REVIEW -- Trustus Theatre's Workshop Premiere of Dandelion: An Original Musical

by Chad Henderson

Trustus Theatre opened its doors on Friday, August 9th to a sold-out audience that had been long-anticipating the first downbeat of Dandelion. This original musical was created by composer and lyricist Colleen Francis and book writers Jessica Fichter and Sean Riehm, with some additional music and lyrics from Hailee Beltzhoover-Zuniga and Bill Zeffiro. This work is a slick and well-devised exploration of trauma, mental illness, and the sinewy bonds of family. It will move you, you will relate to one or more of the characters in this multi-generational story and it will actually make you laugh quite a bit. So, if you’re reading this to find out if you should see Dandelion at Trustus - then let me go ahead and direct you to their website to buy tickets: trustus.org. Your Columbia artists are in your own backyard creating something new and you don’t have tickets yet? Shame on you. This is why we can’t have nice things in this town. The show runs through August 25th, so you’ve got plenty of chances to experience Dandelion and stick around for talkbacks after every performance if you wish.  

Now, for posterity, I will pontificate about the production as it stood on opening night. (As this is a workshop production, that means it can and probably will change on its journey to the next production. Hell, it might have already changed before the second weekend.

Dandelion tells the story of a teenager named Jane and her family. They live in Georgia, USA. Jane’s mother, Lilah, has endured a long struggle with mental illness and opioid addiction. Jane’s parents have split up, but her fun-loving parrothead of a father is still in the picture. At an impasse with Lilah, Jane’s brother Jordan has also left the house and raises a family away from his mother’s illness. So, this leaves Jane as the sole caretaker of her mother for quite some time, but she finds solace in the company of her best friend Gabbie as they begin the process of applying for college and going to the prom. Will Lilah find a pathway to a healthier life? Will Jane make the move to North College without her mother getting in the way? Are the systems that are supposed to protect those with mental illness totally fucked in America? Well, the audience will hope for the best as the inevitable answers to these questions are revealed. All the while, we’ll keep truly wishing the best for these characters, because they’re all really likable (and word on the street is that the story is based on an actual family from around these parts).  

On the road to this workshop production, one would assume that the script has undergone alteration and subtraction. The end result is a satisfyingly paced production that is dense but moves with plenty of locomotion. The play’s translation from page to stage was directed by co-book writer Jessica Francis Fichter (and Trustus Executive Director), and it is a winsome evening in the theatre through her collaboration with music director Steven Gross, choreographer Terrance Henderson and the production’s design team.

left to right Stann Gwynn, Sadie Wiskes, Katrina Garvin, and Sean Stephens photo by Thomas Hammond

Colleen Francis’ music and lyrics are clearly the result of an industry professional. Her work in her career spans from country to hip hop, and if you listen to Franky C (her performer name) you will joyfully experience music that would be at home on top 40s stations. The songwriter’s prowess comes front and center with the haunting “Lullaby” that serves as the introduction of Lilah’s mental illness, and one of the play’s most useful devices: the utilization of three actors to personify the character’s depression, rage, and paranoia. This storytelling gambit seems to have given Francis the permission to dive into some inventive places with numbers like “Nightmare,” “Throwing Me Away” and, truly one of the strongest of the production, “Bottom of a Bottle.” These tunes feel connected and original to this musical. Also noteworthy is “Not the Perfect Daughter,” which is a moving solo from Jane that boasts a memorable melody and hook.  

With Francis’ ability to be a songwriting chameleon, it was somewhat surprising that the team behind the show desired to lean into some of the more prosaic tropes of modern musical theatre. Much of the music that doesn’t center around Lilah’s internal journey sounds like some other song you’ve heard from some other musical in recent history, and sometimes even the moments in the show can seem (intentionally?) echoic. For example, with the device of having a present-day and younger Jane to demonstrate the story’s links to the past - one could remember Alison Bechdel in Fun Home. It was also hard to ignore the similarities between the Act II opener and Next to Normal’s “My Psychopharmacologist and I” - right down to the waltz and the list of side effects in the lyrics that end in “death” (or “use could be fatal” in N2N). It is entirely possible that a different approach to the arrangements or orchestrations could bring something unique to the sound of the show.

Left to right Mel Driggers and Hannah Bonnett — photo by Thomas Hammond

There are plenty of theatre fans that love the familiar, and Dandelion will ultimately feel safe with a cutting edge here and there to jar the viewer on occasion. The team and the cast give this new work sturdy legs to stand on, because it is indeed tight, well-crafted, and realized by professionals with proven track records. That is undoubtedly why the audience connected to the characters, pulled for them, related to them, and wiped the tears from their eyes as they stood for an ovation that was well-deserved by the cast and all in the show’s orbit.  

Speaking of the cast: new work can be stressful, fast-paced and a bit disorienting - but this group didn’t flinch. The quartet of Katrina Garvin (Lilah) and the voices in her head played by Kristin Claiborne, Terrance Henderson and Brittany Hammock provide the thrills in this story - both narratively and musically. As these characters build into moments of destruction (literally), the group illustrates the expanse of Lilah’s inner-struggle and how powerful her illness can be when confronted by others. Katrina as Lilah uses her toolbox to keep the character teetering on the brink of a possible breakthrough, while believably navigating the waters of hitting rock bottom (we hope they record  “Bottom of the Bottle” so we can relive her powerhouse performance).  

