A Traditional Gift to the Season
By Dominique Williams – East High School

The Sounds of the Seasons concert was a prefect gift from our military members to start the season. Lieutenant General Dana T. Atkins hosted the event. The Master of Ceremonies was Mr. John Tracy.

From the commencement of the concert, the filled hall was ready for Christmas cheer. The United States Air Force Band of the Pacific started with the bands premier vocalist MSgt John Teamer, SSgt Amber Grimes, SSgt E. Justin Allen, and SrA Kelly Perry singing, “Joyful, Joyful,” which set the merry tone of the night.

The rest of the night was filled with old classic jingles such as “Winter Wonderland,” “Let Snow,” “O Holy Night,” and “The Christmas Song,” to unknown songs such as “Greensleeves.”

The featured bands were Top Cover and The Greatlanders who both brought a unique sound. Top Cover was more of the rock oriented holiday tunes with a few modern jams; while The Greatlanders, a brass band, performed the classics. Top Cover’s songs featured guitar solos and The Greatlanders had different solos from each instrument creating a variety of sound.

At this event there was much crowd participation. There was an invitation for the kids to come on stage for the number “Sock it to Me Santa.” The kids enjoyed this because Santa and Mrs. Clause paid a visit and brought candy canes. Also through out the event people clapped and truly enjoyed themselves.

There were two special moments to last night’s program. “A Song for a Winter’s Night” was dedicated to the troops that are overseas for the time being. Mrs. Grimes and Mrs. Perry serenaded the crowd and touched hearts of many. Another heart wrenching moment was the Hometown Greetings. These videos from around the worlds show how truly dedicated these men and women are to their country.

Last night’s festivities made me feel proud of our service members and the warmth of holiday cheer.

Sounds of the Season
Air Force Band of the Pacific
Tuesday, December 15, 2009 at 7:00pm
Atwood Concert Hall

Anchorage Symphony's Messiah
by Anthony Sallows - Alaska Pacific University

The Anchorage Symphony Orchestra together with the Alaska Chamber Singers, the Anchorage Concert Chorus, and guest vocalists from the Resident Ensemble of San Francisco Opera performed George Fredrick Handel’s Messiah on December 12, 2009 under the musical direction of guest maestro George Hanson. With a docket of musicians and artists like that, the night was stacked to be memorable and epic - and it was.

Handel’s Messiah is regarded as one of the most influential works to come out of the Baroque style of music. It is rumored that Beethoven found Handel to be “the greatest composer that ever lived.” When experiencing Messiah, one can see why Beethoven would be inclined to say so. The music and lyrics are easily felt by the layman as well as those versed in the art of music. Numerous times I caught myself tapping my feet or fingers to a rhythm that is beyond my awareness, proving that music transcends conscious thoughts and standard forms of communication.

Interestingly, when watching Brian Thorsett, a guest artist from the Resident Ensemble of San Francisco, close his eyes and move his head to the sound, I realized that music is something that you can experience on a deeper level by removing a sense - sight. We’ve become so accustomed to a visual world, that we often forget the wonders our other senses can provide. Messiah is a keen reminder of the beauty that can lie in the audible world.

History tells us that King George II was so moved by the final piece, Hallelujah, that he stood up for the entire section. It has become tradition to do so as an audience member ever since, and those in the Atwood Theater this night were no exception. After the piece, the audience continued to applaud the symphony and chorus for a much deserved standing ovation, which brought about an encore performance of Hallelujah. During the encore George Hanson turned to face the audience and directed us to sing along. As if the lyrics weren’t powerful enough. Hearing a chorus of nearly 2000 sing it was truly spirit lifting. I’m a shockingly terrible singer, and even I was moved enough to attempt to sing along. Hopefully those around me remember the night for Messiah and not my lack of vocal talent.

Messiah
Anchorage Symphony Orchestra
Saturday, December 12, 2009 at 8:00pm
Atwood Concert Hall

Jason and the Argonauts
by Terra Laughton - West High School

Visible Fictions’ production of Jason and the Argonauts in the Discovery Theatre on Saturday, December 5 was an energetic and well-told story. Scottish actors Simon Donaldson and Tim Settle recounted the adverntures of Jason as he seeks revenge for his father’s murder. In order to replace his uncle on the throne, Jason is told to travel to the end of the earth and to return with the Golden Fleece. In the process, he meets everyone from Hercules to the Goddess Hera. Donaldson and Settle played almost twenty distinct characters during the production, easily entertaining the audience with various voices, movements, and mannerisms. Masters of their script, Donaldson and Settle kept up faced-paced dialogue and narration while brilliantly using their one set item, a large and versatile cart. Their creative use of action figures provided another layer of comedy, at times reflecting the characters’ movement and at times telling their own story. The perfomance was subtly and successfully complemented by simple lighting and music, but Donaldson and Settle would have succeeded without it. Visible Fictions fulfilled their goal of providing vibrant, high quality and accessiblte theatre for young and adult audiences alike. Alaska Junior Theater brought us a jem in Jason and the Argonauts.

Jason and the Argonauts
Alaska Junior Theater
Saturday, December 12, 2009 at 3:00pm
Discovery Theatre

Eileen Ivers
by Kyla Cook - Chugiak High School

Who knew a violin could have this much soul? On December 4, at 7:30, Eileen Ivers proved to Anchorage that a Celtic violin concert didn’t have to be boring, and, in fact, could be an energetic, highly varied musical romp through Irish Christmas history.

“An Nolliag: An Irish Christmas” featured everything from Christmas classics, to Irish originals, to, in Ivers’ words, “jiggified favorites.” In between songs Ivers gave us humorous history lessons on everything from holly to fruitcake to Bach. In fact, her amazing playing came second only to her energy. She wasn’t afraid to stomp her feet, clap her hands and dance around the stage. The audience reacted very well. They were clapping, bopping up and down, singing along, and even stood up for the entirety of the encore. At many points Ivers had to shout to be heard over deafening applause. Even tuning her instrument received an audible reaction from the crowd.

Eileen Ivers’violin wasn’t the only attraction onstage. She was joined by Tommy McDonnell (vocalist, percussion) Buddy Connolly (accordion, whistle, and keyboard), Greg Anderson (guitar, backing vocals), and Leo Traversa (bass guitar), all four talented musicians and entertainers, with their own prestigious accomplishments. The band even incorporated young local talent into the mix. Friday’s show included performers from Alaska Children’s Choir and The Irish Dance Academy. Their part went off without a hitch, and added something special to the professional music.

Eileen Ivers’ performance was definitely a treat for Anchorage. The audience left feeling invigorated. You could hear comments like “wasn’t that fun?” and “I got my exercise for the day.” Eileen Ivers will have one more performance, Saturday at 7:30, before her next stop, at Carnegie Hall.

Eileen Ivers
Anchorage Concert Association
Friday, December 4, 2009 at 7:30pm
Atwood Concert Hall

New Interpretation Gives This Year’s Nutcracker a Unique Feel
By Emily Klopfer - Dimond High School

Jason Hodges, the Executive Director of the Anchorage Concert Association, welcomed the Nutcracker Ballet on its first performance by declaring that it was a new show with a new ballet. This soon became a very true statement.

While the Eugene Ballet Company’s performance of the Nutcracker Ballet (based on E.T.A. Hoffmann’s tale, “The Nutcracker and the Mouse King”) contained some of the timeless memories of the traditional Nutcracker, it also provided its own interpretation that was decidedly different in parts.

The first noticeable difference was the very beginning of the play. Most performances of the Nutcracker begin with the main character, Clara, looking through the keyhole of a door with her brother, Fritz. The pair is attempting to catch a glimpse of their parents adorning the house with Christmas decorations. When the children are finally allowed in the room, a small tree begins to grow until it stretches from the stage to the ceiling, causing audiences to gasp at its ornamented boughs.

This interpretation of the Nutcracker, however, began with Drosselmeyer and his assistant creating the nutcracker itself. When the duo begin walking in front of a painted curtain city-scape, Drosselmeyer pauses, works a bit of magic, and suddenly the audience is plunged into the party that is taking place in Clara’s home. The children and adults danced in elegant dresses and suits, beautifully portraying the clothing of the time period. In this scene, the second difference to this particular Nutcracker Ballet could be seen. The set was different from what it had been in the past. All of the set, including props, looked somewhat like painted cardboard. Not to be taken the wrong way, the painting was well done and showed perspective, but it was also angular and lacked the homey feeling of the traditional set that had contained realistic seeming walls and actual furniture.

