Arts & Entertainment 

Belly up to the bar at this smoke-filled watering hole, and before long you’ll be belting out tune after tune blaring from the jukebox—if you have any taste at all.
Best Place to Develop Rickets: Springwater Belly up to the bar at this smoke-filled watering hole, and before long you’ll be belting out tune after tune blaring from the jukebox—if you have any taste at all. For me, an evening at The Villager just isn’t complete without a little “London Calling” from The Clash, some “Waterloo Sunset” by The Kinks and any number of songs by The Pixies. And even when I’m not monopolizing the jukebox, I’m rarely disappointed by what’s played by fellow patrons. The selection covers an array of genres, from punk to classic country, along with evergreen crowd-pleasers like Johnny Cash’s “Ring of Fire.” It’s not unusual to hear Bob Dylan, the Ramones, Willie Nelson and the Talking Heads one after the other. Even if you’re not singing along, I dare you to resist tapping your foot as you gulp down your beer. —SARAH KELLEY There are plenty of dark, dank bars in Nashville—even one night at The End can’t be good for your health—but there is something special about the little shack on the edge of Centennial Park. Some people love it so much that they apparently choose to spend a generous percentage of their lives in the dimly lit, poorly ventilated dive bar. It does have a certain je ne sais quoi, with its colorful clientele, cheap drinks and shiny red-tassel stage backdrop. So if you’re one of those people who choose to spend your nights—and evenings, and the occasional afternoon—at the Springwater Supper Club (the Nashville institution’s full name) playing video bowling, throwing darts and drinking $1 ponies of High Life, make sure you get plenty of calcium from elsewhere. Milk and fish are excellent sources. —LEE STABERT Best Development on the Nashville Art Scene: Fifth Avenue Arts District Nashville’s visual arts scene has been on a steady upward trajectory for the past 10 years or so, but recent developments have solidified the city’s first bona fide arts district. For years, Anne Brown’s Arts Company was the lone art oasis on an otherwise mundane downtown block—Fifth Avenue North between Commerce and Union—until Jerry Dale McFadden’s eclectic TAG Art Gallery started renting space from Brown in 2004. The following year, artist/art historian Daniel Lai moved from New York to Nashville to open Dangenart in The Arcade. The gallery focuses on edgy art from emerging artists around the country. Just this past summer, TAG moved into its own space across the street from The Arts Company while two new venues blossomed in The Arcade: Beth Gilmore and Caroline Carlisle’s Twist gallery and Matt Mikulla’s Art Rogue studio and gallery. Now, one city block is home to five galleries covering a gamut of styles: traditional, folk, self-taught, approachable, confrontational, you name it. And with many of the galleries scheduling receptions to coincide with each other, it’s possible to see several openings in one night, from one parking space without even busting a sweat. —JACK SILVERMAN Best Neighborhood for Artists: Inglewood While 12South and close-in East Nashville neighborhoods still surely house most of the town’s striving artists, musicians and writers, lately a common art-opening conversation involves an artist’s recent home purchase in Inglewood. It seems oddly suburban for an artist’s quarter, but it’s not too far afield, and the larger lots and more modern houses should give the new arrivals a little more room for studios as well as living space at a good price. Now look for coffee shops to pop up on Gallatin Road. —DAVID MADDOX Best Gallery: Vanderbilt Fine Arts Gallery Vandy’s gallery had a very strong run of shows last year. Several of them explored East-West connections, like a group show of Chinese and American printmakers, Roy Villevoye’s journeys with New Guinea’s Asmat people, and Jin Soo Kim’s steel and sound sculptures displayed along with her own take on the gallery’s permanent collection of sculpture. This is a small space, but director Joseph Mella programs it with the level of intellectual sophistication that you expect from a major university. —DAVID MADDOX Best New Gallery: Dangenart Daniel Lai moved here last year from New Jersey expressly to open a gallery, selecting Nashville as a place with an environment more conducive for his start-up enterprise than the cutthroat New York region. Drawing on connections from his experience back east and casting open his doors on the Internet, he has brought to his gallery in the downtown Arcade many artists new to Nashville viewers. The shows come closer than anything else in