tag:blogger.com,1999:blog-19173403476427737652024-03-20T08:06:24.125-07:00GlickArtsComments on the arts scene in and around Lansing, Michigan and beyond<b> </b>http://www.blogger.com/profile/03203858917406829650noreply@blogger.comBlogger111125tag:blogger.com,1999:blog-1917340347642773765.post-23016604856162279942024-02-17T17:14:00.000-08:002024-02-17T17:21:36.163-08:00Lansing's Brush With Art History - 50 Years Ago<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiQknK9FrocZAg6-Z7CoT4nmbkji3M48aqHOqdTwFSbFXWCxac9Z7cFX-on-5cHE22X_Al6dnjimpvYTSxNzLtHPn_yhMyZNeIDK2VR1MQergPF-TmuqUMyXxFz8U5RJ2H1rzFfbWzT3pr6GbtJPt2ykoz-56zLsRnDznxC7Zou-wbYWhLHRjq6ZWH/s6000/DSC_0038%20(8).JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6000" data-original-width="4000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiQknK9FrocZAg6-Z7CoT4nmbkji3M48aqHOqdTwFSbFXWCxac9Z7cFX-on-5cHE22X_Al6dnjimpvYTSxNzLtHPn_yhMyZNeIDK2VR1MQergPF-TmuqUMyXxFz8U5RJ2H1rzFfbWzT3pr6GbtJPt2ykoz-56zLsRnDznxC7Zou-wbYWhLHRjq6ZWH/s320/DSC_0038%20(8).JPG" width="213" /></a></div><p>When artist sculptor Claes Oldenburg, 93, died in 2022, I was reminded of the brush Lansing had with the famed pop international artist 50 years ago. </p><p>In 1972 the final touches were being designed for the Washington Mall in downtown Lansing that would feature the circular roundabout intersection of Washington and Michigan Ave directly in front of the Capitol. It was decided that a sculptor would be commissioned to create a dynamic work to adorn the centerpiece of the intersection. </p><p>A sculpture committee was assembled by the Lansing Fine Arts Council to choose an artist. At the time, Oldenburg was a highly regarded sculptor but had not yet received the international acclaim he received later in life. </p><p>The artist’s trademark style also caused a furor in many communities. He designed huge sculptures of everyday objects. One of his best known works is called “Clothespin”, which is a meticulously accurate 45-foot version of a wooden clothespin, that now stands in the city center of Philadelphia. One of my favorites is a massive representation of a round-wheel typewriter eraser which is in the National Gallery of Art’s Sculpture Garden in Washington DC.</p><p><span></span></p><a name='more'></a>When he was commissioned to produce a work for the Nelson-Atkins Museum in Kansas City, the artist looked at the expansive lawn of the art museum and the long, single-story building standing in the middle of the grounds. To him, the artist saw a giant badminton court visioning the low-slung building as the net. He then designed stunningly oversized shuttlecocks that lay on the lawn on either side of the long building of the museum. <p></p><p>When the shuttlecocks were dedicated, the Kansas City Star derided them and the family that sponsored their purchase. Slowly, however, the whimsical sculptures have become beloved by the city and pictures of them are all over town, becoming an iconic symbol for Kansas City. </p><p>Dolores Wharton, wife of Michigan State University’s then President Clifton Wharton, sat on Lansing’s sculpture committee. </p><p>When Oldenburg, known as an iconoclast, visited the city in 1972 the State Journal asked him if he really cared what people thought of his works. He said, “Yes, I care. I can’t force anything on the community it doesn’t want. I want to make an impact that is meaningful but not everyone is going to see it the same way. Reactions will be different.”</p><p>They sure were different. Oldenburg, 42 at the time, presented the committee with sketches of an ashtray and a saw, a popsicle and a catcher’s mitt with a ball in it. </p><p>The community was clearly lukewarm about these proposals. Oldenburg was considered to be an avant-garde artist, and Lansing was not an avant-garde town in 1972.</p><p>As the weeks went on, Oldenburg himself cooled on the baseball mitt idea. He was having trouble finding ways of fabricating the 20-foot steel structure with a wooden ball in the middle. He was later quoted as saying “I couldn’t get fired up to create the baseball glove.” </p><p>Jim Hough, who wrote the popular “Onlooker” column for the State Journal for many years, said “A giant sculpture of a baseball catcher’s mitt in downtown Lansing? You’ve got be to kidding!”</p><p>The negative opinion of the mitt idea is a bit confusing, since many refer to the shape of Michigan to be similar to that of a glove or mitten and Lansing has been referred to as the “middle of the mitten”.</p><p>The Journal seemed to be solidly against the sculpture, in one article labeling Oldenburg as an anti-establishment (a term very popular in the Vietnam era) artist. </p><p>Dolores Wharton however supported Oldenburg, as quoted in the State Journal, “We thought this was a significant representation of Lansing and a handsome piece”.</p><p>In February 1973, Oldenburg, amid all the negative publicity, withdrew his name from the project and cited problems with constructing the two finalists (the popsicle being the other one) as the reason. He also was surprised at the community’s reaction to the ideas presented. </p><p>But after Oldenburg released himself from his Lansing engagement, he in fact created the baseball mitt sculpture, and in October of 1973 the 12-foot high “Standing Mitt with Ball” was delivered to art collector Mr. and Mrs. Albrecht Saalfield in Connecticut. It eventually became a very respected example of Oldenburg’s works.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0f9k52-ZYbZXnvM4miitu8t5aFskmVkyUPaVaBRWMDRhZ7kpp-qv5HpRdl7oleEsk-RBFPl1DjnXZb9szzIU8I9SvfPlLHukdRJ9NHdrOiBKFBWL14fT7P4il28pYzt5-PdTiBiZVJbNDtOwNIvE7lzI88Ymvr64cU_78SPnkIfGOMRR7CC6Qe7z_/s6000/DSC_0045%20(8).JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="6000" data-original-width="4000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0f9k52-ZYbZXnvM4miitu8t5aFskmVkyUPaVaBRWMDRhZ7kpp-qv5HpRdl7oleEsk-RBFPl1DjnXZb9szzIU8I9SvfPlLHukdRJ9NHdrOiBKFBWL14fT7P4il28pYzt5-PdTiBiZVJbNDtOwNIvE7lzI88Ymvr64cU_78SPnkIfGOMRR7CC6Qe7z_/s320/DSC_0045%20(8).JPG" width="213" /></a></div><br /><p><br /></p><p>In 2017 it was acquired by the prestigious Cleveland Museum of Art and now sits in a prime location in its courtyard. No one in the museum knows about the Lansing connection.</p><p>The work of art that was finally commissioned for the Washington Mall was called “Construction #150” by Jose De Rivera. It is a bland, small shiny, stainless-steel, spiral shape that was motorized and turned around on the top of its mounting. It is so innocuous that several years ago the city removed it when its motor broke , and no one even noticed its disappearance. </p><p>If the mitt and ball would have been celebrated by the city and placed in the mall, who knows what would have happened? As with other Oldenburg pieces, it could have been an artistic conversation piece throughout Michigan and may have been the pride of Lansing, appearing on the cover of many Michigan tourist books.</p><p>No doubt, this is not the first time a much appreciated work of art was passed on by its original commissioner because it was thought to be too “out there” for the time. </p><div><br /></div>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com2tag:blogger.com,1999:blog-1917340347642773765.post-30779449490180182812023-12-26T07:36:00.000-08:002023-12-26T07:36:46.657-08:00"Maestro" - There's So Much More<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhyp0SjDwzMKrWtwPbMx-bPB3d5bAor7C1-o4WaqPwdUeDF0d-COuNUQ3SITJG3nch-H5mu9ubRFjyUk4MqPMpfgWwDW5oflYsWKrJjOfbXt2wQVB2qT_fi_8wg0DN9DhnW5rgzPl7eebSCTZIoAbzs5YAafZRe2oPyPGKKd8Qr6zRbhAbUxqFFKbNG" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="351" data-original-width="468" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEhyp0SjDwzMKrWtwPbMx-bPB3d5bAor7C1-o4WaqPwdUeDF0d-COuNUQ3SITJG3nch-H5mu9ubRFjyUk4MqPMpfgWwDW5oflYsWKrJjOfbXt2wQVB2qT_fi_8wg0DN9DhnW5rgzPl7eebSCTZIoAbzs5YAafZRe2oPyPGKKd8Qr6zRbhAbUxqFFKbNG" width="320" /></a></div><br />Right off the bat, the new Bradley Cooper film, “Maestro”, grabs you.<p></p><p>The film is beautifully and artfully photographed (Matthew Libatique, cinematographer) and is acted with great passion. Bradley Cooper, who wrote, directed and starred in this highly anticipated movie, wanted to get into the heart of the conductor, thought by many to be the greatest musician of the 20th century., and he did so resoundingly.</p><p>Cooper plays Bernstein with an uncanny sense of his mannerisms and vocal style. Much has been written about his prosthetic nose, but this, to me, is nonsense. He looks just like Bernstein and sounds like him too. He threw himself into the part, showing Bernstein’s explosive energy and commitment to music and to people.</p><p><span></span></p><a name='more'></a>But as good as Cooper is, Carey Mulligan is even better as Bernstein’s wife, Felicia. Although Bernstein pretty much remains the same throughout the movie, Felicia changes dramatically because of health issues and life changes she experiences. Mulligan, in what may be her greatest role to date, is intense and emotional as Felicia. She is the heart of the movie as she suffers though a marriage knowing that her husband loves men as fervently as he loves women. <p></p><p>Bernstein had a very interesting and dramatic life, and exploring all of that in one movie is an impossible task. What Cooper chose to concentrate on, is his beautiful love affair and marriage. </p><p>This provides for plenty of juicy plot lines in the movie, the most provocative being Bernstein’s double life as public family man and a private gay man. </p><p>Bernstein was such a charismatic person, whose lust for life was remarkable, that this element of his story is difficult to ignore. However, as a musician I was waiting for more time to be spent telling us about his life as a musician showcasing his profound gifts. </p><p>There were memorable moments of Cooper emulating Bernstein in conducting a great choral piece from “Candide” (which he also wrote), Mahler’s Symphony No. 2, as well as two smaller scenes with Bernstein conducting his historic first concert with the New York Philharmonic and also conducting his “Mass” at Lincoln Center, which were all extraordinary. </p><p>I saw the movie in a real live theater which I recommend. The great sound system enveloped the audience. It is now streaming on Netflix.</p><p>But I was disappointed by not seeing much at all about “West Side Story” (maybe his ultimate career highlight), when and how he was hired as the Music Director of the New York Philharmonic (a full ten years after his celebrated first appearance) and it didn’t even mention his groundbreaking “Young People’s Concerts” which were broadcast nationwide. </p><p>Yes, Bernstein had a personal life that was a bit salacious and very entertaining, however he was an extraordinary musician and communicator who was a concert pianist, composer of classical works, composer of theater music, a master teacher and had a robust international conducting career. Also, we heard nothing about how he developed as a musician, through Harvard, Curtis Institute and Tanglewood. “Maestro” focused too much on his non-musical life.</p><p>The problem with the movie is that despite the missing musical elements of his life, Cooper did a masterful job of portraying Bernstein’s personal life and the soul of the man with all of his layers. And the movie making was forceful and compelling. </p><p>But for those who do not know a lot about Leonard Bernstein, you must understand that there is much more to him than what was depicted in “Maestro.”</p><p><br /></p><p><br /></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com1tag:blogger.com,1999:blog-1917340347642773765.post-27664424549428482352023-10-17T20:03:00.002-07:002023-10-18T06:27:43.973-07:00Stage One - A Shining Light to Follow<p> </p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe1MEWr3lwtPMt8piNT63ecgt0CvQKbQuo6l7rFmf3oWraDcxoIPnfsv3SKhgJNMvlPDJyln14wPUVqV-8_Q8bZTv1zhfFO8_i1tpAsmSdrSY63gLKKf6H7PXkJ9bRWqnz5zD0jxU2SYPihggz_sLQy-AphdjqkGz1eZ6D-tpBSblaSFA0aPU-tvp6/s2992/20230928_162629.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2992" data-original-width="2992" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe1MEWr3lwtPMt8piNT63ecgt0CvQKbQuo6l7rFmf3oWraDcxoIPnfsv3SKhgJNMvlPDJyln14wPUVqV-8_Q8bZTv1zhfFO8_i1tpAsmSdrSY63gLKKf6H7PXkJ9bRWqnz5zD0jxU2SYPihggz_sLQy-AphdjqkGz1eZ6D-tpBSblaSFA0aPU-tvp6/s320/20230928_162629.jpg" width="320" /></a></div><br /><span style="font-size: 16pt; line-height: 107%;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">For 28
years, Lansing’s Peppermint Creek Theatre Company has lived a vagabond
existence. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">They have
moved from one theater to the next always looking for the best place to produce
their shows. They have moved from art galleries to floral conservatories to
churches to community rooms. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">But despite
the challenge of adjusting to a new venue so often, founder and artistic
director Chad Swan-Badgero always managed to produce challenging plays of impressive
quality. Using amateur actors, they produced superb performances of dramas such
as “God of Carnage”, “Other Desert Cities”, “Venus in Fur”, “Indecent” and
musicals such as “Assassins,”, “Next to Normal”, “In the Heights” and “Parade”.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">In the summer
of 2022 something magical happened. Tom Arthur, Pastor of Sycamore Creek Church,
with facilities in south Lansing and Potterville and ardent theater lover,
approached Swan-Badgero after a production he attended about an unusual idea.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">He had recently
acquired a spacious church building on Lake Lansing Road with lovely grounds,
space galore and a central location.<span style="mso-spacerun: yes;">
</span>Arthur looked at the facility and wondered how the space could serve the
community in addition to being a place of worship. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a><span style="font-size: 16pt; line-height: 107%;">Upon further
reflection, he felt that the arts could be the centerpiece of his vision of
bringing in a diverse group of people to the church. To that end he approached
Swan-Badgero to see if Peppermint Creek would like to share the sanctuary with
the church for their productions. <o:p></o:p></span><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">After all,
the 150-seat sanctuary is only used on Sunday mornings and sits there empty the
other six days of the week. <span style="mso-spacerun: yes;"> </span>Swan-Badgero
said “sure” to Arthur, never thinking that it would actually come to pass. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Arthur also approached
Jeff Coff and his Ixion Ensemble Theater and Anna Maria Pasley-Horn, director
of Hope Central Urban Arts to join the them who will also be sharing the space.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The church
is located at 2200 Lake Lansing Rd., across from Eastwood Town Center.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">In the year
that followed Arthur’s momentous conversation with Swan-Badgero, the 1968-era
church was transformed.<span style="mso-spacerun: yes;"> </span>Big airy windows
were added to the cafe area, bright colors cover most of the walls, the HVAC
was modernized, a new sound system was installed, and the sanctuary was totally
changed to include new lighting, chairs, a backstage stairwell for actors to access
their dressing rooms and more.<span style="mso-spacerun: yes;"> </span>The
Peppermint Creek people will add stage lighting and just raised money to
install new risers. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">And suddenly
we were all gathered on September 28 at the newly refurbished facility for a grand
ribbon cutting ceremony.<span style="mso-spacerun: yes;"> </span>Lansing mayor Andy
Schor was there, The Lansing Regional Chamber of Commerce sent representatives,
as well as community and arts leaders all celebrated the newly named Stage One.<o:p></o:p></span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHpCXwuEEvD0sTu1JSmyBzMvn_Txo4Oq_WIhxr3QaR4KbEurAgqvarggYudMfyRbDL5e2bRfjdjFxu-xSnUQTRwIPSZLUsN7YV1UgSj-bh5PzfYa2mmNFc18obYLEXCnp9gD01Az4dIqIzlp8jA7MGZdHEPk8V3TsYrlxaBlqzKpB9Tg2z4_Tx3WcS/s2992/20230928_162138.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2992" data-original-width="2992" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHpCXwuEEvD0sTu1JSmyBzMvn_Txo4Oq_WIhxr3QaR4KbEurAgqvarggYudMfyRbDL5e2bRfjdjFxu-xSnUQTRwIPSZLUsN7YV1UgSj-bh5PzfYa2mmNFc18obYLEXCnp9gD01Az4dIqIzlp8jA7MGZdHEPk8V3TsYrlxaBlqzKpB9Tg2z4_Tx3WcS/s320/20230928_162138.jpg" width="320" /></a></div><br /><span style="font-size: 16pt; line-height: 107%;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Performing arts
centers are expensive and difficult projects to bring to reality. Just ask the
City of Lansing, which has been working on a new performing arts center for
over ten years.<span style="mso-spacerun: yes;"> </span>They finally broke ground
on a trimmed down facility, but so far the construction work has not yet begun.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">But in this
case, a dynamic and positive pastor together with successful theater companies
displayed how a community can come together to create a new and attractive art
center quickly and inexpensively. <o:p></o:p></span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglylYXols5ac-7ltwh2tDcfAFkHmL-rOWaDE4xBBds4wv0RQij-0fqtTK4NLYXArfvnzrJxJeEhnrFwlM4WMw4ta3-4TXv7o8_VUTc5MWVqDCnqXMye28C2JNdJzaxe0cRtJhfu5GxDfCQd99VKR-dW_yKUKQFhz6kIcnA-OYSD2CNiyj01BetwURr/s2992/20230928_161559.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2992" data-original-width="2992" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglylYXols5ac-7ltwh2tDcfAFkHmL-rOWaDE4xBBds4wv0RQij-0fqtTK4NLYXArfvnzrJxJeEhnrFwlM4WMw4ta3-4TXv7o8_VUTc5MWVqDCnqXMye28C2JNdJzaxe0cRtJhfu5GxDfCQd99VKR-dW_yKUKQFhz6kIcnA-OYSD2CNiyj01BetwURr/s320/20230928_161559.jpg" width="320" /></a></div><br /><span style="font-size: x-small;">Tom Arthur, Chad Swan-Badgero, Jeff Croff, Anna Maria Pasley-Horn </span><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">There were
space needs for small arts organizations and forward-thinking people to make it
happen, creating a new arts, community and worship center in one facility.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">A big bravo
for Pastor Tom Arthur and his team for showing us all what a community can do
to make Lansing a better place to live. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Stage One
Performing Arts Center is a shining light to guide us to appreciate how cooperation
and collaboration can produce astounding results.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com5tag:blogger.com,1999:blog-1917340347642773765.post-10915033734910540172023-09-06T13:51:00.002-07:002023-09-08T07:14:10.483-07:00Stratford: It's Not Too Late for 2023<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB1_-jMjsrayOijGF_K9opMQYSOxKT8RjVsqylZv_NbrUN1AqKJiN_5JCmhrEmGZq6_ouqRFC50N6KAg9lX--W_H2g50aWW8SFfWvQYZuTrCSEOTH8bSOzpBQ7VusZvuHk-0ZJp1XRHA7eKB3QiCb-04kYLCFOMgz-HZICYEGn4-YK5dlIng3qUlSr/s545/Stratford_Festival_Default.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="323" data-original-width="545" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB1_-jMjsrayOijGF_K9opMQYSOxKT8RjVsqylZv_NbrUN1AqKJiN_5JCmhrEmGZq6_ouqRFC50N6KAg9lX--W_H2g50aWW8SFfWvQYZuTrCSEOTH8bSOzpBQ7VusZvuHk-0ZJp1XRHA7eKB3QiCb-04kYLCFOMgz-HZICYEGn4-YK5dlIng3qUlSr/w380-h226/Stratford_Festival_Default.png" width="380" /></a></div><br /><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">It’s not too
late.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">One of the biggest misconceptions about the Stratford Festival in Ontario Canada, is that
it lasts only about 6-8 weeks. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The fact is you can enjoy world-class theater in beautiful surroundings from April
through October – about six months,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">So, there is
still plenty of time to see many of the festival’s performances this year.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">I visited in
August, its busiest month, and was surprised by the big crowds everywhere –
hotels were filled, restaurants had lines of hungry customers, and all the
plays had medium to totally packed houses. The Covid doom is officially over.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">This season
offers a wide variety of plays – 13 in all - spanning all genres. The one
element of Stratford’s productions that cannot be disputed is their absolutely
stunning sets, costumes, special effects and sound systems. Everything is made
on site (wigs, shoes, armor, scenery, etc.) and no expense is spared. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a>When
planning a trip (200 miles from Lansing) to Stratford, do it carefully. Not
only are there many plays to choose from (not all playing for the entire
season) in four theaters, but there is a plethora of lectures, theater tours,
panel discussions, and other experiential activities which enhance the
theatrical experience. Some of these events are hosted by scholars, noted
writers and critics.<o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Also, leave
time to explore the charming and friendly town of Stratford. It has a lovely
river with swans and various watercraft.<span style="mso-spacerun: yes;">
</span>And there are several good-to-excellent restaurants to sample.<span style="mso-spacerun: yes;"> </span>If you enjoy gardens, blooms surround the
theaters and the town itself. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Here are
some abbreviated reviews of the plays I saw.<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size: 16pt; line-height: 107%;">Grand Magic,
</span></b><span style="font-size: 16pt; line-height: 107%;">is a classic-type
play presented at the newly-built Tom Patterson Theater.<span style="mso-spacerun: yes;"> </span>The theater is an exquisite architectural
wonder, but this is the second season I have attended plays there, and I find
the seats hard and uncomfortable. The theater is gorgeous and has wonderful
sight lines, lighting and sound, but the seating area is a disappointment.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Directed by
Antoni Cimolino, Magic takes place at a seaside Italian resort, with elegant
costumes and scenery. It stars one of Stratford’s longtime stars Geraint Wyn
Davies as a past-his-prime magician. He is booked at the resort to entertain
the guests.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The play stirs
together magic and illusion and how they are believed by the audience, during
the performance and beyond. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The true
star of the play is Gordon S. Miller, a domineering husband and a cynical
audience member at the magic show.<span style="mso-spacerun: yes;"> </span>As it
turns out, his wife plans her own illusion; finding a way to escape his
clutches. Miller’s character changes drastically throughout the play and he wins
over the audience giving new plot twist a totally new personality.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The play was
enjoyable and thought provoking but could have used some tightening.<span style="mso-spacerun: yes;"> </span>Magic had two intermissions and took almost
three hours. Considering the politics of our world and how we are captivated by
illusions makes Magic a compelling piece of theater.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Despite its Shakespeare
roots, the real money that supports Stratford in found in the musicals.<span style="mso-spacerun: yes;"> </span>They are consistently excellent productions
and bring in huge audiences.<span style="mso-spacerun: yes;"> </span>I am not a
fan of <b>Rent, </b>the iconic 1994 musical loosely based on La Boheme, but I thought
I would give it another try.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Sadly, I have
not changed my opinion. Everyone still loves this musical, but it falls flat
for me.<span style="mso-spacerun: yes;"> </span>The sets and stage effects were
excellent, along with the high energy cast, but this rock show, dealing with a community
ravaged by AIDS and unemployment, now seems very dated.<span style="mso-spacerun: yes;"> </span>The characters are naive and child-like and
besides the big hit tune, Seasons of Love, the music did not make an impact on
me. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The audience
that surrounded me in the Festival Stage certainly did not share my feelings.
