His first film was Following, an extremely low-budget (damn near guerrilla) film that made the festival circuit but never broke the mainstream. Then came Memento; it was unlike anything audiences had ever seen before. Insomnia, the Prestige, Batman Begins and the Dark Knight…Nolan is one of the most celebrated and accomplished contemporary filmmakers working today. His films are dark and sophisticated, complex and intense. He gets huge box office draw working with themes and structures that in any other hands would be considered too esoteric, too abstruse for the common (American) audience. His work is consistently critically and commercially successful, and yet he has succeeded in retaining his own unique voice in his films, his auteurism, despite the fact that he is now working from deeply within the Hollywood machine. Not unlike Hitchcock himself, really.

Inception is Nolan’s latest achievement, and in many ways it is almost an homage to his earlier work. Written, produced and directed by Nolan himself (as he has done with the majority of his films, save for the script for the adapted Insomnia), Inception is the latest entrant into Nolan’s spiraling world of colliding realities, multi-layered and ever-shifting. Here Nolan goes back to his basics: delving deep into the fractured minds of damaged men to explore their own delicate and imbalanced realities.

Inception is the bigger, glossier, more sci-fi oriented brother of Memento, which was more of a straightforwardly (though non-linear) psycho-drama film noir. But Inception echoes of Memento at every turn: a man whose entire sense of reality is in question, whose own memories can’t be trusted, who has lost a wife and is desperate to bring her back, even though he knows he cannot. Sci-fi action thriller or psychological mindfuck, the question Nolan is ultimately asking is this: how much do we lie to ourselves to preserve our own fragile psyches? Or, in a pedantic theoretical sense, if we construct our own realities how can we ever really know what’s real…and is there even such a thing?

It would be a mistake to compare this film to emotionally void yet visually stunning action flicks like The Matrix, though the multi-tiered layers of so-called reality make the comparison inevitable (Cronenberg’s eXistenZ also comes to mind, as does Sergei Lukyanenko’s concept of the Gloom in his Day Watch novels, in which each layer is increasingly more dangerous and unstable, threatening to claim its victims and make them forget their own realities). But what could have been just another frivolous summer blockbuster, a sci-fi companion to Ocean’s Eleven, is instead a fairly intricate character study.

Cobb – the name itself taken straight from the duplicitous main character in Nolan’s own Following – is an Extractor: he steals people’s dreams. Or, rather, he breaks into people’s dreams in order to steal information, a kind of high-stakes cerebral heist. For reasons that are revealed as the plot unfolds, Cobb (played coolly by Leonardo DiCaprio, with a hint at the inner turmoil about to bubble over) decides to take on a very risky assignment, one which promises to free him once and for all so he can return to his children: an inception, planting an idea rather than stealing one. He enlists the help of other professional thieves and scientists (including Joseph Gordon-Levitt, Ellen Page, Cillian Murphy, Ken Watanabe, and Nolan regular Michael Caine), and together they contrive a plan for inception which ultimately requires multiple layers of dreams-within-dreams, numerous faux-realities to construct, and increased levels of danger with every dream level traversed. But during the course of the planning and implementation of the inception, Cobb’s own destructive past is slowly revealed, making him a threat to himself and his team.

And this is where Inception fails: in all of Nolan’s films, each character is given a level of depth too little seen in mainstream films. Here, the characters simply are not developed enough for the audience to feel true empathy. The lack of development could have been salvaged by strong performances, but auxiliary cast members were forgettable (except perhaps Murphy, as the inception target), and our lead actor Leonardo DiCaprio – a fierce talent in certain roles – lacked the intensity necessary to carry the film. The audience does not feel the same self-deluding desperation that Guy Pearce gave us in Memento, or the same torturous obsession Hugh Jackman and Christian Bale exhibited in The Prestige, or even just the internal conflict of Bale as Batman. Nolan’s films are by trademark psychologically probing character studies, regardless of what kind of genre they’re packaged in; here it felt as if Inception tried to be both fully a mind-bending sci-fi thriller AND a quiet descent into the darkest depths of men’s minds…without ever really succeeding at being either.

The one exception here is Marion Cotillard, who plays Cobb’s deceased wife Mal (“evil”) who remains very much alive in his subconscious. Cotillard (whose delightfully wicked turn in Love Me If You Dare should not be missed) is exactly what she needs to be, playing the haunted memory of a troubled wife whose death Cobb is somehow responsible for. She is not a fully-developed character, nor is she supposed to be. Instead, she is a fully-developed obsession, a culmination of all of Cobb’s desires and regrets. She is angry, vengeful, and destructive. She is love and revenge. Her eyes are wild, a feral foil to Cobb’s attempted placidity, betraying his own turmoil roiling beneath the quiet surface. DiCaprio plays Cobb’s secrets discreetly, losing control only when at his most vulnerable – in his dreams, with Mal.

