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Kansas City's Online Journal of the Performing Arts

By Kristin Shafel Omiccioli   Tue, Feb 07, 2012

The Kansas City Symphony cellos and contrabasses set the tone for the evening, tightly stating the first theme of Mahler’s colossal Symphony No. 2 (“Resurrection”) together with expert phrasing. The first movement was handled well by the ensemble, layering and building tension to the powerful first climax and featuring lovely solos for the principal woodwinds that easily projected through the thick string textures.

Beginning with a warm timbre in the strings, the delicate second movement flowed easily throughout and the final pizzicato was clean and sweet. During the third movement, the Symphony pushed through Mahler’s compelling lines with deliberate forward motion and consistently strong energy. The movement closed with an impressively controlled sustain by the strings.

The tender, serene fourth movement introduced mezzo-soprano soloist, Kelley O’Connor. O’Connor’s voice was dark, warm, and full bodied. With clear diction, she highlighted the movement’s profound lyrics, beautifully blending with the oboe and strings in the first verse. The fifth, final movement burst forth with tutti orchestra before woodwinds and brass began building tension, passing it to the strings and back again.

The Kansas City Symphony Chorus joined halfway through this final movement, entering unaccompanied with a soft, shadowy quality, yet still audible and clear. Soprano soloist Jessica Rivera’s light, silky voice appeared from seemingly nowhere (in the best possible way), effortlessly rising above the orchestra and chorus. These combined elements, with the vocalists, chorus, and aided by the rich brass section and well-timed percussion, led to a triumphant, bombastic climax.

Friday’s performance was not without its flaws, however, namely moments of balance issues between sections and spots of overpowering volume in general. Despite these minor imperfections, this was one of the stronger and more moving Symphony performances I have attended. Not every concert has held the audience in such riveted suspense for a solid 80 minutes without intermission. Clearly the organization is proud to show off the grandness of its new home, Helzberg Hall, and has the appropriate programming this season to prove it.

REVIEW:
Kansas City Symphony
Mahler’s Second
February 3–5, 2012 (Reviewed Friday, February 3)
Helzberg Hall, Kauffman Center for the Performing Arts
1601 Broadway, Kansas City, MO
For more information visit www.kcsymphony.org

Top Photo: Kansas City Symphony (Photo by Chris Lee)

By Beau Bledsoe   Tue, Feb 07, 2012

Ensemble Español Spanish Dance Theater was founded in 1975 by artistic director, Libby Komaiko. She was the first American artist in history to be decorated with Spain’s highest honor, “Lazo de Dama,” by the King of Spain for her artistic, cultural, and educational work throughout the United States. Komaiko has choreographed the majority of the company’s 125 works, including flamenco ballets and dramas, folkloric suites, and modern interpretations of classical pieces.

Touted as America's authority of Spanish dance, the overall presentation of the company was like a period piece from some forty years ago complete with women in gold lamé dresses and men with puffy silk sleeves. There was even one number performed to an old scratchy vinyl record. Most numbers were large ensembles pieces that moved about the stage in synchronized choreographies often with boy-meets-coquettish-girl narratives. Many of these castanet-laden gems were set to recorded music of Spain's light opera genre, the zarzuela. Relegated to a footnote, the zarzuela is an often disparaged genre of classical music. In fact, the only time one is likely to hear many of these works is in large ensemble dance works of this nature.

A Galician number from northern Spain was also included, although the ribbon-streamed hats and costumes appeared to be from the verdiales, a folk dance from the south. The recorded music from the Galician bagpipes prompted the man sitting next to me to comment, " seems those Celts have been just about everywhere."

Live musicians where utilized for the flamenco portion of the Flamenco Passion. Singer, Manuel Palacin rendered a moving martinete/seguiriya both being deep flamenco songs of intense introspection. To this music, principal dancers Jose Torres and Claudia Pizzarro performed romantic choreography reflecting the somber mood of the seguiriya.

Fortunately, Ensemble Español holds a trump card in the form of world-class dancer and Barcelona phenomenon, Christian Lozano. His taranto entitled Veneo [Poison] was the absolute highlight of the night. This was the only time that the music ensemble accompanied a soloist and Lozano was allowed to really dance. Unchained by the ensemble pieces’ rigid choreography, the magical interaction between flamenco musicians and dancer was given the opportunity to flourish. The audience responded in kind to this epic work that seemed to last a half hour. Credit must be shared with guitarists Mateo and Paco Fonta for supporting such a complex work.

Principal dancer Paloma Gomez performed a dedication to “Dame Libby” entitled Ruinas. Gomez reminded me of the great flamenco dancer, Maria Pagés with her seemingly unending, beautiful arms. Her strong expressions were completely convincing and it was evident that she had strong training and deeply artistic ability. The synthesized music composition by Rodrigo Leao was overwrought with heavy sadness but I've always loved his work with the Portuguese band Madredeus.

The second half was more flamenco heavy in its programming although some numbers came across as good student recital pieces rather than performances from a professional dance company. Guitarist, Mateo performed an outstanding introduction to a zapateado and guitarist/singer Paco Fonta sang soaring verses of farruca. Singer, Manuel Palacin delivered multiple high octane buleria verses from his hometown of Jerez de la Frontera for the final fin de fiesta closer in which every dancer of the company showcased their individuality. The second half also featured a monumental backdrop of a Spanish village complete with wrinkled cloth archways that towered over empty café tables. It was like being inside of a giant postcard from Andalucía.

I applaud Ensemble Español for keeping this aesthetic alive. I assume many would find this work dated but for me it was a rare pleasure to see this kind of production. 

REVIEW:
Performing Arts Series at Johnson County Community College
Ensemble Español Spanish Dance Theater
Friday, February 3, 2012
Yardley Hall, Carlsen Center,  JCCC Campus
12345 College Blvd., Overland Park, KS
For more information, visit http://www.jccc.edu/performing-arts-series/

Top Photo: Ensemble Español Spanish Dance Theater (Photo by Joe Davis)

By   Sat, Sep 22, 2012

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By Calli Parker   Tue, Feb 07, 2012

Calli Parker: Do you find it difficult to “sell” burlesque as a performing art? Is there still a stigma attached to it?