It is a very popular show and the cast is dynamite.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">And for
something completely different, the musical <b>Monty Python’s</b> <b>Spamalot </b>was
a total delight.<span style="mso-spacerun: yes;"> </span>Showing in the Broadway
style Avon Theater, Spamalot was a was a howling farce from beginning to end. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Using the
King Arthur Camelot tale, Spamalot pokes fun at everybody and everything. The theater
was totally packed, and they never missed an opportunity to guffaw over the crazy
jokes and gags. Classic actor Jonathan Goad as Arthur and Eddie Glen as his
sidekick make a rollicking good pair.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The big
Shakespeare offering this year is <b>King Lear </b>starring a Canadian favorite
TV star, Paul Gross. Some theater goers hesitate to tackle the big
Shakespearean tragedies, but I urge you not to miss King Lear, thought by many as
one of the greatest plays ever written. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">This
production is striking with a Euro/futuristic/elegant look to it. The sets and
special effects enhance the drama and power of this play about a King growing
old and giving his kingdom to his three daughters. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Gross as
Lear is a little too spry for my taste and his voice lacks the depth of other
classic actors, but he still gives the play emotional gravity combined with wit
and irony. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">One of the
highlights of my visit was the brilliant play from the 1960s, <b>Les Belles-Soeurs</b>
by Michael Tremblay. This all-female cast provides explosive humor, anger and
emotion to a story of women trying to break away from the rigid Catholic norms
of Montreal life in the 60s. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The setting
for the play is the kitchen of Germain (Stratford veteran Seana McKenna), who
just won a huge jackpot from savings stamps, which were popular in the day. She
gathers all of her pals to help her paste the books with stamps. We soon hear
the stories, frustrations, jealousies, and life’s problems of all of her friends
and relatives.<span style="mso-spacerun: yes;"> </span>The cast was multi-racial
and multi-ethnic which brought a powerful universality to the play.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Attending Le
Belles-Soeurs was a wonderful surprise.<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size: 16pt; line-height: 107%;">Wedding
Band </span></b><span style="font-size: 16pt; line-height: 107%;">was our final
play. This intense drama explores a bi-racial couple who is finding a way to have
a married life in 1918 South Caolina or elsewhere in the US. Written by Alice
Childress, the story the strong and confident Julia Augustine (Antoinette Rudder)
who lives by herself and keeps to herself in a small black community in Charleston.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">She has been
having an affair with a white man (Cyrus Lane) for ten years, a situation that
causes concern from her community and virulent bigotry on the part of his
family. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Although the
play takes place over 100 years ago, many of the issues and social norms are
similar to our modern day. <span style="mso-spacerun: yes;"> </span>Wedding Band
is not afraid to uncover the visceral emotions of bigotry on both sides of the
race barrier.<span style="mso-spacerun: yes;"> </span>Rudder was indeed the rudder
of this production, displaying strong sensitivity, warmth but also fiery-eyed
anger. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com0tag:blogger.com,1999:blog-1917340347642773765.post-53687669721105147572023-07-22T14:13:00.002-07:002023-07-23T11:47:42.620-07:00The Late, Great Tony Bennett and MSU<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8h0oMNFFd0dkdnZYTyLJ4DEwISX7QuMaDIHaLBINnn_G2LzCSehLW2TH17bOgBd8FDzfYfgudNcFvfDv4e6dUp4GUlQDuB1nl8LNLhZxZpTOc8q6qfHGy06tLcMhJ3E5J8AWm-OQgzmfz78cpDeLVFTV14eHzMfsRO_FpNbaOSDGC02FT8y0YqH8C/s1481/TBennett.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1481" data-original-width="982" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8h0oMNFFd0dkdnZYTyLJ4DEwISX7QuMaDIHaLBINnn_G2LzCSehLW2TH17bOgBd8FDzfYfgudNcFvfDv4e6dUp4GUlQDuB1nl8LNLhZxZpTOc8q6qfHGy06tLcMhJ3E5J8AWm-OQgzmfz78cpDeLVFTV14eHzMfsRO_FpNbaOSDGC02FT8y0YqH8C/s320/TBennett.jpg" width="212" /></a></div><p></p><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The year was
1975.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Ken Beachler
(recently deceased) was head of the Lecture-Concert Series at Michigan State University.
He understood that a new concert hall was desperately needed for the future of
concerts and theater at MSU, replacing the current venue; the barn-like,
depression-era Auditorium.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">After years
of discussion, the site was chosen that would later become Wharton Center for
Performing Arts, however private donations were needed to make it happen. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Beachler
wanted to plan a flashy benefit concert with big stars to kick off the fund-raising
campaign.<span style="mso-spacerun: yes;"> </span>Tony Bennett (who was at the
height of his career) along with Lena Horn were chosen to give a concert at the
MSU Auditorium followed by a gala dinner afterwards. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The tickets
were sold, Bennett and Horn were booked, and the town was excited.<span style="mso-spacerun: yes;"> </span>But one day before the big event was to take
place, a huge rainstorm which caused a “100 year flood” descended on the East
Lansing area and the Auditorium was flooded and unusable. Everyone was
convinced that the event had to be cancelled.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">After some
quick deliberations, a stage was quickly built in the Munn Ice Arena (not the
perfect venue for a gala concert), and Tony Bennet and Lena Horn, unfazed by
the disruption, gave a stunning benefit performance on April 19. 1975 bringing Wharton
Center closer to reality than just a dream. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Tony Bennet,
who just died at age 96, has been back to MSU several times to perform at Wharton
Center, the hall to which he donated his talents to create.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Through the
years I have had the privilege of interviewing many great artists, but the conversation
I had with Tony Bennett leading up to his performance in 2001 was the most
memorable.<span style="mso-spacerun: yes;"> </span>We talked for a long time,
and I found him to be amazingly sincere and authentic. He was warm and
forthcoming and as the conversation continued, we were as relaxed as two old
friends sharing stories.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">He spoke
about his days as a singing waiter and how he got into the music business,
starting as a jazz singer in small clubs, and now performing in huge auditoriums.
A true artist, Bennett was also a respected painter, presenting art shows in
many cities throughout the US. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Some
headlines in the press called him a “crooner”, a description I feel sells him
short. Tony Bennett was a musician of great depth. If you listen to how he
interprets “I Left My Heart In San Francisco”, his signature song, you will
hear the melodies handled with the great tenderness and nuance of a virtuoso violinist.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">In addition
to his sensitivity with a lovely ballad like “San Francisco”, Bennett could
swing with the best of them with upbeat tunes. <span style="mso-spacerun: yes;"> </span>His love of the music and of performing for an
audience always shined through.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">At age 60 or
so, Bennett’s career began to wane. The standards that he sang were out of
vogue, and rap and hip hop were taking over the music business. He had a talk
with his son Danny Benedetto (Tony’s real last name) who had become a record
producer. Danny was convinced that if his dad were marketed correctly, the
younger generation would “discover” the great singer.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Tony wanted
to give it a try.<span style="mso-spacerun: yes;"> </span>Danny lined up great
artists to sing duet albums with Bennett (k.d. Lang, Elvis Costello) and he
appeared on MTV with an Unplugged show. His career was reborn with gusto.<span style="mso-spacerun: yes;"> </span>He appeared on talk shows and when Frank
Sinatra retired, he passed his mantel as best male singer to Bennett. In 2014 Bennett
released an album with Lady Gaga which became a huge hit, and the two became
lasting friends. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">In the last
few years, sadly, Alzheimer’s took its toll on Bennett. He was not able to
recognize most people and his memory was gone. But in a very moving “60 Minutes”
program (https://www.cbsnews.com/video/tony-bennett-and-lady-gaga-in-2021-60-minutes/Bennett),
he appeared with Lady Gaga one last time in concert, and the music miraculously
brought his brain back to life again.<span style="mso-spacerun: yes;"> </span>He
remembered all the words to his favorite songs and sang them with heartbreaking
beauty. It was a powerful display of the power of music, and of Tony Bennett’s
genuine love of performing. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><b>Please read
the review that I wrote of his 2001 concert at Wharton Center.</b><o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">Tony
Bennett just sings.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">He
doesn’t write the songs, doesn’t arrange them, doesn’t play piano or guitar,
doesn’t dance and doesn’t act.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">All he
does is sing. <o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">But he
sings so well, that he captivated a filled Wharton Center on Friday night. His
magic of communication turned the Great Hall into a small intimate
nightclub.<span style="mso-spacerun: yes;"> </span>Bennett brought with him a
quartet (piano, guitar, bass and drums) that had such skill that they were able
to match the great subtlety and sensitivity he brought to each song.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">At an
amazing 75 years of age, Bennett has lost little of what he had when he wowed
audiences in the 50s and 60s.<span style="mso-spacerun: yes;"> </span>In fact,
he sounds better than when he was at Wharton last. In a tribute to women singers,
he sang a shimmering version of Barbra Streisand’s “People” and he held the
final high note for an achingly long time, demonstrating impressive control.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">With age,
Bennett’s voice is now a burnished bronze, but he still is able to pull every
nuance from a melody and its lyric. At times, he sang just above a whisper,
caressing each note.<span style="mso-spacerun: yes;"> </span>But the very next
tune he would belt forth with full power.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">He is a
very gracious performer, giving much, well deserved credit to his musicians –
and each one was remarkable.<span style="mso-spacerun: yes;"> </span>Lee Musiker
had a silky touch on the piano but gave his solos a wonderful harmonic
spread.<span style="mso-spacerun: yes;"> </span>Guitarist Gary Sargent added the
perfect lead ins for every phrase, and drummer Clayton Cameron was an artist of
the first order. Bennett featured him on a solo using only brushes which was
stunning.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">Although
Bennett has been doing this kind of gig for 51 years, it still seems fresh and
wonderful.<span style="mso-spacerun: yes;"> </span>His upbeat attitude and
personality and obvious love for life, gives his performances a warmth and
sincerity that is rare to hear.<span style="mso-spacerun: yes;"> </span>This
positiveness, however, seemed to get in the way a bit when he sang the dark
Ellington tune, “Mood Indigo”. Bennett just doesn’t seem to be downhearted
enough to sing the blues convincingly.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">The
entire concert was elegant.<span style="mso-spacerun: yes;"> </span>Bennett
looked smashing in a blue silk suit.<span style="mso-spacerun: yes;">
</span>Each musician was individually lit, and the use of light throughout the
show truly highlighted the entire experience, without getting in the way.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">Bennett
has beaten all the odds.<span style="mso-spacerun: yes;"> </span>No one would
have thought that he could be at the height of his career in the year 2001 at
age 75.<span style="mso-spacerun: yes;"> </span>He has outlasted all of his
contemporaries, and in the end, he sings better than any of them ever did. Most
of the songs he sang were the standards, but he sings each one as if it’s his favorite,
with fresh energy, excitement and meaning.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">Tony
Bennett is an inspiration. <o:p></o:p></span></i></p><br /><p></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com6tag:blogger.com,1999:blog-1917340347642773765.post-58061485758022313792023-07-03T17:56:00.000-07:002023-07-03T17:56:22.236-07:00Lyle Lovett Making Friends in GR<p> </p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbdFlJl1Dt_HxkowrmPPxRHfTC60CMGjzWzA2I2FPCL9PxVELfnaD8RfTRi12i8eT1p2mf0cSXotk2TFiZPiAzSZMhScplfhHcYfX2yyDyNurYKxxX24dpJxWORQFM9QA0UGUv1zOAwzXFdTk5_JwuUh9w2iispZ3vzyomeKIaCWhHRLMBc6hJrL48/s2992/20230621_202142.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2992" data-original-width="2992" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbdFlJl1Dt_HxkowrmPPxRHfTC60CMGjzWzA2I2FPCL9PxVELfnaD8RfTRi12i8eT1p2mf0cSXotk2TFiZPiAzSZMhScplfhHcYfX2yyDyNurYKxxX24dpJxWORQFM9QA0UGUv1zOAwzXFdTk5_JwuUh9w2iispZ3vzyomeKIaCWhHRLMBc6hJrL48/s320/20230621_202142.jpg" width="320" /></a></div><br /><span style="font-size: 16.0pt; line-height: 107%;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">There is a
certain joy to hearing outdoor concerts in Michigan during the summer. The
birds and wildlife seem to enjoy the music as much as we do, and the lack of
walls and ceilings seem to allow the melodies to reach out to the entire world,
unobstructed.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The state is
dotted with several beautiful amphitheaters, all designed for performances
under the stars. Some are small stages built in the city or county parks for small
ensembles. Others are professional facilities with sophisticated lighting and
sound systems that seat thousands of patrons.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">I recently visited
one the most popular outdoor concert venues, the amphitheater at the Frederik
Meijer Garden and Sculpture Park in Grand Rapids. The 1900 seat theater is so
popular that most events are sold out far in advance. The park and the amphitheater
first opened in 1995 and it has become a major tourist attraction in Michigan.
