KCMETROPOLIS.org
Kansas City's Online Journal of the Performing Arts

By Laura Vernaci   Tue, Apr 27, 2010

The Owen/Cox Dance Group performed in front of a full house last Saturday night at the City Stage Theater at Union Station. Although the audience was a small one, everyone gathered in the intimate theater seemed to thoroughly enjoy themselves throughout the hour and a half performance. The laid-back mood, and up close and personal dance experience was a nice change of pace.    

Having never been to one of the company's shows, it was reminiscent of the In the Wings showcases that Kansas City Ballet used to host where choreographers presented a vast array of new and revamped dance selections. In this case, Jennifer Owen contributed all of the choreography and the collaboration of live music added an extra level of excitement and stimulation.

The first half of the program comprised five short stand-alone works choreographed by Owen with costumes by Lisa Choules. I Scream, You Scream, We All Scream for Ice Cream highlighted six dancers - three men and three women - in bright colored, simple attire. The piece was light hearted, often displaying child-like choreography with jumping, skipping and flexed feet and hands. Some dancers had more energy and stage presence than others, connecting with fellow performers and the audience more successfully. The music was very fun and upbeat (especially the saxophone parts) and complemented the frolicsome movement nicely.

Beginning with the next piece, Surge propera amica mea, the curtain upstage was opened, revealing the band and adding another dimension to the audience's eye. Nathan Granner narrated the slow, sensual pas de deux danced by Charles Martin and Jennifer Tierney. Granner's Spanish intonation was provocative and resplendent creating a storyline of emotions that the dancers responded to appropriately. Tierney executed gorgeous lines and the couple danced fondly together.

The next two works were highlights in the company's repertoire. Schenker's Last Stand featured Owen and Christopher Barksdale in a witty, playful piece of friendly one-upping the other. The two took turns strutting their stuff and showing off their personalities, in the end joining together in lifts, leaps and, yes, even shimmying. The third lead was not a dancer, but the accordion player Lidia Kaminska who brought a fun and fresh take on the music's big band feel. The drummer Sam Wisman also should be commended for his outstanding ability to drive the musicality of the band and take notice of the dancers' cues.

In Three Lullabies, Lisa Thorn danced a lyrical solo accompanied by Granner's moving vocals and Beau Bledsoe on the guitar. It was evident that the story was personal for Thorn, whose motivation stemmed from within and was exuded outward. She moved easily and connected well with the music, not afraid to revel in the pauses and retards. Together, the three gave a tender, touching performance, leaving the audience with three uttered Latin words meaning, "Give us peace."

The last composition of the act was Fuga Tanguera, danced by four women to tango-esque rhythms. Starting out more modern and intermixing classic ballet steps, each dancer exhibited her own unique movement quality and interpretation of the choreography. The sections where the women danced individually rather than together were more interesting in a piece that was generally slightly somber and dull.

Nothing was held back in the bill of the night, The Lewis and Carroll Expedition. The costumes, designed by Peggy Noland, were loud and bright - a true fashion statement made out of 100-percent felt. Nature music initially filled the acoustic-friendly theater with the band slowly integrating its groovy sounds into the mix. The idea behind the project, brought forth by set designer Nate Fors, was to interweave the adventures of Meriwether Lewis and Lewis Carroll as documented in their respective journals and novels.

The two main characters, Meriwether Lewis Carroll (Charles Martin) and the Red Queen Jefferson (Laura Jones), are introduced with the lesser characters through continuous entrances and exits in various groupings. Jones, who has a pleasant presence and graceful quality, interpreted the barter of the land. Granner and Victoria Botero served as narrators to the mishmashed, but always amusing, storyline. Their singing was impressive but, more often than not, indistinguishable as to what they were saying.

Zeniths of the night included the dance of the mosquitoes, snickersnack and a tribute to the Caterpillar and his hookah. In this latter section, the ever-elusive White Rabbit, played by Owen, brings forth the giant hookah as corps dancers don neon sleeves and master body rolls to portray the Caterpillar. Add psychedelic lighting and loose movement to the mix and the dancers successfully recreated a smoky rave. The most impressive part of the snickersnack section was the singers who not only tackled a tongue twister, but managed to exude more personality and energy than the dancers. The tea-pea party closed out the nearing delusional journey with characters breaking off into pairs and threesomes to make a little whoopee in the teepee.    

The dancing in this piece was nothing overtly special or overly hard, concentrating more on flamboyant movement, lavish costumes and engrossing sounds. The project was certainly unique and the creative minds behind it fashioned an imaginative interpretation of an historical event falling face first into a classic story.


REVIEW:
Owen/Cox Dance Group
The Lewis & Carroll Expedition
Saturday, April 24, 2010
City Stage Theater, Union Station
30 W. Pershing Rd, Kansas City
www.owencoxdance.org/

Cover photo: Adam Rogers, Laura Jones, and Michael Davis in the piece titled "I Scream, You Scream, We All Scream for Ice Cream." Photo by Dan Wayne.

By Kristin Shafel Omiccioli   Tue, Apr 27, 2010

Just like everyone else on this planet, I had heard about the impressive volcanic eruption in Iceland hindering travel in and out of Europe. Since I have no upcoming plans for international travel, I did not imagine that it could impact me here in Kansas City. However the Venice Baroque Orchestra's appearance on The Friends of Chamber Music's series last Friday night came very close to not happening. The VBO made a convoluted journey to the United States, with multiple awkward layovers (Italy to Munich, to Los Angeles, to Denver, and more) before finally arriving in Kansas City - sans some lost luggage for some members. Thankfully everyone had their instruments and sheet music, and the group was able to deliver a charming concert... despite a few t-shirts and jeans.

The all-Italian program began with two short, spirited works: Albinoni's Concerto in G Major for Strings and Continuo, Op. 7, No. 4 and Vivaldi's Concerto in G Minor for Strings and Continuo, RV 152. The violins were notably impressive from the start on these works, with excellent intonation, matching trill speed, and visible energy and with nary a note or rhythm out of place. I was immediately enveloped by the opulent sound of the violins, which meandered between unison lines and layered harmonies. The lute was unfortunately overtaken here (and for much of the concert), most likely due to its small body, although it was able to project its occasional improvised, almost percussive embellishments. The first violinist had a number of sparkly and smooth solos in these works as well, and the low strings were allowed to shine a little with some accompanying lines.

Geminiani's Concerto Grosso in D Minor ("La Follia") was a perfect balance of slow and fast tempi and, I felt, the prominence of first violin and cello solos made this an appropriate prelude to the final two works on the program. The very fast lines traded between the first violin and cello, while active and surely difficult, included a few slight intonation imperfections and uneven cut-offs. The middle section played by first violin, viola cello, and lute was particularly lovely and expressive.

Cellist Daniele Bovo was featured on Vivaldi's Concerto in A Minor for Cello and Strings, RV 419 to close the first half of the concert. While Bovo has a warm tone, endless energy and impeccable technique, his instrument lacked a certain depth and projection; it didn't quite fill the hall. Playing in the traditional style on gut strings and without an endpin most likely are the reasons. This was certainly forgivable given the nature of the group. However the second movement was plagued with intonation issues that drove me to distraction; Bovo was consistently off-pitch which was such a shame since his technique was impeccable. I was surprised since he had been playing in tune the whole concert until this point. The third was by far the best movement of this piece, and showcased Bovo's extremely dexterous fingering and breakneck bow speed. The ensemble's soft pizzicato ending was superb.

The concert concluded with a very special treat: Vivaldi's masterpiece The Four Seasons in its entirety. Spring's playful violin bird calls were delightful, and violinist Massimiliano Tieppo was sensitive and expressive in his solo throughout, if a bit stiff in the beginning. Violinist Gianpiero Zanocco took over the solo part for Summer, which suffered a somewhat hesitant opening and the accompaniment of the second movement was not quite wholly together, however the third movement was more active and confident. Tieppo returned as soloist for Autumn and was much more engaging and comfortable this time around; his nimble arpeggios in the third movement were especially dazzling, and the harpsichord had a deliciously mysterious solo during the second movement. Winter featured Zanocco once again, and he was stronger here than on Summer. The ensemble moved together with well-controlled dynamics throughout, but again missed the mark on unified ending cut-offs. I am inclined to forgive some of these minimal issues due to the fact that The Four Seasons was a last-minute program change due to Giuliano Carmignola's, the virtuostic guest violinist, illness; they may not have had the piece directly under their fingers.

Both jovial and regal in its sound, the Venice Baroque Orchestra clearly takes pure pleasure in what it does and has a deep respect for Baroque music. They play with vigor and exuberance, sometimes to their detriment, yet there is no question that this is an exceedingly talented group of musicians. The Four Seasons was an especially wonderful ending for The Friends of Chamber Music's concert season.