Another issue lies with the development of the Cobb character: his motivations are never really clear – or just don’t entirely make sense. By the end of Memento, it was clear that Leonard Shelby had actively made the decision to continue believing the story he himself created – that his wife had been killed when he was attacked and lost his short-term memory and he was trying to avenge her death – when it reality it was HE who killed her, he was Sammy Jankis, and he conscious mind could not accept what he had done so he continued perpetuating his own false reality in which he plays the avenging hero with a conveniently unreliable memory, leaving himself planted clues to the “killer’s” identity. Inception unravels here (SPOILER ALERT: SKIP TO NEXT PARAGRAPH): if Cobb were indeed still in a dream at the end, what is his motivation for staying there? In this dream world Mal is dead and his children are lost to him; if he could make the decision to descend to another dream level in which they were all together why wouldn’t he do so, if he were already choosing to stay in a dream as it was? A true Memento-era Nolan twist would have been that Cobb became convinced their world wasn’t real, killed his wife to prove it only to find out he was wrong, and decided to escape to a dream world in which she committed suicide instead. This begs the question: has Hollywood softened Nolan?

Nolan’s trademark devices are all in place: an eerily epic score that conveys as much emotion as the actors’ faces; softly-lit flashbacks of tender moments tinged with longing and regret; repeated refrains and images which seem innocuous enough at first until they gain a heavy significance as the plot progresses. But with his newly developed skills as an action film director, Nolan pulls out a gorgeously orchestrated piece of cinematic choreography as characters in a second-tier dream fight inside a rolling hallway, where all sense of orientation is lost and they leap from ceiling to floor to wall. Visuals such as the city of Paris rolling over onto itself are stunning, yet also oddly deemphasized. This visceral film is less about manipulating dream cities and walking on walls and more about navigating the realms of subconscious desires.

Though not quite as non-linear as its precursor Memento, Inception’s resolution is less clear, and less satisfying. No doubt this will benefit from a second viewing, but despite its flaws Inception is another solid example of Nolan’s quiet character studies delving into the darkest natures of man packaged in all the pretty Hollywood glitz to get popcorn audiences in the door and keep academics referencing it in film journals for years to come. A weak film from an auteur of this caliber is still a towering achievement over most others, and even if Hollywood has softened Nolan (or, more likely, forced him to soften himself), a film like Inception is still more daring than most other big-budget blockbusters. You may not get the emotional investment you’ve come to expect from Nolan, but he still does not disappoint the intellect.

Now playing in theatres everywhere.

In that time, the buzz caught on. Now it seems that every private group and public organization tries to follow the same successful formula BravoBravo! put into place so many years ago: let’s get a bunch of restaurants and some bands and voila!, instant hot party. True, for a time, but the formula has gotten a bit stale with so many others copying it, and BravoBravo! has a reputation to uphold, after all.

This year ushered in a whole new era for BravoBravo! The event has indeed evolved, and the 2010 fête was certainly a departure from previous bashes. The loose “fashion” theme was a bit incohesive in concept—after all, isn’t this event always about being fashionable?—but seeing some of Detroit’s top designers standing with their models in the red carpet entryway was a nice introduction to the theme.

From there the theme became less about “fashion” and more about vibe: new this year, individual rooms within the Opera House were all done up in their own themes and sponsored by different metro Detroit entities. The food, drink and music within each room was carefully paired with the room’s theme, and providing the artistic work in each room were our local designers (from such recognizable names as Wound Menswear, Femilia Couture, and Joe Faris) as well as work from local artists such as Camilo Pardo and Shawn Lee.

The “Miami Room,” sponsored by Ambassador Magazine, had Bacardi mojitos, food from Vicente’s Cuban Cuisine, a DJ spinning salsa and timba music, paper palm trees and bongos. The “New York Room,” sponsored by Motor City Casino, featured Technicolor cupcakes and a wild Studio 54 theme complete with fuzzy white couches and disco balls. The “Tokyo Room,” a crowd favorite, was sponsored by the Metro Times and featured auto-tune karaoke in between sets from Detroit’s own prog-fuzz-indie rockers Silverghost. Beverages were from TY KU and food from Birmingham’s ultra-trendy new Asian-fusion spot 7 Restaurant & Ultra Lounge. These room themes for BravoBravo 2010: Destination Fashion were destinations unto themselves, and signify a whole new direction for this event. The “London Room” (sponsored by 944 Magazine) even featured charity gaming tables, a first for BravoBravo (paired well with Gentleman Jack and Woodford Reserve and roasted tenderloin from the Capital Grille—how perfectly proper!).

