"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
Thursday, December 11, 2008
Unlikely Combination of Rock Music and the Life of Jesus Takes Center Stage in Jesus Christ Superstar
by Ally Landis - South Anchorage High School/Alaska Pacific University
Rock music, Jesus, and a Broadway musical may seem like an unlikely combination, but it works in Jesus Christ Superstar. The musical is definitely different than any other, and it brings the story of Jesus into a modern day context with songs like “What’s the Buzz” and “Could We Start Again, Please.”
Tuesday night in the Atwood Theatre, the Anchorage Concert Association presented the musical, directed by Dallett Norris and choreographed by Arlene Phillips. The rock musical tells the story of “the last seven days in the life of Jesus of Nazareth."
Right away it is clear that this is a rock musical. The first scene opens with an electric guitar solo and a slow motion fighting scene followed by a powerful performance by James Delisco as Judas Iscariot.
Delisco did an excellent job of connecting with the audience and portraying Judas’ confusion and anger at Jesus, eventually leading him to betray Jesus. He had a commanding stage presence and the scene in which he hangs himself after betraying Jesus made the audience feel as though they too, were in anguish. On the other hand, Jesus, played by Tim Neeley, was hard to understand at times and his voice sounded a little off. At one part it sounded more like he was screeching than singing. But aside from some scratchy patches in his singing, Neeley’s performance brought the audience to its feet at the end of the performance and was especially powerful during the whipping scene. With each flinch and shriek of pain, Neeley convinced the audience of his role. The only part that seemed forced was during the crucifixion when after gasping “It is finished” several more gasps and shudders continued. Maybe he was dragging out the agony of the death, but it was unclear.
The scenery consists of the lighting effects, a curtain, and a fog machine but it works. With the lack of scenery, focus turns to the choreography. Choreographer Arlene Phillips did an exceptional job of matching the dance routines to the mood of each scene. During “Hosanna” blankets were used as props as the actors waved them around and during the temple scene with people selling all types of things (including themselves) a hanging curtain dropped down on them after Jesus rebukes them. But holes in the curtain allow for the actors to stick out their heads and cry out to Jesus. It was totally unexpected and a little odd to be honest, but it worked well with the song.
The music is powerful, loud, and moving and all the attention of the audience was on the characters, who succeeded in keeping the audience captive. There is something intoxicating about a live orchestra and seeing the life of Jesus acted out right before your eyes. This musical is definitely different, but well worth it. Parents should be warned that it might be too violent for children.
Jesus Christ Superstar
Anchorage Concert Association
Tuesday, December 9, 2008 at 7:30 pm
Alaska Center for the Performing Arts, Atwood Concert Hall
by Ally Landis - South Anchorage High School/Alaska Pacific University
Rock music, Jesus, and a Broadway musical may seem like an unlikely combination, but it works in Jesus Christ Superstar. The musical is definitely different than any other, and it brings the story of Jesus into a modern day context with songs like “What’s the Buzz” and “Could We Start Again, Please.”
Tuesday night in the Atwood Theatre, the Anchorage Concert Association presented the musical, directed by Dallett Norris and choreographed by Arlene Phillips. The rock musical tells the story of “the last seven days in the life of Jesus of Nazareth."
Right away it is clear that this is a rock musical. The first scene opens with an electric guitar solo and a slow motion fighting scene followed by a powerful performance by James Delisco as Judas Iscariot.
Delisco did an excellent job of connecting with the audience and portraying Judas’ confusion and anger at Jesus, eventually leading him to betray Jesus. He had a commanding stage presence and the scene in which he hangs himself after betraying Jesus made the audience feel as though they too, were in anguish. On the other hand, Jesus, played by Tim Neeley, was hard to understand at times and his voice sounded a little off. At one part it sounded more like he was screeching than singing. But aside from some scratchy patches in his singing, Neeley’s performance brought the audience to its feet at the end of the performance and was especially powerful during the whipping scene. With each flinch and shriek of pain, Neeley convinced the audience of his role. The only part that seemed forced was during the crucifixion when after gasping “It is finished” several more gasps and shudders continued. Maybe he was dragging out the agony of the death, but it was unclear.
The scenery consists of the lighting effects, a curtain, and a fog machine but it works. With the lack of scenery, focus turns to the choreography. Choreographer Arlene Phillips did an exceptional job of matching the dance routines to the mood of each scene. During “Hosanna” blankets were used as props as the actors waved them around and during the temple scene with people selling all types of things (including themselves) a hanging curtain dropped down on them after Jesus rebukes them. But holes in the curtain allow for the actors to stick out their heads and cry out to Jesus. It was totally unexpected and a little odd to be honest, but it worked well with the song.
