No Blues for Blue Man Group
A note to all those who claim to hate mimes: Maybe they just needed a technology update.
Blue Man Group, which opened last night at Madison’s Overture Center for the Arts, is without a doubt the ultimate mime show.
Think about it for a minute: Three silent guys, albeit swathed in blue grease paint, carrying out sight gags, sketch comedy, musical performances and other scenarios without uttering a sound? Is that not the very definition of a mime?
However, their act is surrounded by an amazing array of multi-media technology and theatrical tricks the likes of which at least some of us have never seen. Voiceovers, narration and thunderous music fill the audio gaps, but the Blue Men never utter a sound.
It’s pretty ingenious when you think about it, but the 100 minutes of visual and aural onslaught may make thought unnecessary or, at the very least, inconvenient. BMG is all about sensory stimulation, from the opening “paint drum” sequence (fans, you know what I’m talking about) to the closing dance party that filled Overture Hall’s ample air space with massive glowing balls, confetti and other commercial detritus, a bombastic ending that just seemed appropriate to the Jello-flinging, body-painting performers.
Our group had three generations, aged 9 to 59, and it was a toss-up as to who enjoyed it more. “Fun for the whole family” may not apply to everyone, but we had a great time.
And were he still alive, Marcel Marceau, probably the world’s greatest mime, might even be inspired to turn up the volume and paint his face blue after seeing how far his art form has come.
“Beauty and Beast” Timeless Tale Well-Told Again
Generally speaking, repurposing art—turning coming books into films, films into Broadway shows—runs inherent risks with both fans and non-fans alike. Some will find the new iteration of a favorite yarn an unworthy departure from its original source, while others will fail to grasp the backstories and nuances that true fans otherwise have come to appreciate, leaving the experience incomplete and unsatisfying.
And then there are those cases where 
sheer production values overcome any shortfalls, perceived or real, with panache significant enough to erase all former memories of the original source material. Such is the case with “Disney’s Beauty and the Beast” which opened Tuesday at Madison’s Overture Center for the Arts as part of the Broadway Over America series.
The stage musical, adapted from Disney’s “Beauty and the Beast,” is as animated as the 1991 animated film from which it was derived. As stage musicals go, the 185-minute show’s narrative is a summary of the tale of the vain prince turned into a beast for his unkindness who can only be saved by true love. (SIGH.) But any perceived shortfall is more than made up for by bright colors, vivid production values and enough bombast to keep audience members of all ages well entertained.
Singing is strong, especially among principals Belle (Emily Behny), the Beast (Dane Agostinis) and Gaston (Logan Denninghoff), the heavily muscled Lothario who actually cuts a more dashing figure in has vane pursuit of Belle than Agostinos, freed of his Beastly makeup, does at the show’s end. But that’s theater for you.
Regardless of personal preferences, the largely female audience of all ages swooned with the show’s romance, laughed at its rampant humor and erupted in applause and cheers at appropriate moments, not the least of which was the show-stopping “Be Our Guest” signature number in which household items from candelabra to cutlery serenade an enchanted Belle. They’re all present, too, from Lumiere (Michael Haller) to Mrs. Potts (Julia Louise Hosack). The only difference is that, played by actors, they are out of necessity human-sized.
The songs by Alan Mencken, Howard Ashman and Tim Rice prove quite well-suited for the stage, leading to full-out performances that fill cavernous Overture Hall with energy and light. Despite reservations to the contrary, “Disney’s Beauty and the Beast” works and works well, offering an evening of fun and enjoyment to even the most jaded critic.
Savion Glover’s Gotta Tap
What are tap shoes, after all, if not a percussion instrument?
A combination of leather and laces, composite material and stainless steel soles and heels, tap shoes are no more than inert matter combined for a purpose. But put them in the hands—excuse me, on the feet—of the right performer, and the resulting manipulation of this unique “instrument” can be nothing short of brilliant.
Savion Glover
Dancer Savion Glover proved that repeatedly during his Nov. 10 performance at the Wisconsin Union Theater on the UW-Madison campus. The two-hour set blended recorded music and spoken word with the artistry of Glover and fellow performer Marshall Davis Jr. The pair tapped to a single, repetitive acoustic bass line and to the music of jazz great John Coltrane. Most often, however, they danced without audio accompaniment, and that’s when the music of the tap shoes shown the brightest.
Under the moniker The Last HooFeRz Standing, Glover and Davis performed an extended work entitled SoLe Sanctuary, a play on words that also referenced Glover’s apparent spirituality. (His program bio read simply: “Savion Glover (hoofer, father, husband) Praise Almighty God. Please enjoy the evening.”) Although the program listed 11 separate “movements,” the pair tapped virtually non-stop for the entire program, the energy never flagging and the creativity mounting with each passing minute.
One is tempted to think of tap dancers as well-suited novelty acts, a bamboo cane in one hand, straw boater in the other, tapping out a rhythm to popular tunes of the day. Not so with The Last HooFeRz, who appeared to combine tap’s tenacity with rhythmic interpretations rivaling anything modern dance has to offer. From his soft, almost sotto voce opening to near manic explosions of energy, Glover brought profound expression to his taps. Davis wasn’t far behind, moving every bit as fast as his partner and often matching him step for step.
To say the pair operated like musicians might be an understatement. At times Glover danced the lead, while Davis provided the rhythm track, keeping a steady beat and modicum of sound moving forward. Then they would switch, or emulate a call-and-repeat pattern. Sometimes they danced simultaneously, creating a thundering sound on the amplified dance platform on WUT’s stage, then drop back to a whisper.