Another new element to this year that we haven’t really seen before is the emphasis on local musicians and artists. As an event designed to promote and support the arts, there has previously been a noticeable lack of local artists (particularly in the musicians). This year it was ALL about Detroit: from the designers to the photography on display to the bands who played. Detroit’s hottest band of the moment Will Sessions Funk Big Band with Monica Blaire headlined the main stage with a prime 9:30-11:00pm spot. Other noteworthy local acts included Detroit techno godfather Kevin Saunderson and Paxahau residents John Johr and Chuck Flask playing outside in the extended “Detroit Room,” sponsored by Metromix and Real Detroit Weekly and featuring food from Detroit favorites Slows Bar-BQ, Detroit Beer Company, Jacoby’s German Biergarten, Majestic Café, and Sanders with Hard Luck Liquor serving drinks (pun intended?).

With all of this new focus on different themes and promoting local artists, the one thing that made BravoBravo! in the past became almost entirely deemphasized: the food. Where before it was the main focus of the event, it kind of took a backseat this year—nowhere on the website or in promotional print was there an easily accessible list of participating restaurants, there seemed to be far fewer than in previous years (somewhere around 40 compared to 65+ in previous years, if memory serves), and in turn it seemed a lot of places sort of phoned it in, so to speak. While it is certainly a difficult task to balance all of these different (and many new) elements, I’d like to see the food once again become part of the focus and not get so downplayed in favor of the fashion—we’re not ALL starving models here, after all. Plus, McDonald’s? Really??? Surely Detroit can do better than that.

But that aside, BravoBravo! has finally become a true celebration of Detroit, and after over a decade still continues to be the hottest destination of the year.

For pictures from this year’s event, check out Metromix’s gallery and Picture This City’s gallery.

Is it the swankiest gala event of the year? Absolutely. Is the hands-down most see-and-be-seen scene in Detroit? You bet. Is the crowd full of the area’s hottest and brightest young professionals all dressed to impress? Without a doubt. Does the plethora of food and alcohol make the $105 ticket price totally worth the money? No question. But all these things seem to have, over the years, become the defining factor of this event, and attendees have lost sight of what it’s really about: BravoBravo! is a benefit for the Opera House and the Michigan Opera Theatre, paying for the continued restoration and maintenance of this historic building as well as supporting the MOT’s artistic and educational programs.

Since its inception, BravoBravo! has raised more than $833,000 and continuously attracts sold-out crowds with some of the biggest names in young metro Detroit, drawing in the very people who will soon come to run the city and preserve the historic and artistic endeavors such as Opera House and MOT with their own patronage, sponsorship, and fundraising. This event is vital to expose these young jet-setters to the Opera House and its programs, creating a culture of awareness and respect which will ideally last long after the last cocktails are consumed.

This year’s theme of fashion is glossier than ever, with a flashy website and photography to go along with it. The fashion theme will be carried throughout the complex, with separate rooms dedicated to Detroit, Miami, London, New York, Paris, Tokyo and Milan. The usual formula of several dozen of the best restaurants in Detroit will be used, and there will also be a showcase of some of Detroit’s top music talent, including Will Sessions Funk Big Band with Monica Blaire, techno from Kevin Saunderson and Paxahau resident DJs, jazz-pop singer Ben Sharkey, and progressive indie rockers Silverghost. As far as showcasing some of the finest talent in Detroit and exemplifying all of the things that make this city great, BravoBravo! has finally nailed it with a music lineup that is Detroit-centric for this first time in its history. (Also, don’t miss the auto-tune karaoke in the Tokyo room, presented by the Metro Times.)

Tickets for this year’s BravoBravo! are $95 through May, $105 in June. You can purchase your tickets online at www.MichiganOpera.org but hurry—this event will sell out. Come in your finest suits and dresses, hair and makeup perfectly prepped for your close-up on the red carpet, enjoy great local food and music, and remember: at the end of the night, it has all been for a good cause, for the preservation of our city’s arts, culture and history. For all those who support it, bravo to you.

The accomplishment is impressive, considering that the story for CATS is culled entirely from the poems of T.S. Eliot whose work, in terms of mainstream accessibility, tends to be a bit obtuse. Old Possum’s Book of Practical Cats (1939) provided the majority of content, and most of the poems were set to music in their original published form. Others had an occasional tweak to tense or pronoun, eight lines were added to “The Song of the Jellicles,” some lyrics were taken from unpublished works, and “Memory” (probably the most famous and recognizable song from a musical ever) was taken from and inspired by “Rhapsody on a Windy Night.”