town to feeling like an extension of current aesthetics in Chelsea or Brooklyn. —DAVID MADDOX Best New Gallery Floor: TAG TAG’s new gallery on Fifth Avenue has a slick big-city look, completely appropriate for its location and the aspirations of downtown Nashville. The space sports the requisite white walls, high front desk and couches for a nice comfy sales pitch. But the floor is the truly special touch, covered with black material that has a rubbery feel. It seems like some kind of special-purpose athletic surface designed to enhance your performance and protect your joints from the rigors of intense schmoozing. —DAVID MADDOX Best Candidate For Cultural Legacy of Second Bredesen Term: Tennessee State Museum The State Museum has probably the definitive collection of Tennessee art, major historical artifacts, consistently engaging special exhibits, the occasional blockbuster (like last year’s paintings from the Rau Collection)—and a dreadful, depressing exhibit space. Located in the basement of the multi-use tower that also houses TPAC, things only got worse when that operation renovated, creating all sorts of headaches for their basement neighbors. Now that the Symphony has fled, the Museum should be the next to go. The state has funded initial planning this year for a new building on the Bicentennial Mall. Turning those plans into bricks and mortar will have a big price tag, but the Gov has shown an ability to find the funding for major projects. We’ve got monuments to his years as mayor; now we need something to commemorate his time running the state. —DAVID MADDOX Best Art Controversy: Fisk Sale of Paintings From Stieglitz Collection By “best” in this case we mean thorniest. The Stieglitz Collection is one of Nashville’s undisputed treasures, with major works by O’Keeffe, Hartley, Cézanne, Renoir and Toulouse-Lautrec. Yet it is important to remember this is really Fisk University’s treasure. The hard-pressed college wants to sell two of its most important paintings, an O’Keeffe and a Marsden Hartley, to raise cash. You can’t blame Fisk for looking into it—the institution exists to educate people, not hold art. Even so, this is a situation that cries out for an angel who will find a way to keep the art in Nashville but allow Fisk to take advantage of these assets to shore up its important educational goals. —DAVID MADDOX Best Coffin (Tie): The Quest For Immortality / African Art, African Voices, The Frist Center The shows at the Frist this year have been dominated by the continent of Africa, hitting ancient Egypt and more recent sub-Saharan cultures. Death figured strongly in both shows—Egypt’s elaborate preparations for the afterlife, and more modern African beliefs centered on the role of ancestors from generations long gone. So it is no big surprise that two of the most eye-catching objects were coffins. The Egyptian one is a human-shaped wooden form densely covered with pictures and hieroglyphs, which seemed like burying the corpse in words. The African show had a section on modern Ghanaian funerary practices that incorporate wooden coffins carved in the form of things favored by the deceased. This show’s example was an elongated Mercedes Benz. If you adjust for changes in technology, you see that the Ghanaians of today and ancient Egyptians were both just trying to keep the good life going after death. —DAVID MADDOX Best Nashville-Made Indie: Adrenaline Check out the big balls on Nashville filmmakers Robert Lynn and David Alford. Orson Welles’ Touch of Evil opens with an unbroken shot that lasts three minutes and 20 seconds; Brian De Palma’s The Bonfire of the Vanities has one that runs just shy of five minutes; Robert Altman’s The Player starts out with two characters discussing those sequences within a single shot that continues for eight minutes. For their first feature, director Lynn and co-screenwriter-star Alford did their own unbroken shot. It lasts for 88 minutes. The real feat, though, is that this real-time thriller about a suburban dad forced to follow an unseen killer’s bizarre instructions (voiced by former Homicide regular Reed Diamond) rarely seems gimmicky or overextended. The downtown location shooting (from Walter Nipper’s Sporting Goods to Commerce Street) is top-notch, the elaborate choreography of movement and violence doesn’t call attention to itself, and Alford’s riveting, sympathetic performance in damn near every frame of the movie produces genuine suspense. It’s been picked up by Arclight Films, the sales agent behind major films such as Lord of War and the upcoming Bobby and Infamous. You’ll be hearing more about this one—especially since Arclight also picked up Lynn and Alford’s other feature, Prisoner, a