River Cities' Reader - Issue 895 - November 12, 2015

8/20/2019 River Cities' Reader - Issue 895 - November 12, 2015

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River Cities’ Reader • Vol. 23 No. 895 • November 12 - 24, 20152 Business • Politics • Arts • Culture • Now You Know • RiverCitiesReader.com

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River Cities’ Reader • Vol. 23 No. 895 • November 12 - 24, 2015 3Business • Politics • Arts • Culture • Now You Know • RiverCitiesReader.com

WORDS FROM THE EDITOR

Voting for the Lesser Evil Is Still a Vote for Evil

by Kathleen McCarthy

[email protected]

At some point, Americans are going tohave to square with the resoundingfailure of our two-party political system

by shedding the dysfunctional loyalty most voters have to either a Democrat or Republicanaffiliation. Why? Because neither party deliversanything resembling representative governmentany more. We elect politicians whose primarymission is continuity of government at ourexpense.

The allegiances to the modern American

Democrats or Republicans are based on well-crafted illusion, disseminated by corporatemedia on behalf of the two-party politicalmachine. It is brilliant in its simplicity. Aslong as voters are polarized, the status quo isguaranteed. What self-respecting Democratwill ever vote for a Republican, and vice versa?Couple this with a stranglehold on the primarysystem, including nonsensical gerrymanderingto protect incumbents, and you have a controlgrid that is efficient and manageable. (SeeRCReader.com/y/primary.)

The minute voters decide that the candidatespresented for election are unacceptable – andas a result cross party lines, or better yetabandon those lines altogether and choosethird-party candidates en masse – things will

begin to change in a hurry. Americans do notgive enough weight to the desperate desire ofpoliticians to be re-elected.

Both establishment Democrats and

Republicans are openly progressive – apolitical/socioeconomic philosophy advocatinggovernment as the means to solve society’sproblems. Liberal or conservative has becomea purely rhetorical differentiation, evidencedby the voluminous growth in all levels ofgovernment regardless of which party is incontrol. Growth in government is not justexponential growth in debt and spending; itincludes ever-increasing and deliberately vaguelegislation that results in explosive amounts ofregulation that can then be arbitrarily enforced.

Media has become public enemy numberone. News is now controlled by six majorcorporations globally. Nothing can dial thatback unless Americans expand their sourcesfor relevant information. If your news diet is Continued On Page 15

mostly CNN, Fox, MSNBC, ABC, NBC, orCBS, consider yourself largely misinformed. Thedegree of need-to-know information flowingfrom these outlets is practically nonexistent,regardless of your political-party affiliation.

What Americans need to do is re-evaluateexactly what constitutes our individual politicalidentities by taking an honest inventory ofthe policies and programs supported by ourrespective party representation. This meansexamining their voting records, not their

rhetoric or speechifying. Excellent resourcesfor learning relevant facts about politiciansand their activities are VoteSmart.org,OpenCongress.org, GovTrack.us, OpenSecrets.org, and many other Web sites dedicated tobringing reliable information that educates andinforms. It is up to each of us to connect dotsand pierce the two-party political veil.

By personally examining the activities ofgovernment through the prism of our specificpolitical ideologies, perhaps we will shakeourselves awake when we realize how far afield

we are from not only liberal and conservativeprinciples alike, but from a just and moralpeople. Below are a few severely egregious actsto get you started.

• Targeted drone killings that have resulted

in mass casualties of innocent men, women, andchildren around the globe.

• State executions of innocent men andwomen even when DNA evidence says theconvictions are unjust.

• Medicating the public -drinking-watersupply with the neural toxin hexafluorosilicicacid under the guise of impacting one’s dentalhealth through a non-topical application. (SeeRCReader.com/y/fluoridation.)

• Extreme, cruel treatment of animals in mass

production of food, fiber, and other products.• Variances from regulations approved forfavored corporations that profit industry andpoison residents (food, pharma, energy).

• No national database tracking civiliandeaths, wrongful or otherwise, caused by policeofficers.

• Prosecutorial immunity for attorneys and judges who get it wrong, imprisoning innocentsfor decades.

• Grand and petit juries being legislated intoobscurity, creating judicial kingdoms for mass

incarceration of the most vulnerable due to lackof resources to defend against the legal system.

• Pharmaceutical immunity for vaccines andother drugs that cause harm.

Inside:Beyond the Dog’s Tail

- page 15


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What’s Really at Stake in PublicMeeting with Governor, Leaders

by Rich Miller

CapitolFax.comILLINOIS POLITICS

The concept of a public meeting onNovember 18 featuring the fourIllinois legislative leaders and the gov-

ernor sounds nice, but will it actually movethe ball forward and break the months-longgovernmental impasse?

As you might know, a group of good-government types recentlycalled on the state’s leadersto sit down and talk about

solving the state’s budgetissues. The four tops andthe governor haven’t met asa group since late May.

House Speaker MichaelMadigan quickly acceptedand then suggested that the meeting be heldin public. The move has quite a few peoplescratching their heads, because nobodyexpects anything will be solved while thepublic is looking on.

So why bother?A big reason is that the Democrats want

the public to see what they’ve been seeingwith their own eyes for months. They say thegovernor walks in, exchanges pleasantries,and then repeats the same basic talkingpoints that he’s been making since April.

Top Democratic sources say that Raunercannot talk in detail about much of hisTurnaround Agenda. They’ve asked relativelyuncomplicated questions about tort reform,for example, and claim they’ve been met with

empty stares.“They can prep him [Rauner] on the

budget for the next month and it won’t doany good,” fretted a top Republican shortlyafter Madigan suggested a public meeting.

It’s not that the governor isn’t bright; heis a very smart man. It’s just that he hasnever been a detail guy. And a big part of theproblem with these negotiations is that manyof the topics are nothing but details. Even thefar-more-experienced Madigan might be able

to delve down only a couple of levels intothe workers’ comp issue, but he doesn’t havethe expertise to go much deeper than that,Democrats admit.

What they need to do is set up someexpert committees and let them deal with thedetails. But the experts can’t do that until thetops give them some sort of direction, andeverybody is just floundering right now.

Back to the upcoming meeting.Rauner did his level best the other day to

once again tamp down expectations ahead ofthe meeting. “I don’t think it’s going to mattermuch,” the governor said, noting correctlythat people don’t like to compromise in frontof cameras.

Rauner and his legislative allies have

been insisting that the governor be allowedto set the agenda, which has some ofthe government reformers who initiallyproposed the sit-down worried that hewould attempt to hijack the meeting andinsist on talking only about his TurnaroundAgenda, which he wants resolved before he

will negotiate the budget.The agenda includessome harshly anti-union

proposals on collectivebargaining, as well assome unacceptable (toDemocrats and unions)changes in the workers’compensation programand things such as term

limits and redistricting reform.But the governor also said something last

week that went almost completely unnoticed.Rauner told reporters that he was planning a“comprehensive agenda” for the meeting.

“We will include structural reform in theagenda,” Rauner said (predictably, sincethat’s code for his Turnaround stuff). Butthen he said: “We will include revenue andtaxes on the agenda, we’ll include spendinglevels on the agenda.”

The idea may be to put the Democrats onthe spot and finally make them talk aboutwhat taxes they want to raise.

Madigan reiterated his support for newrevenues recently in Chicago. “The number-

one problem facing the government of theState of Illinois is the state budget deficit,”he said for the millionth time. “Whichmeans that we have to get together to talk,negotiate, do some cuts, and do somenew revenue. There should be a balancedapproach.”

Madigan, however, has never specificallysaid what “new revenue” he would actuallyback, and neither has Senate President JohnCullerton. The governor’s people have been

quietly pointing out this glaring omission forthe past several days.The governor told top Democrats during

a private meeting months ago that hewould be willing to raise the income tax to4.75 percent, which is a percentage pointhigher than its current level, if he got whathe wanted on the Turnaround Agenda.The Democrats have not yet accepted thatproposal and have apparently been waitingfor the governor to make his offer public.

I doubt anything gets done at thisupcoming meeting, but it might be fun towatch.

Rich Miller also publishes Capitol Fax (a daily political newsletter) and CapitolFax.com.

The governor has never

been a detail guy, andmany of the topics are

nothing but details.

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and although Shannon O’Brien,as Gabrielle, knew her lines, sheoccasionally slipped in her endeavorto make them sound natural. Herpivotal role as a forceful womanwith grace and charm may havealso worked better had she playedGabrielle as more assertive and notso docile. (I wondered if Babbittthought of switching the casting ofMonrreal and O’Brien.) Meanwhile,Hanna Murray, who plays Yvonne,does well in her scenes with Nguyen,and although her character lacks a

certain neurotic quality, she managesto garner sympathy and exude

appropriately neurotic body language.After an evening of unforgiving

revelations, the play does end on a gentlernote, with the audience left to ask “Ismarriage itself an absurd situation?”(Maybe also “Is Simon’s play mirroringhis unhappy marital experiences?”) Butwriting should be engaging and even thebest actors need good lines, and Simon

may have also forgotten a major rule oftheatre in his work here: The audiencemust care about the characters. You canlove them or hate them, but you must feelsomething , and we rarely do here.

