June 24,1983 / Montrose Voice 23
Rally and celebrate gay pride, good performances, springtime, dancing and frol-
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festivities—for whatever reason, come be
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d Montrose Cloggers
Put a Big Stomp on
By Hollis Hood
Toes were clacking with heels in the air
when the Montrose Cloggers went
through their high stepping routines at a
private party given by Leonard Bernstein,
composer of the opera A Quiet Place which
premiered here last week.
The audience was a bit skeptical about
who and what was going to be done when
Clogger Rusty announced the presentation.
But, after the performance started and
the Cloggers did their routine to the
"Texas National Anthem" (Cotton Eyed
Joe), everyone began to shout and sing
along. (And nobody sings along like the
cast members of an opera.)
They finished with "Yellow Rose of
Texas" and presented Bernstein with a
bouquet of yellow roses and both he and
Stephen Wadsworth, his assistant, with
"These guys (and one girl) are really
great," exclaimed Bernstein. "I think they
should go on national TV. They would be
an overnight success. They demonstrate a
lot of training and excellent self discipline
in their performance. They're just wonderful."
He suggested that they be used to raise
money for AIDS. "That's such a terrible
thing. People are dying. Something must
be done. Like those nurses who won't
attend AIDS patients anymore. And did
you know that morticians in New York are
refusing to embalm the bodies of persons
who have died from AIDS? It's just ridiculous."
Bernstein conducted the national
anthem at the Men's Health Crisis circus
benefit in April at Madison Square
Garden and said that he was overwhelmed by the unity and deep sense of
conviction exhibited by the people who
attended the performance. "I have performed all over the world," the composer/
conductor said, "and I have never felt
anything like what was in that building. It
brought tears to your eyes."
The Cloggers performed via special invitation fronj Bernstein.
□ Entering This Place Is
By Jon Cheetwood
If you're ready for something different
and totally refreshing in entertainment,
check out Risky Business at 2700 Albany,
adjacent to the Officer's Club. The new
club opened last Friday, filling a void
Houston was not aware it had.
I'm not certain there's a real category to
put Risky Business into; it's sort of a
cabaret-burlesque hybrid. However, you
may classify it, it's one of a kind, full-
Now we're not talking about some kids
getting together to put on "the local
show." This is a professional enterprise in
every aspect. Some of the talent was
imported, but most ofthe cast was selected
from the near 300 who auditioned for the
present show. Houston can be proud ofthe
caliber of talent it has produced. Directors
Andrea Modisette and Jay Matino should
be commended for their cleverness, originality and enterprise in seeing their vision
The club itself has an audience-aware
comfortable layout with no bad view in
sight. If has a proper balance of performing and audience space, cozy but not at all
cramped, allowing 12 performers to work
the whole club with ease. The raised bar
area provides more seating for those who
might want to drop in alone. This club was
built from scratch for performing; live
entertainment was not an afterthought
here, but it's prime concern. Risky Business has an unpretentious ambience with
a soft classiness, comfortable in all
The handsome cast of the present show.
From Blues to Broadway.definately aims
to please. Among the many highlights in
the evening, Dolores Garcia is armed with
three of them and a show-stopping voice.
Her blues number and Cabaret's "Maybe
This Time" in the first half could only be
paled by her saucy delivery of "Hard
Hearted Hanna" in the second act. Working with the audience during "Hanna,"
she doesn't miss an opportunity to play off
an unsuspecting but delighted male
patron. This girl has the aplomb and
instincts to raise blood pressures with her
Poppy Ann Champlin will win your
heart and take control of your funny bone.
Floating through both acts as a screen test
reject of Scarlet O'Hara, she too has such a
natural audience rapport as to invite heckling, firing back with a charming quick
wit. Miss Champlin also writes her own
material. Her fishschick monologue keeps
the audience laughing in tuna.
Tim Forrester has a minor tour de force
with his wimpy perfection in "Nobody,"
and Frank Vega is constantly charming,
particularly in a smoldering "Fever."
Director Andrea Modisette does stop the
show with "Tarara Boom De Ay." The
number simply could not be better. I
wouldn't want to see it without Miss
Modisette; there's talent in every easy gesture she makes.
Of particular note also is the clever choreography by Lea Geaslin and Terrence
Karn, and the costuming by Johnny V.
Oh, I could go on and on.
Each and every one of the performers
are soloists, and together they have a delicious sound. I could carry on about each of
their numbers and qualities, but you really
have to see this for yourself. Risky Business is different and provides you with a
totally entertaining evening. Believe me
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The Cloggers clog for Leonard Bernstein
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