pays homage to the Prospect Avenue of Derf’s youth, an area he would frequently visit on trips from Richfield in his teen years. The story and characters are fictional, but Derf has dutifully researched and collected reference material to create an accurate and familiar setting. “I wanted to work with those characters again and I had this idea of setting a story in the funky Prospect Avenue, district of my youth, back when it was this incredible mix of old Jewish shopkeepers, hookers , street hustlers, and weirdoes of all kinds,” Derf remembers fondly. “I used to make pilgrimages there, and the shops there were legendary, from Kay’s Books to Record Rendezvous to the Colonial Arcade Luncheonette and the original Otto Moser’s on E.

the school in the film. I’m guessing they’re pretty pissed at me, too. The local townsfolk, on the other hand, welcomed the production with open arms.” Derf promises the film will remain faithful to its source materials. Meyers even clipped panels directly from the pages of Derf’s graphic novel for his storyboards. “It’s true that the storyboard has many sequences just clipped straight from the book,” Derf confirms. “All the major events in the book will be in the film. It’s pretty much a faithful adaption. Marc added a little more about the Dahmer Family and Jeff’s home life. Guess he felt that was needed. The production designers did a fantastic job recreating the NE Ohio Seventies in all its glory, right down to Michael Stanley shirts and WMMS bumper stickers.” Currently in post-production, My Friend Dahmer is slated for a 2017 theatrical release.

scene@clevescene.com t@clevelandscene

| clevescene.com | September 28 - October 4, 2016

FEATURE CLOSE TO HOME A new program helps graduates from Cleveland high schools land scholarships at the Cleveland Institute of Art

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of art open to the public.” One of 13 children, Zhaphar Weaver began his studies at the Cleveland School of the Arts as a musician, playing clarinet and upright bass, but it was outside the classroom at age 15 when Weaver discovered his true calling. He decided to pursue visual art because, as he says, “It allowed me to escape this violent world into one of creativity and peace.” Soon after, he joined the visual arts department at CSA, and helped create murals at community recreational centers. “This scholarship has given my 12 brothers and sisters something positive to strive for,” Zhaphar Weaver says proudly. “Also, it shows them that there’s more to life than drug activity and violence regardless of where we come from. My ﬁrst couple of weeks have been challenging with deadlines and the amount of work given, but I plan to continue to work hard and ﬁnish strong. On my four-year journey here, I hope to continue to meet new and talented artists that could teach me as well as collaborate with.”

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ON AUG. 29, FRESHMEN SHANIA Gilbert and Zhaphar Weaver began their studies at the Cleveland Institute of Art. What set these two apart from the rest of the incoming freshman class? Gilbert and Zhaphar are local graduates from Cleveland high schools attending CIA on full-tuition, fouryear scholarships. The second year of this relatively new scholarship program marks the ﬁrst time it has been open to students through the NewBridge Cleveland Center for Arts & Technology, which gives young people exposure to and experience with the applied arts and healthrelated industries through its afterschool program. “I wanted to do everything I could to enhance the diversity of the college,” says CIA President and CEO Grafton Nunes. “But also to provide a bridge to empowerment for young people in the Cleveland Metropolitan School District who may not otherwise have the opportunity to fully develop their skills and ambitions in a private college like CIA.” Shania Gilbert discovered her love of ceramics after attending the after-school program at NewBridge as part of an art assignment at MC2 STEM High School. Winning the scholarship came as quite a surprise to Gilbert, who will concentrate on ceramics at CIA, but who also hopes to open an art therapy business after graduation. “When I ﬁrst found out about being awarded the full ride scholarship I literally was just in tears,” Shania Gilbert joyously remembers. “I don’t think anything could amount to that joy, but during my four years I plan to grow as an artist and be able to have my hands on almost every opportunity I’m given here. Once I graduate I plan on having my own art therapy business in which there will be multiple types

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Cleveland, OH 44111

Cuyahoga Falls, OH 44221

HOURS:

Mon ~ Fri : 12PM ~ 10 PM Sat : 12 PM ~ 8 PM | Sun 1pm - 7pm

Cuyahoga Falls

(216)671-3813

| clevescene.com | September 28 - October 4, 2016

HOURS:

Mon ~ Fri: 1 PM ~ 9 PM Sat: 12 PM ~ 6 PM

scene@clevescene.com t@clevelandscene

GOING FORWARD

Cleveland’s arts and cultural community has helped Cleveland shine. It’s time Cleveland did more to help the community By Josh Usmani event, “Walkabout Tremont.” This, I fear, is a cautionary tale for what is happening throughout Cleveland. Local artists may be actively helping to build a city in which someday they cannot afford to live. Between the discussion of a citywide renaissance, and the national and international spotlights, this is a crucial time for our city as a whole, and speciﬁcally our residents. We see LeBron James offering international recognition to local businesses, and I ask: why can’t we do that for our artists? Not just for one of them,

Recent and upcoming examples of this emphasis on outside artists include virtually every major project. With the current round of international artists brought to Cleveland by the Cleveland Foundation, its Creative Fusion program shifts its focus from art-making to place-making and gentriﬁcation in Ohio City’s “Hingetown.” Even those 376 colorful, plastic animals LAND Studios placed around town before the RNC were commissioned from a company based in Italy.

BUY ART but for all of them? Not a handout, but an opportunity to shine in the spotlight. Pride in our hometown has never been higher. We wear our heart on our sleeves and our city across our chest like Superman’s insignia (also from Cleveland) – a prideful symbol of home and family. This is not a time to be emphasizing international and national art – this is a time to show our pride in the people living and working in Northeast Ohio. It seems pretty simple – when have you ever seen the whole city so proud of itself and its people? And yet it seems that every time a big, bright national media spotlight shines over Cleveland, local artists are being pushed aside to bring in national and international artists. Of course, the city has always welcomed guests from all over, but we should be seizing this moment to showcase the talents of our city.

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FEATURE

WITH THE RELEASE OF THIS year’s fall guide, we pause once again to reﬂect on the state of our local art community. It seems pretty cliché to start an article by paraphrasing a Bob Dylan quote, but the times indeed are changing. That’s not to say they’re getting worse, they’re just getting different. For several years now we’ve heard this refrain, if not battle cry, from and about Cleveland’s arts and cultural organizations large and small. In fact, some of the best and most consistent national press our city has received over the past decade has been about our arts and cultural assets. However, lurking beneath the pristine veneer of our vibrant arts community is a murky swamp of new and ongoing political and economic agendas. The public funding of the arts is less about supporting artists than it is rebuilding the neighborhoods that earlier agendas crippled. We’ve seen it in Tremont, Gordon Square, Ohio City and Waterloo, and we’re currently seeing it in Slavic Village and Hingetown. Decision and policy makers in all levels of government fund arts programs in an effort to create “vibrant communities.” All too often those vibrant communities have more to do with $5 coffees and $7 craft beers than anything else. Take Tremont for example. Two decades ago, Tremont was hardly the real estate lure that it is now. Rent was cheap, so artists started moving in. Eventually, empty storefronts were converted to galleries, and the artists started hosting fun, interesting events that drew attention from all across Northeast Ohio. More people meant more money, and high-end, trendy restaurants starting popping up on every street corner. Soon, every Millennial in town wanted to live in Tremont. More businesses entered, rent started rising and cheap gallery and studio space was impossible to ﬁnd. Today, Tremont is a shell of its former self when it comes to visual art. The legendary Art Walk even ended after 25 and was replaced with a less-arts-focused

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Another important point to note is the state of Cleveland’s art economy. Although there are many grant opportunities available, as well as an oversaturation of both artists and venues, gallery sales and commissions continue to elude most artists and galleries. And yet, artists are frequently asked to donate their time and work to their local arts organizations who are paying their national and international artists-inresidence. Thanks to free admission, free drinks and free food, galleries continue to host spectacular receptions, but often without a single sale. Artists may spend a year or two working on a solo show and only sell a few hundred or few thousand dollars’ worth of work – and sometimes nothing at all. Gallery owners fear that charging admission would discourage attendance, so they consistently lose money to throw a great party. Sure, it’s fun,

but it’s not sustainable. Inevitably, most commercial galleries tend to last about three years – although many with independently wealthy owners or “side hustles” can last much longer. Of course, there are many positive things happening in our arts and culture sector. For evidence of the public’s approval, we need look no further than last November’s landslide renewal of Cuyahoga County’s cigarette tax – which won by a 75.2 percent margin. Two years ago, a study out of Chicago by the Cultural Policy Center and the National Opinion Research Center found that Cuyahoga County received more total artsfunding from federal, state and local sources in the decade from 2002 to 2012 than the other 12 metropolitan areas included in the study (New York was not measured due to issues with data collection). The study found that Cuyahoga County received $18 million in public grants – $1.7 million more than second place Miami Dade-County, home of the country’s hottest art fair, Art Basel. It may seem like a lot, but this is only a small fraction of these organizations’ estimated budget – exceeding $300 million in Cuyahoga County alone. So what did $300+ million get us? Well, a recent study by the Community Partnership for Arts and Culture (CPAC) compiled statistics on community and economic impact in Cuyahoga County in 2015. CPAC found that the 99 arts and cultural non-proﬁt organizations studied provided 60,000 public performances, 22,000 ﬁlm screenings, 29,000 tours and 5.4 million “cultural encounters,” 44 percent of which were free. Those are amazing numbers. The next time you see an artist who helped make that happen, thank them. Better yet, offer them a paying gig.

scene@clevescene.com t@clevelandscene

| clevescene.com | September 28 - October 4, 2016

Photo by Sam Allard

FEATURE LIGHT ‘EM UP Historic Cleveland theaters are getting new life By Sam Allard

in large part to the Beachland Ballroom and new galleries and community programs for visual artists, Friedman said Northeast Shores has turned its focus to the East 185th Street Corridor. “We’re really excited that we’ve been able to find a large makers contingent in the neighborhood,” he said. “East 185th will have a Makers focus -- the slogan is ‘Made in Collinwood.’ So the LaSalle will certainly host community events, but at its core it’s a video and production facility, which walks hand in hand with the arts and production that happens in the neighborhood.” The project is estimated to create 27 jobs and $1.4 million in economic impact. On the west side, Petti’s Variety Theater is also on the cusp of major renovations. Though the Variety is much earlier in its renovation trajectory -- still in the design and e, planning phases -- like the LaSalle, the goal is for it to become a mixed-use facility. Rose Zitiello, Executive Director of Westown Community Development Corporation, said that in November the project will learn whether or not it will receive state New Market tax credits, an incentive tied to prospective jobs. Zitiello estimated that the new Variety complex will generate 100 equivalent full-time positions, which will include employees at as many as 10 retail tenants and a yet-to-be-conceptualized Tony George restaurant on the theater’s first floor. (George is the local restaurateur behind Barley House and Harry Buffalo). With New Market tax credits included, the Variety will be the recipient of roughly $7.5 million in tax credits in all. Zitiello said the goal is to use that funding to leverage further contributions. The

| clevescene.com | September 28 - October 4, 2016

The Variety marquee lights up the night.

project is estimated to cost $15 million in total. Though Zitiello said the theatre is in surprisingly good condition given its age and its use in the 1970s and 1980s as a raucous concert hall, one of the reasons the renovations will be so expensive is because of the complex’s size. “It’s literally a city block,” Zitiello said,, of the 20,000-squarefo foot facility. “But its deterioration is nothing compared to what the Capitol or Cleveland Public Theatre was like.” In addition to the restaurant and retail on the first floor -- Westown CDC will also be a tenant -- the 400 second-floor balcony seats will be preserved for a movie theater space. The aim will not be to compete with mainstream theaters showing Hollywood fare, but to screen classics, family films and special programs for the community. In both the LaSalle and the Variety, portions of the second floor will be converted into apartments, or existing units will be updated. Saturday, Cleveland Councilwoman Dona Brady hosted a block party to celebrate the upcoming renovations at the Variety, the next of which will be

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IN 1927, TWO YEARS BEFORE his death, Italian-born architect Nicola Petti designed two Cleveland theaters that would become neighborhood anchors in their respective communities on the east and west sides. In 2016, 89 years later, both are being reborn. Thanks to significant city and state historic tax credits, grant contributions and the will of community leaders, both the Variety Theater on West 117th Street and the LaSalle Theatre on East 185th Street will soon be in operation once again, though in new and mixeduse forms. Both buildings’ facades are reminders of a lost time, and reminders of Petti’s contributions to Cleveland’s architectural landscape -- Petti designed 10 theaters across the region, including the Cedar-Lee. The LaSalle is currently under construction. After Cleveland City Council officially authorized the city’s contribution of $645,000 last week, most of the $4.1-million funding puzzle has now been secured. Northeast Shores Executive Director Brian Friedman told Scene that there’s still some money to be raised, but he’s hopeful to attract investors with facility naming opportunities -- $100,000 for the lobby, $100,000 for the marquee, etc. Construction is expected to be completed in May 2017. It will become the LaSalle Arts & Media Center: the new home theater for Villa Angela St. Joseph high school; a performance space with hightech recording capabilities; and a wedding venue, with catering service and 425 seats. Friedman told Cleveland City Council on a tour of the facility this summer that the flexible facility would be modern, but would still retain historic flourishes, even with the rehab’s comparatively modest budget -- the decorative plasterwork of the proscenium arch, for example. The east side theater, which once boasted an auditorium of 1,500 seats, was the heart of bustling Collinwood back in its heydey. And as Waterloo has re-emerged as an arts district in recent years, thanks

stabilizing the roof. This has been a pet project of Brady’s since she was first sworn into office in 1999. Though the total renovation could take at least two years, funding has been secured (and electricity costs provided by FirstEnergy) to light up the marquee, an exact replica of the blade-style 28-foot original that beckoned moviegoers back in the 1920s and 1930s and was damaged by a tornado in 1953 “The marquee is the first step,” said Brady, in a statement before the block party. “We have a ways to go, but this first step is drawing excitement from throughout the community. I’m confident we’ll pull this project together.” Brady confirmed that she, Mayor Frank Jackson and Council President Kevin Kelley would be “dancing in the streets,” to the tunes of Frank Sinatra and Dean Martin impersonators, who took the stage Saturday evening. After the lights blinked on, glittering in the dusk, the musicians sang a Cleveland rendition of Frank Sinatra’s “New York, New York” beneath the marquee while onlookers’ happy faces gleamed in the light. The light did not quite reach Lakeview Cemetery, where architect Nicola Petti is buried, but his ghost was surely smiling too.

sallard@clevescene.com t@scenesallard

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| clevescene.com | September 28 - October 4, 2016

FEATURE

Dona Onete

The Oberlin Contemporary Music Ensemble

Emilia Amper

BAROQUE AND BEYOND The Cleveland Museum of Art’s Performing Arts Series offers a wide mix of music By Jeff Niesel

Maja Ratkje.” A 2013 MacArthur Fellow and DownBeat magazine’s 2014 Pianist of the Year, Vijay Iyer, a composer and improviser who has a huge body of work in jazz and classical music, will perform with International Contemporary Ensemble (Oct. 19). “He’s an extraordinary thinker and great musician,” says Welsh. “He wrote a long piece for ICE that he’ll play with them, called ‘Radhe Radhe – Rites of Holi.’ It’s ravishing.” The museum will screen the Prashant Bhargava ﬁlm for which the piece was written and Iyer and ICE will perform while it screens. The program, which ties into the museum’s current major exhibit, Art and Stories from Mughal India, will also feature a new arrangement of Stravinsky’s The Rite of Spring played by ICE. The Oberlin Contemporary Music Ensemble (Nov. 5) returns for a series of programs under the direction of Tim Weiss. “They’re a top tier chamber group devoted to the music of our time,” says Welsh. “Tim Weiss is kind of a hero of mine. What Weiss does so well is show us how expansive the classical music landscape is.” Currently an organist at St. Ouen Church in Rouen, Jean-Baptiste Monnot (Nov. 13) will make his way to Cleveland via New Orleans, where he is the artist in residence at the St.