 REVIEW:
The Friends of Chamber Music
Venice Baroque Orchestra
Friday, April 23, 2010
Folly Theatre
12^th and Central Streets, Downtown, Kansas City, MO
www.chambermusic.org

By Christopher Guerin   Tue, Apr 27, 2010

What if you could write a new theatre work that was an instant classic? Modern-day relevant and timeless? What if such a work had the potential to make Broadway (if it is smart, and paying attention) sniff the air with Pavlovian anticipation? Well - first, if that were possible I wouldn't be telling you any of this, because I would write it myself and become rich and famous. Second, and more importantly, I would tell you not to bother - because Eric Rosen and Matt Sax have already done it; and it is called Venice - the Kansas City Repertory Theatre's final production of the season.

In Venice, Matt Sax is cast as the Clown MC - a gaunt, macabre rap-narrator who guides the story along its developmental milestones. He introduces characters and provides context. Far more MC than clown (there is, in fact, nothing comically amusing about Venice), he engages directly with the audience, challenging them to consider what unfolds before them.

Casting for the four main characters was superb. Javier Muñoz as Venice Monroe delivers a sympathetic figure working to reunite his war-fractured city, projecting, in the process, a duality of confidence and vulnerability. Part of his reunification strategy includes marrying one of "the disappeared" (Andrea Goss as Willow Turner). Reference to "the disappeared" carries strong undertones to "los desaparecidos" during the Pinochet dictatorship in Argentina, one of many such artistic and historic touch-points used so well throughout the play. Nevertheless, to whatever degree politically-motivated, this is no marriage of convenience. The intended union has a uniquely non-political spin:  they deeply love each other. Coming from disparate family circumstances there is a "Romeo & Juliet" quality to the romance - unfortunately with a nearly-similar tragic outcome. The wide-eyed innocence and vulnerability of Willow Turner is perfectly embodied in the waifish Goss, who quickly endears her character to the audience; at her tragic demise, there wasn't a dry eye in the house.

Evil incarnate arrives in the form of Clifton Duncan's malevolent Markos Monroe. Seething with acidic jealousy for his more successful brother, Duncan's portrayal is an instantly-classic villain - the kind of performance delivered so well you are forced to admit you really love hating how devious he is. The portrayal rightfully takes something away from an otherwise favorable opinion of Venice - for again you are forced to recognize that - in a real-world situation of political intrigue and skullduggery - one could say that Venice deserves what his ignorance has wrought. More accurately, Rosen comments that this "tragic flaw [is] not pride, but foolishness." In classic fashion where every capable villain needs unwitting pawns to manipulate, Markos makes good use of Theodore Westerbrook (J.D. Goldblatt) and Hailey Daisy (Angela Wildflower Polk) in bringing down his brother's well-intentioned reunification. Goldblatt delivers a sympathetic, naive character who is endearing despite his evil collusion, and Polk's Daisy jumps off the stage with a burlesque-like entrance that is part Marilyn Monroe, Mae West and Billie Holliday.

The combination multimedia/set design (Meghan Raham and Jason A. Thompson) was a visual tour-de-force, as was John Carrafa and Tanisha Scott's choreography. Matt Sax's score was deliciously provocative, with a maturity that shows great potential and has a very "Broadway" edge to it. Infused largely with rap and hip-hop elements, Sax also displayed impressive song-writing skills, best evidenced by Act Two's incredible The Wind Cried Willow. As a collective performance, and largely on the strengths of the Rosen-Sax collaboration, I could immediately envision Venice as a full-fledged Broadway production.

Flaws were minimal, and mostly structural. I only had trouble with some longer-than-necessary segments and a few awkward, abrupt cadences. There is some room for "tightening up" and I think the overall tremendous effect of Venice would be enhanced and intensified by being between 15 to 20 minutes shorter. But none of that takes away from my enthusiasm for this tremendous work. Few "masterpieces" achieve their status on their first, second, or even fifth or sixth iteration, but I think Rosen and Sax have the beginnings of one with this work.

But the most remarkable aspect for me was Venice's timeless relevance.

Venice portrays everything that is good and hopeful about human nature- and everything that is ugly and destructive about human nature. It is about peace, and the absence of peace. It is pre-war and post-war. It is revolution and post-revolution. It is pre-apocalyptic and post-apocalyptic (the analogies between Rosen's Venice and the biblical city of Har Magedon are intriguing - each being a physical place as well as a representation of impending doom). Venice is perfectly crafted to evoke similar emotions in every language and culture on earth, playing in any city in the world - today; 100 years ago; 500 years from now.

The end result is as predictable as any similarly-volatile arrangement of tragic characters and circumstances in all of history. And yet Rosen and Sax manage to deliver it with a freshness that feels visionary and ahead of its time. In one fell swoop - and notwithstanding all of the vibrancy that Rosen has already brought to The Rep since 2007 - Venice is the quantum leap that has every potential to redraw the map of Kansas City theatre. From here forward, it is fair and fitting to expect that Venice will be the work to which all subsequent new works should rightfully be compared.

As you read this, you will have 13 more opportunities to see Venice in its opening debut at Copaken Stage. Run, don't walk.


REVIEW:
Kansas City Repertory Theatre
Venice
by Eric Rosen and Matt Sax
Directed by Eric Rosen
Runs April 9 - May 9 (Reviewed Friday, April 23, 2010)
Kansas City Repertory Theatre
Copaken Stage
13th and Walnut Streets, Kansas City, MO 
For tickets call 816-235-2700 or online at www.kcrep.org

Cover photo: Don Ipock

By   Sat, Sep 22, 2012

Click here to see all the  events on the KC Events performing arts calendar.


How do you list your events on KC Events? It is easy!!
As an arts organziation or musician, you can add and edit your own events.

KCMetropolis.org's mission is to promote traditional and independent classical music, dance, theatre and independent film. We are very sorry, but we do not cover pop, rock, Christian or country music; we do not cover the visual arts or non-performing arts community events. If you would like to send a press release about an upcoming performing arts event, please send to press@KCMetropolis.org.

KC Events Categories are:
Traditional & New Classical Music
Dance
Theatre
Jazz

KCMetropolis.org builds assignments for reviews, previews and interviews exclusively from KC Events.  Please make sure your events are listed inorder to be considered.

To Submit Information:

• Please go to the KCM front page and click on the login tab located at the top right-hand side of the website.
• Create a login account and then sign-in.
• Read the KC Events Terms of Service before proceeding
• On the left-hand nav is a category called Submit Content
• Click on Submit an Event or Manage Your Events.
• Listings will be approved with 48 hours if it fits the KCMetropolis.org criteria.

By Andrea Montgomery   Tue, Apr 27, 2010

When the curtain opened last Saturday night for the Dance Theatre of Harlem Ensemble performance at Johnson County Community College, audience members may have thought they had mistakenly stumbled into a dance class. Instead of seeing costume-clad dancers readily poised for their first dance, the audience watched as the dancers warmed up at the barre before moving on to center floor exercises. The ensemble's director, Keith Saunders, announced to the audience that this was an interactive performance, one in which they intended to demonstrate the work and dedication it takes to become a professional dancer.

The night did indeed keep the audience engaged with a question and answer session with some of the dancers and a highly entertaining portion where three men from the audience were recruited to support the ballerinas in a short series of movements. Not only was it fun to watch these men interact with the extremely talented dancers, but I give them a great deal of credit to trust untrained individuals to keep them safely balanced on their toes.

There was, of course, a great deal of dancing as well. The opening number, The Joplin Dances, featured music from the great American composer Scott Joplin and was accompanied by a live piano. The number consisted of three short dances. Although there were occasions of awkward positioning and movement, there were great moments of musicality. The choreographer, Robert Garland, used the music well and the dancers performed beautifully. The last section, featuring the well-known "The Entertainer," was definitely the high point, both because of the music and the presence of the entire company on stage.

The second number, Fragments, was a more contemporary piece choreographed by Lowell Smith meant to demonstrate the relationship between men and women. The piece was simultaneously sensual and aggressive, with complex movements in which the men and women relied on each other, yet still demonstrated their individual strength. In this sense, I believe the piece accomplished its goal. It was an interesting number, and the dancers were strong and committed to the piece.

Finishing the first half was Hallmark, dedicated to Arthur Mitchell, the founder and artistic director emeritus of Dance Theatre of Harlem. The pas de deux was beautifully choreographed by Robert Garland and the dancing was superb, but I feel that it was not strong enough to make a lasting impression following Fragments. It might have been more effective to switch the two pieces.

Most of the second half was taken up by the question and answer session, and the ensemble danced only one final number-Concerto in F. The Broadway-inspired piece featured the music of the great composer George Gershwin. Although the long piece was very energetic and dramatic, the ensemble was not quite in perfect unison at times, and this was perhaps magnified by the costumes, which were mismatched and brightly colored. The music was also very fast, and at times the dancers did not quite finish their movements. The piece did end with a bang, as all dancers were on stage for only the second time in the entire night. It was a fun end to the wonderful performance.  

Overall, the Dance Theatre of Harlem offered beautiful dancing and interesting insight into the world of professional dancing. I found myself paying more attention to the choreography and meaning behind the dances than the actual dancing itself, which to me signifies that the dancers did their job magnificently.