Annie Cherry: We don’t get too much of that. Usually when I’m out in the public, I’m kind of incognito and all of our friends are so supportive it doesn’t really become an issue. I know we may face some of that soon. We’re going to be on the cover of INK in a couple weeks and our son, who’s eight is really excited to take that to school. It’s alright and some people might have some questions. Every once in a while somebody will make an off-handed comment regarding the burlesque like “You’re doing more serious theatre. Are you ready to move on from burlesque?” as if it’s something to overcome, and I don’t see it that way at all.  I think it’s just one aspect of the many things we can do on stage.

Damian Blake: I occasionally get the “I can’t believe you’re ok with your wife doing something like that” or “I can’t picture my husband coming and watching me do that.” We were interviewed by a local television station who also asked me some rather odd questions like, “How shocking is it to be the only guy among all these women?” and I never really thought of it because we are really just a performance troupe. The novelty of that wears off in five minutes. The reporter kept dwelling on that as if she was trying to find some kind of dirt.

AC: And you’re not technically the only guy in our troupe, and we have people who come as guest performers.

DB: We used to have Justin and now we have Spencer (Daisy Buckët), so I don’t really understand the stigma. I just see it as encompassing as any other type of performing arts troupe or any other sort of theatre.

AC: That question of “the only guy,” makes me think of what people must picture our meetings are like; as if in our meetings we are all in negligees and having pillow fights or backstage we’re lounging on fainting couches with cigarettes in holders until it’s our turn to go on stage. It’s not romantic like that backstage; people are there to just get their business done. I think there might be some misconceptions about what it’s like backstage. Backstage for us is just like any working theatrical production. People are running their lines or have their iPods on going through their songs or their choreography. If something tears you have to put it back together; sometimes it’s a high stress environment. It’s work. Fun work, but it’s work.

CP: Some people may be a bit timid about what to expect in attending their first burlesque show. What advice could you give them?

AC: Don’t stop at one show or one group because there are so many different styles and flavors of burlesque. I compare burlesque troupes and performers to rock bands, not everyone likes the same band. I’ve heard through the grapevine of people only attending one show and saying it’s not their thing… you should explore the other styles.

DB: I work in an office, and while I keep it separate from performing, if asked, I try to recommend shows we’re in whether it’s family-friendly theatre or a burlesque variety show. I try to explain what it encompasses; it’s not like going to a strip club, which is what some people might picture. I go further to describe that it’s comedy, dancing, and all kinds of performance elements.

CP: Do you feel that vaudeville becomes an interchangeable word for what you do?

DB: Yes, definitely.

AC: I feel burlesque is a component of vaudeville. We are working with our producer Jeremy Lillig and co-producer and co-artistic director Alex Espy to put on a new show beginning in April at the Folly Theater, called the New Century Follies that will be a large variety and vaudeville show with burlesque. I think the burlesque show that is only burlesque is a newer phenomenon, from the 1960’s on. Historically, it was never the whole show and we’re drawn to the diversity of acts (for our performances).

DB: Even as a spectator before I was performing in burlesque shows, I enjoyed it being more of a variety show than just one person after another. Inevitably it is kind of the same thing after five numbers if it’s just back-to-back burlesque.

AC: See, I could watch it for days and days but my favorite is when it’s mixed up. Though, I think each act should have arc, even a classic striptease where the action still has a beginning, middle, and end. I don’t think people see that with choreography but there are ways of elevating the performance.

CP: Which is what last year’s Fringe performance, Grimm and Bare It was more akin to, which seemed well received, selling out every show.

AC: We’d like to do more like that where the narrative ties all the performances together. We do some of that with Kansas City Society of Burlesque (KCSOB), we do themed shows some of which are more tightly scripted and others are more of a loose theme.

CP: Did you each grow up performing?

AC: A little bit here and there. I became real self-conscious and introverted as a teen and didn’t perform for years and then went crazy with it. I started out belly dancing and it seemed like a natural progression for me. It really upset my belly dance teacher because she didn’t want it to be equated to stripping which is a popular misconception. I wanted to belly dance and strip. From 1900, belly dancers performed as burlesque dancers and I wanted to honor that tradition. It’s part of that continuum.

DB: Yeah, as a kid I liked to perform and dress-up and did theatre in high school and college. I tried to make my way doing some street performing and busking after college doing Charlie Chaplin impersonations. That’s how I got on with KCSOB in 2008. I didn’t do theatre as a kid, but I was always dressing up. Although I was a quiet kid, it was more about observing. I was into old movies like Chaplin, Buster Keaton, and the Marx Brothers so for a school talent show a friend and I emceed the fifth-grade talent show as Harpo and Groucho Marx. Looking back on it, our classmates probably didn’t understand.

CP: What draws you to burlesque?

DB: It’s a good place to experiment and for me it’s a good place to do clowning, physical comedy, and visual comedy. I feel like it’s the only place aside from a sideshow environment that you can do that sort of entertainment. I had a hard time trying to find a fit for what I was doing. I still enjoy traditional theatre and occasionally still perform as a Charlie Chaplin impersonator but really all the focus and energy goes into planning new skits and routines.

AC: I agree with all of that. It’s one of the only environments where you can write your own material. It’s instant gratification. You can control every aspect of your production, like designing your costumes. You can find a way to incorporate any other skill or talent you gravitate toward into a burlesque format. You can factor that into your routine or persona. It’s the ultimate play-acting; you get to dress up and be whatever you want to be for five minutes. It’s experimental theatre with on-stage costume changes.

DB: There’s nobody there telling you, “no.” You know immediately if something worked or didn’t. It’s really rare to have that freedom aside from vaudeville or a variety show. Otherwise, you’d have to write your own production, get somebody to produce it, find other cast, a director, and crew.

AC: And then you have to get people in the seats. It’s usually not hard to get people in the seats if there are pretty girls dancing and taking their clothes off—which floats the other material a little bit. What I think is funny about Damian’s routines, where there is no striptease whatsoever, people don’t notice. They’re having such a good time, they don’t think about it.

DB: A lot of our audience members don’t think that they just saw a five-minute pantomime piece. Because we don’t present it that way, it’s a more casual transition.

AC: Like our “Over the Rails” act, if we explained it as clowning, people would stray from it but if they just see what we do without that preconceived notion, they love it. It’s just how you work it. We’ve had other projects grow out of those experiments, like Arty Vulgaris. That character initially started on the burlesque stage and has involved into his own two-hour show at the Fishtank Performance Studio. I know this is different for me with burlesque, I feel it’s a little bit rebellious in regards to society. It’s freeing and it’s a bold thing to do. I recently was reminded at a burlesque festival that what we are doing is inherently subversive by the very nature of what we do. The idea of revealing your body publicly is a subversive act by definition. When we get used to it and those around us doing the same thing, we tend to forget that part. I think it’s a good thing to remember.