Yet student productions are meant tobe learning experiences for their actorsand crews, and I give credit to Babbittand SCC’s ensemble cast for tacklingsuch a play as The Dinner Party. Weneed to keep in mind that these actors

are learning their lines and rehearsingwhile continuing their regular classroomstudies. I support their effort, and hopeyou will, too.

Editor’s note: Author Victoria Navarrowill be contributing reviews alongsidethe Reader’s other new local-theatrecorrespondents Jeff Ashcraft, Dee Canfield,Heather Herkelman, and Brent Tubbs.

The Dinner Party runs at ScottCommunity College’s Student Life Center(500 Belmont Road, Room 2400 throughDoor Five, Bettendorf) through November14, and more information is availableby calling (563)441-4339 or e-mailing

Vol. 23 · No. 895 Nov. 12 - 24, 2015

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When attending a studentproduction, I’m excited

for the young perform-ers, and hope the evening ends withthe audience standing and cheer-ing. Such were my hopes on theopening night of Neil Simon’s TheDinner Party for the Scott Com-munity College actors, who gave ittheir best shot with some standoutperformances. But to have a greatproduction, it helps to have greatwriting and a great story to tell.

Neil Simon, at age 73, decided to

somewhat veer away from his mostsuccessful genre with The DinnerParty , and although the playwrightwho gave us The Odd Couple and TheSunshine Boys serves up some laughs asappetizers, the main entrée is bitterness.Written in 2000 soon after marryinga fifth time, I guess Simon had somethoughts on marriage he needed to air,but what results is a curious mash-up ofdrama and comedy.

The setting is a private dining roomin a posh Paris restaurant, and while thesparse Dinner Party program mentionedthe Culinary Arts program, the show’sset designers weren’t credited. Theyshould have been. As the locale wascreated simply yet effectively with ablack backdrop, an elegant table settingfor six, two French-styled arm chairs,and a sideboard with champagne bottlesand flutes, the tone was set for a refined

evening.Events begin with three strangers –

Claude, Albert, and Andre – enteringthe room one at a time. They have noidea why they’ve been invited and appearirritated at the whole idea, and at eachother. (Insulting and demeaning remarksfly from the start, and although Simonevidently meant for these remarks tobe funny, not all hit the mark.) Aftermuch speculation as to why this dinnerparty is taking place, three more guests –Mariette, Yvonne, and Gabrielle – arrive,and more is revealed about why they’vebeen assembled.

Director Kevin Babbitt’s show doesfeature some notable performers. One is

THEATRE By Victoria Navarro

The Invitation GameThe Dinner Party , at Scott Community College through November 14

Max Robnett as Claude, who opens theplay in a clever, engaging way by quietlyappearing on stage, looking about, sitting,rearranging the pillows, picking lint offhis jacket, and looking slightly pensive.He piques our curiosity about what willfollow, and all throughout, Robnett’sexpressive acting and natural linedeliveries help carry the play.

Offering a good effort for his first

SCC production, Joseph Nguyen isrental-car dealer Albert, who lacks theothers’ sophistication. Nguyen plays thecharacter as uncool yet likable, and earnsthe audience’s sympathy as he enduresone verbal barb after another. Even whenhe practically drools over one of thefemale characters, we still sympathize. AsAndre, Will Marbury has an ease on stagethat made his every sentence believable.His character is the most unlikable ofthe guests, and Marbury pulls this offwith just the right blend of composureand swagger, his strong stage presencemaking him perfectly cast for his role.

A f irst-time-ever stage performer,Karina Monrreal faced a formidablechallenge in her role as Mariette, andtried valiantly to deliver. The staccato-like readings of her lines, which mayhave worked better in a different play,sounded unnatural here and took awayfrom her character’s authenticity, but I

applaud Monrreal’s effort immenselyand hope she hones her acting for futureperformances.

When doing a Simon play, it’s difficultto make lines not seem like recitation,

Shannon O'Brien, Karina Monrreal, and Hanna Murray


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wrote that her company “feels the need for anadditional inpatient facility is vital. All too oftenthose in need of inpatient services are turnedaway from the two facilities currently providingthese services.” She added that SouthparkPsychology hopes “this new company willattract more psychiatrists and mental-healthprofessionals” to the Quad Cities area.

Even some people who didn’t supportStrategic Behavioral Health’s application

expressed skepticism about local hospitals’ability to meet the need for additional inpatientcare.

In an explicitly neutral letter, Vera FrenchCommunity Mental Health Center CEO AnneArmknecht wrote: “Over the last six years,our local hospital, Genesis Health System, hasdecreased the beds being used for inpatientpsychiatric needs, and had even closed [in2009] its child inpatient psychiatric unit. Noincrease in services of a substantial nature hadmaterialized in years. Therefore when StrategicBehavioral Health proposed building a new72-bed inpatient psychiatric hospital, we wereencouraged. Since that time Genesis HealthSystem has proposed an accelerated plan toexpand their behavioral-health services. Andthey have been more open to working withcommunity providers than they have [been]in many years. Our hope is that either, or both,plans come to fruition, that inpatient psychiatricbeds are increased in our community, and thatthe needs of the mentally ill are not ignored.”

“There’s a frustration [among] ... some of theproviders in the [mental-health] community”about the longstanding shortage of beds, saidNAMI’s Freda, “and that also bubbles up tosome of the governmental organizations in thecommunity.” Many professionals are aware ofthe nuances of the mental-health system, headded, but when people get turned away forinpatient care locally or have to be transportedto another community, that speaks loudly.

And Diane Holst, a member of the Scott

County Board of Supervisors who didn’tsupport her body’s letter of support, wrotethat “I was uneasy about Strategic [BehavioralHealth]’s statistics. It was not that Genesis andTrinity were filling the needs in the county and– unfortunately, because of the state’s redesignof mental health – the needs of the five-countyregion. It’s clear that the present need is greaterthan the capacity.”

A Shortage of Doctors,Not Beds

Holst is alluding to questions about StrategicBehavioral Health’s business plan, and inparticular its pay mix (people with privateinsurance, people on Medicaid, etc.) and its

staffing and recruitment of psychiatrists. Thoseare also key points raised by Genesis andUnityPoint Trinity.

In Strategic Behavioral Health’s application,the company projects that 30 percent of itspatients will be on Medicaid. “For both Genesisand UnityPoint Robert Young, our Medicaidpayer mix is over 50 percent,” Duke said.

UnityPoint Trinity, in its opposition letter,wrote that “SBH’s proposed facility would

cherry-pick the least-complicated and most-profitable patients, leaving the existing facilitieswith fewer resources to care for the patientswith the greatest need.”

“Effectively, they would be looking to createa two-tiered system of behavioral-healthservices,” Croken said. Lower reimbursementrates for indigent and public-aid patients wouldimpact Genesis’ and UnityPoint’s ability tocontinue offering inpatient psychiatric services.

By e-mail, I asked Strategic BehavioralHealth founder and CEO Jim Shaheen andDirector of Development Mike Garone torespond to the specific arguments made byGenesis and UnityPoint against the company’sproposal. Garone responded that “we are notaccepting media requests at this time” anddidn’t respond to a follow-up request.

But in its CON application, StrategicBehavior Health wrote that “as a hospital, SBHwill be required to provide services underEMTALA [the federal Emergency MedicalTreatment & Active Labor Act, passed in 1986]

guidelines, which do not allow refusing servicesto someone with an emergency psychiatriccondition. There should be no payer disparitiesbetween organizations. ... There is no evidencethat SBH will be ‘cherry picking’ payers as hasbeen publicly asserted by another provider.”

Yet Strategic Behavioral Health’s ownprojections of its payer mix undermine thatclaim.

The question of staffing and psychiatristsspeaks to the real shortage in the community,

which is in mental-health professionals ratherthan physical infrastructure.

“The lack of beds really is a symptom of abigger issue, ... a function of not having enoughpsychiatrists in the area,” said NAMI’s Freda.“There is really a serious lack of psychiatricproviders – meaning psychiatrists and/oradvanced nurse practitioners with a certificatein psychiatry. ... The beds are almost like arallying point. But the system is so integratedand so complex that it’s not just an issue of

beds.”As Croken noted: “People keep saying: ‘Weneed beds.’ Well, we don’t need beds. BedsI’ve got. What we need are staff. ... So offering

Continued On Page 16

by Jeff Ignatius

[email protected]


8/24


The newalbumfrom

the CernyBrothers –originallyfrom theQuad Citiesarea andplaying theRedstone

Room onNovember13 – is calledSleeping Giant , and it delivers on thepromise: It’s a beast awakened, buildingon the explosiveness of several tracksfrom the duo’s 2013 self-titled record.

