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Comedy in the Era of Trump: A Chat With David Cross

RVA Staff | July 24, 2018

Topics: comedy, David Cross, Dominion Arts Center, monuments, politics, trump

Stand-up comedian, writer, actor, director – the list of David Cross’ talents are near endless. He’s done it all, from entertaining on stage with his unique brand of political comedy, to small screen portrayals of iconic characters like Tobias Fünke in the Emmy-award winning TV series Arrested Development. On the big screen, he’s recently been in Spielberg’s newest biopic, The Post, and appeared in his own independent film, Hits, which he wrote and directed.

Stand-up, however, is where Cross truly shines, and in this political climate, his humor and cynical observations are needed now more than ever. RVA Mag had the chance to catch up with Cross ahead of his show in Richmond next month as part of his “Oh Come On Tour,” his first since his 2016 tour, “Making America Great Again.“ Make sure t0 catch Cross at the Dominion Energy Center on Saturday, August 4.

This article originally appeared in RVA #33 Summer 2018, you can check out the issue here, or pick it up around Richmond now. 

RVA Mag: You’re coming back to the capital of the Confederacy. We’re looking at a statue of Jefferson Davis from our office window — how does that feel?

Cross: I [was excited to] come back and eat at that deli….please help me out with that. Perly’s? Oh man, it was the best. You are never really in a place for too long, if you can squeeze out two meals you are lucky.

RVA Mag: Has your comedy changed in the era of Trump?

Cross: You can’t craft a lot of bits about something Trump said or did because every outrageous moment is replaced by an increasingly outrageous moment within hours or days.  My take has been to talk less about him, and more about his fans and the people who love him.

I try not to do anything too specific and timely because two weeks later, I have to drop the bit.

RVA Mag: Is it harder to tell jokes?

Cross: I think comedy is harder in the overall sense that the helplessness and loss of feeling of any kind of anchor to normalcy, reality, or to what America was up until a couple years ago, has altered our ability to focus and enjoy things the way we did prior to that. There is a lot of stuff you can joke about that feels almost irresponsible and dismissive; like ‘why are you focusing on that’ because these awful things are happening to innocent people.

People are understandably upset, and feel that they are treading water trying to get air, asking, “What’s happening?” It is one horrifying thing after another – if you care about people other than yourselves. I should qualify this: If you are concerned with other groups of people, other than straight white Christians, then you are going to be upset. If not, things are going great.

Cross performing on his Oh Come On Tour. Photo Courtesy of Just For Laughs

RVA Mag: What’s a coping mechanism in this political climate?

Weed is the first answer. I don’t know how you cope with it. You try to fight it.

Cross: Do you worry that mocking Trump voters emboldens them?

I wouldn’t say I worry about it, but I am aware that that might be a response to what I am doing. But also, that ship has sailed a long, long, long time ago. I find this idea that gets picked up and pushed around as not having as much weight as the people that come up with those ideas [think]- this sounds like a David Brooks idea!

The things I’m saying or feeling, I would not pull back on or edit myself because I thought, “Oh no, what if I make Dan and Margaret from Bloomington upset.” I am not going to be the one that pushes them over the edge.

RVA Mag: On the flip side: Are you finding it challenging to play to a young liberal audience?

Cross: That is 100 percent true. I have experienced this on my last tour. One of the worst shows I had in a place I am not going back to was in Northampton, Massachusetts, which is a very liberal town. I have always had problems, even when I was opening for headliners and no one knew who I was. I really grew as a comic in Cambridge, Massachusetts, which is also very liberal, and I go to San Francisco, and always had problems with that very attitude you are talking about, where you say a word and they just shut down.

They don’t listen to the bit, they don’t listen to what the context is; they just heard the word, concept, or phrase and then shut you down by saying you are a racist, homophobic, you are whatever they want to apply. It is definitely a much stronger presence now than there ever was.

How do I reconcile it? I don’t, really. I do my stuff. Most people, by far, 90 percent of people get the context. Funny is subjective, I can’t fault someone for going “that’s not funny.” But if they think it is offensive or shouldn’t be said, there are tons of stuff you can look at and cherry pick and say, “You said this word or you said that thing, and I don’t like the joke.”

RVA Mag: You’re headed for Europe on this tour. How does it feel to be an American ambassador in the era of Trump?