REVIEW
The Performing Arts Series at JCCC
Dance Theatre of Harlem Ensemble
Saturday, April 24, 2010
Carlsen Center
12345 College Blvd., Overland Park, KS
www.jccc.edu/performing-arts-series

By Kristin Shafel Omiccioli   Tue, Apr 27, 2010

Christian McBride, renowned jazz bassist, and his band Inside Straight concluded this season's Folly Jazz Series with a rousing concert this past Saturday night. Doug Tatum, executive director of the Folly Theatre, gave a lengthy introduction for the group, but for good reason. This was his last season as director, and he made the most of his last time on the Folly stage. His speech was touching and humorous, and he received a well-deserved standing ovation for his dedication to the Folly.

McBride's original tune Brother Mister began with a hot, up-tempo bass lick which appropriately kicked off the show and set the pace for the rest of the evening.  Most of the tunes were Christian McBride originals, with covers of Freddie Hubbard and Duke Ellington tunes. McBride also included a fun rendition of the theme from 1980's TV show Alice.

McBride was all smiles the entire night, with a warm, inviting energy and engaging personality on stage. He told the audience about his Kansas City roots, having played with native sons Bobby Watson and Pat Metheny, and a humorous story about playing our Rhythm & Ribs festival one year. His playing was highly advanced yet seemed effortless. In his lively and involved solos, McBride showed his expert command of the instrument, his fingers nimbly flying across the bass's whole range while maintaining a superior clarity of tone and tight rhythmic integrity. His solos on every song were astounding, but those on Rainbow Wheel, Starbeam, and Ellington's Sophisticated Lady were especially notable, the latter being bowed. This may be the finest bowed jazz bass solo I have ever heard, with perfect intonation and a confident, rich tone. It is clear McBride has mastered classical technique as well.

The members of Inside Straight are all talented in their own right, and they all presented solos that were well developed and enjoyable. Saxophonist Steve Wilson's concentrated tone and technique resulted in some very impressive solos throughout, especially on Used 'ta Could and Rainbow Wheel. Pianist Peter Martin was sensitive and inventive in his solos and accompaniment, comprised of complex harmonies and expressive melodies. Vibraphonist Warren Wolf may have been the youngest in the group, but his lyrical style displayed a maturity and control on par with his band mates.

Carl Allen's drumming was laid-back but not uncomplicated; he and McBride make an outstanding rhythmic team. The highlight of the concert was undoubtedly during the traded solo section of Stick & Move when Allen and McBride playfully sparred back and forth, capturing the boxing theme of this song superbly. The exchange flaunted their musical relationship and expertise, mimicking each other's phrases well, showing off techniques, and switching up rhythms while never losing the energy or groove.

If I have to express any complaints, I would say the piano was occasionally too soft in the overall balance and some of the lighting was slightly strange. But these are so miniscule in comparison to the fine performance by Christian McBride and Inside Straight. I will definitely be picking up his new CD Kind of Brown and strongly recommend checking out this group. The Folly Jazz Series has consistently brought in high-caliber performers and I look forward to next year!

REVIEW:
Folly Jazz Series
Christian McBride & Inside Straight
Saturday, April 24, 2010
Folly Theatre
12^th and Central Streets, Downtown, Kansas City, MO
www.follytheatre.org

By Michael D. Smith   Tue, Apr 27, 2010

Told through the pitiable eyes of Benito Mussolini's alleged first wife, Ida Dalser, Vincere begins as a discordant mess and then morphs into a gripping look into the pre-World War I years of the future Italian dictator before turning into an overly drawn out tragedy.

Filmmaker Marco Bellocchio (My Mothers Smile, Good Morning) sets a dark tone early on, both in content and his use of shadows. The former is implemented by Filippo Timi in a brilliant performance as a young Mussolini who in 1914 Milan is a Socialist party member who, with his unique brand of theatrics, proclaims that God doesn't exist and that the king should be removed.

With his steel cold eyes and fiery speech making, Timi flawlessly captures Mussolini's machismo that forever seizes the attention and affection of Dalser. Played with raw intensity by Giovanna Mezzogiorno, Dalser throws herself at Mussolini, stalking him wherever he goes. She becomes his most fervent believer and directly finances his first newspaper, Il Popolo dItalia.

The couple marries in 1914 and have a son, but her world soon comes to a crashing end. His politics mutate into fascism during World War I and he marries another woman while disavowing his original marriage. Because she won't back down from her claims, Dalser is eventually thrown into an insane asylum as is her son who keeps referring himself as Benito's heir.

Bellocchio's volatile pacing ranges from frenetic to laborious. Vincere's speculative start bogs down momentarily in R-rated porn before racing through their brief relationship punctuated with wild bursts of classical and opera music. Some of the images Bellocchio imposes on the screen are too abstract, however, his blending of archival footage of the real Mussolini into the film is brilliant and clearly shows the grand theater Il Duce thrived on.

Bellocchio deserves credit for maintaining a sense of speculation about what happened between Mussolini and Dalser as their relationship remained essentially unknown for several years after the war. Dalser is becomes emblematic of the tragedy Italians suffered at the hands of a despicable megalomaniac. Still, Bellocchio could have improved the pacing by cutting at least 20 minutes out of the film that did nothing to move the story along.

The greatest strength of Vincere, which means "Win," is the performances by its leads. Both are equally unforgettable. Mezzogiorno's is the best of the year in what is a soul-stirring, tragic role.

On a letter grade scale from A being excellent to F for failing, Vincere receives a B+.
    
Vincere is rated R and has a running time of 128 minutes.

Now showing through April 29 @
Glenwood Arts
9575 Metcalf, Overland Park
Visit www.fineartsgroup.com or call 913-642-4404 for more information.

By Don Dagenais   Tue, Apr 20, 2010

Don Giovanni origins was in 1786, a year before its premiere, when the composer's comedy Le Nozze di Figaro (The Marriage of Figaro) was performed in Prague to ecstatic audiences. Figaro enjoyed an uninterrupted run of performances, and its tunes were heard from the opera house to the dance halls to the street corner organ grinders. Mozart himself, writing from Prague in 1787, said, with probably no small amount of exaggeration, "Here the talk about nothing but Figaro.  Nothing is played, sung or whistled but Figaro. Nothing, nothing but Figaro."

The local impresario, an Italian named Bondini, smelled success. He commissioned from Mozart another opera.

For the subject Mozart and his librettist, the Italian adventurer Lorenzo Da Ponte, chose the ancient legend of Don Juan. Like Faust, the character of Don Juan is undoubtedly the blending of many historical and legendary figures. The common thread is that of a character bent on sexuality and lust.

Pressed for time, Da Ponte lifted much of his libretto from a prior opera on the subject, and Mozart composed much of the score during the long carriage trip from Vienna to Prague. His wife Constanze told later of how Mozart sat in his coach, drumming his fingers, crossing and uncrossing his legs, his eyes vacant. She would speak only when spoken to; because she knew full well that his mind was far away, composing. For Mozart, the music was composed in his head. He then memorized the notes (apparently easy for him) and only later would perform the menial task of writing them down on paper.

Shortly after their arrival in Prague the Mozarts were joined by Da Ponte, who took rooms in an inn across the way. Both quarters opened onto balconies over the street, and the citizens would hear Mozart and Da Ponte standing across from each other, discussing and debating Don Giovanni morning and night.

Before long the score was done and the opera entered rehearsal. Interestingly, Mozart had "written" the overture to the opera weeks before, but only committed it to paper the day of the premiere. The music copyists busied themselves over the orchestral parts right up to the curtain, and delivered the sheets of music, ink still wet, to the musicians' stands just as the performance was to begin. The orchestra sight read the piece at the first performance. Mozart admitted later that "a few notes slipped under the table," but said that by and large it went fairly well.

Don Giovanni represents the first great attempt to fuse the traditional elements of both drama and comedy. In it, Mozart encompassed a variety of different styles, and in the view of most experts and generations of audiences the composer succeeded brilliantly.  Don Giovanni carries a charm and power unique and surprising for a work of its time.

Joseph Kerman said in his classic book Opera as Drama: "If Figaro was a clever work, Don Giovanni is magnificently brash.... Don Giovanni is Mozart's richest score, and the dearest of all of his operas to the musician, as it is to the opera-going public today."

PREVIEW:
Lyric Opera of Kansas City
Don Giovanni
Saturday, April 24, at 8:00 p.m.
Wednesday April 28 at 7:30 p.m.
Friday, April 30 at 8 p.m.
Sunday, May 2 at 2 p.m.
Lyric Theatre
11^th and Central, Downtown Kansas City, Missouri
For tickets call 816-471-7344 or online at www.kcopera.org

Top photo: Christopher Schaldenbrand as "Don Giovanni."  

By   Tue, Apr 27, 2010

"When a woman says she wants a new car, she wants a new life," explains actress Kimberly King as Becky Foster in the New Theatre's latest production, Becky's New Car. Directed by Richard Carrothers, the show is a quirky and unique look at love and marriage.