The rock vein is apparent in songsthat grow in intensity, but also withthe addition of electric guitars to manysongs. The album seems designed forradio play and immediate audienceconnection, and it works as intended.The amazingly consistent duo of Scottand Robert Cerny has produced anotherfront-to-back-solid record, amiable andaccessible.

Yet the thicker, louder, more-hook-heavy arrangements obscure some ofthe brothers’ strengths, in particular thedistinctiveness of the lead banjo and thenaked singing and songwriting that werefront-and-center on their previous work.

The fuller sound introduces a generic vibe, and even quieter songs feel a littlesafer – more polished, more cloaked.

Yet the good stuff is still there inabundance, and if there’s a problemwith Sleeping Giant , it’s not the recorditself but the high bar set by The CernyBrothers’ “Ohio,” “Out of Time” and“The Mountain Song” and Dream’sachingly emotional and hauntingly spare“The Thief.”

Three rockers kick off the album,but from there the brothers broadenthe scope of the record; Sleeping Giant tries a little too hard at the outset, andafter that trio of tracks it relaxes into amore-expansive and rich work – moreeffectively balancing and sequencingmoods and styles.

“Middle on Winter” has a clearnihilism (“Life’s a bitch and it don’t getbetter / It don’t even matter how hard

by Jeff Ignatius

[email protected]

Rock SolidThe Cerny Brothers, Sleeping Giant ; November 13 at the Redstone Room

you try”)that itselfdoesn’tmatter withthe brightharmonica,warmgroove, anddefiantlycheerymanner.

“Shaking theBlues” hasa similarly

bold style, with harmonica, banjo,and almost ecstatically joyful singingcrafting an upbeat mood that refuses tolet the lyrics wallow. “Tears Always Fall”represents the album’s most successfulmarriage of roots rock and the Cernys’distinctive banjo-fueled style, aninfectiously raucous and instrumentallydetailed song.

But it’s in the quieter tracks where theCerny Brothers really sparkle. “WordsLike a Rock” employs swelling soft/louddynamics with the gentlest of touches(it’s more softer/soft), with crooningseveral times echoing an earlier cellotheme over delicate banjo, giving plentyof space to words suggesting a manbroken and defeated – “Don’t you know/ My bones are like sticks / Falling fromthe sky?”).

Most impressive is “Blue Blue Water,”whose subdued melancholy climbs inforce and shifts easily from introspectiveself-pity to yearning to a heartfeltexpression of friendship and support. It’sa stunningly deft sketch done only with

vocals and acoustic guitar.Sleeping Giant certainly shows that the

Cerny Brothers can rock out well, butit shows even more forcefully that theirmusical personalities are clearest when

they don’t.

The Cerny Brothers will perform onFriday, November 13, at the RedstoneRoom (129 Main Street, Davneport;RiverMusicExperience.org). The showstarts at 7:30 p.m., and tickets are $8 inadvance and $10 the day of the show.

For more information on the CernyBrothers, visit TheCernyBrothers.com.

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THEATRE

placate Margaret and Georgeand get them back together– despite the two continuallymissing each other whilebreezing through David’shome – and Wielengaplayed the sympatheticand understanding sidesof David well. But I wasmissing the character’s senseof desperation all night, as

David’s genuine fear of losinghis tenure, his job, or having

even worse happen was not really present.The final character to enter this melting pot

is Bryan Woods’ insurance salesman WeldonPlum, a man fixated on selling David deathinsurance. Woods, in a great characterization,makes confident acting choices that areenjoyable to watch, and even when playwrightStratton makes dramatic leaps from one ideaor plot point to another, Woods does his part

to make the script work. (For those wondering,the first hint why the show is called Bingo comes from Weldon having a meltdown inDavid’s office about his wife being addicted tothe game, even though she never wins.)

It works especially well when the pacingreally ramps up, and I loved the quick burstsof dialogue that made it seem as though thecharacters were playing catch, or like we werewatching a tennis match. Whenever thesespeedy verbal tosses would pop up, the cast

would be so on top of the script that Bingo reminded me of a comedy you’d see on theBBC. At one particular moment, there wereeven three different conversations overlappingone another, and director Skiles made great useof all four corners of her space here, allowingthe physical choices to match the verbal ones.

Bingo, at times, seems like it has a cynicalor dark message suggesting that every timeyou think you’re about to win, you lose. Butthat message gets turned around throughRichmond Hill’s winning presentation, aseven Linda, perhaps the looniest of all theshow’s loons, smartly states, “On an elevator,sometimes it goes up, and sometimes it goesdown. Just like life.”

Editor’s note: Author Brent Tubbs will becontributing reviews alongside the Reader’s othernew local-theatre correspondents Jeff Ashcraft,Dee Canfield, Heather Herkelman, and VictoriaNavarro.

Bingo runs at the Richmond Hill Barn Theatre(600 Robinson Drive, Geneseo) throughNovember 15, and more information and ticketsare available by calling (309)944-2244 or visitingRHPlayers.com.

The Richmond Hill BarnTheatre’s performanceof Bingo at times feels

like playing bingo – hop-ing for a letter and numbercombination that you don’tquite get, but finding yourselfpleasantly surprised when youmake a full card by the end.

Allan Stratton’s farce is ascript that demands a lot of

comedic timing with a majorsense of urgency, and whiledirector Dana Skiles’ Thursday-night stagingof the show highlighted a lot of its playfulness,it was, at times, missing the urgency. But therewere wonderful moments of verbal ping pongthat I just loved.

Bingo’s story follows Josh Wielenga’s DavidPearce, a literature teacher who is hoping tomake tenure – and who apparently doesn’t havelocks on his doors, as the rest of the cast swoops

in and out of his home office.We are first introduced to college studentLinda, who is working on her poetry withDavid. Linda, over the course of the show,slowly ingests more and more drugs, andis extraordinarily well-played by RebeccaMcCorkle, whose comedic understandingof the character shined throughout. (At thebeginning of Act II, there’s a scene betweenDavid and a very loaded Linda, and McCorkle’sline deliveries left me giggling well after the

show was over, as did her reaction to the lightsbeing turned down – she thought she wasgoing blind.)

Next we meet David’s colleague MargaretBip, an outspoken woman whose husbandhappens to be David’s boss. Margaret confidesthat in order to get back at her husband, shetold him that she and David were having anaffair. Enter the slew of misunderstandings,and farcical gold. Jackie Skiles, as Margaret,commands the stage from her first line.Befriending a bottle (or two) of scotch andbecoming ever more drunk as the showprogresses, Skiles does an excellent job ofplaying inebriated but remaining coherent,never taking things as over-the-top as thescript could easily allow for. She also has one very funny moment, with Margaret drunkenlymocking one of Linda’s poems behind her back,that could have gone on all night.

Margaret’s husband George is another ofDavid’s uninvited guests, and Greg Bouljondoes an elegant job of playing this distraught

husband. Bouljon jumps from angry toconfused to sad, as one would if an affair wasdiscovered, until his George becomes blindedby an enraged determination to find his wifein David’s office. David, meanwhile, tries to

And Loco Was Its Name-ohBy Brent Tubbs

Bingo, at the Richmond Hill Barn Theatre through November 15

Jackie Skiles, RebeccaMcCorkle, and Greg Bouljon


10/24


During its October30 performance,the QC Theatre

Workshop’s The Pillowman had me in stitches. WhileI didn’t laugh loudly often,I did chuckle repeatedlythroughout the perfor-mance, only subduing mylaughs out of concern that

the subject of my delightwas too dark to be funny.But playwright Martin Mc-Donagh’s dark comedy isboth unquestionably darkand outrageously funny. Imean, it has a young girl (Laila Haley) whoconsiders herself Christ-like proclaim-ing, “I don’t think I’m Jesus. I [effing] am Jesus!” That is some dark comedy.

McDonagh’s tale of short-story writerKaturian (Thomas Alan Taylor) being

questioned by detectives Tupolski(Reader employee Mike Schulz) and Ariel(Cole McFarren) for initially unknownreasons also boasts some of the mostintriguing theatrical tales I’ve heard. Asthe policemen bring up Katurian’s stories,they’re read aloud, and every one of themhad me riveted and proved as interestingas the play as a whole. Then, about anhour into the first act, Katurian stands,designer Robert Poston’s lighting scheme

changes to a darker look with washes oflight, and scenic designer Matthew D.Elliott’s interrogation-room side walls(which look like they’re lined in brushedmetal) swing forward to create stage wings.From behind these wings, Brooke Schelly,Sam Jones, Brody-Tucker Ford, and LailaHaley emerge, fully done up by costumeand makeup designer Ashlea Meyer tolook like puppets. Portraying the mother,father, boy, and girl in Katurian’s stories,

director Tyson Danner has these fouractors move about like marionettes, addingan increasaingly creepy air to the alreadycreepy tales they’re acting out.