Cross: I went to Europe on the last tour, and we are very alien to them. Most people really like America and like Americans, but they are just perplexed and head-scratching. [They wonder], “You have most of the money in the world, but have one of the highest illiteracy and teen pregnancy rates; you allow automatic rifles to be sold to people who shoot people up and kill children and don’t do anything about it. You work really hard and don’t make that much money and you aren’t happy.”

[Europeans] are right. They’re like, “We don’t have the money you have, but we’re happy with our lives.” They have universal healthcare, no one goes broke if they get sick. They have three months of maternity leave, and are unionized, and have six times the vacation days as Americans. They get a month off with their families.

RVA Mag: Do Europeans understand the redneck character you sometimes play?

Cross: I think they see it as a caricature that is pretty common. It is an easily gettable person.

Interview By: Landon Shroder and David Streever. Photos by Daniel Bergeron

Review: Virginia Opera’s “The Girl of the Golden West”

Matthew S. Sporn | November 21, 2017

Topics: Carpenter Theater, Dominion Arts Center, opera, The Girl of the Golden West, Virginia Opera

A “spaghetti western” for the opera is woven with suspense and adventure through Giacomo Puccini’s “The Girl of the Golden West.” Virginia Opera’s production of this classic, which opened last Friday at Dominion Arts Center, is pitch perfect, making for a wonderful evening for the whole family.

In a performance on Friday, Nov. 17, at the Carpenter Theater at Dominion Arts Center in Richmond, Andrew Bisantz and the orchestra create a gorgeous soundtrack to the performance. Lush, cinematic music with gorgeous swells, capture every mood, from the mighty percussion to the romantic strings, and the classic western aura of the horns.

By the start of Act I, the show is already stunning: an intricate set and scenery designed by John Conklin with true to period costumes designed by Constance Hoffman. The lighting, designed by Adam Greene, helped bring the west to life.

As the opening scene unfolds, a classic western scene is put on display: a saloon packed with miners exchanging hearty hellos and back slaps, solitary souls keeping a bottle close, card games only for the brave, and songs of men longing for home.

Around the middle of Act I, Jill Gardner’s Minnie, the pistol-packing saloon owner, makes her entrance, completely shutting down an all too classic bar fight. The choreography by Erik Gaden makes every punch visceral.

Gardner wins the audience’s heart early, and keeps it the whole show. Her singing touches every emotion, and she hits notes on both sides of the scale. Her acting, however, is what really makes the show. Gardner truly becomes Minnie. The audience feels her loneliness, her vulnerability, and most of all, her heart. W get to know her as a mother figure to the miners, as their (literal) teacher, and their protector.

Tenor Roger Honeywell, as Dick Johnson, also puts in a rich performance, showing us in great depth what Minnie has done to his heart and his soul, eventually ending bandits life he led. Honeywell puts all his emotions on display for us, as he is torn between his gold fever and deep love for Minnie. His voice captivates as we follow him on his journey to redemption.

It helps that Gardner and Honeywell have genuine chemistry, a connection that shines throughout the production.

Baritone Mark Walters, as the gambling, infatuated Sheriff Jack Rance, has a commanding voice in the show. His tone is rich and warm and his portrayal of the sheriff is assertive and compelling. He is yet another part of the “gold” that makes this show.

“The Girl of the Golden West” is a story that will captivate everyone, regardless of age. For those that swear they “don’t like opera,” let “The Girl” change your mind.

The production now moves to Fairfax, for two shows at George Mason’s Center for the Arts. December 2, 8:00pm, and December 3rd, at 2:00pm.

Photo Credits: Virginia Opera 

 

Review: Richmond Ballet’s “Trio” Uplifted Every Spirit Watching

Christopher McDaniel | November 8, 2017

Topics: Carpenter Theatre, dance, Dominion Arts Center, Richmond Ballet, richmond symphony, trio, vcu

Richmond Ballet’s “Trio” transformed the Carpenter Theatre into three separate worlds with three remarkably presented ballets. Prior to the 2017 premiere of the “Trio,” RVA Mag was able to join the Richmond Ballet’s Company dancers as they prepared to present their repertoire to not only Richmond, but Norfolk as well. The rehearsals of “Gloria,” “Silence,” and “Journey” reflected what was executed on the main stage; the ballet master meticulously spot -checking and polishing routines for consistency and poise.

