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(906) 847‑7196. www.theislandhouse.com By Bruce Haight ©2019 Tribune Content Agency, LLC 02/14/19 Los Angeles Times Daily Crossword Puzzle Edited by Rich Norris and Joyce Nichols Lewis 02/14/19 ANSWER TO PREVIOUS PUZZLE: Release Date: Thursday, February 14, 2019 ACROSS 1 Queen, e.g. 6 Fell for the joke 9 Put away for future reference 13 ArkivMusic.com purchase 14 Sch. with a Tempe campus 15 Flooded 17 “Little Book of Mind-Power” author 19 Battery inventor Alessandro 20 Stand food 21 Danish city named for a Norse god 23 Place for a shot 24 Gate info 25 Conversation stumbles 26 Gives the nod 27 Hasty escape 28 Superman specialty 30 Wrigley Field feature 31 Like beds in cleaned hotel rooms 32 Peter of “9-1-1” 34 Tunisian currency 35 Takes a casual drive ... and a literal description of 10 puzzle answers 37 Bearings 39 Casual eatery 40 Ending to avoid? 41 Interject 42 Touchdown site 46 “Well, __-di-dah!” 47 Shooting initials 48 “Jeopardy!” record-setter Jennings 49 Spa emanation 50 Source of some ’60s trips 51 1840s-’50s home to Liszt 53 End of an old boast 54 Military camp 56 Luxury accommodations for bigwigs 58 Church offering 59 Prefix with warrior 60 1960 Wimbledon champ Fraser 61 Laryngitis symptom 62 Spied 63 Fire __ DOWN 1 Wi-Fi conduit 2 Raise from three to four stars, as a hotel 3 Classic cameras 4 So 5 Singer Carly __ Jepsen 6 Gets thinner on top 7 “So THAT’s what’s going on here!” 8 Hoops goofs 9 BFFs 10 __ Jima 11 Space cadet’s world 12 Erik of “CHiPs” 16 Work (out) with effort, as an agreement 18 Cosmetics giant 22 What’s up? 25 Pierre’s bills 29 Designer fragrance 30 “To repeat ... ” 31 Trivial 33 PC storage options 34 “Hands of Stone” boxer Roberto 35 Fortune 500 IT company 36 Frisky whiskered critters 37 Polo need 38 Excited 41 Tap outflow 43 Tiki bar cocktail 44 Small battery 45 Swindle 47 Win the first four World Series games 48 “Whammo!” 52 Flaky mineral 53 Contender 55 Acidity nos. 57 German conjunction SUMMER EMPLOYMENT FOR RENT FOLLOW US ON TWITTER @michigandaily NOW. A year ago, Melody Herzfeld was leading rehearsals for Marjory Stoneman Douglas High School’s annual children’s musical when a shooter opened fire in the building and the alarms went off. Thinking it was a run-of-the-mill fire drill, her 65 students trudged outside before Herzfeld realized it was something more and herded them back in to take shelter in a storage closet. They waited there for two hours before authorities took them to safety. What is it they say in the theater business? The show must go on. And so it did, though the production, a sweet adventure tale called “Yo, Vikings!”, was postponed by a few months. “Song of Parkland,” a half- hour documentary from HBO, follows Herzfeld and her students in the aftermath of the Parkland shooting as they head back to rehearsals and grapple with the awful tragedy that befell their community. That there is healing power in art and song is probably not news to anyone. And it’s pointed out several times over the half hour. But “Song of Parkland” is more than that: It’s an ode to everything that’s special about high school drama programs, those joyful, formative, underfunded spaces. In the theater, one student says, “we don’t have to worry about being judged or worry about what people are going to think because this is our safe place.” “Song of Parkland” makes the case that experience in the performing arts department — where students are regularly encouraged to find their voices — has been foundational to the activism that emerged from the school’s students. “My same kids that are my theater kids are out there doing speeches all over the place, those are my kids too,” Herzfeld says. Herzfeld is warm and poised — in a sense, she’s the drama teacher we all had. If there’s a common thread throughout the documentary, it’s her. But the big flaw of “Song of Parkland” is that it’s never quite clear what the documentary is about. Is it about Herzfeld? The drama department? Student activism? Amy Schatz, the film’s director, relies on the abundance of footage and news clips from the shooting’s aftermath. But her product suffers from a loose, meandering directorial hand. At so many points, “Song of Parkland” would benefit from additional editing and direction. The documentary ends at last summer’s Tony Awards, where Stoneman Douglas students performed “Seasons of Love” to a moved audience. It’s an easy, expected place to conclude the story, the students now on a grand stage. But it’s a little disappointing that “Song of Parkland” has let us become invested in the small but cathartic Viking musical only to shift gears altogether. But it still leaves off on a moving note, a speech Herzfeld makes when accepting an Excellence in Theater Education Award at the ceremony: “We all have a common energy. We all want the same thing, we cannot deny it. To be heard, to hit our mark, to tell our truth, to make a difference.” ‘Song of Parkland’ is at once moving, inconsistent MAITREYI ANANTHARAMAN Daily Arts Writer HBO TV REVIEW ‘Song of Parkland’ HBO Now streaming Hedy Lamarr had the kind of life that, at first glance, sounds too dramatic, terrifying and glamorous to be real. Her biography reads like the plot of an old fashioned noir movie — born in Austria in 1914 at the cusp of World War I, married to an arms dealer with Nazi ties at the age of 18, she defected from the Nazis, fled to America, became a Golden Era of Hollywood movie siren and invented a frequency hopping signal system patented by the US Navy during World War II. And yet, despite absolutely being one of the most interesting people to have lived in the past century, Lamarr is decidedly not a household name. In “The Only Woman in the Room,” author Marie Benedict attempts to bring Lamarr’s story to the popular consciousness by novelizing it in lurid first person detail. Writing novels about historically overlooked women from their perspective is a well worn method, from 2013’s “Z: A Story of Zelda Fitzgerald” to Benedict’s own “The Other Einstein.” It’s a clever way of centering the women who have for so long been