This use of reconciliation to jam through this legislation, against the will of the American people, would be unprecedented in scope. And the havoc wrought would threaten our system of checks and balances, corrode the legislative process, degrade our system of government and damage the prospects of bipartisanship.Seriously Senator Hatch, stop with the hypocrisy and the lies. If you have substantive problems with health care reform, feel free to air them, but I'm personally insulted that you think that Utahns are too stupid to fact check the malarky that comes out of your mouth. A fourth grader with a computer could disprove your distortions.
Hatch said Thursday that using reconciliation would be “one of the worst grabs for power in the history of the country” that would permanently impact relations between the two parties.
“It is going to be outright war and it should be, because it would be such an abuse of the reconciliation rules,” Hatch said. “If they abuse those rules it is going to lead to even more heated animosities between not just the two parties, but even between individual senators.”
8:20 - arrive at bus stop to catch the 8:25 bus to work8:25 - the 8:25 goes by...the wrong direction. Either the bus driver is on crack or the bus is just late late late. Turns out, it's just running really late (20 min by my calculations.) The driver recognizes me and signals me to run across the street and get on.8:30 - the bus gets to a TRAX train station. Because TRAX is a more direct route, I get off and wait.8:31 - A four car Sandy train goes by. (I'm going the other direction.)8:33 - A four car Sandy train goes by.8:34 - A four car Sandy train goes by. Seriously.8:35 - the downtown train is scheduled to come. I can either take the downtown train and transfer or take the University line. Either way. But though the downtown train is scheduled to come, it doesn't.8:40 - a University train comes by...15 minutes late, which is okay because I wasn't there when it was scheduled to come. Still, there's only one car...weird...and it's packed like sardines. Brandon doesn't fit.8:45 - the Downtown train comes...10 minutes late. There's only one car on this one too. Doesn't make sense to take this train, so I decide to wait the 10 minutes till the next university train is scheduled to come.8:50 - Another Sandy train comes by. Four cars. WTF???8:55 - the next University train is scheduled to come. It doesn't.9:00 - another downtown train comes by...packed...only two cars...dammit (mhrip)9:05 - Yet ANOTHER Sandy train comes by. This is five so far. Or TWENTY practically empty cars.9:10 - The University train comes. Finally. Two cars. Packed. Brandon forces himself into one of the stairwells on the last car.9:14 - Train FINALLY leaves the station.9:15 to 9:50 - the train slowly takes 35 minutes to do a 20 minute route. And it's packed the whole way. And I have to get off every stop because I'm in the stairwell and everybody needs to exit. I still can't feel my toes.9:55 - I'm at work. 55 minutes late. Cold. Miserable. But I missed Staff Meeting. Totally worth it!
A New Brain, Eleemosynary & RoundupAnd ANY of this is useful? So I thought I'd respond:
Small Stages: Three community theater companies bring new productions.
By City Weekly Staff
A New Brain
If a musical is going to go the “throughsung” route, it’s usually because something about the subject matter feels particularly operatic. William Finn’s musical aims for that level of emotional grandeur, and instead it swings between pleasantly quirky and merely overwrought.
There’s a certain appropriateness to telling the story of Gordon Schwinn (Jon McBride) in this fashion: He’s a composer who dreams of producing great work.
Unfortunately, his current job finds him penning silly ditties for a children’s television program—and his chance for ever creating something more profound is in doubt when he’s diagnosed with a rare brain disease.
Not surprisingly, the diagnosis puts Gordon in a contemplative frame of mind— and from there, Finn’s score spins in multiple directions. We get a glimpse of his childhood with a horse-betting father; a male nurse gets a solo describing himself as “Poor, Unsuccessful and Fat”; a wandering homeless woman (Julie Carrillo) offers odd insights. And it’s hard to get a handle on what a lot of this has to do with a man facing his mortality and turning it into a dark fantasia.
Dark Horse Company Theatre does put together a solid cast of performers to provide an evening’s entertainment. Carrillo is a vocal standout, as is Rhett Richins as Gordon’s lover Roger, who gets a gorgeous solo moment with “Sailing.” And there’s an effectively emotional scene of Gordon’s mother (Karin Gittins) letting loose her parental anguish in “The Music Still Plays On.” You’ll just need to make it through the parts of the story that didn’t quite require a whole song and dance.—Scott RenshawDark Horse Company Theatre
University of Utah Post Theatre
245 S. Fort Douglas Blvd.
801-581-7100
Through Nov. 15
DarkHorseCompanyTheatre.com
Eleemosynary
The 1980s were a good decade for thinky, conceptual plays that don’t really go anywhere but instead analyze things like “the relationships among three generations of women.” Lee Blessing’s Eleemosynary is one of those. As such, it’s a humdinger; it’s the kind of script that people describe as “delicate.” This is because it’s all about those relationships, which are tricky.