Enter the world of the Jellicle cats, where each cat has three different names and their “true” names are things like Jennyanydots, Old Deuteronomy, Bombalurina, and Munkustrap. (The cast is huge and they’re all dressed like cats—it can be hard to keep them straight but, luckily, it’s not all that necessary to do so.)

There really isn’t a storyline, per se…the performance more or less runs as a series of vignettes (separated into songs) that add up to an overall image. What HAPPENS is the cats get together for their annual ball and await the arrival of their patriarch to choose which among them gets to be “reborn” into another cat life (I think I’m already stating the obvious when I say that it is the tattered and taunted Grizabella, she who sings the infamous “Memory,” who receives this honor). The rest is just a lot of singing and acrobatics.

Part of it feels like a fantastical romp through a land of childhood make-believe; another part of it feels like a big gay disco rock opera, with all the spandex and fur and feathered hair and pelvic thrusts (particularly from the Rum Tum Tugger, who looks like one of the Bee Gees as seen through an acid trip). But for the most part, it’s fun and frivolous, and however incomprehensible the plot and lyrics might be it more than makes up for in stellar performances by an extremely talented touring cast.

This cast of cats is full of seasoned vets, many of them having been with the CATS National Touring Company (the only production in North America sanctioned by Andrew Lloyd Webber) for several years. They prowl amongst the audience, crawl across the stage, and sing with great gusto while performing feats of physical prowess. What makes CATS so popular is not its inaccessible literary references, but in its visual spectacle. The staging is set full of platforms and cubbies for the cats to curl up in and disappear inside; they leap and backflip and cartwheel across the stage. The actors display all the energy of cats at play, and that’s what makes it so very fun.

But the true moment of grandeur, the one the audience waits for with anxious anticipation, is when the grisled Grizabella (here played by Anastasia Lange) sings her mournful rendition of “Memory” solo, belting out the final chords with power and triumph, her voice without hesitation. Love it or hate it, there is no denying that this song packs quite an emotional wallop…even if you’re not fully sure why.

For the launch Discover Detroit Dining/3D Tours outing, it’s a “Brew-Ha-Ha!”  Michigan is home to some of the most top-rated craft breweries in the world, raking in medals from top competitions such as the World Beer Cup and the Great American Beer Festival.  There are currently over 70 craft breweries in the state of Michigan, with many producing some truly astounding brews.

For 3D’s first-ever culinary tour event, we will be heading to three of our favorite local breweries to sample selections of their current brews, as well as tasting some of their signature foods.

On Sunday, February 21, 2010 beginning at 4:00PM, our first stop will be Bastone Brewery & Restaurant in Royal Oak, where guests will receive a flight of four current brews of their choice.  Bastone was awarded a Bronze in the Great American Beer Festival for their Saison du Bastone in 2009 and a Silver for their Bastone Müncher Dunkel in 2008.  In between chatting with head brewer Rockne about his award-winning creations, we’ll also sample some of their warm soft pretzels with cheese fondue dip.  Nothing goes better with beer than cheese and pretzels!

Really, though—it’s true!  Next on our journey to discover Detroit’s breweries, we’ll head over to Kuhnhenn Brewing Co. in Warren, where the brothers Kuhnhenn will be setting out eight different samples of their highly-regarded brews, including their Fourth Dementia Old Ale which took home a Bronze in this year’s Great American Beer Festival.  Notes of toffee and caramel mask the 9.5% ABV content.  Consider yourself warned!  They’ll also be serving a selection of seven different artisanal cheeses, including Danish Bleu Cheese and Tillamook White Cheddar.  Beer + cheese= win.

Last on our brew tour is the happiest place on earth: Sherwood Brewing Co.  In addition to brewing great beers (like the ultra-hoppy Green River Wheat IPA), owners Ray and Lisa Sherwood are incredibly welcoming and make every guest feel like a family member.  They’ve also made the commitment to the Slow Food ethos, incorporating fresh, seasonal, and locally-sourced products in their kitchen, and even hosting regular dinners for Slow Food Detroit.  All of their menu items are made from scratch in-house, including their sauces and dressings which they make with their own beer and wine.  As both a brewery and a restaurant, Sherwood is top-notch—which is probably why they’ve been voted WDIV’s “Best Brewpub in metro Detroit” for three years in a row.  They take great pride in their kitchen, and are eager to share with us some of their specialties, listed below:

~Fresh Fried Chips with housemade hummus and feta spinach dips
~BBQ Chicken Pizza with bold and spicy beer sauce
~Hand-Battered Mozzarella Triangles with garlic wine sauce
~Homemade Beer Ice Cream

The tour starts promptly at 4:00PM.  We will meet inside Bastone, located at 419 S. Main St.  From there the Night Move shuttle will take us to Kuhnhenn then Sherwood, and will drop us back off in Royal Oak at the parking garage located on the northwest corner of 6^th & Lafayette, which is where we suggest all guests park for the event.  Parking in Royal Oak is free on Sundays.  The tour will last approximately four (4) hours.

