Unlikely Combination of Rock Music and the Life of Jesus Takes Center Stage in Jesus Christ Superstar
by Ally Landis - South Anchorage High School/Alaska Pacific University
Rock music, Jesus, and a Broadway musical may seem like an unlikely combination, but it works in Jesus Christ Superstar. The musical is definitely different than any other, and it brings the story of Jesus into a modern day context with songs like “What’s the Buzz” and “Could We Start Again, Please.”
Tuesday night in the Atwood Theatre, the Anchorage Concert Association presented the musical, directed by Dallett Norris and choreographed by Arlene Phillips. The rock musical tells the story of “the last seven days in the life of Jesus of Nazareth."
Right away it is clear that this is a rock musical. The first scene opens with an electric guitar solo and a slow motion fighting scene followed by a powerful performance by James Delisco as Judas Iscariot.
Delisco did an excellent job of connecting with the audience and portraying Judas’ confusion and anger at Jesus, eventually leading him to betray Jesus. He had a commanding stage presence and the scene in which he hangs himself after betraying Jesus made the audience feel as though they too, were in anguish. On the other hand, Jesus, played by Tim Neeley, was hard to understand at times and his voice sounded a little off. At one part it sounded more like he was screeching than singing. But aside from some scratchy patches in his singing, Neeley’s performance brought the audience to its feet at the end of the performance and was especially powerful during the whipping scene. With each flinch and shriek of pain, Neeley convinced the audience of his role. The only part that seemed forced was during the crucifixion when after gasping “It is finished” several more gasps and shudders continued. Maybe he was dragging out the agony of the death, but it was unclear.
The scenery consists of the lighting effects, a curtain, and a fog machine but it works. With the lack of scenery, focus turns to the choreography. Choreographer Arlene Phillips did an exceptional job of matching the dance routines to the mood of each scene. During “Hosanna” blankets were used as props as the actors waved them around and during the temple scene with people selling all types of things (including themselves) a hanging curtain dropped down on them after Jesus rebukes them. But holes in the curtain allow for the actors to stick out their heads and cry out to Jesus. It was totally unexpected and a little odd to be honest, but it worked well with the song.
The music is powerful, loud, and moving and all the attention of the audience was on the characters, who succeeded in keeping the audience captive. There is something intoxicating about a live orchestra and seeing the life of Jesus acted out right before your eyes. This musical is definitely different, but well worth it. Parents should be warned that it might be too violent for children.
Jesus Christ Superstar
Anchorage Concert Association
Tuesday, December 9, 2008 at 7:30 pm
Alaska Center for the Performing Arts, Atwood Concert Hall
Thursday, December 11, 2008
Monday, December 8, 2008
Fiddler on the Roof Strikes the Right Balance
by Ally Landis - South Anchorage High School/Alaska Pacific University
On Thursday night the Alaska Theatre of Youth’s rendition of Fiddler on the Roof was able to strike a balance between the solemn mood and the comedic dialogue dispersed throughout the musical.
The musical, directed by Christian “Hepcat” Heppinstall, Leslie Ward and Oliver Siemens, follows the life of a Jewish family living in Russia in 1905 and the ever-present struggle between tradition and change.
The first song of the first act, Tradition, consisting of Tevye, the main character, and the rest of the townspeople, sets the mood for the rest of the play. While the singing was not the strongest, the argument that broke out in the end about a horse and a mule brought smiles and a few chuckles to the faces of the audience.
The next act portrays Tzeitel, Hodel and Chava, three daughters of Tevye, singing about the village matchmaker, Yente. The staging was not as good as it could have been, and at one point the sisters are behind clothes hanging on a clothesline and it was hard to hear them singing. But the sisterly jesting and witty dialogue, such as the sisters talking about their marriage prospects kept the audience engaged. One sister exclaims, “the last one was so old, he had no hair” and another responds with “you want hair, get a monkey.”
The acting is a little stiff at times, such as when Tzeitel and her friend from childhood Motel start to kiss but are interrupted by the entrance of Tevye, but the characters personalities are portrayed well and one could truly see the actors enjoy themselves. At Tzeitel and Motel’s wedding, along with the traditional Jewish dance, some handstands and spin moves take the spotlight.