Project Greenlight finalist filmed last year at the Tennessee State Prison facility with Nip/Tuck’s Julian McMahon and Elias Koteas. —JIM RIDLEY Best Homegrown Horror Movie: Blood Oath Fine-tuned over years of reshoots and trims, this above-average stalk ‘n’ slash saga by director David Buchert and editor/producer Robert Ziegler (known to many as the Belcourt Boys from their work at the theater) puts the B in B-movie with blood, breasts, bruisings and butchery. Featuring scream queens Tiffany Shepis and Tina Krause, it’s a tale of teens terrorized by a doll-obsessed killer at a remote cabin; heads roll and limbs fly while the makers indulge their love of ’80s drive-in rotgut. Will it win any Oscars? Hell, no. Will it justify the price of a rental for jaded fans who’ve seen it all? Hell, yeah! These guys could be Rob Zombie someday. The world premiere is Monday, Oct. 23—at the Belcourt. —JIM RIDLEY Best Place for Near First-Run Drive-In Movies: Broadway Drive-In, Dickson With the emphasis on opening weekend grosses, movies go to second-run status almost by their second week, and it’s only a few more weeks before they hit the Broadway Drive-In in Dickson. If you don’t feel compelled to get in line for the first show, take it easy, wait a couple of weeks, and watch The Ant Bully from the comfort of your personal vehicle, under the stars. You can see the movie on a big screen well before it comes out on video, and take a break for other activities if you are suddenly inspired. And no one complains if you jump up every 10 minutes to run to the concessions stand. The opening of the drive-in is a sure sign summer has started, and the week it closes in September is a sure sign the county fair is coming—these guys are smart enough not to put Hollywood product up against 4H goat judging and demolition derbies. —DAVID MADDOX Best Adrenaline Shot to Nashville Nightlife: Belcourt Late Show So video killed the movie theater as communal experience, eh? Obviously the doomsayers haven’t been showing up every other Friday night at the Belcourt, where Josh Hayes and Kirk Futrell are bringing the midnight movie back in all its glory. Featuring bar none the rowdiest, funniest, most hedonistic movie audiences in Music City, the screenings have seldom drawn fewer than 200 people on Fridays since starting in the summer, thanks to ingeniously outlandish promotional gimmicks—live breakdancing for Breakin’ 2: Electric Boogaloo, a “Truffle Shuffle” contest for the sold-out The Goonies. So far, the hands-down winner has been the craziest attraction: a sing-along showing of R. Kelly’s lunatic hip-hop soap opera Trapped in the Closet. Calling the audience response “eruptive”—leaping out of chairs, dancing in the aisles, full-volume shouting in unison—would be like calling Pompeii a campfire. Coming soon: Ghostbusters and Fear and Loathing in Las Vegas. Suggested for the future: The Warriors, Fight Club, Road House, The Human Tornado, Pink Flamingos, The Mack, Riki-Oh: The Story of Ricky, Red Dawn, Car Wash or the Village People masterpiece Can’t Stop the Music. —JIM RIDLEY Best Movie Series: Weekend Movie Classics, Belcourt Thanks to Belcourt film booker Toby Leonard, who’s securing the Hillsboro Village theater a rep as one of the country’s coolest indie movie houses—and to manager Steve Small, who’s kept a needed eye on the bottom line—the theater’s offerings have never been better. One reason is its new weekend-morning screening of classics, ranging from repertory staples (Casablanca, 2001: A Space Odyssey) to less familiar titles (The Fallen Idol, Sam Peckinpah’s Civil War epic Major Dundee). Attendance has been uneven, but the theater is betting DVD-savvy audiences understand that films such as this week’s The Searchers and next week’s Days of Heaven—the 1978 Terrence Malick drama considered among the most visually ravishing movies ever made—were intended to be shown and seen on the big screen. And Leonard’s currently looking into the mouth-watering new touring retro of art-film legend Janus Films, featuring everything from Renoir’s The Rules of the Game to the films of Japanese director Kenji Mizoguchi. Film students, here’s your education...with popcorn. —JIM RIDLEY Best News for Iron-Assed Cinephiles: Satantango Fitness freaks do the Country Music Marathon; movie geeks do Satantango, the kind of hardcore endurance test that lifts viewers into a brotherhood and ensures bragging rights for years. Regarded by champions as estimable as critic Jonathan Rosenbaum and director Gus Van Sant as one of the great films of the past two decades, Bela Tarr’s black-and-white 1994 allegory of political turmoil in a Hungarian village runs for more than seven-and-a-half