A Trio of Two

By Woodruff Laputka - University of Alaska Anchorage


Bill Charlap grabs jazz by the balls. As he hammers away at the poor, helpless key board from song to heart-striking song his passion spills out and rolls every direction it cares to. In the moment, Mr. Charlap appears almost possessed by the music, his face and figure a contorted display of his initial, warm and inviting stage presence, something of a mix between humble and focused that often recounts the history of Jazz musician persona. Roaring from songs by such classic composers as George and Ira Gershwin, Dizzy Gillespie, to even John "Johnny" Williams, the intent to impress from Mr. Charlap is equaled only by the support of a powerful drum accompaniment from Mr. Kenny Washington.

However, the Bill Charlap's band has a stage presence of three. That's what the program sais anyway. Is that accurate? Are we sure of that? Maybe the bassist, Sean Smith was in the back, practicing the whole time. Perhaps he was taking a nap. It's interesting to note such a steady flow of energy and color coming from Mr. Charlap and Mr. Washington's performance, while not being able to , despite all good effort, honestly include My. Smith's bass performance. To be blunt, it simply was not there.

As an inherently majestic instrument, bold and full of life, the bass's relationship to Jazz has always been one of romanticism. The plucking of strings at various chords can transport the listener to far away costal city waterfronts with full moons over head, dark and seedy nightclubs where the piano has been drinking, or anywhere really that fulfills the range of colorful, emotional atmospheres this soulful instrument provides.

Such was not the case with Mr. Smith. While the energy between Bill Charlap Kenny Washington met ever in far ranging harmony, the bass seemed almost intent on failing to keep up. The bass lines were sloppy, the instruments contribution to the rhythm unimpressive if not non-existent, while Mr. Smith's stage presence was one of confusion and stress. At one point the feeling of compassion actually replaced the immense impression of disappointment, thinking that perhaps some deep, inner-conflict was effecting Smith's obvious frustrations. If that's the case, however, than why bring it to the stage? Why draw so much attention to what seemed like a fight to grasp what should be a natural command of the instrument? Was it fighting back? Perhaps the world will never know.

Luckily the music selection carries much of the loss, with classic upon classic stringing a web that catches the listener into a love for the music from this band. However no matter the quality of the overall show, it is this critics concern that Mr. Smith, a man who must have impressed Bill Charlap, who must be a talent and able performer, may well have been kidnapped and replaced by someone less helpful than what the Bill Charlap performance required.


Bill Charlap

Anchorage Concert Association

January 29, 2011 at 7:30pm

Discovery Theatre

Keeping it Real on Avenue Q

by Lisa Maloney

It’s hard to get worked up about the fact that nine of Avenue Q’s major characters aren’t human at all. Piloted by an interlocking set of four puppeteers, the puppet leads and three human actors watch television, surf the Internet, lose their jobs, get naked--puppet nudity only--and agree that it sucks to be them, all set to a Tony-award-winning original score.

Most actors spend their lives trying to catch the spotlight, but the unconcealed Avenue Q puppeteers have perfected the art of blending into the background, every body movement echoing and reinforcing the puppet’s dialogue and movements instead of the other way around. Individual actors voiced multiple puppets--at the same time--and occasionally handed puppets from pilot to pilot, both on-stage and off. This dance is the best choreography you’ll ever ignore. Avenue Q walked away with three well-deserved Tony awards in 2004, but if there were a category for best puppeteering they would have won four.

Equally impressive is the three humans’ ability to interact convincingly with the puppets. When [human] Christmas Eve holds Rod’s [puppet] head in her lap and strokes his hair, you can’t help but briefly wonder if the handsome young puppeteer controlling Rod feels put out about being so thoroughly ignored.

On opening night some of the actors’ crystal-clear diction got lost in the rafters riding on slightly out-of-balance sound, and occasional shadows seemed to linger on the puppet faces a hair longer than intended. But even taken together these minor discrepancies don’t add up to much, and were quickly steamrolled by the audience’s helpless laughter. The real-life drama of boys and girls becoming men and women, plus the occasional monster, makes the richest tapestry possible for admitting and gleefully accepting our own flaws.