The wind-up dancers in the party scene were more comical than they had been in the past by not wanting to go back into the boxes from which they came. This added a nice dose of comedy in the midst of the family favorite.

Another aspect of the show that was different from previous performances was the scene in which the nutcracker and the toy soldiers battle the mice during Clara’s dream. In this show, the entire scene had a much scarier and more intense feel than previous performances. Props from the previous party scene were turned around for the battle scene, revealing giant mouse heads, fire, and creepy blinking eyes. A strobe light was added to intensify the battle scene, along with a black light that accentuated the red eyes of the mice. A well-choreographed battle ensued, including a pirate ship that was a new element to the Nutcracker Ballet. A cannon was brought out onstage to aid the side of the nutcracker and his soldiers. Due to the lack of a “boom,” it seems as if the cannon had some technical difficulties during the performance. The battle ended with Clara saving the day and saving the nutcracker from the evil mouse king. Act one ended with Clara and the nutcracker sailing away upon a hot air balloon and waving goodbye to the dancers below.

The premise of Act two, is that dancers from around the world are putting on a show for Clara and the nutcracker. Every dancer in this section was superb, however the Russian dancers received the most applause with their more acrobatic dance moves. The music in this section was the memorable music that always prepares people and puts them in the right mood for the holidays.

This first of performance of the Nutcracker Ballet’s six show stint in Anchorage went flawlessly, besides the technical difficulty of the cannon in the first act. The dedication, preparation, and practice was definitely apparent in the talent of the ballet dancers. This show’s differences gave it a unique interpretation that still left the audience wanting more. This family favorite was performed by ballet dancers from the Eugene Ballet Company and local dancers from the Alaska Dance Theatre. The exceptional music was provided by the Anchorage Symphony Orchestra.



The Nutcracker Ballet
Anchorage Concert Association
11/27/2009 at 2:00 pm
The Alaska Center for the Performing Arts, Atwood Concert Hall

Review of the Anchorage Youth Symphony performance (“Autumn Reverie”)
by Emily Klopfer - Dimond High School

“Without great music, education is not complete.” This is the belief of the Anchorage Youth Symphony.

Tuesday, November 17 the Anchorage Youth Symphony gave a joint concert with the Anchorage Junior Youth Symphony, entitled, “Autumn Reverie.”

The seven o’clock performance opened with the Anchorage Junior Youth Symphony. A moment of collective tuning welcomed their conductor, Daniel Whitfield to the stage. With a signal from Whitfield, the orchestra launched into the recognizable “Prelude to Carmen,” written by Georges Bizet and arranged by Casey Kriechbaum, from the play, Carmen. While the one small horn portion of the piece was good, it soon became apparent that the strings were the shining section of this orchestra.

“Contraption,” the following song, changed the mood of the concert to a more dark and edgy feeling. During this piece, written by Brendan McBrien, the string section was still the superior portion of the orchestra. The song ended with the lingering sound of the percussion section.

Eunice Kang led the third song of the evening with a flawless violin solo. “Ashokan Farewell,” written by Jay Ungar and arranged by Bob Cerulli, changed the mood of the night yet again. Kang’s violin solo was joined in increments by the rest of the orchestra, the percussion being the last instruments heard to join this mournful tune.

“Romany Dances,” written by Elliot Del Borgo, was the final song of the night for the Anchorage Junior Youth Symphony. The violinists were the musicians to watch during this piece. Their dedication and rigorous practice was apparent by watching the enthusiasm with which they played. A clarinet solo during the piece added a nice glimpse at the woodwinds, however, the string section provided the more clear-sounding and crisp notes throughout the first half of the performance.

Intermission followed the Anchorage Junior Youth Symphony’s performance and preceded the Anchorage Youth Symphony.

Linn Weeda, the conductor for the Anchorage Youth Symphony, began the performance with a piece from Ludwig van Beethoven titled “Coriolan Overture.” Riddled throughout the song were areas in which the orchestra ceased playing, then began again. In these areas, the orchestra stopped with precision, leaving their last notes resonating and lingering in the ears of the audience, then began again with sharp, crisp notes. The verbato sounds of the string section could be clearly heard, along with the woodwinds.

“Hungarian Rhapsody No. 2,” composed by Franz Liszt, was the second song of the evening for the Anchorage Youth Symphony. This particular rhapsody showcased the cellos and the string basses, along with a clarinetist who had three separate solos. The low, vibrating sounds of the cellos and string bases accentuated the darker tone of the piece. Half way through the song, however, the mood suddenly changed to a more staccato and upbeat feeling. The cellos plucked at their strings instead of using their bows, which gave the piece a harmonious underlying beat. Towards the end of the piece, the song became more hectic with many notes being played in quick succession.

Arturo Marquez wrote the final song for the evening, called “Danzon No. 2.” The song began with the percussion and was soon followed by a clarinet solo. A piccolo solo could be heard next, followed by a piano solo. A solitary violinist began to play once the piano had ended, the last instrument in the string of solos. After a short focus on the brass, there was a pause in which the audience was unsure of whether or not to clap. Before the audience had made their decision, the orchestra came back with a powerful ending to conclude the performance.

The Anchorage Youth Symphony and the Anchorage Junior Youth Symphony provide a venue for students to improve their skills and further their talent. Their potential and the talent they already possess, combined with their dedication and hard work, was definitely apparent in Tuesday’s “Autumn Reverie.”

* Before they began their performance, Weeda took a couple moments to thank everyone for helping with the Anchorage Youth Symphony program, and to demonstrate the sound of the new donated cello. Zach Atkins of the Anchorage Youth Symphony had the pleasure of playing on the cello that was donated by the Rasmusson Foundation. The cello had longer string length, which allowed Atkins to play deeper notes than a regular cello.

Autumn Reverie

Anchorage Youth Symphony

November 17, 2009 at 7:00pm

The Alaska Center for the Performing Arts, Discovery Theatre

Bye Bye Bullies Does More than Benefit the Audience
By Dominique Williams - East Anchorage High School

The third annual Bye Bye Bullies benefit brought awareness to a great cause and two Jazz Greats to Anchorage for a close to three-hour concert of great music and fun. The night started late but ended in a standing ovation.

The benefit hosted by Eddie P began featuring Dr. Dorothy Espelage. Dr. Espelage founded the charity and addressed the audience on the charity and the reason for this benefit. The charity started after a seventh grader hung himself because of bullying and didn't die and now is unable to function without assistance.

After Dr. Espelage finished, the opening act, The Veronica Page Band emerged to pump a slightly stiff crowd. Veronica Page used her vocal range to astound the audience by singing old classics such as "I Heard It Through The Grapevine," "Tell Me Something Good," and "Mr. Big Stuff," to ending with a song unknown to many titled "I'd Rather Go Blind" by Etta James. By the end of the first act, Ms. Page was giving the crowd all she could in terms of her voice and sincerity in her emotions.

Post-intermission the true benefit began. Rick Braun started the set in the audience dancing while playing the trumpet. In the first song, each band member did a solo. The crowd instantly started bobbing their heads to the jazz grooves,

Jeff Golub and Rick Braun alternated songs for the rest of the night. Both accompanied on all songs and interacted with the crowd. The highlight songs of the night were "Notorious" and "Green Tomatoes" by Braun and "Always There" and "I'll Play the Blues For You" by Golub.

By the end of the hour and a 45-minute set, with killer bass solos, hearing a guitar purr and a trumpet sing, people were up dancing and singing when asked. It was a remarkable concert. Jeff Golub and Rick Braun ended up receiving a standing ovation and came out for one last jam with the audience.

After the concert, the artists signed autographs and went to an after party at the Whales Tail. This concert left the audience ready to dance and feeling good about contributing to a fine cause.

Jazz Greats: Bye Bye Bullies Benefit
Blues Central Productions
November 13, 2009 at 7:00 pm
The Alaska Center for the Performing Arts, Atwood Concert Hall

Anchorage Opera's Dark Night Series - The Audition
by Anthony Sallows - Alaska Pacific University

Remember, remember the 10th of November, the Kaladi cup, Carharts, and arias.

By incorporating modern, local elements, and a splash of humor, Anchorage Opera's The Audition was an engaging thrust into the world of opera. November 10th marks the night of this performance, the first Dark Night series, as well as my virgin experience with the art form.

