Given what they have to work with, the cast busts its ass with some resulting moments of real excellence and charm. Taylor Gill as prodigious progeny Sarah endows the role with a cautious vulnerability that is often lovely, and Joey Hood's disoriented Jim is affably disarming. It is curious, however, that the performances in this piece can vacillate from genuinely affecting to caricature so mercurially. The relationships periodically seem quasi-formed and in need of a more subtextual history. Often it seems that deeper, more smoldering choices would be more effective, but they are eschewed for laugh-grabbing choices like "hysterical", "awkward", "weird", and "torn". The production's attempts at quirk seem unpredictably disingenuous, and it seems to be on the whole confused as to whether it is a drama with comedic elements or a dark comedy with dramatic themes. With a chimeric script like this, a clearer sense of vision and a more complex root system would've benefited immensely.

Sick is atmospherically engaging. Upon entering a pristine white burrow bathed in homely light, the realization that this place isn't quite right sets in. Air filtration systems stand sentinel, and plastic bedecks the furniture and the entrances. The cast utilizes the space as if it is theirs and has been poisoned, whether it be through reticence to relax or cleansing the space (which occurs frequently). There's a transfixing sense of motion in this still place that can't be impervious to infiltration, despite attempt. In this red alert world, it's the subtle implications that are most satisfying, disturbing, and amusing. With that done well, it's really a shame that the script isn't able to keep up with the atmosphere the production creates.

Ben (Kent) and I spontaneously produced the foundations of all of the songs -- several of the songs on the record went straight to 2" tape as they were conceived, if that makes sense. Then I would try to bring more structure to them by adding keys for bass parts and keys for other melodic elements -- since the guitar is often rhythmic at best. Keys Keys Keys. Piano was my first instrument. I even play guitar percussively because of that. I would add all the vocals and harmonies last to try to bring it all together.

On the technical side: the drums and guitar were recorded live in the same room. We'd run back and forth after rolling tape. Then the basics were transferred into the computer. Overdubs were done digitally but with lots of analog in the signal path. We built up layers and layers with keys and vocals. Then the guitars were too thin. So we added a couple guitar overdubs in a few spots on the recording. Then the drums would get lost. So we'd back up again. We'd run the mixes by good engineers who don't even like our music. We didn't want musical opinions at that point in the game -- just balance advice. I mixed it in the box. But I prefer to mix back out through the console -- it sounds better. A digital mix buss is at best a representation of other virtual tracks. I love analog gear. It far outweighs the fidelity and reliability of digital. But we were ready to be done with this record. You pick your battles. We had it mastered by Jason Ward in Chicago Mastering Service because he rules.

Image provided by Black Cock

Once we all agreed the song was good enough...Jordan and I would add more noise using keys mostly. And the best part...we'd remove lots of my vocal tracks and replace them with Whitney, of course, and Jordan & Ben as well. So even if I handled most of the shaping after Ben and I produced the skeleton of the song, there were important breakthroughs that we made with writing or performances by Ben, Jordan and Whitney that were essential to zipping it up. It's our record.

How do you define success and what is the ultimate goal for this band?

Longevity. Either you created a musical moment or scene so powerful that it spawned several bands to become great (The Pixies). Or maybe you continue to put out great records even though your label dropped you, or your CD sales are down, or your band broke up and you went solo etc. (insert name here) The new model for "making it" includes internet marketing. And the internet comes with a lot of hype. After a couple years the dust settles and a new story is written about a particular band. I think a long track record of creativity is a good measuring stick.

But along the way, every creative person can be distracted by rent, bills and the job that pays for those things. You'll find out that band x wants to get their song into a commercial because band y made $10K on this or that. You can't hate on that. We all see the old standards dying: CD sales, a big tour bus, and advance from a label (what is that actually?). But it seemed like that was Bob Seger's job. Now bands are trying to mix instrumental versions of their songs before they even have a fan base. And to check if we're on the right course with our music, we're left trying to measure things like MySpace hits , Bandcamp downloads and YouTube views. Maybe that's not how things shake down in the end. Those things can be hyped and manipulated. But shitty music is still shitty. And hopefully bands are thinking about that and not taking the hype too seriously.

Ultimate goal: I have a studio. I know a lot of talented people. I plan to explore all the musical ideas I can in this band (and any other project). What is my lame excuse otherwise? And of course, if we get some recognition from fans or media along the way and maybe even a buck or two...I wouldn't complain. Black Cock should be big in Japan!

Thank you for speaking with Austinist.

[Black Cock MySpace]
[Tia Carrera MySpace]
[Woodgrain MySpace]
[Eagle Claw MySpace]

Mainly people rarely know what you mean when you tell them you’re a printmaker. This is sad because so much of the books, newspapers, commercial art and advertising we come in to contact with everyday is done using a printmaking process.  The other problem is the confusion between giclee and art printed from an inkjet/laser printer being called a “print”. I did a demonstration for a high school class where a kid told me he could get my 11 layer hand printed work out of his ink jet at home. I was incredibly insulted but the truth is many people don’t understand the difference. The printing technology has high jacked much of the terminology originally used by printers. Those who are marketing inkjet/laser printed work as fine art prints are adding to the confusion.