The beauty of the lush gardens and sculptures enhance the listening experience.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">I attended
the Lyle Lovett and his Large Band concert in mid-June, which has performed at
Meijer Gardens since the park opened. John VanderHaagen, Director of Communications
for the park says, “It’s like Lyle Lovett is our house band.<span style="mso-spacerun: yes;"> </span>What a house band!”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span></span></span></p><a name='more'></a>It was my
first visit to the concert venue and I must admit that I wasn’t ready for the strict
entrance rules for the audience. Lawn chairs must be the low-to-the-ground
beach chair type, your belongings are inspected, and no opened liquid bottles are
permitted. Full size lawn chairs can be rented and the seating is on each side
of the main seating. Because it is general admission, people usually arrive
when the doors are first opened, about an hour before showtime. <span style="mso-spacerun: yes;"> </span><o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Clearly Lyle
Lovett is a Grand Rapids favorite. The audience welcomed him to the stage like
an old friend. Lovett is a unique performer. He nurtures a close relationship
between himself and his fans. He speaks to the audience about kids, families, marriages
and he even takes cell phone pictures of the crowd. Lovett introduces fans who
are having birthdays or new babies.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">This summer,
Lovett has a huge tour schedule – over 50 dates.<span style="mso-spacerun: yes;"> </span>He travels with a robust 14-piece band –
steel guitar, 2 saxes, trumpet, trombone, fiddle, rhythm section and guitars.<span style="mso-spacerun: yes;"> </span>The large instrumentation enables Lovett to
sing a wide variety of songs and styles – Motown, funk, bluegrass, country,
cowboy, and even Celtic. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3RKUOXgqL_ldDnc8p_a7wcoh2Op5d7R3XLCG4MislqYsVgz1L2WevRsTCDdVPhmHyJ1IDEvyuGJeTsQtQYZlMuv9oJ7V6v3_3hnEWisD_k9mHUg6lREUKs_9Pf0wAk5KuBaCvPgRLeBA_xd_GPWh3yuE5QS9sD1ziTfMT8yVkS92gSY789VJHP_0x/s2992/20230621_183628.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2992" data-original-width="2992" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3RKUOXgqL_ldDnc8p_a7wcoh2Op5d7R3XLCG4MislqYsVgz1L2WevRsTCDdVPhmHyJ1IDEvyuGJeTsQtQYZlMuv9oJ7V6v3_3hnEWisD_k9mHUg6lREUKs_9Pf0wAk5KuBaCvPgRLeBA_xd_GPWh3yuE5QS9sD1ziTfMT8yVkS92gSY789VJHP_0x/s320/20230621_183628.jpg" width="320" /></a></div><br /><span style="font-size: 16.0pt; line-height: 107%;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The musical
talent on stage is impressive. Most of the musicians are seasoned performers
who have played with some of the greatest touring artists in the US. But not
all. The fiddler, for instance, is a man in his early 20s who has known Lovett
since he was in high school.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>As part of his stage patter Lovett not only introduces
the band, but he interviews them. The delighted audience has a chance to hear entertaining
stories of their touring and musical experiences. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">In addition
to his instrumentalists, Lovett also includes a hot trio of R&B-type backup
singers. They add an extra spice to the stage.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Lovett’s
songs are quirky, funny, and musically interesting. They appeal to people of
every musical taste, which is one of the reasons that Lovett has been filling
up his tours dates for over 20 years. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">With the
stories, humor and outstanding music, the audience was totally engaged. At times
it reminded me of a Garrison Keillor (Prairie Home Companion) show; lots of
fun, variety and great talent.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The concert
took place in mid June and Lovett looked out into the lovely beautiful warm evening
and joyful audience and said, “It’s wonderful to be here in the early
summer.<span style="mso-spacerun: yes;"> </span>Michiganders seem to really celebrate
the summer.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Indeed we
do, and outdoor concerts help in the festivities. Great music and surroundings
help to make el fresco music a wonderous evening in Michigan.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><o:p> </o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com4tag:blogger.com,1999:blog-1917340347642773765.post-43942758276632425462023-06-23T13:30:00.001-07:002023-06-23T13:30:11.192-07:00Remembering Ken Beachler<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://d2mjvz2lqjkhe7.cloudfront.net/as/assets-mem-com/cmi/2/0/5/5/11325502/d5b65a3d-a2f3-46c7-8a9d-6cafc03038fa_0_orig.jpg/-/capt-kenneth-beachler-east-lansing-mi-obituary.jpg?maxheight=650" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="650" data-original-width="525" height="341" src="https://d2mjvz2lqjkhe7.cloudfront.net/as/assets-mem-com/cmi/2/0/5/5/11325502/d5b65a3d-a2f3-46c7-8a9d-6cafc03038fa_0_orig.jpg/-/capt-kenneth-beachler-east-lansing-mi-obituary.jpg?maxheight=650" width="276" /></a></div><br /><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">When I think
of Ken Beachler, I come up with a single image. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Upon
entering Wharton Center on Michigan State University’s campus to attend a
concert, Ken was at the door to the Cobb Great Hall. He was always impeccably
dressed, had a wide gracious smile and welcomed one-and-all into “his”
house.<span style="mso-spacerun: yes;"> </span>Because he felt the Wharton Center
was, indeed, his house. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">He knew most
by name and greeted each person as if he or she was the most important person
he had seen that day.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Beachler
spent his entire life supporting, nurturing, performing, and selling the arts. At
age 87, he died recently in his home. Ken was one of the greatest shapers of
cultural life in the greater Lansing area.<span></span></span></p><a name='more'></a> <o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">His
influence on local arts covered a broad spectrum. He first made his deep
velvety voice known while serving as the classical music host of WKAR FM – MSU’s
classical radio station; then became the impresario (of sorts) of the
Lecture-Concert series; developed MSU’s Wharton Center; ran the venue for ten
years and later acted in and directed plays and operas throughout Michigan. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">In addition,
Beachler always had time to sit with young actors and directors and advise them
on their careers and regaled them with entertaining stories of his life in the arts.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">All in all,
Ken was a powerful force for the arts throughout the local area.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Though he is
mostly known for his passion for arts and culture, he is also remembered for
his obsessive need for detail and organization.<span style="mso-spacerun: yes;">
</span>I remember visiting him in his home where he showed me his extensive CD collection.<span style="mso-spacerun: yes;"> </span>On each disc was a sticky note documenting all
the dates he had listened to that CD. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">A friend of
his told him that he was running off to Meijer’s to do some shopping.<span style="mso-spacerun: yes;"> </span>Beachler corrected him; “You mean you are
running off to Meijer, not Meijer’s.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Even in
church, Ken could be seen making notes on the program as to what could have
been improved in the service. I also received calls from him on corrections (facts,
grammar, spelling) in articles that I had written.<span style="mso-spacerun: yes;"> </span>He was always right.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Although Ken
was always friendly and gracious with everyone, he sometimes surprised folks
with his temper.<span style="mso-spacerun: yes;"> </span>When he directed a
show, Ken was totally organized for each and every rehearsal.<span style="mso-spacerun: yes;"> </span>The quality of the product was extremely
important to him.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">During rehearsals,
actors would occasionally be shocked at Ken’s sharp manner.<span style="mso-spacerun: yes;"> </span>They apparently did not know how important
the arts were to Beachler.<span style="mso-spacerun: yes;"> </span>Community
theater for some is a fun and social activity.<span style="mso-spacerun: yes;">
</span>For Ken, it was serious - yet another opportunity to produce great art
to the world.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Beachler was
one of the few people I knew who served both in the Army and the Navy.<span style="mso-spacerun: yes;"> </span>In the Army, he performed shows throughout
Europe and in the Navy he was in public relations. He stayed with the Navy in
the reserves and reached the rank of Captain.<span style="mso-spacerun: yes;">
</span>He had a great respect for the traditions of the military and always found
an event where he was be able to sport his dress military uniforms.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Of all that
he accomplished in his full and rich life, his crowning glory was the creation
of Wharton Center for Performing Arts.<span style="mso-spacerun: yes;">
</span>He knew that a university the size of MSU needed a more suitable concert
hall than the depression-era MSU Auditorium.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">He traveled throughout
the nation to see designs of performing arts enters, raised money and built a
strong relationship with Clifton Wharton, then president of MSU and his wife
Delores. During that period at MSU, it was rare to raise money for anything
other than athletics.<span style="mso-spacerun: yes;"> </span>Beachler staked
out a new path.<span style="mso-spacerun: yes;"> </span>Now Wharton Center is
the cultural jewel of Lansing.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Ken is
remembered warmly by Nina Silbergleit who worked at Wharton Center from when
she was an undergraduate to her retirement 39 years later. She remembers how
Ken instilled in his usher staff that all patrons attending events should be
greeted warmly, with a smile, arms relaxed by their sides and a proper salutation
like “good evening” or “good afternoon”.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Later in his
life, Beachler’s love for the arts and for Wharton Center did not wane.<span style="mso-spacerun: yes;"> </span>He came back, unknown to most, to volunteer
as an usher, giving out programs to concert goers. He just wanted to be there,
in the arts world. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Silbergleit
says, “I very much remember being his ‘boss’ and giving him the same directions
he had given to me 39 years ago.<span style="mso-spacerun: yes;"> </span>In this
case those directions are as valid today as they were then.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">In the last
few years, Ken Beachler became frail, but still loved attending concerts and
plays.<span style="mso-spacerun: yes;"> </span>He had many unplanned visits to
the emergency room.<span style="mso-spacerun: yes;"> </span>During one of those
times, when things seemed dire, he told a friend “It’s okay. I have lived the
life I have wanted to. I don’t fear death.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">I received a
call from a long-time arts-friend of mine on the day of his passing. “We’ve
lost a good friend today”, he said.<span style="mso-spacerun: yes;"> </span>He
was right, but he could have said “The arts community of Lansing has lost a
good friend </span><span style="font-size: 16pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">today.” <o:p></o:p></span></p>
<p class="muitypography-root" style="background: white; margin-bottom: 12.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 12pt;"><span face=""Calibri",sans-serif" style="color: #303030; font-size: 16pt; letter-spacing: 0.1pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Public
Celebration of Life visitations and services will be held at The Peoples
Church, 200 West Grand River Ave, East Lansing. Visitations on Friday, June 23,
5:30 - 7:30 pm and Saturday, June 24, 10 - 11 am. The Celebration of Life
service at The Peoples Church will be held June 24 at 11 am with a luncheon
following at the University Club of Michigan State University. A private
ceremony for Ken’s family will be held at Fort Custer National Cemetery in
Battle Creek, where his remains will be interred. In lieu of flowers, memorial
contributions can be made to the Kenneth C. Beachler Arts Management Internship
Fund, Wharton Center, 750 E. Shaw Lane, East Lansing, MI 48824. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p> </o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com4tag:blogger.com,1999:blog-1917340347642773765.post-16765239025874741922023-04-16T13:12:00.000-07:002023-04-16T13:12:14.946-07:00Why is Michigan Packed Solid With Symphony Orchestras?<p> </p><p><span style="font-size: x-small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZpCUwldQFpWP5yC76xhY5KsUXhEolXpDL5Npom_Rzy8ntHIft7hosQriowT0hnC5wWRpSAeHuM1M13iP6LMgIpS9Bucn1TFfs5HG4WxNZXxKQLXjnEbo746tIKiqQmC-n_Lkaq3-MxN3WAeFOo69iOlMrYgHnf3KjuebBhl2U-Aa6EclIxrn9jQ/s650/travelling-musicians1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="495" data-original-width="650" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZpCUwldQFpWP5yC76xhY5KsUXhEolXpDL5Npom_Rzy8ntHIft7hosQriowT0hnC5wWRpSAeHuM1M13iP6LMgIpS9Bucn1TFfs5HG4WxNZXxKQLXjnEbo746tIKiqQmC-n_Lkaq3-MxN3WAeFOo69iOlMrYgHnf3KjuebBhl2U-Aa6EclIxrn9jQ/s320/travelling-musicians1.jpg" width="320" /></a></span></div><span style="font-size: x-small;"><br /><i><br /></i></span><p></p><p><span style="font-size: x-small;"><i>A version of this article appeared in the Lansing State Journal </i></span></p><p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">MORE
ORCHESTRAS THAN YOU THINK<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">When Michigan
State University flute professor Richard Sherman first came to East Lansing 30
years ago, he said to himself, “Boy there sure are a lot of orchestras around
here”.<span style="mso-spacerun: yes;"> </span>And he was right.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Take a 90-minute
drive from Lansing and you will find professional symphony orchestras in Jackson,
Battle Creek, Kalamazoo, Adrian, Flint, Grand Rapids, Saginaw, Bay City,
Midland, Ann Arbor, Detroit, Dearborn, Rochester, Warren and Plymouth – an
amazing 15 orchestras. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">And that
doesn’t count several more in other parts of Michigan.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The question
is: why are there so many orchestras in mid-Michigan? <span></span></span></p><a name='more'></a><p></p><p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Many of these orchestras
use the same musicians. They share a talented cadre of free-lance instrumentalists
who drive Michigan freeways from one orchestra to another to beef up their local
talent<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Also, most
of the orchestras play similar music on their concerts – the beloved works of
Brahms, Mozart, Beethoven, Tchaikovsky and other perennial crowd pleasers.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Given all of
these similarities between the orchestras, would it not be easier and cheaper just
to have a couple of regional orchestras that travel from town to town, giving
the same concert on different days? <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Certainly,
the Lansing Symphony could easily travel to Jackson, Flint or Battle Creek to
give concerts there. At first blush, that would seem a logical and economic
alternative to what we have today; multiple conductors, boards of directors,
executive directors, and other administrators. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">David
Hyslop, consultant to symphony orchestras all over the US says, “Intellectually
it makes sense to have orchestras service other communities to give concerts,
But it’s all about local pride. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">“Local
musicians have a great impact on the community and the citizens want to hear
them play and support them.<span style="mso-spacerun: yes;"> </span>Here in
Minneapolis, we have two symphony orchestras (St. Paul Chamber Orchestra and
Minnesota Orchestra) and they’re both busy.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">According to
The League for American Orchestras, The United States is a land rich with
symphony orchestras – about 1650 from coast to coast. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">“It is true
that Michigan has a lot of orchestras”, says Rachelle Schlosser, Director of
Communications for the League, “but it is that way across the country, and each
one is different.<span style="mso-spacerun: yes;"> </span>They don‘t play the
same repertoire, each organization is unique to its own community.<span style="mso-spacerun: yes;"> </span>And they are made up of musicians that are embedded
in the community who give music lessons, serve on boards and go out into the
community. The musicians make an impact.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">JACKSON AND
LANSING<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">One
orchestra that shares many musicians with the Lansing Symphony is the Jackson Symphony
Orchestra, a mere 45 minutes south of Lansing. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Jackson’s
conductor, Matthew Aubin, says that the beginnings of the Jackson ensemble was
as a community (amateur, unpaid) orchestra. Slowly it became a professional
paid orchestra.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Aubin says
that there is a tremendous amount of community pride in their local, non-union
orchestra. Jackson has musicians that travel from Kalamazoo, South Bend,
Lansing and even Chicago to play in the group. Jackson pays their musicians $75
per service (a rehearsal or concert) and the section leaders receive $100. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">And they are
financially strong. Jackson’s $1.1 million budget, is very close to Lansing’s
$1.3 million budget and they have no debt. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>“Southern Michigan is fertile ground for musicians,”
Aubin says. “There are lots of music schools and strong church cultures. There
are many musicians here who also make strong audience members.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Hyslop
agreed.<span style="mso-spacerun: yes;"> </span>He pointed out that there are
music performance and education degrees offered at Western Michigan, MSU, Grand
Valley, Hope College, U of M, Eastern Michigan, Albion, Central Michigan among
others. “It builds a real interest in classical music throughout Michigan.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Aubin says that
bringing in an orchestra for concerts is not the same as having a local orchestra.
“We have different initiatives to create an audience.<span style="mso-spacerun: yes;"> </span>We go out to schools and give out tickets,
for one thing. A traveling orchestra would not do that.<span style="mso-spacerun: yes;"> </span>Also, our audience has developed a relationship
with our musicians.<span style="mso-spacerun: yes;"> </span>They want the
majority of the musicians to live here.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Stephen
Osmond, Conductor Laureate of the JSO, was their conductor for over 40
years.<span style="mso-spacerun: yes;"> </span>He says, “The orchestra began by
people just wanting to get together and play, and over time they built up an
audience.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">“The proliferation
of music schools here was a big reason. People enjoyed seeing their own people
on stage.<span style="mso-spacerun: yes;"> </span>As the orchestra grew, we had
to pay ringers (free-lance musicians) who came from out of town, but the major
part of the orchestra was local people. Jackson has always had a lot of local talent,
and some people moved to Jackson just to play in the orchestra.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Lansing Symphony conductor and music director,
Timothy Muffitt, says, “All of the fine orchestras here is one reason why
Michigan is a great place to live.<span style="mso-spacerun: yes;"> </span>If
you listen to “Community Concerts” on WKAR, you will notice how good these medium
size orchestras are throughout Michigan.<span style="mso-spacerun: yes;">
</span>(Good orchestras) really improve the quality of life in this state.<span style="mso-spacerun: yes;"> </span>It’s something I’ve been thinking about since
I got here.”</span></p><p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">
Why are local orchestra so good? Muffitt says, “There is a pool of free-lance
talent across the state which is off the charts. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">“The profile
of Lansing’s players is highly diverse.<span style="mso-spacerun: yes;">
</span>We have many (music school) faculty members who play with us, public
school music teachers, private music teachers and other free lancers. It’s an indication
of a very healthy music environment.” <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The LSO pays
its musicians approximately $100 for each service and $120 if they are section leaders.
<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Michigan is
not the only region in the US where many orchestras are in close proximity and share
musicians.<span style="mso-spacerun: yes;"> </span>The Bay Area of San Francisco
has several orchestras supported by a highly skilled musician pool.<span style="mso-spacerun: yes;"> </span>There is an excellent PBS documentary that explores
the life of those musicians, called “Philharmonic Freeway.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">OTHER
OPTIONS<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Although
many areas in America use the “Michigan model”, some do not. The New Jersey Symphony
Orchestra not only plays concerts at its home/Newark location, they also bring their
music to four other venues; New Brunswick, Princeton, Red Bank and Morristown. Gabriel
van Aalst, President and CEO of the orchestra, says that the orchestra has had
this arrangement for many decades, but it’s not without its problems. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Van Aalst
says that playing in five venues is an organizational nightmare. “Planning it
is like playing a three-dimensional game of chess. We have busses and trucks
that pick up the musicians in New York, where many live, and Newark. On more
than one occasion, I have had to stand on the stage at one of our venues and announce
that the concert will not begin on time because a bus has broken down or is
stuck in traffic. It’s all very stressful.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">But even
though the New Jersey Symphony plays concerts in smaller cities, some of those
cities still want their own ensemble.<span style="mso-spacerun: yes;">
</span>For instance, Princeton has created their own chamber orchestra in
addition to the NJS concerts. They want their own orchestra.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">LSO’s
Muffitt is not surprised.<span style="mso-spacerun: yes;"> </span>“An orchestra
is a source of civic pride.<span style="mso-spacerun: yes;"> </span>It should be
totally devoted to the musical needs of that community.<span style="mso-spacerun: yes;"> </span>Yes, the LSO plays Brahms symphonies, but we
also feature artists who grew up in East Lansing and
we have our own resident composer.<span style="mso-spacerun: yes;"> </span>Part
of a music director’s job is to know the community well.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">In addition,
the orchestra or chamber ensembles now play concerts at Molly Grove Chapel,
Robin Theater and recently did a program at St. Paul’s Episcopal Church.
Muffitt says, “We played the St. Paul concert because we had boots on the
ground; local people who wanted us there and worked to make it happen.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">“If there
was a state orchestra going from town to town, it wouldn’t make it.<span style="mso-spacerun: yes;"> </span>It wouldn’t get into education, outreach,
cultural advocacy, and interconnectedness of the individual communities.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Courtney Millbrook,
LSO’s Executive Director says, “Each orchestra has its own vibe and feel. About
50% of our musicians play in other orchestras.” <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Pop and rock
groups fly into a city, play their concert, and fly out. Symphony orchestras
live in the community and serve it on a regular basis. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">THE
MUSICIANS ARE THE KEY<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Many local
orchestras exist, because of the availability of those free-lance musicians who
make it happen. One of the musicians is Stefan Koch, a cellist who lives in Ann
Arbor and plays in Lansing and Jackson, as well as a dozen or so other orchestras
around the country. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Koch feels that civic pride is the key reason
why smaller cities have their own orchestras. “Every community and every orchestra
and every audience has its own personality. Cities are proud of their orchestras,
and that’s why they keep supporting them.” In addition to playing, Koch was
also Personnel Manager for the LSO for several years.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Since Koch
plays such a large and unwieldy instrument, he stashes the cello in his van and
drives wherever he is performing.<span style="mso-spacerun: yes;"> </span>He
spoke to me from New Orleans where he was performing chamber music.<span style="mso-spacerun: yes;"> </span>During the summer he goes out to a music
festival in Utah and also performs in Wisconsin, Pennsylvania and several orchestras
in Michigan.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">“I have
chosen this life.<span style="mso-spacerun: yes;"> </span>I enjoy it very much. I
had a full-time job with benefits that I quit in 2001 to become a musician. Despite
the hassles and uncertainty, I have absolutely no regrets. <span style="mso-spacerun: yes;"> </span>I enjoy the variety of different conductors
and different musicians to play with. I probably play in more orchestras than
anyone else in the LSO.” <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Koch is
proud to say that he has never missed a performance or rehearsal because of
travel issues. “I’ve learned to rely on my GPS and I check the weather a couple
of hours before I leave for a gig.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Muffitt
says, “Each community in Michigan that is supporting an orchestra is a better
place to live because of it.” <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com3tag:blogger.com,1999:blog-1917340347642773765.post-18682367276257827422023-03-30T09:28:00.002-07:002023-03-30T09:28:51.586-07:00Imani Winds Creates a New World<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIOzGw4sYyxoOngzH5sBIlmzOL2C_f1y40mD-TO6YVcnQujXsl5iRHmCBjFHLMLJhnFfURcjJOTEj9tRRbHK8LL-wldn1F2DCpGVeliGJLNmtK-ws4xzjHzRQOSOosHeb1wv4OUGgwATgLgaL9TWSNW4cBE1tkZG43m7snrYTikLaLlquGyoMxpg/s4340/imani-winds-1_shervin-lainez-2021_51253283346_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3491" data-original-width="4340" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIOzGw4sYyxoOngzH5sBIlmzOL2C_f1y40mD-TO6YVcnQujXsl5iRHmCBjFHLMLJhnFfURcjJOTEj9tRRbHK8LL-wldn1F2DCpGVeliGJLNmtK-ws4xzjHzRQOSOosHeb1wv4OUGgwATgLgaL9TWSNW4cBE1tkZG43m7snrYTikLaLlquGyoMxpg/s320/imani-winds-1_shervin-lainez-2021_51253283346_o.jpg" width="320" /></a></div><br /><p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Over the
years chamber music has occupied a very definite niche. And that niche, for the
most part, is filled with string quartets.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Sometimes you’ll
hear a piano trio (piano, violin, cello) and maybe a violin/viola duet at a
chamber music concert. There are other variations, but you can usually bet that
string instruments will play the dominant role.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">And for good
reason.<span style="mso-spacerun: yes;"> </span>String instruments blend seamlessly
together and the constant motion of the bow arm and the hands on the fingerboard
is always interesting to watch. Also, the music played in chamber music
concerts are usually 18<sup>th</sup> and 19th century pieces written by the
great masters.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">In the last
20 years, however, the Imani Winds has re-written the chamber music dance card.
