Dance,
KC Ballet revisits collection of comprehensive works
The Kansas City Ballet covered all the bases in its winter repertoire performance Thursday night at the Lyric Theatre. The Midwestern company, which is making a national name for itself, offered selections of ballet, contemporary, African and modern in a diverse showing.
Opening the night was Piano Concerto #2, one of Robert Hill's earlier works set to the score of Lowell Lieberman. Although Hill did not create a storyline for the work, the powerful, emotive music seemed to warrant one on its own. The piece started off slowly with simple, repetitive steps and a dismal disposition. It did eventually pick up and showcased complex and impressive sequences technically challenging ala Balanchine.
Kim Cowen and Luke Luzika coupled as the main dancers and performed sensationally together. They completed the unique partnering steps with ease and excelled respectively in their solos. Luzika extended his lines remarkably well for a tall dancer - in addition to being light on his feet. Cowen, as usual, demonstrated superb skills tackling each step effortlessly. No matter the role, she makes it a point to connect to the audience and keep them interested with her amazing dynamics.
Rachel Coats also did a great job with the capricious choreography while remaining composed in the trio section. Charlie Martin and Michael Eaton, athough respectable dancers individually, do not share similar movement qualities and thus did not mesh together easily. The Corps could have utilized more expression and different costumes could have added integrity of the piece.
What the first act lacked, the middle piece made up for in plot, drama and presentation. The Moor's Pavane, created by world-renowned modern dancer José Limon, focuses on body language as opposed to technical dance steps. Fashioned after the pavane - a Renaissance-era dance inspired by the Spanish court - and loosely based on Shakespeare's Othello, Limon's work explores universal emotions and experiences that transcend cultures and time periods.
Each of the four dancers executed unbelievable portrayals of their character. Stefani Schrimpf, who played the friend's wife, captured the audience with her devious demeanor and expressive movement. Christopher Barksdale, who returned to the KC Ballet as a guest artist, personified the quintessential Moor while his wife, portrayed by Catherine Russell, was perfectly obliging and unassuming. The dancers had their work cut out for them, not once leaving the stage; but never lost their energy or appeared fatigued. The costumes were beautiful, the music was moving and the performance proved to be a hit.
The bill of the show, Lambarena, almost lived up to its anticipated reappearance. Lead female Deanna Doyle seemed to suit the choreography, but her implementation appeared pedantic. Although displaying tremendous control, at times she came off as reserving her energy instead of letting go and releasing into the movement.
New dancers Adam Rogers and Michael Davis were unexpected standouts. Rogers provided sincere articulation in his solo, executing the stylized choreography naturally and effortlessly. Davis gave a confident performance, standing out from the corps with his full and fresh interpretation. Another highlight was Luzika in the adagio section, a technique usually demonstrated by women. Luzika delivered each step with strength and grace, resembling a magnificent African beast.
Though some parts were more memorable and exciting, the piece never lost interest. The costumes and lighting were colorful and pleasing, the music lively and upbeat but overall the dancing lacked the extra punch to take it from a commendable showing to a stellar performance.
REVIEW:
Kansas City Ballet
Lambarena (Winter Performance)
Reviewed Thursday, February 26, 2010
Lyric Theatre
11th and Central Streets, Downtown Kansas City, MO
www.kcballet.org
Cover photo: Dancer, Logan Pachciarz. Photo by Steve Wilson.
Theatre ,
Aging in living color
I remain ever-fascinated with the limitless variety within art genres that are subject to the finite boundaries of their respective universes - Western Music has only 12 notes; English literature has only 26 letters - and that fact makes it all the more remarkable when a work jumps out with such originality and freshness.
In Broke-ology, Nathan Louis Jackson creates a memorable portrait of a situation occurring in millions of families - the care of a growing elderly population. And using the same 26 letters that every other English-speaking playwright must use, delivers a unique storyline with fresh perspective and with a sensitive, riveting climax. Over this past year I have been fortunate to have seen several plays in Kansas City that have won Pulitzer Prize's in their respective eras; and I can tell you that the writing in Broke-ology is as good as any of them.
Broke-ology opens with a scene set in Kansas City, Kansas "in the 1980s" that introduces us to Sonia (Shamika Cotton) and William (David Emerson Toney), who are expecting their first child, Ennis. They are very much in love - and like many young couples, although money is tight, have bright hopes for the future.
The remainder of the play takes place in the same modest house in "the summer of 2009." Sonia has passed away (later dialogue alludes to some form of cancer) and William is becoming increasingly debilitated by the ravages of multiple sclerosis. Ennis (Postell Pringle), born and raised entirely in KCK, is now expecting a child of his own with his girlfriend; and Malcolm (Larry Powell), Ennis's younger brother, has just returned after completing his Master's degree in Connecticut.
With William's deterioration, Ennis and Malcolm must cope with the reality that he will require an increasing level of care. Here Nathan Louis Jackson amply portrays a sad paradox of aging since multiple sclerosis not only ravages the body, but also the mind. Thus, as William worsens, he is less able to care for himself, less able to manage his medications, and requires more and more assistance (read supervision) from his sons. And they, in turn, become increasingly reliant on William to remember whether or not he has taken his meds when they weren't around.
After William almost lights himself on fire while attempting to make his own lunch, it becomes obvious that he cannot be left alone. This accentuates the tension between Ennis - who has no options outside of KCK - and Malcolm, who, with a Masters in Environmental Science, has little inclination to settle there permanently. With a bright future ahead of him, Malcolm poignantly defends his dreams, telling his father and brother that he aspires "not to get away, but to move towards something."
Broke-ology presents a very balanced cast - kudos to Casting Director Stephanie Klapper - with David Emerson Toney particularly strong as William. Set Design (Meghan Raham) was realistic and fitting, and was nicely accentuated by excellent Lighting Design from Victor En Yu Tan. Director Kyle Hatley brought an intimacy and immediacy to the play - much like he did in last years' production of The Borderland.
I give KC Rep Artistic Director Eric Rosen high praise too, for his foresight in programming Broke-ology's Kansas City premiere on the heels of its 2008 opening at the Williamstown Theatre Festival and its New York premiere last October. It seems destined to become a staple in the Kansas City theatre repertoire.
In some ways I hesitate to point out that this is a play by an African-American playwright about an African-American family because it truly doesn't matter. Millions of families face the same challenges with elderly relatives every day. However, the uniqueness of the Kansas City, Kansas setting, with its rich history of supporting the underground railroad, Kansas' proud heritage as a "free state," the lingering social challenges facing African-Americans - who continue to be disproportionately affected by economic hardships - and the challenging history and struggles of black literature and theatre in general, all combine to deliver powerful social insights that would be lost (or at least muted) in any other ethnic presentation.
With Broke-ology, Jackson has managed to craft a play about something that people of every race, color and creed will go through, while setting it in a family dynamic that also speaks directly to the African-American viewer. While the underlying societal issues are common, Jackson is not shy about inserting themes that evoke unique reactions based on ethnicity, whether they be light-hearted jabs at Santa as the evil white guy who is just another repressive manifestation of "the man," or the controversial use by black people of the word "nigger" (Ennis's bad habit, for which Malcolm makes him humorously recite "I love black people" five times every time he says it). Or - my favorite - William's palatable discomfort when Sonia repaints some holiday ornaments as African-Americans and then hangs them on the tree, causing him to exclaim that it is just "like some sort of Ku Klux Christmas."
It is an over-used platitude to summarize a work as having "something for everyone," but in this instance I can think of no better way to explain what Broke-ology brings to the table. Audience members will be touched by the challenges faced by Ennis and Malcolm. Those in their 20s and 30s will see what might face them with currently-vibrant parents. Those in middle age will worry about the burden their inevitable deterioration might impose upon their children. And the elderly may well identify with William who remembers with heart-breaking frustration the days when he was young, spry and vibrant.