What excites you most about the future of printmaking?

Despite how long printmaking has been around we are still finding new processes and new ways of using it. It is also great seeing the different ways artists are trying to make the printmaking mediums greener through changing the chemicals used or by recycling old plates to create new works. There are just a lot of exciting things going on in the field.

Where else can we see or purchase work from the Women Printmakers of Austin?

Right now we are participating in E.A.S.T at our new studio at the Pump Project annex on Shady Lane so we have framed and packaged work for sale. We also have a beautiful book of all our previous trades we created in honor of our 14th anniversary last year which is available for purchase all the time from our website as well as at the studio. Many of our artists have portfolios of their work on our website and can be contacted for sales through that venue. In addition we have a couple of shows each year where work is available to view and purchase. People interested in our upcoming shows, workshop, etc. can sign up on our website to be notified.

Helping Schmidt achieve his vision is a cast of great depth. For an actor, Chekhov is dessert. It is a chance to work on text that was the laboratory for most of our modern acting theory. So, it is no surprise that the cast list of this show reads like a Who’s Who in Austin theatre. It should also be said that this is an Equity Member’s Project Code, which means that each of the Equity cast members in the show (four in total) have agreed to forgo their usual salaries to participate. Everyone on that stage is out there for nothing but the love of making theatre. Leading the way is Babs George as Ranyevskaya. As formidable as she is fragile, she has an infectious laugh that’s surprisingly heartbreaking. Her identity is so wrapped up in her homestead that she really (forgive the cliché) can’t see the forest for the trees. In spite of the fact that she still has her brother Gaev (Ev Lunning Jr.), her daughter (Robin Grace Thompson), and her foster daughter Varya (Liz Fisher), she feels that if the orchard is cut down, it will eliminate the very witness of her existence, and threaten the memories of her husband and son. It’s a tremendous performance. Matching her in turn is Matt Radford as Lopakhin. He wears his new fortunes with obvious unease, and in spite of the power it affords him, he remains a bit of a misfit in the changing social order. Radford is at his best here, reserved until the flood of triumph that comes from buying the estate at auction and becoming the owner of the land where his forebears were slaves. But it doesn’t seem to bring the desired happiness—Lopakhin cannot seem to make the expected proposal to Varya, as if neither she nor he really feels deserving of that kind of happiness. As Varya, Liz Fisher has a quiet desperation about her. As she points out, she cannot be the one to propose, and so she buries herself in the management of the house. The rest of the cast is a tight and clean ensemble. Dirk Van Allen is the sweet and doddering Firs, trying to keep everyone warm in their coats. Ev Lunning Jr. hopelessly loquacious as Gaev. Sarah Gay (Dunyasha), David Boss (Yasha), and Noel Gaulin form a low-brow love triangle. Playing the staunch governess with her usual comic precision is Bernadette Nason. Simeonov-Pishchik, played by Rob Matney, is the charming leech of a neighbor. Robin Grace Thompson is optimistic yet grounded as Anya. A special mention goes to Nigel O’Hearn as the tutor Trofimov. His presence onstage was magnetic, and we hope to see more of him.

This world of characters is expertly contained by Rommel Sulit’s set, which has the wonderful feel of being simultaneously inside and outside. Buffy Manners’ costumes, always gorgeous, give special thought to the changing status of the characters, and Adam Hilton’s sound design that really creates the sense of time and place. He takes the phrase “breaking string” and run with it.

The short and the long of it is that every artist in this collective should be proud of their contribution to legacy of Chekhov. This production captures all the felicity and heartbreak that one hopes to get from his drama. It almost certainly takes considerable time to translate a play like this, but here’s hoping that Schmidt and Breaking String will bring us their next offering as soon as they can. Браво!

Photo by Che Torres from MySpace

What’s the Deal: Stumbling across this local Austin band is probably the easiest way to discover them. There is only one show listed in their upcoming show section on MySpace and their EP is currently sold out. But, stumble their way, and you’re likely to be pleasantly surprised. They pull off their mix of shoegazy rock and western-influenced, atmospheric and somewhat psychedelic instrumentalism with class and confidence, which is especially impressive taking into account how young they are. Like, high school young.

“Three Coffins” starts with crickets and the music of a balmy evening and builds into guitar and bass thrums in a way that could be the score to a turn-of-the-century western. Then, the instruments spend the next nine or so minutes rising and falling, building and breaking.

What’s The Deal: They’re playing the Mohawk the day before Thanksgiving for the 101X Homegrown Live concert along with Mother Falcon and Hotel Hotel.

Other Tracks Worth Checking Out: “On A Broken Horse”

Chief Rival [MySpace]

Last Chance by Nicholas Henning, 48” x 72” Oil and Sharpie on wood

I begin my pieces in one of two ways. The first is by coming across an image or design that reminds me of something or someone personal and adding imagery to it layer by layer until I am satisfied with the composition and combination marks. I project the images onto wood or paper and decide which material and technique would best suit it.