Here is a chamber ensemble that has created a unique world for themselves,
their ensemble, and their audiences. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">First off,
the woodwind quintet is the most troublesome chamber ensemble to prefect.<span style="mso-spacerun: yes;"> </span>Unlike a string quartet, each of the five woodwind
instruments is totally different from one another. For a woodwind quintet to develop
a homogeneous blend is a difficult challenge.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span></span></span></p><a name='more'></a>Take a look
– the bassoon is a large wooden instrument with a double reed; the flute is an
uncomplicated metal tube with simple a hole with a small mouth rest; the oboe
is a high pitched instrument also with a double reed but much smaller than the
bassoon; the clarinet has a single vibrating reed affixed to a plastic
mouthpiece, and the French horn isn‘t a woodwind at all. However, this brass
instrument is in a WW quintet because it is usually included in the woodwind
choir within most orchestral works. <o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">And when an
audience watches this strange amalgam of instruments perform, there is little action
for them to concentrate on – just some fast moving fingers flittering around. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">But when I
attended last Saturday night’s concert of the Imani Winds, it was a different
world. The audience was substantial (for a chamber music event) and the crowd
skewed younger than the usual grey haired music lovers. They were engaged from
the downbeat to the end.<span style="mso-spacerun: yes;"> </span>No one fiddled with
their phones or talked among themselves. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">As for the
music, it was all written in the past twenty years or so and two of the pieces
were composed by previous members of group. Two pieces were composed by jazz
legends Paquito D’Rivera and Wayne Shorter,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The age of the
hip-looking musicians was somewhere between the middle 20s to the later 40s (I
estimate) and they were all virtuosos. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">This was a
concert of surprises.<span style="mso-spacerun: yes;"> </span>The music was
unfamiliar to most everyone (except for fans of the group) therefore no one
knew what to expect. What they got was a wide variety of music from jazz to
Latin to romantic to melodic to highly rhythmic. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The ensemble
is more than a chamber performing group, it is a music entrepreneurial entity.
Since its founding, the IW has been busy creating carving out its place in the
chamber music scene. To my knowledge, they are the only full-time professional woodwind
quintet on tour. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The
musicians have been busy commissioning new music, writing new music themselves,
teaching masterclasses, coaching other chamber groups, recording CDs, creating
a foundation, serving as artists-in -residence at universities and recently
were hired by the prestigious Curtis Institute to teach chamber music.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">When flutist
Valerie Coleman and bassoonist Monica Ellis founded the group, they envisioned
it as a totally black ensemble. Now, the race of the musicians seems to not
make much of a difference.<span style="mso-spacerun: yes;"> </span>In the past
five years there have been some turnover in group’s personnel, and they even
took the plunge by hiring a white clarinetist (Mark Dover).<span style="mso-spacerun: yes;"> </span>It was a difficult decision, but in the end, Monica
Ellis told me that it became a strictly musical decision.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Ellis
remains in the group along with oboist Toyin Spellman-Diaz, also an original
member.<span style="mso-spacerun: yes;"> </span>Newer members are Kevin Newton,
French horn and Brandon Patrick George, flute. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The technique
of the players is sparkling, and the blend of the quintet sounds like one
instrument. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">When a
musician has a solo moment, the player’s tone magically rises above the
ensemble to play with great individuality and soloist quality.<span style="mso-spacerun: yes;"> </span>When the ensemble is playing as a unit, the
players slink back to play elegant chords and matched musical styles. The concert
was performed with delicate nuance and a fiery spirit. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The Imani
Winds have invented something new and exciting in the music world.<span style="mso-spacerun: yes;"> </span>Something that’s original and fresh.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><o:p> </o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com2tag:blogger.com,1999:blog-1917340347642773765.post-86293312733183420592023-02-01T16:38:00.001-08:002023-02-01T16:38:58.072-08:00A Jagged Musical Comes to Wharton<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja33YeHwZyWKED7oyY6lG5pd2AIFtYvxRmgoTUR4rmFzycpBiy5eYFOHPOqHeK6eG17AyD3z317nJpjZ5QAEPFwhvURlvHIIu_rStHugAIGu5uy3leTGistpiSNr-3VtavCi79DhVRLl9v8FmoMaKOwv8GLTwXfdXYBH9_uWmCbZW6L9HH9YPnrg/s6000/jagged.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4000" data-original-width="6000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja33YeHwZyWKED7oyY6lG5pd2AIFtYvxRmgoTUR4rmFzycpBiy5eYFOHPOqHeK6eG17AyD3z317nJpjZ5QAEPFwhvURlvHIIu_rStHugAIGu5uy3leTGistpiSNr-3VtavCi79DhVRLl9v8FmoMaKOwv8GLTwXfdXYBH9_uWmCbZW6L9HH9YPnrg/s320/jagged.jpg" width="320" /></a></div><br /><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">“Jagged
Little Pill”, now playing as East Lansing’s Wharton Center, is a jukebox
musical based on the songs of singer/songwriter superstar, Alanis Morrisette.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The original
album of the same name was released in the 90s and sold tens of millions of
copies. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Writing a
compelling musical play from a record album is a challenging task. In this
case, Academy Award winning screenwriter Diablo Cody was responsible for the
story.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Although “Jagged”
is clearly a rock show, it is also a serious play.<span style="mso-spacerun: yes;"> </span>One person warned me, “It’s deep”.<span style="mso-spacerun: yes;"> </span>I wouldn’t quite agree with the words he
chose, but the show has a subject matter which demands our attention: rape,
drug use, family dysfunction, me-too, adoption, race, gender, sex – I think
I’ve got it all. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a><span style="font-size: large;">The center
of plot is an upwardly mobile family of four who live in Connecticut. The
father is addicted to porn and is at his office 60 hours per week; his wife is
the perfect mother but can’t seem to stop taking oxycodone and fentanyl; they
have a <span style="mso-spacerun: yes;"> </span>Black adopted daughter and a son who
is a picture-perfect high school senior and just got accepted to Harvard but
now has a legal moral dilemma</span><o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Right there,
you see enough material for not only a musical, but probably a miniseries on
cable to maybe an afternoon soap opera. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The
performers are excellent, especially Broadway veterans Heidi Blickenstaff as
the mother and Chris Hoch as the father. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">To this
novice of Alanis Morrisette’s music, the songs have a lot of emotion and angst
but are musically uninteresting and not particularly memorable.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Several
times during the show, the music is so loud that it is almost painful. The
sound quality is uneven and distorting the words. At other times everything is balanced,
and the dialogue is clear.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The
choreography by Sidi Larbi Cherkaoui and stage direction by Diane Paulus not
only brought a perfect flow to the story but also stressed the emotions of the
narrative. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Yes, the
writers are able to give us a rather (true to Broadway standards) positive ending,
but the core of the story is dark and discouraging. Do our teenagers really
live in a world filled with such insecurity, lack of sincere human connection,
confusion concerning gender identity and the pressure of instant gossip via
cell phones?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">“Jagged”
paints a bleak picture.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Also, the
show seemed to check all the boxes of current liberal cultural life, not
wanting to leave anything out.<span style="mso-spacerun: yes;"> </span>It looked
like a veritable fruit salad of social issues of the day.<span style="mso-spacerun: yes;"> </span>How soon will this play be totally dated?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">“Jagged” has
experienced a high level of success on Broadway (15 Tony nominations) but I
left the theater wanting to hear something about building real connections with
people and giving us hope that kids can actually survive in today’s world with
their morals, sensibilities and emotions still in place.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">“Jagged
Little Pill” will play Wharton through Sunday, February 5.<span style="mso-spacerun: yes;"> </span>Whatoncenter.com for tickets.<o:p></o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com4tag:blogger.com,1999:blog-1917340347642773765.post-41823781047805304612023-01-04T14:47:00.003-08:002023-01-04T14:47:47.283-08:00<p> </p><h3 class="post-title entry-title" itemprop="name" style="background-color: #ebebeb; color: #535353; font-family: "Trebuchet MS", Trebuchet, Verdana, sans-serif; font-size: 22px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: normal; line-height: normal; margin: 0.75em 0px 0px; position: relative;"><a href="https://glickarts.blogspot.com/2022/12/vibrating-air-remove-mic-for-great-real.html" style="color: #1d23a2; text-decoration-line: none;">VIBRATING AIR: Remove the Mic for Great, Real Sounds</a></h3><p><a href="https://i0.wp.com/stringsmagazine.com/wp-content/uploads/2017/03/YouthOrchestra700px.jpg?fit=700%2C333&ssl=1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><span style="font-size: large;"><img border="0" data-original-height="333" data-original-width="700" height="333" src="https://i0.wp.com/stringsmagazine.com/wp-content/uploads/2017/03/YouthOrchestra700px.jpg?fit=700%2C333&ssl=1" width="700" /></span></a></p><p><span style="font-size: large;"></span><span style="font-size: large;"><br /><span>The holiday season is a time when acoustic music makes a valiant revival. It’s the one time during the year when screaming guitars and pounding drums take a rest.<o:p></o:p></span></span></p><p></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">Recently I was at a concert of the Lange Vocal Ensemble at Lansing’s St. Paul’s Church.<span style="mso-spacerun: yes;"> </span>Along with this excellent vocal group were handbells, pipe organ, brass quartet, piano and oboe/English horn.<span style="mso-spacerun: yes;"> </span>All acoustical instruments and there wasn’t a microphone in sight.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">All the sounds of that concert were natural and unadulterated. The voices and the organ especially, blended smoothly together like the ingredients of your favorite cake.<span style="mso-spacerun: yes;"> </span>One could almost imagine the sound waves and the air all mixing together to produce a beautiful, melded cloud of music.<o:p></o:p></span></p><p class="MsoNormal"><span style="line-height: 17.12px;"><span style="font-size: large;"></span></span></p><a name='more'></a><p><span style="font-size: large;">Acoustic music holds a special place for me. I sometimes feel assaulted by the force of amplified sounds. Acoustic music, on the other hand, surrounds and envelops me.<o:p></o:p></span></p><p></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">Obviously unamplified music works best in small venues. The small space in a church auditorium was optimum for the instruments I heard that day.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">But larger spaces can also work if the ensembles are of appropriate size. Hearing a full symphony orchestra (usually 60-100 musicians) in all its splendor, unamplified, is a special joy.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">It’s both a visual and audio experience. During the concert, your eyes scan the stage left to right and see the instruments you are hearing.<span style="mso-spacerun: yes;"> </span>At first, you see the instruments that produce the high sounds of the ensemble; violins, glockenspiel, marimba, triangle, cymbals. These high-pitched notes are usually not captured well through electronic systems.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">As your eyes continue to move to the right, you see the woodwinds, brass, horns and then on to the lower instruments – cellos, timpani, trombones, tuba and string basses.<span style="mso-spacerun: yes;"> </span>Again, the full depth and resonance of those fundamental tones are not reproduced completely over speakers.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">And as your eyes take in all of the instruments, the sounds you are hearing are being heard from where the instruments are actually situated on the stage – not from a central set of speakers where sounds are all shmushed together and thrown at you in one sonic clump.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">Several years ago, I heard “Rigoletto” at the Metropolitan Opera in New York.<span style="mso-spacerun: yes;"> </span>The auditorium there is huge – 3974 seats.<span style="mso-spacerun: yes;"> </span>The orchestra in the pit (situated mostly under the stage) has probably 60 musicians and of course the singers – soloists and chorus – are on the stage.<span style="mso-spacerun: yes;"> </span>Nothing is amplified.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">When I heard the opera, almost miraculously the sound of the vocalists and instrumentalists were perfectly balanced and audible throughout the large auditorium. I was surprised to see many microphones surrounding the orchestra and the stage, but the musicians told me that those were for Sirius Radio broadcasts and assured me that nothing was amplified at The Met.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">Most classical music is unamplified – chamber music, orchestras, soloists, and opera. If there is a microphone on stage, it is usually for comments from the musicians. Also, many jazz and folk groups perform without amplification, depending on the size of the house.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">Back in the 50s and 60s Broadway musicals were not miked either.<br />Those were the days when clarion voices like Ethel Merman and others, filled those small Broadway houses (800-1200 seats). <span style="mso-spacerun: yes;"> </span>Also, the pit orchestras were small and included many strings.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">Amplification was used when Rex Harrison could not be heard speaking/singing his role in My Fair Lady (1956).<span style="mso-spacerun: yes;"> </span>They outfitted the non-singer with a wireless microphone – the first time it was used on a Broadway stage.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">Today, Broadway shows use the most hi-tech sound systems available, with every person on stage using a mic. The entire production is mixed so each show sounds like a commercially produced CD.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">The advent of computerized sound has given musicals many more options than they once had.<span style="mso-spacerun: yes;"> </span>For the show Cats, the band is not seen at all.<span style="mso-spacerun: yes;"> </span>The musicians are sitting backstage, connected to the audience and actors through cameras and screens. Their space is sometimes called “the litter box” by the cast and crew.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">At the end of his concerts, crooner Tony Bennett used to like to sing a song a capella with no microphone, reminding audiences that it can still be done. It was always impressive, as his voice successfully reached all the way to the back rows of the hall on its own.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">Yes, electronic sound has improved dramatically over the years, but for my money I always prefer the real sounds of instruments and voices.<span style="mso-spacerun: yes;"> </span>The airwaves vibrating from reeds, strings, vocal chords, and lips provide the warmest and most expressive music to my ears.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;">And during the holiday season, with concerts featuring choirs, orchestras, vocalists, and bands that are often au naturel is a pleasure that I always treasure.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: large; line-height: 25.68px;"> </span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com2tag:blogger.com,1999:blog-1917340347642773765.post-33748747981929281172022-11-08T08:52:00.001-08:002023-01-04T14:36:11.761-08:00WOW, Sure Is Condfusing to Watch TV These Days<p><span style="font-size: large;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://thumbs.dreamstime.com/z/crazy-tv-cartoon-vector-illustration-43764426.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="800" data-original-width="742" height="800" src="https://thumbs.dreamstime.com/z/crazy-tv-cartoon-vector-illustration-43764426.jpg" width="742" /></span></a></div><span style="font-size: large;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: large; line-height: 107%;">As I sit in
front of my 50-inch television with surround sound and access to an infinite number
of channels and programs, you may wonder: what could he possibly complain about?
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">After all, I
clearly remember the TV watching experience of my youth. The high-tech
equipment we owned was a 12-inch black and white TV loaded to the gills with three
channels – ABC, CBS and NBC. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">All of the
shows available were from those networks and were only presented once during
the season, with some sporadic reruns appearing during the summer. After hours
(midnight to 8am or so) the TV offered only a weird graphic that was called a
Test Pattern.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">TV viewing was
simpler back then and very regimented. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="line-height: 107%;"><span style="font-size: large;"></span></span></p><a name='more'></a><span style="font-size: large;">All programs
had lots of commercials, the TV sound quality was tinny, and all shows were
broadcast on a strict schedule. If you happened to be out of the house at 8:30
on a Thursday night and missed your favorite show, you were totally out of
luck.<span style="mso-spacerun: yes;"> </span>It was lost and gone forever,
never to be seen again (except now on YouTube).<o:p></o:p></span><p></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">Compared to
today’s world of broadcast technology, that was like the ice age.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">The journey
from the days of the test pattern to today’s world of dazzling sound and color
was slow but steady. color TV started to become popular in 1970 and soon after,
cable burst on the scene.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">Fast forward
to 2022 and TV screens are as wide as the wall they’re hanging on (85-inch TVs are
not unusual), complete with amplifiers, speakers, and an almost infinite array
of program offerings. You even can record any show you want, to be seen time and
time again.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">Well, you
may say, that sounds…..heavenly. So, again, where’s the problem? What’s your
beef? <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">Despite the
astounding improvement in TV technology, I find the experience of what to
watch, how to watch it, and what should I subscribe to, to be a very confusing (and
expensive) affair. It’s like going to a buffet with a table as long as a football
field, laden with every possible dish I’ve ever dreamed about.<span style="mso-spacerun: yes;"> </span>What should I choose?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">The confusion
begins at the beginning. What equipment should I buy?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">Back at the birth
of the TV world, there were no choices at all.<span style="mso-spacerun: yes;">
</span>We bought a TV set that brought the broadcast channels in by an outside
antenna or an interior one, affectionately called “rabbit ears”. And everyone
throughout the country had the exact same experience. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">TV watching
was a community activity. When “I Love Lucy”, “Milton Berle”, “Ed Sullivan Show”,
or “The Honeymooners” appeared on TV, the entire country watched them at the
same time, no choices.<span style="mso-spacerun: yes;"> </span>And the next day,
everyone talked about it at work or school.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">And there
was only one TV set per household.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">So, now our
TVs are not those small boxes of the fifties, but giant screens with multiple speakers
throughout the viewing area.<span style="mso-spacerun: yes;"> </span>We can
watch theatrical movies with the viewing experience rivaling that of actually
sitting in a movie theater – only better in some ways.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">Watching at
home, we can talk about the movie while it’s playing without getting sneers
from other paying customers, eat entire meals in front of the set, or even
pause the flick to make a visit to take a tinkle. Also we can stop the movie
altogether, and when we continue the watching the next day, it will remember
where we left off. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">No more
antennas for receiving the signal. Now, we can watch by purchasing a cable
subscription or a satellite dish subscription. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">But wait, things
are changing yet again. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">For the last
couple of decades, we have been tied to the cable/dish system. We subscribe to
a selection of channels (hundreds of them) with a few premium channels for an
extra charge. But now technology has matured so we are being urged to “cut the
cable” and go to streaming – a combination of your smart TV plus your internet
– for all of our watching needs. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">But back to
the bewildering choices we are faced with:<span style="mso-spacerun: yes;">
</span>Now we have additional channels we can acquire – Hulu, Disney+, HBO, Apple
TV, Paramount, Starz, Netflix, Amazon Prime, Brit Box, Sling TV, TNT, Cinemax and
many more. And there’s a charge for each one.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">What to
watch – that’s a challenge too. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">No more
looking at the week’s TV schedule in the paper.<span style="mso-spacerun: yes;">
</span>The selections defy category. You could opt to see theatrical movies
(classic to new), old TV shows, or international TV shows. Premium cable
channels also offer original movies, limited series, recuring series, documentaries.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">There are so
many options that the daily TV schedule listing in your daily newspaper (what’s
that!) can’t begin to list everything. There are no universal schedules and new
programs are released anytime. We have no idea when a new season of our
favorite series will be released, or even if it will be released.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">To know
what’s available, we have to conduct a rather thorny search of websites,
listings and reviews. But that usually won’t do the trick either – friends will
tell us about a series we must see that, despite our hours of research, we've never heard of. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>It’s all a complex game.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">When you
have finally identified the movie or show that you want to see on a given
evening, don’t take it for granted that you can actually access it with all the
hundreds of channels you have at your disposal. Not on your life. That would be too easy.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">There is another
catch. Yes I know you have spent hundreds of dollars per month for abundant
watching options, but doubtless you will find that you don’t have the correct
channel to see the particular show you’ve identified with your favorite actors
and story line. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">So now you
have to consider buying yet another subscription ($5-$15 per month) just to
watch that show. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">That’s not
all.<span style="mso-spacerun: yes;"> </span>Maybe you don’t have a smart TV
which means you won’t be able to get the channel anyway.<span style="mso-spacerun: yes;"> </span>You’ll have to buy another piece of hardware
– like a Roku or Chromecast – to access other channels. Which, of course, will
force you to add yet another remote control, to your existing gaggle of remotes
that reside on your coffee table.<span style="mso-spacerun: yes;"> </span>Five
or six of them is not usual (and they’re all black, not easy to find the right
one!).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">Five bucks a
month doesn’t seem like a lot to spend to watch good quality shows but before
you know it you’re buying several channel subscription, Netflix, Amazon Prime,
HBO, Starz to name just a few, and your monthly entertainment bill begins to grow
like weeds in your garden.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">Oh, one more
thing.<span style="mso-spacerun: yes;"> </span>Even if you buy all those
subscriptions and a Roku and whatever, there are invariably movies you want to
see that are still on none of the channels or gizmos you have. They are offered
on a rental basis - $3.99 is a common charge for one movie.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">Wait, your
nightmare is not over. To add to the turmoil, depending on your set-up you may
have to add your personal password to order some of these additional shows, or
even re-order some premium channels, so get ready to upgrade your own personal
tech skills. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">So now,
relaxing on the La-Z-Boy to enjoy your favorite movie may not be such a relaxing
experience after all. It is often fraught with frustration, sorting through various
remotes, finding passwords, looking through various channels to find the lost
program you want to see and more. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">NO, I don’t
want to go back to the old days of three channels and a small black and white
set, but you must agree that watching TV today can be a hornet’s nest of technology,
