Review by Heather Bonner

It was somewhat difficult not to compare the play to the movie, a tendency director John Lennox made mention of in his notes in the playbill, especially when the young actor playing George Bailey (David Cowan) sounded remarkably like the film’s Jimmy Stewart. Yet, in many ways, the play adaptation of “It’s a Wonderful Life” at Wayne State’s Bonstelle Theatre in Detroit (http://www.bonstelle.com) was quite separate from the movie. It was not necessarily a masterpiece last Saturday night, but its accomplishments outweighed its faults and the show was largely enjoyable.

“It’s a Wonderful Life” is the story of George Bailey, an ambitious family man, who ends up assuming a father-figure role for the entire town of Bedford Falls when he inherits his father’s Building and Loan business. George works hard to protect his friends and fellow citizens from a heartless old miser, Mr. Potter (Kenny Konaszewski), who is ravenously buying up the whole town, piece by piece. But when George’s uncle Billy (Alex Wisz) accidentally hands off $8000 in B&L deposits to Mr. Potter in a folded up newspaper, George begins to feel the burden he has let the townspeople place on him.

Desperate for money, George goes to Mr. Potter and begs for his assistance, but finds he does not have enough collateral for the loan. Mr. Potter will not accept the $15,000 life insurance policy George holds because its equity is only $500—a mere fraction of the amount he would be lending. Realizing he is worth more dead than alive, George contemplates his own demise as a way of saving the people he loves.

But before George can throw himself into the river, his guardian angel and the play’s narrator, Clarence Oddbody (Lavell Neal), intervenes. Clarence, a wingless angel—“second-class,” he calls himself—is looking for just the right miracle to perform to be granted his wings and George is his opportunity. All he has to do is convince George that life is worth living, which is no small task for any creature, mortal or otherwise.

But if that is a tricky ordeal, Neal —or Clarence, if you will—made stealing the show look effortless. He was the most genuine and realistic character on the stage, even when he was simply narrating events from the sides. Whereas many of his fellow actors were overly theatrical and borderline “schticky,” Neal was smooth and believable. It can be easy for an actor to appear awkward or forced when attempting to capture the feel of the 1920s, which were far more wholesome and, dare I say, cheesier by today’s standards of behavior and speech. But Neal found his niche and clearly felt comfortable enough with his part to make it seem relaxed, even within 1920s strictures of decorum.

Yet one thing may still have outshined Clarence: the mastery of the set, which was truly innovative. Scenic designer William E. Moser has helped design for more than twenty Broadway productions and his visionary skills are obvious. The opening of the stage (sometimes considered the “fourth wall”) was masked out to form a circle – kind of like a snow globe effect – rather than the normal rectangular, television-like box those conventional red curtains usually form. Onstage, a staircase wrapped itself around the main set, starting at stage left, ascending to a balcony that spanned a good portion of the length of the stage, and descending a few steps to a raised platform that trailed off behind the wings stage right.

At center stage, stood a set piece fixed on a turntable, like a free-standing segment of hallway as wide as a door and several feet long. By positioning this “hallway” at different angles to the audience, various locales within the town could be quickly simulated. Panels in the walls of the piece could be rotated to show different artwork to enhance the effect. Additional flat pieces of scenery, like lattice, could be flown in to sit in front of the walls to create even more locations within the town. Being a solid structure, the “hallway” could also act as an entrance to a room or house and actors could “exit” the action onstage by simply retreating into the narrow side openings where they would no longer be visible to the audience. It was one of the most versatile sets I’ve ever seen. It functioned flawlessly and scene changes were consistent with each location – never a panel out of place. It was thoroughly impressive and really made the show all the more engaging because each new spot felt different from the last, even if the set piece hadn’t rotated and only a panel and some props or scenery pieces had been exchanged. Genius!

The Bonstelle’s “It’s a Wonderful Life” was a fun portrayal of a holiday classic and a fair adaptation by Lloyd Garrison and Roger Robb. Nearly as dynamic and believable as a movie in its scenic design, it was a treat to see the story brought to life in the oversized snow globe of the stage.

“Detroit, In Focus” is a one-day festival that will give a voice to the diversity, complexity, and artistry of the city on December 6, 2008. Creators of short films, fine art and photography will showcase work f rom Detroit or work that involves the Detroit region in a significant way. The event is sponsored by YArts, and begins Saturday at 6:00 p.m. at the Boll Family YMCA, 1401 Broadway, Detroit. Admission for the event is $5.