This is a remarkable play. Go see it.
REVIEW:
Kansas City Repertory Theatre
Broke-ology
By Nathan Louis Jackson
Directed by Kyle Hatley
Runs February 19 - March 21 (Reviewed Saturday, February 27)
Copaken Stage
13th and Walnut Streets, Kansas City, MO 64105
For tickets call 816-235-2700 or online at www.kcrep.org
Cover photo: David Emerson Toney (Pops/William). Photo by Don Ipock
KC Events this week and beyond
Click here to see all the events on the KC Events performing arts calendar.
How do you list your events on KC Events? It is easy!!
As an arts organziation or musician, you can add and edit your own events.
KCMetropolis.org's mission is to promote traditional and independent classical music, dance, theatre and independent film. We are very sorry, but we do not cover pop, rock, Christian or country music; we do not cover the visual arts or non-performing arts community events. If you would like to send a press release about an upcoming performing arts event, please send to press@KCMetropolis.org.
KC Events Categories are:
Traditional & New Classical Music
Dance
Theatre
Jazz
KCMetropolis.org builds assignments for reviews, previews and interviews exclusively from KC Events. Please make sure your events are listed inorder to be considered.
To Submit Information:
- Please go to the KCM front page and click on the login tab located at the top right-hand side of the website.
- Create a login account and then sign-in.
- Read the KC Events Terms of Service before proceeding
- On the left-hand nav is a category called Submit Content
- Click on Submit an Event or Manage Your Events.
- Listings will be approved with 48 hours if it fits the KCMetropolis.org criteria.
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.
World-class talent Kansas City style
A KCM VID interview with
Kansas City's own
Behzod Abduraimov & Stanislav Ioudenitch
The Friends of Chamber Music
Special Presentation Concert: Behzod Abduraimov & Stanislav Ioudenitch
Friday, March 5 at 8 p.m.
Folly Theater
12 and Central Streets, Downtown Kansas City, MO
For tickets call 816-561-9999 or online at www.chambermusic.org
Film,
Film Noir Series 2010 at the Tivoli
Seven international film classics have been selected for a special FILM NOIR FILM SERIES at the Tivoli Cinemas in Westport. Starting March 2 and continuing through the month, audiences will have the opportunity to experience these cinematic treasures from master filmmakers. Fated heroes and heroines, manipulated by circumstances and people with hidden agendas around every shadowy corner -- all shown on the big screen in thematically vivid black and white.
Elevator to the Gallows
Tuesday, March 2 at 6:30 pm
In his mesmerizing debut feature, twenty-four-year-old director Louis Malle brought together the beauty of Jeanne Moreau, the camerawork of Henri Decaë, and a now legendary score by Miles Davis. A touchstone of the careers of both its star and director, Elevator to the Gallows is a richly atmospheric thriller of murder and mistaken identity unfolding over one restless Parisian night.
Louis Malle, France, 1957, BW, 92 minutes
Riffi
Thursday, March 4 at 6:30 pm
After making such American noir classics as The Naked City and Brute Force, blacklisted director Jules Dassin went to Paris and embarked on his masterpiece: a twisting, turning tale of four ex-cons who hatch one last glorious heist in the City of Lights. At once naturalistic and expressionistic, this melange of suspense, brutality, and dark humor was an international hit and earned Dassin the Best Director prize at the Cannes Film Festival.
Jules Dassin, France, 1955, BW, 118 minutes
Bob Le Flambeur
Tuesday, March 9 at 6:30 pm
Suffused with wry humor, Jean-Pierre Melville's masterwork melds the toughness of American gangster films with Gallic sophistication to lay the road map for the French New Wave. As the neon is extinguished for another dawn, an aging gambler navigates the treacherous world of pimps, moneymen, and naive associates while plotting one last score- a casino heist. This underworld comedy of manners possesses all the formal beauty, finesse, and treacherous allure of green baize.
Jean-Pierre Melville, France, 1956, BW, 102 minutes
Obsession
Tuesday, March 16 at 6:30 pm
Based on the novel, The Postman Always Rings Twice, Luchino Visconti's first feature film is considered to be the first Italian neorealist film. Banned by Mussolini, it is a powerful delineation of the ill-fated love between Gino, a virile young drifter who arrives by chance at a roadside restaurant/filling station, and Giovanna, the beautiful young wife of the fat old man who owns the place. Giovanna's husband disgusts her; every time he touches her she wants to scream. Gino leaves, only to return because of his passion for her. They kill her husband, but his death haunts the guilt-ridden Gino.
Luchino Visconti, Italy, 1943, BW, 140 minutes
Pépé le moko
Thursday, March 18 at 6:30 pm
The notorious Pépé le moko (Jean Gabin, in a truly iconic performance) is a wanted man: women long for him, rivals hope to destroy him, and the law is breathing down his neck at every turn. On the lam in the labyrinthine Casbah of Algiers, Pépé is safe from the clutches of the police - until a Parisian playgirl compels him to risk his life and leave its confines once and for all. One of the most influential films of the 20th century and a landmark of French poetic realism.
Julien Duvivier, France, 1956, BW, 102 minutes
Diabolique
Tuesday, March 23 at 6:30 pm
An acknowledged influence on Psycho, Henri-Georges Clouzot's horror classic is the story of a sadistic headmaster who brutalizes his fragile wife and his headstrong mistress. Together they work out an elaborate plan to rid themselves of their common tormentor. The two women murder him and dump his body in the school's swimming pool. When the pool is drained, no corpse is found, and subsequent reported sightings of the headmaster slowly drive his 'killers' - and the audience - up the wall with almost unbearable suspense.
Henri-Georges Clouzot, France, 1954, BW, 116 minutes
Night and the City
Thursday, March 25 at 6:30 pm
Two-bit hustler Harry Fabian (Richard Widmark) aches for a life of ease and plenty. Trailed by an inglorious history of go-nowhere schemes, he stumbles upon a chance of a lifetime in the form of legendary wrestler, Gregorius the Great. But there is no easy money in this underworld of shifting alliances, bottomless graft, and pummeled flesh - and Fabian soon learns the horrible price of his ambition. Co-starring Gene Tierney and luminously shot in the streets of London, this is film noir of the first order and one of the director's crowning achievements.
Jules Dassin, USA, 1950, BW, 101 minutes
ALL SEATS $4 - FREE for UMKC Students & Staff with valid ID.
Tickets available day of show only at the Tivoli Box Office.
For more information visit www.TivoliKC.com
Film,
My nine - make that 10 - incredibly entertaining and mostly accurate Oscar predictions
Let's face it, how many of you have skipped out on the presentation for Best Animated Short Film so you can go to the bathroom or get another bowl of hot popcorn? Raise your hand if you have. Remember, honesty is the best policy. (You have every right to argue I should have included Best Animated Film category below, but really, everyone knows it's going to be Up. So there, now there IS 10 predictions.)
So, without further ado, drum roll, please ... And no offense to the other unmentioned categories. Congratulations to all!
BEST PICTURE
Avatar
The Blind Side
District 9
An Education
The Hurt Locker
Inglourious Basterds
Precious
A Serious Man
Up
Up in the Air
Okay, tough one here because Inglourious Basterds and The Hurt Locker are deserving, especially the former in my book. However, when push comes to shove, the behemoth that is Avatar will win out. Hopefully James Cameron won't make another Titanic-like speech.