The Three Voices — Brittany Hammock, Kristin M. Claiborne, and Terrance Henderson - photo courtesy of Trustus Theatre

It must also be mentioned that the Three Voices get to play a grab-bag of other characters in the story, especially in “Welcome to Your New Life.” Some of these briefly-lived creations are some of the funniest in the show. Case in point: Brittany Hammock as Carla, the college tour guide. Some of the laughter she generated lasted longer than the built-in holds-for-chortle. 

New to the Trustus stage is guest artist Hannah Bonnet in the role of Jane. Bonnet is a magnetic performer, and she does a commendable job of holding the audience’s hand throughout the story and bringing them along. Jane’s best friend Gabbie is played by local actor Mel Driggers, who gets to play the clown a lot in this performance. Driggers’ Gabbie is an homage to all of our best friends in high school, and the friend who pushed us harder because they truly loved us. Seeing these two actors work together presents much needed levity between some of the darker moments. However, we did wonder if there might be more signaling in the playing of Jane that shows how her mother’s conditioning has set in over 18 years. Beyond her own guilt as a caretaker, what else is the character escaping in herself? 

Also in Jane’s sphere are her father Daniel (Stann Gwynn), her brother Jordan (Sean Stephens) and the memory of her younger self played by Sadie Wiskes. Young Sadie is there to show us Jane’s innocence, the child before the veneer is chipped away - and she does a lovely job. Stann Gwynn and Sean Stephens’ characters provide a lot of the uncomplicated familial love for Jane, though both characters have clearly abandoned her in some form or fashion. Both actors shine throughout the proceedings, but their turns in the chaotic “Get Your Shit Together” really turns up the energy on stage and the anxiety in the audience.  

The show’s title references an endearing moment early on in the play where Lilah tells the young Jane that when you blow a dandelion and make a wish, that your “wishes have wings.” I might be compelled to pick up the next few dandelions I come across. I hope I won’t jinx it by publishing it here, but I think I’ll wish for the following: 

  1. More original plays and musicals by local artists

  2. More producing organizations presenting new works 

  3. Audiences showing up for new work

And I think to myself, what a wonderful world. Check out the show's dedicated website, see Dandelion and enjoy the conversation afterwards. 

Ony's Bands - King Vulture Plays the Jasper Magazine Release Party Concert Tonight at Art Bar

JasperProjectLogo King Vulture is an eletro-pop group formed by wife and husband, Kate and Jared Pyritz. Their live band includes Evan Simmons (bass), Patrick Funk (guitar), Steve Sancho (drums), and Thomas Hammond (saxophone), giving them a fuller sound, ranging from ethereal pop to a more energetic rock. The project started after Jared encouraged Kate to record some songs that she had written over several years. She wrote them without the intention of starting a band, but they eventually started recording her songs at home, which led them to make King Vulture an official band.

I asked Kate and Jared about their music and their future plans (which right now include awaiting their soon-to-be-born baby) and how they write and record their music, which they answered in the following interview. You can find some of their earlier recordings on their Bandcamp page (https://kingvulturesc.bandcamp.com/), and watch their more evolved performance at the Jasper fall 2016 release party TONIGHT at Art Bar, with other performances by Autocorrect, The Moon Moths, and Tyler Digital performing a DJ set.

 

Can you describe what your music is like? Jared: It's kind of all over the board. Sometimes sultry and slinky and at other times it's an energetic, fun poppy mess of sound. We try to make each song achieve something different.

Do you have any other shows or releases coming up? Kate: Jared and I are about to have a baby, so we’re actually going to take an extended hiatus following the Jasper Show at Art Bar this Thursday.  As far as releases, we have been in the studio recording our first official album this year.  We’ve completed tracking and are in the middle of mixing and mastering.  We’re shooting for a spring release so we can have time to promote it and play some shows to support it.

What is your philosophy as a band, if you have one? Jared: I think if there is any philosophy we have, it has something to do with approaching collaborative artistic ventures in a rather egoless and democratic way. All ideas (amongst members) are considered valid which allows us to experiment a lot.

Kate: It’s been a communal process. This is my first experience playing in a band--I’ve really lucked out being friends with some incredible musicians.  I’ve learned a lot watching them and listening to how they talk about music.  I know we definitely don’t try to take ourselves too seriously.  That said, we’re really proud of the music we’ve been able to create and play and record.

What is your songwriting process like? Kate: I usually have a small kernel of a song--some lyrics, general chords.  Sometimes it’s a fully realized structure, sometimes it’s just a beginning.  I usually bring it to Jared to get his input to flesh it out a little more before we bring it to the whole band.  Then, when the whole band starts to attack the song we get into orchestration and arrangement.  It’s been a nice formula so far.  These guys have played together in other bands before King Vulture so they have a short hand and a music theory background I just don’t have.  The orchestration and arrangement sessions are a lot of fun for me because I get to see this small idea or chord or lyric I wrote down get turned into something much more realized.

Who/what are some of your musical influences? Kate & Jared: We definitely all have musical likes that inform the spirit of the band:  Gillian Welch, Bowie, David Byrne, St. Vincent, T-Rex, steely Dan.

What are your goals for the band/its future? Kate: Our immediate goals will be to put finishing touches on our record and release it by Spring.  I know it’s important to Jared and I to find time to make music and play shows after our little boy is born.  We’re lucky to have supportive friends and family that will hopefully make that possible.  We’d like to come back with new song ideas--so when we release the album we can show people something different than our typical set list.

