Dance, Classical,
The weather may be frightful, but the music is so delightful
Music and Dance Preview through December 16
Once again the KC music and dance scene is overflowing with riches this weekend - and merits top billing. It is impossible to attend everything, but among the highlights are the elegant Tallis Scholars presented by The Friends of Chamber Music, the KC Symphony's annual holiday show ("How the Symphony Saved Christmas"), the Owen/Cox Dance Company's twisted version of "The Nutcracker," and the KC Chorale's always-gorgeous concert of holiday favorites. In addition, the Northland Community Chorus tackles Vivaldi's gorgeous Gloria, a perfect holiday choice.
If you're in the mood for something different, try the Fountain City Brass concert of Christmas tunes, or a most unusual take on Tchaikovsky, entitled A Kansas Nutcracker, performed by Lawrence's 940 Dance Company. If all of the holiday music offerings give rise to the "Bah, Humbug" in you, don't worry...there are a few non-holiday concerts to choose from, including pianist Boris Giltburg with the Harriman Jewell series (a free Discovery concert), and several fine-looking offerings from the UMKC Conservatory of Music and Dance.
Star Wars in Concert
Wednesday, December 9 at 7:30 p.m.
Sprint Center
1407 Grand Boulevard, Kansas City, MO
For tickets call 816-949-7000 or online at www.sprintcenter.com
We're not exactly sure this is "classical" music, but at this time of year the lines get pretty blurred because most traditional classic music organizations are performing holiday pops concerts, so we'll go ahead and blur the lines a little more and call the movie music of John Williams "classical" for purposes of this column. Besides, according to the publicity event this concert features a "full symphony orchestra and choir."
Williams' music for the Star Wars double trilogy of movies has become one of the great favorites, and in this concert you will not only hear the music, but see clips from the movies on a huge screen, a spectacular light show and performance as well. According to the publicity, "the live music and film elements are synchronized in order to create a full multi-media, one-of-kind Star Wars experience."
Accompanying the concert is an exhibit of Star Wars costumes, props, artifacts, production artwork and "specially created behind-the-scenes videos from the Lucasfilm Archives." The concert is narrated by Anthony Daniels, who somehow squeezed into that robot outfit as C3PO for all six of the movies.
UMKC Conservatory of Music and Dance
Conservatory Chamber Orchestra
Wednesday, December 9 at 7:30 p.m.
White Recital Hall
4949 Cherry Street, Kansas City, MO
Free admission.
Robert Olson will conduct the UMKC Conservatory's Chamber Orchestra in a program featuring Mozart's lovely "Posthorn" Serenade, the Serenade No. 9 in D Major, the Danses concertantes of Stravinsky, and a modern piece, Chain I, by Lutoslawski. If you need a break from holiday programming at this time of year, this concert would be an excellent choice, and you can't beat the price.
The Friends of Chamber Music
The Tallis Scholars
Thursday, December 10 at 7:30 p.m.
Cathedral of the Immaculate Conception
416 West 12th Street, Kansas City, MO
For tickets call 816-561-9999 or online at www.chambermusic.org
This listener recalls being first thrilled by the Tallis Scholars years ago while listening to KXTR radio during a morning drive, and hearing that wonderful otherworldly type of vocal music that seemed to come from all directions. It turns out that the singers were the Tallis Scholars, a group of elegant vocalists who take their Renaissance music very seriously. Borrowing its name from the Renaissance English composer Thomas Tallis, the group has come to personify the very best in Renaissance vocal performance standards. Their recordings are almost always best sellers of their kind.
Thanks to the patronage of The Friends of Chamber Music, Kansas City audiences have been able to enjoy the Tallis Scholars a number of times in recent years, and the Scholars' holiday program is always a special delight. In this program you will enjoy the music of Mosquin, Nesbett, Byrd and of course Tallis himself, celebrating the Christmas story as sung in Renaissance times. If you are looking for exactly the opposite of holiday kitsch, look no further. This is it.
Harriman Jewell Series
Boris Giltburg, pianist
Thursday, December 10, at 7:30 p.m.
Folly Theater
12th and Central Streets, Kansas City, MO
Free admission, but tickets required.
For tickets call 816-415-5025 or print your free ticket at www.harriman-jewell.org
The Harriman Jewell Series has a free series of concerts each year called the Discovery Series, but often the featured artists are just as impressive as the performers for whom audiences pay real admission. Earlier this year the Harriman Jewell Series presented one of today's most impression young coloratura tenors, Lawrence Brownlee, in a Discovery concert. This week it has enlisted Boris Giltburg, an outstanding young Russian pianist who is on every classical piano fan's "watch list" of up and coming stars of tomorrow. The 25-year-old will perform music of Chopin, Beethoven, Rachmaninoff and Prokofiev in one of the few concerts this week not to feature holiday music. The Apassionata sonata of Beethoven is especially anticipated.
UMKC Conservatory of Music and Dance
Conservatory Wind Symphony
Thursday, December 10 at 7:30 p.m.
White Recital Hall
4949 Cherry Street, Kansas City, MO
For tickets call 816-235-6222 or online at www.umkc.edu/conservatory.
Conductor Stephen D. Davis leads the Conservatory Wind Symphony in a series of pieces that range from classical to modern. The concert opens with Mozart's Serenade for Winds No. 10, the "Gran Partita," continues with Stravinsky's Octet for Wind Instruments, and includes the "Profanation" from Leonard Bernstein's Symphony No. 1, the "Jeremiah" Symphony.
Also on tap are two more recent numbers, Roger Nixon's Fiesta del Pacifico and the Commando March of Samuel Barber.
The Performing Arts Series at JCCC
Cantus
All is Calm: The Christmas Truce of 1914
Friday, December 11 at 8 p.m.
Yardley Hall, Johnson County Community College
12345 College Boulevard, Overland Park, KS
For tickets call (913) 469-4445 or online at www.jccc.edu
Cantus is an all-male chamber choir born at St. Olaf's College in Minnesota, an institution known for its outstanding music programs. The group's repertoire spans many periods and genres, including Gregorian chant, Renaissance motets, contemporary sacred works, art songs, world music, spirituals, and pop.
For this holiday program, the scene is the Western Front during World War I, on Christmas Eve of 1914. Out of the violence of the Great War's trenches comes a silence, then a song as a young German soldier steps into no man's land singing Stille Nacht. "Thus begins an extraordinary night of camaraderie, music, and peace," says the informational material for this concert. This program was created by Peter Rothstein with musical arrangements by Erick Lichte and Timothy C. Takach. "Through new arrangements of European carols and war-songs, All Is Calm recalls the remarkable World War I truce between Allied Forces and German soldiers in no man's land on Christmas, 1914."
Owen/Cox Dance Group with The People's Liberation Big Band of Greater Kansas City
The Nutcracker and the Mouse King
Friday, December 11 at 8 p.m.
Saturday, December 12 at 8 p.m.
Sunday, December 13 at 2 p.m.
H & R Block City Stage Theater at Union Station
300 West Pershing Road, Kansas City, MO
For tickets call 816-460-2020 or online at www.unionstation.org
One the spunkiest and most entertaining of Kansas City's dance companies is the Owen/Cox Dance Group put together by former Kansas City Ballet dancer Jennifer Owen and her husband, composer Brad Cox. This viewer enjoys the fact that the group always performs to live music, a welcome relief from those dance companies, particularly the ones on tour, that move only to recorded sound.
This holiday season, Owen/Cox is teaming up with others to bring "new life into an old classic." Don't expect the traditional Tchaikovsky sugar-sweetened version of E.T.A. Hoffmann's dark tale. Hoffmann, who had more in common with Edgar Allen Poe than Mother Goose, told a grim tale which Owen/Cox will explore, along with original music and "radical rearrangements of Tchaikovsky melodies."
Mark Southerland, Peregrine Honig, Peggy Noland and students from the Paseo Academy of the Performing Arts join the usual crowd in creating what is sure to be one of the more unusual dance experiences of the holiday season.