I was fascinated with The Pillowmanfrom beginning to end, not only forMcDonagh’s genius script, but also forDanner’s tense, humorous, surreal staging.This encompasses not only the puppetsequences, but the beautifully paced scenesin which Katurian is questioned, and hisconversations with brother Michal (JamesFairchild), who is also being questioned forthe deaths of several local children – kidskilled in ways that closely resemble thefantastical, disturbing deaths of children inKaturian’s stories.

THEATRE By Thom [email protected]

It Was a Dark and Storied NightThe Pillowman, at the QC Theatre Workshop through November 15

In his role asKaturian, Taylor onceagain adds a new colorto his chameleonictalent, creating anothercharacter markedlydifferent from any otherI’ve seen him portray. HisKaturian begins as a soft-spoken, somewhat fearful,

almost slow-minded mantrying to figure out whyhe’s being held by thepolice. But as his storiesare put into question andhe learns that Michal is

also being held, Taylor’s Katurian growsìnto a passionate, bold man who defendshis writing talents and demands to checkon and care for his brother. (For his part,Fairchild is never more believably mentallychallenged than when delighted by

something, offering a childlike glee in hisscrunched-up face and small hand claps.)

Schulz is ideal for the part of Tupolski– or rather, the role is perfectly suitedto Schulz’s acting sensibilities. Here, theactor is able to employ what seems to be afavorite technique of his, which is to turnon a dime. He’ll start with a deadpan orcondescending look at someone as thatperson prepares to respond, generallyin an aggressive manner. But then he’ll

suck in air and offer a softer, increasinglyquick speed of speech that’s funny bothfor being unanticipated and for thedelight in Schulz’s tone. As the “goodcop” of the duo, Schulz also wears an airof superiority over both Katurian andMcFarren’s hotheaded, violent Ariel.I was amused and frightened by him,knowing I’d hate to be questioned by thisdetective for the shaming way in whichhe interrogates.

Yet again, the QC Theatre Workshopproves that it sets the bar high for itselfand its subsequent productions, as wellas for the surrounding community. ThePillowman is an exceptional play stagedexceptionally well here. With sharp wit,extraordinary creativity, soul-piercingprovocation of thought, and remarkableperformances, this production reminds mewhy I love theatre.

The Pillowman runs at the QC TheatreWorkshop (1730 Wilkes Avenue,Davenport) through November 15,and more information and tickets areavailable at (563)650-2396 or visitingQCTheatreWorkshop.org.

Brody-Tucker Ford, Sam Jones, and

Brooke Schelly


11/24


prepare us foran underwaterBond inthe vein ofThunderball ?I never reallygot my answer,but after two-

and-a-halfpunishinglylong hours, Istarted thinkingthe creaturewas merely there to create a perversenostalgia for the comparative wit andexcitement of Octopussy .

As usual with Bond movies, the creditsare preceded by an action scene. As isoftentimes the case with this franchise,this scene is the film’s best one. Openingin Mexico City during a Day of theDead celebration, director Sam Mendesstages a wonderful, seemingly uncuttracking shot in which Craig’s 007, in fullskeleton garb, escorts a young womanamidst throngs of parade attendees whiletailing an apparent bad guy. Mendes’camera follows Bond and UnnamedBond Girl through the streets and up astaircase and into his hotel room. And

just when you’re getting used to Mendes’

Bondman: Or (The Unexpected Virtue ofIgnorance) stunt, the whiz-bang editingkicks into gear, bringing with it humanstunts, an explosion, Bond slidingdown a crum bling rooftop, and a ratherharrowing bit involving a perilously out-of-control helicopter. It’s a good, strongopener, and later we’re given car chasesand shoot-outs, some brutal fisticuffsbetween Craig and Dave Bautista, anda mechanized needle that burrows into

Bond’s headand threatensto remove allmemory of hislove for Spectre’sprincipal BondGirl, the Frenchcutie Madeleine

Swann. Givenhow vacantly LéaSeydoux playsthis insultinglyshallow role,

though, that would hardly be a loss.Which brings us to the m ovie’s chief

disappointment: After the prelude andtitle sequence are over, everything is adisappointment, or at least everything wetraditionally enter these movies hopingto love. Seydoux and Monica Bellucciare bland as the requisite vixens, evenif it is refreshing, in the latter’s case, tofinally see an age-appropriate Bond Girl.(With Bellucci 51 and Craig 47, she’spractically a Bond Cou gar.) Our super-agent’s support team of Ralph Fiennes’M, Naomie Harris’ Monneypenny,and Ben Whishaw’s Q is strangelyinconsequential this time around; thestranded-looking actors appear to bewaiting for script pages that haven’t

been written. (Apparently, the serieshas also moved long past the reliableamusement of Q’s gadgetry, and whenBond was handed a mere wristwatchhere, at least Craig had the sense to lookcrestfallen.) Craig is a reliable tough guy,yet a depressingly uninteresting one here;Hoyte Van Hoytema’s unadventurouscinematography is a steep comedownfrom Roger Deakins’ Skyfall lighting;the stunts and effects are adequate but

unmemorable.And sadly, Bond’s nemeses are the

most disappointing elements of all.Andrew Scott, playing an unctuouslyuntrustworthy Joint IntelligenceService suit who w ants to shutter thedouble-oh program, is too familiar asSherlock’s lunatic Moriarty to deliver

similar shivers here, and beyond beinggenerically evil, he’s been given oneof the most embarrassing exits in thehistory of Bond-villain dispatchment.(He’s basically one flailing arm awayfrom Murray Hamilton tumbling downPsycho’s staircase.) As for ChristophWaltz, whose m alevolent motives asFranz Oberhauser can be effectivelysummarized as “daddy issues,” therewould probably be more fun in hiscasting, and his performance, if theactor hadn’t already been playing aBond villain in every movie he’s madesince Inglourious Basterds. I realizeI’ve now gotten to the end of mySpectre review with barely any regardto the plot. I also realize that couldn’tpossibly matter less. When nearlyevery ingredient on a pizza tastesundercooked or spoiled, is there apoint in even mentioning the crust?

THE PEANUTS MOVIE During its early stages of

development, there must have beenconsiderable pressure put on itsfilmmakers to make The Peanuts Moviemore “relatable” to today’s kids – byhaving Charles M. Schulz’s comic-stripcharacters listen to Vince Guaraldion their earbuds, for example, or by

Movie Re views by Mike Schulz • [email protected]

SPECTRE Watching the opening c redits to the

new James Bond thriller Spectre, I leanedback in my seat, smiled, and thought,“ Man, I love these things.” Not Bondmovies, per se, but their opening credits.The lushly rendered colors. The serenelygliding camera pans. The artful poses

and undulating torsos. The charming,deferential formality of the star’s namefollowed by “ … as Ian Fleming’s JamesBond 007 in … .” The mystery of theaccompanying pop song, which is as likelyto be atrocious as marvelous. (Spectre’s“Writing’s on the Wall,” sung by SamSmith, leans more toward the former.And call it gender bias or even blatantsexism, but I do think that unless you’rePaul McCartney or maybe Simon Le Bon,

these duties should really be handled bywomen.)But my absolute favorite thing about

the James Bond title sequences is that inthe 53 years since Dr. No, they’ve hardlychanged a whit, meaning that thoseserving such below-the-line positions assecond-unit assistant d irector, supervisingsound editor, and “Mr. Craig’s makeup”get listed at the start right alongside IanFleming and Daniel Craig themselves. It’s

a lovely gesture and a touching hat-tipto the series’ longevity, and it’s got to becool for those professionals whose namesusually flash on-screen while patrons areleaving the auditorium. I b et it’s cool evenif, as in Spectre, your eye is b eing avertedfrom those names by the silhouettedoctopus tentacles shown embracing Bondand his two nubile lady friends. At first,I wondered: Why an oc topus? To suggestthe elastic, multi-limbed reach of evil? To

Bored. Mike Bored.

Daniel Craig in Spectre

by Mike Schulz • [email protected] Mike Schulz • [email protected]



12/24


What’s Happenin’MovieRun Free: The True Story ofCaballo BlancoThe Establishment

Monday, November 16, 7 p.m.