hours. So hard to see that it’s almost a phantom, it’s never received official U.S. distribution, and its unavailability has made it that much more of a prize. Now Nashville will host the only Satantango screenings in the entire Southeast Dec. 8-10 at the Belcourt. It’s like getting picked to host the Olympics; it’s an event and should be treated as such. Concession-stand goulash? Hogsheads of coffee? I’ll settle for “Satantango Is Real” T-shirts available only to those who make it through. —JIM RIDLEY Best Religious Performing Space: Christ Church Cathedral With its Sacred Space for the City Arts Series, Christ Church Cathedral has given Nashville reasons for going to church far beyond the obvious. Local music and especially drama found a new and beatific place for performance opportunities, with the lineup of events featuring the Blair String Quartet, John Holleman and Company, actor Barry Scott and his one-man show Ain’t Got Long to Stay Here, Nashville Theatre Works’ Mass Appeal, and Green Room Projects’ The Guys and Don Juan in Hell. It’s a cathedral, of course, and it doesn’t have state-of-the-art symphonic acoustics. But the setting certainly has spirit, and the programming has sublimely wedded community conscience to artistic awareness. —MARTIN BRADY Best Actress: Marin Miller Since her local breakout performance in early 2005—in Tennessee Repertory Theatre’s production of Noises Off—Miller has quickly established herself as a powerful stage presence in Nashville, with a can-do spirit in every role she attempts. She recently rang down Shakespeare in the Park with an appealingly frenetic Lady Macbeth, and her portrayal earlier this year in David Mamet’s Oleanna at the Rep was an exciting blend of fire and ice. Miller has also in the past year performed with other, smaller ensembles such as Green Room Projects (Don Juan in Hell) and John Holleman and Company, for whom she’s ventured into the world of mask theater. —MARTIN BRADY Best Actor: Matthew Carlton One of Nashville’s veteran and multi-talented—musician, writer, director, etc.—theatrical players had a busy year. Extracurriculars aside, Carlton especially displayed his versatility and sheer professionalism as a thespian, successfully taking on major and diverse roles in plays such as Mother Courage, The Little Prince, Steve Martin’s comedy The Underpants and, most recently, as Macduff in the Shakespeare in the Park production of Macbeth. —MARTIN BRADY Best Classical Music Space: Schermerhorn Symphony Center Well, duh. For $120 million, the hoity-toity of Nashville society have built for themselves the best classical venue their trust funds and slush funds could buy, an outstanding place for the city’s betters to see and be seen. Yet while Martha Ingram and her well-heeled friends may be hanging tight to their founders’ boxes, they have ultimately bequeathed this splendiferous site to the rest of us, meaning we can now all enjoy the most crystalline acoustics this side of Cleveland’s Severance Hall. Everything about this hall is strong. The sound is warm and immediate; the size (1,860 seats) is ideal; and the layout of the Laura Turner Concert Hall is functional while gratefully avoiding ostentation (no gilded trim and red velvet). Best of all, Nashville Symphony Orchestra musicians can now hear themselves with remarkable clarity, which over time should vastly improve the quality of their ensemble. Now if we could just figure out how to pronounce that name. —JOHN PITCHER Best Ensemble: Dearly Departed, Tennessee Repertory Theatre Okay, Dearly Departed isn’t exactly cutting-edge stuff: It’s an oddball comedy about simple, essentially goodhearted Southern folks dealing with the death of dear ol’ Dad, and the play gets mounted in every community theater south of the Mason-Dixon Line. But TRT director David Alford gathered such a copacetic cast for his revival this past spring that playwrights David Bottrell and Jessie Jones were probably never better served. Funny veteran locals like Bobby Wyckoff, Rona Carter, Martha Wilkinson, Sam Whited, Jan Dial and Jenny Littleton, along with Rep newcomer Michael Abbott Jr., fully embraced their colorful rural characters and kept finding humor in them even as the script was running out of gags. —MARTIN BRADY Best Gabby Hayes Imitation: Derrick Phillips Even baby boomers might be hard-pressed to remember Gabby Hayes, unless they’re buffs of old Westerns. He’s the toothless, bearded geezer who always played sidekick to the cowboy hero, doling out aphoristic advice and glum portentous reflection on the crisis at hand. Through some trick of fate, local actor Derrick Phillips had two opportunities this past year—in People’s Branch Theatre’s