Dr. Goddess
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If you read my interview last Thursday, you know Dr. Goddess is the somewhat serious, somewhat tongue-in-cheek stage name and internet moniker of Kimberly Ellis, Ph.D., Hill District native and performer.
I almost called her a performance artist, but I'm wary of that term, which is falling into disrepute or at least pretentiousness. Having just yesterday been to Pittsburgh Playwrights Theatre to see Kim's one-dynamo show, "Dr. Goddess," sub-titled for the occasion, "a homegirl's homecoming," I can testify that she's an authentic hip-hop poet, impersonator, dancer, actor and certified stage presence.
The last surprises me the least, because I've stood face-to-face with Kim often enough, discussing this and that and often her uncle, August Wilson, to have felt the force of her personality. But I didn't know she could harness it to such good purpose on stage. I expect this has something to do with the shaping direction of Eileen J. Morris. However she's done it, she's a force.
The quality I like best is her quick turn from one character to another. She has the mimic's gift for the sudden detail that summons character, and the physical plasticity to bring it off. I especially like the moments when her carefully planned performance seems to crack open and to show an improvisatory energy.
I was surprised to discover what an expressive dancer she is. I guess that's partly my prejudice talking: Kim is a big woman and dancers usually come small. But her size gives her grace emphasis. And as one of her poems says, she has "a cute ass face"; but what that doesn't say is how her face opens up to channel her youth and optimism.
Her poetry has an agenda, of course -- how could it be otherwise with August Wilson's niece? Like these excerpts from "If Revolution Were an After-Thanksgiving Sale":
... We would run to the checkouts with coupons that would guarantee us
10% off old men hounding teenage girls, 30% off domestic violence and 50% off child molestation
... brothers and sisters would make mad dashes down the aisles of love ...
Or this gloss on "extreme makeover":
Extreme
Makeover
Time to take over
This culture
In extreme ways.
When push came to shove, though, I didn't think I was the best person available to review "Dr. Goddess!" It deserves someone more in sync with the cultural environment on which her work is such a pungent commentary. So tune in Wednesday for a PG review by Philip Stephenson. "Dr. Goddess" has six performances to go, April 14-16; call 412-394-3353.
Come to the cabaret
In addition to recovering from London and diving into the high school musicals maelstrom (with results you can find on our high school musicals page), another reason I've let my journal sag the past weeks is that I've been working on "Off the Record: The Cabaret." It's a brisk retrospective of the first five years of the annual spoof of Pittsburgh news and newsmakers.
It opened at the CLO Late Night Cabaret last Saturday in what was basically a dress rehearsal for a small audience. The real opening was last night, and it was a lot of fun. Of course, you can't take my word for it, since I'm the producer, but the response was enthusiastic. Sala Udin was our guest host and the audience, partly thanks to a pre-show party given by Linda Dickerson, included Lynn Cullen, David Johnson and Nancy Polinski, Joan and Jerry Apt, Paul Greeno, Ted Hoover ("it's my job," he said), Ruth Ann and Bill Molloy ... and I guess this is starting to sound like Seen.
The cabaret plays three more Saturdays at 10 p.m. Guest hosts to come are Rick Sebak, Ken Rice and Lynn Cullen. See you there?
Tim MeneesClick poster for larger image.
First Published April 10, 2006 12:00 am