On November 16, in an event sponsored by theQuad Cities Trail & Ultra Runners organization,Rock Island’s The Establishment will host a 7 p.m.screening of the 2015 documentary Run Free: The

Story of Caballo Blanco. I certainly hope that the venue’s concession area will be open that night,because I’ve seen directorSterling Noren’s film, and trustme: Given the intimidating on-screen endurance tests, you’regonna want to stay hydrated just watching this thing.

Based on a 2009 New YorkTimes bestseller by C hristopherMcDougall, Run Free explores

the culture of the Tarahumara– Native Americans residing innorthwestern Mexico long-renowned for their abilitiesin long-distance or “ultra” running. Navigating theirenvironment’s steep hills, rocky canyons, and otherperilous locales, the Tarahumara (some runningbarefoot, some on running shoes crafted from therubber of discarded automobile tires) are known torun upwards of 50 miles a day. And that’s roughly thelength of the annual Copper Canyon Ultra-Marathoncreated in the 1990s by Run Free’s central figure, Micah

True – an American runner who lived among theTarahumara, shared a passion for their culture, andwas better known by his nickname “Caballo Blanco,”or “the White Horse.”

As McDougall admits in the film, M icah True –

who unexpectedly pass

in New Mexico’s Gilarevealing sort. Despitethe man do esn’t offer awhy he puts himself thdaily-workout regimenclose-lipped on the subproves particularly vexinformation that Trueboxer that may have enin the ring; Caballo Blaon the subject.) But Tr

subject, especially whecagey persona with theha

Tf

FcE

the 2015 IndieFEST, Rregionally flavored scoand gorgeous, sun-drecinematographer Luisthe most colorfully engdocs have yet delivered“Barefoot Ted McDonaand leaves you with a gnot for 50 miles througbut definitely outdoors,

place where you can reFor more informatio

screening of Run Free:Blanco, visit the event’s

visit IMAthlete.com/ev

MusicDido & AeneasAugustana College

Friday, November 20, through

Sunday, November 22, 7 p.m.

During many summers,including the most recenttwo, the talents involved withOpera @ Augustana open Genesius Guild’sseasons in Ro ck Island’s Lincoln Park withlighthearted comic operas and operettas. Thisyear, it was Puccini’s Gianni Schicchi. Last year, itwas Strauss’ Die Fledermaus. Between 2005 and2007, it was a trio of Gilbert & Sullivans: ThePirates of Penzance, The Mikado, and Patience.

But the organization also remains activeduring the school year, and from November 2 0through 22, in Augie’s Wallenberg Hall, Op era@ Augustana will proudly present the Baroquecomposer Henry Purcell’s Dido & Aeneas, one

of the earliest of all English operas and perhapsPurcell’s most familiar work. A note to thoseunfamiliar with the piece: A lighthearted comicopera this absolutely ain’t.

What Dido & Aeneas is, instead, is a thrillinglyromantic and tragic tale of wartime conquest,supernatural interference, and eternal lovethwarted. Purcell’s and librettist Nahum Tate’scollaboration (believed to have premiered in1689) finds the betrothed queen of Carthage Didoand Trojan Aeneas eventually, unfairly separated

via the machinations of a wicke d Sorce ress. A ndwhile the opera’s mood is frequently downbeat,there’s enormous exhilaration in Purcell’s soaring

compositions,

which will likelysoar further whenperformed by Opera@ Augustana’s giftedcast.

In thispresentation helmedby Michelle Crouch,now in her secondyear as director ofOpera @ Augustana,

Dido will be played by Emmalynn Tully, Aeneasby Steven Mondloch, and the Sorceress by JamieHochmuth, with the rest of Dido & Aeneas’ rolesassumed by Taylor Anderson, Moira Dunn,Ellenelle Gilliam, Drew Gilson, Meghan Noonan,John Whitson, and the dozen performersenacting the Chorus. But how acquainted are youwith the opera they’re enacting? Try matching thefollowing six Dido & Aeneas musical numberswith the character or characters who sing them.

1) “If not for mine”2) “Cupid only throws the dart”3) “When I am laid in earth”4) “Your counsel all is urged in vain”5) “Behold upon my bending spear”6) “Ho, ho, ho! Ho, ho, ho!”

A) DidoB) AeneasC) the Chorus

For more information on, and tickets to, Opera@ Augustana’s Dido & Aeneas, call (309)794-7306or visit Augustana.edu/arts.

A n s w e r s : 1 – B , 2 – C , 3 – A , 4 – A , 5 – B , 6 – C . B u t b o n u s p o i n t s f o r c o m e d y i f , f o r t h a t l a s t o n e , y o u w e n t w i t h D ) S a n t a .


13/24


MUSICThursday, November 12 – JC

Brooks & the Uptown Sound.

Punk and soul musicians inconcert, with an opening set by

The Maytags. The Redstone Room

(129 Main Street, Davenport). 8p.m. $11.50-12. For tickets and

information, call (563)326-1333 or

visit RiverMusicExperience.org.

Thursday, November 12 –Strangled Darlings. Concert with

pop musicians George Veech andJessica Anderly. Rozz-Tox (2108

Third Avenue, Rock Island). 8

p.m. $5-10. For information, call(309)200-0978 or visit RozzTox.com.

For a 2015 interview with the band,

visit RCReader.com/y/darlings.

Friday, November 13 –Mannheim Steamroller

Christmas. Holiday-themedmultimedia music spectacle,

directed by Grammy winner ChipDavis. i wireless Center (1201 RiverDrive, Moline). 7 p.m. $39.50-69.50.

For tickets, call (800)745-3000 or

visit iwirelessCenter.com.

Friday, November 13 – TheCerny Brothers. Folk/Americana

musicians and siblings Robert andScott in concert. The Redstone

Room (129 Main Street, Davenport).

7 p.m. $8-10. For tickets andinformation, call (563)326-1333 or

visit RiverMusicExperience.org.

Saturday, November 14 –

WindSync. Concert with the

What ElseIs Happenin’

by Mike Schulz

[email protected]


Music John MorelandVillage Theatre

Saturday, November 21, 7 p.m.

Oklahoma-based Americanaand alt-country musician

John Moreland released his thirdsolo album, High on Tulsa Heat ,this past April, and in its review

of the artist’s latest, the NewYork Times described Moreland’s voice as “full of potholes andgravel.” I could say the same ofthe driveway to my home, but inthe paper of record’s case, this isactually meant as high praise.

And high praise is nothingnew to this 30-year-old singer/songwriter, who will performin a special Moeller Mondays

Village Theatre concert onNovember 21. Born in Longview,Texas, Moreland and his familywere residents of Oklahomawhen John, as a teenage guitarist,began playing in local punk androck bands. Influenced, however,by such artists as Steve Earle andTownes Van Zandt, Morelandbegan to concentrate more onfolk and Americana leanings,

and at age 20 he gathered somelike-minded talents to formthe Black Gold Band, whichreleased its debut album EndlessOklahoma in 2008.

Three years later, Moreland’s

musical presence really beganto be felt when the man’s namecame attached to no fewer thanthree 2011 albums: Things I

Can’t Control with the BlackGold Band, Everything the HardWay with his side outfit the DustBowl Souls, and EarthboundBlues, the first of his full-length solo efforts. The latterreceived considerable noticeand airplay, and led to 2013’ssolo endeavor In the Throes,in which Moreland’s forcefullyearthy vocals and determinedly

honest and soulful songwritingcombined for an album thatPitchfork.com called “a sorrowfuland spare collection of heavy-hearted country rockers.” (That’salso a not-altogether-inaccuratedescription of the bikers on Sonsof Anarchy , so it makes sensethat three of Moreland’s songs –“Gospel,” “Heaven,” and “YourSpell” – were featured during

that series’ run.)Yet for all of his acclaim, witheven political commentatorRachel Maddow tweeting, “Ifthe American music businessmade any sense, guys like John

Moreland would be household

names,” the Village Theatre’sheadliner has likely experiencednothing to rival the response toHigh on Tulsa Heat . Boasting 10confessional tales of hardscrabbleAmerican existence, the albuminspired Pitchfork.com to write,“Though many of the songsconvey images of earthinessand of dirt, there’s a beautythat helps the collection soar

above the ground.” In its ownrave, PopMatters.com predictedthat “the Oklahoma songwriterwill be the touchstone for thenext generation of Americanaartists.” That aforementionedNew York Times review laudedMoreland’s “beautifully abraded voice ... marked by flexibility andcandor.”

And what’s perhaps most

astonishing of all is that, asMoreland told NewsOK.com, herecorded the entire album overthe course of a few days ... inhis parents’ home ... while theywere on vacation. I rememberwhat I did in my parents’ homewhenever they went on vacation,but it sure wasn’t anything asconstructive as recording analbum.