hardware, schedules, passwords, sound bars, and a dizzying choice of options.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;">Are the
pleasures worth the challenging obstacle course we must complete to enjoy the
entertainment? <span style="mso-spacerun: yes;"> </span>Probably so, but
sometimes not. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: large; line-height: 107%;"><o:p> </o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com4tag:blogger.com,1999:blog-1917340347642773765.post-25061217397016508822022-10-19T09:04:00.000-07:002022-10-19T09:04:04.521-07:0040 Years at the LSJ - From Tickertapes to Email<p> </p><p align="center" class="MsoNormal" style="text-align: center;"><i><span style="font-size: 16.0pt; line-height: 107%;"></span></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_p4OEqBzd8Ti6TBxFvB8SVup8DToOtsbXuLB-jpxdh3VLCEAQ9qqlxKEuqbfmClaxdkI2JbOzm9ktnZacV7BjnuzxzFB1PL1ZAYXM0JArayCGh7mdhFTxeTgYwVDg7XOCfIYKfJ1UijuRhwD-0lYwWLXkYm2s_m9i4tbFiDMVLwmd0kkJvxeHNg/s612/istockphoto-1166224766-612x612.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="369" data-original-width="612" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_p4OEqBzd8Ti6TBxFvB8SVup8DToOtsbXuLB-jpxdh3VLCEAQ9qqlxKEuqbfmClaxdkI2JbOzm9ktnZacV7BjnuzxzFB1PL1ZAYXM0JArayCGh7mdhFTxeTgYwVDg7XOCfIYKfJ1UijuRhwD-0lYwWLXkYm2s_m9i4tbFiDMVLwmd0kkJvxeHNg/s320/istockphoto-1166224766-612x612.jpg" width="320" /></a></i></div><i><br />A version of this article appeared in
the Lansing State Journal<o:p></o:p></i><p></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">As Michigan
State’s Wharton Center celebrate its 40<sup>th</sup>
anniversary season, it reminds me how closely my arts and music writing history
at the Lansing State Journal is linked to the opening of that great performing
arts center. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">It was in
July of 1982 that I approached Mike Hughes, arts editor at the LSJ, to see if I
could have a stab at writing music criticism for the paper. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Hughes,
always the exuberant and positive observer of the world said, “Sure. Wharton
Center is opening in September, and we don’t have anybody to cover them.<span style="mso-spacerun: yes;"> </span>You’re hired!”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">I was
shocked and surprised.<span style="mso-spacerun: yes;"> </span>I approached the
LSJ a couple of years earlier but that editor pronounced my writing far too high
brow for Lansing audiences.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">What I
didn’t understand by Hughes hiring me so quickly was that I would be hired as a
stringer, a free lance writer.<span style="mso-spacerun: yes;"> </span>I would
be paid by the article without any long-term contract. This translated to the
reality that any time, if Hughes or the LSJ in general, did not like my
writing, all they had to do was not call me. There was no real commitment on
the newspaper’s part – just an opportunity for me.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span></span></span></p><a name='more'></a>Hughes gave
me a tour of the newsroom and it was chaotic and exciting. Computers were just
installed at the writers’ desks, next to the old-fashioned typewriters outfitted
with rolls of paper instead of hassling with loading individual sheets of
paper. <o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">There was
still a ticker tape machine standing there spitting out news stories and a police
radio screaming out static and robberies. The back room was filled with large
easels where workers laid out the pages for each day’s paper, using razor blades
to cut the stories to fit in between the ads. And there was a sizeable library,
filled with clips (past articles) organized into several categories. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The paper
was a great team of high energy, enthusiastic news junkies.<span style="mso-spacerun: yes;"> </span>I got to know the photographers, editors,
columnists, sports writers and more. We all helped each other.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The LSJ was
an afternoon paper back then.<span style="mso-spacerun: yes;"> </span>It hit the
streets at noon or so and I couldn’t wait to run down to the store to see my
name in print.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">My first
paid article was a review of a Lansing Symphony Orchestra concert, their first
at the newly built Wharton Center. I was given no guidelines as to its length
or its style.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">So of
course, I wrote a very lengthy, wordy piece with fully packed paragraphs.<span style="mso-spacerun: yes;"> </span>What actually appeared in the paper though was
an article about one-third of what I had written, chopped to bits. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The
idealistic 30-something me told Hughes that if he was going to edit my pieces
like that, he should not bother to put my name on them because since they weren’t
really mine.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Instead of
firing me on the spot for my naivete and audacity, he patiently told me that
newspaper articles were printed in small columns which necessitated text with
short sentences and tiny paragraphs. And 12 column inches (about 250 words) was
about all they could print. He knocked me down to size, but kindly.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">But it was
still difficult for me to learn to be concise. Soon after that I wrote a review
for a Lansing Opera production.<span style="mso-spacerun: yes;"> </span>It ended
up being 17 column inches.<span style="mso-spacerun: yes;"> </span>The layout
man told me that he only had space for 12 inches.<span style="mso-spacerun: yes;"> </span>I told him that would be impossible.<span style="mso-spacerun: yes;"> </span>I had to write about the music, the sets, the
singers, the orchestra the chorus, costumes and more. I couldn’t do it in 12
inches. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">He took me back
to his layout board and said, “Listen Ken, all I know is that I have a 12-inch
hole on the page waiting for your story and no more (and he showed me).<span style="mso-spacerun: yes;"> </span>I don’t know anything about opera, so I’ll
just cut the bottom five inches off the story from the bottom to fit the space,
and I bet you don’t want me to do that.<span style="mso-spacerun: yes;"> </span><b>SO,
EDIT YOUR OWN STORY!”<o:p></o:p></b></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">He taught me
a lesson I would never forget. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The other
lesson I never forgot was, again, from Hughes.<span style="mso-spacerun: yes;">
</span>I began with the LSJ before the creation of personal computers, the
internet, or email attachments.<span style="mso-spacerun: yes;"> </span>I had to
run down to the LSJ building on Lenawee and write my stories on site. I knew
nothing about computers or technology.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Since I was new writer In the early days I
struggled with many of my articles. During such a struggle, I inadvertently erased
my entire article simply by touching the wrong key, one that took me an hour to
write. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">I was crazy
with rage. Hughes ran over to me and said, “It’s all in your head.<span style="mso-spacerun: yes;"> </span>Just sit down at the computer and rewrite the
whole thing again. It’s all there.”<span style="mso-spacerun: yes;"> </span>Of
course, he was right. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Soon I was
asked to review musicals and then plays and later I wrote travel and culture
features and even columns concerning interviewing and hiring – using my
knowledge from my daytime job.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">I am always
surprised that many people I meet think that I am a full-time writer for the
LSJ.<span style="mso-spacerun: yes;"> </span>I feel that some of what I love
most about writing about the arts is that I am NOT a full-time writer. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>I write about my favorite hobby and lifelong
interest along with my full-time job (executive search consultant).<span style="mso-spacerun: yes;"> </span>I feel they both work together to make my
life richer and more interesting. And they complement each other, as well.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Maybe the
most valuable thing I learned writing for the State Journal was learning about
deadlines.<span style="mso-spacerun: yes;"> </span>In so many areas of life,
deadlines can be moved or negotiated away.<span style="mso-spacerun: yes;">
</span>With a newspaper, there is a time when the button is pushed and the
presses begin to roll.<span style="mso-spacerun: yes;"> </span>Your story better
be on the page.<span style="mso-spacerun: yes;"> </span>This deadline can’t be
changed. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">When I
began, celebrity interviews frightened me terribly.<span style="mso-spacerun: yes;"> </span>I will never forget my first one with jazz
singer Cleo Laine.<span style="mso-spacerun: yes;"> </span>I was given her phone
number in San Francisco which I believe was her home phone (no cell phones back
then). I was at the LSJ newsroom and dialed her number. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">A smokey
female voice answered, and I asked, “Cleo Laine, please.” She responded.<span style="mso-spacerun: yes;"> </span>“This is Ms. Laine.” At which time I was
totally speechless. My mouth was open, but no sounds came out. Those who know
me realize how rare this is. I loved her singing and was a real fan. In this
moment, I couldn’t think of a thing to say. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Finally, I
began the conversation and the phone call went swimmingly. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Interviewing
musicians, artists, singers, authors, and general theater people continue to be
a great thrill for me.<span style="mso-spacerun: yes;"> </span>I love to discuss
the arts and people’s careers.<span style="mso-spacerun: yes;"> </span>Backstage
stories have always intrigued me and now I get to hear about them from the
people who experienced them firsthand.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Although
I’ve interviewed Renee Fleming, Lyle Lovett, Tony Bennett, Mel Torme, Doc
Severinsen, Lily Tomlin, Leonard Bernstein, James Galway and dozens of others,
some of my most memorable conversations were with young artists who are just
beginning to taste success for the first time and are caught up in the rush of
success. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">One young
artist texted me at 3am. I called back the next day and asked why he was texting
in the middle of the night. He said, “How can I sleep when all my dreams are
coming true?” <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">I find when
the artists hear that I have a music degree and have some knowledge of the arts
and they are happy to open up and share their stories. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">One special
moment was when Jerry Lewis starred as the Devil in “Damn Yankees” at Wharton
Center.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">I gave the
show a good review and the next day I received a call from the State Journal
saying that Lewis had called the paper and wanted to talk with me. I didn’t really
believe it. “No, he did. Here is his phone number.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>I returned the call and Lewis said that he
just wanted to thank me for the review.<span style="mso-spacerun: yes;">
</span>I told him that that had never happened to me before.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">He said, “We
live in a tough business.<span style="mso-spacerun: yes;"> </span>I feel when
someone does a good job, they should hear about it.“ We talked and laughed for
about 20 minutes. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Lansing is a
wonderful place to write about culture and the arts. It is surprising that this
medium size city has such high quality theater and music events that is
available to us for reasonable prices. There are summer music fests, MSU
College of Music concerts, Wharton Center, Lansing Symphony, various small
ensemble concerts and tons of theater. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Today the
world of arts journalism has changed dramatically. Sadly, because of budgets
and changes in print media, the Journal does not publish nearly as many culture
stories as it used to, which follows national trends. Instead of being housed
in a large two-story structure, the LSJ is now in a relatively small space in
an office building. It’s quiet with not many people and computer screens everywhere.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Although I
still regularly write stories about music and theater for the paper, it is far
less than 40 years ago. <span style="mso-spacerun: yes;"> </span>But there are
still plenty of great arts stories to cover in Lansing and most of those
stories are powered <span style="mso-spacerun: yes;"> </span>by local artists and
musicians.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Articles
celebrating the arts life of a community are actually celebrating the success
of the community’s residents. Over the past 40 years, I have relished telling
the stories of Lansing’s successes. This article is not a swan song, I still
plan to continue with the Lansing State Journal covering the arts.<span style="mso-spacerun: yes;"> </span>For you, Glickarts blog readers, I have
broadened my scope to include commentaries on a variety of tropics, which I
will continue to do.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com3tag:blogger.com,1999:blog-1917340347642773765.post-87773401302033952532022-08-03T09:41:00.001-07:002022-08-03T09:42:05.392-07:00STRATFORD: The Plays and the Place<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrXqAx9cjFk8ZOwHXYWdPQJUI5Gc3WQooKHF8hYL1G_-gVA0hZLnVe7YFolkaiMP111jf5CYqHfd-A2oEVJFk6scyIBHtfzCNgxIYQsDswpXnqyK_mCZ1KWiHBUJ2FKas9y1qXRDwkbAchvzNnV7XqUCONalIcD1EVodI0ukwolXp0ESj-ak3SQ/s4578/DSC_0077%20(5).JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2122" data-original-width="4578" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrXqAx9cjFk8ZOwHXYWdPQJUI5Gc3WQooKHF8hYL1G_-gVA0hZLnVe7YFolkaiMP111jf5CYqHfd-A2oEVJFk6scyIBHtfzCNgxIYQsDswpXnqyK_mCZ1KWiHBUJ2FKas9y1qXRDwkbAchvzNnV7XqUCONalIcD1EVodI0ukwolXp0ESj-ak3SQ/w451-h166/DSC_0077%20(5).JPG" width="451" /></a></div><br /> <p></p><p><span style="font-size: 16pt;">After a two
year, COVID-imposed respite, Ontario’s world-famous Stratford Festival is back.
And it’s better than ever.</span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">It’s better
because in an addition to the stunningly produced plays, the festival just
opened their newest theater, The Tom Patterson Theatre. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">For many
years, the festival had rented a city recreational center located along the
banks of the Avon River and built a 500-seat theater inside that was
deconstructed each year to make room for badminton courts in the winter.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">They finally
bought the building, razed it and built a magnificent structure that is
artistic, high tech, beautiful and functional. Completed in 2020, the new Tom Patterson
has been waiting for two years for enthusiastic audiences to fill up the glittering
space with laughter, conversation and applause.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">A trip to
Stratford is always more than seeing top quality theater, It is also for taking
in the charming city itself; its lovely gardens, good restaurants,
European-looking downtown area and a picturesque river to walk beside. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">It’s about
the plays and the place. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a>On my recent
visit (3.5 hour drive from Lansing), I saw a musical, two Shakespeare plays and
one modern adaptation of an American classic.<o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">First, let’s
clear up some misconceptions. It is not called the Stratford Shakespeare
Festival, just the Stratford Festival.
That’s because it presents plays of every conceivable variety –
classics, childrens, musicals, modern, and the newly commissioned. In addition,
Stratford also offers a full list of lectures and discussions in their Forum
series. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Our trip
began with the highly anticipated <b>Chicago</b>, the musical by Kander and
Ebb. For about fifteen years, most of the musicals at Stratford have been
directed and choreographed by Donna Feore.
They have been bold, creative and extremely popular. This will no doubt be
remembered as the Donna Feore era.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Presented in
the 2000 seat Festival Stage, this newly conceived staging of the longest
running Broadway musical was remarkable. One of Stratford’s trademarks is its high
production value – costumes, sets, lights, wigs, shoes are all created at the
festival. <b>Chicago</b> was overwhelming in sparkles and colors.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">As in all
Feore directed shows, this one was filled with explosive energy and
personality. The production numbers sizzled with athletic dancing that
captivated the audience. Although the leggy chorus girls were set up to be the centerpiece
of the numbers, I was fascinated by the muscular and brilliant dancing of the
guys. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Stratford
newcomer Chelsea Preston as Roxie Hart and Jennifer Rider Shaw as Velma Kelly both
displayed charisma, but their dancing was better than their singing.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Steve Ross
as sad sack Amos Hart brought pathos and sensitivity to his singing of <b>Mr.
Cellophane – </b>a highpoint of the show. His strong acting and singing
combined to bring forth a memorable moment. After numbers cluttered with dozens
of singers and dancers, Ross took the stage by himself and brought the entire
audience to him.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Next up was
a new adaption (by Jordi Mand) of Louisa May Alcott’s <b>Little Women. </b>Performed
in the Broadway-style Avon Theater<b>, </b>this was a production that was
powerful because of its simple but imaginative staging (directed by Esther Jun).
The show I attended had an audience of about 70% female. The woman sitting next
to me said with a smile, “You’re outnumbered here.” <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">As the protagonist
Jo, Allison Edwards-Crewe was phenomenal.
She truly created a unique character that was fully realized. When she narrated the story, it was as if she
was speaking to the audience who were all her best friends. She was the driving force of the play. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">I
appreciated the diversity of the performance: varieties of race, body type, and
age. Some unsettling aspects of the play were dance scenes that used modern
music and choreography in a play that was set in the Edwardian era. It didn’t bother
me, as I saw it making the play relevant for all periods of time.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">This
beautifully realized play is a perfect way of introducing young people to great
theater (especially girls). <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The next two
plays I saw were staged in the new Tom Patterson theater. This $100 million
theater is truly breathtaking. The exterior of the building has the shape of
the movement of the river and surrounded by beautifully designed gardens of perennials.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Inside the
building, the public space flows around the performance area with magnificent bars
of red Italian and gold Greek marble.
The entire building was raised several feet during construction so the outside
views from inside are focused on the adjoining river rather than the busy
street in between.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The old Tom
Patterson was beloved by actors because it had a unique extended thrust stage
that brought them into the seating area to create an intimate environment with
the audience. The same stage was duplicated in the new theater, but with a
slightly larger seating capacity (650) and state of the art theatrical
technology. The sound, lights and
acoustics are superb. No amplification is used on the stage. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The austere <b>Richard
III </b>took full advantage of the new technology of the theater. Directed by the festival’s artistic director,
Antoni<b> </b> Cimolino, this dark play
was intense. It featured a gallery of
Stratford all-stars– Colm Feore, Seana McKenna, Lucy Peacock, Michael Blake and
many others. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Feore was a
fierce but human Richard, displaying severe body movements to underscore a
painful life with scoliosis. The audience was enthralled with the words (easily
heard by all), the poetry and how this story of violent leaders still speaks
forcefully about our current global politics. The final battle scene was a
display of brilliant directing and stagecraft. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The final
play I saw was another Shakespeare, <b>All’s Well That Ends Well. </b>Although
the acting and production were excellent, this was the least satisfying of any
play I saw this season. There were moments of levity and humor, but the story
was not easy to understand and had moral questions. It is considered by many as one of
Shakespeare’s “problem plays”. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">I kept
thinking, if Shakespeare’s name was not associated with this play, would we
still be watching it 500 years after it was first written.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Whenever I
leave Stratford, I am disappointed by not having the time to see the other plays
that intrigue me. There are always treasures, some I’ve never heard of, that I
never see. Many theater junkies go back two or even three times during the
season to catch them all. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Note: Be
careful when ordering tickets, prices are high for the flashier productions.
Look for bargains. Also, not all of the plays run for the entire season. Study
the schedule carefully to see what is available.<o:p></o:p></span></p>
<span face=""Calibri",sans-serif" style="font-size: 16pt; line-height: 107%; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">For theater lovers, the beauty of the city plus
the outstanding theater, culinary choices and fascinating lectures, make the
Stratford Festival like a Disneyland for adults</span>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com2tag:blogger.com,1999:blog-1917340347642773765.post-85276648657869779862022-06-04T20:58:00.000-07:002022-06-04T20:58:01.727-07:00Fun Home, Comes To Life at Peppermint Creek<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS-pog0CpMA44vToAEe2HhOmCFoX610eQOrWuAh50aOgKxmKx6E9zxmQlAZR5RgShMXmeCvKdB4kP3uj20AD9yR8hrr-_WKWxmda3LXsP9SaCyIX0D-ds_A0eWGgP3oYwY20O0KrmKs-AVBsBomBZ0haRR8fOnVBQkNARF5O67uwdtcpqQMgjTzg/s300/Fun%20Home.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS-pog0CpMA44vToAEe2HhOmCFoX610eQOrWuAh50aOgKxmKx6E9zxmQlAZR5RgShMXmeCvKdB4kP3uj20AD9yR8hrr-_WKWxmda3LXsP9SaCyIX0D-ds_A0eWGgP3oYwY20O0KrmKs-AVBsBomBZ0haRR8fOnVBQkNARF5O67uwdtcpqQMgjTzg/s1600/Fun%20Home.jpeg" width="300" /></a></div><br /><p></p><p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The two-year
pandemic that we are now slowly emerging from, has been stressful to many
segments of society.<span style="mso-spacerun: yes;"> </span>But one of the
hardest hit has been the arts – especially theater and classical concerts. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">For that reason,
we must take our hats off in congratulations to a Lansing community theater company,
Peppermint Creek, for presenting their current production of the challenging musical,
“Fun Home”.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Even though
season schedules have been upended through Covid, artistic director Chad
Badgero was determined to hold on to “Fun Home” and present this important show
to Lansing audiences. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">“Fun Home“ is
the Tony Award winning show written by Lansing native Lisa Kron (book and lyrics)
and Jeanine Tesori (music).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">I have seen “Fun
Home” performed by seasoned pros on Broadway and the national touring company at
Wharton Center. But there is something very special about watching local amateurs
bringing this show to life in a church auditorium.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span></span></span></p><a name='more'></a>This musical
is heartfelt and heart wrenching, and it demands much from its intergenerational
cast of actors and singers.<o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">“Fun Home”
is based on the graphic novel by Alison Bechtel, although it is less a novel
than it is an autobiography. It is the story of the college age Alison coming
out as a lesbian in her first year at college.<span style="mso-spacerun: yes;">
</span>But beyond that one event, the play is about how Alison’s family deals
with many difficult issues, and Alison is beautifully portrayed at three times
of her life by a 10-year-old Alison (Lorena Krauss), a college age Alison
(Sally Hecksel) and the adult Alison (Abigail Grill) narrating, observing and
sometimes inserting herself in the story. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">It’s a
brilliant method of storytelling and the story is powerful.<span style="mso-spacerun: yes;"> </span>As Alison is discovering her gender identity
in college, she also learns that her father is gay. But this sensitive play has
many plot lines crisscrossing throughout the performance. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Matt Eldred,
as Alison’s father Bruce, is a talented singer and actor, known to Lansing audiences
for a long string of theater successes.<span style="mso-spacerun: yes;">
</span>But this play requires not only a strong voice but acting that displays
a wide range of emotions. And he does it all. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Bruce is a
fussbudget restorer of old houses, a funeral director (get it? Fun Home?) a
high school English teacher and a father and husband. Lots of issues here.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">All three Alisons
have demanding roles and each have important songs depicting that particular
time in Alison’s life. Sally Hecksel was especially effective as the “medium Alison”,
working her way through her change of identity.<span style="mso-spacerun: yes;">
</span>Her big song about her first sexual experience, “Changing My Major to
Joan” sparkled with personality and excitement. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The most
popular song of the show is “Ring of Keys” and “small Alison”, 6<sup>th</sup>
grader Lorena Krauss, made it a showstopper.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Director
Mary Job is masterful at balancing all the narratives of this delicate show.