BEST DIRECTOR
James Cameron, Avatar
Kathryn Bigelow, The Hurt Locker
Quentin Tarentino, Inglourious Basterds
Lee Daniels, Precious
Jason Reitman, Up in the Air
Bigelow and Tarentino are deserving with two war classics, albeit with quite different styles. Ultimately, Cameron will score again with what was a massive undertaking.
BEST ACTOR
Jeff Bridges, Crazy Heart
George Clooney, Up in the Air
Colin Firth, A Single Man
Morgan Freeman, Invictus
Jeremy Renner, The Hurt Locker
Jeff Bridges delivers the performance of his career as a washed up, renegade country western singer in the vein of Waylon Jennings and Willie Nelson. Consider this a lock.
BEST ACTRESS
Sandra Bullock, The Blind Side
Helen Mirren, The Last Station
Carey Mulligan, An Education
Gabourney Sidibe, Precious
Meryl Streep, Julie & Julia
I feel bad for Streep. She was brilliant as the memorable character that was Julia Childs. Streep completely absorbs herself into the role and again shows why she is the greatest living actress on the planet. In any other year, she probably wins, yet it will be Sandra Bullock who, like Bridges, delivers the best acting of her career.
BEST SUPPORTING ACTOR
Matt Damon, Invictus
Woody Harrelson, The Messenger
Christopher Plummer, The Last Station
Stanley Tucci, The Lovely Bones
Christoph Waltz, Inglourious Basterds
If you love cinema, you must see Woody Harrelson's performance as a soldier with a damaged soul in The Messenger. It's as moving as they come. Harrelson will have to be satisfied with the nomination only because Christoph Waltz is takes Inglourious Basterds to a whole new level with an epic performance as the Nazi everyone can love to hate.
BEST SUPPORTING ACTRESS
Penélope Cruz, Nine
Vera Farmiga, Up in the Air
Maggie Gyllenhaal, Crazy Heart
Anna Kedrick, Up in the Air
Mo'Nique, Precious
Mo'Nique was the surprise of the entire year with her breakout dramatic role as the despicable, unsympathetic mother of the title character. She's won every award already so this is a no-brainer.
BEST ORIGINAL SCREENPLAY
The Hurt Locker
Inglourious Basterds
The Messenger
A Serious Man
Up
Hats off to The Messenger writer Mark Boal for creating the best war film made to date involving the Iraq War, but this is Tarantino's year to take home the gold statue for Inglourious Basterds.
BEST ADAPTED SCREENPLAY
District 9
An Education
In the Loop
Precious
Up in the Air
Despite what I think is an immensely creative screenplay by Neill Blomkamp and Terri Tatchell for District 9, this category will go to Up in the Air scribes Jason Reitman and Sheldon Turner.
BEST CINEMATOGRAPHY
Avatar
Harry Potter and the Half-Blood Prince
The Hurt Locker
Inglourious Basterds
The White Ribbon
Personally, I'm pulling for The White Ribbon but it will be The Hurt Locker that will win the night.
Dance,
Real stories inspire real dancing
Think you know hip-hop? Groovaloo, the award-winning show created by Bradley Rapier and Danny Cistone, just might make you think again. According to Rapier, one of the goals for the show is "to break some of the crazier, negative or, you know, just wrong ideas people might have about hip-hop culture and what it does for us and where it comes from."
The highly-acclaimed show is based on the real experiences of the dancers, known as the Groovaloos. The group has been successful - winning the American Street Dance Championships and NBC's SuperStars of Dance, a program in which dancers from around the globe compete for the top prize - and appearing on several shows, including the popular So You Think You Can Dance.
Groovaloo is part dance, part poetry, part theater, and completely honest. "Our show, yes it's a dance show, but it's a theater piece, and it's a true story," Rapier said. Along with the personal struggles and triumphs of the dancers, the stories showcase the performers' passion and love of dance. "One of my goals has always been to give people, whether they dance or not, a glimpse into this world that has so changed my life," he said.
Rapier, who originally had planned to become a doctor before realizing his passion for street dancing, said the show started quite different than how it is now. While working on developing the idea, Rapier began interviewing the dancers to learn their background, what led them to the world of dance, and why they moved to Los Angeles, among other things. After the dancers saw what had been recorded, they knew that this was the real show.
"I took those interviews, listened to them and put some images with them, showed them to the Groovaloos, and everybody said the same thing - there's the show, forget all this pretend stuff, writing fictional stories. We have been together now, we have a story to tell that will reach people 'cause its universal themes about regular people, and this dance is our vehicle," Rapier said.
One universal theme featured in the show is perseverance. Using the stories of the cast members - including Steven Stanton, known as Boogieman, who was shot and told he would never walk again - the show demonstrates how important it is to keep going.
"(The show) has the power behind it, regardless of what you're doing in your life, to say keep going, even if you don't know what's next. Keep going, keep stepping. You may not have all the answers, but keep going," Rapier said. As Boogieman says in the show, "Life isn't always choreographed. Sometimes you have to freestyle."
PREVIEW
The Performing Arts Series at JCCC
Groovaloo
Friday, March 5 at 8 p.m.
Saturday, March 6 at 8 p.m.
Yardley Hall
Carlsen Center
12345 College Boulevard, Overland Park, KS
For tickets call 913-469-4445 or online at www.jccc.edu
Classical,
A stacked cast makes "Porgy and Bess" a rare treat
Porgy and Bess is such a slam dunk-in some circles branded the most important 20th century American opera-that in any production, one is certain to find something to write home about. With cleverly combined story lines of betrayals, drugs, and murders, the story (written by DuBose Heyward) almost tells itself while the collage of classic numbers, including Summertime, It Ain't Necessarily So, and I Got Plenty of Nuttin, are a dramatic and musical bonus.
Gershwin made a name by writing catchy songs, but here demonstrates his innate capacity for working with full-scale drama. The work challenges an audience with blues and jazz elements (not idioms typically combined with operatic singing), a Southern (and Black American) dialect, and a dose of what have been judged as racial stereotypes. Furthermore, the pace is relentless: there are few breathers from one serious, fateful event after another related to murder, betrayal, and the deadly forces of nature.
The opera tells the story of Porgy, a crippled black man living in the slums of Charleston, South Carolina. It deals with his attempts to rescue Bess from the clutches of Crown, her violent and possessive lover, and Sportin' Life, the drug dealer.
In Porgy and Bess, Gershwin achieved unrivalled dramatic continuity, so that one number flows seamlessly into the next or integrates into recitative or dialogue. The use of thematic recall only enforces the effect, and this score moves, fidgets, and surprises. 
Clara opens the show with her famous lullaby, and here soprano Sequina Dubose was smartly cast. Although her Summertime was far from show-stopping (in fact her initial melodic line ran sharp), she handled the difficult song with a lyrical grace and added the appropriate improvisation to make this hit song her own. Reggie Whitehead's Sportin' Life was a bit over the top, but this is a role to relish, with ample opportunity to steal the show. Whitehead shaped the thug as a sort of Motown-esque prankster (perhaps paying homage to a certain deceased pop star), weaving this purple-coated spectacle through each of his scenes. In It Ain't Necessarily So Whitehead demonstrated a committed precision to diction and dance, and he easily stole at least the moment.