The lobby gallery opens at 6:00 p.m. and features a new exhibition of contemporary photography and art f rom some of the most exciting Detroit area artists. Participating artists include Anastasia Deinera, Sean M. Gray, Kimberly Jacob, Nicole Macdonald, Corine Vermeulen-Smith, James Rotz and Cedric Tai. Music for the opening will be provided by Captain Decker. The exhibit will remain on display through the month of December.

Beginning at 7:00 p.m. the first of three film programs, Detroit @ 00:55, will be shown. This is a collection of 55 second-long films that explore Detroit and beyond made by members of [FLAK]Detroit, a cultural forum of creative individuals dedicated to promoting inventive, sensitive and humane visions.

The festival moves to literary arts at 8:00 p.m. with Detroit poet and memoirist Mary Minock reading excerpts f rom her new book The Art of Losing, A Memoir of Southwest Detroit in the 1950s. Minock has previously published one book of poetry, Love in the Upstairs Flat (Mellen). Her recent poems have appeared in The Driftwood Review, Margie, The Paterson Review, and the anthology Abandon Automobile (Wayne State University Press). She works as a professor of English at Madonna University.

A second film program, Detroit DigiArt, shows at 8:30 p.m. and features
video works by Natasha Beste, Steve Coy, Matthew Kelson, Kate Hers, Courtney Spivak, and Vagner M. Whitehead.

Live music by Wireburner moves the festival back into the lobby gallery at
9:15 p.m. Wireburner is a duo of electronic musicians/programmers hailing f rom the fringes of Detroit. Both artists have mainly worked individually and have contributed multiple tracks to Detroit’s Kenaob label as well as releasing their own 12″ recording in 2008 as Wireburner 001. Their music shares the intention to probe the meaning of possibility (or vice versa) mainly by creating a cold, edgy sound, reflective of the surrounding times and environment. The Wireburner artists will be presenting a set of current collaborative work.

Concluding the festival at 10:00 p.m. is the third film program entitled Detroit DocuArt. These are short films by Nkenge Zola Beamon, Jack Cronin, Lando Jerdine, Nicole Macdonald, Noel Marie Rivard, Christina Spivak, and Monika Wojtaluk.

Additional information on the festival can be obtained by contacting YArts at 313-223-2751 or visiting the website at: www.y-artsdetroit.org.

The Artists

Nkenge Zola Beamon

Looking Down is showing as part of the Detroit DigiArt 8:30 program in the theater.

Natasha Beste

Internationally recognized Multi-Media Artist, Natasha Beste is best known for her innovative experimentation in Audio and Visual Elements. She delivers Video Art using narrative & documentary-styles to c reate an unexpected yet welcomed cutting edge mixed media video production. Natasha produces music and is currently performing locally in Detroit as lead singer of the Electro-Pop band, Sex Ghost.

Beste received her B.A in Media Arts f rom Wayne State University and began her career in Video Education at the Detroit Film Center designing and teaching Media Arts. She also continues to serve as a lead facilitator in neighborhood programs including organizations DFC, El Arte, and Y-Arts, and Skillman Foundation serving Detroit Public Schools.

Sea of Detroit is showing as part of the Detroit DigiArt 8:30 program in the theater.

Steve Coy

I was born in Wisconsin in 1978. I studied ceramics, graphic design, and photography at the University of Michigan School of Art and Design where I earned a B.F.A in 2001. During my undergraduate studies I spent a semester studying at the University of Western Australia. There I studied avant-garde film and began incorporating performance into my work. After my undergraduate studies, I spent a brief time in Los Angeles working on photography. I received my M.F.A degree f rom the University of Hawaii focused mainly on ceramic installation and video.

My studies have exposed me to a wide variety of mediums. I c reate based on concept and not any particular medium. The most relevant materials are selected for execution. My work is inspired by commercialism, corporatism, pop-culture, identity, phobias, fashion, or possibly any encounter of daily life. In addition to my solo practices, I also work collaboratively.

By combining various elements including but not limited to objects, performance, video, documentation, and presentation, I seek to make cultural or social commentary. These elements are used in combinations to c reate series and entities of work whose life exist beyond the gallery can develop and transform over time.