John Moreland performs

locally with opening sets byChristian Lee Hutson and MicahSchnabel of Two Cow Garage,and tickets are available by visiting EventBrite.com.

d away, in 2012, during a run

ilderness – wasn’t the mostoren’s off-screen prodding,great deal of insight regardingough such a rigorous, and he remains absolutelyject of his past. (Thisng when Noren offers thead a career as a professional

ded with an opponent’s deathco refuses to utter a word

e remains a fascinating film

you compare his cryptic andbighearted generosity of hismanitarian efforts, and thee he inspires in the runners

ho come to join him and therahumara in the climacticotage from 2012’s Ultra-arathon.The winner of the 2015

rizona International Filmstival’s “Best Documentary”

tation and an “Award ofcellence” recipient at

n Free boasts a lovely,e by composer Trace Bundyched photography byscobar. It also boasts some of

aging interviewees that 2015– a gentleman credited asld” was one of my favorites –ntle yearning to run. Maybea hot and rocky canyon,

and preferably to the n earest

lenish your fluids. on the Establishment’she True Story of Caballo

Facebook page; for tickets,nts/runfree.


14/24


quintet of wind and horn players,

in a Quad City Arts Visiting Artistpresentation. First Presbyterian

Church of Davenport (1702 Iowa

Street, Davenport). 7:30 p.m. $10-15.For tickets, call (563)326-1691. For

information, call (309)793-1213 or visit

QuadCityArts.com.Saturday, November 14 – Darius

Rucker. Country and R&B musician in

concert, with opening sets by DavisNail and A Thousand Horses. i wireless

Center (1201 River Drive, Moline). 7:30

p.m. $29.75-49.75. For tickets, call(800)745-3000 or

visit iwirelessCenter.

com.Saturday,

November 14 –

Martin Sexton.Singer/songwriter

performing in

support of his newalbum Mix Tape

of the Open Road ,with an opening set by Hope Country. The Redstone Room (129 Main Street,

Davenport). 8 p.m. $29.50-33. For

tickets and information, call (563)326-1333 or visit RiverMusicExperience.org.

Sunday, November 15 – Quad

City Music Guild Youth Chorus:Music from the Stage & Screen.

Student singers perform selections

from Music Guild’s past productionsof Mary Poppins, Sweet Charity, No, No

Nanette, Gypsy, and Mame. Prospect

Park Auditorium (1584 34th Avenue,Moline). 2 p.m. $5-10. For tickets and

information, call (309)762-3310 or visit

QCMusicGuild.com.Sunday, November 15 – Oasis

Saxophone Quartet. Nathan Nabb,

James Bunte, Dave Camwell, andJames Romain in a WVIK/QCSO

Signature Series concert. Augustana

College’s Wallenberg Hall (3520

Seventh Avenue, Rock Island). 2 p.m.$10-25. For tickets and information,

call (563)322-7276 or visit QCSO.org.Sunday, November 15 – Lila

Ammons & the Daniel Leahy Trio.

Jazz musicians present a 3 p.m.workshop ($5 adults, free for kids)

and 6 p.m. concert ($10-15) in the

Third Sunday Jazz series, appearingwith guests Ron Wilson and Marc

Santiago. The Redstone Room (129

Main Street, Davenport). For ticketsand information, call (309)373-

0790 or visit Polyrhythms.org or

RiverMusicExperience.org.Sunday, November 15 – BØRNS.

A Sunday-night “Moeller Mondays

Presents” concert with Michigan-basedsinger/songwriter Garrett Borns,

featuring an opening set by Avid

Dancer. Village Theatre (2113 East11th Street, Davenport). 7 p.m. $12-15.

For information, visit Facebook.com/

moellermondays.Sunday, November 15 – The Bones

of J.R. Jones. Roots, blues, and folk

music with singer/songwriter J.R.Linaberry, featuring an opening set

by Them Som’Bitches. Rozz-Tox (2108

Third Avenue, Rock Island). 8 p.m.$5-10. For information,

call (309)200-0978 or

visit RozzTox.com.Monday,

November 16 –

Brothertiger. A“Moeller Mondays

Presents” concert with

singer/songwriterJohn Jagos’ one-man

band. Rozz-Tox (2108 Third Avenue, Rock Island). 8 p.m. $8-12. For information, call (309)200-0978

or visit RozzTox.com.

Friday, November 20, andSaturday, November 21 – Holiday

Pops. Annual holiday presentation by

the Quad City Symphony Orchestra,with classical and contemporary music

accompanying the circus artists of

Cirque de la Symphonie. Adler Theatre(136 East Third Street, Davenport).

Friday 8 p.m., Saturday 2 and 8 p.m.

$10-75. For tickets and information,call (563)322-7276 or visit QCSO.org.

Friday, November 20 – Joe

Robinson. Concert with the Australianguitar virtuoso, featuring an opening

set by Nick & the Ovorols. The

Redstone Room (129 Main Street,Davenport). 7:30 p.m. $16.75-17. For

tickets and information, call (563)326-

1333 or visit RiverMusicExperience.org.

For a 2011 interview with Robinson,visit RCReader.com/y/robinson.

Friday, November 20 – BucktownRevue. Celebration of Mississippi

River Valley culture through music,

storytelling, poetry, and humor withemcee Scott Tunnicliff and special

guests Tony Hoeppner, Frankie Joe

Wilderman, Robyn McVey, and Justfor Fun. Nighswander Theatre (2822

Eastern Avenue, Davenport). 8 p.m.

$13 at the door. For information, visitBucktownRevue.com.

Friday, November 20 –

Communion Residency. Concert withthe Brooklyn-based Highly Suspect,

Germany-based AudioDamn!, and

Quad Cities-based The Multiple Cat.Village Theatre (2113 East 11th Street,

Davenport). 7:30 p.m. $8-

13. For information, visitCommunionMusic.com.

Saturday, November

21 – Jon Wayne & thePain. Concert with the

roots and reggae-rock

musicians, featuring anopening set by Rude

Punch. The Redstone

Room (129 MainStreet, Davenport).

9 p.m. $11.50-12. For tickets and

information, call (563)326-1333 or visitRiverMusicExperience.org.

Saturday, November 21 – The

Lonely Wild. Los Angeles-based folkmusicians in concert, with an opening

set by Young Buffalo. Rozz-Tox (2108

Third Avenue, Rock Island). 9 p.m. $8.For information, call (309)200-0978 or

visit RozzTox.com. For a 2013 interviewwith the band, visit RCReader.com/y/wild.

THEATREThursday, November 12, through

Sunday, November 22 – Big Rock

Candy Christmas. Holiday sequel tothe bluegrass musical comedy Big

Rock Candy Mountain, written and

directed by Tristan Tapscott. District Theatre (1724 Fourth Avenue, Rock

Island). Thursday through

Saturday 8 p.m., Sunday2 p.m. $20. For tickets

and information, call

(309)235-1654 or visitDistrictTheatre.com.

Friday, November

13, through Sunday,

November 22 – The

Game’s Afoot . Ken

Ludwig’s holiday-themed

mystery comedy,directed by Cindy Ramos.

Playcrafters Barn Theatre (4950 35thAvenue, Moline). Friday and Saturday

7:30 p.m., Sunday 3 p.m. $13. For

tickets and information, call (309)762-0330 or visit Playcrafters.com.

Saturday, November 14 –

Girls Night: The Musical . Touringproduction of the musical comedy

about five girlfriends and a night of

karaoke. Adler Theatre (136 East ThirdStreet, Davenport). 8 p.m. $33-48.

For tickets, call (800)745-3000 or visit

AdlerTheatre.com.

COMEDY Thursday, November 12 – truTV’s

Impractical Jokers. The

Tenderloins

Comedy Troupeof Sal Vulcano,

Joe Gatto, James

“Murr” Murray,and Brian “Q”

Quinn perform

in their Where’s

Larry Tour. Adler Theatre (136

East Third Street, Davenport). 7 p.m.$49.50-250. For tickets, call (800)745-

3000 or visit AdlerTheatre.com.

Friday, November 13 – Hunt for

Murder. Dinner and an interactive

murder-mystery comedy with the

It’s a Mystery troupe, written by PattiFlaherty. Skellington Manor Banquet

& Event Center (420 18th Street, Rock

Island). $35 includes dinner and show.

6 p.m. doors. For information and toreserve, call (563)344-9187 or visit

ItsAMysteryQC.com.Friday, November 13 – The After

Hour . Andrew King hosts a late-night

talk show with guest comedian NickButler, local author Ryan Collins, and

musician Jenny Lynn Stacy. Circa ’21

Speakeasy (1818 Third Avenue, RockIsland). 10:30 p.m. $8-10. For tickets

and information, call (309)786-7733

extension 2 or visit Circa21.com.

