Recent and Upcoming Thrills at DiverseWorks

Photo by Elaine Mesker-Garcia

Don't expect DiverseWorks to settle into a summer slumber; movement abounds at Houston's favorite Indie art hot spot. Earlier this month, the A-list hipster art-eratti showed up en masse for Luck of the Draw 8: When Art Attacks. The plan is simple: pay your money, when your number comes up, you have twenty seconds to snatch one of the 224 artworks lining the walls. Talk about fast dancing. Curator Nancy Zastudil never misses a DW art event. “Luck of the Draw is a great event that generates true excitement and much needed financial support for art,” says Zastudil, Associate Director Cynthia Woods Mitchell Center for the Arts. “It's always fun and inevitably surprising.” Guests were treated to yummy bites by Culinaire and liquid refreshments came from Real Ale Brewing Co. and Dripping Springs Vodka. The manic festivities were orchestrated by OUTSMART's Nancy Ford. Zombies were among us too. Performance Art Lab, dressed in their best Sunday graveyard garb, entertained the crowd in a suitably grizzly rendition of Michael Jackson's legendary Thriller. And for those that were faint of room temperature, you could hide away in the chilly theater to catch Dawn of the Dead.


Next up, DiverseWorks joins up with Artadia to present $TIMULUS, from July 17 through August 15, 2009, which features new work by the 2008 recipients of the Artadia Awards. Artadia: The Fund for Art and Dialogue, offers substantial artist awards in five cities, including Houston. The $TIMULUS artists include Mequitta Ahuja, Dawolu Jabari Anderson, Katy Heinlein, Lauren Kelley, El Franco Lee II, Lynne McCabe, Delilah Montoya, Katrina Moorhead, Floyd Newsum, and Stephanie Toppin.


There's more to get thrilled about once fall hits. Minneapolis dance maven, Morgan Thorson premieres Heaven in October, an exploration of the emotional and physical manifestations of ecstatic perfection. Thorson collaborates with the band LOW, known for their intense and subtle narrative tunes. Thorson's three- year developmental residency has included visits to mega god spot, the Lakewood Church, and studies in other Christian practices. “Minneapolis seems like the next 'hotbed' of dance for some reason and Morgan is the one who is most ready to tour – because of the strength of the work, the vision and how she works with dancers,” says Sixto Wagan, DiverseWorks' co-director. “She is interested in religious experiences as a type of theater, and also will be doing interviews with people about their own spiritual revelations.”


Early in 2010, DiverseWorks goes down under with a visit from Aussie artist Clare Dyson for the U.S. premiere of Voyeur, an installation focused on intimacy, desire and the act of revealing. Dyson's work takes the title seriously, as each audience member watches from a different viewpoint. It's up to the audience member to choose how they move, and where they choose to watch. “I had been interested in Clare’s work because of the installation-like qualities of the sets she has used and also for her really smart interaction with audiences,” says Wagan. “Like Pat Graney’s House of Mind, there's a much more active relationship between audience and the performance work.”


On the local scene, DiverseWorks begins a partnership with The Catastrophic Theatre, launching later this year with Obie Award-winning playwright Lisa D'Amour's Anna Bella Eema. In 2010, Artistic Director Jason Nodler collaborates with with former Pixies legend Charles Thompson (a.k.a Black Francis) for Bluefinger, about the tempestuous career of Dutch painter Herman Brood. “For decades DiverseWorks has been a leader in presenting progressive arts to Houston audiences,” says Jason Nodler, Catastrophic Theatre's artistic director. “We are delighted to team with them again in that effort.”


There's a lot more happening as the season starts up, but this should be enough to fill your thrill card for now.

Artadia Award Winner Floyd Newsum

Ghost Series Sirigu, Janies Apron

Floyd Newsum, Houston's legendary mix master, combines colors, symbols, personal material and images from other cultures in his works on paper. Newsum's work can be found at the Philadelphia Museum of Art, the Museum of Fine Arts Houston, the Art Museum of South Texas in Corpus Christi, and many private collections. He is a professor of art at University of Houston - Downtown. As one of top three Artadia award winners, his work will be featured in $timulus, opening this weekend at DiverseWorks. Newsum talks about his work and life.