All-inclusive tickets for this event are $50.00 which includes beer flights, food, tax, gratuity, and transportation during the tour.  Tickets are available on the Discover Detroit Dining website at www.DiscoverDetroitDining.com and are subject to availability.  Tickets must be paid for in advance in order to participate.  Seating is VERY limited—once we have reached capacity no exceptions can be made.  This event is open to guests 21 & older only.  For more information about this or other events, please contact Nicole Rupersburg at Nicole@DiscoverDetroitDining.com.

Never underestimate the power of blonde ambition. The charming Elle Woods from the 2001 cinematic confection Legally Blonde is back in her own imperturbably perky musical, fresh from a successful Tony Award-winning Broadway run and an unprecedented partnership with MTV (which aired the musical uncut last October to 12.5 million viewers as well as a reality show talent search to cast a new Elle) to tackle a national tour.

Elle Woods is a Delta Nu sorority sister most interested in party planning and her boyfriend Warner. Her ambitions of a future life as Warner’s wife are shattered when he dumps her on the night she thought he was going to propose, so in order to become the “serious” girlfriend Warner seeks she hits the books and gets admitted to Harvard Law. She must overcome a great deal of adversity along the way, much of it coming from people who assume that because she’s blonde and bubbly she must also be an idiot. The ultimate message is the classic “To thine own self be true,” and despite the far-fetched plotline it’s hard not to fall for this unflappable go-getter by the end.

I loved the film Legally Blonde. Reese Witherspoon as Elle Woods had an innocent and infectious charm, and while the film certainly didn’t break any new dramaturgical ground, its message was positive and though frivolous, it was also fun. This was also the film that really first allowed Witherspoon’s high energy leading lady capabilities shine, catapulting her career into the mega-watt star she is today.

Becky Gulsvig captures much of the infectious charm and undeterred energy that Witherspoon gave to the role, even bearing a striking resemblance (particularly in the slightly scrunched face) and a freakishly similar voice. At times her facial expressions seemed a bit too wooden and her dancing too robotic, but her voice was strong and she was able to carry off the bubble gum pop princess role in a way that was sweet without being sickly.

The production celebrates all the camp that made the film so great in the first place: Elle’s bubble-headed Delta Nu sisters with bottle-blonde brains but sincere intentions, the over-the-top PINKNESS of the stage and Elle’s various ensembles (LOVE the boots she first enters Harvard with, btw). The stage often looks like a candy shoppe (that’s with an extra “p” and “e”) decked out for Breast Cancer Awareness month (which just so happens to be the month of October), but it suits the production well. The sets are not elaborate but change quickly and rather seamlessly from glossy California locales to stately Massachusetts courthouses and classrooms, and they all work quite well, save for the backdrop of a generic sky at sunset that is sometimes used when the characters are supposed to be indoors.

While it would be easy to attribute some of the notable hiccups to opening night jitters, this cast has been touring on this production for over a year and that hardly seems a fair assessment. The choreography leaves something to be desired, which is probably for the best anyway since a majority of the dancers didn’t seem very sure-footed. The singers vary in talent, though Megan Lewis as Vivienne Kensington proves to be the show’s sleeper when she belts out in a powerful voice that eclipses all the others towards the end.

The first act fumbles along with musical numbers that run minutes past the point they should have ended if they knew what was best for them and jokes that fall horribly, embarrassingly flat. The signature line from the film, when Warner asks Elle (his voice full of disbelief) “You got into Harvard Law?” and Elle replies with a cheerfully snappy, “What, like it’s hard?” doesn’t garner so much as a giggle from the audience. “Daughter of Delta Nu” and “What You Want”—which act as the replacement for the film’s montage of Elle studying and finally being accepted into the school—is a mess; chaotic, disorderly, and ultimately distracting. Particularly when the reason for her finally being accepted is “for love,” as opposed to for her merit as in the film which gave the story more integrity. Paulette’s romantic diversion “Ireland” goes on WAAAAAAY too long, and honestly could probably be cut out entirely. And the addition of Elle’s gaggle of sorority sisters as a “Greek Chorus” is wholly unnecessary and confusing.