CP: Burlesque allows artists to create their own specific story with their performances. What inspires you when creating new pieces?

AC: For me it’s different depending on the type of piece—a lot of times it’s the music. I’ll be driving, working around the house, or on an art project listening to music and start thinking, “oh that would be really cool if I put this choreography here.” It’s usually music, then choreography, then costuming for me but it will vary occasionally. Sometimes I’ll be thrifting and find an amazing thing whether it’s a prop or a costume piece and I’ll work something up around it. Sometimes it’s just a ridiculous concept and I’m always trying to think of how to take something to the next level; how could I make that more outrageous or strange. Because we’re together as much as we can be, it’s great to have someone that understands how your mind works to bounce ideas off of. Sometimes I’ll say something out of the blue—something insane—and Damian’s eyes will light up and we figure out how to make it work.

DB: I agree, music is a big part of it. You hear something and instantly your mind starts going. I can almost picture a story a lot of times and if it’s not the music, it’s a character. I picture a character first and then I think that would be fun to be that character or that type in a particular situation. That process seems to take longer to try and build from. Sometimes it is a few hours, other times months, to develop something new.

CP: Is it a collaborative process with the other performers in KCSOB for all the pieces?

AC: With KCSOB it’s very evenly a collective and people have a perception that one or the other is in charge but really it’s all of us. Anybody can come up with a concept or an idea and then we’ll work it up. It’s a process of people just throwing out ideas no matter how strange. That’s part of what burlesque is, it’s a parody. I think people forget that. There can be some classically beautiful, sexy numbers that are not tongue-in-cheek. Those have a place but the ones that really hit the mark have an element of humor, even if it’s the agreement between a woman and the audience that it’s a little bit strange. A wink and a nod. Something that’s great about our group, somebody will propose the strangest idea from peg legs to Yoda and nobody ever says, “oh, no! Don’t do that.”

DB: We typically collaborate on group numbers and constructing the theme but for the most part we leave it to the rest of the troupe members with faith that they will do something great and relevant. I get excited when people pitch really strange ideas

CP: Kansas City has evolved into a large collaborative arts community, albeit a bit incestuous at times. Where do you fit?

DB: It’s a great thing, I consider myself really lucky in the fact that if you come up with an idea all you have to do is call or email a few people to make it happen. I know we know a handful of people that if they called us we would be in it no matter the concept or project because we know it will be good. I really like having reached that point and it’s going to keep getting better and better.

AC: Everybody is so primed. I think there is a tremendous web of trust building. I have a “yes” list, people that I can say yes to before even knowing what it is or how much it will pay.

CP: Is there a fear that we will lose that sense of the collective as the arts community gets bigger in Kansas City?

AC: I think that might happen on one side of the equation but I think those of our generation are so grateful for what we have. I compare it to preparing to do a project and having all the tools within arms reach. I think we have all converged at this place in time. I’ve had this fantasy since I was 20, that I would be part of the kind of artist’s community that people would eventually make documentaries about.

CP: Do you see burlesque becoming a larger part of the Kansas City arts community?

DB: I certainly don’t see it going away anytime soon. Kansas City is continually getting better with more and more arts involvement. It’s becoming a bigger cultural hub.

AC: I think there will always be a niche for it. People will always crave humor especially the tongue-in-cheek style of burlesque. I think that as it’s more understood and people see more quality productions it will be more widely accepted. Even some of my more free-thinking, open-minded friends have a little bit of a prejudice against burlesque. Though I think that may be true of anything that is really fun. They tend to assume it lacks merit artistically. I think the next logical step would be a theatrical space that was dedicated to this type of entertainment, which could be a tricky issue regarding the new decency laws. I think it’s more of a matter of when, not if, Kansas City gets a space like that. After the closure of Crosstown Station, Kansas City is really lacking mid-size venues in the city proper. We hope something opens to fill that void soon.

CP: You mentioned the New Century Follies, a new performance series beginning April 6 at the Folly Theater, which was Kansas City’s original vaudeville and burlesque venue. Tell me more about that upcoming project.

DB: It’s exciting and terrifying at the same time. I’d like to see both variety and sideshow type performances and also some re-imagined body routines and vaudeville acts. It’s a great showcase for live music, song, dance, and burlesque. It will also help remind people about the Folly and what a staple it has been in town for 100-plus years.

AC: It came out of this idea that young people seem to be overlooking some of the arts history in KC, the Folly in particular. We need to remember and respect our older edifices. One of the taglines was, “How do we get young people interested in the theatre? By going back 100 years.” By bringing back what that theatre was meant to be when it was the Standard and then the Century, which is where the series title originated. We wanted to bring back that feel—not a direct re-creation of the performances—but a sense of authenticity in an authentic space. It’s a perfect frame for a painting. We’ll have live music from The People’s Liberation Big Band backing all the performers; we’re aiming for it to be the destination on First Fridays after the galleries close. Rather than presale tickets, there will be a reasonable cover, more of a casual theatre experience without assigned seats so people can come and just enjoy themselves. It adds to the historical relevance; this type of show was not a formal event originally.

CP: You also have the Love Hangover show coming up on February 18.

AC: It’s our annual post-Valentine’s Day show, which used to be called the Anti-VD show and evolved into the Love Hangover show. It’s a lampoon of Valentine’s Day traditions for those that are “over” the holiday. It will feature our eight official members of KCSOB, including Scarlet LaFever who recently went from our curtain girl to a full member. It will be in our new space Nica’s 320, in their rental space called The Red Room. It’s an intimate but beautiful space featuring a state-of-the-art tech and video setup as well as a dedicated bar and wait staff. Our compromise for the size is we’ll be doing two shows each night so we can try to get everybody in. We will be performing there on the third Saturday of every month.

For more information about Annie Cherry and Damian Blake (Artemus Vulgaris), visit http://www.anniecherry-artemusvulgaris.com/ and for upcoming Kansas City Society of Burlesque performances visit http://www.kcsob.com/

Top Photo: Artemus Vulgaris and Annie Cherry (Photo by Emmett Merrill)

By Don Dagenais   Sun, Jan 29, 2012

The first concert in the Bach Festival was the Complete Brandenberg Concertos on January 24, so you may have missed it.  Or perhaps you were there.  In any event, not to fear…lots more is coming up in early February. 

