"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
Monday, January 26, 2009
Tuesday, January 20, 2009
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
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
Monday, January 19, 2009
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
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
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