Along with the more upbeat scenes came the serious ones, such as when Perchik, the fiancé of Hodel, is beaten by the police when he tries to stop them from overturning the house. The scene was performed exceptionally and caused the audience to shudder with the rest of the villagers. The cast did a good job transitioning from somber scenes to more happy scenes and was able to distinguish them from each other to keep the plot moving. Fiddler on the Roof has a fairly complex plot because of the large number of major characters and different events happening throughout the performance. However, it was not difficult to follow the storyline.
The Fiddler on the Roof certainly entertained and managed to develop a more somber plot as well as the humorous side of the characters. There were undoubtedly some rough spots, and the singing was not as strong but the Alaska Theatre of Youth is all about “that turn form an awkward kid into a polished actor,” and the effort put into the musical by the cast members should be recognized.
Fiddler on the Roof is playing December 4-6, 12-13 at 7 p.m. and December 6-7, 13-14 at 2 p.m.
Fiddler on the Roof, Jr.
Alaska Theatre of Youth
Thursday, December 4, 2008 at 7 pm
Alaska Center for the Performing Arts, Sydney Laurence Theatre
by Ally Landis - South Anchorage High School/Alaska Pacific University
On Thursday night the Alaska Theatre of Youth’s rendition of Fiddler on the Roof was able to strike a balance between the solemn mood and the comedic dialogue dispersed throughout the musical.
The musical, directed by Christian “Hepcat” Heppinstall, Leslie Ward and Oliver Siemens, follows the life of a Jewish family living in Russia in 1905 and the ever-present struggle between tradition and change.
The first song of the first act, Tradition, consisting of Tevye, the main character, and the rest of the townspeople, sets the mood for the rest of the play. While the singing was not the strongest, the argument that broke out in the end about a horse and a mule brought smiles and a few chuckles to the faces of the audience.
The next act portrays Tzeitel, Hodel and Chava, three daughters of Tevye, singing about the village matchmaker, Yente. The staging was not as good as it could have been, and at one point the sisters are behind clothes hanging on a clothesline and it was hard to hear them singing. But the sisterly jesting and witty dialogue, such as the sisters talking about their marriage prospects kept the audience engaged. One sister exclaims, “the last one was so old, he had no hair” and another responds with “you want hair, get a monkey.”
The acting is a little stiff at times, such as when Tzeitel and her friend from childhood Motel start to kiss but are interrupted by the entrance of Tevye, but the characters personalities are portrayed well and one could truly see the actors enjoy themselves. At Tzeitel and Motel’s wedding, along with the traditional Jewish dance, some handstands and spin moves take the spotlight.
Along with the more upbeat scenes came the serious ones, such as when Perchik, the fiancé of Hodel, is beaten by the police when he tries to stop them from overturning the house. The scene was performed exceptionally and caused the audience to shudder with the rest of the villagers. The cast did a good job transitioning from somber scenes to more happy scenes and was able to distinguish them from each other to keep the plot moving. Fiddler on the Roof has a fairly complex plot because of the large number of major characters and different events happening throughout the performance. However, it was not difficult to follow the storyline.
The Fiddler on the Roof certainly entertained and managed to develop a more somber plot as well as the humorous side of the characters. There were undoubtedly some rough spots, and the singing was not as strong but the Alaska Theatre of Youth is all about “that turn form an awkward kid into a polished actor,” and the effort put into the musical by the cast members should be recognized.
Fiddler on the Roof is playing December 4-6, 12-13 at 7 p.m. and December 6-7, 13-14 at 2 p.m.
Fiddler on the Roof, Jr.
Alaska Theatre of Youth
Thursday, December 4, 2008 at 7 pm
Alaska Center for the Performing Arts, Sydney Laurence Theatre
Wednesday, December 3, 2008
The Nutcracker Ballet - "the perfect holiday treat..."
by Hannah Swanson - West High School
If you have a sweet tooth during the holidays, George Balanchine’s, The Nutcracker, is a tasty tidbit to start the Christmas season. Oregon Ballet Theatre, in collaboration with Alaska Dance Theatre, performed beautifully with the Anchorage Symphony on Friday afternoon. It was an inspiring, beautiful performance to spark imagination for all ages.