The only shortcoming was the set. The talent on stage (and in the orchestra
pit) was superb, but the set itself was not up to that talent.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The reason “Fun
Home” has been a hit throughout the world is that the songs and music so
effectively further the story and the characters.<span style="mso-spacerun: yes;"> </span>The songs truly portray the anguish, joy and confusion
that is the heart of the show. And music director Alan B. Sloan and his three
other musicians provided superb musical support. A much-improved sound system
made the music a pleasure to listen to. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Peppermint
Creek’s “Fun Home” plays at the Central United Methodist church in downtown
Lansing until June 12.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><o:p> </o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com1tag:blogger.com,1999:blog-1917340347642773765.post-52694923906848817742022-05-18T09:13:00.001-07:002022-05-18T09:13:26.039-07:00Evan Hansen: Real and Compelling<p> </p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.whartoncenter.com/assets/img/Dear-Evan-Hansen_1-Stephen-Christopher-Anthony-as-Evan-Hansen-and-the-North-American-touring-company-of-DEAR-EVA-b1fa37c715.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="665" data-original-width="750" height="552" src="https://www.whartoncenter.com/assets/img/Dear-Evan-Hansen_1-Stephen-Christopher-Anthony-as-Evan-Hansen-and-the-North-American-touring-company-of-DEAR-EVA-b1fa37c715.jpg" width="724" /></a></div><br /><span style="font-size: 16.0pt; line-height: 107%;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">After many schedule
changes and cancellations due to Covid, “Dear Evan Hansen”, by Benj Pasek and
Justin Paul, is finally at East Lansing’s Wharton Center. When the musical
opened on Broadway in 2016 it was a monster hit and still is. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Last night I
understood its strong appeal, especially among teenagers. First off, I must say
that I approached the show knowing very little about the story and musical
style. Except for the hit song “For Forever,” I was unfamiliar with much of the
music. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">In many ways
“Dear Evan Hansen” is the anti-Broadway musical, musical. It's a small show
(eight characters) with no production numbers, very little dancing and no
over-wrought love songs. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span></span></span></p><a name='more'></a>What we have
is a show that has a compelling story (written brilliantly by Steven Levenson) about
a teenage boy who is beset by anxieties, loneliness, lack of confidence, has no
close friends and is being raised by a financially strapped single mom. <o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Evan Hansen (Stephen
Christopher Anthony) is funny in a quirky way. The audience immediately understands
him.<span style="mso-spacerun: yes;"> </span>One of the great strengths of this
show is that the characters are very real. These are people that we know and see
in daily life. And the dialogue is authentic.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The subject
matter here is important and current. These anti-hero characters are immersed
in real world issues such as teen suicide, mental illness and social media. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The word I
keep going back to is “real”. The conversations between characters are real and
use phrases and words that are common place. And the music is provided by an
acoustic band that uses violin, viola, cello and a rhythm section. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">When the characters
sing a song, it is not telegraphed five minutes before.<span style="mso-spacerun: yes;"> </span>The song, simply and elegantly, emerges from
the dialogue. It’s lovely. In this musical, the music is an equal partner with the
play itself. The voices are all excellent but understated. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">We first
meet Evan Hansen, high school senior, hibernating in his bedroom. His arm was
recently broken and is now in a cast. Anthony, as Evan Hansen, appears in most
every scene and sings most of the songs. In this demanding role of sensitive
acting and constant singing, Anthony is both extraordinary and convincing. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Another standout
was Nikhil Saboo as Connor. He is a rough looking character but had a voice of
gold. When he sings duets with Anthony, the two tenor voices melt together beautifully.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The story
concerns Evan Hansen’s fraught relationship with his mom (Lisa Brescia) and his
strange new relationship with a family whose son, Connor Murphy, commits
suicide. In a quick series of events, the Murphy family is led to believe that
Evan was Connor’s best friend. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">In reality, Evan
has NO best friends, which is why he does not want to let this mistaken impression
go. As the story spins out we see how social media is so much a part of
teenagers’ lives and how loneliness and friendship is such a driving factor in
their lives. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Again, the
story is everything here. The minimalist set does not intrude on the play but
enhances it. The stage has a few set pieces but is mostly nothing more than a
series of screens which are used for projections.<span style="mso-spacerun: yes;"> </span>Often the characters sing directly facing the
audience, although they are doing the scene together.<span style="mso-spacerun: yes;"> </span>Somehow it works well. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">This is a top-drawer
production with excellent sound.<span style="mso-spacerun: yes;"> </span>Although
it’s a PG13 musical, I would recommend bringing your teenagers to see “Dear
Even Hansen” to remind them that all musicals are NOT like “Oklahoma” or “Music
Man”. The show will be playing at Wharton Center through Sunday, May 22. <o:p></o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com2tag:blogger.com,1999:blog-1917340347642773765.post-30635333148700684492022-05-15T21:41:00.004-07:002022-05-16T06:44:53.796-07:00LSO: Youth and Excitement<p> </p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://static.wixstatic.com/media/610987_da01c12dbb3b454cb683d5e8713ae3b9~mv2.jpg/v1/crop/x_0,y_14,w_933,h_1251/fill/w_424,h_570,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/Full%20Size%20gray%20jacket%20copy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="570" data-original-width="424" height="305" src="https://static.wixstatic.com/media/610987_da01c12dbb3b454cb683d5e8713ae3b9~mv2.jpg/v1/crop/x_0,y_14,w_933,h_1251/fill/w_424,h_570,al_c,q_80,usm_0.66_1.00_0.01,enc_auto/Full%20Size%20gray%20jacket%20copy.jpg" width="205" /></a></div><span style="line-height: 107%;"><span style="font-size: x-small;"> Patrick Harlin</span><br /></span><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">One didn’t
really know what to expect when attending the Lansing Symphony Orchestra’s
final concert on their Masterworks series Saturday night.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">From reading
the program (printed last year) we knew that composer-in-residence, Patrick
Harlin, would premiere a new piece but we didn’t know the name. The piano soloist
was yet to be announced because he or she had not been named as the Gilmore
Young Artist for 2022. But we thought, at least, that we knew what the winner
would be playing - Beethoven’s 1<sup>st</sup> Piano Concerto. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">But even
that wasn’t accurate. As it turned out, the only thing that remained constant
in the program was the last piece of the evening, Brahms Symphony No. 2. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">With all of
these unknowns, who would have predicted that Saturday’s concert was probably
the most stimulating concert of the entire LSO season?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a><br /><div>The name they
chose for the concert was “Passion and Emotion,” but I would call it: “Youth
and Excitement.” <o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Classical
concerts are usually filled with grey hair and canes, but this one was turned
on its head by two enthusiastic and talented young men who are primed to have
huge international careers.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Lansing audiences
are getting to know Patrick Harlin,37, since he has been the LSO composer-in-residence
since 2019. But this new work was something special.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Harlin has a
fervent interest in nature and the world around us. So, it makes sense that he
would want to write a piece based on 21<sup>st</sup> century space travel. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Last year he
applied to fly in a spaceship and write music based on that experience. Alas, the
spaceship ride didn’t come to pass but writing a piece about space travel stuck
with him.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">What
resulted was a beautiful, almost visual journey through the stars called "Earthrise". His
brilliant orchestration used every square inch of the orchestra. He scored some
particularly vivid sections for the brass section. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The music
was lustrous and dreamy, but you never knew where it would take you. One memorable
element had Maestro Timothy Muffitt, extend his arm and sweep it back and forth
across the orchestra like watch hands.<span style="mso-spacerun: yes;"> </span>Actually,
Harlin described it like a lighthouse light, going from left to right.<span style="mso-spacerun: yes;"> </span>The musicians played only when the maestro’s
arm was facing them directly. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">This unique conducting
directive was fascinating to watch and the musical outcome was equally fascinating
to hear. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Personally,
I felt the work needed a bit more development in some of the slower
sections.<span style="mso-spacerun: yes;"> </span>Harlin had a lot to say about
space travel, but some of it could have been richer and had more depth. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The Gilmore
winner was Clayton Stephenson, 23, who is now pursuing a double degree in music
from the New England Conservatory and economics from Harvard.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The charismatic
young man called Muffitt and asked if he could switch the piece he was originally
scheduled to play, from the Beethoven to the Florence Price “Piano Concerto in
One Movement”. Stephenson had just been invited to the Van Cliburn Competition which required him to learn many new pieces and asdding the Beethovon did not fit into his schedule. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">As soon as
Stephenson touched the keyboard, it was clear that he was committed to this
music. He was confident and eager to give Price’s passionate music all the feeling
it deserved. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Whether he
was playing delicate lyricism with the woodwinds or big robust moments with the
entire orchestra, Stephenson was powerful. His fiery technique was superb, and his
phrasing was warm and moving.<span style="mso-spacerun: yes;"> </span>And Price’s
music was an eclectic mix of soulful and dance music, painted with the same
brush as the European romantic masters. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">It was thrilling
to listen to this young talent playing music we didn’t know. The audience was enthusiastic
and the pianist, wearing a big brash smile, came out to play two encores: A
wild and fearless high wire act of a piece called “The Tom and Jerry Show” by Uehara
and a more romantic piece by Godowsky, “Symphonic Metamorphosis No.2”. He knew
he had the audience with him, and the young virtuoso gave these pieces flourish
and flash. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Remember Clayton
Stephenson’s name. He’s already had much success in his young career, but he’ll
have plenty more. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">While the audience
may have been waiting for the familiar Brahms 2<sup>nd</sup> to compete the
program, the performance did not match the delight of the first half of the
concert. It was almost a letdown. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">What we had
in the first half – new music and young musicians – is a recipe for bringing fresh
new audiences to LSO concerts. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p></div>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com1tag:blogger.com,1999:blog-1917340347642773765.post-19573403039422574392022-03-20T17:28:00.003-07:002022-03-20T17:37:54.130-07:00LSO - Classics with a Twist<p> </p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj6SFaZVfY22Be6njEKLniMQL0n9AD0bmWvnXzWJE381q97FqPFzvVEEtDcIod7AGVxDE77nNjJeF8y5vfvju9Cv0bJFwHwR1eMiqcvb7LpORPzQkCA8blnmwe1B9DqsaqBYQqZBnx2FofFjjgkQXqwzjYxeErsQg7nnM0vkDBFfs5XahGzJQHs9A=s880" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="880" data-original-width="880" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEj6SFaZVfY22Be6njEKLniMQL0n9AD0bmWvnXzWJE381q97FqPFzvVEEtDcIod7AGVxDE77nNjJeF8y5vfvju9Cv0bJFwHwR1eMiqcvb7LpORPzQkCA8blnmwe1B9DqsaqBYQqZBnx2FofFjjgkQXqwzjYxeErsQg7nnM0vkDBFfs5XahGzJQHs9A=s320" width="320" /></a></div><br /><h3 style="text-align: left;"><span style="font-weight: normal;">Lansing Symphony’s
Music Director, Timothy Muffitt, has a knack for programming a concert that is
interesting, unpredictable but always a pleasure to listen to. </span></h3><o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Saturday’s
(March 19, 2022) performance was a perfect example. It opened not with an
overture or a cute ditty, but with an 11-piece wind, harpsichord and percussion
ensemble standing in a semicircle, to play the beguiling <b>Suite Francaise</b>
by Poulenc. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">It was a
bold and refreshing programming choice.<span style="mso-spacerun: yes;">
</span>The ensemble played this charming and humorous neo-classical work
beautifully. The seven movements gave the listener a broad variety of musical
styles to enjoy.<span style="mso-spacerun: yes;"> </span>The musicians performed
with a lovely blend. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a><h2 style="text-align: left;"><span style="font-weight: normal;">The brass
melted together with velvet chords and oboist Stephanie Shapiro had a chance to
shine with some stunning solo moments</span>.</h2><o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">After an
opening like that, the audience didn’t know what to expect.<span style="mso-spacerun: yes;"> </span>What they got was something that was unusual
but shouldn’t be - a Haydn Symphony. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Although
Haydn sounds simple, it takes a lot of orchestral discipline to do it justice,
and many orchestras do not make it a habit to play Papa Haydn often.<span style="mso-spacerun: yes;"> </span>This was a welcome surprise, and one where the
orchestra showed off its musical maturity.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Muffitt
usually likes to re-arrange the seating order of the strings (1<sup>st</sup>
and 2<sup>nd</sup> violins across from each other and cellos inside) for
classical pieces, which he did here. The <b>Haydn Symphony No. 90 in C Major</b>
called for a small orchestra, about 50 players, and the group sounded clean,
transparent and expressive. Principal flutist Richard Sherman played some
spectacular solos, but the entire orchestra sparkled.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The soloist
for the evening was the young and popular Conrad Tao. The 28-year-old composer
and pianist has had a firecracker career for such a young performer.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">To continue
with the classical theme of the evening, Tao played AND conducted <b>Mozart’s
Piano Concerto No 24 in C Minor</b>. Conducting and soloing in a piano concerto
takes a special blend of talents. It has been done successfully by Ashkenazy, Barenboim
and Bernstein – all very accomplished at both required abilities. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Although Tao
is a brilliant pianist, his conducting skills are sorely lacking. He did not
display confidence when he led the orchestra and his stick technique (even
though he didn’t actually use a baton) was difficult to follow. At the very
beginning, for instance, the orchestra did not come in together.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">As a
pianist, Tao has superb technique and at times played this wonderful concerto
with deep expression and depth.<span style="mso-spacerun: yes;"> </span>At other
times, he was loud and almost bombastic, especially during his cadenza. It
sounded more like Beethoven than Mozart.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">He didn’t
appear comfortable with juggling his playing and conducting roles together.<span style="mso-spacerun: yes;"> </span>At times, when he was conducting, he almost
ran back to the keyboard to begin his solo playing just in time. For me, it was
unnerving to watch him switch from orchestra to piano so abruptly. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Besides the
conducting/playing confusion; Tao was clearly a gifted pianist and a very
charismatic performer. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com3tag:blogger.com,1999:blog-1917340347642773765.post-73839388594950296792022-03-14T12:42:00.001-07:002022-03-14T19:12:17.703-07:00The Philadelphia, 2 Maestros and Tuba Shine<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg_TPfpgi_dI9oRCMsOFJD41qQDRxaKJm1LZwu15FSI4RL9mkmO2eurF1lNF-gBabzWyDp__tFdVwlIDyL0TK423YyzEXIXorQpeC1b30tdWsjXcf6-zWIyo-cQVTlfO6SJWhSpMxSwSFNFKCI7nXszW2UAb7R8rqd5ux89_VZa0SMckX2OKNfxVg=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="1000" height="163" src="https://blogger.googleusercontent.com/img/a/AVvXsEg_TPfpgi_dI9oRCMsOFJD41qQDRxaKJm1LZwu15FSI4RL9mkmO2eurF1lNF-gBabzWyDp__tFdVwlIDyL0TK423YyzEXIXorQpeC1b30tdWsjXcf6-zWIyo-cQVTlfO6SJWhSpMxSwSFNFKCI7nXszW2UAb7R8rqd5ux89_VZa0SMckX2OKNfxVg=s320" width="320" /></a></div><br /><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The storied relationship
between the Philadelphia Orchestra and the University Music Society (UMS) in
Ann Arbor goes back to 1913 when they first appeared there under the baton of Leopold
Stokowski.<span style="mso-spacerun: yes;"> </span>The orchestra’s triumphant
return to Ann Abor last weekend (March 11-12, 2022) marked their 269<sup>th</sup>
and 270<sup>th</sup> performance at Hill Auditorium.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The orchestra’s
residency at UMS this year had many reasons to attract a big audience. The
first of the two concerts was helmed by conducting phenom and Philadelphia’s
music director Yannick Nezet-Sequin, the orchestra’s principal guest conductor,
Nathalie Stutzmann who is also a rising star, conducted the second concert, and
the featured soloist was the brilliant tubist Carol Jantsch, who happens to be
an alum of the University of Michigan, playing a new work by Wynton Marsalis. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Because of
this stellar line up, Hill Auditorium which seats 3300 was nearly full at both
concerts, despite COVID fears. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a><p style="text-align: left;">Although
Nezet-Seguin is only 46 years old, it cannot be overstated how important a
conductor he is right now.<span style="mso-spacerun: yes;"> </span>He not only holds
this prestigious post with the Philadelphia but is also Music Director of the Metropolitan
Opera in New York and Montreal’s (his hometown) Orchestra Metropolitain. </p><o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">A recent article
in the NYTimes stated, “Omnipresent and energetic, he has been one of the
central figures in New York’s cultural re-emergence, and certainly the city’s
most significant and visible classical musician at a transformative moment”.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Watching him
conduct his orchestra was a visual as well as an aural experience.<span style="mso-spacerun: yes;"> </span>At 5 ft. 5, he stands on an oversized podium
with the energy of a tightened spring ready to snap. Nezet-Seguin is intense, focused
and totally dedicated to the music. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Friday’s
concert began with Jantsch soloing with a new concerto written for her by jazz trumpeter
Wynton Marsalis. Jantsch displayed a gorgeous velvet sound on the huge
instrument. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The concerto
was written in four movements, Up!, Boogaloo Americana, Lament, and In Bird’s
Basement. The piece was delightful and funky, but at times, the orchestration
(especially in the first movement) covered the tuba’s sensitive sound. The tuba
after all is placed in the back row of the orchestra, rarely heard on its own
by the audience.<span style="mso-spacerun: yes;"> </span>It provides the
foundation to the chords rather the predominant melodies. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Lifting the
tuba to that of a solo instrument is a challenging mission for a composer.<span style="mso-spacerun: yes;"> </span>In most cases, Marsalis was successful using colorful
instrumentation and a percussion section featuring 26 instruments (some I’ve
never heard of) but yet was not overpowering.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Changing
styles completely, Nezet-Seguin and his musicians then tackled one of the
concert hall’s most beloved pieces, Brahms Symphony No.1.<span style="mso-spacerun: yes;"> </span>And here the energetic conductor showed his Michigan
audience what he was made of. From beginning to end he was intense and linked,
eyeball to eyeball, to his orchestra. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The music
shimmered with beauty as Nezet-Seguin bent over to cajole his musicians through
each musical phrase, emphasizing the warmth and emotion of the music.<span style="mso-spacerun: yes;"> </span>He took nothing for granted, following each
melody as it went from instrument to instrument. One time, when leading his
band in a dramatic crescendo he let out a huge growl, surprising the audience.