Toting a Kaladi cup and wearing worn Carharts was Andrew Sweeney, playing the part of The Worthless Accompaniast. An ironic role for him, as he was the show's music and stage director. His appearance resonated with my Alaskan roots and replaced my ignorant skepticism with a smile and anticipation. The smile remained as more Alaskan grown stereotypes and script were revealed.

Little Bo Peep, Jack and Jill, and Humpty Dumpty are titles usually found in the children's section, not a night at the opera. By blending childhood rhymes and smooth singing, I found myself impressed with the creative talents of the cast and crew. The familiarity of the young prose washed away whatever skepticism was left within me.

My most memorable character was Martina Nevertoloveyou, played by Martin Eldred - in drag. Coming to the stage squeaky and high pitched, the audience was shocked as Eldred showed his true talents as a bass-baritone when his character went into her "audience piece."

The storyline is a mock (hopefully) for an audition for the Anchorage Opera. Banking on outrageous characters that are exaggerated versions of what most directors would find in their nightmares, the show was entertaining and punny - a word derived when you combine funny with pun. While short in length, the script was able to fill the time with arias from across the gamut. Deepening my positive preview of what opera has to offer. I couldn't imagine a better introduction to the art, this performance has certainly made an opera fan out of me.

The Dark Night Series
Anchorage Opera
November 10, 2009
The Alaska Center for the Performing Arts, Discovery Theatre

Anchorage Symphony's Opening Night
by Terradawn Laughton - West Anchorage High School

The diverse program of the Anchorage Symphony Orchestra’s Opening Night on Saturday, October 24th deserved much awe and celebration. The symphony began with Verdi’s Overture to I Vespri Siciliani, successfully played from its delicate, percussive beginning to its bombastic finale.

It set the stage for the next piece, to feature world class PercaDu, an Israeli percussion duo. As the Atwood’s orchestra pit rose, we stared in disbelief at the array of percussion instruments to be played by only two men. Up came two marimbas, a vibraphone, drum sets, saw blades, and various cymbals and bells. And yet through Avner Dorman’s Spices, Perfumes, and Toxins! Tomer Yariv and Adi Morag traveled between instruments with spirit, grace, and speed. But even more impressive than their rendition of Spices, Perfumes, and Toxins! was PercaDu’s second (yes, second) encore. They played a piece called Flight of the Bumblebee: a lightning fast battle featuring both percussionists on a single marimba, as they circled around the instrument and crisscrossed each other’s mallets without ever missing a stroke.

After intermission, the Anchorage Symphony Orchestra achieved one of the chief characteristics of romantic music, expressing the powerful emotions of Tchaikovsky’s Symphony No. 4 in F Minor. They provided a faithful rendition of his image-provoking symphony, with precise pizzicato and a well-played cymbal explosion in the fourth movement, a finale that beats all records for the number of cymbal crashes per minute. It was an Anchorage Symphony Orchestra evening to be remembered, exciting us all for the season to come!

Opening Night
Anchorage Symphony Orchestra
October 24, 2009 at 8:00 p.m.
Alaska Center for the Performing Arts, Atwood Concert Hall

Intersections
by Hannah Swanson - West High School

Two amazing companies, Alaska Dance Theatre, along with James Sewell Ballet, came and intersected at Discovery Theatre on Saturday the 25th. These two ballet companies put a spin on ballet, and even added a little comedy. Alaskan students danced along side company dancers from Minnesota and they collaborated beautifully.

A relative piece to Alaska, as well as Minnesota, was Winter. This piece started with each dancer putting on scarves, hats, mittens, and legwarmers. Then they depicted throwing snow down each others back, making snow angels, all winter activities. Each piece was inspired from a small poem, shown in the program. One piece gave the idea of the dancers being like Bambi and slipping and sliding on the ice. The whole piece ended with dancers opening like a snowflake and snow falling.

James Sewell came and did a solo with these small metal rings. He was a gymnast which showed in his amazing flexibility bending his body thru these tiny rings. Chopin Studies was amazingly hilarious. The dancers fought over an imaginary crown in which case, the janitor who had to clean it up got to keep it! In the third movement they used a foam mat, which showcased amazingly leaps and flips.

The piece choreographed for the ADT dancers was named, There’s So Much to Do, which in this case was completely true. The dancers never stopped moving for a second. They lifted each other, ran from one side of the stage to the other.

All of the movements were very contemporary ballet. It was interesting to see another style of dance come out of these students, and as well an opening experience for the audience.

Intersections
Alaska Dance Theatre
April 25, 2009 at 7:30 p.m.
Alaska Center for the Performing Arts, Discovery Theatre

The Velveteen Rabbit
by Hannah Swanson - West High School

Stuffed animals really do come to life in this play, performed by Alaska Theatre of Youth on Thursday night. These aspiring actors ranged from the age of 7-11 years old, and put on a mildly entertaining show. It was the classic story of the Velveteen Rabbit who found his heart in his sawdust inside, to save the boy from the scarlet fear, or the scarlet fever. Full of morals and a happy ending, there was a little more love in the Sydney Laurence Theatre.

The main characters included the Velveteen Rabbit played by Jacob Gershel who was at least 6 feet tall, and towered over all the other actors. His four friends included the Skin Horse, Wind-up Mouse, Bulka the Puppy, and Timothy the Lion. Each character had their own little quirk through ought the play. Timothy sneezed at Bulka’s dust collecting ears. Bulka fainted at any scary moment. The Skin Horse was known for being wise and having all the answers. Each child portrayed their personalities well thru emotions on their faces, as well as body language.

The set was beautifully made and painted, from volunteers listed in the program. The stage was split in half. On the right was Alex‘s bedroom, the sick boy. On the left was the garden on the outside of the house. All trees were painted with great detail, and the bedroom had great colors. The costumes were also very nicely constructed and fit well into the play.

The acting done by the children was very impressive for the age. None forgot their lines, or even so much as fumbled a word. For as many lines as some of the main characters had to memorize, that was a great feat to have accomplished. They kept the energy going, even involving the audience of verbal participation helping Alex’s nanny. We all got to yell, “Find the rabbit! Find the rabbit!”

It was a very sweet performance put on by this theatre. Although it was one of its last shows for the season, next season should be pleasing as well. With a classic, Winnie-the-Pooh, and a thriller, Frankenstein. So keep an eye out for this local group that would love the support!

The Velveteen Rabbit
Alaska Theatre of Youth
April 23, 2009 at 7:00 p.m.
Alaska Center for the Performing Arts, Sydney Laurence Theatre

Anchorage Symphony
by Terra Laughton – West Anchorage High School

The Anchorage Symphony Orchestra’s performance on Saturday, April 11th in the Atwood Concert Hall was engaging and well-executed. The evening featured guest conductor Robert Moody and Anchorage’s own Juliana Osinchuk on piano.

Saturday’s program was diverse to say the least, beginning with Mexican composer Arturo Marquez rendition of a Danzon. Then came Handel’s Suite No. 2 from Water Music, Hinemuth’s Symphonic Metamorphosis of Themes by Carl Maria von Weber and finally Tchaikovsky’s Piano Concerto No. 1. Guest conductor Moody describes the selections as some of the “most popular works in all of music”, and it’s quite clear why.

The first piece burst with engaging passion and rhythm, and was clearly enjoyed by the musicians and audience alike. Inspired by a Cuban salon dance, Marquez’ seductive and image-provoking melody was one of the evening’s highlights to be sure.

Overall, the Symphony gave a compelling performance. There were only a few moments when one part of the piece came off slightly sloppy, such as the horn solo in Handel’s Suite. However, this passed so quickly it was almost as if it hadn’t happened at all.

Juliana Osinchuk’s performance of Tchaikovsky Concerto No. 1 was magnificent. Her hands brilliantly sped up and down the keys, expressively offering everything from percussive piano to delicate trills. Osinchuk received three degrees from Juliard before coming to Alaska, where we now proudly claim her as our own. The Symphony Orchestra effortlessly blended with Osinchuk, providing string swells and intense musical climaxes. Each component of the Concerto’s performance served as an appropriate complement, neither overpowering the other.

At the end of the performance, the Anchorage Symphony Orchestra left us satisfied and appreciative. Through the conductor’s energy, the elegance of the orchestra’s performance and the talent of the guest pianist, our minds and hearts were opened to the music of Marquez, Handel, Hindemith and Tchaikovsky in a way that we rarely have the privilege to enjoy.