Alternatively, I might start with a story and basic idea of the imagery that I want to use to tell my story. In this case, I have to do a lot of searching through my collection of images to find what I need. If I don't have what I'm looking for I'll search online, at the library, on the street, or at the grocery store. I used to work much more slowly, but having the larger studio space at Pump Project has allowed me to work on multiple paintings and ideas at once. Typically, a piece takes between a week to two months to complete.

As someone who has worked then both solo and among a community of fellow artists, what do you dig about Austin's art scene? Also - be honest - what frustrates you?

The most exciting part of the Austin art scene is the almost overwhelming number of interesting artists here who are willing to take risks and make work that is different from anything you'd find in other cities. However, the most frustrating part is that as a result, it is sometimes difficult for artists to receive attention for their work, either from the galleries and media, which are overloaded with artists seeking exposure, or from the public, which can become apathetic about the art scene due to over-saturation.

What is your favorite part about E.A.S.T?

This will be my first year participating in E.A.S.T. as an artist, as I had a studio in my former home on the west side until August. But as someone bouncing from studio to studio it was always great to meet the artists, see their studios, and receive insight into how some pretty amazing artwork is produced.

What can visitors expect when they visit your studio?

I'll have a few of the pieces I have finished since moving into my space displayed, some works that are in progress, and my supplies and equipment, which allow me to produce work.

Last question: Inquiring minds want to know Nick where the name "Pump Project" came from. Do tell?

Pump Project is in a large 1950s warehouse which has been converted into studio space for 30 artists. On the ground floor of the building is a rather large water pump.

After E.A.S.T., be sure to catch Henning's work at Birdhouse Gallery (1304 East Cesar Chavez), where he'll be showing the second weekend of January.

Images from MySpace / Facebook / provided by entity.

It’s all related. It’s like this: I’ll be writing in my journal saying everything in words and then realize that It would make so much more sense if I drew what I was feeling. For example, how do you say in words what it feels like when you’ve been skirting the truth for too long? When I see it in my mind and feel it in my heart, pictures come of veils, covering yourself to hide what you don’t want others to see, but then you can’t see either and you get tangled. This is so clearly an image to me, a series of pictures, that I’m sure I’m not able to explain it well.

When I am able to express these thoughts and emotions through pictures it’s not only therapeutic (because I can explain myself better) but it also increases my artistic vocabulary. So those emotions and concept can find their way into my “just for the sake of fun” work as well. It also works the other way, sometimes my characters from my whimsical fun work seem to find their way into the cathartic pieces. For example, I have this rather devious character “Devin” who is from a completely ridiculous story. Somehow, I tend to imagine him as the villain even in pieces that are supposedly more serious. It’s probably my own subconscious telling me not to take myself so seriously.

Since I’ve been rushing a bit to get ready for the show, my new stuff doesn’t show it as much, but I do love creating imaginary worlds. When I’m drawing a scene I’m trying to get inside the character's heads so that I can draw from a place of sincerity, of understanding what’s going on. So a big question that plays into that is: so where is this scene taking place? When I’m really being diligent I ask myself about a thousand questions like: where is this taking place? Is this earth? Is this close to where they live? Do they like where they are right now? Does the environment like them right now? What time of day is it? Shouldn’t the telephone be melting a bit since it just got touched by zombie slime? As I think through the answers the place becomes clearer. Sometimes I get carried away with world building and go down a trail that I wasn’t expecting. For example, when I was drawing scenes from a story about a cupid fairy I spent a crazy amount of time imaging and drawing little houses nestled into dead trees, murals that decorate their houses, merfish that invade their houses when the river rises, an interesting root that someone might use as a bench to sit on. I think JK Rowling once said that an author ought to know absolutely everything about the world they create in their books, even if it’s never mentioned in the story. I think the same is true for illustrations. Even if you can’t see it in the picture the fact that in this world, clouds tend to be shaped like famous generals is going to affect the psyche of the image somehow, and I want to be able to draw that.

Did you dream about inhabiting alternative worlds as a child?

I played so many imagination games with my brother and sister, surely there were a few that involved other worlds. I mean, don’t all kids build forts out of pillows in their living room and pretend that it’s the frozen tundra of Siberia, or make home movies about zombies who haunt a golf course? I think I was more of a world traveler than an inter-dimensional voyager. I remember pretending to be a parrot in the rainforest, a merchant at a Persian market, Pocahontas, etc.

What comes alive when you do this kind of work?

My characters. Or at least that’s what I hope for. I want to put so much life on the page that you can’t help but wonder what’s going on and what’s going to happen next. Because if you don’t believe it, then you won’t think it’s important and won’t bother to take the journey. So what comes alive? The art, and then hopefully the viewer. Hopefully your realm of possibility becomes a bit wider and the world shimmers a bit more around the edges with the thought of what all is out there if you can just pay attention!