But thankfully the production really comes into its own in the second act. The musical numbers are tighter, the jokes funnier, and the addition of a few key scene-stealing characters (Brooke Wyndham, as played by Courtney Wolfson; Nikos Argitakos the poolboy, as played by Constantine Rousouli; and Kyle the UPS delivery man, as played hysterically by Ven Daniel) completes what was missing from the first act. This is when the production finally plays up the savvy side of the story’s campiness, and injects some much-needed gay appeal. The number “There! Right There!” in which the cast questions “Is he gay or is he European?” injects smart cultural humor into the show and immediately becomes a raucous good time. From there it is all smiles for the “Legally Blonde Remix” and “Ohmigod You Guys” (Reprise), which had everyone cheering by the end. Ultimately it is fun, frivolous, and heart-warming, much like the film.

Oh, and I should probably also note: Elle’s chiuahua Bruiser and Paulette’s English bulldog Rufus, both trained by animal trainer to the stars William Berloni, will just simply melt your little hearts.

For fans of the film, some liberties are taken with the plot but most is plucked straight from the script. The spirit and message of the film is very much the same, though presented a bit differently. One adjustment I found particularly enjoyable was the deeper development of the relationship between Elle and Emmett, which is drawn out longer and includes more of them spending time together and falling in love. Though I think the biggest downfall of this musical is that it takes a 90-minute movie and turns it into a two and a half hour piece of musical theatre…damn near as long as Les Miserables. A tighter script and shortened (or outright deleted) musical numbers would serve this play very, very, like omigod totally well.

Legally Blonde the Musical can’t hold itself against severe critiquing but as a simple pink powder puff of musical theatre, it works just fine. It had me singing “Ohmigod, ohmigod you guys” for hours afterwards, and as they say in showbiz, that’s entertainment!

Legally Blonde the Musical plays at Detroit’s historic Fisher Theatre through November 1, 2009. Performances are Tuesday-Sunday at 8:00PM, Saturday matinee 2:00PM, Sunday matinee 1:00PM, with one Thursday matinee October 29 at 1:00PM and Sunday evening October 25 at 6:30PM. Tickets are $30-80 and are available at the Fisher Theatre box office or online at www.broadwayindetroit.com. Find out more about this national touring production at http://tour.legallyblondethemusical.com.

One of its longest and most popular runs was the 10-year engagement at Toronto’s Canon (then Pantages) Theatre, where the stage was constructed specifically to host The Phantom. This is where I saw it the first time, a decade ago in its final year at the Pantages, and I certainly never thought any other production would be as elaborate, as extensive as this, where all the construction was done specifically with The Phantom in mind.

I was curious to see how the Detroit Opera House would handle such an extravagant production (and more so what adjustments would be made to accommodate the stage), and was absolutely blown away.

The Phantom of the Opera at the Detroit Opera House is an accomplished production, a visual and aural feast, a well-oiled machine in which every cog performs its function to perfection, from the performers to the production design team.

The story of The Phantom is a haunting love story—a tale of passion, longing, desperation, and fear, and above all else, a tale of love. Overwhelming, obsessive, destructive love.

Based on the novel by Gaston Leroux and adapted for the stage by the crown prince and patron saint of musical theatre, Andrew Lloyd Webber, The Phantom of the Opera is set inside a Parisian opera house and tells the story of the tragically disfigured “Phantom” (a majestic Tim Martin Gleason) and his love for Swedish ingénue Christine Daaé (an ethereal Trista Moldovan). The Phantom, who both inspires and terrifies the opera house’s performers and management, aids Christine in developing her voice and places her in a position above the resident opera diva (played with slapstick aplomb by Kim Stengel), until he is driven mad(-der) by his jealousy over the budding romance between Raoul, the Vicomte de Chagny (a solid performance from Sean MacLaughlin), and his beloved Christine.

As it is set in an opulent Parisian opera house and features a number of microperformances within the musical itself (bits of operas and ballets performed on this Opera House’s “stage,” all with their own music, choreography, and stage sets), The Phantom is an ambitious undertaking for any stage. As I’ve already noted, I wasn’t sure what to expect of this traveling production. But when the Phantom and Christine descend into the catacombs in Scene 4 of Act One, I was simply awestruck. The mechanized ramps high over the stage with the use of body doubles to create the illusion of descent, followed by the boat carrying the Phantom and Christine “gliding” over the lake, where hundreds of candles magically rise up from the stage, covered by fog, only to vanish entirely seconds later—the effect is pure enchantment.