UMKC Conservatory of Music and Dance
Conservatory Wind Ensemble
Friday, December 11 at 7:30 p.m.
White Recital Hall
4949 Cherry Street, Kansas City, MO
For tickets call 816-235-6222 or online at www.umkc.edu/conservatory
Conductor Joseph Parisi will lead the Conservatory Wind Ensemble in a program featuring modern works, including Jennifer Higdon's Fanfare Ritmico, John Macke's Asphalt Cocktail, Michael Galdolfi's Vientos y Tangos and Jack Stamp's Symphony No. 1, In Memoriam of David Diamond.
William Baker Festival Singers
Candlelight, Carols and Cathedral
Friday, December 11 at 8:00 p.m.
Sunday, December 13 at 2:00 p.m.
Grace and Holy Trinity Cathedral
415 West 13th Street, Kansas City, MO
For tickets call 913-403-9223 or online at www.festivalsingers.org
The William Baker Festival Singers' holiday program, according to the publicity for this concert, features "a stirring set of Appalachian carols set for chorus and hammer dulcimer, works of English composers Kenneth Leighton and John Rutter, Russian works by Chesnokov and Gretchaninov, and favorite carols like Hark the Herald Angels Sing and O Come All Ye Faithful."
940 Dance Company
A Kansas Nutcracker
Friday, December 11 at 7:30 p.m.
Saturday, December 12 at 7:30 p.m.
Sunday, December 13 at 2 p.m.
Lawrence Arts Center
940 New Hampshire Street, Lawrence, KS
For tickets call 785-843-2787.
940 Dance Company, the Lawrence-based modern dance troupe, will perform its own "Kansas" take on the traditional Tchaikovsky favorite. According to Lawrence Arts Center, A Kansas Nutcracker tells the story of "Clara, a young girl whose family has settled in the Kansas Territorial community of Lawrence in the 1850s. At a holiday barn dance, Clara is charmed by her godfather, Drosselmeier, and his nephew. They arrive with magical toys for the children, and Clara falls asleep after the party dreaming of mice, toys, snow, grasshoppers and other inhabitants of the Kansas prairie." Hmmm. Grasshoppers on stage?
Performances take place over two weekends, so the production continues December 18 through 20 as well.
Kansas City Symphony
How the Symphony Saved Christmas
Saturday, December 12 at 2 p.m. and at 7:00 p.m.
Sunday, December 13 at 2 p.m.
Lyric Theatre
11th and Central Streets, Kansas City, MO
For tickets call 816-471-0400 or online at www.kcsymphony.org
For its annual family-oriented Christmas program, the Kansas City Symphony will serve up singing and dancing galore, with holiday favorites such as Jingle Bells, Santa Claus is Coming to Town, Rudolph the Red Nosed Reindeer and the like. If you are used to seeing tuxedoed and black-dressed players seriously dealing with the challenges of the classical orchestral repertoire, this concert is something completely different. Costumed characters, special lighting, and other effects will "make you feel like a kid at Christmas," according to the Symphony. And how exactly is it that the Symphony saves Christmas? Well, you'll just have to purchase a ticket to find out.
The Symphony's Christmas show will be led by Steven Jarvi, the associate conductor who is capable of much more serious stuff, a la the Symphony's series of chamber music concerts at Visitation Church, the latest concert of which was sold out last weekend. He also has a popular side, and will undoubtedly lead the forces with élan and panache. If those words are applicable to a light hearted holiday show.
Kansas City Civic Orchestra
Sounds of the Seasons
Saturday, December 12 at 7:30 p.m.
Atonement Lutheran Church
9948 Metcalf, Overland Park, KS
Free concert.
Details of this program have not been announced, but the Kansas City Civic Orchestra, one of the area's most talented community ensembles, usually presents challenging repertoire, so perhaps surprises await. The Atonement Lutheran Chorus will join the instrumental forces in this performance.
Fountain City Brass Band
A Fountain City Holiday Celebration
Saturday, December 12 at 7:30 p.m.
Bell Cultural Arts Center
Mid-America Nazarene University
2030 E. College Way, Olathe, KS
For tickets call 913-971-3636 or email at bellboxoffice@mnu.edu
The Fountain City Brass Band is a local brass ensemble directed by Joseph Parisi, a professor at the UMKC Conservatory of Music and Dance. The group has garnered many international awards, including three North American Brass Band championships and a U.S. Open Brass Band championship. It is resident at the Bell Cultural Arts Center at Mid-America Nazarene University in Olathe.
On December 12 the group will perform its annual holiday concert. The program has not been announced, but if Christmas isn't the season for brass music, what is?
Lied Center of KU
Straight No Chaser
A Vocal Celebration of the Season
Saturday, December 12 at 7:30 p.m.
Lied Center, University of Kansas
1600 Stewart Drive, Lawrence, KS
For tickets call 785-864-2787 or online at www.lied.ku.edu
Okay, we're not really sure this is classical music, but then a lot of so-called "classical music" organizations perform a lot of popular tunes around the holidays. So we'll let this one count. An organization called Straight No Chaser, a You Tube phenomenon described as an a capella singing group that is "is neither strait-laced nor straight-faced," will perform "perfectly-blended Christmas classics from their 2008 album, Holiday Spirits."
Heritage Philharmonic
Holiday Pops Spectacular Concert
Saturday, December 12 at 7:30 p.m.
Performing Arts Center at Blue Springs High School
2000 N.W. Ashton Drive, Blue Springs, MO
For tickets call 816-224-2890 (Theresa) or order by email at tickets@heritagephilharmonic.org
Music Director James Murray III and the Heritage Philharmonic have invited the Delta Woods Honor Choir to join in their holiday concert this year. The Honor Choir is under the direction of Shirley Atkinson. The concert is billed as feature "carols, choral works, and the fun holiday pops music."
Lee's Summit Symphony
Holiday Magic
Saturday, December 12 at 4 p.m. and 7:30 p.m.
Bernard C. Campbell Performing Arts Center
Lee's Summit High School
400 S.E. Blue Parkway, Lee's Summit, MO
Tickets available online at www.lssymphony.org or at the door.
The Lee's Summit Symphony performs its annual holiday concert twice on Saturday. In addition to performing instrumental versions of Christmas favorites, the Symphony will be joined by the Lee's Summit Community Chorus and the Lee's Summit Youth Chorale for a vocal program. In addition, dancers from Steppin' Out - The Studio, will perform choreography as part of the program.
Kansas City Chorale
Holiday Concert: A Ceremony of Carols
Sunday, December 13 at 2:00 p.m.
Redemptorist Catholic Church
3333 Broadway, Kansas City, MO
Tuesday, December 15 at 7:30 p.m.
Asbury Methodist Church
7500 Nall Avenue, Overland Park, KS
For tickets call 816-444-7996 or online at www.kcchorale.org
The Kansas City Chorale's holiday concert is always one of the most eagerly awaited events of this time of year. This year the Chorale will feature Benjamin Britten's beloved Ceremony of Carols, a collection of medieval Christmas texts beautifully arranged for chorus. The accompaniment is a single harp. Charles Bruffy is the director.
Northland Symphony Orchestra
Singalongs and Carols
Sunday, December 13 at 3 p.m.
Park Hill High School
4500 N.W. River Park Drive, Parkville, Missouri
Free concert.
The Northland Symphony Orchestra performs its annual holiday concert on Sunday afternoon at Park Hill High School. The concert will feature a variety of Christmas favorites, and will feature the children's choirs from Clardy Elementary School, Northview Elementary School and Prairie Point Elementary School.
Northland Community Choir
Holiday Concert
Sunday, December 13 at 3 p.m.
Graham Tyler Memorial Chapel at Park University
8700 NW River Park Drive, Parkville, MO
Suggested donation $10 per adult, children 12 and under free.
Another Northland organization scheduling a holiday concert at the same time is the Northland Community Choir, which will perform in the acoustically friendly Graham Tyler Memorial Chapel on the campus of Park University in Parkville. The choir will perform Vivaldi's Gloria, one of the classics of the Baroque repertoire. Many marvelous masses, Magnificats and cantatas have been written over the ages, but there are few pieces to challenge the purely joyous sound of Vivaldi's Gloria, making it a perfect choice for a not-quite-traditional holiday concert. Conductor Noel Fulkerson will lead the forces, as accompanied by Adam Hulstine.