On both February 10 and February 11, The Friends of Chamber Music present pianist Konstantin Lifschitz in two separate concerts. The Friday concert is Bach’s wonderful Italian Concerto in F Major along with Complete Inventions and Sinfonias (Two and Three Part Inventions) and the French Overture in B Minor.  Saturday’s concert will be dedicated to Book II of the Well Tempered Clavier.

Lifschitz also appears in a Valentine’s Day concert with the Kansas City Chamber Orchestra at Helzberg Hall.  The orchestra will perform the Sinfonia from Bach’s cantata Ich steh mit einem Fuss im Grabe, and selections from Weichet nur, betrubte Shatten (the “Wedding Cantata”) with the sparkling soprano Sarah Tannehill Anderson.  Lifschitz will join the musicians for two Bach keyboard concertos, nos. 1 and 7.  Bruce Sorrell conducts.

On February 18, The Friends present Lifschitz in Helzberg Hall with the Prelude and Fugue in E-Flat Major “St. Anne,” BWV 552 and the Goldberg Variations (Aria mit Veränderungen), BWV 988.

The last installment of the Festival is a Music Alliance Production between The Friends of Chamber Music and the UMKC Conservatory of Music and Dance. Lifschitz will perform The Art of the Fugue (Die Kunst der Fuge), BWV 1080. Also on the program is Vor Deinem Thron tret'ich hiermit,” BWV 668a.

Joining only select presenters in Europe and the Far East, The Friends of Chamber Music is the exclusive United States presenter of this once-in-a-lifetime opportunity to hear Bach piano masterworks. For five concerts, on three new pianos, in three of Kansas City’s finest venues, Lifschitz will play beautiful works by the composer that catapulted him to world fame

The Russian-born Lifschitz hit the international music scene at the age of 13 when he presented a landmark recital at the House of Unions in Moscow. The capacity crowd responded with an overwhelming enthusiasm. Four years later the Denon label recorded the 17-year-old in his deeply felt interpretation of Bach’s Goldberg Variations. The recording, when released in 1996, was nominated for a Grammy Award and moved critic Edward Rothstein of The New York Times to acclaim Lifschitz’s performance “the most powerful pianistic interpretation since Glenn Gould’s.”

Now, Lifschitz gives recitals and concerto performances in Berlin, Frankfurt, Cologne, Dusseldorf, Hamburg, Munich, Leipzig and Dresden, as well as in international capitals such as London, New York, Los Angeles, San Francisco, Chicago, Milan, Montreal, Madrid, Lisbon, Rome, Hong Kong, Singapore, Tel Aviv and Tokyo.

To read detailed program notes on the Bach Festival click here. Program notes are on pages 61-79

2012 BACH FESTIVAL

The Friends of Chamber Music
Konstantin Lifschitz, piano
Friday, February 10 at 8:00 pm 
Folly Theater
12^th and Central Streets, Kansas City, MO
For tickets call 816-561-9999 or online at www.chambermusic.org
Program:
Italian Concerto in F Major, BWV 971
Complete Inventions and Sinfonias (Two and Three Part Inventions), BWV 772 – 801
French Overture in B minor, BWV 831 


The Friends of Chamber Music
Konstantin Lifschitz, piano
Saturday, February 11 at 8:00 pm
Folly Theater
12^th and Central Streets, Kansas City, MO
For tickets call 816-561-9999 or online at www.chambermusic.org
Program:
Well-Tempered Clavier, Book II, BWV 870 – 893


The Kansas City Chamber Orchestra with Konstantin Lifschitz, piano
Tuesday, February 14 at 8:00 p.m.
Helzberg Hall
Kauffman Center for the Performing Arts
1601 Broadway, Kansas City, MO
For tickets call 816-235-6222 or online at www.kcchamberorchestra.org.
Program:
Sinfonia from Cantata “Ich steh mit einem Fuss im Grabe,” BWV 156
Keyboard Concerto No. 7 in G minor, BWV 1058
Keyboard Concerto No. 1 in D minor, BWV 1052  


The Friends of Chamber Music
Konstantin Lifschitz, piano
Saturday, February 18 at 8:00 pm 
Helzberg Hall
Kauffman Center for the Performing Arts
1601 Broadway, Kansas City, MO
For tickets call 816-561-9999 or online at www.chambermusic.org
Program:
Prelude and Fugue in E-Flat Major “St. Anne,” BWV 552
Goldberg Variations (Aria mit Veränderungen), BWV 988  


A Music Alliance Production
Konstantin Lifschitz, piano
Sunday, February 19 at 2:30 pm 
4949 Cherry Street, Kansas City, MO
For tickets call 816-235-6222 or online at www.umkc.edu/cto
Program:
The Art of the Fugue (Die Kunst der Fuge), BWV 1080
 Chorale: “Vor Deinem Thron tret'ich hiermit,” BWV 668a 

By Lee Hartman   Wed, Feb 08, 2012

Billed as an evening of “Vivaldi Pyrotechnics,” Harriman-Jewell delivered on that promise with a gripping performance by coloratura mezzo-soprano Vivica Genaux. It was exciting to hear arias from seven different operas as interpreted by one of today’s foremost talents in the genre. With the resurgence of interest in the Red Priest’s operas, the program also gave Genaux a chance to put her own stamp on these pieces, as opposed to the now-commonplace Rossini coloratura works.

Genaux was a magnetic stage presence: strikingly gorgeous with a voice to match. Her low and middle ranges were nuanced and even, with only the forte highest notes becoming uncharacteristically unrefined. Watching Genaux’s jaw is something of a marvel; she herself has stated that is it unclear whether it’s the “ultimate in relaxation or the ultimate in tension.” Her jaw moves rapidly on every note—and since these arias have notes by the thousands, it was readily apparent. Surprisingly, her facial acrobatics do not hinder her luminous tone or vocal adroitness. In the post-concert conversation, it was revealed that she studied Baroque embellishments with harpsichordist Jory Vinikour; it’s easy to picture that collaboration, as she has the facile instrument to convey the elaborate ornaments.

