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"You are Alacartoona."

That message, a cryptic one reiterated several times on October 17, could not be a more fitting motto for the community that brought Night is the Mirror to life. After months of brainstorming, a feverish 17-hour film shoot, and masterful editing sessions to follow, the feature film revolving around Kansas City's own answer to German cabaret, Alacartoona, premiered this past Saturday at the Crossroad's Screenland Theater. While the hour-and-15 minute Night is the Mirror is certainly a visual and aural feast, it also acted as a testament to the current support system within Kansas City arts community.

The packed houses that met each of the two screenings on Saturday witnessed exactly what could happen when you take a $2,000 Inspiration Grant from the ArtsKC Fund and combine it with the humble notion of putting together a promotional video. Of course, with a little convincing by a team of artistic advisers, Alacartoona decided to forego the typical promotional video and opt for a full-fledge motion picture. Night is the Mirror ended up with a $15,000-plus budget, but it was the cooperative effort of local artists and talent that kept that price tag from escalating into the six-digit arena. Even with many of the actors and production crew taking on the project pro bono, Alacartoona (vocalist/acoustic guitarist Erin McGrane, accordionist/vocalist Kyle Dahlquist, bassist/vocalist Christian Hankel, and drummer Gregg Jackson) learned that undertaking a film of this magnitude would be an uphill battle.

"It was all hard for us," McGrane told the audience in a Q&A session that followed the first screening. "It was new, but it was really, really fun."

From the first few moments of Night is the Mirror, it is evident that the film is not your run-of-the-mill concert film or even Alacartoona's trademark lighthearted, "fun" show. There's a dark undercurrent throughout, from the mysterious opening remarks (narrated by Cathy Barnett) to the quirky back-and-forth, rapid-fire dialogue between various characters ("Wolf," Hankel aka Providence Forge says; "Lap dog," McGrane aka Ruby Falls replies). Is there a story? Perhaps. Who knows? Much like the French Impressionist Cinema, a surreal approach works to Alacartoona's advantage.

"There's a backstory," Hankel explained to the first screening's audience. "Of course, that backstory probably confused you more if there was no story."

Interwoven between the acted vignettes are song performances you might witness at any given Alacartoona show, with "Willkommen," "Every Saint Needs a Sinner," and "Drowning All My Sorrows" among the featured numbers. While any one of Alacartoona's songs tends to be crowd pleasers in a live setting, the melancholia-tinged "Drowning All My Sorrows" and "Ruby's Lament (Ich Bin Sie)" had a more striking, dramatic effect on the big screen. One thing should be made very clear, however: The filmmakers wisely never allow things to get too serious. On the contrary, the script is sprinkled with bawdy one-liners and consistently hilarious appearances by DeDe DeVille as a lackadaisical, chain-smoking stagehand.

For as talented as Alacartoona is musically (with acting chops to top it off), director/editor Brian Hicks and producer Phil Kinen should be given an astounding amount of praise. Night is the Mirror includes amazing visual techniques and concepts that are all at once mesmerizing, confusing, and beautiful. Without their efforts on such a tight budget, the film could have indeed been yet another unimaginative offering in world of cookie cutter music videos. In the end, Night is the Mirror, much like the band's music, hearkens back to another era. The viewing experience is certainly different than what you may see at Jardine's, where flesh-on-flesh contact from Ruby Falls contact can make many a man's (or possibly woman's) heart go aflutter, but it's nonetheless still captivating.

For those who craved a bit more Ruby on Saturday, there was a brief Alacartoona performance and cocktail reception in between screenings. Fans, film extras, cast, crew, and the all-around curious watched as the band performed original selections in the Screenland lobby, an unlikely but workable venue for the cabaret act. The live act rarely feels as enigmatic or somber as it does in some scenes during Night is the Mirror, and rightfully so. Saturday's live performance was a celebration more than anything, with many a glass raised in the air in accordance.

On Alacartoona's website, the band postures a few questions to reflect upon the film's concept. "What is real, what is fantasy, and what difference does it make, anyway?" After seeing Night is the Mirror, I still don't have an answer. Oddly enough, the state of confusion has never been more satisfying.

For more information on Alcartoona and Night is the Mirror visit www.alacartoona.com

By Amy Kelly

theSTEADY Contributor

Early in her 20's, Amy Kelly decided that the only way to truly "live the dream" would be combining her two loves: music and writing. After a few years of scrounging the classifieds, fate finally smiled upon her. Amy has spent the past few years as a senior writer for Ultimate-Guitar.com, a site driven by its vast database of guitar tablature and music-related features. Having interviewed such notable rock figures as Judas Priest's Rob Halford, solo artist KT Tunstall, and Jane's Addiction's Perry Farrell, Amy is now eager to chat with the amazing musicians gigging nightly in the Kansas City area.

When she is not writing, Amy can be seen in various theater productions across town. She is an avid supporter of the local filmmaking community and has been a featured actress in commercials, industrial videos, and short films.

As a regular audience member for an eclectic mix of Kansas City artists, Amy is thrilled to be a contributing writer to theSTEADY. She holds a double major in Journalism and Art History, both of which were received through the University of Kansas.

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