Showmanship
Anchorage Symphony Orchestra
April 11, 2009 at 8:00 p.m.
Alaska Center for the Performing Arts, Atwood Concert Hall

Black Violin
by Hannah Swanson - West High School

Hip hop is a stereotype; baggy clothes, and deep base beats. Classical music is a stereotype; stuck up musicians, and powdered wigs. But what do you call it when you put the two together? The easy answer is, Black Violin. This 3 man group has toured with artists from Lil Wayne to the Eagles. Their new sound has charged a new era to the violin.

The two artists met Dilliard Performing Arts High, their way to stay off the streets. Kev Marcus plays the violin, and Wil B plays the viola. The two never thought of becoming anything until they met Stuff Smith, the biggest jazz violinist during the swing era. The name of the group was inspired by Smith’s final album.

The group came out onto stage playing their strings, with a familiar beat known as “A Milli” by Lil Wayne. Most of the evening consisted of improving to popular radio songs. Their DJ, TK, kept the beats coming, and the audience clapping. The three actually said, this isn’t a concert, this is a party. They insisted that they should bounce in their seats, get up and dance in the aisles, scream, whatever! Even some ushers found the beat moving enough.

The technique of the artists came thru when they each had a solo. Wil B, and Tiffany, his viola, had a amazingly smooth flow. The rhythm of the music was constant and slow, but the pitches changed with grace. Wil B also showed his fast fingers skills, almost as if the bow was going to fly out of his hand. Then Marcus had his chance to shine, with his specially made violin with holes on both sides, leaving only the strings in the center. His solo consisted of high pitched notes, but were so fast it sounded like 4 other violins were playing.

The two then, after performing their biggest hit, “Dirty Orchestra”, challenged each other and battled for Anchorage’s favorite string player. Kev Marcus took the win for his fast finger work. To keep the energy up, the two ended with a classical piece known as “Brandenburg”. Of course, there was the swagger of hip hop, with the taste of the classical composition. Black Violin not only gave the audience the most interesting violin ‘concert’, but a beat that will inspire many more future string artists.

Black Violin
Alaska Junior Theater
April 3, 2009 at 7:30 p.m.
Alaska Center for the Performing Arts, Atwood Concert Hall

Jake Shimabukuro
by Hannah Swanson - West High School

A Japanese virtuoso, playing a Hawaiian-based instrument, who is compared to Jimi Hendrix. The most unusual combo to say the least, but Shimabukuro is a most amazing revolutionary artist. The average human has 10 fingers. I really believe that Shimabukuro has 10,000. The speed, technique, and intensity of his music seems like there isn’t just two hands playing his ukulele.

Jake starts out with a flamenco inspired piece called ‘Lets Dance’. He plugged the ukulele into two huge amps sitting in front of his stool on stage. When his speed picked up, the amps gave the effect of a guitar. The Spanish had familiar plucking techniques and notes that you would expect to hear in a Zorro movie. The fast strumming in the end created a huge crescendo that had the audience whistling, after only the first song!

All of Jake’s pieces were inspired by something. Either from his family gas trips, Bruce Lee, a friend’s ill grandmother, or one too many Shirley Temples. His songs don’t include lyrics, so he explained the story for each song. You could tell at what point the story was by the speed, and how loud or soft the sound was. H also drew inspiration from a Japanese instrument called a ‘koto’. It’s very hard to re-create the same sounds from a 13 string instrument, to a 4 string instrument. The Asian style was in the notes, but didn’t bring the same effect. It was an idea, but it shouldn’t have been attempted on the ukulele.

The music was very awe-inspiring, by not only the sound, but watching Jake himself. When the first note was strummed he closed his eyes, rocked back and forth, tapped his feet, and moved to every note and rhythm he played. The mount of soul put into the music, Jake showed onstage in presence which made each song more endearing. You never wanted the song to end.

Jake closed the night once again with a rip roaring tune, this time inspired by the bluegrass, and the Orange Blossom Festival in Georgia. Once again the amps helped accentuate the fast southern strums. After a deafening final hit of all four strings, the audience, almost as on cue, stand up in a whooping standing ovation. Jake strummed the heartstrings of Anchorage on Sunday afternoon, and showed how he has begun to change the ukulele’s limits and potential.

Jake Shimabukuro
Anchorage Concert Association
March 29, 2009 at 4:00 p.m.
Alaska Center for the Performing Arts, Atwood Concert Hall

Dougie MacLean Charms Audience
by Ally Landis - South Anchorage High School

Despite volcano ash descending upon Anchorage Saturday afternoon, Dougie MacLean was able to give a sold-out crowd a concert that kept audience members clapping to the beat, singing along, and laughing out loud. When the Scottish singer/songwriter sang his first song it was clear that the audience was in for a treat. The song was reminiscent of a lullaby and had a calming affect over the crowd. “I might be foolish but I don’t care as long as you are there,” sang MacLean as he played the guitar. The audience responded with nothing less than an enthusiastic round of applause and cheers. MacLean gave insight as to how he came to write the songs along with some of his personal experiences on tour. He prefaced the second song with “The older I get the more like my father I become…It’s terrifying!” But the show wasn’t just about sitting back and relaxing, the audience was invited to sing along with the choruses on almost all of the songs and after a couple of times through, the audience was left to lift up their voices as MacLean stepped away from the mike and just played the guitar. The more fast-paced songs were accompanied by the audience clapping to the beat of MacLean’s foot. “Try to watch my foot from the corner of your eye so you don’t look so stupid up here,” exclaimed MacLean to the audience, which followed with laughter from the crowd. MacLean charmed the crowd with his witty anecdotes and blunt humor but won them over with his melodic voice and lyrics that spoke of love- whether it be the love of nature or the love of his homeland in his moving song Caledonia. And just when one thought it couldn’t get any more entertaining than this MacLean pulled out his harmonica, which he wanted to play because Bob Dylan did and it looked “cool.” And play he did. Along with love, MacLean sang of humanities ignorance in his song “Broken Wings” and also did a spooky piece in which he wrote after visiting the execution site of Mary Queen of Scots. At the end of the show the audience showed their appreciation for the talent of the Scottish singer with a standing ovation that resulted in MacLean coming back on stage for an encore.

Dougie Maclean
Whistling Swan Productions
March 28, 2009 at 7:30 p.m.
Alaska Center for the Performing Arts, Sydney Laurence Theatre

Ravi Zacharias Benefit Lecture
By: Ally Landis - South Anchorage High School

The evening started out with some praise and worship music featuring the ChangePoint church band and Grace Christian School choir. The music was powerful and upbeat but it drowned out the choir on almost all of the songs and it was hard to enjoy the music with people around you talking and trying to find their seats. Since the doors opened at six thirty and the actual program didn’t start until seven, people would wander in and stop and talk with friends. I would have preferred for people to have been seated so one could enjoy the music without having to listen to people talking at the same time. But after three or four songs it quieted down and the theatre was full of people standing, some with their arms up and singing along to the songs. It was a powerful moment and there is just something cool about seeing that many people all come together and lift their hands up in praise.

The main part of the program was a lecture by Dr. Ravi Zacharias, a Christian apologetic speaker who has a Masters of Divinity from Trinity International University and is currently a Visiting Lecturer at Wycliffe Hall, Oxford University. Zacharias has written several books, has a weekly radio program “Let My People Think.” He started his international ministry in 1984 and has spoken all over the world to members of parliaments, the military, senators, congressman, delegates, and governors as well as at multiple universities.

Lieutenant Governor Sean Parnell introduced Ravi Zacharias as a “passionate lover of truth” and the audience responded with a sounding ovation. The first thing Zacharias did was ask the active and retired military men and women to stand and be recognized. What an incredible way to start. It seems that we don’t ever honor our military men and women as much as we should and it was good to see them recognized.

His lecture followed, which was hard to swallow at times. He was a very eloquent speaker but I had to concentrate hard to try and understand all he was saying. Luckily for those of us with short attention spans, he cracked jokes throughout to keep his points from becoming too long. My favorite thing to hear him talk about was his stories. His anecdotes were inspirational and held the audiences’ attention, whether it was his own personal story such as when he almost committed suicide or when he talked about others whose lives had been changed dramatically by Jesus Christ.

The last part of the program was a question and answer session. Audience members were invited to come up to one of the four microphones to ask questions. This was a way for the audience to get some of their own questions answered, but many did not keep their questions succinct and to the point and the answers tended to be long and drawn out. I sometimes had trouble deciding whether or not the question was answered. But it allowed for Zacharias to speak about his ideas and beliefs and help people who were struggling with their questions. It was interesting, but there should have been a time limit of sorts since many people did not get a chance to ask their questions.