A word on Muppets. The program contains a disclaimer distancing Avenue Q from Jim Henson’s Muppets, but it’s hard not to draw similarities between roommates Nikki and Rod, and Bert and Ernie of Muppets fame. Trekkie monster’s mannerisms are unavoidably reminiscent of a famous Muppet with a hankering for baked goods. But the clearest parody of all may be unintentional, and doesn’t have anything to do with Muppets at all. By the end of the show, Nikki morphs into a green-skinned cousin to Kramer from the television show Seinfeld.

If you’re easily offended, go see this show. You’ll get over it by the end of the show--because as much as you might not want to admit it, that really is you up on stage. After all, who doesn’t identify with puppet sex, former child stars and the search for purpose?

Avenue Q
Anchorage Concert Assocation
Friday, January 21 at 8pm
Atwood Concert Hall

Anchorage Symphony Orchestra Orchestrates Another Great Show
by Emily Klopfer - Dimond High School

As the immense crowd filtered into the Atwood Concert Hall Saturday night, the Anchorage Symphony Orchestra sat at the ready. A smaller section of the orchestra was prepared to play the opening serenade for the ASO’s Sweet Serenade concert.

The lights dimmed to the age-old sound of an orchestra tuning. Kathryn Hoffer, concertmaster, stood proudly while tuning her orchestra from her violin. Once the orchestra ceased their tuning, Randall Craig Fleischer took to the stage to conduct. He was welcomed to the podium by a wild applause from a concert hall nearly completely filled with symphony enthusiasts, patrons, and those new to the orchestra.

Fleischer raised his arms and the string section raised their bows, the entire hall silent in wait for the opening note. Suddenly, Fleischer brought down his arms and the concert commenced.

The beginning selection of Sweet Serenade comes from the well-known Wolfgang Amadeus Mozart. His “Serenade in G Major, K. 525,” also called “Eine kleine Nachtmusik” added to the feel of a sweet serenade. The four parts to Mozart’s selection were Allegro, Romanze: Adante, Minuetto: Allegretto, and Rondo: Allegro. In these sections, the orchestra was superb. Mozart’s “Serenade in G Major” is often a more recognized sound, and the orchestra was able to create that famous sound with crisp, clear notes. Not a squeak was heard throughout the violin, viola, cello, and bass sections. Each one combined to make that harmony of music so key in an excellent orchestra. When the orchestra ended their Mozart collection, their applause was well deserved.

Sharman Piper was the guest for tonight’s concert. She brought the first woodwind instrument of the night to the stage by way of an oboe. Following Piper, more members of the string section filed in to take their place and fill out the orchestra. The collection that ensued was teeming with just as much talent as the previous collection. With Piper, the orchestra played “Down a River of Time; Concerto for Oboe and String Orchestra,” composed by Eric Ewazen. This collection was split into three sections. Once again, the string orchestra displayed their exceptional talent and created music of professionals. Piper’s oboe seemed to sing as she hit each note and carried her long strings of solo throughout the collection. As the string orchestra plus oboe rose to take their bows at the conclusion of the collection, they were again greeted with roaring applause, even a standing ovation.

A brief intermission followed, and then the orchestra embarked upon their finale: “Serenade No. 1 in D Major, Op.11,” composed by Brahms. For this collection, the string orchestra was joined by the band section, creating the complete Anchorage Symphony Orchestra. Brahms serenade was split into six sections: Allegro Molto, Scherzo, Adagio non troppo, Minuetto I and II, Scherzo Allegro, and Rondo Allegro. The way the band easily slipped in to fill the orchestra made one forget what the orchestra sounded like before the band. The ending collection was an excellent choice to demonstrate the full talent of the Anchorage Symphony Orchestra.

All in all, a night at the symphony was a wonderful way to spend a Saturday night. It really was a “Sweet Serenade.”

Classic Concert #3: Sweet Serenade
Anchorage Symphony Orchestra
Saturday, January 16, 2011 at 8pm
Atwood Concert Hall