Your Looking Good! is showing as part of the Detroit DigiArt 8:30 program in the theater.

Jack Cronin

Jack Cronin teaches film and video at Oakland Community College. He has taught film at the University of Wisconsin-Milwaukee, Wayne State University and the College for Creative Studies in Detroit. Jack is a former Director of the Detroit Film Center, and former Executive Director of the Detroit Docs International Film Festival. Jack’s films have been included in festivals and screening programs in the US, Mexico, Europe, and South America.

The Deer And The Antelope is a personal, experimental documentary that briefly explores the lives of Burton and Carla Cronin, the filmmaker’s parents. The film blends interviews, home video and filmic collage to suggest the randomness of memory and visual texture of perception.
The Deer And The Antelope is showing as part of the Detroit DocuArt 10:00 program in the theater.

Anastasia Deinera

Kate Hers

Born in Korea, Hers grew up in the suburbs of Detroit and works in various media. Her recent work deals with constructed narrative, Orientalism, and the interrogation of cultural and ethnic legacies. Her works interrogate the construction of ethnic and cultural narratives in landscape and analyze the mythological power of the “Other” while engaging tropes of appropriation, allegory, and conceptualism. She is not just interested in a crude depiction or reduction of anti-colonial anti-sexist viewpoints, but rather the questioning and engaging of the complex and layered meanings of appropriation, colonialism and gendered narratives in a global art context. She currently lives and works in Los Angeles, CA and Berlin, Germany.

In the spirit of the work of TehChing Hsieh, I intended to examine aspects of identity, confidence, self-worth and personality that are bound up with language through das deutschsprachliche Projekt. For a period of 3 months I only communicated with others using German. As a native English speaker, I had never experienced being forced to communicate entirely in a foreign language while having the privilege of resorting back to English if necessary. Furthermore, I was fully aware of the preconceptions that many Germans had towards me when they hear my broken German, given my Asian ethnicity. I was interested in enabling another kind of “Other,” to facilitate integration into German society. (As a side note, I find it ironic that I learned German, the ethnic language of my adoptive father, and of which he does not speak a word.)

das deutschsprachliche Projekt is showing as part of the Detroit DigiArt 8:30 program in the theater.

Kimberly Jacob

Currently living in Warren MI, Kimberly is finishing a Bachelors of Science in Architecture at Lawrence Tech University in Southfield. Her credits include projects in graphic and industrial design, performing art, costume design, 3D rendering, as well as photography. Kimberly’s work is mainly composed of architecture and the abstract with a strong focus on light. She takes her inspiration f rom her schoolwork and her years of working in a theatre. More of her work can be found at her website www.wastedutopia.com.

Kimberly’s photography is on display in the gallery.

Lando Jerdine

Discover Detroit is showing as part of the Detroit DocuArt 10:00 program in the theater.

Matthew Kelson

Matthew has worked for several local and national film festivals. He currently serves as a board member for the Detroit Projection Society. His work has been exhibited at the Detroit Film Center, Contemporary Art Institute of Detroit as well as at the Around the Coyote festival. Matthew’s work focuses on the relationship between memory, film, and video.

kanai is showing as part of the Detroit DigiArt 8:30 program in the theater.

Nicole Macdonald

Nicole is director of the Detroit Film Center, a non-profit media arts group in Eastern Market. In the past, she’s worked with Detroit Area Film & Television to produce animated video shorts with high school students, and she’s lead art workshops for youth and adults in various Michigan prisons through the Prison Creative Arts Project.

In 1950, when Detroit was auto production headquarters of the world, there were 1,849,568 people in the city -
almost 2 million. Half remain today. We know a lot of bad things happen when a city clears out, but is there anything good about it? This personal documentary f rom a life-long Detroiter looks at some of the
pluses, or at least some of the perculiarities, of having a city to yourself.
A City to Yourself is showing as part of the Detroit DocuArt 10:00 program in the theater.
Nicole’s collage, Detroit Arcadia, is on display in the gallery.

Mary Minock

Mary Minock is a Detroit poet and memoirist with one book of poetry, Love in the Upstairs Flat (Mellen). Her recent poems have appeared in The Driftwood Review, Margie, The Paterson Review, and in the anthology Abandon Automobile. Her current project is a 400-paged memoir of Southwest Detroit in the 1950s, entitled The Art of Losing. She works as a professor of English at Madonna University.
Mary reads excerpts f rom her new book The Art of Losing, A Memoir of Southwest Detroit in the 1950s at 8:00 in the theater.