Written by contemporary American playwright, Steven Dietz, Becky's New Car allows a middle-aged woman to try on a new life. Mistaking her for a widow, a millionaire widower woos Becky Foster at her workplace, a car dealership. She goes along with the flirtation, despite the fact that she loves her husband and her old life is perfectly fine. And what of the mysterious Mrs. Tipton, who just wants her expensive black car as quickly as possible? The play premiered in Seattle in 2008 with Kimberly King playing the lead. King reprises the role at the New Theatre.

The show was unusual and often surprising. King breaks the fourth wall often by asking the audience for advice or help. And she is magically transported from work to home with a light change and a sound effect, which she acknowledges with a wink. The mysterious Mrs.Tipton storyline was almost serious, but lighting and a fog machine sent it over the top, in a good way.

John Davidson, of Hollywood Squares and the Tonight Show, costars as eccentric millionaire, Walter Flood. His comic timing and his larger-than-life presence lent itself to this role perfectly. Steve, played by local favorite Craig Benton, is an offbeat car salesman who wears a pair of hiking boots everywhere. His puppy monologue, well, I can scarcely think of it now without chuckling.

The cast also includes New Theatre regular, Jim Korinke, as husband Joe. Korinke is wonderfully trusting; he was the average Joe (hah, just got that) that most women end up marrying. Todd Lanker plays son Chris in his first New Theatre appearance, and Ashlee LaPine, last seen in Run for Your Wife, is Walter Flood's daughter, Kenni. Jan Chapman, recently seen in Kiss of the Spider Woman at the MET, is Ginger, a society woman who is rapidly running out of money.

The set was fantastically abstract. Jason Coale's scenic design suggested many locations, while keeping in mind the fluid nature of the show. I felt as if I were viewing modern art that somehow represented the structure of Becky's life. Perhaps that's a stretch.

Randy B. Winder really had some fun with his lighting design, since the show did not have to look realistic. Color washes on the back indicated Becky's location, and spots showed the audience where to focus. My favorite lighting scenes were the driving ones, especially in the second act.

Roger Stoddard's sound was terrific. I chuckled at the "whooshing" sounds when switching locations. The phone noises, the driving, everything worked. And using Jason Mraz at the beginning? Fantastic. The whole crowd was bobbing along. Mary Traylor's costumes were quirky, and very creative to accomplish some of King's quick changes.

This show was a bit of a risk for the New Theatre, and I think it paid off. Becky's New Car was slightly abstract, and quite a change for audiences used to Neil Simon. Plus, with a new play, you cannot rely on name recognition to fill the seats. However, I think most people appreciate entertainment that is honest and witty; Becky's New Car is both.  If all else fails, how could you not love John Davidson?

REVIEW
New Theatre
Becky's New Car
Runs April 15 to June 20
New Theatre Restaurant
9229 Foster, Overland Park, KS
For tickets call 913-649-7469 or online at www.newtheatre.com

By Libby Hanssen   Tue, Apr 27, 2010

With a record four year winning streak at the North American Brass Band Association Championship under their belts, I anticipated great things from the Fountain City Brass Band at their finale performance of the season last weekend.    Intense musicality and determined devotion have made this homegrown ensemble an international tour de force, placing in both national and international competitions, including the Scottish Open and English Open.

The ensemble performed its Classic Brass concert in the beautiful paneled Bell Cultural Events Center auditorium at MidAmerica Nazarene University.  The space was about two thirds full and the buzz indicated excitement for the forthcoming performance.  After a brief introduction by Professor McClellan of MNU, the Band formally entered the stage, snaking between the stands and chairs in the u-shaped seating arrangement.  I'm not sure if this is another aspect of traditional brass bands, but it seemed awkward watching and waiting for everyone to file in.  The entrance was followed by verbal program notes introducing the ensemble, the director Dr. Joe Parisi, and giving the audience more background for each piece. 

Slaidburn by William Rimmer is a traditional march, an excellent opener for this ensemble, their warm sound perfectly fitting the acoustics of the hall.  Some of the runs in the lower voices were muffled, but were more than made up for with the basses' powerful entrance.  The demanding technical passages in the high voices were juxtaposed with singingly sweet contrasting sections.  This piece was followed by an arrangement of Rimsky-Korsakov's Procession of the Nobles by Derek Ashmore.  This could also have served as an opener, a captivating piece meant to be played by brass.  Fountain City's rendition was joyful and energetic. There were a few brief, squirrelly entrances in the high voices, but the lower voices resonated in the space, on the very edge of overpowering, yet somehow retaining balance with the rest of the band.

The shift in the program came with Piu Jesu, a transcription of a mezzo soprano aria by Maurice Duruflé.  The transcription and solo were by Chris Larios, principal cornet for Fountain City.  The piece was serene and beautiful, a nice programming break from the bombast of the opening numbers.  Larios had tremendous clarity of tone, lilting over the rest of the band.  The solo to ensemble balance was only briefly lost in the mass of sound at the peak of the piece. 

The final piece on the first half was one of the contest pieces prepared for the North American Brass Band Association Championship.  This piece, Variations on an Enigma by Philip Spark, brought the program into the modern era and was the first to really challenge the audience aurally.  After an emphatic beginning, each section was featured with a different treatment of the thematic material, with quick transfers of line and changes of attitude; each solo voice was accompanied by a supporting voice.  The solos in the euphoniums and baritones were especially beautiful.  The intricate fugal lines did get muddy, but the energy was high and the lines did not bog down.  Some of the writing seemed intentionally muddled, creating a mysterious attitude filled with insinuation. The finale of the piece was a huge build up of control - both technically and musically.  In light of their recent championship, the piece was appropriately triumphant.  I would have loved to listened to the whole thing over again and catch some of the lines that I know I missed.

Palladio opened the second half, the first movement in a suite written by Karl Jenkins, the arrangement by Tony Smalls.  The theme is used in De Beers diamond commercials.  Once again, the band tackled the piece with technical mastery, bright and brilliant solos, and dynamic control.  However, by the time we were presented with the fourth return of the theme I was ready for some new material - and then the piece was over.   This was followed by an arrangement by Gordon Langford of the popular 1880's song by Sir Arthur Sullivan, The Lost Chord. The original song is a setting of a poem by the same name, the musical treatment inspired by the sickness and consequent death of Sullivan's brother.  I would have liked the text of the poem included either in the program or read by the announcer.  This would have added substance to what was a very pretty, lyrical piece.  There were a few hesitant entrances during the piano sections, but the crescendos were exciting, never forced, and the overall effect delightful.   

Next, the audience was treated to Live and Let Die by Paul McCartney, originally recorded by the band Wings for the James Bond film.  This arrangement by Ray Farr featured Ryan Sharp on Eb cornet - "screamer" in the vernacular.  The performance was prefaced by the announcer reading a quote from a British publication simultaneously complementing Sharp's performance and chastising other cornet players for their less than musical attempts.  Sharp lived up to expectation, taking licks up an octave that should not be legal while still playing with sensitive line and feeling.  During the ensemble choruses, the bass trombone grounded the band, emitting terrifying rumbles, in a good way.

The finale of the night, and the season, was Fountain City's choice piece from their recent championship.  Extreme Makeover by Johan de Meij is a three movement piece and was written specifically for brass band; the composer utilized the traditional timbres of the brass and percussion while creating new soundscapes.  It began with interwoven lines in support of the solo cornet, interesting and pretty, but somewhat safe.  As the piece progressed, the muted cornet section and bowed vibraphone subtly changed the ambiance, heightening the tension as the sound darkens with ringing tone clusters and clanging percussion.  A powerful timpani solo interrupted and brought back the nice, polite melodic ideas.  The trombone section served as harbingers of the changing tide, introducing a heavier treatment of the melody.  Again the timpani redirected into a new section; the cornets each played a tuned bottle creating tones akin to an old fashioned street organ.  The pointillistic effect, together with the solo marimba and the later addition of the vibraphone, culminated in an appealing fresh aural image.  The bass section soli led the ensemble into another crescendoing mass of notes, an exuberant chaos to the finale. 

At the end of the concert, one couldn't help but be upstanding after the rousing performance. Fountain City Brass Band is deservedly proud of their musical achievement and national and international recognition.  Everyone in the Kansas City area should be pleased to be represented by this outstanding organization.


REVIEW:
Fountain City Brass Band
Classic Brass
Saturday, April 24, 2010
Bell Cultural Events Center at MidAmerica Nazarene University
2030 East College Way, Olathe, KS
www.mnu.edu/bellcenter
For more on the Fountain City Brass Band visit www.fcbb.net

By Megan Browne Helm   Wed, Apr 21, 2010

Bioluminescent sea creatures, orbiting space gondolas and Southeast Asian bells metaphorically swirled and circulated at the Unity Temple on the Plaza.  The occasion was the final concert of the Kansas City Electronic Music and Arts Alliance who presented Quadrivium Novum for a mind bending program of audio/visual imagination.