The title roles were impressively played. Bess (played on Friday night by Kishna Davis) enters fervently with a believable sense of abandon and an appropriately provocative red dress. Davis' character evolves before the audience's eyes: at first her movements seem stiff and artificial, but this proved to be an effort at characterization. It is fair to say that she grew on me. In her What You Want With Bess, she seemed to push the voice-to almost belt-but it worked here to bring into focus her restless aggravation. In the duet with Porgy (played by Patrick Blackwell), Davis demonstrated exquisite control and color as she eased up to simply soar. These singers were an exceptional vocal match for this duet; it was dazzling. Blackwell brought a strong, rich resonance to Porgy's numbers and a focused brightness to the recitative. Porgy's They Pass By Singing made it clear, however, that balance between orchestra and singers was an issue: the orchestra needed to back off to avoid muddling Blackwell's dialogue. In fact, the audience lost much of the accompanied recitative throughout, unfortunately missing many of the powerful conversational nuances embedded in the dialogue among friends and between lovers.
Eric McKeever made Jake a dashing, vibrant character, proving that McKeever has plenty of leading man abilities. Maria (Stephanie Beadle) oversaw things from her elevated front porch, and what a presence she was: Struttin' Style demonstrated how well Beadle knows this role, having played it in numerous times previously. Tomas Elliott (the understudy for Friday night) made Crown a powerful villain, with just enough sex and seediness to really make an impact. Gershwin's syncopation pulsed underneath Serena's My Man's Gone Now, adding to Reyna Carguill's palpable grief; the choral segment that followed was fabulous.
Nothing much in Porgy and Bess aligns with Gershwin's formulaic popular songs; here there is much more to listen for. Highlights include De Lawd Shake de Heavens where the entire cast reveled in the expressive, gospel-infused number. One by one, community members sang to convince each other that everything would be fine if they trusted faith over anxiety. Here again, Blackwell could not compete and Porgy's dialogue, embedded in the choral number, was almost lost. Leavin' for de Promis' Land was a spirited number, featuring the best diction of the entire show. Gershwin set it in layered polyphony, but careful blocking preserved each personality. Where's My Bess was another success: each character's attitude remained clear even in the thick vocal and instrumental textures: Porgy misses Bess; Serena is judging Bess, and Maria, in a strong contralto, denounces Bess. This all-black cast boasted a strong benchmark: one after another solo voice emerged in Gershwin's polyphony, to the point that it was almost distracting to try and determine which amazing voice was which.
In an opera that thrives on action sequences, the fights are critical: these events are essential to engaging a contemporary audience who craves something other than the typical, static opera sequence. Unfortunately, Robert Westley's fight choreography was weak. One assumes that men were men in Catfish Row, and that they would bring the same enthusiasm for craps games to their fisticuffs; this audience should have been treated to some tangible aggression.
Porgy and Bess takes immense stamina, vocally and physically, so to hear full voice and see full energy at end of this demanding show was admirable. Overall, the production at Yardley Hall pleased a full house. John Farrell's set was rustic, convincing, and adaptable. The visual components had effective depth and verticality, while functionality remained key: to complement the dramatic continuity demanded by Gershwin's score, and to further support narrative momentum, each scene change was made in full view of the audience. At times, even the characters chipped in, while still singing, to move the set, so that there was a real seamlessness to the story throughout. Clever lighting effects by Susan Roth made the hurricane scenes stand out: lightning sparked realistically (and thunder literally shook the set) while the residents of Catfish Row huddled inside. I hope Samuel Bill reveled in the standing ovation, as his ensemble indeed earned some of it. He conducted a precise, colorful ensemble. The only complaint is that they seemed to know nothing but loud.
REVIEW
The Performing Arts Series at JCCC
The Gershwins' Porgy and Bess
February 26 & 27, 2010
Yardley Hall at Carlsen Center
12345 College Boulevard, Overland Park, KS
www.jccc.edu/home/depts.php/001440/site/toc_events
Film,
"The White Ribbon"
Despite the symbolism that a white piece of cloth is supposed to represent, innocence and purity are lost in The White Ribbon, a superbly crafted, mysterious German drama ripe with parental brutality, coldness, and rigid formality in an era when society was defined by a strict socioeconomic order.
Set during the months leading up to the start of World War I in 1914, The White Ribbon takes place in a small Prostestant village where a series of unsettling "accidents" threaten to upend a rural society dominated by a powerful baron, a despicable doctor, and a strict pastor. All of this is recounted years later in narrator form by the village's school teacher who admits that parts of the story are based upon his own experiences, while the rest is pieced together from hearsay and rumors.
A series of misfortunate events begins when the doctor is severely wounded in a riding accident caused by a fall over a string of piano wire tied between two trees. Then a farmer's wife dies in an accident in the baron's mill, triggering a flare up of mistrust within the village's class structure. The baron's barn is burned to the ground and his child is brutalized in the woods, as well as the handicapped son of the village midwife. A threatening note is left behind that the children are being divinely punished for their parents' sins.
Initially, The White Ribbon seems like it as no clear direction, however, patience with the plodding pace is rewarded with an ever deepening, ever dark black-and-white mystery that's shrouded in shades of gray. A talented German cast breathes life into this engrossing story that does not have a true resolution. Loose ends litter the floor, much like a season of The X-Files.
With several international film festival wins under its belt, plus a Golden Globe for Best Foreign Language Film and two Oscar nominations for Best Foreign Language Film and Best Cinematography, The White Ribbon is a classic for the ages. We will each walk away with a different interpretation of this film - but I believe that any film that makes you think and then debate it, is certainly one that is worth watching.
On a letter grade scale from A being excellent to F for failing, The White Ribbon receives an A-.
The White Ribbon is rated R and has a running time of 144 minutes.
Now showing through March 4 @
Tivoli Cinemas
Westport Manor Square, 4050 Pennsylvania, KCMO
Visit www.tivolikc.com or call 913-383-7756 for show times.
Rio Theatre
7204 W. 80th St., Overland Park, KS
For more information, call 913-383-8500 or visit www.fineartsgroup.com
Theatre ,
Loretta Swit is delightfully painless in "Cactus Flower"
A cactus, prickly and uninviting, will often produce a spectacular bloom. So the metaphor goes in this superb romantic farce about a prickly nurse who blossoms under unusual and comical circumstances. Cactus Flower was produced by the New Theatre, directed by Dennis D. Hennessy, and stars Loretta Swit, of M.A.S.H. fame.
The story revolves around a philandering dentist, played by Kip Niven, who avoids marriage with his girlfriend Toni by pretending he is already married. In order to keep up the charade, he convinces his loyal but frosty nurse, Swit, to play his wife. The plot, although predictable in the long run, had unexpected twists and turns that ultimately led to a satisfying ending. The characters behaved realistically, yet never fell into cliché. In a phrase, the show was breath of fresh air.
Loretta Swit, playing Stephanie Dickinson, was an engaging and sympathetic stage presence. Her comic timing was impeccable. What I appreciated most was the portrayal of a strong woman who had vulnerabilities. It was easy to see why Ms. Swit has enjoyed such a long, rewarding career as a performer.
Kip Niven, as the philandering dentist, alternately pleaded and barked his way through the show. A Kansas City native, Niven is a good match for Swit and entirely believable as a dentist. I did not entirely like his character because his one constant quality was dishonesty, but I always hoped that he would get the girl in the end.
Natalie Hiatt, as well-meaning girlfriend and fake home wrecker Toni, started the show out with a bang. She had the audience laughing within the first two minutes with her matter-of-fact delivery and high-pitched girly voice. In a role that could easily have become unsympathetic, Hiatt earned audience sympathy. I thoroughly enjoyed her small, often unconscious, victories throughout the show.
The supporting cast includes Tristan Colton, T. Max Graham, Dodie Brown, Jim Korinke, Patrick DuLaney and Cassie Hollmann. If the time and space allowed, I would comment on each performance. It will suffice to say each played their parts well, and created an atmosphere where the story could be told.