Of the seven Vivaldi arias, the pair that ended the first half were my personal favorites: “Splender frà’l cieco orror” from Tito Manlio and “Alma oppressa” from La fida ninfa. Genaux matched the manic intensity of the obbligato cello in the selection from Tito Manlio in her incredibly well-pace ascending scalar lines. It was in this aria that she displayed the strongest sense of breath control and longest line. “Alma oppressa” was spat out with such vehemence that program notes and translations were unnecessary; Genaux was pain and spurned love embodied in musical splendor. Her heightened emotions didn’t serve the contemplative “E prigioniero e ré” from Semiramide well, as it read more as weakness than introspection. Seemingly enjoying herself the entire night (except for when she rightfully chastised an audience member for rudely taking a photograph), it was with her final aria, “Agitate da due venti” from both Adelaide and Griselda, that her abundant musical joy took full hold. She swayed with the brisk tempo and nodded along with the orchestra nonchalantly as if she were scatting the easiest melody in the world.

For all Genaux’s swagger and brilliance, Europa Galante was decidedly more earthbound and dry. They played beautifully, especially in the unexpected melodic shifts in Nardini’s Violin Concerto in A major, Op. 1, No. 1 and the oft-repeated bass line in the “Larghetto e spiritoso” of Vivaldi’s Concerto for Two Violins in A minor, Op. 3, No. 8. When accompanying Genaux, they were reliable partners who stayed out of her way and supported the harmonies with steadfastness; the only tear I noticed was a slight unease at the beginning of “E prigioniero e ré.” Regardless, while Genaux’s smile lit up the Folly Theater, Europa Galante’s sternness was all the more apparent.

REVIEW:
Harriman-Jewell Series
Vivaldi Pyrotechnics
Friday, February 3, 2012
Folly Theater
300 W. 12^th Street, Kansas City, MO
For more information, visit http://hjseries.org

Top Photo: Vivica Genaux (Photo by Christian Steiner)

By Victor Wishna   Wed, Feb 08, 2012

“So, what’s the play about?” Perhaps simplistic, the question is innocent enough. In theatre, as in life, it’s natural to want to know what we’re getting ourselves into. In the case of Next Fall, the sweetly comic drama by Geoffrey Nauffts currently in production on the Unicorn Theatre’s main stage, the play is about—in no particular order—religion, hypochondria, coming out, coming of age, the boundaries of familial and romantic relationships, self-denial, self-doubt, self-obsession, end-of-life decisions, and faith, in all its forms.

The power of Next Fall is that you may not appreciate most of what it’s about until you find yourself wrestling with the questions it raises as you exit the theater—and for days after. Jeff Church’s subtle yet swift direction complements the nuances of Nauffts’s Tony-nominated script, which leaves the audience to fill in many of the gaps for themselves, guided by their own experiences and prejudices.

The play opens, and is anchored, in a hospital waiting room in the hours following a car accident that has left Luke (Rusty Sneary) in a coma and brought together his parents, friends, and lover, Adam (Charles Fugate). Over the series of flashbacks that comprise the bulk of the play, we see Adam and Luke’s five-year relationship develop amid the persistent tension of their irreconcilable religious differences. Adam is agnostic; Luke is a devout Evangelical Christian, despite the fact that he sees his own homosexuality as an abomination. Adam thinks Luke is delusional; Luke thinks Adam is going to hell. But they make it work.

There are some sitcom moments and some shockers, but mostly the production just hums, thanks to the conjoining of a well-structured script, integrated design, and a six-member ensemble without a weak link.

Fugate ably embodies Adam’s endearing mix of neurosis and wit, while Sneary, as the less sharply written Luke, brings sensitive intelligence to a character that could have come off as shallow. In their scenes together, they reveal the sense of balance that sustains this tightrope-act of a relationship. Heidi Van’s Holly is the friend who holds everything together and offers well-timed comic relief, with a personality to match her spiky, pinned-up hairdo. As the mysterious Brandon (Is he an ex-lover? A nemesis? Why is he there?), Doogin Brown doesn’t have much to say until late in Act Two, but he delivers on target.

Luke’s parents are perhaps the play’s most challenging characters. Mark Robbins shows great range as the conservative but clearly combustible Butch, while Merle Moores brings both comic charm and dramatic depth to the semi-reformed party girl, Arlene. Both actors, with the playwright’s (and, presumably, director’s) help, transcend the stereotypes into which we want to confine their characters, and their second-act outbursts are well earned.

Scenic designer Gary Mosby’s set of modular benches on a large turntable smoothly transitions (with help from Alex Perry’s lighting and Ryan Matthew Hall’s sound) from the hospital waiting room into the memory scenes, with suggestions of a rooftop or city park or apartment living room. It’s an elegant improvement on the bulky Broadway design that required several more minutes' worth of scene changes.

Flying by quickly despite its substantial running time (“What’s the play about? About two-and-a-half-hours!”), Next Fall manages to seem urgent and enduring at once. It confronts issues, such as marriage equality and partner rights, that are still evolving with each day’s headlines (the setting is explicitly 2009, not “Present Day,” as gay marriage has since been legalized in New York). That the main characters are gay, however, is essential to the story but not the point, merely serving as a frame on which the rest of the narrative is built—a very similar play could have been written 50 years ago about the “illicit” relationship of an unmarried, cohabitating heterosexual couple.

The questions this play asks have more to do with the impact any one connection—between lovers, friends, or family—has on every other, and what it means to believe in something or someone. Who can define anyone else’s convictions? How do we reconcile the contradictions within ourselves? And what is love, if not faith?

Though the play received critical acclaim when it opened on Broadway in 2010, it enjoyed a relatively brief run. But in the 18 months since, Next Fall has become one of the five most-produced plays in the country, and Kansas City is fortunate the Unicorn endeavored to bring it here.

If you have the chance, you should see for yourself what it’s all about.