Quadrivium is a non-traditional quartet of top notch talent.  Rebecca Ashe, flute, Cheryl Melfi, clarinet, Mark Stuaffer, cello and Kari Johnson on piano, mix it up with energy and attention to minute detail.  Together just over a year, the ensemble plays everything "from Beethoven to Weber" but love collaborating with living composers. "We get to be involved in every stage of the creative process," says Cheryl Melfi of the world premier performance of Daniel Eichenbaums piece, Orbit.  She and Rebecca Ashe, both barefoot wearing  black, circumnavigated the stage stopping to perform at the stands located at the North, South, East and West compass points which were specifically set up to amplify their duet in slightly different ways.   The Northern point sounded very reverberant while the Eastern point seemed to be coming from a speaker behind the audience.   The piece incorporated not only the performers live but as they were previously recorded and electrified breathing and playing. 

Composer Jason Bolte's piece Scrap Metal featured pianist Kari Johnson as she pulled the music out of the guts of the prepared piano.  Her amazing musicality was evident as she strummed, plucked, scraped, rolled, banged and pulled the piece into fruition.  My only lament was that the piano wasn't lying on its side so I could see; first hand (not on a video) what was going on inside of the instrument.

Single notes gently called listeners to attend to E: Vespers by Mara Gibson.  Scored for flute, clarinet, piano and digital audio, it had a folk-like fantastical appeal.  The woodwinds sounded almost like angry birds that resolved into a haunting melody that left chills.  The intense rocket launching sounds felt out of place and seemed cliché.   Many of the pieces on the program utilized the outer space sound wash to support quasi melodic motives. 

A Slow Unraveling by Andrew Seager Cole was commissioned by the KCEMA for Quadrivium. All four players took the stage for a piece including electronic sounds and video images projected on the screen behind them.  The screen wasn't very large and seemed more like a canvas for moving two dimensional images.  The timing of the images and players was completely synchronized and connected.

I preferred the instruments playing together - apart from the electronic sounds.  This was the only piece where the four of them were able to demonstrate their prowess as a quartet and the extra sounds seemed to take away from their performance instead of enhance it.  I hope to hear them again in the future playing without electronic support.

The only piece that didn't work for me was the world falls asleep by William J. Lackey.  As esoteric as the liner notes were, ("inspired by the works of Charles Pierre Baudelaire") and as impressive as his biography is, (studying with Chen Yi, Samuel Adler, and Justin Dello Joio to name a few) this piece pitted the cellist against a laptop. Looking back and forth from music stand to lap top, I wondered what the cellist was looking at.  What secret information was being projected that the audience didn't know.  Was that information supposed to inform the cellist in some way?  Enhance his performance?  It was obviously a distraction and took away from the music.

Churches are interesting venues for electronic music concerts.  I hope to hear this Alliance again in a more dynamic venue that stretches the imagination of the listeners through even larger screen projections and dynamic audio.  Electronic music has been the domain of soundtracks and rock bands for too long.  There is still much to be learned the enjoyed through the uniting of organic and electronic art music.  Groups working in this genre are lucky in that their venue choices can push the boundaries of the traditional concert hall.  They could easily find stages in bars, parking garages, art galleries and even fine art movie houses.  The sky is the limit for the Kansas City Electronic Music and Art Alliance.  I can't wait to hear what they do next.

REVIEW:
The Kansas City Electronic Music and Art Alliance: Quadrivium Novum
Friday April 16, 2010
Unity Temple on the Plaza
707 W 47^th Street, Kansas City, MO
For more information www.kcema.net

By   Mon, Apr 12, 2010

Language is created, not dictated. Frindle, a beloved children's book by Andrew Clements, earnestly emphasizes this point. Frindle has been adapted for the stage by William Massolia and is being performed at the Coterie Theatre until May 23^rd.

The story revolves around a young student, Nick, who comes up with a new word for "pen" after being accidentally inspired by his stern language arts teacher, Mrs.Granger. When every kid in the school starts using the word, Nick and Mrs.Granger engage in a power struggle about how words should be created and used.

The novel was fascinating, in that it predated internet isms like "googled" and "friended" by at least five years. Clements inadvertently predicted an influx of new words, and gave us a unique perspective on the English language. I remember reading Frindle in grade school, so seeing the story on stage was exciting. Today, examples of new words are so abundant that we seldom stop and think about how our language is constantly changing.

James Holborow's set was the first thing I noticed. There was a collage of words on the wall, and giant letter shaped blocks that eventually spelled out "frindle". It was fun. I'm sure it took great self-restraint for the kid audience not to jump up and go climb on those letters. During the performance, the letters were creatively rearranged to resemble desks, benches, chairs, and drugstore counters. Along with Art Kent's lighting design and some imagination, many different locations were created.

Blocking was loose, and occasionally messy or muddled. For example, in the home scenes, it seemed awkward that Principal Chatham got the only chair (the letter "r"), and everyone else hovered above her while she threatened expulsion.

The visual was a bit abstract, but never became exaggerated. From the Coterie press release, director Ernie Nolan commented, "I think the audience will see something really cool and contemporary. It speaks to young people without being a fairy tale or overblown cartoon." Kelly Kasper's costumes were hip, but often played to character stereotypes. Ron Megee supplied the frindles, and other props.

Among the actors were a few younger performers who supplied the bulk of the story, with most of the adults drifting in and out as colorful characters. The main adult presence was Peggy Friesen, who played Mrs.Granger. Friesen did a marvelous job of playing a stern teacher without being unlikable. She was riveting on stage, and an excellent foil to Cooper Scott's Nick. Scott's movement and delivery was dead-on, and he fit this role very nicely.

Melanie Humphrey, Aaron Branch and Nick Grant played the other students with enthusiasm, and had some great comic bits. Mom and Dad, played by Molly Denninghoff and Alex Espy respectively, were very nice parents. Maybe too nice. Principal Chatham, Jennie Greenberry, was frustrated, but ineffective to stop Nick's shenanigans. Kevin Albert's janitor was hilarious, as was Corrie Van Ausdal's "Today Show Reporter" and Jeff Newman's blue-haired guy.

I really enjoyed the show. It may have been a little slow for the little girl bouncing around next to me, but it would be perfect for elementary aged kids. For anyone who read and loved the book, it was a great adaptation. For anyone new to the story, it's a great way to spend an afternoon.

REVIEW
Coterie Theatre
Frindle
Runs April 6 to May 23
Crown Center, Level One
2450 Grand Blvd., Suite 144, Kansas City, MO
For tickets call 816-474-6552 or online at www.coterietheatre.org

Top photo: Nick (Cooper J. Scott) has big ideas in the Coterie Theatre's Frindle.

By KCM Staff   Tue, Oct 28, 2008

By   Tue, Apr 27, 2010

An open letter from the Arts Council of Metropolitan Kansas City:

Dear Arts Supporters and Advocates:
Thank you to each and every one of you who have been contacting your representatives! As we explained in the email sent last week, the Missouri Senate has recommended zero funding for the Missouri Arts Council for FY2011. This recommendation goes to conference THIS week for further debate. We have an opportunity to affect change and influence this debate in favor of adequate funding for the arts!
 
As promised last week, this email includes the names of the committee members, as well as talking points about the issue. It is extremely important that we contact the all Conference Committee Members to let them know that at the very minimum the Missouri Arts Council should be funded at 3 MILLION DOLLARS.
 
State Representative Ryan Silvey has been very supportive and we encourage you to take a moment to contact him and share your concerns.  
 
Please call, it only takes a few minutes!  
 
Please forward this email to your constituents, supporters, board members and audience members in your respective organizations.
 
These legislators will listen to us, but only if the phones do not stop ringing. Now is the time for us all to work together and be heard! 
 
Together we can make a difference.

The Conference Committee Members have been named and they need to hear from you! 

Rep. Allen Icet
573-751-1247 
Allen.Icet@house.mo.gov

Rep. Rick Stream
573-751-4069 
Rick.Stream@house.mo.gov

Sen. Rob Mayer
573-751-3859 
Rob.Mayer@senate.mo.gov

 Sen. Kurt Schaefer
573-751-3931
Kurt.Schaefer@senate.mo.gov

Sen. Joan Bray
573-751-2514
JBray@senate.mo.gov

 Sen. Scott Rupp
573-751-1282
Scott.Rupp@senate.mo.gov

Sen. Tim Green
573-751-2420
timothy_green@senate.mo.gov

Rep. Ryan Silvey
573-751-5282
Ryan.Silvey@house.mo.gov

Rep. Sam Komo
573-751-6625
Sam.Komo@house.mo.gov

Rep. Rachel Bringer
573-751-9818
Rachel.Bringer@house.mo.gov

 Capitol Switchboard is 573-751-2000

Some talking points:
The Nonprofit Arts Industry in Missouri generates $1.1 billion in statewide economic activity.  This spending -- $510.2 million by nonprofit organizations and an additional $562.5 million in event-related spending by their audiences - supports 14,893 full-time equivalent jobs, generates $742.9 million in household income to local residents, and delivers $110.6 million in local and state government revenue. (Information from a survey produced by Americans for the Arts.  See full report online at http://www.missouriartscouncil.org/page.aspx?NavID=2) 
 
A minimum of $3 million must be transferred to the MAC Trust Fund from the state's revenue from the Athletes' and Entertainers' Income Tax annually in order to fulfill the contract amendments between CIP participants and the MAC Trust Board, totaling a payout of $600,000 to the 26 CIP participants. 

