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
Monday, February 23, 2009
Tuesday, February 10, 2009
"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
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
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
Thursday, February 5, 2009
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
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
Monday, January 26, 2009
"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
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
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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