Noel Marie Rivard

Eloise is showing as part of the Detroit DocuArt 10:00 program in the theater.

James Rotz

In his ongoing project The Region, Detroit area resident James Rotz investigates and documents the development of Northwest Indiana. A conglomerate of cities that form part of the Chicago metropolitan area, the Calumet Region, as it is commonly called—or “the Region” for short—is home to around one million people. But more notably it is a place where nature takes a backseat to what humans have c reated. Rotz aims to capture the particular qualities of a region—the one where he was born—but he sees what he finds in Northwest Indiana as symptomatic of a sweeping transformation throughout the country. Fascinated with the implications of America’s continued development, he has c reated a series of photographs that begs the viewer to consider how certain values take hold and to weigh the effects of their dissemination on a larger scale.

James’s photography is on display in the gallery.

Corine Vermeulen-Smith

Corine Vermeulen-Smith was born in Gouda, the Netherlands. She now lives and works in Southwest Detroit. She completed an MFA in Photography at the Cranbrook Academy of Art, and a BFA in Graphic Design at the Design Academy Eindhoven, The Netherlands. Her photographic series have been
recently been exhibited at the Museum of New Art, Pontiac, and at Design 99 in Hamtramck.

Corine’s photography is on display in the gallery.

Christina Spivak

Cedric Tai

Cedric Tai graduated with a BFA f rom Michigan State University, currently resides in Detroit, MI and has recently finished his teaching certification in Art K-12. His paintings are on the reverse side of acrylic plastic, which for him is the perfect medium to work through an experimental process. Using a vast array of materials the work is unpredictable, exciting and allows him to consider the plastic as diverse metaphors. “My work portrays systems— the way in which the whole is made up of things that are related, interconnected or interacting.”

More artwork and information can be found on his website cedrictai.com.

Cedric’s work is on display in the gallery.

Vagner M. Whitehead

Brazilian-born, Detroit-based artist Vagner M. Whitehead works with photo- and time-based media in a performative, non-narrative, non-linear, inquisitive fashion. His work employs original texts, childhood songs, nursery rhymes (in Portuguese and English), photo-based imagery (old and new, found and c reated), their translations and his interpretations as allegorical devices that reframe memory within a trans-cultural context. In his work the body (absent and present, actual and represented) is the catalyst for storytelling, usually in a non-narrative, non-linear, inquisitive fashion.

His work has been exhibited throughout the United States (Arizona, California, Florida, Georgia, Illinois, Kentucky, Maine, Massachusetts, Michigan, New Mexico, New York, Texas, Wisconsin), abroad (Canada, India, Mexico, Spain, Switzerland)and online, in solo and group exhibitions, as well as in video and film festivals. He was a featured artist in the Nueva Luz Photographic Journal in the Summer issue of 2006. That same year he became a grant recipient f rom the National Association of Latino Arts and Culture (which was sponsored by the Ford and JP Morgan Chase Foundations).

Vagner has one video playing as part of the Detroit@:55 7:00 program and four video’s in the Detroit DigiArt 8:30 program in the theater.

Wireburner

Wireburner is a duo of electronic musicians/programmers hailing f rom the fringes of Detroit. Both artists have mainly worked individually and contributed multiple tracks to Detroit’s Kenaob label as well as releasing their own 12″ in 2008 as Wireburner 001. Their music shares the intention to probe the meaning of possibility (or vice versa) mainly by creating a cold, edgy sound, reflective of the surrounding times and environment. The Wireburner artists will be presenting a set of current collaborative work.

Wireburner plays a live set in the gallery at 9:15.

Monika Wojtaluk

Grandma’s House is showing as part of the Detroit DocuArt 10:00 program in the theater.

Ced N’ Teri have been sitting on a sofa in Hamtramck interacting with plethora of odd souls and creative people since December 2007. In that time, Mikey Brown and Sarah Switanowski have produced ten episodes of the darkly hilarious Web series. If you haven’t been introduced to the series that has drawn 15,000 views on Youtube it’s time you were. The meaning of Sit Com is redefined in “A Very Ced n Teri Xmas at the Planet Ant Beginning December 5th.