Zombies Can’t Climb and Chaffin’s Barn Dinner Theatre’s Johnny Guitar—to work his magic, intentionally or not, as a 21st century Gabby. He scored serious points in both productions, flapping his gums with unbridled fervor and recapturing that celluloid spirit of yesteryear. He might even have been heard to say “Dadgummit!” —MARTIN BRADY Best Performance by a Mayoral Candidate: Howard Gentry, Ragtime Gentry got into the spirit of community theater in a big way with his performance as Booker T. Washington at the Donelson Senior Center for the Arts. If he becomes Nashville’s mayor, and performs his official duties as well as he sings and acts, then the city should at least survive another four years. —MARTIN BRADY Best Original Musical: The Doyle And Debbie Show Maybe the best way to write a good original musical in Nashville is to poke fun at Music City’s chief artistic export. At any rate, that’s what actor/songwriter Bruce Arntson managed in his hilarious send-up of a has-been singer on the comeback trail. Arntson and co-star Jenny Littleton performed with spirited pathos, evoked a ton of laughs, and gave voice to cleverly conceived songs that recalled about 50 years’ worth of country music stylings. —MARTIN BRADY Best Movie Project Worth Backing: The South Will Rise Again Best Place to Have a Post-Show Drink With a Touring Band: Gold Rush Why support a movie about a redneck samurai using his martial-arts skills to battle an army of Confederate undead? Because it looks like it could be the best movie ever made about a redneck samurai using his martial-arts skills to battle an army of Confederate undead. There’s just one problem: it hasn’t been made—except for the ass-kicking trailer local filmmakers Travis Nicholson and Blake McClure put together to entice investors. Nicholson (who apprenticed on three films with the Coen brothers) and McClure have several shorts and documentaries to their credit; better still, they love the horror and martial-arts genres and aren’t screwing around. With your help, zombies could be eating hillbillies by next spring. Take a look at—it’ll make you a believer. —JIM RIDLEY Best Original Play: My Secret Weapon A chance meeting with Rhubarb Theatre director Julie Alexander gave screenwriter Carol Caldwell the opportunity to develop this idea about glimpsing the private lives of modern-day first ladies Reagan, Bush, Clinton and Bush. Trish Moalla enacted all four roles with astute attention to the subtle physical details, and Caldwell’s script shed fascinating speculative light on how her well-known characters might behave when behind closed doors. Less a riveting drama and more akin to deliciously teasing gossip, Caldwell’s play nevertheless had a distinctly commercial pulse and benefited from cagey restraint and well-chosen words. —MARTIN BRADY Best Drama: Blackbird, Groundworks Theatre There’s nothing like a modern, guttural, depressing drama to stir the theatrical juices—so long as it’s done right. Adam Rapp’s tale of a drug-addicted pregnant teen and her physically infirm, alcoholic ex-G.I. soulmate, set in a New York City garret, is bleak stuff, indeed, but it’s what the local landscape needs to stay close to edgy contemporary playwriting. Jack Chambers and Megan Murphy dared to take on these seamy roles under Robert A. O’Connell’s direction, and the results were uncomfortably realistic and splendidly sad, yet still left room for pondering twisted but very real love. —MARTIN BRADY Best College Production: Take Me Out, MTSU Theatre The unlikely combination of baseball and homosexuality gave MTSU’s student-actors a chance to shine in director Deborah Anderson’s surprisingly strong production of Richard Greenberg’s controversial play in its regional premiere. The youthful cast was aided immensely by designer Scott Boyd’s marvelously expansive and sharply rigged sets, which served to remind those lucky enough to see the show what a pleasure it is to be treated to smoothly delivered technical stagecraft. But also, the young thespians handled the play’s partially nude locker-room scenes with aplomb. —MARTIN BRADY Best New Improv Group: Improv Nashville This feisty ensemble, under the direction of Emily Vollman, has provided Music City with new hope on the improv front. Vollman has been fortunate to assemble players who have had improv experience in other towns, so she hasn’t had to completely build things from the ground up. The company does solid, disciplined work, maintains its enthusiasm and has even branched out more recently into the challenges of long-form improv while developing younger players. They usually perform at the 12th South Arts Venue. —MARTIN BRADY Best Set Design: Metamorphoses, Actors