By mid-show, Glover was clearly enjoying himself. He launched into an unamplified version of Johnny Nash’s “I Can See Clearly Now” that almost prompted an audience sing-along, but most of the auditorium held back in fear of drowning out the moderately strong voice that already was competing the duo’s tap shoes. The one exception responded to the chorus—“It’s gonna be a bright, bright sunshiny day” —with “Oh yes it is!”
For all we know she may have been talking about the show, which prove to be the brightest performance to grace WUT’s boards during the entire 2011-2012 season.
Steenbock’s Hunter’s Dinner a Hit
The mark of a good chef can often be seen in the way he or she treats the side dishes and components that come with the main entrée. Often greater care taken with, say, the vegetable signals a higher level of capability and commitment.
Based on Chef Michael Pruett’s treatment of the vegetables and starches that accompanied the meats served during his nine-course Hunter’s Dinner Nov. 8 at Steenbock’s on Orchard in the Wisconsin Institutes of Discovery on the UW-Madison campus, it was clear to us from the start that we were in for a real treat from a first class chef.
The prix fixe dinner, a run-up to the Thanksgiving season, was also a fundraiser, with half the proceeds from the $100-per-plate evening going to Madison-based Second Harvest Foodbank of Southern Wisconsin. Second Harvest President and CEO Dan Stein and his wife were there to explain the growing need for food in southern Wisconsin.
The feast of game meats—an excuse, Pruett allows, for a chance to cook the game he grew up eating in his native Minnesota—was accompanied by nine impressive wines from Palm Bay International, a Florida-based importer of high-quality small-vineyard wines primarily from the north of Italy. In virtually all cases, the wines proved an excellent match for the food they accompanied both in terms of flavor and body.
Our first course, the fall field salad, was a blend of greens and cooked, chilled beats and carrot slices and paired perfectly with the Bottega Vinaia, a bright Pinot Grigio whose crisp tannins cut through the beets’ natural sweetness. We saw similar craftsmanship in matching the duck consommé, with its single duck-filled ravioli pocket afloat in a light-bodied broth, matched with the Bertani Valpolicella. The wine’s light body and full flavor balanced perfectly with the contents in the bowl.
For the next course, celeriac root had been pureed into a thick, creamy compote in which nestled fresh rabbit, a cube of pork belly and a turnip sliced very thinly. The accompanying Poliziano Rosso di Montepulciano, a light-bodied blend of Prugnolo Gentile and Merlot grapes native to the Italian district, offset the flavor and cleansed the palate nicely. The roasted squab that followed, although not generating a large fan base at our table, was beautifully presented and delightfully matched with Feudi Primativo, often considered the precursor to the American wine grape Zinfandel and hailing the Puglia region in Italy’s bootheel.
Could this get any better? Oh, most assuredly it did.
Duck—both in its foie gras and confit forms—followed, nestled in its own bed of flavorful pureed carrot. A robust 2004 Col d’Orcia Brunello, the oldest wine served that evening, counterpointed the dish with a mature, rich flavor that helped turn the corner for meals wine and food pairings.
The evening’s high point may have been the bison, served with pommes puree, dried cherries and crunchy granola clusters. The meat was fork-tender, the potatoes and cherries offing both sweet and tart components. The granola, an unusual addition, added an element of “crunch” that made this perhaps the most perfectly conceived dish. The accompanying oak-aged Fonterutoli Badiola, a blend of Sangiovese and Merlot grapes, was excellent.
Red deer followed, presented with cranberry, walnuts and nestled in a bed of cooked whole barley pearls. Although the cranberry was subtle to the point of absence, the unusual pairing of the barley gave this dish a most unique appearance and approach. The very dry Bertani Secco, dubbed a “poor man’s amarone” by the wine representative present, extended the food’s impressions, resulting in another great pairing.
When the waiters trotted out the Reidel wine crystal, we knew the next-to-last course, elk with rosemary, red cabbage and parsnips, was destined to be the evening’s highlight. (We also knew that from talking to Chef Pruett and finding out that the elk was his personal favorite.) Once again, the blend of expertly prepared sides matched with the tender elk meat. The accompanying wine, a Travaglini Gattinera made primarily from the Italian Nebbiolo grape, proved to be one of the most accomplished and pleasing of the evening.
To end the meal, we enjoyed cooked spiced pumpkin with a very small dollop of vanilla ice cream dressed with a sage leaf. The unexpected and delightful combination was matched to a Fontanafredda Moscato d’Asti Monucco, a wine who’s inherent honey sweetness had transformed into a blend more floral, with a sweet, but not cloying fruit presence.
At the beginning of the meal, the wine representative suggested that everyone go to the James Beard Foundation web site and nominate Chef Pruett for a prestigious James Beard culinary award. By the end of the meal, I don’t think any of us would have challenged his recommendation.
Farnsworth Invention Tunes In Compelling Theater
When science and commerce collide, great things can and often do happen, but not everyone ends up holding the winning hand. That may be the takeaway lesson from “The Farnsworth Invention,” Forward Theater Co.’s impressive production of Aaron Sorkin’s enlightening play. The drama opened Nov. 4 The Capitol Theater in Madison’s Overture Center for the Arts.
Philo Farnsworth (Nicholas Harazin) explains how his early prototype of a television works. (Photo by Nick Berard)
The production, directed by Forward Artistic Director Jennifer Uphoff-Gray, combines the talents of the three-year-old theater troupe and the UW-Madison Department of Theatre and Drama. The energy is palpable as 16 actors play more than 70 roles, resulting in an evening of compelling storytelling and outstanding theater.