| clevescene.com | September 28 - October 4, 2016

Louis Cathedral in New Orleans. He’ll perform in Cleveland for the ﬁrst time. Violinist Francesco D’Orazio (Dec. 9 at the Transformer Station) has performed the Italian premiere of the violin concertos by a variety of composers. For the program at the Transformer Station, he’ll play pieces by Luciano Berio, Sequenza VIII, Curt Cacioppo, Salvatore Sciarrino and other notable composers. “I love the intimacy of performances inside the Transformer Station,” says Welsh. “D’Orazio is the major champion of Italian masterworks for solo violin of the 20th and 21st century.” The Crossing (Jan. 6 to 8) features three vocalists whistling and breathing around an Allora and Calzadilla sculpture, to subtly move a Hadean-period rock like a pendulum. The Philly-based choral group will perform a piece by American composer David Lang, commissioned by the Philadelphia Museum of Art. From Jan. 27 to 29, the museum celebrates Philip Glass’ 80th birthday with a presentation of The Qatsi Trilogy, cinematic works by Glass and ﬁlmmaker Godfrey Reggio: Koyaanisqatsi, Powaqqatsi and Naqoyqatsi. “There will be a lot of well-deserved attention around his birthday, says Welsh, “and these scores are among Glass’ greatest works. Here’s a rare opportunity to see

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FOR NEARLY ALL OF ITS 100-YEAR history, the Cleveland Museum of Art has presented music from around the world, which makes its annual Performing Arts series part of a longstanding mission. “There’s a rich history of concerts at the museum,” says the museum’s Director of Performing Arts, Tom Welsh. “We present a wide range of contemporary, classical and global music, as has always been the case. The performing arts series is robust, covering lots of ideas and traditions – old and new, East and West. The program mirrors the museum’s collections by presenting the history of human thought and creative endeavor. I’m just carrying on a long tradition.” The series launches on Wednesday, Oct. 5, with a CIM/CWRU Joint Music Program that features artists from the Cleveland Institute of Music and Case Western Reserve University’s early and baroque music programs. The musicians will present mixed programs of chamber music, and the concerts regularly feature instruments from the museum’s keyboard collection. Those concerts take place in the museum’s galleries on the ﬁrst Wednesdays on the month through May of next year. The viol consort Fretwork (Oct. 12) will present works from the 16th and 17th centuries as well as works by contemporary composers. “With classical music, I want to cover lots of bases from old to new,” says Welsh. “Fretwork are fascinating because they have for many years not only been performing early music but commissioning works from composers like Nico Muhly, Gavin Bryars and

the three ﬁlms together. You can enjoy them all in one sitting, for a truly mind-altering experience, or take them in separately over the course of the weekend.” A student at the Conservatoire national supérieur de Paris since 2012, where he is simultaneously pursuing studies in organ, harpsichord and basso continuo, Emmanuel Arakélian, another organist artist in residence at St. Louis Cathedral, also makes his ﬁrst trip to Cleveland. He performs on Feb. 19. Quince Contemporary Vocal Ensemble (March 22) thrives on “unique musical challenges” and “a genre-bending repertoire.” Norwegian composer, and accordionist Frode Haltli (March 29) teams up with Swedish nyckelharpa virtuoso Emilia Amper to play Scandinavian folkinspired music. The preeminent tabla virtuoso of our time, Zakir Hussain teams up with Santoor player Rahul Sharma to play a program of Indian classical music on April 12. One of the most versatile cellists of our time, Jeffrey Zeigler (April 26), a former member of the forwardthinking Kronos Quartet, presents and evening of his music for cello and electronics. Brandee Younger & Courtney Bryan (May 10) team up to present an evening of the music of Alice Coltrane as well as Younger’s original compositions. Unless otherwise noted, performances take place at CMA’s Gartner Auditorium. Go be part of the tradition.

jniesel@clevescene.com t@jniesel

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by Mike Telin

Debra Nagy

Timothy Beyer

Beyer said. “Some college students are trying to ﬁnd themselves, but because I was older, I had a very clear idea of what I wanted to do. I just needed to ﬁnd the tools and the means to get there, and Andy and Greg were big forces in my life.” Beyer earned bachelor’s and master’s degrees in composition while beginning to create new music

| clevescene.com | September 28 - October 4, 2016

groups. “All composition students look to their peers to perform their music. During my last year as a student, I ofﬁcially formed No Exit with pianist and composer Nick Underhill, violinist Cara Tweed, violist Tom Bowling, and cellist Nicholas Diodore. After I graduated in 2009, we became a professional ensemble. Composer James Praznik,

Whether for contemporary or old music, two artists ﬁnd Cleveland a great place to live and work

FERTILE GROUND CLEVELAND PROVIDES FERTILE ground for artists who have grown up or gone to school here and later decided to make the city their home and a place for creating their artistic identities. Just to choose two examples, composer and new music advocate Timothy Beyer, and Baroque oboist Debra Nagy have chosen to settle here — rather than move to the coasts — and each has established an ensemble that both represent their individual artistic missions and contribute to the cultural life of Cleveland. “Music was always part of me,” native Clevelander and No Exit artistic director Timothy Beyer said, “although when I was a kid I never thought I would be a composer in the classical music sense. I was sure I would compose, but I thought it would be in the rock or jazz genres.” Beyer, who spent most of his preadult life in the Heights, said that like a lot of kids, he began studying music at a young age, and played in a number of bands with friends. “In the 1990s I formed a Jamaican Jazz band called Pressure Drop,” Beyer recalled. “We toured, recorded a record, and were featured on a few compilation CDs. It was a great way to spend my 20s, although it wasn’t something I saw myself doing forever.” When Beyer began to find the Pressure Drop’s music to be too limiting for his expanding musical ideas, he started to think seriously about pursuing a career in classical music, a genre he had enjoyed all of his life. “Because the band was touring and playing a lot of gigs, I enrolled at Lakeland Community College. That was the easiest way to fit in my studies, and it seemed like a good way to get an education.” After Lakeland, Beyer decided to totally immerse himself in his classical music studies. He enrolled at Cleveland State University and studied composition with Andrew Rindfleisch and Greg D’Alessio. “Both of them were wonderful teachers and the school provided me with the best set of circumstances I could ask for,”

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FEATURE

and our art director, Matt Shaffer, have also been involved with the group since the beginning.” Beyer noted that forming an ensemble was essential to the development of his career. “Musicians, and especially composers, need to be entrepreneurial,” he said. “It becomes clear very quickly that if you want any chance of having a life in this business, you have to create your own opportunities. And I find that I’m much happier doing it this way.” Did they think about the role that No Exit could play in the musical life of Cleveland when they formed the group? “We did, and not to sound too full of myself, we planned out a course from the beginning and we’ve stuck with it. We’ve been very lucky that so far it’s paid off. We knew it would take some time to build an audience that would support groups like us. We needed to develop relationships with venues that fit the music we play, and places whose audiences were already somewhat aware of new music. That way, we’d have a chance of getting people in there even if they didn’t know us.” Since the group’s founding, No Exit has performed regularly at Cleveland State University, where they are an ensemble in residence, as well as at SPACES Gallery, and Heights Arts. Over time, No Exit has increasingly made collaborations an important part of their programming philosophy. “As I’ve grown older, I see less of a separation between artistic mediums,” Beyer said, “and over the past few years we’ve sought out collaborators who blur those lines. We’ve also brought in some great musicians from all over the country. This also ties into the idea of creating a culture for what we do. Cleveland has a lot of great new music groups aside from us, but it is beneficial to bring in people who I feel are the best at what they do. And the audiences have been responded positively.” Beyer takes great pride in the fact that No Exit has had only one personnel change since 2009,

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FEATURE when violist James Rhodes replaced Tom Bowling a couple of years ago. “Everyone has a good time making music together, and they want to get it right. There has been an astounding level of dedication to the ensemble, and all of the members have dedicated to make their homes in Cleveland. They’ve had opportunities in other places, but have chosen to stay because they want to be here.” How does Beyer spend his time in the city when he’s not working? “I could talk about Cleveland all day,” he said with a laugh. “I’ve always been a local history buff, and there’s a plethora of interesting buildings and neighborhoods in this city. I do go to the Art Museum on a regular basis, and I like going to the police museum and some of the lesserknown cemeteries. And now that there are many great restaurants in Cleveland, I do take advantage of them. My folks were very hip on Zack Bruell’s restaurants, so I grew up eating at them. I still think they’re as good as it gets, but I do enjoy all of the great ethnic food as well.”

Like many classical musicians living in Cleveland, Debra Nagy, Baroque oboist and founder of Les Délices, ﬁrst came to town to attend conservatory. Although the Westchester County, New York native was always involved in music, it wasn’t until she was ﬁfteen that she realized she wanted to be a professional musician. Soon afterward, she joined three youth symphonies in Manhattan.

“I started my undergraduate studies at the Manhattan School of Music, and if you had asked me in 1996 if I would ever end up in Ohio, I would have told you no,” said. “The story I like to tell is that I thought New York City would be the first and last stop on my train.” While at the Manhattan School, Nagy met oboist Toyin SpellmanDiaz, an Oberlin grad who’s now a member of the Imani Winds. “Toyin kept telling me that I should think about going to Oberlin,” Nagy said. “Coincidentally, my best friends, and the people whose playing I really liked and respected most, were all Oberlin grads. Clearly there was something right about where those people had studied.” Nagy entered Oberlin as a modern oboe player, but soon found herself being introduced to the school’s historical performance department. “I didn’t know anything about the Baroque oboe when I arrived,” she said. “But my teacher, James Caldwell, told me about Oberlin’s Baroque Performance Institute and encouraged me to attend the summer after my first year. He said he was sure I could get a scholarship, and even if I ended up hating the instrument and never played it again, the experience would make me a better modern oboist. So I said fine, I’ll do it. I ended up going into it head first — and the rest is history.” After completing her bachelor’s in modern oboe, and a master’s in historical performance, Nagy received a grant to study Baroque oboe in Amsterdam. She then returned to Cleveland and enrolled at Case Western Reserve University, where she earned a DMA in Historical Performance Practice. Nagy’s ultimate decision to stay Photo by Roger Mastroianni

Les Delices

| clevescene.com | September 28 - October 4, 2016

No Exit

in Cleveland and to form the French Baroque ensemble Les Délices evolved over time. “I was playing with many groups around the country, but I felt like I had more connections with audiences and organizations in cities like Seattle and San Francisco — my identity in Cleveland at that time was more of a choral singer because of my church jobs. I felt that if I were to stay here, I would need to create an artistic identity in the city. I knew I wanted to do interesting work and make a contribution to the Early Music field by doing things that were a little different from what people were doing both locally and nationally. The idea to create Les Délices did not present itself fully-formed. “At different stages in our development as musicians we look for different ways to challenge ourselves, and create opportunities that we’re not finding elsewhere”, Nagy noted. “It started with a recital here and a recital there. Before Les Délices existed I played some chamber music concerts with violinist Scott Metcalfe, gambist Emily Walhout, and harpsichordist Lisa Crawford. I told them that I really wanted to make a CD — which I did, financing it from my savings. I’m happy I did that because it was an opportunity for real personal growth, as well as to reach another level in my own artistry.” Then two things happened. First, Nagy decided it was time to plan a full season of concerts for her new ensemble, and second, she received a Creative Workforce Fellowship grant from Cuyahoga Arts and Culture. “That made all sorts of things possible. I had planned Les Délices’s first season before I got the grant, so I felt extraordinarily lucky to be awarded it midway through that season. It made so many things possible. Having those funds gave me the financial cushion whereby I could establish a relationship with audiences. And being able to

create more programs developed my identity as a curator, which I hadn’t necessarily thought about before.” Nagy said that she truly started to connect with Cleveland when she moved to the West Side — first to Tremont, then to Ohio City. “I moved the very week that I recorded the first CD. That was also when I became a bicycle commuter. By riding through the city every day, I got to see and experience Cleveland in a way that your average person never does. That was when I really started to feel invested in Cleveland and began to feel like I knew and loved the city.” That move also allowed Nagy and her partner Ana to become involved in gardening. “In Tremont, we became part of a community garden that we shared with some fantastic neighbors, pretty much all of whom were artists in one way or another.” The Baroque oboist loves living in Ohio City. “I was involved with the Ohio City Bike Co-op for a while. If I had more time I would totally be there because I think that organization is fantastic. I’m also very passionate about the West Side Market — that was a place I loved going as an Oberlin student. From my perspective, the Market brings an incredible value to the city for someone who is not originally from here.” Nagy is very pleased that her work with Les Délices has continued to evolve to the extent that the ensemble will be presenting its most varied season ever this year. “We’ve expanded beyond a group that just performs French Baroque music to late Medieval music. We’ll perform the music of Mozart for the first time, and the October concerts will include a jazz crossover element.”

Find more of Mike Telin’s work at ClevelandClassical.com.

scene@clevescene.com t@clevelandscene

| clevescene.com m | September 28 - October 4, 2016

FEATURE HIGH NOTES The classical music highlights you shouldn’t miss this season by Daniel Hathaway

Poulenc’s Les Mamelles de Tirésias on Nov. 2, 4, 5 and 6. The following week, the Cleveland Institute of Music will mount another pair of one-acts, Puccini’s Suor Angelica, and Menotti’s Amelia al Ballo from Nov. 19-22. And Opera Circle Cleveland will stage Offenbach’s Marriage by Lantern-Light and Mascagni’s Zanetto, dates to be announced. Turning to Cleveland’s early music ensembles, Apollo’s Fire will celebrate its 25th Anniversary hows season this year. Fall shows include “Resplendent Purcell — Music for Westminster Abbey” beginning on Oct. 6, “Love in Venice: A Multicultural Fiesta” to be launched on Nov. 17, and Handel’s Messiah beginning on Dec. 9. Quire Cleveland willl present “Monteverdi: Mantuan Masterpieces” in a free concert at St. John’s Cathedral on Sept. 30. And Cleveland’s French baroque ensemble, Les Délices, will stretch its repertoire into modern times on Oct. 15 and 16 when it explores torch songs by Baroque composers as well as Billy Strayhorn and Nina Simone. Concert series abound in our region, and here are some highlights (in alphabetical order). Arts Renaissance Tremont will begin its season at Pilgrim Church with Orchestra principal cello Mark Kosower and pianist Jee-Won Oh on Oct. 2. Baldwin Wallace will feature its

| clevescene.com | September 28 - October 4, 2016

Cleveland Orchestra faculty members in a concert on Oct. 2 including Stravinsky’s The Soldier’s Tale. The Belcea and Juilliard Quartets will continue the Cleveland Chamber Music Society’s 67th season on Oct. 18 and Dec. 5, the Juilliard appearing with its new cellist, Astrid Schween. The Cleveland Classical Guitar Society’s fall roster includes Marcin Dylla on Oct. 15 and Jorge Caballero on Nov. 12 (Caballero playing a transc transcription of Mussorgsky’s Pictures at an Exhibition). Pict French composerconductor Pierre Boulez left us last January at the age of 90, but his legacy will be celebrated by the Cleveland Institute of Music in a series concerts this fall, co continuing on Sept. 28, Oct. 5, 26 and 30. The Cleveland Museum of Art’s performing arts will feature the British viol ensemble, Fretwork, on Oct. 12, pianist Vijay Isler and the International Contemporary Ensemble on Oct. 19, and the Oberlin Contemporary Music Ensemble on Nov. 5 and Dec. 14. Lorain Community College’s cutting-edge Signature Series in Elyria will present violinist Francesca Anderegg and pianist Brent Funderburk on Oct. 20, solo cellist Deborah Pae on Nov. 3, and violinist Katha Zinn and pianist Illya Filshtinskliy on Nov. 21. One of the oldest series in the

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Fa llllll FAr ts e de Gui de G

