by Ann Klefstad, editor
October 22, 2007
In this issue, MnArtsWeekly editor Ann Klefstad bids farewell; she’s leaving after November 1. Also, don’t miss the Soap Factory Haunted Basement preview! Plus a full slate of everything else: literature, music, dance, and more.
Ann Klefstad says goodbye;
there’ll be one more issue under her watch: MnArtsWeekly 1.34 will give you the long version of articles from the upcoming 10,000 arts,
our print quarterly produced in partnership with the Rake.
Jeffrey Kalstrom gives an erudite and personal take on the thrills and chills of the Soap Factory’s Haunted Basement:
don’t miss it! It’s your chance to put a stake through the heart of your clown phobia.
Lightsey Darst’s thoughts on the recent Houson Ballet
performances here encompass just why ballet remains so appealing—even in a democracy.
Tom Gadbois gives us a look at the way Justin Roth’s
career grew from an interest in music as business to an interest in music, as music. It’s a tale of passion and skill, in which practical canniness also plays a role. Yes, musicians can manage themselves—and without squelching their gifts.
Jaime Kleiman, back from her travels, gives us an up-close, personal take on Cherry Docs
at the Minnesota Jewish Theater Company. “Docs” (Doc Martens boots), which so many of us wore in our youth, become an emblem of hate; and the law becomes an ambiguous entity. Read her intriguing take on this tale of Jewish life in America.
Ann Klefstad reviews Marilynn Herrmann’s first book, Signalling for Rescue
an accomplished set of stories that belies its debut status. Both precise and subtle, these tales of everyday life in the mortal world contain multitudes.
Some Assembly Required, our podcast sampler of sampled music compiled by Jon Nelson, this week has over a dozen tracks by The Bran Flakes, Kristine H. Burns, Mr. Dibbs, The Overneath, People Like Us, PLS_WDTH, Project Data Control,
Realistic, David Shea, Splatt, Donna Summer, V/VM, Myeck Waters and Wobbly.
Our What Light poet this week is Mary Kay Rummel;
her work “Deciding to Stay” evokes Yeats’ “Wild Swans at Coole” in its autumnal immanence.
Finally, we reprise Sean Smuda’s account of the show he co-curated with Obsidian Arts, “Segrelicious.”
It’s up for a few days more—seize the moment and go and see.