REVIEW:
Unicorn Theatre
Next Fall
By Geoffrey Nauffts
Directed by Jeff Church
Runs January 28 through February 12 (Reviewed Tuesday, January 31, 2012)
Unicorn Theatre
3828 Main Street, Kansas City, MO
For tickets call 816-531-PLAY or visit www.unicorntheatre.org

Top Photo: Luke (Rusty Sneary) and Adam (Charles Fugate) in Next Fall (Photo by Geoffrey Nauffts)

By Jessica Showers   Wed, Feb 08, 2012

If you’re looking for “A Whole New Aladdin,” perhaps as the story first appeared in the 14^th-century book One Thousand and One Nights, you aren’t going to find it in Kansas City Starlight Children’s Theatre’s production of the Theatre For Young Audiences version of Disney’s Aladdin. But that’s okay. Local kids and their families probably aren’t looking for a dramatic reimagining of the Disney animated film they know so well. And why should they be? Starlight delivers near-replicas of the characters’ cartoon counterparts while allowing the actors to bring something of their own flavor and experience to each role. Kids will delight at the thorough onslaught of pop culture references (yes, Genie has Bieber Fever), colorful set and costumes, and familiar tunes and lyrics, all in the grandiose setting of the Kauffman Center for the Performing Arts.

Just in case Disney’s Aladdin is new to you, here’s the plot: Poor, “street rat” Aladdin, roaming the marketplace of Agrabah, meets Princess Jasmine, who has run away from the frustrations of having her marriage arranged by her father, the Sultan. Then, Aladdin is arrested for stealing and imprisoned in a cave by the Sultan’s right-hand, backstabbing advisor, Jafar. In the cave, Aladdin discovers a magic lamp and a Genie, who will grant him three wishes. The conflict begins to unfold: Jafar wants to dethrone the Sultan, and Aladdin wants to marry the princess, but he’s not a prince. You can imagine the rest. The Theatre For Young Audiences version sticks pretty solidly with the Disney film but adds the comical song “Why Me?” sung by Jafar and his parrot sidekick, Iago.

All of this is packed into a fly-by-the-seat-of-your-pants 75 minutes. Yes, the kids have to get to bed, but the film is 90 minutes, and children seem to sit through it just fine. Theatre For Young Audiences’ streamlined script doesn’t allow the conflict as much room to build, doesn’t give the characters time to develop real friendships, and rushes through some of the most climactic scenes. None of this, however, is Starlight’s fault—the actors still put forth good performances. It’s just unfortunate the adaptation doesn’t give them a better chance to shine.

Jerry Jay Cranford does double-duty as one of the biggest (and blue-est) roles on stage—the Genie—and as the show’s director. Cranford spent three years playing the Genie for Disney’s California Adventure, and his comfort with the part shows. Like Robin Williams in the film, Cranford ad-libs many of his lines, calling on as much pop culture as he can conjure. He references Selena Gomez and the aforementioned Justin Bieber, and—this critic’s favorite—he sorts Jafar into Slytherin house from the Harry Potter book series. Cranford channels the Genie’s need to be center-of-attention in an over-the-top, cheesy way, but he gets the kids laughing and keeps the pace plowing forward, especially in the powerhouse musical number “Friend Like Me.”

Robert ‘Erik’ Sobbe as Aladdin and Emily Shackelford as Jasmine have outstanding voices, specifically showcased in their duet “A Whole New World.” Sobbe plays the naïve, yet genuine dreamer to Shackelford’s confident teen feminist. The pair doesn’t have enough time to develop truly believable chemistry, but the actors work well together all the same. Tim Scott draws in the audience through his admirable rendition of “Arabian Nights,” singing as the mysterious, yet quirky narrator. Kip Niven as the Sultan faithfully echoes the lovable father figure from the Disney film. Martin Buchanan as Jafar strategically speaks some of his singing lines but does so with a maniacal, evil gusto appropriate for the role. Iago, played by Joe Wheeler, almost matches Gilbert Gottfried’s obnoxious rasp—but his slightly subtler version is more appealing. It’s hard not to cheer for Kevin Murakami’s acrobatic enthusiasm as the silent Flying Carpet. And finally, the ensemble and children’s ensemble, great opportunities for young actors in the area to participate on stage, add much to the crowd scene during “One Jump Ahead” and during the show’s climax near the end.

Costumes (Kansas City Costume Company) are just dissimilar enough from the film that they make Starlight’s production a bit more unique, but the designs are still recognizable in color and overall drape. The set’s lavishly colorful backdrops—designating the marketplace, the cave, the palace, and so on—have a pre-packaged but professional quality. The most breathtaking sequence unfolds when Aladdin and Jasmine sing “A Whole New World” atop a suspended flying carpet that hovers over a fog-laced stage teeming with ethereal dancers (choreography by Christina Burton), all in front of a starry night sky—for this, the whole creative team (lighting design by Sean Glass, sound by Braxton Cornelius and music direction by Anthony Edwards) deserves credit.

Starlight’s production of Disney’s Aladdin engages its younger crowd through familiar characters, magic, and laughter. And although some of the show’s cheesy one-liners might not get chaperones guffawing, its camouflaged life lessons, such as “be yourself,” or that being poor doesn’t make you a less worthy person, are bound to provoke a different, genuine kind of smile.

REVIEW:
Kansas City Starlight Children’s Theatre
Disney’s Aladdin (Theatre For Young Audiences Version)
Reviewed February 3, 2012
Muriel Kauffman Theatre, Kauffman Center for the Performing Arts
1601 Broadway, Kansas City, MO
For tickets to future shows call 816-636-STAR or online at kcstarlight.com

Top Photo: Jerry Jay Cranford as Genie

By Jessica Showers   Wed, Feb 08, 2012

By Victor Wishna   Tue, Feb 07, 2012

By Libby Hanssen   Wed, Feb 01, 2012

The Coterie Theatre, in partnership with the University of Missouri-Kansas City Theatre Department, launched their re-production of Laurie Brooks’ The Wrestling Season. The play, commissioned and premiered by the Coterie in 2000, follows eight teenagers as they tackle issues of bullying, violence, sexual identity, social pressure, homophobia, and the destructive power of rumors.

It’s a daunting, confrontational play, one that not only explores issues many children, youth, and adults constantly battle, but also pushes against the perceptions we have about other people—and ourselves. Even though the last decade has seen a cultural change in the acceptance of gay and lesbian youth, it continues to be a real and pertinent issue. Conversely, the subject of bullying and its ramifications has gained prominence in the media and school systems across the nation.

The riveting performance has breath-taking momentum, clocking in at a fast-paced 80 minutes. As might be inferred, the play is set during wrestling season; the stage is a centrally-placed tiered platform, topped by the type of wrestling mat ubiquitous to every high-school gymnasium.  Against this static setting, the cast, dressed in wrestling uniforms, knee pads, and sneakers, go through a strenuous work-out, both physically and verbally.