Ravi Zacharias Benefit Lecture
March 5, 2009 at 7:00 P.M.
Alaska Center for the Performing Arts, Atwood Concert Hall

Annie
by Terra Laughton - West High School

While not a hardnock experience, Annie at the Atwood Concert Hall Wednesday night lacked spark. NETworks Presentations’ Annie is playing at the Atwood Concert Hall until March 23rd and will happily entertain you, but don’t expect anything new.

It’s difficult to give such a well-known story unique flair, but most movement onstage is so predictable it actually detracts from the scenes at several points in the show. The show’s fun music, played well by an orchestra under the direction of Adam Jones, is unsuccessfully complemented by simple choreography.

Annie has its moments, to be sure. Young Madison Kerth, as the title character, impresses us with her strong voice. Even more remarkable is Mackenzie Aladjem, a seven-year old in her professional theatre debut playing little orphan Molly. Mackenzie’s tiny body has an enormous presence onstage and her adorable energy is contagious. One of the show’s highlights is her impression of mean Mrs. Hannigan, as she stumbles around pretending to be drunk and blowing her invisible whistle.

Analisa Leaming as Grace Farrell is a delight to watch, effortlessly floating around the Warbucks Mansion in a style appropriate to her name. Leaming’s clear voice helps us all love Annie just a little more during “I Think I’m Gonna Like It Here.” Finally, the well-trained dog who plays Sandy was a fun addition to the Hoovervilles in the first act.

Kids will enjoy Annie, but their parents may grow tired of so many “aw gee”s and “oh my goodness”es. The story is adorable, but performed in a way that is too contrived to be engaging.

Annie
Anchorage Concert Association
March 18, 2009 at 7:30 P.M.
The Alaska Center for the Performing Arts, Atwood Concert Hall

L.A. Theatre Works Excels Using Imagination, Creativity
by Ally Landis - South High School/Alaska Pacific University

L.A. Theatre Works, America’s premiere radio theatre company, captured a different aspect of theatre Sunday afternoon at four o’clock in the Atwood Concert Hall. Tour Manager Diane Adair describes the tour as a mix of traditional theatre containing things such as costumes and lights with unique aspects of radio theatre such as mikes, scripts, sound affects, and people playing multiple characters.

The first part of the show was a re-creation of the 1938 sci-fi radio broadcast based on H.G. Wells’ War of the Worlds. The broadcast-an “eyewitness report” of an invasion of monsters from Mars-caused a nationwide panic for people who didn’t know the broadcast was merely a dramatic adaptation. Millions of Americans thought they were listening to real news and hid in cellars or fled their homes. While that might seem comical today, it was easy to see how it could happen after listening to the performance. All the actors and actresses made the sound effects- from the tapping of a new announcement on the “radio” to the wind blowing and spaceship rising. Props included plastic bottles, cans, and plain old paper. Characters not talking whistled and blew into the mikes to sound like wind and a radio broadcast that was supposed to be coming from above a church was filled with the hum of voices. Characters were in costume and the actors moved around in stage in sync with what was happening, scooting back as the “gray orb” landed and pointing and yelling towards the audience. Every member of the group was always doing something, whether it be speaking, talking, rustling paper, or banging a cymbal. The production was truly unique, causing the audience to use their own imagination to visualize what was being described so vividly and letting the audience kind of see what happens “behind the scenes.” Some speaking parts grew a little long, but this broadcast definitely lived up to expectations of chills and thrills.

After intermission, the group portrayed Arthur Conan Doyle’s The Lost World, a story filled with adventure and comedy as Professor Challenger leads a group of zany characters including a reporter, sportsman, guide, and a female opponent into the jungles of South America searching for dinosaurs. This piece was just plain fun, as one of the cast members explained that audience participation was needed, and congratulations! The audience had been cast as the audience. The audience clapped, booed, roared and even made gorilla sounds on cue. The laughter never stopped for long, from a native Amazonian speaking a language that included the words “boom shacka lacka boom” and “Ulu factory” to the cast members using scripts as oars as they paddled along a river. “We can’t make it, we can’t make it,” they cry, and then all scream as they lift up their scripts to keep from crashing. The audience especially enjoyed a distinctly Alaskan feel to the piece, as the actors fear being trapped forever on a “bridge to nowhere” and newspaper headlines include “Sled Dogs: Friend or Foe.” Imagination and creativity made the script, as rainbow umbrellas took the stage as the dreaded flying pterodactyls and grown men provided ape sounds, accompanied by butt shaking and dancing.

L.A. Theatre Works brings the literature the plays are based on to life, keeping the audience captivated through sound effects, dialogue, and the acting, even though it is different than traditional acting. This performance was something unique and does a splendid job of mixing traditional theatre and radio without taking away from either one.

L.A. Theatre Works War of the Worlds/The Lost World
Anchorage Concert Association
March 1, 2009 at 4:00 P.M.
The Alaska Center for the Performing Arts, Atwood Concert Hall

Alaska Dance Theatre Winter Repertory Concert
by Ally Landis - South High School/Alaska Pacific University

Alaska Dance Theatre’s Winter Repertory Concert started off strong with a piece called Winter, choreographed by James Sewell and with music from Antonio Vivaldi’s Winter from The Four Seasons. The dancers wore winter hats and scarves as they leaped, twirled, and jumped their way across the stage. This was one of my favorite pieces because the dancers looked as though they could have been playing in the snow and even mimicked slipping on ice, but did it through graceful ballet movements. The dancers had beautiful lines and even though the synchronization was a bit off at times, the piece kept me captivated. The choreography was done beautifully and the dance evoked feelings of energy and fun.

The next piece, Call to Prayer, choreographed by Troy Powell and with music from Beethoven, Bach, and Karl Jenkins was disappointing at first because there wasn’t any of the dance elements I loved watching so much in the first piece. There was too much standing still with just hand movements. I also was not a fan of the cathedral music. Luckily there was a major highlight to this piece. A duet between two dancers was breathtaking as the girl would balance on the boy’s back and he would lift her up. But my favorite part of the night came when he put her in between his legs and then let go with his hand, letting her twist and then catching her with his legs.

One Voice, One Drum was the first act after intermission and was made to help celebrate Alaska’s 50th Anniversary. The choreographer was Alice Bassler Sullivan, who received help from Phillip Blanchett in infusing traditional Yup’ik movement with classical ballet. The result was a one hundred percent original piece, with dancers moving their bodies to the beat of the drums. It was nice to see something different, and I enjoyed being able to see the native Alaskan dance movements mixed in with the ballet.

The dancer in the red dress, or Nicole Maple, captivated the audience once again in her solo piece, Take It Back, choreographed by Courtland Weaver. She did an excellent job carrying out the choreography and exemplified what I love about watching ballet.

The last piece, There’s So Much To Do was a little much for me. Dancers ran across the stage as one group was doing their piece and there was never one thing going on the stage at once. It was hard to find where you were supposed to be watching and a little bit distracting. There were some slow parts, but it ended with fast beats and high energy.

Winter Repertory
Alaska Dance Theatre
February 27, 2009 at 7:30 P.M.
Alaska Center for the Performing Arts, Discovery Theatre

Cherish The Ladies
by Hannah Swanson - West High School

You could hear the leprechauns singing along…
"Whoops and HEY!" Echoed in the Atwood Concert Hall on Saturday night. Old country inspired jigs, and classic hard shoe stepping kept the audience clapping and laughing under the huge Celtic knot hanging on the stage. Cherish the Ladies, straight out of Ireland, is a world renowned all woman ensemble. The name Cherish the Ladies, is actually a traditional Irish jig.

Joanie Madden led show with introductions, plenty of funny stories, and played the whistles. Many of the songs were written by the women themselves. Some were inspired by trips on the ferry, or the white beach strand. Kathleen Boyle, the pianist, wrote a song titled ‘Homecoming’ for her Mom and Dad overseas in Scotland. Mary Coogan, on the guitar, wrote a song in honor of her father who died from cancer.

Michelle Burke the singer for the group, sang four love songs throughout the evening, all with the classic Irish accent, with Madden singing the harmony lyrics. The songs were all sung with heartfelt and endearing meaning. The sorrowful songs, had the audience tilting their heads, to the lyrics of men and women in love. Burke had a low alto voice, that was a soothing alternative to the upbeat jigs.

The other aspect of the show was the hard shoe step dancing. Two dancers, both traveling with the ensemble performed multiple times, with each other, and did solos. Hard shoe is a type of classic Celtic dance with shoes like tap shoes, but the technique is very different. The speed executed by the two were incredible, along with high kicks, and professional technique.