The show began with Marie and Fritz Stahlbaum awaiting their wonderful holiday party. Family and friends soon gathered, and classic partnering dances were performed cleanly. But the climatic end to the party is when Fritz broke Marie’s Nutcracker Doll in a jealous fit. The acting was a fair demonstration, could have been more natural, and not so constricted to straight choreography. Although keeping in mind the children’s age, or lack of performing in front of a large audience. But the small bits of humor, like Fritz pulling on Clara’s hair, or a girl hiding underneath Clara’s dress not wanting to leave, made a personal connection.
Before intermission was the first ballet piece of the show, Waltz of the Snowflakes. This piece is full of crescendos, with crashing cymbals, and fast violins. Balanchine choreography is known for extremely fast footwork, dizzying turns, but having beautiful, soft port de bras, or arms, on the upper body. The spinning of the white dresses, and the falling of snow, was a beautifully performed piece, and is was a wonderful end to the first act.
After the intermission Marie and her Prince were transported to the Palace of the Land of Sweets, where the most delectable portion of the show begins. Spanish Chocolate; arrive in gold character skirts, and demonstrate kicking their feet to touch their heads. Chinese Tea; perform 6 toe touches in a row! German Marzipan, Russian Candy Canes, and Arabian Coffee all perform with mesmerizing footwork, and gravity defying leaps.
Another one of Balanchine’s famous works is the Waltz of the Flowers. Green and pink tulle skirts float like petals, as the Dew Drop Soloist dances between them. Cannons were common in this piece, as the music had repeating chimes of a triangle, or a flute.
But the icing on the cake is the Sugar Plum Fairy and her Cavalier. Their pas de deux showed beauty and power effortlessly. The grand finale of arabesques and lifts had the audience on their feet. Marie and her Prince made their way back home, bidding farewell to the Land of Sweets.
The Nutcracker is a classic, seasonal, favorite for families. It is the perfect treat for Christmas that you don’t have to feel guilty about!
The Nutcracker
Anchorage Concert Association
Friday, November 28 at 2pm
Alaska Center for the Performing Arts, Atwood Concert Hall
by Hannah Swanson - West High School
If you have a sweet tooth during the holidays, George Balanchine’s, The Nutcracker, is a tasty tidbit to start the Christmas season. Oregon Ballet Theatre, in collaboration with Alaska Dance Theatre, performed beautifully with the Anchorage Symphony on Friday afternoon. It was an inspiring, beautiful performance to spark imagination for all ages.
The show began with Marie and Fritz Stahlbaum awaiting their wonderful holiday party. Family and friends soon gathered, and classic partnering dances were performed cleanly. But the climatic end to the party is when Fritz broke Marie’s Nutcracker Doll in a jealous fit. The acting was a fair demonstration, could have been more natural, and not so constricted to straight choreography. Although keeping in mind the children’s age, or lack of performing in front of a large audience. But the small bits of humor, like Fritz pulling on Clara’s hair, or a girl hiding underneath Clara’s dress not wanting to leave, made a personal connection.
Before intermission was the first ballet piece of the show, Waltz of the Snowflakes. This piece is full of crescendos, with crashing cymbals, and fast violins. Balanchine choreography is known for extremely fast footwork, dizzying turns, but having beautiful, soft port de bras, or arms, on the upper body. The spinning of the white dresses, and the falling of snow, was a beautifully performed piece, and is was a wonderful end to the first act.
After the intermission Marie and her Prince were transported to the Palace of the Land of Sweets, where the most delectable portion of the show begins. Spanish Chocolate; arrive in gold character skirts, and demonstrate kicking their feet to touch their heads. Chinese Tea; perform 6 toe touches in a row! German Marzipan, Russian Candy Canes, and Arabian Coffee all perform with mesmerizing footwork, and gravity defying leaps.
Another one of Balanchine’s famous works is the Waltz of the Flowers. Green and pink tulle skirts float like petals, as the Dew Drop Soloist dances between them. Cannons were common in this piece, as the music had repeating chimes of a triangle, or a flute.
