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Best Of :: Arts & Entertainment

BEST DANCE PERFORMANCE IN THE PAST 12 MONTHS

For 20 years, Danny Buraczeski's company Jazzdance stood for artful evolution in every sense of the word. From classic modern dance to Broadway rhythms, from Benny Goodman to Astor Piazzolla, Buraczeski infused the rickety pastiche of styles known as "jazz dancing" with substance, wit, and social relevance. Before his company dissolved in 2005, he created a body of work that honored dancers by tapping into their talents and transforming them into hotshot performers, making them more musical, more glamorous, more human. In its final performance last April, Jazzdance brought heartfelt, kick-butt energy to a retrospective of Buraczeski's work since 1980. Present and former company members paid tribute to Buraczeski's popularity by igniting all the spaces between choreographic sophistication, physical accomplishment, and emotional complexity. While Eric Boone and Mary Ann Bradley entwined themselves in Cesaria Evora's vocals like liquid origami, Buraczeski and his muse Cathy Young charged Kurt Weill's mournful "Les Exiles" with the gritty nuance and layered sensations of a musky wine. And in the finale to Buraczeski's signature work, "Swing Concerto," the dancers swung out with the great gusto of Triathlon champs heading into the home stretch.

BEST ACTOR (FEMALE)

Her work can run the gamut from manic to imperious and from opaque to exposed—often in the same scene—and her name on a playbill in 2005 usually guaranteed the prospect of a fresh and unique performance. Early in the year, she played Dionyza in the weird Pericles at the Guthrie Lab, at times striking with regal beauty, at other times with absurdity. She didn't manage to single-handedly salvage His Girl Friday at the Guthrie later in the year, but her Mollie Molloy was a standout in a meandering show. In David Mann's Godfather-meets-Shakespeare Fringe epic Corleone, she brought her tragicomedy chops to the character of WASPy Kay. Finally she starred in the title role of Antigone for Ten Thousand Things, and, stripped of her comedic powers, came through with a moving and deep take on Antigone's tragic pig-headedness. We think she should land a role on SNL—while still doing serious stuff on the side, of course.

BEST ACTOR (MALE)

No one stalked the indie stage with more éclat in 2005 than Bob Malos, who utilized his imposing frame and sonorous voice to provide characters who were tortured by their own greatness and dogged by the Reaper's impending embrace. In May he starred as Capt. Larsen in Hardcover Theater's adaptation of Jack London's The Sea Wolf, and captured a scary sense of nihilistic menace and intellectual savagery that shivered numerous timbers in the audience. Come July he stalked the stage in Girl Friday Productions' excellent An Empty Plate at the Café du Grand Boeuf, mixing humor and despair in his portrayal of a wealthy, death-obsessed cynic. Then a month later, he appeared in the Fringe as doomed James Garfield in The President, Once Removed. In all three performances, Malos radiated a sense of bittersweet awareness combined with a thoughtful recognition of his characters' power and the different ways it could be applied. At times humanitarian and at others downright Nietzschean (not that there's an inherent dichotomy), Malos delivers dark clouds interspersed with dingy sunlight.

BEST AM RADIO PERSONALITY

Does anyone even know when T.D. Mischke is on the air anymore? The geniuses running KSTP-AM (1500) have twice shifted his time slot in the last three years, first to late nights and now to drive time. The 5:30 to 7:30 p.m. shift is an odd fit for Mischke's strange, hilarious, truth-bending monologues. After all, during the evening commute, most people are looking for accurate information about weather, traffic, and the day's news headlines. Plus, the drunken callers who've always been a staple of Mischke's show aren't nearly as entertaining in the daylight hours: They're just kind of sad. But Mischke's such a peculiar genius that we're willing to adjust. His rambling tirades against modern technology, encounters with regular callers such as Undertaker Fred, and bastardized news reports are superbly entertaining at any time of day. Plus now we get the added bonus of listening to Mischke antagonize traffic reporter Kenny Olsen on a daily basis.

BEST AREA PREMIERE

Mixed Blood's production of Richard Greenberg's baseball drama Take Me Out saw Darren Lemming (Lindsay Smiling), a rich, arrogant, and handsome young baseball pro, declare his homosexuality to the world. Amid the controversy, his team sank in the standings; then backwoods pitcher Shane Mungitt (Zach Curtis) turned the tide—or would have, were it not for a John Rocker moment on live TV that revealed his extensive knowledge of disparaging epithets and his casual willingness to use them. Smiling played the pro athlete as icily uninterested in the affairs of mortals and indifferent to their perception of him—until a semi-friendship with his accountant Mason (Edward Williams Jr.) compels him to break out a convincingly limited degree of warmth. Under Stan Wojewodski's direction, Take Me Out depicted sports and modern life with depth and cynicism, teasing out the humdrum truths and diffused sense of hollowness throughout the world it portrayed.

BEST ART CINEMA
Oak Street Cinema

Oak Street: 1995-2006. R.I.P.

309 Oak St. S.E., Minneapolis, 55414
MAP
612-331-3134
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BEST DANCE PERFORMANCE IN THE PAST 12 MONTHS: Jazzdance

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