The music performed that evening was very reminiscent of walking the cobblestone path to your small cottage, surrounded by autumn leaves. The music had the right beats to get your feet tapping, or your hands clapping. The fast fingers on the whistles, the violin, and accordion showed why these women have been awarded Best Musical Group of the Year by BBC. The audience gave them nothing short of a great thanks at the end of the two hour show.

Cherish the Ladies
Anchorage Concert Association
February 21, 2009 at 7:30 P.M.
Alaska Center for the Performing Arts, Atwood Concert Hall

The “Best of Ballet” misses the professional marker.
By Woodruff Laputka - University of Alaska Anchorage

The ambitious performances of young ballet dancers were portrayed at last nights, “The Best of Ballet”, presented by the Anchorage Classical Ballet Academy in the Discovery Theater. This show features a collection of both famous ballet pieces as well as in-house choreographed dances, offering an interesting mixture of music, style and form while still making an effort to surprise and fascinate its audiences by the end of its two Act run.

During these two acts, a multitude of young dancers are put out on the stage to show the audience what they’ve learned. I have to say that, before I go any further, I was looking for the perspective of a layman to the ballet art. That said here is my observation of the production.

Though it was interesting to see some of the real talent in this show, it is understandable why so few people are truly ballet dancers, while so many other young boys and girls decide they are just hopeless dreamers and move on to other things. The striking difference in the aptitude from the older students to the young was, at times, so overwhelming that I almost felt sorry for the slightly older but greatly more talented dancers who had to be on stage with something similar to an elementary school pageant and not sophisticated ballet that they were training for. Some of the younger girls weren’t even paying attention when their cues came on, making it very difficult to experience the peaceful flow that the pre-produced soundtrack demanded. Though understandably they were just young girls making this effort, that doesn’t excuse the fact that their lack of sincerity in the performance made the other dancers look bad, or at least forced me to try and ignore the flippant attitudes that the young girls seemed to exhibit just so that I could experience as much of the ballet that the more sincere dancers were really trying to achieve, even if they were fighting for it. One might argue that it’s a learning curve based on the dancers’ age groups, but that’s usually why you don’t put two apparent age groups with different talents together on stage. It usually doesn’t turn out well.

On the production aspect of things, the show was rather mediocre. The entire first act, though well choreographed and in the vein of the classic Russian ballet, seemed hindered by a constant use of silent, black out breaks in-between dances. It was a lot of the audience sitting in the dark while the occasional sounds of young, slipper footed ballerinas could be heard scampering on and off the stage from behind the curtain, with no music playing to refresh our pallets or our appetite for more dancing , at all. And though dancing is certainly what the show was all about, you cannot excuse bad production work with good dancing, making me wonder just who they had working the operations board up-top. Also, in the more contemporary collection of the second act, the lighting and rhythm that the modern day music scores commanded simply was not present, which in production lingo is pretty damn terrible. Though, again, the dancers made a fine effort and did their best, their talents could not prevent the half second to second long delays in lighting or in music from overtaking the show and dismissing its once hopeful tenure of professionalism. At one point it seemed that the collection of young students on stage were the professionals of the whole presentation, while the rambunctious kids were the ones running the sound board and cueing the lights with little care for timely flashes, or even aesthetically pleasing spot light work. What is worst of all is that while this first occurred in the first act briefly, the classic ballet dances were not hindered, while in the second play, such delays were so common that it was purely damaging to the very time/rhythm oriented performances of both the dances and their strange, contemporary styles.

The Anchorage Classical Ballet Academy offers an interesting opportunity for its students, and there certainly is a lot of attentiveness as well as talent in their ranks of young aspiring dancers. However, as far as shows go, if you are looking for something to accompany the dancing itself, such as a full cast of student dancers that are working just as hard as their peers to make their show the most impressive, or even a group of professional adults who can easily present the complex lighting and musical cues of a more contemporary style, I cannot see the true one-hundred percent value in this, “Best of Ballet.”

Ballet at its Best
Anchorage Classical Ballet
February 20, 2009 at 7:30 P.M.
Alaska Center for the Performing Arts, Discovery Theatre

Soul Street
by Terra Laughton - West High School

A fusion of hip-hop, pantomime, and theatrical comedy, Soul Street was practically asking audience members to stand up and dance in the aisles of the Atwood Concert Hall on Friday.

The four-man Soul Street Dance Company performed February 20th, 2009 at 7:30 as Alaska Junior Theatre’s third presentation of the year. Anchorage’s very own Underground Dance Company provided the opening act, a sharp and eye-pleasing routine. Soul Street soon burst onstage in a frenzy of tumbling. From the beginning, it was clear these four men not only trust each other completely, but enjoy each other’s talents every minute they perform.

The performance involved very minimal costume changes: t shirts to suit jackets to colorful silk tops. And yet, the four men were consistently able to portray a variety of feelings and situations in a very clear way. It helped that, being an Alaska Junior Theatre Production, the audience consisted largely of children. No type of humor was rejected, no matter how physical or how repetitive.

Versatility was something in abundance on Friday, as we watched co-founders Javier Garcia and Rock Williams spin, flip, toprock, downrock and perform power move after power move. (Not familiar with the hip-hop lingo? I wasn’t either before reading the program!) Undoubtedly, Williams stole the show. Like his fellow dancers, he maintained a high energy level even after an hour and a half of intense dancing and tumbling. Williams, however, had something else to offer, a flair onstage that was completely captivating. His priceless expressions and uncanny contortions were entertaining from start to finish.

The show’s weakest point came right after the first number. Although Soul Street’s second dance involved skateboards, it felt long and failed to capture interest for its entirety. However, the acts soon picked up and culminated in several fast-paced group dances both before and after intermission.

Music included techno, “Spice of Life”, symphonic strings, and lounge-style jazz, to which the dancers flawlessly hopped and popped. At times the music followed the moves so perfectly, it was hard to believe it had been pre-recorded.

The extremely talented men of Soul Street Dance Company, simply put, are fun to watch. Their sheer physicality gave as much energy to the audience as we gave back to them. I’ll think of Garcia, Williams, Garcia and Cortez as I electric slide my way around the grocery store this week.

Soul Street
Alaska Junior Theatre
February 20, 2009 at 7:30 P.M.
Alaska Center for the Performing Arts, Atwood Concert Hall

"It’s not just Modern…. Its Art..."
by Hannah Swanson - West High School

A legend of modern dance was performed Friday night at the PAC. Martha Graham Dance Company, from New York City, performed 5 famous pieces. This is the company’s 83rd year of existence, and first time performing in Alaska.

Jane Eilber, the Artistic Director of the Company, led a small series of history tid-bits before each piece, and explained the meaning of the story, the movements, and the characters in each dance. Martha Graham first started dancing with Denishawn Company in 1916. This is where she acquired the international influences demonstrated in all her pieces, and ever famous modern dance technique. The middle-east, India, and Greece were all major influences.

The first piece was really a combination of stories. It included, ‘the Incense’, ‘Gnossienne’ or a Priest, and ‘Tanagra‘(of Greek culture). The two women were dressed in flowy, Arabic style fabrics, and the man dressed in an Indian style turban, and red and gold arm bands. The three dancers each expressed a different style. The Incense had arm movements, curling and twisting like smoke. The Gnossienne had strong, flexed, stalled movements. The Tanagra had a fan and moved like a small bird, softly.

The second piece, ‘Serenata Morisca’, represented Martha’s time she spent with the Greenwich Village Follies. The solo dancer came out in a swirling sage skirt, and plenty of attitude. The jingling bells on her feet added certain emphasis to the choreography already full of high kicks, and quick turns.

The next piece was ‘Excerpts from Chronicle’, one of the most powerful pieces of the night. The first section was called ‘Steps in the Street’. This demonstrated the devastation, and exile caused by, at the time, World War 1. The intensity of jumps, flexed feet, and sharp hands, made it impossible to blink. The black costumes with high slits created a dark effect as the dancers did one legged turns. Most of the story was either portrayed thru the aspect of the army, or the desperation of the people.

The second section was ‘Prelude to Action’. This is the ‘answer’, instead of the war. To represent the unity, a soloist in a white, long-sleeved dress stood on-top a small stand comprised of three large circles, in center stage. The dancers previous, connected with the woman in white as she gave them hope. This was symbolized in choreography with lifts, and all 9 dancers dancing in unison. Once again, the Graham’s strong technique of flexed heels, and exasperated movements made the piece a strong statement, especially at that period in time.