In FY2009 the Missouri Arts Council awarded $10.2 million to 596 organizations in 132 Missouri communities.  MAC's funding was provided to every Missouri Senate district and 79% of the House districts.  MAC grantees (nonprofit arts and cultural organizations) produced over 11,900 arts events attended by 7.3 million people.  MAC grantees provided 6,404 full and part-time jobs and hired over 47,900 artists.  MAC grantees paid $121 million in salaries, which generated about $3.6 million in state tax revenues.  MAC grantees generated $154 million in revenue.

Tue, Apr 27, 2010

Lyric Opera of Kansas City
Don Giovanni
Wednesday, April 28 at 7:30 p.m.
Friday, April 30 at 8:00 p.m.
Sunday, May 2 at 2:00 p.m.
Lyric Theatre
11^th and Central Streets, Downtown Kansas City, MO
For tickets call 816-471-7344 or online at www.kcopera.org

The Lyric Opera continues its performances of Mozart's remarkable classic Don Giovanni this week on Wednesday and Friday evenings and concluding with a Sunday matinee. 

Long considered to be a pathbreaking work of the genre, Don Giovanni remains as popular with audiences as it is with musicologists and music historians.   The portrayals of the notorious womanizer Don Juan, along with his humorous sidekick Leporello and the Don's victims Donna Anna and Donna Elvira, are among the most memorable in all of opera.

Tip: Check out Brenda Harris in the role of Donna Anna if you want a preview of one of the Lyric Opera's works for next season.  She will be singing the title role in Bellini's Norma, never performed at the Lyric Opera, but due at the Lyric Theatre next November.

Read the preview on KCMetropolis here.



UMKC Conservatory of Music and Dance
Conservatory Wind Ensemble
Wednesday, April 28 at 7:30 p.m.
White Recital Hall
4949 Cherry, Kansas City, MO
For tickets call  816-235-6222 or online at www.conservatory.umkc.edu

Joseph Parisi leads the UMKC Conservatory Wind Ensemble in its final concert of the season on Wednesday evening.  This ensemble, always one of the most pleasurable of the talented Conservatory student ensembles, will perform a variety of music for its season finale, including music of several rarely performed composers.

The most recognizable name on the program is Paul Hindemith, whose Symphony for Band in B-flat Major will be featured.  The Ensemble will also perform the world premiere of Eosphorus by former Conservatory student Derek Jenkins, and Finish Line by Cindy McTee, which was inspired by several paintings of Futurist artist Giacomo Balla, suggesting the transformation of landscape by the passage of a speeding automobile.

The program also includes Sinfonia Carolinian by Walter Hartley.



Kansas City Chamber Orchestra
Barber's Adagio for Strings and World Premiere
Thursday, April 29 at 7:30 p.m.
Old Mission United Methodist Church
Shawnee Mission Parkway at Mission Road, Fairway, KS
For tickets call 816-235-6222 or line at www.kcchamberorchestra.org

One of the best-loved pieces of American orchestral music is the Adagio for Strings by Samuel Barber.  The Kansas City Chamber Orchestra is using it to headline its final concert of the season on Thursday night.  The piece began its life as the second movement of Barber's String Quartet No. 1 composed in 1936, but almost immediately became popular as a stand-alone orchestral number, thanks to the endorsement of conductor Arturo Toscanini who performed and then recorded it a couple of years later.  The number was also transcribed by the composer for an eight-voice choir as an Agnus Dei (Lamb of God). 

Adagio for Strings has been played on many occasions, including the funerals of Albert Einstein and Princess Grace of Monaco, in honor of the victims of the September 11 attacks, the opening of the 2010 Vancouver Olympics, and most recently at the funeral for those who perished in the recent plane crash which took the lives of the Polish president and other leaders.

Also featured on the program is the world premiere of The Twelve Kisses, a work specially commissioned by the Chamber Orchestra from composer Forrest Pierce, a native of the American northwest and currently a member of the University of Kansas faculty.  His piece sets portions of the passionate Biblical love poem The Song of Solomon.  Kansas City Chorale soprano Sarah Tannehill is the featured soloist, and her lovely floating high tones should be a pleasure to hear.

The orchestra will also play Benjamin Britten's Simple Symphony, one of the most accessible compositions of the late British master, which he wrote at the age of 20 and utilized as the launching pad for his international career.

Fine Arts Chorale
Ancient Voices
Friday, April 30 at 7:30 p.m.
Mission Road Community of Christ Church
7842 Mission Road, Prairie Village, KS
And
Saturday, May 1 at 7:30 p.m.
Grace and Holy Trinity Cathedral
415 West 13^th Street, Downtown Kansas City, MO
For tickets call 816-235-6222 or online at www.fineartschoralekc.org

The Fine Arts Chorale concludes its 37^th season, the 18^th under the director of artistic director and conductor Terri Teal, with a concert of works by contemporary composers "evoking the wisdom and words of the past and of spirit voices."

A portion of the concert features poetry and music inspired by Native Americans who, the concert program notes point out, "lived in harmony with the earth and environment long before the modern-day green movement." The repertoire includes Past Life Melodies by Sarah Hopkins, We Are the Stars by J. Granville Eakin III, Sky Loom by Kansas City composer Jean Belmont, and Chant of the Last Blackfoot by Debra Lynn.



Harriman Jewell Series
Moscow Festival Ballet in Coppelia
Saturday, May 1, at 8:00 p.m.
Folly Theater
12^th and Central Streets, Downtown Kansas City, MO
For tickets call 815-415-5025 or online at www.harriman-jewell.org

The Moscow Festival Ballet makes a return appearance on the Harriman Jewell Series this weekend, in a production of Delibes' classic ballet Coppelia, based upon one of the fanciful stories of the German writer E.T.A. Hoffmann.  The company has previous performed Cinderella and Don Quixote for the Harriman Jewell Series.

The Moscow Festival Ballet was founded in 1989 when Sergei Radchenko, a longtime principal dancer of the Bolshoi Ballet, founded a company which would bring together the highest classical elements of the great Bolshoi and Kirov Ballet companies in an independent new company within the framework of Russian classic ballet.

Attracting leading dancers from across the Russias, Radchenko has created new productions of timeless classics.  Coppelia is just such a classic.



Performing Arts Series at JCCC
Brentano String Quartet
Saturday, May 1 at 8:00 p.m.
Yardley Hall, Carlsen Center
12345 College Boulevard, Overland Park, KS
For tickets call 913-469-4445, or online at www.jcc.edu/TheSeries

The Brentano String Quartet, which has often appeared in Kansas City with The Friends of Chamber Music, appears again in town this weekend, this time under the sponsorship of the Performing Arts Series at Johnson County Community College.

Long a favorite of string quartet aficionados, the Brentano is known for its elegant performances of the quartet repertoire ranging from the Baroque to the modern.  The resident string quartet at Princeton University, the Brentano is made up of four graduates of the Juilliard School of Music, each an impressive musician in his or her own right: violinists Mark Steinberg and Serena Canin, violist Misha Amory and cellist Nina Maria Lee.

For this concert, the Brentano String Quartet will be joined by clarinetist Charles Neidich to perform the Brahms Clarinet Quintet. The quartet will also perform Schubert's G Major Quartet.  A pre-concert lecture will be given at 7:00 p.m. by Dr. Paul Laird, musicologist at the University of Kansas.



NewEar Contemporary Chamber Ensemble
Regenerations
Saturday, May 1 at 8:00 p.m.
All Souls Unitarian Universalist Church
4501 Walnut Street, Kansas City, Missouri
For tickets call 816-235-6222, or online at www.tickets.cto.umkc.edu/

The music of UMKC Conservatory of Music professor James Mobberly has been featured in several concerts by local groups this spring, and the newEar Contemporary Chamber Ensemble becomes the latest to do so this weekend.  On Saturday night the contemporary music group will dedicate a concert to Mobberly and "the music that inspired him." 

The centerpiece of the concert is Mobberley's intricate Two Studies in Perpetual Motion.  Also, the group will perform Roger Hannay's Oh, Friends! And Donald Erb's Three Poems, a composition for violin and piano.  The Requiem of Lansing McLoskey, winner of the first annual newEar Composers' Competition, will be performed, as will a work by Mobberley student Mike McFerron, Torrid Mix for piano and tape. featuring DJ Jazzy King and Master L.T.

A pre-concert informance will be held at 7:15 p.m. moderated by David McIntire with Mobberley, McFerron and McLoskey.

By   Tue, Apr 20, 2010

Johnson County Community College dedicated its Cultural Education Center on Oct. 3, 1990, and offered its first season in spring 1991. For 20 years, the Performing Arts Series at JCCC has consistently offered quality programming. True to tradition, another exceptional season unfolds.

Emily Behrmann, interim general manager of the Performing Arts Series at JCCC, just announced the 20th anniversary celebration with eight-time Grammy Award winner Natalie Cole on Sept. 25, plus a season of cutting-edge performances, celebrity names, diverse cultures, dance and music.