Scott Heineman's scenic design was fantastic. I loved the rotating stage, and each setting gave a very clear idea of where while also giving insight into the characters. There was such a contrast between the impersonal, sterile dentist office and Toni's bright, cheerful apartment. Huge congratulations go to the running crew for silently changing one set while another scene was going on.
Randy B. Winder's lighting and props were, as always, suited to the show. He does a lovely job of creating lighting and props that suit the story without drawing unnecessary attention. Mary Traylor's 60's era costume design gave the audience fun visuals without being distracting. I really enjoyed Toni's fun outfits (gold heels!) and Swit's beautiful red dress.
The only technical element that drew me away from the story was the sound design. I was confused as to why modern songs were playing on the radio in the 1960s. Having said that, the song lyrics did fit the situation, so I understand why they were chosen.
This was my favorite show of the New Theatre season so far. The script was well written. All the elements came together splendidly, and the cast worked so well together. And I laughed. A lot. Thanks to New Theatre for a lovely evening!
REVIEW
New Theatre Restaurant
Cactus Flower
Running February 10 through April 11 (Reviewed February 18, 2010)
9229 Foster St., Overland Park, KS
For tickets call 913-649-SHOW or online at www.newtheatre.com
Local Arts News,
New campaign imagines Kansas City with no art
If we don't support artists, there is no art.
On March 1, the Arts Council of Metropolitan Kansas City launched the first ever public awareness campaign for the ArtsKC Fund. Two white billboards and a piece of prominent art will be covered in white wrap to emphasize the absence of art. This innovative public awareness campaign was designed by Barkley Creative and leads with the slogan:
If We Don't Support Artists, There Is No Art.
Support ArtsKC.org
Barkley Creative Director, Pat Piper, said a quote by Arts Council CEO, Harlan Brownlee, inspired the Barkley team's design direction:
"We take art for granted. Imagine if there was no Nelson-Atkins Museum of Art, no Kemper Museum of Contemporary Art, No Kansas City Repertory Theatre, No Crossroads Arts District, no Kansas City Ballet. What a desolate and empty place this would be...a great city deserves great art and Kansas City is no exception".
ArtsKC Fund futurist sponsor, UMB, provided the two billboards that are located on I-70 & Van Brunt, E Face & SW Blvd & I-35 S Face to reach rush hour traffic entering downtown Kansas City. The campaign will be executed in two phases. Phase 1 runs March 1 - April 4 and communicates "no art". The billboards are designed to be empty with a white background and to evoke a blank canvas or empty page. The only thing on the Phase 1 billboards is text with the slogan. Wrapped art displays will run during Phase 1 with sites to be determined.
Phase 2 billboards run April 5 through the beginning on May. The Phase 2 billboards contrast with Phase 1 and start the "Found" art portion of the campaign. The formerly blank billboards will colorfully depict the range of artistic expression in Kansas City.
About the ArtsKC Fund
The ArtsKC Fund, an initiative of the Arts Council of Metropolitan Kansas City, is a united arts fund that raises new money to support a wide range of arts organizations and programs. Its purpose is to provide stable sources of new financial support for the arts, broaden access to high-quality arts experiences, and sustain excellence in the arts and arts administration. The Arts Council of Metropolitan Kansas City is a not-for-profit organization that serves the five-county Kansas City metropolitan area and strives to strengthen and enrich the community by growing appreciation, participation, and support of its arts resources. For more information about the ArtsKC Fund, visit http://www.ArtsKC.org.
Local Arts News,
University of Kansas School of Music announces a new Opera/Voice Master Series
In the coming months, the University of Kansas School of Music will welcome internationally renowned artists who also serve as distinguished educators of opera, vocal repertoire, and collaborative piano. The Series will include a number of voice and piano master classes, free and open to the public.
Joseph Colaneri
Master class, Feb. 25, 3:30-6:00 pm, Robert Baustian Theater, Murphy Hall
The first visiting artist, maestro Joseph Colaneri, will be in residence at KU February 25-26.
Colaneri is in his ninth season as a member of the conducting roster of the Metropolitan Opera and serves as Artistic Director of the opera program at the Mannes College of Music in New York City.
Colaneri made his conducting debut at the Metropolitan Opera with a performance of La Boheme in 2000. Since that time, Maestro Colaneri has conducted numerous Met performances, including all of the popular Met in the Parks performances of Turandot in season 2002-2003, Falstaff in 2005-2006, and La Fille du Regiment and Lucia di Lammermoor in the 2007-2008 season. Prior to joining the Met, Colaneri was associated with the New York City Opera at Lincoln Center for fifteen years, culminating in his appointment in 1995 as Acting Music Director.
Julio Alexis Munoz
Master class: March 29, 3:00-6:00 pm, Swarthout Recital Hall
Recital with KU Professor Genaro Mendez Jr.
April 1, 7:30 pm, Schmitt Music, Overland Park
March 26 - April 5, 2010, KU welcomes Julio Alexis Munoz, Professor of Piano at the Conservatorio Profesional de la Comunidad de Madrid and Professor of Vocal Repertoire at the Escuela Superior de Canto de Madrid.
A leading expert in Spanish art song and zarzuela, Munoz frequently collaborates as performer and teacher with internationally-renowned Spanish mezzo-soprano Teresa Berganza and Spanish tenor Manuel Cid of the Escuela Superior de Musica Reina Sofia. He has recorded for radio, televeision, and CD, and has performed throughout Europe, America, the Middle East, and Japan.
Martin Katz
Master class: April 26, 3:30 ? 5:30 pm, Swarthout Recital Hall
April 25 - April 27, 2010, the KU School of Music welcomes Martin Katz, Chair of Collaborative Piano at the University of Michigan.
Mr. Katz has appeared and recorded regularly with Marilyn Horne, Jose Carreras, Cecilla Bartoli, Kiri Te Kanawa, and Kathleen Battle and has shared the stage in recitals on five continents with some of the world's most esteemed voices, including Renata Tebaldi, Montserrat Caballe, Tatiana Troyanos, Nicolai Gedda, Regine Crespin, Kathleen Battle, Karita Mattila, Samuel Ramey, and Jose Carreras. In more recent years, Katz has conducted orchestras of Houston, Washington D.C., Tokyo, and Miami. In 2009, Maestro Katz published the book: "The Complete Collaborator: The Pianist As Partner."
John Wustman
Master classes: May 3 and 4, 1:00-3:00 pm, Swarthout Recital Hall
May 3 - May 4, 2010, the KU School of Music welcomes distinguished collaborative pianist and educator, John Wustman.
Often called the "dean of American accompanists," he began teaching at the University of Illinois in 1968, and founded the vocal coaching and accompanying program at the University of Illinois in 1973. Wustman had a long affiliation with Robert Shaw and accompanied Luciano Pavarotti in a series of televised recitals, including Pavarotti's first recital for the Metropolitan Opera in 1978. He has appeared with many of the great voices of the world, including Elisabeth Schwarzkopf, Birgit Nilsson, Christa Ludwig, Carlo Begonzi, Luciano Pavarotti, and Regine Crespin. A renowned expert in German Lieder worldwide, Wustman performed all of Franz Schubert's 598 artsongs over a six year period, celebrating the 200th anniversary of Schubert's birth.
For more information visit www.arts.ku.edu/music/voice/masterseries/index.shtml
City Classics,
Music and Dance through March 10
Kansas City Symphony
Stern Conducts Copland & Beethoven
Friday, March 5 at 8:00 p.m.
Saturday, March 6 at 8:00 p.m.
Lyric Theatre, 1
11th and Central, Downtown Kansas City, MO
Sunday, March 7, at 2:00 p.m.