Bach Aria Soloists
Holiday Hauskonzert
Sunday, December 13 at 7 p.m.
Private Home
Tickets available online at www.bachariasoloists.com
Tickets for the Bach Aria Soloists' elegant Hauskonzerts are often sold out, so this concert might be unavailable by the time this issue is published. But don't let that discourage you from at least trying, because the opportunity to hear some of Kansas City's most refined musicians in outstanding performances at beautiful private homes is something that doesn't come along very often.
For its holiday concert, the Bach Aria Soloists, led by the brilliant violinist Elizabeth Suh Lane, will perform seasonal masterworks from the pens of Bach, Vivaldi and Handel, plus traditional Christmas carols in classical arrangements.
Kansas City Ballet
The Nutcracker
December 16 at 7:30 p.m.
Also performed December 17 through December 27
Music Hall
301 West 13th Street, Kansas City, MO
For tickets call 816-931-2232 or online at www.kcballet.org
The Kansas City Ballet's annual production of Tchaikovsky's The Nutcracker actually doesn't start until the publication date of next week's issue of KCMetropolis.org, but since it comes up so quickly we thought we would mention it here to make absolutely sure you didn't miss it
The late Todd Bolender's choreography of the Tchaikovsky favorite is always a delight, and of course the music of Tchaikovsky is endlessly inventive and original; in this case, familiarity breeds anything but contempt. Expect colorful costumes, life sized animals, plenty of leaps and twirls, and acrobatic performances all around. This is an annual holiday delight for children young and old, and why not? It just seems we can never get enough of The Nutcracker, and fortunately the Kansas City Ballet has not lost sight of that important fact.
If you're embarrassed going without a kid, then grab one or two of the neighbors' children and head on down to the Lyric Theatre. You will have just as much fun as the children do.
KC Events this week and beyond
Click here to see all the events on the KC Events performing arts calendar.
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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.
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Theatre ,
The reincarnation blues
The finest social satirists from Voltaire and Jonathan Swift, to Lenny Bruce and Larry David, have found their own mediums to properly carry their messages of social inappropriateness. For Christopher Durang, the neurotically-charged playwright of the Catholic screed Sister Mary Ignatius Explains It All to You and the meshuggeneh family reunion The Marriage of Bette and Boo, the stage is a second home; his comedies put his (sometimes semi-autobiographical) characters in situations as absurd and frightening as an hour at a psychoanalyst's couch set up in a confessional. He knows his way around a stage, not as subtly or cynically as Wallace Shawn or as vituperatively or flamboyantly as David Mamet, but somewhere in the uncomfortable middle.
Durang's 2005 Miss Witherspoon at the Unicorn Theatre (co-directed by Cynthia Levin and Steven Eubank) is a minor play, but as an expression of futility mixed with humanity it rings full-throttle. A woman named Veronica (Jan Rogge) is first seen at home on the phone, talking to an anonymous someone about her depression; she is advised on pill-taking and listens with an edge of irritation, as though one too many talk-show hosts and best-selling experts have stuffed themselves into the closet of her mind. As she begins to make out a grocery list, a fuzzy spiked ball suddenly drops from the ceiling; then another and another, as a large Chicken Little bursts through the set claiming the sky is falling, as it turns out, indeed, it is: Veronica faces the audience to explain about Skylab (which when launched in 1973 was soon announced that it would be abandoned and eventually fall to earth on reentry). Her fear was that one large chunk would kill her, out of the blue: a Durang special. Yet, she reveals she killed herself sometime later (now, that is the real Durang punch-line). Why? Why not?
And so this middle-aged woman, lonely in life, learns how lonely the afterlife can be, or would be, if she could only get a moment's peace. The plot, already as scattered as a Scrabble board, goes for broke as Miss Witherspoon (as she is now called, from a poem her father speaks in one flashback: "You know that nursery rhyme, whither the spoon goes, whither the fork") undergoes one reincarnation sequence after another, led in some undeclared middle world by an Indian in a sari named Maryamma (Amy Urbina): why? Why not?
The various reincarnations - childhood, adolescence (where her mother abuses her), even a scene as a dog - pass too quickly and sketchily to amount to an epiphanic ending, like Proust at the winding-down of A la Recherche du Temps Perdu. Along the way, we learn Miss Witherspoon is actually resistant to all of Maryamma's overtures: neither religious relief nor personal second chances at happiness are considered by Miss Witherspoon. In one scene, as a baby, she wants the family dog to kill her.
This reversal of sorts on A Christmas Carol, with the Ghost of the Past and the Ghost of the Future colliding (when all Miss Witherspoon cares about was her present, when she was her own ghost), makes for gleeful, if fitful, theatre. Durang's many jokes and asides clear the stage like field goals: after having requested an audience with Saint Peter (who appears looking like Gandalf from The Lord of the Rings films), Miss Witherspoon tells Maryamma, "Look, I was thinking. I don't want Saint Peter. I want to go to the Jewish heaven which is like general anesthesia."
Durang's notion of anti-bliss (Miss Witherspoon says how grateful she killed herself before 9/11: how to deal with that on top of ordinary misery?) has a slick patina of jus'-kidding that negates all the negativeness we are supposed to rally around. Here, Durang makes Beckett seem like Oprah; yet, in Beckett's oeuvre the comedy rises with bleak certitude. Durang's idea about rejecting spiritual help needs to be more sharply drawn, like the Sixties film Bedazzled with Peter Cook as the Devil and Dudley Moore as Stanley, a short-order cook whose three wishes keep being nixed on some technicality. At the end, Stanley is back where he began and not necessarily the happier, though enough to defeat the Devil. Durang's play tosses off aphorisms just as if Camus and Sartre were comedy writers making existentialist one-liners, rather than exposing themselves to real pain.
As the unhappy dead woman, Jan Rogge, a veteran of area productions, shows the proper confusion and disillusionment. Amy Urbina makes a cheery ethereal figure, and Matthew Rapport, Helen Gonzalez, and Dina Kirschenbaum fill out the rest of the characters with enthusiasm. The star of the play, though, is Christopher Durang, a sometime actor. It is hard not to visualize him in the role of Miss Witherspoon; he knows kvetching when he sees it. Apparently, death is no end when it comes to complaining.
REVIEW
Unicorn Theatre
Miss Witherspoon
Co-directed by Cynthia Levin and Steven Eubank
Runs December 4-January 3, 2010 (Reviewed Sunday, December 6, 2009)
Unicorn Theatre
3828 Main St., Kansas City, Mo. 64111
For tickets call 816-531-PLAY or online at www.UnicornTheatre.org
Top photo: Cast members Miss Witherspoon (Jan Rogge) and Maryamma (Amy Urbina). Photo by Cynthia Levin.
KC Events this week and beyond
Check out all the events on the KC Events performing arts calendar.
How do you list your events on KC Events?
As an arts organziation or musician, you now have the ability to 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:
Classical Music
New Classical Music
Dance
Theatre
Jazz
KCMetropolis.org heavily depends on KC Events to build an editorial calendar for reviews, previews and interviews. If your events are not listed, we may be unaware of it...
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.
Classical,
Retro confection: "Fruitcake" is yummy
It was "two, two, two concerts in one" last Friday night at the Folly Theatre. The Heartland Men's Chorus looking polished in blue vests, bow ties and boutonnieres sang a traditional carol program in the first half, followed by....wow. Keep reading.
Never having been to a HMC concert before, I wasn't sure what to expect. The first half was pleasantly predictable. Sounding a bit like the Harvard glee club, the all male chorus, accompanied by cello, harp and grand piano presented well sung traditional arrangements of songs for the season. The Morten Lauridsen piece Ave Dulcissima Maria was particularly lush and well blended and the Three Hanukkah songs arranged by Charles Baker sounded strong and heroic.