The Stone Necklace Sparks Multidisciplinary Arts Events

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In celebration of the 2016 One Book, One Community selection, The Stone Necklace by Carla Damron (USC Press, 2016) a number of multi-disciplinary arts events are planned to more fully enjoy the community reading experience, including a three-person photography exhibit opening on Thursday, February 4th with a panel presentation by the participating photographers. In the weeks to come additional programs involving theatre arts and music, all inspired by a reading of The Stone Necklace, are also planned.

Set against the backdrop of contemporary Columbia, South Carolina, The Stone Necklace braids together the stories of a grieving widow, a struggling nurse, a young mother, and a homeless madman, reminding us of the empowering and surprising ways in which our lives touch one another and through which, together, we recover from even the greatest of losses. Bestselling and award-winning author Mary Alice Monroe praises The Stone Necklace as “a celebration of the transformative power of shared experiences and of the connections that bind us.”

 

Cemetery by Thomas Hammond

 

Off Page – Photography: Artists Respond to The Stone Necklace will open on the Tapp’s Arts Center on Thursday, February 4th as part of the First Thursday celebration of Columbia arts. Columbia photographers Thomas Hammond, Robert Coffey, and Kristine Hartvigsen, having read advanced copies of the novel, will show the work they created in response. A brief panel presentation discussing the exhibit will take place at 7 pm in the Fountain Room downstairs at Tapp’s. https://www.facebook.com/events/542294492601031/. Free.

 

Vicky Saye Henderson

 

Off Page – On Stage: Imrov with Vicky Saye Henderson will take place on Thursday, February 11th at 7 pm in the Skyline Room of Tapp’s Arts Center.  In a program created by local theatre artist and educator Vicky Saye Henderson based in part on Damron’s novel, Henderson will lead an improvisation workshop and demonstration. https://www.facebook.com/events/1188116441213546/.  Free.

 

Cully Salehi and Todd Mathis

Off Page – Music: A Musical Response to The Stone Necklace featuring original work created by Todd Mathis and Cully Salehi in response to the novel The Stone Necklace will take place on Saturday, February 20th at 7 pm at the Deckle Edge Literary Festival Saturday Night Reception at Main Street Agape. Tickets available via Brown Paper Tickets.

The above events are presented via a partnership between One Book, One Columbia, One Columbia for Arts and History, Jasper Magazine, The University of South Carolina Press, and Richland Library.

About the Artists

 

South Carolinian Carla Damron is a fiction writer, clinical social worker, and author of the Caleb Knowles mystery novels Keeping Silent, Spider Blue, and Death in Zooville in which she explores addiction, homelessness, and other social issues. Her short stories have appeared in Fall Lines, Six Minute Magazine, Melusine, In Posse Review,and other journals. Named the 2014 South Carolina Social Worker of the Year, Damron holds an M.F.A. in creative writing from Queens University and a master's degree in social work from the University of South Carolina.

Thomas Hammond is a freelance photojournalist from Columbia, South Carolina specializing in human interest, political, and cultural stories from the heart of the American South to the Middle East and wherever else the road takes him. In 2015, he won a South Carolina Press Association award for his work documenting the war and humanitarian crisis in and around Syria. More recently, he's covered local stories such as the removal of the Confederate flag, the devastation of the recent floods, and the evolution of the local music scene.

Born in San Francisco, California, Kristine Hartvigsen earned a bachelor’s degree in education and completed graduate studies in journalism at the University of South Carolina. She began her journalism career in the mid-1980s at The State and The Columbia Record newspapers. She is a past editor of South Carolina Business and Lake Murray-Columbia magazines as well as a past associate editor of Jasper magazine. Her photography has been published in:  Sandlapper, South Carolina Business Monthly, Lake Murray-Columbia, Columbia Business Monthly, and Jasper magazines; in The State, the Free-Times, the Myrtle Beach Sun News, Lowcountry Life, and the Georgetown Times newspapers; as well as in print and online publications of the South Carolina Chamber of Commerce, The Nature Conservancy of South Carolina, and the South Carolina Education Association. In 2012, Muddy Ford Press published her first poetry collection, To the Wren Nesting.

Vicky Saye Henderson is a performer and teaching artist, whose projects include live stage, film, TV, voice-overs and cabaret. On staff at Trustus Theatre, she serves as Director of Education and Professional Development.  She is also a member of Trustus' residential performing ensemble, appearing most recently in The Great American Trailer Park Christmas Musical. She is the recipient of the SC Arts Commission's 2015 Individual Artist Fellowship in Acting and was named the 2013 Jasper Artist of the Year in Theatre. She received her improv training in Orlando, FL (KVG Studios) and is co-director of Trustus' Improv and Sketch Comedy master track Apprentice Company program. Vicky recently provided vocal narration for USC Press' audiobook of Carla Damron's novel, The Stone Necklace. 

For the past 15 years, Todd Mathis has been a solid fixture of the South Carolina music scene, and well beyond, playing in a number of groups from the indie soul of Betty Sneetch to the Brit-tinged rock of Boxing Day (Universal/Republic), fronting the alt-country turned rock of American Gun, crafting the soundscapes of Interruptions of the Mind, and releasing a few solo albums along the way.

Cully Salehi, a graduate of North Carolina School of the Arts, began her journey in music as an orchestral violist. After eight years of classical playing she began exploring the worlds of improvisation, jazz, and rock. Since contributing viola and keys to North Carolina Indie rock group Silver Hill Mine, she has performed several seasons with Columbia Community Orchestra and Lake Murray Symphony Orchestra. She currently enjoys playing local venues, growing in her own songwriting, and collaborating on recording projects at Jangly Records.