Directed by Leigh Miller (who in 2000 played the referee and served as assistant director to Jeff Church), this updated version also includes references to the prominence and power of social media, directly citing Facebook. The play has something of a “Choose Your Own Adventure” vibe, without clear resolutions to the various scenarios. This allows for further discussion during the post-performance forum, in which the audience is invited to a conversation with the characters.

The action follows Matt (Tosin Morohunfola), a high-school senior whose single-minded devotion to winning a wrestling scholarship blinds him to the needs of his best friend, Luke (Sam Cordes). Rival wrestlers Willy (Francisco Villegas) and Jolt (Rufus Burns) start a rumor that the two are gay. Jolt’s girlfriend Heather (Eva Biro) and her doe-eyed sidekick Nicole (Andrea Morales) eagerly spread the rumor, stirring up vicious gossip throughout the school.

Through well-intentioned but ill-conceived advice from Kori (Meredith Wolfe), Matt starts dating Melanie (Kelly Gibson) to squash the rumors. Not only does the plan backfire, but the ramifications of short-sighted action prove disastrous. Other sub-plots are threaded through the drama, addressing different angles from the different characters’ point-of-views.

The action is monitored by the referee (Greg Brostrom), who serves as an overseeing, but ultimately distant, adult character.

The cast, five of whom are graduate students in the UMKC theater program, do a masterful job of displaying the vulnerability of the characters as they slog through some murky moral territory. The technical crew, also partly comprised of UMKC students, created a realistic, yet highly dramatic environment.

The lighting cues, orchestrated with impeccable timing by Amy Owens, delineated the scene changes and the conscious/subconscious fluctuations. Both lighting and sound design (Art Kent and David Kiehl, respectively) came into play during the ingeniously-crafted slow-motion wrestling sequences, the blue tones spotlighting the incredible physical control of the actors against a sonic background of thrashing heavy metal.

Set design was by Lee Berhosrt and costumes were by Georgianna Buchanan.

The Coterie has also teamed up with community organizations devoted to helping children and teens confronting abuse, violence, sexual issues, and thoughts of suicide, providing take-away referee “coins” listing resources. More information is available on their website. 

REVIEW:
Coterie Theatre and UMKC Theatre
The Wrestling Season
Runs through February 19 (Reviewed Friday, January 27, 2012)
First floor of the Crown Center Mall
2450 Grand Blvd., Kansas City, MO
For tickets and more information, call 816-474-6552 or visit www.coterietheatre.org.

Top Photo: Matt (Tosin Morohunfola) and Luke (Sam Cordes) in The Wrestling Season (Photo by J. Robert Schraeder)

By KCM Staff   Tue, Oct 28, 2008

Wed, Feb 08, 2012

Concert 3: Worlds Apart
newEar Contemporary Music Ensemble
Saturday, February 11 at 8:00 p.m.
All Souls Universal Unitarian Church
4501 Walnut Street, Kansas City, MO
For tickets call 816-235-6222 or online at www.newear.org

newEar presents the Clarinet Quartet of contemporary Polish composer Krzysztof Penderecki, composed in 1993, as the major piece in this concert. Also on the program are Andrew Norman's string trio Sabina shimmers with sonic resonance and Lansing McLoskey's longingly melancholic Processione di lacrime in which the players to perform in different tempi simultaneously. 

Local composers Ingrid Stölzel, whose new trio For the Time Being, and Nick Omiccioli, with Invisible Worlds, offer works receiving their Kansas City premieres.


Mozart and More 
Topeka Symphony Orchestra
Saturday, February 11 at 7:30 p.m.
White Concert Hall
Washburn University
For tickets call 785-232-2032 or online at www.topekasymphony.org

Conductor John Strickland presents guest artist Nicholas Ciraldo, classical guitar, in a program featuring Mozart’s Symphony No. 35 (the “Haffner”) and his Overture to The Impresario along with Harvey’s Guitar Concerto and the Mother Goose Suite of Maurice Ravel.

Ciraldo has won awards at numerous competitions, including the Tredrez-Locquemau International Guitar Competition (France), twice at the MTNA Guitar Competition (USA), the Gaetano Zinetti International Chamber Music Competition (Italy), the GFA Solo Guitar Competition (US), and the Portland International Guitar Competition (US).  Dr. Ciraldo has enjoyed numerous solo, chamber, and concerto performances throughout the United States, South America, and Europe, from Boston’s Jordan Hall to Berlin’s Berliner Dom to Brazil’s Teatro José Maria Santos.


Lee Hauskonzert
Bach Aria Soloists
Sunday, February 12 at 7:00 p.m.
Private Home
Shawnee Mission, Kansas
For tickets call 816-820-1473 or online at www.bachariasoloists.com

Elizabeth Suh Lane’s Bach Aria Soloists present several delightful concerts a year at private homes, emulating the parlor music tradition of old. Seating is very limited but the concerts are a pleasure and feature some of the city’s finest chamber musicians “up close and personal.”  Moreover, there is often food and drink aplenty afterwards. These concerts are usually sold out well in advance, but check to see if there might be some spots available. Faure, Kreisler, Bach and Paganini are on tap for this Valentine’s special.


Valentine’s Day in Paris 
Fine Arts Chorale
Monday, February 13 at 6:30 p.m.
Tuesday, February 14 at 6:30 p.m.
Californos Restaurant
4124 Pennsylvania, Kansas City, MO
For tickets call 816-235-6222, or online at www.fineartschorale.org

Terri Teal and the Fine Arts Chorale have begun a tradition of performing a Valentine’s Day concert at Californos Restaurant in Westport, a delightful local eatery which has long been enthusiastic in its support of local arts organizations.  And the food is scrumptious, too.  These concerts will enable you to dine delectably at Californos and take in the sweet tones of the Fine Arts Chorale as well.  The singing will include a concert of French love songs with guest artists, popular local jazz singers Shay Estes (Monday) and Monique Danielle (Tuesday).

What better gift for your Valentine! Reservations are a must, of course.


Chamber Ensemble of the Shanghai Chinese Orchestra
Monday, February 13 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

This concert, part of the Lied Center’s Chinese Festival, features an ensemble dedicated to conserving and sustaining Chinese folk music. The group performs significant works from its homeland on traditional Chinese percussion, wind and plucked-string instruments. Praised for its distinctive style and superb performances, the ensemble celebrates China’s significant history with a broad repertoire that features folk orchestra, national and Cantonese music.