The Holly and the Ivy was "conducted" by Bobbi Schreiber who had the highest bid for the honor at the HMC annual fundraiser, A Dinner of Note. In a stunning, sparkly red shirt, she waved her hands in an adorably inaccurate two pattern, confusing the Chorus in a delightful way. Conductor, Dr. Joesph P. Nadeau had better luck with this group he so expertly prepared. Special mention must be given to sign language interpreter, Rick McAdams who uses his hands, face and body in an engaging, musical way.
When the Chorus rolled out a kitchen set complete with the late Julia Child (played to perfection by Ron Williams) I knew I was in for a treat. Concocting the fruitcake from a special recipe for holiday cheer, Julia occasionally sipped from an oversized wine glass. The tasty piece Fruitcake by Hageman and Leka, was a fascinating mix of musical ingredients sung by the different sections of the Choir, overlapping in cannon. Sung together with Christmas is Delicious and It's the Most Fattening Time of the Year, I ate it all up with a spoon.
It wasn't until the second half, when the scrim descended and a cozy living room complete with chandeliers and fireplace was projected, that I realized I had been transported into a 1970's Christmas Special.
The Very Special Christmas Special was a clever amalgamation of some of the weirdest retro Christmas variety show moments. Narrator, Tom Lancaster, played the surprisingly well adjusted Bernard. Growing up in Los Angeles, the product of a Hollywood divorce, he spent too much time watching old Christmas Specials on VHS while drinking mint juleps with his screenwriter mother. This premise links all of the wonderfully silly pieces that make up the second half. Who but the Heartland Men's Chorus could assemble 12 people capable of recreating the voices of John Denver and the Muppets so perfectly? Standouts from this half included Miss Piggy (Anthony Francisco), Bing Crosby (Keith Wiedenkeller), and Princess Leia (Kelly Marzett).
The oddest part was hearing Handel's Alleluia Chorus sung over fuzzy footage of Dynasty divas Krystle and Alexis, as they beat the bejeebers out of each other. Explained as, what happens when you try to tape the Mormon Tabernacle Choir over an old episode of Dynasty, the effect was surreal. Maybe that was pushing it a little far but I appreciate artists who aren't afraid to take risks.
Overall, the concert offered audiences the best of both Christmas worlds, traditional and wacky retro. I wish I could go back for a second helping. Fruitcake never tasted so good.
REVIEW:
The Heartland Men's Chorus
Fruitcake
Reviewed December 4, 2009
The Folly Theatre
12th and Central, Downtown Kansas City, MO
for more information visit www.hmckc.org
Top photo: Tom Lancaster as "Bernard."
Theatre ,
A few honest moments of Christmas
There are few shows in the area that accurately capture the spirit of Christmas. Some are too commercial. Some too somber. In this day and age, it's difficult to find entertainment that truly touches the heart. A Spectacular Christmas presented by Musical Theatre Heritage at the Off Center Theatre may just be one of those rare gems. Don't be misled by the name. This show contained neither spectacle nor grand display. There are no glittering ten foot tall Santas or rows of smiling chorus people. But what it lacked in spectacle, it made up for in authenticity.
Sure, I may be biased. I think MHT's founder and executive director George Harter has impeccable taste in music. I've been a fan of his radio program "A Night on the Town" since the sixth grade. He chose some great songs for the show, some great songs that are shamefully underplayed on the Christmas radio stations. Great songs with a decided bent towards film and show tunes, incidentally what Harter does best.
The actors used their own names, and the first act took place entirely in Harter's "home." Apart from some slight exaggeration for the stage, the performers played themselves. The set held a piano, a couch, a worn rug and a few lamps and chairs. Harter spent much of the act decorating the Christmas tree as everyone showed up at his house for a pre-show party.
In this act, Izzie Baldwin, a very talented singer and performer out of Stephens College, sings about Taylor the Latte Boy, who gave her extra foam in her coffee. Mandy Morris bursts into the room with gusto and sings about being Rich, Famous and Powerful. James Wright, prolific local performer with a new CD flying off the shelves, tells a story about his daughter at Christmas. The cast did some caroling amongst the audience, where Adam Branson, another talent from Stephens College, did a warming rendition of O Holy Night. Even MHT's marketing director Chad Gerit appeared and sang a number. All the while, Harter was quizzing the performers and sharing factoids about the songs.
Act two was "the show" the cast had prepared for in the first act, presented in the format of a radio variety show, with songs, stories and surprise performers. Decidedly more formal than the first act, it provided a nice contrast to keep the audience engaged. Piano player Jeremy Watson dazzled the audience with Linus and Lucy and James Wright did a killer Bing Crosby impression. The high point of the entire show was Harter's story about the angel ornaments he had as a kid. This story was told without ceremony, but was more beautifully honest than any performance piece could have given.
Let me try to sum up what I took away. To me, Christmas is not the dancing Santas, the decorations or singing the same holiday songs over and over again. Christmas is in the stories we all share, and the memories we have from when we were younger. It's in realizing that the few moments of genuine Christmas that we share with family and friends are worth all the commercialism and hype. This show made me feel that. And that's all I can ask.
REVIEW
Musical Theater Heritage
A Spectacular Christmas
Runs December 3-20, 2009 (Reviewed December 4, 2009)
Off Center Theatre, Crown Center
2405 Grand Boulevard, Kansas City, MO
For tickets call 816-842-9999 or online at www.mthkc.com
Classical,
KC Civic Opera revives a holiday favorite
Bells intoned and three brilliantly dressed women holding flaming glass orbs, walked down the main aisle of St. Paul's Episcopal Church this past weekend and to the altar. Their bright soprano voices rang against each other as they ascended to their position. When they raised their arms, a blinding golden gleam made it perfectly clear that they were the one, tripartite star.
The KC Civic Opera's production of the liturgical opera The Wise Women by Conrad Susa is rife with three's. Three wise men, three wise women, three women making up the star, the holy family, the trinity...it is all part of the symbolism of the holy season. Director Linda Ade Brand, Conductor Robert Pherigo and Producer David Adams are a winning trio, themselves, choosing to revisit this opera at a time when other Kansas City holiday traditions were going by the wayside.
In this version of the Christmas story, it is the women, not the men, who interpret the scripture accurately. The men are looking for an adult King and the women know he is a baby. It is refreshing to hear a female perspective. There is something very holy about babies, having been so recently near God.
Susa's take is beautifully human as he represents not only both genders but men and women in different times of their lives. There is the Maiden, sung innocently by Kristen Sullivan, Rachael Priest as the good wife who gave the role a robust vigor, and the Crone played by Sarah Young who not only sang the role amazingly well but inhabited her character completely.
The wise men, Youth (Kevin Westring) Husband (Michael Lanman) and Old Man (Phil Eatherton) sang well individually but really shone as a trio. Their voices were so similar that their ensemble parts completely melded.
The 'Glorious Star' was gloriously sung by Jan Duncan, Katie Woolf and Diane Robertson. Mary, Queen of Heaven was played by Sylvia Stoner looking a bit like Glinda the Good Witch of the North, but sounding completely like her own splendid self. The large chorus of Shepherds and children, some dressed adorably as sheep, sang and "baahed" with unabashed enthusiasm.
The audience participated in the performance by singing the hymns that lead processions, and children are invited to come up to the stage and see the Baby Jesus, played to peaceful perfection by real baby, Issac Andrews. Like an 'environmental' play, some action occurred behind the audience as well as on the stage, and the audience was encouraged to "rubberneck" so as not to miss anything. Unfortunately, sight reading the hymns took all of my attention away from the colorful action coming down the aisle, so I do feel as though I missed some of the spectacle.
A perfect ending to The Wise Women was when the final hymn of praise quietly died away as the singers filed out of the sanctuary, leaving the audience in the quiet space, with candles lit and the ornate stained glass windows glowing. Three bell tones released the spell.
The Wise Women was a perfect multi-generational experience of the Christmas story. The costumes were stunning and the accompaniment of organ, harp, hand bells, guitar, flute, percussion and piano was well performed. With this excellent script, score and singers the Kansas City Civic Opera welcomes in the Christmas season with arms wide. Too bad there were only three performances.
