Norwegian garage rockers Death by Unga Bunga, playing at the Village Theatre on February 28, buzzed through the writing, recording, and mastering of Fight! in just six weeks. Released in September, the four-song EP is over in a flash – 12 minutes of ragged indie garage rock infused with power-pop riffs that could have come straight out of a Cheap Trick song.
Over the years, Davenport's New Ground Theatre has prided itself on the presentation of new works by emerging authors. But this year, even Artistic Director Chris Jansen is shocked to find the company not only producing eight new works in a season, but eight new works - the majority of them by local authors - over a two-night span.
[Author's note: The following interview with Eddie Staver III was written for 
For the final production in her company's 10th-anniversary season, New Ground Theatre Artistic Director Chris Jansen chose to direct a rather epic piece: the debuting period drama Under the Radar, which features numerous plotlines and changes of locale, and concerns our area's gay scene in the late 1970s, with particular attention paid to the relationship of one long-term gay couple.
[Author's note: The following was written for 
The Gift of the Magi is my favorite holiday tale. While the surprise is lost whenever I read it again, I still remember the goosebumps I felt when I first discovered O. Henry's story of a man and woman making significant personal sacrifices in order to buy each other Christmas gifts. And while New Ground Theatre's production of the musical version of this classic narrative did not give me the same delightful chills, it did leave me with a warm feeling of holiday joy.
The language of playwright Tracy Letts' August: Osage County is loaded with layers of emotion underneath its dialogue. During New Ground Theatre's opening performance on Friday, a few actors neglected the dark undertones, reciting their lines as if Letts' words held nothing below the surface. Most, however, got to the heart of the script, impressively revealing the richness of the work through performances that ranged from subtle to over-the-top. While not perfect, the show deserved the standing ovation it got from the audience.
(Author's note: I'm a proud ensemble member of the Curtainbox Theatre Company, and along with interviewee Lora Adams, am serving as co-associate producer on Wit.)