The music is powerful, loud, and moving and all the attention of the audience was on the characters, who succeeded in keeping the audience captive. There is something intoxicating about a live orchestra and seeing the life of Jesus acted out right before your eyes. This musical is definitely different, but well worth it. Parents should be warned that it might be too violent for children.
Jesus Christ Superstar
Anchorage Concert Association
Tuesday, December 9, 2008 at 7:30 pm
Alaska Center for the Performing Arts, Atwood Concert Hall
Monday, December 8, 2008
Fiddler on the Roof Strikes the Right Balance
by Ally Landis - South Anchorage High School/Alaska Pacific University
On Thursday night the Alaska Theatre of Youth’s rendition of Fiddler on the Roof was able to strike a balance between the solemn mood and the comedic dialogue dispersed throughout the musical.
The musical, directed by Christian “Hepcat” Heppinstall, Leslie Ward and Oliver Siemens, follows the life of a Jewish family living in Russia in 1905 and the ever-present struggle between tradition and change.
The first song of the first act, Tradition, consisting of Tevye, the main character, and the rest of the townspeople, sets the mood for the rest of the play. While the singing was not the strongest, the argument that broke out in the end about a horse and a mule brought smiles and a few chuckles to the faces of the audience.
The next act portrays Tzeitel, Hodel and Chava, three daughters of Tevye, singing about the village matchmaker, Yente. The staging was not as good as it could have been, and at one point the sisters are behind clothes hanging on a clothesline and it was hard to hear them singing. But the sisterly jesting and witty dialogue, such as the sisters talking about their marriage prospects kept the audience engaged. One sister exclaims, “the last one was so old, he had no hair” and another responds with “you want hair, get a monkey.”
The acting is a little stiff at times, such as when Tzeitel and her friend from childhood Motel start to kiss but are interrupted by the entrance of Tevye, but the characters personalities are portrayed well and one could truly see the actors enjoy themselves. At Tzeitel and Motel’s wedding, along with the traditional Jewish dance, some handstands and spin moves take the spotlight.
Along with the more upbeat scenes came the serious ones, such as when Perchik, the fiancé of Hodel, is beaten by the police when he tries to stop them from overturning the house. The scene was performed exceptionally and caused the audience to shudder with the rest of the villagers. The cast did a good job transitioning from somber scenes to more happy scenes and was able to distinguish them from each other to keep the plot moving. Fiddler on the Roof has a fairly complex plot because of the large number of major characters and different events happening throughout the performance. However, it was not difficult to follow the storyline.
The Fiddler on the Roof certainly entertained and managed to develop a more somber plot as well as the humorous side of the characters. There were undoubtedly some rough spots, and the singing was not as strong but the Alaska Theatre of Youth is all about “that turn form an awkward kid into a polished actor,” and the effort put into the musical by the cast members should be recognized.
Fiddler on the Roof is playing December 4-6, 12-13 at 7 p.m. and December 6-7, 13-14 at 2 p.m.
Fiddler on the Roof, Jr.
Alaska Theatre of Youth
Thursday, December 4, 2008 at 7 pm
Alaska Center for the Performing Arts, Sydney Laurence Theatre
by Ally Landis - South Anchorage High School/Alaska Pacific University
On Thursday night the Alaska Theatre of Youth’s rendition of Fiddler on the Roof was able to strike a balance between the solemn mood and the comedic dialogue dispersed throughout the musical.
The musical, directed by Christian “Hepcat” Heppinstall, Leslie Ward and Oliver Siemens, follows the life of a Jewish family living in Russia in 1905 and the ever-present struggle between tradition and change.
The first song of the first act, Tradition, consisting of Tevye, the main character, and the rest of the townspeople, sets the mood for the rest of the play. While the singing was not the strongest, the argument that broke out in the end about a horse and a mule brought smiles and a few chuckles to the faces of the audience.
The next act portrays Tzeitel, Hodel and Chava, three daughters of Tevye, singing about the village matchmaker, Yente. The staging was not as good as it could have been, and at one point the sisters are behind clothes hanging on a clothesline and it was hard to hear them singing. But the sisterly jesting and witty dialogue, such as the sisters talking about their marriage prospects kept the audience engaged. One sister exclaims, “the last one was so old, he had no hair” and another responds with “you want hair, get a monkey.”