Sorkin, creator of television’s “The West Wing,” has taken a look at the invention of television itself through the eyes of Philo Farnsworth (American Players Theatre’s Nicholas Harazin), the Idaho-born savant and one of several inventors who in the 1920s was looking for ways to “send pictures through the air.” Most who even acknowledged Farnsworth’s folly thought it could be no more than a toy for rich people. One exception was David Sarnoff (APT’s Michael Huftile), a self-made communications giant and head of RCA, who realized the enormous power of Farnsworth’s invention and set out to make it a reality.
Both men were devoted to creating the television—Farnsworth’s name meaning “seeing at a distance.” But the inventor’s fatal mistake in following collaborative scientific method and not competitive business processes led to the invention’s ultimate success and to his own undoing. Many became rich off of the invention, but Farnsworth was not one of them.
Sorkin’s play often explodes the supposed “fourth wall” of the set, allowing Harazin and Huftile latitude to address the audience, handling the story’s exposition neatly and creatively and often narrating each other’s story. The technique creates an empathy between the characters, shedding light on the narrators’ inner thoughts and connecting them beyond the surface narrative.
Gray draws extremely strong performances not only from her two principles but also the supporting cast, from Forward veterans Richard Ganoung and William Bolz in multiple roles down to newcomer Alistair Sewell (son of Wisconsin Chamber Orchestra Maestro Andrew Sewell and his wife Mary) as both the young Farnsworth and the young Sarnoff. Joe Cerqua’s music and sound design and Charles J. Trieloff II’s sets help creat an engaging mood.
“The Farnsworth Invention” is a play compelling at many levels, and Forward’s production indicates that the company and its director have reached new and impressive stride. The end result is an evening of exciting theater for all.
Terence Blanchard’s Jazz Stratosphere
Jazz is that most curious of disciplines, a music that relies on note-perfect precision as it shatters boundaries and stretches its timbre toward new levels of expression. It’s a music born of solid tradition, but one that aims for the stars that it often, perhaps inevitably, soars beyond.
Terence Blanchard is part of a newer stratosphere of jazz stars, a trumpeter who emerged from a New Orleans tradition—personally as well as musically—and earned his chops with vibraphonist Lionel Hampton and, at the recommendation of boyhood friend and fellow trumpeter Wynton Marsalis, drummer Art Blakey. Along the way the shackles of those traditions seem to have loosened significantly and, man, what a ride he and his band provide.
Blanchard’s quintet came down to earth on the UW-Madison campus Friday night, innocuously taking the stage at the Wisconsin Union Theater. From his opening solo notes, however, Blanchard unleashed a take-no-prisoners trumpet blast that let us know we soon would be airborne.
Saxophonist Brice Winston, the only member of Blanchard’s standard quintet present, was at the top of his game, trading licks with his boss and sharing compositional credits throughout the evening. Cuban-born pianist Fabian Almazan added a little heart to the front line, slowing the tempo from time to time with elegant, even inspired movements that allowed everyone in the room to take a breath, literally as well as figuratively.
The band was backed by a solid rhythm section that included 19-year-old Juilliard School student Joshua Crumbly on bass and pickup drummer Jarmire Williams, who had never before played with the band. Most of the audience found that hard to believe given the stunning rave-up between Williams and Blanchard during an extended improvisation on the classic “Autumn Leaves.”
The evening’s highlight no doubt was Blanchard’s composition “Choices,” which dominated the show’s second half. The performance called for additional electronic keyboard work from Almazan and a trumpet so dressed with electronic effects that Blanchard’s music really did seem as if soared beyond the WUT confines.
For some of us, the trip began much earlier in the performance. It was just a matter of allowing the time and opportunity for others to catch up.
Miles Davis: Protean Musician
History is defined more clearly by those who record it than by those who experience it, for it’s through the lens of time and the context of subsequent occurrences that we better grasp the historical importance of a person, place or event.
Jazz trumpeter Miles Davis may have been both the exception and the rule. His protean nature defined a trajectory that, for the most part, prefigured the direction in which his genre was headed, as well as anticipating the cross-cultural and cross-genre music blending that we hear today. An evening with The Miles Davis Experience, which took the stage at Overture Center’s Capitol Theater Tuesday, helped a large and appreciative audience remember where it all began.
The Experience was not a tribute band in the traditional sense. The Ambrose Akinmusire Quintet played in the spirit, but not necessarily the notes of the group’s mentor, while large screens displayed historic photos of the East St. Louis, Ill.-born musician and recorded audio tracks shared Davis’ own thoughts, as well as those of other jazz luminaries. Announcer Donald Lacy added poetic, if not poignant narrative that contributed a spoken-word component to the two-hour performance.
The evening covered the period from 1949 (“The Birth of the Cool”) to 1959 (the seminal “Kind of Blue”), considered Davis’s most productive and creative period. If anything, the multi-generational audio-visual mash-up was itself a reinterpretation of Davis’ musical, intellectual and social influence, delivered in a way he would no doubt have considered “cool.”
Akinmusire’s trumpet scaled some impressive heights, channeling Davis through his own sensitivities and considerable capabilities on the horn. On tenor sax, Walter Scott III more often than not stood in as John Coltrane, a core element to the period’s “great quintet” and with Akinmusire delivered impressive solos and seamless ensemble performances.