So let’s see—how is it that I came to love your work? I recall the love started out, as love sometimes does, on a bumpy path. I got here in September of ’91—I think that was just after KGSR took to the airwaves. I really dug the station. So a few years later, when SEVENTEEN magazine asked me to do a piece about cool radio stations across the country, I contacted you to see about writing up a little something about KGSR. And your response was a very curt (to my ears) no, because, you said SEVENTEEN wasn’t your demographic. Between the lines I also thought I heard some (in retrospect possibly non-existent) snobbery, some suggestion I was an idiot for not getting that, a fool for asking in the first place.

Jody Denberg

But my god! How difficult you made that! Because I have to say that, despite your rejection of me, I could not deny what prompted me to contact you in the first place—you, Monsieur D-berg… you put together a fine radio station! Mighty, mighty fine. Far too fine for me to sustain my grudge for long.

So I kept on listening. And I realized, with a few exceptions—like, go ahead and shoot me but I am just never going to get SRV— that maybe 90% of the time, I just adore your taste in music. I’d get so into it that as Select-a-Set weekends approached, I’d submit lists not just because I loved the songs, but because I wanted to see if I could get your attention. Pick Me! These entries shouted. Look at how similar our tastes are! (And once, you played my Select-a-Set early on, to kick off a whole weekend, and I felt totally chosen. I can’t even remember the whole set now, but the theme was “math” and I’m thinking maybe it included Aimee Mann singing One is the Loneliest Number, and Elvis singing Less than Zero, and perhaps Nick Lowe belting out One’s Too Many (and a Hundred Ain’t Enough.))

On the other hand, I must confess that for years—like about sixteen of them—I just could not get behind you and that Beatles fanaticism of yours. I had a nickname for you then—I think I called you “The Other Fifth Beatle.” And that tagline? KGSR, Where the Music Comes First? I changed it to, KGSR, Where Jody Denberg’s Belief He is the Other Fifth Beatle Comes First. (As you can imagine, when-- during this time of my nickname for you—I heard you sing a Beatles’ song at the wedding of mutual friends, I about peed my pants.)

But then a funny thing happened. I was getting divorced for the second time, and it was hell. Dear Prudence came on the radio one day during that time, and for the first time in my life, I actually heard the lyrics and freaked out at how they touched me. It was then that I “discovered” the White Album, which fast became the perpetual soundtrack bolstering me through that awful time. And as I listened to Dear Prudence, sometime thirty times in one day, all those years of Beatle-resentment I’d developed courtesy of my brother’s fixation on that band, and his insistence on playing their records over and over and over—which drove me mad—well all that dissipated. And I got it. I really got it. And so we connected some more, you and I, and I came to understand this love of yours, and how it could never die, and I loved it too.

Me & Mick Jones & Tony James at KGSR

Then the other week, I had what now feels like a moment of full circle. I emailed to ask you to let me write about you for a new gig I have, writing a blog for JetBlue about all the cool people/places/things in Austin. And—as you had all those years ago, you rejected me again. This puzzled me, but you were very nice about it. I had no interest in a grudge, and did not take this second refusal personally. I just figured you were busy or shy or something. Now, though, since I heard the news, I’m guessing you knew then you were leaving, so maybe that’s why you said no.

If I have not yet made it clear, let me say for the record, I am shocked—SHOCKED that you are going. And selfishly dismayed, though I know you say you’re looking forward to it. This is worse than David Lee Roth leaving Van Halen. This is sadder than peanut butter abandoning jelly. I don’t care if the new station manager stands on his/or her head and spits purple Chiclets and offers me a regular spot to read poetry on air about my Boston Terriers. IT WILL NEVER BE THE SAME WITHOUT YOU MAN! You ARE KGSR.

So I just wanted to tell you, in public, THANK YOU SO FUCKING MUCH for all the awesomeness over the years. And please know this is not merely retrospective appreciation—I always knew, and never forgot all along, even during that little grudge thing, just how lucky we are to have the station you so carefully and lovingly built.

Oh and one more thing? You know, if you really have to go, I find your imminent departure beautifully timed. Because this is Thanksgiving time, aka time for yet another one of those brilliant KGSR Broadcast Volume compilations you put out to raise cash for the SIMS Foundation. Best record of the year, and another way you gave so much to this town’s musicians.

Here’s wishing that your declared year off from everything will be full of calm and joy and some soon to be discovered heretofore unknown Beatles recordings.

Again, thanks.
Your fan,
Spike

Spike Gillespie is pretty sure this is going to go down as one of the most tumultuous years on Austin radio history. She blogs at www.spikeg.com, KnitBuzz, and-- brand new people, check it out, for JetBlue: JetAustin.

Our upcycled grunge flower kit is our most popular for sure. As far as classes, see above, but we also have been offering a fun class for little ones ages 3-6: Storytime crafts, that's been popular. Also, our Mix & Make happy hours have been a blast!

What are some of the "customized parties" The Wonder Craft can do for groups?

We can do fun make-and-take baby shower items like designing onesies, or help a bride get ready at a bridal shower and make all her center pieces. We can also do Girls' Night Out jewelry-making, or a housewarming party to make tea towels or pillow shams. In addition, if a group comes up with an idea, we can customize a party to make any craft they'd like. That's the benefit of having four multi-talented crafters running things!