REVIEW:
Kansas City Civic Opera
The Wise Women
by Conrad Susa
Directed by Linda Ade Brand
Saturday, December 5th at 2:00 p.m.
St. Paul's Episcopal Church
11 East 40th Street, Kansas City, MO
for more information www.kccivicopera.org
Top photo: The 'Glorious Star' portrayed and sung by Jan Duncan, Katie Woolf and Lena Andrews
Theatre ,
"A Christmas Story" has Broadway on its wish list
Opening night of the Kansas City Repertory's A Christmas Story. The Musical! was abuzz with anticipation for the show that, while still in previews, reportedly had "surpassed revenue for the entire run of last year's production of A Christmas Carol." Being a loyal, annual fan of the 1983 movie on which the musical is based, I had been looking forward to the show, going so far as to scream "a Red Ryder BB gun with a compass in the stock!" every time my kids asked me last week what I wanted for Christmas. I guess I find it reassuring to know that there are still new things that can bring out the kid in all of us.
Newness is generally a good thing, and on the topics of success and failure Bill Cosby reportedly once said, "I don't know the key to success, but the key to failure is to try to please everyone." James Russell Lowell contributed that "low aim, not failure, is a crime." So after 29 years performing A Christmas Carol, Eric Rosen, in only his 2nd full season as the Rep's artistic director, deserves a theatric medal of valor for breaking with three decades of tradition to stage this new musical.
Now, ignoring my objective responsibilities for a moment and reporting on the performance based solely on audience reaction, this was a resounding success with countless "YEAHs!" and "BRAVOs!" and standing ovations. But returning to critical reality, it pains me to report that the production fell short in a number of important areas. Given that there is plenty of solid material to work from in the iconic 1983 movie source, I'm confident that the shortcomings can be addressed successfully with modest re-workings. But 'as is,' I felt that it was far from being Broadway-ready.
But 'low aim' and attempting to 'please everyone' could have kept Les Miserables, The Phantom of the Opera or Spring Awakening from making it off their storyboards. To that point, a one billionth interpretation of A Christmas Carol was unlikely to shed any new light on the dog-eared classic. My esteem for Mr. Rosen therefore rises only higher - regardless of my feelings for this show. Bravo, Eric, for aiming; bravo for not pleasing everyone. This kind of energetic adventurism is just what the arts community needs.
Unfortunately, the show opened with a proof of the axiom "there is no second chance to make a good first impression." It might have faired better had it been quickly followed by something musically redeeming. But it was not. Through the first five numbers the music was disappointingly bland. To be clear, I am not talking about the performance of that music - the actors pulled it off quite well. Compositionally, however, it left much to be desired.
It wasn't until Take That! - the scene where Ralphie (Zachary Carter Sayle) imagines saving the world from (literally) lions and tigers and bears (and pirates and gangsters) - that any recognizable degree of musical energy emerged. It was a very upbeat number with multiple characters on stage, and as a microcosm it was an entertaining production in itself. A forgettable Secret Decorder Pin Jingle interjected, but was followed by one of the two best songs and performances of the show. A Major Award, sung by John Bolton (Ralphie's father, "The Old Man"), was a whimsical number with a catchy tune and an excellent delivery by Bolton (who, as the play continued to progress, grew on me more and more). I' 'Uck! followed with Aaron Dwight Conley singing the lyrics ('I'm Stuck') with his tongue staying in touch with the flag pole prop. It was a remarkable feat that he was able to deliver the song with legible diction. Act One closed with Oops, I Forgot and Oh, Fudge! For me, 'Fudge' lost some of its impact with its treatment by the entire ensemble. I think a more subdued staging would have had a better effect to bring the Act to a less bombastic close before intermission.
Act Two was the fortunate recipient of what little momentum carried through from Act One, but the music (again, compositionally) didn't fare much better. After the Entracte and two reprises, four more mediocre songs followed before arriving at Calm Down, which was the gem of the evening. Here, Ralphie's "Mother" (Anne L. Nathan) sings to him after a scene where Ralphie loses it and beats the stuffing out of "Scut Farkus" (Troy Doherty). It is a gentle, lullaby-like serenade with a strongly composed melody and a touching delivery by Nathan. It was reassuring to hear the level of compositional quality of which Richards was capable, and this made me optimistic that some reworking and rewriting will result in a much more solid, Broadway-ready production. Space makes it difficult to discuss the rest of Act Two in any significant detail, and, frankly, the return to mediocre compositions in the final six numbers makes it unnecessary.
I liked that the musical preserved the storytelling structure of the movie. Narrated by the solid 'radio show' pipes of James Judy, at the opening curtain "Jean Shepherd" (Judy) is reflecting back, from a 1966 radio show booth, on the infamously frigid winter of 1939 and the escapades of one Ralphie Parker. Jean Parker Shepherd, in reality, was the co-author of the original movie, which was, in turn, based on his book In God We Trust, All Others Pay Cash. It is Shepherd's voice that narrated the 1983 movie.
John Bolton's portrayal of Ralphie's Father ("The Old Man") is a masterful creation, thanks in part to his Buster Keaton-like command of facial expressions. He nails the pervasively pessimistic, daily-grind melancholia of the character while also allowing a glimpse beneath the surface at a guy who is really a sentimental softie when it comes to his family. His daily battles with the furnace and the neighbors' dogs are well-preserved and funny. Anne L. Nathan, as Ralphie's "Mother," portrays a confident yet dutiful 1930s housewife and she shines, in particular (as mentioned previously), in her delivery of Calm Down.
I sensed that the role of Ralphie could have been better cast, but Zachary Carter Sayle nevertheless delivered a believable performance, and in the scenes where he is wearing his winter hat, he was a dead ringer for Peter Billingsley's Ralphie from the original movie. Personally, I thought that Jake Bennett Siegfried quietly stole the spotlight as Ralphie's brother, "Randy." Rounding out the children's kudos, Alexiya Lourdes Mendez was a real stunner as "Mary Beth." Other whimsical stage ploys added visual and comic fodder, including the bevy of miscreants and woodland creatures in Take That! and the on-stage dog-barking talents of ensemble members. Lighting and set design were creative and visually engaging, although the latter was occasionally a bit overwhelming (in the aforementioned "Oh Fudge," for example).
A Christmas Story may not be perfection at this point, but didn't shoot its own eye out, either. It likely has already 'succeeded' at the box office, given its preview ticket sales, but beyond that I am certain that a little 'back to the drawing board' review will be a necessity to take it to Broadway.
REVIEW:
Kansas City Repertory Theatre
A Christmas Story - The Musical!
Directed by Eric Rosen
Runs November 28 - January 3, 2010 (Reviewed Saturday, November 28, 2009)
UMKC's Spencer Theatre
3939 Cherry Street
Kansas City, MO 64110
For tickets call 816-235-2700 or online at www.kcrep.org
Cover photo:
Katie Kalahurka (Elf), Orville Mendoza (Elf), Patrick DuLaney (Santa), Zachary Carter Sayle (Ralphie). Photo by Don Ipock.
Theatre ,
Giving thanks for small blessings
How crazy would a man have to be to settle with his wife, baby and two daughters under the age of 11 in Indian Territory with only their old dog Jack and a rifle for protection?
In the Coterie Theatre's new production of Little House on the Prairie, big questions are asked. Is it right for the white settlers to claim Indian land? What are the Indian's rights in a new America where white men make the laws? What is it to be civilized? How do we learn to get along?
Director, Rick Averill and his real wife Jeanne step into the roles of Pa and Ma Ingalls and into the past. Averill has been a writer, producer, composer and actor for numerous children's' productions. He has a talent for making great theater out of very little and as the artistic director of the Seems to be Players in Lawrence; he has delighted generations of eastern Kansans. In this production, Averill brings his down home, bluegrass brand of heartwarming Americana to Pamela Sterling's adaptation of the novel. Complete with fiddles and an acoustic guitar strolling through the audience the production has a flap-jack wholesomeness that belies it's more serious undertones.