The most anticipated piece of the night was performed after intermission. ‘Appalachian Spring’, tells the story of a pioneer woman, a husband and his newly wedded bride, along with a preacher and some town people. The piece had a pioneer spirit, not only in the choreography, but as well in the music. The Shaker tune, ‘Simple Gifts’ was a common phrase used in the 2nd half of the 9 minute piece. Originally called ‘Ballet for Martha’ the night ended with a standing ovation as the curtain closed.

Not only was the night a beautiful demonstration of a technique taken for granted, but it was an artistic view of the hardships during the time of war, loss, and struggle in the new west. A night of remembrance for a woman reviewed by critic that once said, her movements would make her “give birth to a cube."

Martha Graham Dance Company
Anchorage Concert Association
February 6, 2009 at 7:30 P.M.
Alaska Center for the Performing Arts, Atwood Concert Hall

"Barber of Seville Gives a Clean Shave..."
By S.M.Griffin - University of Alaska Anchorage

Anchorage Opera’s latest rendition of Gioacchino Rossini’s ‘The Barber of Seville’ is off to a fantastic start Saturday night as familiar tunes come to life at the Discovery theatre. In an evening of antics, the beloved barber, Figaro, the leading lady, Rosina , and her secret beau, the Count Almaviva, race about Doctor Bartolo’s house in a flurry of comical mishaps, ridiculous disguises, and cunning diversions, all in the name of true love. Director Bill Fabris deserves a round of applause for coordinating a delightful combination of talented actors, invigorating orchestra, whimsical sets, and convincing costumes.

Spotlight of the evening and well deserving the attention, James Taylor brings the part of greedy yet heartwarming Figaro into reality as he bounds energetically through each act. His presence on stage is the perfect balance of dramatic humor and characterized wit to bring the young lovers together, with laughter all the way. Leading lady Kate Egan is a delight, carrying the role of tender Rosina through an unending whirl of hair-trigger emotions with conviction as she escapes the machinations of Todd W. Robinson’s pompous Doctor Bartolo. While the heartsick Count Almaviva, played by Dillion J. McCartney, lacks the vibrancy of his co-stars, particularly in the first act where he’s bound strictly to the role of nobility, he picks up fervor with each ridiculous transformation to reach Rosina, allowing the energy of the show to power his performance. The supporting cast is nothing short of stellar, never once feeling forced or unnecessary and instead adding extra joy at every appearance.

However, the actors are only one important part of the evening’s music. The orchestra, conducted by William Hicks, gives a seamless performance carrying the show through the chaotic confusions and exhilarating chases, adding just enough sweetness to wish us all a good night.

One of the most unexpected surprises is the imaginative detailing of the set. Set Designer Amanda Walker is new to the world of Opera, but she’s made her debut with pride. Instead of creating an efficient yet simple period home, Walker took the extra creative step and added fantastical asymmetric cut-outs all along the body of the Bartolo home, carrying the design along the entire upper edging of the entire set. The ingenuity of Walker’s set is balanced perfectly by the accuracy of Howard Tsvi Kaplan’s costuming. Each piece brings the feeling of Seville, Spain, one step closer and perfectly personifies each character.

An emersing performance, ‘The Barber of Seville’ is three hours of charming and engaging fun that does not disappoint.

The Barber of Seville
Anchorage Opera
February 7, 2009 at 8:00 P.M.
Alaska Center for the Performing Arts, Discovery Theatre

Anchorage Symphony Orchestra presents The General
By Woodruff Laputka - University of Alaska Anchorage

After watching Buster Keaton’s, “The General” tracked live by the Anchorage Symphony Orchestra, it is easy to see why the age old quote, “sound came to film 10 years too early” still stands. The concept of taking a classic film and tracking it live is something that’s done occasionally and in novelty, either as an experiment or as a study, and usually lacks the sincerity that a live, fully assembled orchestra carries with it. Considering logistics, man power and the over-all time needed for something that will impress the thousand some odd patrons who will be attending, while still appeasing to the promised many art snobs and film fanatics of the community, the project of revisiting the old movie theater style in a modern day concert hall, under the flag of delivering a good show, is ambitious at the very least. However, the Anchorage Symphony’s attempt to do this, if anything, has not only proven it to be possible, but that perhaps that age old saying about sound coming too early to film is quite correct.

Rendall Craig Fleischer (Music Director) and the Anchorage Symphony were able to revisit the lost era of silent film in such an effective manner that everyone not only applauded. but I cannot say I have yet been to a show at the PAC that incited a triple doosey of standing applause, yells for an encore and even whistling, not because the film was particularly special, nor because the soundtrack was particularly striking, but because the ASQ was able to make the two mesh so effectively that is was easy to forget a live, full orchestra was even present, allowing the crowd to be captured into the clever, slapstick antics and risky action packed stunts of Buster Keaton, while being enveloped in the most effective form of musical presentation: the live concert.

To catch you up, The Generals simple yet clever story, Buster Keaton is an everyday train engineer whose’ cold, solid face matches his otherwise cold, solid life, with the only two, warm elements being his train, notably dubbed, “General”, and his sweet-heart, the lovely Annabelle Lee, played by Marian Mack. The two have a good thing going with Buster visiting when ever his General stops through the quaint little southern town of Annabelle’s when war breaks out, and by war, I mean the Civil War. Buster tries to enlist with everyone else, but because he’s an engineer he’s just too useful to the South in trains without being on the front lines getting shot at. How does the wonderful Annabelle relate to this? Not very well, you might expect, especially with Buster being painted as a coward by Annabelle’s father and brother who also go to enlist for the sake of States rights. Buster finds his way in a funny predicament though as, a year later, his general is stolen by ruthless, blood thirsty Union spies and proceeds to lead him on an action packed, slapstick rail road rampage that, while watching, you almost think would be impossible to do without modern digital technology. Still, the film pulls it off and permits the simple Buster to develop into the hero of the day, crossing into enemy lines to find that his beloved Annabelle has been kidnapped, and fooling the Union troops at every turn as he races back to the confederacy to warm them of an eminent invasion. For this, the simple, stone faced engineer is not only enlisted into the Confederate army, but as a Lieutenant, first class, winning the girl and saving the day for the South, who, as we all know, will eventually lose anyway.

But, the story isn’t about that. It’s about wise cracking antics while hot on the trail of locomotive after soldier toting, fire blazing, death defying stunt portraying locomotive. The film even shoots a train falling through a burning bridge. A whole engine! How did the crowd react to this? Well, with the climatic, “you know its coming” drum roll from the orchestra and the even more anticipated clash of symbols and eruption of music, it only celebrated in amazement at this still standing marvel of cinematic special effects. And, whether your Buster Keaton or Spielberg, that’s still a pretty cool thing to pull off. And, with the climatic effect that this scene and every other had with its live symphony accompaniment, the crowd only shouted in cheer as our Buster road his engine “General” to victory, getting the girl and saving the day for us wanna-be Southerners.

The overall air of this project was one of fun and great effort, where you could tell just by listening to the music that the Symphony not only had to have practiced intensely to get the music and mood just right, not to mention trying to match the original soundtracks mood perfectly, but that they were also enjoying it, laughing at whatever silly slapstick or death-defying stunt Buster through at us again. It allowed the music to mesh with its live presentation so well that you almost felt like a community had formed, living and breathing as we were all brought together by the live power of a symphony orchestra pursuing the very beginning of the film production medium. If this promises a testimony to the art of live theater/film production as it did in the day of your grandparents, the question left to be answered is, with the effect that the Anchorage Symphony had with Buster Keaton, does film really need to have its own soundtrack at all? Could it survive if it reverted back to the classic style of theater going, with live music and intermissions? Truly, would that not refine the art form of filmmaking as it has worked for theater? Frankly, the audience from the AQR’s performance of Buster Keaton’s, The General, surely knows this answer.

ASO Silent Film: Buster Keaton's The General
Anchorage Symphony Orchestra
January 31, 2009 at 8:00 P.M.
Alaska Center for the Performing Arts, Atwood Concert Hall

"As promised, Capitol Steps, 'put the mock' into democracy..."
by Terra Laughton - West High School

In almost three decades, Capitol Steps has remained as energetic and witty as when it began. If only we could all say the same for ourselves.