But the icing on the cake is the Sugar Plum Fairy and her Cavalier. Their pas de deux showed beauty and power effortlessly. The grand finale of arabesques and lifts had the audience on their feet. Marie and her Prince made their way back home, bidding farewell to the Land of Sweets.
The Nutcracker is a classic, seasonal, favorite for families. It is the perfect treat for Christmas that you don’t have to feel guilty about!
The Nutcracker
Anchorage Concert Association
Friday, November 28 at 2pm
Alaska Center for the Performing Arts, Atwood Concert Hall
Monday, November 17, 2008
Anchorage Opera accomplishes elegance by pursuing the infamous, “Carmen.”
by Woodruff Laputka - University of Alaska Anchorage
The Anchorage Opera opens for a two night run of the infamous, long-celebrated, “Carmen,” presenting a variety of production values and operatic finesse that one can easily equate to an experience on Broadway. Offering us Georges Bizet’s classic tale of Love, Obsession and Loss, Anchorage Opera takes no modesty in the classic experience one would hope to be offered here, as is suggested in program letter from the foundation’s president, Richard Block, “ Opera is one of the most expensive yet transient of art forms.” From here, you can easily expect something to impress. And so it does.
The curtains open to an elaborate and interactive set that builds and projects the mood of a Spain ruled by dictatorship. The set construction, upon closer inspection, reveals a clever angle to the roofs, walls and even a calculated placing of structures and especially the town square fountain that mostly dominates the plays first act. From a production perspective, a simple hats off to Set Designer, Francesca Callow for such an effort. This effect cleverly allows the eye to direct itself center stage, where Director Cynthia Edwards, as expected, places her lead, the ever-sought Gypsy mistress, Carmen, played by Kathryn Allen. Allen’s voice sings brilliantly, while her physical beauty scores intentionally above the supporting cast around her. Her portrayal of Carmen is censual, fearless and even gripping in her forward and unyielding stubbornness. Her opposite, the soldier Don Jose’, played by Christopher Jackson, simply seems overtaken by the Gypsy’s luscious and shrew-like attitudes. The Orchestra ensemble, conducted by Sarah Jobin, reassures us of her dominant personality, and walks us through the story with an acceptable and certainly necessary skill of a world-class opera.
The story itself is not lost in the impressive front of this big-stage production, though certainly stands as a common theme. Likely, due to the plays immense success. Carmen the Gypsy allures a young soldier, Don Jose, to assist her after she gets arrested. The soldier falls head over heals for the woman, and agrees. Like every man on the stage, however, Jose’ is simply devoured by the need to have Carmen as his own, and is persuaded by Carmen to run away with her and her Gypsy friends to live a life of freedom, away from the instituded laws of the military. As fate would have it, Carmen eventually grows tired of Jose’, though this only leads Jose’ to an obsession for her, and promises to the audience an ending that will sum up the plays theme of Love and its powerful Obsession.
Though this theme is quite predominant, Carmen’s production, especially with the impressive lighting from Light Designer Lauren MacKenzie Miller, offers us something a bit more deep. Love is certainly human, but what we see on the stage is a simple cry of, what sort of freedoms do we desire? If we, simple humans, are given a taste of the wild-child of Love, how much can we resist before allowing it to consume us, and ultimately, destroys us? This is the tone that impresses the most, matched almost by a comical characteristic that never dares to interfere with the strong dramatic tones in the later Acts of the play. Even with the occasional presence of, Escamillo the Bullfighter, played by Anton Belov who portrays the character as chauvinistic arrogant that is easily laughable in his audacity, we still are over taken by much of the plays sincerity.
Carmen offers, if anything, a unique opportunity to look into the art form of opera, untouched, portraying major themes that can appeal to everyday life in a way so simple, it’s difficult to imagine a person that wouldn’t impressed by it. For a simple night out, one might look into a movie or perhaps a candlelit dinner. For an experience that will leave you talking about it afterwards and even thinking about its professional, well choreographed and classy presentation for days to come, consider Carmen as a choice above any other.
by Woodruff Laputka - University of Alaska Anchorage
The Anchorage Opera opens for a two night run of the infamous, long-celebrated, “Carmen,” presenting a variety of production values and operatic finesse that one can easily equate to an experience on Broadway. Offering us Georges Bizet’s classic tale of Love, Obsession and Loss, Anchorage Opera takes no modesty in the classic experience one would hope to be offered here, as is suggested in program letter from the foundation’s president, Richard Block, “ Opera is one of the most expensive yet transient of art forms.” From here, you can easily expect something to impress. And so it does.