 

Jasper Goes to Hopscotch, 2015 Edition

Photo by Thomas Hammond Photography, all rights reserved. In some ways, returning to Raleigh for Hopscotch 2015 felt like catching up with an old friend. This was the festival’s sixth year, and Jasper’s fourth year attending, so much of what the astoundingly dynamic and eclectic festival offered felt comforting, familiar. The convergence of noise artists and rappers, EDM ravers and folkies, metalheads and indie rock tastemakers is what makes this festival tick, with the diversity of its booking and venues locations (ranging from the seedy dive of Slim’s to the posh intimacy of Fletcher Opera House to the, well, festival-esque City Plaza) giving it the kind of distinct character and vibe such undertakings count on.

Photo by Thomas Hammond Photography, all rights reserved.

While talking about the event from year to year is always going to center on a few things focused primarily on the music itself. How did the headliners fare? Godspeed You! Black Emperor delivered a predictably swollen, cinematic head trip of a set that was a welcome counterpart to the opening night’s rain; TV on the Radio proved to be a phenomenal live band adept at bringing art rock to the masses; and Dwight Yoakam was a straight shooter who lets his songs bring the heat.

Thomas didn't like Mr. Yoakam's photography policy. Photo by Thomas Hammond Photography, all rights reserved.

Who blew the roofs off? Phil Cook & Friends at Fletcher felt like a celebration of everything that makes Hopscotch great as they played his new solo LP Southland Mission from start to finish (check out the amazing video our photographer Thomas Hammond shot below); Working with a dramatically different sets of tools, Lincoln Theater headliners Battles and Pusha T closed out Friday and Saturday nights respectively by putting on workshops on how to own the stage when compared to just about anybody; and Waxahatchee’s  last minute solo set proved just how entrancing some simple, heartbreaking songs and a voice can be.

THphoto_Hopscotch-23

THphoto_Hopscotch-61

https://www.youtube.com/watch?v=uc6hfxGs7wQ&feature=youtu.be

What new discoveries had us buzzing? The haunting collection of traditional folk tunes by Jake Xerxes Fussell’s debut on Paradise of Bachelors is destined to end up on my year-end favorites list, and I’ll eat my shoe if Raleigh’s electro-R&B act Boulevards and/or upcoming rapper Ace Henderson aren’t making waves nationally by the end of 2016.

Mac McCaughan w/ The Flesh Wounds (moonlighting as the Non-Believers), another highlight from this year's festival. Photo by Thomas Hammond Photography, all rights reserved.

But part of what makes Hopscotch great is also what stays mostly the same—the day party traditions that range from the Trekky Records-centered lineups on Saturdays at Pour House to the noisy, avante-garde acts that fill Friday afternoon at King’s, the sprawling outdoor markets and official Hopscotch block parties, and the wonderful vendors and venues in Raleigh that team up to make the festival great from year to year.

Say Brother performing at the outdoor stage at Legends. Photo by Thomas Hammond Photography, all rights reserved.

What made this year especially memorable for South Carolina attendees, and what will hopefully be added to the list of traditions, is the collaboration between Stereofly, SceneSC, and Free Times that led to two day parties on Thursday and Friday that brought the first significant South Carolina presence to the festival since its inception.

While there have been some token inclusions from the Palmetto State in recent years—acts like Shovels & Rope, Say Brother, and Brian Robert’s Company have all been played official sets in the past, and Keath Mead got an early slot at Tir Na Nog this year—the bounty of North Carolina acts and the dearth of folks from our own music community has always given us pause, particularly when those NC acts benefit from national coverage of Hopscotch. This year was a welcome change.

JKutchma. Photo by Thomas Hammond Photography, all rights reserved.

Settling into the cool, dimly lit confines of Deep South on Thursday for an imitate, story-laden set from JKutchma followed by the haunting songs of She Returns from War and the electrifying country-rock of Say Brother at their sloshy best, even with their mid-afternoon start, was a great start to the festival; even better was the sprawling eclecticism of Friday’s day party at Legends Nightclub. Packed to the gills with mostly-SC acts, highlights included a grand opening from Charleston’s The High Divers, a classic rock-minded indie rock act with impeccable harmonies and a debut LP out 10/9, a fiery, mathy set from recent Post-Echo signees Art Contest, who recently moved from Columbia to Athens, GA, and a seasoned performance the Justin Osborne-led alt-country act Susto, which has been touring hard in recent months, including some opening slots for Band of Horses, Iron & Wine, and Moon Taxi. Recent Jasper centerfold Danny Joe Machado’s performance was another standout, provided a fascinating window into how an unfamiliar audience dealt with the acerbic persona The Restoration has created as a solo act.

The High Divers. Photo by Thomas Hammond Photography, all rights reserved.

More than any one performer, though, what struck me the most about these day parties was a sense of pride in South Carolina, as well as a rare sense of home community in a Hopscotch world where Jasper has always felt like an outsider before. Whereas in prior years “hopping” from set to set would be the norm for day parties as much as it is for the evening sets, we were happy to camp out at Legends all day on Friday, content to revel in our hometown riches before taking in the official schedule.

We can’t praise the folks and bands who put this on enough. It can be hard to see or sense forward movement for a scene, but those few hours on Thursday and Friday felt like something.