Yardley Hall, Carlsen Center at JCCC
12345 College Boulevard, Overland Park, KS
For tickets call 816-471-0400 or online at www.kcsymphony.org.
When in the 1940's the Koussevitzky Foundation commissioned a symphony from one of America's best-loved composers, Aaron Copland, he knew that the resulting work was going to be a major milestone in his career, and perhaps in American music of the 20th century. Copland was well known for his brilliant ballet scores which cleverly incorporated American themes into sparkling music perfectly suited for dance (e.g., Billy the Kid and Rodeo), but he had rarely ventured into the purely instrumental realm (his first two symphonies were much shorter works, composed years earlier before he had gained fame).
Knowing that his Symphony had to have a central theme to tie it together, Copland cleverly turned to a small work he had written for the Cincinnati Orchestra in 1942, as a contribution to boosting home morale during the dark days of World War II. The Cincinnati Orchestra had commissioned ten fanfares from different composers, and Copland's Fanfare for the Common Man had stood out as being among the best.
Seizing this idea, Copland founded the last movement of his Symphony on the fanfare. In fact, closer listening suggests that the entire symphony grew out of roots found in the fanfare, whose half-dozen melodic passages figure prominently in the symphony.
Although each movement is outstanding, particularly the charming third movement, it is the finale with the Fanfare theme literally trumpeting a ringing affirmation. It is one of the most listenable, charming and incisive works of the American repertoire, and with it Copland certainly lived up to the expectations raised by the commission.
Beethoven's First Piano Concerto, the other major piece on this program, dates from his early years as a piano virtuoso prior to the onset of the deafness which plagued much of his middle and late career. Beethoven was known as a pianist of rare ability, flailing away at the keyboard with uncommon abandon and capable of almost unbelievable technical virtuosity as well as brilliant improvisations.
Beethoven once said, "A quiet life; I don't think I'm cut out for it." This attitude permeates his first piano concerto. As commentator Harry Goldschmidt as written, "A constantly combative spirit comes to the fore [in this concerto], challenging the old regime, boldly encouraging anything which has the face to oppose the past. Here already is the spirit of the First Symphony, which is similarly written in the basic key of all keys - C Major. Only Beethoven could have used such a 'naked,' melodically unyielding motif."
In this concert, the KC Symphony audience will hear it performed by Robert Levin, a famed musicologist as well as performer, who has studied and written comprehensively about the music of Mozart and others. A champion of both traditional and modern composers, Levin has recorded all of the Beethoven piano concertos, when he is not busy with his concertizing or his teaching duties at Harvard, where he serves as a professor of music.
The final piece of the Symphony program is A Haunted Landscape by George Crumb, who since the 1950's has been one of the major voices of American composition. Famed for his compositions for "prepared" piano (i.e. altered in some way) and other unusual instrumentations,
A Haunted Landscape was commissioned by the New York Philharmonic in 1984. Of this piece, he has written: "Sometimes one feels an idyllic sense of time suspended. The contemplation of a landscape can induce complex psychological states and perhaps music is an ideal medium for delineating the tiny, subtle nuances of emotion and sensibility which hover between the subliminal and the conscious."
Crumb brings a number of interesting sounds to bear. In addition to the usual orchestration, he incorporates into the score parts for certain "exotic" instruments -- Caribbean steel drums, Cambodian angklungs, Japanese Kabuki blocks, the Brazilian cuica, and the Appalachian hammered dulcimer.
The Friends of Chamber Music
Stanislav Ioudenitch & Behzod Abduraimov, pianists
Friday, March 5 at 8 p.m.
Folly Theater
12th and Central, Downtown Kansas City, MO
For tickets call 816-561-9999 or online at www.chambermusic.org.
Unless you have been snoozing under a rock for the past several years, you know that Stanislav Ioudenitch is the UMKC Conservatory of Music grad who was the co-winner of the Van Cliburn International Piano Competition in 2001. He is now the Artistic Director and Associate Director of the International Center for Music and the Youth Conservatory of Music at Park University. In this concert, Ioudenitch appears with one of his talented students, Behzod Abduraimov, who won the London International Piano Competition in 2009.
Click here to see KCM's VID interview with Ioudentich and Abduraimov.
Abduraimov was born in Tashkent in 1990 and began to play the piano at the age of five. He was a pupil of Tamara Popovich at the Uspensky State Central Lyceum in Tashkent, and since 2007 has been pursuing a Bachelor's Degree at the International Center for Music at Park University, Kansas City studying with Ioudenitch.
Abduraimov also won third prize in the Musician of XXI Century international piano competition in Kazakhstan in 2000 and a diploma from the International Tchaikovsky Competition for Young Musicians in Xiamen, China, in 2002. He also won first prize in the International Piano Competition "Le Muze" in Agropoli, Italy, in 2003, and at the Lennox International Young Artists Competition last year.
The program will include the 24 Preludes, Op. 24 and some Waltzes Chopin; the Saint-Saëns/Liszt/Horowitz version of Danse macabre; two other works by Liszt, Transcendental Etude No. 8 in C Minor, "Wilde Jagd" and Hungarian Rhapsody No. 6, and end with a rare performance of Rachmaninoff's Suite No. 1 for Two Pianos, Op. 5
Wylliams/Henry Contemporary Dance Company
"Wylliams/Henry on the Edge"
Friday, March 5 at 8 p.m.
Saturday, March 6 at 8 p.m.
The Foundation
1221 Union Avenue in the West Bottoms, Kansas City, MO
For tickets call 816-235-6222 or online at https://tickets.cto.umkc.edu/public/load_screen.asp
The Wylliams/Henry Contemporary Dance Company was founded by Leni Wylliams and Mary Pat Henry in 1991 and is celebrating their 19th year in presenting exciting and cutting edge works created by outstanding American choreographers and dancers.
"Wylliams/Henry on the Edge is a new addition to the regular concert season. This concert includes provocative, sensual, edgy, and out of the box choreography. We set this performance in an alternative venue, The Foundation, in the West Bottoms, to attract an audience that enjoys art openings and avant garde events," remarked Mary Pat Henry co-founder of Wylliams/Henry Contemporary Dance Company.
This performance will include "Untitled" by Tiffany Sisemore, a Charlotte Street Foundation 2009 Generative Award winner, as well as "Eden" by DeeAnna Hiett, a Charlotte Street Foundation 2008 Generative Award winner. "2146 in a Series" by Susan Warden is a NEA Choreographic Fellowship Award by the founder of the Susan Warden Dancers. Other works are "Trap Door Party" by Josh Beamish, Artistic Director of the Canadian Dance Company MOVE, and "I Want a Hot Dog for My Roll" a Tribute to the Apollo Theater's Butter Beans and Susie by Mary Pat Henry, co-founder Wylliams/Henry Dance Company. 
Kansas City Chorale
Sing to Love
Saturday, March 6 at 7:30 p.m.
Visitation Church
5141 Main Street, Kansas City, MO
Sunday, March 7 at 2:00 p.m.
Asbury Methodist Church
7500 Nall Avenue, Overland Park, KS
For tickets call 816-444-7996 or online at www.kcchorale.org
Conductor Charles Bruffy brings back his Kansas City Chorale this weekend for a concert devoted to "Spring, the season of love." The nationally famous troupe will perform the second book of Johannes' Brahms' romantic Liebeslieder Waltzes, as well as a "bouquet of love songs" hand-picked by Maestro Bruffy.
In a break from Chorale tradition, six professional dancers from TC International Dance Studio will be at the concerts waltzing to the music. If there is enough room in the aisles, you are probably welcome to join them yourself, if so inspired.
Harriman Jewell Series
Moscow State Radio Symphony
Saturday, March 6 at 8 p.m.