The curtain rose to “Gloria,” a choreographic interpretation of Vivaldi’s classic, and the work featured a marvelous collaboration between the Ballet, the Richmond Symphony, and the Virginia Commonwealth University Commonwealth Singers. This grandstanding, traditional ballet encompasses what dance is capable of in a multi-media digestion of artistic content. Vivaldi, a classic, would receive classical treatment within the confines of ballet, which I find boring from repetition, but this was never the case while I watched “Gloria.” The most notable performances of the piece coming from the second movement, comprised of three sets of gorgeous partnering, and the tenth movement, which featured a striking, articulated solo from Eri Nishihara.

My personal favorite of the night came with the second ballet, “Silence.” Originally a smaller work that premiered at New Works, choreographer Gina Patterson was commissioned by the Ballet to travel to Richmond and fully produce the work. This is how the floating pillar came to be, as well as the walking red dress performer. But, what truly captivated my interest about the choreographic layout was the highly-occupied space of dancers in a perpetual state of redress and organic redirection. With so much occurring at once, I always knew where to look. “Silence” is an outright breathtaking pillar of contemporary ballet. Also, special kudos to Fernando Sabino and Maggie Small’s performance.

Last in the “Trio” lineup was “Journey,” a form-breaking ballet consisting of an all-male cast. No other words can describe these twelve professional male dancers besides virtuous and essential. The piece’s original choreographer, Salvatore Aiello, crafted the work to honor the male dancer, who he had believed broke a glass ceiling in the industry. Men don’t just have to lift the women, but they can be lifted themselves. The most thought-provoking quote uttered during those rehearsals rang a little like, “You’re not lifting them, you’re catching them, so they don’t fly away.” That tenderness is the point, and that tenderness received a standing ovation.

Richmond Ballet’s next performance will be “The Nutcracker,” premiering on Sat, Dec 9, at the Dominion Arts Center.

Photo Credits: Sarah Ferguson 

Richmond Ballet Premieres ‘Trio’ at Dominion Arts Center This Weekend

Christopher McDaniel | November 3, 2017

Topics: dance, Dominion Arts Center, Richmond Ballet, trio

This weekend marks the premiere of the Richmond Ballet’s second ballet of their performance season, “Trio.” This powerful show runs from Friday, Nov. 3, to Sunday, Nov. 5, at the Dominion Arts Center, and it aims to highlight the Ballet’s Company at the utmost of its capabilities. The “Trio” performance features three different ballets: “Gloria” by Dennis Spaight, “Journey” by Salvatore Aiello, and “Silence” by Gina Patterson.

The history behind each of these ballets in relation to the Richmond Ballet is rich. “Silence” first premiered with the Richmond Ballet about a decade ago. One of the Ballet’s masters was in the original production of “Gloria” when it premiered in 1983. “Journey” is an all-male ballet, featuring all 12 of the Company’s men.

Richmond Ballet’s Public Relations and Content Manager, Valerie Tellmann-Henning, was in the original production of Patterson’s ballet. “The ‘Trio’ is one of the most beautiful ballets of the season because it highlights the company to the best of its ability,” Tellmann-Henning said. “We get dancers from all over the world; the texture of fabric from movements by Brazil and Hungary.”

One of the current dancers in “Silence” and “Gloria,” Abi Goldstein, expressed her involvement in the works. “’Gloria’ is uplifting and happy, and ‘Silence’ is very dramatic,” Goldstein said. “I walk through the stage wearing a long, flowing red dress.”

Another dancer, Ira White, was born and raised right here in Richmond, and rose through the Ballet’s Minds in Motion program, to the School of Richmond Ballet, and finally to the premiere Company. “I’m in all three ballets,” White said. “So, it’s a true trio for me.”

White also spoke of his excitement in getting the opportunity to perform in “Journey,” Aiello’s all-male ballet. “It’s fun to be out there with fellow men who all love dance. It’s athletic, yet beautiful and precise,” he said.

Some of the most anticipated elements of this performance will be the collaboration the Ballet has facilitated with themselves, the Richmond Symphony, and the VCU Commonwealth Singers in the ballet “Gloria.” This classical, traditional ballet is a dance interpretation of the Vivaldi’s “Gloria,” which features tremendous solos and ultimately fascinating duet work, so the Symphony and the Singers will be there to perform the ballet’s soundtrack. It’s not something to be missed.