Photo by Thomas Hammond Photography, all rights reserved.

 

Below are some selected photos from the festival by Thomas Hammond:

https://www.flickr.com/photos/thomashammondphotography/sets/72157659157764610/

One of 2013's best events - Jasper went to the 27th Annual Chili Cook-Off in Five Points

As 2013 draws to a close, we recall the many fun times, the huge number of cultural events, and all the seasonal festivals that we enjoyed in the Midlands this past year.  For my money, one of the very best was the 27th Annual Chili Cook-Off in Five Points last month. So before all the fireworks and champagne tomorrow, join me as I reflect on the day that Jasper went and ate some chili!

5ptCCO13_flyersPhotojournalist and Jasper staffer Thomas Hammond has braved the dangers of Lebanon and Syria in the middle of that region's worst conflict in years.  (You can see photos and excerpts from his account in a recent Free Times cover story, as well as here and here.) My only question was:  could he face down the fiery heat of a habanero pepper?

To that end, Thomas and I ventured into the heart of Five Points, to take part in and to document the judging of the chili as part of the 27th Annual Chili Cook-Off.  Founded as a festive fundraiser by the original owner of Group Therapy and situated in the early years in that popular bar's parking lot, the Chili Cook-Off has grown to be an annual event of the Five Points Association, stretching across several blocks along Greene and Pavillion Streets, and raising thousand of dollars for Camp Kemo and the Hope Center.  Scott "Hollywood" Fleming, the current owner of Group, serves as the Festival Chair, while his wife Christina Fleming coordinates the judges.

Arriving at noon, I took a stroll around the newly expanded festival area. The event now encompasses not  just the small block between Group and the Post Office, but also two blocks of Pavillion Street, which runs perpendicular to Greene, along side the park, where the annual Blues Festival was conveniently running simultaneously. It made for much more elbow room, and an easier flow of foot traffic, especially for the youngest and the oldest of attendees. Live bands, plenty of beer, and lot of college students notwithstanding, the Chili Cook-Off is unquestionably a family-friendly event, and there were plenty of grandparents with their grandchildren, and not just at the "Little Peppers" children's play area. Indeed, baby bjorns and buggies were everywhere, and in particular it was a pleasure to see new mom Lindsey Burns, a Group Therapy bartender/manager, out with her newborn baby daughter Augusta.  OK, OK, daughter Annelee Charlotte ... although I still think Augusta would be an awesome name.

There's a prize for "best set-up," i.e. how a contestant's booth/tent is arranged and decorated, and so some teams go all out.  One group was called "Breaking Wind," and wore  haz-mat suits; someone told me they had some type of blue rock candy on hand too, in a nod to the AMC series Breaking Bad.  Another team's members were dressed in Ninja attire, and were working on a "Sweet Ninja" vegetarian chili. A number of teams also had creative names; one of my favorites was a group of co-workers from Providence Hospital, whose chili was called "Holy Ghost Pepper." One of the guys joked that that they hadn't gotten permission from the sisters, but figured that if necessary, they could get forgiveness later. Budweiser had set up a gigantic, two-story mobile bar, the sort of contraption that looked like a Decepticon just waiting to transform into its true nature.

Thomas had not arrived just yet, so I checked out the VIP area, i.e. the front bar of the nearby Pour House.  Or in Columbia-speak, "where the old Frank's Hot Dogs used to be." I'm significantly less than a very important person, but the designation applied to judges and event sponsors, and Five Points Association Director Amy Beth Franks had graciously hooked us up with access-granting wristbands and event T-shirts, so I wandered in.  A friendly volunteer named Gloria welcomed all who passed in with a festive red pepper necklace and a hug. Gloria and I discussed other events where she has volunteered, often through COR, the Columbia Opportunity Resource, including the Crawfish Festival, the World Beer Festival, and St. Patty's Day in Five Points.  Inside, believe it or not, was more food, most donated by local businesses like Jimmy John's, Insomnia Cookies, Chick-Fil-A, Village Idiot,  Zorba's, and many others.  Budweiser had some Shocktop Pumpkin Wheat Beer available, and naturally I had to sample a pint.  It wasn't half bad, even though I'm normally not impressed by Shocktop, and really have to be in the right mood for a wheat beer.  Unless it's roasted dark into a dunkel weiss, a wheat beer often has an odd tang that people usually try to cut with something fruity,  either in the beer, or by way of a lemon or orange slice floating in it. In actuality, something bland works much better, like watermelon (in Skull Coast's wheat beer) peaches (in R. J. Rocker's "Son of a Peach") and now pumpkin. There wasn't any extra nutmeg or cinnamon or coriander like so many of the seasonal pumpkin microbrews, just a vague sweet richness, which along with the amber color was reminiscent of a Yuengling, even though that's a lager and this was an ale.

It was time to meet up with Thomas. The first band, The Other Brothers, were playing a languid acoustic arrangement of the classic Drivin' 'N' Cryin' song "Straight to Hell"  on a stage with its back to Harden St. and the Five Points Fountain. The weather was just as cooperative as one could wish for in mid-November, a balmy Indian Summer afternoon.  People were already sampling plenty of chili, donating a dollar or more for each cup, and the water bottle table, staffed by Kathryn Daughtry and her friend Felicia, was doing brisk business. (Kathryn is not only a popular and proficient Group Therapy bartender, but also Jasper's downstairs neighbor in the Arcade, where she works at the Over the Top Boutique. Also raking in the dollar bills was Emmy, the jello shot girl inside Group, where we headed for the judging.