Folly Theater
12th and Central Streets, Downtown Kansas City, MO
For tickets call 815-415-5025 or online at www.harrimanjewell.org.
The Moscow State Radio Symphony was founded over 30 years ago for the purposes of Russian radio broadcasts of symphonic favorites, but now tours the world over to bring its impressive musicianship to audiences everywhere. For this, its second appearance on the Harriman Jewell program, the Symphony will perform an all-Tchaikovsky program under the direction of Alexei Kornienko.
On the schedule are the charming Polonaise (dance) from Tchaikovsky's best known opera (at least to Western audiences), Eugene Onegin; the Suite No. 4, Op. 6, called Mozartiana, and Tchaikovsky's Symphony No. 3 in D, the so-called "Polish."
According to a review in the Los Angeles Times, "the overall impression...was one of orchestral polish and muster.... This orchestra is a crack ensemble that brings a rigorous approach to music-making that left little to ambiguity."
The Tchaikovsky pieces here are from the earlier part of his career, for the most part, and are among his most charming compositions. You won't find more a genuine Tchaikovsky performance than one by one of Russia's leading orchestras.
Lied Center at KU
The Albers Sisters
Sunday, March 7 at 2 p.m.
Lied Center at University of Kansas
1600 Stewart Drive, Lawrence, KS
For tickets call 785-864-2787 or online at www.lied.ku.edu
The Lied Center brings a trio of young string instrumentalists to the Lied Center on Sunday afternoon to play the music of Mozart, Beethoven and contemporary composer Ross Bauer.
Natives of Boulder, Colorado, each of the sisters has had an impressive individual career. Violinist Laura is the concertmistress of the San Francisco Opera orchestra and is a graduate of the Cleveland Institute of Music and Juilliard. Violist Rebecca performs with the St. Paul Chamber Orchestra and is also a Juilliard graduate. Cellist Julie is a resident of the Chamber Music Society of Lincoln Center and has performed with orchestras around the world.
As a trio, the group has appeared at such venues as Alice Tully Hall at Lincoln Center, National Theatre in Taipei, Severance Hall, Weill Recital Hall, Wigmore Hall in London, and Zankel Hall. Their performances have also been seen and heard on Live from Lincoln Center, Kennedy Center Honors, Japan's NHK, Washington D.C.'s Voice of America and Bavarian Radio.
Philharmonia of Greater Kansas City
Family Concert
Sunday, March 7 at 3 p.m.
Graham Tyler Memorial Chapel at Park University
8700 N.W. River Park Drive
Park University, Parkville, MO
Free admission.
The Philharmonia of Greater Kansas City is on a search for a new music director, and this concert will feature the talents of the three finalists for the position, Grant Harville, Travis Jurgens and Christopher Kelts. Among the pieces will be shorts by Dvorak, Brahms, Glinka, Bizet and Humperdinck (the real one, not the pop singer).
Fans of the Philharmonia will not want to pass up this opportunity to review and compare the talents of the three contestants for this position.
Youth Symphony of Kansas City
Concerto Showcase and Guest Artist Concert
Sunday, March 7 at 4 p.m.
Music Hall
301 West 13th Street, Downtown Kansas City, MO
Free admission.
The Youth Symphony, both its both its Symphony Orchestra and Academy Orchestra, will perform a free concert Sunday afternoon with guest artist Greg Foreman, organist. No further information is available about this concert.
UMKC Conservatory of Music and Dance
Art Sounds: Playing Fields
Tuesday, March 9 at 7:30 p.m.
Epperson Auditorium, Kansas City Art Institute
4415 Warwick, Kansas City, MO
Free admission.
According to publicity for this event, "Playing Fields is an original ArtSounds event realizing a collaboration between James Mobberley and Brett Reif. It is a difficult event to describe. Part musical experience with over 40 minutes of original music by Dr. Mobberley, part gallery exhibition experience involving three new installations by Brett Reif and part theatre involving 21 Kansas City Art Institute freshmen from Brett Reif's 'Performance Workshop' who will perform the installations."
We are not sure what "perform the installations" means, but we do know that James Mobberly is the chair of the UMKC Conservatory's composition department, so the musical portion of this event counts as a performance which you should consider this weekend. The art aspect of it is out of our league, but it sounds like an interesting multi-media experience.
Local Arts News,
Kansas City Ballet announces 2010-11 season
Kansas City Ballet Artistic Director William Whitener recently announced the Company's 53rd season. Whitener stated, "This season features the works of American choreographers and covers a plethora of styles, techniques, and genres. Two of the ballets are new to the repertory and will be danced alongside audience favorites and the enduring classic, Giselle."
The Fall and Winter Performances and The Nutcracker will feature the Kansas City Symphony conducted by Kansas City Ballet Music Director Ramona Pansegrau.
The 2010-11 season will be the last for the Kansas City Ballet in the Lyric Theatre and the Music Hall; the next season will open at the new Kauffman Center for the Performing Arts.
Fall Performances
October 14-17, 2010 | Lyric Theatre | Featuring the Kansas City Symphony
Three masterworks of Balanchine - Mozartiana, Tchaikovsky Pas de Deux, and Slaughter on 10th Avenue - plus the return of audience favorite Lark Ascending by Bruce Marks.
The Fall Performances open with three masterpieces of George Balanchine. Mozartiana, which premiered in 1981 at New York City Ballet's Tchaikovsky Festival, is one of the last ballets the choreographer created before his death in April 1983. In addition to the principal dancers and small ensemble, the cast includes four young female dancers from the Kansas City Ballet School.
Tchaikovsky Pas de Deux was choreographed by Balanchine in 1960 as a showpiece for New York City Ballet dancers Violette Verdy and Conrad Ludlow, and was subsequently performed by such luminaries as Patricia McBride, Edward Villella, Mikhail Baryshnikov and Suzanne Farrell.
The third piece on the program is the return of Lark Ascending choreographed by Bruce Marks featuring the music of Ralph Vaughan Williams. "Lark is about the journey of life, that eternal fight against gravity," said Marks. "Each time I see the lark ascend I know why we dance. In these sad and troubling times it is so important to reaffirm the nobility of the human spirit."
Closing the Fall Performances is George Balanchine's Slaughter on Tenth Avenue featuring the music of Richard Rodgers, orchestrated by Hershy Kay. Balanchine originally choreographed this splashy, comedic caper in 1936 for Broadway's production of On Your Toes. A parody of Broadway theatrics, Russian ballet, and the mob, Slaughter on Tenth Avenue, set in a tacky strip joint, tells the story of a jealous Russian premier danseur who hires a mobster to kill a rival during the premiere of a new ballet.
The Nutcracker
December 11-24, 2010 | Music Hall | Featuring the Kansas City Symphony
Kansas City's favorite holiday tradition continues with the presentation of Todd Bolender's delightful family classic The Nutcracker in the beautifully restored Music Hall.
From Dec. 11 through Dec. 24, 2010, Kansas City Ballet will present Kansas City's favorite holiday tradition, The Nutcracker, at the Music Hall. The Nutcracker, featuring the music of Peter I. Tchaikovsky and choreography of Todd Bolender, returns for 15 public performances and three matinees for schools. This full-length 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, tell E. T. A. Hoffman's story. Nutcracker tickets will go on sale to the public Monday, October 25, 2010.
Winter Performances
March 10-13, 2011 | Lyric Theatre | Featuring the Kansas City Symphony
Giselle is considered the supreme achievement of the Romantic Age of Ballet. Performed in two acts, the ballet tells a story of innocence, betrayal, madness and redemption.