What excites you about the Austin craft scene?

We love how diverse it is; there is always someone doing something new and amazing. It's also very inclusive and friendly; everyone tries to help everyone else out. The network is so fun and beneficial to be a part of. Austin also seems to be a major craft hub, teeming with super-talented and influential folks like the Austin Craft Mafia, a lot of local artists featured in Handmade Nationand local blogger Rachel Hobson, a contributing writer for the Craft blog, so it feels like a place that people look to for what's happening in the crafting world. And with Austin being so local- and indie-friendly, people here like and appreciate local businesses and handmade items.

What is your favorite part about E.A.S.T.?

Our favorite part of E.A.S.T. is being able to see such a wide variety of work available right here in Austin. Meeting the artists creates a more memorable experience with the studios than a gallery setting typically does, and overall, it's just a really exciting celebration of art and artists alike!

What can visitors expect when they stop by your studios during E.A.S.T? What is this group sculpture we've been hearing about, and which make-and-take projects can visitors try out?

Stella will be set up like a gallery/boutique featuring work from each of the WonderCraft gals as well as some of our talented pals from the EtsyAustin team, and we'll have a big mixed-media rocketship sculpture people will be invited to add to. Our make-and-take projects will be a variety of upcycled crafts, including our fun cardboard wallets and mustaches-on-a-stick, and we'll have our ever-popular button maker out as well for folks to design their own pinback buttons.

Oh we'll be there, Beth. Making some mean pinback buttons.

It’s mostly forgivable that Baird’s lyrics frequently teeter into self-indulgence; his lines also have a charming way of cartwheeling straight on past the point at which you though they were ending. “Bones” sounds like saloon music for twiggy hipsters at a day party, so raise your Lone Star tallboys to its unabashed poppy hooks. This trend of updated, clean-cut psychedelia seems here to stay, and you’ll get no complaints from us.

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Gold Dissolves to Gray will be released from Autobus on November 24th digitally and as LP/CD combo; you can preview the opener here: [Autobus]
Sunset [Myspace][Official]

Pink polyp ring by Jaime Jo Fisher 1.25” x 1.25” x 1.25” Sterling, silver, glass beads, filament

In my line of found object resin earrings and brooches, I would scavenge for items that had characteristics that would show a beautiful color or texture “under water”. I loved the thought of using something that seemed odd, quirky and atypical in jewelry. I looked at everything as a possibility: tiny pieces of cut up construction paper, moss, corroded copper wire, wallpaper and linoleum from a 150-year-old farmhouse, bristles from a toothbrush, thread from my favorite pink studio towel and, the infamous dryer lint. My best friend from Florida would include her dryer lint in my care packages….she had the best color towels. My favorite color to use was the sage green lint.

You have a beautiful blog entry talking about the pleasures of eating from a carefully-crafted dish that serves as a functional work of art. In what ways does the work you do bring together certain ideas that people don’t always think to combine?

Some of the materials I use as “stones” in my work were once discarded, mundane and even considered trash. I embellish the stone settings with metal details that enhance and bring into focus the selected objects. I also oxidize my sterling silver designs giving the work a more natural organic feel while allowing the stones I use to become the focus of the overall design. In using these non-traditional materials in my work I propose the question to my audience, what is beautiful?

Your natural inclination to find inspiration in the everyday sounds not only artistically fulfilling, but fun. Any tips on sharpening our vision so we can better see the creative potential in everything out there?

Have an open mind when viewing the world. Look at things up close to see the detail and potential beauty that may not be obvious from afar.

Episode One: Leave it to Beverly, finds our protagonist Beverly (Heather Huggins) being pushed by her (unnamed) Husband (Chris Gibson) to do his bidding because he’s the man, and that’s that. Enter Bev’s neighbor Minerva (Stephanie Denson) once Hubby’s off to work and, uh-oh, ladies can be so dangerous when left to their own devices—more than a little bit of I Love Lucy here. Suffice it to say, sans spoiling, that canned laughter quite literally plays a role in this episode.

Episode Two: Trixie Knows Best, is a send up of I Dream of Jeannie, that Barbara Eden vehicle of old, in which a magically powerful babe has her powers greatly dampened by her man—except when it serves his purposes. Lisa del Rosario could not be one drop more adorable as she dances and twinkles around the stage, working to please the Commander (Jacob Trussell) and fighting the urge to mess with nosy neighbor Mrs. Krabbitch (Rhonda F. Kulhanek). This episode also offers a large whiff of Bewitched, courtesy of Trixie’s meddling, magical mother, played to the absolute Endura-ble hilt by Jude Hickey in a performance that is award-winning and then some.

Episode Three: Make Room for Lorraine, shines brightest among the acts, because this is where German really cuts loose. It is also where all of the characters from the preceding episodes wind up together in the home of Lorraine Peachtree (Michelle Brandt) and her husband Sven (Scott Roskilly), who bears more than a passing resemblance to a very famous, very clean man. While Lorraine also pops up in the earlier episodes, this is her moment to shine, shine, shine. No way to explain how without giving it all away, and we are not going to give it all away.