Jane as “n” the cat, Sarah Switanowski as “Teri", Mikey Brown as ” Cedrick".
Photo by Marke Sobolewski

It all began with a knock at the door. Ced (Mikey Brown) tries to deliver a pizza that Teri (Sarah Switanowski) never ordered. She’s drinking a beer. He asks if she has another. Ced sits on the couch and Teri gives him a cold one. Then we meet n, their four-legged co-star who sits between them.

Couch potatoes couldn’t have more excitement than Ced n Teri. They have some special visitors including the mail lady who also delivers Teri’s weed, a crazy neighbor and a character who pays homage to Wilson, the man who hid behind the fence in Home Improvement. Each episode of Ced N Teri features a local band or rapper who plays a song at the end of the episode and during the closing credits.

“Putting bands into the plot of the show was inspired by the British sitcom The Young Ones,” Brown said. “I used to watch when I was a kid. And we figured local bands would get their fans to watch the show and fans of the show would get turned on to some bands they might not have known about otherwise. So it is a fun way to cross promote our show and bands we like.”

Several made-in-Detroit bands have graced the mini screen including The Brown Stripes, Blair, Hellen, Alison Lewis and Outdated Fate. Rapper JJ Sacks even portrayed Teri’s crazy ex in one episode as he serenaded her from the backyard with a special song about big booty. Episode 8 features funky rocker Jamie McCarthy who made a cameo appearance as a guy from The Repo Depo. He breaks into I’d Rather Be Ced N Teri on Teri’s guitar. Before he repos the guitar.

“The first time I saw Ced N Teri, I laughed my butt off and wanted to be a part of it,” McCarthy said. “I love this kind of comedy. It’s Detroit. It’s gritty. It’s smart. And I’m proud to be a part of it.” Past episodes are available on YouTube . We have posted the first episode on the cover of thedetroiter.com and will post episode ten.

Planet Ant will present a holiday-themed, live-stage version of the popular web show on weekends throughout December. It will feature the web show’s two Hamtramck couch potatoes, Cedrick the unemployed pizza delivery guy and Teri the out-of-work record collector as well as their unpredictable cat “n".  This multi-media stage version will feature many of the other zany characters, TV spoofs from the web show as well as several new ones. In the tradition of the online version, there will be several musical guests.

A Very Ced n Teri Xmas By Mikey Brown and Sarah Switanowski, Directed by Mikey Brown is on stage at Planet Ant Theatre at 8:00pm Fridays and Saturdays December 5th through December 27th 2008 with a 2pm Matinee on Sunday, December 21st. All tickets are $15.00. Students and Senior citizens (60+) can get $10.00 tickets on Fridays or at the Sunday matinee. Hamtramck residents can get $5 discount on Friday or Sunday. No discounts on Saturday nights. For reservations call: 313.365.4948 .

NOTE: COLORS: Dream of the Masta will run at the Marlene Boll Theatre for performances running February 12 - March 1, 2009!

When Spike Lee describes Rod Gailes work as “masterfully directed” and John Singleton says that he has “tremendous breakout potential … definitely one to watch”, maybe we should. Native Detroiter Rod Gailes OBC will present “COLORS: Dream Of The MASTA” on December 12-14, 2008 at the Marlene Boll Theatre. “Colors” is a live musical theater experience in the spirit of “Hair” and “Bring in ‘Da Noise, Bring in ‘Da Funk” It uses pop, rock, gospel, spoken word, dance, and contemporary art song to explore America’s journey to reach its higher self.

An emerging figure on the NY film scene, Rod Gailes OBC is a University of Michigan graduate and alumnus of the prestigious NYU graduate film program. There he studied under filmmakers, Raoul Peck and Nancy Savoca before directing the award winning classic, “Twin Cousins.” A Regional Student Academy Award Finalist, winner of the HBO Short Film Competition, and best short film in New York’s Urbanworld Film Festival, the film went on to further acclaim, winning the Ft. Lauderdale Film Festival and staging its European premiere at the Kodak Emerging Filmmaker Showcase in Cannes. Broadcast as part of Season of “BET J’s the Best Shorts", fellow NYU alum, Spike Lee, calls the film, “A beautifully photographed, masterfully directed portrait of childhood.”