This story of enduring love even after death features two of the most celebrated roles for a ballerina and premier danseur. Through the music of Adolphe Adam and the choreography of Jean Coralli and Jules Perrot, this haunting and tragic love story tells the heart-breaking story of a young village girl who innocently falls in love with callous Albrecht, a prince disguised as a peasant lad. Discovering his real identity and that he is betrothed to the Duke's daughter, Act I closes with Giselle, driven mad with grief, dying of a broken heart - a scene widely considered to be the most dramatically challenging role in the ballet canon. Act II unfolds as Albrecht comes to her grave and is surrounded by the Wilis, the spirits of young girls who died before their wedding day. Finally, he watches Giselle dance into the ghostly dawn as he is left grieving at her grave.
Spring Performances
May 5-8, 2011 | Lyric Theatre
American dance is highlighted with the Kansas City Premiere of Jerome Robbins' Moves, the World Premiere Mercy of the Elements by William Whitener, and the return of The Catherine Wheel Suite by Twyla Tharp.
The performance opens with the Kansas City Premiere of Jerome Robbins' Moves (A Ballet in Silence). The ballet premiered in 1959 at the Spoleto Festival, was a staple of the Joffrey Ballet's repertory in the 1970's and premiered at New York City Ballet in 1984. Danced without musical accompaniment, Moves features the stark clarity of the body as an expressive instrument, placing the focus on precise and changing choreographic patterns. The ballet is also an exploration of emotional connections and disconnections, beginnings and endings, shown through an intense gesture, a subtle movement, a glimpse of passion contained. Jennifer Dunning of The New York Times called Moves, "An extraordinarily powerful experience as theater and dance. Mr. Robbins achieves so much in the simplest terms."
The Spring Performances continue with a World Premiere by Kansas City Ballet's Artistic Director William Whitener. In his 12th creation for Kansas City Ballet, Mr. Whitener will premiere Mercy of the Elements, performed with live chamber music.
Closing the Spring Performances will be The Catherine Wheel Suite by Twyla Tharp with music by pop/rock icon David Byrne (Talking Heads). The Catherine Wheel Suite features a selection of dances assembled specifically for Kansas City Ballet by Tharp and William Whitener - an original cast member of the ballet - from 1981's original, full-length work The Catherine Wheel. The Suite finishes with the renowned and rousing finale, "The Golden Section." Arlene Croce of The New Yorker calls The Catherine Wheel, "A multi-level poetic fantasy with a twist of scalawag comedy... a suite of social dances through the ages."
For ticket information call 816.931.2232 or online at www.kcballet.org
Local Arts News,
Arts Day at the Kansas Capitol
Arts Day at the Capitol for Kansas Arts supporters
Thursday, March 11, 11 a.m. to 2:30 p.m., Topeka, Kansas
This is a crucial year for the arts in Kansas with the current legislative session. The support of everyone from arts advocates; arts educators; artists; arts organization directors, board members and volunteers; and arts patrons to anyone who values the benefits of the arts in their Kansas communities is needed to make a sustainable impact.
The three key advocacy points this year are:
- Maintain the Governor's recommended budget for the KAC in 2011.
- The arts mean jobs in our Kansas communities.
- For every $1 invested in the arts, $9 are generated.
Schedule of Activities
11:00 am - Noon (Dillon House, 404 SW 9th Street, Topeka)
- Participate in the annual Kansas Citizens for the Arts business meeting
- Review current legislative initiatives and the Governor's budget
- Receive a toolkit for successful arts advocacy
- Learn to communicate effectively with elected officials
Noon - 1:15 pm (Kansas State Capitol building)
- Meet face to face with your representative
- Distribute literature about the impact of the arts in Kansas
1:15 - 2:30 pm (Dillon House)
- Interact with members of the House and Senate and listen to them speak in support of the arts
- Conclude the day with closing remarks
For more information, contact Ann Evans at 785/841-5653 or annarts@sunflower.com.
Make an appointment to visit with your legislators and plan to attend Arts Day at the Capitol on March 11, 2010, 11:00 am - 2:30 pm, hosted by Kansas Citizens for the Arts in partnership with the Kansas Arts Commission.
Governor's Arts Awards
In addition to Arts Day at the Capitol, attend the 2010 Governor's Arts Awards on March 11, 6:00 to 8:00 pm, in the Washburn Room of the Memorial Union on the Washburn Campus (1700 SW College Ave., Topeka). Tickets are $25 per person. To receive an invitation, contact the Kansas Arts Commission at 785/296-3335 or 866/433-0688 (toll free in Kansas).
Off the Vine, Jazz,
Jammin at the Gem
JAMMIN at the GEM SERIES
Women in Jazz Celebration featuring Oleta Adams
Saturday, March 20 at 8:00 p.m.
Each year the American Jazz Museum pays tribute to Women in Jazz, past and present, through a combination of live performances and education programs. This year's show will feature a longtime resident of Kansas City: Grammy-nominated vocalist/pianist Oleta Adams. Throughout her career, she has inspired a growing legion of fans in the U.S. and Europe with a sound that draws deeply from her gospel roots and crosses over into jazz, soul and R&B.
The Clayton Brothers Quintet
Saturday, April 17 at 8:00 p.m.
Celebrate Jazz Appreciation Month, family-style. Led by brothers John & Jeff Clayton [bass and alto sax], this group's blend of blues, bop, ballads and swing embody all there is to love about jazz.
Tribute to Duke Ellington
Saturday, April 29-30, 8:00 p.m.
This celebration of one of the most important, prolific, and highly revered American composers includes the following activities over two days of live music, education and outreach:
- A day-long educational symposium and master classes for middle school, high school and collegiate level students, including a panel discussion with Ellington specialist, trumpeter and arranger Barrie Hall and NEA Jazz Masters Clark Terry and Dan Morgenstern;
- An Ellington exhibit of photos and artifacts, and the unveiling of a new Ellington bust by Sacramento-based artist Howard Lazar;
- A public outreach presentation on Ellington by renowned jazz scholar and NEA Jazz Master Dan Morgenstern;
- A showcase performance of Ellington music featuring invited student ensembles and a specially formed professional Kansas City All-Star Ellington Orchestra.
NEA Jazz Master Clark Terry, an iconic trumpeter and veteran of Duke Ellington's bands, will also be presented with the American Jazz Museum Lifetime Achievement Award. Tribute concert will be held on Saturday, April 30, 2010.
*The Duke Ellington Tribute is supported by NEA Jazz Masters Live, an initiative of the National Endowment for the Arts in partnership with Arts Midwest. For more information on this initiative, visit www.nea.gov/national/jazz.
Bobby Watson and the 18th & Vine Big Band w/Ernie Andrews
Saturday, May 8 at 8:00 p.m.
Closing out the season "KC-style" is our town's very own 18th & Vine Big Band, led by Palmetto Recording Artist, renowned saxophonist and UMKC Director of Jazz Studies Bobby Watson. The Big Band, which features a rotating cast of some of Kansas City's best jazz musicians, will be augmented by the rich, bluesy baritone of special guest vocalist Ernie Andrews.
For tickets to any of these performances call 816-474-6262 or online at www.ticketmaster.com
Gem Theatre
1616 E. 18th St., Kansas City, MO
For information call 816.474.8463 or online at info@kcjazz.org
RSS ArtsJournal
Many thanks to ArtsJournal.com's editor, Douglas McLennan
~ Formerly an arts columnist and arts reporter with the Seattle
Post-Intelligencer and the Seattle Weekly. Doug writes on
the arts for a number of publications (in his abundant free time)
and is currently acting director of the National Arts Journalism
Program while it reinvents itself ~
*To sign up for ArtsJournal's content in newsletter form*
please click here