THE CLEVELAND ORCHESTRA gets back to business at Severance Hall Sept. 29 with Franz Welser-Möst at the helm and Paul Jacobs at the E.M. Skinner for Aaron Copland’s Organ Symphony. From Oct. 6-9, fans can enjoy all three of Ottorino Respighi’s Roman tone poems (Festivals, Fountains and Pines). Guest conductor Jakub Hrša and pianist Yuja Wang, a winning team in 2012, will return the weekend of Oct. 20 for Béla Bartók’s first concerto. Canadian violinist James Ehnes makes his Cleveland debut the weekend of Oct. 27. That Sunday afternoon (Oct. 30) the Orchestra will don costumes for its annual Halloween Spooktacular, featuring Michael Daugherty’s Metropolis Symphony, based on the exploits of Superman. The Cleveland Orchestra chorus joins guest conductor Matthew Halls and popular mezzo-soprano Sasha Cooke for Maurice Duruflé’s Requiem the weekend of Nov. 17. The same weekend, the Cleveland Orchestra Youth Orchestra will play the world premiere of Roger Briggs’s Fountain of Youth on Nov. 18. And the splendid, world-hopping pianist Daniil Trifonov will be featured on Thanksgiving Weekend, Nov. 25-26. Among our other orchestras, the Kent State University Orchestra will welcome its new conductor, Katherine Kilburn, in an Oct. 2 concert. The Akron Symphony will join with Tuesday Musical for a special appearance by So Percussion at E.J. Thomas Hall on Oct. 15. And on Oct. 19, CityMusic Cleveland will begin a five-concert series around Cleveland featuring a work by music director Avner Dorman. Opera fans will find both old friends and unfamiliar titles on the fall schedule. Cleveland Opera Theater will produce Mozart’s The Marriage of Figaro at the Masonic Performing Arts Center on Oct. 21 and 23. Oberlin Opera Theater plans a double-bill of Donizetti’s Viva la mamma and

region, Oberlin College’s Artist Recital Series will bring the Zuckerman Piano Trio to Finney Chapel on September 30 and the St. Lawrence String Quartet on Nov. 11. The free, Monday evening Rocky River Chamber Music Series will launch its season with the Brazilian Guitar Quartet on Oct. 3. The also free Tri-C Classical Piano series will bring Simone Dinnerstein and Daniela Liebman to Gartner Auditorium at the Cleveland Museum of Art on Oct. 16 and Nov. 20, respectively. Speaking of pianists, 2016 Cleveland International Piano Competition gold medalist Nikita Mndoyants will play on the Music from the Western Reserve series in Hudson on Oct. 16. And 2007 gold medalist Alexander Ghindin will be featured in a solo recital in Reinberger Chamber Hall at Severance Hall on Nov. 5. Fans of organ music will want to make note of these visiting virtuosi: Hector Olivera at Dover UCC Church on Oct. 1, Frederick Swann at Fairmount Church in Cleveland Heights on Oct. 2, and Katelyn Emerson at St. John’s Cathedral on Nov. 15. And devotees of silent ﬁlm with organ music can enjoy Nosferatu with an improvised score by Cleveland’s own Todd Wilson at Severance Hall on Oct. 25. Check the concert listings page at ClevelandClassical.com for details of these and many other classical music events.

scene@clevescene.com t@clevelandscene

Join us for an annual wine tradition

WVIZ/PBS Grand Tastings returns to the Terrace Club at Progressive Field Nov. 11 & 12, 2016 Taste from a selection of hundreds of wines or attend one of six seminars on topics such as Rosé and Bordeaux. Grand Tasting attendees will also enjoy a supper and GHVVHUW EX΍HW DQG DFFHVV WR WKH PRELOH DXFWLRQ

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| clevescene.com | September 28 - October 4, 2016

everything you should do this week

GET OUT

Photos by Emanuel Wallace

WED

9/28

ART

Art and Stories of Mughal Women Art and Stories from Mughal India, an art exhibit currently on display at the Cleveland Museum of Art, presents the story of the Mughals— and stories for the Mughals with 100 detailed paintings from the 1500s to 1800s. In connection with that exhibit, the Cleveland Museum of Art’s Womens Council will host Art and Stories of Mughal Women, a free event, that takes place today at 6 p.m. in the museum’s Gartner Auditorium. Sonya Rhie Quintanilla, the museum’s George P. Bickford Curator of Indian and Southeast Asian Art and Interim Curator of Islamic Art, will present a lecture about the strength and power of women in the Mughal court. In her talk, she’ll discuss details of the “elegant lifestyle” with the use of highresolution photographs of paintings currently on view in the exhibit. (Jeff Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org. SPOKEN WORD

Cleveland Stories Dinner Parties Earlier this year, Music Box Supper Club launched Cleveland Stories Dinner Party, a weekly series that paired ﬁne food with storytelling. The series aims to help raise awareness of the mission of the Western Reserve Historical Society’s new Cleveland History Center. The club’s owners consider the Cleveland History Center to be “one of the most interesting museums in Cleveland” and “an unknown gem that Clevelanders should know more about and support.” The goal of the Cleveland Stories Dinner Party is to “bring to life some of the fun, interesting stories about Cleveland’s past – from sports, to rock ‘n’ roll, to Millionaire’s Row.” Each week featured a guest speaker and a custom Prix Fixe menu – a full three course meal for only $20. The popular series resumes tonight with Alan Dutka, who’ll speak about the Theatrical Grill and its neighbords. The three-course dinner will include wedding soup, penne and meatballs and tiramisu. (Niesel) 1148 Main Ave., 216-242-1250, musicboxcle.com.

The annual autumn celebration Maize returns to the East Bank of the Flats. See: Friday. BEER

Hoppy Hour The Cleveland Botanical Garden offers an educational take on the beer tasting with its weekly Hoppy Hour, which takes place today from 5:30 to 8:30. You can sample pale ales, dark lagers and other cool craft brews while discussing hops and horticulture with staff from the Botanical Garden and experts from Great Lakes Brewing Company, Beverage Distributors and Butcher and the Brewer. Non-member tickets are just $5 after 5 tonight. The event is free for members. Twelve ounce beers are $4, while a tasting flight is $6. Also, there will be seasonal dinner specials from the Garden Cafe, fire pits, lawn games and flashlight garden tours. (Niesel) 11030 East Blvd., 216-721-1600, cbgarden.org. COMEDY

Mark Normand Most of comedian Mark Normand’s material comes from observations about everyday life. A mild-mannered and soft spoken guy who dresses like he’s in a Gap ad, Normand likes to make fun of himself and other people who are self-conscious about being nerdy and white. As a result, he regularly comments on racism and other isms. Normand, who has

appeared on Conan twice and had other appearances on a variety of programs, performs tonight at 8 and appears there through Sunday. Tickets start at $18. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com. LUNCH

Walnut Wednesday Walnut Wednesday is one of summer’s great traditions. Today from 11 a.m. to 1:30 p.m. at Perk Plaza at Chester Commons — at East 12th and Walnut Streets — food trucks gather to serve up lunch to area residents and employees. Follow the Downtown Cleveland Alliance on Facebook for weekly updates on vendors, entertainment offerings and more. Admission is free, but the food will cost you. (Niesel)

THUR

9/29

COMEDY

Don “DC” Curry The films Next Friday and Friday After Next were terrific vehicles for a number of black comedians. Don “DC” Curry, who played the part of sex-crazed Uncle Elroy Jones, certainly benefited from the exposure. Curry, who boasts he only talks about “the truth” in his

standup routines, often sounds like a grumpy old man as he complains about fancy restaurants where the servers fawn over their customers. He doesn’t like family-run places, either, as he says they don’t clean their ﬂoors. It’s a funny bit that reﬂects just what a curmudgeon he can be. Curry performs tonight at 7:30 at the Improv where he has shows scheduled through Sunday. Tickets are $20. (Niesel) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com. ART

The Fine Art Show Following the grand opening of its new Crocker Park World Headquarters, American Greetings hosts a grand opening reception for its new Gallery W and its 37th Annual American Greetings Fine Art Show, the inaugural event in its new exhibition space. In fact, Gallery W marks the first time in American Greetings’ 110-year history that the world headquarters has housed a specific space dedicated to showcasing art. Aside from the annual Fine Art Show, the gallery will exhibit local artists, not specifically American Greetings associates. The first exhibition showcases the personal artwork of American Greetings’ art and design

| clevescene.com | September 28 - October 4, 2016

GET OUT professionals. The Fine Art Show opens with a free, public reception from 5 to 9 tonight and remains on view through Oct. 21. (Usmani) Crocker-Bassett and Detroit Rds., Hts..

fall season. Intersections includes work by six sculptors for whom drawing is an essential step in their creative process: Mark Fox, Anne Lindberg, Nathalie Miebach, John Newman, Judy Pfaff and Ursula von Rydingsvard. Each artists’ work is displayed in dedicated

tonight. The reception includes an opportunity to meet the artists and music by DJ Naeno. Guests can create a 3D doodle. Intersections remains on view through Jan. 15, 2017. Free. (Usmani) 1 South High St., Akron, 330-3769185, akronartmuseum.org.

Flats, costume making and pumpkin carving. The event takes place from 4 to 11 p.m. today, from noon to 11 p.m. tomorrow and from noon to 8 p.m. on Sunday. It’s free. (Niesel) scenefestival.com. ART

Photo by Mark Seliger

MUSIC

Opening Night: Sibelius’s Second Symphony One of the Finnish composer Jean Sibelius’s most famous pieces, the Second Symphony evokes the beauty of his native Finland. You can hear it at the Cleveland Orchestra’s seasonopening performance. The orchestra will also play Aaron Copland’s Organ Symphony and Charles Ives’s Symphony No. 3. The concert takes place at 7:30 tonight and at 8 tomorrow night at Severance Hall, and tickets start at $29. (Niesel) 11001 Euclid Ave., 216-231-1111, clevelandorchestra.com. ART

This Light of Ours: Activist Photo-graphers of the Civil Rights Movement The battle for Civil Rights in the 1960s marked an important turning point in American history. To commemorate that important moment, the Maltz Museum of Jewish Heritage will present This Light of Ours: Activist Photographers of the Civil Rights Movement, an exhibit of more than 150 black-and-white images chronicling the Southern Freedom Movement. The 4,000-square-foot exhibit opens today. The Maltz Museum added videos, interactive features and material about racial division today. This Light of Ours: Activist Photographers of the Civil Rights Movement features photographers Bob Adelman, George Ballis, Bob Fitch, Bob Fletcher, Matt Herron, David Prince, Herbert Randall, Maria Varela and Tamio Wakayams. The Maltz Museum conceived and produced the ﬁlms, design and exhibition experience. (Niesel) 2929 Richmond Rd., Beachwood, 216-593-0575, maltzmuseum.org.

FRI

9/30

ART

Intersections: Artists Master Line and Space On the last day of September, the Akron Art Museum celebrates the debut of the ﬁrst exhibition of its

Perpetual Ephemera As October approaches, the Cleveland Print Room begins its fall schedule with a group exhibition challenging four local artists in terms of both content and process. Perpetual Ephemera includes new work by local artists Preston Buchtel, Ryn Clarke, Hadley K Conner and Raheleh Mohammad. The artists explore their personal histories through a variety of media, including both traditional and alternative photographic processes. Perpetual Ephemera opens with a reception from 5 to 9 tonight and remains on view through Nov. 5. Although the artists will be in the gallery for informal discussion during tonight’s reception, CPR hosts a formal gallery talk with Buctel, Clarke, Conner and Mohammad at 1 p.m. on Saturday, Oct. 22. Free. (Usmani) 2550 Superior Ave., 216-401-5981, clevelandprintroom.com. DANCE

TRIBUTE CONCERT - FRIDAY OCT. 21 Tickets On Sale Now - Rockhall.com/OnStage

Thunder From Down Under The press release promoting the latest appearance by the group of burly hunks who call themselves the Thunder From Down Under boasts that they’ll provide “the perfect girls’ night outback,” a reference to their Aussie heritage. Expect “seductive dance routines, cheeky humor and boy-next-door charm” from these topless dancers. The group performs tonight at 7 and 10 tonight and tomorrow night at Club Velvet at the Hard Rock Rocksino at Northfield Park, where it has shows scheduled through Saturday. Tickets are $29.95 to $39.95. (Niesel) 10705 Northfield Road, Northfield, 330-908-7771, hrrocksinonorthfieldpark.com. THEATER

gallery spaces throughout the museum, offering insight into their interdisciplinary processes and unique ways they each work across media. Intersections: Artists Master Line and Space explores connections between threedimensional sculptures and twodimensional works on paper using non-traditional and alternative materials and processes. The Akron Art Museum hosts a reception for Intersections from 7:30 to 9

| clevescene.com | September 28 - October 4, 2016

FESTIVAL

Maize Now in its second year, Scene’s annual MAIZE: Autumn at The Flats has expanded into a three-day festival. It promises to bring the feeling, joy and activities of fall to Cleveland. Food options include chili beans, corn bread, soup, kettle corn, apple cider mimosas, mulled cider and pumpkin spice lattes. There will also be activities such as a hay bale maze, train rides through the

Twelfth Night When a violent shipwreck separates Viola from her boat and twin brother, she washes up on Illyria, an exotic island. She disguises herself as a boy messenger and tries to pass herself off as a native. That, in a nutshell, is the plot of Shakespeare’s Twelfth Night. And like many of the Bard’s play, misplaced affections and misunderstood intentions come into play. The Great Lakes Theatre’s production of the play opens tonight

at 7:30 at the Hanna Theatre, where it runs through Oct. 29. Tickets are $15 to $80. (Niesel) 2067 East 14th St., 216-241-6000, playhousesquare.org.

Lounge access throughout the night. (Usmani) 1754 East 47th St., 216-361-9255, morganconservatory.org.

AMERICANA BLUEGR ASS FOLK BLUES Z YDECO JA Z Z HIP-HOP

FESTIVAL

SAT

10/01

FUNDRAISER

An Adventure Back in Time An Ohio-based charitable organization, A Kid Again serves children with life threatening illnesses. A Kid Again has a simple mission: To “foster hope, happiness and healing to families raising children with life threatening illnesses” with group activities. From 6 to 10 tonight at the 925 Building, the organization hosts An Adventure Back in Time — Cleveland in the 1920s. Guests will be treated to a journey back to Cleveland in the 1920s when Cleveland was the ﬁfth largest city in the Nation, the Indians won the World Series, the League of Women Voters arrived, and Millionaire’s Row was home to some of the nation’s wealthiest people. The Laura Varcha Quartet and the Fred Astaire Dance Studio will be on hand. The evening will also include appetizers; sit down dinner, cocktails, valet parking, silent auction and opportunities to meet some of our families. (Niesel) akidagain.org/backintime. ART

Benefit and Auction At 15,000 square feet (and a half acre garden), the Morgan Art of Papermaking Conservatory and Educational Foundation is the largest arts center in America specifically dedicated to every aspect of papermaking, book arts and letterpress printing. Explore it for yourself during the Morgan’s 9th annual benefit and silent auction from 6:30 to 10 tonight. This year’s silent auction includes artwork by noted artists from throughout the country on handmade paper created at the Morgan Conservatory. The evening also includes demonstrations in papermaking, letterpress printing and bookbinding, as well as live music from the Syncopoated Sin Swing Band, hors d’oeuvres and cash bar. General Admission tickets are $35 for nonmembers, $30 for members and $10 for students 18 and older with valid student ID. VIP tickets are available for $75, and include all of the general admission benefits, as well as early 5:30 p.m. entry and auction access (including a Buy It Now option), specialty hors d’oeuvres and exclusive VIP

Psychic Fair & Mini-Expo Cleveland celebrity psychic Melinda Carver brings her Psychic Fair & Mini-Expo to the Crowne Plaza Cleveland Airport Hotel Huron Room in Middleburg Heights today. The event will feature beloved “local legends” such as Rev. Timothy Brainard, Theresa Manjas and Melinda Carver. Additional local readers Rev. Betty Demchak, Rev. Patricia Bohn, Barbe Saint John, William Tuma, Peggy Pogan, Christine McGregor, Cindy Summer and Fonda Lorenz. Local small businesses and artists will be on hand as well. The event takes place from 10 a.m. to 6 p.m. Admission is free. Tickets for psychic, medium, astrology and palmistry readings are $25 per reading. (Niesel) 7230 Engle Rd., Middleburg Heights, psychicmelinda.webs.com/ specialevents.htm. FILM

Rocky Horror Picture Show Because it’s the first Saturday of the month, the Cedar Lee Theatre will host a midnight screening of The Rocky Horror Picture Show, the 1975 film that still draws an exuberant, costumed crowd that likes to throw rice and dry toast and sing along to the songs in the movie. Tickets are $9.50. (Niesel) first Saturday of every month. 2163 Lee Rd., Heights, 216-321-5411, clevelandcinemas.com.

