Best Of :: Arts & Entertainment
When Richard Curtin talks about overseeing the activities of "the girls and the boys," don't mistake him for a kindergarten teacher. As entertainment director for Caven Enterprises, Dallas' largest owner of lesbian and gay bars and clubs, it's Curtin's responsibility to coax, pester, nudge and generally troubleshoot for "the girls"--the drag artists--and "the boys"--the male dancers--as well as the sometimes rowdy crowds that flock to their performances.
"Most of my work is buffer work," Curtin says, referring to the performers, the paying patrons and the city authorities. "I have to make sure everyone's complying with the law. You have to remember, Dallas is a small town run like a small Baptist church. It's full of small-minded Baptist people waiting for us to screw up."
Since 1998, Curtin has played "den dad" over a one-block stretch of Cedar Springs--or "den mom" during those nights when he's attired as Edna Jean Robinson, his own oily-haired trailer-trash female persona. Five nights a week, starting at about 9:45 p.m. till unspeakable hours of the a.m., Curtin moves through the dressing rooms of the Village Station, Sue Ellen's, Throckmorton Mining Company and J.R.'s Bar & Grill. He has to make sure his boy dancers' buttocks are completely covered: Since none of Caven's operations are zoned as "S.O.B."s (sexually oriented businesses), they can't offer anything that even approximates nudity. And he sees to it that his female impersonators are zipped up, hairsprayed, lipsticked and properly introduced either for special events or for the nightly shows in The Rose Room, the Village Station's drag theater. Interestingly, there are problems common to both the boys and the girls where audiences are concerned.
"I run into patrons expecting too much for their dollar," Curtin says, referring to the tips that are given during midperformance. "They want the dancers to show their business. Or they get mad when the girls don't stop and talk to them long enough during a show. I have to smooth that out, but I also have to make sure that the patrons don't get too much for their money."
As far as the Rose Room's dressing area is concerned, all kinds of images spring to mind: scowling, vain, catty drag queens waiting to sink their red nails into co-stars who stole a move or got a bigger ovation--basically, Paul Verhoeven's camp classic Showgirls with an all-male cast. Curtin acknowledges that this may be true in other venues but testifies without hesitation to the professionalism of his artists.
"Performers come from all across the country, and they're shocked at how friendly and helpful our girls are. They'll let you borrow their jewelry. The Village Station hosts a lot of national title holders--Donna Day, Crystal Summers, Celeste Martinez. If you dedicate your life to something like this, you have to have discipline."
The hour before an 11 p.m. show at the Rose Room is a small tornado of activity. Kelexis Davenport borrows makeup; Cassie Nova is hunting for the can of Spam she uses in her act; Valerie Lohr invariably needs help getting her shoes buckled. Lohr also often requires assistance for the back zipper on her elaborate gowns, and there's only one tool for the job: A pair of needle-nosed pliers is always nearby. "Find the tool!" is a common call on a weekend night in the dressing room.
Once the music is cued, the chattering tables hush, and Curtin makes his introductions. There's only one rule in the Rose Room, and Curtin says it's broken every night--sometimes several times--no matter how often patrons are reminded. Maybe alcohol and hairspray fumes mixed in an unventilated space contribute to delusions of stardom. But invariably, someone near the front will think they're more important than the act--or think that maybe they are the act--and stand or step onto the tiny stage space. If Curtin were to post this rule, it would speak for the girls paid to perform: "Don't stand in front of my spotlight."
Performances happen nightly Wednesday-Sunday at the Village Station, 3911 Cedar Springs. Call 214-526-7171.
No ferns, no frills, no food (unless you count chips and peanuts) and no TV sports at this 50-year-old establishment, which is what a real, honest-to-goodness beer joint is supposed to be. Open from 10 a.m. to 2 a.m. Monday through Saturday and noon to 2 a.m. Sunday, Ship's offers $2 domestic beer and can serve from a couple of dozen brands. The stools along the bar are filled with patrons ranging in age from 21 to 71. There's a pool table and one of the best jukeboxes in Dallas, offering everything from Don Williams to Ray Charles. If they ever decide to open a Beer Joint Hall of Fame, this one's got to be in it.
You'd think, judging by the fact that pretty much every car south of Mockingbird Lane sports at least one sticker on its bumper/windshield advertising the driver's Tejano radio station of choice, this city runs on the upbeat of a conjunto soundtrack. You're probably right. The Arbitron ratings might not reflect that yet--maybe they would if Arbitron actually reported in all the areas that matter, not just North Dallas--but it's true nonetheless. Perhaps the best place to see and hear for yourself is Tejano West, the McDLT among local Tejano venues, where the cerveza is cold and the dance floor is hot. Feel free to explore others, but we guarantee your boots will scoot back to Tejano West.
Lizard Lounge is the closest thing Dallas has to Studio 54, and depending on how uptight you are, that's either a good or bad thing. OK, so it's not that close to Studio 54, but it does have everything you want in a dance club: good music (provided by, among others, Edgeclub host DJ Merritt), good-looking men and women (clad in materials usually reserved for the interiors of cars) and the good chance that you'll see at least one person with a lot less clothing than he or she walked in with. The last part isn't exactly crucial for a dance club to be entertaining, but it sure doesn't hurt. Madonna tried to buy it at one point; how much more of an endorsement do you need?