The acting is a little stiff at times, such as when Tzeitel and her friend from childhood Motel start to kiss but are interrupted by the entrance of Tevye, but the characters personalities are portrayed well and one could truly see the actors enjoy themselves. At Tzeitel and Motel’s wedding, along with the traditional Jewish dance, some handstands and spin moves take the spotlight.
Along with the more upbeat scenes came the serious ones, such as when Perchik, the fiancé of Hodel, is beaten by the police when he tries to stop them from overturning the house. The scene was performed exceptionally and caused the audience to shudder with the rest of the villagers. The cast did a good job transitioning from somber scenes to more happy scenes and was able to distinguish them from each other to keep the plot moving. Fiddler on the Roof has a fairly complex plot because of the large number of major characters and different events happening throughout the performance. However, it was not difficult to follow the storyline.
The Fiddler on the Roof certainly entertained and managed to develop a more somber plot as well as the humorous side of the characters. There were undoubtedly some rough spots, and the singing was not as strong but the Alaska Theatre of Youth is all about “that turn form an awkward kid into a polished actor,” and the effort put into the musical by the cast members should be recognized.
Fiddler on the Roof is playing December 4-6, 12-13 at 7 p.m. and December 6-7, 13-14 at 2 p.m.
Fiddler on the Roof, Jr.
Alaska Theatre of Youth
Thursday, December 4, 2008 at 7 pm
Alaska Center for the Performing Arts, Sydney Laurence Theatre
Wednesday, December 3, 2008
The Nutcracker Ballet - "the perfect holiday treat..."
by Hannah Swanson - West High School
If you have a sweet tooth during the holidays, George Balanchine’s, The Nutcracker, is a tasty tidbit to start the Christmas season. Oregon Ballet Theatre, in collaboration with Alaska Dance Theatre, performed beautifully with the Anchorage Symphony on Friday afternoon. It was an inspiring, beautiful performance to spark imagination for all ages.
The show began with Marie and Fritz Stahlbaum awaiting their wonderful holiday party. Family and friends soon gathered, and classic partnering dances were performed cleanly. But the climatic end to the party is when Fritz broke Marie’s Nutcracker Doll in a jealous fit. The acting was a fair demonstration, could have been more natural, and not so constricted to straight choreography. Although keeping in mind the children’s age, or lack of performing in front of a large audience. But the small bits of humor, like Fritz pulling on Clara’s hair, or a girl hiding underneath Clara’s dress not wanting to leave, made a personal connection.
Before intermission was the first ballet piece of the show, Waltz of the Snowflakes. This piece is full of crescendos, with crashing cymbals, and fast violins. Balanchine choreography is known for extremely fast footwork, dizzying turns, but having beautiful, soft port de bras, or arms, on the upper body. The spinning of the white dresses, and the falling of snow, was a beautifully performed piece, and is was a wonderful end to the first act.
After the intermission Marie and her Prince were transported to the Palace of the Land of Sweets, where the most delectable portion of the show begins. Spanish Chocolate; arrive in gold character skirts, and demonstrate kicking their feet to touch their heads. Chinese Tea; perform 6 toe touches in a row! German Marzipan, Russian Candy Canes, and Arabian Coffee all perform with mesmerizing footwork, and gravity defying leaps.
Another one of Balanchine’s famous works is the Waltz of the Flowers. Green and pink tulle skirts float like petals, as the Dew Drop Soloist dances between them. Cannons were common in this piece, as the music had repeating chimes of a triangle, or a flute.
But the icing on the cake is the Sugar Plum Fairy and her Cavalier. Their pas de deux showed beauty and power effortlessly. The grand finale of arabesques and lifts had the audience on their feet. Marie and her Prince made their way back home, bidding farewell to the Land of Sweets.
The Nutcracker is a classic, seasonal, favorite for families. It is the perfect treat for Christmas that you don’t have to feel guilty about!
The Nutcracker
Anchorage Concert Association
Friday, November 28 at 2pm
Alaska Center for the Performing Arts, Atwood Concert Hall
by Hannah Swanson - West High School
If you have a sweet tooth during the holidays, George Balanchine’s, The Nutcracker, is a tasty tidbit to start the Christmas season. Oregon Ballet Theatre, in collaboration with Alaska Dance Theatre, performed beautifully with the Anchorage Symphony on Friday afternoon. It was an inspiring, beautiful performance to spark imagination for all ages.