Kids get to nestle right up to the low stage at the Coterie. There is an immediacy to their experience as they feel the stage shake during dancing and watch the workings of the spinning disk imbedded in the stage that the singing dog, Jack, played enthusiastically by Martin Buchanan, moves with a subtle slight of "paw". The disk moves the covered wagon 360 degrees offering the audience different perspectives of the action, from the front seats to the back of the family "van". 
Mary and Laura are just like any other kids in history, they get tired, they whine. Yet they understand their role in the survival of the family. In one of the many poignant parts, the girls are thrilled with nothing more than a tin cup, a few sweets and a penny in their Christmas stocking. Glancing at the small faces surrounding the stage, there was more than one expression of shock from the young audience. The roles are double cast and Saturday's matinee presented Chloe Wells as the spirited Laura and Katie Hall as the mild Mary. They were the perfect sweet-faced sisters.
Alex Haynes and Keenan Ramos with their shaved heads, authentic costumes and passionate intensity were 100% convincing as Osage Indians. Speaking French, Ramos' character could not have appeared more other-worldly to the simple Ingalls daughters. Also playing the African-American doctor who saves the family from a bout of malaria, Ramos demonstrated his range and actability.
Ma and Pa Ingalls were young and idealistic settlers in their 20's when they set off in search of their place in the world. In terms of casting, the young couple; Mr. and Mrs. Scott played by Nicholas Gehlfuss and Rachel Hirshorn might have instilled that wide-eyed optimism of a new family better than the seasoned veterans for this production.
Yet, Jeanne Averill does have the quiet strength that strives to civilize her daughters while cultivating the land. Her speech about not liking Indians because they are savage and then symbolizing her civility with a china figurine, brought the cultural differences between Indians and settlers into dramatic relief.
Education is one of the Coterie Theatres strongest suits. This production was no exception. If you are a teacher I strongly encourage you to check out their website for well-designed and developed lesson plans with support material for this performance. Anyone is able to access this information online. Kudos to Megahnn Henry and Nancy Marcy for their extension materials.
In this challenging season of rampant consumerism in an economic depression, a trip to the Coterie can offer children a historical perspective of what life was like, here in the Midwest, just over 100 years ago. The importance of family and friends to survival should not be overlooked even today as we give thanks for all of our small blessings.
REVIEW:
Coterie Theatre
The Little House on the Prairie
Runs November 3 - December 29, 2009 (Reviewed November 21)
The Coterie Theatre,
Crown Center, Kansas City, MO
www.coterietheatre.org
Top photo: Laura (Chloe Wells, left) meets up for the first time with Soldat du Chene (Keenan Ramos) while Ma (Jeanne Averill) holds her back in the Coterie's Little House on the Prairie.
Theatre ,
My heart finds Christmas
"This show is about light," says director J. Kent Barnhart. "And about Christmas, about all of the different meanings it has for each one of us." Last Monday evening at Quality Hill Playhouse, four talented performers presented "Christmas in Song". The cast had just finished a rousing chorus of "Let There Be Light" and Barnhart was preparing the audience for the next few numbers. Some were traditional carols, some were obscure, but all were unique and performed beautifully.
Barnhart himself played the piano (very enthusiastically), and sang along with Cary Mock, Elaine Fox and Amy Coady. He also provided short breaks between the songs to tell a story, or crack a joke. More often than not, he would let us know what songs were coming up, and maybe a story or some background on the pieces. It reminded me very much of a choral concert, with a wisecracking conductor. For example, he quipped, "A lot of people say it isn't really Christmas until they come to this show. I guess for this audience, it isn't really Thanksgiving."
Elaine Fox has a beautiful classical voice, which is no wonder since she has performed in operatic roles all over the country. Her duet with Amy Coady on the "Silent Night/O Holy Night" combination was stunning. I heard a gentleman behind me whisper, "That was beautiful," as the number was ending. Her second act song, "God Bless My Family" was tremendously powerful; there was hardly a dry eye in the house.
Cary Mock is a newcomer to Quality Hill, but well known on the KC Theatre scene. He was a good addition to this show. In the first act, he performed a rousing piano duet of "God Rest Ye Merry Gentleman" with Barnhart, proving that he is also a quite a good piano player. In act two, he showcased his voice with "A Place Called Home" from "A Christmas Carol".
Amy Coady, returning from New York for the Christmas season, completes the quartet. Listening to her provided this reviewer with some gratifying moments. For instance, her second act solo, "The Bells of St. Paul," was lovely. I also enjoyed her jazzy duet with Barnhart on "A Cradle in Bethlehem/When the River Meets the Sea".
The Quality Hill Playhouse's newly renovated space is cozy. The set designed by Atif Rome, was simple and elegant. A Christmas wreath, a few garlands around windowed flats and a grand piano center stage. It felt homey without overwhelming the viewer with too many decorations. The costumes were functional, but I would have liked the first act formal wear to be a bit more cohesive. The second act sweaters were suitable, and looked very well together on stage.
Lighting provided transitions between the songs, and I really appreciated the varied lighting and blocking, which made each moment different. There were a few lights that seemed brighter. For example, Barnhart's was brighter than Coady's in "When the River Meets the Sea". There were also a few strange shadows, especially on tall Cary Mock at the end of the show. But all in all the mood lighting complimented the songs well.
Before the last number, Barnhart encouraged the audience to keep Christmas in their hearts all year round, just as Charles Dickens' "Christmas Carol" teaches. "Do something in June," he jokes. Then he becomes serious again. "Some of the best theatre moments I've had, have been ones where I leave wanting to be a better person." He hopes that "Christmas in Song" inspires audiences in just the same way.
REVIEW
Quality Hill Playhouse
Christmas in Song
Runs November 19- December 27, 2009 (Reviewed November 23)
303 W. 10th St., Kansas City, MO
For tickets call 816-421-1700 or online www.qualityhillplayhouse.com
Top photo: Classic Christmas carols, contemporary favorites and songs from the musical version of A Christmas Carol with Elaine Fox and J. Kent Barnhart.
Theatre ,
Christmas is "On the Air" at AHT
Christmas lights and garland decorate the American Heartland Theatre lobby, leaving no doubt of the impending Holidays despite the warm November evening. Regardless of the temperature, and with cocktails in hand, expectant patrons sported quilted Christmas-themed purses, rhinestone-adorned red sweaters and tweed jackets as they made their way to the parking garage stamper beside the Christmas tree. As guests entered the theatre, they were greeted by cast members in character who invited them "into the studio" and busied themselves in readying the radio station for the evening's "broadcast" of It's a Wonderful Life: A Live Radio Play.
With its cast of entirely local actors, Frank Capra's classic tale about George Bailey was uniquely delivered through a 1946 live radio broadcast of the familiar It's a Wonderful Life - a performance within a performance. Audience members were transported through time to a small town Kansas radio station getting ready for the big Christmas Eve show. On Air/Applause signs dotted either side of the stage to which patrons excitedly responded when prompted to clap. Sarah Oliver's costume design sold the period with saddle shoes, smart hats and lots of sass.
Seasonal musical pieces performed by the company filled the theatre with warm and festive Holiday cheer. The radio performance itself was so believable that one felt a member of a radio audience, only remembering occasionally that this was a performance.
Ken Remmert's delightful and expert radio sound effects and period-appropriate props, such as a functioning box and wire glass-smasher (George and Mary throwing rocks at the old house they will eventually buy ) completed the package and entreated laughs throughout. Tim Scott (Jake Laurents the radio voice as George Bailey the character) and Natalie Weaver (Lana Sherwood) stood out from a large and extraordinarily talented cast.
The classic theme of Clarence the second-class angel trying for his wings saving suicidal George's soul comes to life in this completely fresh and fun story-within-a-story performance. American Heartland's It's a Wonderful Life: A Live Radio Play is the perfect Holiday treat for children of all ages.