Pianist Sam Harris, bassist Harish Raghaven and drummer Justin Brown stood in for a variety of historic players, each shining on his own solos. Brown’s late evening drum solo was delivered with aplomb and a frightful intensity that probably exceeded the capabilities of those he was emulating.
Miles Davis will arguably remain perhaps the most influencial jazz performer in the history of music. Whether the Ambrose Akinmusire Quintet comes anywhere close to that level remains to be the seen. But the young musicians have hitched their wagon to the right mentor’s star, and we all benefit from the wild ride. You dig?
Few things are as enjoyable for us as attending a Wisconsin Chamber Orchestra concert. We find that more often than not, we are transported to a different time and place, where only the music exists and communicates in a way that is unique to the chords, themes and movements of classical music. The summertime Concerts on the Square featuring the Wisconsin Chamber Orchestra is one of Madison’s rich traditions. But sometimes, with the warm weather (or threatening thunderstorm), the glasses of wine and the gathering of friends, the music can get lost in all the activity. No, the best place to see the Chamber Orchestra is in the dark confines of the Capitol Theater at the Overture Center. So it is with much anticipation and delight that we welcome the arrival of the 2011-12 Wisconsin Chamber Orchestra Masterworks Season on Friday , Oct. 7.
Friday night’s concert opens with Elgar’s “Serenade for Strings in E Minor, Opus 20″ followed by guest pianist Ilya Yakushev, from St. Petersburg, Russia playing Prokofiev’s “Piano Concerto Number 1 in D-flat Major” and, one of our favorite pieces, Gershwin’s “Rhapsody in Blue.” Yakushev is a world-renowned pianist who has played solo performances at the Bechstein Center in Berlin, the Musikverein in Vienna and with the San Francisco Symphony.
We had the opportunity to talk with Maestro Sewell about the upcoming season:
What are the highlights of this season’s Masterworks?
AS: Masterworks #1. “A Concert of Firsts” refers to each piece on the program being an important milestone in some way. Elgar’s “Serenade for Strings” was his first published work and has remained in the standard repertory, Prokofiev’s “Piano Concerto No.1″ from 1911—his first piano concerto; Copland’s “Music for the Theater,” a not-often-performed work, that shows a different side to the young Copland, when he incorporated jazz elements into his music for the first time in 1925, and fresh home from his time abroad in Europe. And of course, Gershwin’s trail-blazing “Rhapsody in Blue” from 1924.
We have great artists [this season]. Cellist Amit Peled returns on Jan. 13 to perform Boccherini’s “Cello Concerto in B flat” and Israeli composer Kopytman’s “Kaddish.” Also on that program, NZ composer, Douglas Lilburn’s “Diversions for Strings.” He is well known in New Zealand for his overtures and three symphonies. We conclude with Haydn’s Symphony 100 ‘The Military,” so-called because of the second movement percussion parts.
On Feb. 24, violinist Alexander Sitkovetsky, will perform Beethoven’s Violin concerto, along with Beethoven’s “Symphony No. 6.” We are opening with a short narrated piece by Benjamin Britten – the “End Sequence to the Night Train” with James Ridge, from APT as narrator. Alexander is a phenomenal talent from London, and this performance will repeated at the historic Ringling Theater in Baraboo, on Feb. 25.
The day before St Patrick’s Day, March 16, we give a nod to the Irish tradition in programming the Piano Concerto No.4 by Irish composer John Field. He wrote seven such concertos, and is often referred to as the Irish Chopin. He was a pupil of Clementi. Granville Bantock’s rich Celtic Symphony for six harps and strings is included on this program along with Mozart’s Symphony No. 35 the “Haffner,” and we open with Mendelssohn’s The Hebrides Overture, famous for its musical imagery portraying a journey he took to Fingal’s Cave in the Hebrides, near Scotland.
We conclude the indoor season with Beethoven’s mighty Symphony No. 9 The Choral, with the Wisconsin Chamber Orchestra chorus combining with the Festival Choir of Madison, and four soloists. In the first half is Gerald Finzi’s hauntingly beautiful string work, Dies Natalis,(Day of Birth) with tenor soloist, Robert Bracey. Five movements based upon texts by Thomas Traherne.
How are the musical pieces chosen?
AS: I keep a mental list as well as a written one, of pieces I would like to do, and also what I consider good repertoire for chamber orchestra, which includes many early classical pieces and a large quantity of early twentieth century works. Of course, it’s always on the ticket to perform Mozart, Haydn or Beethoven symphonies, a staple for chamber orchestra repertoire, but also over the years we have covered a wide variety of works.
I’m always looking out for new and interesting pieces. I like being surprised when I hear a piece I don’t know on the radio or while looking through CD collections in public libraries or even music stores. Sometimes I have a specific piece or concerto in mind, and will ask a soloist whom I know well to play it, as in the case of John Field’s piano concerto. I know Kit Taylor, and he agreed to play it at my request. In other situations, I may hear of a soloist, and we will approach their manager for a list of works they may be offering during a season which is actually happening right now, as I’m currently planning and thinking about the 2012/13 indoor season. Once a soloist has been booked, then I go to work and program around the concerto or solo piece. Following that, it becomes much like putting a jigsaw puzzle together or creating a fine menu. Looking to make a program palatable for an audience and musicians alike, and thereby create a buzz for people to support the orchestra.
How do you balance the music between familiar pieces such as Gershwin’s Rhapsody in Blue with more unknown selections?