SATURDAY

NIGHTS

AUG 27-OCT 8

7PM-MIDNIGHT ABC UPTOWN CORNER ALLEY COQUETTE PATISSERIE HAPPY DOG AT THE EUCLID TAVERN ROOTS GARDEN NINJA CITY TRENTINA ENJOY FREE PERFORMANCES BY NATIONAL AND LOCAL ARTISTS IN CLEVELAND’S LIVE MUSIC NEIGHBORHOOD!

MUSIC

Uptown Saturday Nights The closing of the upscale restaurant Crop notwithstanding, the Uptown area in University Circle has become a vibrant hang. You’ve got great restaurants such as Trentina and Ninja City and great bars like Happy Dog at the Euclid Tavern and ABC Uptown. Corner Alley give you the best of both worlds — it features food and drink in addition to bowling. Uptown Saturday Nights, a free event featuring local musicians, showcases the neighborhood. The fun starts at 6 p.m. and goes into the night. (Niesel) universitycircle.org

ROOTS

FEST

OCT. 14 5PM-MIDNIGHT OCT. 15 NOON-MIDNIGHT TOBY’S PLAZA+ HAPPY DOG AT THE EUCLID TAVERN

MANY LIVE MUSIC PERFORMANCES INCLUDING SPECIAL GUESTS:

MUSIC

Whiskey and White Lightning Music Festival To celebrate a love of both whiskey and rock ‘n’ roll, House of Blues will host the Whiskey & White

HIGH PLAINS JAMBOREE OCT. 14TH

ZOE & CLOYD OCT. 15TH

| clevescene.com | September 28 - October 4, 2016

PSYCHIC FAIR & MINI-EXPO Saturday, October 1st at 10 am - 6 pm Crowne Plaza Hotel 7230 Engle Rd., Middleburg Hts., OH

Psychics, Mediums & Astrologers Shop for Crystals, Jewelry, Candles, Tarot & More!

FREE ADMISSION www.psychicmelinda.webs.com

COME W E L TO

ANNIVERSARY

Come Celebrate with

Family & Friends!

746 Richmond Rd., Richmond Hts., OH

GET OUT Lightning Music Festival tonight at 6. Regional and local distilleries will be onsite to provide samples of bourbon, rye whiskey, moonshine and other spirits. Six local bands, including The Caliber Band, Shooter Sharp & the Shootouts, Thor Platter, Lords of the Highway, Whiskey Bound and the Blues Chronicles, will perform in both the Music Hall and Cambridge Room. DJ Chris Wright is also on the bill. The Foundation Room Lounge will host a special tasting featuring exclusive, one of a kind whiskey samples. Maker’s Mark will make souvenir dipped shot glasses for attendees. There will be special whiskey cocktails and a menu with items created just for the event. Tickets are $12. Admission ticket does not include sampling wristband. Sampling wristbands will only be sold at the event. Wristbands will cost $10 for one wristband with ﬁve tabs/samples (some exclusive whiskey samples will require more than one tab to sample, based on product). (Niesel) 308 Euclid Ave., 216-523-2583, houseofblues.com.

SUN

10/02

NIGHTLIFE

7th Day Sweat The “seventh day” tends to be a day of rest for many folks. But not for the party hearty people who run B-Side Liquor Lounge, the popular dance club located underneath the Grog Shop. Dubbed 7th Day Sweat, their weekly Sunday night soiree features DJ White Rims spinning “today’s hottest dance hits,” so you can “sweat it out” every Sunday. Admission is free but you must be 21 or older. It all starts at 7 p.m. (Niesel) 2785 Euclid Hts. Blvd., Heights, 216932-1966, bsideliquorlounge.com.

Netﬂ ix; he’s a regular on Comedy Central’s hit show Broad City, which just aired its third season; and he serves as the co-host of Adult Swim’s The Eric Andre Show, which is currently airing its fourth season. (Niesel) 3615 Euclid Ave., 216-431-7370, ticketmaster.com. THEATER

Fun Home Alison Bechdel wrote her bestselling graphic memoir, Fun Home, while she was a student at Oberlin College. The book became such a success that it became a Tonywinning Broadway musical. It centers on its protagonist, Alison, at three different ages as she “explores and unravels the many mysteries of her childhood.” The play launches its national tour in Cleveland after receiving raves from critics and audiences who saw it in New York. It opens today at 1 p.m. at Connor Palace, where it runs through Oct. 22. Tickets are $10 to $90. (Niesel) 1615 Euclid Ave., 216-241-6000, playhousesquare.org. BASKETBALL

Wine & Gold Scrimmage If it seems like the Cleveland Cavaliers’ season just ended, that’s because it did. The Cavs’ incredible season concluded on the last possible day it could with a Game 7 win against the Golden State Warriors. The Cavs quest for a repeat commences today at 3:30 p.m. at Quicken Loans Arena as the players engage in a Wine & Gold Scrimmage. Tickets are sold out, so scalpers will be your best bet if you intend to check the team out as it prepares for the 2016-17 season. (Niesel) 1 Center Court, theqarena.com.

MON

10/03

BRUNCH COMEDY

Find your happy hour. 'RZQORDG 6&(1(·V RԀFLDO happy hour app today! clevescene.com/happyhours

| clevescene.com | September 28 - October 4, 2016

The Hannibal Montanabal Experience When comedian Hannibal Buress came through town earlier this year, he played a surprise pop-up show at the Nash. This time around, he’s graduated to a bigger venue for his current tour, dubbed The Hannibal Montanabal Experience. He plays the Masonic Auditorium at 6:30 p.m. on Sunday. With a distinctive slo-mo delivery that makes it seem like he’s perpetually stoned, Buress has gotten some good gigs recently: His third hour-long special, Comedy Camisado, is currently streaming on

Industry Brunch Brunch isn’t just a Saturday/ Sunday thing. Over at Mahall’s, you can grab a great brunch on Mondays as the club caters to industry folks who have the day off. Not that you have to work in the restaurant industry to indulge. The menu features items such as Chicken and Donuts, a dish that features three pieces of fried chicken along with two “Old Hushers donuts.” Other staples include the Everything Pretzel and the Creamy Egg Sandwich. A live DJ from WCSB will be on hand to

GET OUT spin cool tunes too. It runs from noon to 4. (Niesel) 13200 Madison Ave., Lakewood, 216-521-3280, mahalls20lanes.com.

Monday from 6 p.m. to midnight. (Niesel) 1109 Starkweather Ave., 216-9371938, prosperitysocialclub.com.

TUE

10/04

Fall into the

MUSIC FILM

Movie Mondays Every Monday, Cleveland Cinemas hosts $6 Movie Mondays, where film fans can catch up on the latest Hollywood flicks for significantly reduced prices. Bring your friends and family and make Movie Mondays a weekly tradition — many theaters even offer discounted concession stand items. Participating theaters include Apollo Theatre, Capitol Theatre, Cedar Lee Theatre, Chagrin Cinemas, Shaker Square Cinemas and Tower City Cinemas. Unfortunately, additional charges apply for 3D movies. (Alaina Nutile) clevelandcinemas.com. FOOD

Vegan Mondays If you’re vegan, vegetarian, gluten free, or just plain interested in trying something new, head over to Townhall in Ohio City this evening from 5 to 10 p.m. for Vegan Night. Work your way through the delicious and healthy vegan menu, featuring hits like Veggie Vegan Flatbread (think fresh tomatoes, chiles, mushrooms and vegan cheese), Tofu Etouffee (blackened tofu, onions, tomatoes and brown rice) or many of the regular menu items made vegan. If you’re still feeling skeptical, know this: Monday night is also Craft Beer Night and all 36 crafts are only $3 from 6 p.m. to close. Cheers! (Nutile) 1909 West 25th St., 216-344-9400, townhallohiocity.com. NIGHTLIFE

Wing Ding Doodle Blues icon Howlin’ Wolf famously covered “Wang Dang Doodle,” the old blues tune penned by Willie Dixon. Prosperity Social Club in Tremont has adopted that slogan, calling its wing night Wing Ding Doodle. The weekly event features specials on Buffalo wings and cold brews. Prosperity will not only serve up substantial, $1 whole wings, but it’ll also offering meatless Monday “wing” baskets for vegans. Discounted drafts and a playlist of vintage-electric blues and soulful R&B curated by local musician Clint Holley will be on tap as well. Wing Ding Doodle takes place every

Arts at CSU!

Classical Revolution Cleveland For many years, classical music wasn’t intended for the masses. Seemingly reserved for quasi-exclusive concert halls, classical music hid from the outside world. Classical Revolution Cleveland helps tear down that wall and once again bring great chamber music to the people. Showcasing a variety of performers in bars, cafes and the like, it’s actually not that different from how people used to listen to chamber music. The third Tuesday of every month, CRC brings its wide array of chamber music to Happy Dog. Performers like the Trepanning Trio, Anime Duo, students of Cleveland Institute of Music and even Cleveland Orchestra members grace the stage in these exciting concerts. Full of immensely talented performers, CRC re-instills the relevancy of this vibrant art form. Tonight’s free, all-ages performance starts at 8. (Stoops) 11625 Euclid Ave., 216-231-5400, happydogcleveland.com.

Monday, October 3 at 7:30 pm CSU Music and Communication Building, Drinko Recital Hall

Dr. John A. Flower Faculty Concert Series Featuring the CSU Faculty Jazz Septet

Friday, October 7 at 7:00 pm CSU Arts Campus, The Galleries at CSU

CSU Poetry Center’s Lighthouse Reading Series Lo Kwa Mei-en & Martin Rock

Friday, October 14 & Saturday, October 15 CSU Arts Campus, Allen Theatre Mainstage

GroundWorks DanceTheater*

THEATER

Love Jones the Musical R&B singers Chrisette Michele and Musiq Soulchild appear in this touring version of Love Jones, the Musical. Set in Chicago, the play centers on an an open mic that allows up-andcoming artists to strut their stuff. The performance takes place at 8 p.m. at the State Theatre. Tickets are $48 to $68. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org. FILM

SEED: The Untold Story The documentary ﬁlm, SEED: The Untold Story, follows passionate seed keepers who aim to protect a 12,000 year-old food legacy. Given the greed of the agricultural industry, it shouldn’t come as a surprise that in the last century, most of our seed varieties have disappeared. The ﬁlm features interviews with Vandana Shiva, Dr. Jane Goodall, Andrew Kimbrell, Winona Laduke and Raj Patel. It screens tonight at 7:30 at the Capitol Theatre. Tickets are $9.50. (Niesel) 1390 West 65th St., 216-651-7295, clevelandcinemas.com.

Find more events @clevescene.com t@clevelandscene

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Thursday, October 27 – Sunday, November 6 CSU Arts Campus, Allen Theatre Mainstage

Avenue Q* Music & Lyrics by Robert Lopez & Jeff Marx; Directed by Russ Borski

Friday, October 28 – Thursday, December 8 CSU Arts Campus, The Galleries at CSU

All Galleries:

The 22nd People’s Art Show Submission drop off is Friday, October 14 and Saturday, October 15 from 10:00 am – 4:00 pm.

Sunday, October 30 at 3:00 pm CSU Music and Communication Building, Waetjen Auditorium

Keyboard Conversations with Jeffery Siegel* Fiesta! *There is an admission charge for these events. Please visit csuohio.edu/artscalendar/ for more information.

For more information on The Arts at CSU, please visit csuohio.edu/artscalendar | clevescene.com | September 28 - October 4, 2016

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| clevescene.com | September 28 - October 4, 2016

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IN THEATRES EVERYWHERE OCTOBER 7

MOVIES THAT OLD POTTER MAGIC Miss Peregrine’s Home for Peculiar Children channels Harry Potter, X-Men By Sam Allard MISS PEREGRINE’S HOME FOR Peculiar Children, based on a peculiar book of the same name and directed by the embodiment of peculiarity himself, Tim Burton, is much better than you might have expected. Having seen the baffling publicity -- a white-eyed, DonKing-coiffed Samuel L. Jackson, what? -- you were likely to have considered this one yet another entry in an underwritten, overcrowded field of YA-adaptations that fail to distinguish themselves in any meaningful sense. But not so! Here, in a story constructed initially from archival photographs and then sculpted into a novel by writer Ransom Riggs, Burton has produced the closest thing to Harry Potter and the Sorcerer’s Stone since that film’s arrival in 2001. In the Burton pantheon, it’s tonally much more akin to Big Fish than Alice in Wonderland. Jacob Portman (Hugo’s Asa Butterfield, of the Kodi Smit-McPheelanky-frame school) is a teenager in sunny Florida. When his grandfather

Abraham (Terence Stamp) is horrifically killed -- his body is found with eyes removed -- Jake is sent on a mission to uncover an unusual past. In flashbacks, we learn that Abraham was raised in a Welsh orphanage peopled by children of remarkable abilities. And if that feels like an amalgam or derivative of Hogwarts and Xavier’s School for Gifted Youngsters, that’s because it is. On the Welsh Island in question, where Jacob has convinced his dad (Chris O’Dowd), via a psychiatrist (Allison Janney) to take him to convalesce (a bit of a first-world stretch), Jacob stumbles upon Miss Peregrine’s School, and learns the mythology that defines the series: The eponymous headmistress (Eva Green) is a something called an Ymbrene, a “peculiar” (the word for mutant in this world) that can take the shape of a bird and, critically, can create 24-hour time loops in which persecuted peculiars, particularly children, can take refuge. The plot against the peculiars is led by a mad scientist type named Barron

(Samuel L. Jackson) and his coterie of thugs and tentacled minions. After a ghastly eternal-youth experiment gone wrong, Barron and his crew transformed into beasts known as Hollowgasts (think Ringwraiths, Dementors, etc.), and, in a Guillermo del Toro twist, must consume the eyes of peculiars to maintain their human form. Children’s eyes are especially valuable. It’s a bizarre story that transcends its zaniness with crisp storytelling and a largely fully-realized fantastical realm. Many of the YA products on the

market are the result of speculative multi-book deals and are radically underdeveloped when they hit Barnes & Noble, and later the silver screen. This one, guided by Burton’s tempered hand, and keyed in with at least two strong adult performances, is both a pleasant surprise and a return to form for YA adaptations. The most peculiar thing about this movie is that it works so well.