This is why audiences all over world have fallen in love with this musical for decades: it is the tragic tale of unrequited love (that perhaps we can all relate to) and the sympathy we feel for the Phantom; it is the renewed hope we feel in the burgeoning love between Raoul and Christine; it is in the magic orchestrated by the Phantom, a masterful musician and magician whose power is reflected in the enormous set pieces that appear and vanish like so much air, and in the way each scene takes on so much life of its own. Audience members are transported to these different places: the rooftop of the Opera House bathed in the light of the moon; the labyrinthine catacombs where the Phantom makes his home; the seats of the Opera House’s own audience, viewing the Phantom’s destruction onstage as the Parisian audience would.

This production of The Phantom is impossibly grand in scale, a monumental achievement which woos audiences with its stunning visuals and its astounding performances. As Christine, Trista Moldovan’s voice soars like a nightingale. Youthful, demure, feminine, and powerful, her performance of “Angel of Music” and her bewitchment by the Phantom cuts like a knife through the heart. Tim Martin Gleason as the Phantom is strong and somber, a majestic ghost whose voice has a presence and stature that his corporeal form may lack (according to the story, anyway). Kim Stengel as the obnoxious opera diva Carlotta Giudicelli is wonderfully hilarious, showing off her stellar pipes while also poking fun at herself. Other supporting members of the cast were graceful and competent, playing up to the story’s sense of sorrow, hope, devastation, and humor in turn.

There are a number of immense sets utilized throughout the production, each more grand than the one before. The stage is rigged with a complicated system of lavish curtains, moving set pieces (such as the extravagant chandelier and the sculpture over the stage where the Phantom hides from Christine and Raoul), ramps, pulleys, a grand staircase, massive mirrors, and more. The hundreds of costumes and thousands of meters of fabrics used for the curtains are sumptuous, intricately detailed and made of the finest silks and wools. Every element of this production is breath-taking, full of visual splendor.

But even without the curtain dressing (so to speak), it is still the chillingly provocative love story that speaks to the hearts of audiences worldwide, and the haunting music that accompanies it.

This Detroit production continues through September 27th Tuesdays-Sundays. For showtimes and ticket information, visit Broadway in Detroit.

Additional note:
In 2010, Webber’s sequel to The Phantom of the Opera, called The Phantom: Love Never Dies, is set to premiere. The story moves forward several years to New York City, where the Phantom lures Christine (now married with children to Raoul) to sing once again. I will openly admit I have serious misgivings about this sequel, and I suspect a good number of Phantom fans will too. The Phantom of the Opera is a complete story as it is. To explore it once again is unnecessary, and smacks faintly of “cashing in the cow.” As so many sequels (and those who produce them) so thoughtlessly do, preliminary accounts of the plotline appear dismissive of the soul of the original. Where The Phantom of the Opera is after your heart, this new production just seems to be after your wallet. Purists are bound to be disappointed, and this sequel will likely be no more than a pale shadow of the original. The setting on Coney Island may be intriguing, but the Phantom belongs in his catacombs.

For the first time ever, the city of Detroit will be celebrating its fine dining culture with the inaugural Detroit Restaurant Week, and Supper Club will be joining in the festivities!

Detroit Synergy’s Supper Club has partnered up with Detroit Restaurant Week (presented by Paxahau Promotions Group and sponsored by the Greater Downtown Districts) to host our monthly outing at one of the participating restaurants, the Frank Taylor-operated Detroit Fish Market at Paradise Valley located at 1435 Randolph St. On Wednesday, September 23rd, beginning with a cocktail hour at 6:00PM and followed by dinner at 7:00PM, join Supper Club as we experience yet another new restaurant during the most exciting 10 days in Detroit dining history!

Detroit Restaurant Week (DRW) is happening September 18th-27th. There are 17 restaurants involved in this inaugural Restaurant Week, each offering a minimum 3-course menu for the fixed price of $27.00 (excluding tax and gratuity). Supper Club members will be familiar with this fixed pricing and menu structure, which is modeled after a typical Supper Club outing.

Detroit Fish Market at Paradise Valley has only been open since January, but already the response has been tremendous. “I’m thrilled with the progress the Fish Market has made in such a short amount of time,” says Frank Taylor, owner of the Fish Market as well as Detroit’s Seldom Blues, Detroit Breakfast House, and the newly-opened Cloud 9. “Restaurant Week is something that happens in every other major city in the country, and for us to be doing it is amazing. This will encourage people from all over to experience Detroit dining.”

Detroit Fish Market is located in the former home of Intermezzo, and brings to Detroit the kind of upscale fish market experience previously not available in the city. A variety of fresh fish is flown in daily, including Alaskan Halibut and Chilean Sea Bass. Fans of Northern Lakes Seafood Company and Mitchell’s Fish Market will surely love this place, which further solidifies Taylor’s reputation as Detroit’s most daring restaurateur.