AS: As I have mentioned before, in describing the current season, you can see how the familiar names, Haydn, Mozart or Beethoven are prevalent, but I also try to create something appealing for the serious classical musician who knows the repertoire outside these familiar names. Or if a composer’s name is familiar then perhaps choosing a less familiar work, such as Aaron Copland’s Music for the Theater. Or if a particular composer is from a certain school of composing or era, such as last season, we performed a ballet suite of nine French composers from the 1920s.
In the case of Gershwin, it celebrates jazz as a legitimate genre when it was still in its infancy in the classical music halls. These days, it can be coined more of a pops piece, but frankly, we have to loosen the idea that “popular music” or “pops” somehow undervalues the music. It doesn’t. Music is great in all its various styles, and we as listeners get pleasure from our understanding of that style, and what appeals to our senses. If you have grown up in a family that listens to talk-back radio, you will probably gravitate to that eventually and do the same. Similarly, sporting families or classical or popular music-loving families, we all have an appreciation for the music environment in which we grew up. That’s why, education is so important in the schools for music and art, and we should continue to advocate these important subjects in the earlier grades as we are trying to do here in Madison.
Have you ever regretted choosing a selection because the audience was not receptive or you received negative reviews?
AS: Once or twice that has happened, and early on in my career. It was from thinking a piece had more substance at first hearing, or that I had programmed a work for ulterior reasons, such as a pops arrangement, or a thematic selection. But on the whole, I’m very careful to investigate thoroughly all the scores, and separate the good ones from the not so good. But as you can tell, I get excited about most scores, which is why I love what I do.
What is your favorite piece this season and why?
AS: This season, I have several – I love the Finzi piece on the last program as well as Beethoven’s Ninth. I have also enjoyed getting to know the Field Piano concertos and have wanted to introduce them to our audience for a while.
What is your favorite piece in general and why?
AS: That’s a tough one. I love Haydn, and always like to program at least one or two of his works a season, and the same with Mozart, Beethoven, and/or Schubert.
How do you manage to keep the music alive, vibrant and fresh when there are so many outlets demanding people’s attention?
AS: The music should always come first. If I am excited about it then it’s my job to convey that excitement, joy and enthusiasm to others.
Any comments about Friday’s opening or the season in general?
AS: I think we have a stellar season this year, and the orchestra just keeps getting better. This past summer Concerts on the Square was an excellent season, and the more we play together, the better we get. My good friend and colleague, Ilya Yakushev is a phenomenal talent and this concert should not be missed. Knowing his specialty is Prokofiev, after all, they are both from St Petersburg! I think our audience will get a kick out of the Copland Music for the Theater. It has many telltale gestures to it, classic Copland-esque traits we hear 15 years later in pieces such as Appalachian Spring for example.
For ticket information, contact the Overture Center for the Arts (608.258.4141) or visit the Wisconsin Chamber Orchestra.
Autumn in Elkhart Lake, WI
Fall is a beautiful time to visit Elkhart Lake in eastern Wisconsin. The region is known as the Kettle Moraine and owes its beautiful scenery to the passing of glaciers. As the home to the Road America Race Track, Elkhart Lake can be teeming with race fans during the summer, but in the fall it relaxes to a more leisurely pace, the spring-fed lake is encircled in a ‘ring of fire’ as the leaves change from green to orange to red. The same amenities greet the autumn and winter visitor, but the lines are shorter and there is more availability in accommodations, tee times and dining. Michael and I decided to take advantage of the slower pace and visited Elkhart Lake early this fall.
We stayed at the Osthoff Resort (http://www.osthoff.com) overlooking Elkhart Lake. The Osthoff Resort was originally founded by Otto Osthoff, a manager of Schiltz Park in Milwaukee in 1885. Legend has it that Otto’s wife suffered a nervous breakdown in Milwaukee and her doctor suggested she make the move to Elkhart Lake to recuperate. Her husband purchased a farm from Henry and Daniel Carver and opened Otto Osthoff’s Hotel in 1886. The original hotel had room for 120 guests and had a parlor and dining room in addition to the guest rooms. In 1955 Osthoff sold the property to Sulie and Pearl Harand who opened the Harand Camp of Theater Arts.
Osthoff Resort, Elkhart Lake, WI
The Harands taught drama, song, and ballet to children who would stay at the camp in 4-to-8 week intervals during the summer. A performance concluded the summer camp season. In 1989, the Harands sold the camp to the Dairyland Investment Company who built the current accommodations and opened in 1995. The Osthoff is an AAA Four Diamond all-suite hotel. In addition, it has two restaurants, conference hall, a cooking school (L’ecole de la Maison) and Aspira Spa.
Dining
The first restaurant we visited was Lola’s (http://www.lolasonthelake.com/) located in the Osthoff Resort. It is an elegant restaurant that features fresh, local vegetables and meat. The Osthoff has its own garden and grows heirloom tomatoes and other vegetables that are used in food preparation. We started with caramelized scallops that were light, rich and had a subtle hint of citrus. Mike’s second course was the caramelized five-onion soup with gruyère cheese that was simply sinful in its richness. I opted for the roasted golden beet salad that included pistachio crusted chèvre cheese. The beets and greens were grown locally and were delicate and delicious.
Mike chose the peppercorn crusted filet mignon and I chose the crispy ricotta gnocchi. Mike’s filet was very tender and succulent. My gnocchi was melt-in-your mouth delicious. The dish has mushrooms, pancetta, peas, ricotta gnocchi and is finished with truffle oil and SarVecchio cheese—delicious but too rich to consume the entire portion.