sallard@clevescene.com t@scenesallard

SPOTLIGHT: QUEEN OF KATWE THE COLLABORATION BETWEEN WALT Disney and ESPN -- an intra-conglomerate partnership, of course, as ESPN is owned by the Walt Disney company -- has now yielded another heartwarming international tale based on a true story. The ﬁrst was 2014’s Million Dollar Arm, starring Jon Hamm. It followed a down-on-his-luck sports agent who travels to India for an American Idol-style pitching contest designed to recruit international baseball talent. Queen of Katwe is the second. It’s out Friday in wide distribution and chronicles the rise of a Ugandan chess prodigy, Phiona Mutesi. She becomes one of Africa’s most inspiring players in large part because of her slum origins. Starring David Oyelowo as Phiona’s coach, Lupita Nyong’o as her mother, and introducing the young Madina Nalwanga as the chessmaster herself, the ﬁlm is an uplifting family story with just about all the necessary pre-packaged ingredients to make it an underdog classic. As true stories often are, this one is based on a work of journalism -- an article by Tim Crothers for ESPN Magazine, later expanded into a book. Phiona lives in a hut outside Kampala, selling corn and scraps of food alongside her younger brother to make extra money for the family. They

live with their single mother (Nyong’o), who resists cultural expectations that she prostitute herself or find a sugar daddy to pay the bills. Nearby, an engineer named Robert Katende (Oyelowo), who can’t find work, takes a part-time job with the local ministry of sport. When he learns that some of the slum children won’t play soccer -- if they get injured, they can’t afford the medical bills -- he teaches them chess, having sharked himself to win money from college-going “city boys” in his youth. The slum children then become fanatical proponents and practitioners of the game. Phiona is their champion. At first, the macho youngsters are reluctant to cede supremacy to the unassuming Phiona, whom they mock for her poverty and uncleanliness, but they soon are her fiercest supporters and advocates. This supporting cast of slum children is as memorably rambunctious as any from Disney’s live-action line-up in the 90s. Oyelowo and Nyong’o shine in their supervisory roles, both noble and principled in the face of various pressures. (And do rest assured that Oyelowo and Nyong’o will be the faces of Hollywood’s “Africa” slate for the foreseeable future). In one touching scene, Robert Katende, having taken his team to a tournament at a “city school” in Kampala, discovers that the children

are frightened and homesick. He performs a story for them, an allegory which -- despite his goofy histrionics to cheer them up -- reminds them that in everything they do, they are ﬁghting for their lives. Phiona’s success means she is exposed to a world beyond her slum; indeed, a world beyond Uganda. And a familiar friction emerges. Phiona’s mother blames Katende for showing her daughter a world to which she will never truly belong. But Phiona’s rapid ascent in chess never detracts from her wisdom and compassion (or at least never for long). She tells a Ugandan chess federation that the only reason she wants to participate in international tournaments is because she has heard grandmasters make money, and she wants to provide for her family. A generation ago, Disney’s formula in this arena was to tell tales of underdogs as they prevailed in America’s major sports: The Sandlot, The Mighty Ducks, The Big Green, The Little Giants. These days, the approach is more global and more true-to-life. But Disney still understands that the underdog story, from a narrative perspective, is still the best one worth telling. (Even if chess isn’t a ‘sport,’ in the traditional sense.) - Sam Allard | clevescene.com | September 28 - October 4, 2016

IT’S ALL ABOUT THE CHICKEN AND OUR 14 GOURMET SAUCES

★★★★★ “Worth the stop & future excursions from the Near West Side in the future.I can’t ﬁnd one thing wrong with V’s and the woman taking care of us was just the nicest and personable person ever. For all the food we ordered it was very reasonably priced and held up well on the ride home/ Stopping here in the near future is in order as it puts lousy KFC’s, Popeyes, etc to shame in terms of quality, price, and customer service.” - Jesco D. ★★★★★ “I went here after the good reviews and I was impressed. I had the regular/mild batter. The chicken was light, crispy and delicious. The rice and greens is ingenious! They have a little kick to them but quite tasty. They were buttery and lightly sweet. I enjoyed my meal and will return in the future.” - Ladonna G.

★★★★★ “This is some Seriously delicious chicken. I have lived very close, and almost drive by there daily. Thought it was part of the convenient store, so I would not go there. After reading the reviews and being extremely hungry, I took the plunge, and I am more than glad I did. I will be coming here so much more.” - Stephanie L. ★★★★★ “It’s no joke, best fried chicken in Cleveland. They’ve got plenty of sides, but don’t kid yourself, it’s all about the chicken. While there’s a variety of flavors the staff might not give you many clues past identifying the individual flavors. Luckily there’s a brief explanation of them at the restaurant.” Noah F. ★★★★★ “Oh my gosh this place has the best food.The chicken is superbly trimmed and seasoned to perfection. Normally I always get the fried chicken but tonight I went with the fish dinner for the first time and can’t stop jumping up-and-down with joy. Make sure you get the honey biscuits and at least try the greens and rice. Thank you for such great service and the culinary gift you’ve given us.” - Sarah J.

“Five Stars aren’t Enough! This is 10 STAR FOOD!! LOVE THOSE HONEY ROLLS!! It’s my dinner tonight shrimp, slaw, fries and corn mufﬁn. SO YUMMY” Lonnie R.

“I absolutely love the food here! Best fried chicken I’ve ever had. People should stop in and grab a family chicken dinner instead of spending cash at KFC or any other fast food chicken chains. Best chicken ever!” - Bunny Marie L. “I absolutely loved this place! I will be back soon!” - Lori M.

“Such a delicious choice for Fried chicken” - Nicole Elaine T.

To Place Catering Order Contact Us At vsgourmet@yahoo.com

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EAT

Lamb Carpaccio

Pork Pies Photos by Emanuel Wallace

GREAT THINGS IN SMALL PACKAGES Jill Vedaa dishes up a unique roster of small plates and the perfect setting for sharing at Salt in Lakewood By Douglas Trattner WHEN IT COMES TO DINING out, is there a greater moment of anticipation than when a guest first picks up the menu to give it a read? The experience is the restaurant equivalent of the first impression, and you know what they say about those. Even the best rosters are bound to be clogged up with some duds, likely placed by a benevolent chef eager to offer “something for everybody.” But perusing Jill Vedaa’s menu at Salt is like showing up for a blind date and spotting nary a blemish. The menu at Salt will not appeal to everybody – and that’s precisely why it’s so appealing. Vedaa trots out some 20 small plates and not a single one of them is a taco, burger, flatbread or pasta. Instead, diners are introduced to a playbill starring sweet potato croquettes, smoked beets, braised octopus, lamb carpaccio, PORK PIE! The supporting cast is just as exciting, with bold and punchy trimmings, garnishes, sauces and supplements bolstering each and every star. For decades, small plates have been struggling to make inroads into the local dining lexicon with only moderate, often fleeting, success. For every start, a fit. If anybody can give tapas and tapasstyle dishes their due it’s Vedaa, whose 20-year career has dovetailed

with the small-plate movement in Cleveland. To pull them off, it takes a bottomless well of creativity and the skill, vision and restraint to assemble the pieces in a coherent, appealing fashion. This chef has those qualities. Small plates get friends talking. In conventional restaurants nobody cares what the guy across the table is eating because chances are good he’s not sharing. At Salt, with spiffy cocktails in hand, the group enters into a period of delicious negotiation. The menu is split into three main sections – vegetables, ﬁsh, meat – making it easy to chart a course and appease particular palates. We assemble an opening salvo for our server that nets us some nutty manchego ($9) with citrus, herbs and good sliced bread; a dish of

and crispy textures, of sweet and salty or smoky and spicy ﬂavors, keeps us intrigued from course to course in a way one large entrée never could. In layman’s terms: there’s a lot going on here. Our move up the food chain ushers in a bowl of small, sweet mussels ($10) in a lemony white wine broth. Shrimp ($13) are dusted in a spicy smoked paprika and garlic blend and paired with ﬁrm, satisfying hominy and roasted garlic sauce. When eaten in concert, the dense and smoky trout ($9), “everything cracker,” horseradish and dill conjures breakfast at the Jewish deli. On my next visit, I’ll be sure to double up on the braised octopus ($9), a spectacular Mediterranean-themed dish that disappears in the blink of an eye.

SALT 17625 DETROIT AVE., LAKEWOOD | 216-221-4866 WWW.SALTCLEVELAND.COM

lightly smoked beets ($10) with a kiss of honey, hazelnuts and feta; cold and crunchy curried cauliﬂower ($6) with a nice kick of heat; and crisp, spherical sweet potato croquettes ($6) in a perky red pepper puree. Small, we quickly discover, does not mean boring. The juxtaposition of hot and cold elements, of creamy

As we work our way down the menu into the meat section, the table grows more and more crowded. A rosette of whisper-thin, butter-soft lamb carpaccio ($12) is set against the cool crunch of shaved red cabbage; crispy fried pork pies ($9) are ﬁlled with seasoned ground pork and slicked with chimichurri; there may have been meatballs.

In addition to the core menu, the chef prepares a nightly special for each category, as well as a trio of salt-cured items that also hit each food group. Also know that Vedaa will be changing the menu at least quarterly, so beloved dishes will come, go and evolve. Given the number of moving parts – one four-top might order eight to 10 different items, not counting drinks – the service and timing at Salt is commendable. We did feel pressure to order quicker or more often than our preferred pacing, a sensation that runs counter to the leisurely small-plates mentality, but wine, beer and cocktails have a magical way of easing tensions. The dim, sexy space was wrested from a neighborhood dive bar. A smart re-do of the large, double storefront begot a cute little bar and lounge area, host station and dining room with views into the open kitchen. It’s there that Vedaa and her crew are pumping out dishes that are making noise among diners. The next time somebody mentions the slow and steady demise of small plates, send them to Salt, where the chef is defying critics and deﬁning trends.

dtrattner@clevescene.com t@dougtrattner

| clevescene.com | September 28 - October 4, 2016

EAT FOR THE DOGS Duck Island Chili Sauce is about to become your favorite topping for hot dogs and more by Rachel Hunt IT WAS A FATEFUL JULY 4 when Michael Tortora served up the latest incarnation of what he refers to as his “Cleveland-style” chili sauce to friends at Flying Monkey’s Independence Day party. With grass-fed beef and an Adobobase (flavored with Penzey’s spices, GLBC’s Dortmunder, and Bertman’s Ballpark Mustard) the tangy, paste-like concoction, eventually christened “Duck Island Gourmet Chili Sauce,” was born on that historic day. A year later, Tortora is putting the finishing touches on three versions of the sauce: a medium, hot, and vegan chili. The medium sauce will be the first available to the public by the end of October. “We’re looking into not only 12-ounce jars for the shelf, but one-gallon and possibly five-gallon containers, because I’d really like to get into the restaurant scene as well as the stadiums,” says Tortora. “I can’t imagine being at a baseball game and there not being a good chili dog. That’s weird to me.” Tortora put the idea into hyperdrive after getting laid off from his job last March. “I’m thinking, ‘How can I take advantage of this time?’ I started trademarking and branding and I became serious with it.” He enrolled in a culinary program at iCasi and visited Cleveland Culinary Launch for guidance on getting the product to retailers and the general public. Traversing around the city, Tortora received ample inspiration making the trek to West Side Market and back to his home in Tremont for ingredients. The inspiration for the name? The neighborhood nestled between his home in Tremont and Ohio City, where he shopped at the West Side Market for ingredients. (Plus a little homage to a place famous for dogs: “Coney Island is an eighthour drive from here, but Duck Island is only two minutes. So, why not,” he says.) After spending months perfecting the recipe, Tortora finally turned it over to Dorina, a Chicago-based food manufacturer

| clevescene.com | September 28 - October 4, 2016

who didn’t compromise on ingredients or his vision for the canned sauce. “It took awhile, because I was in queue with everybody else that wants to get their food made, but it came back on Friday and I swear to God, I was expecting disappointment because I’d waited so long,” he laughs. “Sure enough I open it up in front of a couple people who had been

wanting the chili sauce but had never tried it before. They nailed it.” “When this came back, the ﬁrst thing I was digging was the texture because I like the meat at it’s smallest physical form, so it sort of pours,” he says. “I think it goes beyond just being a condiment.” Hot dogs, nachos, fries, Sloppy Joes, con queso, huevos rancheros, you name it, and his chili sauce would do wonders as an addition. Dante Boccuzzi will be serving the vegan version on his Coda menu and throwing a fundraising party for the start-up on Oct. 9 complete with live music. “I think a lot of it stems from growing up in Youngstown. We had a place called Jib Jab, a chili dog restaurant. It was only about ﬁve blocks from where I lived and it takes me back. We ate that stuff growing up,” recalls Tortora. To get more information or to pre-order, visit gofundme.com/ duckislandchili.

scene@clevescene.com t@clevelandscene

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NEW DATES FOR ANNUAL RESTAURANT WEEK, NOW HAPPENING IN OCTOBER By Douglas Trattner FOR THE FIRST TIME IN ITS 12-year run, Cleveland Restaurant Week will not take place during the first two weeks of November. In an effort to avoid the election cycle, the popular dining event has been moved up a month. This year’s dates run October 1 through 15.

join classics like Paladar Latin Kitchen, Bistro 185, Edwins Restaurant, Flour Italian Kitchen, Gamekeeper’s Taverne, Marotta’s, and many more. To view the participating

restaurants as well as their special menus, visit www. clevelandrestaurantweek. com, where you can also make reservations through OpenTable.

ORALE CONTEMPORARY MEXICAN KITCHEN IN OHIO CITY NOW CLOSED You’ve enjoyed their salsas and empanadas and assorted Mexican

Organizers report that this will be the largest Cleveland Restaurant Week yet, with more than 50 participating Cleveland Independents member restaurants. While some businesses elect to deviate from the norm, most offer diners special three-course prix ﬁxe meals for just $33 (not counting tax and tip). Some also offer special wine pairing options. “This is the promotion that kicks off holiday dining,” says John McDonnell, Cleveland Independents President and Owner of Merchant Street Provisions. “It gives everyone an opportunity to visit new places and explore a variety of ﬂavors.” Given the number of new restaurants that have entered the market in recent months, Cleveland Restaurant Week is the perfect way to test the waters. Participating this year are new entries like Nuevo Mod Mexican, 811 Kitchen Bar Lounge, Ninja City Kitchen & Bar, Roxu Fusion, Rue 254, Sarita and Sol. Those newcomers | clevescene.com | September 28 - October 4, 2016

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| clevescene.com | September 28 - October 4, 2016

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goodies at Orale’s West Side Market stand, and hopefully you’ve enjoyed their full-ﬂedged menu at the brick-and-mortar restaurant across the street on West 25th, because the restaurant closed up shop last weekend. If you haven’t enjoyed the latter, hurry up and go before Sunday because Orale’s Contemporary Mexican Kitchen is closing for good after this weekend. The stand isn’t going anywhere, to be clear, but Orale’s Contemporary Mexican Kitchen closed its doors for good on Sunday night. The good news: with the restaurant, which had been open for about six years, now taking up less of the chef’s time, the stand will now be open every day that the market is. (It hadn’t been.) “It’s going to be hard to let it go, of course, because that’s what I that I live for,” owner and chef Roberto Rodriguez told Cleveland.com. “But at the same time, it’s time to move on. I’m old. I don’t have to energy anymore to do this and I’m just going to focus on the market and catering.” Not only will the West Side Market stand be open ﬁve days going forward, Rodriguez will be offering some new items, so look for that. Vince Grzegorek

L.B.M., A COCKTAIL BAR AND KITCHEN, TO OPEN IN BIRDTOWN DISTRICT OF LAKEWOOD For the past six years Eric Ho has worked at Melt in Lakewood, making his way up every rung of the industry ladder, with stops along the way as host, server, bartender, supervisor, bar manager and, ultimately, general manager. Before the end of the year, he’ll take the next big step when he becomes an owner. When it opens later this year, L.B.M. (you’ll have to ﬁnd out for yourself) will be a casual cocktail bar with a full-service kitchen and chef. The inspiration for the concept originated in Chicago, says Ho. “Scofﬂaw in Chicago is my favorite bar,” he explains. “When I went three or four years ago they were doing eight-dollar cocktails. That’s what started my train of thought. If a place like that can survive in Chicago selling eightdollar cocktails, it would kill in Cleveland.” Ho says that his spot will utilize the same high-quality ingredients and talent of other cocktail bars, but

at a price point that makes it more of an everyday type of place. His goal is to create a casual, comfortable environment that welcomes all budgets. “A lot of it comes from the fact that I don’t have a bar that I’m comfortable sitting at,” he adds. “There are plenty of restaurants that have nice bars, but they close at 10 or 11 o’clock. And the ones that do go until 2:30 sometimes hurt the wallet a little bit. The drinks are really good but I can only go to them like once every three months or so.” Ho’s cocktails will be unique creations that change seasonally or even more frequently. “Every week we’ll will hit the markets for fruits and vegetables and prepare homemade sodas, syrups and tinctures, play with flavor profiles and build cocktails around that,” he notes. “[We’ll] constantly rotate our cocktail list to better utilize what is available to us.” A full-service kitchen, run by an as-yet-unnamed chef, will prepare a menu of progressive American small plates. Ho says that he signed a lease on the spot just two weeks ago, and he couldn’t be more thrilled with the property. Now called The Veronika, the brick structure at the corner of Madison and Lark (12301 Madison Ave.) recently was awarded Ohio Historic Preservation Tax Credits, a first for the City of Lakewood. Developer Frank Scalish of Scalish Construction has been fully rehabbing the property, stripping away the ‘70s-era wood shingle awning and faux rock façade that had long graced the old Corner Pub. In its place, a pair of impressive 12foot windows. “The storefront is going to be beautiful,” Ho says. Adam Rosekelly of Architecture Office is designing the 1,300-squarefoot interior, which will have the look and feel of a “Viking drinking hall,” notes Ho. Think chunky woods, plenty of taxidermy, masculine as heck. Behind a 13-seat bar will be a floor-to-ceiling back bar crammed full of spirits. There will be room for another 32 guests in the dining room. Ho and partners like John Gibian already have begun the hard work of building out the bar, a labor of love for the entire crew. “I’ve been working on this since the new year,” says Ho. “It’s all finally coming together.”

dtrattner@clevescene.com t@dougtrattner

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| clevescene.com | September 28 - October 4, 2016

5 56

| clevescene.com m | September 28 - October 4, 2016

MUSIC

A ONE MAN BAND Extra Medium Pony delivers more joyfully off-kilter tunes on the its latest album By Jeff Niesel

SITTING AT A WEATHERED picnic table in the cactus room at the Rockefeller Green House, Extra Medium Pony singer-songwriter Rick Spitalsky looks like he could be in a scene from a Wes Anderson movie. He’s wearing a striped black and white shirt, and his shoulder length hair and scruffy facial hair make him resemble actor Jason Schwartzman, one of Anderson’s favs. And like some kind of character in a movie, Spitalsky has evolved from standard fare singer-songwriter to sophisticated indie rocker. Extra Medium Pony’s new album, Meaninglessness, features the kind of joyfully off-kilter tunes that Pavement delivered at its peak (think Slanted and Enchanted). It’s another leap forward for the burgeoning band. Spitalsky, who grew up in Bedford, which he admits isn’t “the coolest place to live,” refers to his father as a “rocker” who had a vinyl collection that inspired him to want to pursue singing and songwriting. “He had ‘70s rock like Neil Young and then got into heavier stuff in the ’80s like Guns N Roses,” he says. “Like a billion other people, I heard Nirvana when I was like 12.