Call us naïve, but we were shocked to learn the predominantly female audience at Melissa Etheridge's recent Fort Worth concert booed when she pulled a fan onstage to share a tequila shot...because she chose a man. Being of the male persuasion ourselves, we've always felt welcome at most of the area's lesbian clubs. We've heard tales that gay places like the gargantuan Village Station and Moby Dick aren't nearly as hospitable to women. Hell, there have been nights when the Station wasn't nearly as welcoming to us as, say, its next-door neighbor, Sue Ellen's. Over the years, Sue's has admirably maintained its balancing act of charming opposites--friendly but sorta elegant, universal but very specific in its identity, streamlined but able to hold a spill-over crowd. You can walk in dressed up or dressed down and feel right at home. And the small dance floor prevails as a place for socializing, not exhibiting your gym bod or your rhythmic skills. Maybe it's just the Cowtown gals who get pissy when a guy occasionally steps into the spotlight.
Some nights end badly. Some nights end with a public humiliation by the jackboot of the state in front of the teeming crowd of your peers, the assorted boozers and ecstasy-addled clubbers of Lower Greenville. After midnight you can witness the local cheese rousting belligerents on this corner, usually stuffing them into the white paddy wagon. The best part's the public frisk--always look for signs of amusement or disgust on the cop's face.
The best alternative club this year is not the same one as last year, even though both are named Trees. Since that time, Trees has undergone a significant makeover, classing up the joint (oooh, a velvet curtain!) while making it more fan-friendly in the process. Meaning: You no longer have to crane your neck around the air conditioner if you want to watch a show from the balcony, and the same goes for downstairs, where the revamped bar doesn't obstruct anyone's view of the stage anymore. But the extensive remodeling, the new furniture and a fancy light system don't have much to do with the fact that Trees is still the best alternative club in town. The reason: music. Duh. Trees is the place where you can see and hear Mudhoney, the White Stripes, Murder City Devils, At the Drive-In, Luna, Mos Def, Mogwai, Mouse on Mars, Tortoise, Idlewild and so many more. And now you can do it all in a more comfortable environment. Don't fight it.
Not surprising that The Cavern is the best rock hangout in town, given that it's named after one of rock and roll's landmarks, the Liverpool bar where John, Paul, George and Ringo played before anyone cared who they were. But the name is almost irrelevant (at least its origin is), and so is the Fab Four décor; this isn't a theme park. The bar really is a cavern, though--dark and comfortable, exactly the kind of place where you can lose yourself for a few hours inside a tumbler full of bourbon. The jukebox is full of small treasures, and on Mondays, The Cavern spins old rock and punk classics. And nothing is more rock and roll than drinking on a Monday night.
Ricki Derek doesn't look much like Sinatra, but he sounds kinda like him and, goodness, does he bring out a quirky crowd. Under his surreal crooning the bar becomes a haven for those who would rather be disemboweled by butter knives than go to the Beagle next door. There is no stereotype for the kind of person who enjoys Sinatra impersonators; they come from all walks of life, every social strata. In the dark confines of The Cavern you'll find drug-addled hipsters, aging swingers with tacky shirts and neighborhood types having a post-barbecue pint.
At most of the jazz clubs in town, with the exception of maybe the Balcony Club, the music there is nothing more than wallpaper, something to ignore, something that you won't remember five feet outside the door. At Sambuca, however, they never let you forget that the music is the reason you're there, and if you ignore it, it's not because they didn't do their best to open your eyes and ears. There aren't enough venues in town that care about jazz one way or the other, so Sambuca makes up for quantity with quality, doing it right every step of the way, from sound to talent to ambience to anything and everything else you might think of. Sambuca, at its best, provides a little bit of old Deep Ellum, a time when jazz and blues ran Commerce, Main and Elm, not developers. It's worth a visit for that reason alone.
Built in 1911, Sons continues to be the one legit honky-tonk island in a sea of bland imitators. It's one of the few venues that still books Texas and roots-country acts, and even though the Gypsy Tea Room offers many of the same performers (the Derailers, Tish Hinojosa, etc.), there is no match for Sons' atmosphere. From the long bar and jukebox downstairs to the dance floor, folding chairs and small stage upstairs, Sons is a respite of C&W joy for those of us who still love to swing, two-step and do the longneck bob.
Blues music might not have been born in Dallas, but we definitely helped raise it. It's kind of hard to remember that time now, an era when Blind Lemon was a man (Blind Lemon Jefferson, the prince of country blues) and not a crappy bar. Leadbelly and Aaron "T-Bone" Walker lived here, played here, and if you don't know those names, get yourself to a bookstore and pick up a copy of Alan Govenar and Jay Brakefield's 1998 book, Deep Ellum and Central Track. Even if you don't know those names, well, we're sure Stevie Ray Vaughan will ring a bell. Yep, he's from here, too. You can still find the spirit, if not the talent, of those men at Hole in the Wall, which is just what the name implies. It's one-stop shopping for Dallas blues.