Otto’s Restaurant (http://www.osthoff.com/restaurants.html) serves breakfast, lunch and dinner in a more casual atmosphere. The breakfasts include Eggs Benedict, omelets, pancakes, yogurt parfaits and steel-cut Wisconsin oatmeal. All of the eggs are organic and locally produced.
We also visited the Paddock Club http://www.paddockclubelkhartlake.com/index.html) located in downtown Elkhart Lake. The restaurant is named after the original Paddock Club of the early 1900’s that was the home to gambling in the area. We visited on a Tuesday night, when the restaurant serves tappas. The menu changes every week so not all dishes are available at all times. They also serve dinners on Tuesdays in addition to the tappas.
Another fine restaurant is the Back Porch Bistro located within the Victorian Village Resort (http://www.vicvill.com/Home_Page.html). The resort is the oldest one in Elkhart Lake and was originally called Schwarz Hotel in the 1880s. Judy and Ken Salzwedel purchased the property in 1999 and renovated it. The Back Porch Bistro is located next to the resort. The ambience is relaxed. A large fireplace and leather couch are situated against one wall. A large bar and desert case flank two other walls. In the center is the dining area.
I chose the crab and asparagus soup for the first course. The soup was rich and flavorful-hints of crab and asparagus woven within the cream-based soup. Mike shared the soup with me. For my entrée, I ordered the shrimp scampi that was light, flavorful and delicious. I liked that the shrimp was satisfying but not over-filling.
Activities—“Start Your Engines”
Of course a trip to Elkhart Lake would not be complete without visiting Road America. The original racetrack consisted of the roads within and surrounding the town. Jim Kimberely, heir to the Kimberly Clark Corp. (think Kleenix) wanted to race his car and as a member of the Sports Car Club of America (SCCA) approached Jim Johnson, president of the Elkhart Lake Bank arranged the first car race in 1950 (along with Fred Wacker, Karl Brocken and C. Bayard Sheldon). The first race was 3.35 miles long and consisted of five events including a race for women. Jim Kimberly won the race that year in his Ferrari. His average speed was 71 miles per hour.
The road race continued for 2 more years—with races held in July 1951 and 1952. By then, however, racing was becoming faster and more dangerous so Cliff Tufte, a businessman in Elkhart Lake began constructing the current Road America, enclosed race track outside of town—the site of a former sand and gravel company. Road America opened in 1955 and continues today. The track is 4.048 miles and is not completely visible anywhere on the 648-acre property. However, spectators are free to move from place to place to view events.
The original 1950 3.3 mile circuit and the 1951-52 6.5 mile circuit are still in existence and protected by the Historic Circuit Preservation Society (www.HistoricRaceCircuits.com). The road is marked by signs such as The Hard Right, The Hard Left, Wacker’s Wend and Schoolhouse Straight. You can drive the route, walk it or bike it. However you decide to travel, it is a must-see for any who visit Elkhart Lake. The only place where the original race circuit is interrupted is in front of the Osthoff Resort where a pedestrian walkway has replaced the previous roadway.
Race Cars on Road America Track
Road America (http://www.roadamerica.com/) is a vital component to the town. It provides approximately $70 million in revenue with its more than 400 events per year. The Vintage Car Race, held every July, is viewed by more than 100,000 spectators lining the town streets as the cars make their way to Road America. In addition to car racing the track holds corporate events, training, go-karting and other activities.
Mike and I were fortunate enough to view the track via a pace car. There are both right and left turns, which is similar to circuits in Europe. Road America programs emanager, Mike Kerscher who was our guide told us of a crash on one turn where the car flipped over the fence and broke apart. The driver, Katherine Legge walked away from the crash, shaken, but not hurt. (YouTube video of the crash can be found at http://www.youtube.com/watch?v=8h2iqmliVMk).
Golf
A trip would not be complete if we were not able to chase that little white sphere around a golf course. We went to Quit Qui Oc golf course a 27–hole golf course that has been family–owned for the past 60 years (http://www.quitquioc.com/index.htm). We met with Todd Montaba, the head professional and PGA professional since 1996 at Quit Qui Oc for a brief lesson before we attempted to play the course.
Todd, and his wife Rachel currently run the golf club. Rachel is a member of the LPGA and along with her husband teaches golf at the club. Montaba took us to the driving range to analyze our swings. He started with our grip—mine was okay, Mike’s was a little skewed to the left side. Next he asked us to swing our clubs. After we tried to hit a few balls, Montaba stopped us and began to tell us how to feel the club in our hands. He told us that golf is about opposites—you hit down to make the ball go up, you hit the ball gently to make the stroke strong. We practiced for a time, trying to simply feel the club and the clubface. Within 20 minutes, I felt as if I was definitely improving. My shots were straight, long and powerful. I tried less and achieved more—sort of a Taois wu wei kind of thing—hitting naturally.
After we felt that we had a good idea of what Montaba was talking about, we decided to play the back nine. Quit Qui Oc originally consisted of an 18-hole course. Nine holes were added later, but the unique approach to the course is that the terrain was not drastically changed in the course’s creation. The rolling hills, typical of the glacier passing through were left intact. Consequently, the course is quite hilly—especially the back nine.