The season is listed chronologically. Shows begin at 8 p.m. in Yardley Hall of the Carlsen Center unless otherwise noted.

• Sept. 10, 2010 - Takács Quartet, Grammy-winning string quartet
• Sept. 11, 2010 - American Voices, Songs of Our Nation, Larry Gatlin, Crystal Gayle, Andy Cooney
• Sept. 25, 2010 - The "Still Unforgettable" Natalie Cole, 20th anniversary celebration
• Sept. 30, 2010 at 7 p.m. - Jungle Jack Hanna, featuring the star of TV's Jack Hanna's Animal Adventures
• Oct. 16, 2010 - Robert McDuffie, violin soloist, and the Venice Baroque Orchestra, The Seasons Project, featuring a world premier tour of a Philip Glass composition, a PAS co-commission
• Oct. 20, 2010 at 7: 30 p.m. - Michael Bolton, singer-songwriter
• Oct. 22-23, 2010 - Capitol Steps, political comedy troupe
• Oct. 29-30, 2010 - Quixotic Fusion, Lux Esalare, Kansas City ensemble of musicians, dancers, aerialists
• Nov. 5, 2010 - DRUMLine Live, created by the music team behind the hit movie Drumline
• Polsky Theatre, Nov. 6, 2010 - beatlegras, bluegrass arrangements of Beatles tunes by a fab three
• Nov. 12, 2010 - Jigu! Thunder Drums of China, a world-class company of drummers, percussionists and musicians steeped in the culture of Shanxi province
• Nov. 20, 2010 - Naturally 7, award-winning septet with a distinct a cappella style called "vocal play"
• Dec. 3, 2010 - Christmas Bells Are Swingin'!, Boston Brass and the Brass All-Stars Big Band play holiday selections arranged by jazz legend Stan Kenton
• Jan. 29, 2011 - Lar Lubovitch Dance Company, internationally renowned modern dance company
• Polsky Theatre, Feb. 4, 2011 - The Hot Club of San Francisco, Gypsy jazz, in Silent Surrealism
• Feb. 12, 2011 - An Evening with Martin Short, starring the legendary comedian, film star and SNL alumnus
• March 4, 2011 - Opole, Philharmonic of Poland, with soprano Iwona Sobotka, light classics by Viennese composers
• March 5, 2011 - Hot Tuna Blues, guitarists Jorma Kaukonen and Jack Casady of Jefferson Airplane fame, blues-harp player Charlie Musselwhite, and country-and-bluegrass artist Jim Lauderdale
• Polsky Theatre, March 12, 2011 - Janis Ian, singer, guitarist, songwriter (At Seventeen)
• April 2, 2011 - Joffrey Ballet, Chicago-based, world-renowned ballet company
• April 16, 2011 - Béla Fleck, banjo, Zakir Hussain, tabla/percussion, and Edgar Meyer, bass
• May 1, 2011 at 7 p.m. - Spamalot, a Broadway musical based on Monty Python and the Holy Grail

    
 The Performing Arts Series at JCCC is using its anniversary year to simplify - listing season performances in chronological order with no sub-series of dance, classics, center stage, family or special events. Patrons can create their own package of any five or more performances from a selection of 22 to receive a "subscriber" discount. "Friends" members receive an additional 5 percent discount. New subscriptions of five or more shows go on sale April 26 and single tickets on June 1. Call the PAS box office at 913-469-4445 or visit www.jccc.edu/TheSeries for detailed artist information.

By   Tue, Apr 20, 2010

The Lied Center of Kansas just announced its exciting season of world-class events for 2010-11. 

Highlights of the 2010-11 season include Lawrence, Kan. native Karole Armitage's contemporary dance company Armitage Gone! Dance, progressive bluegrass and country-classical chamber music ensemble Punch Brothers, Broadway's rock musical Spring Awakening and more.

To kick off the new season, families will enjoy Jeffery Broussard & The Creole Cowboys performing zydeco favorites at the annual free concert and Family Arts Festival. Families will also like Jim Brickman's 15th Anniversary Holiday Concert and Pianist Frederic Chiu and Storyteller David Gonzalez' reinterpretation of the classical works Carnival of the Animals and Peter and the Wolf later in the season.

"We're delighted to be presenting such wonderful performances," said Lied Center Executive Director Tim Van Leer. "We're going to delve into contemporary classical music explorations with bluegrass-chamber quintet Punch Brothers as well as hip-hop meets classical music duo Black Violin. Also, with our new, donated Steinway piano we're thrilled to have talented pianists Adam Gyorgy and Alpin Hong among others. Our Broadway selections are fantastic too, including 100 Years of Broadway, a revue of some of the best songs from the last century. We're also excited to be presenting a special appearance by Preservation Hall Jazz Band and Del McCoury Band, two groups with true American music legacies. We really do have something for everyone."

There's more to come-additional 2010-11 events will be announced in the coming months, available to Friends of the Lied before the general public. As with the current season, events in 2010-11 are priced with families and students in mind. All performances feature student and youth prices that are half the price of, or less than half the price of adult tickets. Several events are priced at $10 for students and youth, and some at just $5 for students and youth.

For a complete list of the entire season, click here.

2010-11 performances go on sale to the Friends of the Lied on Monday, April 19 and then to the general public two weeks later on Monday, May 3. Online ticket sales also begin on May 3. Before this date, call or visit the Lied Center Ticket Office to purchase tickets. The Lied Center Ticket Office can be reached at 785-864-2787 or 785-864-2777/TDD or at http://lied.ku.edu/

Tue, Apr 20, 2010

For complete Theatre listings through 2010, click here to visit the KC Events calendar

The Oil Boiler Collective
The Boiler Oil
Runs May 7- 9 at The Living Room in the Pearl (1818 McGee Street, KCMO)
For tickets visit www.theoilboiler.com or https://www.brownpapertickets.com/event/108058.

In a secret nightclub run by assassins, who lives? Who dies? And what does God have to say about that?  Welcome to The Oil Boiler, the twisted tale of Leon Nesrac, neurotic hitman who has lost his mind and possibly his nerve.  In the moments after killing his lover, Leon converses with God about the nature of free will and his attempt to come to terms with the person he was, is, and will remain.

The Oil Boiler is a new one-act play with original music debuting in Kansas City at First Fridays in the Crossroads district.  Written by Tyson Schroeder and Christian Hankel with music by Hankel and Jeff Freling, it is the collaborative creation of local professional artists across the disciplines of theatre, music, and the visual arts. Staged on a set designed by award-winning architect James Pastine and visual artist Tyson Schroeder, the actors interact with and around a live jazz combo, puppets, a side show emcee and the omnipresent voice of GOD.

Showtimes: May 7 and 8 at 7:00 p.m. and 9:00 p.m. and May 9 at 7:00 p.m. for a special Service Industry Night performance.




The Coterie Theatre Elementary/Family Series
Frindle
Runs April 6 through May 23 at the Coterie Theatre, Crown Center Lower Level
For tickets call 816-474-6552 or online at www.coterietheatre.org
Call or visit the website for performance days and times.

Nicholas is ingenious.  In Mrs. Granger's language arts class, Nick gets his best idea ever when his teacher explains how words end up in the dictionary.  Nick decides to create his own word... frindle, and he gets other kids in the class to use the word.  Before long Nick's word creates a buzz well beyond his school and town.  But his teacher loves the dictionary, so a fierce power struggle ensues over a made-up word! 

Read the KCMetropolis review here. 



Kansas City Repertory Theatre
Venice
By Matt Sax & Eric Rosen
A co-production with Center Theatre Group
Runs April 9 through May 9 at the Copaken Stage, H&R Block Building
For tickets call 816-235-2700 or online at www.kcrep.org
Call or visit the website for performance days and times.

Matt Sax and Eric Rosen, creators of the phenomenal Clay, join forces once again to tell an explosive new story of struggle and redemption. Set in the not-too-distant future, Venice is the tale of two brothers who must lead a city out of a terrorist war. Though both are haunted by the memory of their mother, a leader of Venice whose call for peace was silenced in a massive attack on the city, one brother chooses to follow in his mother's footsteps and the other sets out to see his brother's plans undone.

An operatic story of war, love, treachery and the quest for peace, Venice boasts a powerful and highly original score of hip-hop, R & B, art song and opera that will make your heart pound. A cooperative effort with Los Angeles' Center Theatre Group, which originally commissioned Venice, this world premiere will rock Kansas City before heading west to its L.A. premiere. (Contains strong language & adult themes.)

Read the KCMetropolis review here

New Theatre Restaurant
Becky's New Car
By Steven Dietz
Starring John Davidson
Runs April 15 through June 20 at New Theatre Restaurant
For tickets call 913-649-SHOW (7469) or online at www.newtheatre.com/home.html
Call or visit the website for performance days and times.

To call John Davidson "a man of many talents" is to utter the understatement of the year. He has made a very successful career out of excelling in just about every form of entertainment there is. From Broadway to TV to movies and a dozen or so solo albums. John's talents prove him to be much more than just an incredibly nice, handsome man. And in BECKY'S NEW CAR, he's also very funny!