sidelined, but it runs similar risks to Hollywood biopics. Rather than telling an organic story or understanding what exactly were the most important turning points in these women’s lives, the narratives are usually predicated on events the readers are already familiar with. If you took the screenplay of the most bluntly written, unsubtle biopic — a “Bohemian Rhapsody” or “On The Basis of Sex” — and combined it with Hedy Lamarr’s Wikipedia page, the result would be “The Only Woman in the Room.” We follow story beats we already know, and the readers get to feel superior because we know what’s about to happen when our narrator says things like, “Austria became a fascist state not only in practice but in name. I clung to Papa’s words that it was a technical change only and what mattered was the government’s ongoing dedication to keep Nazi Germany at bay.” Fascism aside, the novel is an entertaining, easy read, but it seems unsure of what exactly it wants to be. “The Only Woman in the Room” is stuck between being an actual novel that illustrates characters’ interior lives and creates emotional stakes and a biography that draws a straightforward and clear line between discrete live events. It’s ostensibly from the perspective of Lamarr, but even though she was a real person, the novel does little to illustrate just who that person was. There are a lot of qualities we come to understand about Lamarr: her savantlike intuition for seduction, her ability to manipulate others’ perception of her, her tenacity, her ability to survive abuse. But Benedict’s writing does nothing to bring us into Lamarr’s world — we’re told these are qualities she has, and we watch her do things and see things. The prose holds her at a distance, and the result is a book chock full of war, sex, love, death, pain and glamour landing entirely flat on an emotional level. This is where “The Only Woman in the Room” really commits the unforgivable sin in the “fictionalized account of underrepresented historical women” genre. The whole purpose is to make the reader empathize with the figure, to make people fully aware not only of the woman’s underappreciated accomplishments, but of her personhood. “The Only Woman” certainly lists a detailed account of Lamarr’s achievements, but it does little to expand on Lamarr as a person, on her desires and dreams and heart. ‘The Only Woman in the Room’ does not impress ASIF BECHER Daily Arts Writer ‘The Only Woman in the Room’ Marie Benedict Sourcebooks Landmark Jan. 8, 2019 BOOK REVIEW As I walked up to the Kerrytown Concert House, I double-checked my phone to make sure I was in the right place for the Tad Weed Jazz Master Series: Tribute to Ron Brooks. The sign in front told me I had arrived, so I walked up to the front door of what was most certainly a house, and restrained myself from knocking. Poking my head through the door, I found that the interior was set up with a bunch of chairs in multiple different rooms, all facing a well lit stage. And on my right, a kitchen. Yep, definitely a house. I settled in, adapting to my surroundings. The people around me greeted each other, all seeming to know each other from similar experiences. At around 20 years younger than almost everyone in the room, I was not a part of that community. But I smiled to myself while flipping through the program, enjoying the atmosphere of camaraderie in what was certainly a house but also seemed to be a home. Soon, the first three performers — pianist Rick Roe, bassist Kurt Krahnke and drummer Sean Dobbins — entered the living room and made their way to the stage. They shook hands with the people in the front row, even giving some of them hugs. There was a general air of community. Then Roe counted them off, and on they went. In a flurry of well- rehearsed invention, the group displayed their mastery of the instruments and of cohesion. Exchanging smiles and glances, they soared through tune after tune, barely stopping for a breath. About halfway through the show, the band ceased their incredible medley, and Dobbins addressed the audience for the first time, inviting Ron Brooks, the father of Ann Arbor jazz, to the stage. Giving a brief introduction for the man everyone in the audience already seemed to know, they then began another set of songs with the legendary bassist at their side. Brooks welcomed the crowd into the performance, smiling with them, laughing with them, even singing along to his instrument. The music was a perfect blend of familiarity yet inventiveness, nostalgia yet passion — it made you want to cry and dance at the same time. The music perfectly encapsulated the venue: intimate with an air of excitement. The concert concluded with a Q&A for Brooks in which he described his time in Ann Arbor. He opened the first jazz club in Ann Arbor, called The Bird of Paradise, hosting numerous soon-to-be jazz stars, from the Count Basie Orchestra to Dizzy Gillespie. He said his goal was to give jazz to the next generation, and he succeeded. Dobbins admitted to missing many first hours due to his frequent visits to the club when he was in high school. And now he’s an accomplished drummer playing with the very musicians who inspired him in the first place. The Brooks Tribute Concert not only introduced some truly incredible jazz music, but it also revealed a legacy in Ann Arbor. This community, audience members and jazz artists alike, have all found a home in music, and a lot of that is thanks to Brooks. During his time in Ann Arbor and at The Bird of Paradise, Brooks fostered a community musicians and music lovers, and formed lasting bonds with that community. The Kerrytown Concert House not only displayed this community beautifully, but conveyed the home jazz found within their very own house. Ann Arbor jazz has a rich history and a thriving community even today. As long as the new generation finds their place in jazz, or the Kerrytown Concert House, the community will never die and the music will never stop. Jazz in Kerrytown Concert House makes it a home DANA PIERANGELI Daily Arts Writer KATELYN MULCAHY / DAILY EVENT REVIEW Read more at MichiganDaily.com