That was when I realized I needed a guitar. Girls loved [Nirvana singerguitarist] Kurt Cobain, so I decided that I needed a guitar.” In sixth grade, he says he stopped listening to Michael Jackson and started listening to Mudhoney and all the grunge acts coming out of Seattle. “You always hear that when the Beatles came around, people thought they would let their hair grow long and would get a guitar,” he says. “I think it was the same thing when the grunge thing came around.” His father nurtured his taste in indie music too. “In the ‘90s, he listened to college radio all the time,” he says of his father. “He would take me to shows when I was in high school. We saw Local H and Tracy Bonham and Death Cab for Cutie. That’s when my taste changed from aggressive grunge-type music to lyric-based melodic music. We saw Death Cab at the Grog Shop. I think it was 1999. There were 15 people. I thought, ‘This music is not heavy but I like it.’ I was 18 at the time. It’s cool to follow a band from the very bottom.” He subsequently wrote a few songs that he says were “horrible.”

“They were like Nirvana rip-offs,” he says. “I always thought I could write songs, but I didn’t have the life experience to write the songs I wished I could write. I felt like a songwriter, but my songs were cheesy. I started getting into the craft at age 25.” Reading the book 101 Ways to Write a Song convinced him he could write songs without regard for whether they were reﬁned enough. He subsequently released an EP of tunes in 2008. “I wrote about growing up; it was a nostalgic thing,” he says. “I wrote these singer-songwriter type of songs. I met this girl shortly after that and she changed my way of thinking with songwriting. I thought everything had to be serious, but she would write crazy songs with wacked out lyrics, and they were awesome, and it changed my perspective on writing. When we broke up, was when I had that life experience that I needed. I found my voice as a songwriter. Since then, I’ve been on a steady incline in terms of material I’ve been putting out.” That EP informed Extra Medium Pony’s full-length debut 11868. Released in 2014, the album sounds

like it might have been recorded in the ‘90s. Songs such as “You and Me” and “Ewe” are ramshackle ballads that adopt the lo-ﬁ approach that acts like Sebadoh and Pavement heartily embraced. And a song like “Junk Yard” looks back even further to bands like the Pixies. With its stuttering vocals and simple guitar riff, “It Don’t Feel Right” is a little more structured and comes to a proper close. And the fragile ballads “Lost” and “Lucky” don’t seem tossed off even though they only check in at 90 and 120 seconds respectively. “11868 was a very raw break up album,” says Spitalsky. “It was very spontaneous. I wrote a million songs for that album. That’s all I did. I’d get off of work, come home and write songs. I was totally in love with songwriting. I didn’t have any distractions. I had a TV that had only one channel. I’m so different now. I have so many distractions like Netﬂix. Back then, my source for entertainment was writing a song for myself about the way I was feeling.” He toured behind the album and played markets such as New York, Chicago and Columbus. On his Bandcamp account, he called the album the “breakup album of

| clevescene.com | September 28 - October 4, 2016

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| clevescene.com | September 28 - October 4, 2016

MUSIC the decade,” attributing the quote to Rolling Stone. As a result, they signed him to a deal and issued the album in Japan and Europe. “I wasn’t going to tell them that I made that shit up,” he says. “They put it out, but we couldn’t afford to tour over there. It just didn’t work out. They sent me pictures of my album in a Japanese Best Buy type of store. It was awesome and totally unexpected.” He says he immediately started writing new material in the wake of the album’s release. “By the time I recorded those songs, I was writing new songs,” he says. “The process never stopped, but my mentality changed over time. I had a vision of what I wanted the album to sound like sonically.” After another breakup, Spitalsky found himself rather isolated. “I thought that if that relationship didn’t work, I didn’t know what will work,” he says. “I mix stuff up in my brain and think I’m never good enough. I would go for weeks without really taking to anyone. I thought that if I died, people wouldn’t know. That led into the ‘meaninglessness.’ I’m not sure it’s even a proper word.” He says recording the album by himself proved to be challenging. “What started out being this ‘I don’t need anyone and I will l do it myself’ attitude really sucked,” he says. “What’s fun about recording is

when it’s just you. I would turn my computer and sit there and fall asleep on the couch. Or I would just listen to something and not really know if it was good or not. After months and months of that process, I found myself with a decent mix.” He says that at the time he was writing the songs, an exgirlfriend virtually haunted him and continually showed up in his dreams. “I don’t want it to sound weird, but I would have dreams of specific details about her,” he says. “When we first started dating, she would wear these reindeer fur boots she got from a second-hand store. I thought they were really cool. I wouldn’t be thinking about that shit at all but they would come up in my dreams. It was devastating thing for me. I was 27 and I really realized that I’m not 20 anymore. I thought I would be with this girl forever. Now that I’m 34, 27 doesn’t feel that old. I always feel like I’m older than I am. I had more invested than she did too. She was younger than me. It was the first time I ever thought I was good with someone and could live together happily. When we broke up, I felt stunted and like she had more potential in front of her, and I was maxed out.” Spitalsky hopes to tour in support of the album and plans to play South by Southwest this year. A few years ago, he played Voodoo Fest with singer-songwriter Nicholas Megalis, a former Clevelander. Hiring a national PR firm has helped the cause too.

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that if you have a group of friends, you can get a pizza and hang out and bounce ideas off each other. This time, I didn’t have that experience. I didn’t have anyone to make it with. It’s not cool when you want to make an album with someone and that doesn’t happen.” Recording at his house with ProTools, he spent long hours laboring over recording details. Song such as the hiccuping “Further Along” and the Nirvana-like “Personal” suggest that approach he’s precisely synced the chug-a-lug guitars and pounding drums. “I wanted to perfect the parts,” he says. “The beats are very speciﬁc and tie into the rhythm of the guitars and vocals. Mixing it was difﬁcult. I set up a control room in my bedroom where I did sound diffusion. It’s hard to get into doing something like that

| clevescene.com | September 28 - October 4, 2016

“I don’t know why someone would click a link to my music rather than anyone else’s,” Spitalsky says. “I feel like if people give it a chance, they’ll see there’s something there. The market is so saturated with decent sounding stuff whether it’s good or not. Everyone has the potential to make a decent sounding album on their laptop or even their phone. I just want to make the best music I can make and get my vision across and have it sound cohesive, and I don’t want to be embarrassed by it a few years later. I try not to think how many people will buy the album because I just want to focus on making music.”

jniesel@clevescene.com t@jniesel

| clev clevescene.com ves e cenee.c .com m | September Sepptember 28 28 - October Occto t ber 4, 2016

MUSIC

GRECIAN FORMULA Singer-songwriter Joan Shelley found inspiration during an overseas writing session By Jeff Niesel SINGER-SONGWRITER JOAN Shelley grew up on a 35-acre hobby horse farm just outside Louisville. She admits that didn’t get to dig into the Louisville scene while growing up. But that has changed since she’s become one of the city’s best-known musical exports. Last year’s Over and Even, an album of tender tunes that the folks at NPR Music and The L.A. Times called “album of the year,” established her as an indie artist on the rise. “Louisville is an intersection of sorts,” she says via phone from her home there. “It’s the top of the South and Midwest as well and it’s on the river so it has all the history from the river. It’s the bluegrass state and has the amazing post-rock bands with Slint and Freakwater. There’s a Chicago relationship. It’s a mixing ground, which has always beneﬁted music.” Growing up, Shelley admits she wasn’t initially a great writer, but she always loved to sing. “I sang in choirs as soon as I could and petitioned the teacher to let me in as a kid,” she says. “There was a period where I got into vibrato. That would be a questionable singing stage.” She entered a songwriting contest age nine and then continued to nurture her craft. When it came

time to write the tunes for Over and Even, she went to a Greek island so she could concentrate without distractions. “I came over to Greece with the intention to write,” she says. “I talked to this other writer about strategy and how to do it. It was just sit down and do it. I went over there with the intention to collaborate but went out on my own. I was isolated. I would try to sit down and drink tea and write a song until the song was done. I would walk around. The ruins and temples were a big inspiration. I was reading about

the recording experience. “I wanted him to just play some songs we did. And we got our friend Daniel Martin Moore, whom I’ve recorded with in the past. We set up the mics in his house. We just went for it. Sitting across from each other, there wasn’t much isolation. We did a couple of takes on each song. Vocals and guitars were live. There was no overdubbing and we went through them. We tried to not get burdened and bogged down by whether it was right or wrong. It was not a contest. It was just swift. We recorded for two days and had Will Oldham, who lives

JOAN SHELLEY 8 P.M. THURSDAY, SEPT. 29, THE KENT STAGE, 175 E. MAIN ST., 330-677-5005. TICKETS: $10, THEKENTSTAGE.COM.

Aristotle and Socrates. I was trying to put together these old world ideas that I think are universal to all of us.” She returned to Louisville to cut the album, which she recorded over two days with guitarist Nathan Salsburg. It features guest appearances from Bonnie “Prince” Billy, Rachel Grimes and other Kentuckians from the underground and indie scenes. “I kind of snuck up on Nathan with it,” she says when asked about

| clevescene.com | September 28 - October 4, 2016

down the road from me, do some harmonies. Piano or organ were overdubs too. It’s very homemade.” Oldham adds his distinctively woodsy vocals to “Stay On My Shore”; the two harmonize perfectly as Oldham sounds like an echo to Shelley’s upper-register vocals. “There’s a picture inside the album,” says Shelley. “It’s this big living room space with carpet. Will put headphones on and sang while I sat on the ﬂoor while he tried a few things. He did a few passes. I’m a

huge fan of his albums, especially Master and Everyone. I love that delivery. When he was in that setting, it was so exciting for me to hear it happen. It’s hard to describe. I was just giddy.” “My Only Trouble” stems from Shelley’s desire to write like bluegrass/country singer Dolly Parton. “I wanted to write a strong song the way she writes a strong song,” she says. “I don’t personally want to be like her, but she’s such a clever writer and the country format is clear and concise. Her melodies are better than lots of people. She’s as outstanding as a writer. It was a song called ‘The Bridge’ that was on a YouTube video with Porter Wagoner, and I thought it was best. We wanted to do that sort of thing. She can write a sad song. It’s amazing.” Shelley says she’s started writing the songs for a follow-up album, which she intends to record in December again with Salsburg at her side. The current tour will also feature her and him. “He’s the band, as I like to say,” she says with a laugh.

jniesel@clevescene.com t@jniesel

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| clevescene.com | September 28 - October 4, 2016

MUSIC ROLE MODEL Muslim pop singer Yuna advocates for tolerance and acceptance ORIGINALLY POPULAR IN HER native Malaysia, pop/soul/R&B singer and model Yuna has become a star in the States too. In fact, she’s now known throughout the world. The music video for her current single, “Crush,” a sparse song that pairs her with R&B icon Usher, has received over 13 million views on Youtube, and her latest album, Chapters, possesses an old school soul/R&B vibe that shows just how much she’s matured as a singer and songwriter. Yuna began writing songs when she was only 14. Even at that early age, she was reaching for something deeper with her lyrics. “I was the only child at the time that I started writing,” she says via phone from Los Angeles. “I just lost my cousin. She lived with me for a long time. She was like my sister. We took her in and my parents raised her as their own child, and I lost her. I was dealing with a lot of stuff. I wrote a lot at the time. At the time, my love for music started to grow from the songs I was listening to on the radio to discovering Lauryn Hill. I was listening to The Miseducation of Lauryn Hill, and that sparked that want to write. That’s prompted me to start writing.” Her career initially took off in her native Malaysia, where she released her self-titled debut. The album received ﬁve Malaysian Music Awards nominations. Subsequent albums have helped propel her to international fame. Yuna says she wanted Chapters to be a departure from her previous release, 2013’s Nocturnal. “I wanted something different from everything I’ve done,” she says. “I was working with these producers Fisticuffs who are super talented. I worked with [producer] Robin Hannibal again. They all do urban contemporary music. That was the direction I wanted. I was a huge fan of Frank Ocean and the Internet, those guys are my friends, and the Weeknd. I’m a pop artist, but I wanted to try something more soulful. I tried doing some R&B music on my previous albums, and they did have their moments. I

Photo by Aimaness Harun

By Jeff Niesel

YUNA, ŸŁØ. 7 P.M. WEDNESDAY, SEPT. 28, HOUSE OF BLUES CAMBRIDGE ROOM, 308 EUCLID AVE., 216-523-2583. TICKETS: $20, HOUSEOFBLUES.COM.

really just wanted to push the urban contemporary sound onto my album and make it my own and see what happens. I’m thankful that fans seemed to enjoy it and like the new thing that I’m doing.” She met Usher a few years ago and informally discussed collaborating at that point. When she initially recorded “Crush,” he wasn’t on the track, and she felt “something was missing” and thought Usher might spice the tune

| clevescene.com | September 28 - October 4, 2016

up. “I thought we needed a male vocal,” she says. “I thought Usher would be perfect. I didn’t want anyone else but him. When I wrote that song, I wanted to bring back that early 2000s R&B music that I really love, and it worked out really well.” The music video for “Mannequin,” a song with wispy vocals and percolating synths, comes off like a short ﬁlm as the

dancers portray a relationship that’s lost its spark. Yuna says the dancers brought her vision for the tune to life. “For ‘Mannequin,’ I wanted it be something where viewers can relate to that music they hear,” she says. “Sometimes, you feel like the love is gone in a relationship, and there’s a feeling of abandonment. The girl feels abandoned by the guy and maybe they part ways for just a little while so they can back into their grooves. You see them doing their own things and dancing. Those two dancers are my friends. They’re super talented, and I’m so proud that they wanted to be part of this video.” Outside of music, Yuna is a devout Muslim, something that might not sit well with a certain presidential candidate and his followers. She says she thinks her career gives her the opportunity to promote tolerance and acceptance during a time of intolerance. “I’m a walking poster child for [tolerance and acceptance],” she says. “I don’t have to do anything. It’s kind of nice. In the beginning, I felt like I was an outsider and a foreigner. Now, I feel more at home and at ease with the people I interact with. I feel like they can connect with me.” She says her concerts attract diverse crowds, something she embraces and celebrates. “If you go to my shows, you see people from different walks of life,” she says. “There are Muslims and Jews and Asian-Americans and Hispanics. They come and enjoy the music. It’s nice to be able to do that. Not a lot of people have that pull from their music. It’s important for me to not preach about it. I hate preaching about how we need to come together. I just let it speak for itself. Whatever you see at my show is an example of what needs to happen in your daily lives. We need to come together and integrate and communicate and understand. It’s a nice thing to be able to promote that in very subtle ways.”