The show began with Marie and Fritz Stahlbaum awaiting their wonderful holiday party. Family and friends soon gathered, and classic partnering dances were performed cleanly. But the climatic end to the party is when Fritz broke Marie’s Nutcracker Doll in a jealous fit. The acting was a fair demonstration, could have been more natural, and not so constricted to straight choreography. Although keeping in mind the children’s age, or lack of performing in front of a large audience. But the small bits of humor, like Fritz pulling on Clara’s hair, or a girl hiding underneath Clara’s dress not wanting to leave, made a personal connection.
Before intermission was the first ballet piece of the show, Waltz of the Snowflakes. This piece is full of crescendos, with crashing cymbals, and fast violins. Balanchine choreography is known for extremely fast footwork, dizzying turns, but having beautiful, soft port de bras, or arms, on the upper body. The spinning of the white dresses, and the falling of snow, was a beautifully performed piece, and is was a wonderful end to the first act.
After the intermission Marie and her Prince were transported to the Palace of the Land of Sweets, where the most delectable portion of the show begins. Spanish Chocolate; arrive in gold character skirts, and demonstrate kicking their feet to touch their heads. Chinese Tea; perform 6 toe touches in a row! German Marzipan, Russian Candy Canes, and Arabian Coffee all perform with mesmerizing footwork, and gravity defying leaps.
Another one of Balanchine’s famous works is the Waltz of the Flowers. Green and pink tulle skirts float like petals, as the Dew Drop Soloist dances between them. Cannons were common in this piece, as the music had repeating chimes of a triangle, or a flute.
But the icing on the cake is the Sugar Plum Fairy and her Cavalier. Their pas de deux showed beauty and power effortlessly. The grand finale of arabesques and lifts had the audience on their feet. Marie and her Prince made their way back home, bidding farewell to the Land of Sweets.
The Nutcracker is a classic, seasonal, favorite for families. It is the perfect treat for Christmas that you don’t have to feel guilty about!
The Nutcracker
Anchorage Concert Association
Friday, November 28 at 2pm
Alaska Center for the Performing Arts, Atwood Concert Hall
Monday, November 17, 2008
Anchorage Opera accomplishes elegance by pursuing the infamous, “Carmen.”
by Woodruff Laputka - University of Alaska Anchorage
The Anchorage Opera opens for a two night run of the infamous, long-celebrated, “Carmen,” presenting a variety of production values and operatic finesse that one can easily equate to an experience on Broadway. Offering us Georges Bizet’s classic tale of Love, Obsession and Loss, Anchorage Opera takes no modesty in the classic experience one would hope to be offered here, as is suggested in program letter from the foundation’s president, Richard Block, “ Opera is one of the most expensive yet transient of art forms.” From here, you can easily expect something to impress. And so it does.
The curtains open to an elaborate and interactive set that builds and projects the mood of a Spain ruled by dictatorship. The set construction, upon closer inspection, reveals a clever angle to the roofs, walls and even a calculated placing of structures and especially the town square fountain that mostly dominates the plays first act. From a production perspective, a simple hats off to Set Designer, Francesca Callow for such an effort. This effect cleverly allows the eye to direct itself center stage, where Director Cynthia Edwards, as expected, places her lead, the ever-sought Gypsy mistress, Carmen, played by Kathryn Allen. Allen’s voice sings brilliantly, while her physical beauty scores intentionally above the supporting cast around her. Her portrayal of Carmen is censual, fearless and even gripping in her forward and unyielding stubbornness. Her opposite, the soldier Don Jose’, played by Christopher Jackson, simply seems overtaken by the Gypsy’s luscious and shrew-like attitudes. The Orchestra ensemble, conducted by Sarah Jobin, reassures us of her dominant personality, and walks us through the story with an acceptable and certainly necessary skill of a world-class opera.
The story itself is not lost in the impressive front of this big-stage production, though certainly stands as a common theme. Likely, due to the plays immense success. Carmen the Gypsy allures a young soldier, Don Jose, to assist her after she gets arrested. The soldier falls head over heals for the woman, and agrees. Like every man on the stage, however, Jose’ is simply devoured by the need to have Carmen as his own, and is persuaded by Carmen to run away with her and her Gypsy friends to live a life of freedom, away from the instituded laws of the military. As fate would have it, Carmen eventually grows tired of Jose’, though this only leads Jose’ to an obsession for her, and promises to the audience an ending that will sum up the plays theme of Love and its powerful Obsession.