The Capitol Steps production in the Atwood Concert Hall on the evening of January 23rd, 2009 was political satire at its best: fast-paced, varied, and impressively current. In the program, a disclaimer explained that their show is constantly changing based on the scandal of the day. No one in the audience Friday night would doubt that fact.

On a basically bare stage, five performers played dozens of characters ranging from Vladimir Putin to Hillary Clinton to George W. Bush. The cast didn’t limit themselves to domestic and international politicians, however. They happily depicted a middle aged secretary addicted to her Facebook, airline stewardesses desperately trying to make a salary by begging for tips, campaigners infatuated with Barack, and Americans that will drive their 5mpg SUV because they can, darn it!

The show remained engaging throughout, partly because the songs that carried the show were intermixed with short stand-up bits and even some occasional pantomime. The cast’s creative use of props, portable scenery and costume changes provided an eyeful while our ears frantically attempted to make sense of the hilarious lyrics fired offstage.

The fact that the cast has actually worked on Capitol Hill, in the offices of eleven US Senators and seven members of the House, makes their talent all the more inspiring. One singer’s beautifully strong voice stood out. She was the performer whose characters included Kim Jong Il and a woman obsessed with prescription drugs.

Since the numbers were self-contained skits, the performers were able to, at times, communicate directly with the audience. They thanked our state for providing them with so much material for their show. This was after Sarah Palin, donned in a bullet belt, had explained to us, through song of course, that she would much prefer to shoot at a Target than to shop at one.

Every moment a cast member spent on stage was filled with some sort of spirited contribution to the scene or musical number. Although the performers’ choreography was slightly off from time to time, even their exits had flair. The piano accompanist onstage matched the casts’ energy ounce for ounce.

As promised, Capitol Steps, effectively “put the ‘mock’ in democracy” Friday, much to our side-stitched delight.

Capitol Steps
Anchorage Concert Association
Friday, January 23, 2009 at 7:30 P.M.
Alaska Center for the Performing Arts, Atwood Concert Hall

James Cotton Blues Band
by Woodruff Laputka- University of Alaska Anchorage

Seeing James Cotton on stage is like taking a trip back in time, when Blues was erupting from the Juke Joints in the Deep South and pouring from the low end, underground clubs in urban Chicago. Seeing James Cotton on stage, one thinks, wow, right there is a physical embodiment to this music that we all know as Blues, and you cannot deny it, because it’s right there! Standing and playing right in front of you, with every fire and spur to its soul that ever sparked the music in the first place. Every note a tribute to the genre’s greatest stars, from Muddy Waters to B.B. King, not to mention the likely endless lists of musicians that the James Cotton Blues Band members have played with to get this far in the game. It’s electrifying, exhilarating and soulful.

But, after seeing James Cotton on stage, when the music stops and all these thoughts sink in, one impression sticks the longest, and even follows you into the day after, “wow, man, James Cotton is very old.” As simple as this thought might be, you have to consider just how such an element may affect the performance of one of the last remaining “original” Blues musicians today. While his talented accompaniment of musicians from all over the rocky history of Blues music impresses, the age difference between the members of the James Cotton Blues Band, and Mr. Cotton is staggering. It almost gives the feeling of an after school special: “Mr. James Cotton and his band of rough, young Blusers!” Seriously though, this concept isn’t too far from the fact that Mr. Cotton was genuinely tired up there on the stage. Though he obviously enjoyed his concert and the men he played it with, his very disposition gave the impression of one nearing the end of a 60 year road tour, both looking and acting the part.

Aside from this depressing factor, the concert exhibited quite the original, Bluesy feel that the audience was looking for, permitting them to interact with the performers while still keeping the a stern, perhaps heart-felt reserve that Alaskans tend to exhibit when occupying crowded spaces. With the music carrying for nearly two hours of rip-roaring tune that stands quite well against the great, roaring hits of the Blues genres beginning, the concert gained the favor of audience members the moment the musicians walked on stage, pushing aside the otherwise natural awkwardness of a concert hall to deliver an experience that the night will be known for.

One other note worthy element that the concert’s musical success certainly relied upon was the music from the opening act, Gordie Tentrees and his trio, a small 3 person group from Whitehorse, Yukon. Despite the fact that the trio had only two members present for the concert, with the third missing in action due to unknown circumstances, the group carried the stage away to a rather rough and folk-like feel that really set the town for the much more energetic and seasoned talent of the James Cotton Band. The “trio” music, Gordie told the audience, is what happens when a Hippy Mother and a Moonshine making father get together in 1974, and believe me, it sounded like it. A rough acoustic twang along an otherwise back country tune so akin to the merits of deep southern blue grass, yet very much bearing that unique, “one man” soul commonly attributed to Johnny Cash or Bob Dylan. The reason this worked so well for the concert is how low-key it was. It wasn’t exciting to watch the trio, nor did it convince anyone to start clapping along, or to get up and dance out in the aisles. What it did do, however, was weave a truly potent atmosphere of emotional movement, where everyone who listened made sure to keep their mouths shut and permit the two gentlemen from the trio to tell their lyrical, blue grass-twang written stories uninterrupted, permitting the breaks in-between songs to be open for the thunderous applause that ensued. This is what the concert needed to open with, considering the energy and culture that the James Cotton Blues Band performed with, allowing the audience to become sentimental, moved and emotional and then taking those emotions and forcing them out of their seats and into the aisles, to dance.

In all, the James Cotton Blues Band concert, promoted and produced by the Whistling Swan Productions team, gave a meritable victory to the wise and well learned powers of the more folk-like, Bluesy aspects in music that current popular culture rarely portrays. It was a look into the past, and a look into the future for Blues music and country grit alike, permitting its listeners to see the rich culture of men who make music their lives and spend those lives on the road, finishing off with the music’s always present and original message: let the good times roll.

James Cotton Blues Band
Whistling Swan Productions
Sunday, January 18, 2009 at 7:00 P.M.
Alaska Center for the Performing Arts, Discovery Theatre

A Few Notes From the Anchorage Symphony Orchestra
by Hannah Swanson- West High School

An astounding night of music, sponsored by Wells Fargo, filled the Performing Arts Center Saturday night. The Anchorage Symphony Orchestra, conducted by Randall Craig Fleischer, played three symphonies, one being a world premiere. Another special element was a guest violinist Chee-Yun. The orchestra played nothing short of excellent synchronized strings, and strong percussion.

The first symphony was composed by Alexandra du Bois. Named Fanfare the piece was reminiscent of the Middle Ages, with a strong trumpet call at the beginning, commanding the ears of the audience. The middle of the movement slowed and became more sorrowful with strings being the focus. The movement closes with a more jubilant feeling, the strings and brass playing together, although the brass did overpower the softness of the strings, on the final notes. “I was compelled to bring a reference of…hope for the peace the 21st Century holds for all of us,” said du Bois in the program notes. A worthy ovation was awarded to du Bois when she walked out on stage after her piece was performed.

The second symphony, Violin Concerto No. 3 in G Major, introduced the guest artist Chee-Yun. The Anchorage Orchestra took the corps of the music while Yun took the lead with her angelic finger work. The lightness and speed of the first two movements were similar to that you would hear at Queen Elizabeth’s garden party. The third movement was more of a solo for Yun, as she executed the sorrow notes with not only technical beauty, but psychically showed her feeling while she played. She swayed back and forth, her purple silk dress moving effortlessly, like her arm holding the bow. After the third movement Yun and the orchestra received yet, another standing ovation. To please the audience Yun came back onstage and performed an encore piece full of fast plucking, and several staccatos that showed the true talent of this wonderful guest violinist.

The third and final symphony was, Symphony No. 5 in D Minor, Op.47. The composer of the piece, Dmitri Shostakovich, wrote this for his second opera Lady Macbeth of Mtsensk District. Joseph Stalin, himself, came to the show in 1936, but stormed out in a rage of the dark and depressing theme. Indeed the persona of the strings was dramatic, high pitched notes, with the bass drum beating intensely in the background. The musicians faces stared intently at their music stands, the bows of the violins and cello’s moving up and down like a marching army. The piece closed with cymbals crashing, and the conductors hand slowly lowering as the violins faded.

The night was full of storytelling thru the notes of the the musicians on stage. The conductor lead them beautifully, his face smiling out to the last standing ovation of the night. Having been my first symphony I recommend to keep an eye out for more upcoming performances, the journey will be memorable for all ages.

ASO Classic Concert
Anchorage Symphony Orchestra
Saturday, January 17, 2009 at 8:00 pm
Alaska Center for the Performing Arts, Atwood Concert Hall