Becky Foster has a pretty good job, a pretty good husband and a pretty good life so when a charming, bumbling billionaire starts flirting with her, Becky is surprised that she allows him to believe that she is widowed.

Read the KCMetropolis review here

Theatre for Young America
The Monarchs of KC
Runs April 20 through May 15 at City Stage at Union Station
For tickets call 816-460-2083 or online at www.tya.org
Call or visit the website for performance days and times.

Two of Kansas City's nationally known performers, Lonnie McFadden and Danny Cox, will appear together in Theatre for Young America's The Monarchs of KC.

Baseballs were bouncing and jazz was jumping in the 1930's and 40's in Kansas City.  Step back to the glory days at 18th and Vine when every baseball player wanted to play bass and every bass player wanted to play ball!  This musical is produced to honor the Negro Leagues Baseball Museum.  

Quality Hill Playhouse
Lullaby of 42nd Street
Runs April 23 through May 23 at Quality Hill Playhouse
For tickets call 816-421-1700 or online at www.qualityhillplayhouse.com
Call or visit the website for performance days and times.

Harry Warren gave us the music for the show 42nd Street; we'll explore those songs plus others he wrote including "Chattanooga Choo Choo", "You Must Have Been a Beautiful Baby", "I've Got a Gal in Kalamazoo" and more. Featuring Lauren Braton, Molly Hammer, Julie O'Rourke and James Wright, with J. Kent Barnhart at the piano, Steve Lenhert on bass and Ken Remmert on drums.

Unicorn Theatre
And Her Hair Went With Her
Directed by Jacqueline L. Gafford
Runs April 30 through May 23 at the Unicorn Theatre
For tickets call  816.531.PLAY or online at www.unicorntheatre.org
Call or visit the website for performance days and times.

Wigs, weaves, and pop culture! Salon owner Jasmine and her radical assistant Angie dish the dirt on a salon of eccentric clients and discover how self-image affects us all. A wild range of women, personalities, hairstyles and trends emerge in this funny, poignant blowout of African-American sisterhood and identity. Another BOLDNEWPLAY from our In-Progress New Play Reading Series.


American Heartland Theatre
Dixie Swim Club
Runs May 7 through June 27 at Crown Center
For tickets call 816-842-9999 or online at www.ahtkc.com
Call or visit the website for performance days and times.

American Heartland Theatre presents the Kansas City Premiere of The Dixie Swim Club, May 7^th through June 27^th, 2010. Five Southern women, who were teammates in college swimming, reunite each year at the same beach cottage in North Carolina.  Free from men, children, and jobs, they laugh, catch-up, and meddle in each other's lives. As their lives unfold and the years pass, these women increasingly rely on one another, through advice and raucous repartee, to get through the challenges (men, sex, marriage, parenting, divorce, and aging) that life flings at them.  

The Dixie Swim Club is the newest "girl-friend" show to sweep the nation, playing in more than 45 theatres this spring alone.  "This play is easily the hottest show in the country right now," proclaims the Danville News.

American Heartland Theatre brings this hilarious and touching comedy, about friendships that last forever, to life with five great women of Kansas City theatre: Starring Cathy Barnett, Debra Bluford, Missy Koonce Jennifer Mays and Cheryl Weaver



Metropolitan Ensemble Theatre
The Light in the Piazza
Runs May 20 through June 6 at METspace
For tickets call 816-569-3226  or online at www.metkc.org
Call or visit the website for performance days and times.

Kansas City Musical Premiere!  Directed by John Staniunas - based on the celebrated novella by Elizabeth Spencer and set in the romantic cities of Florence and Rome, A Light on the Piazza tells the story of Clara Johnson, an American tourist who, in the summer of 1953 meets and falls for a young Italian man.  When Clara's mother learns of the affair, she vigorously opposes it for reasons which only gradually become known.  Lush, beautiful and courageous, A Light on the Piazza considers love as a many flavored thing.



For complete Theatre listings through 2010, click here to visit the KC Events calendar.

To be included in this column, you must have your event listed on the KC Events Calendar. Click here for instructions.

Tue, Mar 23, 2010

Women In Jazz:
A collection of portraits, artifacts and films showcasing seminal women jazz artists from Kansas City & beyond

Far too long, women have been written out of the history books.  Jazz venues and scholars have an obligation to strengthen the awareness of the many incalculable contributions women have brought to the music by showcasing their talents on stage, musing about their historical significance in text books and mounting meaning exhibitions spotlighting their images and personal artifacts.

To that end, the American Jazz Museum has proudly opened a groundbreaking exhibition, Women In Jazz: A Collection of Portraits, Artifacts and Films Showcasing Seminal Women Jazz Artists from Kansas City & Beyond.  The exhibit runs through May 30, 2010. Curated by Sonie Ruffin together with Geneva Price and the American Jazz Museum staff, this opening marks an important milestone as the first multi-dimensional exhibition from the archive collections at the American Jazz Museum.

Elements of the exhibit include commissioned portraits by noted Kansas City visual artist Janet Kuemmerlein.  Her work pays tribute to eleven celebrated Kansas City Women artists including Oleta Adams, Karrin Allyson, Queen Bey, Deborah Brown, Pearl Thuston Brown, Carol Comer, Angela Hagenbach, Lisa Henry, Marilyn Maye, Julie Turner and the Wild Women of Kansas City.

Priceless images and personal artifacts from the Museum's archives spotlight other seminal women jazz and dance artists including Mary Lou Williams, Julia Lee, Priscilla Bowman, Billie Mahoney, Betty Miller, Marsha Bland, Billie Holiday, Lena Horne, Carline Ray, Joanne Brackeen, Ella Fitzgerald, Sarah Vaughan, Melba Liston, Betty Carter, Shirley Horn, Abbey Lincoln, Anita O'Day, Cleo Brown, Carmen McCrae, Nancy Wilson, Toshiko Akiyoshi, Dorothy Donegan, Marian McPartland, Annie Ross, Gloria Lynn, Geri Allen, Nnenna Freelon, Alice Coltrane and Lil Hardin Armstrong. 

Women In Jazz also features rare film soundies from the American Jazz Museum's John H. Baker Jazz Film Collection along with recorded aural interviews and an exhibition text booklet with brief biographical support - soon to be released. 

These portraits, images, artifacts and films serve as fitting exemplars of the significance women have brought to the music.

To further highlight the far-reaching impact of women and their un-matched contributions, the American Jazz Museum will continue to host a series of public programs, conduct dedicated tours and launch its Women In Jazz National Initiative.  We hope you will make a point to visit the Museum and to experience, for yourself, why this exhibition is a fitting tribute to women in jazz.

Public Programs:
May 13, 2010 - 2:00 pm
Changing Gallery - American Jazz Museum
Women in Jazz Salon
An open, yet intimate discussion about your favorite women jazz artists, their barriers and accomplishments. Salon conversation with Geneva Price.

May 22, 2010 - 2:00pm
Atrium - American Jazz Museum
Marching on While Standing on Their Shoulders
Closing Session & Free Atrium Concert w/ Deanna Witkowski

With celebrated recording artist Deanna Witkowski live in concert and an all-star scholar panel including Dr. Tammy Kernodle (Miami University, Ohio), Dr. Sherrie Tucker (University of Kansas), Dr. Doris Wright Carroll (Kansas State University) and filmmaker Carol Bash (Paradox Films, NYC).  A special Stories from the Vine event moderated by yours truly.

Exhibition Hours: Tuesday - Saturday, 9:00 am - 5:30 pm; Sunday, 12:00-5:30 pm. Closed Mondays and national holidays. Free admission.  School tours available.

 All public programs are free and open to the public.  Donations of $10 to support education programs are welcomed.  For additional details and to RSVP for any of these public programs, please contact Glenn North at (816)474-8463, ext. 221 or for more information visit www.americanjazzmuseum.org

JAMMIN at the GEM SERIES

Bobby Watson and the 18th & Vine Big Band w/Ernie Andrews
Saturday, May 8 at 8:00 p.m.
Closing out the season "KC-style" is our town's very own 18th & Vine Big Band, led by Palmetto Recording Artist, renowned saxophonist and UMKC Director of Jazz Studies Bobby Watson.  The Big Band, which features a rotating cast of some of Kansas City's best jazz musicians, will be augmented by the rich, bluesy baritone of special guest vocalist Ernie Andrews.


For tickets to any of these performances call 816-474-6262 or online at www.ticketmaster.com
Gem Theatre
1616 E. 18th St., Kansas City, MO
For information call 816.474.8463 or online at info@kcjazz.org

By KCM Staff   Mon, Jun 16, 2008

Many thanks to ArtsJournal.com's editor, Douglas McLennan
~ Formerly an arts columnist and arts reporter with the Seattle
Post-Intelligencer and the Seattle Weekly. Doug writes on
the arts for a number of publications (in his abundant free time)
and is currently acting director of the National Arts Journalism
Program while it reinvents itself ~

*To sign up for ArtsJournal's content in newsletter form*
please click here

AJMusic  

---

---

AJDance 

---

---

AJTheatre 

---

---

AJPeople

---