The curtains open to an elaborate and interactive set that builds and projects the mood of a Spain ruled by dictatorship. The set construction, upon closer inspection, reveals a clever angle to the roofs, walls and even a calculated placing of structures and especially the town square fountain that mostly dominates the plays first act. From a production perspective, a simple hats off to Set Designer, Francesca Callow for such an effort. This effect cleverly allows the eye to direct itself center stage, where Director Cynthia Edwards, as expected, places her lead, the ever-sought Gypsy mistress, Carmen, played by Kathryn Allen. Allen’s voice sings brilliantly, while her physical beauty scores intentionally above the supporting cast around her. Her portrayal of Carmen is censual, fearless and even gripping in her forward and unyielding stubbornness. Her opposite, the soldier Don Jose’, played by Christopher Jackson, simply seems overtaken by the Gypsy’s luscious and shrew-like attitudes. The Orchestra ensemble, conducted by Sarah Jobin, reassures us of her dominant personality, and walks us through the story with an acceptable and certainly necessary skill of a world-class opera.
The story itself is not lost in the impressive front of this big-stage production, though certainly stands as a common theme. Likely, due to the plays immense success. Carmen the Gypsy allures a young soldier, Don Jose, to assist her after she gets arrested. The soldier falls head over heals for the woman, and agrees. Like every man on the stage, however, Jose’ is simply devoured by the need to have Carmen as his own, and is persuaded by Carmen to run away with her and her Gypsy friends to live a life of freedom, away from the instituded laws of the military. As fate would have it, Carmen eventually grows tired of Jose’, though this only leads Jose’ to an obsession for her, and promises to the audience an ending that will sum up the plays theme of Love and its powerful Obsession.
Though this theme is quite predominant, Carmen’s production, especially with the impressive lighting from Light Designer Lauren MacKenzie Miller, offers us something a bit more deep. Love is certainly human, but what we see on the stage is a simple cry of, what sort of freedoms do we desire? If we, simple humans, are given a taste of the wild-child of Love, how much can we resist before allowing it to consume us, and ultimately, destroys us? This is the tone that impresses the most, matched almost by a comical characteristic that never dares to interfere with the strong dramatic tones in the later Acts of the play. Even with the occasional presence of, Escamillo the Bullfighter, played by Anton Belov who portrays the character as chauvinistic arrogant that is easily laughable in his audacity, we still are over taken by much of the plays sincerity.
Carmen offers, if anything, a unique opportunity to look into the art form of opera, untouched, portraying major themes that can appeal to everyday life in a way so simple, it’s difficult to imagine a person that wouldn’t impressed by it. For a simple night out, one might look into a movie or perhaps a candlelit dinner. For an experience that will leave you talking about it afterwards and even thinking about its professional, well choreographed and classy presentation for days to come, consider Carmen as a choice above any other.
Carmen
Anchorage Opera
Wednesday, November 12 at 7pm
Alaska Center for the Performing Arts, Discovery Theatre
Thursday, November 13, 2008
Alaska Veterans Heroes Concert - "The Heroes Day Concert provides a unique Veteran's Day Experience..."
by Terra Laughton - West High School
The sixth-annual Heroes Day Concert, while not providing anyone with newfound patriotism, satisfied a wish to feel connected to our nation on Veterans Day.
The concert honoring men and women in the service took place Tuesday, November 11th in the Atwood Concert Hall. Presented by the Alaska Veterans Foundation, in conjunction with North Star Productions, the free event was part concert, part ceremony, and part military film festival.
Monica Repuya’s strong voice opened the evening with an a cappella rendition of America the Beautiful and The National Anthem. Her flawless pitch compensated for her strain in reaching higher notes.
