It should come as no surprise that the District of Rock Island has secured terrifically talented bands for its eighth annual Hornucopia festival, taking place on Friday, July 14, and Saturday, July 15. If you've attended Hornucopia in the past, you know the drill: two stages showcasing the finest in R&B, funk, soul, jazz, rock ... basically, any genre that incorporates a little brass. As the festival's motto states, "If it has horns, you'll find it at Hornucopia."
No surprises there. But while researching the first group to perform this weekend - local favorites The Gray Wolf Band, whose set begins at 5 p.m. on Friday - I was floored to discover that drummer Tom Drabek not only served as Alpine Race chairperson for several U.S. Ski Association events, but is a former Special Forces Green Beret, to boot. And he's not the only Gray Wolf performer with an interesting history. According to the group's Web site (http://www.graywolfband.com), Kenny Carleton began his musical career at age 18, playing bass on riverboat cruises with his brother; Jim Ryan, employing the Isabel Bloom technique, has spent two decades years making original concrete sculptures; and Larry Burns has been described as "the biggest rock star that no one has ever heard of."
So much I didn't know about these classic-rock performers! What other gems could I unearth if I did a little Web-site digging on the Hornucopia bands?
For its production of David Auburn's Proof, however, the theatre's playing area has been transformed into a three-quarter-thrust stage (Proof's front-porch setting designed against the Barn's fourth wall), and at the Friday-night performance I attended, the "best seats in the house," directly facing the set, were already filled by the time I arrived; instead, I took a seat on the stage-left side of the theatre. But for future Proof audiences - and I hope that includes many, many of you - who may find themselves in a similar situation, I'm here to tell you not to sweat the view in the least.
As the title character in the Quad City Music Guild's presentation of George M!, Kevin Pieper works his tail off. His Broadway impresario George Cohan belts out number after number, he tap dances, he storms through scenes with natural authority; in this musical-comedy biography, the role of Cohan is practically a show unto himself, and the energy that Pieper gives the part is admirable.
Regardless of style or genre, entertaining theatre has a way of putting audiences in great moods - I've personally smiled through well-staged productions of such varied, inherently tragic shows as Death of a Salesman and A Streetcar Named Desire and Hedda Gabler. And despite their seriousness, Genesius Guild's Seven Against Thebes and Antigone were a terrific time; the shows may not have had the knockabout power you hope for from Greek drama, but they certainly were enjoyable.
Tea Leaf Green. Indeed. And bread-stick beige, but what's that got to do with anything? All kidding aside, San Francisco rockers Tea Leaf Green will play the Rock Island Brewing Company on Tuesday, July 18, giving the band a momentary reprieve from the summer-festival circuit. The group's relentless schedule has included recent appearances at the Bonnaroo, Wakarusa, and High Sierra music festivals, where their classic sound - conjuring the spirits of Bob Dylan, The Faces, and early Elton John - has wowed sold-out crowds nationwide; reviewing the band at last month's Kansas-based Wakarusa festival, State of Mind Music Magazine's Michael Davoli and John Flanigan called their sets "spectacular," and wrote, "Tea Leaf Green spent the last year building up expectations wherever they went ... then far exceeded them every step of the way." Described on their Web site as "a band of youthful gypsies with an abundance of both rock and soul," the group also received enthusiastic notices for their 2005 CD Taught to be Proud. Sounds like you'll love Tea Leaf Green. And when at RIBCO, make sure to catch their opening act: Bath Mat Pink. (Sorry. It's just so much fun.) For further information, visit (
A half-hour before Friday's performance of On Golden Pond at the Circa '21 Dinner Playhouse, the theatre's producer (and Pond director) Dennis Hitchcock took the stage, and after making the traditional opening-night welcomes, warned that the show's first act alone ran nearly 80 minutes - a long haul, he explained, for elder audiences. Yet I'm thinking that Hitchcock's announcement was made less out of concern for the crowd's bladders than out of justifiable pride - a trek to the restroom would force people to miss parts of the show, and with the stunningly fine performance Michael Kennedy is giving here, who would want to miss even one?
In the second act of the magnificent musical parody Urinetown, the character of Bobby Strong - a novice revolutionary, and the show's ostensible leading man - sings "Run, Freedom, Run," a rousing call-to-arms to his fellow oppressed. The number, a sort of "Sit Down, You're Rockin' the Boat" from Guys & Dolls as seen through a Les Miserables filter, is one of those guaranteed show-stoppers designed to leave audiences cheering. At the Timber Lake Playhouse's Saturday-night performance of the show, however, this production number led to something even more thrilling.
SUPERMAN RETURNS
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