REVIEW
American Heartland Theatre
It's a Wonderful Life: A Live Radio Play
Runs November 5 - December 27, 2009 (Reviewed: November 11, 2009)
Crown Center
2450 Grand Boulevard, Kansas City MO
For tickets call 816-842-9999 or online www.ahtkc.com
Theatre ,
Taffeta for the Holidays
In old town Olathe hides one of the metropolis' hidden treasures - the Chestnut Fine Arts Center. For the holiday season, the Chestnut is presenting "A Taffeta Christmas." a musical revue that features Christmas songs and golden oldies.
Cheryl, Donna, Peggy and Kaye are the Taffeta sisters. They have returned from the big city to their hometown of Muncie, Indiana in order to perform at the "Holiday Hoedown..." And that's about as far as the plot goes - this show is ALL about the music. The sisters do take a few moments to tell us about their family traditions and to advertise for Galaxy Beauty Products, their fictitious financial sponsors. Although it didn't start with a bang, the show was cozy and welcoming. While tapping my toes to "Mele Kalikimaka" and "Jambalaya", I realized all I was missing was a mug of cider and a roaring fire.
My favorite moments were the silly ones. "I Saw Mommy Kissing Santa Claus" was performed in pig Latin, complete with a pig-illustrated flipbook. The "Chipmunks Christmas Song" sounded just like Alvin and pals, triggering a round of giggles from the audience. During Act 2, the girls answered fan mail and interacted very cleverly with the audience.
Julie Shaw, Julie O'Rourke, Stasha Case and Christina Brewer played Kaye, Peggy, Donna and Cheryl, respectively. The ladies are reprising their roles from "The Taffetas", performed two years ago at the Chestnut. Their voices blended extremely well. Shaw's full, rich voice was well suited to theatre, and I would love to hear her sing a solid character role. O'Rourke has a lovely classical voice, and I giggled a bit each time she said her character's catchphrase "We hope you like it!" Case's Donna was vibrant and fun to watch, and her solid alto voice was beautiful. Brewer's voice is energetic, and she brought a youthful honesty and vitality to the show.
The set, designed by Kathleen Helming and built by Marvin Zimmerman, was all red velvet and Christmas decorations, and reminded me of a Branson holiday show. Costumes, by Serena Addington and Carolyn Robinson, were color coordinated, and meant to look hand sewn by the sisters. The first act wigs were adorable, and each pair of gloves had little flowers sewn onto them. The girls changed their cuffs, collars and wigs in the second act for a bit of interest. The only comment I will offer is that I wished the ladies had a more feminine blouse.
Annie Paglusch choreographed the show, making each number interesting and different. My favorites were "Constantinople" and "Shrimp Boats". The band consisted of percussion, bass guitar, and piano (played by director Brad Zimmerman).
I thought the show I started rather slowly, and it took me awhile to get in sync with it. It seemed like the performers' energy picked up after a "fun" song. And after that, I was laughing and toe-tapping along with the rest of the crowd. I must comment that two straight hours of music is a lot for the ears to digest, so I was grateful for the short breaks between medleys. But all said and done, it was an enjoyable evening of holiday entertainment.
REVIEW
The Chestnut Fine Arts Center
A Taffeta Christmas
Runs November 12 - December 20 (Reviewed November 13)
234 N. Chestnut, Olathe, KS 66061
For tickets call 913-764-2121 or online at www.chestnutfinearts.com
Film,
"Precious" is dark reminder of America's problems
America is supposed to be a shining beacon of hope to the world, but the emotionally intense drama Precious, with a memorable performance by newcomer Gabourey Sidibe, reminds us that there are plenty here at home whose American dream is a hellish nightmare instead.
The setting is 1987 Harlem and obese, 16-year-old Clarieece "Precious" Jones (Sidibe) dreams of being on BET and magazine covers. In fact, every time she faces a stressful situation, she turns to her glamourous fantasy world. The trouble is that she has to resort to this a lot.
Precious is pregnant with her second child, the result of rape by her father. She's smart ,but her reading capability is below junior high level. Her lazy, welfare-addicted, racist mother Mary (Mo'Nique, TV's The Parkers) is emotionally and physically abusive. At one point Mary even tells Precious that she wished she had aborted her.
Thanks to the principal at the public school she is expelled from, Precious is enrolled into an alternative program where she receives one-on-one interaction in a literacy class from a caring teacher, Ms. Rain (Paula Patton, Deja Vu). But there isn't a silver-lined climax that smells like roses. Life will continue to be hard for Precious, only in a different way.
It is uplifting to watch Precious slowly improve herself through the all-girl special class she attends, and Ms. Rain is a heroic character for her extra efforts, however, the bonding between the initially hostile students and their teacher, plus their academic progress, is boringly predictable(see Blackboard Jungle, Dangerous Minds).
Precious has become a critical darling and at Sundance this year it won three awards, including a Special Jury Prize for Mo'Nique's performance. It also received five Independent Spirit Award nominations, including best supporting female for Mo'Nique and best female lead for Sidibe.
In a truly surprising dramatic turn, Mo'Nique brings to life one the most despicable mothers ever portrayed on the silver screen. You can feel her character's hate, which is grounded in jealousy and bigotry and leaves no room for pity. Her overall performance is something you won't soon forget.
Of course there is already Oscar buzz surrounding Sidibe's debut. It's certainly well deserved attention because she fits perfectly into her role from the instant she appears on screen. The question now is can she follow up with a full-fledged acting career or will she be just a one hit wonder?
Precious is a bitter slice of Americana that many people haven't seen, or don't want to. It's brutally honest exposure of poor, inner city life and what some minorities have to endure, no matter what time frame, is troubling. After all, America is the most powerful and arguably the wealthiest nation on earth, yet we can't seem to fix our own problems.
On a letter grade scale from A being excellent to F for failing, Precious receives an A-.
Precious is rated R and has a running time of 109 minutes.
Now showing through December 24 @
Leawood Theater
3707 W. 95th St.
Visit www.fineartsgroup.com or call 913-642-1133 for showtimes.
Theatre , Classical,
Ghosts of Christmas Carols past
Spirits haunt every aspect of Nathan Granner's one man production of Dicken's Christmas Carol adapted by Greg Oliver Bodine.
This fresh interpretation of the traditional favorite is akin to the Patrick Stewart, Jonathan Winters, Orson Wells, radio drama variety with songs and carols setting the mood and forwarding the action. There are no big budget sets, props or costumes. The minimalist approach and the exciting new gallery venue have inspired an installation-like, performance art setting. "Focus is more subconscious, than a literal description of past reality" says Granner.
An operatic tenor well known for his work as one of Sony's American Tenors, Granner is possessed by ghosts of Christmas Carol's past. Having been in numerous productions of the Kansas City Repertory Theatre's version, the actors he worked alongside sometimes haunt his new characterizations. His "Scrooge" is inspired by actor and friend Gary Neill Johnsons' famous scratchy voiced version. Granner humbly inhabits other personal theatrical heroes audiences may recognize.
Ghosts take center stage at the Hemmingway Gallery, a new performing arts space at 132 W 19th Street. The big yellow building in the Crossroads district is a perfect home for the spirit world. "It used to be an old jail and two ghosts have been haunting it for years."
Using a voice modulation pedal, Granner is able to replicate the ghost of Christmas Past in all of its singsong glory. Neither male or female, young or old, the voice switches genders and ages amid Scrooges confusion, joy and fear. The Ghost of Christmas Present is more like Nathan in his full bore "opera man" persona and the Ghost of Christmas Future is eerily silent.
Voicing the entire cast of characters is a challenge that seems to invigorate the multi-talented Granner. Giving each character a distinctive laugh, Granner moves from the oily rich laugh of Fezziwig to the cackling old maid with ease.
Spirits of another sort will enliven the event. Alcoholic and non-alcoholic libations will be available for purchase. Audience members can also feel good about contributing to the creation of a new opera. A Christmas Carol is a fundraiser for The Gospel of Judas, an opera by Jeffery Rukaman currently in pre-production.