KCMetropolis only previews and reviews events that are posted on the KC Events Calendar.  If you would like to list your event on the KC Events Calendar to be considered for coverage, click here for instructions.

Tue, Feb 07, 2012

By   Wed, Feb 01, 2012

 Johnson County Community College’s Performing Arts Series is seeking applications for the college’s Community Arts Partners program. Between Feb. 1 and March 15, 2012, the college will accept applications from organizations wishing to become Community Arts Partners for the 2012-2013 academic year.

The partnerships help nonprofit community organizations present programming in the college’s performing arts spaces. For partners, the rental fee is waived for Yardley Hall, Polsky Theatre or Recital Hall for one day (8 a.m. to midnight) on a space-available basis.

Potential community arts partners must be not-for-profit 501(c3) organizations, but not necessarily performing arts groups. Johnson County groups receive preferential consideration. Benefits or fundraising activities are not eligible.

“At JCCC, community is our middle name,” said Emily Behrmann, general manager, Performing Arts Series. “We’re proud to support local organizations by providing access to a professional performance space in which they can showcase their talents and abilities.”

Community Arts Partnership applications are available from Performing Arts office; call 913-469-4450 to request one or pick one up on campus in room 105 in the Carlsen Center. Applications are also available online at http://www.jccc.edu/performing-arts-series/community-arts-partnership.html. Return completed applications to Behrmann in the Performing Arts office or mail them to her at JCCC, box 14, 12345 College Blvd., Overland Park, KS 66210. 

By   Tue, Jan 31, 2012

Kansas City Ballet Artistic Director William Whitener today announced the Ballet’s 55^th season.  Whitener stated, “Our inaugural season at the Kauffman Center was wildly successful. The Kansas City community embraced the Ballet with renewed fervor and we look forward to expanding our repertory and reaching new audiences this season as well.”

Kansas City Ballet’s Fall and Winter performances and The Nutcracker will be accompanied by the Kansas City Symphony conducted by Kansas City Ballet Music Director Ramona Pansegrau.

2012–13 Season
Fall Performances
October 12–21, 2012 | Kauffman Center for the Performing Arts
Music performed by Kansas City Symphony
Carmina Burana is one of the most requested ballets by Kansas City audiences. A thrilling tapestry of dancers, singers, and orchestra, the entire production is set to Carl Orff’s heart-pounding score. Carmina Burana shares the evening with Lynne Taylor-Corbett’s complex and inventive Mercury and Ben Stevenson’s End of Time, a pas de deux exploring the bond between the last man and woman on earth.   Mercury, an abstract ballet in five movements, is drawn from five symphonies by the mercurial and passionate composer Franz Joseph Haydn. Taylor-Corbett said, “Just as Haydn’s music has a bright side and a dark, down side, so I want my choreography to reflect this duality.” Featuring music performed by Kansas City Symphony, these three works guarantee a powerful and emotionally stirring performance.

The Nutcracker
December 1–23, 2012 | Kauffman Center for the Performing Arts
Music performed by Kansas City Symphony
Kansas City Ballet will present Kansas  City’s favorite holiday tradition, The Nutcracker, at the Kauffman Center for the Performing Arts. The Nutcracker, featuring the music of Peter I. Tchaikovsky and choreography of Todd Bolender, returns for 20 public performances and two matinees for schools. This two-act ballet continues to delight audiences with its magnificent sets, costumes and special effects. Three casts of Kansas City Ballet dancers, plus more than 200 local youngsters ages 7 to 17 selected from Kansas City Ballet School, will perform E.T.A. Hoffman’s story. The Nutcracker tickets will go on sale to the public Oct. 22, 2012.

Winter Performances
March 15–24, 2013 | Kauffman Center for the Performing Arts
Music performed by Kansas City Symphony
Kansas City Ballet’s 55^th anniversary season will continue with the return of William Whitener’s A Midsummer Night’s Dream based on William Shakespeare’s comedy about the romantic misadventures of two mortal couples and the king and queen of the fairies. This encore presentation features the music of Felix Mendelssohn with spoken text narrating Shakespeare’s timeless comedy. Joining A Midsummer Night’s Dream are two Kansas City audience favorites – Splendid Isolation III by Jessica Lang, and Concerto Grosso by Toni Pimble … the second Pimble ballet to be presented in KCB’s 2012–13 season. The romantic duet Splendid Isolation III is set to the music of Mahler and exemplifies the work of Lang that prompted The Denver Post to write, “Expect big things from Lang. She is a major choreographic talent.” Pimble’s Concerto Grosso is a dynamic, but also tender, visual feast that features 14 dancers in a blend of classical and contemporary dance styles set to the music of Ernest Bloch.

Spring Performances
May 3–12, 2013 | Kauffman Center for the Performing Arts
Celebrate the golden age of jazz with Hey-Hay, Going to Kansas City, an original ballet paying tribute to the era of nightclubs and dance halls when Kansas City was considered the Paris of the Plains. Kansas City Ballet also brings you the nationally acclaimed Common People, choreographed by Margo Sappington and set to the spicy vocals of actor William Shatner with music by Ben Folds. The subject of a feature-length documentary, Common People fuses music, poetry, and dance. A new work by Lawrence native and internationally acclaimed choreographer Karole Armitage completes this dazzling, unique night of dance.

Visit www.kcballet.org for more information about Kansas City Ballet’s 2012-2013 season and www.kauffmancenter.org for a downloadable media kit about the Kauffman Center.

About Kansas City Ballet
Founded in 1957, Kansas City Ballet is a 25-member professional ballet company under the direction of Artistic Director William Whitener and Executive Director Jeffrey J. Bentley. The company’s mission is to offer the community, region and dance profession, dance experiences of the highest quality. Kansas City Ballet is home to the Kansas City Ballet School for 600 children and adults, offering professional training for the career-minded student as well as for those seeking a healthy lifestyle. Through the professional company, school and community outreach programs such as ROAD, Project X, and Dance INFORMances, the Kansas City Ballet seeks to nurture and develop artists, audiences and students in the creativity, diversity and joy of dance.  Kansas City Ballet’s new home, the Todd Bolender Center for Dance & Creativity at Union Station, in conjunction with the new stage at the Kauffman Center for the Performing Arts, is poised to make Kansas City and Kansas City Ballet a true destination for dance.

By KCM Staff   Mon, Jun 16, 2008

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~ 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 ~

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