Undeniably, the band’s music consists of an enjoyable twang, which was enhanced Tuesday with wardrobe choices consisting of hats for the men and red cowboy boots for singer Brook Faulk. The pace of the band became clear very quickly. Even a fan of country music would agree Peltier’s songs were slow, and his energy matched. No amount of perky bopping and swaying by the adorable Faulk, nor exuberance from the rest of the band, could offset Peltier’s apparent apathy. Peltier became most effective when he was intended to be mellow, such as in Forever Young, spoken poetry set to music.
The music of Ken Peltier and his band was interrupted for a presentation of special medals to the 1st Stryker Brigade, 25th Infantry and the 4th Brigade Combat Team 25th Infantry, as well as several overly dramatic video clips varying in topic from 9/11 to “Iraqi Freedom: Chapter II”.
Special guest and Grammy nominee Paulette Carlson enlivened the stage, but not until over an hour into the event. She glided onstage in an iridescent periwinkle dress with long, blonde hair flowing behind her. Carlson’s energy jolted the entire band and successfully unified them for her solo songs.
While their event lacked cohesiveness, the Alaska Veterans Foundation should be commended for providing a unique Heroes Day experience.
Heroes Concert
Alaska Veterans
Tuesday, November 11 at 7pm
Alaska Center for the Performing Arts, Atwood Concert Hall
by Terra Laughton - West High School
The sixth-annual Heroes Day Concert, while not providing anyone with newfound patriotism, satisfied a wish to feel connected to our nation on Veterans Day.
The concert honoring men and women in the service took place Tuesday, November 11th in the Atwood Concert Hall. Presented by the Alaska Veterans Foundation, in conjunction with North Star Productions, the free event was part concert, part ceremony, and part military film festival.
Monica Repuya’s strong voice opened the evening with an a cappella rendition of America the Beautiful and The National Anthem. Her flawless pitch compensated for her strain in reaching higher notes.
Undeniably, the band’s music consists of an enjoyable twang, which was enhanced Tuesday with wardrobe choices consisting of hats for the men and red cowboy boots for singer Brook Faulk. The pace of the band became clear very quickly. Even a fan of country music would agree Peltier’s songs were slow, and his energy matched. No amount of perky bopping and swaying by the adorable Faulk, nor exuberance from the rest of the band, could offset Peltier’s apparent apathy. Peltier became most effective when he was intended to be mellow, such as in Forever Young, spoken poetry set to music.
The music of Ken Peltier and his band was interrupted for a presentation of special medals to the 1st Stryker Brigade, 25th Infantry and the 4th Brigade Combat Team 25th Infantry, as well as several overly dramatic video clips varying in topic from 9/11 to “Iraqi Freedom: Chapter II”.
Special guest and Grammy nominee Paulette Carlson enlivened the stage, but not until over an hour into the event. She glided onstage in an iridescent periwinkle dress with long, blonde hair flowing behind her. Carlson’s energy jolted the entire band and successfully unified them for her solo songs.
While their event lacked cohesiveness, the Alaska Veterans Foundation should be commended for providing a unique Heroes Day experience.
Heroes Concert
Alaska Veterans
Tuesday, November 11 at 7pm
Alaska Center for the Performing Arts, Atwood Concert Hall
Tuesday, November 11, 2008
Ruthie Foster and Eric Bibb - "bring Alaska back to their folk roots..."by Colby Bleicher - West High School
You wouldn't really think that Anchorage, Alaska would be home to a very enthusiastic fan base for Texan folk music. Well, you'd be wrong. On the evening of November 9, 2008, the Sydney Laurence Theatre was packed with a full house and the overwhelmingly powerful sounds of Ruthie Foster and Eric Bibb, two folk singers – both very talented and both very different.
The show opened with a 10-song set by Ruthie Foster. Though small and unassuming in appearance, Foster completely commanded the stage from the first note she played and sang. She stood in the middle of the plain black stage in a white collared shirt, blue jeans, and a simple green scarf – her rich and expressive voice didn't need anything extra to draw the audience's attention.
Foster's music uses simple lyrics, catchy rhythms, and punchy melodies. As she said in between songs, she likes to play a bit of everything – blues, gospel, "roots music," and even some reggae. Despite her voice's mournful tone, almost every song was uplifting in their lyrics and melodies. This, combined with her pleasant repartee with the crowd, created a very positive connection between the artist and the audience. After playing a particularly catchy and upbeat song, the audience cheered and stomped. Foster responded with "Aw, that felt good. That was like a good stretch."