Though this theme is quite predominant, Carmen’s production, especially with the impressive lighting from Light Designer Lauren MacKenzie Miller, offers us something a bit more deep. Love is certainly human, but what we see on the stage is a simple cry of, what sort of freedoms do we desire? If we, simple humans, are given a taste of the wild-child of Love, how much can we resist before allowing it to consume us, and ultimately, destroys us? This is the tone that impresses the most, matched almost by a comical characteristic that never dares to interfere with the strong dramatic tones in the later Acts of the play. Even with the occasional presence of, Escamillo the Bullfighter, played by Anton Belov who portrays the character as chauvinistic arrogant that is easily laughable in his audacity, we still are over taken by much of the plays sincerity.
Carmen offers, if anything, a unique opportunity to look into the art form of opera, untouched, portraying major themes that can appeal to everyday life in a way so simple, it’s difficult to imagine a person that wouldn’t impressed by it. For a simple night out, one might look into a movie or perhaps a candlelit dinner. For an experience that will leave you talking about it afterwards and even thinking about its professional, well choreographed and classy presentation for days to come, consider Carmen as a choice above any other.
by Woodruff Laputka - University of Alaska Anchorage
The Anchorage Opera opens for a two night run of the infamous, long-celebrated, “Carmen,” presenting a variety of production values and operatic finesse that one can easily equate to an experience on Broadway. Offering us Georges Bizet’s classic tale of Love, Obsession and Loss, Anchorage Opera takes no modesty in the classic experience one would hope to be offered here, as is suggested in program letter from the foundation’s president, Richard Block, “ Opera is one of the most expensive yet transient of art forms.” From here, you can easily expect something to impress. And so it does.
The curtains open to an elaborate and interactive set that builds and projects the mood of a Spain ruled by dictatorship. The set construction, upon closer inspection, reveals a clever angle to the roofs, walls and even a calculated placing of structures and especially the town square fountain that mostly dominates the plays first act. From a production perspective, a simple hats off to Set Designer, Francesca Callow for such an effort. This effect cleverly allows the eye to direct itself center stage, where Director Cynthia Edwards, as expected, places her lead, the ever-sought Gypsy mistress, Carmen, played by Kathryn Allen. Allen’s voice sings brilliantly, while her physical beauty scores intentionally above the supporting cast around her. Her portrayal of Carmen is censual, fearless and even gripping in her forward and unyielding stubbornness. Her opposite, the soldier Don Jose’, played by Christopher Jackson, simply seems overtaken by the Gypsy’s luscious and shrew-like attitudes. The Orchestra ensemble, conducted by Sarah Jobin, reassures us of her dominant personality, and walks us through the story with an acceptable and certainly necessary skill of a world-class opera.
The story itself is not lost in the impressive front of this big-stage production, though certainly stands as a common theme. Likely, due to the plays immense success. Carmen the Gypsy allures a young soldier, Don Jose, to assist her after she gets arrested. The soldier falls head over heals for the woman, and agrees. Like every man on the stage, however, Jose’ is simply devoured by the need to have Carmen as his own, and is persuaded by Carmen to run away with her and her Gypsy friends to live a life of freedom, away from the instituded laws of the military. As fate would have it, Carmen eventually grows tired of Jose’, though this only leads Jose’ to an obsession for her, and promises to the audience an ending that will sum up the plays theme of Love and its powerful Obsession.
Though this theme is quite predominant, Carmen’s production, especially with the impressive lighting from Light Designer Lauren MacKenzie Miller, offers us something a bit more deep. Love is certainly human, but what we see on the stage is a simple cry of, what sort of freedoms do we desire? If we, simple humans, are given a taste of the wild-child of Love, how much can we resist before allowing it to consume us, and ultimately, destroys us? This is the tone that impresses the most, matched almost by a comical characteristic that never dares to interfere with the strong dramatic tones in the later Acts of the play. Even with the occasional presence of, Escamillo the Bullfighter, played by Anton Belov who portrays the character as chauvinistic arrogant that is easily laughable in his audacity, we still are over taken by much of the plays sincerity.
Carmen offers, if anything, a unique opportunity to look into the art form of opera, untouched, portraying major themes that can appeal to everyday life in a way so simple, it’s difficult to imagine a person that wouldn’t impressed by it. For a simple night out, one might look into a movie or perhaps a candlelit dinner. For an experience that will leave you talking about it afterwards and even thinking about its professional, well choreographed and classy presentation for days to come, consider Carmen as a choice above any other.
Carmen
Anchorage Opera
Wednesday, November 12 at 7pm
Alaska Center for the Performing Arts, Discovery Theatre
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