Quit Qui Oc Golf Course
At first we were swinging quite well—indicative of mastering Montaba’s lesson, but around the 13th hole, I started to top the ball again. It would bounce a few feet and I became frustrated. I tried to remember what Montaba had told us, but my shots were getting worse. Finally, I stared at the ball, closed my eyes and swung. It was the best shot of the day, arching high in the air and traveling 150 yards and landing gently on the green. Before we left the course, we stopped at the clubhouse restaurant where Rachel greeted me with a steaming cup of coffee—a welcome relief from the brisk fall weather we were experiencing on the course. Todd and Rachel also gave us a taste of their two Wisconsin signature dishes—an authentic perch fish fry (complete with rye bread and cole slaw) and Sheboygan bratwurst (with German potato salad). Simply delicious.
Aspira Spa
A trip to Elkhart Lake and Osthoff Resort would not be complete without a treatment at Aspira Spa (http://www.aspiraspa.com/) located on the ground floor of the Osthoff Resort. The spa offers massages, facials, haircuts, yoga, meditation, ‘the art of bathing’ and a variety of services such as haircuts, pedicures and manicures. Reviewing the menu of services, I chose a biodynamic facial and Mike enjoyed the sacred waters massage.
The biodynamic facial is a one-hour treatment that includes exfoliation, masks, and massage of the face, hands, arms, shoulders and neck. The therapist gently worked her magic and left me is a state of complete calm. Mike’s sacred waters massage consisted of water from Elkhart Lake that is heated and used to penetrate the tissues of the body releasing all muscle tension. The Sacred Waters Massage is considered a signature treatment at Aspira and is available as a 50 minute or 80 minute treatment.
Aspira Spa, Elkhart Lake, WI
One Aspira treatment that intrigue both Mike and I was the Chakra Balancing bath that uses light and sound vibrations in conjunction with massage from air jets within the tub. Although we didn’t have the time to experience the bath, we’re thinking of going back to Aspira.
And speaking of returning to Elkhart Lake, although Fall is a wonderful time of year to experience all the resort area has to offer, Winter holds its own attractions—cooking classes at L’ecole de la Masion, hiking and snow shoeing along miles of trails, spa treatments, fine dining…we may just have to return to one of Wisconsin’s best kept vacation secrets.
Exploring the Door, Day 2
After a rejuvenating sleep in Suite 16 of the Hadley House—one of the White Lace Inn properties, I woke early for my day’s adventure. A small group of journalists were going to spend the day on Washington and Rock Islands and we had an early wakeup call. Our car picked me up at the Hadley House at 7am. It was too early for breakfast, and I didn’t even have time for coffee, so I asked our guide if we could stop somewhere en route. We had to drive from Sturgeon Bay to Gill’s Rock to catch the ferry that would take us to Washington Island—approximately 42 miles, and our guide did not want us to be late for the ferry.
After our coffee stop, we drove north to Northport and the ferry landing. We had some time to walk around the area and take pictures. The Washington Island ferry (http://www.wisferry.com/) leaves Northport every hour and we didn’t want to miss it because we were going to be taking the Cherry Train (www.cherrytrain.com) to tour the island once we landed on Washington Island. We boarded the ferry and went upstairs to sit and watch our passage through the fabled “Death’s Door” the narrow waterway between Plum Island and Pilot Island that was the site of many shipwrecks.
We arrived at Detroit Harbor on Washington Island and were greeted by Dick Purinton, president of the Washington Island Ferry and the Cherry Train. Prior to boarding, Purinton told us the history of the ferry and the Cherry Train. He explained that there were 716 residents on Washington Island and that he would take us (via the Cherry Train) to see some of the sites. What he didn’t tell us was that the Cherry Train was an open-air vehicle and that driving along the highways and byways would be a somewhat chilling experience (the temperature was in the low 60’s). Several in our party quickly went to the gift shop and purchased Washington Island Ferry sweatshirts.
We boarded the train and Purinton drove from Detroit Harbor (ferry landing) to the downtown, also known as “Up the Road” to Washington Island residents. Purinton stopped on Town Line Road across from Trinity Lutheran Church and told us the church was chartered in 1928, and the stone building was built in 1948.
Across from the church, a short walk up a wooded walkway stood Stavkirke (Stave Church) a replica of a church in Borgund, Norway, built in 1150. The church is small, but beautiful. The term ‘stave’ comes from the 12 large wooden pillars, or staves, that comprise the center structure of the church. On the roof outside there are 4 dragonheads carved from pine by David Ranney. According to the brochure located inside the church, if one looks up and to the left as one enters the church, you will see a tool belt hanging with candy wrappers. The tool belt was hung by John Herschberger to honor his friend, Dale Bjarnson, who helped built the church, but died before it was completed in 1995. The candy wrappers pay tribute to Bjarnson’s love of jellybeans.
Stavkirke, Washington Island, WI
From Stavkirke, we rode north on the Main Road to Jackson Harbor Road and took the turn off to Schoolhouse Beach. As I disembarked, I noticed distinct warmth emanating from the beach. No doubt Lake Michigan was warmer than the air, and offered respite from our chilly ride. The stones on the beach were perfectly round and came in many sizes. We were cautioned from taking a stone for a souvenir, as there is a fine if found removing the smooth spheres. I picked up a large stone, a perfect sphere, about the size of a soft ball. I threw it in the air a few times to get the feel. I was tempted to put it in my pocket, but decided against it. I placed it with the others and returned to the train.
From Schoolhouse Beach, we again boarded the Cherry Train and rode a few miles to the Farm Museum (http://door-county-wisconsin.net/washington-island-farm-museum.htm) a place where original Washington Island farm buildings are reconstructed and maintained. The buildings have been collected from various sites on the island and placed at the museum for historical purposes.