These plays are really psychological whodunits: After the characters are introduced in all their inscrutable quirkiness, the main point is to drill down through layers of their past traumas until a common root to all their conflicting neuroses and motivations is miraculously revealed. In this case, the three generations of women are represented by metaphysical adventurer Dorothea (Jan Frederickson), her daughter Artemis who had eidetic memory of past events (Holly Fowers), and monomaniacal granddaughter Echo (Aly Dowe).
This particular psychological drill-down centers around the issue of intellectual development: Dorothea’s desire for an education was thwarted during an era when women were discouraged from such pursuits, so she made damned sure Artemis went to college; later, their mother/daughter conflict was played out in Echo, making her a shockingly fierce spelling-bee champion. The sins of the mothers are visited upon the daughter.
As Echo, Dowe is the standout in this production with her budding emotional range. Fowers’ Artemis remains stiff and reticent, and I was wishing for a broader performance from Frederickson as the wacky, free-spirited Dorothea.
Still, despite a few technical glitches, the show’s pacing is remarkably snappy. It’s a modest production, and an ambitious one. And, if Blessing’s play was an odd choice for Pinnacle, the challenge was well met. Nothing ventured, nothing gained.—Brandon Burt
Pinnacle Acting Company
Midvale Performing Arts Center
695 W. Center Street
Through Nov. 14
PinnacleActingCompany.org
Roundup
In Kurt Proctor’s world-premiere play Roundup, the romanticizing of the Old West is explored through family stories and a pile of old cowboy poems. We’re left wondering if that West ever really existed—or if that’s even a question worth asking.
Carl (Joe Welsch) feels he’s missed out on something. His dad was a real cowboy, keeping herds on the land before freerange was a catch phrase. His brother, Randy (Greg Peters), followed in those near-mythical bootprints but doesn’t see what all the fuss is about.
It’s a promising premise, and Peters in particular offers a strong performance. However, the show doesn’t quite hold together. Rather than build and develop its themes and characters, Roundup pummels the audience with history, relationships and prejudices in the opening scene.
Characters talk over each other in a manner that is supposed to come off as naturalistic, but instead feels like an improvised rehearsal exercise.
Similarly jumbled is the depiction of the drinking problem of one of the characters. His alcoholism, its causes and the related concern of his family are unevenly portrayed, giving the development a disingenuous air.
However, the play does give insight to the core question of what it means to live in the West in the shadow of rugged individuals, be they real, imagined or somewhere in-between. The show is at its best when this territory is covered by two characters onstage, talking around a fire, under the stars—like we do in these parts.— Rob Tennant
Utah Contemporary Theatre
Rose Wagner Performing Arts Center
138 W. 300 South
801-355-ARTS
Through Nov. 21
UtahContemporaryTheatre.org
It's a sad day when a newspaper review reveals more about the writer’s lack of research, experience, and/or writing abilities than about the work they he or she is reviewing. Obviously the above reviewers had only a few short paragraphs' space to describe and critique three entire shows. But that's no excuse for writing an incoherent, rambling synopsis then tacking on a couple critical sentences to pass off a half-assed assessment as a "review."
This does NOTHING for the theatre-going public, the performers, or the producing organization. A review should adequately discuss a production, and give the reader an idea of why your assessment is valid...or at least why youthink your assessment is valid. Regardless of whether the reviewer is dissecting a professional production or a “community” theatre piece, a valid, well-written, critical assessment is essential to the vitality of the theatre community…both the artists and the theatre-goers. If your newspaper can’t spare the resources to write an intelligent review, simply publish the company’s press release and leave it at that.
With a statement like "If a musical is going to go the “throughsung” (sic) route, it’s usually because something about the subject matter feels particularly operatic," Mr. Renshaw simply reveals either his lack of knowledge about the musical theatre genre or his laziness in formulating an opening argument. His entire review, but especially the opening paragraph, is a waste of the reader’s time and the newspaper’s space.
Mr. Tennant’s sweeping generalizations about UCT’s Roundup make the core of his review muddled and unreadable. In his middle paragraphs he has written nothing specific enough to be useful to either the artists or the public. The entire review feels like a first draft, hastily cobbled together from notes he made during the performance--all the while wishing he was working on one of his other "more important" deadlines.
Mr. Burt’s review of Eleemosynary is at least well written, but falls woefully short when, after three long paragraphs about the material, he takes two tiny paragraphs to actually discuss the production. Once again, the reviewer gives the reader very little information about the quality of the performances, direction, and overall production.
Finally, Mr. Renshaw, what the hell is “You’ll just need to make it through the parts of the story that didn’t quite require a whole song and dance.” supposed to mean? Your excruciating review of A New Brain is an embarrassment, plain and simple. If you find the material “swing[ing] between pleasantly quirky and merely overwrought” could you please take a moment to explain why? It sounds to me like you coined (or stole) an intelligent-sounding phrase with big five-dollar words but then not only failed provide context, you failed to check the dictionary to see what the words actually mean.
Rarely does a local reviewer actually write something useful anymore. Perhaps it’s because the newspaper industry is dying and reviewers are most often staff writers whose primary job is something more glamorous. But that’s no excuse for shoddy work. City Weekly readers expect and deserve better.