He was probably not even aware of the outburst. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The entire
performance was an intense experience for the audience as well as the
musicians. Nezet-Seguin’s interpretations seemed so right, that one cannot
imagine the music played any other way. The sound of the orchestra was full and
rich, balanced and brilliant. The basses and cellos were especially impressive.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">At the
exciting conclusion of the Brahms, the French-Canadian conductor drove his
orchestra to a truly breathtaking crescendo and high speed accelerando. I have
never seen an orchestra work so hard for their maestro. When the Brahms ended,
the audience exploded in applause. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">For the encore
Carol Jantsch returned to play her tuba in a flashy version of the Hail to The
Victors, with Nezet-Seguin wearing a Michigan hat. The Hill Auditorium crowd
was in heaven.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The
following night, a concert conducted by Nathalie Stutzmann was equally
thrilling in many ways.<span style="mso-spacerun: yes;"> </span>It began with a lackluster
contemporary piece and then highlighted the orchestra’s concertmaster (David
Kim) in the playing of the Violin Concerto No 1 by Max Bruch. Although his
technique was flawless, his playing lacked the fire and passion that marks a great
soloist. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The main event
of the concert was the playing of the very difficult Symphony No. 9 “The Great”
in C major by Schubert. Although, Stutzmann has a more lyrical conducting style
than Nezet-Seguin, the orchestra played with focus and intensity. Recently
appointed as the Music Director of the Atlanta Symphony, Stutzmann is also an
accomplished singer who approached the Schubert with a deep sensitivity for
melody and phrasing.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Since
Schubert was a song writer, Stutzmann’s interpretation was in perfect keeping
with the composer’s style.<span style="mso-spacerun: yes;"> </span>She brought
out the lyricism and the broad rubato (like bel canto) that the music required.
Her attention to phrasing did not diminish the clarity and technical proficiency
of the orchestra. The players snapped out the accents adding zing to the lines.
And after they ended the phrases with slow expressiveness, the orchestra jumped
right back into the tempo primo that began the section. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The Schubert
is a huge piece (50 minutes), but Stutzmann keep her musicians on focus until
the very end. Although her conducting style looks far different than
Nezet-Seguin’s, the orchestra had the same drive and emotional urgency.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Amazingly,
the Philadelphia Orchestra declared bankruptcy ten years ago.<span style="mso-spacerun: yes;"> </span>Judging from these two spectacular evenings
of music, they are now back to their glory days.<span style="mso-spacerun: yes;"> </span>One audience member was heard saying “They haven’t
sounded this good in 50 years.” It is obvious why Yannick Nezet-Seguin has been with the Philadelphians for ten years. This is a perfect musical marriage. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com0tag:blogger.com,1999:blog-1917340347642773765.post-78821249893609995122022-02-19T13:49:00.001-08:002022-02-19T13:49:30.396-08:00MAGIC OF JAZZ, THE MARSALIS WAY<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgdbA5Kannv0Nzv9wcLRZxbQRtLlpSf41jL3G3Y1SQggZt4ClalyOPYil6JioJwF6wAH4eoeugSvJS9UfaDgiwNhaIIeAK87HqDVdsu8w6LgxCIA-3xUxArnIO9p4Dh0WkzQWA0JIudLMVGnejX1MhnEiy9u2lg0gfTPE7OSq98Kn6TrYqAGeft9g=s3500" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2486" data-original-width="3500" height="227" src="https://blogger.googleusercontent.com/img/a/AVvXsEgdbA5Kannv0Nzv9wcLRZxbQRtLlpSf41jL3G3Y1SQggZt4ClalyOPYil6JioJwF6wAH4eoeugSvJS9UfaDgiwNhaIIeAK87HqDVdsu8w6LgxCIA-3xUxArnIO9p4Dh0WkzQWA0JIudLMVGnejX1MhnEiy9u2lg0gfTPE7OSq98Kn6TrYqAGeft9g=s320" width="320" /></a></div><p><i style="font-size: 16pt;">Printed in Lansing State Journal 2/20/2020</i></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Branford
Marsalis doesn’t like music categories, like jazz, classical, R&B, show
music, hip hop, rock, movie music, etc. He plays it all. Marsalis prefers to
call himself, simply, a musician. And most of the music world agrees. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Joe Lulloff,
professor of saxophone at Michigan State University, who has collaborated with
Marsalis many times says, “Branford is a complete musician.<span style="mso-spacerun: yes;"> </span>He’s a renaissance musician.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Marsalis and
his Branford Marsalis Quartet are appearing at Wharton Center on Wednesday, Feb.
23.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Coincidentally
his famous (and younger) brother Wynton will be in Ann Arbor on March 11<sup>th</sup>
with the Philadelphia Orchestra for the premiere of his Tuba Concerto he just
completed. It appears that both of these great musicians have something in
common – they are not only world class jazz musicians (Wynton on trumpet,
Brandon on saxophone) but are also involved in composing, teaching, arranging and
performing of music in all styles. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;"><span></span></span></p><a name='more'></a>Rodney
Whitaker, head of MSU’s Jazz Department says, “They were raised by their father
to do the things they’re doing now. Their father was an intellectual and they
were raised to be hard workers and with academic rigor.”<o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">What must it
have been like growing up in the Marsalis house in New Orleans?<span style="mso-spacerun: yes;"> </span>Their father, Ellis, was a brilliant pianist
and professor of music. There were two other boys in the family – Jason is a
drummer and Delfayo is a trombonist. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Branford says,
“My father was very Socratic.<span style="mso-spacerun: yes;"> </span>He didn’t
tell you much, but he taught you to think.<span style="mso-spacerun: yes;">
</span>Sitting around the dinner table was a tough gig in our house.<span style="mso-spacerun: yes;"> </span>Everything you said, you had to back up your ideas
with facts. You were always thinking, thinking about what we you were saying
and what you wanted to do. If you didn’t have a basis for what you were saying,
we heard about it from dad.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Whitaker
played a gig with the Marsalis family back in 2016 in Indianapolis. “It was
very interesting dynamic to see how the family communicated on the stage.<span style="mso-spacerun: yes;"> </span>Amazing to see.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Although
Ellis was a jazz musician, he allowed his boys to play anything they wanted.<span style="mso-spacerun: yes;"> </span>“We played in the school band, youth orchestras,
as well as R&B bands.<span style="mso-spacerun: yes;"> </span>Ellis was
strong on the idea of commitment- whatever we chose to do, we had to commit to
doing it all the way through.<span style="mso-spacerun: yes;"> </span>No giving
up.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The saxophonist
began his musical journey as a clarinetist but switched to saxophone because he
thought that it was “easier to get girls if I played the sax”.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Although
Marsalis was always a star in the jazz world, he became known in the general public
eye when he was the band leader for the Tonight Show band when Jay Leno had the
program.<span style="mso-spacerun: yes;"> </span>When he realized that part of
his job would be to always laugh at the boss’s jokes whether they were funny or
not, he felt that he may be more challenged in other areas of the music world
and left the show.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Since Leno,
Marsalis spread his wings – he taught at MSU during the 90s, wrote the music for
Spike Lee’s “Mo Better Blues”, appeared with Sting and Grateful Dead, soloed
with a classical concerto with the NY Philharmonic, collaborated with Harry
Connick, Jr. on a Habitat for Humanity Project after Hurricane Katrina, and
recently headed up the music for the award winning film “Ma Rainey’s Black
Bottom”. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Marsalis was
a MSU visiting professor just before Whitaker took over the helm of the program.
Whitaker says, “He worked with the big band, combos and taught sax lessons.<span style="mso-spacerun: yes;"> </span>He was very straightforward and honest with
the kids. We saw significant growth from our students when he was here”.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Despite his
broad range of music exploits, the Branford Marsalis Quartet has always been
his main avenue of his music expression. The group won a Grammy Award in 2001.
He says, “I like doing everything, but can’t imagine not playing jazz. However,
I practice classical every single day.<span style="mso-spacerun: yes;"> </span>I
think playing classical music exposes all of the elements of your playing.<span style="mso-spacerun: yes;"> </span>It’s all there, and the classical style
doesn’t allow you to slip out of the structure. When a classical piece is
written, you as a performer can’t change it.” <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Lulloff
says, “Branford has a real talent with classical.<span style="mso-spacerun: yes;"> </span>He’s a very expressive and astute play.<span style="mso-spacerun: yes;"> </span>He has a depth of phrasing that I like.<span style="mso-spacerun: yes;"> </span>It’s inspiring.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">He founded
the quartet in 1986, and although some musicians have come and gone, the
quartet has maintained its high standards through the years. “We had a hard
time during the covid period”, says Marsalis.<span style="mso-spacerun: yes;">
</span>We weren’t able to communicate together the way we used to. Just last
week, it all came back during a gig and we were in the groove again.<span style="mso-spacerun: yes;"> </span>But it took a long time.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">For a jazz
quartet, internal communication is everything. When they walk out on the stage
to perform, nothing is planned out.<span style="mso-spacerun: yes;"> </span>“We
have no set list,”, says the 61-year-old Marsalis. “We call it all from the
stage. The magic of jazz is that you never play the same tunes every night and they’re
never played the same way twice.<span style="mso-spacerun: yes;"> </span>That’s
what’s exciting about playing jazz.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">The four
musicians have no arrangements or any formal structure to the music they play
in concert.<span style="mso-spacerun: yes;"> </span>Marsalis announces the tune
and they begin their high-flying act called live jazz. Marsalis will signal to
the person who will have the next improvised solo, and the group will all
communicate when it flows to the next person. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">“We don’t use
the bar lines of music.<span style="mso-spacerun: yes;"> </span>We have to hear
the music ultimately as sound.<span style="mso-spacerun: yes;"> </span>Actors
live by words but the words have to come from you.<span style="mso-spacerun: yes;"> </span>With us, it’s the music. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">“The primary
element of our plan of performance is melody.<span style="mso-spacerun: yes;">
</span>We are there to sing the melody, after that is the beat, and the third
is improvisation.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">IF YOU GO<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">AN EVENING
WITH BRANFORD MARSALIS<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Wednesday
Feb. 23, at 7:30 p.m.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Wharton
Center Great Hall<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16.0pt; line-height: 107%;">Tickets from
$32. Whartoncenter.com, 517 432 2000 or 1 800 wharton.<o:p></o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com3tag:blogger.com,1999:blog-1917340347642773765.post-30647518011753445782022-02-03T11:38:00.004-08:002022-02-03T12:02:42.629-08:00Williamston Brings Iconic Play by Okemos-raised Playwright<p> </p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://heatherraffo.com/wp-content/uploads/2019/07/thumbnail_IY-RT_new-Heather-Raffo-WP-Headshot.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="800" height="620" src="https://heatherraffo.com/wp-content/uploads/2019/07/thumbnail_IY-RT_new-Heather-Raffo-WP-Headshot.jpg" width="800" /></a></div><br /><span style="font-size: medium;">Attending
Okemos High School in the 80s, award-winning playwright Heather Raffo enveloped
herself in the arts. She was the lead in several plays, was a violinist in the
orchestra and sang in the choir. Raffo remembers, “It was hugely exciting. I
was born to be an artist but was always looking for an outlet. Okemos formed me
as a bridge builder.”</span><o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Her
acclaimed play “9 Parts of Desire” will be playing at Williamston Theatre Jan.
27 – Feb. 27.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">“Growing up
in Okemos was so important for me. Although my father was an Iraqi, I am white,
Catholic, and blond and I felt that I was passing. It made it possible to build
a bridge between communities. It’s the foundation for how I started my work [as
an actress and playwright]. I’m like a translator.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">From OHS,
Raffo received her undergraduate at University of Michigan. “My father didn’t
want me to be a theater major, so I majored in English literature and took all
the acting classes I could.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">After
Michigan, she went on to University of San Diego for her Master of Fine Arts,
and went to England to study at the Royal Academy of Dramatic Art in London. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">“When in
England, I traveled through Europe and the Middle East, and ended up in
Baghdad.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a><span style="font-size: medium;">Although Raffo’s
father, George Raffo, left Iraq in 1976, her family had never been back. </span><o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">It was her
visit to Baghdad that transformed her life and her career. She visited all of
the relatives she never knew and soaked up the Iraqi culture. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">“It was a
life altering experience,” says Raffo. “I found a proud family culture that was
warm and welcoming. And I loved seeing pictures of my father when he was
eight.” <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">She was also
stunned by witnessing a bombed-out Baghdad, but whose people simply climbed over
the rubble to go about their daily lives.<span style="mso-spacerun: yes;">
</span>She found a city that was both modern and ancient. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">“I brought
back shoe boxes of pictures and my dad wept over then. He had been a civil
engineer and worked for the State of Michigan. He passed away in 2020.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">After
returning from Baghdad in 1993, she began to make a life for herself in New
York but was constantly thinking about her experience in Iraq. Finally she
began to write what was to become “9 Parts of Desire”, published in 1998.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">She
fashioned the play as a one-woman show depicting nine Iraqi women who existed
in different time periods of Iraqi history, different religions and different
cultures, telling their stories. Each character lands in her own place and
time. It was completed during the US-Iraqi war.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Raffo says,
“It was wonderful to write but I was shocked because every theater turned it
down. There really wasn’t an understanding of Iraqi culture out there.<span style="mso-spacerun: yes;"> </span>There was no “Cosby Show” for Arabs. We were
very isolated. “<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Ultimately,
there was one brave producer who agreed to mount the play (with Raffo playing
all nine characters) and it quickly became a huge hit, playing off Broadway,
selling out the house for a total of nine months. Raffo says, “We found that
audiences are willing to have deep and difficult conversations in the middle of
a war, and many institutions are not so brave.” <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Raffo says,
“After the New York run we took it on tour and in 2009 we did a concert version
at the Kennedy Center. Suddenly countries from around the world wanted to do it.
So far “9 Parts” has been performed in Brazil, Turkey, India, Greece, Sweden,
Israel, Malta, England, Canada and Mexico.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The play
received rave reviews and feature articles from all the major press outlets in
the US. The New York Times called the play “Powerful! Impassioned! Vivid!
Memorable!”<span style="mso-spacerun: yes;"> </span>The New Yorker exclaimed “An
example of how art can remake the world. A triumph. Thrilling.” <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">In addition,
it was recently announced that “9 Parts” is being made into a movie, sponsored
by Detroit Public Theater, Pennsylvania People Light Theater and DPTV public
TV.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">One would
think that Raffo’s father would be extremely proud of his daughter traveling to
Baghdad, finding her roots and delving into the history of Iraq and write a
play. The playwright says, “Dad had very mixed feelings at first. He was
confused. He could not understand why I was working on it.<span style="mso-spacerun: yes;"> </span>He thought it would ruin my career. He never
considered himself an Iraqi-American, he was an American. He was totally
assimilated. He never looked back. And also, he was concerned with my safety.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">But after
George Raffo saw the play several times and saw how it moved the audiences,
sometimes to tears, he began to understand how powerful art can be. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">When he
passed away, Raffo came back to Okemos with her family for several months and
added the experience with her father and other changes to modify “9 Parts” into
a new edition.<span style="mso-spacerun: yes;"> </span>The Williamston
production will be the first performance since Covid and the first time with
the new material. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Raffo is
thrilled that it is being produced at Williamston.<span style="mso-spacerun: yes;"> </span>“This is really really special. It’s being
done in a theater so close to my house and near the church I went to as a child,
St. Mary Catholic Church and it is staring one of my very closest friends,
Sarab Kamoo. I’m very excited.”<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">IF YOU GO<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Opening night is Feb 4.
Showtimes: Thursday and Fridays, 8 p.m.; Saturdays, 3 p.m. and 8 p.m. and
Sundays at 2 p.m. For tickets, williamstontheatre.org or (517) 655-SHOW (7469).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p><i>This article previsouly appeared in the Lansing State Journal</i></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com1tag:blogger.com,1999:blog-1917340347642773765.post-32394628739735239972022-01-29T13:44:00.004-08:002022-02-03T12:57:26.891-08:00FROZEN - Theater Magic<p> </p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="http://www.whartoncentermedia.com/21-22%20Season/Broadway/Frozen/Photos/Caroline%20Bowman%20(Elsa)%20and%20the%20Company%20of%20Frozen%20North%20American%20Tour%20-%20photo%20by%20Deen%20van%20Meer.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="508" data-original-width="800" height="446" src="http://www.whartoncentermedia.com/21-22%20Season/Broadway/Frozen/Photos/Caroline%20Bowman%20(Elsa)%20and%20the%20Company%20of%20Frozen%20North%20American%20Tour%20-%20photo%20by%20Deen%20van%20Meer.jpg" width="684" /></a></div><br /><p style="text-align: left;"><span style="font-size: large;">When a show
like “Disney’s Frozen” comes to town, it’s a true theatrical event for the
entire region.<span style="mso-spacerun: yes;"> </span>Not every theater is
large enough to house this musical that takes 23 semi-trailers to move it from
place to place.</span></p><o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Ever since “Frozen”
the movie hit the screens back in 2013, it became a part of our culture.<span style="mso-spacerun: yes;"> </span>“Let it Go” and “Do You Want to Build a
Snowman” were songs that every kid in the neighborhood was singing. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">It took a
while for Disney to transform the beloved show from a movie to a stage play,
but in 2018 it finally stormed Broadway and never left. Now there are
productions in the UK, Australia, Japan, Germany and the North American Tour.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Currently it
is playing at Michigan State University’s Wharton Center until February 6. 2022
(whartoncenter.com). <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">From beginning
to end, “Frozen” is a first class, Broadway caliber, production. No pickup
orchestra here, “Frozen” travels with its own musicians and enough sparkles and
snow to fill the entire theater.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Many Disney shows
play well for audiences of all ages. After all, “Lion King” is the highest
grossing Broadway musical ever ($8.2 bil in sales). “Frozen” plays best for
girls ages 5-15, I’m guessing, but many boys were enjoying it as well.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a><p style="text-align: left;"><span style="font-size: large;">It’s a warm
heartfelt story about sisterly love told with likeable music and two delightful,
cartoon-type, characters – one a snowman by the name of Olaf and Sven the reindeer</span>.</p><o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The big
selling point here is the spectacle of it all. Between lighting, technology, glittering
costumes, sound, projections, massive set pieces, and other special effects “Frozen”
is an eye-popping production.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The big number
at the end of first act is the favorite tune of the musical, “Let it Go”.<span style="mso-spacerun: yes;"> </span>It features Caroline Bowman as Elsa, alone on
the stage – but what happens on the stage during the song is nothing short of
stage magic.<span style="mso-spacerun: yes;"> </span>I kept on thinking “How did
they do that”? It’s all amazing and perfectly executed. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">I would estimate
that 25% of the audience were children, which added to the delight of the theater-going
experience for me. <span style="mso-spacerun: yes;"> </span>“Frozen” is the
perfect first musical experience for children.<span style="mso-spacerun: yes;">
</span>All the kids around me were spellbound, excited and sang along with the actors.
It was wonderful to see.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Although
Elsa has the “big” song to sing, her character is not particularly interesting.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Her sister,
Anna (Caroline Innerbichler), is a different story.<span style="mso-spacerun: yes;"> </span>She’s full of spunk, fun, personality and the
young actress played her to the hilt. Anna’s really the heart of the show and Innerbichler
displayed a strong voice and expressive acting to bring it off. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Olaf the
snowman was transformed into a huge puppet, controlled and voiced by F. Michael
Haynie. Olaf added much needed humor to the story and the puppet/actor link
reminded me of “The Lion King”. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Another successful
puppet actor combination was Sven the reindeer, with Collin Baja inside the intricate
costume.<span style="mso-spacerun: yes;"> </span>Sven became a true character and
the physical demands on the actor are so difficult, that two actors tour with
the company, with each actor only doing four of the eight shows per week.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">“Frozen” is
plenty entertaining but musically, it doesn’t have much to offer besides the
two big tunes everyone knows. One thing is for sure: after watching this huge,
colorful show you won’t wonder where all the money went that you spent on
tickets. It’s up there on the huge Wharton stage for all to see.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com0tag:blogger.com,1999:blog-1917340347642773765.post-28908401100855482582021-12-26T13:59:00.003-08:002021-12-26T15:46:39.176-08:00West Side Story: A Magnificent Surprise<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://phantom-marca.unidadeditorial.es/b55ba759cae4c6c85086b7d6b435f79b/resize/1320/f/jpg/assets/multimedia/imagenes/2021/04/26/16194432008147.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="483" data-original-width="800" height="483" src="https://phantom-marca.unidadeditorial.es/b55ba759cae4c6c85086b7d6b435f79b/resize/1320/f/jpg/assets/multimedia/imagenes/2021/04/26/16194432008147.jpg" width="800" /></a></div><br /><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">To do a
remake of the beloved Oscar winning 1961 film <i>West Side Story</i> (original
Broadway production was in1957) takes guts. Maybe only a director with the standing
of Steven Spielberg could get a way with tackling such a risky project. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Many of my
friends who fervently love the original film have pledged not to see the
remake.<span style="mso-spacerun: yes;"> </span>How can you improve on a
classic? Despite the negative talk, Spielberg has been dedicated to this idea
for many years. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The film was
shot in New York in the summer of 2019 but was just released on December 10,
2021. It’s the perfect movie to bring you back into a movie theater. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Let me begin
by saying that I rank <i>West Side Story</i> as one of the greatest Broadway
musicals of all time. I have great respect and love for this piece of theater.