Emmy, with jello shots, on Group Therapy's back patio

Christina Fleming  and Gretchen Lambert met us at Group's back bar, where the judging took place.  This is the L-shaped annex off the pool room area, where you can still meet someone "under the moose."  Starting around 1:15, cooks bought in samples of their chilis in uniform styrofoam cups, appearing to contain 16 oz. each. Christina and Gretchen then assigned each a number, and noted if there was anything special, i.e. if it was a vegetarian or extra-hot chili.  A few cooks had extra containers, with garnishes like sour cream or shredded cheese, so that those could be sprinkled on if desired.  I was fascinated by how incredibly organized the process was - after a number of years of experience, Christina has perfected this down to a science.  Tasting was blind - all the judges knew was a number, and if the chili was (intended to be) regular, extra-hot, or veggie.  Therefore, afterwards, when people said "Hey, which did you enjoy?" all I could say was "Umm... number 17, the one that seemed to have some curry in there."

Gretchen Lambert (L) and Christina Fleming prepare the samples of chili to be tasted - Copyright 2013 Thomas Hammond Photography

Since the judges were primarily volunteers from the community, event, and supporters of the bar, the Five Points Association, or all of the above - but not professional chili connoisseurs - all we did was give a score, from zero to five, to each chili in turn.  A judge or two in past years has griped that they were given no guidelines to follow, but honestly, chaos would have ensued if we had taken time to follow some official definition or set of parameters for  48 different chilis.  Instead, we simply graded them based solely on personal taste and preferences, and scores were added up at the end. Therefore, if someone was a hard-core traditionalist and felt that chili should contain only meat with no beans, or only beef with no other meat, they could judge and grade accordingly, but everyone followed their own agenda.  Which, realistically, seems to me the best and fairest way to do it.

You read that correctly, however.  48 different chilis!  There were some 12 or possibly 14 judges. 10 were listed in the festival brochure, but that didn't include me or Thomas, and at least one more didn't get his bio back to them in time.  Ten places were set up around the bar, with scoring sheets, but eventually there were four judges at a nearby booth... but I think two people switched from the bar to the booth.  So let's say 12.  Thomas wanted to stay mobile so that he could take advantage of good photo opportunities as they happened, so he stood next to me, but sampled everything as well, while I actually wrote down my/our score on the tally sheet.  I say "our" since we agreed on just about every chili. Although I think he might have been a little more generous than I - I gave mainly twos and threes, very few fours, and not a single five. But no zeros or ones either.

Copyright 2013 Thomas Hammond Photography

I've been around many photographers over the years, including being photographed by Thomas, but I never really paid attention to how they do it.  Thomas fascinated me - he'd be chatting casually about something, and then suddenly like a puma he’d pounce on specific photo opportunities, sometimes moving quickly and leaning in, shooting 3 or 4 pics in quick succession.    Christina and Gretchen provided an endless supply of plastic spoons.  The rules were simple:  one spoonful of each chili, no double-dipping, mark down your score, and pass the container to the next judge. You discarded your spoon, took another one, and repeated the process.  This made for a completely germ-free experience. (And just to be clear - Scott and Christina are among Five Points' greenest, most environmentally-friendly business owners, so I'm sure those spoons were appropriately destined for recycling.)

(L-R) Judges Katie Atkinson, Will Green, Jason Broome, and William Corbett. Copyright 2013 Thomas Hammond Photography

Among the judges were Katie Atkinson, Jason Broome, Will Green from The Whig, and my friends William Corbett (a Budweiser employee but long time Group regular) and Moffatt Bradford (who competed in the very first Chili Cook-Off in 1986.)  I wasn't there in 1986, as I was still living in Georgia before moving back to Columbia just a few months later, and I'm pretty sure I missed the next few years due to rehearsals.  I know for a fact I was at the 1995 installment, as I have photos, in which I was wearing the same denim jacket I realized I was now wearing 18 years later.

It was a really fast pace.    Those little plastic teaspoons were generally overflowing, so perhaps they were really closer to a tablespoonful.   By that reckoning, with 48 chilis to try, each of us ate anywhere from one (48 teaspoons) to three (48 tablespoons) 16-oz. cups of chili over the course of perhaps 45 minutes. A number of people later in thee day asked if I had heartburn or a stomach ache, as if I were one of those competitive Coney Island hot dog-eaters, but really it wasn't that much chili to consume, and within a few hours I was in fact noshing on some of those subs and sweets in the VIP area.  Thomas was on my left, and the cups of chili to sample started with him, then passed to me, and so on to each judge's right, then around to the back table.  In other words, were there any question about how hot something might be, Thomas was my go-to for "Hey Mikey" moments.  Moffatt arrived last, and so brought up the rear.  Although as you will see below, even those labeled hottest of the hot were really relatively innocuous.   Most 16 ounce cups were still 1/3 to 1/2 full after being sampled by everyone. Christina and Gretchen made sure everyone had a beer or two to help cleanse our palates, courtesy of Group, and I enjoyed a nice cold Yuengling Bock. Bock is defined variously as "a dark, malty, lightly hopped beer," "a strong lager of German origin, " and "a very strong lager traditionally brewed in the fall and aged through the winter for consumption in the spring."  It's one of my favorites, and if you like regular Yuengling, this is similar, just moreso.  More rich dark malt taste, but also more hops.