jniesel@clevescene.com t@jniesel

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| clevescene.com | September 28 - October 4, 2016

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| clevescene.com | September 28 - October 4, 2016

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moe.: Having landed gracefully on what could be called the top tier of nationally touring jam bands a while ago, the guys in moe. maintain their standing by constantly propelling their improvisational chops forward. Onward, upward. The last few times the band has stopped in Northeast Ohio, for instance, they’ve dropped bombs that arc across their entire career. Two years ago, they delivered an intricately woven seguefest at Kent State, with “The Pit” flowing into “Moth” deep in the second set for a thrilling pair of jams. If you’ve never been, know this: moe. is known in their circles for awesomely tight control over the direction of their improv work -- and they’ve got a real sense of heart and beauty behind that tractor-beam precision. (Eric Sandy), 8 p.m., $30 ADV, $35 DOS. The Kent Stage. Tobacco/High Tides/Odonis Odonis: Content with making music mainly for himself and referencing his previous work as his biggest influence, Tobacco’s Thomas Fec much prefers playing intimate shows to performing before massive festival audiences whose devotions are divided between the many bands scrolling before their eyes. Also a member of indie electronica group Black Moth Super Rainbow, Fec released his first album as Tobacco in 2008. His early material, which exploited vintage analog technology, is like a spazzed-out remix of 16-bit video game music with a touch of psychedelic musings, simultaneously intriguing followers of Beck, Kraftwerk and Unknown Mortal Orchestra. Instead of implementing traditional electronica techniques like sampling and sequencing, Fec records all his sounds live on a tape deck. In his four-album history, which includes 2016’s Sweatbox Dynasty, Fec manages to make his music sound like a rehearsal session from the making of the Beatles’ Revolver on one track and a ravelike mix of synth tidal waves and waterfalls on the next. (Bethany Kaufman), 8:30 p.m., $15. Grog Shop. 10 X 3 Singer Songwriter Showcase: Hosted by Brent Kirby (in the Wine Bar): 8 p.m. Brothers Lounge. Ballyhoo and Zach Deputy/Bumpin’ Uglies/Sun-Dried Vibes/Mighty Mystic: 6:30 p.m., $15 ADV, $17 DOS. Agora Ballroom.

Photo courtesy of Universal Records

WED

all the live music you should see this week Kanye West brings his latest over-the-top tour to the Q. See: Saturday.

Alan Madej/Derek DePrator/The Pistolettes: 9 p.m., $5. Happy Dog. Oktoberfest Rooftop Party with Chardon Polka Band: 7:30 p.m., $7. Music Box Supper Club. PLRLS: 9 p.m., $5. Now That’s Class. The Rainbow Emergency Album Relese/C-Level/Jordan Kirk: 8 p.m., $10. Beachland Tavern. Joan Shelley: 8 p.m., $10. The Kent Stage. Tears for Fears: 7:30 p.m., $69.50$95. Hard Rock Rocksino Northﬁeld Park.

FRI Ghost-Note/Essential Groove: 8 p.m., $15 ADV, $18 DOS. Beachland Tavern. Prime Time Big Band: 8 p.m., $12. Bop Stop. Vamos!/Deche: 9 p.m., $5. Now That’s Class. Yuna: 7 p.m., $20. House of Blues Cambridge Room.

THU

9/29

Built to Spill/Alex G/Stems: When singer-guitarist Doug Martsch first started the indie rock band Built to Spill back in 1992, he initially thought the group would be a studio project and deliver a series of finely tuned recordings with a rotating lineup of musicians. That sure didn’t happen. In fact, Martsch & Co. would become a touring outfit and only produce a handful of albums over a 20-plus year run. Just this summer, Built to Spill returned with Untethered Moon, its first studio album in six years. Despite a lineup change, it doesn’t represent a huge shift in the band’s sound, though Martsch says he’s become recommitted to the band and feels reinvigorated by the new lineup. Quasi’s Sam Coomes produced the album, which the group recorded in Portland, Oregon. (Jeff Niesel), 8:30 p.m., $25. Grog Shop. Reed Mathis Electric Beethoven: Dubbed in most arenas as “CDM” -- “classical dance music” -- Reed Mathis’ new band has certainly become a force on tour. The longtime Tea Leaf Green bassist (who left the band this year) assembled a gathering of musicians that arcs across the studio and the stage, a congregation that has made jaws drop across the country this year (Mike Gordon, Marco Benevento, Joe

Russo, Brad Barr and on and on). The project is assembled, originally, around Beethoven’s Third and Sixth symphonies as platforms for improvisation, Mathis has said. The whole point is the improv trip — in the Beethoven vein — a blend of the classical and the heady. Ain’t nothing wrong with that. (Sandy), 9 p.m., $20. Beachland Ballroom. Murderedman/Forever Grey/Bring Her/Ploughman (in the Locker Room): About two and a half years ago, this local band hit what guitarist Ron Kretsch has described as a “bit of a rough patch” when many of its intended projects didn’t come to fruition. The band’s singer lost his voice for a while, and then the drummer had problems with his wrist. Since one of the band members has a studio at his home, the band can record whenever it likes. When it came time to put together a new studio release, the group simply went through “a pile of songs” it had recorded for other projects over the course of three years to ﬁnd tracks that would work on a new studio release. The resulting self-titled album, the band’s second full-length release after 2013’s Love In Danger, came out earlier this year. (Niesel), 9 p.m., $5. Mahall’s 20 Lanes. Brazilian Guitar Duo: 9 p.m., $5. The Euclid Tavern. Aaron Gillespie & Ace Enders/Vinnie Caruana/Ledges: 7 p.m., $15 ADV, $18 DOS. Mahall’s 20 Lanes. Chris Hatton’s Musical Circus (in the Wine Bar): 8 p.m. Brothers Lounge. The Howlin’ Brothers/Duchess (in the Supper Club): 8 p.m., $10. Music Box Supper Club. Jam Night with the Bad Boys of Blues: 9 p.m., Free. Brothers Lounge. Loren & Mark: 8 p.m., $20. Nighttown.

9/30

The Mowgli’s/Dreamers/Kid Runner: An L.A.-based indie rock act that plays a mix of West Coast pop, garage rock and Laurel Canyon folk, the Mowgli’s have slowly acquired traction since forming back in 2010. “Freakin’ Me Out,” the ﬁrst single from the band’s new album, Where’d Your Weekend Go, features call and response vocals and a vigorous midsong guitar solo. It’s a snappy tune that sits well with the other snappy tunes in the band’s ever-growing catalog. (Niesel), 7:30 p.m., $17 ADV, $20 DOS. Beachland Ballroom. 1964 — The Tribute: 8 p.m., $30 ADV, $37.50 DOS. The Kent Stage. The Babys: 8:30 p.m., $30-$45. Tangier Cabaret. Blood on the Danceﬂoor: 7 p.m., $14 ADV, $17 DOS. Agora Ballroom. The Bronx/Dead Heavens/Pounded by the Surf/Rival Knives: 9 p.m., $16 ADV, $20 DOS. Grog Shop. Celebrating Buddy Holly’s 80th Birthday: Transplant Rocks: 8 p.m., $22 ADV, $25 DOS. Music Box Supper Club. Choir Vandals/Pillow Talk/ Ghost Slime/Hell & Highwater/ Homecoming Queen (in the Locker Room): 7 p.m., $8. Mahall’s 20 Lanes. Cinderella’s Tom Keifer with Special Guest Devilstrip: 8 p.m., $15-$80. Hard Rock Rocksino. The Element: 9:30 p.m., $5. Brothers Lounge. Extra Medium Pony Record Release/ Lowly the Tree Ghost/Chomp: 9 p.m., $5. Happy Dog. Nikki Hill (in the Supper Club): 8 p.m., $15. Music Box Supper Club. The Kingbees/David Loy & the Ramrods: 8:30 p.m., $15. Beachland Tavern. Brent Kirby (in the Wine Bar): 8 p.m. Brothers Lounge. Julien Labro Quartet: 8:30 p.m., $20.

| clevescene.com | September 28 - October 4, 2016

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| clevescene.com | September 28 - October 4, 2016

A Giant Dog/Glass Traps/Part Time Lover/Shagg: As the babies of the â€™80s make their way into the young rock â€˜nâ€™ roll bands of today, a revived interest in the glam and new wave of that decade and the one that preceded it naturally follows. From the T. Rex-inspired Diane Coffee (Foxygen drummer Shaun Fleming) to Seattleâ€™s Gazebos (paying homage to the Talking Heads), these forms of dance-ready rock have made their way into the indie vocabulary. Austinâ€™s A Giant Dog, known for party-inciting live shows, is yet another example. After paying its dues as a self-promoted band, the group began looking for a label for its next album, Pile. After a series of rejections that drove them to the brink of surrender, Merge Records (home to Arcade Fire, Teenage Fan Club) jumped on the opportunity and lapped the band up. (Kaufman), 9 p.m., $5. Happy Dog. Tom Jones: Veteran pop singer Tom Jones has been busy. Last year, he released a new album (Long Lost Suitcase) and autobiography (Over the Top and Back). Now, heâ€™s hit the road in the support the new releases. At tonightâ€™s show expect to hear songs from the album, a somber affair produced by multiinstrumentalist Ethan Johns, as well hits and deep cuts from his career repertoire. The disc includes a range of material, including the Celtic hoedown â€œHoney, Honey,â€? the Billy Boy Arnold track â€œI Wish You Wouldâ€? and a stripped-down version of Willie Nelsonâ€™s â€œOpportunity To Cry.â€? (Niesel), 8 p.m., $75-$265. Hard Rock Rocksino. Sinatra Night with Michael Sonata (in the Supper Club): Canton native Michael Sonata has always been involved in plays and choirs and was a member of the University of Notre Dame Glee Club. In 2004, he auditioned for a role in a Sopranos spoof that required a character

based on Frank Sinatra. Sonata got the part and has been imitating Olâ€™ Blue Eyes ever since. He includes some 90 songs in his repertoire and covers all eras, including the Columbia years and the Capitol years. He even takes requests from the audience. (Niesel), 8 p.m., $10. Music Box Supper Club. Kanye West: The Saint Pablo Tour: Rapper/producer Kanye West ďŹ rst emerged onto the scene in 2001 as one the producers on Jay Zâ€™s seminal album, The Blueprint. In 2004, West released his ďŹ rst album, The College Dropout and its success was fueled by the singles â€œJesus Walks,â€? â€œAll Falls Downâ€? and â€œSlow Jamz.â€? Albums Late Registration, Graduation, 808s & Heartbreak, My Beautiful Dark Twisted Fantasy, Yeezus and The Life of Pablo followed and West has become one of the most respected artists in the industry. West has often courted controversy as his calling out of President George Bush during a Hurricane Katrina beneďŹ t and interruption of Taylor Swiftâ€™s acceptance speech at the 2009 MTV Video Music Awards both made international headlines. West is also a fashion designer and has collaborated with Nike and Louis Vuitton in the past. An elaborate production, Westâ€™s Saint Pablo tour features a ďŹ‚oating stage that hovers above the audience and moves during the concert. If nothing else, West is a master showman with a ďŹ‚air for the unexpected and anything can happen at any given moment during one of his sets. Weâ€™d expect nothing less. (Emanuel Wallace), 8 p.m., $29.50-$129.50. Quicken Loans Arena. Beyond Pluto/Midnight Slander/ The Supposed So: 9 p.m., Free. The Euclid Tavern. Moises Borges and Kenny Davis: Celebrating 15 years of Musical Partnership: 8 p.m., $12. Bop Stop. Leon Bridges/Lianne La Havas: 7 p.m., $27.50-$45. Masonic Auditorium. Jones for Revival/Drunken Sunday: 9 p.m., $10 ADV, $12 DOS. The Kent Stage. Kings X/King of Spade: 7 p.m., $20 ADV, $25 DOS. Agora Ballroom. Merchandise/Public Memory/Key to the Mint: 7 p.m., $10 ADV, $12 DOS. Mahallâ€™s 20 Lanes. Rave So Hard: 9 p.m., $10 ADV, $15 DOS. Beachland Ballroom. School of Rock: 12 p.m., Free. Brothers Lounge. Tiger Sex/Beach Glass/Hemingway Hammers: 9 p.m., $5. Now Thatâ€™s Class. Jeff Varga (in the Wine Bar): 8 p.m. Brothers Lounge.

| clevescene.com | September 28 - October 4, 2016

LIVEWIRE Jackie Warren: 10:30 p.m., free. Nighttown. Who Hit Me Album Release/ Sweepyheads/Village Bicycle: 9 p.m., $5. Grog Shop.

SUN

Gunwale: A jazz act featuring Chicagobased sax man Dave Rempis along with bassist Albert Wildeman and percussionist Ryan Packard, Gunwale just issued Perihelion, its debut on the indie imprint Aerophonic Records, earlier this summer. It features noisy, improvised music that sounds like something Ornette Coleman might have dreamed up. (Niesel), 8 p.m., $10. Bop Stop. Alesana/Oh Sleeper/Famous Last Words/Artwork: 5:30 p.m., $14 ADV, $16 DOS. Agora Ballroom. Bad Noids European Tour Kick Off/ The Roobeyducks: 9 p.m., $5. Now That’s Class. Finish Ticket: 8 p.m., $18 ADV, $20 DOS. House of Blues Cambridge Room. October Noise Lunch: 4 p.m., Free. Now That’s Class. Mike Petrone (in the Wine Bar): 5:30 p.m. Brothers Lounge. Ramblin’ Jack Elliott/Pete McDonald: 7:30 p.m., $23 ADV, $25 DOS. Beachland Ballroom. David Sanborn: 7 p.m., $45-$87.50. Tangier Cabaret.

MON

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| clevescene.com | September 28 - October 4, 2016

10/02

10/03

People’s Blues of Richmond/ Thaddeus Anna Greene: Loud and psychedelic as hell, People’s Blues of Richmond (from Virginia, not the Northeast Ohio exurb) deliver freakishly enticing carnival-type music. The word “gypsy” is involved often when talking of their style. Good Time Suicide is a ﬁerce blend of all things drugs-, sex- and rock ‘n’ roll-related, with a proper Eastern twist that will make dancing at their live shows all the more involved and thrilling. The band is driven by escapism and hedonism — twin compasses in their journey into angular, shifty rock music. Oh, and the name? Think of the acronym behind your favorite dive bar beer. (Sandy), 8:30 p.m., $10 ADV, $12 DOS. Beachland Tavern. Skatch Anderssen Orchestra: 8 p.m., $7. Brothers Lounge. James Bay/Joseph: 8 p.m., $29.50. The Agora Theatre.

Beachland House Concert with Beaver Nelson/Joseph Allen Beltram: 7 p.m., $15. Beachland Tavern. Velvet Voyage (in the Wine Bar): 8 p.m. Brothers Lounge. Wet Nurse/Brain Wave/Fan Fiction/ Deche: 9 p.m., $5. Now That’s Class.