The culmination of a multi-layered, uber-goofy plot finds our gang dancing up a storm, breaking up into teams for a hilarious competition that leaves several of them all quite literally wrapped up in truth-telling, and indulging in some rather unusual party snacks.

Does all this sound a bit confusing? Well, it is tricky to explain the overlapping parodies, but actually taking in the performance is not confusing at all. Nor is there some heavy duty message or moral to the story, beyond the obvious: a) all those old TV shows sure were damn sexist and b) women aren’t really stupid after all! Which is to say don’t look for surprises in the storytelling, but do delight in the way the stories are told. This play ranks as light and fluffy as the shows it parodies—welcome fun, pure and simple. Truly an ensemble piece, Leave it to Beverly gives each character numerous opportunities to take center stage. Each, in turn, seizes the moment, delivering lots of memorable moments. The only drawback—and this is a minor complaint—is that, with a run time of two hours (plus a fifteen minute intermission) it could potentially do with some tightening. That said, there are no particular lulls that merit cutting—you’ll definitely find plenty of laughs in every scene.

Leave it to Beverly runs through November 21 at the Off Center.

So I'm not exactly sure what type of people I was expecting to find at Segway headquarters, but when I arrived, I was pleasantly surprised. The guy behind the counter, my fellow tourists, and even Our Tour Guide all looked... normal. No duct-taped glasses, no headgear, no Segway Or The Highway t-shirts.

But then, as if to intentionally shatter my delusion, the guy behind the counter announced, "You can go ahead and pick out your helmets."

Oh yeah. Helmets.

While we were choosing our badges of dorkdom, Our Tour Guide poked her head in from outside.

"I almost forgot to ask," she said, smiling. "Does anyone want to ride the hot pink Segway or the one with flames painted on it?"

We shook our well-protected heads: No thanks.

My three travel companions introduced themselves, and they seemed like a fun bunch. The group consisted of a dad in his late 30's, his eighth-grader son, and a friend of the family whom both myself and Our Tour Guide would eventually come to call The Smart Ass.

These guys were all very Texan, but not of the Austin persuasion. The Dad and The Eighth-Grader had both ridden Segways before, and they kept making skiing allusions. And skateboarding. And rollerblading. This made me a bit anxious.

See, I'm a coordinated person. I can shoot a mean basket. I can set a fine volleyball. I can kick any boy's ass at dodge ball (yes, there is residual anger in that statement, and yes, that is a challenge). But activities that require balance and zen-like calm are not my strong-suit. Basically, I hate things with wheels. And things that are slippery. Things like skis and skateboards and roller-blades...

My heart rate was elevating.

Then the guy behind the counter started up the instructional video.

The video was kind of technical, in a Happy Fun Ball sort of way:

Do not call Segway PT names. Do not feed Segway PT. If Segway PT growls, please wet collection manifold with the tears of a firstborn child. Segway PT's manufacturer is not responsible for occurrences of gangrene infection or transmission of blood-born illnesses. Do not say words containing the following letters while riding the Segway PT...

And so on.

Alrighty, then. Hands-on training time!

"The Segway operates using foot sensors that register your weight one hundred times per second," OTG told us. "If you shift to the left, it moves to the left. If you lean forward, it moves forward. Pretty simple."

Easy enough.

"Standing still is actually the hardest part of riding a Segway, so you might feel more comfortable rocking back and forth."

Wait. Standing still is hard?

"Now, let's say you're cruising along and suddenly an infant steps out in front of you and you need to slam on the brakes. Where are the Segway's emergency brakes?"

The Eighth-Grader answered, "There aren't any."

"Right. There aren't any. You have to lean back. We like to say: When in doubt, stick your butt out."

Gotcha.

"And remember: If anything happens, the safest place to be is on the Segway... Because if you get off, what can happen?"

The Eighth Grader kindly answered again, "It'll run you over."

"That's right!" OTG smiled, "It can run you over."

It was right about then that the nice man behind the counter handed out the waivers.

Then it was time for individual training. The Smart Ass volunteered to go first. OTG coached him on mounting the Segway.

"You've gotta be quick about it. Get both feet up there. Look straight ahead, and don't turn the handlebars. If you do, it'll start turning around, and then you'll have to chase it."

He looked like a natural. It only took two tries before he got on. Then OTG set up two tiny orange cones on the floor, and I watched the grown man in a helmet weave his way around them.

He did great. We all clapped. Then OTG pointed at me.

"Wendy! Come up and give it a try!"

I approached the Segway with great caution. I stood behind it, held its handlebars, looked straight ahead.

"Now, step up," OTG instructed. "Look straight ahead, and don't turn the handlebars."

I stepped up with one foot. The Segway moved around to the left. I started to chase it, but OTG caught it for me.

"So you have to look straight ahead," she said. "Don't turn the handlebars."