U of M Professor George I. Shirley says “this compelling amalgam of music, dance, and the spoken word pierces like a laser into the consciousness of the spectator, making an indelible imprint impossible to ignore”. “Colors” special limited engagement is at 8:00PM Friday and Saturday, December 12th and 13th and Sunday, December 14th at 4:00PM. Tickets are $20.00 with Group rates available. Tickets are available online at www.brownpapertickets.com/event/49345 or by phone at 800.838.3006. For reservations email colorsdreamofthemasta@gmail.com .or call YArts at 313-223-2751. The Marlene Boll Theater is located at 1401 Broadway - Detroit, MI between Grand River and John R. inside the Downtown Boll Family YMCA We are directly adjacent to the Detroit People Mover Broadway Station. Proceeds to benefit Y-ARTS and The C.H.A.N.G.E. Foundation

The legendary Egyptian filmmaker Youssef Chahine will be remembered with a special program at the 2008 Arab Film Festival November 14-16, 2008. It’s the fourth annual film festival presented by the Arab American National Museum, 13624 Michigan Avenue in Dearborn , Michigan .

Chahine, who died last summer at age 82, left behind a monumental body of work beloved by Arab World moviegoers but unfamiliar to most other audiences, despite international critical acclaim.

The 2008 Arab Film Festival presents two Chahine classics – from 1958 and starring Chahine himself, The Cairo Station, winner of the Golden Bear Award at the ’58 Berlin International Film Festival; and The Destiny, from 1997, a Palme d’Or nominee at the Cannes Film Festival (Package D, noon & 1:45 p.m. Sunday, Nov. 16).

Captain Abu Raed (Package C, 8:50 p.m. Friday, Nov. 14) is the first film ever submitted by the kingdom of Jordan in response to an invitation from the Academy Awards for its Best Foreign Language Film category. This 2008 film took the Audience Award at this year’s Sundance Film Festival and just won the $100,000 grand prize for best dramatic feature at the Heartland Film Festival in Indianapolis. Its director, Amin Matalqa, received Variety’s Middle East filmmaker of the year award during Abu Dhabi ’s Middle East International Film Festival.

Slingshot Hip Hop (Package A, 7:20 p.m. Friday, Nov. 14) braids together the story of young Palestinians living in Israel , Gaza and the West Bank as they discover hip hop and employ it as a tool to surmount divisions imposed by occupation and poverty. Featured artists include DAM (who played a red-hot show at a recent AANM Global Thursdays performance), PR (Palestinian Rapperz), Abeer and Mahmoud Shalabi. This film was an official selection at this year’s Sundance Film Festival. New York-based director/producer/editor Jackie Salloum leads a post-film discussion.

Following Slingshot Hip Hop at 9:15 p.m. Friday, Nov. 14, festival goers are invited to continue their exploration of issues raised by festival films during Kunafa Night. For just $5, movie lovers can enjoy conversation along with freshly brewed coffee and from Masri Sweets in Dearborn, fresh kunafa – a tasty cheese pastry topped with a flaky crust and an infused syrup.

Each of the festival’s five film packages includes a short subject and a feature-length film (except Package D, which includes two Chahine features); tickets for individual packages are $6 for Museum Members and $7 all others. A Weekend Festival Pass is available for $25 for Museum Members; for $35, non-members get the weekend pass plus a one-year individual Membership to the AANM. Tickets for Kunafa Night are $5.

Festival goers are encouraged to purchase advance tickets and Weekend Festival Passes – available online ONLY at www.arabamericanmuseum.org – to ensure seating. No advance tickets or passes are available for sale by phone or in person. Tickets and Weekend Festival Passes will be for sale at the door during the festival.

All screenings take place in the 156-seat Auditorium on the Museum’s Lower Level. The festival schedule is subject to change. Call 313.624.0215 or click HERE for further information.

The Museum is located at 13624 Michigan Avenue , Dearborn , MI , 48126 . Museum hours: 10 a.m.-6 p.m. Wednesday, Friday and Saturday; 10 a.m.-8 p.m. Thursday (10 a.m.-6 p.m. May-August); noon-5 p.m. Sunday. Closed Monday, Tuesday; Thanksgiving, Christmas and New Year’s Day. Admission is $6 for adults; $3 for students, seniors and children 6-12; ages 5 and under, free. Call 313.582.2266 for further information.