Though Foster is a fine guitar player, her real talent lies in her voice. In several songs, she flawlessly belted out high notes for nearly 30 seconds. She didn't strain and she didn't look out of breath afterwards. Foster's ability to jump from soft, lullaby-like melodies to a superhuman belt caused the audience to give her a much-deserved standing ovation at the end of her set.
The second act featured Eric Bibb and his two guitars. He considers himself and Foster to be colleagues, but it was interesting to note how differently they perform and interpret folk music. Foster played a slowed down and mellow version of "Oh Susannah" (that was much prettier and more thoughtful than Stephen Foster's original), and Bibb brought bright melodies and lots of pieces to clap along with onto the stage.
Bibb, wearing a bubblegum pink shirt and a black Spanish hat, commanded the stage easily, similarly to Foster. His voice was both scratchy and warm, like an old record player. But his real power came from his hands. Bibb's guitar seemed to be split in two; there were times when it seemed impossible that that much melody and bass could be coming from the same instrument. His "finger pickin'" was so fast that his fingers blurred, yet the melodies were incredibly catchy.
The audience went wild when Foster joined Bibb for a couple of songs combining their positive energy at the end of the show. The two voices, though very different, blended together beautifully. Foster and Bibb received another standing ovation and were brought back onstage for an encore.
Despite our distance from the roots of folk music, Alaskans can relate to the touching stories and sounds of Ruthie Foster and Eric Bibb. As part of the Whistling Swan Production series this year, Foster and Bibb brought something fresh, yet familiar, to Alaska.
Ruthie Foster and Eric Bibb
Whistling Swan Productions
Sunday, November 9 at 4pm
Alaska Center for the Performing Arts, Sydney Laurence Theatre
Monday, November 3, 2008
Awake at the Wheel
by S.M. Griffin - University of Alaska Anchorage
Patty Larkin and Peter Mulvey are back in Alaska and they’re pulling no punches. Thanks to Whistling Swan Productions, the two Wisconsin born musicians came together on Saturday night for an evening of relaxing urban folk music.
Mulvey starts off the night with a laugh and his lively yet thoughtful love song, “If Love is Not Enough”. Throughout the show, his reminiscing humor keeps the room laughing and engaged, including stories about his childhood, college education (at the hands of Jesuit priests), and early performing years.
His stories also highlight the influences on his music. From his days as a subway musician, Mulvey incorporates a hint of urban jazz to his vocals and his guitar work is tinged with the blues. On the other hand his tours through Ireland add an authentic folk aspect to the mix, creating a truly eclectic sound.
Patty Larkin takes the stage after intermission, warming up the crowd with a few of her classic hits such as “The Book I’m Not Reading”. Urban folk to the core, Larkin displays her outstanding guitar abilities on both acoustic and electric guitar. While her new material lacks the soul of her previous work, the ingenious techniques she applies to the music are unique. One such method is the use of a child’s violin bow on the electric guitar.
Larkin recently recorded a CD with eleven other female guitarists, naming the project “La Guitara”. It is an attempt to show the world the many great female guitarists in modern music. A portion of the profits will be donated to ‘Guitars in the Classroom’ – a program which teaches music in elementary and junior high classrooms across the nation.
Both performances leave the crowd begging for an encore and Larkin and Mulvey respond with an extra number. Whistling Swan Productions deserves a round of applause for this event. As Patty Larkin teased, the show was very much, ‘Awake at the Wheel.’
Patty Larkin and Peter Mulvey
Patty Larkin and Peter Mulvey
Whistling Swan Productions
Saturday, November 1 at 7pm
Alaska Center for the Performing Arts, Sydney Laurence Theatre
Asleep at the Wheel – “a driving musical force…”
by Drew Nazarian - Alaska Pacific University
For the past twenty six years Alaska has been deprived of the driving musical force that is Asleep at the Wheel. That all changed on November 1st, 2008, when Asleep at the Wheel, sponsored by Lynden, performed at the Atwood Concert Hall. The seven-piece band based in Austin, Texas, brought their unique blend of country, blues, and swing to form a symphony of energy and passion.