There is a cabin, log shed and stone building that originated from the farmer of Alber Olson, an early settler on the island whose parents had emigrated from Denmark. My grandparents had also emigrated from Denmark, and walking around the museum, I felt a distinct connection with the past. The corncrib and machinery shed were exactly like the one on my grandparents’ farm. There were 2 blacksmiths working in the blacksmith shed and the fire from their furnace brought welcomed warmth to the chilly morning. We wandered around the museum until our guide appeared to shuttle us to Jackson Harbor where we took the Karfi Ferry to Rock Island State Park (http://dnr.wi.gov/org/land/parks/specific/rockisland/).
Corn Crib at the Farm Museum, Washington Island, WI
Pottawatomie Indians then early French settlers settled Rock Island. In 1836 the first lighthouse on Lake Michigan was built on the island. It is the oldest lighthouse in Wisconsin and is still used. The early settlers eventually left the island and it was purchased by Chester H. Thordarson, an electrical engineer from Chicago in 1912. The state of Wisconsin purchased the island from Thordarson’s heirs and it became a state park in 1965. It is the only state park that does not have an admission fee—because it is the only state park that does not allow motor vehicles. Camping is available and there are 10 miles of hiking trails. The only transportation to the island is the Karfi Ferry. There is no electricity, although the island does have Wi-Fi and cell phone service.
Our group hiked through virgin forests to the old lighthouse and took a brief tour. We ended at the boathouse, which is a spectacular building and activity center to campers. It was built by Thordarson and the bottom half of the boathouse is made from cut stone, whereas the top half is made from the same round stones that comprise Schoolhouse Beach because Thordarson was running out of money and decided to use the stones that were found on the beaches.
Inside the boathouse there is a large fireplace that has since been sealed off. Furniture that Thordarson had made for his home is cordoned off in one area of the boathouse. There are tables with games and puzzles throughout the large room for the visitors to enjoy. A huge chandelier made from cows’ horns and other found objects hang from the ceiling. Although beautiful, the chandelier is never lighted—one reason is the island’s lack of electricity, the other is that the chandelier uses 32 volts of power and is not compatible with 110 voltage currently used.
Inside the Rock Island Boat House (with chandelier)
We left Rock Island, made our way across Washington Island and took the ferry back to the mainland. We arrived at the scheduled time at Rowleys Bay Resort (www.rowleysbayresort.com) for a traditional Door County fish boil. The water was boiling the pot over the open pit fire when we arrived. We joined the other journalists in the bar and watched the chef through the large windows. It simply was too cold to sit outside, blazing fire notwithstanding. The potatoes and onions are cooked first and then the whitefish is added during the last 20 minutes. When the food is ready, the chef adds kerosene powder to the fire that causes a huge blaze and subsequent boiling over. Ostensibly, the boiling over is necessary to remove the fat from the water.
When the chef determined it was time, our group headed outside for the ‘boiling over.’ Impressive sight—and the blaze provided some much needed warmth for all in our group. Rowleys has an “all-you-can-eat” fish boil along with their buffet and the food was simply delicious. Before we left, we talked with Jewel Peterson Ouradnik, the owner of Rowleys who gave us some background on Grandma’s Swedish Bakery, part of Rowleys resort and a giant pecan roll to enjoy.
Our next stop was the American Folklore Theatre (http://www.folkloretheatre.com/fallCalendar09.html) where we would enjoy a performance of “Guys and Does” written by Frederick Heide and Lee Becker (music by Paul Libman). When I learned that the theatre was an outdoor theatre, Mike and I opted to return to the White Lace Inn. Although we had heard favorable comments about the play, I was too cold to spend any more time outdoors.
We arrived at the White Lace Inn (www.whitelaceinn.com) around 7:30. “Random Orbit,” a small group of acoustic musicians were playing in the main house, so Mike and I decided we’d go and listen to them. There was a cooler full of beer and soda at the front door of the main house. We each grabbed a beer and walked toward the community area, where the group was playing. There were about 10 people sitting on chairs and sofas. We couldn’t find a seat, so we walked into the dining room and met with another journalist and Dennis Stats, the owner of the White Lace Inn. We sat around the antique dining table and started to talk about writing, about Sturgeon Bay and about being an innkeeper.
Statz told us that he opened the White Lace Inn in 1982—3 months after he had purchased the house. Dennis is a mechanical engineer and was working in a ball bearing plant in Indianapolis when he decided that he would like to be an innkeeper. He has since purchased other homes adjacent to the original White Lace Inn. Washburn House, Hadley House and the Garden House are now part of the White Lace Inn and comprise 13 rooms and 5 suites, all open year-round. The White Lace is known for its romantic getaways and the beautiful rooms, relaxing atmosphere and gracious hospitality make it a must-stay for anyone who wants to experience romance, relaxation and beautiful surroundings.
We spent about 2 hours talking with Statz and the other journalist and the experience was a welcome respite from the activities of the previous 2 days. We even learned what bearings were…but that’s another topic. We walked back to our suite through the beautiful grounds, stopped at the mediation garden and petted one of the cats that live on the property. It had been a glorious day.
The following morning we woke early and made our way through the garden walk to the main house. Breakfast was waiting—and what a delicious breakfast it was! There was cherry-stuffed French toast, chocolate bread and hot coffee. In addition, there was a warm fruit soup that was simply delicious! We lingered over breakfast and met a couple from Boston who frequented the White Lace. They referred to Door County as the Cape Cod of the Midwest, and it was an analogy that we thought was most fitting. All too soon, we packed up our car and began the long drive home.