Transferring it to yet another film is a delicate process.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a><p style="text-align: left;"><span style="font-size: large;">I guess I
just didn’t understand the great artistry of Steven Spielberg or his love for
musicals. From the very first minutes of the film, I was captivated. The look
of the film is urban and gritty. The actors swagger across the screen like
tough, 50s, street-gang guys and not like ballet dancers - an improvement over
the ’61 version.</span><span style="mso-spacerun: yes;"> </span></p><o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Spielberg
hired one of America’s most celebrated playwright/ screenwriters to adapt the
script – Tony Kushner.<span style="mso-spacerun: yes;"> </span>He is known for
collaborating with Spielberg in writing the screenplay for <i>Lincoln</i> and <i>Munich</i>,
and for the Pulitzer Prize winning play, <i>Angels in America. <o:p></o:p></i></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The original
play tells the story of two competing gangs fighting for territory, but Kushner
has added another element that adds a surprising amount of texture to story.
The Manhattan neighborhood both gangs inhabit is being destroyed to build the
Lincoln Center Performing Arts Center. So, this story line and physical
backdrop of demolished housing, creates a heightened tension to the overall action
of the film.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">As is his
style, Spielberg fills the screen with dramatic angles, creative set-ups, and
realistic acting from his cast. Lots of colorful laundry is always visible on
clotheslines hung between the tentaments and the smooth flow of the cinematography
enhances the story and the music. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Spielberg
wanted to have only Latin actors play the Puerto Ricans which gives the film an
authentic feel. There are many scenes spoken in Spanish which strengthens the
validity of the story. In contrast, in the original movie Natalie Wood (a huge
movie star at the time) lip-synched the voice of Marni Nixon in the lead role
of Maria.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">No corners
were cut in this movie.<span style="mso-spacerun: yes;"> </span>The music was provided
(mostly) by the New York Philharmonic with Gustavo Dudamel conducting.<span style="mso-spacerun: yes;"> </span>The sound was full and rich.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The reason <i>West
Side Story</i> is such a masterpiece is that every aspect of the show was
created at the highest artistic level- Lyrics were written the very young
Stephen Sondheim, music by Leonard Bernstein (who accepted the conductorship of
the NY Phil the same year it opened), choreographer and director was the theater
and ballet superstar Jerome Robbins and Arthur Laurents wrote the script. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Spielberg’s
production paid homage to these four masters by adding depth to the story, but
not changing it very much. The dancing has been updated quite a bit and some backstories
were added to flesh out the characters better. <span style="mso-spacerun: yes;"> </span>Clearly, Spielberg was looking to give his
version the most dramatic impact possible.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">And indeed,
he did. Even if you know every word and lyric of this show, I guarantee that
you will feel an emotional impact watching it. Even after 60 years, <i>West
Side Story</i> remains powerful and intense.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The shining
star of the movie is the sparkling Rachel Zegler as Maria who is both young and
radiant. The audience BELIEVES her. When she first meets Tony (her future lover
from the opposing gang), her expressive eyes and face are palpable. Ansel
Elgort (<i>Baby Driver</i>) is excellent as Tony, but Zegler takes over the
screen whenever she appears. Her voice is a light and lovely soprano that communicates
those classic songs (“A Boy Like That”, “I Feel Pretty”, “Tonight”).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Spielberg
could have sold more tickets if he would have chosen “movie stars” for the lead
roles, as most movie musicals do, but these young talented actors look and feel
right and embody their characters. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">But the
genius of this adaptation is the use of 90-year-old Rita Moreno.<span style="mso-spacerun: yes;"> </span>Moreno won the Oscar for her portrayal of
Anita in the ’61 movie, Maria’s best friend and girlfriend of Bernardo the gang’s
leader. Here, Kushner rewrote the role of Doc who owns the drugstore and the
gang’s hangout.<span style="mso-spacerun: yes;"> </span>Now she is Valentina who
is Doc’s wife. In the role, Moreno gives the role pathos and a depth that is
unexpectedly powerful. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">She is the
soul of the play and when she sings “Somewhere” at the end, it shatters you. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Another
standout is Ariana DeBose as the new Anita. She is a strong and charismatic
dancer and also has the dramatic chops to give Anita the layers the character
deserves. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Excellent
work was also shown by David Alverez as Bernardo and Mike Faist as Riff.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Even though this
classic musical is filled with upbeat numbers like the “Dance at the Gym”,
“America” and “Officer Krupke”, <i>West Side Story</i> is a serious and dark
drama.<span style="mso-spacerun: yes;"> </span>It is far more realistic than the
Rogers and Hammerstein shows of the 50s. But this musical play is a brilliant
amalgam of music, plot(borrowed from Romeo and Juliet), lyrics and dance to
tell a rich and hard-hitting story. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size: 16pt; line-height: 107%;">FURTHER
COMMENTARY<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">When <i>West
Side Story</i> was first written back in 1957, it was a current story. The
violence between the ethnic street gangs in New York was contemporary and
urgent. It was, and remains, one of the few musicals that deals with real-time
story lines.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">We now view
it as almost a period piece, but Spielberg and Kushner had to massage the plot line
to make is honest to 1957 but also make it relevant to our present time. Quite
an undertaking. Although street gangs operate in different ways today, the ethnic
hatred is sadly still with us and was retained in this movie.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Although <i>West
Side Story</i> is now considered an iconic Broadway show, it was not a huge hit
when it first appeared on the scene.<span style="mso-spacerun: yes;"> </span>Remarkably,
<i>Music Man (</i>a revival now appearing on Broadway) won the Tony award for
music (beating Bernstein? Wow!) and for the total production. It didn’t really
become popular until the movie came out, which won many Academy Awards.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com5tag:blogger.com,1999:blog-1917340347642773765.post-8144137911840606712021-12-18T14:06:00.001-08:002021-12-18T14:12:26.534-08:00SONDHEIM: Irony of Ironies<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjoSeleZ3j_ViXVaFuz8zUPGx51bRL_PnybX3w4xCk2Af9gRP4HMH_AQXCR08B8oUw8Xqa2EHo3XvFpOLOgJ3z36tUxmn7cOGw9ljTJQgWCgjx9RZo6ae6HH-IBltSVs0lqul8gd-rLpiWtga1LDfM57uMrBGN16_E74ERs1f5_5F1T7792FT8uBw=s1120" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="839" data-original-width="1120" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjoSeleZ3j_ViXVaFuz8zUPGx51bRL_PnybX3w4xCk2Af9gRP4HMH_AQXCR08B8oUw8Xqa2EHo3XvFpOLOgJ3z36tUxmn7cOGw9ljTJQgWCgjx9RZo6ae6HH-IBltSVs0lqul8gd-rLpiWtga1LDfM57uMrBGN16_E74ERs1f5_5F1T7792FT8uBw=s320" width="320" /></a></div><br /><p></p><p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The
theatrical world was shocked by Stephen Sondheim’s death on November 26, and
immediately the media was awash in a tsunami of praise and tributes. Professionals
and fans from all walks of life described Sondheim as the greatest writer of
Broadway musicals, ever. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Although
Sondheim was 91, his passing was still a surprise.<span style="mso-spacerun: yes;"> </span>Up until the very end, Sondheim was seen attending
theater, working on the revival of his landmark show <i>Company</i> and
appearing on TV. He seemed vigorous and sharp.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Ever since
first hearing the soundtrack album of <i>Company</i> in 1970, I have been a fan.
I found the new show so current, so hip, so real, and so witty. Like nothing I
had ever heard before. Indeed, it has been said that <i>Company</i>
revolutionized musical theater. It was nominated for the most Tony awards of any
musical (14 nominations, 6 wins), a record that held until <i>The Producers
(2001)</i> <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">It was so
different, that I didn’t even realize that <i>Company</i> was written by the
same guy who penned the lyrics for <i>Gypsy </i>and <i>West Side Story</i>, let
alone <i>Funny Thing Happened on The Way to The Forum, </i>his only hit before <i>Company
</i>in which he wrote both music and lyrics. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a><span style="font-size: 16pt; line-height: 107%;">But <i>Company</i>
was indeed the threshold through which the rest of Sondheim’s memorable shows
passed. It introduced us to the quirky elements that came to identify his musicals.<o:p></o:p></span><p></p>
<p class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -0.25in;"></p><span style="font-family: Symbol; font-size: 16pt; line-height: 107%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span></span><!--[endif]--><span style="font-size: 16pt; line-height: 107%;">Little or no dancing</span><br /><span style="font-family: Symbol; font-size: 16pt; line-height: 107%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span></span><!--[endif]--><span style="font-size: 16pt; line-height: 107%;">Little or no chorus singing (Sondheim
scoffed at this musical staple saying, how could everyone in the crowd be
thinking the same thing at the same time?)</span><br /><span style="font-family: Symbol; font-size: 16pt; line-height: 107%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span></span><!--[endif]--><span style="font-size: 16pt; line-height: 107%;">No corny love songs</span><br /><span style="font-family: Symbol; font-size: 16pt; line-height: 107%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span></span><!--[endif]--><span style="font-size: 16pt; line-height: 107%;">Lyrics filled with impossible rhymes
and word play</span><br /><span style="font-family: Symbol; font-size: 16pt; line-height: 107%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span></span><!--[endif]--><span style="font-size: 16pt; line-height: 107%;">Melodies that were angular and devilish
to sing</span><br /><span style="font-family: Symbol; font-size: 16pt; line-height: 107%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span></span><!--[endif]--><span style="font-size: 16pt; line-height: 107%;">Songs filled with cynicism and people
who just can’t make up their minds. (example: “Sorry Grateful” from <i>Company</i>).</span><br /><span style="font-family: Symbol; font-size: 16pt; line-height: 107%; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span></span><!--[endif]--><span style="font-size: 16pt; line-height: 107%;">Story lines that were philosophical
and thoughtful.</span><br /><!--[if !supportLists]--><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">But the huge
irony about Sondheim is this: Stephen Sondheim is revered by the theater
community as its most esteemed hero.<span style="mso-spacerun: yes;"> </span>He
has personally won 11 Tony awards and has been honored in every way possible,
with even a Broadway theater named after him.<span style="mso-spacerun: yes;">
</span>But with all of these accolades, his shows were not all that successful
financially. And his individual songs never became popular.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The only
“hit” song he wrote was “Send in the Clowns”, a song that few people even
understand its meaning and even fewer saw the show from which it came (<i>A
Little Night Music</i>).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The fact is,
Sondheim never wrote a song on its own without it being engulfed in a story. He
spoke about how he could not write a song if he didn’t understand the character
and the situation he was in.<span style="mso-spacerun: yes;"> </span>What was
the character thinking about?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Although
Sondheim was mentored by Oscar Hammerstein, he looks back on his master’s beloved
lyrics with surprising criticism. He questions how all of Hammerstein’s characters
in all of his musicals can sing about the same things: nature, birds, oceans
and such. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">But he was
also critical of his own early lyric writing, even in the legendary <i>West
Side Story</i>.<span style="mso-spacerun: yes;"> </span>He often said that he
cringes when hearing the rhyme from “I Feel Pretty”; “It’s alarming how
charming I feel”.<span style="mso-spacerun: yes;"> </span>C’mon, he says, would
a Puerto Rican girl in New York really say something like that?<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The show
that had the longest initial run was <i>A Funny Thing</i>, a bawdy
vaudeville-type show that starred Zero Mostel.<span style="mso-spacerun: yes;">
</span>It was made into a successful movie, but strangely they removed all of
Sondheim’s songs for the film. What - a musical without music? Crazy.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The sum of
Sondheim’s output was truly remarkable. In the decade <span style="mso-spacerun: yes;"> </span>beginning in 1957 Sondheim wrote six shows.
Then, the 70’s was a like a racetrack of writing:<span style="mso-spacerun: yes;"> </span><i>Company</i> (70), <i>Follies </i>(71), <i>A
Little Night Music</i> (73), <i>Frogs</i> (74), <i>Pacific Overtures</i> (76),
and <i>Sweeney Todd</i> (79). <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The final
third of his career didn’t have quite the productivity as the fist two thirds,
but the quality didn’t lessen. His final shows were <i>Merrily We Roll Along</i>
(81), <i>Sunday in the Park with George</i> (84), <i>Into the Woods</i> (87), <i>Assassins</i>
(90) and <i>Passion</i> (94).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">An absolutely
stunning yield of creative material. By comparison, Lin-Manuel Miranda wrote <i>In</i>
<i>The Heights</i> in 2008 and <i>Hamilton</i> in 2015. Nothing since. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Although
many of Sondheim’s shows are heralded as brilliant and great creative
achievements in the theater, most did not enjoy long stays on Broadway during
their initial runs. Most of his big hits only lasted two years, barely time to earn
enough to recoup the investments. Sondheim shows don’t even appear in the lists
of Broadway’s longest running shows, despite his reputation as the greatest.<o:p></o:p></span></p>
<p class="MsoNormal"><i><span style="font-size: 16pt; line-height: 107%;">Lion
King, Phantom of the Opera, Wicked, Chicago </span></i><span style="font-size: 16pt; line-height: 107%;">and others<i> </i>have been on Broadway for tens of
years, earning billions of dollars.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Since his
shows were so sophisticated and filled with adult themes, endless word play and
unusual harmonies, it often took more than one listening to truly appreciate them.<span style="mso-spacerun: yes;"> </span>For this reason, the musicals were often
revived and had a solid business with community and educational theater. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Sondheim didn’t
write musicals; he wrote musical theater.<span style="mso-spacerun: yes;">
</span>He wanted the audience to be stunned, surprised and sometimes frightened.<span style="mso-spacerun: yes;"> </span>And he wanted his characters to struggle with
the questions of life and love. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Thankfully,
Sondheim was a gregarious man, and many of his extensive interviews are online
plus he wrote two large books (<i>Look, I Made a Hat</i> and <i>Finishing The
Hat</i>). Included in his book are the lyrics that fly by in a flash.<span style="mso-spacerun: yes;"> </span>Reading over those tongue twisters reveal his
true genius with words. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Through the interviews
especially, generations of future theater lovers will be able to listen to his
thoughts about creativity. He is straightforward, truthful, funny, and often self-deprecating.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">One can
sense Sondheim’s great love of theater and of the community of theater. He
lived for the intense collaborations he had in creating his shows and support
young talent. Many writers and actors treasure the notes that he sent to them
after seeing new shows in New York.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">What will
Broadway be without him?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com3tag:blogger.com,1999:blog-1917340347642773765.post-66084111923772156352021-12-08T12:40:00.003-08:002021-12-09T07:04:42.007-08:00HADESTOWN - A Funky and Brilliant Opening to the B'way Season<p> <span style="font-size: 16pt;">At long
last, East Lansing’s Wharton Center’s Broadway series finally opened on Tuesday
night. Everyone in attendance was eagerly looking around to see how big the
house was, understanding that Michigan’s Covid numbers are stubbornly high. Well,
it looks like folks have a great need to have their spirits lifted with singing
and dancing and good stories.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="http://www.whartoncentermedia.com/21-22%20Season/Broadway/Hadestown/Photos/309_Nicholas%20Barasch%20and%20Morgan%20Siobhan%20Green%20in%20the%20Hadestown%20North%20American%20Tour_photo%20by%20T%20Charles%20Erickson.jpg" style="margin-left: 1em; margin-right: 1em;"></a><div class="separator" style="clear: both; text-align: center;"><a href="http://www.whartoncentermedia.com/21-22%20Season/Broadway/Hadestown/Photos/309_Nicholas%20Barasch%20and%20Morgan%20Siobhan%20Green%20in%20the%20Hadestown%20North%20American%20Tour_photo%20by%20T%20Charles%20Erickson.jpg" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidlzcjshRatK_y3VwhWgkCPY8NR4YSzStvryNr5VQmGbnqkNWYHeSAuFBEIkIrJzZuz56tqoOOlZD5d8KHxBAm-c_meagQJJIgtCFR0U7wT0wBUxxjV9_br5_GQPsfuttlQ06WIt57OA/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="1474" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidlzcjshRatK_y3VwhWgkCPY8NR4YSzStvryNr5VQmGbnqkNWYHeSAuFBEIkIrJzZuz56tqoOOlZD5d8KHxBAm-c_meagQJJIgtCFR0U7wT0wBUxxjV9_br5_GQPsfuttlQ06WIt57OA/" width="173" /></a></div></div>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">“Hadestown,”
the Tony award winning spectacle, filled about 1100 seats (out of 2500) at the
Cobb Great Hall – about normal for Covid times.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Although
many people didn’t know what to expect from this oddly named musical, the
13-member cast dispelled all apprehensions at the very beginning. They entered
the stage as a group, smiling and waving to the audience enthusiastically. And
the audience smiled and laughed back. I saw the 4<sup>th</sup> wall crumbling.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><span></span></span></p><a name='more'></a>“Hadestown”
is an upbeat and inspirational show based on Greek mythology but is told with
so much flare and creativity that everyone will get it easily. <o:p></o:p><p></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The
brilliant writer (music, lyrics AND book), Anais Mitchell, chose to use New
Orleans jazz to tell the story. And it did have a Mardi Gras feel, as well. The
costumes were funky and the stage movements were quirky and fun.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">But more
than anything, the mostly young cast seemed to be having a blast telling us
this mythical tale of the naïve/poet Orpheus, his fiancée Eurydice, the rich
and evil Hades, his wife Persephone, the dapper Hermes who acts as the storyteller
and the three Fates. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The music is
rollicking (mostly acoustic)and very accessible. The on-stage band features, of
all things, a jazz trombone played by Audrey Ochoa. She plays lots of hard-charging
solos and even joins the cast with some dancing while playing her horn.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">When the
band took their seats after intermission, the trombonist received an ovation –
maybe a first.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The story is
loose and fairy tale-like, but we are drawn in by the love story. The tough
girl Eurydice (Morgan Siobhan Green) is immediately proposed to by boyishly
charming Orpheus (Nicholas Barasch). But there is darkness too - after all the
show’s name is Hadestown. It’s all about the struggle between cynicism and idealism
– two sides of the same coin.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">The voices
in this top-drawer cast are uniformly excellent, but Barasch gets the highest
marks.<span style="mso-spacerun: yes;"> </span>He sings many ballads, using his
very high tenor range and they are all compelling. Barasch comes to the show
from doing a star turn in a recent revival of “She Loves Me” on Broadway. The Barasch/Green
couple is sweet and captures the audience. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Other standouts
are Kimberly Marable (direct from the Broadway cast) and Kevyn Morrow, a
Broadway veteran whose bass voice makes the rafters shake. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Leading us through
the proceedings is Hermes (Levi Kreis) with a smashing R&B voice and great
dance moves. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">Watching the
creativity of this show reminded me of the vast variety of styles Broadway musicals
offer. Every show seems to be totally unique and searching for new ways of crafting the theatrical exsperience.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">And with “Hadestown,”
I felt that it was as current as TODAY. The music, the messages, the diversity,
the style, and the dancing all speak eloquently about what is going on in current
culture.<span style="mso-spacerun: yes;"> </span>Why, one character even had a
song about building a wall. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">In this
production the imaginative directing by Rachel Chavkin was just as important to
the show’s success as the words and music. There was movement and motion
happing throughout every minute of the show, never letting the audience loose
concentration. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;">“Hadestown,”
winner of eight Tony Awards, runs through December 12. Whartoncenter.com for
tickets.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 16pt; line-height: 107%;"><o:p> </o:p></span></p>Glick-Artshttp://www.blogger.com/profile/03844525774294671578noreply@blogger.com3