But how was the chili, you ask?  Nothing was bad although Moffatt grumbled, only half-jokingly,  that all were bad.  What he meant was that none were remarkably tasty, and none were particularly hot or spicy.  A few had some interesting seasoning, but often were undercooked, or were not technically chili at all.  About halfway through the process, several of the judges began to joke that certain entries were really just spaghetti sauce, or stew, but not chili.  Jason observed that so many chefs essentially "forgot what the hell salt is!"  i.e. all they needed was a little more seasoning to enhance decent selections of meat, chili peppers, and beans.  I suspect one could have improved almost every entry with a pinch to a dash of salt, pepper, chili powder and/or curry powder, cumin, garlic, and a dash of the hot sauce of your choice.

Presentation helped - the addition of cheese and sour cream certainly helped a few.  Feta cheese crumbled on top of one entry looked ridiculous but was an interesting taste - I'd love to be able to savor that dish more some day.  A number were either burned, or the chefs may have poured in way too much Liquid Smoke, or as one judge observed, possibly they burned the chili, then poured in Liquid Smoke to disguise it.  Some included interesting veggies beyond the customary peppers, beans and onions.  One featured bacon, although it wasn't crispy crumbled bacon but rather a strip or two floating in with everything else, and therefore it seemed a little  undercooked, and you could see grease floating to the top.  Another clearly incorporated sausage.  A few boasted venison which you couldn't necessarily distinguish, if for example the venison had been ground up along with the beef.

Several inventively used pulled pork, which is perfect for slow cooking with added spices, and soaks up hot sauce perfectly...but by definition, it's long and stringy and hard to eat with a spoon out of a small cup.  One chili improbably sported marshmallows on top, which added nothing taste-wise, and led to more than a few derisive comments.  One (almost certainly Joe Turkaly's chili, because I tried some at his booth later) featured brisket, which was tasty but, like many of the entries we sampled, could have been cooked longer. (A number of folks noted however that Joe got a late start.) That would be one lesson and recommendation I would pass along to all future contestants:  get started just as early as you can, so as to allow for the heat of the peppers and seasonings to be absorbed into the meat, and for the diverse flavors to meld together better.  One memorable chili towards the end, which turned out to be the Festival's overall winner, Chef Gary Uwanawich's Sizzle, included pulled pork, and was topped with a  bacon-wrapped poblano chili.

At some point during the judging, long-time friend and supporter of Jasper Rob Sprankle showed up. Rob, an accomplished local actor as well as photographer, was looking for a way to get access to the roof. While we suspect that more than a few Group patrons have tried to do that over the years, Rob's interest was legit, as he was taking photos for Camp Kemo, one of the beneficiaries of festival proceeds.

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Rob's friend and high school classmate Dan Lowe is a frequent competitor and often wins the People's Choice award, i.e. the most money raised; his wife Fauni is a nurse manager at Children's Hospital, and according to Rob they are "very cool people and really care about the cause. They are such incredible unsung heroes in this community."  In fact, a number of Palmetto Richland staff comprised the cooking team.  Rob has graciously allowed us to use some of his photos here.  Later in the day I ran into his daughter Haley, and I took great delight in introducing her around as "quite possibly Columbia's most gifted teenage babe actress, singer and dancer."  Which is true, but more importantly mortified her, which was the goal.

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Once judging was done, Kristina and Gretchen tallied the results, and our judging duties were complete. Thomas took off to document the spirit of the event via more visuals. (Thomas's photos can be seen at the Jasper Facebook Page.) Jason, Moffatt and I chatted with musician/actor/bartender Stanford Gardner inside the VIP area for a while, after which Moffatt and I took a stroll through the festival.  Local brewers Conquest Brewing had a tent, and I enjoyed a nice, rich, coffee-tasting Medusa Stout.  Other bands played, including Bossman, Atlas Road Crew, and Calvin and Friends. When word came down as to the winners, we congratulated Joe Turkaly, and were happy to meet his mother, who who introduced us to Slivovitz, a Croatian schnapps flavored with plum and juniper. The one question we forgot to ask her was if she had ever met Frank Zappa in the 1970's, which could explain much.  Joe has been competing in the Chili Cook-Off (and often winning) since the early 1990's.

This was the official roster of winners (the numbers refer to booth number) :

• Best Overall Set-Up:  Sweet Ninja Chili (#29)

• Best Vegetarian:  Team #45 (Jake’s on Devine)

• Best Bar/Restaurant Chili:   Riunite and Chili Rocks (#48)

• Best Edible Hot:  Nuclear Meltdown (#23)

• Most Money Raised (“The Silver Spoon Award” Winners) : Porky’s Revenge Pulled Pork Chili from Lowecountry Cookin’ (#37)

• Overall 3rd Place:  Texas Heat Carolina Sweet (#43)

• Overall 2nd Place: Killah’s Redemption (#7)

• Overall 1st Place:  Chef Gary’s Sizzle (#46)

The sun was starting to set as the official festivities slowly wound down around 6 PM. Many attendees took the occasion to head over to the adjacent Blues Festival, where    later slide guitar legend Sonny Landreth performed, followed by an all-star tribute to Frank Smoak.  It had been a delightful afternoon.