29-95: Tell us about your new work, Ghost Series Sirigu, Janie's Apron.

Floyd Newsum: Sirigu is a small village in Ghana. I have two friends that live there. It seems the women are responsible for the decorations, and I have always liked the way they make art. Janie's Apron refers to my great grandmother, Janie Graham LaMondue.

29-95: Personal material often finds its way into your work. How did your great grandmother happen to make an appearance in this piece?

FN: She was a domestic worker who was able to save money. I recently received an inheritance check from her estate. She was only one generation out of slavery, yet able to take care of money and bless others. Here is a woman taking care of children's children. I wanted to dedicate a painting to her.

29-95: Combining is a big part of what you do.

FN: Yes. I mix and mingle things. My paintings are complex even in the way they are made. There are many parts to a whole. The title is Ghost Series Sirigu, Janies apron. This has reference to the past, and to my grandmother and the women of Sirigu who paint the images for decoration are a reflection of thoughts in a visual manifestation. I have always put many different images and thoughts together in one composition. There are two paintings in this show with "Ghost series" as part of the title. Some of the images are reccurring and some just appear because they make good compositional visual elements. My work doesn't always have an element in it that has a meaning.

29-95: Talk about your process. Floyd Newsum

FN: I use multiple pieces of paper that are collaged together. I am known for works on paper and multiple pieces of paper that become one composition. I even collage on collage. As for media, I use all kinds of stuff, oil stick, acrylic, even Crayolas.

29-95: Why paper, other than it's great for Crayolas?

FN: That's what I am known for. When I was in undergrad I used to win all the watercolor awards. I like working on paper. It's what I love; it's my passion.

29-95: What does it mean to you to be one of the top three of Artadia award winners?

FN: The jurors really spend time visiting studios. It's a great honor and it's the kind of award you want to win.

29-95: Your work will now be included in the David. C. Driskell at the University of Maryland, which is one of the most prestigious collections of African American artists in the country. Your sculpture will grace the Hazel Harvey Peace Youth Center in Fort Worth this fall, you are designing the windows for the lobby for the new building for Crocker Elementary and you recently wrapped up a solo show at HCG Gallery in Dallas. I know there's more but those are some recent high points. Your career is on a bit of roll, wouldn't you say?

FN: I have been blessed.

DiverseWorks presents $timulus Artadia Awardees Houston 2008, July 17-August 15, 2009. Opening reception Friday, July 17, 6-8 p.m.

Reprinted from 29-95.com.

TUTS' 42nd Street: A Review

Who doesn’t want to hear “We’re In the Money” right about now? OK, so we’re not, but that’s no reason to skip out on such buff fluff as TUTS’ snazzy production of 42^nd Street at Miller Outdoor Theatre. Judging from the endless mob occupying the hill above Miller, Houston is showing. What’s not to like in listening to classic tunes under a rather pleasant-for-Houston summer night, and all for free. Optimism is seldom better packaged than in B’way musicals.

Based on the 1933 Warner Bros film, 42^nd Street is the quintessential backyard, let’s put in a show, chorus girl rises to stardom in 24 hours, musical. And if that’s not enough, there’s an unapologetically thin love story and a hefty dose of sensational tap numbers. Plus, Henry Warren’s memorable songs such as “Lullaby of Broadway,” “Shuffle Off To Buffalo” and the bluesy show-stopper “42^nd Street” are always worth revisiting.

TUTS does a fine job with this production as director Norb Joerder plays it close to the legendary Gower Champion’s epic choreography and direction. (Tragically, Champion died hours before 42^nd Street opened on Broadway in 1980.) The cast—terrific all—is headed up by Loretta Swit (“Hot Lips” in the TV series M*A*SH) as the reigning B’way diva Dorothy Brock. Swit, albeit not a natural songstress, still has a luminous presence. With her wide smile, still-svelte frame and throaty voice, she adds a shiny Hollywood touch.