The menu for Detroit Restaurant Week is as follows:

Soup or Salad (Choice of One):
~New England-Style Clam Chowder
~Louisiana-Style Seafood Gumbo
~House Salad—mixed greens, tomatoes, cucumbers, croutons & choice of dressing
~Caesar Salad—crispy Romaine, garlic croutons, creamy Caesar dressing & shaved Parmesan cheese

Entrees (Choice of One):
~Broiled Lake Superior Whitefish—butter, lemon, white wine & capers sauce
~Crispy Fried Catfish (Belzoni Mississippi Style)—buttermilk battered with crabmeat & lemon beurre blanc
~Pan-Fried Parmesan-Encrusted Tilapia—served with jasmine rice & sautéed seasonal vegetables
~Grilled Citrus-Marinated Chicken with Cherry BBQ Sauce—with garlic mashed potatoes & sautéed seasonal vegetables
~Seafood Fettuccine—fresh seafood of the day tossed with creamy Alfredo sauce

Dessert (Choice of One):
~Banana Bread Pudding
~Housemade Tiramisu
~Warm Apple Strudel topped with ice cream & caramel sauce

Payment will not be accepted in advance; you are responsible for supplying payment for your own bill and gratuity while at the restaurant. We will be meeting at the restaurant at 6:00PM for a cocktail hour, followed by dinner at 7:00PM. Please note that the $27.00 fixed price does not include tax or gratuity; each person/party is responsible for their own check.

For more information about Detroit Restaurant Week, visit their website at www.DetroitRestaurantWeek.com. Also be sure to visit the official blog of Restaurant Week, www.DininginDetroit.net, which offers sneak previews of a number of different participating restaurants, including Supper Club favorites Cuisine and the Whitney!

Because we are not selling tickets through the online store, please RSVP in advance. ONLY 40 RESERVATIONS WILL BE ACCEPTED. Email supperclub@detroitsynergy.org to RSVP and with any questions. Please pass this information on to your friends, family, and coworkers, and anyone else interested in Detroit dining!

Detroit Synergy is a 501(c) 3 non-profit organization. Its mission is to generate positive perceptions and opinions about Detroit by bringing together a diverse community and building upon the City’s strengths and resources to realize a common vision for a greater Detroit. Please visit www.detroitsynergy.org for more information about the group.

CHICKS AND GLOWSTICKS
THE ULTIMATE ELECTRO, HOUSE, GHETTO TECH PARTY
Host: DJ FLUFF/ DJ ROW/ DIDDYBOP RICK/$$B~RICH$$
Type: Party – Club Party
Network: Global
Price: $12 Tickets, $15 @ the Door
Start Time: Friday, September 4, 2009 at 10:00pm
End Time: Saturday, September 5, 2009 at 4:00am
Location: Five Elements Art Gallery 2125 Michigan Ave
Street: 2125 Michigan Ave
City/Town: Detroit, MI
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Phone: 3134524527
Email: chicksandglowsticks@yahoo.com

DescriptionITS GOING DOWN FRIDAY ~FRIDAY~FRIDAY~FRIDAY SEPTEMBER 4TH

CHICKS&GLOWSTICKS:THE BIGGEST RAVE PARTY IN DETROIT!

@ 5 E GALLERY 2125 MICHIGAN AVE!!!

*NO AGE LIMIT!
*NO AGE LIMIT!
*NO AGE LIMIT!
*NO AGE LIMIT!
……………………………..
NO DRESSCODE
……………………….
$12 TICKETS!!!
…………………..
$15 @ THE DOOR!!!!

The Tour Reaches it’s last stop this Saturday, Sept. 5th, and for the finale we have asked Detroit resident Monty Luke (Planet E/ Mothership) to be our special Guest. Monty, has also informed us that he will be digging deep and spining a special All Vinyl set!

With us as always are your Tour guides:

Joe Vargas
Steven Robert
Erno the Inferno

Join us for the last Tour D’etroit of 09′ and help us celebrate the end of summer, the coming of fall, friends and family, and everything else that makes our town special!

Tour Detroit would like to thank everyone who lent a hand, came and danced yr asses off, and again made this summer memorable!

We could not have done it without you.

-Tour D.

Host: Tour Detroit
Type: Party – Erotic Party
Network: Global
Price: $5 Cover
Start Time: Saturday, September 5, 2009 at 10:00pm
End Time: Sunday, September 6, 2009 at 5:00am
Location: 5E Galley
Street: 2125 Michigan Ave.
City/Town: Detroit, MI