Friday, November 20 –Rock into Murder . Dinnerand an interactive murder-

mystery comedy with the

It’s a Mystery troupe, writtenby Craig Michaels and Scott

Naumann. Skellington Manor

Banquet & Event Center (42018th Street, Rock Island). $35

includes dinner and show. 6

p.m. doors. For informationand to reserve, call (563)344-9187 or

visit ItsAMysteryQC.com.

Saturday, November 21 – Marc“Skippy” Price. Comedian and

Family Ties co-star performs in an “As

Seen on TV” night with the Blacklistcomedians and comedian Wayne

Wiskow. The Backroom Comedy

Theatre (1510 North Harrison Street,Davenport). 9 p.m. $14. For tickets and

information, call (309)781-9617 or visitBlacklistComedy.com.

Continued From Page 13

What Else Is Happenin’

The Games Afoot @ Playcrafters -

opens November 13

Holiday Pops with Cirque de la

Symphonie @ Adler Theatre - No-

vember 20 and 21


Lila Ammons @ The

Redstone Room -

November 15


15/24


no threat.There is a shirt that says, “My dog kissed

me on the mouth and I liked it.” Who am I toargue?

Declaration of Independence and Bill of Rights– would suffer these ongoing, ever-increasingpolitical atrocities?

We elect the representatives who enactthese monstrous policies, so do not think fora moment that any of us gets a pass whenheld to account at the Pearly Gates, especiallyconsidering the great suffering that results.These activities by government are ourdoing by proxy, and we are the only oneswho can undo them. So take a hard look anddecide once and for all if any of the aboveis acceptable. Then suck it up and vote the

incumbents who represented you wrongly inthese matters out of office. You need not fearelecting the opposite party because there is nota dime’s worth of difference. In other words, voting for the lesser evil is still voting for evil,so shame on you for excusing yourself for therepulsive act.

WORDS FROM THE EDITOR

Voting for the Lesser Evil Is Still a Vote for Evil

by Kathleen McCarthy

[email protected]

• Nonjudicial review for mortgageforeclosures that allows banks to use fraudulentdocumentation to secure writs that evictlegitimate owners from their homes.

• Mortgage Electronic Registration Systems,a privately owned corporation replacingcounty recorders tasked with permanentlydocumenting land transfers, thereby preservingintegrity of chain of titles for private property.

• Nonsensical gerrymandering of votingdistricts designed specifically to protectincumbents.

• Veterans inhumanely unserved, including

more than 365 days waiting for disabilityclaims to be processed.

• Denying critical health care to veteransbecause they don’t live in reasonable proximityto VA hospitals.

• Asset-forfeiture laws that allowgovernment to seize people’s assets upon arrest

but without a conviction.• Disregard for the U.S. Constitution’s

Fourth Amendment, which requires dueprocess – under which searches and/orseizures of persons, houses, papers, and effects via an oath-backed demonstration of probablecause are strictly prohibited.

• Secret mass surveillance of innocentAmericans that violates the bedrockconstitutionally protected right to be secure inour persons, properties, papers, and effects.

• Secret government courts (FISA) thatcreate secret laws that are enforced with gag

orders to prevent Americans from learning ofsuch gross violations.

• Retaliation against whistleblowers in boththe public and private sector to discourageemployees from coming forward to reportserious wrongdoings they’ve observed.

• Intrusive groping and radiation screening

at airports of millions of innocent Americans,including exposure for TSA employees to dailyradiation doses without their consent.

• Parts of the STOCK Act quietly repealedby Congress for the purpose of personallyenriching members because it allows forinsider trading via IPOs and other financialadvantages that would be considered a crime ifthe general population engaged in these samepractices.

Fill in any I missed for yourself.These are only the tip of the iceberg of

policies, activities, and a general ethos in

government that has defied its constitutionallyenumerated purpose with impunity becauseAmericans are not doing their part in holdingrepresentatives accountable for any of it.

What kind of people – with core principlesof equality in liberty and justice that boasts arepublic under the rule of law, complete with a

GUEST COMMENTARY By Jean [email protected]

Beyond the Dog’s Tail: The Marvelously Expressive Mouth

The head is one of the leading communica-tion tools a dog will use to let other dogsknow what it’s thinking and feeling. The

head consists of several body parts and each oneis used in conjunction with the others to sendthe memo about its intentions: the position ofthe head, what the eyes are doing, the positionof the ears, what the dog’s mouth is doing. In awonderful book by one on my favorite authors,How to Speak Dog , Stanley Coren gives it tous step-by-step. When we learn to put it alltogether, we can understand what our dogs aretelling us.

The mouth of a dog gives plenty ofinformation on how the dog may be feeling.It can tell you if the dog is angry or fearful, ifsomething is interesting, or “Hey, I am totallyrelaxed.” A relaxed dog will have relaxed facialmuscles with the mouth slightly open. Just thesimple act of closing that mouth or a slightchange in the head position and the dog istelling us it is interested in something else and

evaluating the situation.If the lip curls or the lips pull back and the

teeth and/or gums are exposed, that is a clearwarning sign to all involved. People will tellme: “I did not see any signs. He just bit me.”But there is usually a progression of signs thatis missed by most people – but they won’t bemissed by another dog. You will have a slightlip curl, meaning “I am annoyed” or “Will you

just leave me alone?” Then you will have the lipcurl to show you more of the teeth and some

wrinkling of the nose and muzzle area, with themouth partly open. This means one thing: Backoff or I will bite! When we get to the gums andteeth and the stare and growl, if you have not yetbacked off, it’s usually too late.

Even with all of the signs of the mouth, weneed to understand the position of the head. Isit forward, is the dog looking away, is the headup with a direct stare? The head gives us justa few of the complexities of dog language, andthey all have to be assessed quickly when youare working with a dog that has behavior issues.

On top of that, you take in the position of thebody and what the dog’s fur is doing. Is the dogleaning forward or back? What is the tail doing?What is the position of the ears, and what arethose eyes telling me? You generally have a fewseconds to get the message.

I’ll deal with the dog’s ears and eyes inanother article, but here are a few otherindicators to look for with the mouth.

Yawning. Yes, your dog may be tired andwould love to take a nap. But a yawn in caninelanguage says a few other things. A dog understress will yawn; an anxious dog will yawn. Italso is language to another dog: “I am not athreat.” It is a calming signal to another dog.

Humans can learn to give calming signals todogs.

Licking. Dog licking is actually a verycomplex communication behavior, and eachsituation must be interpreted individually. Afearful or stressed dog may lick its own lips, forexample.

A dog licking a person can be affectionfrom your best friend. But licking can alsocommunicate dominance, state of mind, andthe intentions of the dog.

Remember the calming signal of the yawn;licking can also be that same type of signal,sending those same intentions. Puppies lick tosay, “Hey, I am a good kiddo. I am friendly andhappy.” As they get older, it shows they are also

Continued From Page 3

Jean Regenwether has worked with animals inshelters and rescues since 1970, specializes inbasic and intermediate dog training, and offershome-based training.


16/24


having Charlie

Brown andcompany revealthemselves tobe superheroes.Consequently,the highestcompliment Ican pay directorSteve Martino’sanimated entertainment is that, 3Dpresentation aside, it could’ve easily runon a double bill with 1969’s beloved A

Boy Named Charlie Brown. It might’veeven been the preferred feature, as therearen’t any sappy Rod McKuen tunes– or any signs of modern technology(characters talk on clunky black rotaryphones), or pop-culture references, orfart jokes. You won’t even register anydistracting celebrity voices. KristinChenoweth is credited for enactingSnoopy’s fantasy girlfriend Fifi, but whenI saw the performer’s name listed at the

end, I’ll be damned if I could think of asingle sound she made.

What you will be given in thedeterminedly old-fashioned (andG-rated!) The Peanuts Movie is a90-minute onslaught of sheer charm,and, for older viewers, maybe more tripsdown Memory Lane than you can count.The personalities of Charlie Brown, Lucy,Linus, Schroeder, and the rest are justas you remember them, and even the

central storyline, in which Charlie Browntries to make a good impression on theLittle Red-Haired Girl, inspires a tingleof recognition. But I don’t think it’s anexaggeration to say that every minuteof this film boasted at least one detailthat made this longtime fan grin. Manyof them were hoped for and expected:the sprightly twinkle of Guaraldi’srecognizable piano tunes and thegorgeous melancholy of “ChristmastimeIs Here”; Snoopy in shades and a Joe CoolT-shirt; Lucy, during the end credits,setting up Charlie Brown for footballfailure. But so many more I’d forgottensince my last exposure to the Peanutsgang: Peppermint Patty calling CharlieBrown “Chuck” and Marcie calling him“Charles” (also: Marcie addressing Pattyas “sir”); Sally cooing over her “SweetBabboo” Linus; Shermy, at the schooldance, doing that move where he walksin place with his arms outstretched

like a zombie. And when the film isn’treferencing, it’s generally mighty clever:Charlie Brown managing to stand undera raincloud even in the middle of agymnasium; the misguided kid searching

By Mike Schulz

[email protected]

Bored. Mike Bored.in vain for

what he’s heardis the mostchallengingbook everwritten – Leo’sToy Storeby WarrenPeace. (WhileI smiled far

more than I laughed at the movie, I didlet out a cackle when Charlie Brownfinally got his mitts on Leo Tolstoy’s War& Peace and fell asleep six words into thefirst chapter.)