Why was this one of the most enjoyable events I attended all year? Simple. It was well-planned, and well-attended. Thousands of people were on hand, but there was never a sense of claustrophobia, and you could always move around freely.  There was plenty of food, not just chili; there were plenty of beverages for every taste. Everything went to a good cause. People of all ages and colors (and colors of hair, including assorted shades of Day-Glo) were in attendance.  Same-sex couples milled about holding hands, as did those of opposite genders.  There were plenty of silver-haired grandparents, but many were wearing denim jackets, and enjoyed a beer or two along with their chili. There were plenty of college students, but they enjoyed the vintage roots, rock, funk, and blues music that was being performed.  There were plenty of little children with parents and older siblings, and this was like another State Fair for them.  As far as I could tell, there was not a single "incident" anywhere, and indeed the whole experience was as safe as a school Maypole dance.  The entire day was simultaneously wholesome, and yet still a fun, throwdown party with beer and chili and rock-and-roll.  And that's about as good as it can get.

~ August Krickel

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Christmas Wishes For and From the Columbia Arts Community, Part III

from Jeffrey Day

I still would like Santa – or someone – to bring a 30-foot tall, brightly-painted, fiberglass sculpture of Strom Thurmond standing on his head to be installed in front of the Strom Thurmond Wellness and Fitness Center at USC. That and more money for the arts. And a governor who doesn’t try to kill all arts funding. Two in a row is plenty. I know, I’m being completely unrealistic, but I’m counting on a jolly fat man who travels in reindeer drawn sleigh and slides down chimneys to take care of all this.

I'd also hope that everyone  – from artists to art lovers – will resolve to open your horizons. Go to art places and events (from exhibitions to performances) you’ve never before been to.

I could go on and on and on, but I will give everyone their Christmas wish and shut up.

 

 

from August Krickel

I hope Santa brings lots of  good roles in good shows to local performers, and plentiful audiences to come see them perform. More often than not, in reviews, I find myself saying that while the material may be hokey, or mediocre, or paper-thin, or all-too-familiar, the actors on stage do an awesome job with it. There are literally hundreds of good shows around that rarely if ever get produced, and if you produce good material, Columbia has more than enough talent.  The new age of social media and instant communication only helps the traditional word of mouth that has always benefited local theatre, and when word gets out that there's a good show, audiences will come whether they have heard of it before or not. If the same 4000-6000 people that will flock to see an adequate road company production of 30-40-50-year old musicals at the Koger Center would go see top-knotch productions stretched out over several weeks at places like Town, Trustus or Workshop Theatres, those organizations would have their best seasons ever.  The same is true with music - if the same 18,000 people who pack the Colonial Center to see Carrie Underwood or Jimmy Buffett for the dozenth time would go see local artists in local clubs, 20 local clubs would have shows with standing room only.

 

 

from Ed Madden

For there to be more and more interesting opportunities for inter-arts collaborations, more and better bridges between the university and the community.

For those in power to recognize that the arts are a necessity not a luxury, a vital part of education not an extracurricular option.

For more opportunities for young artists.

from Cindi Boiter

What would I want Santa to bring the Columbia arts community for Christmas?

It wasn't until I assigned myself the same question I had asked of other members of the arts community that I realized how difficult the question would be to answer. Difficult -- not because it's hard to think of things we need, but because it's hard to come up with a wish list that doesn't seem entirely too greedy. And really, given our abundance of richness in terms of talent around here, how much more can we ask for?

But I did put my head to the same task I had asked of others and the list below is what I came up with.

That said, I want to go on record as being enormously grateful for the support the arts community has given our magazine, the sense of community that so many people are working to nurture and grow, and the talent -- both humble and expansive -- so many artists share with one another. I'm thankful for how full our arts calendar is and that many days, we have to make choices -- or extra stops --when going out for an evening of the arts.

But enough sap. Here's what I would ask for Santa to bring:

  • More small theatre spaces, black box types with sprung floors where small, sometimes impromptu, theatre and dance troupes could perform in a cost-effective way.
  • Performance art -- whether it's good or bad, it always make people think and talk with one another about just how good or bad it was.
  • More opportunity for discourse -- hence, more talk back sessions after plays, concerts, and ballets and gallery exhibitions. We grow as individuals and a community when we discuss and debate.
  • I'd like for people who publish articles about the arts to actually read, copy edit, and proof the articles they publish. Mistakes will still be made -- we certainly have made them at Jasper (I'm still sorry, Thomas Hammond) -- but at least show a little respect for the written word. Magazines are about communication -- not just design. Even if the publisher doesn't deign to actually read the articles he or she publishes, she or he should be aware that others do. Good writers rely on good editors -- let them do their jobs.
  • More attention to the literary arts. Ed Madden, Jasper's literary editor (above) is working diligently to facilitate literary arts exchanges both via the magazine and via public events. (Find us upstairs at the What's Love Festival this February.) Let us know what you think, and share your ideas with us. We're here to serve.
  • Recognition that craft-persons, amateur artists, and professional artists are all unique entities, and while each operates under its own distinct paradigm, each entity is important to an arts community.
  • I want an arts festival -- a multi-day, multi-genre event that would showcase Columbia as the arts destination it is becoming. Who wants to work with us on making this happen? We're ready to go.

Thanks for reading this three-part shopping list of what some of us would like for Santa to bring the Greater Columbia Arts Community. If you missed part one, you can refer to it here. And if you missed part two, you can find it here.

And there's more to come. Stay tuned to What Jasper Said as we examine Columbia's New Year's Resolutions for the Arts.

Until then, happy holidays from all of us at Jasper, and please check out our ever-evolving website at www.jaspercolumbia.net.