Shannon M. O’Bryan is 100% fresh air as Peggy Sawyer, the small town girl who gets the guy (two of them, to be precise) and the leading part when Brock breaks her ankle. Houston native and TUTS alum Austin Miller gives Billy Lawlor, the know it all boy about backstage, enough spunk to put on the show all by himself. Miller’s smooth tenor combined with his savvy chops on the boards, make him one to watch. (And watch you did. You might remember him as the kid that should have won on NBC’s Grease: You’re the One That I Want.) Miller and O’Bryan are especially mesmerizing in the smokin’ hot tap sequence in “42^nd Street” number.

Steve Blanchard adds a suave polish to his portrayal as the tough and sexy director Julian Marsh, totally rocking the house in his rendition of the triple Oscar-winning song, “Lullaby of Broadway.” Denise Nolin conjured a young Ethel Merman in her performance as the gypsy veteran Maggie Jones. The ensemble delights in their ace tap skills and over-the-top glam. Sitting in Miller’s comfy new seats, whirling fans above cooling the night air, slurpee in hand, taking in a smash vintage show set during the Depression (you know, the other one)—what better way is there to forget the fact that we’re not in the money? – Nancy Wozny

Theatre Under The Stars presents 42^nd Street through July 14^th at Miller Outdoor Theatre. www.tuts.org.

Reprinted from Houston ArtsWeek.

Austin Miller on 42nd Street

Courtesy photo: Austin Miller

Austin Miller, the hometown boy who had all of Houston cheering for him on NBC's Grease: You're the One That I Want a few years back, returns to his TUTS roots to play Billy Lawlor in 42nd Street at Miller Outdoor Theatre this weekend. Courtesy photo: Austin Miller

Set during the depression (the other one), 42nd Street is full of recognizable tunes such as We're in the Money and Shuffle Off to Buffalo. This Prozac-in-tap-shoes extravaganza earned the Tony Award for Best Musical in 1980. With a classic boy-meets-girl-who-becomes-a-big-star plot, it's bound to cheer us up, or at least make us forget the rent is due. Miller took a break from a grueling rehearsal to visit with us:

29-95: I am guessing from your heavy breathing this is not a show for the faint of heartbeat. What's the pace like?

Austin Miller: It's breakneck; the whole things happens so fast, I can barely squeeze in a pee break and then I am bowing.

29-95: How do you relate to the character of Billy Lawlor?

AM: He's a chorus boy. He got pushed, made it, and now he's a juvenile star and quite proud of himself and his emergence into the spotlight. He uses his position to help out his social life. He's prideful and a bit lecherous. So I may have gone into a bar and said, "Hey I'm on TV, can I buy you a drink?"

29-95: Let's talk about TV. You should have won that Grease reality show over Mr. I-already-forgot-his-name.

AM: It's not about who won, but who's still working.

29-95: Amen, speaking of work, 42nd Street is veritable tapalooza. So what happens when you hit the boards? Got chops?

AM: I started tap lessons when I was seven, so yes, it's in my body. I did go back to class to sharpen my skills and clean things up when I knew I was going to do the show.

29-95:You are from Houston right?

AM: Technically Alvin. We have hay and horses there, barns instead of Broadway.

29-95: Is that how you ended up at TUTS?

AM: Yes, my parents graciously schlepped me to classes. TUTS is an amazing place and one of the few schools in the nation dedicated to musical theater training.

29-95:You played Link Larkin in Hairspray on the first national tour. Do you specialize in playing the cad about town kid?

AM: Let's just say I've been playing a 17-year old for a decade or more.

29-95: Aside from your mighty talents, why should we head out in Houston's blazing heat to see a show set during the 1930s depression when we already got one going on at home. With AC, I should add.

AM: Because it's F.R.E.E. And you can drink beer and wine during the show and have yourself a big time. The cast is phenomenal; Loretta Swit (Hot Lips on M*A*S*H) plays the role of prima donna Dorothy Brock. The sets and costumes are spectacular; I change clothes 14 times. This is a top-notch amazing production. It's a spectacle of all spectacles and worth a few mosquito bites.

July 9-14, 8:15 p.m., at Miller Outdoor Theater. Free. Call 713-558-8887 or visit www.tuts.org.

Reprinted from 29-95.com.