“Silence” leans more towards the more contemporary side of ballet as it first premiered at the New Works Festival in 2008. The ballet was then first fully-commissioned by the Richmond Ballet under Patterson in 2009, and now reappears because of its sheer beauty and emotion it evokes. The Symphony will also be collaborating by performing the score alongside the dancers.

“I think it is about finding peace within the stillness, the silence when we find ourselves alone in a quiet moment, in the dark of night, or on a walk with miles in front of us to conquer,” said Patterson in a statement about “Silence”. 

Finding itself between the contemporary and classics, Aiello’s “Journey” is a ballet that features an entirely male cast. What’s so fascinating is similar to White’s words, this ballet is so physical and athletic, but it still contains the tenderness and grace consistent with ballet. It’s form-breaking, and executed by the undeniably qualified and capable male dancers of the Ballet’s Company.

With the “Trio,” Richmond Ballet has raised the bar once again for its ballet patrons.

“The standards Richmond Ballet sets for its performance are high, so we keep having to outdo ourselves, and our dancers love the challenge,” Tellmann-Henning said.

“Trio” will premiere at the Dominion Arts Center Friday, Nov. 3, at 7pm, with another performance on Saturday, Nov. 4, at 7pm. There will also be a matinee on Sunday, Nov. 5, at 2pm. Tickets are $25-$80 and can be found here. 

Top Photo Credit:  Aaron Sutten. Richmond Ballet

Matthew E. White, Natalie Prass, Bio Ritmo & more to perform at Dominion Arts Center 9/23

Amy David | August 7, 2017

Topics: Bio Ritmo, Carpenter Theatre, Clair Morgan, Dominion Arts Center, Matthew E. White, Natalie Prass, richmond symphony, rva music, RVA musicians, The Broadberry, tim barry

Some of Richmond’s finest musicians will bring their acts together for the first time on stage at Dominion Arts Center next month.

Matthew E. White,  Natalie Prass Tim Barry, Bio Ritmo, and Clair Morgan will headline RVA Live! a showcase put on by The Broadberry and Richmond Symphony designed to incorporate the musical arts of all genres and styles that represent our city’s diverse range of talent.

Orchestrations and arrangements by Trey Pollard (Spacebomb) and Marlysse Simmons and Toby Whitaker of Bio Ritmo.

To give you a little taste of what you’ll be getting, check out some info and music from the musicians below ahead of the event.

If you haven’t already, pick up indie rock group Clair Morgan’s New Lions And The Not-Good Night, which came out in May.

Beloved Richmond salsa group Bio Ritmo has entertaining us for over 20 years and they don’t seem to be slowing down anytime soon. There’s a little something for everyone with this band.

Musician and Spacebomb Records founder Matthew E. White last big release was Fresh Blood in 2015, but the local indie label has been steadily churning out solid hits and building its roster with the likes of Natalie Prass, ReSound, Georgie and Beodouine.

Songbird Natalie Prass flew her way into our hearts with her sweet sing “Birds of Prey”, a song off her self-titled debut album which dropped in 2014 via Spacebomb Records. We’ve been hooked ever since.

Many Richmonders know him as the former frontman for Avail, but Tim Barry has been churning out folk tunes solo for years now. RVA Mag last gave you the scoop on the singer/guitarist when he was releasing Lost and Rootless back in 2014, but Barry has a new record called High on 95 that will drop in September so check out the sneak peek below.

RVA Live! will be held at the Carpenter Theatre at Dominion Arts Center on Sat. Sept. 23 at 8 pm. Tickets range from $10 to $80 and can be purchased here.  

Trey Songz hosts concert afterparty at Kabana Rooftop this Saturday

Amy David | May 19, 2017

Topics: Dominion Arts Center, Kabana Rooftop, music, R&B, trey songz

Back in April RVA Mag gave you the lowdown on R&B heartthrob Trey Songz making a stop in Richmond this Saturday as part of his national tour (swoon).

Well, not only will the singer perform tomorrow night at the Dominion Arts Center, but he’s hosting an afterparty at Kabana Rooftop to celebrate. Doors Open at 9pm and Trey Songz will be in attendance after the concert is over.

Tickets for the afterparty are $40.82 each and look to be going fast so jump on it if you haven’t already!

Trey Songz takes the stage at Dominion Arts Center Saturday, May 20 at 8 pm. Tickets are $49.50-59.50 and can be found here.

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