TUE

10/04

Josh Ritter: Long-time singersongwriter Josh Ritter captures listeners with his smooth voice and vivid lyrical stories on his latest album, Sermon on the Rocks. He arrived on the folk scene back in 1999 with his self-titled album, which gave us the ﬁrst taste of his masterful songwriting and ‘60s era folk singer-songwriter vibe. The new album represents somewhat of a change from his usual laid-back and low key acoustic arrangements. This time around, Ritter experiments with electric guitar, organ and a variety of percussive instruments but keeps his Bob Dylan-esque vocals. This folk singer will no doubt put on an impressive show. (Elizabeth Bullock), 8 p.m., $30.50 ADV, $38.50 DOS. The Kent Stage. Sonic Sessions: The Suffers/Jakubi: Much like Fitz & the Tantrums or Sharon Jones & the Dap-Kings, the Suffers, a 10-piece ensemble, sound like a blast from the past. Their recent self-titled album shows off the soulful vocals of lead singer Kam Franklin topped off the group with soaring vocals. The band has graduated from Houston clubs to the festival circuit so tonight’s show at the Rock Hall should signal a return to the band’s small hall roots and will provide locals to see the up-and-coming act in an intimate environment. (Niesel), 8 p.m., $5.50. Rock & Roll Hall of Fame. Shitshow Karaoke Hosted by Dirty Jones: 8 p.m., Free. Grog Shop. Sam Blakeslee/Dan Pugach Tentet: 8 p.m., $12. Bop Stop. Gavin Degraw & Andy Grammer: 7 p.m. Packard Music Hall. Islander/Palaye Royale/Bad Seed Rising: 6 p.m., $12 ADV, $14 DOS. Agora Ballroom. Mr. California’s Happy Hour Featuring the Safeties: 5 p.m., Free. Now That’s Class. Marissa Nadler: 8:30 p.m., $12 ADV, $14 DOS. Grog Shop. Nightowls/Acid Cats: 8:30 p.m., $7 ADV, $10 DOS. Beachland Tavern. Two-Set Tuesday Featuring Rue Snider (in the Wine Bar): 7 p.m. Brothers Lounge.

scene@clevescene.com t@clevelandscene

BOP STOP

Celebrate musical revolutionary Pierre Boulez at a special Cleveland Institute of Music concert series

Winner Of

2015 Scene Magazine Best Jazz Club & 2014 Fox 8 Best Nightspot

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September 25, 28 | October 5, 26 and 30 All concerts are free. Seating passes are required. cim.edu

10/1 | 8PM MOISES BORGES AND KENNY DAVIS

9/28 | 8PM PRIME TIME BIG BAND

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| clevescene.com | September 28 - October 4, 2016

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BAND OF THE WEEK DREAMERS By Jeff Niesel MEET THE BAND: Nick Wold (vocals/ guitar), Nelson (bass/vocals) and Jacob Wick (drums) THE BROOKLYN SOUND: Wold and Nelson started the alt-rock band in Brooklyn where they lived for ten years. Wold had been in another band that broke up and teamed up with Nelson to release the single â€œWolves (You Got Me),â€? which got some airplay on satellite radio. The two relocated to Los Angeles and added Wick to the lineup. Wold actually wrote much of its new album, This Album Does Not Exist, in Brooklyn before moving to L.A. where it tracked the songs at Fairfax Recordings (formerly Sound City Studios). WITHOUT A HOME: Homeless for a period in 2014, Wold took the opportunity to spend some serious time working on his songwriting

skills. â€œI lived in our practice space because rent was so expensive in New York,â€? he says. â€œI cut my shifts down at the bar where I worked and spent the rest of the time to work on music. I was living in this tiny cinderblock box and felt like I had to write my way out of there.â€?

IT STARTED AS JOKE: Because band members are infatuated with existentialist philosophy, they thought it would be funny to call their album, This Album Does Not Exist. â€œIâ€™ve always been interested in philosophy and why weâ€™re on this tiny blue dot of a planet,â€? says Wold. â€œI feel like I learned how to be a person by watching John Lennon and Kurt Cobain. Thereâ€™s a moral philosophy for that. With a name like Dreamers, we want to explain what we do with our lives. There are lots of

takes on existentialism, but I ďŹ nd it uplifting.â€?

these terriďŹ c pop songs. We aim to do something similar.â€?

WHY YOU SHOULD HEAR THEM: The new album features a mix of rock and pop that the band dubs â€œcosmic rock.â€? The careening â€œNever Too Late to Danceâ€? recalls the Killers in their prime and loud-to-quiet dynamics of â€œSweet Disasterâ€? compare favorably to Weezer. â€œI love music thatâ€™s deep, but my favorite band growing up was the Beatles,â€? says Wold. â€œI grew up when Nirvana was the be all and end all. They took punk rock songs at the time and turned them into

WHERE YOU CAN HEAR THEM: dreamersuniverse.com WHERE YOU CAN SEE THEM: Dreamers perform with the Mowgliâ€™s and Kid Runner at 7:30 p.m. on Friday, Sept. 30 at the Beachland Ballroom. Tickets are $17 ADV, $20 DOS, beachlandballroom.com.

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Interviews will be held at 13359 Pearl Rd. Strongsville (Field Office Next to Master Pizza) | clevescene.com | September 28 - October 4, 2016

BEACH BOY MIKE LOVE TO APPEAR AT ROCK HALL FOR THE PAST HALF CENTURY, singer Mike Love has guided the Beach Boys on a rollercoaster ride of a career. At 7:30 p.m. on Wednesday, Sept. 28, he’ll talk about his career at the Rock & Hall of Fame and Museum as Dr. Jason Hanley interviews him. Topics for discussion include Love’s infamous speech at the 1988 Induction Ceremony, his newest book and his work with WaterHealth International. Love and his band (which also features Beach Boys member Bruce Johnston) will perform a short acoustic set. After the interview, fans can meet and greet Love during a special book-signing for his new book, Good Vibrations: My Life as a Beach Boy. In order to attend the meet and greet book signing, guests must purchase a book from the FYE

Photo courtesy of the Rock & Roll Hall of Fame

C-NOTES

store inside the Rock Hall. Fans who support the WaterHealth International by making a $1,000 donation to Global Water Challenge will have the option to attend a VIP Beach Boy experience in Cleveland. The VIP pass includes a VIP cocktail party and book signing, a private yacht transfer to the concert at the Rock & Roll Hall of Fame, special reserved tickets for the concert and a book signing with Love. Contact Jacqueline Lundquist with WaterHealth International at jlundquist@waterhealth.com if you got that kind of cash.

WILBERTS TO HOST PROG ROCK SHOW Raised in Cleveland by parents who play with the Cleveland Orchestra, violinist Joe Dennison

Beach Boy singer Mike Love will bring “good vibrations” to the Rock Hall.

Sit down with your guests. Advertise with SCENE. Call 216-241-7550 for more information.

| clevescene.com | September 28 - October 4, 2016

C-NOTES mixes classical and prog rock with his band, Joe Deninzon and Stratospheerius. Last year, Dennison and fellow prog rockers Circuline teamed up to create Sonic Voyages Fest, a touring prog rock festival. He brings the show into town this week for a performance at 7:30 p.m. on Thursday, Sept. 29, at Wilberts Food & Music. Both bands have received their fair share of praise. Critics have called Deninzon “the Jimi Hendrix of the Violin,” because of his innovative style. Circuline, a “modern cinematic progressive rock band that eatures two theatrical lead vocalists, a keyboard player from Juilliard, a jazz-rock genius on guitar, and a drummer with progressive rock in his DNA,” draws upon prog inﬂuences as well. The King Crimson-inspired Cell15 opens the show. Tickets are $10.

and multi-act contemporary music festival, LaureLive: Music with a Mission kicked off its inaugural year earlier this summer with two days full of music, art, food and fun at Laurel School’s 140-acre Butler Campus located at 7420 Fairmount Road. The concert featured performances by acts such as Michael Franti & Spearhead (pictured), O.A.R., Elle King and Grace Potter. The concert’s organizers, the Cleveland-based Elevation Group, has just announced that that LaureLive: Music with a Mission will return in 2017 to the Butler Campus. The festival will take place on June 10 and 11. A limited number of “early-bird discount” tickets are currently on sale. They’re priced at $50, $90 for a weekend pass. According to the promoters, this will be the lowest cost available. The artist line-up and information on tickets in all price classiﬁcations will be announced in November.

GROG SHOP TO SCREEN ROCK DOCUMENTARY

ROCK HALL PUTS ELTON JOHN JACKET ON DISPLAY

The Smart Studios Story, the official film of Record Story Day, documents “the roots and rise of independent music” in the States to Smart Studios, the legendary recording facility founded in Madison, Wisconsin by Butch Vig and Steve Marker. Acts such as Nirvana, Smashing Pumpkins, Garbage, L7 and Death Cab For Cutie all recorded there. The film includes “in-depthinterviews with musicians and producers, never-before-seen archival footage and a powerful soundtrack.” Currently on a fall screening tour, the film has a DVD release date of Nov. 25, which also happens to be Record Store Day Black Friday. That day, American Noise Volume 1, a vinyl pressing of tracks recorded at Smart Studio, will also be released. Each vinyl release will include artists such as Killdozer, Tar Babies and Die Kreuzen, all of which are featured in the film. The soundtrack also includes a track from Vig’s first band, Spooner, and a variety of Midwest acts. You can see the movie early when it screens at 9 p.m. on Monday, Oct. 3, at the Grog Shop. Tickets are $7.

Each year, Rock & Roll Hall of Fame members play a role in determining a new artifact to be exhibited at the Museum. At the Membership Appreciation Day event held this past weekend, the Rock Hall announced the winning item — Elton John’s “Hercules” stage suit. The suit won via an online vote and beat out the following: Geddy Lee’s Black Fender Jazz bass guitar played on Rush’s Clockwork Angels tour; Jerry Garcia’s Takamine 6-string acoustic guitar played with the Jerry Garcia Band and used by Garcia for Broadway shows in October 1987; Janet Jackson’s “Rhythm Nation” music video jacket and baseball cap; and an outfit worn by Pantera’s Dimebag Darrell. Known for his flamboyant costumes, Elton John, who was inducted into the Rock Hall in 1994, wore the outfit both onstage and in photo shoots. The trousers feature the word “Hercules” appliqued down both legs. The outfit, which will remain on display through next year’s vote, is now featured in the Ahmet Ertegun Main Exhibition Hall, adjacent to the Right Here, Right Now exhibit. – Jeff Niesel

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SAVAGE LOVE CHEATS By Dan Savage Dear Dan, I’m a guy, 35, and a cheating piece of shit. I’m engaged to a woman I love, but earlier this year I cheated on her. I have no excuse. She discovered the dating app I used, and we worked through that. But she doesn’t know that shortly after her discovery, I went ahead and cheated. To my meager, meager credit, I did seek out only women who were looking for NSA hookups. But I quickly came to realize how big of a mistake this was, how much I love my fiancée, and that I’m a shitty person. I see a therapist, and he advised that, if I’m certain this was a one-time thing, and if I’m convinced that I’m happy with my fiancée, I should keep quiet. I shouldn’t burden my fiancée with this knowledge. I’m inclined to agree but, dear God, the guilt. I feel like I’m not the person my fiancée thought I was. What do I do? Should I just accept this as a lesson learned and keep it to myself? Perhaps there’s selfishness at play here, since I’m trying to make myself feel better, but I’m struggling. —Can’t Personally Overlook Selfishness I’m with your therapist, CPOS—and, hey, it’s nice to see “keep your mouth shut about a one-time infidelity” make the jump from our finer advice columns (Dear Prudence, Dear Sugar, Savage Love) to some of our actual therapists. While honesty (best policy) and confession (good for the soul) get all the positive press, there are times when unburdening yourself is absolutely the wrong thing to do. The person who confesses may wind up feeling better— because at least now they’re being honest—but the person to whom they’ve confessed can wind up feeling a whole lot worse. Some burdens should be borne not shifted. If your fiancée is going to inevitably find out, CPOS, better she find out about it from you. But if the secret can be kept and if living with the guilt motivates you not to cheat again, then you can keep your mouth shut with a semi-clear-ish conscience. This advice is not a license for serial adulterers. If you can’t be faithful to someone—if that’s what you discovered when you had the affair—then you should extract yourself from the monogamous commitment you’ve already made to your fiancée and refrain from making monogamous commitments to anyone else in the future. But if you honestly believe you can be faithful, CPOS, you don’t have to see yourself as a

cheating piece of shit. A serial adulterer/ betrayer/liar is a cheating piece of shit; someone who cheated once, regrets it, and makes a good-faith, multi-decade effort not to do it again is a fallible human being.

Dear Dan, My boyfriend of five years is a sweet, smart, handsome, loving, supportive, middle-aged, chubby white guy. We have a fulfilling sex life. When we first met, he shared a fantasy he had about watching me get fucked by a black guy. (He knows it’s not something I’m interested in IRL.) I’ve caught him several times posing online as a young, buff, handsome black guy looking for a “snowbunny.” I call him out on it every time, and it causes huge fights. He says he’ll stop, but he never does. Weighed against all his other good qualities, this isn’t that big of a deal. Clearly he’s not going to meet up with the women he’s chatting with. What makes me sad is that I adore him as he is—I love his big white belly, his bald head, and his rosy cheeks. I think I do a good job of communicating this to him. I guess I’m writing to you for some reassurance that I’m doing the right thing by letting this behavior go and also for some insight into why he’s doing it in the first place. —Upset Girlfriend Hates Eroticized Racial Secrets If this isn’t that big of a deal, UGHERS, why are you calling him out on it? Why are you monitoring his online activities/fantasies at all? What your boyfriend is doing sounds relatively harmless—he’s pretending to be someone he’s not while flirting with other people online who are most likely pretending to be someone they’re not. (I promise you most of the “snowbunnies” he’s chatted with were other men.) The world is full of people who enjoy pretending to be someone they’re not, from cosplayers pretending to be Captain America or Poison Ivy to creative anachronists pretending to be knights and ladies to Donald Trump Jr. pretending to be a human being. We can’t gloss over the racial/ racist cultural forces that shaped your boyfriend’s kinks, of course, but it’s possible to explore those kinds of fantasies online or IRL without being a racist piece of shit.

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ACROSS 1 Flowerâ€™s friend 6 Beaver-made barriers 10 ___ Punk 14 With â€œThe,â€? groundbreaking Showtime series 15 Jacobâ€™s biblical twin 16 Singer Lordeâ€™s real first name 17 Charity beneficiary 18 â€œLikeâ€? or â€œleaveâ€?, e.g. 19 Chick chirp 20 â€œWe couldnâ€™t get alien blood, so we just sprayed plants with ___â€? 23 2016 U.S. Open winner Wawrinka 24 Abbr. at the bottom of an application 25 â€œRing around the collarâ€? detergent 28 â€œOf course we canâ€™t have a monster destroy buildings, so we built entire ___â€? 34 Bit of slapstick 36 Jabba the ___ 37 Anti-___ hand soap 38 Grosse ___, Michigan 39 How hordes advance 42 Mrs., in Mallorca 43 Quentin preceder 44 Ground beef packaging word 45 Fixate (on) 47 â€œInstead of alien spacecraft, we got fishing line and dangled ___â€?

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CLEVELAND

BARBERTON

4264 Pearl Rd. 216.749.3440

536 W. Tuscarawas 330.753.0500

EASTLAKE

STRONGSVILLE

AKRON

MANSFIELD

19097 Drake Rd. 440.572-8287

1004 Kenmore Blvd. 330.753.3600

532 Park Ave. West 419.522.1695

32888 Vine St. 440.942.8668

LORAIN

Tattoo Kits Available!

Now 832 Broadway Hiring!

440.242.4080

GIRARD 16 N. State St. 330.545.8131

OPEN 7 DAYS A WEEK!

AUTHORIZED DEALER

www.glasshouseohio.com | clevescene.com | September 28 - October 4, 2016

Representing the light & dark side

LONG LIVE THE KINGS

of pumpkin beers,

Southern Tier Brewing

PUMKING & WARLOCK

about 2 hours east of

sit atop the throne

downtown Cleveland.

as kings. Both are

Visit the brewery for

high ABV, unmatched

pub exclusive beers,

in flavor & highly

tours, & great food.

regarded.

Company is located