Executive Director, Jason Hodges talked on stage for only a moment before the vibrant and familiar tune of “Miles and Miles of Texas” kicked in, beginning the eighteen song set with two encores. In the front of the band, going left to right, stood John Whitby on Piano, Ray Benson on Guitar/Vocals, Jason Roberts on Fiddle/Vocals, Elizabeth McQueen on Guitar/Vocals, and Eddie Rivers on Steel Guitar and Saxophone. The rhythm section rounding off the band comprised of David Miller on Bass/Vocals and David Sanger on the Drums.
The band played for a full hour and a half, pausing only occasionally between songs to address the audience or provide some background on their tunes. Asleep at the Wheel’s set varied in song choice from famous songs like “Route 66” and “What a Wonderful World” to some of their own original tunes, like “Am I Right or Amarillo?”
Asleep at the Wheel stood stagnant throughout their performance, preferring to channel their energy into the music they played and sang—and wow, did they sing! Even slow songs like “Faded Love” came across as powerful and strong, with no hint of tiredness in the voices of the singers. The energy radiated by the band came to a culmination in “Bump Bounce Boogie” where nearly every member had a solo showcasing their chops, with Eddie Rivers switching over from Steel Guitar to Saxophone.
The style of music Asleep at the Wheel plays transcends that of “normal” country, and honestly has something to appeal to everyone. I was pleasantly surprised to find myself bobbing my head along with the rest of the crowd, enjoying the show the band put on. Asleep at the Wheel is truly an experience for everyone to enjoy, and it is just a shame that it has been twenty six years since Alaska was graced with their presence; hopefully, they will return again to perform in a much shorter span of time.
Executive Director, Jason Hodges talked on stage for only a moment before the vibrant and familiar tune of “Miles and Miles of Texas” kicked in, beginning the eighteen song set with two encores. In the front of the band, going left to right, stood John Whitby on Piano, Ray Benson on Guitar/Vocals, Jason Roberts on Fiddle/Vocals, Elizabeth McQueen on Guitar/Vocals, and Eddie Rivers on Steel Guitar and Saxophone. The rhythm section rounding off the band comprised of David Miller on Bass/Vocals and David Sanger on the Drums.
The band played for a full hour and a half, pausing only occasionally between songs to address the audience or provide some background on their tunes. Asleep at the Wheel’s set varied in song choice from famous songs like “Route 66” and “What a Wonderful World” to some of their own original tunes, like “Am I Right or Amarillo?”
Asleep at the Wheel stood stagnant throughout their performance, preferring to channel their energy into the music they played and sang—and wow, did they sing! Even slow songs like “Faded Love” came across as powerful and strong, with no hint of tiredness in the voices of the singers. The energy radiated by the band came to a culmination in “Bump Bounce Boogie” where nearly every member had a solo showcasing their chops, with Eddie Rivers switching over from Steel Guitar to Saxophone.
The style of music Asleep at the Wheel plays transcends that of “normal” country, and honestly has something to appeal to everyone. I was pleasantly surprised to find myself bobbing my head along with the rest of the crowd, enjoying the show the band put on. Asleep at the Wheel is truly an experience for everyone to enjoy, and it is just a shame that it has been twenty six years since Alaska was graced with their presence; hopefully, they will return again to perform in a much shorter span of time.
Asleep at the Wheel
Anchorage Concert Association
Saturday, November 1 at 7pm
Alaska Center for the Performing Arts Atwood Concert Hall
Anchorage Concert Association
Saturday, November 1 at 7pm
Alaska Center for the Performing Arts Atwood Concert Hall
Friday, October 31, 2008
Welcome to CENTERblog!
CENTERblog is the Alaska Center for the Performing Arts' blog for our new student reviewer program. Our CENTERbloggers will post reviews here about shows that they have attended at the CENTER. If you are interested in learning how you can get involved please scroll down to the CENTERblog page and read information about how to apply, or call Amanda Hutchins at 263-2923. We hope you enjoy this new feature of MyAlaskaCenter.com and visit often!
Codie Costello
Director of Development
Codie Costello
Director of Development
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