I stepped up with one foot again. The Segway again moved around to the left, and I again started to chase it. But OTG caught it. Again.

"It takes a little while to get the hang of it," she encouraged. "The brain learns really quickly."

I tried again. Um...

"Why don't you try looking directly at me. In the face. Maybe that will help."

Eventually, I made it.

"So now just relax and let your weight settle evenly," she told me.

I immediately began to wobble back and forth. It wasn't a graceful wobble, either. It was actually more like lurching. Quickly lurching back and forth.

"Don't forget to breathe," OTG said. "The more you breathe, the easier it will be. You're tensing up."

Of course I am. This is what I do.

In between lurches, I slowly drifted aimlessly from one side of the room to the other. OTG was super-encouraging. She followed me around, trying to bring things under control.

"So are you ready to try the cones?" she asked.

Seriously? Do I look ready? I thought to myself.

"Sure I am!" I said aloud. No need to sound like a wimp.

She told me to do figure-eights around the cones. And I did. Very slowly. Picture a sloth. I wanted to look up at the guys sitting there waiting for me, but I was afraid I'd fall over.

Then, she asked me to do a 360 degree turn. I did (slowly). And that was all for training, except for getting off of the thing. But that was just like getting on. It went equally well.

Before I knew it, it was time to venture out into the real world.

Our Segways were already lined up in a row outside. OTG helped me on mine, and I had slightly less trouble. Then we took off down the sidewalk, just like that. There I was in the back of the line trying to remember to breathe, and minding every little crack in the sidewalk.

We crossed traffic like a row of really dorky-looking geese. Or like the worst Abbey Road cover iteration imaginable. We headed toward the convention center and got there in a flash. OTG gave us the signal to gather round.

"As we were riding here, did you notice the stars on the sidewalk?" she asked us.

As we stood in front of the Convention Center, OTG pointed out more things I'd always overlooked. For instance, I'd never noticed that one whole side of the building is covered in solar panels, and that the Convention Center is the size of six city blocks.

"Now we're going to do what I like to call The Segway Slalom," OTG said, pointing to series of columns supporting a balcony. "These guys are fun to ride around. Let's take a few minutes to have some fun!"

She turned around too look at me. "You still look freaked out," she said.

"No! I'm fine," I lied.

"That must just be your regular face, then," OTG said with a smile.

We cruised down to that old out-of-place tower on Cesar Chavez, making a few little stops on the way. OTG told us yet another fact I'd never known: The tower was built as a fire department training facility. They'd light it on fire and practice rescuing people from the top. Of course that was before the lake was dammed and the area around it became prime real estate.

Believe it or not, by the time we got to City Hall, I getting really comfortable on the Segway. In fact, I got on and off by myself when we took a quick break. It was like I was becoming one with the Segway. I'd think right, and it would go right. Cool.

We rode all the way to the capital, making some interesting stops on the way. By then, I was zooming up that gigantic hill, weaving in and out of people, leaving them in my Segway dust. I wished we could go back to The Segway Slalom. I was ready for it now.

During our ride back to headquarters, I thought about all of the tour-type facts I'd learned. There really were too many to mention, but here are a few:

• The new Austonian building is the tallest residence in Texas.
• The Littlefield building used to have seven stories, but two more were added later so it could remain the tallest building in Austin after the Scarborough building was erected.
• City Hall was designed to look like an abstract armadillo.
• The City Hall building actually generates more energy than it uses.
  

Ironically, Duck Tour buses treat Segways with a similar disrespect. We passed two different Duck Tours, and each time the driver stopped the bus and instructed the passengers to quack at us with their stupid duck mouth things. As if that is any cooler than riding a Segway.

Each time we were taunted, my companions and I stood tall, in solidarity. Sure, we were wearing helmets, and sure, we looked pretty stupid. But we knew better than those silly people stuck in their cars, or stuck on their bikes, or stuck on their feet. We should have been pointing and laughing at them. They had no idea what they were missing.

STATS

Gender:

3 male, 2 female (including Our Tour Guide)

Likelihood I will Segway again (out of 10):

After obtaining my Favorite Segway Accessory: 10

Who gave me my tour, and how much did my tour guide rock (out of 10)?

SegCity Segway Tours & Sales, 11

Favorite Segway Accessory:

Invisibility Cloak

Pink Church Hat by Jean Cannon. Sinamay, wire, satin ribbon, ostrich boa. Photo by Kristin Ware.

I started out making hats in New York, so my first love was felt, which works so well for brutal New England winters! When I later moved to New Orleans and then to Austin, however, I realized it was almost impossible to wear or sell felt hats. Therefore, I’ve started working in straw, and my particular new love is sinamay. Sinamay is a light, ethereal banana-weave material that is even lighter than straw, and is usually translucent in the sunshine. British women love sinamay, and Britsh milliners use it to make some of the most sculpturally memorable hats at the Ascot horse race.

What tools and materials are essential components of the hat making trade? How could someone learn the basics of millinery in Austin (classes, teach themselves, etc.)?