PREVIEW:
A Christmas Carol
December 4, 2009 at 7:00 pm and 9:30 pm
December 10th and 11th at 7:00 pm
Pre-performance reception at 6:30 pm all nights
Hemmingway Gallery
132 W 9th Street, Kansas City, MO
Tickets available at http://www.brownpapertickets.com/event/89211
For more information call 816-914-4822 or online at www.nathangranner.com
Theatre ,
Of all the gin joints in all the towns
This past Friday was the Metropolitan Ensemble Theatre's (MET) opening night performance of William Saroyan's Pulitzer Prize-winning play The Time of Your Life, directed by Karen Paisley, with costume design by Atif Rome, lighting design by Kyle Shelley and sound design by Donna Miller.
Among the things that make the MET a unique experience for the theatre-goer is how they set the mood from the moment you walk into the lobby. There is always background music befitting the theme, in this instance period music from the 1930s. I also like the dexterity of the theatre space. The design for Saroyan's work features stadium seating that flanks the barroom set that - especially for those in the front rows - blur the lines between audience and bar "patrons." I was half tempted to step up and order a drink myself.
This play is challenging from a viewer's perspective given its large cast (26 roles played by 23 people) and intertwining story lines. It takes a while to get all the characters straight. When considered in the context of its 1939 first performance, it is not difficult to understand the mixed critical reviews it received. In modern times we would refer to this as a "period piece," but at its original debut, the social commentary was bound to have rubbed some critics the wrong way. Still, it is an entertaining and uproariously funny social commentary with many endearing characters that are given true depth and warmth thanks to fine casting and performances.
The Time of Your Life represents a full swing of the pendulum for Karen Paisley who last directed the MET's season-opening Seascape featuring only four actors. The austerity of Seascape may have presented minimalist challenges whereas this new play challenges with a relative mob of characters, multiple entrances and exits, and complex costuming logistics for four double-characters (Streetwalker/Nick's Ma, Sailor/Cop, Lorene/Society Lady and Drunk/Cop).
The setting is as familiar as anything in modern day: it is a bar (lovingly and sarcastically referred to by its owner Nick, as a "Saloon, Restaurant and Entertainment Palace") where regulars and passers-through interact. "Nick's" may not be "Cheers" - not everybody knows your name and they definitely aren't always glad you came - but it nonetheless offers up an oasis from the stresses of everyday life on the street.
It is hard to describe the story in terms of a plot. In the end, except for a few characters, nothing much has happened and not much has changed. The play, rather, is a collection of vignettes that are interwoven in such a way as to draw unrelated characters together in a collective effect. In The Time of Your Life there are two, predominant story lines around which all characters orbit. There is, in fact, a unique "planetary" arrangement to the settings: while the activity, in general, orbits around Nick's saloon, the drama gravitates towards Joe"played spectacularly by Robert Gibby Brand and, to a much lesser degree, around Dudley, played with grand comedic timing by Doogin Brown. Around Joe orbits the budding love story between Tom, played superbly by Kyle L. Mowry, and Kitty Duval, played by Katie Gilchrist.
Joe is an enigmatic character: wealthy enough to never have to work again - although the how and why despite several other characters' attempts to discern the information, remains a mystery to the end. By the time of the play, set in the short span of "the afternoon and night of a day in October 1939," Joe is contented to spend his days at Nick's, although clearly wealthy enough to afford higher-class establishments. He uses Tom to run a variety of inane errands for him, some practical and others purely for his amusement. Enter Kitty - a maybe-one-time burlesque star and current prostitute - and Tom falls for her so hard there is a nearly audible thud.
Kyle L. Mowry delivers Tom - who is not the sharpest crayon in the tool shed - with the gentle giant grace akin to Steinbeck's Lenny, while Katie Gilchrist's Kitty brings a vulnerable innocence that instantly completes Mowry's character. Joe, seeing that Tom is a goner, spends the rest of the play manipulating (monetarily and with sage wisdom) the relationship to ensure that the two end up together. In the process, one gets the sense that Joe's "back story" is filled with distanced interactions manipulated for his own ego and amusement with the exception of Tom and Kitty, for whom he has a genuine and selfless affection.
The play -generally funny, anyway - adds pointed comic interjections from Doogin Brown's Dudley and Allan Boardman's Kit Carson, the former delivering several phone call scenes that highlight Brown's excellent comedic timing and facial expressions; and the latter having Boardman deliver splendid non sequiturs including random musings about falling in love with a 39-pound midget. The audience was invariably in stitches - and these were not polite 'theatre giggles,' but rather unrestrained belly laughs.
Space makes it difficult to cover this large a cast in as much detail as may be warranted, but the standouts include Scott Cordes' Nick, and the aforementioned roles of Brand, Brown, Gilchrist and Mowry. No one in the room, however - audience or cast-member - could resist the urge to fixate on Robert Gibby Brand's spellbinding performance as Joe, played with almost purposefully annoying aloofness that was paradoxically endearing as one came to realize what a sad, lonely, yet remarkably un-bitter character he was. Brand was simply fantastic.
In lesser roles, Michael Masterson's corrupt cop, Blick was outrageously enjoyable - the kind of guy you love to hate - and, in today's vernacular, a real badass who, in the end, gets everything he deserves. Alan Tilson's Drunk, while only onstage for a few minutes, was unforgettably hilarious especially in the 2nd half when he downs several shots and slur-toasts his way through everything from sick children to reforestation. Ari Bavel's McCarthy deserves honorable mention for solid delivery and fine comedic wit. Singularly disappointing was Ethan Miller's Harry who came across as either woefully miscast, poorly performed, or both, and despite several days of pondering I am still unable to discern which.
Performance-wise, nothing speaks better to the success of Paisley's production than an overheard comment from a patron after the show: "I really cared about these people." And in the presentation and delivery of characters in such an intimate setting , what better validation could one ask for?
Set and Lighting Design were apropos - there was a distinct 'bar' ambiance to the experience - and while some of the costuming seemed a bit mismatched (Kevin Fewell's cop character, Krupp, had his Garanimals tags in disarray) the collective effect was a very believable 1939 watering hole complete with its schizophrenic jumble of regulars and wayfarers that make such establishments, now and 70 years ago, so much fun to be around.
REVIEW:
Metropolitan Ensemble Theatre
The Time of Your Life
by William Saroyan
Directed by Karen Paisley
Runs November 19 - December 6 (Reviewed Friday, November 20, 2009)
MET Space
3614 Main Street, Kansas City, MO
For tickets call 816-569-3226 or online at http://www.metkc.org
Top photo: Scott Cordes as Nick.
Local Arts News,
Metropolitan Opera regional auditions
Longtime vocal music fans in Kansas City know that one of the most enjoyable days to be spent midwinter is at the Metropolitan Opera District Auditions which are held here each year. Usually over 30 singers, and sometimes as many as 40, perform a selection of opera arias in front of expert judges to determine a series of winners, three of whom advance to the regional auditions. This year the regional auditions will be held in St. Louis on February 13.
The Kansas City District is one of several dozen nationwide which eventually result in a finals concert held on the stage of the Metropolitan Opera in New York City later in the spring, this year on March 7, 2010. From these national contestants are selected a few who are given contracts to sing at the Metropolitan Opera, or who go on to prominent opera careers elsewhere.
Over the years the Metropolitan Opera audition process has uncovered a number of singers who have gone on to international stardom. Here in Kansas City such contemporary superstars as Samuel Ramey, Vinson Cole and Joyce DiDonato appeared in the district auditions in their student days.
This year's judges for the Kansas City district are Roger Pines, dramaturg from Lyric Opera of Chicago; Richard Bado, the chorus master of the Houston Grand Opera; and Patricia Wise, a soprano and professor of voice at the Indiana University Jacobs School of Music.
A finer day of singing is not to be had, especially at the price, and you can match wits with the judges to see if your picks are the same ones they choose.
Metropolitan Opera Regional Auditions
Saturday, January 2, 2010 at 10:00 a.m.
White Recital Hall
4949 Cherry, Kansas City, MO
Free admission.
KCM News,
This season of giving
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