Bridge You can’t build a swimming pool for a play and not gain attention. Don Griffiths once again showcased his design and technical skills in overseeing the transformation of Actors Bridge’s guerrilla Neuhoff space into an atmospheric waterworld for the company’s staging of Mary Zimmerman’s collection of Ovid tales. Actors waded, splashed dramatically and even swam underwater and then disappeared behind the stage, offering audiences visual excitement and a keen sense of the value of the unconventional in a theatrical setting. —MARTIN BRADY Best Visual Artist: Lesley Patterson-Marx Best Classical Musician: Edgar Meyer Printmaker Lesley Patterson-Marx uses images from old photos and botanical and avian illustrations that are often hackneyed in other hands, but she finds their full potential as the basis for sophisticated art that among other qualities is deeply grounded in Southern experience. She invests her pieces with psychological implications that are at the same time revealing and mysterious. Her work moved to a new level after she gave birth to her first child: she worked those experiences into her art in a disarmingly direct way, and everything about it has taken on even more physical immediacy as well as a larger sense of connectedness. It is exciting to see a strong artist go from strength to even greater strength. —DAVID MADDOX Best Monday-night Music (Tie): Mike Henderson / The Time Jumpers Made up mostly of players from the Nashville Symphony, Alias provides a forum for them to step out of the section and show off the music that interests them and their own talents as players. The resulting programs imaginatively mix eras and instrumental combinations—there’s usually one baroque piece, played with the verve of bluegrass, and a recently composed work, sometimes written by an Alias member. The group takes advantage of their flexibility to put together unusual instrumental combinations like the six cellists who performed a piece by Grieg last spring. —DAVID MADDOX Monday night may be at the bottom of the night-on-the-town totem pole, but there are a couple of exceptional options for those of you who either aren’t 9-to-5 slaves or just don’t give a damn. Two or three Mondays a month, the Bluebird Cafe hosts Mike Henderson, one of the best gutbucket slide guitarists on the planet. (To put it in perspective, he’s Mark Knopfler’s guitar hero.) His rhythm section lays down a shuffle so deep you can see the Titanic’s rusting hull. And best of all, the Bluebird’s “shhhhh” policy goes out the door. In fact, if you’re not loud and rowdy enough, they’ll break out the Bobby Goldsboro tunes—and they mean it. Meanwhile, in the shadows of the hulking behemoths sprouting up like wildflowers in The Gulch, the Station Inn hosts the impossibly swingin’ Time Jumpers every Monday at 9 p.m. Featuring 11 of Nashville’s finest studio musicians, the Jumpers blend Western swing, traditional country and jazz for one of the most consistently entertaining sets in town. (If you want to get started early, catch John England & the Western Swingers, 6 to 10 p.m. Mondays at Robert’s Western World.) —JACK SILVERMAN Best Local Re-release: Kyle Andrews, Amos in Ohio Best Upcoming Contemporary Concert: Philip Glass The last thing the world needs is another breakup record. Well, maybe just one more. Admittedly, Kyle Andrews’ quirky bedroom-pop masterpiece Amos in Ohio is not an apt soundtrack for those first few weeks of abject post-breakup misery, when all you want is Bright Eyes and (admit it!) August and Everything After. No, this is a record for Stage Two: still sad but eating again, cleaning again, ready to be a little bit pissed off, and rediscovering the power of pretty melodies. On “Self-Help Tapes,” when the second verse takes a turn from self-help to self-pity—“I’ve been listening to tapes, sleeping pills and self-deprecation / I’m changing my ways, something a little less pathetic”—you’re right there with him. No wonder Badman Records plucked this D.I.Y. gem (with Andrews playing everything but drums himself) from local label Fictitious and is bringing its jaunty melancholy to the masses. —LEE STABERT Best Shakespeare In, Well, Threescore And Ten: Macbeth, Nashville Shakespeare Festival Denice Hicks returned this summer to once again helm the Nashville Shakespeare Festival, which, in truth, had mounted some recent Shakespeare in the Park productions that were less than enthralling. Hicks’ Macbeth took a chance on an Asian stylistic motif that did wonders in the way of costumes, sets, music and dance but still allowed a well-assembled cast to work the power of the Bard’s weighty words. —MARTIN BRADY


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