Due to the fact that millinery is now a rather anachronistic artisan trade, hat blocks and other millinery supplies are often hard to come by. But the person who wants to make hats doesn’t necessarily have to invest in these supplies all at once—many beautiful hats can be made with buckram, wire, or fabric. Books are helpful—Denise Dreher’s From the Neck Up is a particular favorite. Also, Leslie Bonnell’s Stitch Lab in Austin offers beginning millinery classes. Leslie just opened a beautiful new studio and offers the perfect atmosphere to learn new techniques, regardless of previous stitching experience.

Outside of EAST, where can your hats be seen or purchased around town?

I’m currently working on a website, though at the moment I mostly conduct custom business out of my house—i.e. you come over and have a cup of tea, and we discuss your taste and try hats on and look at pictures until we have the right idea of the perfect hat for you. This, I find, particularly when working with brides for example, is the best way to get the hat that fits a customer’s personality. This year I will also, however, be participating in the Bouldin Creek Studio Tour at the Stitch Lab on South First Street. I’ll have a display of hats on December 19th and 20th from 11 to 6.

The Mountain Goats [MySpace] [Official]
Final Fantasy [MySpace] [Official]
Larkin Grimm [MySpace] [Official]

Collaboration is important because it happens whether we want to admit it or not, so I think it’s more fun and interesting to bring it out into the light and celebrate it, instead of creating an illusion that there are super people who can do everything by themselves.

Well on that note, please describe your printing press for us...where so much of the cross-collaborative magic happens.

I was going to say that I wish that we had a printing press, but the reality is that I am really glad that we don’t have that massive machinery to manage. We have a black and white Xerox machine that we bought from the Restore, and a silk screen press, but we work with local printers in town to put together our books and printed matter. So… our printing press looks like this… Ginny’s Printing, Wind River Press, and Sixth Street Printing. Between those three local places, we have gotten so much great work done. It makes us happy to live in a city where we have access to their skills and machines.

What excites you about the Austin art scene?

Austin’s art scene is exploding with people and work. The energy of it all is pretty overwhelming, but in a way that is also inspiring. Being on the producing and promoting side of art, it’s hard to find the time to go out and see everything that’s out there, but it could be worse, it could be a wasteland.

The other thing that I think is really great is that artists here tend to say "yes" to collaborating on projects. There’s a great spirit of involvement and contribution here. I don’t think that spirit exists everywhere.

Which other artists in E.A.S.T. are you looking forward to visiting?

I will be locked down over at Monofonus Studios for most of the tour, so I probably won’t get out to see too much. I will go over and see the group show that’s at Art Palace, the book show that’s at Okay Mountain, and the plethora of work and happenings that are going on right down the block from us at Co-Lab. I’ll do some exploring too, and ask people who come around what they’ve seen, maybe get some leads that way.

Since you'll be on lock down, what will people be able to see when they tour your studio?

This year at Monofonus Press, we are going installation and video heavy for E.A.S.T. in the warehouse space. The centerpiece of the space will be a blacklight Pinball arena that will be created by Drew Liverman, Max Juren, and Matt Rebholz. The Bride of Pinbot (one of the best pinball machines ever built) will become part of an interactive stage including a live video feed, glowing tape, and elevation. The game will be free to play, and whoever gets the highest score at the end of the weekend will win a prize.

Ed Davis, who is a supremely talented screen printer (especially when it comes to darkly psychedelic and occult images) said that he plans on making some blacklight posters to complement the pinball installation.

In addition to that, we are also really excited to exhibit an installation that has aged and fermented with time, by Andy Rihn. Last year, he created an installation that explored the relationship between fresh cocktail pickles and cigarette butts. We knew then that we were interested in seeing what happened to the installation as the pickle decomposed and passed through time. Too many installations aren’t allowed to naturally decay like we allowed this one to do, and I think the result was worth the wait. If you saw the installation last year, you should come back and see how it has grown and changed. Even if you missed it last year, you should swing by.

We will also have a video that Wiley Wiggins recently made, and there are some other video goodies that will be there to experience.

For all the folks walking, biking, and driving around who want to see inside artist studios, Jules Buck Jones’ studio will be open, with some of this new work displayed on the walls. He just completed his Artist in Residence in Everglades, Everglades National Park, and his new work represents the swamp and the animals that live there with beautiful intensity.

Matt Rebholz, whose work just appeared at the International Fine Print Dealer’s fair at the Armory in New York City, will also show several of his new works. His work is amazingly detailed and visionary.

Michelle Devereaux’s studio will be open as well. We recently put out a book of hers, which showcases her many skills, sense of humor, and vast creativity. She’s made a few pieces that will be down the street at Co-Lab, but she’ll be around Monofonus too.

Colleen Matzke’s studio will also be open for the tour. She has been deeply involved in creating custom designed terrariums for the past year, and they are very cool living capsules of art. She consistently makes beautiful art that’s off of the beaten path.

Red Start Paint Design also might be showing a thing or two. Their work is awe-inspiring, though sadly, we don’t have any of it on our walls yet. Here’s their website.

Thanks for chatting with us, Morgan!