Faithful in spirit and beautiful inexecution, The Peanuts Movie is athorough delight, and not even thesuperfluous 3D effects – which won’t addmuch to the experience beyond extrabucks for 20th Century Fox – can sully itsconsiderable appeal. I do, however, havetwo caveats. The minor one is that thereare a few too many time-killing sequences

involving Snoopy’s aerial adventures withthe Red Baron, which are nicely animatedbut seem to exist solely to account forthe 3D su rcharge. The major, far lessforgivable one is that the film is precededby yet another of those increasinglyirksome animated shorts involvingIce Age’s Scrat and his eternal quest toconsume that pesky ac orn. This one, titledCosmic Scrat-Tastrophe, is b orderlinehideous – a noisy, charmless, desperately

unfunny outing that s ends its prehistoricsquirrel to space and, unfortunately,refuses to let him die there. Between itsobvious nods to adult sci-fi fare such as2001 and Gravity and its nauseatinglyhyperactive slapstick (at one point, Scratgets crushed in the “nuts” by a nut), thisshort is like a brain-damaged version ofsome “Itchy & Scratchy” parody fromThe Simpsons, and 100-percent the wrongway to begin something as warm and

gentle as The Peanuts Movie. (Denis Learydelivers one line as his saber-toothed catDiego, and sounds rightfully mortifiedeven to be doing that.) See Charles M.Schulz’s creations on-screen for sure, buttry to arrive at their film 10 minutes late;prefacing The Peanuts Movie with CosmicScrat-Tastrophe is like gearing up forSophie’s Choice with a segment or two of

Jackass.

For reviews of Burnt, Our Brand Is Crisis,Truth, and other current releases, visitRiverCitiesReader.com.

Follow Mike on Twitter at Twitter.com/ MikeSchulzNow.

Continued From Page 11MOVIES

Filling a Major Mental-Health Gapbeds without staff is ... disingenuous. We want

people to get effective care, not simply [to be]warehoused. ... There is no value to having bedsif there is nobody to treat the patients in thosebeds. Our patients are not tired; they’re ill. Theyhave serious psychiatric issues that need theattention of our staff.”

Genesis in recent years began a psychiatrichospitalist program, presently employing twopsychiatrists for its 18 active inpatient beds.“We’ll continue to expand our staff in supportof the expanded bed capacity,” Croken said.

He added that Genesis inquired how SBHwould bring new psychiatrists to the area, and“we have been told that is proprietary, and theywill not share their strategy.”

So a key question is whether SBH or localhospitals can better recruit and retain mental-health professionals, in particular psychiatrists.Strategic Behavioral Health says it uses anational recruiting company.

The company’s CON application doesn’tspecify its proposed hospital’s level of staffing,but it states that “SBH intends to recruithighly trained and specialized clinicians (i.e.,psychiatrists, psychologists, social workers, andcounselors) to the local community to not onlywork within our hospital but work within thecommunity in a ‘shared resources’ fashion.”This suggests that Strategic Behavioral Health’smodel involves contracting with psychiatristsin private practice to provide services at thehospital.

Giving Reform TimeThose concerns about Strategic BehavioralHealth’s business practices and its impact onexisting hospitals are, of course, less importantthan the issue of results. Assuming there’s nota need for inpatient psychiatric care sufficientto support the expansion efforts of Genesis andUnityPoint and SBH’s hospital, which of thosewould provide the best care at the lowest cost?

Croken said that Strategic BehavioralHealth’s facilities nationwide have an averagelength of stay almost twice as long as Genesis’and UnityPoint’s – and higher readmissionrates: “Care is important. But not as importantas the quality of care. ... If your goal is to finda place to put somebody immediately, thenmaybe having a lot of beds makes sense toyou. But if your goal is getting people out ofcare and returned to productive normalcy, thenumber of the beds is much less importantthan the quality of care delivered at thosebeds.”

Strategic Behavioral Health’s CON

application states that its average adult length ofstay is 9.5 days; Croken said Genesis’ is 4.5 days.SBH’s percentage of adult re-hospitalization formental-health reasons is 13 percent, comparedto Genesis’ 6 percent. Duke said that in August,

the Robert Young Center’s average length of

stay was 4.5 days, and its readmission rate (forany reason – not just mental health) was 10percent.

Those outcomes obviously bear on the costof care – which in turn affects the cost of bothprivate and publicly funded health insurance.

Additionally, Robert Young Center PresidentDuke said it’s too early to know how Iowa’smental-health reform effort will affect how careis delivered – and consequently the need foradditional inpatient beds: “Historically in Iowa,

the system has been dependent on inpatient andinstitutional care. ... Iowa’s plan for mental-health reform is moving away from inpatient orinstitutional care and creating a delivery systemthat is coordinated and integrated within thegeneral health-care system, allowing for thepatients to be treated in the least-restrictiveenvironment rather than just simply having aninpatient bed for patients.”

So while nobody disputes the need for moreinpatient psychiatric beds in the Quad Cities and

the five-county mental-health region in Iowa,there is a question of how many beds. “I thinkright now it’s too soon, and we’re not allowingthe opportunity for reform to take full hold,”Duke said.

To see what reform might look like in Iowaif done well, you could look at a three-yeardemonstration project undertaken by the RobertYoung Center. The initiative worked with 366patients who had a severe mental illness alongwith other simultaneous health problems. The

goal, Duke said, was “to coordinate their careand integrate their care” within the generalhealth-care system.

Integrated health care is particularlyimportant considering that many people withserious mental illness have other chronic healthconditions – a fact that Strategic BehaviorHealth can’t address because its facility wouldn’toffer any medical services.

The Robert Young Project project reduced

emergency-room visits by 50 percent, inpatient

psychiatric admissions by 54 percent, andinpatient medical admissions by 48 percent,Duke said, cutting health-care claims by $8.1million. Furthermore, patient-submitted “qualityof life” scores – measuring emotional, mental,and physical health – more than doubled.

“We were treating patients in the least-restrictive level of care, and the appropriate levelof care,” Duke said.

I asked whether Iowa’s new mental-health system could produce similar results.“Absolutely,” he said. “The reform effortsare underway, and they have some of thecomponents that we’ve already implementedon the Illinois side of the river. ... The deliverysystem and the reform need the opportunity tocontinue to mature.”

COVER STORY Continued From Page 7 by Jeff Ignatius [email protected]


17/24


encompassing many types and aspects of photography. It holds digital and printcompetitions most months. At its meetings,members discuss the images, help eachother to improve, and socialize. The club

also holds special learning workshopsand small groups that meet on specific photography topics, and occasionally offers

(The River Cities’

Reader each monthwill feature an image orimages from the QuadCities PhotographyClub.)

Afield of sunflow-ers on a beauti-ful sunny day in

July was the subject forsome members of the

Quad Cities Photogra-phy Club. Jackie Gersecreated this unusualimage from those shephotographed that day.She extracted just theface of one flower fromthe rest of the originalimage and processedit with Lightroom andthen in Photoshop.

She explains what shedid to get the image:“In Photoshop, I did atechnique called ‘stepand repeat,’ which wasset up to duplicate theoriginal image whilereducing it in size andthen rotating it. Afterthe process yieldedaround 30 duplicatedlayers, they were moved

into position to forma spiral. In order toperfect the spiral,masking was appliedto the layers to get thepetals to flow aroundthe spiral. Then a littleburning was done todarken the area behindthe petals so the spiralappeared to have more

depth.”Jackie had seen

similar images createdwith a plug-in calledPixel Bender that isunavailable for newereditions of Photoshop. Because shecouldn’t find a program to automatethe process, she manually constructedthe image. She said: “It took a bit ofexperimenting, but it was a fun process

and I was happy with the outcome.”For the original image, Jackie used aNikon D800 with a 24-70-millimeter lens

PHOTOGRAPHY

Featured Image from the Quad Cities Photography Club

interesting shooting opportunities. Theclub meets at 6:30 p.m. the first Thursdayof the month

Documents

River Cities' Reader - Issue 895 - November 12, 2015